The grave is empty. The lid of the sarcophagus leans against the box. The angel is almost casual on the right. With his right hand he points to the gap that creates the illusion of a cavity in the ivory relief. The three women are on the left, they did not put the spherical oil vessels out of their hands, even though the body they wanted to ointments. The carver pushed them together so that as much space as possible remains empty. The inscription breaks off in the third word: Ecce Locus UB. Pious viewer were able to complete the sixth verse from the sixteenth chapter of the Gospel of Mark: Ecce Locus, Ubi Posuerunt Eum – see here, the place where they have put it. The crypt is a crypt. The artist posted the guards above the coffin opening scene. He did not represent her sleeping, but gestured. They look down and their pointed shields seem to show down. For example, the soldiers that Pilate put on Matthäus, because the high priests still combat the supposed fraudsters from Nazareth in death and the Grabaub as an act of religious foundation by LUG and wanted to accuse them of their own list: As the first of the prompt, they are the first to take a look. The place worked out of the ivory, which we look at when we are standing in the Berlin Museum of Art in front of the vitrine with the dome reliquary from the Welfens treasure, is walled in a church building that is 45.5 centimeters high. The container for the head of the church teacher Gregor von Naziz, a community work of goldsmiths and ivory skulp of the twelfth century, illustrated the effort that was driven to certify the fantastic literalism, which developed from the empty grave when the message was passed on: the body of the crucified person has dissolved without crumbling too dust – one should see that the bones of its most loyal followers cause miracles. The advisory Commission for Nazi Raubedgut will now reorganize whether the Welfens treasure, which the German state bought in 1935 in 1935, was to remain the property of the Berlin museums. A detailed description of the complicated history of changing property at the collection of equipment, which was originally supposed to belong to St. Blasius until the recent day, the patron of the Braunschweig cathedral, is now in our side dish pictures and times. In this story there are several miraculous events that can of course be explained with the laws of the art market.
