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The narrative on this basin tells the story of Saint Ursula and her 11,000 companions, who embarked on a pious journey from England to the Continent only to be met by the Huns in Cologne and slaughtered in 383 CE. Ursula was warned of her impending doom, according to the legend, but willingly accepted martyrdom to join the kingdom of heaven. The narrative is executed in a simple, engaging manner. The movement of Ursula and her companions is echoed in the narrative progression around the bowl as one turns it to follow the story. The kinetic dimension of the display would likely have made this manner of recounting the saint's legend more memorable than simple recitation. Indeed, some scholars have suggested that bronze vessels of this type might have been used for teaching, while others maintain that they might have played a role in liturgical hand-washing performed by nuns. In the latter instance, the swirling ocean crossed by Ursula must have looked quite realistic when seen through the rippling water that filled the bowl.
German
H: 2 9/16 x Diam: 11 5/16 in. (6.5 x 28.7 cm)
medium: copper alloy
style: Romanesque
culture: German
Walters Art Museum, 1931, by bequest.
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This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for most of the borders, was a Florentine who signed his name "Zecho" da Firenze on folio 208 verso.
France, Paris
ink, tempera, and gold on vellum
Codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.)
Mr. and Mrs. William H. Marlatt Fund
This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.
Flanders, Ghent and Bruges, late 15th century
ink, tempera, and gold on vellum
Codex: 22.5 x 15.2 cm (8 7/8 x 6 in.)
Leonard C. Hanna, Jr. Fund
France, 18th century
tapestry weave; silk, wool, cotton
Overall: 358 x 269.3 cm (140 15/16 x 106 in.)
Gift of Flora Whitney Miller, Barbara Whitney Henry, and Major Cornelius Vanderbilt Whitney, in memory of their mother, Mrs. Harry Payne Whitney
Italy, Venice, 18th century
leather
Overall: 51.1 x 71.5 x 46.1 cm (20 1/8 x 28 1/8 x 18 1/8 in.)
Bequest of Louise Tifft Brown
This print depicting Christ’s birth belongs to one of the numerous print series that Albrecht Dürer produced on religious themes. Here, the artist focused on everyday details of the Virgin Mary’s life story to emphasize her humanity. Dürer revolutionized the technique of woodcut with such scenes, which told biblical stories with enough descriptive detail and skillful narrative staging to minimize the need for text. The textures, fine details, and perspectival space of his woodcuts surpassed any examples of the medium before him.
Germany, early 16th Century
woodcut
Gift of The Print Club of Cleveland
3 1/16 x 2 3/8 x 1 in. (7.7 x 6 x 2.5 cm)
medium: Lacquer, metal saya, various metals, openwork, relief, nashiji inro; Interior: nashiji and fundame
Metropolitan Museum of Art, New York, NY 14.40.839a, b 1914
Bequest of Benjamin Altman, 1913
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Japan, Edo period (1615–1868)
Porcelain with underglaze blue and overglaze enamel (Hizen ware, Nabeshima type)
Diameter: 20.4 cm (8 1/16 in.); Overall: 5.6 cm (2 3/16 in.)
Did you know...
A <em>ruyi </em>is a curved decorative object with a head like a cloud or <em>lingzhi</em> mushroom.
Severance and Greta Millikin Collection