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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
Street Scene (recto); Sketches (verso), c. 1848–49. Gustave Doré (French, 1832–1883). Pen and brown ink and gray wash with white (recto); graphite (verso); sheet: 25.2 x 40.4 cm (9 15/16 x 15 7/8 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin 2015.448
More at clevelandart.org/art/2015.448
A limestone model bust of a royal male wearing the "nemes" headdress with a "uraeus." The "uraeus" serpent has been broken away. As was typical for the period, the "uraeus" had two coils, one to each side and the tail extended back over the top of the rounded "nemes." Beneath the edge of the band of the "nemes" the natural hairline of the figure may be seen. The eyes are naturally outlined and the brow delicately follows the contour of the eye. The pupils and irises of the eyes are picked out in black paint. The surface of the piece has been scratched and chipped in several places. The face is fleshy and rather flat in profile. The lips are pursed and smiling. The back, sides and base are flat planes and there are grid squares etched into the back and sides. Where the lappets touch the shoulder they are creased in an unnaturally sharp way. The lappets are flat with a curved outer edge and strictly vertical inner edge.
Egyptian
7 3/8 x 6 5/16 x 3 3/4 in. (18.8 x 16.1 x 9.5 cm)
medium: limestone
culture: Egyptian
dynasty: Ptolemaic Dynasty
Walters Art Museum, 1931, by bequest.
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Barye contrasts the powerful, broadly rendered muscular build of the jaguar with the more detailed, limp body of the terror-stricken hare. The cat's ears are pressed against its head and its features are convulsed in fury as it prepares to devour the entrails of its prey.
At the Paris Salon of 1850, "Jaguar Devouring a Hare" was exhibited together with "Lapith Combating a Centaur" -one work representing the artist's most romantic side and the other, his most classical. Both sculptures were acclaimed masterpieces. The critic Théophile Gautier observed of this sculpture:
"The mere reproduction of nature does not constitute art; [Barye] aggrandizes his animal subjects, simplifying them, idealizing and stylizing them in a manner that is bold, energetic, and rugged, that makes him the Michael Angelo of the menagerie."
H: 16 1/4 x W: 38 x D: 17 in. (41.3 x 96.5 x 43.2 cm)
medium: bronze with green and some black patina
Walters Art Museum, 1931, by bequest.
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At the center of this small-scale triptych, Saint John and the deacon Prochorus sit in a cave on the island of Patmos where John transcribed the Book of Revelation. With one hand on his text, John looks over his shoulder to receive the Word of God from heaven above. The saint conveys the text inscribed on the page, “In the beginning was [the Word],” to Prochorus, who copies it onto a scroll. This is the opening line of the Gospel of John, also composed by the Evangelist. The outer wings depict the Annunciation, when the Archangel Gabriel, at left, told the Virgin Mary, at right, that she would give birth to Christ. The angel blesses Mary, and she raises her right hand in acceptance of his message. Their gestures and direct eye contact suggest that they converse across the painting. The Virgin also holds a thread that she spins from the hank of wool in her left hand. This detail alludes to a story from the apocryphal Protoevangelium of James, which describes how Mary was among eight virgins selected to weave cloth for the Temple veil. When the Archangel arrived to deliver his message to the Virgin, he found her spinning the purple thread assigned to her. This scene of Mary spinning appears frequently in Byzantine art, both in grand frescoes and mosaics found in churches, and in smaller panel paintings and illuminated manuscripts. The diminutive size of this triptych indicates that it was used for individual, private devotion. The hinged wings fold inward over the central panel, making it compact and portable. The outside of the wings are painted with a large cross that spans the two wings, set against a red background. The abbreviation for “Jesus Christ is victorious” (IC XC NIKA) is written above and below the arms of the cross.
Orthodox Eastern
H: 5 13/16 x W: 8 1/4 in. (14.7 x 21 cm)
medium: tempera and gold on panel
style: Post-Byzantine
culture: Orthodox Eastern
by bequest to Walters Art Museum, 1931.
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
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This figure comes from the tomb of Duke Philip the Bold from the church of Champmol near Dijon (Burgundy, France). Philip, who founded the monastery and designated it as his burial place, hired the best artists, many of whom came from the Netherlands. While the commission was given in 1381, the work was not completed until 1410, six years after the duke’s death.<br><br>This mourner is unusual for the time because it is not carved as a static low relief on the pedestal of the tomb but interact with the viewers and their fellow procession members. The lifelike quality of the figure is due in large part to the alabaster. Its softness allowed artists to carve details into the material, and the transparent, milky white stone could also be polished to a high gloss.
Netherlands, active Dijon, 15th century
vizille alabaster
Overall: 41.1 x 17.6 x 11 cm (16 3/16 x 6 15/16 x 4 5/16 in.)
Did you know...
The use of alabaster in the late Middle Ages began in the 1300s with court art in the circles of French kings, especially in the field of funerary sculpture.
Bequest of Leonard C. Hanna, Jr.
This intaglio shows the goddess Venus visiting the forge of her husband Vulcan to collect the armor and weapons that she has convinced him to create for her son, Aeneas. Vulcan is seated on the right and holds a hammer in his raised right arm to strike the anvil before him. Venus is standing on the left and facing Vulcan. Although this specific moment is not described in Vergil's "Aeneid" (composed in the second half of the 1st century BCE), it is part of the story line of book 8, where Venus seduces Vulcan to get him to make the arms and later delivers them to Aeneas. Vergil (1st century BCE) wrote the "Aeneid" as a Latin epic poem in the model of the Greek "Iliad" and "Odyssey" by Homer (8th century BCE).
Roman
H: 13/16 × W: 5/8 × D: 1/4 in. (2.1 × 1.6 × 0.6 cm)
medium: Syrian garnet
culture: Roman
Walters Art Museum, 1931, by bequest.
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