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Victoria & Albert Museum
Pair of Kneeling Angels
About 1525 - 1542, possibly by Silvio Cosini, Italy, Florence, marble
The positions of the arms and hands indicate that the angels originally functioned as candleholders on either side of an altar. Candles were used during the Mass to illuminate the altar and evoke the Symbolism of Christ as light.
Victoria & Albert Museum
The Lamentation Over the Dead Christ
About 1510 - 1515, Italy, Florence
Glazed and painted terracotta
Workshop of Andrea della Robbia (1435—1525)
Large-scale groups in various materials were used as focal points for devotion in chapels and churches throughout Europe. Terracotta was particularly popular in Tuscany and around Bologna.
Terracotta groups on this scale were difficult to make. The figures here were each constructed separately. Mary Magdalene, on the right, is now in several pieces and probably shattered during the first (or biscuit) firing. This prevented a second firing to secure the glazes, so instead the figure was painted.
Victoria & Albert Museum
The Virgin and the Child
About 1520 - 1525, Germany, Bavaria, painted limewood
Decorated with equal attention to the front and back, and with metal fixings on the top of her head, this figure was suspended from the vault of a church. Its theatricality was not unusual in German churches of this period.
The biblical book of Revelation describes a woman, commonly associated with the Virgin, standing on a crescent moon and wearing a crown with twelve stars. This figure was originally crowned, possibly with a metal crown with glass or enamel decoration.
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Detail of staircase (The Exhibition Road Quarter) that connects the Victoria & Albert Museum to the Sainsbury Gallery, Knightsbridge, London.
Handheld, Zeiss ExoLens (Wide-Angle) add on lens on the iPhone 8 Plus, Shoulderpod S1, Hisy remote, religiously tickled in Snapseed on iPad Pro.
For more info.:-
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Victoria & Albert Museum
The Lamentation Over the Dead Christ
About 1510 - 1515, Italy, Florence
Glazed and painted terracotta
Workshop of Andrea della Robbia (1435—1525)
Large-scale groups in various materials were used as focal points for devotion in chapels and churches throughout Europe. Terracotta was particularly popular in Tuscany and around Bologna.
Terracotta groups on this scale were difficult to make. The figures here were each constructed separately. Mary Magdalene, on the right, is now in several pieces and probably shattered during the first (or biscuit) firing. This prevented a second firing to secure the glazes, so instead the figure was painted.
Victoria & Albert Museum
St Peter
About 1510 - 1520, Southern Netherlands, Oak
Medieval Christians felt a deep affinity for the saints. They saw them as heavenly helpers, pleading with God to be merciful towards mankind.
One of the most popular saints was St Peter, the first Pope. He was often shown holding the keys to Heaven and wearing his papal tiara. This figure was originally brightly painted. It would probably have been set in a church, on a console or ledge on one of the nave columns, with candles burning before it.
V&A Dundee was designed by renowned award-winning Japanese architects Kengo Kuma & Associates and our extraordinary three-storey building is itself a testament to great design. Quoted from the V&A Dundee website
Victoria & Albert Museum
Buddha Shakyamuni
1500 - 1600, Ming dynasty, cast and gilded bronze
Shakyamuni was the historical Buddha, born as an Indian prince in about 485 BC. This figure represents the crucial moment in his life when he asked the earth to bear witness that he had resisted the attacks of Mara, the goddess of evil. His right hand extends downward to touch the soil, a symbolic gesture known as chudiyin (bhumisparsha mudra).