Give Now
 
 
 

Tag Archives: polychrome

Object of the Month: September 2026

St. Dominic and St. Thomas Aquinas

Bas-relief polychrome and gilt wood

Unknown Spanish

Late 16th – Early 17th century

Why a pair of 400-year-old wood panels depicting Saints Dominic and Aquinas dressed in lavish habits—garments they likely never wore—with books and enormous quill pens? To answer this, we need to understand a bit of medieval church history.

In the 12th century, Catharism (or Albigensian heresy) was spreading in southern France. Catharism taught a radical dualism: two opposing principals governed existence. The good principal created the spiritual world, while an evil principal created the material world. Therefore, physical matter, including the human body, was evil. According to this belief, Christ only appeared to be human, and the sacraments, such as communion and baptism were rejected because physical bread, wine, and water could not convey spiritual grace. Catharism denied doctrines involving the physical world, such as bodily resurrection and the goodness of marriage. Its followers lived simply and devoted themselves to spiritual pursuits like prayer, fasting, and preaching.

St. Dominic

Around 1170, Domingo de Guzmán was born into a noble family in Castile, Spain. He received his early education from his uncle, a Roman Catholic priest. Later he went to the prestigious University of Palencia, studied the liberal arts and completed advanced studies in theology. By his mid-20s he was ordained a priest and joined the clergy of Osma Cathedral. He lived communally and in poverty as dictated by the Rule of St. Augustine, and he became known for his learning and godliness.

Dominic encountered Catharism about 1210. The movement appealed to many because its leaders preached persuasively and lived simply, in a manner resembling the apostles. In contrast, many orthodox clergy lacked the theological knowledge to respond to it effectively, and they also preached in elaborate church vestments and ornate churches. The common people found orthodox positions unpersuasive and distant.

Dominic’s solution was to form a new kind of religious community. His Order of Preachers would be a clergy well educated in theology, logic, and persuasion, living under the Rule of St. Augustine, and engaging people directly. Dressed in simple black and white habits, Dominican friars defended Catholic doctrine often preaching in non-church settings. In 1216, Pope Honorius III formally recognized the Dominican Order.

St. Thomas Aquinas

In 1224-5, Thomas was born into an aristocratic family in Aquino, Italy. At age 5, Thomas de Aquino began studies at the Abbey of Monte Cassino. He completed studies at the University of Naples in his teens. His family expected their gifted son to become a high-ranking church official with prestige and power. Thomas, however, was drawn to intellectual and spiritual pursuits. When he chose to join the scholarly Dominican Order his family opposed the plan, largely because of the vow of poverty. According to tradition, his brothers kidnapped him for a year to convince him to change his mind. It did not work. He became a Dominican friar around age 20. Eventually his surname became Aquinas, the Latinized city of his birth.

Aquinas became a renowned theologian, teacher, preacher, and author. His writings used medieval scholasticism, a structured method of reasoning that begins with a question, presents opposing arguments, offers a succinct answer, supports the answer and then systematically refutes the contrary positions.

Aquinas believed that all truth comes from God, and since both reason and Scripture come from God, ultimately true philosophy cannot contradict true theology. His major works, Summa Theologiae and Summa contra Gentiles, are still recognized as foundational theological texts.

Dominic died in 1221, and Aquinas was born about 4 years later. Dominic established a powerful model for orthodox preaching while Aquinas provided the intellectual framework for that preaching. Together, yet separately, they built the foundation of the Dominican Order.

M&G’s Dominic and Aquinas Panels

The figures on M&G’s bas-relief panels each stand on corbels. Dominic’s corbel bears the Latin words, O Lumen Ecclesia, “O Light of the Church,” an honorific title often applied to the saint. At Dominic’s feet is a dog with a flaming torch in its mouth. Before Dominic’s birth, his mother dreamed that a dog with a burning torch leapt from her womb and set the world on fire. Her vision supposedly foreshadowed Dominic’s illuminating the church. On M&G’s panel Dominic holds an enlarged quill, the tip of which appears to be ignited by the torch’s flame. This suggests Dominic’s writings were the means of spreading orthodox illumination. The closed book in Dominic’s other hand is wrapped in the friar’s cloak, possibly indicating that the book contains Dominic’s writings or representing the Bible and his defense of Scripture from heresy.

The corbel on the companion panel identifies the friar as Thomas Aquinas. He stands behind a slender golden pedestal supporting an open book. He holds an enlarged quill as if preparing to write. His left-hand points to a passage in the book. (figure 1) Aquinas the scholar, appears to be pointing to a sacred text he is interpreting, explaining, or using to support a theological position he is considering composing.

Creating polychrome and gilt wooden sculptures of the quality seen in M&G’s panels required skilled artisans following multiple steps in a process. Originally an artist would draw the figure on wood, and carvers would sculpt the piece. Various colors of paint and gilding would be completed by other artists. In the final stages two areas received special attention: clothing and skin.

The saints’ garments received estofado, a process recently perfected by Spanish 17th-century craftsmen.  Layers of gesso, adhesive, gold leaf, and finally a coat of paint were applied. Then detailed scribing would remove areas of the paint to reveal the gold layer beneath. On the tunics and scapula, the paint on M&G’s panels is a dull golden color. Inscribing delicate repeating patterns in the paint reveals the luminous gold. These areas appear as a supple, damask material. The cloak’s black paint was inscribed with larger patterns and appears as a heavy, rich brocade. (figures 2a and 2b)

The face and hands of the saints were painted using another new technique, encarnación. Multiple layers of paints and glazes were used to create lifelike flesh and the shadowy stubble on the saints’ faces and heads. (figure 3)

M&G’s panels were most likely a part of a Spanish altarpiece, known as a retable or retablo. Similar to Italian altarpieces, a typical 14th to 17th-century Spanish retable included a banco or predella. Bancos were often a horizontal series of storytelling scenes at the base of the altarpiece. M&G’s Descent from the Cross may likely be a portion of a Spanish banco.

On the banco rested the cuerpos (layers of multiple images). It is likely that M&G’s panels were side panels in a cuerpo. Between them would have been a larger image of a biblical scene or an incident in the life of a saint. Many retablos also had an atico, the crowning piece, which may have been purely decorative or featured a culminating image.

In Spanish cathedrals monumental retables would have multiple cuerpos with scores of painted scenes and sculpted pieces framed by lavishly gilded architectural elements. Based on their size, subject, and quality, M&G’s panels were probably part of an elaborate mid-sized retable for an unknown Dominican convent or chapel. The downward gaze of the saints indicates they may have been looking at an image in a cuerpo beneath them.

At some point—perhaps due to chapel remodeling, sale of the property, or ecclesiastical confiscation by the state (desamortización)—the retable containing M&G’s panels was dismantled and the sections dispersed. M&G acquired these panels in 1959 through art dealer Julius Weitzner, and they were donated to the collection by American art collectors, Mr. and Mrs. Jack Linsey.

In life, Aquinas and Dominic would not have worn the elaborate habits portrayed on M&G’s panels. Four centuries after their deaths, the patrons and artists who created the panels wanted to honor the saints and emphasize their importance. What better way than to depict them in elaborate garments using the latest artistic techniques with no care for historical accuracy? After all, the message was more important! Even now, 400 years after the panels were created, the saints are still impressive in their gold embellished habits.

 

William Pinkston, retired educator and M&G volunteer

 

 

Published 2026

 

 

 

Bust of an Unknown Saint

Bust of an Unknown Saint

France, 14th century

Below the image, click play to listen.

 

Object of the Month: April 2025

Descent from the Cross

Polychrome and giltwood, c. 1570

Unknown Spanish, 16th century

Renaissance artists employed various media and techniques to communicate their subject matter with power and beauty. This mid- to late-16th-century giltwood and polychrome relief by an unnamed artist (likely Spanish) demonstrates both artistic mastery and devotional power. It was once part of a larger altarpiece yet communicates clearly on its own.

A relief sculpture is normally attached to a background of the same material, and the degree of projection from that surface determines the terms used. Low relief, or bas-relief, project only a little. High relief denotes significant freedom from the background and can look like the figures are about to burst free from their surrounds. Finally, in sunken relief (or intaglio), subjects are carved below the level of their surroundings.

Gilding, the decorative technique of applying a thin layer of gold on a solid surface, dates back to Egypt. Herodotus mentions the Egyptians’ skill in gilding wood and metal, and many examples of their work remain to this day. The Sumerians (with objects dating back to 2600-2400 B.C.), Ancient Chinese, Old Testament Israelites, Ancient Greeks and Romans also utilized very thin sheets of hammered gold to overlay important objects of wood, stone and metal.

To produce fine furniture or sculpture, artists first carved plain woods like pine, beech or limewood. They then added numerous layers of gesso (a type of plaster made by mixing fine chalk or gypsum with animal glue and water). Initial applications of the gesso filled imperfections in the wood, and subsequent layers built up a smooth surface that could be carved with greater detail than wood and rendered a top layer that could be gilt, painted, or otherwise decorated. The depth and crispness of this final surface indicates the craftsman’s skill.

The quality of M&G’s relief sculpture shows gilding expertise, but its polychromy adds to its power.  Polychrome (literally, “many colored”)—pigmented wood, stone or terracotta—also dates to Egypt and the process refined over time. Over the millennia artists employed a wide range of pigments, painting media, and surface applications to embellish their work, and specialization occurred.

In Spain, the production of religious sculptures was governed by designated guilds. The Guild of Carpenters carved the wood and gesso, and the Guild of Painters was responsible for all decoration. Specific terminology came to describe specific skills. After the pieces were carved, painters used flesh tones for hands, faces, and feet (a process called Encarnacion). Estofado, which means “quilted silk,” was the skill of simulating rich fabrics through the layering of gold or silver leaf.

M&G’s sculpture demonstrates mastery of all these skills in an emotionally intense representation of Jesus’ followers lowering Him from the cross. Christ is the central figure—emphasized both by His placement on a diagonal in the center and by the fact that He is the only figure painted entirely in flesh tones. Around Him gather His mother, Mary (on the right), Mary Magdalene (immediate left, her hair cascading over her shoulder), Mary’s sister, and Mary the wife of Clopas. Behind Jesus, the Apostle John (at Christ’s right shoulder) and Nicodemus (left shoulder) bear the weight of His body. To the far right, two men pry open a sarcophagus.  On the far left, stands Joseph of Arimathea, who had asked Pilate for Jesus’ body and donated both his new grave and linen to wrap Christ’s body. His headwear denotes Joseph’s status as a member of the Sanhedrin, and the striped pattern etched on its gilding matches that on the long swath of linen he is showing to the two women beside him. Taut carving of the trees, leaves, and clothing bring the scene to life and gilt patterns play across the various fabrics, the tomb, and the background plants and clouds. All of these techniques coalesce to convey the grief and dedication of Christ’s followers.

At the devotional center, as in history, is Jesus Christ—His redemptive work done, His burial imminent, and His victory over death yet to come.

 

Dr. Stephen B. Jones, M&G Volunteer

 

Bibliography

Metmuseum.org

Nationalgallery.org.uk

Hall’s Dictionary of Subjects and Symbols in Art, James Hall

Understanding Paintings: Themes in Art Explored and Explained, Alexander Sturgis and Hollis Clayson

 

 

Published 2025

Procession to Calvary

Procession to Calvary

Polychrome Spanish, 1500s

Below the image, click play to listen.

Object of the Month: January 2020


St. Jerome 

Polychrome and giltwood

Unknown Spanish

17th century

The obsessive attention to realistic detail and heightened emotion that characterized many 17th-century paintings is also evident in this dramatic polychrome sculpture.  The adjective polychrome (meaning “many colored”) refers to the color on the wood which enhances the figure’s lifelikeness.  Although this technique can be traced back to the Greeks and Romans, it became particularly popular during the Renaissance. Spanish sculptors who preferred wood to stone became especially adept at using the technique, often adding “gilding and brilliantly imaginative lusters.”  

Jerome, the subject of this work, was born in the fourth century in the small town of Stridon (located in the Balkans today). Initially schooled by his father, he later traveled to Rome where he became proficient in Latin and Greek and excelled in oratory. His later biographical writings lament that this early success encouraged in him an overweening pride and ambition. He continued his education in Trier, a German city on the banks of the Moselle river. It was here that his Christian conscience was reawakened, and as one source notes, “his heart was entirely converted to God.” However, by his own admission his competitive nature and “rambling imagination” continued to trouble him throughout life. He lived in the desert of Chalcis for several years but eventually returned to Rome in 382 to become special secretary to Pope Damasus I. It was Damasus who assigned him the task of creating a revised Latin version of the Bible. The Vulgate, as it is known, was completed in 405. Jerome eventually retired to a monastery in Bethlehem where he died in 420. 

As is typical of the era the creator of this work uses numerous attributes to identify the figure and to illustrate his story.  For example, the books stacked on the rock and supporting the aged Jerome represent his writings (most notably the Vulgate but also his other letters and theological treatises). The skull resting atop two of the books signifies the transience of life or natural death; notice however, that Jerome is turning away from “death” to gaze heavenward–the source of new, eternal life. The brilliant red cloak “embroidered” with fleur de lis seems rather out of place in the wilderness setting. However, in this context it represents Jerome’s office as a cardinal. Although, the position of cardinal did not exist in the early centuries of the church, ecclesiastics of Rome, like Jerome, held the duties that later fell to cardinals.

One other imaginative story connected to Jerome and recorded in The Golden Legend occurs during his retirement in Bethlehem. According to this story, as the monks were going about their daily routine, a wounded lion suddenly appeared. All fled but Jerome. Examining the beast, he discovered and removed a thorn that was deeply embedded in its paw.  In gratitude the lion became Jerome’s constant companion and protector of the monastery. This beautifully carved attribute “rounds out” the base of the sculpture.

Donnalynn Hess, M&G Director of Education

 

Published in 2020

Object of the Month: September 2019


Watchers and Soldiers from a Crucifixion Group

Polychromed and gilt wood

Unknown Spanish, 15th century

Although the title Watchers and Soldiers from a Crucifixion Group seems insipid at first read, these two small polychromed and giltwood sculptures provide fascinating insights into an architectural style and installation of extreme magnitude. During the reign of Ferdinand and Isabella, the Spanish monarchs who commissioned Columbus’ 1492 voyage to the Americas, the Isabelline style of architecture was developed. Born in France and trained in Flanders, Juan Guas settled in Toledo to establish his business. He is considered one of Spain’s finest architects and one of the key originators of the Isabelline style, which combines a Flemish-Gothic influence with Mudéjar (Spanish-Muslim) ornamentation. His design influence is represented in the monumental edifices at the San Juan de los Reyes and El Paular monasteries. 

M&G’s two figural groups date to the second half of the 15th century and according to William Holmes Forsyth, the late curator emeritus of medieval art at the Metropolitan Museum of Art, “They are from a retable or retablo of Spanish origin, but southern Netherlandish in inspiration.”  Beatrice Gilman Proske, the former research curator of sculpture at the Hispanic Society of New York who authored the catalog for the famed outdoor sculptures of Brookgreen Gardens, noted that they are Flemish.  It is not then a stretch of scholarship to assume that these two sculptures measuring 32” high by approximately 15” wide, would have commanded a prominent place flanking the carved crucifixion of Christ, a common focal point in many retables from the Low Countries of the time. The Carved Retable of the Passion of Christ, part of the collection at the National Gallery of Victoria in Melbourne, Australia, presents a prime example.

At the base of each carving’s scene amidst the jagged rock are bones resembling those from the lower torso and limbs of the human body.  These skeletal remains add a sobering reminder that Roman crucifixion included the breaking of the leg bones in order to hasten the impending death.  Moreover, the crucifixion of Jesus, as noted by all three synoptic Gospels, occurred on Golgotha or “the place of the skull.” 

Positioned on these rocky formations, the Soldiers are each individualized by gaze and weaponry and robed in medieval armor and Moorish headdress, hinting at the Mudéjar influence. The sculptor clearly draws our attention to the only soldier gesturing and glancing upward, perhaps depicting the centurion cited in the Gospels of Matthew, Mark and John.  Church history, tradition, and pseudepigrapha all ascribe the name of Longinus to this legionnaire, but Scripture allows him to remain anonymous, recording for all time only his striking statements, “Truly this was the Son of God” (Matthew 27:54) and “Certainly this was a righteous man.” (Luke 23:47)

Unlike the soldiers, the Watchers from a Crucifixion Group can be decoded from Bible references, religious iconography, and an abundance of artistic renderings of those who attended Christ’s crucifixion. The repertoire is rich as set forth in examples such as El Greco’s Crucifixion, and Jan Van Eyck’s.

At center front Mary, the mother of Jesus, robed in blue (alluding to heaven, truth, and mourning) and white (for purity and innocence) is comforted by the obviously young apostle John draped in red (for love).  On either side of him stand the two Marys, clearly identified in the crucifixion passage in John’s gospel as Mary the wife of Cleophas, and Mary Magdalene (recognized by her long hair as a penitent saint). In the background, towering above the rest of the group, is most likely Joseph of Arimathea, who provided the burial tomb for Christ; he is presented as elderly and robed in the costly garments of the rich. The sculptor carved this individual with an intriguing gesture.  With his right index finger raised to his temple, perhaps Joseph is recalling the Scriptures he memorized while serving as a Sanhedrin senator attesting to the deity of Jesus, the Christ.

Bonnie Merkle, Docent and M&G Databases Manager

 

For further study:

Heaven’s Backdrop 

Retro Tablum: The Origins and Role of the Altarpiece in the Liturgy

Making a Spanish Polychrome Sculpture, J. P. Getty Video

 

 

Published in 2019

Object of the Month: June 2019

The Last Supper

Polychrome and giltwood walnut

Hans Waldburger (attr. to)

Austrian, 1570-1630

 

One of Scripture’s more commonly depicted stories in art is the Last Supper. This event is represented repeatedly in M&G’s own collection in at least three paintings (on both canvas and panel), a Greek icon, book engravings, Sitzendorf porcelain, and wood sculpture.

Created around 1625, M&G’s sculptural Last Supper is attributed to Hans Waldburger, an Austrian artist in both wood and stone. Little is recorded about him, but he learned his craft from his father, Hans Leonhard Waldburger, while growing up in Innsbruck, Austria.  Hans was later guided by Alexander Colin and Hubert Gerhard, a northern follower of the influential Michelangelo-emulator, Giovanni Bologna (or Giambologna).

During Waldburger’s life and work, there was a cultural shift through the influence of both the Protestant Reformation and the Roman Catholic Counter Reformation.  Artistically, that transition was expressed through the Mannerist style briefly bridging the movement of the simple, idealized forms of the Renaissance to the busy, dynamic embellishment of the Baroque. This developing ornamentation was articulated in a highly decorative, theatrical style often combining painted imagery with sculptural elements giving the illusion of the story emerging from the flat surface—almost coming to life.

Early in Hans’ career he was commissioned by Archbishop Wolf Dietrich von Raitenau to Salzburg, where he essentially spent the rest of his life. Much of his known work is represented in Austria including such fine examples as the High Altar at both the Basilica Mondsee and Salzburg Cathedral.

M&G acquired The Last Supper in 1963. It is roughly 400 years old and still retains much of its painted color (polychrome) and gold leaf (gilding) in places. Hans’ mannerist style is noticeable in the extended physical features of the apostles as they are seated around the table. The possible supper conversation may be the point in the story when Christ reveals that one of the twelve disciples would betray Him. Their response was, “Is it I?” as recorded in the gospels (Matthew 26:22; Mark 14:19).  Though it is known in the culture of Palestine that the partakers would have reclined during the meal, here the group is seated around a table.  The sculpture measures approximately 4 feet wide by 4 feet high, and it is almost 1 ½ feet thick! Remarkably, the figures’ distinctive details including curling beards, facial features, and gesturing hands are still intact.

Dealer Edward R. Lubin summarizes the beauty and impact of Waldburger’s Last Supper, “A monumental, virtually in-the-round sculptural group of such quality and scale in this period of German art is truly exceptional.”

John Good, Security Manager

 

Published in 2019

Object of the Month: May 2019

Madonna and Child

Polychrome and Stucco, c. 1400s

Antonio Rossellino

Florentine, 1427-1479

Sculptor Antonio Rossellino was born into a family of masons—the youngest of five, talented sons and learning his craft from his older brother, Bernardo.  Because of his hair color, Antonio earned the name, Rossellino, which means “little redhead.”

Antonio’s most famous work was completed in 1473 for the Burial Chapel of the Cardinal Prince Jacopo of Portugal found in San Miniato al Monte in Florence.

He worked with multiple artists to design and complete the Chapel including Luca Della Robbia, the distinguished terracotta sculptor and glazer.  This remarkable collaboration of artists allowed creativity and beauty to spring forth figuratively and literally from stones and dirt.

M&G’s relief sculpture of Rossellino’s Madonna and Child is representative of a popular image that was painted, carved, and sculpted repeatedly during the Renaissance period. Image fatigue has not set in; we still find the subject appealing in the same way that we enjoy a sunset’s beauty night after night.

Studying the sculpture’s tabernacle frame, we notice the words: Ave, Gratia, and Plena. The translation of which is “Hail, Full of Grace”—a greeting perhaps at the entrance of the family home or private chapel. Below the inscription are carved three fleur-de-lis and the crossed fore-legs of the lion. More than likely, this relief was made for the Morelli family, a prominent family from Florence, whose coat of arms includes the crossed fore-legs of the lion.  The fleur-de-lis is the symbol of Florence, originating in the medieval era.

Both Mary and Christ are painted in their customary colors of red, blue, and white symbolizing love, faith, and purity.  Mary’s fingers are delicately rendered in terracotta. Surrounding the mother and child are three, winged angel heads carved without bodies, possibly cherubim.  Traditionally, angels were viewed as messengers and protectors of the righteous.  How fitting for Rossellino to include angels in his portrayal of Christ considering Scripture’s promise in Psalm 91:10, 11, “For he shall command his angels concerning you to guard you in all your ways. On their hands they will bear you up, lest you strike your foot against the stone.”

Angie Snow, M&G Educator

 

Published in 2019 

Object of the Month: July 2018

Angel with Candlestick (pair)

Polychrome and parcel-gilt

Unknown

Florentine, c. late 15th century

 

Since paintings in an exhibit often take “center stage,” ecclesiastical pieces like these Angels with Candlestick can be overlooked by museum viewers. During the Renaissance, however, a polychrome sculptural grouping would often be the centerpiece of an altar’s decorative scheme while the painted narrative scenes or figures functioned as the “wings” of the altar. Although by the end of the sixteenth century, paintings became the central focus of Italian altarpieces, while sculpture continued to be used extensively in other countries like Spain. 

The term polychrome (meaning “many colored”) refers to the application of colored materials to sculpture in order to present a more life-like quality. This technique dates back to the Greeks and Romans and was particularly popular during the Renaissance. Because these pigments fade over time such coloring is rarely discernable today.  The good condition of these statues is due to the porous wood used which retains color well. 

We know that the figures shown here were meant to be angels from the metal pins that remain on the back of each figure—a clear indication of the wings’ placement. Sadly, it is not uncommon for such appendages to be broken off or lost over centuries of movement from place to place. Fortunately, the carved wooden haloes have remained intact, as has the original base with its Latin inscriptions.

Since several of the words are Latin abbreviations, the precise translation of the inscriptions is unclear. However, a loose reading would be: 

OVEM DEDIT VOBIS DNS ADVES CENTVIM 

Dedicated to the Lord’s Advent

VENITE ET COMEDITE PANEM

Come and eat bread 

ANGE ORVM

Angels

 

Donnalynn Hess, Director of Education

 

Published in 2018

Object of the Month: December 2016

Casket

Bovine Bone

Flanders, 15th century

Acquired with funds from the Audrey Love Charitable Foundation

Click on the links throughout the article to view additional artists’ works and reference material.

Special boxes or caskets were once made to hold valuable items or at least the personal items of the wealthy. These containers, used for storage and transport, are often beautifully decorated and constructed of rich materials themselves—a practice that has existed for centuries as far back as Egyptian culture.

Many of the surviving caskets focus on romance—decorated with scenes from medieval literature including Tristan, Taking the Castle of Love, Aristotle’s infatuation with Phyllis, poems by Homer, and the concept of chivalry in the characters of Sir Gawain, Lancelot, Percival and others. Thomas T. Hoopes, former curator at the MET explained, “In nearly every case they are decorated with scenes from popular legend and romance, especially with such as would have an allegorical significance appropriate to the occasion for which they were designed.”

In the middle ages, France was the primary creator and market for the luxury items of carved ivory and bone, but by the fifteenth century the center of industry shifted.  The best known craftsmen were the and Florence. For four decades, this group of artisans created and satisfied the demands of fashion crafting beautiful objects in ivory, wood, bone, and horn. The workshop produced a variety of carvings including large and small altarpieces, but their principal output seemed to focus on special, personal items such as caskets, mirror cases, and small toilet articles—many of them bridal gifts or gift sets for the wealthy and noble of the court.

However, the Embriachi weren’t the only entrepreneurs in carving; the industrious and creative Dutch also continued the French tradition.  The workshops in both the southern and northern Netherlands innovated and developed commercial centers for a variety of products including textiles, metalwork, and oil painting. Specifically, the workshops in Flanders developed an export trade of bone boxes and ivory products that traversed the Rhine river routes to European cities and markets—bone boxes like the present Casket.

M&G displays a number of cassone and chests used by our European forbears to store their household items as well as a few smaller versions of storage containers in the form of coffers and now a casket for protecting one’s precious personal items: jewelry, documents, and sentimental objects.

At one time, it was the height of medieval fashion to own a casket, but with the delicate nature of the material it is unusual to have an intact box that has survived time, use, and past repairs.

The Casket is constructed of bovine bone mounted on a wood structure. The bottom of the box is a checkerboard pattern of wood and bone, and the sides and top are carved in low relief, which still retain some gilding and color.  The carved decoration is religious depicting Christ, apostles such as Peter holding the keys, and various saints including St. Catherine identified by her wheel. Perhaps the religious decoration on its exterior reveals that this Casket formerly sheltered a manuscript or religious text.

Since the background of the individual bone plaques is crosshatched, it may indicate that the workshop was influenced by religious prints and engravings from the time period, such as Biblia Pauperum (the Pauper’s Bible).

While the interior is lined by worn and repaired green fabric, interestingly, what was so valued to be safely stored inside is now lost. Once an expensive, beautiful container for holding something of great value, however, it is now the container itself that has become the treasure.

M&G is grateful for the generosity of the Audrey Love Charitable Foundation, without whom we could not have acquired this beautiful, mysterious medieval object.

Erin R. Jones, Executive Director

 

Published in 2016

« Older Entries
 
Facebook Page864.770.1331 contact@museumandgallery.org

M&G at BOB JONES UNIVERSITY; 1700 Wade Hampton Blvd - Greenville, SC 29614