1
10
19
-
https://plastercast.gmu.edu/files/original/a2bbb9785a5cedf7640803371ef325a0.jpg
e768cd2db13201aece55725ba69883f1
https://plastercast.gmu.edu/files/original/353198138055d9c511be1f87a84de13f.jpg
9d4080aee076762d70117debae93dfed
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Medieval and Renaissance Art
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Cast no.58
Abstract
A summary of the resource.
Trumpeters. <br />Part of a relief by Luca Della Robbia. <br />In the Duomo (Cathedral) of Florence. <br />Resin. <br />1431-1438. <br />Florence, Duomo, choir loft. <br />H 42 in., W 39 in. <br />Gift to George Mason University from an anonymous donor. <br />Cast Location: College Hall ground floor<br /><br />The choir loft or cantoria for the Duomo in Florence is the earliest known work by the sculptor Luca della Robbia. This cantoria was never intended to hold a choir, but was designed by Della Robbia as an organ loft for the Chapel of St. Zenobius, the patron saint of Florence. A second loft was designed by Donatello. Both of them are now in the Museum of the Opere del Duomo. Luca della Robbia designed eleven carved panels depicting Psalm 150. The panel reproduced in this cast shows children in celebration. Three boys at the left play trumpets - traditionally associated with festivals - and two of them wear laurel wreaths, suggesting that they have won prizes for music. Four little girls dancing beneath the trumpets may be derived from classical representations of maenads or bacchants and would have been recognized as such during the fifteenth century. On the right, three more boys holding recorders watch the others.<br /><br />~Ashley Simpson
Bibliographic Citation
A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.
-
https://plastercast.gmu.edu/files/original/c2324133b4a84f9df2244d36fee20930.jpg
cbb23c28902b201807f9e2cb310396cf
https://plastercast.gmu.edu/files/original/125e4bcb8f3152ee9247126b087cbdab.jpg
41b90ef37d840eb0f8fae88d164317bb
https://plastercast.gmu.edu/files/original/89f6363d5fb25515104924d4e171f663.jpg
01547df17ad6307e94d19ffb03008de0
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Medieval and Renaissance Art
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Cast no.57
Subject
The topic of the resource
.
Abstract
A summary of the resource.
Large ceiling coffer. <br />Jever Palace, Lower Saxony, Germany. <br />Oak. <br />1566. <br />Jever Palace. <br />H 78 in., W 75 in., D 17 in. <br />Metropolitan Catalogue: Cast no. 2127. <br />Purchased for GMU at Sotheby's New York, February 28, 2006. <br />Cast Location: Johnson Ctr ground floor<br /><br />This panel of a cassetted ceiling (large coffer) is decorated with delicate ornaments ranging from leafy vines to whimsical creatures.<br />
<p><br />~Stephanie LaSpada</p>
-
https://plastercast.gmu.edu/files/original/3cc271780070686f4e47dad450c7a598.jpg
e0729405fa9612e8e769abd6f99134cb
https://plastercast.gmu.edu/files/original/b2ee6ec21ec5d6b58a60f4d3e2ce7a6e.jpg
039e56fef5379eb9e0530c3a900acec9
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Medieval and Renaissance Art
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Cast no.56
Abstract
A summary of the resource.
Mino da Fiesole, part of an altarpiece with Madonna, Saints Leonard and Remigius, Christ, John the Baptist, and a beggar. <br />Fiesole, Cathedral <br />Marble. <br />1466 CE. <br />53 x 53 in. <br />Metropolitan Catalogue: Cast no. 2347. <br />Cast Location: Johnson Ctr 2nd floor<br /><br />The marble altarpiece, carved by Mino da FIesole, was completed in 1466, and was installed on the left wall of the funerary shrine of Bishop Leonardo Salutati, opposite his sarcophagus. The bishop’s namesake St. Leonard stands at the left, beside the Virgin and the Infant Jesus. A young John the Baptist, who foretold the coming of Christ, kneels at the left, and a beggar is seated at the right, looking up towards a saint, either St. Martin or St. Remigius. The Latin inscription beneath the figures, as translated by Daniel Hall, reads: “Leonardo de Salutatis, Bishop, Learned and experienced in the Law.”<br /><br />~Raphael M. Sikorra
-
https://plastercast.gmu.edu/files/original/2a5f73616827d1eb868e46626f7df157.jpg
a0c49ebbe64f3e9208b99e80764fd6ee
https://plastercast.gmu.edu/files/original/f56f0fc23de9d7fd53cf3d41767d8d01.jpg
aa610472e049ad021e806602643e7b2d
https://plastercast.gmu.edu/files/original/a4b0ac371481a83e903b8bfec9ec7b90.jpg
a786f69c7dd886e1ee863a7514d91987
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Medieval and Renaissance Art
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Cast no.55
Abstract
A summary of the resource.
Desiderio da Settignano (1428/30 - 1464), kneeling angel from the tympanum of the Marsuppini Monument, Santa Croce, Florence. Marble. <br />1453-1464. <br />Florence, Santa Croce. <br />H 40 x W 35 in. <br />Metropolitan Catalogue: Cast no. 2266. <br />Cast Location: Johnson Ctr 2nd floor<br /><br />Plaster cast of an angel on the tomb of humanist Carlo Marsuppini (1429/32-1464), located in the church of Santa Croce in Florence. Although the artist of the tomb is Desiderio da Settignano, the work on the angel has been attributed to his brother, Geri. This angel is one of two flanking an image of the Madonna and Child, which is placed far above an effigy of Marsuppini. In The Lives of the Artists, sixteenth-century biographer Giorgio Vasari says that the angels on the tomb are “executed with a beautiful and lively manner”.<br /><br />~Anna Jones<br /><br /><br />
Bibliographic Citation
A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.
<strong>Bibliography<br /><br /></strong>Tomb of Carlo Marsuppini, Florence, Santa Croce. From Emil Krén and Daniel Marx, Web Gallery of Art.
-
https://plastercast.gmu.edu/files/original/f12a4c568651a93bbfe96ae935a0df77.jpg
d447d485b9b546999a1a37715b2f589f
https://plastercast.gmu.edu/files/original/40f1865b1c36f6763fb8f057ed1a85e8.jpg
84f9dbbf7028faed1efbdde16c3b19c2
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Medieval and Renaissance Art
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Cast no.53
Abstract
A summary of the resource.
Two lions from the foot of the monument (Sarcophagus-lid of the Elector Johann Cicero of Brandenburg (1455-1499), by Peter Vischer the Elder of Nuremberg.) <br />Originally in Lehnin, Germany.<br />Cast Location: Robinson B 359 hallway case<br /><br />See Cast No.52 for additional details<br /><br />~ John L. Gardner, Ellen McV Layman, and Anna Zacherl
Bibliographic Citation
A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.
-
https://plastercast.gmu.edu/files/original/dc2d5cd9184ba599ebe212e09b3e39c3.jpg
881bc5583ec1b8e9be7c3bcc34f192a8
https://plastercast.gmu.edu/files/original/3b4c44f3fa1427636f9c8cbadde1f142.jpg
531cd3536cc722fff24960dbe1ed51a3
https://plastercast.gmu.edu/files/original/0a67da86e40fcb3b7aa08efb60c7503c.jpg
70a3c0adc9f35b7a46cb40ad9c87039d
https://plastercast.gmu.edu/files/original/6ca1a60894c576d46bdc1a2164715d9f.jpg
cc66b48eb5a5ac714eb5e4b19c4399e7
https://plastercast.gmu.edu/files/original/4cc14e746277673c2b83a03450ba17bc.jpg
8ae074ad300a3d8e5bf2df7be726ab5f
https://plastercast.gmu.edu/files/original/0d144791eb364fe95e67001a56dfd608.jpg
cfebe07ca14c15048615460911489dd6
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Medieval and Renaissance Art
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Cast no.52
Abstract
A summary of the resource.
Sarcophagus-lid of the Elector Johann Cicero of Brandenburg (1455-1499), by Peter Vischer the Elder of Nuremberg. <br />Also 2 lions from the foot of the monument. <br />Originally in Lehnin, Germany. <br />Bronze. <br />1524 - 1530 CE. <br />In Berlin Cathedral since 1545. <br />L of lid 96 in., W 36 in. 53 and 54, lions - L 13 in., 16 in. <br />Metropolitan Catalogue: Cast no. 2556. <br />Cast Location: Robinson A stairwell opposite Fenwick Library<br /><br />The monument was designed by Peter Vischer and finished by Johannes Vischer. Johann is represented as being dressed in a fur hat and cape, over a brocaded cloak, revealing leggings and boots. He wears a ring on his left hand, which is positioned to hold a sword. His head rests on a brocaded and tasseled pillow, an identifying inscription surrounding the sloping sides of the lid. This is one of a pair of sarcophagi, the other one being for Johann's son, Joachim I of Brandenburg. Johann Cicero and his son were Hohenzollern rulers from about 1486 to 1535, direct descendants of Frederick I through the Brandenburg line. From these princes came the kingdom of Prussia, which would play a major role in shaping modern-day Europe. The Brandenburg-Prussian state eventually dominated northern Germany and split the Holy Roman Empire. <br /><br />This plaster cast of a sarcophagus lid is not the one that was molded from the bronze original during the 1890s and purchased for the Metropolitan Museum of Art. When that cast arrived at GMU, it was still in the crate in which it had been received decades before at the Metropolitan Museum of Art. After it was uncrated, the cast was cleaned and painted. But the original cast began to disintegrate, which meant that a copy had to be made. This was done by the sculptor Nick Xhiku, who frequently came to our rescue in repairs to casts. Nick explained that mold-making requires professional craftsmanship, an acute understanding of the consistency of the materials, and precise timing. First the cast was cleaned carefully, and then Nick built a wooden frame around the plaster cast. He coated the relief with clear shellac and a release material to ensure easy removal of the completed mold. Then he poured liquid rubber over the relief in several stages. After this rubber mold had set, he applied a plaster solution to the rubber to create a stable outer casing. This rubber "mother mold" in its plaster casing was lifted from the old cast and turned over onto a flat surface to receive an inner layer of plaster. After the plaster solution had hardened, the cast in the mold was inverted and the mold was removed, uncovering a plaster copy of the old cast. The 19th-century plaster cast from the Metropolitan Museum of Art soon collapsed completely, but not before this precise copy had been completed. The copying process can be repeated to produce multiple plasters.<br /><br />~John L. Gardner, Ellen McV Layman, and Anna Zacherl<br /><br /><br />
-
https://plastercast.gmu.edu/files/original/4b4819ee359e33a352fdf9528fc71332.jpg
3783ad0d2cc20e46953f1238c445c0cc
https://plastercast.gmu.edu/files/original/58503ae30db2070453f461b720616c17.jpg
83f3201a5f1d67df56b6047cb42b69aa
https://plastercast.gmu.edu/files/original/48cd1ae2753f86468458ab422e01a853.jpg
cf651271fca09afef45cd0782a3c69f4
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Medieval and Renaissance Art
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Cast no.51
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
Abstract
A summary of the resource.
Andrea Orcagna, Dormition (death) of the Virgin. <br />Florence, the church of Or San Michele. <br />Gilded marble. <br />1352-1360. <br />Or San Michele, tabernacle. <br />H 53 in., W 43 in., D 10 in. <br />Metropolitan Catalogue: Cast no. 1802a. <br />Cast Location: Robinson B 2nd floor<br /><br />Orcagna’s gilded marble tabernacle, a memorial to victims of the Black Plague of 1348 and an inspiration to the living, soared almost to the ceiling of the church of Or San Michele. This scene from the life of the Virgin is carved on the back of Orsanmichele’s gilded marble tabernacle. This central portion of the scene shows the dead Virgin lying across her sarcophagus and surrounded by the Apostles. Christ hovers above, the baby in his arms representing his mother’s soul, and angels are shown in the background. The Virgin’s Assumption to Heaven is carved just above this scene. Although other sculptors may have assisted in the production of the tabernacle, the Latin inscription at the bottom of this relief shows that Orcagna himself sculpted the Dormition and the Assumption of the Virgin in 1359. <br /><br />Or San Michele was built in 1337 in what was then the grain market of Florence. Each guild in Florence honored its patron saint with an image set in a niche of the façade of this church, by sculptors such as Donatello, Ghiberti, Giambologna, and Verocchio. The artists' guild collected donations and commissioned Orcagna to design and construct the focal point of the church - its tabernacle. The gilded and inlaid marble tabernacle honored the artists' guild's own patron saint, the Madonna, who was also the patron saint of the city of Florence.<br /><br />~ Lucy R. Miller<br /><br /><br /><br />
Bibliographic Citation
A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.
<strong>Bibliography<br /><br /></strong>See George Ferguson, Signs and Symbols in Christian Art (New York, 1954); J.C.L. Metford, "The Dormition and Assumption of the Virgin," Dictionary of Christian Lore and Legend (London, 1983), 80; John Paoletti and Gary M. Radke, Art in Renaissance Italy, 2nd ed. (New York 2002).
-
https://plastercast.gmu.edu/files/original/473e7a7fdb992987798e7a59f4543e73.jpg
1cc44c4064849279926b3213a2de10e8
https://plastercast.gmu.edu/files/original/75ec4cf256f2f500e215c5a1bb4d680a.jpg
b941ee1be638a0253908d0762cfad919
https://plastercast.gmu.edu/files/original/a5276ff749182e031d1e54473d63172f.jpg
9b9f72615237dfdc1a4e03c0b68836ff
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Medieval and Renaissance Art
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Cast no.50
Abstract
A summary of the resource.
Frieze of garlands and putti. <br />Origin unknown. <br />Marble. <br />Renaissance. <br />Rome, Vatican Museums, Gabinetto delle Maschere no. 444. <br />L 46 in., H 9 in. <br />Metropolitan Catalogue: Cast no. 2028. <br />Cast Location: Robinson B359 hallway<br /><br />This relief is part of a frieze showing putti (cherubs) holding up an intricate garland of myrtle and ivy, pomegranates, quinces, nuts, pinecones, seed-pods, and flowers - bound together by a ribbon. In the center of the fragment, a bouquet of flowers is tied with a ribbon. An egg-and-dart design lines the top and bottom. <br /><br />This type of frieze originated in a popular type of Roman sarcophagi, known today as "Garland Sarcophagi." Yet this is not an ancient relief: the ribbons and the crest-like design in the center show that it is far more likely to be from the Renaissance. It is displayed in the Vatican by itself. This motif decorates tombs, but it was also used to ornament fireplaces, furniture, even the facades of buildings. The popularity of such designs has continued until today, and viewers may recognize putti and garlands in, for example, the relief decoration on a fiberglass garden planter!<br /><br />~Lucy R. Miller<br /><br /><br />
Bibliographic Citation
A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.
<strong>Bibliography<br /><br /></strong>See Walther Amelung, The Sculpture of the Vatican Museums, vol. 2 (Berlin, 1908), 80, nos. 444, 444a. Fig. 50.
-
https://plastercast.gmu.edu/files/original/ef8be32f38cb1849c358fe40a2e2163a.jpg
73d6e7d1949e88d08f775091fef4bb09
https://plastercast.gmu.edu/files/original/ae492a1a6af65946e9608068919d71d7.jpg
76ccad9672d1ea28082dafe345dd9f77
https://plastercast.gmu.edu/files/original/9e1b85ae5c50ce93c9f02d36ce484884.jpg
e4ba22a2bcf8534ff5717e35b9e1ae3b
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Medieval and Renaissance Art
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Cast no.49
Abstract
A summary of the resource.
Misericord. <br />King Henry VII's (1457-1509) chapel, Westminster Abbey. <br />Wood. <br />Early sixteenth century. <br />Westminster Abbey. <br />Maximum W 21 in. <br />Not in Metropolitan cast catalogue. <br />Cast Location: Robinson B359 hallway<br /><br />St. Benedict's sixth-century rule required clergy members to sing the daily offices of the church while standing at their places in the choir of the church. They were rarely allowed to sit. Some elder monks used a staff or crutch to relieve their discomfort during these long hours. The misericord, from the Latin word misericordia (pity), was a hinged wooden seat that appeared in churches as early as the eleventh century. The long robes of the monks somewhat disguised the fact that the monks were sitting on these narrow misericords, some of which were elaborately carved on the undersides, so that they could only be seen when the seats were raised. Their subjects included domestic brawls, fantastic creatures, mermaids, craftsmen, shepherds, Bible stories, fables, sirens, unicorns, various animals, and Medieval legends. Many of them conveyed moral lessons. <br /><br />Misericords can be found in the Medieval cathedrals, parish churches, and monastic churches of Germany, France, and England, and date to as early as the eleventh century. In Britain, on certain days in the church calendar, the choir was open to the laity, who, having stood through hours of services, would have had the opportunity to study carefully the images and stories represented in these carvings. This plaster misericord, painted to resemble wood, shows a woman using a bundle of sticks to beat a kneeling man. At the same time, the man is being made to do a woman's work of winding wool. Perhaps this was an admonition to men not to stick around the house too much, or perhaps it elaborates upon the evil nature of women. The image closely resembles that of Aristotle being beaten by Phyllis (or Campaspe), a common Medieval analogy for the evil nature of women. The same message is also conveyed in misericords, manuscript illuminations, tapestries, and stained glass, with an image of Phyllis/Campaspe riding a bridled Aristotle.<br /><br />~ Martha Munters<br /><br /><br />
Bibliographic Citation
A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.
<strong>Bibliography<br /><br /><br /></strong>See Elaine C. Block, Corpus of Medieval Misericords, 2003, 5 vols.; Christa Grössinger, The World Upside-Down: English Misericords, 1997; Mike Harding. A Little Book of Misericords (London, 1998); Richard Hayman, Church Misericords and Bench Ends (Buckinghamshire, 2000); Dorothy and Henry Kraus, The Hidden World of Misericords (New York, 1975); Westminster Abbey website, http://www.westminster-abbey.org/faq/faq_abbey.htm
-
https://plastercast.gmu.edu/files/original/622d90e67ba480d9f441b453c028ca01.jpg
6ecc4ea3b07a2a66ad6f2bef9f61e3e2
https://plastercast.gmu.edu/files/original/e5f1dad67536a8d9e7024af633a7241c.jpg
7a2aabeaf875f8f6571ede30bafd89f3
https://plastercast.gmu.edu/files/original/903228d2919cd5ef0eb7922cacacd8da.jpg
8f4c20156ef89d24e03307a7cf664292
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Medieval and Renaissance Art
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Cast no.48
Abstract
A summary of the resource.
Voussoir. <br />Rochester Cathedral. <br />Stone. <br />Completed 1130 CE. <br />Rochester Cathedral, west doorway. <br />H 13 in., W 8 in. <br />Metropolitan Catalogue: Cast no. 1553. <br />Cast Location: Robinson B359 hallway<br /><br />This slightly curved block is one of the slightly wedge-shaped blocks that surrounded one of the arched doorways of the cathedral. This block, from the right side of the arch, is carved with heads in slightly different positions, each one surrounded by leafy vines. The other voussoirs would have been similarly decorated, so that each of the inward-looking faces appeared to be looking at the scene carved in the tympanum, located over the doorway, between the arch and the lintel. Rochester is in Kent, southeastern England, on the route to Canterbury. The cathedral was built between the 11th and 14th centuries, but it was mostly complete by the middle of the 12th century. Opposite the cathedral is a Norman castle.