Ceremonial Cross of Countess Gertrude
1038 or shortly after
Germany, Lower Saxony?, 11th century
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Two Handed Sword Poster
The sword depicted in this poster is just one from a series marked with the crown monogram of Duke Julius of Brunswick-Lununeburg. Used by the Duke's bodyguards, each sword such as the one pictured is distinguished by the fish-shaped crossbar on the hilt and pierced, crutch-shaped pommels. By the late 1600s these enormous swords had a largely ceremonial use. Size: 36" x 13"Half Armor for the Foot Tournament Poster
The armor shown in this poster was designed to be worn in a foot tournament, an event favored among Renaissance aristocracies throughout Europe Foot tournaments were commonly fought over a barrier that separated the combatants and gave protection to their legs. Thus half-armor was sufficient protection and would have been worn with colorful puffed britches. The red velvet pickadils between the steel plates, along with the ostrich feather plume of the helmet, and the wonderful etched designs in the armor, would have presented the wearer with great style and splendor for the games. This poster of a wonderful image of early renaissance craftsmanship makes a great gift for those enchanted by medieval history. Size: 36" x 24"Small Sword Poster
In the eighteenth century, the smallsword was designed to be a light, quick weapon. Like the rapier, it was carried by unarmored noblemen. As decorative works, smallswords represent the final stage in the evolution of the sword. This poster pictures one of many on display in the Cleveland Museum of Arts Armor Gallery. Size: 36" x 24"Riemenschneider and Late Medieval Alabaster
by Gerhard Lutz, Curator of Medieval Art, The Cleveland Museum of Art At the center of this publication is Tilman Riemenschneider’s Saint Jerome and the Lion, one of the masterpieces of the Cleveland Museum of Art. Riemenschneider’s Saint Jerome is not only one of the artist’s more important early masterpieces, it is also his only alabaster work in a collection in the USA. Said to have come from the Benedictine abbey church of Saint Peter in Erfurt, Germany, this sculpture by Tilman Riemenschneider (c. 1460–1531), dated to c. 1495, depicts the church father Saint Jerome as he removes a thorn from the paw of a lion, a legendary account of the saint’s kindness. Following the common iconography of the scene, Jerome is dressed in the traditional robes of a Roman cardinal, with the cowl draped over his tonsured head and the broad-brimmed hat on his right leg. Traces of polychromy and gilding suggest that it was once brightly colored. Drill holes in the hat further indicate that cords and tassels of fabric, typical of a cardinal’s hat, would once have decorated the sculpture. Whether the statue was originally commissioned for an altar in a private chapel or smaller space in the monastery remains unknown. Alabaster was prized for its luster and capacity for fine details from the fourteenth to the sixteenth century. The gleaming stone was used for altarpieces and small sculptures, as well as the tombs of wealthy princes. The book unites works from the medieval collection of the Cleveland Museum of Art and selected masterworks from North American museums and the Louvre in Paris, which allows insight into the characteristics of alabaster sculptures in this period. It is striking that these works are of such a particularly exquisite quality that this material was used especially for high-ranking commissions, such as the tomb of Duke Philip the Bold of Burgundy in Champmol near Dijon. The book is accompanied by several essays that examine the subject of alabaster sculpture from different perspectives. Published March 2023 180 pages with 158 imagesContact us
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