1-10 of 10 results  for:

  • Medieval Art x
  • Fashion, Jewellery, and Body Art x
Clear all

Article

Fibula  

Niamh Whitfield

Metal dress-pin that not only was used as a clothes’ fastener, but also acted as a sign of an individual’s allegiance, wealth, and status (see fig.). Brooches are common finds in pre-Christian graves of the Germanic peoples and Vikings, enabling inferences to be drawn about their uses, the garments to which they were attached, and migration patterns. For the later Middle Ages, comparable information can be gleaned not only from the objects but also figural representations, wills, and inventories....

Article

Elizabeth Ashman Rowe

Illuminated 14th-century deluxe Icelandic manuscript (420×290 mm, 202 fols; Reykjavík, Árni Magnússon Institute, GKS 1005 fol.) of King Sverrir’s Saga. It was compiled by the priests Jón Þórðarson and Magnús Þórhallsson for Jón Hákonarson (1350–before 1416), a wealthy landowner in northern Iceland who collected sagas of the kings of Norway. A note on folio 4...

Article

Georg Germann, Melissa Ragain and Pippa Shirley

Term applied to a style of architecture and the decorative arts inspired by the Gothic architecture of medieval Europe. It has been particularly widely applied to churches but has also been used to describe castellated mansions, collegiate buildings, and houses. The Gothic Revival has also been described by many scholars as a movement, rather than style, for in the mid-19th century it was associated with and propagated by religious and political faith. From a hesitant start in the mid-18th century in England and Scotland, in the 19th century it became one of the principal styles of building throughout the world and continued in some huge projects until well into the 20th century (e.g. ...

Article

German, 16th century, male.

Born 1515, in Munich; died 10 March 1573, in Munich.

Painter, draughtsman, miniaturist, copyist. Religious subjects, historical subjects, portraits. Designs for jewellery, decorative designs.

Munich School.

Hans Mülich's family came originally from Augsburg and Mülich himself is on record as a member of the Munich artists' guild in 1546. He was probably active there before that date, however, for the gallery of Munich houses a portrait of him dated 1540. Mülich was retained as a painter at the court of Albert V of Bavaria. It is thought that he visited Italy. It is certain that he made a copy of Michelangelo's ...

Article

Italian, 16th century, male.

Medallist, jeweller.

Niccolo di Mantova engraved medals for Eleanor of Gonzague, Alvise Gonzague and Paolo Fregoso.

Article

Carola Hicks

Term used to describe the art produced by the Ostrogoths, barbarian peoples whose invasion of the declining Roman Empire helped to transform Late Antique into medieval art. They occupied Italy in ad 488, and they were followers of Arianism. Their king Theodoric the Great (...

Article

Brian Spencer

Brian Spencer

Emblem, usually made of metal, on sale at pilgrimage sites to celebrate the saint or devotional object venerated there. The badges were usually worn in the hat, attached by pins or stitching rings that were cast in one piece with them. Their use flourished in the Middle Ages in Europe, particularly in the 14th and 15th centuries, but declined after the Reformation of the mid-16th century. In Catholic countries, however, the production of medallions for pilgrims continued at some shrines thereafter, in a few instances until the present day. Despite their fragility, several thousand medieval badges have been excavated or recovered from riverbeds across the whole of Europe since the early 19th century. These still represent only a tiny fraction of the hundreds of thousands of souvenirs that were sold at some shrines every year. In ...

Article

German, 16th century, male.

Active at the end of the 16th century.

Engraver, designer of ornamental architectural features. Designs (jewellery).

Davis Schalhaimer engraved decorations for rings in 1592.

Article

In its most general sense, spolia (pl., from Lat. spolium: ‘plunder’) denotes all artifacts re-employed in secondary contexts, from building blocks reused in a wall to pagan gems mounted on a Christian reliquary. It is a matter of debate whether this broad application of the term is justified, or whether it should be restricted to the relatively small subset of reused objects that were taken or ‘stripped’ (like spoils) from their original context, rather than found, purchased, inherited or otherwise acquired by non-violent means. It is likewise debated when the use of spolia should be considered meaningful, if at all. Arnold Esch defined five possible motives for using spolia: convenience, profanation, Christianization, political legitimation and aesthetic attraction. Michael Greenhalgh has argued for reducing the motives to three (at least with regard to marble): pragmatism, aesthetics and ideology; while Finbarr Barry Flood cautioned against reductive interpretations generated by any taxonomy, insisting that reused objects are mutable in meaning and capable of multiple interpretations during their life cycle....

Article

Italian, 16th century, male.

Born c. 1521, in Pieve di Cadore; died 2 March 1601, in Venice.

Painter, draughtsman, engraver. Religious subjects, costume studies.

Cesare Vecellio was related to Tiziano Vecelli (Titian), and was possibly his assistant. Cesare accompanied his famous master to Augsburg in ...