1-20 of 37 results  for:

  • Medieval Art x
Clear all


Elisabetta Scirocco

[Alberto Arnoldi]

(fl 1351–64).

Italian sculptor. Alberto was one of the chief artists in Trecento Florence. His name is first recorded in 1351, when he was paid to work on the marble windows of the campanile of the Cathedral. He is generally ascribed (Becherucci) the rhomboid tiles with bas-reliefs depicting the Seven Sacraments on the second order of the campanile’s north side (originals in Florence, Mus. Opera Duomo). These may have been based on a design by di Maso Banco, who according to some scholars (Kreytenberg, 1979) also sculpted them. In 1355 and 1357–9 Arnoldi was given important jobs, such as the direction of works of the Cathedral with Talenti family §(1). His only documented works are those he executed for the oratory of the Bigallo in Florence: the life-size statues of the Virgin and Child and the two Angels holding the candelabra on the altar (1359–64), and the sculpted relief depicting the half-length ...


Sheila Edmunds

[Baemler, Johann; Bemler, Hans]

(fl 1453–1504).

German illuminator and printer . He is listed in the Augsburg tax rolls from 1453 as a scribe and from 1477 as a printer. Bämler belonged to the guild of painters, glassmakers, woodcut-makers and goldbeaters, eventually achieving the rank of Zwollfer (director). Examples of his youthful work are two signed miniatures dated 1457 (New York, Pierpont Morgan Lib., MS. M.45) and a signed historiated initial on a detached Antiphonal leaf (Philadelphia, PA, Free Lib., Lewis M 67:3). Between 1466 and 1468 he rubricated and decorated with calligraphic and painted ornament four books printed in Strasbourg: a Latin Bible (Wolfenbüttel, Herzog August Bib., Bibel-S.2°155), a copy of Thomas Aquinas’s Summa theologica (Munich, Bayer Staatsbib., 2° Inc. s.a.1146a) and two copies of St Augustine’s City of God (Chantilly, Mus. Condé, XXII.D.11, and Manchester, John Rylands U. Lib., no. 3218, Inc. 3A8).

Bämler’s knowledge of printing was probably acquired in Augsburg, in the shop of ...


Rosa Barovier Mentasti

Italian family of glassmakers. The family are recorded as working in Murano, Venice, as early as 1324, when Iacobello Barovier and his sons Antonio Barovier and Bartolomeo Barovier (b Murano, ?1315; d Murano, ?1380) were working there as glassmakers. The line of descent through Viviano Barovier (b Murano, ?1345; d Murano, 1399) to Iacobo Barovier (b Murano, ?1380; d Murano, 1457) led to the more noteworthy Barovier family members of the Renaissance. Iacobo was responsible for public commissions in Murano from 1425 to 1450. From as early as 1420 he was a kiln overseer, with a determining influence on the fortunes of the Barovier family.

During the 15th century Iacobo’s sons, notably Angelo Barovier (b Murano, ?1400; d Murano, 1460), and his sons Giovanni Barovier, Maria Barovier, and Marino Barovier (b Murano, before 1431; d Murano, 1485) were important glassmakers. From as early as ...



John Thomas

Form of three-dimensional zigzag ornament particularly associated with Anglo-Norman Romanesque architecture, where it was used to decorate arches, doorways and windows. An equivalent term is dancette (or dancetty), although this is generally reserved for the zigzags used in heraldry. The stripes and flashes set on to the sleeves of military uniform tunics are also chevrons. Architectural chevron is possibly related to Byzantine brick saw-tooth ornament, transmitted indirectly through the decoration of, for example, canon tables in Carolingian and Ottonian illuminated manuscripts (e.g. the Gospel Book of Bernward of Hildesheim; c. 1000; Hildesheim, Diözmus. & Domschatzkam., MS. 18). The saw-tooth motif appears in Romanesque wall painting until the late 12th century (e.g. Terrassa, Spain, S Maria; c. 1175–1200). Chevron is not common in Western buildings before ad 1000, but it is found in Islamic architecture as early as the 8th century at Qusayr ‛Amra, and although it remains unclear precisely how chevron became so closely associated with Anglo-Norman architecture, Borg has suggested that both manuscript illuminations and knowledge of Islamic buildings brought by returning crusaders after ...


Cathedral in Co. Galway, Ireland, dedicated to St Brendan. The rubble walls of the pre-Romanesque nave (10th or 11th century) originally formed a simple rectangular church. The rectangular chancel, with its paired east windows, was added in the early 13th century, and in the Late Gothic period the building was enlarged with transept-like chapels and an elegant square belfry, similar to those in Irish friaries, above the west end of the nave. The cathedral is renowned chiefly for the 12th-century sandstone doorway inserted into its west façade (see Romanesque, §III, 1, (v), (e)).

The decoration of the doorway consists of an extraordinary range of motifs, of both foreign and Irish derivation, forming the most idiosyncratic of all Hiberno-Romanesque portals. Jambs, archivolts, and a high-pitched ‘tangent gable’ were exploited as fields for a dense array of pattern-making. Following ancient Irish custom, the decorated jambs are inclined inwards. They support seven orders of deeply cut voussoirs, ornamented with interlace, bosses, scallops, geometrical designs, and beast heads. The beast heads bite a roll moulding and are comparable to those on the west portal of the Nuns’ Church at Clonmacnois (Offaly). The gable contains an arcade and a series of triangular compartments filled alternately with carved human heads and floral motifs. The five heads that peer out from the arcade may have had painted bodies, possibly emulating the enamelled figures with cast bronze heads found on contemporary Limoges plaques. Among the many delightful details are the rows of tiny beast heads on the lower faces of the abaci. Characteristic of the Hiberno-Romanesque is the juxtaposition of shallow carving, as is found here on both the jambs and pilasters, with much deeper cutting, as on the archivolts. Although this eclectic and exotic design was once attributed to the 1160s, most scholars now prefer a date of ...


Colum P. Hourihane

International scholarly organization dedicated to the study of medieval Stained glass. Although it is claimed that the organization was founded in 1949, it was not formally established until 1952 when a group of interested scholars met at the International Congress for the History of Art in Amsterdam under the guidance of Hans R. Hahnloser and where guidelines for the recording and cataloguing of stained glass were then structured. Hahnloser had already discussed the possibility of founding such an organization three years earlier at the 16th International Congress for the History of Art in Lisbon when an outline and draft were proposed.

This international project now has branches in 12 countries (Austria, Belgium, Canada, Germany, Great Britain, Italy, the Netherlands, Poland, Spain, Switzerland, and the US) with related committees in Portugal and Russia. Its aims are to record all medieval stained or painted glass, although some committees have also ventured into later periods. Each country has its own national committee that is financially dependent on securing its own funding. Most national committees are run by volunteers. These committees determine the research priorities and usually work in tandem with other organizations. The independent nature of these various committees and their dependency on securing their own finance has meant that the project does not have a uniform level of publication or activity....


Anne Hagopian van Buren

(b ?Burgundy, c. 1420; d Bruges, before 1502).

Franco-Flemish painter and designer. He is first documented painting stained glass in Philip the Good’s Burgundian castle of Argilly in 1448 and 1452. He was appointed a painter to the Duke in January 1454, just before he worked with Colard le Voleur, Master of the Entertainments at Hesdin, on fountains and other machines for the Banquet of the Pheasant in Lille. During the next years, Coustain was responsible for painting the banners and heralds’ tabards for several court festivities and funerals. He coloured statues of St Philip and St Elizabeth on the ducal palace in Brussels in 1462 and painted a Crucifixion and a Virgin and Child on the panels placed at the head and foot of the Duke’s catafalque in 1467.

Coustain was most active under Charles the Bold. In 1468 he and the Duke’s other painter, Jean Hennecart, were in Bruges, supervising 166 painters and sculptors in the production of the decorations for the meeting of the Order of the Golden Fleece as well as decorations, mechanical devices, props and sets for ...


Francesco Quinterio

(b ?1438; d Florence, 1503).

Italian mason and architect. He is first recorded in Pisa (1462–3) with other Lombard stonecutters employed to carve the marble tracery for the Gothic windows of the Camposanto (cemetery), adjacent to the cathedral. From 1472 he is recorded as a master mason, responsible for the completion of the church of Santo Spirito, Florence (begun 1436), in accordance with the design by Brunelleschi; Salvi was also responsible for the supply of materials and the repair of tools. In 1475 he was appointed principal mason for the outstanding decorative work of the church, including the upper cornice of the nave, the dome and the façade. He constructed a working model of the dome of Santo Spirito, based on the original model by Brunelleschi, for the office of works. This was the first dome in Florence to have a hemispherical external profile. In May 1482 Salvi was commissioned to decorate the interior of the façade of Santo Spirito, and in ...


Dominique Thiébaut

(b Cuisery, nr Chalon-sur-Saône; fl 1414; d before Aug 19, 1461).

Burgundian painter. He is first mentioned in Avignon in 1414. His three sons, Aubry, Jacques and Jean (who returned to Cuisery in 1452 or 1453), were also painters. His daughter Peyronnette married a painter from Tournai, Arnolet de Catz (fl 1430–34), who became Guillaume’s associate in 1430. When suffering from a serious illness, Guillaume made his will on 4 December 1458 and requested to be buried in Notre-Dame-la-Principale, Avignon.

Guillaume Dombet appears to have had a flourishing career as a master glazier. He supplied stained-glass windows for the Papal Palace in Avignon (1414), for Aix Cathedral (1415; 1444; 1449), for the synagogue in Aix (1418), for the Franciscan church in Marseille (1425), for Ste Marthe in Tarascon (1432), and for the St Pierre-de-Luxembourg Chapel near the Celestine church in Avignon (1448). At the same time he worked on many altarpieces, often in collaboration with his sons. He received commissions for Aix Cathedral (...


Cordelia Warr

(b ?Sárospatak, Borsod-Abaúj-Zemplén, 1207; d Marburg, Nov 17, 1231; can May 27, 1235; fd 17 Nov).

Hungarian saint and patron. She was the daughter of the Árpád King Andrew II of Hungary (reg 1205–35) and Gertrude of Andechs-Meran (1185–1213) and married Ludwig IV, Landgrave of Thuringia (reg 1217–27) in 1221. After Ludwig’s death (11 September 1227) whilst on crusade, Elizabeth made vows of obedience and chastity in the Franciscan church in Eisenach and later moved to Marburg where she founded a hospital. She died on 17 November 1231 and was canonized on 27 May 1235. Her relics were preserved in the Marburg, Elisabethkirche (begun 1235, dedicated 1283) having been translated there on 1 May 1236 in the presence of the Holy Roman Emperor Frederick II.

Elizabeth’s cult was promoted through a number of royal houses with connections to the saint, including those of Naples and Castile, and she was also strongly supported by the Franciscan Order. An early 14th-century fresco cycle in the Clarissan church of S Maria Donna Regina in Naples, was commissioned by Mary of Hungary, Queen of Naples (...


The study of inscriptions written for many different purposes in a wide range of media, including metal, stone, ivory, stained glass, and tapestry, but not typically those that are products of a scriptorium or chancery.

Surviving in countless examples, medieval inscriptions provide information about the date, localization, and function of objects and structures, as well as evidence of changes in languages, writing, and scripts. In some cases, inscriptions have been removed from their original setting or are in fragmentary condition, making such analyses more difficult, and there is also disagreement as to how to read and interpret certain inscriptions (e.g. the runes on the Franks Casket; London, BM). Inscriptions on early Insular crosses and standing stones also contribute to our understanding of lay and monastic levels of literacy and patterns of worship.

Inscriptions called tituli often simply give the names of figures and/or identify and explain scenes or aspects of scenes in medieval art. This type of inscription can be found on the ...


Michael W. Cothren

Cathedral dedicated to Notre-Dame at Evreux, in the département of Eure, France, 80 km west of Paris, known primarily for its collection of stained-glass windows. Begun after fire destroyed its predecessor in 1119, it was not completed until the 17th century, and its appearance reflects several phases of the Gothic style, with richly decorated Flamboyant traceried windows and a late 16th-century west façade. The cathedral has an aisled nave with a two-tower façade and transepts leading to a chevet with ambulatory and chapels. It was severely damaged in 1940 and was subsequently restored.

Although glazing survives from building campaigns from the late 13th century (south nave chapels, parts of the nave clerestory) to the 16th (north transept clerestory and rose window), the most important windows date from the 14th and 15th centuries, in particular the choir clerestory, whose glass is dated c. 1320–1400. The exact dating, patronage, and original disposition are controversial. The iconographic emphasis is on the Virgin Mary and the patron saints of the donors. The latter constitute some of the most powerful Normans of 1320–40 (...


A matching jug and bowl used for hand washing during and after meals and for toilet purposes. They were made in precious and base metals, ceramics, glass and enamel. Early medieval ewers are usually in the form of animals or figures (see Aquamanile). In the Middle Ages their use was ceremonial as well as practical. From the 15th century ewers and basins were acquired by institutions and corporations for ceremonial presentation and as ambassadorial gifts, becoming prized display objects. In form and decoration the ewer and basin altered with stylistic developments, and they were always of the most elaborate design and finish. With the increased use of cutlery from the late 17th century, ewers and basins had less function, although mainly ceramic examples were used as an accoutrement for toilet use until the advent of widespread domestic plumbing in the early 20th century.

E. M. Alcorn: ‘Some of the Kings of England Curiously Engraven: An Elizabethan Ewer and Basin in the Museum of Fine Arts, Boston’, ...


Hans-Joachim Kunst

[Ger. Hallenkirche]

Term introduced in Wilhelm Lübke’s Die mittelalterliche Kunst in Westfalen (1853) to define a church in which the aisles are the same, or almost the same, height as the nave, so that the nave is lit indirectly by the aisle windows. The hall church differs from the basilica, the distinguishing characteristic of which is the fact that the nave is higher than the aisles and is lit by a clerestory. A variation of the hall church is the Staffelkirche or Stufenhalle (Ger.: ‘staggered hall’), in which the main vessel is higher than the aisles but there is no clerestory.

In all European countries, from the early Middle Ages (e.g. Bartholomäuskapelle, Paderborn; 1017) to the 20th century (e.g. Erlöserkirche, Cologne-Rath; 1954), the hall church has, with the basilica and the centrally planned church, been one of the basic church types as defined by art historians. The hall church was, however, most widespread in ...


Lisa Zeiger

(b Watford, Herts, April 21, 1861; d New York, Jan 27, 1940).

English designer and maker of stained glass, metalwork and enamel. In the mid-1870s he was apprenticed to the London firm of Burlison & Grylls, makers of stained glass in the Gothic Revival style. He later joined Heaton, Butler & Bayne, the firm of stained-glass manufacturers and painters founded by his father, Clement Heaton (1824–82), whom he succeeded as a partner in 1882. In 1884 he left London for Neuchâtel, Switzerland, where he collaborated with Paul Robert on the decoration of the monumental staircase (in situ) of the Musée d’Art et d’Histoire, experimenting with cloisonné enamel as an enrichment for the pilasters, mouldings and cornices. On his return to England in 1885 Heaton executed enamel designs for A. H. Mackmurdo and provided designs for metalwork and lamps for the Century Guild of Artists. Following a dispute in 1885, Heaton left Heaton, Butler & Bayne and established Heaton’s Cloisonné Mosaics Ltd, which produced plaques, book covers and lamps. After ...


Virginia Chieffo Raguin

(b Andlau, Alsace; fl 1447; d c. 1501).

German glass painter. His commissions and influence extended from the area around Strasbourg into southern Germany and Austria. Hemmel became a citizen of Strasbourg through marriage in 1447 with the widow of a local glass painter named Heinz. His work shows figure types similar to contemporary engravings, in particular those of Martin Schongauer; Hemmel’s Adoration of the Magi in the Nonnbergkirche, Salzburg, is derived from a Schongauer print of the same subject. Distinctive among his many commissions are the Kramer window (1479–80) in Ulm Minster and the axial choir window of St Anne and the Virgin (c. 1478–9) in the Stiftskirche, Tübingen. The balance of the intense purple, scarlet and deep blue against extensive silver-stain yellow and white glass creates a tension between spatial planes. Hemmel’s draughtsmanship in his Virgin and Child with Lily from the Nonnbergkirche, Salzburg (c. 1470–80; Darmstadt, Hess. Landesmus.; see Stained glass, ...


Renate Baumgärtel-Fleischmann

(b c. 1430–35; d Bamberg, late 1508).

German painter, draughtsman and designer. He ran a painting and woodcarving workshop in Bamberg from 1465, his main patrons being the town of Bamberg and the bishop’s court. Although he was generally commissioned to supply objects for everyday use, these have not survived; nor have the stained-glass windows for which he made preliminary drawings. Extant works based on his designs include a carved stone coat of arms (1494) on the Alte Hofhaltung in Bamberg, made by a Nuremberg master, and the tomb plaque of Bishop Georg Marschalk von Ebneth (d 1505) in Bamberg Cathedral, cast by Peter Vischer I in Nuremberg. However, both works are more expressive of the masters who executed them than of the designer. Thus the only basis for judging Katzheimer’s style lies in the 22 woodcuts for the Halsgerichtsordnung (Bamberg, 1507), printed by Johann Pfeyll, for which he supplied the preliminary drawings. The compositions are simple, with the figures lined up horizontally, diagonally or in tiers (the traditional way of suggesting depth), and the interior spaces are usually represented in outline only. Two reliefs relating to the ...


Gordon Campbell


Srdjan Djurić

Church on the west bank of Great Prespa Lake in the Republic of Macedonia, 2 km from Kurbinovo village. It was founded in 1191; except for the two large lateral windows added in the 19th century, all later alterations were removed during the 1960s when the church was restored to its original basilical form with a wooden roof. The north, south and west façades are articulated with doors surmounted by lunettes. The west façade bears wall paintings of imperial portraits and frescoes imitating fine stone and brick masonry, while painted scenes from the life and martyrdom of St George decorate the south façade.

Almost all the interior fresco decoration has survived intact; it is divided into three zones, with prophets in the uppermost zone, and the festive cycle and single standing figures, including a procession of bishops, in the middle and lowest zones respectively. Among the scenes depicted are the ...


Clara Gelao


(fl 1229).

Italian sculptor and architect. In 1229 Nicolaus ‘priest and master’ signed the ambo in Bitonto Cathedral. The ambo, one of the most exquisite medieval works of art in Apulia, is decorated with coloured putty and glass inserted into the honeycombed marble (sottosquadro technique). Its design is based on 11th-century prototypes: there is a semi-cylindrical lectern with the bookrest resting on an eagle supported by an atlas figure. A relief on the stairway to the ambo is decorated with four figures (one seated) placed under small arches. Various identifications have been proposed for these, but Schaller suggested that they represented the four emperors of the Hohenstaufen dynasty (Frederick Barbarossa, Henry VI, Frederick II and his heir, later Conrad IV) and that they were related to a sermon given in Bitonto in 1228 by Abbot Nicolaus of Bari in honour of Frederick II; he did not exclude the possibility of the sculptor and the prelate being the same person. The ambo was dismantled in the 18th century, when some panels were reused in a quadrangular pulpit. Nicolaus is also credited with a font in Bitonto Cathedral and some of the capitals of the external gallery of the building, which are carved with foliate motifs in the ...