Date: Circa 15th Century ADĬondition: Extremely fine, with pigments still visible. An exquisite leaf testifying the refinement of Medieval and Renaissance amanuensis and calligraphers. The miniature of the saint matches the iconography of Saint Julian of Brioude, who is usually portrayed richly armoured and holding a long staff or sword. The capital S marks the beginning of the life of Saint Julian of Brioude: Sanctus igitur Iulianus Viennensi ortus urbe. The figure is rendered in gold pigment, emerging from a red ground.
MEDIEVAL ILLUMINATIONS SAINTS FULL
To the centre the refiguration of a saint, portrayed standing, wearing a full armour, and holding a long cross-topped spear and a shield. The recto features also an extremely elaborate initial, letter S, rendered in dark blue ink, standing on a purple ground, further enriched by gold scrolls. The recto left border displays an elaborate panel of acanthus and floral motifs, rendered in blue, yellow and green tempera, with finely detailed flowers, fruits and leaves. Initials are beautifully rendered in liquid gold, standing on colourfully painted grounds. The leaf is executed in brown, red, green, yellow and blue tempera, gold and liquid gold on both sides. The leaf contains two columns of written text in Latin, a fine example of the popular Medieval script, used extensively for French vernacular books, known as lettre bâtarde. It presents books, manuscripts, and leaves drawn primarily from the Museums manuscripts collection. Originally published by the Metropolitan Museum of Art, Heilbrunn Timeline of Art History, September 2020, under the terms of a Creative Commons 1.0 Universal Public Domain Dedication license.A beautifully decorated vellum leaf from a Late Medieval early Renaissance Franco-Flemish Book of Hours, dating to the 15th century. This exhibition explores the Gospels as they appeared in Medieval manuscript illumination. New York: The Metropolitan Museum of Art, 2016. A Closer Look: Saints. London: National Gallery Company, 2009. Baltimore: The Walters Art Gallery, 2010. Treasures of Heaven: Saints, Relics, and Devotion in Medieval Europe. Francis was pronounced a saint within two years of his death. A morse, a clasp for an ecclesiastical garment, shows the moment when Francis, in a prayerful vision of a six-winged angel, received the stigmata: physical wounds marking the spots where Jesus was nailed in the crucifixion. MMA, Public Domainįrancis of Assisi renounced his wealthy background to live a life of poverty, and founded religious orders for men and women. Worn as a clasp to close a priestly garment, this morse must have been created for an official of the Franciscan order. Morse with Saint Francis of Assisi Receiving the Stigmata (c.1300-1350). Some saints depicted in art can be identified by their facial appearance, but most are recognizable by an identifying object relating to an episode from their life or death. Either type of saintly story could be the source of anecdotes and scenes represented in medieval art. In the thirteenth century, Jacobus de Voragine compiled many saints’ lives in an anthology called The Golden Legend. Some biographies of saints, called saints’ lives, are historical accounts, while others are apocryphal legends. The images or objects linked the worshipper and his or her prayers to their prototype in heaven, and they also visually reinforced the stories of the saints’ lives. Painted sculptures or representations in manuscripts made saints vivid to church-goers, approachable as a familiar face but with access to the power of heaven. Medieval art prominently featured images of saints, whether in narrative scenes drawn from their lives or represented as cult figures. Just as a saint could mediate between the believer and God, depictions of saints could mediate between the worshipper and the saint. The powers of saints extended to their images. Saint Roch’s celebrity derives from his reputation for curing victims of plague, having himself been miraculously cured of the disease.
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