The Metropolitan Museum of Art Bulletin, v. 29, no. 7 (March, 1971)

More documents

Recommendations

Info

3r'i St. Peter's. Austrian (Salzburg), about 1231. Silk with painted gold patterns; mounts of silver-gilt filigree set with coral beads, height 85/8 inches, length of lappets 185/8 inches. The Cloisters Collection, 53.19.1 date from the early thirteenth through the early sixteenth centuries, are on display. Probably the oldest and one of the finest pieces is a thirteenth-century Austrian miter from the treasury of the Benedictine abbey church of St. Peter in Salzburg (Figure 1). It is mentioned in the oldest surviving inventory of the church, dating from 1462, and is referred to as one of "three old miters." The material from which it is made is believed to date to the twelfth century, but because the abbots of St. Peter's were granted the privilege to wear miters only in 1231, it is generally dated on or around that year. Another early vestment, the oldest of three examples in the Museum's collections of the so-called opus anglicanum - famous for the high levels of artistry it achieved - is an English alb apparel with a Crucifixion scene and four saints within a cinquefoil arched arcade (Figure 2). In the spandrels of the arches are six coats of arms that have been identified as those of Hastings, the earl of Arundel, England, Castile-Leon, Clare, and de Vere. The presence of the arms of Castile next to those of England could indicate a date prior to the death of Eleanor of Castile, queen of Edward I, in 1290. Undoubtedly the finest vestment in the Museum's collections, the second example of opus anglicanum, is the Chichester-Constable chasuble, which has been dated between 1330 and 1350 (see the article that begins on page 291). The third is an early sixteenth-century cope that has lost its orphreys but retains its remarkable embroidery depicting the Assumption of the Virgin surrounded by a host of seraphim on a red velvet field (Figure 3). The orphreys of a Bohemian chasuble of the early fifteenth century (Figures 4, 5) are of particular interest for their stylistic similarities with a large altarpiece painted in Bohemia around 1390 by the Master of Wittengau. The full, rounded faces with broad foreheads tapering down to small chins, exemplified by the Virgin in the Coronation scene, are characteristic of the so-called Beautiful style prevalent in Bohemia at the time. This type of angel is remarkably close to the Master of Wittengau and seems to have been an invention of South Bohemia. 2. Alb apparel. English, 1280-1300. Silver-gilt, silver, and silk thread on silk, 7/2 x 291/2 inches. Gift of J. Pierpont Morgan, 17.190.186 The Metropolitan Museum of Art Bulletin VOLUME XXIX, NUMBER 7 MARCH 1971 Published monthly from October to June and quarterly from July to September. Copyright 1971 by The Metropolitan Museum of Art, Fifth Avenue and 82nd Street, New York, N. Y. 10028. Second class postage paid at New York, N. Y. Subscriptions $7.50 a year. Single copies seventy-five cents. Sent free to Museum members. Four weeks' notice required for change of address. Back issues available on microfilm from University Microfilms, 313 N. First Street, Ann Arbor, Michigan. Volumes I-XXXVII (1905-1942) available as a clothbound reprint set or as individual yearly volumes from Arno Press, 330 Madison Avenue, New York, N. Y. 10017, or from the Museum, Box 255, Gracie Station, New York, N. Y. 10028. Editor of Publications: Leon Wilson. Editor-in-chief of the Bulletin: Katharine H. B. Stoddert; Assistant Editor: Susan Goldsmith; Design Consultant: Peter Oldenburg. Photographs, unless otherwise noted, by the Metropolitan Museum's Photograph Studio.
3. Cope. English, early XVI century. Velvet; embroidery in silk and gold thread; metal sequins, width 8 feet 51/2 inches. The Cloisters Collection, 53.63.1 4. Chasuble, front view. Bohemian, early XV century. Cut and voided velvet; embroidery in silk, gold, and silver thread, greatest width 29 inches. The Cloisters Collection, 61.16 5. The Coronation of the Virgin, detail from the back of the chasuble in Figure 4
Page 1 and 2: wf7"IHO Of i~~~~~~~ I I~ (
Page 3: ECCLES ASTCAL VE STMENTS OF THE MID
Page 7 and 8: 8. Chasuble, front view. Spanish, e
Page 9 and 10: D e opere Anglicano," "de I'ouvrage
Page 11 and 12: on the front six large seated saint
Page 13 and 14: ways: he was taking every possible
Page 15 and 16: Bowdon families either by gift or i
Page 17 and 18: I 1. Scenes from the Life of St. Au
Page 19 and 20: of them depict biblical rather than
Page 21 and 22: similar vestments including a dalma
Page 23 and 24: attributed to St. John Chrysostom,
Page 25 and 26: the shoulders, the one in back slig
Page 27 and 28: Certainly the most magnificent of t
Page 29 and 30: and the full vestments of the Churc
Page 31 and 32: The Study of Medieval Ecclesiastica
Page 33 and 34: Bibliographies, Encyclopedias, Dict
Page 35 and 36: 1Alb An ankle-length undergarment w
Page 37 and 38: Much less common - and consequently
Page 39 and 40: ^^, ^8'^^ . . - Above: Iranian, ear
Page 41 and 42: Many of the Nimrud ivories illustra
Page 43 and 44: thought to be the fiercer sex, was
Page 45 and 46: "A Young Man Impatient to Distingui
Page 47 and 48: successful siege of Grenada, July 4
Page 49 and 50: The Vicomte, who was the more lenie
Page 51 and 52: eral political dissension, the armi
Page 53 and 54: Windham for his recent "affectionat
Page 55 and 56:
life during his ten-year sojourn th
Page 57 and 58:
mento mori. The ubiquitous thistle,
Page 59 and 60:
THE METROPOLITAN MUSEUM OF ART BOAR
show all

The Metropolitan Museum of Art Bulletin, v. 29, no. 7 (March, 1971)

Create successful ePaper yourself

Delete template?

Save as template?