4
Portfolios%3D%222293%22%20and%20Century%3D%2215th%20Century%22
Ceramics
Portrait Bust of a Man
Attributed to Vincenzo Onofri, active 1493-1594
Onofri, Vincenzo
Italy
Male
16 1/4 x 18 1/2 x 9 1/4 in. (41.3 x 47 x 23.5 cm)
.
.
.
overall
without base
Terracotta
Terracotta
late 15th Century - early 16th Century
1467
1532
1400-1600, busts, men, portraits, Renaissance & Baroque, sculpture
Ceramics
1968.4
item
Memorial Art Gallery
3/13/2001
68.4SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.4D1
digital image
full
2 x 2
6/20/2002
http://127.0.0.1:5000/Media/images/68.4_A1.jpg
68.4DI#2
digital image
12/12/2012
http://127.0.0.1:5000/Media/images/68.4_A2.jpg
68.4DI#3
digital image
Three-quarter
12/12/2012
http://127.0.0.1:5000/Media/images/68.4_A3.jpg
Manuscript
Leaf from a Book of Hours
French artist, (active )
French artist
France
Primary
7 1/4 x 5 1/2 in. (18.4 x 13.9 cm)
.
.
.
overall
sheet
Ink
Ink
ca. 1425
1420
1430
1400-1600, Crucifixion, European art, illuminated manuscripts
Manuscript
Psalm 51:15 [or Vulgate 50:17]: Domine labia mea aperies et os meum adnuntiabit laudem tuam (O Lord, open thou my lips; and my mouth shall show forth thy praise).
Books of Hours are Christian prayer books that, beginning in the 1200s, were used in the private devotional practices of the laity. They had several components, including a calendar, the four Gospel Lessons, the Hours of the Virgin, the Hours of the Cross and Holy Spirit, special prayers to the Virgin and saints, and the Office of the Dead. Some Books of Hours were special commissions, created by artists attached to royal courts; others were standardized “stock” that were ordered and then personalized for individual patrons.
This leaf is the first page of the Hours of the Cross, which traditionally opens with an illuminated initial letter, an illustration of the Crucifixion, and the accompanying prayer: “Lord, open Thou my lips and my mouth shall show forth Thy Praise.”
[Label text from It Came From the Vault exhibition, 2013]
1937.55
item
Memorial Art Gallery
9/8/1999
37.55SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
6.5x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
37.55DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/37.55_A1.jpg
37.55DI#2
digital image
Recto
11/28/2012
http://127.0.0.1:5000/Media/images/37.55_A2.jpg
37.55DI#3
digital image
Verso
11/28/2012
http://127.0.0.1:5000/Media/images/37.55_A3.jpg
Manuscript
Leaf from an Antiphonary: Music for the Office of Matins
French artist, (active )
French artist
France
Primary
34 7/16 x 25 5/16 in. (87.4 x 64.3 cm)
.
.
.
sheet
sheet
Ink
Ink
1400-1499
1400
1499
1000-1400, illuminated manuscripts, Medieval, musical scores
Manuscript
The early Christian church continued the ancient Jewish practice of reciting prayers at predetermined hours of the day and night. Called the “Divine Office” or the “Liturgy of the Hours,” it consists of psalms supplemented by hymns and readings. Together with the Office of the Mass, this repetitive daily cycle constitutes the official public prayer life of the Roman Catholic faith.
This decorated page is a leaf from an antiphonary, which is the volume containing the antiphons, or responses, and verses sung at the services of the Divine Office. The page is large and the text clearly written so that the choir could read from a single page. The smaller red text on this leaf, an abbreviation of the Latin words ad matutinum invitatorum, indicates that what follows is the music to begin the Office of Matins, celebrated at either midnight or 2:30 am.
[Gallery label text, June 2013]
lower center, below image, At lower center of both recto and versoverso, u.r.
1998.23
item
Memorial Art Gallery
3/10/2001
98.23SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.23DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/98.23_A1.jpg
98.23DI#2
digital image
Recto
11/28/2012
http://127.0.0.1:5000/Media/images/98.23_A2.jpg
98.23DI#3
digital image
Verso
11/28/2012
http://127.0.0.1:5000/Media/images/98.23_A3.jpg
Sculpture
St. Barbara
German artist
German artist
Germany
Primary
29 7/16 x 9 3/16 x 5 1/8 in. (74.8 x 23.4 x 13 cm)
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.
.
without base
overall
.
.
.
with base
overall
Wood
Wood
Made in Ulm, Baden-Württemberg
1470-1489
1470
1489
1400-1600, Renaissance & Baroque, sculpture, St. Barbara, women
Sculpture
According to Christian legend, Saint Barbara was the beautiful daughter of a wealthy pagan named Dioscorus, who lived in Nicodemia (present-day Turkey) during the 3rd century. Fearful of losing Barbara to the outside world, her father kept her locked in a tower. She secretly converted to Christianity; when she told Dioscorus of her new-found faith, he reported her to the authorities. She was sentenced to torture and beheading—a decree carried out by her father himself.
In Christian art, Barbara is usually shown holding the tower in which she was imprisoned and a book, which represents the teachings that led to her conversion. Here, she also wears fine clothing that represents her wealth. A purse hangs from her belt, and she wears a golden crown.
This sculpture originally formed part of a larger late medieval altarpiece that included other solitary or grouped figures. Although beautifully carved, the last 500 years have taken their toll on both her appearance and structure. Old repairs have broken off or splintered, and both original and later paint and gilding are flaking, making her too unstable for continuous display. MAG staff is working to identify funds for her treatment so that she can be returned to permanent exhibition in the medieval galleries.
[Label text from It Came From the Vault exhibition, 2013]
1955.46
item
Memorial Art Gallery
1/19/2001
55.46SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.46D1
digital image
full
2 x 2
6/14/2002
http://127.0.0.1:5000/Media/images/55.46_A1.jpg
55.46DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.46DI#3
digital image
3/9/2010
http://127.0.0.1:5000/Media/images/55.46_A2.jpg
55.46DI#4
digital image
Three-quarter
3/9/2010
http://127.0.0.1:5000/Media/images/55.46_A3.jpg
55.46DI#5
digital image
Three-quarter
3/9/2010
http://127.0.0.1:5000/Media/images/55.46_A4.jpg
55.46DI#6
digital image
Side
3/9/2010
http://127.0.0.1:5000/Media/images/55.46_A5.jpg
55.46DI#7
digital image
Side
3/9/2010
http://127.0.0.1:5000/Media/images/55.46_A6.jpg
55.46DI#8
digital image
Back
3/9/2010
http://127.0.0.1:5000/Media/images/55.46_A7.jpg