European Collection

Reliquary Arm
Reliquary Arm

Reliquary Arm

French
12th century
c. 1150–1200 (crystal possibly added in the 15th century)
Silver, champlevé enamel on copper, gilt bronze, wood core, glass cabochons, and crystal
24 7/16 x 6 x 3 7/8 in. (62.1 x 15.3 x 9.9 cm)
AP 1979.25
The veneration of the physical remains of saints––or objects with which they had come into contact—began to be practiced during the Early Christian era. In A.D. 393, the Church decreed that every altar must have a relic.
Reliquary Casket
Reliquary Casket

Reliquary Casket

French
13th century
c. 1200–1220
Champlevé enamel on copper, wood core
8 7/8 x 9 1/2 x 4 1/8 in. (22.6 x 24.2 x 10.5 cm)
AP 1979.26
A major center of the manufacture and export of exquisitely crafted reliquaries in the Middle Ages was Limoges, located in southwestern France along several ecclesiastical and pilgrimage routes.
Miniature Casket
Miniature Casket

Miniature Casket

French
13th century
c. 1250–1300
Champlevé enamel on copper
3 9/16 x 3 1/16 x 1 5/8 in. (9 x 7.7 x 4.2 cm)
AP 1979.27
The enameled decoration of this fine casket, produced in Limoges, features scrolling vines with fleurons on all four sides and lozenge patterns on the pitched roof.
The Barnabas Altarpiece
The Barnabas Altarpiece

The Barnabas Altarpiece

Southwestern French or Northern Spanish (?)
(13–14th century)
Southwestern French or Northern Spanish (?), 13–14th century
c. 1275–1350
Tempera, oil, and gold on panel
Left: 35 13/16 x 14 3/8 in. (91 x 36.5 cm) Center: 35 13/16 x 22 7/16 in. (91 x 57 cm) Right: 35 13/16 x 14 9/16 in. (91 x 37 cm) Framed: 41 7/8 x 60 1/4 x 2 1/4 in. (106.4 x 153 x 5.7 cm)
AP 1969.06 a,b,c
These three panels are fragments of a once-larger ensemble, which has been named The Barnabas Altarpiece because of the inscriptions on its lower border alluding to an unidentified Bishop Barnabas.
The Raising of Lazarus
The Raising of Lazarus

The Raising of Lazarus

Duccio di Buoninsegna
Italian (active 1278–1318)
14th century
1310–11
Tempera and gold on panel
17 1/8 x 18 1/4 in. (43.5 x 46.4 cm) Framed: 20 7/8 x 22 1/8 x 1 7/8 in. (53 x 56.2 x 4.8 cm)
APx 1975.01
Duccio was the preeminent Sienese painter in the early years of the fourteenth century. He infused the prevailing Byzantine style with a more naturalistic, narrative mode.
Apothecary Jar with Oak Leaf and Fish
Apothecary Jar with Oak Leaf and Fish

Apothecary Jar with Oak Leaf and Fish

Italian
15th century
c. 1425–50
Tin-glazed earthenware
7 3/4 x 8 x 7 in. (19.7 x 20.3 x 17.8 cm)
AP 1979.06
This type of earthenware has a tin-glazed, opaque white surface that provides an excellent ground for pictorial decoration.
Apothecary Jar with Oak Leaf and Lily Motifs
Apothecary Jar with Oak Leaf and Lily Motifs

Apothecary Jar with Oak Leaf and Lily Motifs

Italian
15th century
c. 1425–50
Tin-glazed earthenware
9 x 9 x 8 in. (22.8 x 22.8 x 20.3 cm)
AP 1979.07
This type of earthenware has a tin-glazed, opaque white surface that provides an excellent ground for pictorial decoration.
The Apostle Saint James the Greater Freeing the Magician Hermogenes
The Apostle Saint James the Greater Freeing the Magician Hermogenes

The Apostle Saint James the Greater Freeing the Magician Hermogenes

Fra Angelico (Fra Giovanni da Fiesole)
Italian (c. 1395/1400–1455)
15th century
c. 1426–29
Tempera and gold on panel
10 9/16 x 9 3/8 in. (26.8 x 23.8 cm) Framed: 18 5/8 x 17 7/16 in. (47.3 x 44.3 cm)
AP 1986.03
Born Guido di Piero, the artist known as Fra Angelico acquired his nickname not long after his death, when he was referred to as “Angelicus” by a fellow Dominican monk for his pious life and artworks.
Albarello with Scrolling Gothic Leaf Motif
Albarello with Scrolling Gothic Leaf Motif

Albarello with Scrolling Gothic Leaf Motif

Italian
15th century
c. 1450–1500
Tin-glazed earthenware
12 5/8 x 5 3/8 in. (32 x 13.6 cm)
AP 1979.10
By the late fifteenth century, polychrome wares had replaced the more limited palette of Severe-style majolica, adding new shades of gold and green. Plant forms predominated, particularly an elegantly scrolled “Gothic-floral” leaf.
Apothecary Jar with Gothic Leaf Motif
Apothecary Jar with Gothic Leaf Motif

Apothecary Jar with Gothic Leaf Motif

Italian
15th century
c. 1450–75
Tin-glazed earthenware
8 1/8 x 7 1/2 x 5 1/2 in. (20.6 x 19 x 14 cm)
AP 1979.08
By the late fifteenth century, polychrome wares had replaced the more limited palette of Severe-style majolica, adding new shades of gold and green.
Virgin and Child (The Borromeo Madonna)
Virgin and Child (The Borromeo Madonna)

Virgin and Child (The Borromeo Madonna)

Attributed to Donatello (Donato di Niccolò di Betto Bardi)
Italian (1386/87–1466)
15th century
c. 1450
Terracotta
32 7/8 x 20 1/2 in. (83.5 x 52.1 cm)
AP 2006.01
Celebrated for his powers of invention, range of expression, and technical prowess, Donatello was the preeminent Italian sculptor of the fifteenth century.
The Madonna and Child
The Madonna and Child

The Madonna and Child

Giovanni Bellini
Italian (c. 1438–1516)
15th century
c. 1465
Tempera, possibly oil, and gold on panel
32 1/2 x 23 in. (82.5 x 58.4 cm) Framed: 48 x 39 1/8 x 5 in. (121.9 x 99.4 x 12.7 cm)
AP 1971.06
Giovanni Bellini’s half-length devotional paintings of the Madonna and Child enjoyed great popularity in Venice, and later in his career he employed a large workshop to meet the demand.
The Madonna and Child with Saints Joseph, Elizabeth, and John the Baptist
The Madonna and Child with Saints Joseph, Elizabeth, and John the Baptist

The Madonna and Child with Saints Joseph, Elizabeth, and John the Baptist

Andrea Mantegna
Italian (c. 1430/31–1506)
15th century
c. 1485–88
Distemper, oil, and gold on canvas
24 3/4 x 20 3/16 in. (62.9 x 51.3 cm) Framed: 32 3/8 x 28 3/8 x 3 in. (82.2 x 72.1 x 7.6 cm)
AP 1987.04
Trained in the humanist university town of Padua, Andrea Mantegna developed a lifelong passion for antiquity that profoundly informed his work as an artist.
Portia and Brutus
Portia and Brutus

Portia and Brutus

Ercole de’ Roberti
Italian (c. 1455/56–1496)
15th century
c. 1486–90
Tempera, possibly oil, and gold on panel
19 3/16 x 13 1/2 in. (48.7 x 34.3 cm) Framed: 25 3/4 x 20 1/2 x 2 1/4 in. (65.4 x 52.1 x 5.7 cm)
AP 1986.05
Ercole de’ Roberti spent the latter half of his career at the court of Ercole I d’Este, Duke of Ferrara, painting altarpieces, small devotional works, portraits, and fresco cycles for the Este residences, as well as decorative projects.
Virgin and Child
Virgin and Child

Virgin and Child

South German
15th century
15th century
1486
Silver, parcel-gilt, stones (opal, clear and pale sapphires, garnets, and pale emeralds)
21 × 6 3/4 × 6 3/4 in. (53.3 × 17.1 × 17.1 cm)
AP 2002.03
The subject of this rare example of Late Gothic church sculpture can be identified as the Virgin of the Apocalypse, whose imagery—the aureole of the sun, along with the twelve stars in her crown, and the crescent moon beneath her—is derived from the book of Revelation (12:1–5): “And there appeared a
The Torment of Saint Anthony
The Torment of Saint Anthony

The Torment of Saint Anthony

Michelangelo Buonarroti
Italian (1475–1564)
15th century
c. 1487-88
Tempera and oil on panel
18 1/2 x 13 3/4 in. (47 x 34.9 cm) Framed: 27 x 22 3/8 x 2 1/4 in. (68.6 x 56.8 x 5.7 cm)
AP 2009.01
This is the first known painting by Michelangelo, described by his earliest biographers and believed to have been painted when he was twelve or thirteen years old.

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