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CMA: Medieval Art

@cmamedieval.bsky.social

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Sharing public domain works from the Medieval Art department of the Cleveland Museum of Art. Automated thanks to @andreitr.bsky.social and @botfrens.bsky.social

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CMA: Medieval Art @cmamedieval.bsky.social · 7h

The Gotha Missal: Fol. 8r, Text clevelandart.org/art/1962.287.8.a

This elegant Latin manuscript is known today as The Gotha Missal after its eighteenth-century owners, the German Dukes of Gotha. The volume was originally copied and illuminated in Paris around 1375 -- a commission of the Valois king, Charles V "the Wise" (1364-1380), one of the great bibliophiles of the fifteenth century and brother of Dukes Philip the Bold of Burgundy and Jean de Berry. Manuscript missals were not intended for the lay user, but rather for the use of the celebrant at Mass. The present volume was therefore meant to be used by the king's private chaplain and was probably housed in Charles's private chapel, possibly in his principle residence, the Palace of the Louvre (demolished in the sixteenth century). The main decorative body of the missal consists of two full-page miniatures comprising the Canon of the Mass and twenty-three small miniatures. The style and high quality of the decoration points to its inclusion withing a select group of manuscripts accepted today as from the hand of Jean Bondol. Bondol was active at the court of Charles V from 1368 until 1381 where he headed the court workshop and also served as the king's valet de chambre. The blind-tooled leather binding dates to the fifteenth century.

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CMA: Korean Art @cmakorean.bsky.social · 22/09/2026

Bottle with Chrysanthemum Design clevelandart.org/art/1918.454

This rare long-neck celadon wine bottle is inlaid with white wild chrysanthemums, symbols of both the poem "Drinking Wine" and blessings of longevity. One root has three stems with tiny white blossoms. The damaged lip was repaired with gold lacquer.

Reposted by CMA: Medieval Art

Paul Klee @paul-klee.bsky.social · 22/09/2026

Movement of Vaulted Chambers www.metmuseum.org/art/collection/se…

The Berggruen Klee Collection, 1984

CMA: Medieval Art @cmamedieval.bsky.social · 13h

Leaf from a Book of Hours: The Crucifixion clevelandart.org/art/2011.58

The Master of Guillebert de Mets is named after the scribe who records his name in an illuminated copy of the <em>Decameron</em>, made for Duke Philip the Good of Burgundy, and for which he contributed many of its miniatures. He was active from about 1410 to 1445. So far there is no proof that allows us to follow his career or to know precisely where he worked. Calendars in other manuscripts with which he is associated suggest his shop may have been in Tournai, Liège, Bruges, and more credibly, Ghent. His commissions may have been linked to the itinerant Burgundian court, though no original provenance survives for any of his manuscripts. The Master of Guillebert de Mets painted in an easily recognizable style. His figures have prominent heads with well-delineated eyes and small mouths, slender torsos with thin, spindly legs, and long, finely worked fingers. Many of his miniatures, such as The Crucifixion and The Last Judgment here, show that he often favored mosaic backgrounds of delicately worked checkered patterns.

CMA: Medieval Art @cmamedieval.bsky.social · 15h

Pilgrim’s Flask clevelandart.org/art/1999.234

After the Crusader conquest of the Holy Land in 1099, Jerusalem experienced a revival of Christian pilgrimage. During the 12th century, the Church of the Holy Sepulcher was rebuilt, redecorated, and reconsecrated. With the influx of new pilgrims, especially from Western Europe, lead ampullae (small flasks) such as this very rare example were briefly reintroduced. The flask was cast with images of the Church of the Holy Sepulcher and Christ’s Descent into Limbo (Anastasis), establishing a visual connection with the holy sites of Christ’s death and entombment.

CMA: Medieval Art @cmamedieval.bsky.social · 17h

Earring clevelandart.org/art/1975.48.2

Earring

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CMA: Medieval Art @cmamedieval.bsky.social · 17h

Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 248r clevelandart.org/art/1963.256.248.a

This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.

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Pablo Picasso @pablopicasso.bsky.social · 21/09/2026

Variant of Faces (1st supplementary suite, plate 1) from the illustrated book La Chèvre-Feuille botfrens.com/collections/111/conten…

The Louis E. Stern Collection

CMA: Medieval Art @cmamedieval.bsky.social · 05/10/2026

Icon of the Mother of God and Infant Christ (Virgin Eleousa) clevelandart.org/art/2010.154

This type of icon is known as the Virgin Eleousa (Virgin of Tenderness) characterized by the touching cheeks of mother and child in a loving moment. The icon signifies Christ’s incarnation, suffering, and death for the sake of humankind. Three ornamental stars on the Virgin’s cloak are traditional symbols of her chastity; a blue cap covers her hair and protects her modesty. The child wears a pale green tunic and deep orange cloak, both highlighted in gold. The Christ Child holds a scroll tied with a ribbon, a symbol of the Gospels. The icon was painted by the Cretan icon painter Akotantos, the preeminent artistic personality on Crete during the 1400s. This icon is from his period of greatest activity and pre-dates the collapse of Constantinople in 1453. The treatment of the faces and draperies is handled with fluency and skill and reveals Akotantos to be a painter of great talent. Given its large scale, the icon was intended for use within an orthodox church, possibly a monastery, and not for a private home.

CMA: Medieval Art @cmamedieval.bsky.social · 05/10/2026

Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 112v clevelandart.org/art/1963.256.112.b

This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.

CMA: Medieval Art @cmamedieval.bsky.social · 05/10/2026

Book of Hours (Use of Rouen): fol. 61v clevelandart.org/art/1952.227.61.b

Book of Hours (Use of Rouen): fol. 61v

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CMA: Medieval Art @cmamedieval.bsky.social · 05/10/2026

Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 108v clevelandart.org/art/1963.256.108.b

This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.

Reposted by CMA: Medieval Art

CMA: Greek and Roman Art @cmagreekroman.bsky.social · 21/09/2026

Athlete or Apollo clevelandart.org/art/1927.170

Athlete or Apollo

CMA: Medieval Art @cmamedieval.bsky.social · 05/10/2026

The Gotha Missal: Fol. 62r, Text clevelandart.org/art/1962.287.62.a

This elegant Latin manuscript is known today as The Gotha Missal after its eighteenth-century owners, the German Dukes of Gotha. The volume was originally copied and illuminated in Paris around 1375 -- a commission of the Valois king, Charles V "the Wise" (1364-1380), one of the great bibliophiles of the fifteenth century and brother of Dukes Philip the Bold of Burgundy and Jean de Berry. Manuscript missals were not intended for the lay user, but rather for the use of the celebrant at Mass. The present volume was therefore meant to be used by the king's private chaplain and was probably housed in Charles's private chapel, possibly in his principle residence, the Palace of the Louvre (demolished in the sixteenth century). The main decorative body of the missal consists of two full-page miniatures comprising the Canon of the Mass and twenty-three small miniatures. The style and high quality of the decoration points to its inclusion withing a select group of manuscripts accepted today as from the hand of Jean Bondol. Bondol was active at the court of Charles V from 1368 until 1381 where he headed the court workshop and also served as the king's valet de chambre. The blind-tooled leather binding dates to the fifteenth century.

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CMA: Medieval Art @cmamedieval.bsky.social · 04/10/2026

Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 78r clevelandart.org/art/1963.256.78.a

This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies.
This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.

CMA: Medieval Art @cmamedieval.bsky.social · 04/10/2026

Book of Hours (Use of Paris): Annunciation clevelandart.org/art/1942.169.50.a

The Guise Master-named after the book of hours he illustrated for François de Lorraine, Duke of Guise-developed his style from the more dominant Parisian workshop of the Boucicaut Master.

CMA: Medieval Art @cmamedieval.bsky.social · 04/10/2026

Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 162r clevelandart.org/art/1963.256.162.a

This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.

Reposted by CMA: Medieval Art

Claude Monet @monet.bsky.social · 20/09/2026

Stack of Wheat - 1890/1891 botfrens.com/collections/41/content…

Restricted gift of the Searle Family Trust; Major Acquisitions Centennial Endowment; through prior acquisitions of the Mr. and Mrs. Martin A. Ryerson and Potter Palmer collections; through prior bequest of Jerome Friedman

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CMA: Islamic Art @cmaislamic.bsky.social · 20/09/2026

Minai Beaker with Seated Princes clevelandart.org/art/1917.977

Minai enamel painting created true polychrome ceramic for the first time, combining blues, green, and purples with sharp black and red--the most difficult ceramic color of all--with precise control.

CMA: Medieval Art @cmamedieval.bsky.social · 04/10/2026

Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 249r clevelandart.org/art/1963.256.249.a

This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.

CMA: Medieval Art @cmamedieval.bsky.social · 04/10/2026

Nomisma with Eudocia and Romanus IV Diogenes (obverse) clevelandart.org/art/1964.425.a

Byzantine Gold Coins

The vast number of surviving Byzantine coins attests to the level of trade across the empire. Controlled and supervised by the emperor, the producers of coins took care to represent his authority and reflect his stature. Talented artists were recruited to engrave the dies (molds) used for the striking of coins. Emperors increasingly came to include their heirs and co-emperors on their coinage, as well as other family members or even earlier rulers. Coins were recognized, then as now, as small, portable works of art. With their inscriptions and images, Byzantine coins provide valuable documentation of historical events and a record of the physical appearance of the emperors. The coins shown here include the solidus, the basic gold coin of 24 karats; the tremissis, a gold coin of one-third the weight and value of the solidus; and the nomisma, which in the 10th century replaced the solidus as the standard gold coin.

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CMA: Medieval Art @cmamedieval.bsky.social · 03/10/2026

Book of Hours (Use of Rouen): fol. 81r clevelandart.org/art/1952.227.81.a

Book of Hours (Use of Rouen): fol. 81r

CMA: Medieval Art @cmamedieval.bsky.social · 03/10/2026

The Gotha Missal: Fol. 6r, Text clevelandart.org/art/1962.287.6.a

This elegant Latin manuscript is known today as The Gotha Missal after its eighteenth-century owners, the German Dukes of Gotha. The volume was originally copied and illuminated in Paris around 1375 -- a commission of the Valois king, Charles V "the Wise" (1364-1380), one of the great bibliophiles of the fifteenth century and brother of Dukes Philip the Bold of Burgundy and Jean de Berry. Manuscript missals were not intended for the lay user, but rather for the use of the celebrant at Mass. The present volume was therefore meant to be used by the king's private chaplain and was probably housed in Charles's private chapel, possibly in his principle residence, the Palace of the Louvre (demolished in the sixteenth century). The main decorative body of the missal consists of two full-page miniatures comprising the Canon of the Mass and twenty-three small miniatures. The style and high quality of the decoration points to its inclusion withing a select group of manuscripts accepted today as from the hand of Jean Bondol. Bondol was active at the court of Charles V from 1368 until 1381 where he headed the court workshop and also served as the king's valet de chambre. The blind-tooled leather binding dates to the fifteenth century.

000

CMA: Medieval Art @cmamedieval.bsky.social · 03/10/2026

The Gotha Missal: Fol. 148v, Text clevelandart.org/art/1962.287.148.b

This elegant Latin manuscript is known today as The Gotha Missal after its eighteenth-century owners, the German Dukes of Gotha. The volume was originally copied and illuminated in Paris around 1375 -- a commission of the Valois king, Charles V "the Wise" (1364-1380), one of the great bibliophiles of the fifteenth century and brother of Dukes Philip the Bold of Burgundy and Jean de Berry. Manuscript missals were not intended for the lay user, but rather for the use of the celebrant at Mass. The present volume was therefore meant to be used by the king's private chaplain and was probably housed in Charles's private chapel, possibly in his principle residence, the Palace of the Louvre (demolished in the sixteenth century). The main decorative body of the missal consists of two full-page miniatures comprising the Canon of the Mass and twenty-three small miniatures. The style and high quality of the decoration points to its inclusion withing a select group of manuscripts accepted today as from the hand of Jean Bondol. Bondol was active at the court of Charles V from 1368 until 1381 where he headed the court workshop and also served as the king's valet de chambre. The blind-tooled leather binding dates to the fifteenth century.

000

CMA: Medieval Art @cmamedieval.bsky.social · 03/10/2026

Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 220v clevelandart.org/art/1963.256.220.b

This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.

000

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CMA: European Painting and Sculpture @cmaeuropeanpaint.bsky.social · 19/09/2026

Virgin Mary as a Child clevelandart.org/art/1962.282

Virgin Mary as a Child

CMA: Medieval Art @cmamedieval.bsky.social · 03/10/2026

Pinnacle with Angel clevelandart.org/art/1962.257.2

These pinnacles were originally set on top of a multipanel altarpiece that has now been lost. The angels' gestures and glances suggest that they were placed to the left and right of a central image.

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Remedios Varo @remediosvaro.bsky.social · 19/09/2026

Bankersin Action botfrens.com/collections/69/content…

"Bankers in Action" by Remedios Varo depicts a surreal scene where figures in top hats hover through a mysterious, otherworldly space. Varo's work often combines elements of mysticism and magic realism, reflecting her interest in the esoteric and the subconscious mind.

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CMA: Photography @cmaphotography.bsky.social · 19/09/2026

"Dread" Trotting clevelandart.org/art/1978.97

"Dread" Trotting

CMA: Medieval Art @cmamedieval.bsky.social · 02/10/2026

Keystone of an Arch: Female Bust within a Medallion Supported by Angels clevelandart.org/art/1955.67

Keystone of an Arch: Female Bust within a Medallion Supported by Angels

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CMA: Medieval Art @cmamedieval.bsky.social · 02/10/2026

Panel from a Choir Stall clevelandart.org/art/1971.270.b

The two larger panels-shown here in a fanciful arrangement-were probably the end panels of two stalls that faced each other across the choir of a Gothic church. The third and smaller panel originated from an interior portion of one of these stalls. The first large panel is carved with the figure of St. Francis of Assisi kneeling in prayer and receiving the stigmata. Two standing figures also appear on this panel: a nun at the left (perhaps St. Claire) and a female martyr at the right. Below is St. Michael and the dragon. The second large panel depicts a seated pope, possibly Urban IV, who holds the keys of St. Peter and a book. The small panel shows a female figure in a long gown standing on a plinth above two of the apocalyptic beasts, the winged lion of St. Mark and the winged ox of St. Luke, which are supported by a wyvern (a heraldic winged dragon). Both sides of this interior panel are intended to receive the missing seats.

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CMA: Medieval Art @cmamedieval.bsky.social · 02/10/2026

Book of Hours (Use of Rouen): fol. 112r clevelandart.org/art/1952.227.112.a

Book of Hours (Use of Rouen): fol. 112r

000

CMA: Medieval Art @cmamedieval.bsky.social · 02/10/2026

Leaf from a Book of Hours: St. Barbara (6 of 6 Excised Leaves) clevelandart.org/art/2011.57

This group of leaves survives from what must have been an extraordinarily rich book of hours. The elaborate Passion cycle and Suffrages point to an important commission. Evidence within the calendar and texts suggests that Metz was probably the place of production. Situated on the Moselle River, Metz was the cultural and commercial capital of Lorraine during the 1400s, as well as the location of an important bishopric. It was thus the center of a growing book trade. The illuminations appear to come from the workshop of Henri d'Orquevaulx, a documented Metz manuscript painter. Little is known about d'Orquevaulx's life or career. Compositionally, structurally, and stylistically, the miniatures suggest strong links to Netherlandish illumination. Details such as the tub, ewer, towel, and fireplace in the Nativity are typical of the northern love of crowded and unusual compositions, as well as domestic details. It is not known whether d'Orquevaulx came originally from the Netherlands or whether he simply worked or trained there at some point in his career.

CMA: Medieval Art @cmamedieval.bsky.social · 02/10/2026

The Gotha Missal: Fol. 102v, Text clevelandart.org/art/1962.287.102.b

This elegant Latin manuscript is known today as The Gotha Missal after its eighteenth-century owners, the German Dukes of Gotha. The volume was originally copied and illuminated in Paris around 1375 -- a commission of the Valois king, Charles V "the Wise" (1364-1380), one of the great bibliophiles of the fifteenth century and brother of Dukes Philip the Bold of Burgundy and Jean de Berry.

Manuscript missals were not intended for the lay user, but rather for the use of the celebrant at Mass. The present volume was therefore meant to be used by the king's private chaplain and was probably housed in Charles's private chapel, possibly in his principle residence, the Palace of the Louvre (demolished in the sixteenth century).

The main decorative body of the missal consists of two full-page miniatures comprising the Canon of the Mass and twenty-three small miniatures. The style and high quality of the decoration points to its inclusion withing a select group of manuscripts accepted today as from the hand of Jean Bondol. Bondol was active at the court of Charles V from 1368 until 1381 where he headed the court workshop and also served as the king's valet de chambre. The blind-tooled leather binding dates to the fifteenth century.

Reposted by CMA: Medieval Art

Claude Monet @monet.bsky.social · 18/09/2026

Étretat, gate and cliff of Aval - 1864 botfrens.com/collections/41/content…

Reposted by CMA: Medieval Art

CMA: Modern European Painting and Sculpture @cmaeuropepaint.bsky.social · 17/09/2026

Portrait of Sir Thomas Baring, 2nd Baronet clevelandart.org/art/1942.1140

Portrait of Sir Thomas Baring, 2nd Baronet

CMA: Medieval Art @cmamedieval.bsky.social · 01/10/2026

Histamenon of Romanus III clevelandart.org/art/2011.213.a

Histamenon of Romanus III

CMA: Medieval Art @cmamedieval.bsky.social · 01/10/2026

Partisan clevelandart.org/art/1951.352

Partisan

CMA: Medieval Art @cmamedieval.bsky.social · 01/10/2026

Panel from a Cassone: The Race of the Palio in the Streets of Florence clevelandart.org/art/1916.801

A cassone was a wooden chest used for the storage of clothing, an essential piece of furniture in Italian homes during the Renaissance and often produced in matched sets. The cassone was often made on the occasion of a marriage and elaborately decorated with painted scenes and gilded moldings. This panel comes from such a painted cassone. It was not uncommon for the painted decoration to represent a memorable event at the time of the marriage. This scene depicts the end of the Palio, a horse race held in the streets of Florence on the Feast of John the Baptist (June 24). The panel from the other side of the cassone is now preserved in the Bargello Museum in Florence and shows the procession of the Palii banners before the race. The cassone commemorates a wedding between members of the Fini and Aldobrandini families in 1418.

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Edward Hopper @edwardhopper.bsky.social · 17/09/2026

Dead Tree and Side of Lombard’s House - 1931 botfrens.com/collections/173/conten…

CMA: Medieval Art @cmamedieval.bsky.social · 01/10/2026

Ryal (obverse) clevelandart.org/art/1969.183.a

Ryal (obverse)

000

CMA: Medieval Art @cmamedieval.bsky.social · 01/10/2026

Leaves Excised from a Psalter (seven) clevelandart.org/art/1953.145

Traditional locations within the texts of manuscript psalters were marked by decorated initials or full-page miniatures. These miniatures designated the major divisions of the psalms as used in the daily office. The extraordinary quality of these miniatures suggests they once decorated a deluxe psalter made for a wealthy or aristocratic patron.

000

CMA: Medieval Art @cmamedieval.bsky.social · 30/09/2026

The Gotha Missal: Fol. 99r, Text clevelandart.org/art/1962.287.99.a

This elegant Latin manuscript is known today as The Gotha Missal after its eighteenth-century owners, the German Dukes of Gotha. The volume was originally copied and illuminated in Paris around 1375 -- a commission of the Valois king, Charles V "the Wise" (1364-1380), one of the great bibliophiles of the fifteenth century and brother of Dukes Philip the Bold of Burgundy and Jean de Berry. Manuscript missals were not intended for the lay user, but rather for the use of the celebrant at Mass. The present volume was therefore meant to be used by the king's private chaplain and was probably housed in Charles's private chapel, possibly in his principle residence, the Palace of the Louvre (demolished in the sixteenth century). The main decorative body of the missal consists of two full-page miniatures comprising the Canon of the Mass and twenty-three small miniatures. The style and high quality of the decoration points to its inclusion withing a select group of manuscripts accepted today as from the hand of Jean Bondol. Bondol was active at the court of Charles V from 1368 until 1381 where he headed the court workshop and also served as the king's valet de chambre. The blind-tooled leather binding dates to the fifteenth century.

000

CMA: Medieval Art @cmamedieval.bsky.social · 30/09/2026

Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 23r clevelandart.org/art/1963.256.23.a

This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.

Reposted by CMA: Medieval Art

CMA: Medieval Art @cmamedieval.bsky.social · 16/09/2026

Initial I with Elimelech and Naomi: Leaf from a Latin Bible (1 of 2 Excised Leaves) clevelandart.org/art/1999.123

The Johannes Grusch Workshop is named for the priest responsible for copying one of its bibles in 1267. The shop first appeared on the scene during the late 1230s, and an oeuvre of thirty-nine manuscripts has been identified. The workshop's oldest dated work is a missal made for Rouen Cathedral between 1235 and 1245. The style expressed by the Grusch artist consists of flat little figures with inked draperies of a fairly irregular sort. The bodies have white heads with small features, like the short-bearded chins of the men and pursed mouths. A large number of painters were apparently associated with this workshop, which changed its style considerably over its thirty-year period of activity. Its painting can be divided into early, middle, and late styles.

CMA: Medieval Art @cmamedieval.bsky.social · 30/09/2026

Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 124v clevelandart.org/art/1963.256.124.b

This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.

CMA: Medieval Art @cmamedieval.bsky.social · 30/09/2026

Crucified Christ clevelandart.org/art/1981.52

The striking impression of this figure is the vivid representation of suffering. The sculpture captures the moment after Christ’s death: the drooping head on a frail neck is a mask of agony. The eyes are nearly shut, the mouth is ajar, and the forehead crowned by heavy, gouging thorns is drawn with pain. The elongation of the body is emphasized by the emaciated chest with protruding ribs and bony limbs. The resulting sense of frailty and pathos is augmented by the heavy strands of hair that uncurl alongside the tormented face and by the loincloth folds that break the downward drape of the body. The sculpture belongs to a group of emotional crucifixes and pietas carved in the Middle-Rhine region for over a century beginning around 1300, examples of which are principally found in the city of Cologne. Such sculptures appealed to the Rhenish mystics, who advocated meditation based on the Passion of Christ.

CMA: Medieval Art @cmamedieval.bsky.social · 30/09/2026

Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 98v clevelandart.org/art/1963.256.98.b

This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies.
This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.

Reposted by CMA: Medieval Art

Gustav Klimt @klimtgustav.bsky.social · 17/09/2026

The Lovers botfrens.com/collections/109/conten…

Bequest of Scofield Thayer, 1982

Reposted by CMA: Medieval Art

CMA: Greek and Roman Art @cmagreekroman.bsky.social · 16/09/2026

Goblet clevelandart.org/art/1923.953

Goblet