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Name Medieval

Associated Records

Image of 59.127 -

59.127 -

Circular seal decorated in intaglio with images defined by hatched lines and an inscription near the rim but it is almost impossible to identify the letters. The obverse figure is on a cross, the reverse figure is enclosed in a square, this figure appears to have a mitre on its head. 500- 1300 AD

Image of 59.134 -

59.134 -

This elaborately dressed male figure has been identified as a papal saint. He is in the midst of offering a blessing to his viewers, as is evident in the gesture of his right hand; his left would have most likely held a crosier or staff. The papal tiara he wears evolved from a pointed round cap in the 11th century to the ornate triple-crowned headpiece in the 16th century, with variations still being used by the papacy today. Spain had great interest in the artistic styles of Northern Europe, including the continuation of some medieval themes. Visual representations of saints both in painting and sculpture continued to be popular through the early modern period. 1500-1599 AD The continuit

Image of 62.44 -

62.44 -

Relics were housed in containers known as reliquaries, which often took the shape of the body part of the relic. A bone from a finger might be housed in a hand-shaped reliquary, while a skull might be encased in one resembling the head or bust of the deceased person. These were called "speaking image" reliquaries, because they stood in for or "spoke" for the body part they resembled. This example is in the shape of an arm, a rather widespread form in late medieval and early Renaissance times, examples of which have been recovered in places as distant as modern-day Armenia and Ireland. Because a reliquary was thought to retain the power and holiness of the saintly person, clergy used arm reliq

Image of 63.14 -

63.14 -

One of the more popular scenes of the New Testament to be visually represented is the moment of Christ's conception. Known as the Annunciation, the story involves the archangel Gabriel informing the Virgin Mary that she is pregnant with the Son of God. This large stone sculpture depicts the Virgin at the moment the angel appears. He has startled her, as is evident from her right hand placed on her breast as if gasping while her left hand rests on the page of the book she has just been reading. The work would originally have been completely painted. Traces of yellow remain in her hair and red and green-blue on her dress and mantle, respectively. The unfinished condition of the back indicates t