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cmamedieval.bsky.social
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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Close Helmet (from a funerary achievement?) https://clevelandart.org/art/1916.1787
This helmet was originally intended for field use. Later, it seems to have served a funerary purpose, probably as an ornament (known as a funerary achievement) suspended over the church tomb of an unidentified knight. As such, it would have been a rich and imposing symbol of the dead knight's social rank and personal authority.
November 15, 2025 at 7:00 PM
cmamedieval.bsky.social
Two Pounds (obverse) https://clevelandart.org/art/1969.214.a
Two Pounds (obverse)
November 15, 2025 at 3:08 PM
cmamedieval.bsky.social
Partisan https://clevelandart.org/art/1916.31
Partisan
November 15, 2025 at 12:13 PM
cmamedieval.bsky.social
Miniature from a Latin Bible: St. Luke https://clevelandart.org/art/1968.190
Inspired by Byzantine painting, this rare miniature represents the last surviving fragment of a once magnificent bible. The fundamental text of every medieval monastery was the Latin Bible. Monastic bibles at this time were usually large, cumbersome books (commonly in two or three volumes) designed to be recited from a lectern-rather than for private study. This exquisite miniature was excised from such a bible and introduces the beginning of the Gospel of St. Luke. Undoubtedly copied and painted in the scriptorium at Cluny, the bible may have been influenced by a manuscript carried to Cluny from Byzantium, or else may represent the work of an Italian artist working at Cluny but acquainted with Byzantine modes of painting. A large monastery such as Cluny probably had up to a dozen copyists continuously producing such manuscripts. A surviving 12th-century booklist records that Cluny possessed some 570 volumes, a large number for the time.
November 15, 2025 at 10:39 AM
cmamedieval.bsky.social
Book of Hours (Use of Rouen): fol. 54v https://clevelandart.org/art/1952.227.54.b
Book of Hours (Use of Rouen): fol. 54v
November 15, 2025 at 8:39 AM
cmamedieval.bsky.social
Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 210r https://clevelandart.org/art/1963.256.210.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.
November 14, 2025 at 6:47 PM
cmamedieval.bsky.social
Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 149r https://clevelandart.org/art/1963.256.149.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.
November 14, 2025 at 6:08 PM
cmamedieval.bsky.social
Printed Book of Hours (Use of Rome): fol. 111v, St. Apollonia https://clevelandart.org/art/2009.276.111.b
Printed Book of Hours (Use of Rome): fol. 111v, St. Apollonia
November 14, 2025 at 3:10 PM
cmamedieval.bsky.social
Printed Book of Hours (Use of Rome): fol. 104v, St. Anthony Abbot https://clevelandart.org/art/2009.276.104.b
Printed Book of Hours (Use of Rome): fol. 104v, St. Anthony Abbot
November 14, 2025 at 2:17 PM
cmamedieval.bsky.social
Candlestick https://clevelandart.org/art/1961.25.1
Candlestick
November 14, 2025 at 12:32 PM
cmamedieval.bsky.social
Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 270v https://clevelandart.org/art/1963.256.270.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.
November 13, 2025 at 6:45 PM
cmamedieval.bsky.social
Fol. 368v, Malachi, historiated initial O, Malachi seated with a scroll https://clevelandart.org/art/2008.2.368.b
Biblical manuscripts were highly prized and important possessions of churches, monasteries, cathedral schools, and universities throughout medieval Europe. The biblical texts were known as the vulgate, the translations made by Saint Jerome in the fourth century from Hebrew and Greek into Latin, which became the definitive and official Latin version of the Roman Church. In the 13th century, the bible was, for the first time, produced as a single volume with an officially sanctioned sequence to its books and chapters as illustrated by this example. The very extensive decoration of this bible is arranged hierarchically to indicate the relative importance of the various texts so that full or almost full-page initials mark the openings of the first prologue, Genesis, and the first Gospel; historiated initials mark the beginning of each book and illuminated initials mark the Prologues.
November 13, 2025 at 3:53 PM
cmamedieval.bsky.social
Hours of Charles the Noble, King of Navarre (1361-1425), fol. 281v, St. Valentine https://clevelandart.org/art/1964.40.281.b
This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for most of the borders, was a Florentine who signed his name "Zecho" da Firenze on folio 208 verso.
November 13, 2025 at 2:29 PM
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Missale: Fol. 185v: Crucifixion with borders (full page) https://clevelandart.org/art/2006.154.185.b
Missale: Fol. 185v: Crucifixion with borders (full page)
November 13, 2025 at 9:59 AM
cmamedieval.bsky.social
Historiated Initial (U) Excised from a Bible https://clevelandart.org/art/1954.131.5
Historiated Initial (U) Excised from a Bible
November 13, 2025 at 9:14 AM
cmamedieval.bsky.social
Solidus of Justinian II with Bust of Christ (obverse) https://clevelandart.org/art/2012.47.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.
November 12, 2025 at 7:39 PM
cmamedieval.bsky.social
The Gotha Missal: Fol. 15r, Text https://clevelandart.org/art/1962.287.15.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.
November 12, 2025 at 1:44 PM
cmamedieval.bsky.social
Fol. 361v, Habbakuk, historiated initial O, Habbakuk holding a basket and two stones, seized by the hair by an angel https://clevelandart.org/art/2008.2.361.b
Biblical manuscripts were highly prized and important possessions of churches, monasteries, cathedral schools, and universities throughout medieval Europe. The biblical texts were known as the vulgate, the translations made by Saint Jerome in the fourth century from Hebrew and Greek into Latin, which became the definitive and official Latin version of the Roman Church. In the 13th century, the bible was, for the first time, produced as a single volume with an officially sanctioned sequence to its books and chapters as illustrated by this example. The very extensive decoration of this bible is arranged hierarchically to indicate the relative importance of the various texts so that full or almost full-page initials mark the openings of the first prologue, Genesis, and the first Gospel; historiated initials mark the beginning of each book and illuminated initials mark the Prologues.
November 12, 2025 at 1:04 PM
cmamedieval.bsky.social
Book of Hours (Use of Rouen): fol. 138v https://clevelandart.org/art/1952.227.138.b
Book of Hours (Use of Rouen): fol. 138v
November 12, 2025 at 9:51 AM
cmamedieval.bsky.social
Pair of Panels from a Choir Stall https://clevelandart.org/art/1971.270
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.
November 12, 2025 at 8:11 AM
cmamedieval.bsky.social
The Judgment of Solomon and Esther before Ahasuerus (pair) https://clevelandart.org/art/1968.188
Though also a painter and printmaker, Dierick (or Dirk) Vellert is best known as a designer of stained glass. Active in Antwerp, where he became a master of the Guild of Saint Luke in 1511, Vellert richly ornamented his work with garlands, masks, vases, and other classically inspired motifs. A great deal of his glass was exported. As an engraver, his prints owe a good deal to Albrecht Dürer and Luca van Leyden. These two panels depict famous incidents from the Old Testament featuring the rendering of judgment. Both may have originally been made for a council chamber or a court of justice. Conceivably, because of their subjects, they could have served as models of justice for the magistrates who deliberated within view of them.
November 11, 2025 at 3:50 PM
cmamedieval.bsky.social
Leaf from a Book of Hours: Text (verso) https://clevelandart.org/art/2014.21.b
In a book of hours, the suffrages generally appear at the end of the manuscript and consist of prayers to particular saints, often illustrated by miniatures. Saints were the protectors and patrons of medieval people, and countless owners of books of hours must have been consoled by reciting these prayers and readings that contained elements of praise and pleas for intercession. This miniature introduces the suffrage to Saint Catherine of Alexandria, an early virgin martyr of the Christian Church cruelly killed by the Emperor Maxentius (died AD 312). The text begins: <em>Gaude</em> <em>dulcis katherina virgo martr</em> (Rejoice dear Catherine, virgin and martyr). Catherine appears with a palm branch, the symbol of martyrdom, and is flanked by Saints Geneviève and Margaret, two other virgin martyrs of the early church.
November 11, 2025 at 2:36 PM
cmamedieval.bsky.social
Single Miniature Excised from Boccaccio's Des Cleres et nobles femmes: Queen Medusa and Her Court https://clevelandart.org/art/1924.1015
This miniature comes from the French translation of a book by the Italian poet Giovanni Boccaccio (1313–1375). A compilation of biographies of famous women, Boccaccio’s work remained popular in France throughout the 1400s, especially with aristocratic bibliophiles, and was usually beautifully illustrated in the form of a deluxe manuscript. Shown here is the miniature introducing the chapter dealing with the legend of Queen Medusa. Surrounded by her courtiers, Medusa instructs the reader on the disadvantages of possessing wealth, which brings fear and superstition as well as loss of sleep, security, and peace of mind.
November 11, 2025 at 12:02 PM
cmamedieval.bsky.social
Engaged Capital with Birds and Dragons https://clevelandart.org/art/1916.1985
The columns and bases here are not original to these capitals
November 11, 2025 at 11:23 AM
cmamedieval.bsky.social
Phylactery (Reliquary Penant) https://clevelandart.org/art/1999.237
Phylactery (Reliquary Penant)
November 11, 2025 at 8:26 AM