The Cloisters

Christ Blessing Artist:Gerard David (Netherlandish, Oudewater ca. 1455–1523 Bruges) Date:ca. 1500–1505 Medium:Oil on wood Dimensions:Overall, including engaged frame, 4 3/4 x 3 1/2 in. (12.1 x 8.9 cm); painted surface 3 5/8 x 2 3/8 in. (9.2 x 6 cm) Classification:Paintings Credit Line:Purchase, The Cloisters Collection, Hester Diamond and Kowitz Family Foundation Gifts, Dodge Fund, and Malcolm Hewitt Wiener Foundation Gift, 2009 Accession Number:2009.415 This highly spiritual and exquisitely rendered Christ Blessing was adapted from Byzantine icons brought to the Low Countries in the fifteenth century. The panel differs from the Byzantine models in the freshness of observation evident in Christ’s face and in the delicate articulation of the hands, the latter based on Gerard David’s drawings made from life. Text from: www.metmuseum.org/art/collection/search/439327

Pendant with the Coronation of the Virgin Date:1450–1500 Culture:North Netherlandish Medium:Ivory, silver gilt mount Dimensions:1 3/4 x 3/8 in. (4.4 x 0.9 cm) Classification:Ivories Credit Line:The Cloisters Collection, 1991 Accession Number:1991.97 The iconography of this roundel pendant of the Virgin Mary holding the Christ Child while being crowned by two angels refers both to the Virgin's role as the Queen of Heaven and to the Immaculate Conception. While the style is analogous to that of several examples of larger-scale sculpture variously attributed to Hainaut, Brabant, or Gelderland, the composition suggests an awareness of contemporary engraving on the subject--notably that by Wenzel von Olmütz, which is a copy in reverse of an engraving by the Master LCZ. Text from: www.metmuseum.org/art/collection/search/469932

Plaque with the Pentecost Date:ca. 1150–75 Geography:Made in Meuse Valley, South Netherlands Culture:South Netherlandish Medium:Champlevé and translucent enamel on copper gilt Dimensions:Overall: 4 1/16 x 4 1/16 x 1/4 in. (10.3 x 10.3 x 0.6 cm) Classification:Enamels-Champlevé Credit Line: The Cloisters Collection, 1965 Accession Number:65.105 The Acts of the Apostles recounts how they were infused with the Holy Spirit fifty days after Easter, an event celebrated by the feast of Pentecost. In this plaque, the use of gilding and of enamel over metal foil creates a shimmery effect appropriate to this mystical scene. Along with others of the same dimensions— including three in the main building of the Metropolitan Museum—it once decorated an imposing church furnishing, such as an altar, candlestick, or large cross. Text from: www.metmuseum.org/art/collection/search/470307

Triptych with the Passion of Christ Date:ca. 1475–85 Culture:South German Medium:Mother-of-pearl, gilt wood frame, silk backing, and tooled leather covering Dimensions:Overall (closed): 8 5/16 x 4 9/16 x 1 5/8 in. (21.2 x 11.6 x 4.2 cm) Overall (open): 8 3/8 x 9 7/16 x 7/8 in. (21.2 x 24 x 2.2 cm) wings: 8 3/8 x 2 3/16 x 5/8 in. (21.2 x 5.6 x 1.6 cm) Classification:Miscellaneous-Shell Credit Line:The Cloisters Collection, 2006 Accession Number:2006.249 This appears to be the only intact devotional triptych to survive that is decorated with mother-of-pearl plaques in openwork relief. By focusing on each scene, the owner would have been able to follow the narrative of the final moments leading up to the Crucifixion of Jesus. Curiously, the story begins in the second scene from the top at the left and proceeds clockwise. Above and below the central scene are symbols of the authors of the Gospels, and also images of Jesus and of Saint Michael slaying the dragon. Text from: www.metmuseum.org/art/collection/search/477236

Triptych with the Passion of Christ Date:ca. 1475–85 Culture:South German Medium:Mother-of-pearl, gilt wood frame, silk backing, and tooled leather covering Dimensions:Overall (closed): 8 5/16 x 4 9/16 x 1 5/8 in. (21.2 x 11.6 x 4.2 cm) Overall (open): 8 3/8 x 9 7/16 x 7/8 in. (21.2 x 24 x 2.2 cm) wings: 8 3/8 x 2 3/16 x 5/8 in. (21.2 x 5.6 x 1.6 cm) Classification:Miscellaneous-Shell Credit Line:The Cloisters Collection, 2006 Accession Number:2006.249 This appears to be the only intact devotional triptych to survive that is decorated with mother-of-pearl plaques in openwork relief. By focusing on each scene, the owner would have been able to follow the narrative of the final moments leading up to the Crucifixion of Jesus. Curiously, the story begins in the second scene from the top at the left and proceeds clockwise. Above and below the central scene are symbols of the authors of the Gospels, and also images of Jesus and of Saint Michael slaying the dragon. Text from: www.metmuseum.org/art/collection/search/477236

Purse Date:early 14th century Culture:French Medium:Silk, linen, gold leaf Dimensions:Overall: 5 1/2 x 6in. (14 x 15.2cm) Classification:Textiles-Embroidered Credit Line:Gift of Irwin Untermyer, 1964 Accession Number:64.101.1364 Text from: www.metmuseum.org/art/collection/search/468622

Saint Martin and the Brigands Date:ca. 1430 Culture:South Netherlandish Medium:Silk and metal thread on linen Dimensions:Diameter: 6 1/2in. (16.5cm) Classification:Textiles-Embroidered Credit Line:The Cloisters Collection, 1947 Accession Number:47.101.64 www.metmuseum.org/art/collection/search/468240

Roundel with Christ Taking Leave of His Mother Artist: After Hans Schäufelein (German, Nuremberg ca. 1480–ca. 1540 Nördlingen) Date:1507–15 Culture:South German Medium:Colorless glass, vitreous paint and silver stain Dimensions:Overall: 6 1/2 in. (16.5 cm) Classification:Glass-Stained Credit Line:Gift of Louis R. Slattery, in honor of Ashton Hawkins, 1985 Accession Number:1985.146 Text from: www.metmuseum.org/art/collection/search/469897

Roundel with Christ Taking Leave of His Mother Artist: After Hans Schäufelein (German, Nuremberg ca. 1480–ca. 1540 Nördlingen) Date:1507–15 Culture:South German Medium:Colorless glass, vitreous paint and silver stain Dimensions:Overall: 6 1/2 in. (16.5 cm) Classification:Glass-Stained Credit Line:Gift of Louis R. Slattery, in honor of Ashton Hawkins, 1985 Accession Number:1985.146 Text from: www.metmuseum.org/art/collection/search/469897

Roundel with Christ Taking Leave of His Mother Artist: After Hans Schäufelein (German, Nuremberg ca. 1480–ca. 1540 Nördlingen) Date:1507–15 Culture:South German Medium:Colorless glass, vitreous paint and silver stain Dimensions:Overall: 6 1/2 in. (16.5 cm) Classification:Glass-Stained Credit Line:Gift of Louis R. Slattery, in honor of Ashton Hawkins, 1985 Accession Number:1985.146 Text from: www.metmuseum.org/art/collection/search/469897

Roundel with Christ Taking Leave of His Mother Artist: After Hans Schäufelein (German, Nuremberg ca. 1480–ca. 1540 Nördlingen) Date:1507–15 Culture:South German Medium:Colorless glass, vitreous paint and silver stain Dimensions:Overall: 6 1/2 in. (16.5 cm) Classification:Glass-Stained Credit Line:Gift of Louis R. Slattery, in honor of Ashton Hawkins, 1985 Accession Number:1985.146 Text from: www.metmuseum.org/art/collection/search/469897

Dish with Abraham and Melchizedek Artist:Hans of Landshut (German, Landshut, active late 15th century) Date:1498 Culture:South German Medium:Free-blown glass with paint and metallic foils Dimensions:Overall: 14 1/2 x 1 5/8 in. (36.9 x 4.2 cm) Classification:Glass-Miscellany Credit Line:The Cloisters Collection, 2008 Accession Number:2008.278 At the center of this complex scene, the patriarch Abraham, fresh from victorious battle, meets the king and high priest Melchizedek, who at once gives him bread and wine, blesses him, and takes a tenth of Abraham’s loot. Because Melchizedek is dressed as a bishop and his offering takes the form of a Christian chalice and paten, the plate for the bread consecrated at the Mass, the scene was interpreted as an exemplum of sacrifice and redemption, foreshadowing Jesus’ death on the cross for the salvation of mankind. This suggests that the glass dish served as a paten. At the top of each lantern flanking the openwork frame is a lion holding a staff with a pennant and supporting a shield; the one on the left bears the arms of the city of Freising, and the one on the right those of its Bishopric. However, it is Landshut, a town in southern Germany, that is represented in the background. A document in the archives of Freising cathedral states that a glass dish was painted by a Hans of Landshut. The S-shaped banderole at the base of the left column is inscribed "1[4]" and its counterpart on the right "9 8," indicating the date of 1498. The complex application of pigments, colored glazes, and metallic foils to the outside of the glass vessel—in the reverse order of panel painting—is unprecedented at this early date. Text from: www.metmuseum.org/art/collection/search/478211

Dish with Abraham and Melchizedek Artist:Hans of Landshut (German, Landshut, active late 15th century) Date:1498 Culture:South German Medium:Free-blown glass with paint and metallic foils Dimensions:Overall: 14 1/2 x 1 5/8 in. (36.9 x 4.2 cm) Classification:Glass-Miscellany Credit Line:The Cloisters Collection, 2008 Accession Number:2008.278 At the center of this complex scene, the patriarch Abraham, fresh from victorious battle, meets the king and high priest Melchizedek, who at once gives him bread and wine, blesses him, and takes a tenth of Abraham’s loot. Because Melchizedek is dressed as a bishop and his offering takes the form of a Christian chalice and paten, the plate for the bread consecrated at the Mass, the scene was interpreted as an exemplum of sacrifice and redemption, foreshadowing Jesus’ death on the cross for the salvation of mankind. This suggests that the glass dish served as a paten. At the top of each lantern flanking the openwork frame is a lion holding a staff with a pennant and supporting a shield; the one on the left bears the arms of the city of Freising, and the one on the right those of its Bishopric. However, it is Landshut, a town in southern Germany, that is represented in the background. A document in the archives of Freising cathedral states that a glass dish was painted by a Hans of Landshut. The S-shaped banderole at the base of the left column is inscribed "1[4]" and its counterpart on the right "9 8," indicating the date of 1498. The complex application of pigments, colored glazes, and metallic foils to the outside of the glass vessel—in the reverse order of panel painting—is unprecedented at this early date. Text from: www.metmuseum.org/art/collection/search/478211

Plaque with Scenes at Emmaus Date: ca. 850–900 Geography: Made in northern France Culture: Carolingian Medium: Elephant ivory Dimensions: Overall: 4 9/16 x 9 1/4 x 1/4 in. (11.5 x 23.5 x 0.6 cm) Classification: Ivories Credit Line: The Cloisters Collection, 1970 Accession Number: 1970.324.1 Among the finest ivory carvings in the Cloisters collection, this plaque depicts Christ’s appearance to two of his disciples after his Resurrection. Christ, who is distinguished by his halo, meets the disciples along the road to the town of Emmaus, near Jerusalem. As described in the Gospel of Luke (24:13–35), although not recognizing Christ, they urge him to stay in town with them. Once within Emmaus, they finally recognize him as he breaks bread for their shared evening meal. Judging from the horizontal format and the recesses along the top edge to accommodate hinges, this plaque once served as the back panel of a small coffret. Originally, the recessed images of birds and flowers in the border were filled with gold foil. Text from: www.metmuseum.org/art/collection/search/471970

Plaque with Scenes at Emmaus Date: ca. 850–900 Geography: Made in northern France Culture: Carolingian Medium: Elephant ivory Dimensions: Overall: 4 9/16 x 9 1/4 x 1/4 in. (11.5 x 23.5 x 0.6 cm) Classification: Ivories Credit Line: The Cloisters Collection, 1970 Accession Number: 1970.324.1 Among the finest ivory carvings in the Cloisters collection, this plaque depicts Christ’s appearance to two of his disciples after his Resurrection. Christ, who is distinguished by his halo, meets the disciples along the road to the town of Emmaus, near Jerusalem. As described in the Gospel of Luke (24:13–35), although not recognizing Christ, they urge him to stay in town with them. Once within Emmaus, they finally recognize him as he breaks bread for their shared evening meal. Judging from the horizontal format and the recesses along the top edge to accommodate hinges, this plaque once served as the back panel of a small coffret. Originally, the recessed images of birds and flowers in the border were filled with gold foil. Text from: www.metmuseum.org/art/collection/search/471970

Plaque with Scenes at Emmaus Date: ca. 850–900 Geography: Made in northern France Culture: Carolingian Medium: Elephant ivory Dimensions: Overall: 4 9/16 x 9 1/4 x 1/4 in. (11.5 x 23.5 x 0.6 cm) Classification: Ivories Credit Line: The Cloisters Collection, 1970 Accession Number: 1970.324.1 Among the finest ivory carvings in the Cloisters collection, this plaque depicts Christ’s appearance to two of his disciples after his Resurrection. Christ, who is distinguished by his halo, meets the disciples along the road to the town of Emmaus, near Jerusalem. As described in the Gospel of Luke (24:13–35), although not recognizing Christ, they urge him to stay in town with them. Once within Emmaus, they finally recognize him as he breaks bread for their shared evening meal. Judging from the horizontal format and the recesses along the top edge to accommodate hinges, this plaque once served as the back panel of a small coffret. Originally, the recessed images of birds and flowers in the border were filled with gold foil. Text from: www.metmuseum.org/art/collection/search/471970

Plaque with Scenes at Emmaus Date: ca. 850–900 Geography: Made in northern France Culture: Carolingian Medium: Elephant ivory Dimensions: Overall: 4 9/16 x 9 1/4 x 1/4 in. (11.5 x 23.5 x 0.6 cm) Classification: Ivories Credit Line: The Cloisters Collection, 1970 Accession Number: 1970.324.1 Among the finest ivory carvings in the Cloisters collection, this plaque depicts Christ’s appearance to two of his disciples after his Resurrection. Christ, who is distinguished by his halo, meets the disciples along the road to the town of Emmaus, near Jerusalem. As described in the Gospel of Luke (24:13–35), although not recognizing Christ, they urge him to stay in town with them. Once within Emmaus, they finally recognize him as he breaks bread for their shared evening meal. Judging from the horizontal format and the recesses along the top edge to accommodate hinges, this plaque once served as the back panel of a small coffret. Originally, the recessed images of birds and flowers in the border were filled with gold foil. Text from: www.metmuseum.org/art/collection/search/471970

Plaque with Scenes at Emmaus Date: ca. 850–900 Geography: Made in northern France Culture: Carolingian Medium: Elephant ivory Dimensions: Overall: 4 9/16 x 9 1/4 x 1/4 in. (11.5 x 23.5 x 0.6 cm) Classification: Ivories Credit Line: The Cloisters Collection, 1970 Accession Number: 1970.324.1 Among the finest ivory carvings in the Cloisters collection, this plaque depicts Christ’s appearance to two of his disciples after his Resurrection. Christ, who is distinguished by his halo, meets the disciples along the road to the town of Emmaus, near Jerusalem. As described in the Gospel of Luke (24:13–35), although not recognizing Christ, they urge him to stay in town with them. Once within Emmaus, they finally recognize him as he breaks bread for their shared evening meal. Judging from the horizontal format and the recesses along the top edge to accommodate hinges, this plaque once served as the back panel of a small coffret. Originally, the recessed images of birds and flowers in the border were filled with gold foil. Text from: www.metmuseum.org/art/collection/search/471970