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34 articles
Book Review
Die Gertrudisgruppe aus dem Welfenschatz: Ein sakrales Selbstzeugnis der Brunonenwitwe Gertrud d. Ä. (d.1077)
02/2025 | 1463 | 167
Pages: 189–190
related names
Reviewer:
Lutz, Gerhard (Lutz, Gerhard)
Subjects
Reviewed Items
subjects:
Die Gertrudisgruppe aus dem Welfenschatz: Ein sakrales Selbstzeugnis der Brunonenwitwe Gertrud d. Ä. (d.1077) By Katharina Beichler. 272 pp. incl. numerous col. + b. & w. ills. (Schnell & Steiner Verlag, Regensburg, 2024), €86. ISBN 978–3–7954–3869–2. | :
Illustrations
Western art unattributed:
2. Portable altar of Countess Gertrude of Brunswick. German, 11th century. Gold, cloisonné enamel, porphyry, gems, pearls, niello and wood, 10.5 by 27.5 by 21 cm. (Cleveland Museum of Art, Ohio).
Article
Silvio and Vincenzo Cosini in Venice and the altar of Girolamo Priuli in S. Salvatore
11/2023 | 1448 | 165
Pages: 1182-1189
related names
Author:
Schulz, Anne Markham (Schulz, Anne Markham)
Subjects
dates:
places:
Illustrations
Attributed works:
1. Altar of Girolamo di Lorenzo Priuli, S. Salvatore, Venice, by Guglielmo di Jacopo Grigi and Silvio and Vincenzo Cosini. 1524–37. White and coloured marbles, 6.25 by 2.14 m. (Photograph Magliani, Padua).
Attributed works:
10–12. Details of Fig.1, showing the capitals on the right side of the altar. (Photograph Magliani, Padua).
Attributed works:
13–14. Details of Fig.1, showing the capitals on the left side of the altar. (Photograph Magliani, Padua).
Attributed works:
15. Trophy, by Silvio Cosini. Marble. (Corridor outside Cappella Medici, S. Lorenzo, Florence; photograph Magliani, Padua).
Attributed works:
2. God the Father, by Silvio and Vincenzo Cosini. (Altar of Girolomo Priuli, S. Salvatore, Venice; photograph Magliani, Padua).
Attributed works:
3. St Jerome, by Tommaso Lombardo da Lugano. (Altar of Girolomo Priuli, S. Salvatore, Venice; photograph Magliani, Padua).
Attributed works:
4 and 5. Details of Fig.2, showing the face of God the Father. (Photograph Magliani, Padua).
Attributed works:
6. Detail of Fig.3, showing the face of St Jerome. (Photograph Magliani, Padua).
Attributed works:
7. Detail of Fig.1, showing the capitals on the right side of the altar. (Photograph Magliani, Padua)
Attributed works:
8. Presentation of the Virgin in the Temple, by Silvio Cosini. Marble. (Cathedral of S. Maria Assunta, Savona; photograph Magliani, Padua).
Attributed works:
9. Detail of God the Father, by an assistant of Silvio Cosini. Marble. (Crowning of the reliquary altar, S. Lorenzo, Portovenere; photograph Magliani, Padua).
Article
Counter-Reformation ambers: Friedrich Schmidt’s workshop in Kretinga, Lithuania
09/2022 | 1434 | 164
Pages: 839-853
related names
Author:
kulka, Rahul (kulka, Rahul)
Subjects
dates:
places:
places:
Illustrations
Attributed works:
1. Altar, by Friedrich Schmidt. 1678. Amber, ivory, wood, glass, silver and parchment, 29 by 20.7 by 16.5 cm. (Altonaer Museum, Hamburg; © SHMH-Altonaer Museum, permanent loan from the Federal Republic of Germany).
Attributed works:
10. Detail of the altar in Fig.1, showing an ivory panel carved with a kneeling saint.
Attributed works:
11. Detail of the casket in Figs.13 and 14, showing an ivory panel carved with the Annunciation.
Attributed works:
12. Detail of the altar in Fig.1, showing an ivory panel carved with the Annunciation.
Attributed works:
13 and 14. Casket of St Casimir (Cassetta di San Casimiro), by Friedrich Schmidt and workshop. 1678. Amber, ivory, glass, wood and silver, 35.5 by 58 by 20 cm. (Museo degli Argenti, Florence; © su concessione del Ministero della Cultura – Gallerie degli Uffizi, Tesoro dei Granduchi).
Attributed works:
15 and 16. Small altar with Crucifixion group, by the workshop of Friedrich Schmidt. 1677–78. Amber, ivory, glass and wood, height 59 cm. (Museo degli Argenti, Florence; © Su concessione del Ministero della Cultura – Gallerie degli Uffizi, Tesoro dei Granduchi).
Attributed works:
17 and 18. Large altar with Crucifixion group, by Friedrich Schmidt and workshop. c.1678. Amber, ivory, glass and wood, height 136 cm. (Museo degli Argenti, Florence; © Su concessione del Ministero della Cultura – Gallerie degli Uffizi, Tesoro dei Granduchi).
Attributed works:
19. Detail of the altar in Figs.17–18.
Attributed works:
2. The rear of the altar illustrated in Fig.1 .
Attributed works:
20. Candlestick, one of a small-sized pair, by Friedrich Schmidt and workshop. c.1678. Amber, ivory and wood. (Museo degli Argenti, Florence; © Su concessione del Ministero della Cultura – Gallerie degli Uffizi, Tesoro dei Granduchi).
Attributed works:
21. Candlestick, one of a medium-sized pair, by Friedrich Schmidt and workshop. c.1678. Amber, ivory and wood. (Museo degli Argenti, Florence; © Su concessione del Ministero della Cultura – Gallerie degli Uffizi, Tesoro dei Granduchi).
Attributed works:
22. Altar with Crucifixion group, by the workshop of Friedrich Schmidt, c.1678. Amber, ivory and wood, height 78 cm. (Schloss Weißenstein, Pommersfelden; from A. Rohde: Bernstein: Ein deutscher Werkstoff, Berlin 1937, fig.214).
Attributed works:
23 and 24. Reliquary by Friedrich Schmidt and workshop. c.1678. Amber, ivory, glass, wood and silver, 32 by 49.5 by 24.2 cm. (Convento di Santa Chiara, Naples; photograph © Marco Pedicini, courtesy the Central Directorate for Religious Affairs and for the Administration of the Fondo Edifici di Culto of the Ministry of the Interior).
Attributed works:
25. Candlestick, by the workshop of Friedrich Schmidt. c.1678. Amber, ivory and wood, height 28 cm. (Museo di Capodimonte, Naples; © Su concessione del Ministero della Cultura – Museo e Real Bosco di Capodimonte).
Attributed works:
26. Altar, by the workshop of Friedrich Schmidt. c.1678. Amber, ivory, glass and wood, height 31 cm. (Museum of Fine Arts, Boston; photograph © 2022 Museum of Fine Arts, Boston).
Attributed works:
27. Detail of the altar in Fig.28, showing a verre églomisé panel from the right side.
Attributed works:
28. St Casimir, by the Władysław Łazarski printing house. Early 20th-century reprint of an 18th-century woodblock print, 34 by 24 cm. (Częstochowa Museum; © Muzeum Częstochowskiego).
Attributed works:
29. Detail of the top of the altar in Fig.26.
Attributed works:
3. The interior of the altar illustrated in Fig.1.
Attributed works:
4. Detail of the altar illustrated in Fig.1, showing a verre églomisé panel.
Attributed works:
5. Detail of the altar illustrated in Fig.1, showing the inscription on the book.
Attributed works:
6 and 7. Details of an altar with Crucifixion group, by the workshop of Friedrich Schmidt. c.1678. Amber, ivory, glass and silver, height 45 cm. (© Muzeum Bursztynu, Malbork; on permanent loan from Muzeum Okręgowe, Tarnów).
Attributed works:
8. Altar, attributed to the workshop of Friedrich Schmidt. After 1678. Amber, ivory and wood, 53 by 36 by 23 cm. (Ostpreussisches Landesmuseum, Lüneburg; © Ostpreußisches Landesmuseum Lüneburg, Deutschbaltische Abteilung).
Attributed works:
9. Detail of the left side of the casket in Figs.13 and 14.
Book Review
Objects, Relics, and Migrants: The Basilica of Sant’Ambrogio in Milan and the Cult of its Saints (386–972)
04/2022 | 1429 | 164
Pages: 419-421
related names
Reviewer:
Quadri, Irene (Quadri, Irene)
Subjects
Reviewed Items
subjects:
Objects, Relics, and Migrants: The Basilica of Sant’Ambrogio in Milan and the Cult of its Saints (386–972) By Ivan Foletti. 250 pp. incl. 106 col. + 38 b. & w. ills. (Viella, Rome, 2020), €45. ISBN 978–88– 6728–950–9. | :
Illustrations
Attributed works:
2. Detail of the reverse of the Golden Altar, S. Ambrogio, Milan. 824–59. (Photograph Domenico Ventura).
Article
The tomb of the marquis d’Ennery by Dominique Fossati in Port-au-Prince
05/2021 | 1418 | 163
Pages: 416-427
related names
Author:
Bailey, Gauvin Alexander (Bailey, Gauvin Alexander)
Subjects
media:
Illustrations
Attributed works:
1. The east face of the tomb of Victor-Thérèse Charpentier, comte de Saint-Empire and marquis d’Ennery, by Charles-François Hesse, Dominique Fossati, Claude Condamin and V. Marinelly. 1777–78. Carrara marble and Provençal stone, bronze and iron, 175 by 211 by 267 cm. (Churchyard of Saint-Anne du Morne- -Tuf, Port-au-Prince).
Attributed works:
10. Detail of the Fontaine Fossati (Fontaine Jacques-Necker), Place des Capucins, Marseille, by Dominique Fossati. Begun 1778. Carrara marble and Provençal stone.
Attributed works:
11. High altar in the Roman style, by Dominique Fossati and Christophe Fossati. 1767–71. Polychrome marble and gilt bronze. (Vannes Cathedral).
Attributed works:
12. High altar in the Roman style. Installed c.1776. Polychrome Italian marble and gilt bronze. (Church of Saint-Jacques, Le Carbet).
Attributed works:
13. ‘Mausolée de coeur’ for Victor-Thérèse Charpentier, comte de Saint- Empire and marquis d’Ennery, by Jean-Antoine Houdon. 1781. Marble, 225 by 232 cm. (Musée du Louvre, Paris; Scala Archives).
Attributed works:
14. Revenge taken by the Black army for the cruelties practised on them by the French, by J. Barlow. Engraving, 20.6 by 17.9 cm. (From M. Rainsford: An Historical Account of the Black Empire of Hayti, London 1805; courtesy J. Carter Brown Library, Providence RI).
Attributed works:
2. Detail of Fig.1, showing the south face of the tomb and inscription panel.
Attributed works:
3. Detail of Fig.1, showing the death’s head from the tympanum.
Attributed works:
4. Detail of Fig.1, showing the arms of the marquis d’Ennery.
Attributed works:
5. Detail of Fig.6, showing the east face of the tomb.
Attributed works:
6. Design for the Tomb of Victor-Thérèse Charpentier, comte de Saint-Empire and marquis d’Ennery, by Charles-François Hesse. 1776. Ink and coloured wash on paper, 55 by 45 cm. (Archives Nationales d’Outre-Mer, Aix-en-Provence).
Attributed works:
7. Detail of one of the two fountains on the façade of the Promenade Publique, Port-au-Prince, by Antoine-François Sorel des Rivières. 1787–88.
Attributed works:
8. Elevation of one of the two fountains attached to the wall of the Promenade Publique on the Place de l’Intendance of the City of Port-au-Prince, by Antoine-François Sorrel des Rivières. 1788. Ink and colours on paper, sheet 61 by 46.5 cm. (Archives Nationales d’Outre-Mer, Aix-en-Provence).
Attributed works:
9. Plan and Profile to Serve for [. . .] the Construction of the General Reservoir (detail), by Charles-François Hesse and Mathias-Henri Demoulceau. 1774. Ink and colours on paper, sheet 38 by 65 cm. (Archives Nationales d’Outre-Mer, Aix-en-Provence).
Article
Architecture and liturgy in the east end of Saint-Urbain, Troyes
04/2021 | 1417 | 163
Pages: 332-343
related names
Author:
Olympios, Michalis (Olympios, Michalis)
Subjects
Illustrations
Attributed works:
2. Plan of Saint-Urbain, Troyes, annotated with the major interior partitions and identification of spaces mentioned in the text. The red rectangles frame the walls and staircase turrets between the apses. Drawing by the author, after F. Salet: ‘Saint-Urbain de Troyes’, Congr s arch ologique de France 113 (1955), p.101; and M.T. Davis and L.E. Neagley: ‘Mechanics and meaning: plan design at Saint-Urbain, Troyes and Saint-Ouen, Rouen’, Gesta 39 (2000), p.163, fig.2.
Attributed works:
7 and 8. Plans of Regensburg Cathedral: (top) wall passage level; and (bottom) ground-floor level. (Repr. A. Hubel and M. Schuller, eds: Der Dom zu Regensburg, Regensburg 2010–16, V, pl.72).
Western art unattributed:
1. The central apse of Saint-Urbain, Troyes (photograph Pierre- Louis Laget).
Western art unattributed:
10. The south apse of Regensburg Cathedral, showing the wall passage between central and south apses (photograph the author).
Western art unattributed:
11. View of the choir of Regensburg Cathedral during the general synod of 1650, by Melchior Küssel. 1650. Engraving, 60.2 by 52.7 cm. (Bisch fliches Zentralarchiv Regensburg, Collectio imaginum).
Western art unattributed:
12. Detail of windows on the north side of the north apse at Saint- Urbain, Troyes (photograph the author).
Western art unattributed:
13. The clerestorey in the central apse of Saint-Urbain, Troyes, as seen from the south apse through the wall passage opening (photograph the author).
Western art unattributed:
3. The central apse of Saint-Urbain, Troyes, looking southeast (photograph the author).
Western art unattributed:
4. The chapel of the Virgin Mary in the south apse at Saint-Urbain, Troyes (photograph the author).
Western art unattributed:
5. The south side of the turning bays in the north apse at Saint-Urbain, Troyes. The ground floor doorway of the staircase turret and the access to the passage between the north and central apses are both visible (photograph the author).
Western art unattributed:
6. The central apse of Regensburg Cathedral (photograph the author).
Western art unattributed:
9. The access from the south apse of Regensburg Cathedral to the adjacent staircase turret, showing (a) the doorway leading to the turret from the central apse; and (b) the turret’s ground floor entrance (photograph the author).
Exhibition Review
Gold und Ruhm: Kunst und Macht unter Kaiser Heinrich II
02/2021 | 1415 | 163
Pages: 161-163
related names
Reviewer:
Sears, Andrew (Sears, Andrew)
Subjects
art literature:
museums and institutions:
Reviewed Items
subjects:
Gold und Ruhm: Kunst und Macht unter Kaiser Heinrich II. Edited by Marc Fehlmann, Michael Matzke and Sabine Söll-Tauchert. 384 pp. incl. 255 col. ills. (Hirmer, Munich, 2019), €49.90. ISBN 978–3–7774–3404–9. | :
Illustrations
Western art unattributed:
4. Golden antependium. Bamberg (?), before 1019. Walnut core with raised gold; gilt copper (inscription panels); gilt silver-copper alloy (crowns of the two benefactors); precious and semiprecious stones, including antique gems; glass, pearls and enamel. 120 by 177.5 by 13 cm. (Musée de Cluny – musée national du Moyen Âge, Paris).
Western art unattributed:
5. Heinrichskreuz, reliquary cross. Germany, 11th century with later additions. Oak core with gold sheet, gold filigree, silver pearls, stones; back and sides silver sheet, goldplated; Crucifix and evangelist symbols cast and gold-plated silver, 51.2 by 46.2 cm. (Kunstgewerbemuseum, Berlin / bpk).
Western art unattributed:
6. Standing Christ and foliated border. Probably southwest Germany, around 1000 or earlier. Pen and ink on parchment, 37.5 by 25–30.5 cm. (Sammlung Günther, Basel).
Book Review
L’Altare di San Giovanni del Museo dell’Opera del Duomo di Firenze: Il restauro (2006–2012)
11/2020 | 1412 | 162
Pages: 1002-1003
related names
Reviewer:
Palozzi, Luca (Palozzi, Luca)
Subjects
Reviewed Items
subjects:
L’Altare di San Giovanni del Museo dell’Opera del Duomo di Firenze: Il restauro (2006–2012) Edited by Clarice Innocenti. 240 pp. incl. 300 col. ills. (Mandragora, Florence, 2018), £98. ISBN 978–88–7461–396–0. | :
Illustrations
Attributed works:
5. Beheading of St John, by Andrea del Verrocchio (1478–83), from the silver altar of St John (1366–1483) made for the Baptistery, Florence, disassembled after cleaning. (Museo dell’Opera del Duomo, Florence).
Article
The Victorian high-altar reredos in St Paul’s Cathedral, London
08/2020 | 1409 | 162
Pages: 646-657
related names
Author:
Hall, Michael (Hall, Michael)
Subjects
dates:
media:
Illustrations
Attributed works:
1. The high-altar reredos in St Paul’s Cathedral, London, designed by Thomas Garner and made by Farmer and Brindley. 1888. Photograph by A.F. Kersting, c.1939. (© The Courtauld Institute of Art, London).
Attributed works:
10–12. Angels, by Attilio and Furio Piccirilli for Farmer and Brindley. c.1887. Marble with gilding and imitation rosso antico marble, each 73 by 40 cm. (Private collections; courtesy Bonhams).
Attributed works:
13. The Jesus Chapel, St Paul’s Cathedral, London. Photograph, c.1900. (St Paul’s Cathedral, London; © The Chapter of St Paul’s Cathedral).
Attributed works:
14. The high altar, St Paul’s Cathedral, London, following bomb damage. Photograph by Arthur Cross and Fred Tibbs, 1940. (London Metropolitan Archives).
Attributed works:
15. Cherubs, by Farmer and Brindley. c.1887. Marble with gilding. Each 107 by 61 cm. (Private collection; photograph Christie’s).
Attributed works:
2. The nave of St Paul’s Cathedral, looking east. 1870s. Photograph by London Stereoscopic Company. (Mary Evans Picture Library).
Attributed works:
3. The altar in the chapel, Temple Newsam, Yorkshire, by Bodley and Garner. 1877. Photograph, 1948. (Leeds Libraries, www.leodis.net).
Attributed works:
4. Model of a proposed reredos for St Paul’s Cathedral, London, by Charles Hopson after a design by Christopher Wren. c.1696. Oak, 119.3 by 91.4 by 62.5 cm. (St Paul’s Cathedral, London; © The Chapter of St Paul’s Cathedral).
Attributed works:
5. Sir Christopher Wren’s altar piece, a study for the completion of the apse of St Paul’s, by F.C. Penrose. c.1860. Watercolour, 96 by 56 cm. (St Paul’s Cathedral, London; © The Chapter of St Paul’s Cathedral).
Attributed works:
6. Design for the high-altar reredos, St Paul’s Cathedral, London, by Thomas Garner. c.1885. Pencil, pen and ink on paper, 56 by 35.3 cm. (St Paul’s Cathedral Library; © The Chapter of St Paul’s Cathedral).
Attributed works:
7. Virgin and Child, by Jean Guillemin for Farmer and Brindley. c.1887. Marble, 142 by 58 cm. (St Paul’s Cathedral, London; © The Chapter of St Paul’s Cathedral).
Attributed works:
8. Christ, by Jean Guillemin for Farmer and Brindley. c.1887. The cross was added after 1950. Marble, height 196 cm. (St Paul’s Cathedral, London; © The Chapter of St Paul’s Cathedral).
Attributed works:
9. St Paul, by Farmer and Brindley. c.1887. Marble, height 138 cm. (Private collection; photograph Sotheby’s, London).
Book Review
Die erneuernde Kraft der Tradition: Spätmittelalterliche Schatz- und Ausstattungsobjekte des Halberstädter Doms. By Patricia Strohmaier
02/2020 | 1403 | 162
Pages: 165-166
related names
Reviewer:
Westermann-Angerhausen, Hiltrud (Westermann-Angerhausen, Hiltrud; Angerhausen, Hiltrud Westermann-)
Subjects
dates:
Reviewed Items
subjects:
Die erneuernde Kraft der Tradition: Spätmittelalterliche Schatz- und Ausstattungsobjekte des Halberstädter Doms By Patricia Strohmaier. 192 pp. incl. 57 col. + 43 b. & w. ills. (Deutscher Verlag für Kunstgeschichte, Berlin, 2019), £80. ISBN 978–3–87157–250–0. | :
Illustrations
Western art unattributed:
2. Skull-reliquary of Charlemagne, known as the Karlspokal. Cut-glass cup, 9th–10th century, silver-gilt mounting with niello and enamel, including a miniature bust of Charlemagne, c.1343. Overall height 42.9 cm. (Halberstadt Cathedral Treasury).
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