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The Metropolitan Museum of Art, New York
Ivory, Southren Italian
The writers of the four Gospels, which relate the story of Christ's life, were often symbolized by animals. Winged creaturees stood for Matthew, a lion for Mark, an ox for Luke, and an eagle for John. These symbols were based upon the vision of Saint John in the Book of Revelation (4:6–7). On this ivory plaque, the animal symbols, holding their Gospels, are arranged around the cross. At the center appears the Lamb of God, a symbol -
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. The matrix on this side is engraved with the seated figure of a bearded man in a circular frame, a sword held upright in his right hand, his cloak clasped at the shoulder. Round this, within an incised frame, is a retrograde inscription.
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circa 1059
Unknown (Colognian scriptorium) - Andrzej Kłossowski (1990). Biblioteka Narodowa w Warszawie: zbiory i działalność. Biblioteka Narodowa. -
Pottery cooking pot; Early Medieval Chalky Ware; grey-buff fabric; irregular, everted rim & sagging base.
Europe,United Kingdom,England,London,City of London,Smithfield) http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=22037&partId=1&searchText=medieval+1050-1150&page=1 -
This monastery Edward chose to re-endow and greatly enlarge, building a large stone church in honour of St Peter the Apostle. This church became known as the "west minster" to distinguish it from St Paul's Cathedral (the east minster) in the City of London. Unfortunately, when the new church was consecrated on 28 December 1065 the King was too ill to attend and died a few days later. His mortal remains were entombed in front of the High Altar.
http://www.westminster-abbey.org/our-history -
circa 1070
The Bayeux Tapestry was probably commissioned in the 1070s by Bishop Odo of Bayeux, half-brother of William the Conqueror. It is over 70 metres long and although it is called a tapestry it is in fact an embroidery, stitched not woven in woollen yarns on linen. Some historians argue that it was embroidered in Kent, England. The original tapestry is on display at Bayeux in Normandy, France.
www.bayeuxmuseum.com/en/la_tapisserie_de_bayeux_en.htm -
circa 1070 The Bayeux Tapestry was probably commissioned in the 1070s by Bishop Odo of Bayeux, half-brother of William the Conqueror. It is over 70 metres long and although it is called a tapestry it is in fact an embroidery, stitched not woven in woollen yarns on linen. Some historians argue that it was embroidered in Kent, England. The original tapestry is on display at Bayeux in Normandy, France.
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late 11th/12 century Copper concave disc British could be as late as the 15th century. It is believed to be a device for the tonsure of priests.
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Found through out Britian, made of various metals, and styles some date from 11th century through 13 century. It is problematic to affix a date.
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Dating this item is problematic. Curators estimate from 900-1100 AD
http://www.louvre.fr/sites/default/files/imagecache/940x768/medias/medias_images/images/louvre-boite-reliure-crucifixion.jpg -
Silver and Gold, late 11th century Russian
This chalice is remarkable for its size and shape. The convex ribs on the belly are decorated with relief images identified by inscriptions: Christ, the Virgin, St. Peter, and St. Anastasia; the angular ribs are adorned with foliage. Each side of the chalice is adorned with a large, elegantly decorated handle. -
From Medival Manuscript - The Hague circa 1082-1100. The dating is problematic but believed to be 11/12th century or possibly a early 13th century collection of previous manuscripts. It is part of a manscript with a early 16th century binding, however that is believed to be a re-binding of an early book.
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Clotilde St. Clotilde (c. 474- 545) and her husband King Clovis (c. 466-511) founded the Merovingian dynasty, and she converted him to Christianity in 496. When Clovis died, Clotilde retired to Tours. She died at the tomb of St. Martin of Tours and was buried in Sainte-Genevieve in Paris, a church that she and Clovis founded.
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Archangel Gabriel (Angel with Golden Hair) Russian icon, 12th century (egg tempera on panel), Russian School, (12th century) / State Russian Museum, St. Petersburg, Russia / Bridgeman Images
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Early 12th Century
Philadelphia Museum of Art
stone
fragment depicts the upper half of an angel wearing a decorated tunic, its wings deeply carved. Similar fragments from the facade of the now partly destroyed church of Saint-Raphael d’Excideuil in the Dordogne region of France are related to this figure, suggesting that it came from the same source. -
Bronze, English ca early 12th century
Strap-distributor; bronze; form: sub-triangular frame; each side cast as winged dragon with foliate tail; two swivel loops suspended from base and one at apex linked to shaft through centre of frame; each loop has zoomorphic terminals and is hinged in swivelling lug cast in form of grasping hand. -
circa 12th century, Gold and closisonne on gold
This diadem, found in Kiev in 1889, is composed of articulated gold plaques with enamel decoration showing a Deesis with the Virgin and St. John the Baptist praying to Christ for the Salvation of humankind, together with the archangels Michael and Gabriel and apostles Peter and Paul. -
AN ICON PAINTER FROM STUDION MONASTERY IN CONSTANTINOPLE, BYZANTINE EMPIRE. THE ICON OF THE HOLY VIRGIN OF TENDER MERCY (ELEUSA), ALSO KNOWN AS WONDERWORKING ICON OF VYSHHOROD IN UKRAINE-RUS’. THE LATE 11st CENTURY.
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Stavelot Triptych
Flemish, mid-twelfth century
wood, gilt, cloisonne, champleve -
Dating is problematic: Censer cover; brass (84.6%copper; 9.7%zinc; 3.0%tin; 2.7%lead); originally gilded, cast, in openwork; the central tower in three stories, from the corners issue four projecting gables topped by cylindrical turrets, between which are the four symbols of the Evangelists with a book or scroll; the bottom of four arches, the base formed by half-figures of lions
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This cross has traditionally been attributed to the Abbey of Bury Saint Edmunds in eastern England in the middle of the twelfth century. Five pieces of walrus tusk, or "morse ivory", are ingeniously fitted together to form the whole. Some ninety-two figures and ninety-eight inscriptions present a complex theological program, the sort one might find on the facade of a cathedral, though here it appears on an object one can literally hold in the hand.
