Unexpected Renaissance Sense of Humor
Anonymous Flemish artist, Satirical Diptych, early 16th century, oil on panel. Université de Liège
- Leave this panel closed, otherwise you’ll be angry with me.
- It’s not my fault because I warned you in advance!
- The more we want to warn you, the more you’ll want to jump out the window.
Giving a precise meaning is not easy. This type of art is extremely rare in the sixteenth century. You can find similar correspondents in some paintings by Hieronymus Bosch and Quentin Massys, but they are only minor elements and not the main topic.
Columns and Pilasters
The Roman orders of columns are used:- Tuscan, Doric, Ionic, Corinthian and Composite. The orders can either be structural, supporting an arcade or architrave, or purely decorative, set against a wall in the form of pilasters. During the Renaissance, architects aimed to use columns, pilasters, and entablatures as an integrated system. One of the first buildings to use pilasters as an integrated system was in the Old Sacristy (1421–1440) by Brunelleschi.
image: Encyclopedie: Classical Orders, engraving from the Encyclopédie vol. 18. Public domain 18th century French engraving at resource
In Classical architecture, a giant order is an order whose columns or pilasters span two (or more) stories. At the same time, smaller orders may feature in arcades or window and door framings within the storeys that are embraced by the giant order.
One of the earliest uses of this feature was at the Basilica di Sant’Andrea di Mantova (pictured above), designed by Leon Battista Alberti and begun in 1472.
Se mai per maraviglia(If ever in wonder), was written by Franciscus Bossinensis, or Francis of Bosnia. He wrote many pieces for lute and voice, and this is one his most famous and moving compositions.
The song focuses on the intense emotions surrounding the death of Jesus and focuses upon the body of Christ hanging on the cross. Many artworks made at this time also focussed on the emotional impact of Christ’s death.
This piece of jewelry was one of the most beautiful antiques excavated from the Dingling, one of the Ming Dynasty Tombs.
It was made during the Ming Dynasty (1368–1644) in China, by using gold, ruby, pearl and other gemstones, and of the size of an adult human’s palm. It is of the shape of a Chinese character ‘心' (read Xin), which literally means heart.
Emerald-set gold rosary. 17th century, Colombia
Goldsmithing in Colombia is believed to date from about 800 B.C. and is the source for some of its greatest artwork. For the pre-Hispanic cultures of present-day Colombia, gold held no monetary value; it was a gift from the Sun and held a deep symbolic meaning. Gold’s physical and chemical properties inspired the creation of expertly crafted figures of spirits, animals and humans that communicated this culture’s understanding and philosophy of the universe and all that existed within it.
A vaulted ceiling boss (c. 1400)
Probably made for a church or even a cathedral, this boss stands apart from the majority of wooden ceiling bosses because it was designed as a load-bearing member, rather than just a decorative cap.
Its form is that of a stone boss. In its original location (the centre of a vaulted ceiling above chapel within a major church), it functioned as a “keystone” by locking together the intersecting ribs of a vault. The base of the boss is composed of coarse-grained oak that, although difficult to carve, is exceedingly strong.Four large mortises cut in moulded sockets around base once house the tenons at the end of the vault ribs.
Pined onto the base is a decorative cap composed of fine-grained oak and carved with an old testament prophet holding a scroll.
This is one of the last bosses of it’s kind because by 1400 masonry and carpentry technology have made a step forward leaving bosses like this a thing of past.
This object is at an auction with a price tag of £4,950
English oak sculpture (c. 1380)
This sculpture of a late 14th century knight in sword combat dress is so pleasing on the eye. His face has a serene softness where people over the centuries have touched his face.Large amount of the original polychrome remain.
He is carved completely in the round. The stand is part of the carving itself. Only the hilt of his sword remains and it is believed he has always been a three quarter length carving.
From the style of his dress he has been dated to the late 14th century and without doubt English.
A pair of English medieval oak crowned head corbels (c. 1480-1500)
dimensions: 7.5” X 8” X 6”
The Garden of Earthly Delicacies
munchy details from Bosch’s nutritious masterpiece