Another visit to The Cloisters, the museum at my doorstep. Above, the face of a full-length figure from a portal, clearly showing the stylistic influence of Chartres. (It would have been painted.) The naturalism is clear, but it’s a far cry still from the naturalizing style of the Italian Renaissance which shows up in a panel from Milan that is included in the collection: Medieval by chronology, but not style.
These faces, blurred because I obeyed the injunction against the use of flash, see more like collective dream images of what a king and queen should look like.
Some capital ideas, showing just how much drama can be squeezed into a small space at the top of an arcade column. The ape-man theme, wrought in precious metal, is in evidence elsewhere in the museum as well.
This tomb effigy shows the ideal of the Christian knight. His feet rest on a crouching lion, indicating his strength and courage. Many tomb effigies have such animal features, often small dogs, which I believe indicate the person’s faithfulness or loyalty.
No visit here is complete without a glimpse of the End of Days, provided in The Treasury, where an illuminated manuscript of The Apocalypse is on display.
A strange grotesque in the margin seems to be the equivalent of Monty Python’s “and now this…“
This volume from a Spanish translation of Saint Augustine’s City of God is what got me started reading that very long book.