The Crucifixion, about 1100. Private collection

The Crucifixion, about 1100. Private collection

The Crucifixion
Southern Italian (Salerno or Amalfi)
About 1100
Ivory
Width 11.7 cm x height 20 cm
Private collection

Ivory was seen as a luxury material throughout the Middle Ages.  It was carved into many forms, including statuettes and plaques for bookcovers.  Before 1200 these objects were mostly religious, but in the Gothic period there was striking growth in the secular market, and ivory was then used for mirror backs, combs and caskets.

Comb with the Annunciation and the Adoration of the Magi, about 1450. Private collection

Comb with the Annunciation and the Adoration of the Magi, about 1450. Private collection

Comb with the Annunciation and the Adoration of the Magi
Probably Southern Netherlandish
About 1450
Ivory, painted and gilded
Width 13.2 cm x height 11.5 cm
Private collection

Ivory was seen as a luxury material throughout the Middle Ages.  It was carved into many forms, including statuettes and plaques for bookcovers.  Before 1200 these objects were mostly religious, but in the Gothic period there was striking growth in the secular market, and ivory was then used for mirror backs, combs and caskets.

Reliquary Casket with the Lamb of God and a Personification of the Church, about 1185-95. Private collection

Reliquary Casket with the Lamb of God and a Personification of the Church, about 1185-95. Private collection

Reliquary Casket with the Lamb of God and a Personification of the Church
French (Limoges)
About 1185-95
Champlevé enamel on copper
Width 15.4 cm x height 14.5 cm x depth 6.9 cm
Private collection

Three types of enamelling dominated production from the 10th to the 16th centuries.  'Cloisonné' enamel was the most commonly used in the Byzantine world.  In it, thin strips of metal were bent to form the outline of a design and soldered to the surface of the gold ground.  The resulting cells were then filled with enamel.  'Champlevé' was the preferred technique of the Limoges workshops of the 12th and 13th centuries.  Here the design was gouged out of the surface of the metal and the resulting troughs and incisions were filled with enamel.  The third technique, in which enamel was painted onto copper, was perfected by the Limoges workshops around 1470-80.

Book-cover with Christ in Majesty, about 1195-1200. Private collection

Book-cover with Christ in Majesty, about 1195-1200. Private collection

Book-cover with Christ in Majesty
French (Limoges)
About 1195-1200
Champlevé enamel on copper
Width 11.5 cm x height 23 cm
Private collection

Three types of enamelling dominated production from the 10th to the 16th centuries.  'Cloisonné' enamel was the most commonly used in the Byzantine world.  In it, thin strips of metal were bent to form the outline of a design and soldered to the surface of the gold ground.  The resulting cells were then filled with enamel.  'Champlevé' was the preferred technique of the Limoges workshops of the 12th and 13th centuries.  Here the design was gouged out of the surface of the metal and the resulting troughs and incisions were filled with enamel.  The third technique, in which enamel was painted onto copper, was perfected by the Limoges workshops around 1470-80.

End Panel of a Reliquary Casket with St Cucuphas, about 1210-15. Private collection

End Panel of a Reliquary Casket with St Cucuphas, about 1210-15. Private collection

End Panel of a Reliquary Casket with St Cucuphas
French (Limoges)
About 1210-15
Champlevé enamel on copper
 Width 14 cm x  height 22.5 cm
Private collection

Three types of enamelling dominated production from the 10th to the 16th centuries.  'Cloisonné' enamel was the most commonly used in the Byzantine world.  In it, thin strips of metal were bent to form the outline of a design and soldered to the surface of the gold ground.  The resulting cells were then filled with enamel.  'Champlevé' was the preferred technique of the Limoges workshops of the 12th and 13th centuries.  Here the design was gouged out of the surface of the metal and the resulting troughs and incisions were filled with enamel.  The third technique, in which enamel was painted onto copper, was perfected by the Limoges workshops around 1470-80.
 

Reliquary Shrine of St Lawrence and St Jerome, about 1450-1500. Private collection

Reliquary Shrine of St Lawrence and St Jerome, about 1450-1500. Private collection

Reliquary Shrine of St Lawrence and St Jerome
Swiss
About 1450-1500
Silver, partially gilt
Width 14.5 cm x height 23.5 cm x depth 9.8 cm
Private collection

The Virgin Hodegetria with Busts of two saints, about 1000. Private collection

The Virgin Hodegetria with Busts of two saints, about 1000. Private collection

The Virgin Hodegetria with Busts of two saints
Byzantine (Constantinople), the frame probably Northern French
About 1000, with 14th-century frame
Ivory, with frame of stamped and gilt copper over wood
Width 15 cm x height 19.2 cm (incl. Frame)
Private collection

The Annunciation, attributed to the Master of the Large Foreheads

The Annunciation, attributed to the Master of the Large Foreheads, about 1500. Private collection

The Annunciation
Attributed to the Master of the Large Foreheads(active early 16th century)
French (Limoges)
About 1500
Enamel painted on copper
Width 11.2 cm x height 18 cm
Private collection

The enamel plaque has been set into a silver gilt and niello pax with God the Father above, probably a contemporary Italian work.  A pax (from the Latin for 'peace') symbolised the kiss of peace shared between early Christians.  It was passed around and kissed during Mass.

Virgin and Child, about 1430-50. Private collection

Virgin and Child, about 1430-50. Private collection

Virgin and Child
Southern Netherlandish
About 1430-50
Alabaster, painted, with a later silver-gilt crown
Width 13.5 cm x height 26cm
Private collection

Lion Aquamanile, about 1350. Private collection

Lion Aquamanile, about 1350. Private collection

Lion Aquamanile
German (probably Lower Saxony)
About 1350
Bronze
Height 32 cm x  length 33cm
Private collection

In the Middle Ages, bronze and brass were used for both functional and ornamental items, in secular as well as ecclesiastical settings.  Being extremely durable, the material was particularly suitable for vessels that would receive much handling.  Among the most popular was the aquamanile (aqua - water, manus - hand), used for washing the hands during the Mass or at the table.  Large numbers of these were made between the 11th and 16th centuries in a variety of forms, the most popular being lions, knights on horseback, birds, dragons and unicorns.