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Archive for the 'Sculpture' Category

Rudolph II and Prague: On Location Part Four

Friday, October 10th, 2008

By Stuart Frost

Emperor Rudolph II, Adriaen de Vries, Prague 1609. Museum no. 6920-1860.‘It is generally agreed amongst the Catholics in Prague that the Emperor has been bewitched and is in league with the devil. I have been shown the chair in which His Majesty sits when holding conversations with the Prince of Darkness himself. I have seen the little bell His Majesty uses whenever he wished to summon the spirits of the departed to do his bidding.’

Cardinal Filippo Spinelli writing to Pope Clement VIII, 1600 (Quote from Hans Holzer, The Alchemist, New York 1985) 85 & 91.

Whilst we can’t take the passage I’ve quoted above too literally there is no doubt that the Emperor Rudolph II was an interesting character. Rudolph had a deep interest in both alchemy and scientific enquiry. It is clear that some of the people who enjoyed his patronage did stray into territory that could be described as occult. On a cold, damp and dark October evening the corridors and courtyards of Pražský hrad, or Prague castle, take on a slightly Faustian atmosphere. It isn’t too difficult to imagine an alchemist in the Powder Tower working late into the night and straying into supernatural territory.

The bronze bust of the Emperor Rudolph in the V&A’s collections conjures up an unambiguous impression of a ruler who is not to be crossed. The powerful profile and jutting jaw convey a strong sense of a man who is confident, determined, decisive and authoritative. He wears armour decorated with a lion’s mask and an image of the classical hero Hercules. The bust is supported by the outstretched wings of an imperial eagle. The impression created the sculptor Adriaen de Vries is deliberately deceptive.

Prague Castle, October 2008.The bust was made in 1609 by which time Rudolph had little meaningful power or authority. Although depicted in armour, he never actually led an army into battle. Indeed he rarely left Prague Castle. He preferred to spend his time studying his vast collection of art, scientific instruments and natural wonders. Rudolph’s great collection once filled many of the rooms of the vast castle that still dominates Prague. The V&A’s bust itself was once part of the collection there.

I’ve illustrated this blog-entry with several photographs which I took last week when working in Prague on the third in a series of three People & Place gallery films. Regular readers of this blog will already have read about Charlemagne and Aachen, and Donatello and Florence. With the Rudolph and Prague film we’re hoping to give visitors insights into the man portrayed in bronze, the world in which he lived and the context to which his bronze bust belonged.  

The White Tower, Prague Castle. October 2008.I felt extremely fortunate to be able to spend a few days following in Rudolph’s footsteps and tapping into curator Norbert Jopek’s specialist knowledge. Whilst I’m delighted that the films we first thought about making several years ago have now begun come to fruition, I have to confess that I’m a little saddened that the location filming has already come to an end. It has been fantastic to work with the curatorial team and to see the depth of their enthusiasm for their subjects. It has also been a real pleasure to work with John Wyver, Linda Zuck and Ian Serfontein of Illuminations.

Our main aspiration for the trio of films is to enhance vistors’ understanding of three key objects, artworks from a time that might seem too remote to have real meaning. We also hope that the films will inspire some visitors to the galleries to travel to the continent and to explore Europe’s rich medieval and Renaissance heritage at first hand. Travelling to just three different locations has given me a vivid reminder of just how great Europe’s medieval and Renaissance heritage really is.

Click here to find out a little more about Prague Castle.

Donatello and Florence: On Location Part Three

Tuesday, September 30th, 2008

By Stuart Frost

Florence September 2008 025Last week I was fortunate enough to spend three days in Florence with chief curator Peta Motture working on the second of our three People and Place gallery films. Filming the location footage for Donatello and Florence posed a different set of challenges to the Charlemagne and Aachen film the previous week.

Anyone who has been to Florence will be able to confirm that it has an extraordinary wealth of medieval and Renaissance art and architecture. Donatello would recognise many of the elements that still dominate the modern cityscape. The remains of the Aachen that Charlemagne knew are few, fragmentary and have been significantly altered over time.

The locations selected for the Donatello and Florence film included the Old Sacristy in the Church of San Lorenzo; the Baptistery, Duomo and Campanile; the Medici Palace; and the Church of Orsanmichele. Footage of these buildings will help viewers understand the different contexts for which Donatello produced sculptures.

The Medici Palace, Florence.One the first day filming started at 7.30am in the Old Sacristy. It was remarkable to be inside the church and to be able to enjoy the atmosphere almost alone. By 6pm we had moved to the Piazalle Michelangelo which provided us with a magnificent view of the city laid out below, the River Arno dividing it into two. The picture I’ve used here, at the top of the page, shows the Duomo to the right and the tower of the Palazzo Vecchio to the left. The cathedral and the centre of government dominated the medieval and Renaissance city.

The higher number of different locations for this film meant that there was more walking between places than previously. Walking through a city as attractive as Florence is no great hardship of course, although cameraman Ian and director Linda may disagree as they were the ones who were carrying all of the equipment! Rapidly moving mopeds, buses and horse-drawn carriages posed a different sort of challenge.

Florence September 2008 008Florence attracts a vast number of tourists throughout the year and the historic core of the old city is a busy, bustling place. Aachen attracts far fewer and it was much easier there to take shots without inquisitive tourists wandering into view. In both cities I was struck by how accommodating and helpful the authorities were. A particular highlight was the opportunity to film Donatello’s famous bronze statue of David, only recently returned to a vertical position and still under-going a remarkable programme of conservation work in the Bargello.

The location filming for Donatello and Florence is now complete but work on editing the footage and finalising the captions still remains to be done. We also need to film Donatello’s Ascension relief, a star object in the V&A’s collections, and to integrate film of that object with the location footage.

The finished Donatello and Florence film will be available in Gallery 64 Donatello and the Making of Art from late November 2009 onwards. It will also be added to the V&A’s website.

If you’d like to find out more about some of the locations mentioned here please click on the weblinks I’ve provided below. I’ve also posted some additional photographs on the Flickr site for the Medieval and Renaissance Galleries Project.

Click here to find out more about the Medici palace.

Click here to find out more about the Bargello.

Click here to find out more about the conservation of Donatello’s David. The text for this site is Italian but there is a good selection of pictures.

The Da Vinci Code

Thursday, May 1st, 2008

By Stuart Frost

Plaster cast of an effigy of William Marshal. Museum no.  REPRO.A.1938-7I’ll confess immediately. This blog entry has very little to do with Dan Brown or the Da Vinci Code.  I simply thought that if I mentioned the Da Vinci Code in the title I might increase my chances of picking up a few more hits. The real subject here is Temple Church. Dan Brown aficionados will know the church does feature in both his book and the film based upon it.

From time to time I’ve been using this blog to highlight temporary exhibitions elsewhere to which the V&A has loaned objects from its medieval and Renaissance collections. I suspect that people might be surprised by the number of loans the V&A makes to other museums around the country and globally. Some objects travel vast distances. Others travel only a few miles.

Plaster cast of an effigy of Robert de Roos. Museum no. REPRO.A.1938-10The photographs here are of two nineteenth century plaster copies of tomb effigies taken from originals in Temple Church, London. Click on the pictures to find out more about them. In total there are four plaster casts effigies from originals in Temple Church in the V&A’s collections. The two photographs used here were taken in the V&A’s spectacular Cast Courts, one of the most striking museum spaces anywhere in the world. At the moment only one of the four plaster cast effigies is in its usual home. The other three can be found alongside the originals in Temple Church in a temporary exhibition, The Temple Church 1185-2008: History, Architecture and Effigies.

I’d imagine that some of you may be wondering what is to be gained by placing the plaster casts alongside the stone effigies? However the originals were damaged in 1941, long after the casts had been taken.

The casts of the effigies are not the only connection between the V&A and Temple Church. The picture below shows the wonderful west doorway of the church. This was restored during the nineteenth century. Several carved blocks were removed and replaced during the work, and four original weathered blocks came to the V&A via the collections of the Architectural Association. These architectural elements from the doorway will be displayed in the new Medieval and Renaissance Galleries, three in a new day-lit gallery space and one in a display about the Romanesque style.Temple Church, London.

Although you’ll have to wait until November 2009 before you can see the blocks, the three plaster cast effigies are on display at Temple Church until Sunday 15 June. After the exhibition closes they will return to the Cast Courts to be reunited with Robert de Roos. Temple Church is renowned for its circular knave and, like the Cast Courts at the V&A, is well worth a visit.

Click here to find out more about the Temple Church and the exhibition there.

Click here to find out more about the Cast Collection at the V&A.

King Alfred the Great?

Wednesday, April 16th, 2008

By Stuart Frost

Reliquary Cross, about 1000. Museum no. 7943-1862.It is the nature of history that only the names of a comparatively few people are remembered after their deaths. For the medieval period the people we know most about tend to be the most powerful, exceptional or notorious figures. 

Medieval chroniclers were fond of adding an adjective after an individual’s name. Some rulers were more fortunate than others in the label posterity gave them. Charles the Great, William the Conqueror and Richard the Lion Heart are all at the acceptable end of the spectrum, but who would want to be known as Louis the Fat, Charles the Bald or John Soft-sword?

The word great is arguably over-used today. Such and such is a great singer, footballer or actor. It is difficult to really assess someone’s merits without the perspective that the passage of time brings. However if there is one English figure who truly deserves the epithet great then it is Alfred of Wessex (849-899), ruler of the only Anglo-Saxon kingdom to survive the Viking onslaught in the ninth century. 

If you need convincing about Alfred’s credentials then I’d recommend visiting Winchester to see the exhibition: Alfred the Great: Warfare, Wealth and Wisdom. The exhibition closes on 27 April 2008. The display is small but it includes some beautiful objects which are also of immense historical importance. The V&A has loaned the remarkable Anglo-Saxon reliquary illustrated above to Winchester for the duration of the display. Click on the object to find out more about the object and its link with Alfred’s achievements.

The legacy Alfred left his sucessors allowed them to consolidate the Anglo-Saxon kingdom and eventually bring all of England under the control of one monarch. The origins of modern England can arguably be traced back to Alfred’s reign. Winchester became Alfred’s main city and throughout the middle ages the city was extremely important. There is enough evidence around the modern town to give a sense of just how impressive medieval Winchester was.

Alfred’s achievements ensured that he would never be forgotten. The photograph illustrated below shows 19th century remodelling at Arundel Castle. The relief sculpture is difficult to see but it shows ‘King Alfred instituting Trial by Jury on Salisbury Plain’, evidence of Alfred’s enduring reputation as a model monarch.North Side of Quadrangle, Arundel Castle, 1852-54, Benjamin Brecknell Turner. Museum no. PH 44 1982

Click here to find out more about Alfred the Great: Warfare, Wealth and Wisdom.

Easter in Art

Friday, March 14th, 2008

By Stuart Frost

What does Easter mean to you? What images and memories does it bring to mind? For many people I’m sure it is bound up with long Bank Holiday weekends spent with family and visiting relatives. Across the length and breadth of the country there is also widespread over-indulgence in the consumption of chocolate eggs and rabbits. I usually travel back to the north-east to visit my family, although sadly its been a long time since any of them bought me an Easter egg. The religious significance of Easter is increasingly overlooked in popular culture although the forthcoming BBC drama will help redress the balance.

Christ on an Ass (Palmesel), German, about 1510-20. Museum no. A.1030-1910 Easter is the most important and oldest festival in the Christian calendar. Christianity has been the most enduring subject in western art for almost two thousand years. Therefore it isn’t surprising that art related to Easter is well represented in many museum collections, and the V&A is no exception. The central elements of the Easter story are the betrayal of Jesus, his suffering and death on the cross, his resurrection and finaly his ascension to heaven. The events which are remembered during Easter are known from the four Gospel accounts of Matthew, Mark, Luke and John.

Holy Week, the week leading up to Easter, begins on Palm Sunday when Christ’s entry into Jerusalem on an ass is remembered. I could have picked from any number of objects to illustrate this blog entry. The Palmesel figure (Christ on an Ass) has always been one of my favourite objects. The V&A’s Palmesel no longer has the four wheels it once had which allowed it be pulled along as part of Palm Sunday processions. Click on the object to find out more about it.

Events associated with the events leading up to the Crucifixion, like the Last Supper, the Agony in the Garden, Christ’s Betrayal by Judas and the Trial of Christ have all been represented in art, although some scenes were represented more frequently than others. The belief that Jesus was the son of God, that he was crucified and died upon the Cross is absolutely fundamental to all Christians. The Gospels tell us that Christ’s body was placed in a tomb late on Friday. They also tell us that on the Sunday Jesus rose from the dead. The belief in the resurrection of Jesus is another keystone of Christianity.

Christ’s last appearance on earth and his departure to Heaven is known as the Ascension. The scene was a challenging one for artists to depict convincingly, and there are several examples in the V&A’s collections where Christ appears to have taken off rather like a rocket with only the lower part of his legs visible in the picture frame. The depiction that I’ve chosen to use here is one of the more innovative in several significant ways. 

The Ascension with Christ Giving the Keys to St Peter, Donatello, about 1428-30. Museum no. 7629-1861 The sculpture is known as The Ascension with Christ Giving the Keys to St Peter and was created by the great Florentine artist, Donatello. The relief combines two events which actually occurred at different times and the subtlety of the carving seems to lend the Ascension a more convincing or realistic quality than most artists achieved.

It can be fascinating to compare to different approaches to the same subject. If you’d like to do that, or if you simply like to see more examples of objects from the medieval and Renaissance collections,  visit Search the Collections on the V&A’s website and enter an appropriate search term.

Venus Unveiled

Friday, February 15th, 2008

By Stuart Frost

Statuette of Venus, 1560-1570, Museum no. A.13-1964The last entry posted here focused on the male nude through two sculptures of David by Donatello and Michelangelo. This week I thought I’d focus on the female nude and more specifically on representations of Venus. Given that Valentine’s Day fell on 14 February the Roman goddess of love is a particularly appropriate and topical subject.

I was interested to read in the press earlier this week that a 16th century painting of Venus by Lucas Cranach the Elder had fallen foul of advertising guidelines for posters on the London Underground. Although I haven’t reproduced the image here, if you click on one of the links below you’ll be able to see the painting for yourself. The diaphonenous veil and necklace add to the erotic charge of the naked figure.

Venus was the Roman goddess of love and fertility and I’m sure that most of you will be familiar with classical statues that depict her in various naked or semi-naked poses. There is nothing obviously divine or classical about Cranach’s Venus which is probably why his painting still has the power to make one or two people feel uncomfortable about displaying it in such a public space. Traditionally a nude that followed classical precedents and models was unlikely to attract too much controversy. However even in classical times stories circulated that spoke of the power of sculpture to inflame the passions of the viewer.

Whilst I was surprised that Cranach’s Venus had been ‘banned’ I was also glad that the painting still had the power to generate so much debate and so many column inches in the papers.  I suspect that the Royal Academy won’t be too disappointed about the extra publicity for their forthcoming exhibition either!Venus Anadyomene, about 1510-15, Italian. Museum no. A.19-1964. Surely the vast majority of people feel that banning the poster is an over-reaction and that there are far more dubious or questionable adverts in the free newspapers that litter the trains?

I’ve illustrated this posting with several representations of Venus in the V&A’s Renaissance collections. Click on the picture to find out more about the sculpture shown. Amorous visitors to the V&A won’t have to look too hard in the galleries to find many other images of Venus, or male and female nudes, produced over a wide chronological span from the Renaissance onwards.

Click here to find out more about Lucas Cranach the Elder’s painting of Venus.

Click here to find out more about the exhibition Lucas Cranach the Elder in Frankfurt.

Donatello, Michelangelo and David

Friday, February 1st, 2008

By Stuart Frost

February is Lesbian, Gay, Bisexual and Transgender (LGBT) month so many museums have planned events to coincide with it. This set me thinking about connections with the medieval and Renaissance period and our plans for the new galleries. A cast of Donatello’s David was the focus of a gallery talk by one of my colleagues at this time last year. The original is in Florence, so this talk took place around a nineteenth century plaster-cast in the Cast Courts. The original nude figure was displayed in several different locations, and each change influenced the way the statue would have been understood. Plaster Cast David after bonze original by Donatello.

The sensual nature of Donatello’s David has often been commented upon. His youthful David has battled Goliath without armour, shielded by his faith. It is likely that the nakedness of the figure would have connected with the fifteenth century viewer in several other ways.  For example, the statue was made a time when there was renewed interest in the art of ancient Rome, a culture where the male nude was commonly depicted in sculpture. At the time Donatello’s David was made the nakedness of the figure was strikingly different and new. The statue raises questions about ideals of male beauty in Renaissance Florence. 

It is clear that same-sex desire was for many male Florentines a part of every-day life in the fifteenth and sixteenth centuries. Surviving legal records prove that a high proportion of Florentine men in the fifteenth century came before the authorities on charges of what was then called ‘sodomy’. Michael Rocke has written extensively about this and used the documentary evidence to explore the nature of male same sex relationships. Sexual relationships between males were illegal, and repeated convictions in Florence sometimes led to a death sentence.

Plaster Cast David after marble original by Michelangelo.Museums and galleries have tended not to discuss these aspects of Renaissance culture in the past. This has begun to change. There are often more connections that people may suppose. More museums are beginning to identify objects in their collections that have a connection with LGBT history, making the information available online, or running study days and events to highlight histories that have often been ignored or overlooked. 

The British Museum’s exhibition about Michelangelo’s drawings last year was one of the first where the culture of sexual relationships between males in Renaissance Florence was addressed. Michelangelo’s sexuality was also something that was discussed is several of the exhibition reviews at the time. Some reviewers focussed on whether Michelangelo’s sexuality was reflected in his depictions of the male body, or whether he was gay in the modern sense of the term. Inevitably opinions varied. Michelangelo’s work is also represented at the V&A, most prominently in the Cast Courts. His David, depicted to the right, is of course very different to Donatello’s for many reasons.

The V&A has recently programmed a series of gallery talks to coincide with LGBT month. The talks are taking place at the V&A on Saturday 9th February. Unfortunately the Italian Cast Court is currently closed which means that neither Michelangelo’s or Donatello’s David can be included this year. The way that both sculptures have become a focus for discussion related to sexuality and same-sex desire would have made a fascinating talk.

A medieval and Renaissance Christmas….

Friday, December 21st, 2007

By Stuart Frost

The Adoration of the Magi, Germany, about 1500. Museum no. C.74-1919, C.75-1919. Given by J. Pierpont Morgan Jnr.Christmas is almost upon us. Everyone working on the project is looking forward to having a well earned break.  Naturally enough Christmas has been a popular subject for discussion in the press this week.  Midnight Mass, for example, is being held earlier in many churches this year to avoid disruption by members of the public who have over indulged in pubs and bars. Apparently attendance at churches at Christmas has been increasing since 2000.

The subject of whether Nativity plays should be held or not has been raised and debated again. Apparently one school cancelled their play so that the students could concentrate on their studies instead. The band Girls Aloud are taking part in their own version of a Nativity play on TV. It sounds interesting but I will probably give it a miss.

I’ll avoid any controversial contemporary debates here. Instead I’ve just selected a couple of images of beautiful objects that have a festive connection. They are both linked by the theme of gift-giving. The glass panel above illustrates the Adoration of the Magi. Here the three kings have brought gifts of gold, frankincense and myrrh to present to the infant Jesus. In medieval and Renaissance art the three kings were often understood as representing the known world, Europe, Asia and Africa. The three gifts also had symbolic meaning.

St Nicholas Crozier, Winchester, England (probably) 1150-1170. Museum no. 218-1865

The ivory crozier head to the left was once part of a ceremonial staff that belonged to a bishop or abbot. It’s connection with gift-giving is through the presence of Saint Nicholas. If you look carefully at the outer curve of the crozier, to the right, you should be able to Nicholas stretching upwards.  He is giving a bag of money to an impoverished nobleman, thus saving the three daughters of the man from prostitution. In the centre of the crozier head an angel supports a tendril which places Jesus at the centre of the composition, on one side is the Agnus Dei (Lamb of God), on the other the infant Christ.

The crozier head is an exquistely carved object that required a remarkably high level of skill and craftsmanship to make. It was probably owned by an abbot or bishop who belonged to an institution dedicated to Saint Nicholas or perhaps simply shared the same name. The story of Saint Nicholas was a popular one at this time. 

Today, of course, it is the names Santa Claus and Father Christmas that tend to dominate the Christmas festivities and celebrations. I hope that everyone enjoys the festive break. The next blog entry will be posted here early in January 2008.

Giants of the Renaissance

Monday, December 10th, 2007

By Stuart Frost

Leonardo da Vinci, Forster Codex I, 6v-7r.The V&A is the National Musuem of Art & Design but it is also far more than that. We know that our visitors use the Museum’s collections in many diverse ways. A few weeks ago a photograph in the supplement of a Sunday newspaper caught my eye. I recognised the location as the National Art Library at the V&A. On closer inspection I also identified the object that the people in the photograph were looking at, a facsimile copy of one of  Leonardo da Vinci’s notebooks. On the next page was a photograph of Michelangelo’s vast marble sculpture, David.

The article was about Antony Sher’s new play, The Giant. Michelangelo and Leonardo da Vinci are two of the central characters in the drama. The completely fictional protagonist, Vito, is the model for David and the focus of both Michelangelo and Leonardo’s desire. Whilst the play accurately reflected the culture of male same-sex desire that existed in Renaissance Florence the actual relationships in the play were fictional. 

In writing the play, which is centered on the creation of Michelangelo’s most famous sculpture, Antony Sher had undertaken a great deal of research. Both he and the director, Greg Doran, had visited the National Art Library to look at the three volumes of Leonardo da Vinci’s notebooks that the Museum is fortunate to possess. Rowan Watson, the V&A’s expert on Leonardo notebooks, was on hand to answer questions and provide advice.

I went to see the play a few weeks and enjoyed it immensely.The attention to detail was extremely impressive. Leonardo, played by Roger Allam, had a notebook with him on stage into which he periodically wrote throughout the performance. When doing so he wrote from right-to-left with his left hand, just as the real Leonardo did. I wonder whether any other members of the audience also noted this minor but accurately observed mannerism? It did help engender a tangible sense of convincing authenticity. I took a little while to adjust to the fictionalised characters of the two artists, purely because I’ve read enough about them to have formed my own sense of their personalities. I suspect most people develop their sense of Michelangelo or Leonardo through the artists’ work rather than a detailed knowledge of their biographies.

Plaster-cast copy of Michelangelo's David.The set design was ingenious. A vast ‘marble’ block was gradually transformed into the statute as the play progressed. The V&A has a late nineteenth century plaster-copy of Michelangelo’s David which you can see in the image I’ve used here to illustrate this entry. The fig-leaf with which it was provided, usually hung displayed on the back of the plinth, is currently making a guest appearance at London’s Barbican Gallery in Seduced: Art and Sex from Antiquity to Now. 

Unfortunately The Giant has now closed but if you’re quick you’ll still be able to see the fig-leaf in its temporary home! The plaster cast version of David can be seen from Room 111 at the V&A.

Click here to find out more about Leonardo da Vinci’s notebooks

Click here to find out more about the Cast Collections

Old Friends & New Places

Monday, November 26th, 2007

By Stuart Frost

Temptation of Christ C .237-1928The amount of progress that has been made in preparing the gallery spaces for installation of the new displays is incredible. I had a glimpse behind the Gallery 50 hoardings recently and was staggered to see how the space has been transformed. All of the objects that were once there have either been removed or protected in-situ with hoarding. The room is now a vast empty hall waiting for construction work to begin in 2008.

The preparation necessary for the installation of a sequence of displays as large as the Medieval and Renaissance Galleries means, of course, that there will be some disruption. It is inevitable that the number of objects on display at the V&A has to be reduced for a time.

However there are some significant benefits too as a number of the most important objects can be displayed in a new context, whether in a new gallery at the V&A or as part of a temporary exhibition elsewhere. I’ve mentioned the touring exhibition previously. Medieval and Renaissance Treasures from the V&A is currently at the Norton Museum of Art in the USA.

I visited the National Gallery at the weekend. I enjoyed their current major temporary exhibition, Renaissance Siena: Art for a Cit, very much. The vast majority of the objects were ones that I hadn’t seen before, but I did also recognise a number of old friends from the V&A. One on these was the bronze Lamentation over the Dead Christ relief by Donatello which you can see in the image below. It was fascinating to see it a new context, juxtaposed with different objects and displayed in a manner which drew fresh nuances out of the work.Lamentation over the dead Christ, by Donatello. Museum no. 8552-1863

Also at the National Gallery currently is a more focussed display, Art of Light: German Renaissance Stained Glass (7 November 2007-17 February 2008) which also draws upon the V&A’s collections. I’d already been to the Renaissance Siena exhibition so on this weekend’s visit I spent most of my time looking at this display. It was fascinating to see superb drawings, paintings and glass panels side-by-side. I’ve included an image of one the glass panels at the top of this page to give a sense of how refined painting on glass can be. The exhibition includes a display of a complete programme of glass from one of the windows of the cloister of Mariawald Abbey. The glass from Mariawald will be a major feature of the new Gallery 50, The Renaissance City 1350-1600, when it opens at the V&A late in 2009.

The links below will provide with more information about the displays described above. I’ll continue to use the blog to highlight other temporary exhibitions featuring medieval and Renaissance objects from the V&A as they arise.

Find out about Medieval and Renaissance Treasures from the V&A at the Norton Museum of Art.

Find out about Art of Light at the National Gallery.

Find out more about Renaissance Siena: Art for a City.