THE AGE OF DISCOVERY A Loan Exhibition from Arts of 16th The Metropolitan Museum of Art Funded in major part by a grant from Century Europe the New York State Council on the Arts ' INTRODUCTION

The Age of Discovery: Arts of 16th Century Europe Our thanks are also extended to those is the third loan exhibition from The members of the curatorial staff who Metropolitan Museum of Art to libraries on provided catalogue text: James David Long Island. Once again, we are very Draper, Jesse McNab, Jean Mailey, Clare grateful to the New York State Council on Le Corbeiller, Laurence Libin, Edith Standen, the Arts for providing major funding for and Clare Vincent. Barbara Boehm, the exhibition. Department of Medieval Art, and B. Lynne Punzelt, Department of Public Education, The objects for this exhibition were selected assisted with research. John Williamson from the Museum's collections of decorative shared his knowledge of herbs and their arts, armor, musical instruments, and uses. liturgical arts to indicate the range of themes, ornaments, materials, and techniques which We are grateful to Nobuko Kajitani and existed in 16th-century Europe. While it was Nancy Haller, of the Textile Conservation not possible to include paintings, prints, Department, who prepared the textiles for large sculpture or architectural in exhibition,; Marceline McKee, Senior a traveling exhibition, many of the objects Assistant for Loans, who coordinated the chosen reflect the important influence of loan recommendations; and Herbert these arts. We hope that the exhibition Moskowitz, Associate Registrar, and his staff, suggests to visitors the customs and daily who arranged for the transporting of the objects. life of the 16th century and the inspiration Our special thanks go to Herbert F. Schmidt, which the discoveries of the classical past Manager of the Museum's Design Department, and the New World had on the artists of who acted as consultant, and to the designers of the time. the exhibition, Allen Lubow and Deborah Prymas, of DeMartin, Marona, Cranstoun We acknowledge with appreciation the and Downes, Inc. advice and cooperation of the following members of the curatorial staff: Olga Linda Lovell Raggio, Chairman, and James Parker, Curator, Department of European Associate Museum Educator Sculpture and Decorative Arts; Laurence Department of Public Education Libin, Associate Curator in Charge, Department of Musical Instruments; Carmen Gomez-Moreno, Curator in Charge, and Margaret Frazer, Curator, Department of Medieval Art; and Helmut Nickel, Curator, Department of Arms and Armor. 1. INTERIOR WITH TWO WOMEN 3. LUTE SHOWING A PORTRAIT TO A MAN Wood, mother-of-pearl, ivory Tapestry fragment, wool and silk 31%" L x 14%" W. 68V4" H. x 58y2" W. Italian (Lombardy), 18th century Flemish (probably Brussels), about 1520-1525 The Crosby Brown Collection of Musical The Friedsam Collection, Bequest of Michael Instruments, 1889 Friedsam, 1931 89.4.1023 32.100.390 The many references to the lute in 16th- The subject has been described as Margaret century literature (Shakespeare's plays and of Austria, showing a portrait of her Castiglione's Book of the Courtier, for example) betrothed, Philibert II, duke of Savoy, to her emphasize its expressiveness and delicacy father, Emperor Maximilian I. The man on in playing, its role as an accompaniment to the left resembles portraits of the emperor, the human voice, and its association with though he wears no signs of rank. Margaret courtly life. married Philibert in 1501. This tapestry was probably designed and woven about twenty Of all the instruments in use during the years later, based on the style of the , the lute had the greatest solo costumes, the spaciousness of the interior, repertory, and was one of the first and the painterly shading of the colors. instruments to have independent instrumental music composed especially for it.

2. SGABELLO Walnut 40V2"H. x 20V4"W. x 16V2"D. Italian, first half of the 16th century. Bequest of Annie C. Kane, 1926 26.260.11 P A type of small side chair known as a sgabello IS was very popular during the Renaissance. The triangular back of this chair is derived D from tripod stools of the 15th century, ^- while the vase shape of the front and C back supports and its carved leaf ornament reflect the taste of the 16th century. s-

0~> 4. MEDAL: FRANCIS I, KING OF FRANCE 6. MEDAL: ISABELLA D' ESTE Bronze REVERSE: FIGURE OF ASTROLOGY 378" diameter Bronze French, about 1520-1530 1%" diameter Harris Brisbane Dick Fund, 1936 Italian (Mantua), by Giancristoforo 36.110.5 Romano, 1498 Bequest of Anne D. Thomson, 1923 The French king, patron of Leonardo da Vinci 23.280.20 and other Italian artists, has a youthful, confident air in this medal. The vivacious Marchioness of Mantua had a pervasive influence in early Renaissance intellectual life, at her own court and those of her fellow rulers as well. The palace at 5. MEDAL: CHARLES V, HOLY ROMAN Mantua housed her great library of ancient EMPEROR AND KING OF SPAIN and contemporary literature and the REVERSE: PHILIP II OF SPAIN studiolo, a kind of private museum and a Gilt-bronze place of meditation and tranquility much in 378" diameter favor among the Italian nobility during the Italian, mid-16th century Renaissance. Bequest of Rupert L. Joseph, 1959 60.55.54

Born in Flanders in 1500, Charles V was educated there at the court of his aunt, Margaret of Austria. As Holy Roman Emperor, his empire surpassed that of Charlemagne and reached beyond Europe to North Africa and the New World. On this medal, he wears the cuirass and laurel wreath of an ancient Roman emperor, an allusion also carried out in the Latin inscription. The reverse of the medal portrays his son Philip who succeeded him as King of Spain in 1558.

237202 7. MEDAL: MARY TUDOR, 9. TABLE CLOCK QUEEN OF ENGLAND Gilded brass, gilt-bronze, iron, copper Lead (resilvered) 2%" diameter 2%" H. x 4%" L x 47s" W. Italian (Milan), by Jacopo Nizolla da Trezzo, German, late 16th century about 1555 Gift of Mrs. Simon Guggenheim, 1929 Harris Brisbane Dick Fund, 1936 29.52.4 36.110.22 Whatever Renaissance clocks may have Mary, only child of Henry VIII and his first lacked in accuracy was compensated for in wife, Catherine of Aragon, came to the their rich decorations. The sides of this table throne at the age of thirty-eight in 1553. She clock frame reliefs of Abraham and the restored the Catholic Church in England Three Angels and the Drunkenness of Noah, and, because of the ensuing religious strife, after models by Peter Flotner, a Nuremberg acquired the unhappy nickname "Bloody sculptor and goldsmith. On the bottom Mary." plate is engraved the death scene of Pyramus and Thisbe, the play-within-a-play in This medal was probably made shortly after Shakespeare's "A Midsummer Night's the marriage of Mary and Philip II of Spain. Dream." The reverse illustrates The Judgment of Paris.

8. CLOTHES RACK Walnut 10. OIL LAMP 15%" H. x 52%" W. x 5%" D. Bronze Italian (Florence), second half of the 16th 6%" L. century Italian (Padua), in the manner of Andrea Gift of Stephen C. Millet, Jr., in memory of Riccio, early to mid-16th century Mary Goodrich Millet, 1968 Gift of Irwin C. Untermyer, 1964 68.34 64.101.1421

Racks such as this were used in the 15th and This little vessel has Bacchic imagery of a 16th centuries for hats or clothes. Florentine sort much relished in the early Renaissance. wood-carvers of the 16th century produced It has a dwarfish nude character riding on richly decorated pieces which were often the neck of a vine-draped donkey, both gilded and painted. The cornice, fluted familiar from antique scenes of the drunken pilasters, and cherub's head on this clothes processions of Bacchus. rack were inspired by the architectural details of classical ornament. 11. ALBARELLO 12. DOORKNOCKER Tin-enameled earthenware Bronze 10V4" H. 14y4" H. x 11%" W. Italian (Faenza), about 1500 Italian (Venice), late 16th century J. Pierpont Morgan Gift, 1965 Rogers Fund, 1940 65.6.4 40.14.6

The albarello, a tall cylindrical jar containing The standing female figure may represent medicinal plants or preparations, was used the goddess Hebe holding the elixir of in European pharmacies beginning in the eternal youth. The bottom end with late Middle Ages. Generally, the contents Medusa's mask was beaten against a metal were labeled on the parchment cover, but plate set in the door. Artists outdid each here the inscription Pionia (peony root) is other in providing fantastic but symmetrical painted on the side of the jar. The flower decorations for such doorknockers, the within the wreath is purely decorative and pride of noble entranceways. not meant as an illustration of the contents. Peony root, in small chips or ground into a powder, was applied as a means of 13. DISH FOR A EWER staunching bleeding. Tin-enameled and lustred earthenware 13 Vt" diameter Italian (Deruta), about 1515-1525 Gift of Julia A. Berwind, 1953 53.225.85

Since forks had only been invented in the 16th century and table linens were frequently shared, basins like this one were an essential companion to polite dining. Water from a ewer was poured over the hands and caught in a basin placed beneath. The raised ring at the center of this dish steadied the foot ring of the ewer (now missing).

Deruta was famous for its rare lustred wares. The metallic lustre technique originated in the Middle East. When Spanish ceramics decorated in this technique were exported to Italy from the island of Majorca, the name majolica was given to this lustre ware which was also made in Italy.

11. 16. KRUMHORN IN C Stained wood 24%" L. Italian, late 19th century, in 16th-century style The Crosby Brown Collection of Musical Instruments, 1889 89.4.2702

15. The double-reed krumhorn, least familiar of the instruments displayed here, became 14. TENOR RECORDER IN B obsolete after the Renaissance but is now Stained maple, brass being revived for performances of old music. 27 V2" L. European, late 19th century, in Renaissance style 17. TRUMPET IN E FLAT The Crosby Brown Collection of Musical Dark metal, with polished brass mountings Instruments, 1889 18" L. 89.4.2926 Italian, about 1900 The Crosby Brown Collection of Musical During the Renaissance the flute was a Instruments, 1889 generic term for both the recorder I flute 89.4.2560 douce) and the transverse flute. Both wind instruments had a similar sound and Ceremonial music played on the trumpet technique. accompanied almost every important occasion. Trumpets were the status symbol of a noble household and were often decorated with heraldic banners. 15. TRANSVERSE TENOR FLUTE IN F Stained wood, metal The 1585 original of this reproduction was 35" L. made by Antoni Schniczer in Nuremberg, English, late 19th century the greatest center for the manufacture of The Crosby Brown Collection of Musical brass instruments in the 16th century. Instruments, 1889 89.4.1974 Renaissance instruments were divided into loud and soft consorts, the former including brass such as the trumpet, often played at outdoor ceremonies. The quieter woodwinds, such as the recorder and flute, and the lute were often played together in indoor chamber music. 18. RUFHORN 20. JOUSTING ARMET Horn, silver Steel, etched and gilded 14" L. ll%"H.xl2%"L. German, 17th century Italian, about 1580 The Crosby Brown Collection of Musical Gift of William H. Riggs, 1913 Instruments, 1889 14.25.599 89.4.1146 The etched and gilded designs of armor and Some instruments in the Renaissance, such musical instruments on this helmet recall as the rufhorn or falconer's horn, played no the rich pageantry of the tournaments and part in ensemble music, but were used alone jousts which continued to be a favorite to sound signals or hunting calls. celebration during the Renaissance. The interlaced bands of on the helmet are derived from both ornament 19. HUNTING CROSSBOW and variations on the Italianate Wood, bone, mother-of-pearl, steel style. 27%" L. German, 17th century The Bashford Dean Memorial Collection, 1929 29.158.649

The bone and mother-of-pearl inlays depict small animals and birds amidst foliage, appropriate decorations on a crossbow made for the sport of hunting wild game. The silent discharge of the heavy bolts thrown by the release of the bowstring (parts of the lock are missing here) and the accuracy of this mechanism made the crossbow an ideal instrument for the chase. 21. PAULDRON AND ARM DEFENSE 23. STATUETTE: BACCHUS Steel, etched and gilded Bronze (b) 10%" H. x 11" W. (d) 17" H. x 7%" W. 9%" H. Italian, about 1560 Italian (Venice), late 16th century Gift of William H. Riggs, 1913 The Friedsam Collection, Bequest of Michael 14.25.827 b,d Friedsam, 1931 32.100.190 The possession of lavishly decorated armor was a mark of status in the late Middle The god of wine, a companion panther by Ages and the Renaissance. Both the his side, is caught in a relaxed and silhouette and the decorations of 16th- pleasing pose, a free variation on century armor often reflected the styles and the antique. ornament of contemporary costume. Interlaces enclosing figures in classical armor are etched and gilded on the pauldron, or shoulder defense.

22. STATUETTE: SPINARIO (BOY PULLING A THORN FROM HIS FOOT) Bronze 6%" H. Probably north Italian, early 16th century The Friedsam Collection, Bequest of Michael Friedsam, 1931 32.100.170

Small bronzes adapted from classical sculptures were among the most popular works of art to be found in a Renaissance scholar's study.

The ancient bronze Spinario in the Capitoline Museum in Rome, with its smoothly rounded forms, appealed greatly to the humanists of the day. Among the many versions of the Spinario that were made in the Renaissance, this artist's interpretation was relatively naive. I 24. DISH: THE JUDGMENT OF PARIS walls. While the painter of this scene has Tin-enameled earthenware correctly dressed the Trojans in classical 173/s" diameter armor, he has turned Troy's lofty temples Italian, 16th century into the watchtowers of a 16th-century Italian Gift of J. Pierpont Morgan, 1918 town. Unable to resist displaying his skill in 18.129.1 perspective, foreshortening, and naturalistic detail, the painter has portrayed the wooden Classical legends, especially the versions by horse as a spirited steed, with a fiery glance Virgil and Ovid, were the most popular and a wild mane, and almost capable of sources of inspiration to 16th-century galloping into Troy on its own. majolica painters.

The subject here is the Judgment of Paris which precipitated the Trojan War. The goddesses Hera, Aphrodite, and Athena, disputing which among them was the fairest, appointed Paris, son of the Trojan king, as judge. Each offered a bribe: Aphrodite's was the promise of the most beautiful mortal woman, Helen of Sparta, as Paris's wife. As Paris awards Aphrodite the golden apple, Nike, the winged victory, flies down to place a wreath of laurel on her head. The composition of this scene was based on a drawing by Raphael which was well-known through a print by Marc Antonio Raimondi.

25. DISH: THE WOODEN HORSE IS LED 26. STATUETTE: HERCULES AND INTO TROY CACUS Tin-enameled earthenware Bronze 10%" diameter 14%" H. Italian (Urbino), mid-16th century Central Italian, 16th century Bequest of Mrs. Alexandrine Sinsheimer, Gift of George Blumenthal, 1941 1959 41.100.310 59.23.2 After Cacus attempted to steal his oxen, This dish depicts the climax of the ten- year according to the poet Virgil, Hercules slew siege of Troy, when the Greeks concealed him with his club (missing in this bronze). their soldiers within a colossal wooden horse, The statuette is a reflection of the heroic and the Trojans, believing the horse to be a possibilities sculptors saw in the struggling divine omen, dragged it inside their city two-figure group. 28. PANEL FROM A CHEST Walnut 26" H. x 49" L. French, 16th century The Friedsam Collection, Bequest of Michael Friedsam, 1931 32.100.335a

At a time when even the homes of nobility were still rather sparsely furnished and built-in storage closets were practically nonexistent, the most numerous pieces of furniture were chests, or coffers. Sixteenth century inventories list their contents: armor, clothing, bed linens, and dining utensils.

On this panel the design of half-length figures, whose bodies end in leafy scrolls and , belongs to a style known as the "grotesque" (literally, grotto decoration) which was widespread in the 16th century. The discovery in Rome, at the end of the 15th century, of Nero's "Golden House" revealed buried rooms which appeared to be grottos to archaeologists. The ornamental 27. style in this and other ancient Roman houses inspired painters and sculptors alike in the 27. STATUETTE: VENUS AND CUPID 16th century. Bronze 16%" H. Italian (Venice), after a model by Girolamo Campagna, late 16th or early 17th century Edith Perry Chapman Fund, 1966 66.111

As the 16th century progressed in Venice, sculptors developed a classicism that was familiar, rich, and warm. Campagna's statuette was modeled with painterly ease and economy.

10 28. Detail 29. TEXTILE, WITH A DESIGN OF 31. KEYHOLE ESCUTCHEON STRAPWORK, GRAPES, AND FLOWERS Iron, pierced, embossed and incised, with Linen, embroidered in black silk floss traces of the original tinning 18%" H. x 16%" L. 9V4" L. x 2V2" W. English, late 16th century German, 16th century Fletcher Fund, 1935 Gift of Henry G. Marquand, 1887 35.21.3 87.11.307

Black silk embroidery was fashionable The decorative design of this piece of throughout the 16th century in England, hardware for a door represents a nude first as a trimming on clothes (seen in human figure with a feathered headdress, Holbein's portraits) and, after the middle of probably a South American Indian, being the century, on household furnishings such devoured by a scaly monster. The figure is as bed hangings, pillows, and cushion covers. typical of fanciful European Renaissance The development of geometric and floral visions of the exotic natives of the recently motifs in these embroideries has parallels in discovered New World. the plaster ceiling decorations, wood carvings, and illustrated herbals of the period. 32. KEYHOLE ESCUTCHEON Iron, pierced, embossed and incised, with 30. OVAL DISH traces of the original tinning Lead-glazed earthenware 9V4" L. x 2V2" W. 2%" H. x 127s" L. x 10" W. German, 16th century French, in the manner of Bernard Palissy, Gift of Henry G. Marquand, 1887 second half of the 16th century 87.11.313 Gift of Julia A. Berwind, 1953 53.225.56 A half-figure of a soldier wearing a 16th- century morion or helmet, with his lance, Bernard Palissy was trained as a land battles a dragon that is in the process of surveyor, and his interest in ecology led him devouring him. The human half-figure and to study and collect fossils, plants and small the long, stylized foliate tail of the monster marine life in his native Poitou. His are German adaptations of the pervasive experiments in ceramic materials resulted in Italian Renaissance grotesque style. the discovery of a lead-glazed earthenware and a distinctive type of applied decoration cast from nature—shells, small snakes, leaves, snails, etc. Even the limited range of available colors, derived from earth pigments, complimented Palissy's naturalistic designs.

11 33. PLAQUETTE: CACUS STEALING THE 34. PLAQUETTE: HERCULES AND OXEN OF HERCULES THE NEMEAN LION Bronze Bronze 2%" H. x 2%" W. 3" H. x 2%" W. North Italian, by Moderno, early 16th century North Italian, by Moderno, early 16th Gift of Ogden Mills, 1925 century 25.142.25 Rogers Fund, 1918 18.70.12 Moderno signed the original of this highly pictorial plaquette which, like many of his The identity of the talented plaquette compositions, was cast and recast throughout master Moderno has never been firmly the 16th century. His signature, O established, but he may have been MODERNI, means "opus" or work of Galeazzo Mondella, a gem-carver of Moderno. Verona. Antique carving was eagerly studied in the Renaissance, and this For the tenth of his twelve labors in the confrontation in profile of Hercules and his service of King Eurystheus, Hercules was adversary was dictated by the composition commanded to bring back the red cattle of of an antique gem. the giant Geryon who dwelt on the far western border of the ocean. During the journey back to Greece, the cattle were 35. PLAQUETTES: PERSONIFICATIONS stolen by Cacus and led into a cave while OF EUROPE, ASIA, AFRICA, AMERICA Hercules slept. Later, the lowing of the cattle Lead, with traces of gilt guided Hercules to their hiding place. 7" (approximate) diameter South German, late 16th or early 17th century Rogers Fund, 1960 60.70.1-4 The Four Continents (as there were then thought to be only four) provided a subject with endless variations. For this artist, the elaborate imagery of each personification clearly was meant to suggest the untold riches to be found on each continent. Europe is portrayed as a queen with orb and scepter; the armor and lute signify her military strength and artistic accomplishments. Asia is seen with the camel, a symbol of commerce, while the lion and a (for agriculture) are associated with Africa. The feather bustle worn by the American Indian is a costume 33. which first appears in a woodcut illustration of about 1505, based on Vespucci's narrative of his voyages. 12 36. STATUETTE: TOAD WITH A YOUNG Plaquettes like this would have adorned TOAD ON ITS BACK small caskets or inkstands, and were Bronze sometimes used architecturally, set into the 5 2 /8" H. x 4%" L. x 4%" W. walls of a room. Italian (probably Padua), about 1500 Gift of Ogden Mills, 1925 25.142.24 38. TEXTILE FRAGMENT Cisele, voided satin velvet, brocaded Casts from nature, of creatures such as crabs 20V2" H. x 16V2" W. or this toad and her young, are generally Italian, late 16th or early 17th century associated with the naturalistic milieu of Fletcher Fund, 1946 Padua and the workshop of Andrea Riccio. 46.156.113

Small scattered motifs like this design of lions, eagles, and flowers became fashionable in dress materials after 1550. A lively sense of movement in the smallest details (the lion's tail or the tendril of a plant) and the way in which the motifs appear to change as the viewer observes them are characteristic of a late 16th-century style in costume fabrics. This cisele velvet is richly textured with cut and uncut pile; the silk brocading on the petals of the flowers adds shimmering highlights.

37. PLAQUETTE: ALLEGORICAL FIGURE Painted enamel on copper 4'/4" H. x l5/s" W. French (Limoges), late 16th or early 17th century Gift of George Blumenthal, 1941 41.100.247

In the 16th century Limoges was the unrivaled center for painted enamels, a technique which had been known in the preceding century, in Italy. Characteristic of Limoges are the intense blues and greens and the and mythological subjects first seen in France at Fontainebleau and later popularized in prints.

13 38. 39. TEXTILE: SCENES FROM THE STORY The alcove, drapery style, and the friezelike OF DAVID arrangement of the figures on this plaque are Linen, embroidered in crimson silk reminiscent of classical sculpted reliefs. 9%" H. x 31%" L. Italian (probably Sicily), 16th century Gift of Mrs. Harry G. Friedman, 1952 41. PLAQUETTE: THE ADORATION OF 52.42 THE MAGI Gilt-bronze Embroidered panels were often made as 2%" H. x 2%" W. bands for altar frontals or as other church Italian (Vicenza), after Valerio Belli, linens. Woodcut illustrations in contemporary after 1537 bibles were an important source of imagery Bequest of Theodore M. Davis, 1915 in the 16th and 17th centuries. The scenes 30.95.128 here are episodes from the story of David and Bathsheba; in the center, David orders In the archway of the building is inscribed Uriah, Bathsheba's husband, into battle. the greeting of the Magi: "Led by a star, we have found the light." The two camels lend Characteristic of a popular type of 16th an exotic element to the scene, while the century Italian embroidery is the currule chair is a correct archaeological monochromatic color and the reference to the ancient Roman period. "negative/positive" effect of the colored stitches which completely cover the The rock crystal original ornamented a rich background and leave the principal motifs casket of crystal and silver-gilt, conceived by in the natural color of the linen fabric. Pope Clement VII as a gift to Francis I of France. Today it is in the Pitti Palace in Florence. Belli completed the casket in 40. PLAQUETTE: THE ADORATION OF Vicenza in 1537. THE SHEPHERDS Bronze 2%" H. x 2" W. Italian (Vicenza), after Valerio Belli, early to mid-16th century Rogers Fund, 1913 13.121.1

Valerio Belli engraved scenes in rock crystal, which were greatly admired for their clarity and harmony of form, that is, for their High Renaissance character. They were cast and recast as bronze plaques throughout the period.

14 41. 42. ROUNDEL: THE ADORATION OF 44. PART OF AN ORPHREY: THE THE MAGI INCREDULITY OF ST. THOMAS Canvas, embroidered in silk and metal Brocatelle threads (or nue) 13" H. x 8%" W. 12%" diameter Italian (Florence), late 15th or early 16th Spanish, 16th century century Rogers Fund, 1943 Fletcher Fund, 1946 43.22.1 46.156.83

Such brilliant versions like this roundel of The orphrey, an embroidered or woven the religious scenes in Renaissance painting band, ornamented priestly vestments such were often created in the silk and gold as chasubles or copes. Many survive from embroidery called or nue, or shaded gold, as the Renaissance, an indication of how highly ornaments for church vestments or altar treasured both embroidered and woven frontals. The gold yarns are overlaid by orphreys were. colored silk threads which are variously spaced, either closely to produce a deeper A group of woven orphreys showing scenes color tone, or more or less widely to let the from the life of Christ and dating from the gold shine through. late 15th and early 16th centuries reflects the style of Florentine woodcuts. The figures of the resurrected Christ and the doubting 43. PATEN OF THE MASS Thomas on this orphrey were derived (via Brass a woodcut) from Verrocchio's late 15th- century sculpture group on the facade of the 6%" diameter Church of Or San Michele, Florence. Flemish, probably 16th century Rogers Fund, 1921 21.25.15 This orphrey is in a distinctive weave called brocatelle, the contemporary term for a This ritual dish, called a paten, was used in compound weave with the design in satin the Mass to hold the bread for consecration. and the ground with a diagonal or Like the chalice for the wine, the paten was a twill binding. focal object in the celebration of the Eucharist. Engraved around the rim are scenes from the life of Christ: the Annunciation, Epiphany, Flight into Egypt, Agony in the Garden, and the Crucifixion, serving as reminders of Christ's sacrifice. The linear style of the scenes suggests the influence of contemporary prints.

15 SUGGESTED READING

Helena Hayward, ed., World Furniture (New York, McGraw Hill, 1965) Michael Levey, High Renaissance (New York, Penguin, 1975) Jennifer Montagu, Bronzes (New York, Putnam, 1963) David Munrow, Instruments of the Middle Ages and the Renaissance (London, Oxford University Press, 1976) Bernard Rackham, Italian Maiolica (New York, Pitman, 1952) Gustave Reese, Music in the Renaissance (New York, W. W. Norton, rev. ed., 1959) M. Schuete and S. Muller-Christenden, A Pictorial Survey of Embroidery (New York, F. Praeger, 1964) John Scott-Taggart, Italian Maiolica (London, Hamlyn, 1972) Oscar Seyffert, Dictionary of Classical Antiquities (New York, Meridian Books, rev. ed., 1956) Pamela Taylor, ed., The Notebooks of Leonardo da Vinci (New York, New American Library, 1971) Giorgio Vasari, trans. George Bull, Lives of the Artists (New York, Penguin, 1965) A. C. Weibel, Two Thousand Years of Textiles (New York, Pantheon, 1952)

On the cover: No. 39

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