Object of Devotion Medieval English Alabaster Sculpture from the Victoria and Albert Museum This exhibition is organized and circulated by Art Services International, Alexandria, Virginia This exhibition is supported by a grant from The Samuel H. Kress Foundation His Excellency Sir Nigel Sheinwald, Ambassador of the United Kingdom of Great Britain and Northern Ireland to the United States of America is Honorary Patron of the exhibition Contents & Organization of the Exhibition Sixty prime examples including a complete set of panels from an altarpiece Organized into six main sections: The Art of the “Alabastermen” Martyrs and Miracles: The Lives and Deaths of the Saints Word Made Flesh: The Life of Christ The Altarpiece: Worshipping at Church Business and Religion: Making and Selling Holy Images End of an Era: The Reformation Hands-on section with three samples of stone that can be examined by patrons: limestone, marble, and alabaster Thesis Statement Alabaster production during the Middle Ages (between about 1370 and 1530) centered on the making and selling of finely decorated, gilded, and colored sculptures to churches, nobles, and owners of private chapels. More common examples, however, were intended to brighten the homes and spiritual lives of people of modest means and were the folk art of the ordinary medieval English man and woman. Because of this range in intended audience, this assemblage of English alabaster sculptures offers an unrivalled glimpse into the spiritual lives, hopes, fears, and religious aspirations of both aristocratic and non-aristocratic society during the Middle Ages. Since alabasters were sold across the Continent in large quantities, the exhibition sheds light on spirituality and culture beyond the English Channel, with the English examples having been found in countries from Iceland to Italy, and Poland to Portugal. Background Information Established in 1852, the Victoria and Albert collection has 4.5 million objects documenting 3000 years of the world’s richest cultures. Its collection of English alabaster sculptures is the largest and most complete in the world and traces all major developments of style and subject matter in the alabaster workshops between 1370 and 1530. These sacred sculptures provided devotional centers in many churches, royal chapels, and homes across medieval England. The exhibition explores their artistic, cultural, and religious background. In the early fourteenth century, alabaster workshops concentrated on making tombs for the wealthy and nobility. Later in the century, some began making cheap devotional images based on stock Christian themes. Parish churches and the modestly affluent then became a major market for the alabastermen. The fifteenth century was the peak of productivity, which lasted until the Reformation. Among the most common themes were the Passion of Christ, the Life of the Virgin, and the lives of Saints. The stories from the Old Testament were almost completely ignored as a potential corpus of artistic inspiration. These intimate pieces served to illustrate the fundamental precepts of faith in an era when most worshippers could not read. Pope Gregory the Great said: “What sculpture is to the educated, images are to the ignorant.” The master of a workshop took charge of all of the creative and conceptual work. Apprentices (most often wives and children) did the sawing, sanding, grinding, polishing, preliminary sculpting, and mixing of paint and gesso. Many designs were based on already existing prototypes; originality was not of paramount importance to the alabaster sculptors. Stylistic Characteristics The following stylistic characteristics apply to many of the 60 English alabaster sculptures in this exhibition: Crowded compositions Simplified, elongated forms Flat representations with little attempt at conveying a sense of foreground, middle ground, or background Depictions of multiple narratives simultaneously within a single sculpture Figures that hold calligraphic banners; often the writing has been lost over time Use of hierarchical scale, where the most important figures are represented as larger than those of lesser importance Figures shown wearing the style of dress common in the late Middle Ages, no matter what historical event is being represented Use of a stylized daisy pattern to indicate the ground and surrounding foliage Polka-dot-like gesso nodules adorning the gilded backgrounds Battlements used across the tops of early alabaster altarpieces The English Midlands The Art of the “Alabastermen” The Art of the “Alabastermen” Between the fourteenth and sixteenth centuries, the vast majority of religious congregations were unable to read or write. Their religious instruction came from the priest and painted or sculpted images found in or on the church. From about 1350 to 1530, English craftsmen used alabaster—a fine-grained form of gypsum—to create religious artworks that instructed, reminded, and created emotional connections with the illiterate members of a congregation. Expensive commissions for alabaster sculptures were placed in churches by wealthy clergy and nobles. Less expensive creations were used in the homes of faithful men and women of more modest means. These medieval alabasters offer a unique glimpse into the hopes, fears, and religious beliefs of a bygone society. Panel of The Fifth Sign of the Last Judgment c. 1440 - 1470 Three figures stand amidst the fulfillment of the fifth sign of the Last Judgment, where the earth will ooze with a dew of blood and all species of birds will gather together in fear. In this panel, rich reds stand out against a complementary forest green background. The figure on the right bows his head in prayer, seeming to plead for deliverance. The preservation of this panel’s rich colors and vibrant gilding is exceptionally rare. • Looking at the blood-flecked trees and the three men witnessing one of the fifteen terrifying omens of the Last Judgment, what impact do you think this scene had upon the medieval viewer? • How has the sculptor paid particular attention to a balanced, symmetrical composition despite the complexity of the scene? Figure of Saint Christopher c. 1450 - 1480 Saint Christopher, the bearded giant, converted to Christianity, then moved to the banks of a river to carry weary travelers across. One evening a child appeared to Christopher asking for safe passage. He is shown gazing upon the child, steadying himself with a staff as he undertakes an unusually arduous crossing of the fast-flowing river. After reaching the far banks, the boy revealed himself as Christ. Christopher’s journey had been so difficult because he was carrying the weight of the world and its Maker. Hereafter, Christopher was deemed the patron saint of travelers. • How can we tell that Saint Christopher is, indeed, holding in his arms the very Christ child, himself? (The child is holding an orb, representing His stewardship over the world.) • How does the sculpture convey the impression that the fast- flowing river is difficult to navigate? • According to legend, the staff held by Saint Christopher later bore fruit and leaves. Discuss how this further bears witness to the miraculous nature of this depiction. Panel of the Adoration of the Magi c. 1460 - 1500 Three wise men bestow precious gifts in veneration of the new-born Christ child. In The Golden Legend (a Medieval compilation of tales about the lives of the Saints) the wise men are named Caspar, Balthasar, and Melchior. Caspar presents Christ with a gift of gold, symbolizing royalty. This earthly ruler has removed his crown and kneels before the true King of kings. Joseph is asleep, referencing his coming dream in which the angel will command him to “take the young child and his mother, and flee into Egypt,” in order to save Christ from Herod’s murderous intentions (Matthew 2: 13). • Note that in addition to Caspar’s gift of gold, the beardless Balthasar offers frankincense, signifying Christ’s divinity; and Melchior presents myrrh, a symbol of death. The latter two are pointing to a now empty circle, where the star that guided the Magi to Christ would have originally been painted. • Discuss the fact that in the Middle Ages, the three wise men were considered as three kings symbolizing the three known parts of the world: Europe, Asia, and Africa. Martyrs and Miracles The Lives and Deaths of the Saints Martyrs and Miracles: The Lives and Deaths of the Saints English alabaster carvings were dedicated to the depiction of certain key stories from the four Gospels, the Book of Revelation, the Apocrypha, and a popular medieval compilation of saints’ lives known as The Golden Legend. Consequently, many of the surviving panels depict saints, ranging from images of the apostles to those of medieval religious heroes, such as Thomas Becket and the Anglo-Saxon martyr-King Edmund. Saints from all eras were represented with their identifying attributes. Regardless of when they lived, the Saints were portrayed in contemporary clothing and as inhabiting a late medieval world. It thus made no difference whether the craftsman was carving a figure of the saintly King Henry VI or an image of Saint Peter; both formed part of the timeless Christian message. Saints served numerous roles in everyday medieval society including protecting the souls, well-being, health, and even wealth of believers. Panel of Saint Catherine in Prison c. 1450 - 1470 One of the most popular saints depicted in English alabasters was Saint Catherine of Alexandria. About seventy panels or figures of her survive—more than any other saint. Persecuted for her Christianity by Emperor Maxentius of Rome, Catherine refused to denounce her faith. Imprisoned, she raises her hands in supplication to God. Christ appears in a vision on the right, and the Holy Ghost in the form of a dove brings her the Host (the sacrament) in its beak. Panel of Saint Catherine Saved from the Wheels c. 1430 - 1450 After Saint Catherine’s imprisonment, Emperor Maxentius commanded that she be tortured and killed by spiked wheels.