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Saint Andrew refusing to worship the Idol
Tempera on poplar panel. 1400 - 1405
Borrassà, Luis
Saint Andrew refusing to worship the Idol
Tempera on poplar panel. 1400 - 1405
Borrassà, Luis

This panel is from the altarpiece of Saint Andrew, which Joan Bastida commissioned for that saint’s chapel in Barcelona Cathedral. By locating the gilded idol on a complex structure in the centre, the artist could arrange the two groups in the composition on either side of it: on the left is the enthroned proconsul with two other male figures and on the right is the captured Saint Andrew with the

The King of England is Informed of Saint Ursula’s Proposal
Tempera on panel. Ca. 1410
Mateu, Jaume
The King of England is Informed of Saint Ursula’s Proposal
Tempera on panel. Ca. 1410
Mateu, Jaume

The panels come from the Dominican church of San Pablo in Palencia, where they formed part of an altarpiece dedicated to Saint Ursula, the daughter of the king of Brittany, famous for her beauty and Christian virtue. In the first scene, the monarch and the young woman receive an ambassador who informs them that Conan, the son of the king of England, has made a proposal of marriage. In the second,

The Petition of Saint Ursula's Hand in Marriage
Tempera on panel. Ca. 1410
Mateu, Jaume
The Petition of Saint Ursula's Hand in Marriage
Tempera on panel. Ca. 1410
Mateu, Jaume

The panels come from the Dominican church of San Pablo in Palencia, where they formed part of an altarpiece dedicated to Saint Ursula, the daughter of the king of Brittany, famous for her beauty and Christian virtue. Together with Gonçal Peris, Jaume Mateu is one of the most representative artists of the second generation of International Gothic in Valencia. Trained at the workshop of his u

Coffered Ceiling
Polychromed, Carved. Ca. 1400
Anonymous
Coffered Ceiling
Polychromed, Carved. Ca. 1400
Anonymous

The principal beams are decorated with secular scenes, including dances, jousts or men fighting monsters, and with the coats-of-arms of Castile and León and those of the Luna and Rojas families. Other decoration includes sacred scenes (the Last Supper and the Last Judgement, for example). Between the transversal beams are panels with alternating castles and lions and elongated hexagonal pan

Saint Dominic and four Saints
Tempera on panel. 1405
Peris, Gonçal; Gener, Guerau
Saint Dominic and four Saints
Tempera on panel. 1405
Peris, Gonçal; Gener, Guerau

Gonçal Peris, in association with the Catalan artist Guerau Gener, was commissioned to produce the altarpiece dedicated to Saint Dominic and the doctor saints for a chapel in Valencia Cathedral. The central panel shows Saint Dominic with the lily and the book, symbols of purity and wisdom. His expressively shadowed face is close to the style of Marçal de Sax, a German painter active

Our Lady of Humility
Mixed method, Tempera on panel. Ca. 1400
Nicolau, Pere
Our Lady of Humility
Mixed method, Tempera on panel. Ca. 1400
Nicolau, Pere

The composition follows the model of Our Lady of Humility, an iconography inspired by the mendicant orders that heightens Mary’s humanity and proximity to worshippers by showing her seated on a pillow rather than a throne. The refined elegance, soft colouring and rhythmic calligraphy are habitual in Pere Nicolau, although the success of the formulae employed and their many associations with other

The Agony in the Garden with the Donor Louis I d’Orléans
Tempera grassa on oak panel. 1405 - 1408
Laon, Colart de (?)
The Agony in the Garden with the Donor Louis I d’Orléans
Tempera grassa on oak panel. 1405 - 1408
Laon, Colart de (?)

Few French paintings from the early fifteenth century have survived and works of this quality and importance are exceptionally rare. The nettle leaves on the sleeves of the donor, who appears here presented by Saint Agnes, have allowed him to be identified as Louis I d’Orléans (1372-1407), brother of the French king, Charles VI and regent from 1393. The high quality of the almost miniaturis

Saint John the Evangelist
Mixed method on panel. Ca. 1410
Mateu, Jaume
Saint John the Evangelist
Mixed method on panel. Ca. 1410
Mateu, Jaume

Con toda probabilidad, la pieza formaba parte de la predela de un retablo. Representa san Juan Evangelista en busto, reconocible por el cáliz envenenado que lleva en la mano derecha. Los morfotipos del santo, como los característicos ojos rasgados o la forma gráfica de tratar los rizos de la cabellera, aproximan la pieza a la obra del pintor valenciano Jaume Mateu. Las comparaciones más sugerentes

Cameos
Agate, Chalcedony, Vitreous paste, Cowry. Early Finales del siglo XVI - XVII century
Anonymous
Cameos
Agate, Chalcedony, Vitreous paste, Cowry. Early Finales del siglo XVI - XVII century
Anonymous

The thirteen cameos that have been preserved come from at least two different stolen vessels (nos. 52 and 58 in Arbeteta’s catalogue). Of various sizes and materials, they mostly depict busts of men, women and children. One of the cameos (O-41/5) represents Philosophy, recognisable by the gesture of pointing upwards with the left hand. Several reproduce effigies of historical personages. One examp

Cameo with a Hebrew inscription
Agate. XIII century
Anonymous
Cameo with a Hebrew inscription
Agate. XIII century
Anonymous

This extremely interesting piece is one of the thirteen preserved cameos that originally came from at least two different vessels stolen in 1918 (I-1405 and I-1407). It shows a crowned and bearded figure upon a curule seat or throne, his face turned and his arm extended to the viewer’s right, with the hand open in a gesture of invitation. The sovereign depicted may be a personage linked to the his

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