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The reconstructed portal is composed of five medieval elements. Neither the bases nor the arch of rosettes were part of the medieval monument. The two jambs of gray Carrara marble were apparently recarved from sections of antique sarcophagi
Belle arti 1, no. 2 (November-December 1946). p. 97. Formentini, Ubaldo.
The Artist: Bernardo Daddi was one of the most important painters of the early Trecento in Florence. He began his activity there in the 1320s during the height of Giotto’s reign over Florentine painting
Fig. 1.
P. Triantaphyllos. Richter, Gisela M. A. 1915.
Inscription: (on each corner and in center): A [image of a knot] E [reversed] (unidentified)(on red horn): W [backwards E] D H N O H N M E H O M (too fragmentary for interpretation)
"Masterpieces of Fifty Centuries," November 14, 1970–June 1, 1971.
Prince Antonin Juritzky, also known as Alfred Juritzky-Warberg, Vienna or Schloss Gablitz, near Vienna (in 1923); [Nicholas A. Karger, until 193(?); sold to Kleinberger]; [Kleinberger, Paris and New York, until 1934; sold to Wildenstein]; [Wildenstein, New York, 1934–41; sold to The Met]
New York, 1954, p. 38. Charles Sterling.
From the high altar of the Cistercian abbey, Lichtenthal, near Baden-Baden, Baden-Württemberg; Dutch or German Private Collection ; [ Sotheby’s, London (July 28, 1939, no. 103) ] ; [ John Hunt, Ireland (1939–sold 1952)]
Swabia, Germany Culture: German Medium: Poplar, paint and gilt Dimensions: 64 1/
This group of five ivory panels are the reassembled elements of a „composite casket,“ so called by scholars because the narrative scenes that adorn them are vignettes from a variety of popular stories and chivalric romances
Vol. 1. Paris: Maison Quantin, 1890–1893. Ivoire 79, p. 52, pl. XXI.
1911–13, excavated under the direction of Baron Max von Oppenheim; ceded to Baron Max von Oppenheim in the division of finds; acquired by the Museum in 1943, purchased from the Alien Property Custodian, New York
Orthostat relief: lion-hunt scene, Part 1 7063.
"Mirror of the Medieval World," March 9–June 1, 1999. New York.
The Artist: For a biography of Jan van Eyck, see the Heilbrunn Timeline of Art History.The Paintings: In unusually tall, narrow paintings, the Crucifixion and Last Judgment emphasize the narrative features of these well-known biblical themes prophesied in Isaiah and related in the Gospels of Matthew, Mark, Luke, and John for the Crucifixion, and in Deuteronomy and the Book of Revelation for the Last Judgment
Leipzig, 1903, p. 23 n. 1 (from p. 22). Jean Guiffrey.
