16th Century Edition Of Thomas Aquinas Book

A truly exceptional pair of Memento Mori 'remember you must die' painted on board, these date to the 16th century and were originally housed in an North Italian Monastery, this incre...

Acetre. Bronze. Century XVI. Bronze piece that has a circular foot, and a circular body, with an outwardly hollowed mouth at the top, and a decoration in relief in this last area o...

A Pair of Late 15th or Early 16th Century Oak Saints carved in high relief and raised on polygonal bases. The female depicted standing in contrapose with low...

Estienne, Charles De re hortensi libellus (A small book on gardening); . . . vulgaria herborum, florum ac fruticum qui in hortis conseri solent nomina latinis vocibus efferre docens ...

An Early 16th Century Stone Carving with polychrome : 'The Death of a Prelate'. The enthroned figure of a Bishop surrounded by attendants and surmounted by celestial angels.

A suit of 16th century style armour, the helmet with pierced visor, raised comb applied and twist border collar, two-piece breastplate with medial ridge, twist border shoulder plates...

A suit of 16th century style armour, the helmet with pierced visor, raised comb applied and twist border collar, two-piece breastplate with medial ridge, twist border shoulder plates...

Bronze mortar with garlands, flowers and putti - Tuscany , second half of 17th century. Measures: height 10 diameter : 13 cm Artisans and healers used mortars for grinding food...

This type of elements are basic in churches, chapels, etc. since they contain the Sacred Forms, reason why it is logical the abundance, with a series of typologies more habitual and traditional or old than others. There are also iconographies more common than others, a certain thematic preference according to the date or school to which the work belongs, etc., always related to the Sacrifice of Christ, Salvation, Transubstantiation, Eucharist, etc. for being a key element for Christianity (especially the Catholic) what they will always contain. The present work shows a chalice with Sacred Form in what would originally be the interior of the door (very usual iconography) and a somewhat more striking relief to the exterior. Inside that it is a Eucharistic Christ or Eucharistic Savior, the way of presenting it is more usual of the scenes of the Last Supper, being not so frequent to find it alone like this. Compare for example with works such as the door of the tabernacle attributed to Alonso Cano...

Portapaz. Silver in its color and gilded. Century XVI. Portapaz made of silver that has a handle (decorated with delicate plant motifs similar to those of the pilasters) and a female and a male bust at the bottom, as well as other architectural elements on the back, and, on the front, an architectural composition classicist basement (with busts flanking a flower and a cross), two pilasters (vegetal decoration and capital recalling the composite order) with entablature (flowers flanking an angel's head; moldings), and a semicircular arch finish with elements veined in relief under cross and flanked by two architectural motifs in the upper part. This composition frames and enhances a gilt silver relief where you can see the Lament or Cry over the Body of Christ, with the Virgin holding the head of Jesus, Saint John at her side, the Magdalene and other characters, a cross following the group and a landscape background with houses and plant elements. This architectural structure mentioned is similar to the one present in other 16th century portapaces, such as that of the Magdalena de Dos Hermanas parish (Hernando de Ballesteros el Mozo, around 1575); or that of the Galaroza parish (same author and date); or that of the portapaz of San Miguel de Jerez de los Caballeros (in some details); etc. As for the relief, it is possible to clearly see a strong Italian influence, and the similarity between it and important pieces such as the Portapaz known as “de Cisneros by Juan de Burgos (1493-1497; MuseoCatedralicio de Alcalá de Henares), as well as in paintings and reliefs. Also noteworthy are both the male and female busts in the lower area and the Maltese cross (or Saint John's) that appears in this area. This symbol was used since the 12th century as an insignia by the Knights Hospitallers of the Order of Saint John of Jerusalem, also known as the Order of Malta...