The Virgin and Child
Group
ca. 1240 (made)
ca. 1240 (made)
| Artist/Maker | |
| Place of origin |
The group is one of the earliest French carvings in ivory representing the Standing Virgin and Child. These first gothic ivories share the same stylistic traits as their monumental counterparts on the portals of cathedrals, and this Virgin has a similar arrangement of the drapery to the famous stone Madonna on the south doorway of the west front of Amiens cathedral, of 1230-35.
There is also a connection of this Virgin and Child to the so-called Davillier Virgin in the Musée du Louvre in Paris. There can be little doubt that the seated Davilliers Virgin is actually by the same craftsman as the V&A ivory. The faces are virtually identical and both figures display the same heavy folds of drapery. But not just that, the treatment of the back of the Virgin's veil, is very particular and distinctive and is displayed in the same way on both figures.
Three dimensional images of the Virgin and Child were ubiquitous from the twelfth to the fifteenth centuries, produced in a wide range of materials and sizes and testifying the overwhelming devotion to th Virgin. Together with the Crucifixion, statues and statuettes of the Virgin and Child were the pricipal objects of devotion in the Christian Church, and vast numbers were made for ecclesisastical, monastic and private worship.
There is also a connection of this Virgin and Child to the so-called Davillier Virgin in the Musée du Louvre in Paris. There can be little doubt that the seated Davilliers Virgin is actually by the same craftsman as the V&A ivory. The faces are virtually identical and both figures display the same heavy folds of drapery. But not just that, the treatment of the back of the Virgin's veil, is very particular and distinctive and is displayed in the same way on both figures.
Three dimensional images of the Virgin and Child were ubiquitous from the twelfth to the fifteenth centuries, produced in a wide range of materials and sizes and testifying the overwhelming devotion to th Virgin. Together with the Crucifixion, statues and statuettes of the Virgin and Child were the pricipal objects of devotion in the Christian Church, and vast numbers were made for ecclesisastical, monastic and private worship.
Object details
| Categories | |
| Object type | |
| Title | The Virgin and Child (generic title) |
| Materials and techniques | carving |
| Brief description | Statuette, ivory, The Virgin and Child, French (Paris or Amiens), ca. 1240 |
| Physical description | The Virgin stands supporting the Child on her left arm, His right arm is raised in benediction, and holds an apple in in His left hand. The figure is carved in the round. The virgin wears a veil, and a mantle, drawn across her body but open at the waist and above, covers her long gown; She staqnds on an integrally-carved cylindrical base, on which are the remains of a gilded inscription with the angelic salutation. There are remains of gilded ornaments on the edges of the Virgin's robe and on her crown. |
| Dimensions |
|
| Style | |
| Gallery label | The Virgin and Child
About 1250-60
Ivory was a suitably previous material to honour the Mother of God and her child. The 13th-century saint Hedwig had an ivory sculpture like this as a focus for prayer and meditation. It was with her always and when she died in 1243 was put in her grave.
France, Paris
Ivory
Museum no. 209-1867 |
| Object history | Formerly Webb collection. Purchased by the mueseum from Webb in 1867. This beautiful Virgin and Child is remarkably close to the larger sculptures of Gothic cathedrals and churches from the period 1230-50, especially those of Amiens. Historical significance: The group is one of the earliest French carvings in ivory representing the Standing Virgin and Child. These first gothic ivories share the same stylistic traits as their monumental counterparts on the portals of cathedrals, and this Virgin has a similar arrangement of the drapery to the famous stone Madonna on the south doorway of the west front of Amiens cathedral, of 1230-35. There is also a connection of this Virgin and Child to the so-called Davillier Virgin in the Musée du Louvre in Paris. There can be little doubt that the seated Davilliers Virgin is actually by the same craftsman as the V&A ivory. The faces are virtually identical and both figures display the same heavy folds of drapery. But not just that, the treatment of the back of the Virgin's veil, is very particular and distinctive and is displayed in the same way on both figures. |
| Historical context | Images such as this group represents, were certainly made for private devotion. In the Hedwigs Codex of 1353, the text mentions that St Hedwig (d. in 1243) had a small ivory sculpture of the Virgin and Child which she carried with her at all times and which was buried with her. |
| Subjects depicted | |
| Summary | The group is one of the earliest French carvings in ivory representing the Standing Virgin and Child. These first gothic ivories share the same stylistic traits as their monumental counterparts on the portals of cathedrals, and this Virgin has a similar arrangement of the drapery to the famous stone Madonna on the south doorway of the west front of Amiens cathedral, of 1230-35. There is also a connection of this Virgin and Child to the so-called Davillier Virgin in the Musée du Louvre in Paris. There can be little doubt that the seated Davilliers Virgin is actually by the same craftsman as the V&A ivory. The faces are virtually identical and both figures display the same heavy folds of drapery. But not just that, the treatment of the back of the Virgin's veil, is very particular and distinctive and is displayed in the same way on both figures. Three dimensional images of the Virgin and Child were ubiquitous from the twelfth to the fifteenth centuries, produced in a wide range of materials and sizes and testifying the overwhelming devotion to th Virgin. Together with the Crucifixion, statues and statuettes of the Virgin and Child were the pricipal objects of devotion in the Christian Church, and vast numbers were made for ecclesisastical, monastic and private worship. |
| Bibliographic references |
|
| Collection | |
| Accession number | 209-1867 |
About this object record
Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis. We are committed to addressing these issues, and to review and update our records accordingly.
You can write to us to suggest improvements to the record.
Suggest feedback
You can write to us to suggest improvements to the record.
Suggest feedback
| Record created | December 21, 2006 |
| Record URL |
Download as: JSONIIIF Manifest
