The Virgin and Child
Statuette
ca. 1220-1230 (made)
ca. 1220-1230 (made)
| Artist/Maker | |
| Place of origin |
This ivory statuette was made in about 1220-30 in France, probably Paris or Reims. The statuette represents the Virgin holding the Child on her lap.
This is the earliest Gothic ivory in the V&A's collection. In its rigid frontality, with both figures looking straight ahead with inexpressive features, it belongs in the tradition of the late twelfth century as manifested in the stone Virgin and Child of the Porte romane at Reims Cathedral of about 1180-85. But the fuller draperies, with restrained Muldenfaltenstil on the chest of the Virgin, and the broad faces of the figures allow closer comparisons with monumental sculptures in Paris and Reims of the years 1215-35. The Muldenfaltenstil was current in both Paris and Reims.
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 ecclesiastical, monastic and private worship.
This is the earliest Gothic ivory in the V&A's collection. In its rigid frontality, with both figures looking straight ahead with inexpressive features, it belongs in the tradition of the late twelfth century as manifested in the stone Virgin and Child of the Porte romane at Reims Cathedral of about 1180-85. But the fuller draperies, with restrained Muldenfaltenstil on the chest of the Virgin, and the broad faces of the figures allow closer comparisons with monumental sculptures in Paris and Reims of the years 1215-35. The Muldenfaltenstil was current in both Paris and Reims.
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 ecclesiastical, monastic and private worship.
Object details
| Categories | |
| Object type | |
| Title | The Virgin and Child (generic title) |
| Materials and techniques | Carved ivory |
| Brief description | Statuette, ivory, the Virgin and Child, French (probably Paris or Reims), ca. 1220-30 |
| Physical description | Ivory statuette, the Virgin holding the infant Saviour on her lap. She sits on a palin bench with mouldings. She rests her feet on a dragon which looks up to the infant Christ, referring to Psalms, and she holds an apple in her right hand. Her head is velied with the mantle which falls over her shoulders, sweeping accross her waist in a thick roll and covering the sides of the bench. Christ holds an apple in his left hand and blesses with his right. |
| Dimensions |
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| Object history | This is the earliest Gothic ivory in the V&A's collection. In its rigid frontality, with both figures looking straight ahead with inexpressive features, it belongs in the tradition of the late twelfth century as manifested in the stone Virgin and Child of the Porte romane at Reims Cathedral of about 1180-85. But the fuller draperies, with restrained Muldenfaltenstil on the chest of the Virgin, and the broad faces of the figures allow closer comparisons with monumental sculptures in Paris and Reims of the years 1215-35. The Muldenfaltenstil was current in both Paris and Reims. In the possession of John Webb by 1862; purchased from John Webb in 1867. |
| Subjects depicted | |
| Summary | This ivory statuette was made in about 1220-30 in France, probably Paris or Reims. The statuette represents the Virgin holding the Child on her lap. This is the earliest Gothic ivory in the V&A's collection. In its rigid frontality, with both figures looking straight ahead with inexpressive features, it belongs in the tradition of the late twelfth century as manifested in the stone Virgin and Child of the Porte romane at Reims Cathedral of about 1180-85. But the fuller draperies, with restrained Muldenfaltenstil on the chest of the Virgin, and the broad faces of the figures allow closer comparisons with monumental sculptures in Paris and Reims of the years 1215-35. The Muldenfaltenstil was current in both Paris and Reims. 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 ecclesiastical, monastic and private worship. |
| Bibliographic references |
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| Collection | |
| Accession number | 206-1867 |
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| Record created | August 15, 2008 |
| Record URL |
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