One of the earliest works of the Flemish master, Hans Memling. One side, of little interest, shows the souls of the righteous calmly queuing up to Heaven’s gate. The right panel depicts monstrous demonic figures shoveling the Damned into Hell’s brackish pits.
Clear, deep coloration creates a rich contrast between the two opposed realms of the dead. This piece is an excellent example of the emerging trend especially in Flemish works of exquisite textural details in oil work.
As a violinist, some of my favorite composers include Monteverdi, Lully, Handel, and Purcell–masters of harmonious and passionate string composition. Though I have played professionally in the past, I have always considered myself a mediocre musician. I would sell my soul (again) for the ability to properly play Purcell.
This fantasia by Purcell has been stuck in my head all week. Maybe if I post it here, it will get unstuck.
Red jasper mounted in gold with white enamel. Inspired by the Rondanini Medusa in the Munich Glyptothek. This 5.3cm x 5.3cm masterwork features such fine details that are barely visible to the naked eye. Close inspection shows deep carved intricacies of hair, feathers, and other embellishments.
NeoBaroque master Roberto Ferri, graduate of the Academy of Fine Arts, Rome. These three examples present Baroque and Classical ideals of the male figure in exaggerated musculature which is dramatically contoured in the chiaroscuro.
Lloyd de Beer, curator at The British Museum, explains the origin of the Canterbury pilgrim badges and how they relate to the swift rise of the cult of Thomas à Becket, whose followers drank the blood of the martyr for miracle cures.