#XVth century

[cy-lindric]

Little jeanne with a Grand Bascinet

[10siglosdehistoria]

The Melun Diptych, Jean  Fouquet c. 1420–1481

El Díptico de Melun, Jean  Fouquet c. 1420–1481

Il Dittico di Melun, Jean  Fouquet c. 1420–1481

On the left, Étienne Chevalier with Santo Stefano (Berlino, Staatliche Museen Preussischer Kulturbesitz)

On the right, Virgin with Child and Angels (Anversa, Musée Royal des Beaux Arts).

Jean Fouquet, Melun’s diptych reassembled.

(English / Español / Italiano)

The well-known Diptych of Melun or Diptych of the Virgin and Child with Angels is a 15th-century work by one of France's foremost artists, Jean Fouquet. The work is presented on two small panels painted in oil on wood, just over ninety centimetres high and eighty-five centimetres wide, which were separated during the French Revolution and remain so today. One of the panels, that of the Virgin, is in the Royal Museum of Fine Arts in Antwerp, while the other is in the Gëmaldegalerie in Berlin.

The work was commissioned by one of the most powerful men at the court of King Charles VII of France, Étienne Chevalier, to decorate the funeral chapel of Agnes Sorel. Agnes Sorel has gone down in history as the first recognised mistress of a monarch, her beauty was said to be unparalleled and she was nicknamed the Lady of Beauty. It seems that the young lady was an inspiration to many artists of the time, in fact, according to legend, the Virgin of Fouquet is the portrait of the lady. Be that as it may, what is certain is that the artist has depicted a work with a highly erotic and sensual charge, perhaps because she was the king's mistress, or perhaps because legend has it that Agnes Sorel was also Chevalier's companion, who later became his executor.

Fouquet is one of the most outstanding artists of the early Renaissance outside Italy. His work maintains the Gothic tradition while incorporating Renaissance elements influenced by artists such as Piero della Francesca as a result of his travels in Italy and the detail of Flemish painting.

source: arte.laguia2000.com

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El conocido Díptico de Melun o Díptico de la Virgen con Niño y ángeles es una obra del siglo XV realizada por uno de los artistas más destacados de todo Francia, Jean Fouquet. La obra se presenta en dos pequeñas tablas pintadas en óleo sobre madera de poco más de noventa centímetros de altura y ochenta y cinco de anchura que fueron separadas en la Revolución francesa y en la actualidad siguen así, una de las tablas, la de la Virgen, se encuentra en el Real Museo de Bellas Artes de Amberes mientras que su compañera permanece resguardada en la Gëmaldegalerie de Berlín.

La obra fue encargada por uno de los hombres más poderosos en la corte del rey Carlos VII de Francia, Étienne Chevalier, para adornar la capilla funeraria de Agnes Sorel. Agnes Sorel ha pasado a la historia por ser la primera amante reconocida de un monarca, de ella se decía que su belleza no tenía parangón y fue apodada como la Dama de la Belleza. Parece ser que la joven dama sirvió de inspiración a numerosos artistas de la época, de hecho según cuenta la leyenda la Virgen de Fouquet es el retrato de la dama. Sea como fuere, lo cierto es que el artista ha representado una obra con una gran carga erótica y sensual quizás por tratarse de la amante del rey o quizás porque la misma leyenda cuenta que Agnes Sorel también fue compañera de Chevalier quién después de esto se convirtió en su albacea testamentario.

Fouquet es uno de los artistas más destacados del primer renacimiento fuera de las fronteras italianas. Su obra mantiene la tradición goticista a la vez que incorpora elementos renacentistas con influencias de artistas como Piero della Francesca fruto de sus viajes a Italia o el detallismo de la pintura flamenca.

fuente: arte.laguia2000.com

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Il famoso Dittico di Melun o Dittico della Madonna con Bambino e Angeli è un'opera del XV secolo realizzata da uno degli artisti più importanti di tutta la Francia, Jean Fouquet. L'opera è presentata in due piccole tavole dipinte ad olio su legno di poco più di novanta centimetri di altezza e ottantacinque di larghezza che sono state separate nella Rivoluzione francese e oggi seguono così, una delle tavole, quella della Madonna, si trova nel Museo Reale di Belle Arti di Anversa, mentre la sua compagna è custodita nella Gëmaldegalerie di Berlino.

L'opera fu commissionata da uno degli uomini più potenti alla corte del re Carlo VII di Francia, Étienne Chevalier, per adornare la cappella funeraria di Agnes Sorel. Agnes Sorel è passata alla storia come la prima amante riconosciuta di un monarca, di cui si diceva che la sua bellezza non avesse pari e fu soprannominata la Dama della Bellezza. Sembra che la giovane donna abbia ispirato numerosi artisti dell'epoca, infatti secondo la leggenda la Vergine di Fouquet è il ritratto della signora. Sia come sia, la verità è che l'artista ha rappresentato un'opera con una grande carica erotica e sensuale forse perché si tratta dell'amante del re o forse perché la stessa leggenda racconta che Agnes Sorel fu anche compagna di Chevalier che dopo questo divenne il suo esecutore testamentario.

Fouquet è uno degli artisti più importanti del primo rinascimento fuori dai confini italiani. La sua opera conserva la tradizione gotica, incorporando elementi rinascimentali con influenze di artisti come Piero della Francesca frutto dei suoi viaggi in Italia o il dettaglio della pittura fiamminga.

fonte: arte.laguia2000.com

[propalahramota]

I was recommended As Above So Below because it's apparently a fun creepy horror movie set in an original location (Paris catacombs) but I didn't know that it's not a movie for a history buff. I'm 10 min in and so far I've mainly been laughing and saying: "What?" through an awkward smile a lot

[fab-bladesmith]

A Light Longsword, late XVth century

Inspired by various examples - especially those swords I saw during my latest visit at the @museearmee_invalides - and by the numerous effigies of the late 1400s from the Holy Roman Empire, more specifically this very specific type of grip with saltire-shaped risers and a leather flap over the middle of the cross.

Spring steel blade, heat-greyed fittings, grip is leather over wood with linen thread risers.

It is on the smaller end for such swords, but still rather powerful.

1140 mm long, blade is 906 mm, cross is 213 mm, and weight is a mere 927 grams still with a lot of punch. Point of balance is 12 cm from the cross.

Blade starts short of 6 mm thick, tapers gradually and then thickens a bit at the reinforced point, as should be.

I'm offering it for two thousand units of European money, adding six hundred for a scabbard.

[zarya-zaryanitsa]

Protective household demons in Polish folklore

Belief in protective household demons was in all likeliness widespread among Slavic peoples from time immemorial. We do not know how those demonic creatures were imagined and what forms of cult were associated with them in the distant past, since the first sources on this subject we find in confessional literature of the late Middle Ages. In the XV-th century sermon fragment mentioned in previous chapters we find words of disapproval towards folk practice of „feeding” the protective spirits of the house called ubożęta (singular: ubożę).

”There are those who do not wash the dishes after dinner on Great Thursday and holy day, so as to feed the souls that they call vbosshe (ubożę) and others, believing stupidly that spirits need corporal things, when it is written that the Spirit does not have flesh or bones. Some purposefully leave the remains of dinner on their plates, to thus feed the souls or a certain demon that they call vbosshe, but this is completely ridiculous, because they often think, foolish and naive, that what they have left is food for the aforementioned vbesshe, since they care for it to attract good luck, but very often it is a dog that comes without them realizing and devours the remains.”

- Anonymous sermon, XVth century Poland, translation from „Sources of Slavic Pre-Christian Religion”, red. Álvarez-Pedrosa

The same problem was also touched on in two other works, the XVI-th century „Postępek prawa czartowskiego przeciw narodowi ludzkiemu” (roughly translates to „The Progress of Devilish Deeds Against the Human Nation”) and XVII-th century „Czarownica powołana” (roughly „The Witch Appointed”), whose authors were critical of the common practice of the housewives leaving a special, separate evening meal to the protective spirits of the household. P. Gilowski in his XVI-th century „Wykład katechizmu Kościoła krześcijańskiego z pism świętych” (roughly „Explaining the cathechism of Christian Church from holy scripture”) counted protective household spirits among satanic apparitions and wrote „… there are various sorts of devils, earthly skryatkowie (the modern word would be „skrzaty”), domestic ubożęta…”. According to B. Baranowski on the territory of central Poland in XVII-th and XVIII-th century „the belief in all sorts of protective deities remained exceptionally deep. Quite often they were some sorts of household spirits. (…) One was supposed to leave them a little bit of food in the corner of the hut or in the hall and they would then ensure good luck and wealth of the house. Other creatures of this sort were said to live in barns. For this reason one of the boards in the roof of the barn would be left loose, without nails or a small hole would be made in it, and thus it was ensured that the spirit can enter the barn at will.”

The aforementioned ubożeta, skrzaty and other related protective house spirits, similarly to atmospheric and natural demonology, were included in the family of devilish beings during the Counter-Reformation. On this basis, completely new images of domestic demons were formed, such as the diabeł-latawiec (a character combining elements of an atmospheric demon, a protective household spirit and the devil) or a diabeł-chowaniec (devil-familiar). Both of these beings were credited with activities aimed at securing abundance and prosperity on farms. As a consequence, this led to the formation in the minds of the rural people of the dual nature of devilish beings, that could be either dangerous and harmful or good and caring. The latter group included, among others, guardian house demons.

Concurrently, in the second half of XVIII-th century Catholic clergy started their own varied efforts towards broader dissemination and popularization (especially in rural areas and small towns) of the cult of angelic beings in particular guardian angels. To the latter they would assign very specific protective functions which were supposed to result in complete erasure of traditional beliefs in household spirits that were still present in the popular consciousness. The Church doctrine of that time stated that every person has a God-assigned guardian angel whose task is to guard their charge from all kinds of dangers and temptations. An interesting aspect of that protection was the constant war guardian angels and devils would wage over the salvation of human soul. This concept also found it’s reflection in the developing folklore, for example in an eschatalogical piece „Przemowa Diabła i Anioła przy łożu Umierającego” (translates to: The Speech of a Devil and an Angel by the bed of a Dying Man).

- Polska demonologia ludowa by Leonard Pełka, amateur translation by Zarya-Zaryanitsa

[jollmaster]

asile!AU: Carmilla Carmine, noblewoman, fighter, exorcist

° wife of wealthy Burgundian nobleman who lived in XVth century

° named after Our Lady of Carmel

° as a young girl, she dreamed of swinging a sword and practiced secretly

° one day Carmilla cut her face badly, after which father forbade her to use a sword and soon found her husband

° servants respected her very much

° Odette is her own daughter; Clara is husband's daughter by a Moorish woman

° he wasn't going to recognize her, but Carmilla took girl to the castle, christened her and raised with own baby together

° died in the Burgundian Wars (1474-1477 AD); husband died on the battlefield, Carmilla stayed in the castle with all men and women and even took command of the defenses, but unfortunately their castle has been overrun

° when Carmilla realized they had lost the battle, she performed a mercy killing on young daughters to keep them from being captured and raped, and then killed herself too

° went to Heaven, all together, where Carmilla was an exorcist

° after a few centuries she became too cruel and bloodthirsty towards victims, for which she was soon exiled to the underworld

° Odette and Clara objected to this decision and left with her

[t-hirstreview]

I have a fic idea but I'm illiterate

Hannibal is immortal and in some XVth century was a painter, who either had a model who looked like Will or maybe he saw his face in a dream or something like that. And Will sees himself in paintings when in a museum or when in Uffizi before meeting with Hannibal

[vintage-ukraine]

Ruins of the XVth century castle in Holhory, Lviv Region, early XXth century

[rhianna]

File:Bembo-Visconti-tarot-swords-12-knight.jpg

A swords card in Visconti Sforzatarot deck, beautifully drawn in the mid XVth century by Italian artist Bonifacio Bembo for the Visconti and Sforza dukes of Milan. Four cards (out of seventy-eight) are lost from the deck (the fifteenth and sixteenth major arcana—respectively the Devil and the Tower—, the Knight of Coins, and the Three of Swords), thus seventy-four cards remain.

Bonifacio Bembo

Public domain

[erendur]

Of course. there's no press urge to answer but since I am curious I shall utilise the open ask box to inquire in case you're happy to do so.

Who is your profile picture of? Or else what generic clothing trend/time period is the unambiguous lady shown in if it's not a particular person?

Why did you pick that image originally?

Oh no problem in asking a question thanks for the ask !

Like my username there is no super deep answer I'm afraid, I just like medieval art in general and late medieval Dutch/German art in particular.

My profile picture is a picture of a XVth century (if I remember correctly) reliquary from the Netherlands, you can see it there.

I like it a lot and she has super cool hair, the picture happened to be saved on my computer, so I went for it :)

[cy-lindric]

i am SOOOO interested in all of your Massà posts!! the twin princess (and of course gay monastery shenanigans) has really caught my eye!!! do you have any lore you’re willing to share? id be so excited to hear >_<

Hello ! Thanks a lot for your interest !

Massà is the setting for the big graphic novel I've signed about a year ago. I'm working on it side by side with my character design gigs and since it's a 200-or-so pages long beast I'm sorry to say it'll be a while before you guys can get an actual look at the story ! But I've been posting tidbits on my insta here and there.

The world it's set in is a low-ish fantasy alternate of XVth century Provence. The twins are called Sàvi and Sefia, and Sefia is married to a guy from the ruling family of the neighbour realm of Longitania (aka cursed Long France) That's guy number two below. would have loved niche subreddits and making spreadsheets if that was available to him

Since most of the intrigue takes place in the monastery the Longitans and Twin Princes intervene only in a handful of scenes so this is mostly lore for the sake of lore but here are some snippets of them and their delegation from the rough pages !

and a bonus wip panel for an extra display of artistry (pov : you've just called the prince a cockroach in front of all the Longitan ambassadors)

[1cassis]

Meow HIIIII give us a review of the last movie you watcheddd

Hi :p the last one I watched was The Messenger by Besson ... My letterboxd review:

This film depicts Jeanne as a desperate woman plagued by her visions, and we see her grow from a traumatized, fresh out of the countryside girl, into a traumatized and unintentionally selfish commander. The cast was nicely picked and physically fits the modern image of the XVth century. Richard Ridings as La Hire was a powerful and balanced presence within said cast.

Writing this movie in English allowed an international cast to prove themselves in this watch-worthy film.

"Secrets of a Strange Wind" is an incredibly fitting soundtrack. It sets the intented mood well in a wonderfully anachronic way - which gives this movie a refreshing and timeless feel.

The time transitions had the power to knock the wind out of me. Some scenes surprised me for their comic potential, but they were well welcome, and a sort of naïveté in the direction made me not get bored throughout this 2h40 long movie.

One thing I did not like was how my memory (as a viewer) was assumed to be short-term, with flashbacks that did not need to be there.

[officialjudgeclaudefrollo]

*The tiefling minstrel just plays some notes and chords as she hums in order to compose something good in front of the judge, while writing in her notebook, but a question picked her mind. She scratched her head with curiosity.*

Your honour, I would not like to bother you from your dayly tasks of judge and minister, but while I find myself here in front of your presence as your hired musician, I cannot avoid wondering, if I may ask, for sure... Do you listen to music? Are you fond of the music or your... "Era" (that's it, XVth century")? I've heard there are many great french composers in your lands! What kind of music do you want me to compose? A madrigal, a "danse", perhaps a hymn?

"I listen to nothing other than the church bells and the monk's singing, my child. It's my therapy.."

[yaellaharpe-blog]

1- El Hombre de Neuversen, también conocido como "Franz el Pelirrojo" aunque originalmente fuera rubio. Edad de Hierro (Alemania)

The Neuversen Man, also known as "Franz the Redhead" though originally blond. Iron Age (Germany)

2- Momia bebé de Qilakitsoq, S XV, Dinamarca. Se especula que el pequeño inuit fue depositado aún vivo sobre el cuerpo de su madre.

Baby mummy from Qilakitsoq, XVth century, Denmark. It is speculated that the little Inuit was deposited still alive on his mother’s body.

3- El Hombre de Tollund, Edad de Hierro prerromana, Dinamarca. Cuando fue descubierto aún conservaba la cuerda de tripa con la que fue estrangulado.

The Tollund Man, pre-Roman Iron Age, Denmark. When it was discovered it still retained the gut rope with which it was strangled.

4- Lady Dai, Dinastía Han (S II A.C.), China. No, que sepamos no guarda ningún parentesco con Kim Jong-un.

Lady Dai, Han Dynasty (2nd century BC), China. No, as far as we can tell, she bears no relation to Kim Jong-un.

MAS DE MOMIAS

Contemplar la cara de una momia siempre produce cierto desasosiego a quienes no están muy relacionados con la Arqueología (a quienes lo estamos, también) y hoy os traemos algunas que teniendo gran importancia arqueológica no sean quizás tan conocidas como Ötzi o las momias egipcias o precolombinas. También os indicamos el "nombre", la procedencia y la antigüedad para que podáis googlear más info de aquella que os interese.

MORE ABOUT MUMMIES

To contemplate the face of a mummy always produces a certain disquiet to those who are not very related to Archaeology (to whom we are, too) and today we bring you some that having great archaeological importance are perhaps not as well known as Ötzi or the Egyptian or pre-Columbian mummies. We also indicate the "name", the provenance and the antiquity so you can Google more info of the one that interests you.

[fab-bladesmith]

A Sidesword, in a late XVth century style.

This one draws most of its inspiration from the artwork of Luca Signorelli in the years 1494-1498, though the grip wrap was suggested by a fresco in the San Donnino church in the parish of Villamagna in Bagno a Ripoli, near Florence.

Spring steel blade, with etched and gold-plated ricasso and fuller, and gold plated crossguard and pommel - the latter being hollow. The grip is leather over a wooden core, with gold-plated copper wire on top.

Inscriptions in the fullers read " AVE MARIA REGINA" on one side, and "MORIOR CAEDO MALUM" on the other - those who know will know.

The style of the etchings was inspired by the Boar Sword of Philip the Fair kept at the Kunsthistorischesmuseum

It is 997 mm long, with a 864 mm long, 32 mm wide blade, 4.5 mm thick at one base. The cross span is 268 mm. Weight is a mere 729 grams, with a point of balance 16 cm from the cross that still gives it a nice authority in the cut and in the bind.

Currently at forty one hundred units in the European system.

[zarya-zaryanitsa]

Modern church architecture is so horrendously ugly. They should just accept that they peaked in XVth century and keep doing what they do well.