# data[].attributes.attachment_link.readable_text
Table Fountain

Did you know?

This fountain with its minute architectural details and finely made enamel plaques displayed the wealth and refinement of the owner as it entertained his guests. Imagine hearing the ringing of the tiny bells when this fountain was in use.

Description

Conceptually and stylistically, this object is beyond all else a piece of Gothic architecture in miniature with vaults, pinnacles, columns, and traceried arches. Though the artist who created it is unknown, he was unquestionably inspired by the great Gothic buildings of his time.
The table fountain is a three-tiered assembly combining cast elements with bent sheets of gilt-silver. To these have been attached a series of enamel plaques representing grotesque figures, some of which play musical instruments. Water wheels and bells were added to capture motion and sound.
The rich detail, precious materials, and involved ornamentation of this deluxe object suggest it would have been expensive to produce and highly treasured by its original owner, someone of high status, and would have been deployed as an object of spectacle. This is the most complete example of its type known to survive from the Middle Ages. Medieval inventories reveal that small fountains like this, often taking various forms, and generally made from precious metals, once existed in large numbers, thus making the Cleveland table fountain an extremely rare object.

# data[].attributes.attachment_link.description
This fountain with its minute architectural details and finely made enamel plaques displayed the wealth and refinement of the owner as it entertained his guests. Imagine hearing the ringing of the tiny bells when this fountain was in use.

# data[].attributes.headline
Armor for Man and Horse with Völs-Colonna Arms

# data[].attributes.subject
Armor for Man and Horse with Völs-Colonna Arms

# data[].attributes.attachment_link.readable_text
Armor for Man and Horse with Völs-Colonna Arms

Support: Etched bands ("Pisan" Style)

Did you know?

The Vols-Colonna family crest is found seven times in prominent locations on this armor set for horse and rider.

Description

A knight depended on his horse both as a weapon and a means of defense. He therefore had to take great care to protect his charger. From the 1100s on, knights first covered their steeds in trappings of fabric and later of mail. By around 1400, full steel plate armor for horses was complete. It is possible that this armor made for both man and horse originally belonged to a "garniture," an armor with multiple customized exchange elements that could convert the basic suit to various field and sporting uses. With different pieces of the garniture attached, this suit could have been worn either in battle or in various tournament games. The total combined weight of both the man's and horse's armor is 114 pounds. The etched decoration of this armor is of a type that became fashionable in northern Italy during the late 1500s. It consists of ornamental bands of etched figures, animals, portrait busts, and armor trophies. In addition, a coat of arms is represented seven times in different places-the center of the breastplate and blackplate, the front and back of each pauldron (shoulder defense), and the center of the peytral (horse's breastplate). The coat of arms is that of the Colonna family quartered with another, still unidentified family. It probably belonged to an unknown member of the Völs-Colonna family from the South Tyrol, now part of northern Italy.

Provenance

Schloss Prösels, Fiè allo Sciliar, Italy

Town Hall, Bolzano, Italy

Prince Peter Soltykoff (active 1840-1861), Paris, France

William H. Rigs (1837-1928), Paris, France, donated to the Metropolitan Museum of Art

The Metropolitan Museum of Art (1913-64), New York, NY, sold to the Cleveland Museum of Art

The Cleveland Museum of Art, Cleveland, OH

Dean, Bashford. "Mr. Riggs as a Collector of Armor." The Metropolitan Museum of Art Bulletin 9, no. 3 (1914). p. 72 www.jstor.org

Carrara, Elena. ""Mon Cher Ami Et Frère D'armes": Letters from Costantino Ressman to William Riggs, Collectors of Arms and Armor in Nineteenth-Century Paris." Metropolitan Museum Journal 47, no. 1 (2012). p. 169 www.jstor.org

Exhibition history

Year in Review (1964). The Cleveland Museum of Art, Cleveland, OH (organizer) (December 8, 1964-January 31, 1965).

Armor Court Reinstallation. The Cleveland Museum of Art (organizer).

# data[].attributes.attachment_link.title
Armor for Man and Horse with Völs-Colonna Arms

# data[].attributes.attachment_link.description
Support: Etched bands ("Pisan" Style) The Vols-Colonna family crest is found seven times in prominent locations on this armor set for horse and rider. A knight depended on his horse both as a weapon and a means of defense. He therefore had to take great care to protect his charger.

# data[].attributes.attachment_link.readable_text
Ceremonial Cross of Countess Gertrude

Did you know?

Countess Gertrude's name appears on the back of the cross at the bottom.

Description

This precious gold cross was commissioned by Countess Gertrude (died 1077) and given to the church of Saint Blaise following the death of her husband, Count Liudolf of Brunswick (died 1038). The cross was intended to be carried in liturgical processions or to be placed on a church altar. The inclusion of relics within the crosses endowed them with an additional role as devotional objects. At the center of the four cross arms, fine but much damaged cloisonné enamel plaques represent the symbols of the four Evangelists--an eagle for Saint John (above); a lion for Saint Mark (on the left); an ox for Saint Luke (on the right); and an angel for Saint Matthew (below). Pearls and precious and semiprecious stones are set within an intricate network of gold filigree while a large sapphire, inscribed in a circle and likewise surrounded by pearls and precious stones, is placed at the crossing.

Inscriptions

Inscription

translation of inscription on back: For the Relics of the Holy Apostle Peter and the Holy Virgin Liutrudis, Countess Gertrude Ordered this made.

Exhibition history

The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 12, 1936).

The Silver Jubilee Exhibition. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).

Object Lessons: Cleveland Creates an Art Museum. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).

Contact us

The information about this object, including provenance information, is based on historic information and may not be currently accurate or complete. Research on objects is an ongoing process, but the information about this object may not reflect the most current information available to CMA. If you notice a mistake or have additional information about this object, please email collectionsdata@clevelandart.org.

To request more information about this object, study images, or bibliography, contact the Ingalls Library Reference Desk.

Is something not working on this page? Please email help.website@clevelandart.org.

Request a digital file from Image Services that is not available through CC0, a detail image, or any image with a color bar. If you have questions about requesting an image, please email imageservices@clevelandart.org.

# data[].attributes.attachment_link.description
Countess Gertrude's name appears on the back of the cross at the bottom. This precious gold cross was commissioned by Countess Gertrude (died 1077) and given to the church of Saint Blaise following the death of her husband, Count Liudolf of Brunswick (died 1038).

# data[].attributes.attachment_link.readable_text
Lion Aquamanile

Did you know?

The handle of this vessel is in the shape of a dragon with a long curving tail.

Description

An aquamanile is a water vessel used for washing hands both at church altars and at the dinner tables of upper-class patrons. They often took the form of fantastic beasts such as dragons and unicorns or animals such as horses, birds, dogs, and lions, like this one.

Exhibition history

The Age of Bronze, Cleveland Museum of Art, Cleveland, OH (July 7-October 17, 1982).

Year in Review: 1972. The Cleveland Museum of Art (organizer) (February 27-March 18, 1973).

Traditions and Revisions: Themes from the History of Sculpture. The Cleveland Museum of Art (organizer) (September 24-November 16, 1975).

A Cleveland Bestiary. The Cleveland Museum of Art (organizer) (October 14-December 16, 1981).

Sacred Gifts and Worldly Treasures: Medieval Masterworks from the Cleveland Museum of Art. National Museum of Bavaria, Munich, Germany (May 10-September 16, 2007); J. Paul Getty Museum, Los Angeles, CA (October 30, 2007-January 20, 2008); Frist Art Museum, Nashville, TN (February 13-June 7, 2009).

Contact us

The information about this object, including provenance information, is based on historic information and may not be currently accurate or complete. Research on objects is an ongoing process, but the information about this object may not reflect the most current information available to CMA. If you notice a mistake or have additional information about this object, please email collectionsdata@clevelandart.org.

To request more information about this object, study images, or bibliography, contact the Ingalls Library Reference Desk.

Is something not working on this page? Please email help.website@clevelandart.org.

Request a digital file from Image Services that is not available through CC0, a detail image, or any image with a color bar. If you have questions about requesting an image, please email imageservices@clevelandart.org.

# data[].attributes.attachment_link.description
The handle of this vessel is in the shape of a dragon with a long curving tail. An aquamanile is a water vessel used for washing hands both at church altars and at the dinner tables of upper-class patrons.

# data[].attributes.headline
Leaf from the Hours of Duke Louis of Savoy: Saints Nereus and Achilleus

# data[].attributes.subject
Leaf from the Hours of Duke Louis of Savoy: Saints Nereus and Achilleus

# data[].attributes.attachment_link.readable_text
Leaf from the Hours of Duke Louis of Savoy: Saints Nereus and Achilleus

Did you know?

An estimated 82 folios is still missing from the original manuscript, the bulk of which is preserved in Paris.

Description

Once part of a book of hours made for Louis, Duke of Savoy and Prince of Piedmont (1413-1465), this miniature depicts two Roman martyrs of the early church, Nereus and Achilleus, shown in the center. Their feast day was jointly honored on May 12, suggesting this leaf comes from the Suffrages, a customizable section of a book of hours containing prayers to particular saints. On the left we see the saints being asked to worship idols, which they refuse. They are then burned at the stake and beheaded. On the right we see their burial at the top and the transfer of their relics to a new location below. Some sections this book are currently preserved in the Bibliothèque Nationale in Paris.

Contact us

The information about this object, including provenance information, is based on historic information and may not be currently accurate or complete. Research on objects is an ongoing process, but the information about this object may not reflect the most current information available to CMA. If you notice a mistake or have additional information about this object, please email collectionsdata@clevelandart.org.

To request more information about this object, study images, or bibliography, contact the Ingalls Library Reference Desk.

Is something not working on this page? Please email help.website@clevelandart.org.

Request a digital file from Image Services that is not available through CC0, a detail image, or any image with a color bar. If you have questions about requesting an image, please email imageservices@clevelandart.org.

# data[].attributes.attachment_link.title
Leaf from the Hours of Duke Louis of Savoy: Saints Nereus and Achilleus

# data[].attributes.attachment_link.description
An estimated 82 folios is still missing from the original manuscript, the bulk of which is preserved in Paris. Once part of a book of hours made for Louis, Duke of Savoy and Prince of Piedmont (1413-1465), this miniature depicts two Roman martyrs of the early church, Nereus and Achilleus, shown in the center.

# data[].attributes.attachment_link.title
PZ's Thinking Routines Toolbox | Project Zero

# data[].attributes.attachment_link.description
The Toolbox organizes the Thinking Routines into categories that describe the types of thinking the routines help to facilitate. Some routines appear in more than one category, and some routines have different versions that offer modifications for specific age groups or more specific conceptual challenges.

# data[].attributes.attachment_link.readable_text
The practice of slow looking can help us gain insights about our context that we might otherwise overlook or take for granted. The Creating Communities of Innovation Slow Looking tool can be used to build inquiry skills, document an innovation project, or collect data.

# data[].attributes.attachment_link.description
The practice of slow looking can help us gain insights about our context that we might otherwise overlook or take for granted. The Creating Communities of Innovation Slow Looking tool can be used to build inquiry skills, document an innovation project, or collect data.

# data[].attributes.headline
Gallery Hangouts: Armor for Man and Horse

# data[].attributes.subject
Gallery Hangouts: Armor for Man and Horse

# data[].attributes.attachment_link.title
Gallery Hangouts: Armor for Man and Horse

# data[].attributes.attachment_link.title
Medieval Europe: Crash Course European History #1

# data[].attributes.body
Use only aluminum foil to re-create the CMA’s Half Armor for the Foot Tournament. Did you know that Pompeo della Cesa, the maker of this armor, was the Armani or Gucci of the 1500s? Everyone wanted to wear his designs!

# data[].attributes.attachment_link.description
A knight's armor would often be decorated with a coat of arms - symbols that might show who you and your family are. 1) Look at the armor and the picture of the coat of arms. What do you notice about this knight's coat of arms? What do you think they wanted us to know about them?

# data[].attributes.body
We are on Flipgrid! Create an account to view several medieval themed activities.

# data[].attributes.attachment_link.readable_text
We express ourselves in different ways. On Flip, you can use our simple and fun built-in camera to record your thoughts, add effects and share within your Flip group as video, audio only or text in your web browser or mobile app.

# data[].attributes.attachment_link.title
Flip is a video discussion and sharing app, free from Microsoft.

# data[].attributes.attachment_link.description
Flip (formerly Flipgrid) is a video discussion and video sharing app, free from Microsoft, built for classrooms and beyond. Learn more.

# data[].attributes.headline
Equestrian Portrait of the Emperor Maximilian

# data[].attributes.subject
Equestrian Portrait of the Emperor Maximilian

# data[].attributes.attachment_link.readable_text
Half Armor for the Foot Tournament

(Italian, active 1572-93)

Did you know?

Pompeo della Cesa was the Armani or Gucci of the 1500s; everyone wanted to wear him.

Description

This armor was designed for the foot tournament, an event that was separate from the equestrian jousts popularized during the Middle Ages and still favored among Renaissance aristocracies throughout Europe. Foot tournaments were commonly fought over a barrier that separated the combatants and gave protection to their legs, so a half-armor such as this one provided sufficient protection. The original owner of this suit would have worn it with colorful puffed and slashed britches and hose. The use of outlandish accessories, such as a large ostrich feather plume (a brass plume holder may be seen on the back of the helmet) and red velvet pickadils between the steel plates, provided additional splendor.

Artist biography

Pompeo della Cesa

Pompeo della Cesa was the most renowned Italian armorer of the late 16th century. His clients included some of the most celebrated noblemen of their day--the two Spanish kings Philip II and III; Alessandro Farnese, Duke of Parma and Piacenza; and Vincenzo I Gonzaga, Duke of Mantua. He is known to have maintained a large workshop in Milan's castle--the so-called Sforza Castle. The original owner of this armor remains unidentified. However, armors made for patrons of noble rank were typically of very high quality like this one. Ostentation was of paramount importance for public spectacles such as tournaments or parades. Most wealthy patrons afforded the additional expense of embellishing their armors. The most frequently used decorative technique for armor was etching, seen here, in which acid was used to "bite" into exposed surfaces of the armor's steel plates to create permanent patterns. The etched and gilded decoration of this armor features vertical bands of strapwork enclosing cartouches which in turn contain allegorical figures, classical warriors, and trophies. The decoration represents Pompeo's classic style of armor decoration, one which is found on over forty surviving suits. These and other decorative patterns were normally recorded in pattern books from which the prospective client made his selections.

Provenance

Durlacher Firm, London, England

Edward Hubbard Litchfield (1845-1930), New York, NY

(Arms & Armor, Parke-Bernet Galleries, New York, December 5-6, 1951, Lot 123)

Leopold Blumka (1897-1973), New York, NY

Eric Vaule (b. 1938), Bridgewater, Connecticut

(Peter Finer, Warwickshire, England, sold to the Cleveland Museum of Art)

The Cleveland Museum of Art, Cleveland, OH

Cleveland Museum of Art, "Renaissance Armor, Early Islamic Ceramic, French Vase, Gleitsman Painting Added to Museum Collection," December 13, 1996, Cleveland Museum of Art Archives. archive.org

Exhibition history

Armor Court Reinstallation. The Cleveland Museum of Art (organizer).

Sacred Gifts and Worldly Treasures: Medieval Masterworks from the Cleveland Museum of Art. National Museum of Bavaria, Munich, Germany (May 10-September 16, 2007); J. Paul Getty Museum, Los Angeles, CA (October 30, 2007-January 20, 2008).

Contact us

The information about this object, including provenance information, is based on historic information and may not be currently accurate or complete. Research on objects is an ongoing process, but the information about this object may not reflect the most current information available to CMA. If you notice a mistake or have additional information about this object, please email collectionsdata@clevelandart.org.

To request more information about this object, study images, or bibliography, contact the Ingalls Library Reference Desk.

Is something not working on this page? Please email help.website@clevelandart.org.

Request a digital file from Image Services that is not available through CC0, a detail image, or any image with a color bar. If you have questions about requesting an image, please email imageservices@clevelandart.org.

# data[].attributes.attachment_link.description
(Italian, active 1572-93) Pompeo della Cesa was the Armani or Gucci of the 1500s; everyone wanted to wear him. This armor was designed for the foot tournament, an event that was separate from the equestrian jousts popularized during the Middle Ages and still favored among Renaissance aristocracies throughout Europe.

# data[].attributes.attachment_link.readable_text
Armor Court Virtual Tour

The much-beloved Jack, Joseph and Morton Mandel Armor Court is unique among the galleries of the Cleveland Museum of Art. It showcases a breathtaking installation of arms and armor, complete with regimental banners and tapestries, and is the only gallery to have remained in its original location since the museum opened in 1916. The museum continually adds to its collection of arms and armor through acquisitions and loans. It is an enduring favorite of the museum, which many consider to be the heart and soul of the building.

To explore the space, click and drag on the window below. Select any pin with a plus symbol to see a wealth of information from the Collection page for each object, including provenance, 36 fields of metadata, and additional views with zoomable images. In the gallery view, the square icons will open an additional detail view, which can be closed with the 'x' in the upper right corner of the window.

# data[].attributes.attachment_link.description
The much-beloved Jack, Joseph and Morton Mandel Armor Court is unique among the galleries of the Cleveland Museum of Art. It showcases a breathtaking installation of arms and armor, complete with regimental banners and tapestries, and is the only gallery to have remained in its original location since the museum opened in 1916.

# data[].attributes.attachment_link.readable_text
By Amanda Mikolic, Curatorial Assistant for the Department of Medieval Art
"In the age of COVID, the facemask is the most visible form of PPE, or personal protective equipment. But the art of PPE has a long history." - The Art of PPE

Photo: Scott Shaw for the CMA.

Let's take a look at another piece of protective equipment from the Medieval era, the helmet.

The helmet is held closed with a spring latch on the right side of the neck. The light weight may indicate it was not used in tournaments but rather in parades. Closed Sallet with Grotesque Face (Schembart visor), c. 1500, Germany, Nuremberg. Painted steel; 27.3 x 25.7 x 22.2 cm. The Cleveland Museum of Art, Gift of Mr. and Mrs. John L. Severance 1916.1646. On view in gallery 210A.

Helmets are among the earliest forms of Old World protective armor, the first examples are made of fabric, leather, and bone. During the European Bronze Age, 3200 to1200 BC, metal was added to offer greater rigidity and durability. The Greeks perfected these practices by shaping metal plates to the human body to create fully metal helmets. The earliest and simplest conical shaped helmets soon evolved, becoming increasingly sophisticated and by the 1300s helmets with face masks or guards were in use. By 1500 the range of forms and styles available was vast and varied by region and occasion. Manufacturing methods and materials continued to improve and effectiveness in the level of protection, and decoration flourished. Although full face masks make wearers anonymous, it did not prevent them from communicating.

After the era of wearing armor into battle came to an end, this helmet and gorget had use as part of an achievement, a group of weapons and armor suspended over a knight's tomb. Close Helmet and Gorget (from a Funerary Achievement?), c. 1590-1625. Netherlands(?). Gilded steel (invaded with rust); red velvet lining, plume holder; helmet: 33 x 34 x 21.3 cm; gorget 32.4 x 24.8 x 19.1 cm. The Cleveland Museum of Art, Gifts of Mr. and Mrs. John L. Severance, 1916.1787 and 1916.1806. On view in gallery 210A.

Known for their fiercely grimacing human or animal faces, medieval visors like this are known as schembart (bearded mask) visors, after the masked revelers in the Schembartlauf, a carnival popular in Nuremberg that featured costumed men parading through town with extravagant horse-drawn floats. In addition to music, dancing, and food, these festivals were often held in conjunction with a tournament in which such helmets were worn. Originally painted white, shadows of eyebrows, a mustache, and decorative stippling applied in black can still be seen. A broad, toothy grin was created by piercing the surface with rectangular holes. This masked revelry came to an end in 1539 due to the complaints of a preacher who objected to the festivities after he was depicted unflatteringly in a float.

The decorations on this suit of armor were done by a technique known as etching. Acid was used to "bite" into the steel plates to create patterns that could then be enhanced with gilding. Close Helmet from Half Armor for the Foot Tournament, c. 1590. Pompeo della Cesa (Italian, active 1572-93). Steel, etched and gilded; brass rivets; leather and velvet fittings; 31.7 x 27.7 x 21.6 cm. The Cleveland Museum of Art, John L. Severance Fund, 1996.299.a. On view in gallery 210A.

This helmet is attached to a gorget, a steel collar that protects the throat. It once had an impressive gold finish achieved with fire gilding, or mercury gilding, so-called because mercury was combined with gold to form an amalgam with a buttery consistency that was applied to the surface. When the helmet was heated, the mercury evaporated and left behind a thin coating of gold. Today the technique is illegal in many places because the resulting mercury vapor is extremely toxic. Although originally part of a full suit and meant to protect a soldier in the field, this helmet and gorget appear to have been repurposed as funerary ornaments. It would have been suspended over the tomb of a now unidentified knight, serving as a symbol of the deceased's social status and achievements.

While many helmets were used for combat and are separated from their original suits, another example was made specifically for the foot tournament and is still attached. The foot tournament was a competition between two armed combatants who were kept apart by a waist-height barrier. Besides protecting the face, this helmet was specifically designed to allow the wearer to rotate his head without exposing his vulnerable neck to his opponent. Along the back is a large brass plume holder, used to attach elements that embellished the helmet but that could also help aid in identifying who was behind the mask. This suit was designed by Milan's Pompeo della Cesa, the renowned armorer who in the late 1500s helped outfit the most wealthy and noble clients.

Helmets like this were used at a time when firearms were becoming more prevalent, the soldier wearing it would have wielded one himself. Armor soon fell out of favor because it reduced speed and agility. Cavalry Spider Helmet, 1600s. France. Iron with black paint; 30.2 x 21.3 x 17.7 cm. The Cleveland Museum of Art, Gift of Mr. and Mrs. John L. Severance, 1921.1258. On view in gallery 210A.

Known as a spider helmet for obvious reasons, the tangs or prongs that extend downward on this example protected a soldier's face from a slashing sword. A "lock" at the top is spring-loaded; when not in use the tangs could be folded up and secured, and a simple turn of the screw located at the front released them. This helmet was made specifically for use in the field by the light cavalry who wore only a half suit of armor, sturdy riding boots, and an open helmet. Parts were purposefully blackened while other areas were polished. Although this helmet was purely utilitarian the effect must have been menacing.

This thick-walled helmet weighs just over ten pounds and must have been a challenge to wear, but for 30 years the style was surprisingly popular on the battlefield. Savoyard Helmet (Todenkopf), c. 1600-1620. Italy or Germany. Steel, blackened; 30.5 cm. The Cleveland Museum of Art, Severance and Greta Millikin Trust, 2013.50. On view in gallery 210A.

Employed during a time when firearms were becoming increasingly sophisticated and widely used on the battlefield, full face masks like this one helped protect the wearer from shot and powder. Another function, arguably as important, was to intimidate and terrify the enemy. The purposefully blackened steel was meant to evoke a skull and such helmets - popular throughout southern Germany, Austria, and northern Italy in the 1600s - became known as todenkopf or death's head. Worn by cuirassiers, heavy cavalrymen armed with pistols and swords, it would have been paired with armor that extended only to the knee and withsturdy riding boots.

A noble soldier clad in armor ignores a horned devil and even Death, who wears a crown with snakes and holds the hourglass of mortality. Knight, Death, and the Devil, 1513. Albrecht Dürer (German, 1471-1528). Engraving; sheet: 24.4 x 19 cm, The Cleveland Museum of Art, Elisabeth Severance Prentiss and Leonard C. Hanna Jr. Collections by exchange, 1965.231.

In the 1500s and 1600s helmet design reached its zenith. Made for every occasion, helmets were used on the battlefield as well as in tournaments and trends in design varied depending on the region. Although a helmet's ultimate function was to protect the wearer from injury and death, its secondary purpose was to communicate by intimidating and terrorizing enemies and opponents and by reflecting the wearer's wealth, status, power, and valor.

Photo: Scott Shaw for the CMA.

The COVID-19 pandemic not only has a profound impact on our lives but also opens a new perspective on the late Middle Ages. Art in the Time of the Black Death, CMA curator Gerhard Lutz's story in Stories from Storage istold through the CMA's collection of medieval art. It provides insights into the thinking, piety and artistic production in Western Europe in the 14th century before, during and after the Black Death.

Visit Stories from Storageto see Art in the Time of the Black Death and 19 other stories that, together, span about 3,000 years of art. Afterwards, walk through the Armour Court in gallery 210A.

# data[].attributes.attachment_link.description
By Amanda Mikolic, Curatorial Assistant for the Department of Medieval Art "In the age of COVID, the facemask is the most visible form of PPE, or personal protective equipment. But the art of PPE has a long history." - The Art of PPE Let's take a look at another piece of protective equipment from the Medieval era, the helmet.

# data[].attributes.attachment_link.readable_text
By Amanda Mikolic, Curatorial Assistant for the Department of Medieval Art
Did you buy your face mask from a well-known designer or was it lovingly made by hand by a family member or friend? Does it feature a trendy design inspired by pop culture? Is it a reflection of your personal style and taste? Did you order it online or design it yourself? In the age of COVID, the facemask is the most visible form of PPE, or personal protective equipment. But the art of PPE has a long history. Here we take a look at examples from the collection of the Cleveland Museum of Art.
PPE, or personal protective equipment, may be a new buzz-word to many, but it is a concept rooted deep in the past. The basic function of any form of PPE is to protect the wearer from harm. Throughout history, PPE also became a means of expression for both the user and the maker. Items could be ordered or commissioned by specialists or tenderly made by family members and could reflect much about the wearer.

Armor for Man and Horse with Arms,c. 1575. North Italy. Steel. The Cleveland Museum of Art, John L. Severance Fund, 1964.88. Photo: David Brichford. On view in gallery 210A

Perhaps the most obvious form of PPE is armor. The primary function of suits of armor was to protect the wearer in battle or tournament from serious harm or death. The history of armor is one and the same with the history of fashion, and different styles and trends became popular over time and in different regions. Armor provided a blank canvas for experimentation and creativity, ultimately resulting in masterpieces that elevated this version of PPE to an art form.

A family crest is found seven times in prominent locations on this armor for a horse and rider. The etched decoration was fashionable in northern Italy during the late 1500s and consists of ornamental bands of figures, animals, portrait busts, and armor trophies. The owner of the armor likely picked his preferred patterns from a catalogue book.

Distinguished by regularly fluted surfaces that would have been striking in the sunlight, armor in this style was popularized in southern Germany during the early 1500s. The fluting likely imitates the pleating of male garments of the period. The style is known as "Maximilian," after Emperor Maximilian I (1493-1519), who popularized it; with his endorsement, it became a trend, lasting only about ten years.

The helmet of this suit is believed to be the work of the esteemed armorer Lorenz Helmschmied (German, active 1467-1515), who was sought after by courts far from his home in Augsburg for his innovative, artistic designs. He achieved immense popularity for his ability to balance functionality and beauty.

Mosaic from the Villa Romana del Casal, The Little Hunt. Photo credit: Marshall Ikonography / Alamy

Tunics were important garments in Egypt. Although their relationship to modern PPE may not be immediately recognizable, they are indeed meant to protect the wearer from myriad threats.

, 600s-700s. Egypt, Islamic Umayyad period (661-750). Undyed linen, dyed wool; weft-faced plain weave with slit- and dovetailed-tapestry weave, supplementary weft wrapping, embroidery; overall: 205 x 170.2 cm. The Cleveland Museum of Art, The A. W. Ellenberger Sr., Endowment Fund, 1972.46. On view in gallery 106A.

This unisex tunic is decorated on the front and back with the same geometric and figural motifs, including hunters on horseback on the sleeves, and more significantly, geometric braided knots on the shoulders and the bottom hem which were believed to protect the wearer from harm, including disease, injury, and ultimately death. The Greek word katadeo, means not only "to bind" physically, as with knots, but also through spells. Designs with knots have long been believed to have powerful connotations.

# data[].attributes.attachment_link.description
By Amanda Mikolic, Curatorial Assistant for the Department of Medieval Art Did you buy your face mask from a well-known designer or was it lovingly made by hand by a family member or friend? Does it feature a trendy design inspired by pop culture? Is it a reflection of your personal style and taste?

# data[].attributes.attachment_link.readable_text
Amanda Mikolic, Curatorial Assistant, Medieval Art
During the museum's closure, we'll be sharing fan-favorite blog posts on our usual schedule of Friday postdates. This post tells the story behind the museum's beloved Jack, Joseph and Morton Mandel Armor Court. What's your favorite memory from this space? Share in the comments below!

The much-beloved Jack, Joseph and Morton Mandel Armor Court is unique among the galleries of the Cleveland Museum of Art. Not only does it showcase a breathtaking installation of arms and armor, complete with regimental banners and tapestries, it is also the only gallery to have remained in its original location since opening in 1916. Planning for this magnificent space began two years before the grand opening of the museum would even take place.

In 1914 the museum's first director, Frederic Allen Whiting, knew he wanted arms and armor prominently displayed.

"I already have our former Court of Casts arranged in my mind's eye as a Court of Armor and wish to make every possible effort to carry out this scheme, which I am sure will work out very beautifully." - Frederic Allen Whiting, December 19, 1914

Little did Whiting know how difficult the journey would be to make his dream a reality. Armed with pen and paper, his quest would take place mostly at his writing desk (fig. 2).

Figure 2. The Cleveland Museum of Art's first director, Frederic Allen Whiting (1913-1930). Photograph by Edd A. Ruggles, from the Photograph Collection of the Cleveland Museum of Art Archives

Whiting began his search for a suitable armor collection with the help of Bashford Dean, the Metropolitan Museum of Art's curator of arms and armor (fig. 3). Whiting and Dean became interested in the collection of Henry Griffith Keasbey, an American who lived in Great Britain. His collection of 700 works of arms and armor was assembled with great love and care from many prominent dealers. Negotiations lasted more than a year because Keasbey was prone to changing his mind and continually reconsidering offers. By 1915 negotiations broke down, much to Whiting's consternation.

Figure 3. Major Bashford Dean, c. 1917. Photograph by Harrison Ewing, from the Photograph Collection of the Cleveland Museum of Art Archives

"It looks as if I will have to give up the idea of getting this collection, which is a matter of serious disappointment to me, as I had set aside the so-called Court of Casts for this purpose and it will be difficult to secure other material to take its place satisfactorily." - Frederic Allen Whiting, January 7, 1915

With construction proceeding rapidly, the museum was set to open in less than a year's time, and Whiting once again found himself seeking an armor collection (fig. 4). With the continued help of Dean, the Macomber collection of Boston was targeted. Frank Gair Macomber, a wealthy Boston attorney who made his money through insurance, had built his collection in the late 1800s by acquiring objects from some of the same prominent dealers as Keasbey. Many considered Macomber to have one of the top collections in the country. With only two months before the scheduled opening of the museum, however, negotiations with Macomber seemed to flounder, despite Whiting's impassioned pleas.

It was now inevitable that an Armor Court would not exist when the museum planned to open in January 1916. However, due to other construction delays, the opening was rescheduled for late spring, and Whiting still had a chance. Increasingly frustrated, he began to explore the possibility of borrowing armor as a last effort to have at least some objects in his new Armor Court. In late March his hope was renewed when he received word that the Macomber collection was once again for sale - but at a high asking price. With only one month until the museum's scheduled opening, Whiting was able to purchase the collection with the financial backing of Mr. and Mrs. John L. Severance. The Macomber collection became known as the Severance Collection of Arms and Armor.

Although he now had his armor, the emotional rollercoaster and anxiety was not yet over for Whiting. The armor was hastily shipped by railcar to Cleveland, but the car never arrived. It was determined that the boxcar with the armor had been lost somewhere on the rail lines between Boston and Cleveland. Whiting sent railroad officials up and down the line frantically looking for the lost car, but there was no trace of it.

Days passed, and the impending museum opening crept ever closer. One night while riding the local train home, Whiting, unable to sleep, was looking out the window. He saw a lone boxcar sitting about nine miles from downtown Cleveland, near the Collinwood railyard. He hurriedly arranged for rail crews to be called, and they were astonished to learn that they had found the lost armor collection. As the Plain Dealer famously reported on May 22, 1916: "The $100,000 mystery of the Cleveland Art Museum and the Lake Shore railway was solved . . . when a big yellow steel case weighing over six tons was found in the Lake Shore yards at Collinwood. For ten days it had been missing . . . it disappeared . . . as easily as though it was no larger than a penny. . . . With an escort of railroad men [it was] sent downtown."

Although overjoyed at its final arrival, there was now only one week before the ribbon-cutting ceremony. The car was swiftly opened, but the crew found that instead of complete suits of armor the majority were dismantled, and Macomber had not attached any tags to identify individual pieces. It was the ultimate jigsaw puzzle: several hundred pieces of steel with no instruction manual. With the help of Dean, staff members worked through the night and were ultimately successful. The museum, with a full Armor Court, opened in June of 1916 to great fanfare and success (fig. 5). Whiting would later reflect on why he was so passionate about Cleveland having an Armor Court in its new museum and why it was worth so much exertion.

"Cleveland is one of the great iron and steel centers, and should own the most useful collection of fine examples of wrought iron and steel, cast bronzes, etc., as an inspiration to workers and designers in these fields." - Frederic Allen Whiting, December 1918

Since 1916 the Armor Court has enchanted generations of visitors and has often served as children's or young adults' first introduction to the museum. Lois Ann Koff, a longtime museum visitor, recently shared her husband's memories of the Armor Court from the 1930s.

"George, a young boy in Cleveland during the Great Depression, had no money. His favorite thing to do was visit the Cleveland Museum of Art and the Armor Court, but it was a long journey on the streetcar to the museum from the west side, which included a transfer downtown. He would borrow, beg, and work to get these precious passes. On one occasion he mowed a neighbor's front lawn for a pass. When the neighbor angrily asked why he didn't mow the back he said, "That will cost the return pass." He fondly remembered how welcoming the staff at the museum were, answering his questions and telling him about the armor. He appreciated that he was never asked to leave or given a hard time, as he was an unaccompanied ten-year-old boy. He promised that he always behaved himself. When he grew up and met me, it was on our third date that he took me to the museum to see the Armor Court. We returned for many subsequent dates." - Lois Ann Koff, a longtime museum visitor

The museum is continually adding to its collection of arms and armor through acquisitions and loans. To this day it is one of the most beloved spaces in the museum and for many is the heart and soul of the building (figs. 6-7).

# data[].attributes.attachment_link.title
105 Years in the Making: Building the Cleveland Museum of Art's Jack, Joseph and Morton Mandel...

# data[].attributes.attachment_link.description
Amanda Mikolic, Curatorial Assistant, Medieval Art During the museum's closure, we'll be sharing fan-favorite blog posts on our usual schedule of Friday postdates. This post tells the story behind the museum's beloved Jack, Joseph and Morton Mandel Armor Court. What's your favorite memory from this space? Share in the comments below!