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Medieval Basel Cathedral Treasury Reliquaries Altar Textiles Jewelry Manuscripts

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Seller: ancientgifts (4,309) 100%, Location: Lummi Island, Washington, Ships to: Worldwide, Item: 381793054680 TRANSLATE Arabic Chinese French German Greek Indonesian Italian Hindi Japanese Korean Swedish Portuguese Russian Spanish Your browser does not support JavaScript. To view this page, enable JavaScript if it is disabled or upgrade your browser. Click here to see 1,000 archaeology/ancient history books and 2,000 ancient artifacts, antique gemstones, antique jewelry! ”Treasury of the Basel Cathedral” by Timothy B. Husband and Julien Chapius. NOTE: We have 75,000 books in our library, almost 10,000 different titles. Odds are we have other copies of this same title in varying conditions, some less expensive, some better condition. We might also have different editions as well (some paperback, some hardcover, oftentimes international editions). If you don’t see what you want, please contact us and ask. We’re happy to send you a summary of the differing conditions and prices we may have for the same title. DESCRIPTION: Hardcover with dustjacket. Publisher: Metropolitan Museum of Art (2001). Pages: 176. Size: 11½ x 9 x 1 inches; 2¾ pounds.. The medieval Treasury of the Basel Minster miraculously survived earthquakes, wars, iconoclasm, and the Reformation, only to be dispersed in the early nineteenth century. More than half of its holdings are now in the Historisches Museum Basel, while the remainder are in museum collections all over the world. This book presents more than seventy-five of these splendid ecclesiastical and secular objects from the Basel Minster, dating from the early eleventh through the early sixteenth century, spanning the Early Romanesque period to the Reformation. Most of the works are of gold and silver - many encrusted with precious stones, antique gems, or translucent enamels - but there are also textiles and objects of hardstone, rock crystal, bronze, and wood, including the doors of the original storage cupboards. All are reproduced in full color and comprehensively discussed. The four essays in the volume focus on the history of medieval Basel and on the function of cathedral treasuries, with particular emphasis on the Basel Treasury and its contents. This beautiful book is the catalogue for an exhibition of objects from the Treasury held at The Metropolitan Museum of Art from 28 February to 27 May 2001 CONDITION: NEW. New hardcover w/dustjacket. Metropolitan Museum of Art (2001) 176 pages. Unblemished except for very mild shelfwear to dustjacket. Pages are pristine; clean, crisp, unmarked, unmutilated, tightly bound, unambiguously unread. Condition is entirely consistent with new stock from a bookstore environment wherein new books might show minor signs of shelfwear, consequence of simply being shelved and re-shelved. Satisfaction unconditionally guaranteed. In stock, ready to ship. No disappointments, no excuses. PROMPT SHIPPING! HEAVILY PADDED, DAMAGE-FREE PACKAGING! Meticulous and accurate descriptions! Selling rare and out-of-print ancient history books on-line since 1997. We accept returns for any reason within 14 days! #8638c. PLEASE SEE DESCRIPTIONS AND IMAGES BELOW FOR DETAILED REVIEWS AND FOR PAGES OF PICTURES FROM INSIDE OF BOOK. PLEASE SEE PUBLISHER, PROFESSIONAL, AND READER REVIEWS BELOW. PUBLISHER REVIEWS: REVIEW: In contrast to the spare and monochromatic ambiance of many medieval churches today, religious experience in the Middle Ages often was shaped by the glittering objects made of gold and silver and adorned with precious stones that provided a focus to the liturgy and to the veneration of the saints. Treasuries were integral to the identity of medieval cities. Over time however, because of their material value, most of these treasuries were pillaged and their contents often melted down into bullion. An exception was the Treasury of Basel Cathedral, which miraculously withstood wars, an earthquake, and iconoclastic uprisings, only to be dispersed in the early nineteenth century as a result of political division. Reliquary crosses of gold, enameled and bejeweled, censers, chalices, and altar furnishings of engraved silver; reliquaries in the shape of caskets, figures, and in imitation of the human form; exquisite textiles; and Eucharistic vessels, some towering over three feet in height – these are merely a sampling of the sumptuous works collected in this lavishly illustrated volume and in the exhibition that it accompanies. Spanning the Ottonian Period up to the Reformation, these dazzling objects served the cult on the high altar of Basel Cathedral from the eleventh to the sixteenth century. Tangible evidence of episcopal power, they unified the clergy and the population of Bas3el, as they were prominently featured in many processions dictated by the Church calendar. Over half of the works in the catalogue now reside in the Historisches Museum Basel (the co-organizer of the exhibition). The others were borrowed from European public collections and churches; most of them have never been shown before in the United States. Each of the more than seventy-five examples is fully discussed and illustrated in color, in entries augmented by relevant bibliographic references and provenance histories. The four introductory essays examine the history of Basel in this period; the construction of the cathedral and its consecration by Emperor Heinrich II in 1019; the formation of the Treasury, through commissions and gifts; and the vicissitudes of the Treasury’s existence, its eventual dissolution, and the remarkable story of its reconstitution. They were written by Timothy Husband, curator in the Department of Medieval Art and The Cloisters, who is responsible for the concept of the exhibition in New York and is the author of the catalogue entries, and Julien Chapius, Assistant Curator in the Department of Medieval Art and The Cloisters. A selected bibliography and an index complete this visually splendid and scholarly presentation. 150 illustrations, including 105 in full color. REVIEW: The Basel Minster is one of the main landmarks and tourist attractions of the Swiss city of Basel. It adds definition to the cityscape with its red sandstone architecture and coloured roof tiles, its two slim towers and the cross-shaped intersection of the main roof. The Münster is listed as a heritage site of national significance in Switzerland. Originally a Catholic cathedral and today a Reformed Protestant church, it was built between 1019 and 1500 in Romanesque and Gothic styles. The late Romanesque building was destroyed by the 1356 Basel earthquake and rebuilt by Johannes Gmünd, who was at the same time employed for building the Freiburg Münster. This building was extended from 1421 by Ulrich von Ensingen, architect of the cathedral towers at Ulm and Strasbourg. The southern tower was completed in 1500 by Hans von Nusdorf. REVIEW: Miraculously withstanding wars, an earthquake, and iconoclastic uprisings, the Treasury of Basel Cathedral avoided pillaging, and thus preserving reliquary crosses of gold, enameled and bejeweled; censers, chalices, and alter furnishings of engraved silver; reliquaries in the shape of caskets, figures, and in imitation of the human form; exquisite textiles; and eucharistic vessels, some towering over three feet in height. These are merely a sampling of the sumptuous works collected in this lavishly illustrated volume and in the exhibition that it accompanied at The Metropolitan Museum of Art (2001). Bibliography, Index. 150 illustrations, 105 in full color. REVIEW: This beautiful book is the catalogue for an exhibition of objects from the Treasury held at The Metropolitan Museum of Art from 28 February to 27 May 2001. REVIEW: Timothy B. Husband is curator and Julien Chapuis is assistant curator in the department of medieval art and The Cloisters, The Metropolitan Museum of Art. PROFESSIONAL REVIEWS: REVIEW: Basel, Switzerland, is one of the few European towns to have retained a substantial portion of its medieval treasury. When the Protestant Reformation reached the city in 1529, the costly ritual objects used on the high altar of the cathedral were locked away for protection and not seen for three centuries. Many were then auctioned off by the municipal government and the objects scattered in museums and private collections. For a hundred years attempts have been made to bring them back together, culminating in an exhibition at the Metropolitan Museum in New York for which Treasury of the Basel Cathedral is the catalog. A fascinating reconstruction shows how some 70 splendid ecclesiastical and secular objects made of gold and silver, crystal and precious stones would have been arranged in ritually significant positions on the altar. The types of object, the dates at which they entered the treasury, and alterations made to them in antiquity all provide valuable information about medieval life. For example, when the authority of the bishops was challenged after the earthquake of 1356, the number of gifts of reliquaries increased, the divine power invested in them protecting the power of the church. “Treasury of Basel Cathedral” is a sumptuous presentation and an intriguing story of scholarship, devotion, and detective work REVIEW: Great cultures portray themselves through their rituals and the objects of contemplation these inspire. Few will doubt this after gazing at the reliquaries, the crosses and the censers that once made up the Treasury of the Basel Cathedral, brought together at the Metropolitan Museum of Art. In a journey through time mapped out in gold and silver, they take the viewer from the ecstatic faces of the Ottonian age lost in meditation to the psychological studies of man's plight in which Germanic artists indulged from the middle of the 13th century on. Nowhere was the goldsmith's art that the two antithetic ages of West European culture inspired quite as powerful as in the Germanic world. Basel, the Swiss metropolis of the upper Rhineland area, took a major part in its evolution, overshadowed until now by the greater fame of Augsburg or Nuremberg. From the beginning, its fate was inextricably interwoven with that of the German lands on the other side of the Rhine. An abbot from the great monastic center of the island of Reichenau in Lake Constance oversaw the construction of the first large church in the ninth century. The Hungarian invasion of 917 left it in ruins, but when the western strip of Switzerland was pledged in 1006 to the future emperor of the Holy Roman German Empire, Heinrich II, as part of the Kingdom of Burgundy, the fortunes of Basel soared. The emperor, who attended the dedication of the new cathedral in 1019, secured for it one of the masterpieces of early medieval art, the gold altar frontal, executed between 1015 and 1019. Too fragile to travel, it must be seen at the Musee National du Moyen-Age in Paris. An abbot and three angels flank Jesus and bend their heads slightly toward him as if to listen to his words. The influence of Byzantium is evident in the tall elongated figures. But gone are the placid faces and the motionless forms suggestive of some immutable superior reality. Wind seems to rustle their drapes and their staring expressions have an intensity alien to Christian Greece. That quasi-expressionist feel would remain a recurring feature of Southern Germanic lands. On a base cast in the second half of the 12th century to support a cross, seated figures in low relief enclosed in openwork medallions or perched in high relief over the legs look up with dilated eyes. The stylized lion claws terminating the short legs have a contained energy rarely seen in the blander works of the Eastern Empire. The expressionist strain reached an apex with one of the most astonishing three-dimensional portraits of the Romanesque age, carved around 1180-1200 to serve as a reliquary later identified with Saint Eustace. The wooden core revealed in 1955 when the piece was taken apart shows an impenetrable mask with almond eyes and lips quietly pressed that exude imperious certainty. The gilded silver casing is curiously different. The pupils of the eyes, indicated in light relief, seem to be glaring. Certainty has given way to rage in a man aghast at some awful realization. Yet the figure remains impersonal, almost aloof. Its rage is not aimed at any one but at a story full of sound and fury. What phenomenon triggered a dramatic change of direction in Western European art during the first half of the 13th century has yet to be explained. Within two generations the world in which we live became the Western artist's focus of attention even when the excuse was the rendition of saints and angels. Anxious interrogation ceased to be metaphysical and became human. No likeness could be more poignant than the bust of a man in his thirties portrayed by an anonymous Basel goldsmith commissioned to execute the reliquary of Saint Pantalus. The saint, hailed by tradition as the first bishop of Basel, looks at the viewer with panic in his wide-open eyes, made the more striking by the carefully groomed wavy hair. The merest hint of a squint enhances the tragic feeling. This likeness is as haunting as a Rembrandt. There were happier moments in the Germanic goldsmiths' gallery of portraits. A young woman with almond eyes in a broad round face lent her appearance to a reliquary purporting to represent Saint Ursula. Plain but charming, she smiles irrepressibly, her plebeian features illuminated by joy. At the back of the head, two pigtails come down over the shoulders. This could be a country girl anywhere in the Alpine hills overlooking the Rhine Valley. With the passage of time, the Germanic artists peered ever more closely at life in its raw appearance. As they did so, their search for expressiveness intensified. Around 1380 to 1400, a Basel goldsmith made a reliquary in the form of a raised arm intended to preserve the fragment of a bone reputed to belong to the third-century martyr Saint Valentine. Scrupulous attention is paid to anatomical accuracy, including the salient veins on the outstretched wrist or the lines on the palm of the hand. Yet, this raised arm is no wanton exercise in descriptive realism. The thrust of the limb gives the impression of a call for help. The rolled-up sleeve is awry in a frantic effort to raise the hand even higher. This is Expressionism in the Gothic age. How that came about is unclear. We might know more about it were it not for the iconoclastic zeal of the Protestant reformers. In 1529, a mob rampaged through the cathedral smashing up most of the sculpture. The sandstone head of a bishop used as masonry infill was discovered in 1947 during restoration work. A smile of bitter irony wrinkles the cleric's face. Whoever carved it between the years 1418 and 1422 was a master. The sculptor was not quite as great, though, as the goldsmith who conceived a decade or two later the silver figure of Saint Christopher wading across a torrent. The saint is shown as an elderly man with a stoop pausing in midstream. Clutching a branch used as a stick to steady his ill-assured steps, he looks up, suddenly alert. The infant Jesus perched on his shoulder holds the globe of the world in one hand and makes the teaching gesture with the other. There is a drama about the scene and a tragic intensity in the face of the old man, who summons all his faculties to listen and proceed. The 44-centimeter (8.6-inch) silver figure ranks among the masterpieces of 15th-century Germanic art. The power and tension that emanate from figural sculpture can be detected in the abstract forms. A reliquary casket in the form of a gable-ended house made around 1380 to 1400 has a squat volume and a steep roof that gives it a monumental appearance. Its short incurving legs are as taut as compressed springs. The 15th-century monstrances shoot up with an ethereal lightness in the tracery of their silver pinnacles. The show is brilliantly displayed. Half the pieces, on loan from out of the way regional institutions, are unknown to the general public. The exhibition book written by Timothy Husband with contributions by Julien Chapuis compresses the latest research on the subject in readable form. As a grand overture to the third millennium, the Met could not do better. READER REVIEWS: REVIEW: Exquisite medieval treasures. More than 70 liturgical items from the Basel Cathedral's treasury, which was dispersed in the 19th century, are reunited. Fabulous collection, stunning photographs, most in full color, wonderfully illuminating descriptions. Highly recommended for those interested in ancient art. I always ship books Media Mail in a padded mailer. This book is shipped FOR FREE via USPS INSURED media mail (“book rate”). All domestic shipments and most international shipments will include free USPS Delivery Confirmation (you might be able to update the status of your shipment on-line at the USPS Web Site) and free insurance coverage. A small percentage of international shipments may require an additional fee for tracking and/or delivery confirmation. If you are concerned about a little wear and tear to the book in transit, I would suggest a boxed shipment - it is an extra $1.00. Whether via padded mailer or box, we will give discounts for multiple purchases. International orders are welcome, but shipping costs are substantially higher. Most international orders cost an additional $12.99 to $33.99 for an insuredshipment in a heavily padded mailer, and typically includes some form of rudimentary tracking and/or delivery confirmation (though for some countries, this is only available at additional cost). There is also a discount program which can cut postage costs by 50% to 75% if you’re buying about half-a-dozen books or more (5 kilos+). Rates and available services vary a bit from country to country. You can email or message me for a shipping cost quote, but I assure you they are as reasonable as USPS rates allow, and if it turns out the rate is too high for your pocketbook, we will cancel the sale at your request. ADDITIONAL PURCHASES do receive a VERY LARGE discount, typically about $5 per book (for each additional book after the first) so as to reward you for the economies of combined shipping/insurance costs. Your purchase will ordinarily be shipped within 48 hours of payment. We package as well as anyone in the business, with lots of protective padding and containers. All of our shipments are sent via insured mail so as to comply with PayPal requirements. We do NOT recommend uninsured shipments, and expressly disclaim any responsibility for the loss of an uninsured shipment. Unfortunately the contents of parcels are easily “lost” or misdelivered by postal employees – even in the USA. That’s why all of our domestic shipments (and most international) shipments include a USPS delivery confirmation tag; or are trackable or traceable, and all shipments (international and domestic) are insured. We do offer U.S. Postal Service Priority Mail, Registered Mail, and Express Mail for both international and domestic shipments, as well United Parcel Service (UPS) and Federal Express (Fed-Ex). Please ask for a rate quotation. We will accept whatever payment method you are most comfortable with. If upon receipt of the item you are disappointed for any reason whatever, I offer a no questions asked return policy. Send it back, I will give you a complete refund of the purchase price (less our original shipping costs). Most of the items I offer come from the collection of a family friend who was active in the field of Archaeology for over forty years. However many of the items also come from purchases I make in Eastern Europe, India, and from the Levant (Eastern Mediterranean/Near East) from various institutions and dealers. Though I have always had an interest in archaeology, my own academic background was in sociology and cultural anthropology. After my retirement however, I found myself drawn to archaeology as well. Aside from my own personal collection, I have made extensive and frequent additions of my own via purchases on Ebay (of course), as well as many purchases from both dealers and institutions throughout the world - but especially in the Near East and in Eastern Europe. I spend over half of my year out of the United States, and have spent much of my life either in India or Eastern Europe. In fact much of what we generate on Yahoo, Amazon and Ebay goes to support The Hermitage Museum in St. Petersburg, as well as some other worthy institutions in Europe connected with Anthropology and Archaeology. I acquire some small but interesting collections overseas from time-to-time, and have as well some duplicate items within my own collection which I occasionally decide to part with. Though I have a collection of ancient coins numbering in the tens of thousands, my primary interest is in ancient jewelry. My wife also is an active participant in the "business" of antique and ancient jewelry, and is from Russia. I would be happy to provide you with a certificate/guarantee of authenticity for any item you purchase from me. There is a $2 fee for mailing under separate cover. Whenever I am overseas I have made arrangements for purchases to be shipped out via domestic mail. If I am in the field, you may have to wait for a week or two for a COA to arrive via international air mail. But you can be sure your purchase will arrive properly packaged and promptly - even if I am absent. And when I am in a remote field location with merely a notebook computer, at times I am not able to access my email for a day or two, so be patient, I will always respond to every email. Please see our "ADDITIONAL TERMS OF SALE."

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