Virgin and Child in Majesty, 1175–1200. French. The Metropolitan Museum of Art, New York, Gift of J. Pierpont Morgan, 1916 (16.32.194a, b) | In medieval sculpture, individual body parts were often accentuated to convey meaning. Here, Mary's oversized hands direct our attention to Jesus, enthroned upon his mother's lap. Hear and watch diverse viewpoints on this sculpture. #MetViewpoints
Bust of the Virgin, ca. 1390–95. Bohemian. The Metropolitan Museum of Art, New York. The Cloisters Collection, 2005 (2005.393) | Elegiac, dignified, and poised, the Virgin tilts her youthful head as if burdened by the weight of the ornate crown, and her downcast eyes and pursed lips convey her sorrowful resignation. #cloisters
Hail Mary Hail Mary, full of grace, the Lord is with thee. Blessed art thou among women and blessed is the fruit of thy womb, Jesus. Holy Mary, Mother of God, pray for us sinners, now and at the hour of our death. Amen.
“I know a 'face' where the wild thyme blows, Where oxlips and the nodding violet grows, Quite over-canopied with luscious woodbine, With sweet musk-roses and with eglantine.” William Shakespeare, A Midsummer Night's Dream
Saint Barbara, mid-15th century patron saint of prisoners, architects, and artillerymen This sculpture was probably meant to be seen against a pier or in a niche behind an altar in a French parish church. The massiveness of the figure and the heavy, deep folds of drapery derive from the stylistic innovations of two earlier sculptors working in Burgundy: Claus Sluter (ca. 1345-1405/6) and Claux de Werve (1380-1439).