Day 171 - Mino da Fiesole Madonna and child


July 29, 2019

When I look at a map of the museum at home,  I'm disconcerted to learn that there are 55 galleries devoted to my next area of inquiry,  European Sculpture and Decorative Arts. Oh God, I think, I'll never get out of here.  So it comes as a relief to discover that Gallery 500, the first of these galleries, is devoted to the art of the early Italian Renaissance. The general familiarity of the works on display is comforting. The first object I see is a large semicircular blue and white terracotta of a winged figure holding a sword. "Saint Michael," I immediately think (no dragon in sight to suggest Saint George), and "della Robbia" (Andrea, in this case).  I realize this is pretty basic, but it's nice to be right on both counts. There are round reliefs with the profiles of leaders classical (Caesar) and contemporary (Francesco Sforza),  and one of a Genoese diplomat I've never heard of, with the impressive name Accellino di Megliaduce Salvago, wearing the square pillbox hat I think of as so typical of 15th century men's headgear.  There's a traveling cup made of a coconut with a gilt silver mount that bears the arms of a Piccolomini pope. There are small sculptures and terracottas that  show the influence of classical sculpture and of Donatello, including a small Giovanni della Robbia copy in terracotta of a now-lost statue of Dovizia (Abundance), shown as a woman in classical dress bearing a tray of fruits (with individually molded grapes!) on her head. There's a magnificent credenza with intricate inlay work- good preparation for my visit to the next gallery, the Gubbio studiolo. All in all, it feels like a kind of homecoming to me, a soft landing back in Europe, and, most especially, in Italy. 

Today's object is a marble relief carved by Mino di Giovanni di Mino, known as Mino da Fiesole, made in Florence ca. 1471-1474. About 24" high and 18" wide, it shows, in three-quarter view, the Virgin holding the Christ Child. The Virgin looks very Italian and incredibly young- maybe 14 or 15. Her eyes are cast down. The bambino looks out at us, or maybe beyond us. Below his rounded cheeks,  a slight smile plays on his lips. His right hand is raised in blessing, his left holds an orb and a cross. The Virgin 's hand holds his right foot, her index and third finger encircling his big toe. It is all inexpressibly tender. 

I note that some parts of the relief- the child's nose and chubby hands, the Virgin's sleeve and hand- look shinier than others, and I wonder whether this is the product of Mino's polishing efforts or the result of being affectionately caressed by various hands over hundreds of years. I also wonder where this relief was used- was it a private devotional piece or placed in a church? It would be nice to see it in its original location, but it's lovely to have it at the Met, the gift of Caroline Lucy Morgan (J.P Senior's niece, as it turns out).

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