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Cabinet of Curiosity

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Catalogue of Items Item 1: Small delicate gold bracelet made of 10K gold. Design features bar and loop design. This bracelet was worn by my husband when he was christened as a baby. Item 2: Metal tube resembling a pen with a clip on the side. Roughly three inches in length. Removing the cap reveals a pin that attaches to a camera shutter release button allowing for a timed photograph. This belonged to my Father-in-law who gave it to me because of my love for photography. Item 3: Rectangular, cardboard box with a hinged side, containing a manual light meter use for photography. This instrument would real the available light in the room and allow you to figure out the correct setting your camera should be on to create properly exposed photographs. There are metal dials that you can adjust to change setting such as ISO, aperture or shutter speed. A brass chain with a hook is attached to the front/top of the box. This was given to me by my Father-in-law along with the Item 2. Item 4: Thick
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Renaissance Perspective

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The Art of Observation

What stood out to me throughout all of the modules this week was not just the immense knowledge or innovation that was required of artists of the Middle Ages, it was not the dedication to the learned skills or the sense of responsibility to follow that which God had called them to. What I came to realize was that all of these aspects of making art were really not that different than any scientific endeavour. Whether the artist was addressing matters within a sacramental world view, about humanity and it’s relationship to the divine, or about creating and perfecting the materials and tools used to create these works, the bigger picture was that the process was really about asking questions, about seeking out answers through observation, experimentation and the sharing of knowledge. In the context of previous weeks where we questioned the relationship between art and science and truth, one could argue that at this time there was ver little difference between these things. Beyond just the
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Plaque with the Holy Women at the Sepulchre

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The  Plaque with the Holy Women at the Sepulchre is a plaque carved in ivory that was most likely served as part of a cover to a liturgical manuscript. It depicts the scene of three holy women coming to the tomb of Jesus after his crucifixion to anoint his body only to be greeted by an angel that tells them he is no longer there. He has risen from the dead. The piece, measuring 7 1/2 by 4 1/4  by 5/16 inches, is from northern Italy during the early 10th century. It is currently in collection at the Metropolitan Museum of Art in New York.  When we consider this plaque as the cover of a liturgical manuscript, something that would have been handled it seems fitting that the material used be ivory. Ivory was often used because it invited touch. It was also used to represent flesh, often for crucifixes, because of it’s flesh-like qualities. As this materiality pertains to the story depicted in the  Plaque with the Holy Women at the Sepulchre it serves to further symbolize the body, the dea
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