'Object of Devotion' Exhibition at MoBiA

'Object of Devotion: Medieval English Alabaster Sculpture from the Victoria and Albert Museum' (March 07–June 08, 2014) at MoBiA (Museum of Biblical Art) is the most recent exhibition that I've seen at this small jewel box museum on Broadway & 61st Street.  I had seen a beautiful exhibition of windows and religious objects created by Tiffany there about a year ago.  

The exhibition is free.  Coat and bag check is available at the reception desk just outside the glass doors to the gallery. Photography is not permitted in this exhibition (so I've used photos from MoBiA's internet site).

This exhibition of small alabaster sculptures on loan from the Victoria & Albert Museum in London is installed with great care in a single large gallery.  None of the sculptures is more than about 12"-to-15" wide by 18"-to-25" tall.  They were all created between about 1390 and 1534 A.D.  In 1534, Henry VIII's rubber stamp parliament passed the final decree making the king of England the supreme head of the Church of England.  That lead to the confiscation of the monasteries and the sacking of many major religious objects of art.  The devotional panels on display at MoBiA are probably from private homes, most of modest means, where they had been commissioned for devotional purposes.  Most would have been secreted during the English Reformation to prevent their destruction and to keep the owners safe from persecution.

'The Holy Trinity', alabaster with pigment, circa 1400 A.D.,
courtesy of the Victoria & Albert Museum

This is one of three examples of 'The Holy Trinity' in the exhibition.  In this one, the hands of God and the top of the cross (where the dove representing the Holy Ghost would have been perched) have been destroyed.  Nonetheless, it is a lovely example of Medieval carving in alabaster with exceptionally fine depiction of the drapery on both figures. The composition is formal and symmetrical as in much Medieval art.

'Resurrection of Christ', alabaster with pigment, circa 1400 to 1420 A.D.,
courtesy of the Victoria & Albert Museum

This piece shows Christ climbing out of the tomb, stepping on one of the sleeping Roman soldiers as he departs.  There is a striking contrast between the dynamic figure of Christ in forceful motion and the rest of the figures in repose.  It is almost like a panel in an action hero comic book.

  

'The Harrowing of Hell', alabaster with pigment, circa 1440-1470 A.D.,
courtesy of The Victoria & Albert Museum

'The Harrowing of Hell' depicts Christ's descent into hell to bring salvation to the souls held captive there until his resurrection.  The jaws of hell open wide on the left as a large figure of Christ on the right guides Adam, Eve, John the Baptist (in the first row), and others out of purgatory.  As with many Medieval compositions the size of the figures denotes their importance in Christian mythology with Christ shown nearly twice the height of Adam.

'Coronation of the Virgin', alabaster with pigment, circa 1450 to 1500 A.D.
Courtesy of Victoria & Albert Museum

In this panel the coronation of the central Virgin is administered by the Holy Trinity as two seated angel musicians provide accompaniment.  Note the carver's skill in modelling the figures hands and the drapery of their robes and the symmetrical composition. 

'The Head of Saint John the Baptist', alabaster with gilt and pigment, circa 1470 to 1500 A.D.,
courtesy of the Victoria & Albert Museum

According to the Christian story, after Salome danced for Herod, she persuaded him to reward her with the head of John the Baptist on a silver charger.  Here, the head of the Baptist is presented on an inscribed dish supported by two kneeling angels and surrounded by (clockwise from bottom left) the Virgin and Child, Saint Peter (with his key and bible), two angels with a cloth and baby symbolizing John's soul departing for heaven, Saint Thomas Becket (with his bishop's staff) and Saint Catherine (with her wheel and sword).  A lamb (representing Christ) kneels at the bottom center.

Most of these alabaster panels are crowded, often with figures of Christian saints and martyrs, but also with symbols like the dove and the lamb.  These were all important in the iconography of Medieval religion.  As shown in this exhibition, their depiction required great artistry from the anonymous carvers who created them.