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The art of the Middle Ages was mainly religious, reflecting the relationship between God and man, created in His image. The animal often appears confronted or dominated by man, but a second current of thought stemming from Saint Paul and Aristotle, which developed from the 12th century onwards, includes animals and humans in the same community of living creatures.
Medieval gem engraving only recaptured the full skills of classical gem engravers at the end of the period, but simpler inscriptions and motifs were sometimes added earlier. Pearls gathered in the wild from the Holarctic freshwater pearl mussel were much used, with Scotland a major source; this species is now endangered in most areas.
Limoges enamel was usually applied on a copper base, but also sometimes on silver or gold. [5] Preservation is often excellent due to the toughness of the material employed, [5] and the cheaper Limoges works on copper have survived at a far greater rate than courtly work on precious metals, which were nearly all recycled for their materials at some point.
The background map is this one: Image:Europe outline map.png, made by User:IMeowbot, who in turn based his work on "PD maps (copyright expired) from The Historical Atlas by William R. Shepherd." The routes and towns are added by me though, and it's based on a number of different sources, so there's no copyright violation.
Pages in category "Medieval European objects in the British Museum" The following 60 pages are in this category, out of 60 total. This list may not reflect recent changes .
The actual bookbinding technique is the same as for other medieval books, with the folios, normally of vellum, stitched together and bound to wooden cover boards. The metal furnishings of the treasure binding are then fixed, normally by tacks, onto these boards.
The Apocalypse Tapestry is a large medieval set of tapestries commissioned by Louis I, the Duke of Anjou, and woven in Paris between 1377 and 1382.It depicts the story of the Apocalypse from the Book of Revelation by Saint John the Divine in colourful images, spread over six tapestries that originally totalled 90 scenes, and were about six metres high, and 140 metres long in total.
A brief review of archaeology in Thurrock by the Mucking weekenders is in an article by Margaret Jones in Panorama 24. [1] There is a fuller account of archaeology in Thurrock between 1954 and 2002 (including reminiscences of the Mucking excavation ) in Thurrock Gold published by the Thurrock Local History Society.