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From 12550-1343-4039405291-4212-christian.gabriel=shortnote.de@mail.comford.us Mon Dec 3 12:04:47 2018
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From: "Google Flight Simulator" <virtualpilot@comford.us>
To: <christian.gabriel@shortnote.de>
Subject: *****SPAM***** Exceptionally Fun & Enjoyable Flying Game...
Date: Mon, 3 Dec 2018 06:04:43 -0500
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Date: Mon, 3 Dec 2018 06:04:43 -0500
From: "Google Flight Simulator" <virtualpilot@comford.us>
Reply-To: "New Flight Simulator" <virtualpilot@comford.us>
Subject: Exceptionally Fun & Enjoyable Flying Game...
To: <christian.gabriel@shortnote.de>
Message-ID: <0uwjb6yonyyxgsra-rmx1vz98a0fuojtn-f0c46eeb@comford.us>
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<style type="text/css">his collection, and purchased large quantities of objects in the months after Brummer's sudden death in 1947. According to Christine E. Brennan of the Metropolitan, Rorimer realized that the collection offered works that could rival the Morgan Collection in the Metropolitan's Main Building, and that "the decision to form a treasury at The Cloisters was reached... because it had been the only opportunity since the late 1920s to enrich the collection with so many liturgical and secular objects of such high quality." These pieces, including works in gold, silver and ivory, are today held in the Treasury room of the Cloisters.
Collection
The museum's collection of artworks consists of approximately five thousand individual pieces. They are displayed across a series of rooms and spaces, mostly separate from those dedicated to the installed architectural artifacts. The Cloisters has never focused on building a collection of masterpieces, rather the objects are chosen thematically and arranged in such a way so as to enhance the atmosphere created by the architectural elements contained within the museum. The pieces are not arranged chronologically or thematically, but rather to enhance the particular setting or room in which they are placed. To create the atmosphere of a functioning series of cloisters, many of the individual works, including capitals, doorways, stained glass and windows are placed within the architectural elements themselves.
Panel paintings and sculpture
The Mérode Altarpiece, Robert Campin and workshop, Netherlandish, after 1422
The museum's best-known panel painting is Robert Campin's c. 1425–28 Mérode Altarpiece, a foundational work in the development of Early Netherlandish painting, which has been at The Cloisters since 1956. It acquisition was funded by Rockefeller and described at the time as a "major event for the history of collecting in the United States". The triptych is well preserved with little overpainting, glossing, dirt layers or paint loss. Other panel paintings in the collection include a Nativity triptych altarpiece attributed to a follower of Rogier van der Weyden, and the Jumieges panels by an unknown French master.
The 12th-century English walrus ivory Cloisters Cross contains over ninety-two intricately carved figures and ninety-eight inscriptions. A similar 12th-century French metalwork reliquary cross contains six sequences of engravings on either side of its shaft, and across the four sides of its lower arms. Further pieces of note include a 13th-century, English Enthroned Virgin and Child statuette, a c. 1490 German statue of Saint Barbara, and an early 16th-century boxwood Miniature Altarpiece with the Crucifixion. Other significant works include fountains and baptismal fonts, chairs, aquamaniles (water containers in animal or human form), bronze lavers, alms boxes and playing cards.
"Cloisters Cross", English, 12th century
"Prayer Bead", boxwood, South Netherlandish, c. 1500–1510
The museum has an extensive collection of medieval European frescoes, ivory statuettes, reliquary wood and metal shrines and crosses, as well as examples of the very rare Gothic boxwood miniatures. It has liturgical metalwork vessels and rare pieces of Gothic furniture and metalwork. Many pieces are not associated with a particular architectural setting, so their placement in the museum may vary. Some of the objects have dramatic provenance, including those plundered from the estates of aristocrats during the French Revolutionary Army's occupation of the Southern Netherlands. The Unicorn tapestries were for a period used by the French army to cover potatoes and keep them from freezing. The set was purchased by Rockefeller in 1922 and six of the tapestries hung in his New York home until donated to the Metropolitan Museum of Art in 1938.
Illuminated manuscripts
The museum's collection of illuminated books is small, but of exceptional quality. J.P. Morgan was a major early donor, but although his taste leaned heavily towards rare printed and illuminated books, he donated very few to the Metropolitan, instead preserving them at the Morgan Library. At the same time, the consensus within the Met was that the Cloisters should focus on architectural elements, sculpture and decorative arts to enhance the environmental quality of the institution, whereas manuscripts were considered more suited to the Morgan Library in lower Manhattan. The Cloisters' books are today displayed in the Treasury room, and include the French "Cloisters Apocalypse" (or "Book of Revelation", c. 1330, probably Normandy), Jean Pucelle's "Hours of Jeanne d'Evreux" (c. 1324–28), the "Psalter of Bonne de Luxembourg", attributed to Jean Le Noir and the "Belles Heures du Duc de Berry" (c. 1399–1416) attributed to the Limbourg brothers. In 2015 the Cloisters acquired a small Netherlandish Book of Hours illuminated by Simon Bening. Each is of exceptional quality, and their acquisition was a significant achievement for the museum's early collectors.
The Feeding of the Leprous Monk (Lauds). Jean Pucelle, "Hours of Jeanne d'Evreux". French, 1324–28
A coat of arms illustrated on one of the leaves of the "Cloisters Apocalypse" suggests it was commissioned by a member of the de Montigny family of Coutances, Normandy. Stylistically it resembles other Norman illuminated books, as well as some designs on stained glass, of the period. The book was in Switzerland by 1368, possibly at the abbey of Zofingen, in the canton of Aargau. It was acquired by the Met in 1968.
The Feeding of the Leprous Monk (Lauds). Jean Pucelle, "Hours of Jeanne d'Evreux". French, 1324–28
The Three Living and the Three Dead. Jean Le Noir. "Psalter of Bonne de Luxembourg", French, 14th century
The "Hours of Jeanne d'Evreux" is a very small early Gothic book of hours containing 209 folios, of which 25 are full page miniatures. It is lavishly decorated in grisaille drawings, historiated initials and almost 700 border images. Jeanne d'Évreux was the third wife of Charles IV of France, and after their deaths the book when into the possession of Charles' brother, Jean, duc de Berry. The use of grisaille (shades of gray) drawings allowed the artist to give the figures a highly sculptural form, and the miniatures contain structures typical of French Gothic architecture of the period. The book has been described as "the high point of Parisian court painting", and evidence of "the unprecedentedly refined artistic tastes of the time".
The "Belles Heures" is widely regarded as one of the finest extant examples of manuscript illumination, and very few books of hours are as richly decorated. It is the only surviving complete book attributed to the Limbourg brothers. Rockefeller purchased the book from Maurice de Rothschild in 1954, and donated it to the Metropolitan.
The very small "Bonne de Luxembourg" manuscript (each leaf 12.5 × 8.4 × 3.9 cm) is attributed to Jean le Noir, and noted for its preoccupation with death. It was commissioned for Bonne de Luxembourg, Duchess of Normandy, daughter of John the Blind and the wife of John II of France, probably at the end of her husband's life, c. 1348–49. It was in a private collection for many years, and thus known only through poor-quality photographic reproductions until acquired by the museum in 1969. Produced in tempera, grisaille, ink and gold leaf on vellum, it had been rarely studied and was until that point misattributed to Jean Pucelle. Following its acquisition, it was studied by art historians, after which attribution was given to Le Noir.
Tapestries
Alexander the Great or Hector of Troy. From the Nine Heroes tapestries. South Netherlandish, c. 1385
While examples of textile art are displayed throughout the museum, there are two dedicated rooms given to individual series of tapestries, the South Netherlandish Nine Heroes (c. 1385) and FlemishThe Hunt of the Unicorn (c. 1500). The Nine Heroes room is entered from the Cuxa cloisters. Its 14th-century
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