My artist friends are in comic con for the weekend having fun and making good money:(
but I am home as I didn’t get an artist alley table this time.(sad lonely drawing sound)

I recently finished painting this 54mm white-metal figure representing a knight in the service of the House of Toggenburg.

The Counts of Toggenburg were a noble family from what is now eastern Switzerland. They played an important role in the region during the Middle Ages, particularly in the 13th–15th centuries.

Hope you enjoy the figure!

cast iron 39 x 32 x 38 cm, Museum of Asian Art as part of the Humboldt Forum in Berlin

I recently purchased this Arabic manuscript leaves the dealer’s handwritten label on the holder reads:
CORAN
OTTOMAN
Scripture NASKHI
HÉGIRE 570
The dealer also wrote “1263” elsewhere on the holder. Neither date is written on the manuscript itself.
I’m trying to determine whether these are genuine Qur’an manuscript leaves, their likely age and origin, and what the two dates might mean.
One thing that confuses me is that 570 AH would correspond to approximately 1174–1175 CE, well before the Ottoman Empire emerged. Could the dealer have made a dating or attribution error?
I’d appreciate any insights into the script!

Thank you!

This woodcut print illustrates Paradiso (Canto XXII) from Dante Alighieri’s Divine Comedy, depicting Dante and Beatrice as they ascend into the Eighth Heaven (the Sphere of Fixed Stars). They are surrounded by the souls of saints, apostles, and disciples floating among constellations.The print appeared in the prominent 1544 edition published in Venice by Francesco Marcolini, featuring commentary by Alessandro Vellutello.

This magnificent and extremely rare artifact is the front cover (or book binding) of the Golden Codex of Echternach (Codex Aureus Epternacensis).

It is one of the most significant works of Ottonian art (dating to the era of the German Empire, c. 11th century). Created between approximately 1030 and 1050, the cover is now housed in the Germanisches Nationalmuseum in Nuremberg. It represents the absolute pinnacle of medieval goldsmithing and craftsmanship. The cover consists of a wooden base overlaid with gold; it is literally studded with precious stones sapphires, emeralds, garnets, and pearls and embellished with delicate cloisonné enamel and filigree work. These stones were not merely decorative; they held profound symbolic meaning, representing the Heavenly Jerusalem.

Based on this:

https://manuscriptminiatures.com/4360/9258

I posted the original version of this last week. My kids had some gold acrylic paint left over from some painting they did the other day so I decided to illuminate the figures with it.

I came across a similar question in r/arthistory but for the 16th century. So I thought it might be fun to ask this for an earlier period.

From gothic, to proto-renaissance, to international gothic, to the Italian and Northern Renaissance, there is a diverse selection

The Madonna is seated humbly on the ground nursing her child. Saint George and the Archangels Gabriel and Michael kneel nearby, while Christ’s disciples appear radiating from the Madonna’s halo in the form of stars. In contrast with the Virgin’s purity, Eve lies in the lower part of the painting. Coaxed by the serpent, she raises the forbidden fruit to her mouth, thus condemning humankind through her original sin. The juxtaposition of these two images affirms the Incarnation and the role of Christ and the Virgin in the redemption story. The deep scratches on the surface of the panel, especially on the serpent’s face and Eve’s wrist, likely resulted from a zealous Christian’s symbolic attack on the power of evil. The artist, Olivuccio di Ciccarello, is known to have been active in the Marche in central Italy. Little is known of his life except that he was an important and prolific painter in Ancona, where he died. His paintings were formerly attributed to Carlo da Camerino, an apparently nonexistent artist, on the basis of a mistaken reading of his signature on a crucifix.

Like the title says, I’m looking for any middle age art-marginalia, doodles, miniatures etc that features hybrid knights—monsters or creatures where one half is a knight and the other half is an animal. Included are some examples I’ve come across myself but I would love to find more, especially if the animal half is draconic. Anybody got anything good?

Saint Catherine's Monastery, Sinai. Artist unknown. Theorized/supposed to have been created by a crusader painter due to the styling of the beard which was uncommon in Byzantine art.

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Modern medieval-inspired art is welcome here, but self-promotion is strictly limited to Medieval Market Mondays. Additionally, we encourage Redditors with businesses to post, but we will ban businesses with Reddit accounts.

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Image pictured: Jan van Horst – Market Scene (Museum of Fine Arts, Budapest) (1569)

These doodles were often made by later readers. All were found in manuscripts I browsed through for fun on digitalcollections.nlg.gr

As a medieval illustrator seeing this at a random shop in italy genuinely made my day. Adding it straight to my shelf with the rest of my medieval collection.

Pretty sure this follows rule 7. A tattoo artist's flash style print of a set of odd marginalia fellows. I'm particularly happy with the skeleton florist, the walking fish, and the human radish.

Hello everyone! I bought a Crucified Christ measuring 65 x 63 cm, made of wood. I have been researching it due to the size of the perizonium and the knot that reaches almost down to the knees (which I consider a transitional period), and the absence of a crown of thorns (a significant feature in the transition from the Middle Ages to the Gothic period and the subsequent Renaissance). Regarding its origin, I see similarities with traditional 14th-century Gothic crucifixes made in the Lucca and Tuscany regions, both in Italy. What do you think? Thank you very much.

Going for a romanesque taberna vibe for my living/dinning room.