Overall (without wooden base): 3 7/8 x 2 1/8 x 1 1/8 in. (9.8 x 5.4 x 2.8 cm)
Overall (with wooden base): 4 13/16 x 2 3/16 x 1 in. (12.3 x 5.5 x 2.6 cm)
Base (wooden): 1 1/8 x 1 x 2 3/16 in. (2.9 x 2.6 x 5.5 cm)
Base (Marble): 1 3/4 x 1 3/8 x 2 15/16 in. (4.4 x 3.5 x 7.4 cm)
Saint Catherine, depicted in the delicately jeweled statuette, was seen to embody the power of Christian erudition. According to legend, Saint Catherine's learned arguments on behalf of Christianity converted not only the court philosophers of the pagan emperor Maxentius, but 200 guardian soldiers and the ruler's wife as well. In retribution, all were put to death. The virtuous saint is shown holding the spiked wheel upon which she was tortured before being decapitated. Though the statue is reputed to have come from a convent in Clermont-Ferrand, the fine workmanship, sensitive modeling, and precious gem-studded decoration are consistent with the finest works produced in Paris. The image may have come from a reliquary, where it and figures of other saints would have been integrated into an architectural ensemble.
From convent in Clermont Ferrard (set in center of pax).; Convent in Clermont Ferrand ; Spanish Cardinal (unnamed) ; Contessa de Munter ; [ Dealer, London]; [ Dealer, Florence]; An unnamed connoisseur, Paris ; J. Pierpont Morgan, London and New York (until 1917)
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Hoving, Thomas. "The Thread of Patronage: The Medieval Collections of The Metropolitan Museum of Art and The Cloisters." Apollo 82, no. 43 (September 1965). fig. 9, ill. p. 180.
Young, Bonnie. "A Jewel of St. Catherine." The Metropolitan Museum of Art Bulletin, n.s., 24, no. 10 (June 1966). pp. 318-321, fig. 4, 5, 8.
Wixom, William D. "An Enthroned Madonna with the Writing Christ Child." The Bulletin of the Cleveland Museum of Art 57, no. 9 (December 1970). p. 297, fig. 27.
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Gómez-Moreno, Carmen. "Gold." The Metropolitan Museum of Art Bulletin, n.s., 31, no. 2 (1972–1973). p. 104.
Baron, Françoise, ed. Les fastes du Gothique: Le siècle de Charles V. Paris: Galeries Nationales du Grand Palais, 1981. no. 219, p. 268.
Howard, Kathleen, ed. The Metropolitan Museum of Art Guide. New York: The Metropolitan Museum of Art, 1983. no. 41, p. 354.
Husband, Timothy B., and Charles T. Little. Europe in the Middle Ages. New York: The Metropolitan Museum of Art, 1987. no. 120, p. 139.
Ainaud i Escudero, Joan-Francesc. "Dos portapaus de cap al 1400: el de Pere d'Urgell i el de Violant de Bar." Butlletí del Museu Nacional d'Art de Catalunya 2 (1994). pp. 139–42, fig. 7.
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Calderoni Masetti, Anna Rosa. "Modelli di oreficeria franco-borgognona alla Corte di Ferrara." In Medioevo: i modelli; Atti del Convegno Internazionale di Studi, Parma, 27 settembre–1 ottobre 1999, edited by Arturo Carlo Quintavalle. Convegni di Parma, Vol. 2. Milan: Electa, 2002. p. 654, fig. 11.
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Husband, Timothy B. The Art of Illumination: The Limbourg Brothers and the Belles Heures of Jean de France, Duc de Berry. New York ; New Haven: The Metropolitan Museum of Art, 2008. p. 22, fig. 21.
The Metropolitan Museum of Art. The Metropolitan Museum of Art Guide. New Haven, CT: Yale University Press, 2012. p. 197.
Date: ca. 1180–90Medium: Copper: engraved, chiseled, stippled, and gilt; champlevé enamel: dark, medium, and light blue; turquoise, dark and light green, yellow, red, and white; wood core, painted red on exteriorAccession: 17.190.514On view in:Gallery 304