Tasse couverte. Culture : l'allemand. Dimensions : hors tout : 9 7/16 x 3 1/4 in. (24 x 8,2 cm) sans couvercle : 7 3/16 x 3 1/4 in. (18,3 x 8,2 cm) couvercle uniquement : 2 3/8 x 3 1/16 in. (6,1 x 7,8 cm). Date : le 15e siècle. Le cristal de roche a été évalué plus fortement tout au long de l'histoire pour sa dureté et brillante de clarté. Au Moyen-Âge est a été considéré par l'Église comme un symbole de pureté sans tache, et donc un matériau le plus approprié pour des contenants de saintes reliques et pour d'autres navires ecclésiastique. Pour les rois, princes, et d'autres personnes haut placées, récipients à boire fait de couper et de cristal de roche poli et d
Cette image peut avoir des imperfections car il s’agit d’une image historique ou de reportage.
Covered Cup. Culture: German. Dimensions: Overall: 9 7/16 x 3 1/4 in. (24 x 8.2 cm) without lid: 7 3/16 x 3 1/4 in. (18.3 x 8.2 cm) lid only: 2 3/8 x 3 1/16 in. (6.1 x 7.8 cm). Date: 15th century. Rock crystal was valued most highly throughout history for its hardness and brilliant clarity. In the Middle Ages is was viewed by the Church as a symbol of unblemished purity, and thus a most appropriate material for containers of holy relics and for other ecclesiastical vessels. For kings, princes, and other high-placed persons, drinking vessels made of cut and highly-polished rock crystal and decorated with precious metals and jewels had great appeal. Various locations in Central and Western Europe have been suggested as fourteenth- and fifteenth- century centers for the cutting of crystals, including Paris, Burgundy, Prague, Nuremberg, Venice, and Freiburg im Breisgau. Rock-crystal vessels cut with a pattern of concave roundels, such as this beaker, are usually considered to be of French workmanship. The cut rock-crystal cup of the beaker is believed to be French; however, its bejeweled mounting is thought to have been executed not in France or Burgundy, but in the Upper Rhine region of Germany, possibly in Freiburg im Breisgau. A comparable beaker of rock crystal, with a silver-gilt setting studded with jewels, is seen in the painting dated 1514, by Quentin Massys, The Money Changer and His Wife. The fact that Massys' style was frequently archaicizing in response to the vogue of the day, makes the dating for the model of this beaker around the middle of fifteenth century quite credible. Such a splendid beaker undoubtedly was intended to grace the table or sideboard of some magnificent court of the mid-fifteenth century. Its appearance in an otherwise bourgeois setting in Massys' painting could represent a status symbol and a reminder of the great changes in social structure which had taken place in the course of a half century, when the wealthy class adopted the cu
