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Museo delle Arti Decorative verified

Milano, Lombardia, IT closed Visit museumarrow_right_alt

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Bartolomeo Suardi, detto Bramantino - Tapestry Representing December
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Bartolomeo Suardi, detto Bramantino - Tapestry Representing January
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Bartolomeo Suardi, detto Bramantino - Tapestry Representing February
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 Galileo Galilei’s Geometric and military compass
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Jesus Crucified between the two thieves
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Gonzaga platter on stand
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Gio Ponti; Libero Andreotti - Blue Urn
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Otto Imperator
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Reliquary of Saints Cyprian and Justina
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Jug
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Monstrance of Voghera
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Scipione Delfinone; Camillo da Posterla - The Standard of Milan
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Marys at the Sepulchre
Bartolomeo Suardi, detto Bramantino - Tapestry Representing December
Bartolomeo Suardi, detto Bramantino - Tapestry Representing January
Bartolomeo Suardi, detto Bramantino - Tapestry Representing February
 Galileo Galilei’s Geometric and military compass
Jesus Crucified between the two thieves
Gonzaga platter on stand
Gio Ponti; Libero Andreotti - Blue Urn
Otto Imperator
Reliquary of Saints Cyprian and Justina
Jug
Monstrance of Voghera
Scipione Delfinone; Camillo da Posterla - The Standard of Milan
Marys at the Sepulchre

Other works on display

Description

The scene represents an emperor of the Ottonian Dynasty with his wife and already crowned infant son, kneeling before the enthroned Christ, in proskynesis, a gesture of homage paid to Byzantine emperors. Next to the Saviour, to whom the IHS XPS inscription refers, are Saint Maurice (on the left) and Mary (on the right), identified by lateral inscriptions, while above the scene are two angels in flight. The platform on which the imperial family are kneeling is inscribed with the words OTTO IMPERATOR. This inscription does not settle the question of whether the piece is celebrating Otto I or Otto II. However, the very young age of the prince, who bears the crown and is therefore already associated with the power of his father, argues in favour of a reference to Otto II, Theophanu and Otto III. If the deduction is correct, the plate may have been produced in Milan on the occasion of the visit of Otto II in 983, when Otto III was only three years of age. The elegance of the composition and style, which resembles that of other Milanese works of the 10th century, such as the tabernacle of the Basilica of Sant'Ambrogio, confirms the role played by Milan and northern Italy in the creation of sophisticated Ottonian art. The ivory belonged to the Trivulzio Collection and entered the Civic Collections in 1935.

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