This small carved boxwood cross is divided on each face into five compartments containing Christian religious scenes. The cross is set in a stand decorated with mother-of-pearl and green glass-paste stones.
This small sanctification cross, which would have been used for holy water ceremonies in the Orthodox church, depicts six scenes drawn from the life of Christ and the Virgin Mary along with the four Evangelists writing the gospels. The Baptism of Christ appears in the center of one side of the cross with the Annunciation above and the Presentation of the Virgin in the Temple below, while two Evangelists are depicted in the horizontal arm. The Crucifixion serves as the central scene on the other side, with Doubting Thomas above, Christ's Descent into Hell below, and two more Evangelists on the horizontal arm of the cross.
A crowd gathers in the side chapel of a church around a group of seated figures and an infant. A man with a long flowing beard sits and holds the infant in his hands above a plate, while another man leans forward in his chair and peers through his spectacles at the child as he performs a circumcision. A plaque with the artist's initials, "HG," lies on the floor in the foreground.
This masterful engraving depicts the circumcision of the infant Christ, who is held by a priest at the center of the gathered crowd. The Virgin Mary and Joseph stand at the front of the group of onlookers immediately behind the seated figures and gaze intently upon the child.
This drawing depicts a fresco executed by Giovanni Battista Pozzo (c. 1563-1591) for the Peretti Chapel, Santa Susanna, Rome. The scene is the conversion of St. Genesius, a third-century actor who was about to perform a play ridiculing the rite of baptism. He saw a vision during his performance of angels holding a book with his sins and Genesius converted on the spot.
It has been suggested by Szilvia Bodnár that this drawing, and another drawing showing this composition in the collection of the Albertina, predate the final fresco, which is in a horizontal format while the two drawings are portrait format.
Eight robed male figures, each with a halo, kneel before a v-shaped bench or rail. They face a male figure with a crossed halo that stands on the other side of the bench, holding a golden chalice in his left hand and a circular white wafer imprinted with a crucifixion scene in his right. An altar draped with a red cloth appears behind him. The entire scene is enframed within the letter "C."
This miniature scene, enclosed within the letter "C," depicts Christ standing before an altar giving the bread and wine of communion to the Apostles. The painting has been cut from a manuscript, where the letter "C" served as the initial letter of the phrase used to begin the mass for the Feast of Corpus Christi, an important Christian holy day dedicated to commemorating Christ's bodily sacrifice. The image of communion in the miniature introduces this feast perfectly, since according to Catholic belief the bread and wine were transformed into Christ's body and blood during the mass.
This miniature painting depicts a group of male figures gathered around a coffin draped with a blue cloth. Two pairs of candles set on tall candlesticks are placed at the head and foot of the coffin. To the left of the coffin stand four mourners wearing long gray robes with hoods. Facing them from the other side of the coffin are three tonsured clergymen dressed in white, who look at an open book placed before them. The group stands upon a green tiled floor next to a pink wall. The background is painted red and decorated with an exuberant pattern of gold scrolling foliage motifs.
This richly colored miniature painting was taken from a book of hours, a type of personal devotional manuscript that enjoyed widespread popularity from the thirteenth through fifteenth centuries and contained sets of daily prayers, or "offices." The painting depicts a funeral mass attended by hooded mourners and performed by three clergymen. The miniature prefaced the set of prayers known as the Office of the Dead that was recited as a preparation for death and afterwards for the departed soul.
The dial of this elaborately decorated clock stands upon a two-tiered base. The lower tier consists of a hollow base made of ebony and adorned with a frieze of gilded bronze scrollwork and palmette motifs. The upper tier, made entirely of gilded bronze, features six fluted pilasters with a decorative panel centered on the front below the dial. This panel is composed of a pair of doves touching beaks before a crossed quiver of arrows and a flaming torch framed by leaves. A woman in long flowing robes stands to the right of the dial and empties a small cup onto a dove held by a winged putto who lies on a rocky projection. Behind the dove burns a fire on a small altar inscribed "Altar of Venus" [Autel à Venus].
This lavishly embellished mantel clock is surmounted by a scene of a priestess and Cupid anointing a dove as a sacrificial fire burns on an altar between them. The clock was a collaborative work produced by Joseph Buzot, who manufactured the movement and signed the dial, but who subcontracted work for the base and the figures, a practice typical for the period.