Tomb of Thomas de Beauchamp (d1369) and his wife Katherine Mortimer.
PeriodIndex
Sir Richard Pembridge (d1375) was one of the earliest Knights of the Garter, being elected following the death of Thomas Ufford in 1368. He was present at all of Edward III's major victories during the Hundred Years War: Sluys (1340), Creçy (1346), the Siege of Calais (1347), and Poiters (1356) where he fought alongside the Black Prince.
Donatello’s spiritelli—small bronze, dancing child figures—embody the Renaissance fusion of classical vitality and Christian joy. Created for settings from pulpits to private collections, these lively winged children transformed ancient putti into symbols of divine life and humanist celebration. Through their movement, naturalism, and charm, Donatello redefined sculpture as a living expression of sacred and worldly beauty.
Tomb of John Beauchamp of Holt and his wife Joan. He was tried and convicted of treason by the Merciless Parliament in 1388, then hanged and beheaded at Tower Hill.
This 14th-century wall painting at Saint-Aignan-sur-Cher depicts the history and miracles of St. Giles, one of the most venerated saints of medieval France. The composition was originally made up of four sections, though the right-hand portion is now lost or no longer discernible.
This early fifteenth century wall painting of Christ at the Last Judgement sitting on a rainbow between praying figures of the Virgin Mary and St John the Evangelist, can be found in the Collegiate Church of St Aignan.
In the 15th century (c. 1400–1500), church monuments, primarily effigial tombs and brasses, were the dominant form of commemorative art in parish churches and cathedrals. They reflected social status, piety, and late medieval chivalric culture, with a shift toward realism and personal expression.
Renaissance sculpture, flourishing from the 14th to the early 17th century, marked a revival of classical antiquity and humanism, centered primarily in Italy, with Florence as its epicenter. Emerging from the medieval Gothic style, it sought to emulate the idealized forms and balanced proportions of ancient Greek and Roman art, while infusing a newfound focus on naturalism and individual expression.
Brass dedicated to John Mulsho (d1400) and his wife at St Mary Magdalene church Geddington, Northamptonshire.
