I took another diversion through the Asian Collection again before heading up one of the many sets of stairs to Level 2. More mediæval art. I was kinda committed to it at this stage, as much as I wanted to go off at random. I could have spent the whole day on the ground floor, working my way through the Asias. One thing I really liked here, and I reckon it has a lot to do with both the museum being free to visit, and London having a far more confident mob of people from more recent-ish immigration backgrounds — even the Mayor, the most awesome and we can all agree pretty bloody fine Sadiq Khan, son of a Pakistani immigrant bus driver — was so many people were not the default white / northern European I see in Berlin museums. Plus I find it entirely awesome when I see groups of young guys running around the Middle East, South Asia, and Islamic collections getting really excited about the pieces cos they identify with them and see themselves or their history in them. This is something I genuinely miss and struggle with in Berlin, the monoculturalisation and paucity of the rest of us in — I don’t know exactly what to call it — in mainstream German/-ic culture. It feels to me that in London at least (despite the white nationalism of Brexit and all) immigrants of any generation are Londoners / British / not sure the most applicable appellation here, but you get what I mean, in a way I feel the comparable groups in Germany are not and perhaps will never be allowed to be. I miss that confidence and feel in Berlin being an immigrant or just somehow being marked as an outsider means keeping your head down, constantly scanning in case whoever walking towards you on the street is going to bring one of the so many forms of bullshit with them.
I was also thinking, as I plundered the Level 2 mediæval stuff, that it might be time to properly go eastwards and indulge my enthusiasm for Islamicate and Persian art as much as I do old European stuff.
There’s a couple of pieces here (The Adoration of the Kings, images 1 and 2; Descent from the Cross, images 9 and 10) are only details because I couldn’t photograph through glass. One of the most spectacular pieces is the wooden altarpiece by (probably) Giovanni Angelo del Maino and Tiburzio del Maino (images 3-7). This is simply extravagant and endlessly intricate. The detail is in the crush of the public arrayed along three levels and decreasing in size as they move higher and further back. The three crucifixes stick like masts high above the mass, the flanking pair bowing outwards in the emptiness, a forest of spears, halberds, and pikes at their feet. Lower left, the first figure above the predella is a woman breastfeeding. There’s children everywhere. In the predella itself, the central panel is the Adoration of the Shepherds, which I saw a lot of in London.
Plenty of other beautiful pieces. The Dish with a Couple and an Inscription by Workshop of Giacomo Mancini I loved because it’s secular, and one of the first pieces I saw that went this way; Plate with Three Graces by Workshop of Maestro Giorgio because it goes into Greek mythology; the various Virgin and Childs all of which so different from each other. The out of that and into Cast of Judith and Holofernes, from the original by Donatelli. It’s in the Simon Sainsbury Gallery high up on a plinth, suitably brutal and awful.
Up to Level 3. I spent a long time in the Materials and Techniques sections, a lot of design in metal, glass, enamel, porcelain, silver. I didn’t photograph much; there was far too many pieces to even think coherently about. Even with a full day I doubt I’d get through everything. Two to three days would be probable. So I finished with stained glass.
There’s a brilliant, small piece, Christ as the Man of Sorrows, with the Imago Pietatis, what I call a Bynum (because of her work, Wonderful Blood), Jesus literally dripping blood and filling a bath with it, the objects of his torture arrayed around him. I’ve never seen this subject on glass and despite being from the mid-1600s, it looks like it belongs three hundred years earlier. Then lucky last, The Adoration of the Magi by (possibly) Master of the Holy Kindred, another work massive and far above me (so it’s a little distorted from straightening it out). And shortly after I got kicked out. Out into the late-afternoon sun, onto a bus and see London pass by for an hour as I northwards home.