Another Edifying Excursion to the Met

The King's imposing armor greets visitors
to the museum's great Arms and Armor Hall

I had the great pleasure of visiting the Metropolitan Museum of Art in New York City with a friend over the weekend and finally got to see the ongoing special installation of The Jousting Armor of Philip I of Castile (1478-1505). As was customary for the eldest sons of noble families during the period, the Prince began martial training and wearing armor at the age of six. This suit, made of steel, brass, gold and leather, was crafted for him in Augsburg, Germany around the time he turned fifteen. The armor and blinding shaffron will be on view in the museum’s impressive Arms and Armor Hall (Gallery 371) until April 1, 2026. The masterwork is on loan from the Imperial Armoury, Kunsthistorisches Museum Vienna.

The shield is a modern replica

We are unsure if the shattered lance is original 

A look at the back of the armor and his steed's blinding shaffron

Not far from the installation were portions of armor made for the Neapolitan nobleman Vincenzo Luigi di Capua, Count of Altavilla and Prince of Riccia (died 1627). The etched steel, gold, leather and copper alloy suit was made circa 1595 by the foremost Milanese armorer Pompeo della Cesa (c. 1537-1610).

Portions of an Armor for Vincenzo Luigi di Capua

From Arms and Armor we successively made our way to The American Wing, Portraiture in the Grand Manner (Gallery 771); European Decorative Arts and Sculpture, 1850-1900 (Gallery 556); and finally to the In Praise of Painting: Dutch Masterpieces at the Met exhibit (Galleries 964-965).

Repose, 1895, oil on canvas, by John White Alexander (1856-1915)

(L) Madame X (Madame Pierre Gautreau), 1883-84, oil on canvas, by John Singer Sargent (1856-1925). (R) Saint Peter, 1633-34, gilt bronze, by Cosimo Fanzago (1591-1678), Lombard-born sculptor active chiefly in Naples. The statuette originally stood on a tabernacle in the conventual church of Las Augustinas in Salamanca, commissioned by Manuel de Zuñiga, Viceroy of Naples.

(L) Empress Eugénie, dated 1855, painted enamel on copper; frame:
gesso and gilt on wood; by Marie-Pauling Laurent (1805-1860).
(R) Picture frame, 1904-8, nephrite and silver mounts, House of Carl
Fabergé, by workmaster Karl Gustav Hjalmar Armfelt (1873-1959).

Always gratifying, the Met’s remarkable collection never fails to invoke and stir deep emotions. A welcome break from the worthless distractions of the modern world, I always discover something new or see something in a new light and leave feeling edified and inspired. I already can’t wait to visit again.

Picture frame, silver, enamel, wood, 1899, House of Carl Fabergé,
by workmaster Julius Rappoport (1864-1916)

(L) Medal of Leopold II of Belgium, 1859, bronze, by Leopold Wiener
(1823-1891). (R) Medal of Alexander III and the Imperial Family, 1888,
bronze, by Avenir Grigorievick Griliches (1849-1905). The medal
commemorates the Imperial family's survival of a train crash.

(L) Vanitas Still Life, 1603, oil on wood, Jaques de Gheyn II (1565-1629).
(R) A Maid Asleep, ca. 1656-7, oil on canvas, Johannes Vermeer (1632-1675)