One of the most interesting examples of Medieval sculpture and one rarely seen in this country is the bronze pouring vessel know as an "aquamanile." As the Latin term indicates, such vessels were designed for the purpose of pouring water on the hands, and served either an ecclesiastical use as part of the utensils of the Church, or a purely domestic use as a means of washing the hands between courses of a meal. Produced from the middle of the twelfth to the early years of the sixteenth century, and fashioned generally in animal or human shapes that were free of religious associations, these vessels are of major importance as examples of small-scale bronze sculpture modelled in the full-round. Together with the secular character of their subjects, their existence as independent, free-standing works is in rather marked contrast to the typical sculpture of the later Middle Ages; sculpture that was predominantly of a religious nature and modelled either in relief or, if in the round, generally attached to some other object.¹ The special characteristics of these vessels as well as their high artistic quality give them a distinguished place in any collection of Medieval art and it is for this reason that the Institute is proud to announce the acquisition, through the Miscellaneous Purchase Fund, of a German aquamanile of the early fifteenth century.²The vessel is in the shape of a horse and rider and is remarkably complete in all parts. The horse is thick-bodied with a full chest and neck, a smartly raised head with full bridle and bit, and stands squarely on short, straight legs. At the top of the head, just behind the ears, is a square hole with a hinged lid that was used for filling the vessel, and protruding from the chest is a long, tubular spout with a petcock in the form of a griffin. The rider is clothed in tight breeches, pointed shoes, and a tight-fitting, short jacket that ends at the hips in long,scalloped folds. In his left he holds the reigns, and in his upraised right hand is a long spear. Although the modelling of both horse and rider is broadly executed, there is considerable detail, especially in the heads, saddle, and bridle, and horse's hoofs where there is an indication of horse shoes.The general form of the vessel, the shape of the horse, and details of costume provide the best indication of the probable place and date of manufacture. For the most part, aquamanilia were produced in two distinct areas, in the Meuse valley region of France, and in central Germany, and date variously from the twelfth to the sixteenth centuries. However, vessels of the particular type known as equestrian or rider aquamanilia were made predominately in Germany in the latter half of this period, between 1300 and 1500, and those having riders in tight-fitting costume with pointed shoes and mounted on thick-set horses with bulging knees and shoed hoofs are dated more precisely about 1400. The close similarity of our vessel, in all its major details, to a less complete aquamanile presumed to have been made in Nuremberg suggests that ours was probably from the same workshop and dates from the early fifteenth century.³Apart from its function as a water vessel, the aquamanile is most interesting as a piece of late Medieval sculpture. Although it is small in scale, measuring 12 7/8 inches in height and 14 inches in length, the breadth of its execution gives it a monumentality more commonly seen in works of much larger size. Wherever possible, the major masses have been left undecorated and flow together in smooth transition indicative of a strong, basic unity. In the body of the horse, for example, the neck, shoulders, rib cage, and thighs may be distinguished from each other, but are so broadly modelled that the particular joints cannot be defined. Rather, the uninterrupted movement of the surface binds each part to the next in such a manner that the whole is emphasized over any specific part. As a result, there is a sense of unity suggestive of great permanence and solid, massive strength. Areas of finer, more detailed treatment, as the combed main and tail or the bridle and reins, are almost geometrically arranged and carefully placed upon the underlying body so that they emphasize, by contrast, its simplicity and continuity. The rider is treated in similar fashion. The organic unity of his body is heightened by the tight-fitting costume that is interrupted only by precise, scalloped folds about his hips and the elliptical band of his sword belt. His erect posture, sharply raised head, and angled arms create an impression of alert confidence that reinforces the sense of stability and strength seen in his mount. While clearly distinct beings, horse and rider are thus unified, not only by their physical contact, but also by a similarity in treatment and a compatibility in attitude and expression.These qualities of monumentality and expressiveness raise the aquamanile above the level of a purely utilitarian vessel to that of fine sculpture. In spite of the awkwardly protruding spout, which is of such a different character from the body of the vessel that its presence can never be wholly forgotten, the consistency and sense of completeness in all the parts remain the dominant characteristics. Unlike most other medieval sculpture which was designed to be seen frontally or from only two or three sides, the aquamanile was conceived in the full round and is sculpturally interesting from all sides. Furthermore, as a portable vessel that could be easily moved to the table, it is necessarily self-contained, a complete entity in itself. The broad areas of clean, burnished bronze and the three contrasting areas of finely incised lines representing hair are attractive and rewarding to the tactile sense, just as the interplay of mass and line to form a decorative and dramatic rhythm of movement appeal to the eye and mind. While the work shows evidence of a growing appreciation of the naturalistic rendering of form typical of the period, the economy of detail, the generalization of form, and the high regard for a lively and sensitive pattern of surface decoration reflect the finest principles of Medieval esthetics. Together with the simplicity and sincerity of the expression, these sculptural qualities give the aquamanile a significance far beyond its functional aspects.Thus, in terms of both its rarity and artistic quality, the aquamanile is a rich addition to the Institute's collection. As an object of daily use, it offers further insight into Medieval culture, and as a work of art it provides an impressive and revealing view of the outstanding qualities of the sculpture of the later Middle Ages.Endnotes

1. Cf. Georg Swarzenski, "Romanesque Aquamanile of the Guennol Collection," Bulletin of the Brooklyn Museum, Vol. X, Number 4, 1949, p. 4.
2. Formerly in the collection of Raoul Heilbronner, Geneva, who acquired it from the Donna della Rose Collection.
3. This is fully discussed by Otto von Falke in "Reiter-Aquamanilien," Pantheon, Band I, May, 1928, p. 246ff. and Band II, Nov. 1928, p. 557 ff. Cf. also, Bronzegeräte des Mittelalters, Band I, "Romanische Leucter und Gefässe Giessgefässe der Gotik," Otto v. Falke und Enrich Meyer, Berlin, 1935, p. 88 ff, Ill, p. 221.

Referenced Work of Art

1. German, XV Century. Aquamanile Figure on Horseback. Bronze, height 12 7/8 inches; length 14 inches. Miscellaneous Purchase Fund, 1956.