page_title: Nottingham alabaster
hierarchical_section_title: Nottingham alabaster
caption_attribution_description: Italiano: Galleria G. Franchetti alla Ca' d'Oro - MIBAC The making of this document was supported by Wikimedia CH. (Submit your project!) For all the files concerned, please see the category Supported by Wikimedia CH. العربية&#160;| বাংলা&#160;| čeština&#160;| Deutsch&#160;| English&#160;| Esperanto&#160;| español&#160;| français&#160;| magyar&#160;| italiano&#160;| македонски&#160;| Nederlands&#160;| rumantsch&#160;| sicilianu&#160;| українська&#160;| +/− This is a photo of a monument which is part of cultural heritage of Italy. This monument participates in the contest Wiki Loves Monuments Italia 2014. See authorisations. (wiki-ID: 0270422854-MIBAC) Further authorizations required by the Italian "Code of Cultural Heritage and Landscape" (Codice Urbani), under Legislative Decree No. 42, dated January 22, 2004, and its subsequent amendments, regarding the reuse of the picture.This image reproduces a property belonging to the Italian cultural heritage as entrusted to the Italian government. Such images are regulated by Articles 106 et seq. of the Italian Code of Cultural Heritage and Landscape under Legislative Decree No. 42, dated January 22, 2004, and its subsequent amendments. These regulations, unrelated to copyright regulations, establish a system for the protection of Italy’s historic and artistic heritage and its standards of dignity. Among other things, these regulations provide for the payment of a concession fee by those who intend to benefit economically from reproductions of property belonging to the Italian cultural heritage. Reproduction of this image is permitted for personal use or study. A further authorization by the Italian Ministry of Heritage and Culture is required for reproduction for any other purpose, and particularly for commercial use. Such commercial use includes, but is not limited to, use in (a) any form of advertising, and (b) any company name, logo, trademark, image, activity, or product.
context_page_description: Nottingham alabaster is a term used to refer to the English sculpture industry, mostly of relatively small religious carvings, which flourished from the fourteenth century until the early sixteenth century. Alabaster carvers were at work in London, York and Burton-on-Trent, and many probably worked very close to the rural mines, but the largest concentration was around Nottingham. This has led to all the English medieval output being referred to as "Nottingham alabaster".
  Alabaster is a mineral composed of gypsum and various impurities, is much softer and easier to work than marble and a good material for mass production, though not suitable for outdoors use. Carvings were made as single figures, assemblies for tomb monuments, including full length effigies, but the most common survivals are panels, up to about 20 inches or 50 cm high, from sets for altarpieces, which could be transported relatively easily, and fitted into a locally-made architectural surround of stone or wood on arrival at their destination. These were attractive for less wealthy churches, and for the private chapels of the nobility.
context_section_description: Nottingham alabaster is a term used to refer to the English sculpture industry, mostly of relatively small religious carvings, which flourished from the fourteenth century until the early sixteenth century.  Alabaster carvers were at work in London, York and Burton-on-Trent, and many probably worked very close to the rural mines, but the largest concentration was around Nottingham. This has led to all the English medieval output being referred to as "Nottingham alabaster".
  Alabaster is a mineral composed of gypsum and various impurities, is much softer and easier to work than marble and a good material for mass production, though not suitable for outdoors use.  Carvings were made as single figures, assemblies for tomb monuments, including full length effigies, but the most common survivals are panels, up to about 20 inches or 50 cm high, from sets for altarpieces, which could be transported relatively easily, and fitted into a locally-made architectural surround of stone or wood on arrival at their destination.  These were attractive for less wealthy churches, and for the private chapels of the nobility.  Some complete ensembles survive, showing varied numbers of panels; the dimensions of the Nativity illustrated are typical.  The subjects were the same as in painted altarpieces, often including short cycles of the Life of Christ, especially the Passion of Christ, or the Life of the Virgin.  Since the sets were probably generally not made to a specific commission, unlike paintings, there are fewer local or patron saints.
  Throughout the period of their production Nottingham alabaster images were hugely popular in Europe and were exported in large quantities, some ending up as far afield as Iceland, Croatia and Poland. But by far the greatest export market for these images was in France, where even today some churches retain in situ their English alabaster altarpieces, unlike England, where survivals are extremely rare. The sculptures were normally brightly painted, sometimes all over, sometimes partially, but much of the paint has often been lost, and many pieces have had the rest completely removed by dealers, collectors or museums in the past. Most alabaster altarpieces and religious carvings other than church monuments remaining in England were destroyed in the English Reformation, after which the many workshops had to change their products to concentrate on church monuments.
caption: 15th-century altarpiece set, with contemporary frame and well-preserved paint
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