Each bead of the rosary represents the bust of a well-fed burgher or maiden on one side, and a skeleton on the other. The terminals, even more graphically, show the head of a deceased man, with half the image eaten away from decay. Such images served as reminders that life is fleeting and that leading a virtuous life as a faithful Christian is key to salvation.
This artwork is meant to be viewed from right to left. Scroll left to view more.
Artwork Details
Use your arrow keys to navigate the tabs below, and your tab key to choose an item
Title:Rosary
Date:ca. 1500–1525
Culture:German
Medium:Elephant ivory, silver, and partially gilded mounts
Dimensions:Overall: 24 11/16 x 2 1/8 x 1 3/4 in. (62.7 x 5.4 x 4.5 cm) Top Terminal: 1 5/8 x 1 5/16 x 1 1/2 in. (4.2 x 3.4 x 3.8 cm) 2nd bead: 2 1/16 x 1 11/16 x 1 in. (5.2 x 4.3 x 2.6 cm) 3rd bead: 2 3/16 x 1 7/8 x 11/16 in. (5.6 x 4.7 x 1.7 cm) 4th bead: 2 5/16 x 1 15/16 x 1 in. (5.8 x 4.9 x 2.6 cm) 5th bead: 2 9/16 x 2 x 1 1/16 in. (6.5 x 5.1 x 2.7 cm) 6th bead: 2 1/2 x 1 13/16 x 7/8 in. (6.3 x 4.6 x 2.2 cm) 7th bead: 2 3/4 x 2 1/8 x 1 in. (7 x 5.4 x 2.5 cm) Bottom Terminal: 2 1/16 x 1 7/16 x 1 15/16 in. (5.2 x 3.6 x 5 cm)
Classification:Ivories-Elephant
Credit Line:Gift of J. Pierpont Morgan, 1917
Object Number:17.190.306
Inscription: (on third bead): COGITA . / . MORI (think of death) (on sixth bead): [backwards S]V . e VOT[IS] / . ERI[backwards S] (you will be of prayer itself)
Laurentine Françoise Bernage Lelong ; [Lelong sale, Galerie Georges Petit, Paris (December 8–10, 1902, no. 68)]; [ Charles Davies, London (sold 1903)]; J. Pierpont Morgan (American), London and New York (1903–1913); Estate of J. Pierpont Morgan(1913–1917)
Brooklyn. Brooklyn Museum. "Out of the East," April 3, 1950–June 6, 1950.
Museum of Art, Rhode Island School of Design. "Europe in Torment: 1450-1550," March 7–April 7, 1974.
New York. The Metropolitan Museum of Art. "Incisive Images: Ivory and Boxwood Carvings, 1450–1800," March 13–November 25, 2007.
New York. Rubin Museum of Art. "Remember That You Will Die: Death Across Cultures," March 19, 2009–August 9, 2010.
New York. The Cloisters Museum & Gardens, The Metropolitan Museum of Art. "Treasures and Talismans: Rings from the Griffin Collection," May 1–October 18, 2015.
Brunswick, Me. Bowdoin College Museum of Art. "The Ivory Mirror: The Art of Mortality in Renaissance Europe," June 24–November 26, 2017.
Catalogue des objets d'art et de haute curiosité de l'antiquité [...] dépendant des collections de Mme. C. Lelong. Paris: Galerie Georges Petit, December 8–10, 1902. no. 68, p. 27, ill. p. 26.
"La Saison de l'Hotel Drouot." L'Art: Revue Mensuelle Illustrée 61 (1902). p. 708, ill.
Weber, Frederick Parkes. Aspects of Death and Correlated Aspects of Life in Art, Epigram, and Poetry: Contributions Towards an Anthology and an Iconography of the Subject. 3rd ed. New York: Paul B. Hoeber, 1918. pp. 714–15.
Europe in Torment, 1450–1550. Providence: Brown University, 1974. no. 47, pp. 118–19.
Levin, William R., ed. Images of Love and Death in Late Medieval and Renaissance Art. Ann Arbor: University of Michigan Museum of Art, 1975. no. 83, p. 117, pl. LXIII.
Lowden, John, and John Cherry. Medieval Ivories and Works of Art: The Thomson Collection at the Art Gallery of Ontario Catalogue. Ontario: Paul Holberton Publishing, 2008. p. 132.
Williamson, Paul, and Glyn Davies. Medieval Ivory Carvings, 1200–1550. Vol. 1. London: Victoria and Albert Museum, 2014. p. 474, fig. 1.
Scholten, Frits. "Scale, Prayer and Play." In Small Wonders: Late-Gothic Boxwood Micro-Carvings from the Low Countries, edited by Frits Scholten. Amsterdam: Rijksmuseum, 2016. pp. 200–201, fig. 102.
Perkinson, Stephen. The Ivory Mirror : The Art of Mortality in Renaissance Europe. Brunswick, Maine: Bowdoin College Museum of Art, 2017. pp. 50–52, fig. 15a, 15b, pl. 26, ill. p. 2.
Bolton, Andrew, ed. Heavenly Bodies: Fashion and the Catholic Imagination. Vol. 2. New York: The Metropolitan Museum of Art, 2018. p. 272.
Ciseri, Ilaria, ed. Gli avori del Museo nazionale del Bargello. Milan: Museo Nazionale del Bargello, 2018. pp. 234, 379.
C. Griffith Mann, Michel David-Weill Curator in Charge, discusses the meaning behind two fascinating rings in the exhibition Treasures and Talismans: Rings from the Griffin Collection and reveals their hidden details.
The Met's Libraries and Research Centers provide unparalleled resources for research and welcome an international community of students and scholars.
The Met Collection API is where all makers, creators, researchers, and dreamers can connect to the most up-to-date data and public domain images for The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.
The Museum's collection of medieval and Byzantine art is among the most comprehensive in the world, encompassing the art of the Mediterranean and Europe from the fall of Rome to the beginning of the Renaissance.