id:			110240
accession number:	1928.861
share license status:	CC0
url:			https://clevelandart.org/art/1928.861
updated:		2023-03-04 09:29:42.471000

Guardian Griffin (pair), 1150–1175. Northern Italy, Emilia, 12th century. Pink limestone (called "Verona Marble"); overall: 75.9 x 50.2 x 120.7 cm (29 7/8 x 19 3/4 x 47 1/2 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust 1928.861

title:				Guardian Griffin (pair)
title in original language:	
series:				
series in original language:	
creation date:			1150–1175
creation date earliest:		1150
creation date latest:		1175
current location:		106B Romanesque & Gothic Sculpture
creditline:			Gift of the John Huntington Art and Polytechnic Trust
copyright:			

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culture:	Northern Italy, Emilia, 12th century
technique:	pink limestone (called "Verona Marble")
department:	Medieval Art
collection:	MED - Romanesque
type:		Sculpture
find spot:	
catalogue raisonne: 

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CREATORS

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measurements: Overall: 75.9 x 50.2 x 120.7 cm (29 7/8 x 19 3/4 x 47 1/2 in.)
state of the work:	
edition of the work: 	

support materials:


inscriptions:

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CURRENT EXHIBITIONS

	title:		Medieval Monsters: Terrors, Aliens, Wonders
	opening date:   2019-07-07T04:00:00
	<i>Medieval Monsters: Terrors, Aliens, Wonders</i>. The Cleveland Museum of Art, Cleveland, OH (July 7-October 6, 2019).

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LEGACY EXHIBITIONS

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PROVENANCE

	said to have come from the residence of a Cardinal Leona, east of Bologna.
	date: 
	footnotes: 	
	citations: 	


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fun fact:
According to medieval bestiaries, griffins could tear a man to pieces and carry a whole bovine away, as seen here.

digital description:


wall description:
Griffins are fabled creatures that have the characteristics of an eagle and a lion—combining watchfulness and courage. In Christian art, the dual nature of the griffin was often used to signify that of Christ himself: divine (bird) and human (animal). Griffins were often used as guardian figures in church sculpture and were placed in portals and choir screens. The creatures seen here, with their inward-turning heads, were certainly used for such a purpose. When viewed from the front, one griffin may be seen clutching the figure of a knight between its paws, while the other griffin holds a calf. Their original function was probably to support the columns of a porch in front of a church doorway.
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RELATED WORKS

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CITATIONS

	C. L. Ragghianti, "Sculpture del Secolo XII a Ferrara, 1," <em>Critica d'Arte</em>, XLII, n. s. fasc. 154-156 (JulyDecember 1977).
	page number: 	pp. 53-54, figs. 21-22.
	url:		

	The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.
	page number: 	Reproduced: p. 56
	url:		https://archive.org/details/CMAHandbook1978/page/n76

	Cahn, Walter, and Linda Seidel. <em>Romanesque Sculpture in American Collections.</em> New York: B. Franklin, 1978.
	page number: 	no. B III 14, 163-65
	url:		

	Bocchi, Francesca. <em>7 colonne e 7 chiese: la vicenda ultramillenaria del complesso di Santo Stefano in Bologna : Museo civico archeologico. Casalecchio di Reno,</em> Bologna: Grafis, 1987.
	page number: 	p. 160
	url:		

	Turner, Evan H.<em> Object Lessons: Cleveland Creates an Art Museum.</em> Cleveland: Cleveland Museum of Art, 1991.
	page number: 	no. 25
	url:		

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IMAGES

web:	https://openaccess-cdn.clevelandart.org/1928.861/1928.861_web.jpg
print:	https://openaccess-cdn.clevelandart.org/1928.861/1928.861_print.jpg
full:	https://openaccess-cdn.clevelandart.org/1928.861/1928.861_full.tif