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The 14th century

Works made in the 14th century, anywhere in the world.

39 works · hang 1523 ·

The rooms are imagined; every work on their walls is real.

Walk this roomRehang this room

First room, north wall

  1. Lineage Portrait of an Abbot, ca. 1350
    Lineage Portrait of an AbbotUnrecorded Himalayan maker, ca. 1350Courtesy of The Metropolitan Museum of Art
  2. Book Cover, by Italian (Sienese) Painter
    Book CoverItalian (Sienese) PainterCourtesy of The Metropolitan Museum of Art
  3. Saint Julian, by Taddeo Gaddi, 1340s
    Saint JulianTaddeo Gaddi, 1340sCourtesy of The Metropolitan Museum of Art
  4. Spring Dawn over the Elixir Terrace, by Lu Guang, ca. 1369
    Spring Dawn over the Elixir TerraceLu Guang, ca. 1369Courtesy of The Metropolitan Museum of Art

First room, south wall

  1. Portrait of Shun'oku Myōha, ca. 1383
    Portrait of Shun'oku MyōhaUnrecorded Japanese maker, ca. 1383Courtesy of The Metropolitan Museum of Art
  2. Fan (mounted as album leaf)
    Wild geese descending to a sandbarJiang Shen, 1368-1644Courtesy of the National Museum of Asian Art, Smithsonian Institution
  3. Dragon pine, by Wu Boli, late 14th–early 15th century
    Dragon pineWu Boli, late 14th–early 15th centuryCourtesy of The Metropolitan Museum of Art

Second room, south wall

  1. Handscroll
    Palace ladies tuning a zither (qin)Traditionally attributed to Zhou Fang, 1368-1644Courtesy of the National Museum of Asian Art, Smithsonian Institution
  2. Album leaf
    Sheep and shepherd-boy under a willowLi Song, 1368-1644Courtesy of the National Museum of Asian Art, Smithsonian Institution
  3. Simple Retreat, by Wang Meng, ca. 1370
    Simple RetreatWang Meng, ca. 1370Courtesy of The Metropolitan Museum of Art
  4. This is a drawing of a decorated manuscript page. The image features an ornate design with illuminated letters and intricate floral borders. The text is in Latin, written in a Gothic script, with larger, stylized letters at the beginning of paragraphs. Floral motifs and vine patterns, painted in vibrant colors including gold, blue, and red, frame the text. Illustrations of a bird and a peacock are integrated into the decorative borders. A small heraldic shield appears just below the middle of the page, adding a heraldic element to the composition. The craftsmanship and artistry associated with illuminated manuscript traditions are showcased, inviting viewers to appreciate the detailed embellishments and the skillful blending of text and imagery.
    Manuscript Leaf from a Book of Hours (incip. Passionis)Unrecorded French maker, 1390Courtesy National Gallery of Art, Washington

Second room, north wall

  1. The Last Supper, by Ugolino da Siena (Ugolino di Nerio), ca. 1325
    The Last SupperUgolino da Siena (Ugolino di Nerio), ca. 1325Courtesy of The Metropolitan Museum of Art
  2. Shown from the waist up, a woman wearing a garnet-red robe rests a book and a palm frond against a spiked wheel, all against a gold background in this arched, vertical painting. The woman’s light skin is tinged with pale green, and her cheeks are faint pink. Her shoulders face us, and she slightly looks up and off to our right with gray eyes under curved brows. She has a long, straight nose, and her small, full, bow-shaped lips are closed. Her wavy blond hair is parted down the middle and pulled back at the base of her head. Her red robe has a pattern of delicate diamond shapes and the underside is white, visible where it turns over around the neck. The robe is fastened with a round, gold disk the size of a DVD. Letters there read, “S.K.A.T.E.R.I.N.A.” around the perimeter of a four-lobed, red, blue, and gold geometric design at the center of the brooch. The sky-blue garment beneath her robe has a marine-blue collar. She clasps the palm frond in her left hand, to our right. The hand rests on the book, which is propped against the wheel in front of her, so the frond reaches beyond and above that shoulder, nearly to the edge of the painting. The wheel is edged with short, curving spikes like talons. The woman’s gold crown and round halo blend into the shimmering gold background, which is visibly cracked in some areas. The top of the panel curves up as if into an arch but is cut across the panel over her halo.
    Saint Catherine of AlexandriaBartolomeo Bulgarini, c. 1335/1340Courtesy National Gallery of Art, Washington
  3. Folio from a Mu'nis al-ahrar fi daqa'iq al-ash'ar (The Free Man's Companion to the Subtleties of Poems) of Jajarmi, by Muhammad ibn Badr al-Din Jajarmi, dated 741 AH/1340–41 CE
    Folio from a Mu'nis al-ahrar fi daqa'iq al-ash'ar (The Free Man's Companion to the Subtleties of Poems) of JajarmiMuhammad ibn Badr al-Din Jajarmi, dated 741 AH/1340–41 CECourtesy of The Metropolitan Museum of Art

Third room, north wall

  1. Mahasiddha Jnanatapa, ca. 1350
    Mahasiddha JnanatapaUnrecorded Himalayan maker, ca. 1350Courtesy of The Metropolitan Museum of Art
  2. The Adoration of the Magi, by Giotto di Bondone, possibly ca. 1320
    The Adoration of the MagiGiotto di Bondone, possibly ca. 1320Courtesy of The Metropolitan Museum of Art