  About the Artwork
  
  
  The Latin origins of the term aquamanile—aqua meaning water and manus meaning hand—describe the function of this lively bronze lion. Such hollow cast vessels, often taking the form of animals, were used throughout Europe from the twelfth through the sixteenth century to dispense water for hand washing. Aquamanilia commonly served in liturgical settings, but this roaring lion, a well-known symbol of fortitude, is believed to have been made for secular use. The design balances the natural form and energy of the lion with an elegant stylization of features. For example, the tail, which would have functioned as the handle, is deeply incised with a distinctive, flamelike pattern of tufts that heighten the sense of movement while adding decorative richness to the surface. The superb quality of craftsmanship and the high nickel content of the alloy are characteristic of Nuremberg metalwork in the later medieval era.
From Bulletin of the Detroit Institute of Arts 89 (2015)
  
  
  Title
  Lion Aquamanile
  
  
  Artwork Date
  ca. 1425-1450
  
  Artist
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  Life Dates
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  Nationality
  
  
  
  Please note:
  Definitions for nationality may vary significantly, depending on chronology and world events.
  Some definitions include:
  Belonging to a people having a common origin based on a geography and/or descent and/or tradition and/or culture and/or religion and/or language, or sharing membership in a legally defined nation.
  
  
  
  German
  
  
  
  Culture
  
  
  
  Please note:
  Cultures may be defined by the language, customs, religious beliefs, social norms, and material traits of a group.
  
  
  
  
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  Medium
  Copper alloy
  
  
  Dimensions
  Overall: 11 1/2 × 9 inches (29.2 × 22.9 cm)
  
  
  Classification
  Metalwork
  
  
  Department
  European Sculpture and Dec Arts
  
  
  Credit
  Museum Purchase, Robert H. Tannahill Foundation Fund, Mr. and Mrs. Richard Brodie provided funds for the Spigot
  
  
  
  Accession Number
  
  
  
  This unique number is assigned to an individual artwork as part of the cataloguing process at the time of entry into the permanent collection.
  Most frequently, accession numbers begin with the year in which the artwork entered the museum’s holdings.
  For example, 2008.3 refers to the year of acquisition and notes that it was the 3rd of that year. The DIA has a few additional systems—no longer assigned—that identify specific donors or museum patronage groups.
  
  
  
  2008.1
  
  
  Copyright
  Public Domain
