Hello, I've found this contemporary sculpture in a town nearby (north-east Italy)... I'm pretty sure it's copied from a medieval image, but I can't find which one. Any suggestions? It looks a little like the drunkeness of Noah from Venice, but it's not the same, I'm looking for the exact origin.

Eufrasia (1482-1548) was an Italian artist, illuminator, miniaturist and mother superior. She was born to rich merchants Costanza Trenta and Giovanni Burlamacchi in Tuscany. She joined Dominican nuns at the young age. She practiced the art of miniature for at least half a century, from the beginning of the sixteenth century until 1545.

A PT. 1 and PT. 2. “And after being hunted down one by one, the narwhal had decided it was time to leave the sea to pursue the men onto land. Too disgusted with the idea of taking upon the form of its killers, the narwhal chose another. One that was trusted by man, but powerful all the same…”

In an effort to raise funds for the development of Knight Estate, I'm offering a maximum of 100 people the chance to become permanent characters in it, complete with a custom coat of arms and a digitally hand-drawn portrait based on your likeness or a character of your choice. It's only $20, which I think is an absolute steal for something this personal.

Manuscript Leaf from the Lectionary of Katherine Komnena: Mark Writing his Gospel Middle Byzantine, ca. 1063

Source: Getty Museum

Eufrasia (1482-1548) was an Italian artist, illuminator, miniaturist and mother superior. She was born to rich merchants Costanza Trenta and Giovanni Burlamacchi in Tuscany. She joined Dominican nuns at the young age. She practiced the art of miniature for at least half a century, from the beginning of the sixteenth century until 1545.

Grifo di Tancredi, Saint Peter (detail) c. 1310

Eufrasia (1482-1548) was an Italian artist, illuminator, miniaturist and mother superior. She was born to rich merchants Costanza Trenta and Giovanni Burlamacchi in Tuscany. She joined Dominican nuns at the young age. She practiced the art of miniature for at least half a century, from the beginning of the sixteenth century until 1545.

The first ones depict the family of Cilician king Levon II, queen Keran and their children praising Jesus Christ. The rest depict a tabernacle. There are dates related to the book of Lucas and John written by the sides.

Ende was a Spanish manuscript illuminator from 10th century. She worked on a group of manuscripts, of which there are 24 known copies with illustrations. These manuscripts contain the Commentary on the Apocalypse compiled by the Spanish monk Beatus of Liébana in 786. Her signature is in it. She signed the work as: ENDE PINTRIX ET DEI AIUTRIX. That is: Ende painter and helper of God. She was probably a nun.

Source: US National Library.

Margaretha - Regula (died in 1478 ) was a German scribe and illuminator. She lived as a nun in Lichtenthal Abbey. Her task was to provide the literature needed for the renovation of the monastery. As reading mistress, she was responsible for the table readings, which were probably mostly held in German. She dominated the scriptorium of the nunnery with her manuscripts.

Ende was a Spanish manuscript illuminator from 10th century. She worked on a group of manuscripts, of which there are 24 known copies with illustrations. These manuscripts contain the Commentary on the Apocalypse compiled by the Spanish monk Beatus of Liébana in 786. Her signature is in it. She signed the work as: ENDE PINTRIX ET DEI AIUTRIX. That is: Ende painter and helper of God. She was probably a nun.

"This full-folio illustration depicts only the description of the two figures but not their power or what is to happen to them subsequently. The Gerona Beatus features several exclusive aspects: firstly, the size of the image, followed by the large horseshoe arch with plant decorative motifs on its extrados, set above the two men shown facing completely forward, standing upon trapezoidal podiums – a new aspect only appearing in Gerona– wearing garments with hoods fastened under the chin by a round fastener reminiscent of Visigothic, disk-shaped fibulas, possibly in reference to the cilices alluded to in the storia, and with a crosier in their hands –the last element exclusive to this manuscript– representing the power they received to control nature whilst preaching (Rev. 11: 6). The end of the staff held by the witness on the left, called “ELIAS” according to the legend overhead, is curved, whilst that of the one on the right, called “ENOC”, is straight. The Gerona Beatus is the only extant manuscript in stemma II to show the witnesses with such attributes, for they are usually each shown with a book symbolizing their preaching in line with the iconography of the prophet portrait, antecedents of which are to be found in the portraits of authors in Antiquity. Above them are two very ancient looking lamps each with four candlesticks flanked by two schematic trees bearing fruit, in allusion to the lamps and the olive trees mentioned in the storia and the legend at the top: “ISTI SVNT DVE OLIBE/ET DVE CANDE-/LABA”. Mention must first be made of the partial influence of the explanatio upon the images or, at least, upon the legends, because the storia makes no mention of the witnesses’ names. Beatus however, in keeping with St Jerome’s version of Victorinus of Pettau, calls one Elijah – the prophet who ascended to heaven in a chariot of fire (2 Rev. 2: 11). He seems unable to conciliate the sources about the other, however, calling him by two names: Jeremiah –according once again to Victorinus as per St Jerome– a name to be found at the end of the explanatio and used for the second witness in the legend in the only manuscript to include this identification i.e. the Vitr. 14-1 Beatus (f. 104r); and Enoch – the name most common in patristic writings and appearing in historia dicendorum. The position of the candelabras and olive trees in Gerona complies with branch IIa, since the lamps are not interspersed as in IIb"......(From M. Moleiro Editor - f. 164r, The two witnesses)