stadt wien


1)Decorated pavise shields - designed to protect crossbowmen or archers during the medieval period, particularly during sieges .

2)An archer’s pavise finely constructed in kipping with the style of The Burgundian-Swiss War of 1474-77, bearing the arms of the Duchy of Burgundy.

3)Pavise (Historisches Museum der Stadt Wien) – Published: Wehrhafte Stadt: Das Wiener Buergerliche Zeughaus im 15. und 16. Jahrhundert.

4)Setztartsche (Pavise) with St.George and the Dragon, ca. 1480 - Wien Museum Karlsplatz, Wien, Austria.

5)Austrian Pavise, from Klausen, Tyrol, ca 1480 – Austrian Bindenschild (gules, a fess argent). Small coats of arms: St Georges Order and Sigismond of Tyrol.

6)A Bohemian Gothic Hand-Pavise decorated with Gold and Silver Leaf. A minutely-detailed figural group of St.George and the Dragon, ca 1485-90 – The Property of an Austrian Nobleman (Schloss Guntersdorf, Lower Austria).

7)Setztartsche (Pavese), Böhmen, um 1485-1490 (Wiener Burgerlische Zeughaus - Inv. Nr. 126-141) – Wappen von Olmütz vor Flammen-Hintergrund.

8)The Hand-pavise (targe?) of Matthias Corvinus, King of Hungary (1443-90; King, 1458) – Viennese Master, ca 1485-1490 – Around the combined coat of arms of New Hungary, Bohemia, Dalmatia and Ancient Hungary are grouped the king’s further coats of arms and the inscription “Alma genitrix Maria interpella pro rege Mathia”. From the charge on the Hunyadi shield, which impales the central coat of arms, Matthias adopted the surname Corvinus (“The Raven”). – (Paris, Musée de l'Armée).  
9)Bemalte große Pavese (Setztartsche) aus Holz, Schweinsleder und Leinwand. Süddeutsch, um 1500. Die Pavese ist 122 cm hoch. (Bayerisches Nationalmuseum München W 398).

10)Burgundian with Cross of St Andrew and Firestrikers. Burgunderbeute 1476/77. Buchenholz with painted leather. 1450 - 1475. Zürich Zeughaus. 96 cm x 48,2 cm, depth 1,8 cm. Schweizerisches Landesmuseum Zürich KZ-386 front .

Liebe / Love.1895.
Oil on Canvas.
60 x 44 cm.
Historisches Museum der Stadt Wien, Vienna.

Art by Gustav Klimt. (1862-1918).

“This painting originates as sample for the book published by Gerlach & Schenk in Vienna under the name Allegorie und Emblem / Allegory and Emblem. The book was as defined by Historism a collection of samples concerning the form vocabulary. Love is divided in three compartments. The frame is tranferred on the canvas and decorated with roses, symbolizing love, over a golden backround. In the center a young lady with her head tilt back and closed eyes is in the arms of her lover in expectation of the kiss.”
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