● On view now — Gallery 239
Art Institute of Chicago, Chicago · verified July 2026
FROM THE ART INSTITUTE OF CHICAGO’S CATALOG
Intended to protect the neck, by the late 16th century the gorget had also become a symbol of rank, as men wore the pieces in civilian contexts as a fashionable allusion to military prowess or status. This example is painted with red and black translucent glass enamel, a rare and fragile decoration that has all but shattered off the fine interlace pattern.
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Head of a Woman
Altarpiece from Thuison-les-Abbeville: Saint Hugh of Lincoln
Panels from the High Altar of the Charterhouse of Saint-Hono
Portrait of a Young Man
Altarpiece from Thuison-les-Abbeville: Saint Honoré
Altarpiece from Thuison-les-Abbeville: The Ascension
Panels from the High Altar of the Charterhouse of Saint-Hono
The Nymph of Fontainebleau
Italian; Milan — Demi Shaffron of an Infantry Garniture
Italian; Milan — Waistcoat Cuirass
Southern German, Augsburg — Peytral and Lower Neck Defense o
German — Peytral of a Horse Armor
Italian — Breastplate
Northern Italian — Breastplate
North Italian, probably Milan — Breastplate
Italian; Milan — Cuirass from an Armor of Tsar Dmitry I
North Italian, probably Milan — Breastplate
Southern German, Nuremberg(?) — Backplate with Fauld
Southern German — Crupper with Tail Guard
Italian — Breastplate