From the beginning, strong cries for freedom and independence rose from the cobbled streets of Philadelphia, so carefully organized by William Penn into an orderly gridwork of streets and parks. From here came the birth of a nation, and evidence of it can be found on nearly every corner. But the New World gives way to the Old World in the Philadelphia Museum of Art, where a massive display of medieval art and armor are contained, like jewels hidden in a stony cache. Two men can be thanked for this impressive collection. Carl Otto van Keinbusch bequested his collection of arms and armor to the museum in 1977. One of the finest collections of such work in the world, the armory was established as a permanent site and Keinbusch's generous donation has influenced many more arms and armor enthusiasts. The collection forms an impressive bridge between the collection of European art before 1500 on one side of the Great Stair Hall and art of Europe after 1500 on the other. George Grey Barnard - Pennsylvania born sculptor and museum advisor on installations - was a pioneer in the collecting of medieval stonework and architecture. In 1925, Barnard's first collection was purchased by the Metropolitan Museum of Art in New York. His enormous collection of medieval art was purchased in 1945 by the Philadelphia Museum of Art. Many entries into the display areas reflect stonework and architecture similar to those made in the Renaissance and medieval times. A massive stone portal, circa 1100 AD, that served as the main entrance to the Augustinian abbey of Saint-Laurent in France, faces a group of Romanesque capitals, some of which came from the interior of the church of Saint-Laurent. A medieval cloister, a walkway surrounding an open courtyard, was an area where many activities of residing monks would take place, such as reading from holy books, praying or meditating. A fountain usually stood in the center and was used for many purposes as washing and shaving. The design for the museum cloister was based on Saint-Genis-des-Fontaines in France, built around 1270 AD. In the center stands a fountain that originated from Saint-Michel-de-Cuxa, the largest monastery in the eastern Pyrenees Mountains, and can be dated to around 1125 to 1150 AD. The basin of the Romanesque fountain is embellished with a line of arches that reflect the cloister. The Museum houses several well preserved tapestries from areas of Europe. Rug weaving was brought to Spain by the North Africans. By the 12th century it had become an important trade. The Museum boasts a heraldic wool carpet that can be dated around 1430. It is of a popular and notable Spanish style - long and narrow, with coats of arms woven into the design. It is an "admiral" carpet, bearing the arms of Don Fadrique Enriquez de Mendoza (1390-1473), Admiral of Castille. The carpet's borders depict men fighting bears, wide-skirted women, and an Arabic script in the Kufic style. A late 15th century armorial shield has been identified as the coat of arms of Antoine de Bois, abbot of Saint-Lucien in Beauvais from 1492 to 1537. The sober-faced angels show the origins of France, while their delicate robes show an intimacy with Italian style. Thanks to Mr. Van Keinbusch, the museum's collection of medieval arms and armor is extensive, and time should be taken to view it. Several pieces are worth mentioning. Although incomplete, a piece of calvary armor covering the torso is a fine example of Italian armor. Made in the early 1500's, it was modeled after German armor worn by campaigners in the same time period. Friezes of the Virgin Mother and Child are found at the top of the breastplate, along with depictions of saints and a biblical quotation in Latin, "A bone of him shall not be broken"(John 19:36). A complete set of armor dating in the German Renaissance style does not bear a maker's mark or date, but its style and construction are in keeping with armor produced in Augsburg in 1500. Austria's ruling house of Hapsburg had ties with Burgundy and Milan and their styles often merged. Smooth lines in this armor show an Italian influence, instead of the harsh lines and pierced ornamentation of German Gothic style. Another outstanding piece in the von Keinbusch collection is the 15th century burgonet, a headpiece that completed light calvary armor. The open-faced design was copied from a design used by the Ottoman Turks. The museum piece is believed to have been crafted by Augsburg armorer Anton Peffenhauser. Etched and gilded, the bugonet is covered by graceful foliage and emblems. A gorget is the plate armor worn under the breastplate and backplate to support their weight. They were often worn alone or over a buff coat. A gorget on display in the von Keinbusch collection was made for the Prince Elector of Saxony, Johann Georg I. The gorget, crafted of copper and silver, shows the planets (those known at that time) depicted by their mythological counterparts. The minds of adults and children entranced by the world of knights on horseback - and those who continue the tradition through reenactments - will breathe deeply when they visit the Philadelphia Museum of Art. The air is filled with ghostly knights of liberty. You can almost hear them as they echo their tinny war cries and their horses snort heat and steam through calvary headpieces.

If You Go: The Philadelphia Museum of Art is located on Benjamin Franklin Parkway at 26th Street. Tickets are $8 for adults, $5 for children under 18, students with ID, and senior citizens. But if you can plan to visit on Sunday, admission is FREE if you enter before 1:00! Hours are Tuesdays through Sundays, 10:00 AM to 5:00 PM, Wednesdays until 8:45 PM. Closed Mondays. The PHLASH bus travels the historic and downtown area with buses every 15 minutes. You can ride all day for $4. For more information, visit the website at www.philamuseum.org.