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On the right, the furious gardener raises his staff to strike the ensnared donkey, who struggles to escape his bonds. The deer had previously tried to warn the donkey that his loud and abrasive singing would be his downfall. However, the stubborn donkey could not resist the temptation to bray.
Mughal India, court of Akbar (reigned 1556–1605)
gum tempera, ink, and gold on paper
Overall: 20.3 x 14 cm (8 x 5 1/2 in.); Painting only: 11.7 x 10.2 cm (4 5/8 x 4 in.)
Did you know...
The male spotted deer with delicate white antlers is known as a chital and is native to India.
Gift of Mrs. A. Dean Perry
This leaf and the bifolium (double-leaf) displayed to the right both come from the same manuscript: a large lectern bible. The decorative scheme consists of a single historiated initial and spiky ivy-leaf tendrils along the margins, a Parisian convention just developing at this time. These "ascenders" and "descenders" originate from two of the initials and meander along the margins as separators and framing devices for the text. This ivy-leaf motif dominated book illumination in Paris through the early 15th century.
The interior of the initial E contains a background of geometric patterns (called diapering) against which is set Jonah and the whale and the ancient city of Nineveh, the capital of the Assyrian Empire. The illusionistic effect creates three layers of perspective-the framing initial, the figures, and the background.
France, Paris
ink, tempera, and gold on vellum
Sheet: 26.7 x 40.3 cm (10 1/2 x 15 7/8 in.)
The Harold T. Clark Educational Extension Fund
H. 2 in. (5.1 cm); W. 1 in. (2.5 cm)
medium: Ivory
Metropolitan Museum of Art, New York, NY 10.211.452 1910
Gift of Mrs. Russell Sage, 1910
Konstantin Yegorovich Makovskii (1839-1915), a popular artist and member of the Peredvizhniki, or Wanderers, is best known for historical genre scenes. Depicted in glossy enamel is The Bride's Attire (or Dressing the Bride) (1889). In a 17th-century interior, some lavishly attired women and a solitary youth have assembled to watch the bride as she is being dressed. A young girl kneels at the bride's feet a young girl and behind, an elder woman combs the subject's hair. To convey a sense of verisimilitude, the artist has included such details as a jewel box and a teremok-shaped casket in walrus ivory and bone of the type associated with the town of Kholmogory in northern Russia. An icon is also discernible on the wall in the background.
An unusual feature of this casket is the Viking-style interlace in turquoise over black enamel on the lid's sloping deck. These patterns bear striking resemblance to those in an illustration of the Aberlemno Cross in Inigo Jones's The Grammar of Ornament (1856), a resource that would most likely have been available in Moscow. Another possible source for the interlace could have been found in late 17th-century Russian manuscripts. The sides and ends of the box have vignettes of brightly colored flowers and buds over a cream ground. These, in turn, are framed by patterns of interlace in blue, olive, violet, and black. By this time, Rückert increasingly employed black enamel in his works.
The lid of the box opens to reveal a turquoise, en plein counter enamel over a ground engraved with flowers and buds.
The box is equipped with handles at both ends and with bracket feet.
H: 2 1/2 x W with handles: 5 7/16 x D: 3 7/8 in. (6.3 x 13.8 x 9.9 cm)
medium: silver gilding, painted filigree and en plein enamel, en plein counter enamel
by bequest to Walters Art Museum, 2010.
The ancient Egyptians believed that the dung beetle, the Scarabaeus sacer, was one of the manifestations of the sun god. Representations of these beetles were used as amulets, and for ritual or administrative purposes.
The scarab displays a ritual scene on its bottom, which shows the standing figure of King Ramesses II in front of the god Thoth. The king wears the so-called "Blue Crown" with Uraeus-serpent and crown sash, as well as a long elaborate, pleated dress. He presents a squatting figure of the goddess Maat with his right hand, while his left hand is raised in an adoration gesture towards the god. Thoth, the god of wisdom, is depicted as a squatting baboon with the hands upon his knees, and moon disk combined with crescent above his head. Above both figures appears an inscription, containing Ramesses' royal throne name without a cartouche. Below both figures is a large mr-sign, which functions as base for both figures. The nb-sign in the lower round is not only a filler character, but also creates a balance to the inscription in the upper round. The layout of the figures and hieroglyphs is balanced, only the moon-ensemble and the sun disk are somewhat deformed and collide with the borderline. The figure of Ramesses II is very slim in comparison to the compact figure of the baboon-shaped god. The moon crescent and disk are not attached to the deity and have the same distance to the head of the god as the sun disk does to the head of the king. The pleated dress of the king and the mane of the baboon have hatch lines, the mantel of the baboon has a crossed-line pattern. The highest point of the scarab's back is the pronotum (dorsal plate of the prothorax). Pronotum and elytron (wing cases) show dark blue glazed borderlines, single separation lines, and V-shaped marks for humeral callosities (shoulder thickenings). Small side-depressions are visible below the pronotum. The semicircular head is flanked by triangular eyes. The side plates are irregularly trapezoidal and have curved outer edges, and the clypeus (frontal plate) is four times serrated. The proportions of the top are well balanced. The raised extremities are slender and have natural form, with vertical hatch lines on the upper sides for the tibial teeth and pilosity (hair). The background between the legs is deeply hollowed out. The base is long-oval, and the drill-hole openings framed.
The scarab is longitudinally pierced, was originally mounted or threaded, and functioned as an amulet. The presentation of the Maat-figure by Ramesses II to Thoth is part of the ritual, in which the king states to follow and strengthen the ethical rules. This version of the motif has a second level of meaning: Thoth appears in his moon-god function, and the king, with the sun disk above his head, as representative of the sun god, father and creator of Maat (principle of justice, truth, and order). They meet to strengthen Maat in this and the other world, and the throne name of the king can be read in two directions, and interpreted as: "Strong is the Maat of Re", but also as "Strong is the Maat of Thoth". Therefore, it is likely that the scarab was made for a funeral context, either for the burial of the king himself, or for a private person, who trusted in the divine, Maat-guaranteeing power of the king.
Egyptian
H: 13/16 x W: 9/16 x D: 3/8 in. (2 x 1.5 x 0.9 cm)
medium: light beige steatite with blue glaze
culture: Egyptian
dynasty: 19th Dynasty
reign: Ramesses II (1279-1269 BC)
Walters Art Museum, 1931, by bequest.
This may be a portrait of Otacilia Severa, wife of Emperor Philip the Arab (reigned 244-249 CE), or of a private citizen influenced by Otacilia's public images. Her tranquil, idealized appearance is typical of mid 3rd-century statuary, and although she is depicted as a mature matron, her forehead and cheeks are smooth, without the deep lines of concern that characterize male portraits of the period.
Roman
6 1/4 x 4 1/4 x 4 5/8 in. (15.9 x 10.8 x 11.8 cm)
medium: marble
culture: Roman
Walters Art Museum, 1931, by bequest.
A nude female figure with falling drapery is depicted on this plaque squared for inlaying. The left edge and lower section are broken. The work is summary but well designed.
H: 3 3/8 in. (8.5 cm)
medium: bone
style: Hellenistic
Walters Art Museum, 1946, by purchase.
Photos from the Defensive Cyber Operations Symposium held June 16-18 at the Baltimore Convention Center.
events.jspargo.com/AFCEAcyberops15/
Full event coverage: url.afcea.org/dcos15coverage
Photographs copyright © 2015 Michael Carpenter, all rights reserved. For high-resolution versions, visit www.michaelcarpenterphotography.com
Outdoor entertaining area with fire pit and chairs, outdoor table and large chairs, stone floor, and plants and floral landscaping.
Originating in the Americas, the practice of “taking snuff,” or inhaling pulverized tobacco through the nose, became a common European custom by the 17th century. Consumers of all social levels and of both sexes would carry small, airtight boxes filled with the powdered tobacco, taking a pinch whenever they needed. Over time, however, society’s elites began to purchase and commission increasingly extravagant and precious boxes. Kings and Queens would often present snuffboxes to ambassadors as diplomatic gifts and to courtiers as payment for services. Made of a variety of precious materials, including gold, enamel, semiprecious stones, lacquer, and tortoiseshell, snuffboxes were coveted and enthusiastically collected. Displaying one’s collection of prized snuffboxes or stylishly retrieving an elegant box from one’s pocket were important social rituals; these objects revealed a person’s tastes, interests, and erudition. Frederick, Prince of Wales (1770-1751), heir apparent to the British throne, presented this chiseled gold snuffbox with a presentation inscription to Dr. Nathaniel Lee (1664-1755). On 4 June 1738, Dr. Lee attended the Prince of Wales's wife, Princess Augusta of Saxe Gotha, during the birth of of the couple's first son, who eventually reigned as King George III.
The snuffbox shows Jupiter grasping a thunderbolt and seated on his eagle amidst clouds. The border shows floral festoons and two crossed braches of laurel. Round the body is a double line of flowers or shells. On the bases is a trellis pattern. The motif of Jupiter is copied from the design of Claude Audran III (1658-1734) peintre du roi, for the center portion of a tapestry from the set of "Les portieres des Dieux, Les quatre Elements (Jupiter for Fire) which were ordered in 1699 and painted before 1702.
The inside of the cover is engraved "The Gift of / Frederick Prince of Wales / To / Nathl. Lee M.D." This is English work, probably made in London, ca. 1738. There are no marks. In his will Dr. Lee left the box to "Mrs. Sarah Beavis of Hatton Garden."
H: 1 1/16 × W: 2 1/4 × L: 3 1/16 in. (2.7 × 5.7 × 7.77 cm)
medium: cast and "ciselé" gold
Walters Art Museum, 1931, by bequest.
This faience amulet represents Hapy, the baboon-headed son of Horus. There are four sons of Horus and this amulet is part of a set of four (Walters 48.1638-1641). The sons of Horus protected he vital organs of the body after mummification. The image is that of a baboon-headed mummiform human. The figure faces proper right. It is composed of blue glazed faience with the details picked out in purple/black manganese. The figure wears a tripartite wig, but unlike the other three in this set he does not wear a broad collar. There are five diagonal stripes of manganese across the mummiform body representing the mummy wrappings or braces. A horizontal fracture at knee level separated the amulet into two fragments which have since been reattached.
Numerous funerary amulets were usually placed among the many layers of linen strips used to wrap mummies. Specific amulets, along with their required position on the body, are listed in funerary texts such as "The Book of the Dead." Amulets were sometimes sewn directly onto the wrappings or could be incorporated into a bead net shroud covering the mummy. These amulets have been modeled with a flat underside and are pierced by tiny holes around the edges for attachment.
Egyptian
H: 3 9/16 x W: 1 x D: 1/4 in. (9 x 2.5 x 0.7 cm)
medium: Egyptian faience with blue and black glaze
culture: Egyptian
dynasty: 23rd-25th Dynasty
Walters Art Museum, 1931, by bequest.
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Cüneyt adlı karakter, yeni tanıştığı ve içerisinde bir takım hisler beslediği yeni kız arkadaşı ile okul tarafından düzenlenen bir mezuniyet partisine katılırlar. O anda da Cüneytin babasının iflas ettiğinden haberi yoktur. Bu durum ile dolaylı yoldan ilişkili olan bir neden ile mecburen ayrılmak zorunda kalırlar ve zengin birer eş bulma yoluna düşerler… Zengin Kısmet izle sitemizde.
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Another one bites the dust. Now there will be three sushi places within mere blocks of each other. Unnecessary?
This carefully carved plump female figure has short limbs, a large head with short curly hair, and large breasts. A deep hole marks the navel. The wide pubic triangle is marked by holes. There is a depression on top of the buttocks. On the head is a large lotus blossom. A ball surrounded by ridges has been inserted into the hollow lotus to form the calyx of the flower.
Egyptian
H: 2 7/16 x W: 9/16 x D: 9/16 in. (6.14 x 1.44 x 1.35 cm)
medium: bone
culture: Egyptian
Walters Art Museum, 1931, by bequest.