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art.thewalters.org/detail/2280

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Female Figure, Possibly with Dwarfism mid 4th millennium BCE (Predynastic) by museado

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.

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Armor | ca. 1500–1510 and later; helmet, ca. 1480 by museado

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Wt. 59 lb. 4 oz. (26.88 kg); Wt. of helmet 8 lb. 3 oz. (3718.6 g)

medium: Steel, leather

Metropolitan Museum of Art, New York, NY 14.25.718a–p 1914

Gift of William H. Riggs, 1913

www.metmuseum.org/art/collection/search/22277

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art.thewalters.org/detail/3326

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Madonna and Child Between St. Francis and St. Jerome 1520 (Renaissance) by museado

Probably intended for private devotion in a domestic interior, this painting depicts a popular Renaissance theme known as a “sacra conversazione,” or sacred conversation, meaning the holy figures are placed in a unified space allowing them to interact with one another. The Madonna and Child are seated between Saint Francis of Assisi (1181-1226) at the left and Saint Jerome (ca. 347-420) at the right. Francis draws the viewer into the “conversation” by making eye contact and gesturing toward his “stigmata" (the wounds of Christ), which he miraculously received on his hands, feet, and abdomen during a vision in 1224. Jerome, famous during the Renaissance as a model example of piety and learning, is shown in his traditional guise as an old, bearded man in a red robe. He also carries a book, probably the Bible, which he famously translated into Latin. The Christ Child holds a goldfinch, foreshadowing the Crucifixion (popular legend claims the bird was present at the Crucifixion and became stained with Christ’s blood, hence the red spot in the bird’s beak).

The painting’s format, with the figures at half-length in a horizontal picture field, was most common in Venice and its surroundings in the early to mid-16th century. A fragmentary inscription on the parapet in front of the figures bears the date 1520 as well as the letters “[S]ANTA CRUCE.” The inscription may be the remains of a signature by a member of the Santacroce family of artists, active around Venice for much of the 1500s. It is difficult to assign the painting to a specific member of the family since the style of the figures and the unusual motif of Francis pulling a square piece of cloth from his robe to reveal his side wound are inspired by the work of Filippo Mazzola (ca. 1460-1505), active mainly in Parma but well-known in Venice.

For works by two members of the Santacroce family at the Walters, see 37.261, 37.569, and 37.577. For a painting by Filippo Mazzola at the Walters, see 37.1056.

Painted surface H: 20 7/8 x W: 27 15/16 x D: 3/4 in. (53 x 71 x 1.9 cm)

medium: oil on wood panel

Walters Art Museum, 1931, by bequest.

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art.thewalters.org/detail/2645

Painting URL by PENCIL PORTRAIT

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Saint Damian 1484-1492 (Late Medieval) by museado

Medieval medicine offered few cures. Christians focused their hopes for recovery from illness or accident on their prayers to saints to intercede for them with God. Saints Cosmas and Damian, Protasius and Gervasius, were two pairs of twin brothers who were invoked for their healing of the sick. The statues are from the hospital complex at Abbeville, built between 1484 and 1492, where they may have stood in niches at the entrance to the church.

The vigorous modeling and realistic details- as in the variety in their facial expressions- are made more vivid by the use of color and give credibility to the saints' humanity. Their size, relative to the sick at their feet, conveys their superhuman powers, while the clerical garments lend them authority. The stocky proportions are typical of French sculpture of the late 15th century.

Damian, seen here with an ointment jar and a spatula, prepares to cure a lame man supported by a crutch.

French

H: 27 9/16 x W: 12 1/2 x D: 7 13/16 in. (70 x 31.8 x 19.8 cm)

medium: limestone with traces of paint and gilding

style: Gothic

culture: French

Walters Art Museum, 1931, by bequest.

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art.thewalters.org/detail/3439

IMG_7872 by Frederick County Public Libraries

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Diadem 4th-5th century (Late Antique) by museado

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Byzantine craftsmen revived the Hellenistic tradition of incorporating multicolored gemstones in jewelry, which was not common during the Roman imperial period. The ten sections of this openwork diadem were each adorned with a central gem and pearls, now missing. The diadem was sewn onto a headband of leather or cloth with holes so wearers could adjust the size. Similar pieces were also worn as neckbands. This example would most likely have been worn by members of the imperial family as its amethysts evoke the imperial color purple.

Byzantine

H: 12 1/4 x W: 1 1/8 x D: 3/8 in. (31.1 x 2.86 x 0.9 cm)

medium: gold, amethyst, emeralds

culture: Byzantine

Walters Art Museum, 1931, by bequest.

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