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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.
This scarab has a bottom design that displays King Amenhotep seated on his throne. He is dressed in a long pleated kilt, wears the so-called "Blue crown" with Uraeus-serpent and crown sash. The king holds with his left hand the crook in front of his chest, and with his right an ankh-sign (meaning "life"). The block throne has a small back. In front of him is a column with a left reading inscription, containing his throne name and title, and behind him the hieroglyphs for "protection" and "life." The layout is well organized, but it is notable that the royal figure does not fill the whole space, and that the Uraeus on the forehead of the king is unusually large. The highest point of the scarab's back is the pronotum (dorsal plate of the prothorax). Pronotum and elytron (wing cases) have deeply incised, fine borderlines, single separation lines, V-shaped marks for the humeral callosities (shoulder thickenings), and small side-depressions. The partition lines between pronotum and elytron meet V-shaped. The rectangular head is flanked by triangular eyes. The trapezoidal side plates have curved outer edges and borderlines, and the clypeus (front plate) has four frontal serrations and two central base notches. The raised, slender extremities have natural form; the background between the legs is deeply hollowed out. The low oval base is symmetrical.
The scarab is longitudinally pierced, was originally mounted or threaded, and functioned as an amulet. It secures the existence ("life"), protection, divinity (title: "Perfect god"), and royal authority (cartouche, seated king with scepter) for the king, and provides a private owner with his patronage and protection.
Egyptian
H: 3/4 x W: 1 5/16 x L: 1 7/8 in. (1.9 x 3.3 x 4.7 cm)
medium: steatite with green glaze and residue of white underglaze
culture: Egyptian
dynasty: 18th Dynasty
reign: Thutmosis IV-Amenophis III (1397-1350 BC)
Walters Art Museum, 1931, by bequest.
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Saint Elizabeth was born in 1207, the daughter of Andreas II, King of Hungary; her crown alludes to her royal birth. Many legends about her generosity and work on behalf of the poor were circulated in the Middle Ages, among them the subject of this sculpture: food she was carrying to the poor was miraculously changed to roses to avoid discovery by her husband. Much of the original paint and gilding is preserved on this sculpture except the face, which had been stripped and repainted in heavy oils prior to its acquisition by the museum. This modern paint has been removed.
Germany, Bavaria, 16th century
lindenwood with polychromy and gilding
Overall: 131.8 x 53.3 x 28.3 cm (51 7/8 x 21 x 11 1/8 in.)
Gift of Mrs. Carol L. Brewster
France, 19th century
oil on wood panel
Unframed: 46.5 x 69.8 cm (18 5/16 x 27 1/2 in.)
Bequest of Edgar A. Hahn
Mummification preserved mortal remains in order to house the Ka, or life force of the individual, as it needed to return to the body to find sustenance. The human-shaped covering, called "cartonnage," is composed of layers of linen and plaster. Its painted decoration includes the floral wreath on the wig, a broad collar, and a winged scarab beetle. Five additional registers of decoration show the protective four sons of Horus, the sacred boat of the funerary-deity Sokar, a depiction of Osiris mummified on a funerary bed, a divine falcon god, and a short hieroglyphic text with an offering formula.
See the additional media for a facial reconstruction of the deceased person, courtesy of Michael Brassell, as well as a color reconstruction of the cartonnage.
Egyptian
H: 65 3/4 x W: 18 1/8 x D: 10 13/16 in. (167 x 46 x 27.5 cm)
medium: mummified human remains in cartonnage, with paint
culture: Egyptian
dynasty: 2nd half 22nd-23rd Dynasty
Walters Art Museum, 1941, by exchange.
William Michael Harnett
1848–1892
5 1/2 x 7 1/2 in. (14 x 19.1 cm)
medium: Oil on wood
Metropolitan Museum of Art, New York, NY 1973.166.1 1973
Gift of William L. and Charlotte B. McKim, 1973
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Ganesha, the god of wealth and abundance, is an auspicious and revered Hindu deity. He removes obstacles and protects his worshipers. Numerous myths explain how Ganesha became an elephant-man composite, but the most popular version relates the story of how he was decapitated by his enraged father, Shiva, and restored to life through the intervention of his mother, Parvati. Shiva agreed to revive him with the head of the first creature encountered: an elephant. Ganesha's strength—his profound spiritual wisdom—contrasts with his weakness for sweets, as indicated by his pudginess and the sweet <em>modaka</em> he carries. In Ganesha, opposing forces exist in perfect harmony.
South India, Medieval period, Chola dynasty(10th-13th century)
bronze
Overall: 50.8 x 25.4 x 17.8 cm (20 x 10 x 7 in.); Base: 23 x 18.3 cm (9 1/16 x 7 3/16 in.)
Did you know...
Ganesha pulls his own broken tusk in one hand, which he used as a pen to write the epic <em>Mahabharata</em>.
Gift of Katharine Holden Thayer
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France
watercolor, ink, silver and gold over occasional traces of pencil, on vellum
Sheet: 31.1 x 20.2 cm (12 1/4 x 7 15/16 in.)
Gift of the American Foundation for the Maud E. and Warren H. Corning Botanical Collection
This Russian lace panel was likely used to embellish the end of a bathing towel. Textiles of this type are valuable for their fine embroidery or lacemaking that included ancient folk motifs, ritual significance, exemplification of the role of textiles in their society, and in this case, connection to a prominent woman collector, Natalia de Shabelsky, without whom this textile and others like it might have been lost.
Russia, Nizhny-Novgorod province, 18th-19th century
cotton or linen (est.) straight (continuous) bobbin lace (Vologda tape lace). The tape forms figural or plant motifs outlined with gimp (heavy cord) with a monochrome plaited ground (metal thread or linen (est.) linking the tape; applied silk (est.) and metal thread ribbon
Overall: 35.5 x 46 cm (14 x 18 1/8 in.)
Did you know...
Embellishing the ends of everyday towels was a common folk tradition in many cultures because it displayed the skill of the mother or daughter who stitched them.
Purchase from the J. H. Wade Fund
The horizontal format of this sacred text is derived from the earlier use of palm leaves instead of paper. This page is from the foundational work of scripture for worshippers of the great goddess Devi.<br><br>In her warrior aspect, or incarnation, Devi is multiarmed, rides a lion, and conquers demons more powerful than all the male gods. The demon holding a mountain above his head as a missile is dressed in the Central Asian belted tunic and pants of the Mughals, who ruled most of India at the time this painting was made. Devi wears the Mughal women’s style of tall flat-topped feathered headdress, and she holds a bottle and cup of liquor. Aside from these Mughal elements, the style remains staunchly indigenous, with unmodeled figures in strict profile against a flat red ground.
India, Rajasthan, Possibly Sirohi, 17th century
Gum tempera, ink, and gold on paper
Image: 12.5 x 10.2 cm (4 15/16 x 4 in.); Overall: 12.5 x 27.5 cm (4 15/16 x 10 13/16 in.)
Gift of George P. Bickford
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This statuette of a male figure has his arms by his sides and his left foot forward in the manner of a Greek Kouros, a type of statue that depicts a nude youth. This statuette is considered the earliest of the surviving bronzes from a large deposit of votive objects (including over 600 bronzes) found in 1838 on Mount Falterona at a site known as the Lake of Idols.
Etruscan
H: 4 11/16 x W: 1 7/16 x D: 1 3/16 in. (12 x 3.7 x 3 cm)
Mount H: 7/8 x W: 1 15/16 x D: 1 7/8 in. (2.2 x 4.9 x 4.8 cm)
medium: bronze
culture: Etruscan
Walters Art Museum, 1931, by bequest.
France, 19th century
etching with drypoint
Sheet: 54.7 x 35.8 cm (21 9/16 x 14 1/8 in.); Platemark: 51 x 33.8 cm (20 1/16 x 13 5/16 in.)
Thirty-fifth anniversary gift of Mr. and Mrs. Edward B. Greene
These dancers may be sacred images of the Zoroastrian religion of the Sasanians or they may be bacchantes, followers of a cult of the Roman wine god, Bacchus, who was popular in the Near East.
Iran, Sasanian Empire (224–651 CE)
silver, cast, raised, repoussé, chased, and gilted
Overall: 18.5 x 11.5 cm (7 5/16 x 4 1/2 in.)
Gift of Katharine Holden Thayer
This piece has designs of birds and foliage in niello on the sides of the hexagonal cup. Inside is gilt, with the figure of a shrimp "en plein" air. When the drinker is finished, a shrimp stares at him from inside the cup. The finial of the cover is designed as a nude child.
Russian
H:10 9/16 in. (26.9 cm)
medium: silver, parcel gilt, niello
style: Baroque
culture: Russian
dynasty: House of Romanov
Walters Art Museum, 1931, by bequest.