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While the attribution remains hotly debated, this work exemplifies how Italian portraiture of the 1500s could articulate family alliances through marriage. The inscription gives the sitters’ ages as 35 and 28, and their elaborate jewelry, weapons, and garments, made of expensive materials, convey their elite status. The marten skin attached to the woman’s waist-its head decorated with gems-symbolized propriety. These expressions of wealth convey achievements and position rather than accurate personalities, and the figures, though lifelike, stand in awkward relationship to each other, their interaction one of alliance not love.
Northern Italy, late 16th century
oil on canvas
Framed: 132 x 173 x 10.5 cm (51 15/16 x 68 1/8 x 4 1/8 in.); Unframed: 99.8 x 140.5 cm (39 5/16 x 55 5/16 in.)
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The bejeweled martin (weasel) was a coveted fashion accessory in Renaissance Europe.
Holden Collection
Football Super Bowl XI: Oakland Raiders coach John Madden Gene Upshaw after def. Minnesota Vikings. .Credit: Neil Leifer.SetNumber: X21106
Two double rows of inscription run in the warp direction of the textile, the dark lettering oriented at right angles to the warp. In the center is a floral medallion with pendants. The design is woven in golden brown, gray brown, and dark blue-green (all now faded) against a dark golden tan ground. Both selvages are preserved.
Iran, in the style of the Buyid period (945–1055)
Silk: lampas weave
Overall: 69.8 x 55.3 cm (27 1/2 x 21 3/4 in.)
Purchase from the J. H. Wade Fund
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 inscription, which consists of three columns, framed by an oval line; the central column has a royal cartouche. The text contains the name, titles, and epithets of King Thutmose III. The inscription is carved in sunken relief. The layout is arranged to fit in the oval frame, but the two outer columns are not well balanced, and some signs collide with the borderline. The shape of the hieroglyphs is slightly rough, and the nfr-sign has three instead of two horizontal lines. The highest point of the back is partition between pronotum (dorsal plate of the prothorax) and elytron (wing cases). Pronotum and elytron display incised borderlines, single separation lines, and V-shaped marks for the humeral callosities (thickenings at the shoulders). The borderlines of the elytron ends at the rear in half spirals. The proportions of the top are unbalanced, the pronotum and head section are short in comparison to the elytron. The head has long-oval shape, the side plates are irregularly trapezoidal, and clypeus (front plate) shows a central base notch. The carved extremities show natural form, and vertical hatch lines on the upper sides for the tibial teeth and pilosity (hair). The symmetrical base has a long-oval shape; and the drill-holes of the scarab are framed.
The scarab is longitudinally pierced, was originally mounted or threaded, and functions as an amulet. This amulet should ensure for its owner support by the royal authority (cartouche) of the divine king (title: "Perfect God"), and all-inclusive protection (epithet: "who reverses the foreign countries".) The scarab was produced after the death of King Thutmose III, who was most probably understood as a protective god and successful model of divine kingship.
The change of the royal title nb t3.wj "Lord of the Two Lands" to nb t3.w "Lord of the Lands" may be either a writing mistake, or a variant to make the title match to the plural form in the epithet formula "all foreign countries." The esthetical balance of the signs (four horizontal signs at each side of the cartouche) may have played a role also.
Egyptian
H: 3/8 x W: 9/16 x L: 3/4 in. (0.9 x 1.5 x 1.9 cm)
medium: light beige steatite with green-blue glaze
culture: Egyptian
dynasty: 19th Dynasty
Walters Art Museum, 1931, by bequest.
A panel from the "predella," or illustrated base, of an altarpiece dedicated to Saint Francis, this image combines the funeral of the saint (died 1226) with his canonization, or declaration of sainthood, by Pope Gregory IX in 1228. The saint's body lies on a bier surrounded by a mourning crowd. The crowd includes fashionably dressed young men along with the lame and blind, who seek a miraculous cure by touching the saint's dead body. To the right, the seated pope writes the decree of canonization. The careful attention to fashion, vivid colors, and animated expressions are characteristic of the international, courtly trends encountered mostly in Northern Italy.
Painted surface H: 9 3/8 x W: 19 7/16 in. (23.8 x 49.3 cm)
Panel H including strips on both sides 9 15/16 x WL 20 x D: 1 9/16 in. (25.2 x 50.8 x 3.97 cm)
Framed H: 13 3/4 x W: 23 3/4 x D: 2 3/4 in. (34.9 x 60.4 x 6.95 cm)
medium: tempera on wood
style: Gothic
Walters Art Museum, 1931, by bequest.
We all learned that the heart is a pump that sends blood through vessels to nourish the body. That pump needs direction as to when and how fast to work.12.
Argentina, Santamariana
earthenware
Diameter: 25 cm (9 13/16 in.); Overall: 13.4 x 26.9 cm (5 1/4 x 10 9/16 in.)
Gift of Katherine C. White
Cornelius Kierstede
1674–ca. 1757
8 3/16 x 5 1/8 x 5 1/8 in. (20.8 x 13 x 13 cm); 17 oz. 2 dwt. (532.6 g)
medium: Silver
Metropolitan Museum of Art, New York, NY 23.80.21 1923
Gift of Mr. and Mrs. William A. Moore, 1923
christy-florist婚禮場地佈置WEDDING&EVENT-Decorations@裝飾POSTER婚慶Ideas宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場地場合擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|繄蘼鮮花批發花店TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽CHRISTY-FLORIST_VENUS_EVENT_DECORATIONS繄蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374 敬請預約
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A pedagogue was an adult male who supervised the moral and social education of a young boy. In Hellenistic times, boys and girls attended privately funded elementary schools, but formal education beyond this level was exclusively for boys.
6 1/16 x 2 3/4 x 1 3/4 in. (15.4 x 7 x 4.4 cm)
medium: terracotta, traces of paint
Walters Art Museum, 1946, by gift.
Florence MacKubin was born in Florence, Italy, though had Baltimore connections. She exhibited internationally after studying in Paris and Munich, and went on to paint many miniatures of society women in New York, Boston, St. Louis and Washington D.C..This portrait of the Baltimore bishop who was created cardinal by Pope Leo XIII was shown at the Royal Society of Miniature Painters in London in 1907, and at the Paris Salon of 1909. A numbers of works by the artist can be found in the Maryland State Art Collection.
Cardinal Gibbons is seated, facing three-quarters left, with his chin resting on his right hand. The miniature is in a carved ebony frame.
H: 4 x W: 2 15/16 in. (10.1 x 7.4 cm)
medium: watercolor on ivory
Walters Art Museum, 1931, by bequest.
Japan, Shōwa period (1926–89)
Woodblock print; ink and color on paper
Sheet: 27.6 x 41.1 cm (10 7/8 x 16 3/16 in.)
Gift of the Artist
This early cylinder seal is inscribed with hieroglyphic signs that spell the personal names Nefer-Maat-Ked and Nefer-Sobek, as well as some enigmatic titles. Although the original context of this seal is unknown, several examples of sealings and seals that include the name of an official Nefer-Maat-Ked have been excavated in multiple sites across Egypt. Nefer-Maat-Ked seems to have been an official under several kings, including Khasekhemwy (ca. 2649 BCE), the last king of the Second Dynasty, and Third Dynasty king Djoser, the builder of the Step Pyramid at Saqqara (ca. 2667-2648 BCE). This cylinder seal acted as an administrative tool, connecting its owner with the central royal authority.
Egyptian
H: 3/4 × W: 1 1/4 in. (1.9 × 3.2 cm)
medium: granodiorite
culture: Egyptian
dynasty: Twelfth Dynasty
Walters Art Museum, 1931, by bequest.