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Carved in low relief, this plaque was probably made to decorate a small casket. It is based on an engraving by Barthel Beham (1502–40) entitled by the artist RAPTUS / HELENAE (The Abduction of Helen). The subject here, however, is not the abduction of Queen Helen by the Trojan prince Paris (calling for princely attire) but a generic "battle of wild men," itself a popular Renaissance subject. The artist may have given some of the abductors African facial features to make them look more savage to European viewers.
H: 1 1/2 x W: 5 3/16 in. (3.8 x 13.2 cm)
medium: ivory
by bequest to Walters Art Museum, 1931.
Kg the Poet addresses Daylyt and Url west issues battledomination.com/kg-the-poet-addresses-daylyt-and-url...
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This circular element called a roundel that originally decorated a curtain displays a perfectly interlaced knot, a design believed to provide protection from harm. Curtains were often used as modular walls in houses, theaters, and Christian churches during the late Roman and early Christian periods.
Egypt, Byzantine period
plain weave ground with tapestry weave and supplementary weft wrapping; undyed linen and dyed wool
Overall: 45.2 x 47.7 cm (17 13/16 x 18 3/4 in.); Mounted: 64.1 x 64.1 x 2.5 cm (25 1/4 x 25 1/4 x 1 in.)
Did you know...
The purple color was achieved with kermes, a dye derived from the dried bodies of insects of the same name.
Gift of Henry Hunt Clark
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.
The Irish poet Lady Manners rejected as “unflattering” this portrait representing her as the goddess Juno, symbolized here by the peacock. Thomas Lawrence exhibited the painting at the Royal Academy in 1794 with the label “to be disposed of [sold],” but it was still in the artist’s collection when he died. Though it offended Lady Manners, the painting displays all the hallmarks of Lawrence’s flamboyant style:dazzling, fluid brushwork and an innovative use of unconventional colors that helped secure his role as the most fashionable portrait painter in turn-of-the-century Britain.
England, 18th century
oil on canvas
Framed: 280.5 x 185 x 9 cm (110 7/16 x 72 13/16 x 3 9/16 in.); Unframed: 255.3 x 158 cm (100 1/2 x 62 3/16 in.)
Did you know...
Catherine was an Irish poet who wrote of longing to escape the fashionable world.
Bequest of John D. Rockefeller Jr.
The Nomads like Flickr slideshows and want to give them more prominence. This is easy if the pictures in the proposed slideshow are in a Set and are all 'public' - just grab and paste the URL. Giving a slideshow of 'private' pictures is a little more tricky. It will be the subject of another tutorial.
So this tutorial in essence becomes a tutorial about grabbing an URL.
Grabbing an URL is easy. It's so easy I'm going to do it right now: www.flickr.com/photos/tomsgardenshed/sets/721576218617080...
Hey Presto! A Slideshow.
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.
To make this monumental woodcut—considered one of the most ambitious prints of the Renaissance—Titian probably drew directly on the wooden blocks, after which a skilled cutter completed the blocks. The size rivals that of a painting, and the composition would have hung on a wall. Titian’s bold vision presents nature as a vehicle of God’s mercy and wrath. Moses, at right, having parted the seas for the Israelites to pass, commands them to close over the Egyptian forces (Exodus 14:21–31). Titian propelled the narrative with remarkable unity, dedicating entire blocks to the turbulent sea and rolling clouds that culminate in a magnificent cliff and Renaissance city. Some have interpreted the scene as an allegory of Venice’s troubles with the League of Cambrai, a military alliance that threatened the island city.
Italy, Venice, 16th century
woodcut
Unframed: 41 x 54.9 cm (16 1/8 x 21 5/8 in.)
John L. Severance Fund
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.
Wolfgang Grosschedel
German, Landshut, active ca. 1517–62
Wt. of man's armor approx. 55 lb. 11 oz. (25.25 kg); Wt. of horse armor with saddle 65 lb. 7 oz. (29.69 kg); helmet (a): H. 15 1/2 in. (39.4 cm); W. 9 1/2 in. (24.1 cm); D. 13 5/8 in. (34.6 cm); Wt. 7 lb. 9.8 oz. (3454 g); gorget (b): H. 7 1/8 in. (18.1 cm); W. 12 3/4 in. (32.4 cm); D. 10 3/4 in. (27.3 cm); Wt. 3 lb. 4.2 oz. (1479 g); breastplate (c): H. 14 1/16 in. (35.7 cm); W. 14 1/8 in. (35.9 cm); D. 9 3/8 in. (23.8 cm); Wt. 8 lb. 1.4 oz. (3669 g); lance rest (d): H. 2 7/8 in. (7.3 cm); W. 6 1/8 in. (15.6 cm); D. 3 3/8 in. (8.6 cm); Wt. 13.9 oz. (394 g); tasset (e): H. 11 in. (17.9 cm); W. 18 1/2 in. (47 cm); D. 19 1/4 in. (48.9 cm); Wt. 3 lb. 7.6 oz. (1575 g); backplate (f): H. 15 1/4 in. (38.7 cm); W. 14 3/16 in. (36 cm); D. 7 1/8 in. (18.1 cm); Wt. 5 lb. 10.05 oz. (2553 g); right pauldron (g): H. 11 in. (27.9 cm); W. 12 1/2 in. (31.8 cm); D. 12 1/8 in. (30.8 cm); Wt. 3 lb. 4.95 oz. (1500 g); left paudron (h): 12 1/4 in. (31.1 cm); W. 11 3/4 in. (29.8 cm); D. 11 7/8 in. (30.2 cm); Wt. 3 lb. 15.55 oz. (1802 g); right vambrace (arm defense) (i): H. 19 5/16 in. (49.1 cm); W. 7 5/16 in. (18.6 cm); D. 5 in. (12.7 cm); Wt. 2 lb. 10.8 oz. (1213 g); left vambrace (j): H. 18 11/16 in. (47.5 cm); W. 7 5/8 in. (19.4 cm); D. 5 1/16 in. (12.9 cm); Wt. 2 lb. 6.5 oz. (1091 g); right gauntlet (k): H. 11 3/4 in. (29.8 cm); W. 4 3/16 in. (10.6 cm); D. 4 in. (10.2 cm); Wt. 1 lb. 2.3 oz. (518 g); left gauntlet (l): H. 11 7/8 in. (30.2 cm); W. 4 3/16 in. (10.6 cm); D. 4 in. (10.2 cm); Wt. 1 lb. 3.5 oz. (552 g); right upper cuisse (thigh defense) (m): H. 9 1/4 in. (23.5 cm); W. 7 1/8 in. (18.1 cm); D. 7 1/2 in. (19.1 cm); Wt. 1 lb. 4.85 oz. (591 g); left upper cuisse (thigh defense) (n): H. 8 13/16 in. (22.4 cm); W. 7 1/16 in. (17.9 cm); D. 7 5/16 in. (18.6 cm); Wt. 1 lb. 4.85 oz. (591 g); right lower cuisse (thigh defense) and poleyn (knee defense) (o): H. 9 7/8 in. (25.1 cm); W. 6 in. (15.2 cm); D. 6 5/8 in. (16.8 cm); Wt. 1 lb. 6.4 oz. (635 g); left lower cuisse (thigh defense) and poleyn (knee defense) (p): H. 10 1/8 in. (25.7 cm); W. 5 15/16 in. (15.1 cm); D. 6 11/16 in. (17 cm); Wt. 1 lb. 6.85 oz. (647 g); right greave (lower leg defense) and sabaton (foot defense) (q): H. 18 3/4 in. (47.6 cm); W. 5 3/4 in. (14.6 cm); D. 12 1/4 in. (31.1 cm); Wt. 2 lb. 10.7 oz. (1210 g); left greave (lower leg defense) and sabaton (foot defense) (r): H. 18 3/4 in. (47.6 cm); W. 5 7/8 in. (14.9 cm); D. 12 in. (30.5 cm); Wt. 2 lb. 13.9 oz. (1300 g)
medium: Steel; leather, copper alloy, textile
Metropolitan Museum of Art, New York, NY 23.261 1923
Fletcher Fund, 1923
Presentación realizada en la Universidad Rafael Landívar a alumnos y alumnas de la carrera de Relaciones Internacionales sobre la ONU en el mundo, el Marco de Asistencia para el Desarrollo en Guatemala, los Objetivos de Desarrollo del Milenio y la presentación de los nuevos Objetivos de Desarrollo Sostenible.