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[url=http://www.airforceshooting.org/hays.html]Col Hays[/url] receiving the [url=http://www.odcmp.com/NM/Trophies/PT_Gen_Curtis_LeMay.htm]General LeMay award[/url]
Together with 59.1 and 59.2, this piece was discovered in Egypt as part of a hoard that comprised about twenty similar medallions (now dispersed among various museums), eighteen gold ingots, and six hundred gold coins issued by Roman emperors from Severus Alexander (r. 222-235 CE) to Constantius I (r. 293-306 CE). One of the medallions, now in the Calouste Gulbenkian Museum in Lisbon, bears an inscription that possibly reads "Olympic games of the year 274", a date corresponding to 242-243 CE. It is possible that the medallions were intended as prizes to be given out at that event. Alternatively, they may have been issued by Emperor Caracalla (ruled 198-217 CE), who is potrayed on the this medallion in profile, bearing a shield on his shoulder decorated with the image of Nike in a racing-chariot. The back depicts Caracalla's distant predecessor King Alexander of Macedon (r. 336-323 BCE) in short chiton and chlamys (a cloak) hunting a boar. This depiction of a royal hunt was intended to emphasize the prowess that Alexander also showed in battle.
Roman
3/16 x 2 1/4 in. (0.6 x 5.7 cm) (d. x diam.)
medium: gold
style: Hellenistic
culture: Roman
dynasty: Severan Dynasty
Walters Art Museum, 1931, by bequest.
James McNeill Whistler
American, Lowell, Massachusetts 1834–1903 London
5 7/8 x 7 1/4 in. (14.9 x 18.4 cm)
medium: Black and brown ink on off-white wove paper
Metropolitan Museum of Art, New York, NY 1970.121.27 1970
Gift of Margaret C. Buell, Helen L. King, and Sybil A. Walk, 1970
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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.
H. 2 in. (5.1 cm); W. 9 in. (22.9 cm); D. 9 7/8 in. (25.1 cm)
medium: Gold and silver maki-e on gold-sprinkled lacquer
Metropolitan Museum of Art, New York, NY 14.40.841a–e 1914
Bequest of Benjamin Altman, 1913
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.