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A merchant’s wife carries on affairs while her husband is away. On the journey home, the merchant buys a woman’s company for the night. His own wife answers the call. When the merchant’s identity is revealed, the wife attacks him in order to distract from her own indiscretions. Townspeople surrounding the merchant’s chamber look on at the sound of the assault.
Mughal India, court of Akbar (reigned 1556–1605)
gum tempera, ink, and gold on paper
Painting only: 14.8 x 10.3 cm (5 13/16 x 4 1/16 in.); Overall: 20 x 13.6 cm (7 7/8 x 5 3/8 in.)
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Both the brothel madam and one of the customers in the courtyard bite the index finger in a gesture of surprise.
Gift of Mrs. A. Dean Perry
This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.
Flanders, Ghent and Bruges, late 15th century
ink, tempera, and gold on vellum
Codex: 22.5 x 15.2 cm (8 7/8 x 6 in.)
Leonard C. Hanna, Jr. Fund
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This miniature "oinochoe," known more particularly as a "chous" ("choes" in the plural), dates to the last decade of the 5th century BCE. As is most often the fashion with small "choes," this example features scenes of children, their accoutrements, and their play. This "chous" depicts two boys. One rides on a goat; the other stands nearby holding out a bunch of grapes to his companion. Both boys are crowned, and the standing boy, who also holds a toy cart on one shoulder, is adorned with protective amulets.
Greek
3 9/16 x 2 3/4 in. (9.1 x 7 cm)
medium: terracotta, wheel made; red-figure with white paint
style: Attic
culture: Greek
Walters Art Museum, 1931, by bequest.
Ancient Egyptians believed the goddess Taweret, whose name translates as "the Great One," offered protection to women during pregnancy and childbirth. She is represented as a hippopotamus with a swollen belly, pendulous human breasts, the limbs of a lion, and the back and tail of a crocodile. Taweret was a benevolent deity and was commonly depicted on amulets. Underscoring her function as a protector, she holds the hieroglyph "sa," meaning protection, in each hand, (the cartouches on her shoulders were added at a later date, and have so far escaped a definitive reading). Although her cult gained great importance, she had no temples of her own.
Egyptian
H: 20 7/8 x W: 8 7/16 x D: 9 3/4 in. (53 x 21.5 x 24.7 cm)
medium: red granite
culture: Egyptian
dynasty: Ptolemaic Dynasty
Walters Art Museum, 1931, by bequest.
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.
This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.
Flanders, Ghent and Bruges, late 15th century
ink, tempera, and gold on vellum
Codex: 22.5 x 15.2 cm (8 7/8 x 6 in.)
Leonard C. Hanna, Jr. Fund
A limestone model bust of a royal male wearing the "nemes" headdress with a "uraeus." The "uraeus" serpent has been broken away. As was typical for the period, the "uraeus" had two coils, one to each side and the tail extended back over the top of the rounded "nemes." Beneath the edge of the band of the "nemes" the natural hairline of the figure may be seen. The eyes are naturally outlined and the brow delicately follows the contour of the eye. The pupils and irises of the eyes are picked out in black paint. The surface of the piece has been scratched and chipped in several places. The face is fleshy and rather flat in profile. The lips are pursed and smiling. The back, sides and base are flat planes and there are grid squares etched into the back and sides. Where the lappets touch the shoulder they are creased in an unnaturally sharp way. The lappets are flat with a curved outer edge and strictly vertical inner edge.
Egyptian
7 3/8 x 6 5/16 x 3 3/4 in. (18.8 x 16.1 x 9.5 cm)
medium: limestone
culture: Egyptian
dynasty: Ptolemaic Dynasty
Walters Art Museum, 1931, by bequest.
This armor was developed for the joust-a sporting combat between two mounted contestants. Although all of the elements of this armor date from the same period, they are not all from the same suit. This armor is thus called "composed." It also shows the asymmetry of jousting armor. The participants rode along a wall-like barrier known as a "tilt" with their left sides facing one another. Consequently, armor on that side of the body had to be thicker. Note the large plate (grandguard) over the left shoulder for extra protection. Also, the breathing holes in the helmet were placed on the right side (farthest from an opponent's lance) to avoid injuries from splinters. The bracket attached to the right breastplate is called the lance-rest, a shock-absorbing support designed to accommodate the lance when "couched" under the right armpit.
South Germany, 16th century
steel, leather straps, brass rivets
Overall: 33.5 cm (13 3/16 in.)
Gift of Mr. and Mrs. John L. Severance