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France, 18th century
wood and plaster, in part painted and gilded, window and mirror glass, marble table tops
Overall: 408.7 x 436.6 x 283.2 cm (160 7/8 x 171 7/8 x 111 1/2 in.)
John L. Severance Fund
The Virgin kneels on a crescent moon with her hands in an attitude of prayer. Her head is uncovered, and her hair falls down her back and in tresses over her shoulders. In rendering the folds of the garments, little concession has been made to anatomy.
This piece, like 71.342, was apparently carved in the Portuguese colony of Goa, on the west coast of the Indian subcontinent by a native artist.
Devotional statuettes carved in ivory celebrating the immaculate purity of the Virgin were popular in the 1600s in Europe and this taste spread to the colonies established by Catholic countries in Asia and the Americas. The three most important locations for production of these ivories were the portuguese colonies on the Indian subcontinent (Goa, where the present piece as well as Walters 71.407 were made), the island of Sri Lanka (see Walters 71.341) and the Spanish colony of the Philippines (see for example Walters 71.322).
A square paper label with blue borders on the under surface of the statuette is inscribed in ink: "123."
H: 5 3/16 in. (13.2 cm)
medium: ivory, traces of gilding
Walters Art Museum, 1931, by bequest.
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
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Barye contrasts the powerful, broadly rendered muscular build of the jaguar with the more detailed, limp body of the terror-stricken hare. The cat's ears are pressed against its head and its features are convulsed in fury as it prepares to devour the entrails of its prey.
At the Paris Salon of 1850, "Jaguar Devouring a Hare" was exhibited together with "Lapith Combating a Centaur" -one work representing the artist's most romantic side and the other, his most classical. Both sculptures were acclaimed masterpieces. The critic Théophile Gautier observed of this sculpture:
"The mere reproduction of nature does not constitute art; [Barye] aggrandizes his animal subjects, simplifying them, idealizing and stylizing them in a manner that is bold, energetic, and rugged, that makes him the Michael Angelo of the menagerie."
H: 16 1/4 x W: 38 x D: 17 in. (41.3 x 96.5 x 43.2 cm)
medium: bronze with green and some black patina
Walters Art Museum, 1931, by bequest.
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Christ and the eleven apostles -Judas having departed- are seated along one side and at the ends of a wooden table covered with a cloth. In the foreground there are a wine-pot and a salver on edge. Behind the group the wall is pierced with a bull's-eye window and there are square windows on the side walls.
This Last Supper should more properly be called the Giving of the New Commandment, as it copies a woodcut executed by Albrecht Dürer in 1523 (B. VII, 53) under the influence of two publications of Martin Luther. These are "The Sermon of the New Testament, that is on Holy Mass," (1520) and the "Formula of the Mass," (1523). The moment referred to is when, after Judas had left, Christ gave to the eleven apostles the new commandment: "...that you love one another as I loved you," (John 15:12). Dürer's woodcut is the first known work of art alluding to a Lutheran Holy Communion service. Dürer included a representation of the chalice on the table to emphasize the communion of the congregation with wine; the enameller has avoided this detail.
H: 3 1/8 × W: 2 3/16 in. (8 × 5.5 cm)
medium: painted enamel on copper
Walters Art Museum, 1931, by bequest.
Many Teotihuacán masks were once tied to something via holes on the back--perhaps a body-shaped form dressed in garments, ornaments, and a headdress that identified the figure. The stone masks’ eyes and mouths once held inlays representing irises, pupils, and teeth.
Central Mexico, Teotihuacán, Classic period
ceramic, slip
Overall: 11 x 18.1 x 5.7 cm (4 5/16 x 7 1/8 x 2 1/4 in.)
Gift of Edward B. Greene
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This Russian lace panel was likely used to embellish the end of a bathing towel. Textiles of this type are valuable for their fine lace making including 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, Kostroma province, 18th-19th century
cotton or linen (est.); straight (continuous) bobbin lace (Vologda tape lace). The tape forms figural or plant motifs outlined with colored gimp (heavy cord) with a polychrome plaited ground linking the tape; applied silk (est.) ribbon
Overall: 33 x 38.1 cm (13 x 15 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 made this lace.
Purchase from the J. H. Wade Fund