View allAll Photos Tagged URL
Each of the four gospels in this book opens on a page with brilliantly illuminated borders depicting the author of the text as well as birds-principally peacocks, symbols of the immortality of the soul-and fountains, representing the fountain of life and the salvation of the soul. This volume consists of 428 leaves with texts in Greek. Its level of sophistication suggests that it was probably written and decorated in a monastery in Constantinople.
Byzantium, Constantinople
ink, tempera, and gold on vellum; leather binding
Sheet: 28 x 23 cm (11 x 9 1/16 in.)
Did you know...
Gospel Books were carried in procession through Byzantine churches.
Purchase from the J. H. Wade Fund
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
This work, perhaps the right wing of a diptych (two-panel painting), is one of only two known 14th-century paintings to combine painted panels with plaques of verre églomisé (gilded reverse painted glass). The Crucifixion at center and the Virgin at the top are verre églomisé by an unknown artist, while the images of numerous saints around them are panel paintings by Tommaso da Modena. The Crucifixion and the Virgin were scratched into gold leaf applied to the back of glass. The areas where the gold leaf had been removed were painted to clarify the scenes. This object doubles as a reliquary; the labels in red around the Crucifixion identify the relics enshrined within. These are the wood of the True Cross and a stone from the Holy Sepulcher (top), the bones of the 11,000 Virgins and one of the Magi (right), the bones of St. James the Apostle (bottom), the Apostle Andrew, the Evangelist Luke, and St. Peter and St. Paul (left).
Medieval European
H: 17 15/16 x W: 8 1/4 x D: 7/8 in. (45.56 x 20.96 x 2.22 cm)
medium: tempera and gold leaf on panel with marble, ceramic, and verre églomisé insets on a gilded wood frame
style: Gothic
culture: Medieval European
Walters Art Museum, 1931, by bequest.
Saint Catherine was among the most popular virgin martyrs during this period and was particularly venerated in Dürer’s hometown of Nuremberg for her intermediary role between the faithful and God. A princess from Alexandria, Catherine was condemned to die on spiked wheels by the Roman emperor Maxentius because of her Christian faith. In answer to her prayers, God destroyed the wheels with such force that 4,000 pagans were killed. Afterward, Catherine was willingly decapitated. Dürer’s focus on Catherine’s peaceful acceptance in the midst of destruction conveys the power she derived from her chastity and unwavering faith, providing an excellent example for ordinary women to follow.
Germany, late 15th-early 16th Century
woodcut
Gift of The Print Club of Cleveland
The painting depicts an old tiger, crouching under a tree by a stream looking plaintively at a wolf, with whom he has just shared his troubles with the mice. The wolf suggested that the cat be called to eliminate the mice. The cat has dutifully arrived and requests that he be given the position of Magistrate of the Court, to which the lion agreed. The cat instilled fear in the mice; they dispersed, and the lion was content. Wisely, however, the cat treated the mice with consideration and did not exterminate them completely, so that he would not eliminate the cause of his usefulness. Although the rocky landscape is heavily shaded in a technique that gives them a soft quality, and the leaves of the tree are each outlined in gold, the lack of any actual shadows from an identifiable light source provides a timeless appearance to the scene.
Mughal India, court of Akbar (reigned 1556–1605)
gum tempera, ink, and gold on paper
Overall: 20.3 x 14 cm (8 x 5 1/2 in.); Painting only: 6 x 10.3 cm (2 3/8 x 4 1/16 in.)
Did you know...
The same word is used in Persian for both “lion” and “tiger.”
Gift of Mrs. A. Dean Perry
CAPTION: URL: ift.tt/1Uf0JKs SOURCE: ift.tt/1OmzA0J FROM: HM Harris Auto-action created by ifttt.com
you can now short and share your URL’s using qsr.li URL shortner , Spread your link on facebook.com,LinkedIn.com,Twitter.com and any web site you wish
يتيح لك قصرلي تقصير الروابط الى روابط اقصر منها لتكون منا سبة للنشر على المواقع الاجتماعلة
The electrical signal produced by the sinus node makes your heart’s top chambers or atria contract and push blood through to the lower chambers or ventricles.
Sulpicia was chosen in the 3rd century BCE from among a hundred women in Rome as the most worthy to dedicate a statue to the goddess Venus Verticordia, protector of women. Before an imaginary view of the city of Rome, Sulpicia holds a model of the temple of the goddess.
The painting is one of eight surviving related panels depicting Roman men and women who exemplified virtuous behavior. The series was probably made to celebrate the marriage in 1493 of Silvio di Bartolomeo Piccolomini (a relative of Pope Pius II) and was intended to provide moral examples for the newly married couple.
The artist's fascination with antiquity is visible not only in the subject matter but also in the classicizing linear gracefulness of the human form and the ornament of the base.
Painted surface H including strips added on all sides: 42 1/2 x W: 18 11/16 in. (108 x 47.5 cm)
Panel H: 42 x W: 18 1/4 x D: 13/16 in. (106.7 x 46.3 x 2.1 cm)
medium: tempera and oil on panel
Walters Art Museum, 1931, by bequest.
Add URL Malaysia allows you to submit your website for off site SEO submission, add url, submit url, addurl, free url submission, url submission, add link, free website submission, submit site, submit link, add your link.