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Alfred Jacob Miller was a prolific sketcher. He filled many journals with drawings and captions from the time he was studying in Paris and Rome (1833) until the 1870's. The varied interests of Miller are clearly reflected in these sketches: rural sites, studies after Old Master paintings, illustrations of literature, and comical scenes and characters.
This sketch comes from the family album of L. Vernon Miller, which contains works that have passed down through the Miller family directly from the artist.
H: 1 15/16 x W: 3 1/8 in. (5 x 7.9 cm)
medium: pencil, ink, and wash on white lined paper
given to Walters Art Museum, 1994.
[1] passed directly from the artist down through his family.
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Within a spacious and unadorned hall, a Franciscan monk preaches to a group of ecclesiastics and laymen. In accordance with Renaissance social hierarchies, women are seated on the ground while men are seated on benches or standing. The monk looming over the crowd from a simple wooden pulpit gestures upward toward God, the source of his authority, and rests his other hand on a piece of paper marked with a red seal. The paper is likely a papal bull, or decree, investing the monk’s arguments with the authority of the church.
The monk’s attention seems to be directed specifically to the three clergymen (two bishops and a cardinal) seated on the bench in the foreground. The bishop in green is directly engaged with the monk and the two seem to be debating. Exactly what is being discussed is not clear, though it has been suggested that it is the institution of the Monte di Pietà, a charitable organization akin to a pawnshop that was founded by the Franciscans in the late 1400s. One prominent Franciscan, Bernardino da Feltre, is recorded as having preached in favor of the Monte’s foundation in 1491 in the town of Faenza. This painting, executed in or near Faenza around 1520, could depict this very debate. However, the monk’s features don’t resemble those of Bernardino’s as represented in the surviving portraits of him.
As indicated by its small size and horizontal orientation, the picture was originally part of a predella, the lowest register of an altarpiece. Predellas were often illustrated with scenes from the lives of the figures represented in the altarpiece’s central compartments. This painting, together with its companion panel depicting the “Saint Anthony of Padua Taking the Habit of the Franciscan Order” (Walters 37.547), must have come from a now-unidentified altarpiece in a Franciscan church.
Painted surface H: 15 1/16 x W: 23 1/16 x D excluding cradle: 5/16 in. (38.2 x 58.5 x 0.8 cm)
H framed: 20 x W: 27 3/4 x D: 2 in. (50.8 x 70.49 x 5.08 cm)
medium: oil on wood panel
Walters Art Museum, 1931, by bequest.
Anthony from the Royal Foundation for the Blind tested Council websites with adaptive technologies such as screen readers.
christy-florist婚禮場地佈置WEDDING&EVENT-Decorations@裝飾POSTER婚慶Ideas宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場地場合擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|繄蘼鮮花批發花店TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽CHRISTY-FLORIST_VENUS_EVENT_DECORATIONS繄蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374 敬請預約
地址香港九龍尖沙咀漆咸道南45至51號其士大廈尖東堡商場地庫B65舖 masterwin@ymail.com
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www.flickr.com/photos/wedding-decoration
eventdecoration.pixnet.net/blog/
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This small triptych icon is fitted within a silver frame and was meant to be worn on the chest as a pendant. The outside of the frame is engraved with floral ornament and has a small relief Crucifix in the middle. In the top register on the inside, the four evangelists surround an image of the Holy Trinity. On their two sides is the Annunciation. The scenes that follow are, from left to right, the Nativity, Presentation of Christ in the Temple, Baptism, Transfiguration, Raising of Lazarus, Entry into Jerusalem, Crucifixion, Resurrection, Ascension, Pentecost, Dormition of the Virgin, and Birth of the Virgin. These are framed by an image of the Tree of Jesse: Jesse, the father of King David, is shown reclining at it the bottom; from him spring branches that contain medallions with images of the Old Testament ancestors of Christ.
Orthodox Eastern
H: 5 1/2 x W: 5 1/8 x D: 13/16 in. (14 x 13 x 2 cm)
medium: boxwood, silver
style: Post-Byzantine
culture: Orthodox Eastern
dynasty: Ottoman Dynasty
Walters Art Museum, 1931, by bequest.
This was one of the main reasons I decided to start this project. I saw a handful of cars with their company info plastered all over their cars without the website address.
Italy or France, 18th century
gold band, silver and enamel setting with diamond, ruby, emerald and garnet stones
Diameter: 1.8 cm (11/16 in.)
Gift of J. H. Wade
Japanese
H: 2 13/16 x W: 1 15/16 x D: 1 1/4 in. (7.2 x 5 x 3.1 cm)
medium: sperm whale tooth (?)
culture: Japanese
Walters Art Museum, 1931, by bequest.
In the 1800s, native peoples began to use European fabrics to fashion fine formal garments; they favored sturdy cloth, such as velvet and wool broadcloth, which provided support for heavy decorative beadwork that was added by hand. Often the fabric was a dark color, providing dramatic contrast for the multicolored beads. Rather than encrusting the entire garment, beadwork was confined to cuffs, “epaulettes,” bib-like plackets and yokes, rectangular panels sewn to leggings, shirts, and dresses, and the like.
Northeast Woodlands, Great Lakes Region, Anishinaabe (Ojibwe) or Nehiyawak (Cree) People?
Velvet, satin, glass beads
Overall: 12.7 x 30.2 cm (5 x 11 7/8 in.)
Anonymous gift in memory of Sarah Ann Morrison