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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.
On a beach where a strong breeze moves off the water from left to right, figures of French women, men, and children in chic Parisian dress stroll, sit, chat, or take donkey rides. The activities depicted (promenades, socializing, riding, sandbox playing) are the same as those enjoyed by residents of London or Paris. At the right, the dog suggests that these are vacationers rather than tourists seeking to recreate their urban pastimes at the seashore. Painted outdoors, this composition is typical of Boudin's beach scenes in the 1860s in its low-lying horizon, cloud-filled sky, and figures ranged across the middle ground. By scattering the figures over the surface and not closing off the scene with framing elements, the artist created the impression of a partial view of a much larger scene.
France, 19th century
oil on wood panel
Framed: 54 x 75 x 6.4 cm (21 1/4 x 29 1/2 x 2 1/2 in.); Unframed: 34.7 x 57.7 cm (13 11/16 x 22 11/16 in.)
Gift of Mrs. D. Z. Norton
The central scene of this altarpiece depicts the enthroned Madonna and Child flanked by angels. The Christ Child holds a tiny European goldfinch, a symbol of his resurrection. The bird is tethered, a reminder that, in the 14th century, such animals were kept as pets by children. Angels present Mary with chalices of white flowers, alluding to her purity. On the left appear the Annunciation and the Crucifixion, while Christ's Presentation in the Temple and the Coronation of the Virgin are on the right.
The delicate punch-work decoration and the slender, graceful figures reveal the influence of Sienese painting. Catalan artists learned the style and techniques of Italian painting by examining imported Italian works in local churches; some even traveled to Italy to perfect their craft.
Spanish
H: 50 1/4 × W: 72 7/16 × D: 1 9/16 in. (127.6 × 184 × 4 cm)
Left panel H: 50 1/8 × W: 17 15/16 × D: 1 9/16 in. (127.3 × 45.6 × 4 cm)
Center panel H: 50 1/16 × W: 36 1/8 × D: 1 3/8 in. (127.2 × 91.7 × 3.5 cm)
Right panel H: 50 1/4 × W: 18 × D: 1 7/16 in. (127.6 × 45.7 × 3.6 cm)
medium: tempera and gold leaf on panel
style: Gothic
culture: Spanish
Walters Art Museum, 1931, by bequest.
This red-figure column-krater depicts a symposium with three men on klinai and girl playing auloi. On the left a bearded man lies on a kline, chest frontal, head to the right. Only his upper half and half of the kline are shown. He has a mantle draped around his left shoulder and waist, and wears a thick fillet and wreath. He gestures to his fellow banqueters. Beneath him a table is visible, and above on the wall on the left hangs a basket with covering cloth, and on the right a flute case. To the right is a girl playing auloi in chiton, mantle, thick fillet, and wreath who stands in profile to the right playing auloi. A bearded man and a youth lie on the next kline. Both wear mantles, thick fillets, and wreaths in a fashion similar to the first two figures. The man holds a phiale in his right hand and turns his head to the right towards the youth who faces and gestures toward him; a small kylix in black hangs from the right index finger of the youth. Beneath them a table and footstool are visible; hanging above from left to right are a basket with covering cloth and a kylix. All three support themselves by resting their left elbows on cushions.
The back depicts an old man dancing and two youths. In the center a bearded, balding, potbellied man advances to the right as if dancing. He raises his left foot high off the ground, holds a stick in the air above his head in his right hand, and extends his left hand out, holding a mantle which is wrapped around his back and shoulders. He wears a wreath and thick fillet, and appears to have a string (possibly an amulet) around his right forearm. On the left a mantled youth goes left, looking around, a staff in his right hand. On the right another mantled youth moves left, holding a staff out in his right hand. The two youths have fillets.
Greek
19 x 14 7/16 in. (48.2 x 36.7 cm) (h. x max. diam.)
at mouth: 14 3/4 in. (37.4 cm) (diam.)
at rim: 7 3/8 in. (18.8 cm) (diam.)
medium: terracotta; red figure
style: Attic
culture: Greek
Walters Art Museum, 1931, by bequest.
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In 1673, Bernini was commissioned by Pope Clement X to design gilded figures of the twelve apostles and the Risen Christ to crown the tabernacle of the Chapel of the Blessed Sacrament in St. Peter's Basilica. Working from Bernini's designs, Giovanni Rinaldi made the models. Girolamo Lucenti, the bronze founder, had problems casting the Risen Christ, and the initial bronze cast had a flaw across its chest. This cast, now partially repaired and in the Walters' collection, was left in a rough state. The model was recast, gilded, and installed in St. Peter's.
Christ's idealized body recalls ancient sculptures of the sun-god Apollo, praised as having a perfect physique. His striding pose is beautifully balanced while his ascent toward heaven is suggested by the deeply carved, fluttering drapery, seemingly responding to an invisible wind and creating a strong play of light and shadow. Bernini was the greatest sculptor of his age. He imbued figures of both metal and marble with an unsurpassed sense of life and motion.
Italian
H: 17 5/16 in. (44 cm)
medium: bronze
culture: Italian
Walters Art Museum, 1942, by gift.
Go to Page with image in the Internet Archive
Title: The menstruation and ovulation of Macacus rhesus : with observations on the changes undergone by the discharged follicle. Pt. II
Creator: Heape, Walter, 1855-1929
Creator: Foster, M. (Michael), Sir, 1836-1907
Creator: Royal College of Surgeons of England
Publisher: London : Published for the Royal Society by Dulau
Sponsor: Jisc and Wellcome Library
Contributor: Royal College of Surgeons of England
Date: 1897
Language: eng
Description: 'Philosophical Transactions of the Royal Society of London, Series B, Vol. 188 (1897)' - cover
This material has been provided by The Royal College of Surgeons of England. The original may be consulted at The Royal College of Surgeons of England
The Royal College of Surgeons of England
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
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Medieval medicine offered few cures. Christians focused their hopes for recovery from illness or accident on their prayers to saints to intercede for them with God. Saints Cosmas and Damian, Protasius and Gervasius, were two pairs of twin brothers who were invoked for their healing of the sick. The statues are from the hospital complex at Abbeville, built between 1484 and 1492, where they may have stood in niches at the entrance to the church.
The vigorous modeling and realistic details- as in the variety in their facial expressions- are made more vivid by the use of color and give credibility to the saints' humanity. Their size, relative to the sick at their feet, conveys their superhuman powers, while the clerical garments lend them authority. The stocky proportions are typical of French sculpture of the late 15th century.
Saint Cosmas, gloves in hand, heals a man with a bloated stomach. It is likely that he originally held a vessel in his left hand. Cosmas and Damian were twin brothers who, according to legend, practiced as doctors in Cilicia in Asia Minor. They are said to have refused all payment in order to convert their patients. They were martyred in the 3rd century and are regarded as patrons of doctors and surgeons. See 27. 282, 284, 285.
French
H: 27 9/16 x W: 11 7/16 x D: 8 3/4 in. (70 x 29 x 22.3 cm)
medium: limestone with traces of paint and gilding
style: Gothic
culture: French
Walters Art Museum, 1931, by bequest.
Here, a "symposium," or men's drinking party, is under way. Entertainment at such events was provided by "hetairai," or female prostitutes, who also served as musicians and dancers. Reclining on dining couches are two bearded men and an unbearded youth, who tilts his head back to listen to the girl before him playing the double flutes. On the other side of the vessel, three young men are engaged in conversation. Kraters such as this one were used for mixing wine and water, as Greek and Roman authors write that drinking undiluted wine was considered barbaric and uncouth.
Greek
H: 15 3/8 x W: 13 7/8 x Diam: 12 3/8 in. (39 x 35.2 x 31.5 cm)
medium: terracotta, wheel made; red figure
style: Attic
culture: Greek
Walters Art Museum, 1931, by bequest.
Go to Page 273 in the Internet Archive
Title: A treatise on the science and practice of midwifery [electronic resource]
Creator: Playfair, W. S. (William Smoult), 1836-1903
Creator: King's College London
Publisher: London : Smith, Elder & Co.
Sponsor: Jisc and Wellcome Library
Contributor: King's College London, Foyle Special Collections Library
Date: 1893
Language: eng
Description: King’s College London
Vol. 1: xviii, 430, [2] p. ; vol. 2: xiv, 443 p
Final [2] p. of vol. 1: publisher's advertisements
With frontispiece plates
With half-title pages
Includes bibliographical references. Index in both volumes
First edition published in 1866
This material has been provided by King’s College London. The original may be consulted at King’s College London
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
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I'm at Sweet-D Nails! Description: If Young Metro don't like you..... Venue URL: 4sq.com/RlP1i8 Photo URL: ift.tt/1TLlldX Date: February 28, 2016 at 12:33PM
Robert Besnard and His Donkey (Robert Besnard et son âne), 1888. Albert Besnard (French, 1849–1934). Etching and aquatint; platemark: 23.6 x 18.1 cm (9 5/16 x 7 1/8 in.); sheet: 28.8 x 21.7 cm (11 5/16 x 8 9/16 in.). The Cleveland Museum of Art, Bequest of Elizabeth Carroll Shearer 2016.106
More at clevelandart.org/art/2016.106