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This small head is unusual for the shape of its skull, which transforms from a weathered and poorly defined mound on the top into defined locks of twisted hair down the back of the head and neck. The skull is hairless on either side of the asymmetrical crest. The forehead recedes back sharply and is marked by a deep furrow. The eyes have a semicircular shape and are heavily lidded, perhaps influenced by the portraiture of Ptolemaic Egypt. They are close-set, and there is damage to the area around the left eye and the right eyebrow. The nose has been broken off from bridge to tip. The full upper lip protrudes beyond the lower and the corners of the mouth are deeply drilled. The head’s physiognomy may be comparable to some private portraiture of Ptolemaic Egypt, and may be a Hellenistic or Roman interpretation of a foreigner. It may also be the portrait of an athlete, as both ears show the so-called cauliflower ear deformity, which is usually caused by repeated blunt trauma experienced by individuals who participate in such sports as boxing.
Greek or Roman
4 7/8 x 3 7/16 x 4 1/4 in. (12.5 x 8.7 x 10.8 cm)
medium: marble
culture: Greek or Roman
Walters Art Museum, 1931, by bequest.
Siam, Sawankhalok ware, 15th century
stoneware
Overall: 10.8 cm (4 1/4 in.)
Gift of Edwin Lowe Neville
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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
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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This porcelain lamp is from the Long Quan [Lung-ch'üan] celadon kilns.
The European practice of mounting porcelains with silver and gold embellishments began as early as the Middle Ages. This custom reached its apogee in eighteenth-century France, where the taste for Asian exoticism as well as the extravagance of the Rococo style created a consumer desire for luxury objects typified by mounted porcelains.
Japanese and Chinese porcelains emerged in the luxury markets of Europe following their import by the Dutch East India Company in the seventeenth century. The French taste for these porcelains was further stimulated after the Siamese ambassadors visited the court of France in 1684 and 1686. The ambassadors brought more than 1500 porcelains for Louis XIV, as well as numerous other ceramic wares for members of the court. The royal family began collecting these objects, with the aristocracy of France quickly following suit. By the beginning of the eighteenth century, Europe was inundated with an influx of Asian porcelains.
The simple elegance of porcelain appealed to wealthy Europeans not just for its aesthetic qualities, but also for the mysterious nature of its creation. The recipe for porcelain eluded European artisans for centuries. It was not until 1708 in Dresden that kaolin was found to be the missing ingredient. Even after this discovery, Europeans preferred their porcelains to be imported, enhancing their value through rarity and exoticism. The most prized porcelain wares in early eighteenth century were large vessels with single-color glazes, as these were the most difficult to transport and therefore the rarest. However, these forms did not complement the extravagant Rococo fashion of the French elite's interiors. The Rococo manner of the mid-eighteenth century is distinguished by playful superflousness, natural forms intertwined in ornate, asymmetrical designs, and colors such as pastels and gold. The juxtaposition of Asian porcelains with Rococo gilded mounts adapted the eastern objects to the French interiors.
Chinese
9 in. (22.9 cm)
medium: porcelain with glaze open work in paste celadon and French mounts
culture: Chinese
dynasty: Ming [Ming] Dynasty
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
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.
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.
The small scale of this painting and its protective covers facilitated its use as a portable icon. The hollow wooden cylinder attached to the body allowed the painting to be suspended from the owner's neck. The practice of wearing icons of the Virgin as pendants is documented in written sources as early as the fifteenth century. The main scene on this doubled-sided pendant commemorates the feast of Däbrä Metmaq. According to the "Miracles of Mary," this feast was instituted to celebrate an event that occurred annually in the church of Dayr al-Magtas, Egypt. For five days each spring, Mary miraculously appeared inside the cupola of the church, bathed in light and surrounded by angels. The main panel of this icon captures the visionary character of this event by enclosing the Virgin in a band of yellow light. Seraphim surround the outer border of red. The archangels Michael and Gabriel, depicted on the inside cover, evoke the heavenly hosts that accompanied the Virgin. By representing the major figures, the painter recreated the miraculous apparition in miniature for the pendant's owner. As the Festival of Däbrä Metmaq was especially important to women, and as the reverse of the pendant also bears the likenesses of two female martyr-saints, the patron of this work might have been female. The legend of the 15th-century saint Krestos Sämra describes how Christ bequeathed to her a painting, which he hung pendant-like around her neck. The delicately carved, painted covers transformed the closed pendant into a cherished object of personal devotion.
Christian Highland Ethiopian
H open: 4 3/8 x W: 10 1/8 in. (11.11 x 25.7 cm)
H closed: 4 3/8 x W: 3 5/8 in. (11.11 x 9.2 cm)
Panel H: 3 3/16 x W: 3 1/4 in. (8.09 x 8.25 cm)
medium: tempera on panel
culture: Christian Highland Ethiopian
Walters Art Museum, 1996, by purchase.
3 1/2 x 1 1/2 in. (8.9 x 3.8 cm)
medium: Gold and turquoise
Metropolitan Museum of Art, New York, NY 15.95.92 1915
John Stewart Kennedy Fund, 1915
England, Staffordshire, 18th century
jasper ware with relief decoration
Diameter: 8.6 cm (3 3/8 in.)
Gift of Mrs. John Sherwin
Three Amazons on this black-figure lekythos face right, and appear to march one after the other. Their skin is white, but their facial features, eroded or rubbed away, are indistinguishable. Each wears a helmet, holds a long spear and has a horizontal quiver. The middle figure holds both hands near her waist; the other two have one hand raised.
Amazons are first mentioned in the "Iliad" (6.186) as allies of the Trojans; later authors emphasize their fearlessness and their status as foreigners. They were introduced on Attic vases in the early 6th century BC, and quickly became a popular subject. Early black-figure depictions of Amazons resemble Greek warriors, with one notable difference-their white skin color, which identifies them as "women." In red-figure vases, the Amazons acquire more feminine features and bodies, and their foreigness is emphasized by their attire: Scythian or Thracian clothing and subsequently Persian garb.
In some places in Greece, Amazons were the object of cult. Jennifer Larson (1995, 111-16) has suggested that despite the fact that they were considered hostile to the Greeks, their complete otherness from the Greek way of life also gave them protective powers and entitled them to be worshiped as heroines.
Greek
H: 8 1/16 x Diam: 2 3/8 in. (20.5 x 6 cm)
medium: terracotta, wheel made; black figure with white paint
style: Attic
culture: Greek
Walters Art Museum, 1931, by bequest.