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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.
Go to Page 274 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.
Read/Download from the Internet Archive
During a hunting party, Dido and Aeneas are caught in a storm and flee to shelter. Cupid and Hymen, the god of marriage, bless them from above. Servants are working to attend to the frightened horses while on a branch, the owl of evil beats his wings ominously.
Belgium, 17th century
tapestry weave: silk and wool
Overall: 416.4 x 418.8 cm (163 15/16 x 164 7/8 in.)
Did you know...
This tapestry is one from a series of eight that depicts the tragic love story of Dido and Aeneas. They were gifted to the museum for display in the armor court.
Gift of Mrs. Francis F. Prentiss, in memory of Dr. Dudley P. Allen
One of a pair, this curtain displays colorful silk bands with woven geometric motifs, and cream bands with gold-embroidered plants, birds, six-pointed stars, and the <em>khamsah</em> (خمسة), an open five-fingered hand. Birds and the tree of life were popular good luck or fertility symbols linked to marriage. This curtain’s cosmopolitan motifs would have resonated with Jews, Muslims, and Christians alike, reflecting its creation on multiethnic and multireligious Djerba, an island off the Tunisian coast. There, both goldsmithing and gold thread embroidery were done by Jewish artisans (male and female, respectively). The fine materials suggest this curtain once hung in a wealthy home or for special occasions; interior wall hangings were typically made from rough wool.
Africa, North Africa, Tunisia, Djerba, Tunisian weaver(s) and embroiderer(s)
Silk, linen, metal, and dye
Overall: 276.8 x 136.7 cm (109 x 53 13/16 in.)
Did you know...
When first acquired over a century ago, this curtain had fringe at its lower end.
Gift of Mr. and Mrs. J. H. Wade
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The seals appended to the inscription on this painting suggest that the text was brushed by Yūjō (1723–1773), an imperial prince who became a Buddhist monk and was abbot of Enman'in at Miidera. The line is from a poem attributed to a Yuan dynasty poet, Yu Ruyu (dates unknown), and describes the sound of a fierce wind lashing the ground. Wind is associated with the roar of the tiger. Yūjō was Maruyama Ōkyo's most important patron as a young artist, and this painting has a signature asserting that Ōkyo created it in 1772, the year before Yūjō's death. While Yūjō produced a preface for a now famous set of handscrolls he commissioned Ōkyo to paint, and a number of Ōkyo's compositions for Enman'in survive, this work would appear to be one imagining their relationship, as opposed to a genuine piece.
Japan, Edo period (1615–1868) to Meiji period (1868–1912)
hanging scroll; ink on paper
Painting: 134.6 x 58 cm (53 x 22 13/16 in.); Mounted: 194 x 73 cm (76 3/8 x 28 3/4 in.)
Sundry Purchase Fund
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Fabergé’s craftsmen in Moscow became known for their work in the pan-Slavic or neo-Russian taste, hearkening back to 17th-century styles of Russian folk decoration. This little box for pills, snuff, or cosmetic patches follows on in this style with its scene of a romantic ride in the quintessential mode of Russian transportation, a horse-drawn sleigh or <em>troika</em>.
Russia, St. Petersburg
silver gilt and enamel
Diameter: 5.8 cm (2 5/16 in.)
Did you know...
Around 1900, ladies often carried little boxes for medicines, a pinch of snuff, or cosmetic patches for the face.
The India Early Minshall Collection
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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
The cylindrical walls of this pyxis base are wrapped in a repeating pattern of triangular palmettes and crowned by a lid that shows a fantastic scene of women and erotes. A band of an egg and dot pattern on the outer edge of the lid serve as a ground for three women and two erotes amongst birds, plants, and a discarded alabstron, that form a wide concentric ring around the central handle. Each woman wears a heavy wool peplos and is bejeweled by bracelets, earrings and necklace. Two of the women holdsashes and run away from an eros, the flow of the garments suggested by the wave of thin black lines, but they look back to him as he steps onto a pedestal, also carrying a sash in his hand. The third woman is seated and glances over her left shoulder into the mirror held before her by the second eros. The flesh and garments of the women are the reddish-orange color of the clay, but the erotes are a slightly lighter color because they were once painted white and some traces of this pigement remain on an erotes’ neck and torso.
Pyxides come in a variety of shapes and sizes. This particular shape of pyxis—distinguished from its predecessors by its low walls, wide diameter, and separate lid—was popular from the late fifth century to the fourth century BCE. Pyxides were used primarily by women for storing cosmetics, jewelry, or other trinkets, and they were also a popular dedication at female graves. The relationship between women and pyxides is apparent in the decoration as many feature scenes of women. Other pyxides were used as an ointment container by men, such as, physicians.
Greek
H: 4 3/16 × Diam: 5 7/8 in. (10.7 × 15 cm)
Base H: 2 13/16 × Diam: 4 15/16 in. (7.1 × 12.6 cm)
medium: terracotta, wheel made; red figure
style: Attic
culture: Greek
Walters Art Museum, 1931, by bequest.
Guanyin is a bodhisattva, a divine being who has attained enlightenment but chooses to stay in the world to help others. Guanyin (an abbreviation of Guanshiyin: “Perceiver of the World’s Sounds”) responds to the calls of those in peril.
Here, Guanyin sits in an attitude of tranquil ease, an arm resting on one knee while gazing at the moon’s reflection in the water below; the bodhisattva’s rippling garments puddle downward in a seemingly liquid cascade. In China, devotion to Guanyin, who came to be represented as an androgynous or female being, was popularized through sacred texts ("sutras"), miracle tales, and legends by which the deity became associated with natural elements, such as water and the moon, that evoke themes of impermanence and change.
The sculpture is a technical marvel. The entire figure, down to the slender fingers, is hollow and made in a technique similar to papier-mâché. Layers of cloth soaked in lacquer, derived from a tree resin, were wrapped over an internal clay support that was removed after the lacquer had hardened. X-radiography shows that the hollow interior was covered in a pigment containing red mercury, called cinnabar, that may have had both sacred and preservative functions.
Chinese
H: 50 x W: 34 1/4 x D: 22 5/8 in. (127 x 87 x 57.5 cm)
medium: dry lacquer, gold, and paint
culture: Chinese
dynasty: Ming [Ming] Dynasty
given to Walters Art Museum, 2006.
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