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One side of this amphora depicts the contest between Herakles and Apollo for the Delphic tripod. According to myth, Herakles traveled to the sanctuary of Apollo at Delphi to consult the oracle, but when no answer was forthcoming, the hero seized Apollo's tripod, prompting a struggle between the two. Here, Herakles strides quickly to the left toward a seated woman who holds a wreath. She is probably the Pythia, the priestess of Apollo responsible for delivering the god's oracles. Herakles looks back toward Apollo, who defensively grasps the tripod. On the opposite side of the vase is a rustic scene of two men riding in a horse-drawn cart. In front of the horse strides Dionysus, the god of wine, who is wreathed in ivy and holds ivy fronds. Three rows of dots in the area around the figures imitate inscriptions.
Greek
H: 16 5/16 in. (41.5 cm)
medium: terracotta, wheel made; black figure
style: Attic
culture: Greek
Walters Art Museum, 1960, by purchase.
2013 MFG Cyclocross
SCCA/Starbucks GP
Marymoor Park
Redmond, WA
10.27.2013
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John Robertson, J. P., Dundee, 1929. Muirhead Bone (British, 1876–1953). Drypoint; The Cleveland Museum of Art, Bequest of Elizabeth Carroll Shearer 2016.131
More at clevelandart.org/art/2016.131
Beautiful and Attractive Rose Pink Waterboony Deluxe with Exciting Black Trim and Vibrant Rose Pink! Made of 100% Cotton and water absorbent open cell neoprene / polyester materials for durability and great water absorbency. A wide 3 inch brim for added shade and protection from the sun. A stong chin strap for security and mesh grommets for superior air flow and ventilation.
Japan, possibly Edo period (1615-1868)
Average: 6.1 x 6.7 cm (2 3/8 x 2 5/8 in.)
Gift of D. Z. Norton
Naturalistic scarabs, which exhibit a beetle-formed underside instead of a flat bottom with additional motifs, became popular in the late Third Intermediate and Late periods. They were attached to the mummy bandages and were part of the amulet set. There are two varieties of such scarabs: red carnelian and blue-green faience scarabs. It is likely that the blue-green scarabs focus only on the renewal aspect, while the red carnelian scarabs were related to the sun rise/set aspect and gave special protection at the critical transition phase.
Egyptian
H: 7/16 x W: 3/4 x L: 1 1/8 in. (1.1 x 1.9 x 2.8 cm)
medium: Egyptian faience with blue-green glaze
style: Saitic
culture: Egyptian
dynasty: 26th Dynasty
Walters Art Museum, 1931, by bequest.
The halberd was a staff weapon favored by European infantries (foot soldiers) of the 1400s and 1500s for its versatility and deadly effect. The word halberd comes from the German words Halm (staff) and Barte (axe). The halberd is, in fact, an axe that served multiple functions: the axe blade was used for hacking, the spike for thrusting, and the beak for piercing plate armor or for pulling a knight from his saddle. The halberd was used by shock troops (those who lead an attack) and by Swiss and German mercenaries. After about 1550, the halberd gradually became less functional. Its large blade provided space for coats of arms and insignia. By the late 1500s, the parade halberd had become a ceremonial weapon for palace guards.
Germany, 16th century
steel, pierced quatrefoil; rectangular wood haft with planed corners
Overall: 182.3 cm (71 3/4 in.); Blade: 24.2 cm (9 1/2 in.)
Did you know...
A halberd requires the use of both hands and so a halberdier cannot carry a shield for protection.
Gift of Mr. and Mrs. John L. Severance
Dogs were kept in the Mughal imperial palace and attentively cared for by one keeper for every two hunting dogs. Akbar’s biography notes that the emperor liked dogs so much he imported different breeds from distant lands, and Jahangir requested English hunting dogs from the ambassador Sir Thomas Roe. The tradition of collecting and keeping dogs was continued by the succeeding emperors and vassal kings.
India, Rajasthan, Ajmer, probably Sawar school, 18th century
Gum tempera and ink on paper
Image: 22 x 16.5 cm (8 11/16 x 6 1/2 in.); Overall: 18.7 x 25 cm (7 3/8 x 9 13/16 in.)
Did you know...
The newborn puppies are still too young to open their eyes.
Gift of Mr. and Mrs. William E. Ward in memory of her father, Charles Svec
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Carved in low relief, this plaque was probably made to decorate a small casket. It is based on an engraving by Barthel Beham (1502–40) entitled by the artist RAPTUS / HELENAE (The Abduction of Helen). The subject here, however, is not the abduction of Queen Helen by the Trojan prince Paris (calling for princely attire) but a generic "battle of wild men," itself a popular Renaissance subject. The artist may have given some of the abductors African facial features to make them look more savage to European viewers.
H: 1 1/2 x W: 5 3/16 in. (3.8 x 13.2 cm)
medium: ivory
by bequest to Walters Art Museum, 1931.
TSU SURF VS T-TOP SMACK/ URL RAP BATTLE
battledomination.com/tsu-surf-vs-t-top-smack-url-rap-battle/
Extracts from Alfred Jacob Miller’s original text, which accompanied his images of Native Americans, are included below for reference.
South Pass, or the Continental Divide, was the gateway to Oregon and California. The southwestern desert was not yet as fully explored as the Midwest, and so the trail along the Platte became the favored route. Discovered in 1812, the pass remained unknown to Anglo-Americans until a group of Crow Indians told Jedediah Smith and Thomas Fitzpatrick about it in 1824. After William H. Ashley started the rendezvous system in 1825, Fitzpatrick and others used South Pass as the entrance to the best beaver country in the mountains.
Here Miller pictures the frenzy that possessed the men as they neared the fresh water. The Indians, watching in contempt, Miller suggested, had much the same attitude as did Captain Stewart, who would not run his horse for the water but walked casually along as if he did not feel the same thirst that possessed the men.
In July 1858 William T. Walters commissioned 200 watercolors at twelve dollars apiece from Baltimore born artist Alfred Jacob Miller. These paintings were each accompanied by a descriptive text, and were delivered in installments over the next twenty-one months and ultimately were bound in three albums. Transcriptions of field-sketches drawn during the 1837 expedition that Miller had undertaken to the annual fur-trader's rendezvous in the Green River Valley (in what is now western Wyoming), these watercolors are a unique record of the closing years of the western fur trade.
H: 9 x W: 14 3/16 in. (22.8 x 36 cm)
medium: watercolor on paper
Walters Art Museum, 1931, by bequest.
Each morning, the sun was reborn into the world, often in the form of a young child like the one represented in this pendant. Here, the sun child wears an elaborate necklace and sun disk with a protective uraeus snake on his head. On the right side of his head, he wears a braided ponytail (part of which is now missing). This "side-lock of youth" was a common hairstyle for children in ancient Egypt.
Egyptian
H: 3 5/8 x W: 7/8 x D: 1 7/16 in. (9.2 x 2.3 x 3.7 cm)
medium: cast bronze cast with gold inlay
culture: Egyptian
Walters Art Museum, 1931, by bequest.
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
John La Farge
American, New York 1835–1910 Providence, Rhode Island
10 1/2 x 7 13/16 in. (26.7 x 19.8 cm)
medium: Watercolor, gouache and graphite on laid paper
Metropolitan Museum of Art, New York, NY 67.55.176a, b 1967
Bequest of Susan Dwight Bliss, 1966
This drawing records a grand procession through Venice's Piazza San Marco on the penultimate day of the 1782 celebrations for the visit of the Russian Grand Duke Paul (Pavel) Petrovitch and his wife Maria Feodorovna. Francesco Guardi was likely commissioned by the Venetian state to document the ducal visit. Drawing from the vantage point of the Procuratie Nuove (a palace on one side of the piazza), Guardi sketched five carriages festooned with allegories, which were meant to celebrate the governments of Catherine the Great and Venice. In order to include as much of the procession as possible, he manipulated the perspective of the buildings on the right side of the square.The loose handling and lively immediacy of the pen work suggests he executed it on the spot. One drawing (Museen Preußischer Kulturbesitz, Berlin) and two oil paintings (private collections, Venice and Milan) of the same scene survive. Cleveland’s sheet likely preceded these more detailed and polished compositions.
Italy, Venice, 18th century
pen and brown ink with brush and brown wash
Sheet: 25.9 x 36.8 cm (10 3/16 x 14 1/2 in.)
Did you know...
Before entering the museum's collection, this sheet may have been cut on the left, possibly to eliminate a sixth carriage that does not appear in Guardi’s other representations of the procession.
John L. Severance Fund