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When the French king Francis I (reigned 1515–47) decided to renovate his hunting lodge at Fontainebleau, near Paris, he set the stage for the development of Mannerism in France. In the early 1530s, Francis I successfully lured the Italian artists Rosso Fiorentino (1495–1540) and Francesco Primaticcio (1504/5–1570) to Fontainebleau to participate in its redecoration. The most influential project at Fontainebleau was the long corridor now known as the Gallery of Francis I. Here, Rosso developed an innovative system of wall decoration that combined painting with stucco sculpture in high relief. The type of art that began to flourish under Rosso and Primaticcio in the 1530s is known today as the School of Fontainebleau. The term also refers to a stylistically coherent group of etchings and engravings. Many of these are important records of now lost decorations created at the chateau.
France?, 16th century (?)
etching
Sheet: 33.3 x 25.5 cm (13 1/8 x 10 1/16 in.); Platemark: 31.7 x 24.8 cm (12 1/2 x 9 3/4 in.)
Gift of The Print Club of Cleveland
This print is the right-hand sheet from a triptych depicting a famous Buddhist pilgrimage site in what is now Gunma prefecture. The women in the foreground observe men undergoing ritual purification by standing under a sacred waterfall. The full composition showed eight women and a child traversing a bridge before a panorama of the religious site.
Japan, Edo period (1615–1868)
color woodblock print
Sheet: 26.1 x 37.8 cm (10 1/4 x 14 7/8 in.)
Did you know...
The Buddhist sculptures in the upper left corner of this print represent Fudo Myoo flanked by two child deities called Seitaka and Kongara.
Gift of Mrs. Ralph King
The use of Russian hardstones in creating precious objects became a hallmark of design from the House of Fabergé. Easily carved, these minerals were sourced largely from the western region surrounding the Ural Mountains. Fabergé's workmasters used colorful stones such as agate, lapis lazuli, rock crystal, rhodonite, and nephrite (jade), seen here in this small desk clock, to create and embellish flower studies, animal figures, and all manner of luxurious accessories.
Russia, St. Petersburg
nephrite, gold, enamel, diamonds
Overall: 7.9 x 3.4 x 2.5 cm (3 1/8 x 1 5/16 x 1 in.)
Did you know...
The face of this small luxurious desk clock features tiny pink enameled roses in place of the customary numbers along with hour and minute hands paved in diamonds.
The India Early Minshall Collection
CHRISTY-FLORIST94503374網誌一覽Background背景stage婚嫁EVENT場所裝飾POSTER婚慶Idea 宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場合PARTY擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374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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Unlike fragile portrait miniatures painted in watercolor on vellum or ivory, which are prone to cracking, fading, and flaking, enamels are resilient, impervious to the effects of light, and retain their striking original colors over time. Partly for this reason enamel was considered ideal for reproducing famous paintings and treasured portraits in a reduced and luminous form. The complicated and labor-intensive process of enameling required the artist to fire numerous layers of colored metal oxide at different temperatures, which made it difficult to produce a faithful portrait likeness, though masters of the medium were able create portraits of remarkable subtlety imbued with the sitter's personality. The heyday of enamel painting was the late 1600s and early 1700s. Among the enamel specialists was Petitot, who was patronized by King Charles I of England, King Louis XIV of France, and King John III Sobieski of Poland.
France, 17th century
enamel in a silver gilt frame
Framed: 2.9 x 2.2 cm (1 1/8 x 7/8 in.); Unframed: 2.3 x 2.1 cm (7/8 x 13/16 in.)
The Edward B. Greene Collection
7th MAY, LONDON – The London Pyramid Group meet to discuss URL Dispatch and look at how Pyramid matches URLs to views using simple pattern matching. Then having a look at some basic traversal and resource trees. See future London Pyramid Group meetups at: skillsmatter.com/user-group/ajax-ria/ldn-pyr
greenmarine.se (on the sticker on the boat-lifter.) A number of the docks we passed had boats of this size lifted out of the water - apparently saves on hull maintenance and cleaning, and you don't have to winter it somewhere else.
The style and quality of this manuscript's decoration is typical of deluxe Parisian books made for aristocratic or royal patrons. Most of the book's decoration appears to be the work of the Master of the Boqueteaux, an artist active at the court of King Charles V (died 1380). His style was apparently shared by a number of book illuminators working in and around Paris. It is very possible that the <em>Gotha Missal</em> belonged to Charles V, but is not provable because the manuscript has no royal portraits and lacks a colophon. Given the book's magnificent decoration, however, it would seem that it was produced for a Valois prince, if not for the king himself. The manuscript receives its name from the German dukes of Gotha, its later owners.
France, Paris
ink, tempera, and gold on vellum; blind-tooled leather binding
Codex: 27.1 x 19.5 cm (10 11/16 x 7 11/16 in.)
Mr. and Mrs. William H. Marlatt Fund
When Morris designed <em>Snakeshead</em> in 1877, Indian silks were in style and widely imported from British India. This design stands out for its diminutive motifs and the strong red and black colors, which were fashionable only for a short time before paler hues regained favor with clients. While its color scheme suggests distant lands with warmer climates, the pattern showcases one of Morris’s favorite flowers: the fritillary, a wildflower that he remembered growing in the meadows near Oxford.
England, Walthamstow, Early 20th century
plain weave cotton, printed
Overall: 85.1 x 100.3 cm (33 1/2 x 39 1/2 in.)
Gift of Mrs. Henry Chisholm
Arabic calligraphy, the supreme art form in the Islamic world, enhances this tombstone. The elegant Arabic script embellished with leaf tendrils at the top of the tall letters is called floriated Kufic. <br><br>Verses about paradise from the holy Qur'an border the central arch-shaped niche that resembles a mosque's mihrab, located in the wall closest to the holy city of Mecca. The name of the deceased and the year of his death are recorded within the niche above the names of the carvers: "The work of Abaidallah Murra(?) and 'Umar(?)." The inscriptions from the Qur'an translate as follows: <br><br>Outer border (read from right to left): <br>"In the name of God, the Merciful, the Compassionate. Every soul shall taste of death; and ye shall only receive your recompenses on the Day of Resurrection. And who so shall escape the fire, and be brought into Paradise, shall be happy. And the life [of this world is but a cheating fruition]" (3:185). <br><br>Inner border: <br>"In the name of God, the Merciful, the Compassionate. But as for those who say, 'Our Lord is God'; and who go straight to Him, the Angels shall descend to them and say 'Fear ye not, neither be ye grieved, but rejoice ye in the Paradise which ye have been [promised]'" (41:30).
Iran, Yazd, Seljuk Period, early 12th Century
limestone
Overall: 65 x 42.6 cm (25 9/16 x 16 3/4 in.)
Did you know...
More work by these two artisans, Ubaydallah Murra and Umar, survives than by any other single artisan working in Yazd during the 1100s. There are only three other collaborative efforts on twelfth-century mijrabs/tombstones of the Yazd area out of a total number of 18 signed pieces.
Edward L. Whittemore Fund
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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
Www.facebook.com/florist.christy
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http//eventdecoration.pixnet.net/blog
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youtu.be/VNilzfUuWwQ?t=1m49s
www.youtube.com/watch?v=e0lR1RKfTcw
www.flickr.com/photos/wedding-decoration
eventdecoration.pixnet.net/blog/
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This steatite scarab is the bezel of a finger ring. Its flat underside is incised with a vertically arranged design of a pair of facing, connected "Udjat" eyes with script signs below. The design of the back of the scarab is simple with short and aligned carved side-notches and a well proportioned layout. The workmanship of the piece is slightly rough and it is not very carefully made.
This scarab originally functioned as an amulet. It should protect the life and regeneration of its owner and provide divine support. The piece was originally mounted or threaded.
The very stylized shape of "Udjat"-eye-pair was common in the late Middle Kingdom and the Second Intermediate Period.
Egyptian
H: 3/8 x W: 11/16 x L: 15/16 in. (0.9 x 1.8 x 2.4 cm)
medium: light brown steatite with green-blue glaze and bronze setting
culture: Egyptian
dynasty: 15th Dynasty
Walters Art Museum, 1931, by bequest.
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Egypt, New Kingdom (1540–1069 BCE)
turquoise faience with purple-black painted decoration
Overall: 5.8 x 3.4 cm (2 5/16 x 1 5/16 in.)
Gift of the John Huntington Art and Polytechnic Trust
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
Go to Page with image in the Internet Archive
Title: Ectopic pregnancy : its etiology, classification, embryology, diagnosis and treatment
Creator: Webster John Clarence, 1863-1950
Creator: Royal College of Physicians of Edinburgh
Publisher: Edinburgh : Young J. Pentland
Sponsor: Jisc and Wellcome Library
Contributor: Royal College of Physicians in Edinburgh
Date: 1895
Language: eng
Description: Royal College of Physicians of Edinburgh
This material has been provided by the Royal College of Physicians of Edinburgh. The original may be consulted at the Royal College of Physicians of Edinburgh
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
This symmetrical oval plaque has icons and inscriptions on both sides. The front depicts an icon and image of King Thutmosis IV (1397-1388 BCE); on the back is a representation of a vulture combined with the royal name. Both sides are executed in sunk relief with deeply incised outlines and finer lines on the inner structures. The sides are smoothed and the layout is balanced. The piece is carefully made.
The plaque functioned as an individualized amulet, and was originally mounted and threaded. The amulet should secure the divinity and royal authority for the king, as well as divine protection; it should provide a private owner with his royal patronage and divine protection.
The figure of the vulture above a cartouche is less common on scarabs; more often are examples displaying the vulture with outstretched wings at the side of the royal name. Oval plaques of this type are typical for the 18th Dynasty, especially for the period of the reign of Thutmosis III (1479-1425 BCE)-Amenophis III (1388-1351/1350 BCE).
Egyptian
H: 3/16 x W: 1/2 x L: 3/4 in. (0.5 x 1.3 x 1.9 cm)
medium: light beige faience with blue-green glaze
culture: Egyptian
dynasty: 18th Dynasty
reign: Thutmosis IV (1397-1388 BC)
Walters Art Museum, 1931, by bequest.
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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
H. 2 7/8 in. (7.3 cm); Diam. 6 1/4 in. (15.9 cm)
medium: Porcelain painted in underglaze cobal blue, light brown glaze on the exterior (Jingdezhen ware)
Metropolitan Museum of Art, New York, NY 79.2.407 1879
Purchase by subscription, 1879
These elaborately carved chests were given by husbands to their wives on the occasion of their wedding. Inside the home such chests were used for the storage of clothing and were elaborately painted and gilded. These chests are examples of a type produced in Barcelona from the late 1400s onward.
Spain, Catalonia, Barcelona(?), 16th century
wood with painting and gilding
Overall: 73.2 x 136.5 x 54.8 cm (28 13/16 x 53 3/4 x 21 9/16 in.)
Gift of William G. Mather
These brooches functioned as garment clasps (much like the generally larger fibulae) and are distinctive for their decorative enamels. The art of enameling was highly popular among the conquered peoples who lived on the outskirts of the Roman empire, chiefly the Celts and the Gauls. Though the enameling technique was practiced by the Romans themselves on small objects, the brightly colored decoration readily appealed to "barbarian" taste. By the AD 200s, enameled brooches like these were being made in abundance by the native peoples of Britain and Gaul (modern France and Belgium).
Gallo-Roman or Romano-British, Migration period
bronze and champlevé enamel
Overall: 5.3 x 5.3 x 1.6 cm (2 1/16 x 2 1/16 x 5/8 in.)
Purchase from the J. H. Wade Fund
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