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This squat lekythos depicts Eutychia, Eunomia, and Paidia. On the left Eutychia stands frontally, looking right. She holds a chest on her left forearm at waist level; her right hand hangs down by her side holding a necklace. She wears a girded peplos, diadem, necklace, earring, and bracelets. Next is Eunomia who walks solemnly to the right, holding a necklace between her outstretched hands. She wears a girded peplos, necklace, bracelets, earring, diadem and a decorated band which holds her hair in place. On the right Paidia stands turned partially to the left, holding a chest. She wears a girded peplos, necklace, earring, and bracelets; her hair is tied in back. A diphros with a thick, patterned cushion stands beside her.
The personifications on this vase, from left to right are to be understood as Good Luck, Good Order, and Games and Play. They are depicted as normal Athenian women and do nothing which might associate their actions with the literal meanings of their names.
Greek
H: 8 x Max. Diam: 4 1/2 in. (20.3 x 11.4 cm)
Diam at mouth: 1 11/16 in. (4.3 cm)
Diam at foot: 3 5/16 in. (8.4 cm)
medium: terracotta
style: Attic
culture: Greek
Walters Art Museum, 1931, by bequest.
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.
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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
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
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 small, brown and white agate amphora has some incised detail.
Roman
3 9/16 x 1 7/16 in. (9 x 3.6 cm) (h. x diam.)
medium: agate
culture: Roman
Walters Art Museum, 1931, by bequest.
This plaque is probably one of several that decorated the side of a throne. The man's hair and costume are similar to those on the huge wall relief, and they are probably about the same date.
Assyrian, Iraq or possibly Syria
bronze, solid cast
Overall: 7.3 x 3.8 cm (2 7/8 x 1 1/2 in.)
Andrew R. and Martha Holden Jennings Fund
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.