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This heavy gold signet ring bears the throne name of the Egyptian pharaoh Akhenaten (1351-1334 BCE). It was cast in one piece; the deeper parts of the hieroglyphics were cut into the model before casting and the finer details chased onto it afterwards. The hieroglyphs on the bezel of the ring are not consistent with the style of the Amarna Period (particularly the shape of the kheper-beetle, as well as the nefer-sign next to it). The ring was bought in Cairo in 1929 and it is possible that it was produced in Egypt in the time of the excavations at Amarna (capital of Akhentaten in Middle Egypt) in the early 20th century or shortly after.
Egyptian
Overall H: 5/8 in. (1.58 cm)
Bezel L: 1/16 x W: 9/16 in. (0.2 x 1.4 cm)
Inner Diam: 5/8 in. (1.6 cm)
Outer Diam: 1 1/8 in. (2.79 cm)
medium: cast gold
culture: Egyptian
dynasty: 18th Dynasty (?)
reign: Akhenaten (1351-1334 BC) (?)
Walters Art Museum, 1931, by bequest.
Jasper Francis Cropsey
American, Rossville, New York 1823–1900 Hastings-on-Hudson, New York
4 1/8 x 5 11/16 in. (10.5 x 14.4 cm)
medium: Graphite, white gouache, and brown and gray ink washes on dark buff wove paper
Metropolitan Museum of Art, New York, NY 1970.9.26 recto 1970
Purchase, Charles and Anita Blatt Gift, 1970
The tragic figure Orestes appears three times on the front of this sarcophagus, always wielding a short sword. In the center he stands over the body of his mother Clytemnestra, and at center left over the body of her lover Aegisthus. Orestes has killed them both to avenge their murder of his father Agamemnon, upon his return from years of fighting at Troy. At the far left, three Furies (avenging spirits) rest upon Agamemnon's tomb, while at the far right, Orestes atones for the murders at the Delphian shrine of Apollo, marked by a tripod and rock. On the lid, four reclining women symbolize the seasons, arranged in right-to-left order: Winter, Spring, Summer, Autumn, as indicated by their dress and the contents of their baskets.
Italy, Rome, Roman Empire
Greek marble
Overall: 210 cm (82 11/16 in.)
Did you know...
From the Greek word for “flesh-eating,” <em>sarcophagus </em>is now used generically for “coffin.”
Gift of the John Huntington Art and Polytechnic Trust
At the front of the ship, the young man calls out to the Hashimi, who sits beside the weeping slave girl. Despite their love, the destitute young man had been forced to sell the girl. She is overjoyed to see her long-lost lover and begins to sing so beautifully that the birds, fish, and the ocean itself join in the celebration.
Mughal India, court of Akbar (reigned 1556–1605)
gum tempera, ink, and gold on paper
Overall: 20.3 x 14 cm (8 x 5 1/2 in.); Painting only: 10.7 x 10.2 cm (4 3/16 x 4 in.)
Did you know...
Two black fish are visible in the swirling waters of the ocean.
Gift of Mrs. A. Dean Perry
Carved in high relief from a single piece of agate, this extraordinary vase was most likely created in an imperial workshop for a Byzantine emperor. It made its way to France, probably carried off as treasure after the sack of Constantinople in 1204 during the Fourth Crusade, where it passed through the hands of some of the most renowned collectors of western Europe, including the Dukes of Anjou and King Charles V of France. In 1619, the vase was purchased by the great Flemish painter Peter Paul Rubens (1577-1640). A drawing that he made of it is now in Saint Petersburg, State Hermitage Museum, inv. 5430. The subsequent fate of the vase before the 19th century is obscure. The gold mount around its rim is struck with a French gold-standard mark used in 1809-1819 and with the guarantee stamp of the French departement of Ain. A similar late Roman agate vessel, the "Waddesdon Vase" or "Cellini Vase," in now in the British Museum, London.
Byzantine
H: 7 5/16 x W: 7 5/16 x D: 4 3/4 in. (18.6 x 18.5 x 12 cm)
medium: agate, gold
style: Early Byzantine
culture: Byzantine
Walters Art Museum, 1941, by purchase.
One of the 1000's of high resolution textures available.from Mayang's Free Textures - see.http://www.mayang.com/textures/..This texture may not be sold without permission from the authors.
Dr. Eugene A. Noble, 1923. Muirhead Bone (British, 1876–1953). Drypoint; The Cleveland Museum of Art, Bequest of Elizabeth Carroll Shearer 2016.127
More at clevelandart.org/art/2016.127
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The two mosaic fragments of an ibex and a ram (1969.114) once formed part of a much larger floor mosaic that decorated an early Byzantine church in northern Syria. Displayed upright in the museum context, these mosaic fragments were originally displayed flat, possibly flanking the church's altar to evoke a paradise setting. The mosaic fragment showing the Fall of Adam and Eve (1969.115) is likely to have formed part of the same floor.
Byzantium, Northern Syria, Byzantine period, 5th century
marble tesserae
Overall: 89.5 x 85.1 cm (35 1/4 x 33 1/2 in.); Mounted: 92.1 x 87 cm (36 1/4 x 34 1/4 in.)
John L. Severance Fund