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Title: The naturalist on the river Amazons [electronic resource] : a record of adventures, habits of animals, sketches of Brazilian and Indian life, and aspects of nature under the equator during eleven years of travel
Creator: Bates, Henry Walter
Creator: Clodd, Edward
Creator: London School of Hygiene and Tropical Medicine
Publisher: London : Murray
Sponsor: Jisc and Wellcome Library
Contributor: London School of Hygiene & Tropical Medicine Library & Archives Service
Date: 1892
Language: eng
Description: Reprint of the unabridged edition
This material has been provided by London School of Hygiene & Tropical Medicine Library & Archives Service. The original may be consulted at London School of Hygiene & Tropical Medicine Library & Archives Service
London School of Hygiene & Tropical Medicine Library & Archives Service
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.
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Parthian Empire (247 BCE–224 CE)
bronze
Diameter: 2.6 cm (1 in.)
Joint Expeditions-Iraq Excavations Fund
Edgar Melville Ward
1839–1915
23 7/8 x 21 in. (60.5 x 53.3 cm)
medium: Oil on canvas
Metropolitan Museum of Art, New York, NY 00.6 1900
Gift of Several Gentlemen, 1900
Madrazo reached the pinnacle of his success at the 1878 Exposition Universelle, where he was proclaimed the successor to his brother-in-law Mariano Fortuny as the foremost contemporary Spanish painter. In this work, he displays his dramatic sense of color, mastery of atmospheric effects, and technical skill.
This painting explores the inequalities of modern life; the population of 19th-century European cities ballooned as rural workers migrated to urban environments looking for employment. The artist highlights the social and economic disparities that resulted. As wealthy, fashionably dressed women leave a church, they pass numerous men and women seated on its steps who have no source of income and are asking them for money.
H: 25 3/16 x W: 39 3/8 in. (64 x 100.01 cm)
Framed H: : 37 13/16 × W: 51 15/16 × D: 4 15/16 in. (96 × 132 × 12.5 cm)
medium: oil on canvas
Walters Art Museum, 1931, by bequest.
Video URL: youtu.be/YuDa3XAlVMI
Kans bana raha hai ek aisa plan jisse Krishna ke saare doston ki zindagi hogi khatre mein! Kya Krishna uske pyaare doston ko bacha paayega? Watch Little Krishna on Pogo.
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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
Winslow Homer
American, Boston, Massachusetts 1836–1910 Prouts Neck, Maine
30 1/2 x 50 1/2 in. (77.5 x 128.3 cm)
Framed: 43 7/8 x 63 5/8 x 6 in. (111.4 x 161.6 x 15.2 cm)
medium: Oil on canvas
Metropolitan Museum of Art, New York, NY 06.1282 1906
Gift of George A. Hearn, 1906
These two folios from a manuscript of the "Kalpasutra," a text sacred to Shvetambara Jains, illustrate scenes from the life of Mahavira, the last of the twenty-four Jinas (omniscient, spiritually liberated teachers revered by Jains). In one, Queen Trishala, having just given birth to Mahavira, reclines on a bed and cradles her newborn son. The goat-headed deity Harinegameshin, protector of childbirth, stands behind her. Harinegameshin played an important role in the birth of Mahavira, transferring the embryo from the womb of a woman of the Hindu brahman caste (unsuitable for a future Jina) to that of Queen Trishala, a member of the royal kshatriya caste. The other folio illustrates Mahavira plucking out his hair as he renounces all forms of vanity and material comfort in order to follow the path of asceticism that will lead to his omniscience and liberation. Standing in a rocky landscape, which the artist has depicted in water-like forms, Mahavira hands his long strands of hair to the god Shakra (Indra), who sits nearby.
Each page H: 3 3/4 x W: 10 1/8 in. (9.5 x 25.7 cm)
medium: pigments and ink on paper
Walters Art Museum, 2002, by gift.
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URL Simulator System disassembled. The two blue cards are identical, one accel sound card for each car. Disassembly was done to clean and polish the metal chassis, which was corroded. Cardboard protects "URL Simulator System" decal.
The proportions and balance of this pistol, including the "fishtail" butt curving around the hand, are visually pleasing and also make this 3 lb. 5.3 oz. gun easier to handle. The relative crudeness of the manufacture, including the inlaid decoration taken from a pattern book, indicates that the pistol was made for a cavalryman as opposed to an aristocratic officer. There are two marks stamped on the pistol: the maker's mark, which, although found on other guns, has not been identified; and the control mark on the barrel, indicating that it has been inspected for quality in Nuremberg.
L: 22 7/16 in. (57 cm)
medium: steel or iron, wood (walnut), bone or antler and engraved mother-of-pearl inlay; parts replaced
Walters Art Museum, 1931, by bequest.
This small statuette shows the god Ptah wearing a royal kilt, bead collar, bracelets and armlets. He is seated on a throne formed by walking lions. The relief on the right and left sides of the thrown show a rampant lion seizing a kneeling enemy, and at the back with hanging lotus stalks. Behind Ptah, Isis is shown in relief seated on a djed-column with outspread wings protecting the god. Fragmentary text on the bottom of the base includes the name and epithets of Ptah.
Egyptian
H: 2 3/16 x W: 7/16 x D: 9/16 in. (5.48 x 1.18 x 1.45 cm)
medium: steatite, originally glazed
culture: Egyptian
Walters Art Museum, 1931, by bequest.