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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
This basket was made for the Euro-American collectors’ market in the early 1900s but it is modeled on basketry bowls from which the Timbisha (Panamint) Shoshone once served food. When used indigenously, the main view would have been of the interior. Made-for-sale baskets testify to Indigenous women’s truly creative, resilient responses to forces that endangered their livelihoods and existence.
Native North America, Great Basin, California, Death Valley, Timbisha (Panamint) Shoshone
Willow, devil's claw, yucca root; coiled ( 3 rods)
Overall: 20.7 x 44.6 cm (8 1/8 x 17 9/16 in.)
Did you know...
This basket mingles 19th-century design features with 20th-century innovations, including the construction method.
Presented by William Albert Price in memory of Mrs. William Albert Price
This bronze bear sits on its hindquarters with its front paws raised, head slightly turned left, and mouth gaping open. It wears a collar around its neck with two rings on either side, where a chain would be passed through to suspend the ampulla. The bear’s head is hinged at the back of the collar to open the vessel, with the lower jaw forming a spout. The eyes were once pierced to prevent an airlock within the ampulla. Bears, like many other animals in antiquity, were used as a form of entertainment, demonstrated here by the bear’s “dancing” pose.
Italy, Roman
bronze
Overall: 14.6 x 10.4 x 9.5 cm (5 3/4 x 4 1/8 x 3 3/4 in.)
Did you know...
This ampulla was likely used to carry oil to the baths in antiquity.
Purchase from the J. H. Wade Fund
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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
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
The depicted scene features a bearded, standing deity in a horned crown carrying a mace or staff. The deity faces a bearded, standing worshipper with one raised arm. Behind the deity is a third figure, standing with both arms raised. All three figures wear long robes. The scene also includes a cuneiform inscription in three registers.
Cylinder seals are cylindrical objects carved in reverse (intaglio) in order to leave raised impressions when rolled into clay. Seals were generally used to mark ownership, and they could act as official identifiers, like a signature, for individuals and institutions. A seal’s owner rolled impressions in wet clay to secure property such as baskets, letters, jars, and even rooms and buildings. This clay sealing prevented tampering because it had to be broken in order to access a safeguarded item. Cylinder seals were often made of durable material, usually stone, and most were drilled lengthwise so they could be strung and worn. A seal’s material and the images inscribed on the seal itself could be protective. The artistry and design might be appreciated and considered decorative as well. Cylinder seals were produced in the Near East beginning in the fourth millennium BCE and date to every period through the end of the first millennium BCE.
Babylonian
H: 13/16 x Diam: 1/2 in. (2.1 x 1.2 cm)
medium: brown and white stone
culture: Babylonian
Walters Art Museum, 1941, by purchase.
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
A warrior would have worn this helmet over a cloth turban. He would have been confident of being safeguarded in battle by the writing around the helmet's rim. The inscription from the Qur'an is garbled, however, indicating that its Iranian maker may not have known Arabic. Yet the presence of Arabic writing apparently was thought to be enough to invoke the protective power of God's word.
This helmet once belonged to the royal arsenal in Istanbul, Turkey. It was probably part of the war booty amassed by the Ottoman Dynasty during the many wars between Turkey and Iran. Later, it was owned by the French painter Jean-Léon Gérôme, who traveled throughout the Near East and painted many scenes of Muslim life.
Islamic
H: 15 3/16 x Diam: 9 3/16 in. (38.5 x 23.4 cm)
medium: steel, engraved and inlaid with silver
culture: Islamic
Walters Art Museum, 1931, by bequest.