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John Singleton Copley
American, Boston, Massachusetts 1738–1815 London
40 x 50 in. (101.6 x 127 cm)
medium: Oil on canvas
Metropolitan Museum of Art, New York, NY 2014.440 2014
Purchase, Brooke Russell Astor Bequest and Ronald S. Kane Bequest, in memory of Berry B. Tracy, 2014
This scroll was created in the eighteenth century for a woman named Marta. Having once been possessed by a devil, she had this prayer scroll made as a way to ward off evil. Containing prayers against demons, as well as talismans and a depiction of a guardian angel (perhaps Phanuel, who is invoked in one of the prayers), the scroll was intended to be worn as an apotropaic device. Ethiopian prayer scrolls were made to be the length of the person who commissioned them, thereby protecting the owner from head to toe; this one is 165.7 cm, making Marta 5'5" tall.
Christian Highland Ethiopian
Overall H: 65 1/4 × W: 3 3/16 in. (165.7 × 8.1 cm)
medium: ink and pigments on three strips of heavy parchment
style: Ethiopian
culture: Christian Highland Ethiopian
Walters Art Museum, 1978, by gift.
This steatite scarab has a flat underside with an inscription on the bottom carved in sunk relief technique. The piece was originally glazed. The top of the scarab is decorated with deep and thick incised details. The workmanship of this piece is good.
This piece originally functioned as an individualized amulet and was once mounted or threaded. The amulet should secure the royal authority for this king, Thutmosis IV (1397-1388 BC), by his close relation to the god Amun; it should provide a private owner with this king's royal patronage.
The royal epithet "Image of Amun" is very popular on scarabs of the New Kingdom.
Egyptian
H: 1/4 x W: 7/16 x L: 9/16 in. (0.7 x 1.1 x 1.5 cm)
medium: light beige-brown steatite
culture: Egyptian
dynasty: 18th Dynasty
reign: Thutmosis IV (1397-1388 BC)
Walters Art Museum, 1931, by bequest.
This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for most of the borders, was a Florentine who signed his name "Zecho" da Firenze on folio 208 verso.
France, Paris
ink, tempera, and gold on vellum
Codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.)
Mr. and Mrs. William H. Marlatt Fund
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