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This ink drawing is a "holograph"- a document written entirely by the hand of the person whose signature it bears. With words and images all supplied by the same pen, holographs represented a particular claim to authenticity. These were sought after in the first half of the 19th century by collectors who would assemble them into albums. This holograph is likely to have come into the Walters' collection from that of another Baltimore collector, Robert Gilmor.
In this holograph by Morse, the poem, of the artist's own composition, dominates the page. The knight at the head of the poem gestures toward the distant future of 1965, where Morse imagines a reader so remote in time as to have neither form nor gender. His lofty tone and decorous call to virtue evokes sentiments similar to West's dedicatory inscription to the "youths of the United States of America" in another holograph of the almost the same date (WAM 37.1577).
H: 10 5/8 x W: 6 3/4 in. (27 x 17.2 cm)
medium: ink on paper
Walters Art Museum, 1931, by bequest.
Germany, Dresden (?), mid-18th century
lapis lazuli with enameled gold mounts
Overall: 2 x 7.4 x 5.3 cm (13/16 x 2 15/16 x 2 1/16 in.)
Gift of Mr. and Mrs. J. H. Wade
John William Casilear
American, New York 1811–1893 Saratoga Springs, New York
Cover: 12 11/16 x 7 3/4 in. (32.2 x 19.7 cm)
Sheets: 12 11/16 x 7 3/4 in. (32.2 x 19.7 cm)
medium: Drawings in graphite, pen and ink, and watercolor on off-white wove paper affixed with adhesive wafers at corners to dark tan laid (ledgerbook) paper, bound in a cardboard cover with leather trim
Metropolitan Museum of Art, New York, NY 1979.581 1979
Maria DeWitt Jesup Fund,1979
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
Within the elaborate roundel, a bearded man with a belted tunic strangles a lion in each hand. Gold thread shimmers on their heads and his hands. In the inscription band across the top, an Arabic word has been written with mirror-image symmetry. It can be read as <em>al-yumn</em>, primarily translated as <em>prosperity</em>. <br><br>The central motif of this renowned silk is a pre- Islamic Persian symbol of royal power. Both Muslims and Christians throughout the Iberian Peninsula admired such textiles. Members of the Catholic clergy incorporated it into a dalmatic—a long ceremonial tunic. It was found in the late 1800s in the tomb of Saint Bernard Calvo, Bishop of Vich (1180–1243).
Spain, Almeria
Silk and gold thread: lampas, taqueté, and plain-weave variant
Overall: 43.8 x 39.7 cm (17 1/4 x 15 5/8 in.); Mounted: 53 x 49.8 cm (20 7/8 x 19 5/8 in.)
Purchase from the J. H. Wade Fund
This image of the newborn Buddha is rare and unusual. The common type represents him taking seven steps while proclaiming "I am supreme in the Universe." Here, he is represented as being bathed by the nine Nagas, with both hands down.
China, Northern Wei dynasty (386-534)
gilt bronze with inlays of blue glass and turquoise
Overall: 19.4 cm (7 5/8 in.); Diameter of base: 6.8 cm (2 11/16 in.); Base: 3.1 cm (1 1/4 in.)
Purchase from the J. H. Wade Fund
Augustus Saint-Gaudens
American, Dublin 1848–1907 Cornish, New Hampshire
1 3/4 x 1 1/2 in. (4.5 x 3.8 cm)
medium: Shell
Metropolitan Museum of Art, New York, NY 1990.78.1a, b 1990
Purchase, Sheila W. and Richard J. Schwartz Gift and Morris K. Jesup Fund, 1990
This print shows an elephant carrying a crenellated and fortified basket—the <em>howdah—</em>from which two very small human figures peer out. In 1483, an elephant was brought to Germany and taken from town to town to be exhibited as a curiosity. It is likely that Martin Schongauer and his brother Ludwig, who were living in Ulm at that time, witnessed the arrival of this exotic animal. While he may have seen the elephant in person, Schongauer's portrayal—with its twisted trunk and shell-like ear—was likely made from memory rather than direct study of the beast.
Germany, 15th century
engraving
Sheet: 10.8 x 14.6 cm (4 1/4 x 5 3/4 in.)
Did you know...
The <em>howdah </em>is a carriage placed on the back of an elephant and used to transport wealthy people during hunting and warfare.
Dudley P. Allen Fund
The print belongs to a set of four engravings considered to be an incomplete series of episodes of the Life of the Virgin, which also includes the <em>Nativity </em>(1939.448),<em> The Flight into Egypt</em> (1954.260), and<em> The Death of the Virgin </em>(1956.744). Here, Martin Schongauer portrayed the visit of the three magi and their long retinue as witnesses to the miraculous birth of Jesus Christ as recounted in the biblical book of Matthew. The Virgin Mary is seated in front of the entrance of a stable made up from the ruins of a building. She holds the Christ child on her lap and hands him a box containing gold, the gift from the oldest of the three Kings, Melchior, who is kneeling in front of them. Behind Melchior are the other two Kings, Caspar and Balthazar, who offer a censer in the shape of a Gothic monstrance and a goblet of myrrh, respectively. At the top of the roof of the stable, the star of Bethlehem blazes.
Germany, 15th century
engraving
Did you know...
Late medieval depictions of the adoration of the magi such as this often depicted the magi Balthazar as a black African as seen here.
Dudley P. Allen Fund
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