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Extracts from Alfred Jacob Miller’s original text, which accompanied his images of Native Americans, are included below for reference. These words, which shaped how Miller’s contemporaries viewed the watercolors, reveal the racism and sexism embedded in 19th-century exploration and colonization of the western part of what is today the United States.
"Among these wandering tribes 'eternal vigilance is the price of safety.' During our whole journey, scarcely a day passed that we were not conscious of being under the surveillance of unseen eyes. From the tops of bluffs, on the prairie lying in the long grass, behind trees, and in the midst of bushes, our every movement was noted and reported at headquarters. In civilized life we appreciated the industry of that active person Mrs. Grundy, but in the matter of inquisitiveness our North American Indians surpass her,- the motive is different however." A.J. Miller, extracted from "The West of Alfred Jacob Miller" (1837).
In July 1858 William T. Walters commissioned 200 watercolors at twelve dollars apiece from Baltimore born artist Alfred Jacob Miller. These paintings were each accompanied by a descriptive text, and were delivered in installments over the next twenty-one months and ultimately were bound in three albums. Transcriptions of field-sketches drawn during the 1837 expedition that Miller had undertaken to the annual fur-trader's rendezvous in the Green River Valley (in what is now western Wyoming), these watercolors are a unique record of the closing years of the western fur trade.
H: 8 13/16 x W: 12 3/8 in. (22.4 x 31.4 cm)
medium: watercolor on paper
Walters Art Museum, 1931, by bequest.
In 1673, Bernini was commissioned by Pope Clement X to design gilded figures of the twelve apostles and the Risen Christ to crown the tabernacle of the Chapel of the Blessed Sacrament in St. Peter's Basilica. Working from Bernini's designs, Giovanni Rinaldi made the models. Girolamo Lucenti, the bronze founder, had problems casting the Risen Christ, and the initial bronze cast had a flaw across its chest. This cast, now partially repaired and in the Walters' collection, was left in a rough state. The model was recast, gilded, and installed in St. Peter's.
Christ's idealized body recalls ancient sculptures of the sun-god Apollo, praised as having a perfect physique. His striding pose is beautifully balanced while his ascent toward heaven is suggested by the deeply carved, fluttering drapery, seemingly responding to an invisible wind and creating a strong play of light and shadow. Bernini was the greatest sculptor of his age. He imbued figures of both metal and marble with an unsurpassed sense of life and motion.
Italian
H: 17 5/16 in. (44 cm)
medium: bronze
culture: Italian
Walters Art Museum, 1942, by gift.
Originally, roundels like this were cut and sewn onto the front and back of a tunic, probably linen, in Egypt. They belong to a sizeable group of comparable silk decorations found in Akhmim, Egypt. In each roundel, a stylized palmette tree is enclosed within a simplified lotus border that evolved from an ancient Egyptian lotus motif.
Egypt or Syria(?)
Silk; complementary weft-faced twill weave with inner warps (samite)
Overall: 20.6 x 19 cm (8 1/8 x 7 1/2 in.); Mounted: 27.9 x 26.7 cm (11 x 10 1/2 in.)
Did you know...
This elaborate pattern was woven on a large, early loom known as a drawloom that automatically repeated designs across the width of the fabric.
Purchase from the J. H. Wade Fund
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[url=http://www.airforceshooting.org/callage.html]Amn Alexander Callage[/url] at USA Shooting 2009 Nationals
(photo courtesy of USA Shooting)
Each of the four gospels in this book opens on a page with brilliantly illuminated borders depicting the author of the text as well as birds—principally peacocks, symbols of the immortality of the soul—and fountains, representing the fountain of life and the salvation of the soul. This volume consists of 428 leaves with texts in Greek. Its level of sophistication suggests that it was probably written and decorated in a monastery in Constantinople.
Byzantium, Constantinople
ink, tempera, and gold on vellum; leather binding
Sheet: 28 x 23 cm (11 x 9 1/16 in.)
Did you know...
Gospel books were carried in procession through Byzantine churches.
Purchase from the J. H. Wade Fund
John Singleton Copley
American, Boston, Massachusetts 1738–1815 London
1 3/8 x 1 1/8 in. (3.3 x 2.7 cm)
medium: Watercolor on ivory
Metropolitan Museum of Art, New York, NY 2006.235.32 2006
Purchase, Harris Brisbane Dick Fund, by exchange, Anonymous Gift, and Virginia Marvin Stoughton Bequest, 2006