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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
Under the Flowers (Sous les Fleurs), published 1897. Imprimerie Champenois, : L'Estampe moderne, Edmond François Aman-Jean (French, 1858–1936). Color lithograph; image: 35.1 x 27 cm (13 13/16 x 10 5/8 in.); sheet: 39.8 x 30.6 cm (15 11/16 x 12 1/16 in.). The Cleveland Museum of Art, Bequest of Elizabeth Carroll Shearer 2016.90
More at clevelandart.org/art/2016.90
Although missing the central decorative band, these two velvet panels embroidered with angels and thistles originally formed part of the back of an ecclesiastical chasuble. <br><br>The term <em>opus anglicanum</em>, or English work, refers to English embroidery dating from the 1100s through the 1500s, like this example. Made primarily in embroidery guilds in London, it was in great demand for royal and ecclesiastical garments and furnishings throughout Europe.
England, London (embroidery) and Italy, Florence (velvet), early 16th century
Silk, gold filé; appliqué, embroidery: couching stitches Velvet: solid pile, silk
Overall: 101 x 52.8 cm (39 3/4 x 20 13/16 in.)
Gift of The Textile Arts Club
the colours on this are bright which looks like they are a god character this also makes it look lIke he is a good character because he has someone next to him whilst he is recovering or lying there dead
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
James McNeill Whistler
American, Lowell, Massachusetts 1834–1903 London
11 x 7 1/4 in. (27.9 x 18.4 cm)
medium: Conté crayon and white chalk on brown wove paper
Metropolitan Museum of Art, New York, NY 11.66.17 1911
Rogers Fund, 1911
Ruth Whittier Shute
1803–1882
23 5/8 x 18 5/8 in. (60 x 47.3 cm)
medium: Watercolor, gouache, gum arabic, graphite, and gold foil on heavy, white wove paper
Metropolitan Museum of Art, New York, NY 66.242.13 1966
Gift of Edgar William and Bernice Chrysler Garbisch, 1966
William Dunlap
American, Perth Amboy, New Jersey 1766–1839 New York
30 1/8 x 25 in. (76.5 x 63.5 cm)
medium: Oil on wood
Metropolitan Museum of Art, New York, NY 13.217.1 1913
Gift of John A. Church, 1913
This tsuba illustrates a story about the 8th-century Chinese painter Wu Daozi [Tao-tzu], who was said to have painted a picture of a dragon so realistic that it came to life. The tsuba shows the painter in the lower right surrounded by brushes and other tools. The dragon looms over the upper left of the tsuba. On the reverse is a pine tree and bamboo. Both secondary holes have been plugged and the background incising continues across the plugs.
Japanese
2 13/16 x 2 11/16 x 1/8 in. (7.15 x 6.88 x 0.38 cm)
medium: sentoku, gold, copper
style: Shimizu School
culture: Japanese
Walters Art Museum, 1931, by bequest.
The second half of the 1300s was one of the great periods of Italian silk design. Drawing upon Chinese, Islamic, and European motifs, artists created international designs. This rare, fragmentary chasuble displays a Chinese phoenix with outstretched wings flying toward a group of pseudo-Kufic, Arabic-like letters while a dog snarls at the bird. Arabic script was associated with the Holy Land. Italian textiles were an important export product at the end of the Middle Ages. In this case, the fabric was shipped to Germany, where it was used to create a chasuble, the upper garment of the bishop and priest during Holy Mass.
Italy (Chasuble) and Germany (Orphrey)
Silk and gold thread, lampas weave; embroidered orphrey
Overall: 106.7 x 68.6 cm (42 x 27 in.); Mounted: 123.2 x 82.5 cm (48 1/2 x 32 1/2 in.)
Purchase from the J. H. Wade Fund
Dimensions unavailable
medium: Wood, oak, pine
Metropolitan Museum of Art, New York, NY 36.127 1936
Munsey Fund, 1936
For parrying, rapiers were often made with accompanying daggers as a matched set. The aristocracy's taste for rich and intricate styles of decoration led to extravagant gilding, chiseling, piercing, enameling, and silvering. The more costly or unusual these weapons appeared, the more they were desired by the clientele who commissioned them, not only for dueling but also as the ultimate accessory.
Spain, Toledo, 17th century
Pierced and chiseled steel;
Overall: 122.9 cm (48 3/8 in.); Quillions: 26.7 cm (10 1/2 in.)
Did you know...
The guard is richly decorated with chiseled and pierced arabesques, an ornamental design consisting of intertwined flowing lines.
Gift of Mr. and Mrs. John L. Severance
Lions are often depicted on ceiling tiles of this kind, but the stylized frontal view of the animal's head here is quite unusual and was probably influenced by similar images on glazed ceramic dishes. The piece once belonged to the newspaper magnate William Randolph Hearst (1863-1951). Nothing is known about its earlier provenance. Most comparable examples of known origin come from the town of Paterna, evidently the principal center of socarrat production.
Valencian
H: 13 7/8 x W: 17 1/8 x D: 1 in. (35.3 x 43.5 x 2.5 cm)
medium: earthenware with glaze and black paint
style: Gothic
culture: Valencian
Walters Art Museum, 1958, by purchase.
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Jacob Boelen
ca. 1657–1729
1 11/16 x 1 1/2 x 2 7/8 in. (4.3 x 3.8 x 7.3 cm); 1 oz. 11 dwt. (48.9 g)
medium: Silver, wood
Metropolitan Museum of Art, New York, NY 33.120.375 1933
Bequest of A. T. Clearwater, 1933; in cooperation with the Town of Marbletown, Ulster County, N.Y.
From ancient times, a mirror assumed various roles; a ritualistic tool, a diplomatic gift, and a luxury commodity. During the Goryeo dynasty (918-1392), which saw the great advancement of metallurgy, the royal court was the center of distributing sophisticated bronze artifacts. According to historical records, on the 7th day of the Lunar New Year, the king bestowed a bronze mirror inscribed with auspicious symbols upon each court official as part of a ceremony to celebrate the Day of Humans. This explains why a large quantity of bronze mirrors were excavated from elite tombs.
Korea, Goryeo dynasty (918–1392)
bronze
Diameter: 20.7 cm (8 1/8 in.)
Did you know...
Due to its origin as an important tool in religion and politics, mirrors are often mentioned in many Korean proverbs that warn certain behaviors.
Gift of N. M. Heeramaneck