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Egypt, Middle Kingdom (2040–1648 BCE), Dynasty 12
flint
Overall: 5 cm (1 15/16 in.)
Gift of the British School of Archaeology in Egypt
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These works by the French sculptor Claude Michel, called Clodion, show a pair of young satyrs. Clodion was fond of depicting characters from classical antiquity in his work, and the subject of child or baby satyrs in Bacchanalian celebrations appears often in the work of Rococo artists. The female satyr wraps a plump arm around a nest filled with baby birds, while her male counterpart holds an owl. Balancing on one foot, the two flee the scene of their theft.
France, 18th century
terracotta
Overall: 32.1 x 14.8 x 18.1 cm (12 5/8 x 5 13/16 x 7 1/8 in.); with base: 45.1 cm (17 3/4 in.)
The Elisabeth Severance Prentiss Collection
H. 2 3/4 in. (7 in.); W. 6 in. (15.2 in.); L. 13 5/8 in. (34.6 cm)
medium: Lacquered wood with gold, silver, color (iroko) togidashimaki-e on black lacquer ground
Metropolitan Museum of Art, New York, NY 14.40.883a–c 1914
Bequest of Benjamin Altman, 1913
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The mythical Greek hero Heracles, known to the Romans as Hercules, was renowned for his great strength and the heroic deeds he performed, which were favorite subjects for painters and sculptors alike. Around 1580, Jean Boulogne (Flemish, 1529-1608), know as Giambologna, produced for Grand Duke Francesco I de' Medici (1541-87) of Tuscany a set of bronze statuettes of the Twelve Labors of Hercules, deeds which King Eurystheus ordered him to carry out, assuming them to be impossible.
These groups are characterized by highly dramatic poses, with the limbs of the figures spiraling outwards from center. The smooth surface of the bronze enhances the muscles of Hercules's imposing physique. These figures were extremely popular all over Europe and were replicated in great numbers, beginning in the artist's lifetime and continuing for decades. Individual casts are difficult to date, but this bronze as well as Walters 54.695 were surely made after the master's death. However, they preserve the character of Giambologna's originals and illustrate the refined taste of the Medici court towards the end of the 16th century.
The taming of the three-headed dog Cerberus, which guarded the entrance to Hades, the underground home of the dead in Greek mythology, was the 12th and last of Hercules's Labors.
H: 11 5/16 in. (28.8 cm)
medium: bronze
Walters Art Museum, 1931, by bequest.
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Wt. 59 lb. 4 oz. (26.88 kg); Wt. of helmet 8 lb. 3 oz. (3718.6 g)
medium: Steel, leather
Metropolitan Museum of Art, New York, NY 14.25.718a–p 1914
Gift of William H. Riggs, 1913
Few velvets were woven in Italy with as many as six colors of pile, such as this front panel from a chasuble. The chasuble is the main sleeveless outer vestment worn by priests while officiating during Mass. The resulting weave highlights a complex animal pattern in which deer appear behind a fence and peacocks flank a fountain above—an artistic fashion that emerged in the 1300s. This complicated weaving process was gradually abandoned during the 1400s in favor of monochrome floral patterns that were often embellished with gold.
Italy
Silk, polychrome velvet with cut pile
Overall: 80 x 57.8 cm (31 1/2 x 22 3/4 in.); Mounted: 86.4 x 63.5 cm (34 x 25 in.)
Purchase from the J. H. Wade Fund
John La Farge
American, New York 1835–1910 Providence, Rhode Island
7 3/4 x 10 3/8 in. (19.7 x 26.4 cm)
medium: Watercolor and gouache on off-white wove paper
Metropolitan Museum of Art, New York, NY 67.55.174 1967
Bequest of Susan Dwight Bliss, 1966
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From childhood, sons of noblemen might join in ceremonial occasions for which armor was required. Appearing with adult male relatives signaled dynastic continuity and acceptance of a moral code and responsibilities. At a tournament organized in 1560 by Archduke Maximilian (future emperor) for his father Emperor Ferdinand, 8-year-old Rudolf (Maximilian's heir and a future emperor) appeared in armor, "competing" in sword events with his father and other male relatives.
This armor consists of pieces dating to the late 1500s and early 1600s from different sources. They were assembled in the mid-1800s with replacements added for missing parts. The same decorative detailing was etched on all the pieces to harmonize them.
H: 50 in. (127 cm)
medium: steel, gilded copper alloy, leather (assembled and etched in the 1800s)
Walters Art Museum, 1931, by bequest.
In AD 41, the debauched Roman emperor Caligula was murdered. Gratus, a member of the Praetorian, draws a curtain aside to reveal the terrified Claudius who is hailed as emperor on the spot. Beneath the herm in the background, lie the bodies of Caligula, his wife Caesonia, their young daughter and a bystander. The blood stains on the herm denote the struggle that has transpired as well as the setting, the Hermaeum, an apartment in the Palace where Claudius had sought refuge.
Opus LXXXVIII
H: 33 7/8 x W: 68 5/8 in. (86 x 174.3 cm)
Framed H: 50 3/4 x W: 86 x D: 5 1/2 in. (128.9 x 218.4 x 14 cm)
medium: oil on canvas
by bequest Walters Art Museum, 1931.