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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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In this group depicting the four seasons, a young boy in ice skates represents winter; a young lady adorns her hair with flowers in spring; a young man guards his beehive in summer; and a girl gathers fruit in autumn.
England, Bristol
hard-paste porcelain
Part 1: 28.4 x 16.2 x 13.7 cm (11 3/16 x 6 3/8 x 5 3/8 in.); Part 2: 27 x 14.5 x 9.4 cm (10 5/8 x 5 11/16 x 3 11/16 in.); Part 3: 27 x 15.9 x 11.7 cm (10 5/8 x 6 1/4 x 4 5/8 in.); Part 4: 27.2 x 13 x 11.5 cm (10 11/16 x 5 1/8 x 4 1/2 in.)
Did you know...
Allegorical figures most often decorated a table during the dessert course, providing amusing subjects for conversation.
Bequest of Mary Warden Harkness
Aaron Willard Jr.
1783–1864
H. 43 in. (109.2 cm)
medium: Mahogany, gilt gesso, eglomise tablets, white pine, tulip
poplar
Metropolitan Museum of Art, New York, NY 37.37.3 1937
Bequest of William B. Whitney, 1937
Winslow Homer
American, Boston, Massachusetts 1836–1910 Prouts Neck, Maine
14 7/8 x 21 3/8 in. (37.8 x 54.3 cm)
Framed: 24 1/2 x 30 1/2 in. (62.2 x 77.5 cm)
medium: Watercolor and graphite on off-white wove paper
Metropolitan Museum of Art, New York, NY 10.228.4 1910
Amelia B. Lazarus Fund, 1910
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This detached head with deeply incised hair was likely that of a large, nearly life-sized figure of an apostle. It would have originally stood more than 6 feet in height and was gilded and painted. The head was formerly affixed to a halo carved from the same block of stone, and the head would have been slightly angled downward. Though its original context is unknown, the style is generally suggestive of sculptural programs in Toulouse during the early 1300s.
Southwestern France, Toulouse?, 14th century
limestone, with traces of polychromy
Overall: 36.2 x 24.2 x 20.4 cm (14 1/4 x 9 1/2 x 8 1/16 in.)
Purchase from the J. H. Wade Fund
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
Kids that read Succeed! Reading a book is a great excuse for peace and quiet. What will you be reading today on#InternationalLiteracyDay ?
H. 3 1/2 in. (8.9 cm); Diam. 5 in. (12.7 cm)
medium: Porcelain
Metropolitan Museum of Art, New York, NY 14.40.368 1914
Bequest of Benjamin Altman, 1913
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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