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In cloisonné enameling, the decorative patterns are outlined by soldering metal wires (usually copper) to a metal base, creating a network of cells, or cloisons, to be filled with powdered enamels. Here. a turquoise ground separates the stylized chrysanthemum flower and leaf pattern, which winds around the neck and body. After firing, the enamels are polished to create a smooth surface level with the cloisons. The exposed metal surfaces are gilt.
China, Ming dynasty (1368–1644)
cloisonné enamel
Overall: 25.7 cm (10 1/8 in.)
The Norweb Collection
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
Mary Newbold Sargent
1826–1906
5 7/8 x 8 5/8 in. (14.9 x 21.9 cm)
medium: Graphite on paper
Metropolitan Museum of Art, New York, NY 50.130.151b recto 1950
Gift of Mrs. Francis Ormond, 1950
This Easter egg, like the subsequent ones produced by Fabergé for the imperial family, contains a surprise when opened. In this case, the egg opens to display a yellow enameled cover, resembling an egg yolk, which then opens to reveal a tiny replica of the Russian imperial crown, containing either a ruby or a pink sapphire suspended on a chain.
Russia, St. Petersburg
gold, enamel, lapis lazuli, pearls, diamonds, rubies
Did you know...
This tiny ruby or pink sapphire dangles from a diamond encrusted crown surprise, which is a replica of the Russian imperial crown made for Empress Catherine the Great in the 1700s.
The India Early Minshall Collection
In August 1868 Winslow Homer, then working as a free-lance illustrator, visited the White Mountains of New Hampshire. As early as the 1820s, American artists used the White Mountains as a setting for landscape paintings. Unlike Thomas Cole (1802-1848) and Asher Durand (1796-1886), who focused on the unspoiled wilderness, Homer turned his attention to other tourists. He made this oil sketch as a study for the horse in a large oil painting The Bridal Path, White Mountains (1868; Sterling and Francine Clark Art Institute, Williamstown, Massachusetts).
America, 19th century
oil on panel
Framed: 32.5 x 45 x 4.5 cm (12 13/16 x 17 11/16 x 1 3/4 in.); Unframed: 20 x 32.6 cm (7 7/8 x 12 13/16 in.)
Bequest of Leonard C. Hanna, Jr.
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The front of this tsuba shows the yearly meeting of the celestial lovers the Weaving Maiden (Jp. "Orihime") and the Shepherd (Jp. "Hikoboshi"). They are the stars Vega and Altair. Because they neglected their work when they were together, the Weaving Maiden's father, the King of Heaven, decreed that they could only meet across the River of Heaven (i.e. the Milky Way) once a year. Their meeting is celebrated on the 7th day of the 7th month with a festival called Tanabata. They are depicted on the front of the tsuba within a square frame. The Weaving Maiden is shown at the upper right spinning thread. The Shepherd is shown with cattle on the lower left. On the reverse of the tsuba, rooftops of houses can be seen in the foreground and to the right of the central opening. Stalks of bamboo hung with paper strips decorate the houses for Tanabata. Mount Fuji is shown in the background at the upper right.
Japanese
3 1/4 in. (8.3 cm)
medium: shibuichi, copper, gold, silver
culture: Japanese
Walters Art Museum, 1931, by bequest.
Japanese
H: 2 1/2 × W: 4 13/16 × D: 3 13/16 in. (6.3 × 12.3 × 9.7 cm)
Box H: 1 5/8 × W: 4 13/16 × D:3 13/16 in. (4.2 × 12.3 × 9.7 cm)
Lid H: 1 1/16 × W: 4 13/16 × D: 3 13/16 in. (2.7 × 12.3 × 9.7 cm)
medium: iron, copper, brass, gold, shibuichi (copper alloy)
culture: Japanese
Walters Art Museum, 1931, by bequest.
Due to its plentiful supply, beautiful translucent tone, and soft texture that made it easy to carve, alabaster was commonly used for English relief sculpture in the 14th and 15th centuries. Many of the reliefs that survive today are panels from altarpieces of the Passion of Christ or the Life of the Virgin. The altarpieces were not very expensive and were made for both local use and export to the continent by workshops in Nottingham, near where the alabaster was quarried. They were generally painted, and traces of pigment are often visible today. See also Walters 27.8, 27.309, and 27.308.
This figure of Saint John the Evangelist evinces the characteristics of this period in art known as International Gothic. The elongation and grace of his hands, feet, and draping gown show elements of the this style, which towards the end of the Middle Ages had spread through Europe and England. He is characteristically beardless and holds in his right hand a book representing his writings, on which rests his symbol, an eagle. In his left hand he holds the palm branch given to him by the Virgin Mary.
17 1/16 x 5 11/16 x 2 7/8 in. (43.3 x 14.4 x 7.3 cm)
framed: 17 1/16 x 6 5/8 x 3 in. (43.3 x 16.9 x 7.6 cm)
medium: alabaster
style: Gothic
Walters Art Museum, 1931, by bequest.
Ready to depart on the fleet which you can see behind him, Aeneas tells the distraught Dido that he must follow his destiny and leave Carthage.
Belgium, 17th century
tapestry weave: silk and wool
Overall: 403 x 394 cm (158 11/16 x 155 1/8 in.)
Did you know...
This tapestry is one from a series of eight that depicts the tragic love story of Dido and Aeneas. They were gifted to the museum for display in the armor court.
Gift of Mrs. Francis F. Prentiss, in memory of Dr. Dudley P. Allen
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