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PREP TALKS RETURNING TO URL “I HAD TO REINVENT MY SELF” “BORN LEGACY STANDS FOR NEW GROWTH”
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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
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The banquet scene, of Near Eastern origin, was used for Classical funerary reliefs and also as votive offerings to gods. Here, the deceased male reclines at his funerary banquet accompanied by his wife and family. The large vessel holds wine; on the table are an incense burner, cakes, and fruits. Banquet reliefs are important because they illustrate both the domestic setting and the traditions of the ritual funerary meal. As in most grave sculpture of this period, the figures are not actual portraits, but instead represent generalized types.
Greek
H: 16 1/4 x W: 22 1/2 x D: 3 7/8 in. (41.2 x 57.1 x 9.9 cm)
medium: marble
culture: Greek
Walters Art Museum, 1967, by purchase.
Bottles or jars (<em>kruken</em>) of this type of six-sided form are most often associated with the ceramic tradition found in Kreussen (now Creussen) in the Bavarian region of Germany during the mid to late 1600s. With a threaded neck fitted with a pewter screw top and ring, they were ideal vessels for medicinal liquids as they could be easily connected to a belt for transport to the patient. Applied decoration depicting the twelve apostles, as on this example, allude to the spiritual nature of healing.
German, Bavaria, Kreussen
salt-glazed stoneware, applied and impressed decoration, pewter
Overall: 34.3 cm (13 1/2 in.)
Did you know...
The applied decoration on this bottle depicts the twelve apostles.
Gift of Charles G. King Jr.
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.
Egypt, New Kingdom (1540–1069 BCE), Dynasties 19–20
Nile silt ware; lid of limestone
Diameter: 22.7 cm (8 15/16 in.); Overall: 23.2 cm (9 1/8 in.); Diameter of lid: 12.1 cm (4 3/4 in.)
Gift of the John Huntington Art and Polytechnic Trust
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
Muisca metalwork divides into two categories: ornaments to be worn, such as these, and offering figurines, in the case to the right. The elaborate bird pendant features delicate herringbone moldings, openwork patterns, and wing details-all part of the wax model from which the pendant was cast (see nearby computer animation). The dangles were attached after casting.
Colombia, Muisca style
cast gold
Gift of Mrs. Edward S. Harkness in memory of Mrs. Stephen V. Harkness
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