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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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This scene features a standing god in horned headdress and long robe, with one foot resting on an animal. He is holding a mace in his outstretched hand. A second deity in horned headdress and long tufted robe faces the goddess with both hands raised. In the field between them is a star cradled in a disc. The scene also incorporates a cuneiform inscription in five registers.
Cylinder seals are cylindrical objects carved in reverse (intaglio) in order to leave raised impressions when rolled into clay. Seals were generally used to mark ownership, and they could act as official identifiers, like a signature, for individuals and institutions. A seal’s owner rolled impressions in wet clay to secure property such as baskets, letters, jars, and even rooms and buildings. This clay sealing prevented tampering because it had to be broken in order to access a safeguarded item. Cylinder seals were often made of durable material, usually stone, and most were drilled lengthwise so they could be strung and worn. A seal’s material and the images inscribed on the seal itself could be protective. The artistry and design might be appreciated and considered decorative as well. Cylinder seals were produced in the Near East beginning in the fourth millennium BCE and date to every period through the end of the first millennium BCE.
Babylonian
H: 1 x Diam: 7/16 in. (2.6 x 1.2 cm)
medium: hematite
culture: Babylonian
Walters Art Museum, 1941, by purchase.
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.
During the 1700s, the small-sword emerged as a light, quick weapon. Like the rapier it was carried by unarmored civilians, the noblemen of the upper classes. Over time this delicate sword became more an accessory of male attire than a weapon essential to life and death. The sword hilt, which shows even when the blade is sheathed, became the ground for elaborate decoration. These small-swords thus represent the final stage in the evolution of the sword, from the edged weapons of antiquity to the elegantly refined blades of the 1700s and 1800s.
France, 18th century
steel; chiseled relief decoration; blade engraved; wire grip
Overall: 97 cm (38 3/16 in.); Blade: 79.2 cm (31 3/16 in.); Grip: 13.8 cm (5 7/16 in.); Guard: 7.6 cm (3 in.)
Gift of Mr. and Mrs. John L. Severance
Ink cakes (also called ink sticks) are dissolved with the addition of water and then ground on the surface of a flat square stone into liquid ink for painting and calligraphy. The precious ink cakes here, however, have never been used.<br><br>The inscription on the side of the blue ink cake says that the set was commissioned by Chen Huai, Governor of Jiangxi Province.
China, Qing dynasty (1644-1911), Jiaqing reign (1795-1820)
lacquer and silk box
Case: 26.4 x 19.1 cm (10 3/8 x 7 1/2 in.); Lid: 26.5 x 19.2 cm (10 7/16 x 7 9/16 in.)
Gift of Henry W. Kent
On the flattened rim of this dish is a band of ironred enamel decoration with the Chinese characters Wanshou wujiang, meaning "Long life without limit." This piece belongs to a set of particularly fine porcelains with the same inscription, which are thought to have been made for the Kangxi emperor's 60th birthday in 1713.
China, Jiangxi province, Jingdezhen, Qing dynasty (1644-1911), Kangxi mark and period (1662-1722)
porcelain with famille verte overglaze enamel decoration
Diameter: 24.6 cm (9 11/16 in.)
Severance and Greta Millikin Collection
Charles F. Berger
active 1841–90s
1 15/16 x 1 9/16 in. (5 x 4 cm)
medium: Watercolor on ivory
Metropolitan Museum of Art, New York, NY 2006.235.10 2006
Fletcher Fund, 2006
One of the greatest French etchers and an important figure in the mid-19th-century etching revival, Meryon devoted himself exclusively to drawing and printmaking by the age of 28. Continually experimenting to achieve the desired nuances of light and shadow, he developed his compositions through numerous states and printed on a variety of papers, favoring pale green for some of his most beautiful impressions. Meryon specialized in views of Paris, often recording older areas, like the morgue building dating from 1568, soon to disappear with the modernization of the city.
France, 19th century
etching and drypoint
Sheet: 33.7 x 29.2 cm (13 1/4 x 11 1/2 in.); Platemark: 23.1 x 20.7 cm (9 1/8 x 8 1/8 in.)
The Milton Curtiss Rose Collection in memory of Evelyn Curtiss Rose
A caryatid is a column in classical Greek architecture carved to resemble a female figure. Rodin originally designed <em>Fallen Caryatid Carrying Her Stone </em>to serve as one of the figures on his monumental sculptural doorway <em>The Gates of Hell</em>. While Greek caryatids are typically draped, Rodin stripped the body of clothing and depicted the caryatid crushed under the weight of a stone, symbolically suggesting a state of physical suffering or emotional anguish. He exhibited<em> Fallen Caryatid</em> as an independent sculpture as early as 1883 and produced multiple versions in marble and bronze.
France, 19th century
bronze
Overall: 43.5 x 29.2 x 31.8 cm (17 1/8 x 11 1/2 x 12 1/2 in.)
In memory of Ralph King, gift of Mrs. Ralph King; Ralph T. Woods, Charles G. King; and Frances King Schafer