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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

clevelandart.org/art/1964.40.199.a

This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.

Flanders, Ghent and Bruges, late 15th century

 

ink, tempera, and gold on vellum

Codex: 22.5 x 15.2 cm (8 7/8 x 6 in.)

 

Leonard C. Hanna, Jr. Fund

clevelandart.org/art/1963.256.182.b

Italy, Venice, 18th century

 

leather

Overall: 51.1 x 71.5 x 46.1 cm (20 1/8 x 28 1/8 x 18 1/8 in.)

 

Bequest of Louise Tifft Brown

clevelandart.org/art/1933.372

3 1/16 x 2 3/8 x 1 in. (7.7 x 6 x 2.5 cm)

 

medium: Lacquer, metal saya, various metals, openwork, relief, nashiji inro; Interior: nashiji and fundame

 

Metropolitan Museum of Art, New York, NY 14.40.839a, b 1914

Bequest of Benjamin Altman, 1913

www.metmuseum.org/art/collection/search/58624

February 19, 2016 at 10:15PM

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Title: A case of melano-mycosis of the skin, with remarks, &c. [electronic resource]

Creator: Delépine, Sheridan, 1855-1921

Creator: Pathological Society of London

Creator: University of Glasgow. Library

Creator: University of Glasgow. Library

Publisher: [London] : [Pathological Society]

Sponsor: Jisc and Wellcome Library

Contributor: University of Glasgow Library

Date: 1891

Language: eng

Description: At head of title: reprinted from the "Transactionsof the Pathological Society of London", 1891

Caption title

This material has been provided by The University of Glasgow Library. The original may be consulted at The University of Glasgow Library

 

If you have questions concerning reproductions, please contact the Contributing Library.

 

Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.

 

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As the chief intermediary between gods and men, the Egyptian king is often shown kneeling in adoration. Enough remains of this king's arms to indicate that his hands may have held offering jars or were extended with the palms facing each other around a naos, or shrine, containing a divine image. In Egypt, adoration required a divine recipient. This example was undoubtedly part of a group composition in which the king faced a larger figure of a god.

 

Egypt, Greco-Roman period (332 BCE–395 CE), Ptolemaic dynasty (305–30 BCE)

 

bronze, solid cast

Overall: 4.2 x 5.5 cm (1 5/8 x 2 3/16 in.); with tang: 12.7 cm (5 in.); without tang: 11 cm (4 5/16 in.)

 

Gift of the John Huntington Art and Polytechnic Trust

clevelandart.org/art/1914.575

來來來!這就是吃下去女人美麗、男人勇壯有力的九尾雞啦!

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