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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
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
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
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
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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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AVE URL/NOME 7 PREDICTIONS – “I GOT THE WEAKEST NI*GA ON THE CARD”
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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