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Venetian law obliged senators to wear colored textiles, in contrast to other male citizens, who wore black. The Procurator, a very high level government official, was required to wear a red stole, a cloth worn over one shoulder. So that it would read the same from front and back, the pattern reverses halfway, done by the weaver’s assistant on a drawloom. The line down the center is part of the original manufacture, enabling two stoles to be cut apart for use. The survival of an entire, uncut loom width is extremely rare. The velvet has two different heights of cut pile. The longer pile, which appears lighter, forms the pattern.
Italy, Venice, late 16th century
dyed silk; velvet in two heights of cut pile (pile on pile, alto e basso), woven as two stole widths
Overall: 142.2 x 71.1 cm (56 x 28 in.); Mounted: 147.3 x 77.5 cm (58 x 30 1/2 in.)
Bequest of John L. Severance
This is one of several pages that were removed from a unique manuscript of this otherwise unknown work, which bears a colophon stating that it was written by the author and finished "Ramadan, 741" (February 1341). Illustrations on both sides include various animals, trees, and objects such as weapons, musical instruments, and jewels.
Iran, Shiraz, Ilkhanid period (1256-1353)
opaque watercolor, ink, and gold on paper
Overall: 19.7 x 13.5 cm (7 3/4 x 5 5/16 in.)
Purchase from the J. H. Wade Fund
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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.