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This leaf and the bifolium (double-leaf) displayed to the right both come from the same manuscript: a large lectern bible. The decorative scheme consists of a single historiated initial and spiky ivy-leaf tendrils along the margins, a Parisian convention just developing at this time. These "ascenders" and "descenders" originate from two of the initials and meander along the margins as separators and framing devices for the text. This ivy-leaf motif dominated book illumination in Paris through the early 15th century.

 

The interior of the initial E contains a background of geometric patterns (called diapering) against which is set Jonah and the whale and the ancient city of Nineveh, the capital of the Assyrian Empire. The illusionistic effect creates three layers of perspective-the framing initial, the figures, and the background.

 

France, Paris

 

ink, tempera, and gold on vellum

Sheet: 26.7 x 40.3 cm (10 1/2 x 15 7/8 in.)

 

The Harold T. Clark Educational Extension Fund

clevelandart.org/art/1959.271

This may be a portrait of Otacilia Severa, wife of Emperor Philip the Arab (reigned 244-249 CE), or of a private citizen influenced by Otacilia's public images. Her tranquil, idealized appearance is typical of mid 3rd-century statuary, and although she is depicted as a mature matron, her forehead and cheeks are smooth, without the deep lines of concern that characterize male portraits of the period.

Roman

 

6 1/4 x 4 1/4 x 4 5/8 in. (15.9 x 10.8 x 11.8 cm)

medium: marble

culture: Roman

 

Walters Art Museum, 1931, by bequest.

art.thewalters.org/detail/4283

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This sinuous animal formed the handle of a lid to a vessel, perhaps a situla (pail) or cista (cylindrical container). The head is that of a panther, while the curve of the body has become so pronounced that it resembles a weasel. The Etruscan love of animals inspired their craftsmen to adorn many simple household objects with decorative animal imagery.

Etruscan (?)

 

H: 2 3/4 x W: 3 7/8 x D: 1 1/4 in. (7 x 9.9 x 3.2 cm)

 

mount H: 1 x W: 4 5/16 x D: 2 in. (2.5 x 11 x 5.1 cm)

medium: bronze

culture: Etruscan (?)

 

Walters Art Museum, 1931, by bequest.

art.thewalters.org/detail/1355

Isabey initially worked for Queen Marie Antoinette, but after the fall of the monarchy, he became the court painter to Napoleon I. In this miniature, he portrays a young Napoleon wearing the uniform of an officer in the Foot Grenadiers. The gold frame, which predates the miniature, was made in 1808 and is decorated with imperial symbols, including bees (a reference to ornaments in the form of cicadas, mistakenly identified as bees, that had been found in the tombs of Merovingian rulers) and the eagle associated with Charlemagne.

 

1 7/8 in. (4.8 cm)

medium: watercolor on ivory, gold frame

 

Walters Art Museum, 1931, by bequest.

art.thewalters.org/detail/175

A nude female figure with falling drapery is depicted on this plaque squared for inlaying. The left edge and lower section are broken. The work is summary but well designed.

 

H: 3 3/8 in. (8.5 cm)

medium: bone

style: Hellenistic

 

Walters Art Museum, 1946, by purchase.

art.thewalters.org/detail/2015

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eventdecoration.pixnet.net/blog/

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Egypt, Byzantine period

 

looped-knot pile; wool and linen

Overall: 89.9 x 127 cm (35 3/8 x 50 in.)

 

Purchase from the J. H. Wade Fund

clevelandart.org/art/1954.573

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