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A panel from the "predella," or illustrated base, of an altarpiece dedicated to Saint Francis, this image combines the funeral of the saint (died 1226) with his canonization, or declaration of sainthood, by Pope Gregory IX in 1228. The saint's body lies on a bier surrounded by a mourning crowd. The crowd includes fashionably dressed young men along with the lame and blind, who seek a miraculous cure by touching the saint's dead body. To the right, the seated pope writes the decree of canonization. The careful attention to fashion, vivid colors, and animated expressions are characteristic of the international, courtly trends encountered mostly in Northern Italy.
Painted surface H: 9 3/8 x W: 19 7/16 in. (23.8 x 49.3 cm)
Panel H including strips on both sides 9 15/16 x WL 20 x D: 1 9/16 in. (25.2 x 50.8 x 3.97 cm)
Framed H: 13 3/4 x W: 23 3/4 x D: 2 3/4 in. (34.9 x 60.4 x 6.95 cm)
medium: tempera on wood
style: Gothic
Walters Art Museum, 1931, by bequest.
We all learned that the heart is a pump that sends blood through vessels to nourish the body. That pump needs direction as to when and how fast to work.12.
Argentina, Santamariana
earthenware
Diameter: 25 cm (9 13/16 in.); Overall: 13.4 x 26.9 cm (5 1/4 x 10 9/16 in.)
Gift of Katherine C. White
Cornelius Kierstede
1674–ca. 1757
8 3/16 x 5 1/8 x 5 1/8 in. (20.8 x 13 x 13 cm); 17 oz. 2 dwt. (532.6 g)
medium: Silver
Metropolitan Museum of Art, New York, NY 23.80.21 1923
Gift of Mr. and Mrs. William A. Moore, 1923
The Nomads like Flickr slideshows and want to give them more prominence. This is easy if the pictures in the proposed slideshow are in a Set and are all 'public' - just grab and paste the URL. Giving a slideshow of 'private' pictures is a little more tricky. It will be the subject of another tutorial.
So this tutorial in essence becomes a tutorial about grabbing an URL.
Grabbing an URL is easy. It's so easy I'm going to do it right now: www.flickr.com/photos/tomsgardenshed/sets/721576218617080...
Hey Presto! A Slideshow.
Florence MacKubin was born in Florence, Italy, though had Baltimore connections. She exhibited internationally after studying in Paris and Munich, and went on to paint many miniatures of society women in New York, Boston, St. Louis and Washington D.C..This portrait of the Baltimore bishop who was created cardinal by Pope Leo XIII was shown at the Royal Society of Miniature Painters in London in 1907, and at the Paris Salon of 1909. A numbers of works by the artist can be found in the Maryland State Art Collection.
Cardinal Gibbons is seated, facing three-quarters left, with his chin resting on his right hand. The miniature is in a carved ebony frame.
H: 4 x W: 2 15/16 in. (10.1 x 7.4 cm)
medium: watercolor on ivory
Walters Art Museum, 1931, by bequest.
Japan, Shōwa period (1926–89)
Woodblock print; ink and color on paper
Sheet: 27.6 x 41.1 cm (10 7/8 x 16 3/16 in.)
Gift of the Artist
Durga is the name of the goddess who personifies the sum total of the powers of all the male gods combined. When she vanquishes the fierce buffalo demon named Mahisha, she is described as having many arms, each holding a different weapon: bow and arrow, trident, discus, shield, sword, mace, and the conch shell that sounds the start of battle. The horizontal lines on her arms are sectarian markings. At the moment depicted in this painting, she has succeeded in beheading the buffalo demon and shooting arrows into his true form that climbs from its neck. Artists in the foothills of the western Himalayas, where this work was made, depicted Durga’s mount as a tiger—lions and tigers had synonymous meaning throughout India as emblems of shakti, or divine creative energy.
India, Pahari Hills, Nurpur school, early 18th Century
Gum tempera and gold on paper
Overall: 15.5 x 21.2 cm (6 1/8 x 8 3/8 in.)
Mr. and Mrs. William H. Marlatt Fund
Presentación realizada en la Universidad Rafael Landívar a alumnos y alumnas de la carrera de Relaciones Internacionales sobre la ONU en el mundo, el Marco de Asistencia para el Desarrollo en Guatemala, los Objetivos de Desarrollo del Milenio y la presentación de los nuevos Objetivos de Desarrollo Sostenible.
Shiva stands firmly on his lotus pedestal, arching his back in a stance associated with power in the region of Kerala, on India’s southwestern coast, where this sculpture was made. In his upper hands, he holds a battle axe—to cut through illusion—and an antelope, which expresses his role as lord of creatures. The goddess Ganga, a personification of the sacred Ganges River, looks out through Shiva’s hair. When she came to earth from the heavens, she traveled through Shiva’s thickly matted dreadlocks, in order to ease the force of her descent into a gentle flow. Shiva also wears the crescent moon in his hair, a symbol of time, marked by the moon’s waxing and waning. The crescent moon also appears at the peak of the flaming aureole that surrounds the god, along with a five-headed serpent (only two heads remain intact). The snake may allude to the time when Shiva destroyed the deadly poison that threatened both heaven and earth.
In Kerata, sculptures like this one are carried by priests seated on elephants during ritual processions in and around a temple's grounds.
Indian
Overall H: 11 15/16 × W: 6 5/16 × D: 4 15/16 in. (30.3 × 16 × 12.5 cm)
Base only H: 1 13/16 × W: 4 15/16 × D: 4 15/16 in. (4.6 × 12.5 × 12.5 cm)
medium: copper alloy
culture: Indian
given to Walters Art Museum, 1989.
Egypt, Old Kingdom (2647–2124 BCE), Dynasties 6–8
bone
Diameter: 3.2 cm (1 1/4 in.)
Gift of the John Huntington Art and Polytechnic Trust
By the 1800s, the Himalayan foothill region of Kashmir was renowned for distinctive embroideries, and Kashmiri shawls were coveted by women throughout the British Empire. The center of this square shawl is in the form of an eight-petaled lotus, a symbol for the sun, and around it are the elongated forms of slender cypress trees, which became the inspiration for paisley. <br><br>Every space is populated with figures: seated, standing, male, female, or playing musical instruments. Others are winged heavenly figures called <em>peri</em>. Birds are the only animals in these central spaces, suggesting a heavenly realm. In the next concentric ring riders in an equestrian procession alternate with flying birds. In the spandrels, the triangular sections between the circle and the square, are gatherings under a tent with animals. Some local Himalayan animals can be identified, such as the spotted snow leopard and the snake-eating markhor goat.
India, Kashmir
Silk and silver filé, wool: chain stitch embroidery
Overall including fringe: 212.1 x 212.1 cm (83 1/2 x 83 1/2 in.)
Bequest of James Parmelee
John La Farge
American, New York 1835–1910 Providence, Rhode Island
23 1/16 x 17 5/16 in. (58.6 x 44 cm)
medium: Watercolor and gouache and graphite on off-white Japan-type paper
Metropolitan Museum of Art, New York, NY 67.155.5 1967
Bequest of Susan Vanderpoel Clark, 1967
The ancient Egyptians believed that the dung beetle, the Scarabaeus sacer, was one of the manifestations of the sun god. Representations of these beetles were used as amulets, and for ritual or administrative purposes.
This scarab has a special motif on the bottom, which is known as a-n-r-combination, because it consists of the sound-signs for 'ayn, n, and r. The signs are arranged in three columns, combined with lotus blossoms at the beginnings and ends; the columns are framed by an oval line. The bottom design is deeply incised, and the shape of the signs typical for the Second Intermediate Period: n with a horizontal line crossed by short vertical lines, c with a curved line, and an oval lop at the end.
The highest point of the back is the elytron (wing cases); two side-notches at shoulder height define the partition between pronotum (dorsal plate of the prothorax) and elytron. The head is trapezoidal, and the clypeus has four frontal serrations and a central base notch. The design of the back is simple, the carved side-notches short and not totally aligned. The proportions are unbalanced, and the pronotum is short in comparison to the head section and the elytron. The raised extremities have natural form and vertical hatch lines; the background between the legs is hollowed out. The base is long-oval, and the head part smaller than the rear part.
The scarab is longitudinally pierced, was originally mounted or threaded, and served as an amulet. Probably, it should grant magical and/or divine support (a-n-r-pattern) and regeneration (lotus). It is not possible to determine the exact meaning of the a-n-r-pattern, although several options, such as a relation to the name of the god Re, or to a magical formula, have been discussed. In this special case with the dominance of c and n, it would make sense to consider a magical formula, which should strengthen the recreative (scarab), and regenerative (lotus) function by repetition.
Egyptian
H: 3 9/16 x W: 9/16 x D: 13/16 in. (9 x 1.5 x 2.1 cm)
medium: light beige steatite
culture: Egyptian
dynasty: 15th Dynasty
Walters Art Museum, 1931, by bequest.
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This female bust is part of a series of three in the museum's collection. The identity of the figures has been speculated by scholars but without resolution. Because this and the other female busts in the series do not retain their attributes, it is difficult to know their original purpose. It is possible that they may have once formed a group of female saints from the predella of a large altarpiece. Since the sculpture is not carved in the round, this hypothesis has merit. Another recent proposal is that this and the other sculptures may be from a series of female busts representing the wise and foolish virgins referenced in Matthew 25:1-13, a parable by Jesus admonishing listeners to be spiritually prepared.
Austria, 15th century
Painted and gilded lindenwood
without base: 47 cm (18 1/2 in.)
John L. Severance Fund