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Together with 59.1 and 59.2, this piece was discovered in Egypt as part of a hoard that comprised about twenty similar medallions (now dispersed among various museums), eighteen gold ingots, and six hundred gold coins issued by Roman emperors from Severus Alexander (r. 222-235 CE) to Constantius I (r. 293-306 CE). One of the medallions, now in the Calouste Gulbenkian Museum in Lisbon, bears an inscription that possibly reads "Olympic games of the year 274", a date corresponding to 242-243 CE. It is possible that the medallions were intended as prizes to be given out at that event. Alternatively, they may have been issued by Emperor Caracalla (ruled 198-217 CE), who is potrayed on the this medallion in profile, bearing a shield on his shoulder decorated with the image of Nike in a racing-chariot. The back depicts Caracalla's distant predecessor King Alexander of Macedon (r. 336-323 BCE) in short chiton and chlamys (a cloak) hunting a boar. This depiction of a royal hunt was intended to emphasize the prowess that Alexander also showed in battle.
Roman
3/16 x 2 1/4 in. (0.6 x 5.7 cm) (d. x diam.)
medium: gold
style: Hellenistic
culture: Roman
dynasty: Severan Dynasty
Walters Art Museum, 1931, by bequest.
This engraving is part of the Tarocchi group marked with the letter “A”, and named<em> Firmaments of the Universe</em>. This series comprises the seven planets from the classical astronomy (Moon, Mercury, Venus, Sun, Mars, Jupiter, Saturn) and the three celestial spheres that separate them from the Supreme Entity (<em>Prima Causa</em>) from which everything was originated. <br><br>Here, <em>Marte </em>(Mars) is personified as a full-length male figure, in frontal view, and seated on a chariot-like throne. Mars is armored and holds up a sword in his right hand. A wolf lays at his feet.
Italy, Ferrara, 15th century
engraving
Dudley P. Allen Fund
Tenjin Traveling to China, 1610. Konoe Nobutada (Japanese, 1565–1614). Hanging scroll; ink on paper; overall: 91.4 x 32.1 cm (36 x 12 5/8 in.). The Cleveland Museum of Art, Gift from the Collection of George Gund III 2015.456
More at clevelandart.org/art/2015.456
Every night for 52 nights the sly domesticated parrot encourages his master's wife Khujasta to meet her lover under cover of darkness. Just before she leaves, he mentions a topic from a tantalizing tale; she becomes so curious that she cannot go out before hearing the whole story. By the time the story ends, dawn breaks, and it is too late for her to go out unnoticed. The gold sky and geometric tile patterns are derived from Persian sources while Khujasta's figure shown in profile and style of dress are purely Indian. The artist has chosen to tilt the carpet up in defiance of realistic perspective to show off the fine arabesque motif. The checkered bedspread calls attention to the empty bed and Khujasta's longing to be with her lover.
Mughal India, court of Akbar (reigned 1556–1605)
gum tempera, ink, and gold on paper
Overall: 20.3 x 14 cm (8 x 5 1/2 in.); Painting only: 9.1 x 10.3 cm (3 9/16 x 4 1/16 in.)
Did you know...
The gauzy fabric that Khujasta wears over her sari is called an <em>odhani</em>.
Gift of Mrs. A. Dean Perry
Saint Catherine was among the most popular virgin martyrs during this period and was particularly venerated in Dürer’s hometown of Nuremberg for her intermediary role between the faithful and God. A princess from Alexandria, Catherine was condemned to die on spiked wheels by the Roman emperor Maxentius because of her Christian faith. In answer to her prayers, God destroyed the wheels with such force that 4,000 pagans were killed. Afterward, Catherine was willingly decapitated. Dürer’s focus on Catherine’s peaceful acceptance in the midst of destruction conveys the power she derived from her chastity and unwavering faith, providing an excellent example for ordinary women to follow.
Germany, late 15th-early 16th Century
woodcut
Gift of The Print Club of Cleveland
The electrical signal produced by the sinus node makes your heart’s top chambers or atria contract and push blood through to the lower chambers or ventricles.
The composition of this icon is known as Anastasis, or the Harrowing of Hell, and it is the traditional iconographic representation of the Resurrection. Christ, standing on Hell's broken gates, pulls Adam and Eve out from their tombs, with crowds of Old Testament kings and other biblical figures behind them. The crowned figure on Christ's left is Zachariah, holding a scroll that reads, "Blessed is..." Christ appears again at the bottom of the frame, leading a group of souls out of Hell as angels beat down hapless demons. The icon is painted in the style of the 16th or 17th century, and a spurious "Andrei Rublev" signature (likely added later) tries to pass it off as even older.
The gilt metal frame is studded with painted enamels whose European style clashes somewhat with the dimensionless, traditional style of the icon. At the corners are the four evangelists, each with the apocalyptical beast with which he is associated. The other enamels show the Carrying of the Cross, the Annunciation, the severed head of John the Baptist, and the Holy Family with a toddler John the Baptist. Strings of river pearls and large mother-of-pearl "stones" also decorate the frame or "oklad." Such a real pearl border was recalled in later enamel "oklads" by means of white enamel dots.
Orthodox
H: 15 5/8 x W: 12 7/8 in. (39.7 x 32.7 cm)
medium: tempera on wood, metal gilt, painted enamel on copper, river pearls, mother-of-pearl
culture: Orthodox
dynasty: House of Romanov
Walters Art Museum, 1931, by bequest.
On a beach where a strong breeze moves off the water from left to right, figures of French women, men, and children in chic Parisian dress stroll, sit, chat, or take donkey rides. The activities depicted (promenades, socializing, riding, sandbox playing) are the same as those enjoyed by residents of London or Paris. At the right, the dog suggests that these are vacationers rather than tourists seeking to recreate their urban pastimes at the seashore. Painted outdoors, this composition is typical of Boudin's beach scenes in the 1860s in its low-lying horizon, cloud-filled sky, and figures ranged across the middle ground. By scattering the figures over the surface and not closing off the scene with framing elements, the artist created the impression of a partial view of a much larger scene.
France, 19th century
oil on wood panel
Framed: 54 x 75 x 6.4 cm (21 1/4 x 29 1/2 x 2 1/2 in.); Unframed: 34.7 x 57.7 cm (13 11/16 x 22 11/16 in.)
Gift of Mrs. D. Z. Norton
This red-figure column-krater depicts a symposium with three men on klinai and girl playing auloi. On the left a bearded man lies on a kline, chest frontal, head to the right. Only his upper half and half of the kline are shown. He has a mantle draped around his left shoulder and waist, and wears a thick fillet and wreath. He gestures to his fellow banqueters. Beneath him a table is visible, and above on the wall on the left hangs a basket with covering cloth, and on the right a flute case. To the right is a girl playing auloi in chiton, mantle, thick fillet, and wreath who stands in profile to the right playing auloi. A bearded man and a youth lie on the next kline. Both wear mantles, thick fillets, and wreaths in a fashion similar to the first two figures. The man holds a phiale in his right hand and turns his head to the right towards the youth who faces and gestures toward him; a small kylix in black hangs from the right index finger of the youth. Beneath them a table and footstool are visible; hanging above from left to right are a basket with covering cloth and a kylix. All three support themselves by resting their left elbows on cushions.
The back depicts an old man dancing and two youths. In the center a bearded, balding, potbellied man advances to the right as if dancing. He raises his left foot high off the ground, holds a stick in the air above his head in his right hand, and extends his left hand out, holding a mantle which is wrapped around his back and shoulders. He wears a wreath and thick fillet, and appears to have a string (possibly an amulet) around his right forearm. On the left a mantled youth goes left, looking around, a staff in his right hand. On the right another mantled youth moves left, holding a staff out in his right hand. The two youths have fillets.
Greek
19 x 14 7/16 in. (48.2 x 36.7 cm) (h. x max. diam.)
at mouth: 14 3/4 in. (37.4 cm) (diam.)
at rim: 7 3/8 in. (18.8 cm) (diam.)
medium: terracotta; red figure
style: Attic
culture: Greek
Walters Art Museum, 1931, by bequest.
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This is a late example, very conservative in painting style, of a type of image that was first developed in Russia in the late 16th century. It is primarily based on the Old Testament story in which God revealed himself to Moses in a bush that burned without being consumed by the fire. The Burning Bush was used as a metaphor for the Virgin Mary, who gave birth to a child while retaining her virginity. The Virgin and Christ Child in the center of the panel are surrounded by the symbols of the four evangelists and by angels whom Mary, as the Queen of Heaven, commands. These angels, as the accompanying inscriptions explain, hold sway over various natural elements: wind, fire, ice, darkness, etc. (cf. Hebrews 1:7). Four Old Testament scenes in the corners prophetically refer to the Incarnation: Moses before the burning bush (Exodus 3:2), Isaiah's vision of a cherub holding a coal with tongs (Isaiah 6:6), Ezekiel's vision of a shut door through which the Lord alone can enter (Ezekiel 44:2), and Jacob's dream of a ladder leading to heaven (Genesis 28:12-13). In the frame below is the Virgin's ancestor Jesse, father of King David.
Russian
H: 14 3/16 x W: 12 3/16 x D: 1 1/2 in. (36 x 31 x 3.8 cm)
medium: tempera and gold on wood
culture: Russian
dynasty: House of Romanov
Walters Art Museum, 1972, by gift.
A woman dressed in the simple cotton clothes of a farmer is carrying a tray of rice cakes and the rest of a meal wrapped in a decorative cloth. The tool on her back is used to cut mature rice stalks.
Japanese
14 3/4 x 10 1/16 in. (37.4 x 25.5 cm)
medium: mulberry paper, pigments
style: Katsukawa School
culture: Japanese
given to Walters Art Museum, 1991.
The text on this page discusses the wars between Morocco and Zang, a region of eastern Africa centered in present-day Ethiopia. In the painting the King of Zang meets three envoys. The dramatic gesture of the Zangi king, who stretches out one hand as he takes an enormous stride toward the envoys, identifies him as a powerful, assertive figure. <br><br>This page is from the first known manuscript of a Persian literary text illustrated by an Indian artist, who had probably been trained in the Jain manuscript tradition. The figures are arranged on one plane in a straight line against a flat red background, typical of manuscript painting in India in the 1400s.
India, Sultanate period
gum tempera and ink on paper
Overall: 28.6 x 21.6 cm (11 1/4 x 8 1/2 in.)
John L. Severance Fund
Medieval medicine offered few cures. Christians focused their hopes for recovery from illness or accident on their prayers to saints to intercede for them with God. Saints Cosmas and Damian, Protasius and Gervasius, were two pairs of twin brothers who were invoked for their healing of the sick. The statues are from the hospital complex at Abbeville, built between 1484 and 1492, where they may have stood in niches at the entrance to the church.
The vigorous modeling and realistic details- as in the variety in their facial expressions- are made more vivid by the use of color and give credibility to the saints' humanity. Their size, relative to the sick at their feet, conveys their superhuman powers, while the clerical garments lend them authority. The stocky proportions are typical of French sculpture of the late 15th century.
Saint Cosmas, gloves in hand, heals a man with a bloated stomach. It is likely that he originally held a vessel in his left hand. Cosmas and Damian were twin brothers who, according to legend, practiced as doctors in Cilicia in Asia Minor. They are said to have refused all payment in order to convert their patients. They were martyred in the 3rd century and are regarded as patrons of doctors and surgeons. See 27. 282, 284, 285.
French
H: 27 9/16 x W: 11 7/16 x D: 8 3/4 in. (70 x 29 x 22.3 cm)
medium: limestone with traces of paint and gilding
style: Gothic
culture: French
Walters Art Museum, 1931, by bequest.