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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.
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Decanter stands served as coasters for glass wine bottles in order to protect the extremely expensive and fragile linen tablecloths they sat upon. This example contains depictions of large grape vines and youthful figures that evoke the Roman god of wine, Bacchus (or Dionysus in Greek mythology). One of the young boys grasps an empty drinking vessel while the other leans against a panther, the frequent companion of Bacchus.
England, London, 19th century
silver gilt
Diameter: 8.3 x 13.7 cm (3 1/4 x 5 3/8 in.)
Did you know...
Bacchanal motifs of grapes and consumption echo this object’s function as a stand for a wine decanter.
Gift of Mrs. Otto Miller
Textiles often incorporate multiple needlework techniques within a single piece. One of the techniques in this example of lace is called cutwork. In cutwork, portions of the textile ground, such as a linen or cotton cloth, are cut away and threads are removed to create holes. The edges of the hole are then reinforced with embroidery and a pattern of needle lace can be created within the perimeter. Rather than adding to the cloth to create a design, the craftsperson removes threads to fabricate a pattern.
Cyprus ?, 18th century
Plain weave wool with needle lace, burato insertion (twined ground and darned in two directions), filet/lacis border and edging (knotted ground and darned in one direction), drawn work, and embroidery; bleached linen (est.), wool (est.), and cotton (est.)
Overall: 72.6 x 233.6 cm (28 9/16 x 91 15/16 in.)
Did you know...
This lace was given to the museum by Louise Tifft Brown, a native Clevelander who became an expert in lace while living in Venice for 35 years.
Bequest of Louise Tifft Brown
The presentation scene on this seal depicts a seated, bearded deity in horned headdress and flounced robe. An interceding goddess leads a worshipper, bald in a long robe, by the hand. She is posed with one arm raised, and she also wears a flounced robe and horned headdress. An inverted crescent is suspended in the field between them. Finally, a cuneiform inscription in three registers is incorporated into the scene.
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.
Neo-Sumerian
Diam: 1/2 in. (1.3 cm)
medium: hematite
culture: Neo-Sumerian
Walters Art Museum, 1941, by purchase.
Continuing a practice initiated by his father, Alexander III, Tsar Nicholas II presented this egg to his mother, the dowager empress Marie Fedorovna, on Easter 1901. The egg opens to reveal as a surprise a miniature gold replica of the palace at Gatchina, located 30 miles southwest of St. Petersburg. Built for Count Grigorii Orlov, the palace was acquired by Tsar Paul I and served as the winter residence for Alexander III and Marie Fedorovna.
Fabergé's revival of 18th-century enameling techniques, including the application of multiple layers of translucent enamel over "guilloché," or mechanically engraved gold, is demonstrated in the shell of the egg. So meticulously did Fabergé's workmaster, Mikhail Perkhin, execute the palace that one can discern such details as cannons, a flag, a statue of Paul I (1754-1801), and elements of the landscape, including parterres and trees.
H: 5 x W: 3 9/16 in. (12.7 x 9.1 cm)
medium: gold, "en plein" enamel, silver-gilding, portrait diamonds, rock crystal, and seed pearls
Walters Art Museum, 1931, by bequest.
This view of the Piazza San Marco, Venice shows Bellotto's devotion to faithful observation. At the left is the church of St. Mark with the Doge's Palace just beyond, leading to the lagoon. Vertically dividing the canvas is the campanile (bell tower) with the Procuratie Nuove (a government building) extending to the right. At the extreme right, opposite St. Mark's, is the façade of the church of San Geminiano which was removed in the 19th century by Napoleon. The two wings of the Procuratie were then joined across the west end of the piazza. Bernardo Bellotto was the nephew and student of Canaletto (Giovanni Antonio Canal, 1697–1768) who ran one of the most productive painting workshops in Italy. Like his uncle, Bellotto specialized in vedute (views) of Italy, especially Venice, which were purchased avidly by British aristocrats traveling on the Grand Tour. Bellotto later worked for the courts of Dresden, Vienna, Warsaw, and Munich, painting topographical and imaginary views of those cities.
Italy, 18th century
oil on canvas
Framed: 164.5 x 264 x 12 cm (64 3/4 x 103 15/16 x 4 3/4 in.); Unframed: 136.2 x 232.5 cm (53 5/8 x 91 9/16 in.)
Leonard C. Hanna, Jr. Fund
In creating luxurious accessories for a desk or tabletop, Fabergé often used native hardstones such as multicolored agate and jasper, green nephrite, pink rhodonite, and rock crystal found in the Ural Mountains of western Russia. By paying careful attention to the unique colors and textures of the stones, Fabergé and his craftsmen brought them to life, turning milky agate into a begging poodle or brown and black jasper into these sleeping puppies. The use of native materials also promoted Russian nationalism, which appealed greatly to the tsar and his family.
Russia, St. Petersburg
agate, chalcedony
Overall: 2.9 x 11.7 x 9.9 cm (1 1/8 x 4 5/8 x 3 7/8 in.)
Did you know...
Fabergé's artisans used multiple types of stone to make each puppy unique. Even the little rug they are sleeping on is made of stone.
The India Early Minshall Collection
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 is a so-called Heart scarab which was used for the deceased. The linearly incised bottom inscription contains spell 30 B of the Book of the Dead. The left reading text is displayed in ten lines, separated by nine, very straight text-divider, and framed by an oval line. The hieroglyphs are less detailed and slightly irregular. The layout is well organized, and the signs evenly spaced. The back of the scarab is very high, and the highest point at the partition between pronotum (dorsal plate of the prothorax) and elytron (wing cases). Both parts have incised borderlines, a slightly curved double partition lines, and a triple division line between the wing cases. The rectangular head is flanked by quarter-spherical, two-stage eyes with lid markings. The side plates and the clypeus (front plate) are trapezoidal. On the left wing case is an inscription with name and title of the owner: "the priest of Amun: Bak-en-Djehuti," and on the right wing case a crossed lines pattern and a formula wishing him life. The style of the inscription on the back differs from that on the bottom, and it is most likely that the text on the back with the individualization was added later by another hand. The crossed lines on the right wing case are less deeply incised, and might have been added later, only the ankh-sign (meaning "life") looks similar to the inscription on the left wing case. The extremities have natural form, and vertical and diagonal hatch lines for the tibial teeth and the pilosity (hair). The low, oval base is slightly asymmetrical and has a smaller head.
The scarab was produced to be placed in the wrappings of a mummy. It was individualized by his name of the deceased: Bak-en-Djehuti. Such funerary amulet should cause the renewal of the deceased, and support him in the Weighing of the Heart procedure in the Judgement hall of the underworld.
Egyptian
H: 11/16 x W: 1 1/16 x L: 1 1/2 in. (1.8 x 2.7 x 3.8 cm)
medium: grey-green greywacke
culture: Egyptian
dynasty: 18th-19th Dynasty
Walters Art Museum, 1931, by bequest.
Egypt, Byzantine period
tabby weave with inwoven tapestry ornament, linen and wool
Overall: 64.1 x 38.7 cm (25 1/4 x 15 1/4 in.); Mounted: 71.1 x 45.7 cm (28 x 18 in.)
Gift of Henry Hunt Clark
Silver fulfilled a prominent role in projecting wealth, status, power, and ritual in British life during the 1600s and 1700s. Elaborate forms such as this trophy, with its swags of flowers, neoclassical rosettes, acanthus spears, and acorn finial, not only represented wealth in its sheer silver weight but also provided royal and aristocratic owners a surface for displaying engraved coats of arms. Engraved on one side of this trophy cup can be found the arms of Robert Grosvenor (1767–1845), the first Marquess of Westminster, and Lady Eleanor Egerton (1770–1846), whom he married in 1794, a year after the trophy’s completion. The other side depicts preparations for a horserace, the most culturally significant leisure activity enjoyed by aristocratic families in the 1700s. Grosvenor owned a number of famous horses and was likely awarded this trophy following a successful race.
England, 18th century
silver gilt
Overall: 59.7 x 40 cm (23 1/2 x 15 3/4 in.)
Did you know...
The graceful form of this trophy by Peter Bateman and his sister-in-law Anne Dowling Bateman is reminiscent of the elegant designs produced by their mother Hester Bateman (1708–1794), one of the most celebrated female silversmiths of all time.
Anonymous gift in memory of Margaret Quayle Kerruish; the Thomas S. Grasselli Memorial Collection, and various donors by exchange