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The cylindrical walls of this pyxis base are wrapped in a repeating pattern of triangular palmettes and crowned by a lid that shows a fantastic scene of women and erotes. A band of an egg and dot pattern on the outer edge of the lid serve as a ground for three women and two erotes amongst birds, plants, and a discarded alabstron, that form a wide concentric ring around the central handle. Each woman wears a heavy wool peplos and is bejeweled by bracelets, earrings and necklace. Two of the women holdsashes and run away from an eros, the flow of the garments suggested by the wave of thin black lines, but they look back to him as he steps onto a pedestal, also carrying a sash in his hand. The third woman is seated and glances over her left shoulder into the mirror held before her by the second eros. The flesh and garments of the women are the reddish-orange color of the clay, but the erotes are a slightly lighter color because they were once painted white and some traces of this pigement remain on an erotes’ neck and torso.
Pyxides come in a variety of shapes and sizes. This particular shape of pyxis—distinguished from its predecessors by its low walls, wide diameter, and separate lid—was popular from the late fifth century to the fourth century BCE. Pyxides were used primarily by women for storing cosmetics, jewelry, or other trinkets, and they were also a popular dedication at female graves. The relationship between women and pyxides is apparent in the decoration as many feature scenes of women. Other pyxides were used as an ointment container by men, such as, physicians.
Greek
H: 4 3/16 × Diam: 5 7/8 in. (10.7 × 15 cm)
Base H: 2 13/16 × Diam: 4 15/16 in. (7.1 × 12.6 cm)
medium: terracotta, wheel made; red figure
style: Attic
culture: Greek
Walters Art Museum, 1931, by bequest.
One side of this amphora depicts the contest between Herakles and Apollo for the Delphic tripod. According to myth, Herakles traveled to the sanctuary of Apollo at Delphi to consult the oracle, but when no answer was forthcoming, the hero seized Apollo's tripod, prompting a struggle between the two. Here, Herakles strides quickly to the left toward a seated woman who holds a wreath. She is probably the Pythia, the priestess of Apollo responsible for delivering the god's oracles. Herakles looks back toward Apollo, who defensively grasps the tripod. On the opposite side of the vase is a rustic scene of two men riding in a horse-drawn cart. In front of the horse strides Dionysus, the god of wine, who is wreathed in ivy and holds ivy fronds. Three rows of dots in the area around the figures imitate inscriptions.
Greek
H: 16 5/16 in. (41.5 cm)
medium: terracotta, wheel made; black figure
style: Attic
culture: Greek
Walters Art Museum, 1960, by purchase.
Emile Dupont-Zipcy
1822–1885
9 1/2 x 9 1/2 in. (24.1 x 24.1 cm)
medium: Faience
Metropolitan Museum of Art, New York, NY 83.2.130 1883
Gift of William H. Huntington, 1883
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These brooches functioned as garment clasps (much like the generally larger fibulae) and are distinctive for their decorative enamels. The art of enameling was highly popular among the conquered peoples who lived on the outskirts of the Roman empire, chiefly the Celts and the Gauls. Though the enameling technique was practiced by the Romans themselves on small objects, the brightly colored decoration readily appealed to "barbarian" taste. By the AD 200s, enameled brooches like these were being made in abundance by the native peoples of Britain and Gaul (modern France and Belgium).
Gallo-Roman or Romano-British, Migration period
bronze and champlevé enamel
Overall: 5.4 x 3.8 x 2.4 cm (2 1/8 x 1 1/2 x 15/16 in.)
Purchase from the J. H. Wade Fund
The painting depicts an old tiger, crouching under a tree by a stream looking plaintively at a wolf, with whom he has just shared his troubles with the mice. The wolf suggested that the cat be called to eliminate the mice. The cat has dutifully arrived and requests that he be given the position of Magistrate of the Court, to which the lion agreed. The cat instilled fear in the mice; they dispersed, and the lion was content. Wisely, however, the cat treated the mice with consideration and did not exterminate them completely, so that he would not eliminate the cause of his usefulness. Although the rocky landscape is heavily shaded in a technique that gives them a soft quality, and the leaves of the tree are each outlined in gold, the lack of any actual shadows from an identifiable light source provides a timeless appearance to the scene.
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: 6 x 10.3 cm (2 3/8 x 4 1/16 in.)
Did you know...
The same word is used in Persian for both “lion” and “tiger.”
Gift of Mrs. A. Dean Perry
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The paired holes along the outer edge of the right panel indicate that this painting was originally a triptych, now missing its right panel. What is seen here as a right wing is standard iconography for central panels, combining a Virgin and Child based on the Santa Maria Maggiore icon with Christ Teaching the Apostles. Although the Anastasis and the Crucifixion typically flank the central panel, here they appear together on the left wing with other scenes. The details in this wing stress the Virgin's participation in Christ's Passion, thereby providing a moving counterpoint to the central panel where Mary appears with her infant son. The density of the icon's pictorial program suggests that the missing panel also featured an extensive narrative. Because the left wing ends with the Last Judgment, it seems likely that the right wing opened with early scenes from the life of Christ, such as the Nativity, and concluded with Passion scenes that preceded the Crucifixion. The painter's exuberant sense of color is characteristic of early Gondarine painting, appearing in both icons and works on parchment. The alternating horizontal and vertical bands of color connect this painting to works produced in the region of Lasta.
Christian Highland Ethiopian
H: 20 1/2 x W: 20 7/16 in. (52.1 x 51.9 cm)
Left panel H: 20 1/2 x W: 10 1/4 in. (52.07 x 26.03 cm)
Right panel H: 20 1/2 x W: 10 3/16 in. (52.07 x 25.87 cm)
medium: tempera on panel
culture: Christian Highland Ethiopian
Walters Art Museum, 1996, by purchase.
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Tachibana Gyokuzan
3 5/16 x 2 1/16 x 3/4 in. (8.4 x 5.3 x 1.9 cm)
medium: Fundami sprinkled lacquer, gold and colored hiramakie sprinkled and polished lacquer, takamakie sprinkled and polished lacquer relief, and foil decoration; Netsuke: lacquered wood figure of Juro-jin; Ojime: zogan metal
Metropolitan Museum of Art, New York, NY 13.67.25 1913
Rogers Fund, 1913
While the mystics of the late Middle Ages pictured the tender incidents surrounding the birth of Christ, they also vividly portrayed the agonies of His death. On this devotional image Christ is pictured wearing the crown of thorns, placed on Christ's head to mock him as "king." This kind of representation is called "Ecce Homo," meaning "Behold the Man," the words spoken by Pilate as he presented Jesus to the waiting crowd. Inscribed around the inner border are Christ's words to Pilate (John 18:37), "I am a King; for this I was born and for this came I into the world that I should give testimony to the truth."
11 3/4 in. (29.8 cm)
medium: enamels on copper
Walters Art Museum, 1931, by bequest.
Since this column-krater is the most important of 12 vases painted by a Greek artist whose name is unknown, the great English vase expert, Sir John D. Beazley, named him (or her) the Cleveland Painter, after our city. Other vases by the Cleveland Painter are now in New York, Vienna, Paris, and Copenhagen, as well as museums in Greece and Italy. The chariot scene on the main side of the vessel is a divine one, as indicated by the presence of Apollo, identified by his lyre and laurel wreath. With him are three goddesses, probably his sister Artemis (facing him), together with Hera (wearing a crown and holding a scepter and libation dish), and Hebe, the daughter of Zeus and Hera, on her way to meet her future husband, Herakles.
Greek, Attic
ceramic
Overall: 56.5 cm (22 1/4 in.)
Did you know...
The revelers on this vessel dance to the music of the <em>barbiton</em>, a stringed instrument associated with leisure and luxury.
Purchase from the J. H. Wade Fund