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Though this portrait has had the title “Portrait of a Man” since 1942 when it entered the museum’s collection, the <br>sitter was identified by previous owners, including Leo Schidlof and Edward Greene, as a member of the famous Baring banking family, of whom G. C. Williamson mentions several members in his biography of George Engleheart.<br>Thomas Baring (1772–1848) was not elevated to the baronetcy until 1810. Thomas was a member of Parliament, <br>partner in the firm Baring Brothers & Co. from 1804, and chairman of the London and Southwestern Railroad from 1832 to 1833. Baring Brothers & Co. brokered the $15 million Louisiana Purchase in 1802, which doubled the size of the United States and financially refueled Napoleon’s war effort. <br>Thomas wears a dark blue coat with brass buttons, white waistcoat with a high white collar, bow, and frill down the front, all of which was standard attire for British gentlemen at the turn of the century. His hair is worn à l’antique (hair cut short and worn in curls, especially around the forehead), a style sported by men after the turn of the century that evokes the coiffures of statesmen of ancient Rome. The back of the frame contains plaited brown hair. There is a small area of pigment loss located at the lower right edge of the sitter’s coat.
England, 19th century
watercolor on ivory in a gilt metal frame with plaited brown hair in glazed reserve on back
Framed: 8.6 x 7 cm (3 3/8 x 2 3/4 in.); Unframed: 8 x 6.3 cm (3 1/8 x 2 1/2 in.)
Did you know...
Engleheart also painted miniatures of Baring's wife and elder sons whose names are listed in the artists fee book; he was charging from 12 to 15 guineas for a miniature painting.
The Edward B. Greene Collection
In this inhospitable landscape, Saint Jerome
appears strong and sure, praying toward a
crucifix and holding a rock to beat his chest.
Jerome retreated to the desert near Antioch
(present-day Turkey) for four years to purify
his soul through physical suffering. The
cardinal’s hat and book refer to his later work
translating the Bible into Latin, and the lion
was his companion after he pulled a thorn
from its paw. A tree holding a crucifix with a
skull at its base refers to Christ’s cross and to
Eden. The man at left may be a traveling friar
begging for sustenance.
Italy, Florence or Northern Italy, 15th century
engraving
Image: 15.1 x 21.6 cm (5 15/16 x 8 1/2 in.); Sheet: 15.1 x 21.6 cm (5 15/16 x 8 1/2 in.)
Did you know...
The rock in Saint Jerome's hand was used by the saint to beat his chest when he experienced hallucinations brought on by his isolation in the desert.
Dudley P. Allen Fund
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A range of techniques were used to create textural variation in this lace cloth: <em>buratto</em>, bobbin, and crochet. Figural motifs appear within the inserted buratto bands. Different birds, with crosses visible on their chests, crowned double-headed eagles, and feline figures facing a vessel may allude to the heraldic symbols of a particular family.
Italy, 19th century
Needle lace, burato (twined ground and darned in two directions), bobbin lace insert and edging, and crochet insert; bleached linen (est.)
Overall: 62.4 x 132.3 cm (24 9/16 x 52 1/16 in.)
Did you know...
This cloth 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
Each of the four gospels in this book opens on a page with brilliantly illuminated borders depicting the author of the text as well as birds-principally peacocks, symbols of the immortality of the soul-and fountains, representing the fountain of life and the salvation of the soul. This volume consists of 428 leaves with texts in Greek. Its level of sophistication suggests that it was probably written and decorated in a monastery in Constantinople.
Byzantium, Constantinople
ink, tempera, and gold on vellum; leather binding
Sheet: 28 x 23 cm (11 x 9 1/16 in.)
Did you know...
Gospel Books were carried in procession through Byzantine churches.
Purchase from the J. H. Wade Fund
This steatite scarab is inscribed on the bottom in partly sunk relief with the name of Queen Tiye. The top is medium high and is shallowly incised with details of good workmanship.
This piece functioned as an individualized amulet, and was originally mounted or threaded. Scarabs with Tiye's name and title are very well known, and have been found in Egypt and abroad. They should secure Tiye's royal status, but also guarantee her royal patronage for a private owner of the amulet. Moreover, it is likely that the Egyptians believed that Tiye had a special relation to the gods, and would function as a mediator.
There are many scarabs and plaques with the name of Queen Tiye, and most of them are not personal seals, but supportive amulets given to honorable people in Egypt and abroad. The impressive amount of scarabs with Tiye's name (alone or together with the name of her husband, Amenophis III) demonstrates beside many other monuments the very special role of this queen, and her political and religion importance.
Egyptian
H: 1/4 x W: 1/2 x L: 5/8 in. (0.7 x 1.2 x 1.6 cm)
medium: light beige steatite
culture: Egyptian
dynasty: 18th Dynasty
reign: Amenophis III (1388-1351/1350 BC)
Walters Art Museum, 1931, by bequest.
Naturalistic scarabs, which exhibit a beetle-formed underside instead of a flat bottom with additional motifs, became popular in the late Third Intermediate and Late periods. They were attached to the mummy bandages and were part of the amulet set. There are two varieties of such scarabs: red carnelian and blue-green faience scarabs. It is likely that the blue-green scarabs focus only on the renewal aspect, while the red carnelian scarabs were related to the sun rise/set aspect and gave special protection at the critical transition phase.
Egyptian
H: 7/16 x W: 3/4 x L: 1 1/8 in. (1.1 x 1.9 x 2.8 cm)
medium: Egyptian faience with blue-green glaze
style: Saitic
culture: Egyptian
dynasty: 26th Dynasty
Walters Art Museum, 1931, by bequest.
Guanyin is a bodhisattva, a divine being who has attained enlightenment but chooses to stay in the world to help others. Guanyin (an abbreviation of Guanshiyin: “Perceiver of the World’s Sounds”) responds to the calls of those in peril.
Here, Guanyin sits in an attitude of tranquil ease, an arm resting on one knee while gazing at the moon’s reflection in the water below; the bodhisattva’s rippling garments puddle downward in a seemingly liquid cascade. In China, devotion to Guanyin, who came to be represented as an androgynous or female being, was popularized through sacred texts ("sutras"), miracle tales, and legends by which the deity became associated with natural elements, such as water and the moon, that evoke themes of impermanence and change.
The sculpture is a technical marvel. The entire figure, down to the slender fingers, is hollow and made in a technique similar to papier-mâché. Layers of cloth soaked in lacquer, derived from a tree resin, were wrapped over an internal clay support that was removed after the lacquer had hardened. X-radiography shows that the hollow interior was covered in a pigment containing red mercury, called cinnabar, that may have had both sacred and preservative functions.
Chinese
H: 50 x W: 34 1/4 x D: 22 5/8 in. (127 x 87 x 57.5 cm)
medium: dry lacquer, gold, and paint
culture: Chinese
dynasty: Ming [Ming] Dynasty
given to Walters Art Museum, 2006.
This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.
Flanders, Ghent and Bruges, late 15th century
ink, tempera, and gold on vellum
Codex: 22.5 x 15.2 cm (8 7/8 x 6 in.)
Leonard C. Hanna, Jr. Fund
Diam. 4.5 in. (11.4 cm)
medium: Stoneware with mold-impressed design under celadon glaze (Northern celadon ware)
Metropolitan Museum of Art, New York, NY 09.34 1909
Harris Brisbane Dick and Rogers Funds, 1909
The style and quality of this manuscript's decoration is typical of deluxe Parisian books made for aristocratic or royal patrons. Most of the book's decoration appears to be the work of the Master of the Boqueteaux, an artist active at the court of King Charles V (died 1380). His style was apparently shared by a number of book illuminators working in and around Paris. It is very possible that the <em>Gotha Missal</em> belonged to Charles V, but is not provable because the manuscript has no royal portraits and lacks a colophon. Given the book's magnificent decoration, however, it would seem that it was produced for a Valois prince, if not for the king himself. The manuscript receives its name from the German dukes of Gotha, its later owners.
France, Paris
ink, tempera, and gold on vellum; blind-tooled leather binding
Codex: 27.1 x 19.5 cm (10 11/16 x 7 11/16 in.)
Mr. and Mrs. William H. Marlatt Fund