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Arabic calligraphy, the supreme art form in the Islamic world, enhances this tombstone. The elegant Arabic script embellished with leaf tendrils at the top of the tall letters is called floriated Kufic. <br><br>Verses about paradise from the holy Qur'an border the central arch-shaped niche that resembles a mosque's mihrab, located in the wall closest to the holy city of Mecca. The name of the deceased and the year of his death are recorded within the niche above the names of the carvers: "The work of Abaidallah Murra(?) and 'Umar(?)." The inscriptions from the Qur'an translate as follows: <br><br>Outer border (read from right to left): <br>"In the name of God, the Merciful, the Compassionate. Every soul shall taste of death; and ye shall only receive your recompenses on the Day of Resurrection. And who so shall escape the fire, and be brought into Paradise, shall be happy. And the life [of this world is but a cheating fruition]" (3:185). <br><br>Inner border: <br>"In the name of God, the Merciful, the Compassionate. But as for those who say, 'Our Lord is God'; and who go straight to Him, the Angels shall descend to them and say 'Fear ye not, neither be ye grieved, but rejoice ye in the Paradise which ye have been [promised]'" (41:30).
Iran, Yazd, Seljuk Period, early 12th Century
limestone
Overall: 65 x 42.6 cm (25 9/16 x 16 3/4 in.)
Did you know...
More work by these two artisans, Ubaydallah Murra and Umar, survives than by any other single artisan working in Yazd during the 1100s. There are only three other collaborative efforts on twelfth-century mijrabs/tombstones of the Yazd area out of a total number of 18 signed pieces.
Edward L. Whittemore Fund
During the 1860s, Boudin executed many paintings and watercolors representing well-to-do tourists and vacationers enjoying seaside resorts in Normandy, principally Trouville and Deauville. In this scene, the informally posed figures suggest a sense of relaxation and intimacy. The overturned chair in the foreground underscores the impression of a casually observed moment, as though a sea breeze or a quick departure by its former occupant has upended it. The majority of Boudin's small oil paintings of beach scenes of the 1860s were executed on wood panel. After laying down a thin white ground, Boudin seems to have begun painting directly, not drawing or laying in guidelines for the forms. The result is a freshness and airiness appropriate to a windy day at the beach.
France, 19th century
oil on wood panel
Framed: 45.7 x 36.8 x 3.5 cm (18 x 14 1/2 x 1 3/8 in.); Unframed: 34.7 x 26 cm (13 11/16 x 10 1/4 in.)
Did you know...
Boudin evokes the feeling of wind by painting the fluttering blue dress, the beach walker leaning to the left, the whitecaps on the water, and the angle of the sails on the boat in the distance.
Gift of Mrs. Homer H. Johnson
France, 19th century
etching
Sheet: 35.4 x 49 cm (13 15/16 x 19 5/16 in.); Platemark: 24.6 x 34.6 cm (9 11/16 x 13 5/8 in.)
Dudley P. Allen Fund
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This symmetrical oval plaque has icons and inscriptions on both sides. The front depicts an icon and image of King Thutmosis IV (1397-1388 BCE); on the back is a representation of a vulture combined with the royal name. Both sides are executed in sunk relief with deeply incised outlines and finer lines on the inner structures. The sides are smoothed and the layout is balanced. The piece is carefully made.
The plaque functioned as an individualized amulet, and was originally mounted and threaded. The amulet should secure the divinity and royal authority for the king, as well as divine protection; it should provide a private owner with his royal patronage and divine protection.
The figure of the vulture above a cartouche is less common on scarabs; more often are examples displaying the vulture with outstretched wings at the side of the royal name. Oval plaques of this type are typical for the 18th Dynasty, especially for the period of the reign of Thutmosis III (1479-1425 BCE)-Amenophis III (1388-1351/1350 BCE).
Egyptian
H: 3/16 x W: 1/2 x L: 3/4 in. (0.5 x 1.3 x 1.9 cm)
medium: light beige faience with blue-green glaze
culture: Egyptian
dynasty: 18th Dynasty
reign: Thutmosis IV (1397-1388 BC)
Walters Art Museum, 1931, by bequest.
Vishnu, made of emeralds, holds his typical emblems, each made of gold: a discus in his upper right hand, the club in his upper left, and a lotus in his lower right hand. He sits cross-legged on a lotus pedestal made of spinels, nestled on the back of his mount, Garuda, shown with a crystal face, spinel torso, and turquoise wings. The intertwined bodies of nagas (serpent deities) form the bottom of this pendant; each naga holds a pearl in offering; their faces are carved from lapis lazuli. An eleven-headed serpent hood rears over the entire ensemble.
Nepal, Kathmandu Valley
Gold set with precious and semiprecious stones
Overall: 7.2 x 5.8 cm (2 13/16 x 2 5/16 in.)
Did you know...
In Nepal and South India, the Hindu god Vishnu can be shown as either blue or green.
Gift of Mr. and Mrs. J. H. Wade
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
These elaborately carved chests were given by husbands to their wives on the occasion of their wedding. Inside the home such chests were used for the storage of clothing and were elaborately painted and gilded. These chests are examples of a type produced in Barcelona from the late 1400s onward.
Spain, Catalonia, Barcelona(?), 16th century
wood with painting and gilding
Overall: 73.2 x 136.5 x 54.8 cm (28 13/16 x 53 3/4 x 21 9/16 in.)
Gift of William G. Mather
In 1891, Henri Cross began painting in a pointillist style influenced by Georges Seurat and Paul Signac. He also left Paris and moved to the south of France, settling in Saint-Clair, a small village near Saint-Tropez. There, he concentrated on seascapes and scenes of peasants in harmony with nature. The sensuous silhouettes of cypresses and the swaying circle of figures by the water’s edge exemplify Cross’s decorative treatment of landscape, also recalling the Japanese color woodcuts and Art Nouveau designs that inspired other neo-Impressionists at the time.
France, 19th century
color lithograph on chine collé
Gift of The Print Club of Cleveland in memory of Mrs. Ralph King
The inscription on the large, four-sided stele from which this fragment comes chronicles the genealogy of the Assyrian kings and the account of King Shalmaneser III's defeat of King Haza'ilu of Damascus. While Shalmaneser's name does not survive, the accompanying royal titles confirm the identification. Haza'ilu is Hazael, king of Syria, often mentioned in Old Testament book of 2 Kings as the adversary of Israel.
Neo-Assyrian
9 x 12 1/2 x 16 1/2 in. (22.9 x 31.8 x 41.9 cm)
medium: black stone
culture: Neo-Assyrian
reign: Shalmaneser III (858-824 BC)
Walters Art Museum, 1931, by bequest.
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
Pissarro, son of the French Impressionist artist Camille Pissarro, moved to England in 1890. By 1894 he and his wife, Esther Bensusan Pissarro, had bought a printing press and established the Eragny Press. Influenced by William Morris, they were involved in every step of the production process: designing, cutting the woodblocks, setting type, and printing. The first book published by Ergany Press, The Queen of the Fishes, is based on an old fairy tale in which a peasant boy and girl escape the hardships of their lives by fantasizing that they have been turned into a giant oak and a splendid fish, respectively.
England, 19th century
woodcut printed in gray
Book page: 19.2 x 13.3 cm (7 9/16 x 5 1/4 in.)
Gift of Henry H. Hawley for the fiftieth anniversary of The Print Club of Cleveland
Gaggini was a member of a large family of sculptors whose Palermo workshop supplied monumental religious sculptures for the cathedrals of Palermo and Messina in Sicily and Montelione in Calabria. After 1507 Antonello himself worked for 15 years to produce marble sculptures for Palermo Cathedral. This figure of the legendary virgin martyr, Saint Margaret, was probably commissioned for one of these ecclesiastical foundations, possibly the chancel of Palermo Cathedral. The saint is shown reading from a book of hours (a sign of her piety) and trampling upon a dragon, the symbol of Satan. The dragon became the attribute by which she is recognized in sacred art.
Italy, Sicily, Palermo, 16th century
marble
Overall: 139.7 x 54.6 x 18.2 cm (55 x 21 1/2 x 7 3/16 in.)
Purchase from the J. H. Wade Fund
Forepaws raised in adoration, this ichneumon (a type of mongoose) was a votive gift to the cobra-goddess Wadjet. The dedication to her of a snake-eating mongoose may seem ironic, but it is in keeping with Egyptian concepts of association. The inscription on the base names the donor.
Egyptian
H: 6 3/16 x W: 1 13/16 x D: 2 in. (15.7 x 4.6 x 5.1 cm)
H with tang: 6 11/16 x W: 1 13/16 x D: 2 in. (17 x 4.6 x 5.1 cm)
medium: bronze
culture: Egyptian
dynasty: 26th-27th Dynasty
Walters Art Museum, 1931, by bequest.
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
Cistae were containers used to safeguard precious objects, including mirrors, perfume flasks, and cosmetics. A particular type of cista was made during the 4th and 3rd centuries BCE in Praeneste, a site in Latium (the region around Rome) that was heavily influenced by Etruscan culture. The elaborately engraved scenes are thought to imitate famous, but now lost, Greek wall-paintings. The ancient metalworker often pressed a white substance into the engraved lines in order to accentuate the decoration. The handles commonly take the form of human figures. Many artists in other early Italian cultures similarly incorporated figures of humans in functional objects.
This figure served as the handle to a wooden lid for a cista and takes the form of a male athlete performing a backwards somersault.
Praenestine
2 7/16 x 4 1/2 x 1 7/8 in. (6.3 x 11.5 x 4.8 cm)
medium: bronze
culture: Praenestine
Walters Art Museum, 1931, by bequest.
Dr. Eugene A. Noble, 1923. Muirhead Bone (British, 1876–1953). Drypoint; The Cleveland Museum of Art, Bequest of Elizabeth Carroll Shearer 2016.127
More at clevelandart.org/art/2016.127
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