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Just like the last one, the illustration blows me away. I have a strong desire to be a better creator of characters.
While most disk fibulae are decorated with filigree, this one was made by the technique of repoussé, in which metal foil is impressed from the rear to form a raised design. The gilt silver foil, decorated with C-shaped scrolls and raised beaded outlines, is attached by four rivets onto a circular bronze base and set with four triangular-cut garnets arrayed around a green glass bead. The corroded remains of an iron clasp on the reverse once fasten the fibula to clothing and still hold imbedded wool cloth fibers. A Frankish man would have used a fibula like this one to pin his cloak at the right shoulder.
Frankish
9/16 x 1 5/8 in. (1.5 x 4.2 cm) (d. x diam.)
medium: bronze, gilded silver, garnets, glass, iron
culture: Frankish
Walters Art Museum, 1959, by purchase.
This painting is from a series of four illustrating a series of critical events in the life of the biblical figure Susanna from the Book of Daniel. The first panel in the series, now at the Walker Art Gallery in Liverpool, shows the beautiful Susanna confronted by two community elders while bathing in her private garden. The elders told Susanna that they would accuse her of adultery unless she submitted to their sexual advances. When Susanna refused, the two men brought her to trial. This is the subject of the present painting, with the two elders—standing at the center of the picture—delivering their verdict and condemning Susanna to death. The third panel, now at the Walters (37.485), shows the young Daniel halting Susanna’s execution outside the city walls. The fourth, also at the Walters (37.490), shows Daniel vindicating Susanna after a thorough questioning of the elders and their subsequent execution by stoning.
These paintings are a type of object known as "spalliera" panels. Derived from the Italian word “spalla,” meaning "shoulder," spalliera panels were originally displayed at shoulder height as part of the wall paneling in the room of an Italian palace. The individual compositions may seem similar to those for the fronts of marriage chests but the dimensions are much larger.
Painted surface H: 23 x W: 64 15/16 x D excluding cradle: 3/8 in. (58.4 x 164.9 x 1 cm)
medium: oil on wood panel
Walters Art Museum, 1931, by bequest.
This Ethopian sensul, or "chain" manuscript, was made in the seventeenth century in the Gondarine region. It was created out of a single folded strip of parchment attached to heavy hide "boards" at each end, creating a small book when folded. Comprised solely of inscribed images, this pocket-sized manuscript would have served a devotional function for its owner, who while unidentified, inscribed the first image with a note reminding people under the threat of excommunication not to steal or erase the manuscript. Narrative illuminations, which tell the story of the Virgin Mary, allow for private meditation. The book can also function as something of an icon, for when it is opened to the middle and stood on end, the facing figures of St. George and the Virgin and Child form a small diptych, resembling other icons of this era.
Christian Highland Ethiopian
H: 3 x W unfolded: 23 in. (7.62 x 58.42 cm)
H each panel: 3 5/8 x W: 3 1/8 in. (9.2 x 9 cm)
medium: ink and pigments on medium weight parchment, reinforced with a heavier parchment backing covered with upper and lower boards made of heavy undecorated hide, stitched to ends of parchment strip
culture: Christian Highland Ethiopian
Walters Art Museum, 1996, by purchase.
This dagger is decorated with an incised human face and a geometric pattern.
Melanesia, Papua New Guinea, Sepik River region, 19th century
cassowary bone
Overall: 33.6 x 4.6 cm (13 1/4 x 1 13/16 in.)
Gift of Mrs. Charles E. Roseman
This kozuka was made in Nagasaki, the main port during Japan's period of restricted foreign interchange between the 1630s and the 1850s. Most of Japan's foreign trade during that time occurred through Nagasaki. The large boat in the center is a Dutch ship. The flag at its left is either the Dutch tricolor or the flag of the Dutch East Indies Company, which used the tricolor as a background. The two boats on the right are Chinese junks. Five other small boats are in the water between the large ships. These boats are tied to together and are pulling the large boat into port. Part of the port can be seen behind the small boats.
Japanese
3 7/8 in. (9.8 cm)
medium: shibuichi, gold, silver, copper
style: Ishiguro School
culture: Japanese
Walters Art Museum, 1931, by bequest.
After dreaming of its famous bell, a grieving mother seeks her lost child at Mii Temple. She arrives on the night of a full autumn moon, wearing a traveler's hat and grasping a branch of bamboo, a symbol of female frenzy. In an emotion-filled dance, the woman begs the priests to let her ring the bell, which is represented on stage by a miniature construction. At its sound, the child recognizes his mother immediately.
Japanese
H: 9 13/16 x W: 14 5/8 in. (25 x 37.2 cm)
medium: pigments on mulberry paper
culture: Japanese
Walters Art Museum, 1989, by gift.
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