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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
This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for most of the borders, was a Florentine who signed his name "Zecho" da Firenze on folio 208 verso.
France, Paris
ink, tempera, and gold on vellum
Codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.)
Mr. and Mrs. William H. Marlatt Fund
In 1720 Johann Gregor Herold became art director of the Meissen factory and developed the styles of decoration that made it famous. Both the quality and the variety of enamel colors were improved, and the paste achieved the brilliant whiteness and perfection of surface that characterizes mature Meissen wares. Herold introduced "chinoiserie" decorations, in which comparatively large-scale half-length figures were set against landscapes with cloudy skies. The high quality of its painting suggests that Herold himself may have decorated this saucer.
Germany, Meissen, 18th century
porcelain
Overall: 2.2 x 12.3 cm (7/8 x 4 13/16 in.)
Gift of Rev. Alfred Duane Pell
Thomas Kelah Wharton
American (born England), Hull 1814–1862 New Orleans, Louisiana
3 x 3 9/16 in. (7.6 x 9 cm)
medium: Graphite on white wove Bristol board
Metropolitan Museum of Art, New York, NY 1994.187.14 1994
Purchase, Mrs. Louis Marx Gift, 1994
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.
[url=http://airforceshooting.org/reardon.html]LtCol Thomas Reardon[/url] receiving his General LeMay Award
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
This flat headdress was worn by a female maize dancer. The stepped forms at the top are stylized clouds, while the paired feathers may symbolize prayers.
America, Native North American, Southwest, Pueblo, Rio Grande, Post-Contact
cardboard, string, paint, leather
Gift of Amelia Elizabeth White
Go to Page 84 in the Internet Archive
Title: Brain surgery
Creator: Starr, M. Allen (Moses Allen), 1854-1932
Creator: University of Bristol. Library
Publisher: New York : Wood
Sponsor: Jisc and Wellcome Library
Contributor: University of Bristol
Date: 1893
Language: eng
Description: This material has been provided by University of Bristol Library. The original may be consulted at University of Bristol Library
University of Bristol Library
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
Read/Download from the Internet Archive
This was used in masked performances of the Agrinya society, a powerful guild formerly restricted to men who had killed an elephant, lion, or man. The white pigment connotes the realm of the ancestors, while the aggressive expression of the face seems to suggest the courage of Agrinya society members.
Africa, West Africa, Nigeria, Idoma-style carver
Wood, human hair, paint, and possibly kaolin
Overall: 20.4 x 17.8 x 16.2 cm (8 1/16 x 7 x 6 3/8 in.)
James Albert and Mary Gardiner Ford Memorial Fund
Procession or Pardon at Perros-Guirec, 1891. Maurice Denis (French, 1870–1943). Oil on canvas; unframed: 55.9 x 46.4 cm (22 x 18 1/4 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift 2020.108
More at clevelandart.org/art/2020.108
According to an early Christian legend, when a 3rd-century Roman official of Sicily desired the Christian woman Agatha, and she refused to yield to his advances, he had her tortured, and even ordered her breasts cut off. At night in prison, she was visited by a vision of Saint Peter and an angel, and her breasts were miraculously restored.
The gray stone of the prison wall was created by letting the slate show through, and it forms a background for the night scene, illuminated by a torch. As opposed to canvas and wood, slate gave a painting almost unlimited durability and the same kind of permanence as sculpture.
For more information on this painting, please see Federico Zeri's 1976 catalogue no. 315, pp. 443-444.
Painted Surface H: 13 7/8 × W: 19 1/2 × D: 3/8 in. (35.24 × 49.53 × 0.95 cm)
medium: oil on slate
Walters Art Museum, 1931, by bequest.