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Battlerap Comments – Ft T-Rex vs K-Shine , URL Drought & More
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Archaeological jewelry decorated with ancient and modern scarabs was popular in Europe during the second half of the 19th century. The Castellani workshop was famous for its copies of ancient jewelry, and this necklace has been attributed to Giacinto Melillo, one of Alessandro Castellani's apprentices and protégés (another similar necklace in the Walters Collection, 57.1530, bears his mark on the clasp). In 1865 Melillo took over Castellani's workshop in Naples, which Henry Walters visited in 1903.
L: 16 3/4 in. (42.5 cm)
medium: sard, gold, with granulation
Walters Art Museum, 1931, by bequest.
Originally, roundels like this were cut and sewn onto the front and back of a tunic, probably linen, in Egypt. They belong to a sizeable group of comparable silk decorations found in Akhmim, Egypt. In each roundel, a stylized palmette tree is enclosed within a simplified lotus border that evolved from an ancient Egyptian lotus motif.
Egypt or Syria(?)
Silk; complementary weft-faced twill weave with inner warps (samite)
Overall: 20.6 x 19 cm (8 1/8 x 7 1/2 in.); Mounted: 27.9 x 26.7 cm (11 x 10 1/2 in.)
Did you know...
This elaborate pattern was woven on a large, early loom known as a drawloom that automatically repeated designs across the width of the fabric.
Purchase from the J. H. Wade Fund
[url=http://www.airforceshooting.org/callage.html]Amn Alexander Callage[/url] at USA Shooting 2009 Nationals
(photo courtesy of USA Shooting)
The full moon and deer are seasonal motifs for autumn. In this tsuba, a stag stands on the right at the edge of a body of water. The moon, rather than being shown above the stag, is shown reflected in the water at the lower left. On the reverse, bamboo decorates the left side.
Japanese
2 11/16 x 2 7/16 x 3/16 in. (6.8 x 6.26 x 0.48 cm)
medium: sentoku, gold, silver, shakudo, shibuichi, copper
culture: Japanese
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
Germany, 17th century or later
bronze
Overall: 35 x 9 x 11 cm (13 3/4 x 3 9/16 x 4 5/16 in.)
John L. Severance Fund
A proliferation of white tree peonies dominates this composition. Behind them are tall, feathery-topped <em>susuki</em> grasses and leafy deciduous trees. Tatebayashi Kagei restricted his palette to ink with red and white color, along with sparing use of green in the peony leaves and the blades of grass. He made generous use of the “dripping-in” (<em>tarashikomi</em>) technique, layering pooled ink and color, in the peony leaves. The areas left in reserve create the impression of <br>insect-eaten or late season foliage.
Japan, Edo period (1615–1868)
hanging scroll; ink and color on paper
Painting only: 90.9 x 36.2 cm (35 13/16 x 14 1/4 in.)
Did you know...
In 1738, Kagei received a copy made by Ogata Kōrin of a fan painting by Tawaraya Sōtatsu from Kōrin's brother Ogata Kenzan, so some think he trained with Kenzan in Edo (present-day Tokyo).
Worcester R. Warner Collection
Francis Seymour Haden worked professionally as a surgeon, experimenting avidly with etching in his spare time. He took up the medium while it was experiencing a major revival of interest in London, and he quickly developed an artistic reputation that outweighed his medical work. Most of Haden’s prints were landscapes. In this work, he cleanly wiped ink from the plate to suggest the sun’s bright light and reflection over the river.
England, 19th century
etching and drypoint
Gift of The Print Club of Cleveland
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.