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Bottles or jars (<em>kruken</em>) of this type of six-sided form are most often associated with the ceramic tradition found in Kreussen (now Creussen) in the Bavarian region of Germany during the mid to late 1600s. With a threaded neck fitted with a pewter screw top and ring, they were ideal vessels for medicinal liquids as they could be easily connected to a belt for transport to the patient. Applied decoration depicting the twelve apostles, as on this example, allude to the spiritual nature of healing.
German, Bavaria, Kreussen
salt-glazed stoneware, applied and impressed decoration, pewter
Overall: 34.3 cm (13 1/2 in.)
Did you know...
The applied decoration on this bottle depicts the twelve apostles.
Gift of Charles G. King Jr.
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Egypt, New Kingdom (1540–1069 BCE), Dynasties 19–20
Nile silt ware; lid of limestone
Diameter: 22.7 cm (8 15/16 in.); Overall: 23.2 cm (9 1/8 in.); Diameter of lid: 12.1 cm (4 3/4 in.)
Gift of the John Huntington Art and Polytechnic Trust
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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
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
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
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The central scene of this altarpiece depicts the enthroned Madonna and Child flanked by angels. The Christ Child holds a tiny European goldfinch, a symbol of his resurrection. The bird is tethered, a reminder that, in the 14th century, such animals were kept as pets by children. Angels present Mary with chalices of white flowers, alluding to her purity. On the left appear the Annunciation and the Crucifixion, while Christ's Presentation in the Temple and the Coronation of the Virgin are on the right.
The delicate punch-work decoration and the slender, graceful figures reveal the influence of Sienese painting. Catalan artists learned the style and techniques of Italian painting by examining imported Italian works in local churches; some even traveled to Italy to perfect their craft.
Spanish
H: 50 1/4 × W: 72 7/16 × D: 1 9/16 in. (127.6 × 184 × 4 cm)
Left panel H: 50 1/8 × W: 17 15/16 × D: 1 9/16 in. (127.3 × 45.6 × 4 cm)
Center panel H: 50 1/16 × W: 36 1/8 × D: 1 3/8 in. (127.2 × 91.7 × 3.5 cm)
Right panel H: 50 1/4 × W: 18 × D: 1 7/16 in. (127.6 × 45.7 × 3.6 cm)
medium: tempera and gold leaf on panel
style: Gothic
culture: Spanish
Walters Art Museum, 1931, by bequest.
Raku Donyu
Japanese, died 1656
H. 1 1/2 in. (3.8 cm); W. sq. 2 1/2 in. (6.4 cm)
medium: Pottery incised in scroll pattern, in imitation of Chinese carved lacquer; brownish white glaze (Raku ware)
Metropolitan Museum of Art, New York, NY 25.60.18a, b 1925
Rogers Fund, 1925
Equestrian pursuits and hunting were particularly popular among the Khitan (also spelled “Qidan”) and Jurchen, ethnic groups who lived along China’s northeastern border. Their nomadic lifestyle intrigued the Chinese court and inspired Chinese artists to develop a painting genre of foreign people hunting.
China, Southern Song dynasty (1127-1279)
album leaf, ink and color on silk
Painting: 24.4 x 27.3 cm (9 5/8 x 10 3/4 in.); with mat: 33.3 x 40.5 cm (13 1/8 x 15 15/16 in.)
Did you know...
The rider at the left has a typical Qidan hairstyle: head shaved on top with thin braids below.
Charles W. Harkness Endowment Fund
Overall: 55 x 55 in. (139.7 x 139.7cm)
medium: Silk, metallic thread
Metropolitan Museum of Art, New York, NY 32.44 1932
Gift of Edward G. Kennedy, 1932
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