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As the chief intermediary between gods and men, the Egyptian king is often shown kneeling in adoration. Enough remains of this king's arms to indicate that his hands may have held offering jars or were extended with the palms facing each other around a naos, or shrine, containing a divine image. In Egypt, adoration required a divine recipient. This example was undoubtedly part of a group composition in which the king faced a larger figure of a god.
Egypt, Greco-Roman period (332 BCE–395 CE), Ptolemaic dynasty (305–30 BCE)
bronze, solid cast
Overall: 4.2 x 5.5 cm (1 5/8 x 2 3/16 in.); with tang: 12.7 cm (5 in.); without tang: 11 cm (4 5/16 in.)
Gift of the John Huntington Art and Polytechnic Trust
William Trost Richards
American, Philadelphia, Pennsylvania 1833–1905 Newport, Rhode Island
8 1/8 x 14 1/8 in. (20.6 x 35.9 cm)
medium: Watercolor, gouache, and graphite on light gray-green wove paper
Metropolitan Museum of Art, New York, NY 80.1.4 1880
Gift of The Reverend E. L. Magoon, D.D., 1880
Epitrachelia are liturgical stoles worn only by priests and bishops. This one was specially made for a metropolitan of Cyzicus in Asia Minor. Rather than with the more usual images of saints (cf. Walters 83.315), it is embroidered with illustrations of the 24 strophes of the Akathist, a hymn in praise of the Virgin Mary. The beginning of each strophe is inscribed under the respective scene.
Orthodox Eastern
H: 61 13/16 in. (157 cm)
medium: pink silk, silk and silver thread
style: Post-Byzantine
culture: Orthodox Eastern
dynasty: Ottoman Dynasty
reign: Mohammed IV (1648-1687)
Walters Art Museum, 1931, by bequest.
This finely worked plaque of the Virgin was originally placed on the left arm of a very large cross. The outer border has decorative characters resembling Arabic known as pseudo-Kufic script. A nearly identical psuedo-kufic border is found on a enamel plaque in London (Victoria and Albert Museum). The two plaques are thought to be from the same cross. The London plaque has an inscription quoting a little known text on St. Stephen of Muret, founder of the Order of Grandmont. This inscription suggests that these plaques were made under the auspices of the Abbey of Grandmont, one of the most influential patrons of Limoges enamellers in the early 13th century.
French
H: 10 3/8 x W: 6 1/2 x D: 1 3/8 in. (26.4 x 16.5 x 3.5 cm)
medium: champlevé enamel on gilded copper, glass
style: Gothic
culture: French
Walters Art Museum, 1931, by bequest.