MAG App Object Scripts: Art By Culture or Date - Descriptionsmag.rochester.edu/plugins/acrobat/tours/PassportObjects.pdf · MAG App Object Scripts: Art By Culture or Date - Descriptions

MAG App Object Scripts: Art By Culture or Date - Descriptions 10/14/11 1

American Art: 20th Century American Art Only a single work of American art appears on this version of the app, but be sure to visit the rest of the American collection on the 1st floor. Ancient Middle Eastern Art At the Crossroads See selected artworks produced up to 4,000 years ago by artists and artisans from the earliest societies of the Middle East and western Asia. Chinese Art Arts of Asia See a selection of traditional artworks produced by artists working over centuries of different dynasties and influences in ancient and medieval China. Egyptian Art Berkeley Gallery of Ancient Art Explore the decorative and functional works of art produced for daily, ceremonial, and funerary purposes in ancient Egypt.

The Helen H. Berkeley Gallery is made possible by Helen H. Berkeley, with additional support from the National Endowment for the Arts and public funding secured by New York State Senator Joseph E. Robach. Etruscan Art The Helen H. Berkeley Gallery of Ancient Art See a selection of artworks representing the unique characteristics of the Etruscan civilization of ancient Italy.

The Helen H. Berkeley Gallery is made possible by Helen H. Berkeley, with additional support from the National Endowment for the Arts and public funding secured by New York State Senator Joseph E. Robach. European Art: 19th Century European Art Only a single work of art from this period appears on this version of the app, but look for additional works of later European art in other areas of the 2nd Floor.


European Medieval Art European Art The period from about 1100 to 1400 in Europe is known as the Medieval Period, or the Middle Ages. Previously thought of as a "dark age" of lost knowledge, disease, and warfare, the period is now recognized for its own remarkable and distinctive arts, many supported by the Catholic church. Greek Art Berkeley Gallery of Ancient Art Explore a selection of artworks representing the beginnings and the legacy of the ancient Greek civilization.

The Helen H. Berkeley Gallery is made possible by Helen H. Berkeley, with additional support from the National Endowment for the Arts and public funding secured by New York State Senator Joseph E. Robach. Indian & SE Asian Art Arts of Asia Selected works of art from India, Thailand, Indonesia, and Cambodia represent diverse yet related traditions, influences, and beliefs. Islamic Art At the Crossroads Explore a selection of decorative and functional ceramics, Medieval manuscripts, and ritual objects representing the spread of the Islamic faith and its art forms through the Middle East, Central Asia, and North Africa. Italian Renaissance Art European Art The period from about 1400 to 1600 in Italy is now known as the Renaissance. It featured a flowering of culture and art that looked back on the classical arts of Rome and Greece. Japanese Art Arts of Asia View a small selection of artworks made in Japan between the 1500s and the late 1800s, a period of cultural flowering and sharing known as the Edo Period.


Northern Renaissance Art European Art During the period from about 1400 to 1600 in northern Europe, especially Germany, France, and the Low Countries (modern Netherlands and Belgium), the arts incorporated influences brought north from Italy, yet retained features unique to Northern arts. Roman Art Berkeley Gallery of Ancient Art See a variety of material objects and works of art representing the civilization of ancient Rome and its reach across the ancient world

The Helen H. Berkeley Gallery is made possible by Helen H. Berkeley, with additional support from the National Endowment for the Arts and public funding secured by New York State Senator Joseph E. Robach.

MAG App Object Scripts: American 20th C 8/26/11 1

American Art of the 20th Century Only a single work of American art appears on this version of the app, but be sure to visit the rest of the American collection on the 1st floor. Memory William Ordway Partridge (American , 1861 - 1930) , 1914 Gift of Mrs. James Sibley Watson, 13.12 Cloaked, hooded, and over life size, Memory quietly dominates the space of the Foyer. She cradles a large urn in her arms, a funerary reference from ancient art. Her downcast features, shaded by her hood, give Memory a sad yet dignified appearance that fits her role: the personification of a mother’s grief.

A Fitting Tribute Commissioned by Emily Sibley Watson, the founder of the Memorial Art Gallery, Memory is a tribute to her deceased son James G. Averell. The statue was one of the first works of art to enter the Gallery’s permanent collection when it opened to the public in 1913. Image = zoom view of Statue

A View from MAG’s Past In this historic photograph, Memory stands on the back wall of the current Renaissance gallery. She presides over a sculpture display that includes "casts in plaster of the most beautiful pieces of ancient sculpture,” a replica collection no longer seen in modern museums. very limited space here!!! Image = The Hall of Casts, ca. 1914

About the Artist: William Ordway Partridge William Ordway Partridge ranks as one of America’s most prominent sculptors of the early 1900s.

Born in Paris to American parents, he studied art there, as well as in Florence and Rome. He became best known for monumental public sculptures of literary and historical figures such as Shakespeare and Ulysses S. Grant.

Who was James Averell? James George (“J.G.”) Averell was the son of Gallery founder Emily Sibley Watson and her first husband. Averell studied architecture at Harvard, as well as on travels in Europe. His career was tragically short-lived, as he died of typhoid fever at age 27. Image = Portrait of James G. Averell, base of Memory, 13.13

MAG App Object Scripts: Anc Mid East + AAC 8/29/11 1

Ancient Middle Eastern Art See selected artworks produced up to 4,000 years ago by artists and artisans from the earliest societies of the Middle East and western Asia. Cuneiform Tablet with Case Sumerian, Ur III (ca. ca. 2094 - 2047 BCE), 2049 BCE Gift of Mr. Gordon Thompson in memory of his father, William G. Thompson, D.D., a student of Babylonian archaeology, 54.58.4.1-2 Look carefully; this tiny clay object is easy to miss, at just about 1½ inches square! The dots, lines, and wedge shapes on this 4,000 year old clay tablet are an example of cuneiform (say coo-NAY-ih-form), some of the world’s earliest writing. The records of entire Middle Eastern civilizations, from government accounts and business transactions to literary works and personal correspondence, were written on millions of ancient clay tablets.

Translation from Sumerian: "[A number of] royal gurs of barley (gur = about a bushel), received from Ebagar of the town of Bazi; recorded by the scribe Lubimu, son of Urigalim, in the month of the barley harvest, the year that the city of Urbillum was devastated [by King Shulgi’s army]."

Receipt Required? This small, rather plain-looking clay object is actually a 4,000 year old receipt proving payment of taxes. • Notice the impressions left in the clay of the

"envelope" by the cuneiform writing on the inner tablet.

• The message, or in this case a receipt for taxes paid, was inscribed into the still-damp clay of this tablet.

• When the small clay tablet with its inscribed message was dry, a second layer of damp clay was fitted around it, forming a primitive "security envelope." The message was inscribed on the outer “envelope” as well, and dried. If the inner and outer messages did not match, it proved that someone had tampered with the information.

• These red ink numbers are a later addition to the object. They are accession numbers, added by the Gallery to identify and keep track of the object in collection records.


Worshipper Bearing an Animal Offering Mesopotamian, possibly Old Babylonian, ca. 1900 -1500 BCE R.T. Miller Fund, 45.60 The man shown on this tiny molded clay plaque wears the fringed garment, round cap, and long curled beard typically worn by men in the ancient Babylonian culture. He cradles a small goat intended as a gift to the temple of one of his gods, to be sacrificed or added to the flocks maintained by the priests.

Object of Devotion Worshippers in many cultures hoped to assure their gods' favor by presenting offerings, including choice animals, fine foods, and token objects known as votives. This clay plaque may have served as a votive to a god, as well as "proof" of the ritual performance and its accompanying gift. Image = zoom

Tribute Bearer Achaemenid Persian; Made in Persepolis, ca. 650 – 330 BCE R.T. Miller Fund, 44.1 This man from the land of the Medes (say MEEDS), now in northern Iran, wears a typical Median horseman’s costume: fitted coat, trousers, and soft felt helmet. He once joined the hundreds of carved, brightly painted figures representing servants, nobles, and foreign dignitaries, marching along ceremonial staircases at the ancient Persian capital of Persepolis (say per-SEH-poh-liss).

Celebrating the New Year The covered vessel carried by this palace servant likely holds some delicacy intended for the king’s banquet table.

Dignitaries, nobles, and foreign rulers descended on Persepolis in March as guests of the king to celebrate Nowruz (say noh-ROOSS), the Persian New Year. They also appear carved onto the walls of Persepolis, wearing their distinctive costumes, bringing gifts, and representing the diverse cultures integrated in the Persian Empire. Image = detail of vessel

Palace Processions This relief figure was originally situated on a stairway, in a grouping very similar to this example still in place in the palace complex at Persepolis. Image = From the Palace of Xerxes; western stairway, east face of the parapet, northern flight. + Video views of Persepolis???


Harness Ornament with Two Ibexes Chinese; Mongolian, Ordos Culture (2nd – 1st centuries BCE) Marion Stratton Gould Fund, 73.66 Though small in size, this 2,000 year old horse-harness ornament is a sign of prosperity and social status. The lace-like design of floral or star shapes in the background echoes the curved horns and haunches of the two ibexes (say EYE-behks-ehs) that face each other at the center. Cast in bronze and then covered with glittering gold, it represents the portable and useful forms of wealth prized by the horsemen of the Ordos region in northwestern China.

A Human Connection Look carefully; notice the imperfections, where melted bronze over-ran the mold edges in some places, but did not fill the mold entirely in other place. These signs of human error add to the value of the object by creating a human connection with a long-gone artist. Image = zoom view

The Important Ibex The animals featured on this plaque are two ibexes (say EYE-behks-ehs), large antelope-like mountain goats. The Mid Asian Ibex, with its huge curved, ridged horns, appeared commonly in the arts of the nomadic herdsmen that roamed the mountains of western and northern Asia. Image = Ibex (animal)

Belt Clasp with Horse and Goat Georgian; From Transcaucasia, 1 – 200 CE Gift of Henry Hirschland, 2007.34 Cast from a carved mold, this large belt clasp is characteristic of the region known as Transcaucasia (say TRANS-kaw-KAY-zee-ah), between the Caspian and Black Seas. This clasp and the animals on it reflect social status, wealth, and everyday animal life for the nomadic people that roamed the modern Republic of Georgia 1,800 years ago.

Animated Arrangement Several animals crowd into the small central space of this ornamental belt buckle. The animals all represent creatures that the Caucasian people encountered daily, but the arrangement and interactions suggest a mythical or fantastic meaning. • A horse with greatly exaggerated, possibly tattooed, haunches stands facing right. Its mane and tail feature

a braided or coiled pattern. • The horse’s thick arched neck supports a tiny head and a flowing mane. • A large bird, facing forward with relaxed wings, shelters under the body of the horse. • A curly-horned goat rests on the horse’s back, its tail flipped up over its head. • A small dog stands on its hind legs to reach up to the horse’s nose. • The “grained” pattern and large “nail studs” in the corners give the illusion of this plaque being framed in

wood and nailed to a larger support.

Horse Bit with Cheekpieces in the Form of Winged Human-headed Bulls Iranian; Made in Luristan, 1100 –700 BCE R.T. Miller Fund, 48.39


For mountain dwellers on the move, a useful bronze horse bit also displayed wealth and status. The ancient nomadic cultures of the region known as Luristan (say LUR-iss-tan) traded their animal-based goods to the more settled cultures to the west in exchange for bronze. They created small, portable bronze masterpieces, worn by humans and animals alike, which often incorporated real and fantastic animal forms.

Useful in Life and Death In an ancient Luristan grave, a horse bit like this would be buried under the head of the deceased. Signs of wear show that horse harness pieces included as grave goods were actually used, rather than new ones made just for burial. Image = Zoom

Composite Creature hot-spots Many cultures of the ancient Middle East created artworks that feature composite creatures: imaginary beasts made from many different parts of real animals. How many can you count on this cheekpiece? • Muscular body with long legs; probably that of a

bull. • Long, thin tail ending in a tuft; perhaps that of a

bull, or maybe a lion. • Large feathery wings, like those of an eagle. • Four hoofed feet, like those of a bull or cow. • Human-like face, with large eyes and smiling

mouth. • Four large "curls," two on each side of the head.

Are they curly horns, curly hair, or large ears?

What is Luristan? The mountainous region of western Iran is known as Luristan (say LUR-iss-tan), which means the “Land of the Lurs.”

Over thousands of years, the valleys and hillsides of the Zagros Mountains have been home to nomadic herding people. In the summer, they followed their horses, sheep, goats, or cows into the rich grazing lands of the mountains. In winter, people and herds came together in the more sheltered valleys to trade goods, exchange news, arrange marriages, and work bronze into object both useful and decorative. Image = mountain/valley view Master of Animals Finial Iranian; Made in Luristan, 799 - 700 BCE Gift of Henry Hirschland, 2007.35

This finial, or decorative pole-top, depicts a central human figure overpowering a fantastical, multi-headed beast by grasping one neck in each hand. Known as the Master of Animals, the image reflects the conflict between humans and the natural world, and appears frequently in the arts of many ancient Middle Eastern cultures.

Finial Figures Finials are just one example of the bronze objects created by the ancient nomadic herding cultures of Luristan (say LUR-iss-tan). In Luristan bronzework, human and animal figures often have necks, limbs, and other features elongated and exaggerated for decorative effect. Image = Zoom

What is Luristan? From above…


Tyche, Patron Deity of a Municipality Roman, Imperial Period, 1 - 200 CE R.T. Miller Fund, 49.73 This white marble head is all that remains of a near life-size statue of Tyche (say TIE-kee) , the Greek goddess of fortune and destiny. Although Tyche was a Greek goddess, this statue was likely created during the early Roman period as a copy of a much older Greek statue. The Romans called their own goddess of destiny “Fortuna,” the source of our word fortune.

Crowned by a City Tyche’s mural crown (say MYUR-ahl), shaped like the walls and arched gateways of a city, is one of her main attributes, or identifying symbols. As the guardian goddess of a city, she stood for the success and prosperity of that city and its inhabitants. Image = Side view looking Right

Tyche of Antioch About 2,300 years ago, the city of Antioch, in modern Syria, became famous for its huge, now-lost bronze statue of Tyche. That statue inspired many small copies, including this 3-foot-high Roman marble statue and perhaps our Tyche as well. Image = Tyche of Antioch. Roman marble copy after Greek bronze original. Vatican Museum, Rome

Mosaic Floor Panel with Head of Tethys Roman; Made in Antioch, Syria, 200 - 300 CE University of Rochester Appropriation for the C. Herbert Ocumpaugh Collection, 42.2

This decorative mosaic segment is an 1,800 year old floor fragment, once part of a large Roman villa, or upper class home. Natural stones in white, black, red, and yellow create a geometric pattern which frames the head and shoulders of the water goddess Tethys (say TEH-thiss). The mosaic originally extended on each side to form a hallway, with the outlined image of Tethys marking a doorway.

Buried by Time For centuries, the “Tethys Mosaic” lay buried under the soil of an orchard. It took years for an archaeological team of eight different institutions to uncover the extensive ruins of this Roman villa and the rest of its ancient suburban neighborhood. Image = The "Tethys Mosaic," appears at the center of this 1939 excavation photo.

Who was Tethys? The water goddess Tethys (say TEH-thiss) was wife to the sea god Oceanus and mother of “all the streams and rivers of the world.” Tethys was a Greek goddess, honored by the city of Antioch even after it became a Roman provincial capital. Archaeologists working at the site of the ancient seaport and river city found many images of Tethys. In some she appears as she does here, crowned with wings as a sign of her divine status. In other images she is crowned with crab claws, or shown with her husband Oceanus, fishes, and other symbols of the sea. Image = detail of Tethys


How was it Made? Mosaic Mastery Like an ancient form of digital pixilation, small pieces called tesserae (say TESS-er-ah) come together to create this decorative and durable Roman floor. A master craftsman was responsible for the overall design and project. Groups of apprentices and lower-level artisans placed the larger cut-stone tesserae in areas of wet cement-like material, forming the geometric patterns on the side panels. The master himself executed the main design, creating the face of Tethys out of a variety of much smaller and irregularly-shaped tesserae in order to achieve more subtle coloring and three-dimensional shading. Image = CLOSEUP detail of tesserae

Protome “TOUR STOP” Greek; Probably made in Boeotia, ca. 450 - 425 BCE June Alexander Memorial Fund and Tribute Fund, 88.5

Many of the details on this clay protome (say proh-TOHM) appear in low relief, a shallow three-dimensional effect created from a mold. Notice her thick wavy hair parted in the middle, her delicate face, and her arms and hands. Her veil’s decorative border and the neck of her tunic still preserve their painted details. She may represent a worshipper, honoring a god or goddess at a temple, or the image of a goddess herself.

Painted Persephone? Lost painted details on this female image likely included a flower held in her right hand. If the artist intended this protome to represent the goddess Persephone (say per-SEH-foh-nee), youthful queen of the underworld, the flower might have been a poppy, symbolic of the eternal sleep of death. Image = zoom view

MAG App Object Scripts: Arts of Asia 11/28/11 1

Chinese Art See a selection of traditional artworks produced by artists working over centuries of different dynasties and influences in ancient and medieval China. Funerary Urn Chinese, Middle Neolithic Period, Gansu Yangshao Culture, Banshan Phase (ca. 2700—2000 BCE) Maurice R. and Maxine B. Forman Fund, 99.56

Never used in life, this elegant clay urn is an example of a ming-qi (say ming-chee) object, created to accompany the dead in the grave. People living along the Huang He River (say hwahng-HEH) in China filled these vessels with offerings of millet or rice and placed them in the graves of loved ones as food for the afterlife. Best Side Up The painted geometric patterns on this urn appear only around the top half. The bottom half was left unpainted, as the urn was half-buried in the ground at the grave. The ancient Chinese believed that this allowed the deceased’s spirit easier access to the food offerings inside. Image = Funerary Urn, view from above

Simple yet Elegant hot-spots This 4,000 year old Chinese pottery vessel features a simple but elegant design. • The natural reddish brown clay of the vessel

serves as the background for the design. • The interwoven linear decoration, created

with black and red pigments, was applied with brushes.

• The wavy "saw-tooth" line is typically found on pottery made by this early Chinese culture.

• A pair of small loop handles is attached low down on the body of the vessel.

• The lower half of the vessel’s body was left plain and undecorated.

How was it made? Coiled Clay Creation The Huang He River supplied a reliable source of fine riverbank clay for an ancient Chinese potter, who formed this urn by the coil technique.

By rolling long, thin “snakes” of clay and circling them on top of each other, the potter built up the sides of the pot. The inner and outer surfaces were smoothed using a flat paddle of stone or wood. Handmade brushes of various sizes allowed the artist to add decorative details with “paint” made from watered-down clay, or slip, mixed with red and black mineral colors.


Tomb Tile Chinese, Eastern Han Dynasty (ca. 25 - 220 CE) Gift of C.T. Loo, 42.16 The stamped animal designs and border patterns on this large clay tile added interest and beauty to the inside of an ancient Chinese burial chamber. More importantly, the animals served as guardians for spiritual protection in the grave and beyond to the afterlife.

Beauty on a Budget The wealthier, upper-class members of this early Chinese society could afford tombs lined with expensive stone tiles, carved and painted in exotic colors. Those with more limited finances had to settle for the less expensive alternative: large clay tiles with stamped designs. Image = zoom view

A Chinese Tomb Similar clay tiles line the inside of this ancient Chinese tomb chamber. Look carefully – do you see any stamped figures that resemble the ones on MAG’s tile? Image = A tomb chamber of Luoyang, built during the Eastern Han Dynasty (25–220 CE), with stamped wall decorations.

How was it made? Good impressions Ancient Chinese clay tile workshops maintained a stock of large, flat wooden stamps carved into the shapes of animals, people, trees, and objects of daily life, as well as a variety of decorative border patterns. They used these stamps to create designs or scenes, pressing them into the tile while the clay was still damp. When the tile was dry, red and white pigments rubbed into the impressions added a dash of color to tomb decoration. Image = detail view, Horse and Phoenix

Symbolic Safeguards hot-spots Learn more about the creatures depicted on this ancient tomb tile, and their mythical role as powerful guardians of the tomb. • The Chinese tiger, a dominant predator in the natural world, served as an impressive tomb guardian

for the dead. • Although based on real horses from western Asia, these tian-ma (say tee-ahn-mah), or "heavenly

horses," have wings to symbolize their ability to carry the soul to heaven. • The fenghuang (say feng-hwahng), sometimes called the Chinese phoenix, is a mythical bird that

symbolizes purity, grace, and faithfulness.


Ceremonial Food Vessel (Gui) Chinese, Western Zhou Dynasty (1027—771 BCE), 1099 – 975 BCE R.T. Miller Fund, 42.15 Spell it G-U-I, but say it KWAY! Decorated with real and mythical animal symbols like dragons and birds, this impressive bronze food container had ceremonial and material value in ancient Chinese society. Large bronze vessels became part of elaborate rituals of power and privilege, given as royal gifts and preserved as aristocratic family heirlooms.

Ancestral Assistance A noble family might use a gui like this to present food offerings to their ancestors, or deceased relatives from previous generations. Living family members hoped that the ancestors, pleased by generous offerings, would watch over the family and bring good fortune.

Image = Gui, side view

Handle this Animal On gui vessels like this, created over 2,500 years ago during China's Western Zhou dynasty, the sturdy handles often featured animal motifs such as ears, snouts, teeth, and tails. What type of animal does this handle remind you of? Image = handle detail

Horse Chinese, Tang Dynasty (618 - 907 CE) Gift of James Sibley Watson, 30.26 This impressively large Chinese ceramic horse still wears its colorful harness and saddle. It served as a ming-qi (say ming-chee), or tomb figure, created to accompany the dead. Like other examples of Chinese horse figurines, it represents not the small ponies native to northern China, but the prized long-legged, powerful horse of Central Asia. Living Legends Admired for their size, strength, and endurance, this breed of real Central Asian horses gained a legendary identity as tian-ma (say tee-ahn-mah), or “heavenly horses.” Credited with supernatural speed and stamina, they were believed to carry the souls of the dead up to the heavens. Image = alt view of Horse

Superior Steeds These "heavenly horses" still survive today as the rare breed known as Akhal Teke.

During the Han Dynasty (206 BCE –220 CE), the armies of the great Emperor Wu-ti expanded Chinese control westward into Central Asia. In 101 BCE, his armies conquered the valley of Ferghana, now in modern Uzbekistan, and took as their prize 3,000 of their extraordinary horses.

Additional horses came east to China along the trade routes, exchanged for Chinese spices, grain, and other goods, but especially silk. Horse ownership was limited, by law as well as price, to the emperor and nobles, who valued these horses for sporting, hunting, and military use. Image = Akhal Teke horse

Three Colors in One Chinese potters working almost 1,500 years ago created sancai (say san-KY) glazes, Chinese for “three colors.”

The rich, shining green, blue, and brown colors on the horse’s saddle and harness represent a Tang Dynasty innovation in Chinese pottery. The potters added minerals to clear glass-like overpaints applied to the surface of the finished clay piece. The high temperatures of the pottery kiln released the deep colors created the drip-effect on the surface of the figure. Image = close-up of saddle


Female Court Musicians Chinese, Tang Dynasty (618 - 907 CE) Gift of James Sibley Watson, 31.2 Despite a few missing instruments, these young ladies represent a troupe of musicians from the Chinese royal court. They are fashionably dressed, their hair swept up into two hoops, with the round faces, large eyes, and tiny mouths popular in Tang Dynasty ceramic figures.

Afterlife Entertainment Representing a pleasure enjoyed in life, the musicians are examples of ming-qi (say ming-chee), objects created specifically for the tomb. Clay tomb figures of dancers, house servants, and other workers accompanied the wealthy to ensure their comfort in the afterlife. Image = whole group

Explore the Instrument s Explore each of the traditional Chinese instruments "played" (in clay versions) by this group of musicians.

This musician plays the panpipes, ten bamboo tubes of varied length connected in a flat "wing" shape. By blowing across the top holes, the panpipes produce a variety of different notes.. In Chinese, panpipes are called paixiao (say pie-shee-ow).

(31.2.1 )

Although her instrument is lost, this musician's unusual pose, with head turned to one side, and the position of her hands, hint that she may once have played a horizontal flute carved of bamboo.

In Chinese, the horizontal flute is called a di (say DEE) or dizi (say DEE-ZEE).

(31.2.2)

The pose of her hands indicates that this musician once held a type of wooden flute, played vertically like a recorder with finger holes and a notched mouthpiece.

In Chinese, this type of vertical flute is called a xiao (say shee-OW).

(31.2.3)

This musician's hands, made into fists and held chest-high, once held a pair of small cymbals, often fashioned of copper.

In Chinese, these cymbals are called tongbo (say tong-BOH).

(31.2.4)

This musician's missing instrument may have been a small type of harp, held vertically by the frame with one hand while the other plucked the strings.

In Chinese, this harp is called a konghou (say kong-HOE). (31.2.5)

This musician plays a very ancient instrument which resembles a small pipe organ; she blows through a reed mouthpiece into a base holding multiple bamboo pipes. In Chinese, this instrument is called a sheng. (31.2.6)

The pear-shaped string instrument played by this musician has a long neck and four silk strings. It is played by plucking the strings with a thin triangular pick, known as a plectrum.

In Chinese, this is a type of lute is called a pipa (say PEA-pah).

(31.2.7)


Camel “TOUR STOP ” Chinese, Tang Dynasty (618 - 907 CE), 700 – 750 CE Gift of James Sibley Watson, 31.14 This two-humped camel figurine, embellished with decorative sancai (say san-KY), or three-color glazing, represents a Bactrian camel of far northwest China. During the Tang Dynasty, camels were second in popularity only to horses as ming-qi (say ming-chee) figures, made to accompany the dead into the tomb. These funerary camels sometimes came in pairs; one carrying a load of goods, the other not.

Beasts of Burden Tang Dynasty rulers maintained huge herds of Bactrian camels to carry rich trade goods between east and west along the Silk Road. Perhaps a nobleman who gained great wealth from the trade routes chose a camel figurine for his tomb as a symbol of his success. Image = Alt view

Essential but Endangered For thousands of years, Bactrian camels have supplied people with milk, meat, and fur, as well as their carrying capacity. Today over 2 million Bactrian camels live on farms and in herds worldwide. However, they are highly endangered in the wild, numbering less than 1,000 in their original homelands. Image = Bactrian camel (Camelus bactrianus)


Indian & SE Asian Art Selected works of art from India, Thailand, Indonesia, and Cambodia represent diverse yet related traditions, influences, and beliefs. Head of a Buddha Thai, Ayudhya Period (1350 - 1757) Gift of James Sibley Watson, 30.33 The serene expression, placid smile, elongated earlobes, and hair top-knot of this bronze statue head all identify it as an image of the Buddha (say BOO-dah), “The Enlightened One.” This head was once part of a full-length statue of the Buddha, likely seated cross-legged in deep meditation.

“The Enlightened One” Images of the Buddha usually include several attributes, or characteristics that identify him. Many of these refer to his story of becoming "The Enlightened One." • His shaved head is covered, not with ringlets of

hair, but with the curled-up bodies of snails! Read the story of these snails on another screen.

• Although it is not visible on this statue head, images of the Buddha often include the urna (say OOR-nah), or "third eye," of increased understanding.

• His eyes are closed or cast down, looking inward and avoiding worldly distractions.

• His earlobes are extremely elongated, stretched by the heavy earrings he wore in his princely youth.

• Although it looks like a hairdo, the top of his head is actually enlarged with enlightenment, the achievement of ultimate understanding. This trait is called the ushnisha (say oo-SHEESH-nah).

Who was the Buddha? A Hindu prince named Siddartha Gautama (say sih-DARTH-ah gow-TAH-mah) was born heir to a wealthy kingdom about 2,500 years ago.

His father tried to protect him from all the bad aspects of life, but one day Siddartha escaped from the palace and roamed the streets of the city. He encountered poverty, hunger, disease, and death for the first time. Being Hindu, Siddartha believed that life was an unending cycle of birth, death, and rebirth. He became so sad at this knowledge of life’s suffering that he gave up his wealth and position in order to study and meditate, trying to discover an escape from this cycle.

After many years, he achieved this “ultimate understanding,” or nirvana (say nur-VAH-nah) and became the Buddha, “The Enlightened One.”


Attributes of the Buddha hot-spots The Buddha and his followers appear in art with various attributes; special clothing, objects, or other traits that identify them. How many of these attributes appear on MAG's Buddhist works of art? • The ushnisha (say oo-SHEESH-nah) looks like a top-knot hairdo. Actually, it represents a swelling of

the top of the head caused by the achievement of ultimate understanding, as if the head cannot hold so much knowledge.

• This seated crossed-leg pose, known as the lotus position, is commonly used to convey calm and relaxation.

• The mudras (say MOO-drahs), special arrangements and poses of hands and fingers, are important symbols in Buddhist art.

• Bare earlobes, still stretched by the heavy earrings worn in the Buddha's princely youth, stand for the rejection of earthly riches and power.

• The urna (say OOR-nah) is a mark between the eyebrows, sometimes like a jewel. It is a "third eye," representing increased wisdom and the ability to see beyond earthly existence.

• Closed or castdown eyes avoid worldly distractions and help to focus attention inward.

Image = generic outline drawing

A Story of Selfless Snails Buddha and the 108 Snail Martyrs Buddha’s head looks like it is covered with tiny ringlets of hair, but they are actually the curled-up bodies of snails.

According to the story, Buddha was deep in meditation one day, sitting on the ground for hours in the hot sun. He was so focused on his thoughts that he was unaware of the intense, dangerous heat. A passing group of 108 snails saw the Buddha sitting there and became concerned for his health. With no hesitation or regard for themselves, the snails all crawled up his body in order to cover and protect the Buddha’s head with their own moist bodies. This generous and selfless act cost them their lives, as they all died from exposure to the hot sun. They became honored as the Snail Martyrs (ones that die for their beliefs). In their memory, the number 108 is very important in Buddhist belief.


What is Buddhism? Buddhism today is practiced throughout the world by an estimated 350 million people. Buddhism as a religion emerged about 2,5000 years ago in northeast India, based on the teachings of the Buddha. The word “buddha” comes from budhi, which means “to awaken” in the ancient Indian language of Sanskrit. During his lifetime, the Buddha taught a series of principles and practices called the Dharma, or Truth. These include the life philosophies known as the Four Noble Truths and the Noble Eightfold Path. These can be summed up as 1) leading a moral life, 2) being aware of one’s thoughts and actions, and 3) developing wisdom and understanding. Buddhists believe that by studying and meditating on the Buddha’s teachings, they will ultimately achieve enlightenment, or “awakening” as he did, escaping from life’s unending cycle of suffering and rebirth to a blessed non-existence known as nirvana (say nur-VAH-nah). Buddhists do not consider the Buddha to be a god, and do not worship him or his images. However, they may pay respects to images of the Buddha, or bow as an expression of gratitude for the Buddha’s teaching.


Head of the Bodhisattva Avalokitesvara Cambodian, Khmer Empire (802 – 1451 CE), 1000 – 1200 CE Presented in memory of Dr. Ewald Eiserhardt by friends and students, 36.4 The downcast eyes, slight smile, and placid expression of this carved stone head point to his identity as a follower of the Buddha, Buddhism's "Enlightened One." The head's tall, bound hairdo even contains a small flame-shaped frame housing a tiny image of the seated Buddha. Of the many followers of Buddha, Avalokitesvara (say ah-VAH-low-kih-TESS-vah-rah) became one of the most significant and popular. He is known as the bodhisattva (say boe-dee-SAHT-vah) of compassion, caring deeply for the welfare of others.

About Avalokitesvara As Buddhism spread to different lands and cultures, Avalokitesvara (say ah-VAH-low-kih-TESS-vah-rah ) became known by different names. In China he was called Guan-yin (say kwahn-yihn), and in Japan he was called Kannon (say cah-nohn). Image = zoom

What is a Bodhisattva? A bodhisattva (say boe-dee-SAHT-vah) is one of the Buddha's most devoted followers. Like the Buddha, a bodhisattva has achieved enlightenment, and the ability to escape from the cycle of earthly birth and death. However, a bodhisattva chooses not the follow the Buddha into this blessed "non-existence," known as nirvana (say nur-VAH-nah), but chooses to remain in earthly form and help others toward enlightenment.

Attributes of the Buddha From above…

Who was the Buddha? From above… What is Buddhism? From above…


Head of a Buddha Afghan, Late Gandaharan Period (300 - 500 CE) Gift of Mrs. Bernard N. Schilling in memory of her father and mother, Dr. and Mrs. William S. Eisenhart, 58.20 This small stucco head of the Buddha shares many of the typical features of Buddhist statues. A head of Buddha from the modern Middle Eastern country of Afghanistan serves as evidence of the spread of Buddhism and other religious beliefs, as well as technology, arts, and cultural practices, from east to west and back again along the lucrative trade routes known as the Silk Road.

Attributes of the Buddha From above…

For Collection Connection See Another Buddha How does this head of Buddha made in the area of modern Afghanistan compare with the bronze head from Thailand? What features are the same? Which are different? Why?

The God Ganesa Thai, Ayudhya Period (1351 - 1767), 14th century General Acquisitions Fund, 81.10 Even in its broken condition, this figure is instantly recognizable as Ganesa (say gah-NESH), one of the most popular Hindu gods. With the plump, round-bellied body of a young boy and the head of an elephant, Ganesa is the good-natured patron of successful efforts, remover of obstacles, and supporter of education and wisdom.

Why does Ganesa have an elephant head? One version of the story… One day the goddess Parvati (say pahr-VAH-tee) wished to bathe without being disturbed. She formed a young boy out of clay and asked him to guard the door. The boy Ganesa refused entry even to Parvati’s husband, the god Shiva (say SHEE-vah). Shiva lashed out in anger and struck off the boy’s head, but instantly regretted his action. Shiva returned the boy to life, and replaced Ganesa’s lost head with the first one he could find; that of an elephant.

Image = Side view of head Removed ref to “father” even tho it appears in the stories…

What is Hinduism? Hinduism is one of the world's oldest religions, emerging over 5,000 years ago out of the early cultures of the Indus River valley, in modern day Pakistan. There is no single founder or event that “began” Hinduism. It is a practice of rituals and lifestyle choices based on a universal, eternal soul called Brahman. Brahman created everything, and is present in everything, including other gods and heroes, and in the cycle of life.

Hindus believe that the soul passes through an endless cycle of birth, death, and rebirth. The form of rebirth is always dependent on Karma, or how the previous life was lived. Today Hinduism is practiced by over 900 million people worldwide.


Attributes of Ganesa hot-spots The image of Ganesa is a composite, or mixture, of four different creatures. This statuette's broken condition makes some of these traits difficult or impossible to see, but even so, Ganesa is unmistakable. • Ganesa's big, round belly contains the whole universe. • His elephant ears demonstrate that Ganesa is "all ears" to the prayers and requests of his followers. Waving them creates a wind that separates good from evil. • In the end of his trunk, Ganesa often holds a sweet treat, symbolizing the sweetness of one's true, spiritual self. • His two left hands, completely missing on this figure, likely held a small noose, to capture all difficulties, and a string of rosary beads symbolizing the

continuous pursuit of knowledge. • His missing upper right hand usually holds a goad, a forked tool used by elephant trainers. It symbolizes Ganesa's removal of obstacles from humanity's path. • The large head of an elephant stands for strength and intellect. • Ganesa’s broken tusk is a symbol of sacrifice. He broke it off himself for use as a pen in order to write down sacred scripts. • Ganesa has two arms on his right side, and would have had two arms on his left side as well. Multiple arms are a sign of divinity; images of Ganesa sometimes

have as many as 14 arms. • His missing lower right hand probably once held his own broken tusk, like a pen.

The God Surya Indian; Made in Uttar Pradesh, Gupta Period (320 - 600 CE), ca. 600 CE R.T. Miller Fund, 82.48 One of the earliest Hindu gods, the sun god Surya (say SOOR-yah) and his two faithful attendants form a common three-figure group in Hindu art. This fragment once formed part of the carved, painted decoration of a temple.

The tallest figure is Surya, who wears an ankle-length tunic, trousers, and boots - a costume influenced by trade with central and western Asia. His companions wear cone-shaped felt hats called Phrygian caps (say FRIH-jee-ihn). These come from ancient Greek art, where they were associated with “barbarians,” or non-Greek people, living in Phrygia, now modern Turkey.

Symbols of Surya hot-spots Symbols incorporated into this image of Surya demonstrate and confirm his identity. • The halo-like nimbus, or circle of light, behind

Surya demonstrates his divine status as the sun god. • Dandi (say DAHN-dee), Surya’s bodyguard,

always appears armed with a sword at Surya’s left. • Surya’s scribe Pingala (say peen-GAH-lah)

appears at Surya's right, carrying an inkpot and pen.

• Surya carries lotus flowers, which close at sunset and blossom again at dawn. They symbolize the sun’s daily cycle of death and rebirth.

• Notice how the ends of Surya's draped garment elegantly flow across his arms and down to form a nimbus over the heads of each of his two attendants.

What is Hinduism? From above


Rama, Sita and Lakshmana Return to Ayodhya Indian, ca. 1850 – 1900 I know it won’t be on view for much longer, but how could I resist?!?! Gift of Helen H. Reiff in memory of Robert F. Reiff, 83.55

This small painting shows a scene near the end of the epic Indian poem, the Ramayana (say rah-mah-yah-nah). The hero brothers Rama and Lakshmana, after many adventures, have rescued Rama’s wife Sita from the demon king of Lanka. Accompanied by the armies of monkeys and bears that helped them in their fight, they return home in triumph. Here they fly through the clouds on a magical vehicle called Pushpaka (say push-pah-kah) to the city of Ayodhya (say ah-yoh-thee-yah), where Rama will be crowned king.

Found out that Hindu pronunciations have no emphasis on syllables… all the same.

Rama’s Retinue Rama returned in triumph to Ayodhya, accompanied by many of his faithful friends and followers. • Bears: the army of bears built a floating stone bridge so Rama could reach Sita on the island of Lanka. • Monkeys: the monkey army fought for Rama and defeated the army of the demon king. • Hanuman (say hah-noo-mahn): General of the monkey army, “son of the wind,” and devoted friend

and follower of Rama. His uncle Sugriva (say soo-gree-vah), the Monkey King, with orange fur and wearing a crown, sits behind and above Hanuman.

• Lord Vibhíshan (say vih-bih-shahn) was rightful king of the land of Lanka (identified with modern Sri Lanka). His throne was stolen by his evil brother Ravana, the demon king, and restored by Rama’s victory.

• Lakshmana (say lahk-shmah-nah) is Rama's faithful twin brother. He chooses to go into exile with Rama and shares all his adventures.

• Rama is heir to the throne of Ayodhya. Rama always appears with blue skin that identifies him with the god Vishnu. He traditionally represents the ideal son, husband, brother, father, and king.

• Sita (say see-tah) is the beautiful, faithful, and virtuous wife of Rama. She is held up as a standard of ideal womanhood.

What is Ayodhya? The city of Ayodhya (say ah-yoh-thee-yah) is in the modern state of Uttar Pradesh, in northeastern India.

The city is very holy to both Hindus and Muslims. This Hindu temple dedicated to the monkey hero Hanuman, who accompanied Rama on his adventures, stands there today.

In 1856, not far from the time that this painting was created, the British army took over the city from its Indian rulers. This was just one event that helped spark the famous 1857 Indian Mutiny, a rebellion of native-born Indians against the British rulers.

Image = Hanuman temple

What is Pushpaka? Pushpaka is a magical, self-moving, flying car, large enough to hold an entire palace or city. In the Ramayana, “Swift through the air, as Rama chose, the wondrous car from earth arose, and decked with swans and silver wings bore through the clouds its freight of kings.”

I know this will go off view soon, but while we have it out I love using it… all the info from Picturing the Story!!


What is the Ramayana? The Ramayana is a 50,000-line epic poem. It tells the story of Rama, the eldest son of the king of the ancient city of Ayodhya.

Rama is considered to be the Hindu god Vishnu born in human form, and his incredible adventures and accomplishments feature significantly in Hindu belief and practice. Scenes from the Ramayana have appeared in Indian arts - painting, sculpture, theater, and architecture - for thousands of years.

The Ramayana is one of two ancient Indian epic poems (the other is called the Mahabharata). Both poems originated as oral stories as early as 1500 BCE, and were only written down centuries later. The poems and their characters have had a great influence on Indian civilization.

Image = detail of Rama & Sita

How was it made? Indian Miniature Painting This complicated technique, which came to India in the mid 1500s, was adapted from Islamic manuscript painting.

First the artist lightly draws the image layout, using white pigment over any corrections. When the drawing is perfect, the artist covers it with a transparent deer skin (or thin tracing paper) and pricks tiny holes all along the drawing lines. This creates a stencil, which allows the artist to transfer the drawing to a fine watercolor paper by pouncing, or patting black pigment across the stencil. The pigment passes through the holes and leaves soft outlines on the fine paper surface.

The painter then applies flat water-based colors in order of shade, lighter colors first. Human figures are painted first, animal figures next, and the background last of all. Lavish decoration and bright colors bring out tiny details of costume, props, and architecture.

Highlights in gold leaf are the last step before burnishing, when the painting is laid facedown and rubbed with a polished stone to harden and smooth the surface texture.

Shadow Puppet (Wayang Kulit) of Puntadéwa Javanese, late 1700s Added by popular demand after it went on view!! Gift of Mr. and Mrs. Benjamin Forman, 37.16

This flat, stick-mounted puppet represents a male character in profile, with almost grotesquely exaggerated features. However, his very long nose, squinted eyes, and blackened face, as well as his fine clothing, demonstrate his nobility, humility, and high social status. He is over 200 years old, but represents an even older but still vital cultural tradition of shadow puppet theater on the Indonesian island of Java.

Shadow puppets fashioned from the dried, flattened hide of water buffalo are known as wayang kulit (say wy-YAHN koo-LIHT), which means “shadow-made-by-leather.” This name also applies to the performances, where a puppeteer manipulates the puppets behind a back-lit cloth screen so their shadows act out the story.

A Star of the Screen In spite of their “shadowy” screen roles, these puppets have intricate, colorfully painted details. Most have layers of gilding or bronze leaf as well. Colors, facial features, and costume types make the characters easily identifiable to the audience on both sides of the screen. Image = Zoom


Who is Puntadéwa? (say Puntadéwa (say puhn-tah-day-vah) This puppet depicts the youthful Puntadéwa, the eldest of five royal brothers whose adventures make up the ancient Indian epic poem Mahabharata (say ma-hah-var-ah-tah). After he becomes king, Puntadéwa is called by his more well-known "adult" name Yudhisthira (say yoo-diss-teer-ah). Image = Detail of face

A Shadow of Himself From behind a puppet theater screen, MAG's shadow puppet would look very similar to this nearly identical puppet. The delicate cut-away patterns and designs break up the solid shapes of the headdress and costume, and lend a decorative lacey effect to the puppet’s shadow. Image = shadow

How was it made? The creation of a wayang kulit (say wy-YAHN koo-LIHT) figure can take a team of artists several weeks to complete.

From paper patterns, the outline and cutwork details of each figure are traced out onto kulit (dried and stretched buffalo skin). Each figure might go through several cycles of smoothing, priming, and inspection before painting and embellishment. Finally, the parts that move (upper arms, lower arms with hands) and their attached sticks are mounted on the body.

Image = double-shot – carving + painting What is the Mahabharata? (say mah-hah-var-ah-tah) The Mahabharata , one of the two major Indian epic poems, tells of the struggle of five good, heroic brothers (seen as shadow puppets below) against their 100 evil cousins.

These brothers, while acknowledged as sons of King Pandu, were actually fathered by different gods. When Pandu died, he left the throne to his eldest son who was tricked by the evil cousins, lost the kingdom over a game of dice, and was forced into thirteen years of exile along with his brothers. While in exile, the brothers prepared for war, and eventually won not only the kingdom, but honored places in heaven.

The Mahabharata and the Ramayana, the other Indian epic, originated as oral tales passed along by priests and traveling storytellers, perhaps before 500 BCE. The 100,000 verses of the Mahabharata were not written down until about 350 CE, in the ancient script of Sanskrit.

Image = puppets of 5 Pandawa brothers

What is Java? The modern nation of Indonesia includes over 18,000 islands, spread across almost 775,000 square miles at the equator north of Australia. Java, the fourth largest of these islands, is home to over half of Indonesia’s population as well as the capital city of Jakarta. Image = zoom Map


What are Shadow Plays? The tradition of shadow puppet theater dates back at least 1,000 years on the island of Java.

Above, the puppeteer, or dalang (say dah-LAHNG), manipulates the puppets from behind a screen, provides the voices of all the characters, and directs the orchestra’s musical accompaniment. At the time of this puppet’s creation, only men could attend performances, but today they are open to all. Plays are performed for special events like public holidays, religious festivals, weddings, and births, and last all night long. Scholars believe that shadow puppet plays, almost exclusively featuring stories from the Hindu epic poems, helped to spread Hinduism throughout Java. These beloved shadow plays became so strongly incorporated into Javanese culture that they continue to this day, even though most Javanese converted to Islam in the 1500s CE. Islamic belief against figural images may have contributed to the highly stylized, almost grotesque forms of puppet figures.

Image = Wayang Perf. from behind

What is Hinduism? From above… Watch It video to be located… A wayang performance may last all night long. Audience members may choose to sit in front of the screen to view the shadow show, or behind the screen in order to view the orchestra, or gamelan, and the puppeteer, called the dalang.


Japanese Art View a small selection of artworks made in Japan between the 1500s and the late 1800s, a period of cultural flowering and sharing known as the Edo Period.

Tsuba (Sword-guards) Japanese, Edo Period (1603 - 1868) The tsuba (say SOO-bah) fits between the handle and blade of a Japanese samurai (say SAM-ur-eye) warrior’s long sword. At first the tsuba was purely practical, helping to balance the sword and protect the samurai’s hand. Over time, tsuba became a samurai status symbol, individually crafted by dynasties of artists and passed from one generation to the next. This selection of nine Japanese tsuba represents a variety of shapes, working techniques, and artistic styles. How does a tsuba work? When mounted on a sword, the tsuba fits between the handle (above, at top right) and the blade. The center of the tsuba features a slot for the main sword blade, and might include up to two additional openings for holding supplementary weapons that formed a samurai’s weapon set. Image = Close-up of tsuba mounted on sword

A Samurai with his Sword In this detail from a Japanese tea label, a samurai wields his long katana sword. Notice the tsuba as a golden disk above the samurai's hands on the handle of the sword, with the blade protruding above.

Image = Design for Tea Label: Samurai with Demon Japanese, 19th - 20th centuries General Acquisitions Fund, MAG 74.50.8

The Parts of a Tsuba This diagram identifies and gives the Japanese names for the various components of a tsuba. • Nakago-Ana (Hole to let main blade of Katana pass

through) • Kozuka = smaller utility blade • Kozuka Hitsu-Ana (Hole to let Kozuka pass through) • Kogai = skewer-like “hairpin” tool • Kogai Hitsu-Ana (Hole to let Kogai pass through) • Mimi (Rim) • Hoshi (Rivet) • Seppa-dai (raised, wider frame around the Nakago-Ana)

Explore one of these Tsuba Select one of the nine tsuba on display to learn more about it.

Three figures wearing kimono (robes) and large, basket shaped hats peer out at varied angles around the central blade opening of this round tsuba.

Openwork Tsuba with Figures Bronze Gift of Mrs. Leroy E. Snyder, 44.26.6

This round tsuba has gold-inlaid, stylized plum blossoms on a shallow-relief vine pattern in the background.

Inlaid Tsuba with Plum Blossoms Bronze with gold inlay Gift of Mrs. Leroy E. Snyder 44.26.7


The complex scene on this round tsuba features a samurai guarding five large jars, half-buried on the shore. He glares fiercely at a dragon sweeping out of the sky. Behind him, a woman sits at a low table, holding open a handscroll as her long sleeves billow in the wind.

Carved Tsuba with Samurai and Dragon Bronze, lacquer, and gold Gift of Mrs. Leroy E. Snyder, 44.26.13

This four-lobed tsuba pictures a carved still-life design enhanced by gold inlay. A spray of cherry blossom branches, known as sakura (say sah-KUR-ah), lay next to a small box or scroll tied with twine. Notice the swordsmith’s signature along the left side of the blade slot.

Carved Tsuba with Sakura Branches Bronze, lacquer, and gold Gift of Mrs. Eric Fisher Wood 66.9.5

The cut-away effect of peony flowers and vines decorating this plain round tsuba give the surface a lacy effect. Notice the swordsmith’s signature on the central blade slot.

Openwork Tsuba with Peonies and Vines Bronze and gold Gift of Mrs. Eric Fisher Wood 66.9.38

The cut-away forms of leafy branches and flying geese break up the surface of this round tsuba. The central blade slot features gold or brass rivets at top and bottom.

Openwork Tsuba with Flying Geese in Treetops Bronze and gold Gift of Mrs. Eric Fisher Wood 66.9.59

The lively, three-dimensional image of a leaping carp stands out in dark bronze against the golden brass background of this four-lobed tsuba.

Modeled Tsuba with Leaping Carp Bronze, brass, and gold Gift of Mrs. Eric Fisher Wood 66.9.89

Minimal gold inlay and cut-away enhance the very shallow landscape at the top of this round tsuba. At lower left, a peasant farmer dozes and chews a grass strand, his large hat hiding his face and his tool abandoned by his feet.

Iron Tsuba with Resting Peasant Iron and gold Gift of Mrs. Eric Fisher Wood 66.9.94

This “flat plate” round tsuba features cut-outs of a tomoe (say TOE-moe), or “comma” shape at the upper right, and a wavy, linear shape below. This design may reflect a simpler, non-pictorial style of a much earlier period.

Iron Plate Tsuba with Cut Shapes Iron Gift of Mrs. Eric Fisher Wood, 66.9.201

We probably should have additional Japanese objects... maybe a stencil, one of the vessels, and the Kannon???

Ideas welcome. These are hard because so many of them circulate.

MAG App Object Scripts: Berkeley 11/14/11 1

Egyptian Art

Explore the decorative and functional works of art produced for daily, ceremonial, and funerary purposes in ancient Egypt. The Helen H. Berkeley Gallery is made possible by Helen H. Berkeley, with additional support from the National Endowment for the Arts and public funding secured by New York State Senator Joseph E. Robach.

The Coffins of Pa-debehu-Aset Egyptian, Ptolemaic Period (332 - 30 BCE) This is a “brief” version… more images and info in Explore Egyptian Symbolism “Tour” Marion Stratton Gould Fund, 2000.11 Over 2,300 years ago in ancient Egypt, there lived a man named Pa-debehu-Aset (say PAH-deh-beh-hoo-AH-seht). He was not a king, but he was wealthy enough to afford this set of two wooden nesting coffins for his burial. Each detail on these coffins has a symbolic meaning, and reflects thousands of years of Egyptian artistic and religious tradition.

Who was Pa-debehu-Aset? We know very little about the man named Pa-debehu-Aset (say PAH-deh-beh-hoo-AH-seht). The few facts we do know come from the writings on the coffins. • his own name – it is written on both coffins. • his father’s name – Khonsu-ir-aa (say KON-

soo-eer-AH) • his mother’s name – Per (say PAIR); she is

referred to as “Lady of the House.” • his hometown – Asyut (say AH-see-yoot), in

Upper, or southern, Egypt. • he (or his family) was wealthy enough to afford a set of painted, nesting coffins made of wood.

The Power of the Name The ancient Egyptians believed that the name of the deceased held great spiritual power.

According to their beliefs, we help to sustain Pa-debehu-Aset's spirit in the afterlife every time we read and or speak his name.

Say PAH-deh-beh-hoo-AH-seht !

His name is written many places on both coffins. To find it easily, look on the higher, foot-end of the shrine coffin, in the row of writing along the top edge. The scribe could not fit Pa-debehu-Aset's complete name in the space provided. He had to add "Aset" above "Pa-debehu" in the main line of text.

Image = detail of PDA’s name


Coffin or Sarcophagus? Do you know the difference between a coffin and a sarcophagus?

Both are funerary objects, created to hold the body of a deceased person. Both can be very plain or highly decorated in appearance.

The difference comes from the materials they are made from. A coffin can be made of wood, metal, clay, or stone, but a sarcophagus is always carved from stone. Limestone, granite, or marble are the most commonly used stone types for sarcophagi.

This set of coffins is made of wood, so neither one can be called a sarcophagus.

What is Asyut? (say AH-see-yoot) The mid-sized city of Asyut (say AH-see-yoot) is located about midway between the northern and southern borders of ancient Egypt. It is named as Pa-debehu-Aset's home town on the coffins, and may be near the location of the tomb where he was originally buried.

Image = map from text panel w Asyut circled

Good tidbit to hang on to…

During the time of Pa-debehu-Aset, Asyut was called Lycopolis, “the city of wolves.” The "wolves" may have been the jackal gods Anubis and Wepwawet (say WEHP-wah-weht), patron gods of Asyut. Both of these gods, as well as the name of Asyut, appear on Pa-debehu-Aset’s coffins.

The Outer Coffin

Shaped like a Shrine The Egyptians made “houses” known as shrines for statues of the gods. This outer coffin is known as a shrine coffin because its shape and sloping roof mimic that of a per-wer shrine. The taller foot end accommodates the high foot pedestal of the Inner Coffin when it nests inside. Image = angle view (zoom)

Osiris' Entourage At left, the falcon-god Horus stands behind a shrine of his father, Osiris. The procession of gods and guardian spirits approaching from the right act as Osiris’ bodyguards and companions, just like a celebrity’s entourage (say ON-toor-ahj) does today. Image = full side view

Deities by the Dozen Multiple gods and goddesses, some in human form, some as animals, others human with animal heads, cover the surfaces of the coffin. Their images would act to protect Pa-debehu-Aset during the dangerous journey to the afterlife. Image: Detail of Outer Coffin Lid


The Inner Coffin

Missing: One Mummy Pa-debehu-Aset’s mummy is no longer inside its anthropoid (say ANN-throh-poyd), or person-shaped, coffin. However, according to ancient Egyptian belief, the empty coffin can substitute for his missing body, allowing the spirit to live on in the afterlife. Image = Inner coffin (zoom)

A View Inside The inside of the inner coffin is coated with a black resin. On the bottom, the figure of Isis, called the "Goddess of the West," is outlined in brown. When Pa-debehu-Aset's mummy was removed from its coffin, the linen wrappings became stuck and damaged Isis’ head. Image = inside view

Tending the Mummy This classic Egyptian funerary scene features Anubis, the jackal god of mummification standing over a mummified body. The mummy lies on a funerary bed with lions’ heads and legs. Several powerful goddesses on both sides watch protectively over the mummy. Image = Detail of Anubis and mummy

King Ny-user-ra Egyptian, Old Kingdom (2686 - 2125 BCE), ca. 2390 - 2360 BCE per Boston MFA (our source for OK dates?!) N ruled from 2445-2421 BCE R.T. Miller Fund, 42.54 Small but significant, this royal statue represents King Ny-user-ra (say nie-OO-sir-rah), who ruled Egypt over 4,500 years ago. In his time, the Great Pyramids were only about 200 years old. Ny-user-ra’s statue is carved from red Aswan granite, his favorite stone. It was found at the site of the great Temple to the god Amun at Karnak, where all the Egyptian kings built additions and left offerings.

Setting the Standards hot-spots Ny-user-ra's statue demonstrates many features commonly found on Egyptian royal statues for over 500 years before him, and for another two thousand years after. • The nemes (say NEH-meez) was a uniquely Egyptian headdress. Made of linen, it covered the forehead,

tucked behind the ears and fell in two flaps onto the shoulders. The rest of the fabric bunched into a tail to hang down the back.

• The mace in his right hand rests casually on his shoulder. It is a club-like weapon that, like a scepter, symbolized royal power.

• He stands confidently in the formal pose for men, the left foot ahead of the right as if in mid-stride. • His name is carved into the base in front of his right foot, but it is very difficult to see. The symbols are

encircled with the cartouche (say kar-TOOSH), a loop of rope that surrounds royal names. • His short pleated kilt was the fashion for Egyptian noblemen. Image = ¾ view


Two Halves make a Whole Ny-user-ra’s statue has an obvious break at the level of the elbows, just above the waist, which extends across the entire body. In 1974, a visiting Egyptologist recognized MAG's granite statue fragment as the missing piece of a partial statue in the Egyptian Museum in Cairo. He arranged for both museums to exchange plaster copies of their part, so now both can display the “whole" statue. Can you tell which part is real, and which is the replica? Image = ¾ view (no more zoom, but more text)

QUIZ YOURSELF Real or Replica? This statue of King Ny-user-ra was broken into two pieces. You are looking at a "whole" statue made up of one real stone carving that belongs to MAG, and one plaster cast of the other part from the Egyptian Museum in Cairo. Which part of this statue is the "real" fragment, carved of Aswan granite? 1-The lower part, with legs, feet, and base. 2- The upper part, with head and shoulders. 3- Neither - they are BOTH replicas! **RIGHT! The upper part is real granite; the lower part was made of plaster and painted to resemble granite.

Ny-user-ra’s Name Ny-user-ra's name means “Possessed of [the sun god] Re’s power.” His name carved onto the base of this statue is almost impossible to see. However, it is there, and it helped experts to identify the king pictured by this royal statue. This is an example of Ny-user-ra's written name, as found in his funerary temple at Abusir, Egypt. This stone pillar is lying on its side, so turn the image clockwise to see it correctly.

Image = From Abusir

Standing Figure of the Finance Minister Maya Egyptian, New Kingdom, Dynasty 18 (1550 - 1295 BCE) , ca. 1330 BCE R.T. Miller Fund, 42.55 This carved fragment originally decorated a wall in the tomb of Maya (say MY-ah), a powerful Egyptian nobleman. It shows Maya himself, wearing a shoulder-length braided wig, a long pleated kilt, and a double-strand shebyu (say SHEB-yoo) necklace. By having himself shown wearing this necklace, a royal award for valor or distinguished service, Maya demonstrated his favorable position in society and at the royal court.

“Supervisor of Men” Above Maya’s head, the largest hieroglyph pictures a man seated on an animal-leg throne and holding a flail, or short whip. This symbol means “supervisor of men” and signifies Maya's high status in the royal court. Maya served three different pharaohs as Overseer of the Royal Treasury. Image = zoom detail of Maya’s head & Glyph

The Tomb of Maya This fragment was originally part of a larger carved panel in the tomb of Maya and his wife Meryt. When Maya's tomb was first discovered and excavated in 1843, the archaeologist Richard Lepsius made drawings of the tomb sculptures, recording their original appearance. Image = Complete tomb panel, drawing by R. Lepsius, ca. 1843.


A Shebyu Necklace This late example of a shebyu necklace has five strings of gold beads; most have only three to four strands. The large, square clasp, highly decorative and inscribed, sat at the back of the wearer's neck to balance the weight of the beads. Image: Shebyu necklace The Treasure of the Royal Tombs of Tanis (ca. 1070 - 712 BCE) Cairo, Egyptian Museum

Hear Maya’s Story Maya's Story, "In his Own Words" Listen to Maya's life story, as he might have told it. The facts and events described in his story come from inscriptions in his tomb, as well as on other monuments and records. Audio – from PIC

Sphinx TOUR STOP Egyptian, Ptolemaic Period (332 - 30 BCE) R.T. Miller Fund, 51.307 The paws, tail, and body shape of this creature all identify it as a lion, the giant cat called “King of the Beasts.” In ancient Egypt, the lion-body topped with the head of the pharaoh created the sphinx (say sfinks), a potent royal symbol of power. As evidence of the now-missing royal head, remnants of the nemes (say NEHM-eez), the pharaoh’s linen headdress, are still visible on the sphinx’s shoulders.

Secrets of the Sphinx hot-spots What happened to the missing head of the Sphinx? No one knows for certain, and if the Sphinx knows, he is keeping it a secret. He came to the MAG without his head, but he will share clues about the rest of his story, if you know where to look. • Look at the Sphinx's shoulders, on either side of its now-missing neck. These two flap-ends are the

remains of the nemes (say NEHM-eez), the linen headdress worn by Egyptian kings. • The stone platform and the body of the Sphinx are all one carving, from a single block of very hard

granite. • The artist who carved this stone Sphinx even made use of the decorative pattern formed by the lion's ribs. • A drilled hole as well as the cut-off end of a metal rod indicate that someone tried to repair this Sphinx in

the past. How long ago? Only the Sphinx knows, and he’s not telling. • Like other Egyptian sphinx figures, this one had the human head of a king, or pharaoh. It would likely

have faced forward, so that from this view, you would see the face in profile. • Notice the Sphinx's powerful lion's paws, stretched out in front. • The long tail of a lion curls up and over the back haunches of the Sphinx's lion body.


"Horus of the Horizon” The word “sphinx” is actually Greek. The Egyptian name for this mythical creature was Horem-akhet (say HOR-ehm AH-ket), which means "Horus of the Horizon.” The name refers to the god Horus as the rising sun, associated with the power of the ruling pharaoh. Image= View of the back side of the Sphinx, as displayed.

Giant-Sized Look-a-Like The most famous Egyptian sphinx stands near the equally-famous Great Pyramids at Giza, in Egypt. This Great Sphinx is very large, over 65 feet high, and made of limestone. And of course, this Sphinx still has its head. Image = The Great Sphinx at Giza. Photo by Barcex (http://en.wikipedia.org/wiki File:Great_Sphinx_of_Giza_-_20080716a.jpg

COLLECTION CONNECTIONS The God Horus as a Falcon Egyptian, Saite Period (664 - 525 BCE) R. T. Miller Fund, 53.44

Find this artwork in the case of Egyptian gods and goddesses.

God of the sky and the sun, Horus (say HOR-uss) often appeared in Egyptian art as a falcon.

The son of the god Osiris, Horus became pharaoh after his father’s death and descent to the underworld. The ancient Egyptians considered the time of Horus' kingship to be a mythical golden age, and associated Horus with the power of the ruling pharaoh.

The God Horus as a Youth Egyptian, Late Period (664 – 332 BCE) Gift of the Estate of Emily and James Sibley Watson, 51.119 Find this artwork in the case of Egyptian gods and goddesses. Wearing the typical Egyptian child's hair style - head shaved except for a sidelock tail - the god Horus (say HOR-uss) appears in this small figure as a young boy. He holds his finger to his lips in a typical gesture signifying youth in Egyptian art. Only the combined crowns of Upper and Lower Egypt betray him as anything other than an ordinary Egyptian child.

http://en.wikipedia.org/wiki


Black-Topped Red Ware Vessel TOUR STOP Egyptian, Predynastic Period (ca. 5300 - 3000 BCE) The C. Herbert Ocumpaugh Collection, 28.106

Over 5,000 years old, this small pot gained its distinctive color pattern from the firing technique used by ancient Egyptian potters. After being shaped and air dried, the pots were placed upside-down in the fire, where coals and ash kept air away and caused the clay to turn black.

The God Osiris as a Mummified Man TOUR STOP Egyptian, Third Intermediate Period to Late Period (1069 - 332 BCE) Gift of the Estate of Emily and James Sibley Watson, 51.116

As the Egyptian god of the Underworld, Osiris (say oh-SIRE-iss) ruled as king of all Egyptian gods and goddesses. The story of Osiris’ death and rebirth became the foundation for Egyptian religious and funerary beliefs and rituals. The ancient Egyptians believed that the spirit of the dead traveled through the underworld, undergoing a series of trials and tests, and if proven worthy, became associated with Osiris in the afterlife. Funerary inscriptions often refer to the dead as “the Osiris,” as on the Coffins; “The Osiris Pa-debehu-Aset.”

King of the Gods hot-spots In Egyptian art, Osiris is easily identified by his distinctive costume, with details which refer to his royal status. • Crook: used by shepherds, to guide and control their flock. It represents the pharaoh's role as leader of

his people. • Flail: a short whip which stands for the authority of the pharaoh. • Beard: braided into a tight plait; all pharaohs wore a strapped-on false beard like this as part of the

royal costume. • Uraeus: (say yoo-RAY-uss) the cobra, the royal serpent which symbolizes the sun and a guardian

figure. Notice the body slithering down from the top of the crown. • “White Crown:” the tall crown worn by the king of Upper (Southern) Egypt; from the early historical

period before it was united with the Lower (Northern) kingdom. • Ostrich Feathers: always ornament both sides of the White Crown when it is worn by Osiris. • Mummiform: wrapped tightly in the "form of a mummy," referring to Osiris' death, mummification,

and magical rebirth as the king of the underworld. • The inscription, which wraps around the four sides of the base, is written in hieroglyphs. It has been

only partially deciphered, but refers to the statue's owner, Wenamun, and one parent, possibly Mestep.


The Story of Osiris Osiris’ position as king of the gods inspired great jealousy in his brother Seth, god of the Storm, Chaos and the Desert. Seth killed Osiris, then tore Osiris’ body into many pieces scattered throughout Egypt. His grieving widow, the goddess Isis, and her sister Nephthys searched tirelessly until they gathered together all the pieces of Osiris’ body. They took the pieces to Anubis, the god of Mummification, who stitched the pieces back together and wrapped Osiris’ body in linen strips. Isis used magic to reunite Osiris’ spirit with his mummified body, and Osiris began a new life as lord of the Underworld. Osiris and Isis had a son named Horus, who grew up to challenge and defeat his evil uncle Seth, becoming the first legendary pharaoh of Egypt.

(As Collection Connection) Find this artwork in the case of Egyptian gods and goddesses.

As the Egyptian god of the Underworld, Osiris (say oh-SIRE-iss), ruled as king of all Egyptian gods and goddesses. The story of Osiris’ death and rebirth became the foundation for Egyptian religious and funerary beliefs and rituals.

In art he wears the tall “White Crown of Upper Egypt,” ornamented on the sides with ostrich feathers. The royal serpent, or uraeus (say yoo-RAY-uss) at the front of the crown, and the crook and flail he carries, signify his kingship.


The God Anubis as a Man with a Jackal's Head TOUR STOP Egyptian, Third Intermediate Period to Late Period (1069 - 332 BCE) The C. Herbert Ocumpaugh Collection, 28.180

The body of a man with the head of a jackal, a wild dog-like animal of the desert, is one form of the Egyptian god Anubis (say ah-NOO-biss). In Egyptian mythology, Anubis created the first mummy from the body of the god Osiris.

(As Collection Connection) The body of a man with the head of a jackal, a wild dog-like animal of the desert, is one form of the Egyptian god Anubis (say ah-NOO-biss). In Egyptian mythology, Anubis created the first mummy from the body of the god Osiris. Anubis was very important in Egyptian funerary preparations, and appears prominently in funerary artworks and ritual objects.

The God Khepri as a Scarab Beetle Egyptian, Late Period (664 - 332 BCE) Loaned by the Peabody Essex Museum, Salem, Massachusetts (16.2003L)

The Goddess Neith Egyptian, Third Intermediate Period to Late Period (1069 - 332 BCE) Gift of the Estate of Emily and James Sibley Watson, 51.117

The Goddess Wadjet Egyptian, Saite Period (685 - 585 BCE) Gift of the Estate of Emily and James Sibley Watson, 51.118

(As Collection Connection) The Egyptian god Khepri (say KEH-pree) took the form of the scarab beetle, a common desert insect. The scarab lays its eggs in a ball of dung, then rolls the dung ball along the ground. The Egyptians pictured Khepri as a giant scarab beetle, pushing the sun up out of the underworld “below” the earth each morning, rolling it across the sky, and down into the underworld again each evening. He became a powerful symbol of renewal and rebirth.

(As Collection Connection) A guardian of the Red Crown of Lower (northern) Egypt, the goddess Neith (say NEETH) was also a goddess of war, the hunt, and weaving. Neith was believed to have first woven the linen cloth used as mummy wrappings, and watched over the head of the deceased along with the goddess Nephthys.

(As Collection Connection) A guardian goddess of Lower, or northern Egypt, Wadjet (say WAH-jet) appears here in the form of a woman with the head of a lion, crowned with the solar disk and the raised cobra, or uraeus (say yoo-RAY-uhs). All of these are signs of Wadjet’s association with the sun. The goddess Wadjet helped protect the young god Horus from his enemies after the death of Osiris. Her name means “the green one,” a reference to the green reeds of the Nile River delta, and to the green scales of her sacred animal, the cobra.



Greek Art Explore a selection of artworks representing the beginnings and the legacy of the ancient Greek civilization. The Helen H. Berkeley Gallery is made possible by Helen H. Berkeley, with additional support from the National Endowment for the Arts and public funding secured by New York State Senator Joseph E. Robach.

Kraters DIRECTORS TOUR Mycenaean; Made in Cyprus, 1275 - 1225 BCE R.T. Miller Fund, 51.203, 51.204 These two fine pottery kraters (say KRAY-terz) are specially designed for mixing wine with water in the ancient Greek fashion. Even the early pre-Greek Mycenaean (say my-sehn-EE-ehn) civilization recognized the social significance of wine-drinking. A krater, cups, and serving pieces often formed a drinking set used at a Mycenaean warrior’s funeral feast. Friends and relatives gathered at his home to eat and drink to his memory, as at a modern wake. After the feast, the drinking set might accompany the dead into the tomb.

Chariots on Parade hot-spots The additional elements in this Mycenaean chariot scene add interest and life. • The two-man chariot team of fighter and driver

share duties in battle. • This "picket fence" design in the background may

represent buildings in the surrounding scenery. • A running figure sprints ahead of the horse team,

perhaps leading them in the procession. • A leafy wreath on a stand may represent one of the

honors presented to the deceased. • The artist's attempt to show a two horse team

pulling the chariot resulted in a two headed horse with a single body.

Image = detail, Krater 51.203

Ancient Warfare hot-spots These kraters feature the popular Mycenaean war chariot image. • This chain of interlocking S-curves may have been

intended to suggest the swift movement of the team, stirring the breeze as it passes by.

• The spaces below the handles are used for stylized shapes that suggest trees in the landscape.

• The two horse team pulling the chariot appears here as a single horse body with two heads.

• The chariot box was likely made from wood covered in leather. The dotted pattern perhaps is meant to show a spotted skin.

• The chariot driver is in charge of the team, holding the reins and controlling their movement across the battlefield.

• The second warrior does the fighting, armed with spear or short sword. He also bears a shield to protect himself and his driver.

Image = detail, Krater 51.204


Who were the Mycenaeans? From about 1900 to 1100 BCE, the city of Mycenae (say my-SEE-nee) led a powerful, highly-organized system of pre-Greek city-states. Tales of the Mycenaeans are believed to survive in the Greek epic poems about the Trojan War; the Iliad and the Odyssey. Image = Map of Mycenaean culture The Mycenaeans, ca. 1500 BCE

How were they made? Mycenaean potters used a form of the potter’s wheel, turned by hand, to shape the body of the vessel.

Additional details like feet, handles or spouts were attached separately. The addition of incised or painted decorations may have been the work of different artists.

Finished clay vessels were baked, or fired, in a special oven called a kiln. The potter controlled the air flow and temperature inside the kiln, changing the color of the finished pieces and their "painted" decorations. Image= Greek workshop, potter’s wheel

Quiz Yourself Two are Better than One Ancient chariots like the ones on these vases were usually manned by a team of two warriors. Why was it better to have two men instead of one? 1-Two warriors could make better decisions than one alone. 2- One warrior read a map to the battle, while the other gathered the weapons. 3- One warrior held the horses' reins while the other fought. **RIGHT! While one man drove the horses around the battlefield, the other fought with a spear and shield.

The Funeral of Patrokles; from the Iliad Listen to a storyteller read a portion of the famous Greek epic poem, the Iliad. The events in the Iliad are believed to have taken place during the Mycenaean period. Audio from PIC


Pair of Miniature White-Ground Lekythoi TOUR STOP / Coll Conn Greek, Late Archaic Period (ca. 700 - 480 BCE) University of Rochester Appropriation for the C. Herbert Ocumpaugh Collection, 29.87.1-2 Nearly identical in shape, color, and details, these two miniature clay jars likely held small amounts of an expensive liquid like perfumed oil.

Their shape, with a single handle and tall neck, is a type known as a funerary lekythos (say LECK-ih-thos) usually associated with offerings made to the deceased at the grave. The decorative figures on the exterior, in black silhouetted against the white background, are identified with Dionysus, the Greek god of wine.

Sleepy Silenus The stooped, bearded figure riding a donkey is Silenus (say sill-AY-nuss), an old man who often accompanied Dionysus and his followers on their travels. Grapevines appear to spring from Silenus, while a pitcher of wine hangs down from the donkey's saddle. Image = Detail of Silenus (2)

Dancing Dames Wild women known as maenads (say MAY-nads) could become crazed during rituals and festivals honoring Dionysus. They danced until they collapsed with exhaustion. Image = Detail of Maenad, Miniature Lekythos, 29.87.1

Wreath of Oak Leaves DIRECTORS TOUR Greek, Hellenistic Period (323 - 90 BCE), ca. 300 BCE Gift of Dr. Robert L. Berg, 99.57 Glittering with gold, this small hoop-like wreath crowned a wealthy Greek’s head on very special occasions and ceremonies. The ancient Greeks prized wreaths of natural leaves and vines as well as luxurious, permanent versions in gold.

Sacred Leaves The delicate shape of small pin-oak leaves associate this wreath with Zeus, king of the Greek gods on Mount Olympus. The ancient Greeks heard the voices of the gods in the leafy rustlings of sacred trees, planted in groves of the temples. Image = The sacred oak trees at the Temple of Zeus, Dodona, Greece

Wearing the Wreath Victorious Roman generals wore a wreath for their triumphal parades through the city. Eventually the wreath became associated with the emperors, as a type of imperial crown. Image = Portrait of a Caesar

Circle of Gregorio di Lorenzo (Italian, active 1461 -1473), ca. 1470 - 1500 Given in memory of Inez D'Amanda Barnell by her friends, 65.8


Corinthian Helmet Greek, Archaic Period (ca. 700 - 480 BCE), ca. 625 BCE Maurice R. and Maxine B. Forman Fund, 2008.70 The elegant appearance of this ancient bronze helmet would be transformed by an ancient Greek warrior glaring fiercely through the cut-outs. The hoplites (say HOP-lyts), heavily-armed foot soldiers of the ancient Greek armies, favored this style of hammered bronze helmet, and it became their identifying trademark. Condition Report Despite a few rough edges and a repair job on the noseguard, this helmet is in excellent condition. It shows no evidence of use, only the greenish “rust” of bronze exposed to over 2,500 years of weathering. When new, the bronze would have had a soft, red-gold shine.

Image = zoom

The Best in Battle Gear hot-spots The shape of the Corinthian helmet made it instantly recognizable, and added to the fearsome reputation of the hoplite warriors. • The narrow spoon-shaped nose guard can easily break off, as it once did on this helmet. Notice how the

tiny holes for stitching the lining into place are staggered, so the narrow metal piece is not weakened any further.

• The cap of the helmet is fitted to the shape of the head. In Greek, "helmet" is kranos, the source of the English word "cranium."

• The almond-shaped eye cut-outs did not allow for great vision, but gave the helmeted warrior an intimidating appearance.

• The cheekpieces of this helmet extend forward to protect the warrior’s face and jaw. Later helmet styles had cheekpieces on hinges, separately attached to swing out from the warrior’s face.

• The back edge of the helmet flares out slightly to protect the wearer’s neck.

Grave Stele Greek; from Salamis, Classical Period (ca. 480 - 323 BCE), 300s BCE Helen Barrett Montgomery Bequest, 36.54 Carved of high-quality Pentelic marble quarried from Mt. Pentelikon, near Athens, this grave marker is likely the product of an Athenian stonecarver’s workshop. It was purchased ready-made and transported to the island of Salamis, where it was excavated. The stele was originally painted in bright colors, likely adding details that are now lost.

Read their Names Personalizing a ready-made monument, Greek letters spell out the names KLEITOMACHE (say kly-TEHM-uh-kee) and EUMACHOS (say yoo-MAH-kohss) above the heads of these two otherwise unknown people. The carved letters were originally painted with red. Image = names detail

Signs of Stone-Working In order to shape marble and other very hard stones, masons and carvers used specialized tools. On the top, sides, and back of this stele, the rake-like markings left by claw chisels are still visible. Image = Detail of top surface


Is this Hello or Goodbye? The architectural design of this Classical Greek gravestone mimics the appearance of a Greek temple portico, or front porch. It frames a sentimental scene of a seated man and a standing woman clasping hands. • Columns, probably painted and topped with the scroll-shaped Ionic capital, frame the scene on each side. • The triangular pediment likely also featured painted decoration. • Decorative shell-shaped acroteri (say ack-roh-TEE-ree) ornament the side and center peaks of the roof. • The woman's hand may have held painted flowers or a small vessel, which did not survive over time.

Likely the background and figure details would also have been painted. • The name KLEITOMACHE (say kly-TEHM-uh-kee) is inscribed in Greek letters in the space above the

woman's head. • The name EUMACHOS (say yoo-MAH-kohss) is inscribed in Greek letters in the space above the man's

head. • This "clasping hands" scene is known as the dexiosis (say dehk-see OH-sihs). The dexiosis can be

interpreted as a final farewell between loved ones, or a symbolic reunion in the life after death.

Black-Figure Kylix with Dionysian Revelers Greek, Archaic Period (ca. 700 - 480 BCE), 500s BCE University of Rochester Appropriation for the C. Herbert Ocumpaugh Collection, 29.90

This drinking cup is a kylix (say KY-licks), specially designed for wine-drinking in the Greek fashion. The shape was elegant and balanced, the wide bowl enabled easy refilling, the shallow depth provided plenty of room for the wine to “breathe,” and the handles allowed it to hang on a peg when not in use.

“Dionysian Revelers” Half-man half-goat satyrs (say SAT-ers) and wild women called maenads (say MAY-nads) dance around the exterior of this kylix, weaving between hanging grape vines. They are followers of Dionysus (say DY-oh-NY-suhs), the Greek god of wine and celebration.

TAKE A CLOSER LOOK Take a closer look at this kylix by selecting from close-up views of the object from all sides. (Image slideshow x 12; text to accompany each image)

The kylix is a drinking cup for wine. This example has a short foot on a base.

The kylix is a very shallow cup, which means it might have been tricky to drink from.

Sometimes a kylix will be plain on the outside, but nearly all have a design painted on the inside of the bowl. This is another dancing satyr.

Notice how the grape vines appear to "dance" along between the maenads and satyrs.

The dancing figures seem to form a continuous circle, cavorting around the outside of the bowl.

The loop handles on each side of the kylix briefly break off the circle of dancers.

The satyrs dance with women who appear to be wearing heavy cloaks or other long garments.

The satyrs have long beards and horse tails painted in red.

Dionysus himself does not appear, but is represented by his frenzied followers.


The grape vines weaving between the figures are laden with large, triangular-shaped bunches.

The poses of the dancers, with arms and legs out at angles away from the body, indicate their wild behavior.

The satyrs have long beards and horse tails painted in red. (repeat)

What is “Black-Figure?” Black figures on a red background = “Black Figure”

This kylix is an example of the earlier Black Figure style of Greek vase painting. Just like it sounds, it involved painting figures onto the plain orange-red background of the vessel. The “paint” was actually watered down clay called slip, which was virtually invisible at first, but turned black during the pot’s firing process. Image = detail of BF Dionysian kylix


Etruscan Art See a selection of artworks representing the unique characteristics of the Etruscan civilization of ancient Italy. The Helen H. Berkeley Gallery is made possible by Helen H. Berkeley, with additional support from the National Endowment for the Arts and public funding secured by New York State Senator Joseph E. Robach.

Votive Head of a Woman TOUR STOP Etruscan (ca. 750 –90 BCE) , 200 - 1 BCE Presented by Mrs. Charles H. Hoeing in Memory of her husband, Dean H. Hoeing, 47.14 This well-formed Etruscan pottery plaque resembles Greek art of the previous century. Her curly hair parted in the middle, bead necklace, and classically generic features all show the influence of Greek art on this great culture of Italy. Like the Greeks, the Etruscans produced partially three-dimensional, molded clay plaques as objects for presentation in a god’s temple. Perhaps this lady was intended to represent the goddess herself, or to stand in for the donor in the god’s presence.

Mass-produced Maidens The appearance of a border or frame around this head provides evidence of a mass-production industry. Workshops produced these clay heads and other popular objects from molds in great numbers for little expense, often without bothering to trim the excess material left around the top.

Who were the Etruscans? Etruria (say ee-TRUH-ree-ah), land of the Etruscans, shared Italy with Greek colonies, and competed for trade and land with their African rivals from the city of Carthage. Eventually the Etruscans conquered Carthage and dominated the western Mediterranean before the rise of Rome. Image = The Eastern Mediterranean, ca. 700 BCE (map from gallery Panel)


Cinerary Urn with Lid Etruscan (ca. 750 - 90 BCE), 200-100 BCE Gift of Joseph Schiff, 44.49a-b Based on earlier, life-sized clay coffins unique to Etruscan art, this smaller-scale, molded pottery urn retains some of its original painted colors. The urn was designed to hold the ashes of a cremated (ritually burned) corpse. Cremation was the most common form of burial practiced by the Etruscans and other cultures in ancient Italy.

Lady of Leisure An image of a young woman, wearing a long gown and holding a feather fan, reclines on the lid. While she was likely intended to represent the deceased, she is a molded “stock character,” not a portrait. Image = zoom detail of lid

A Sign of the Times Scenes emphasizing fighting and death became fashionable on Etruscan funerary vessels as their civilization began to fall under the domination of the powerful Roman Republic. Reusable molds made it easy for workshops to reproduce urns featuring the same scenes. Image = detail of lower urn

The Battle Scene This scene depicts a tragic episode from Greek mythology. The two sons of Oedipus, king of Thebes, had agreed to share the throne after their father’s death. However, one son changed his mind, gathered an army, and took the throne for himself. The other son raised an army as well, and the brothers ended by killing each other. • Vanth, the Etruscan underworld demon, makes a dual appearance to encourage the fight. She commonly

wears a short garment with straps across the breast. • Vanth, underworld demon of Etruscan mythology, thrives on chaos and conflict. She carries a long torch

to guide the souls of the dead. • The two brothers, each bearing a round shield and dressed in short cloak and cap, slash at each other with

short swords. • An artificial architectural setting, formed by painted columns on each side and topped by a carved lintel,

neatly frames the otherwise chaotic scene.


The God Mars as a Warrior Etruscan (ca. 750 –90 BCE), 400s BCE R. T. Miller Fund, 53.41

Even without his spear and shield, this fierce bronze warrior appears ready to fight! His oversized helmet crest and elegantly-balanced stance give him an impressive presence in spite of his small size.

Master Metalworkers Plentiful mineral resources and highly skilled metal workers made the Etruscan civilization wealthy and successful. Their highly desirable bronze weapons, vessels, and ornaments enabled the Etruscans to dominate the sea trade routes of the central Mediterranean region. Image = alt view

Collection Connection Warriors in Action Black-Figure Kylix with Warriors in Battle Greek, 500 – 400 BCE University of Rochester Appropriation for the C. Herbert Ocumpaugh Collection, 29.91 Find this artwork in the case of Greek art to your right. The warriors on the outside of this Greek wine-drinking cup fight with spears and swords, defend themselves with round shields, and wear impressive crested helmets. Scenes depicting the legendary battles of gods and heroes were popular as decorative themes for Greek pottery.


Roman Art See a variety of material objects and works of art representing the civilization of ancient Rome and its reach across the ancient world.

The Helen H. Berkeley Gallery is made possible by Helen H. Berkeley, with additional support from the National Endowment for the Arts and public funding secured by New York State Senator Joseph E. Robach.

Fresco Fragment with Cupid Holding a Mask Roman; Made in Pompeii, before 79 CE The C. Herbert Ocumpaugh Collection, 28.75

Bright colors and a playful image contradict the tragic history of this painted wall fragment. It survived the deadly volcanic eruption of Mt. Vesuvius in 79 CE that destroyed the Roman city of Pompeii. Many other such fragments, as well as entire homes, shops, and public buildings also survived to testify about life in ancient Rome.

Cupid’s Closeup hot-spots Even this small painted fragment has many details that tell about the Romans' love of color and beauty. • Roman theater actors wore large masks with

exaggerated features. That way, even audience members in the cheap seats could recognize the characters.

• The feathery, bird-like wings tell us that this is no ordinary child – this is a young god!

• The remains of a decorative border along the top [bottom] of this fragment show that it once formed part of a long, narrow band or trim. Perhaps it framed a doorway or window, or surrounded a larger scene.

• This vibrant color comes from a mineral-form of mercury called cinnabar. Because the color appears frequently in Pompeii's ruined buildings, it is called "Pompeii Red" today.

A Room with a View Colorful, detailed wall paintings brightened up the small, dark rooms of Roman upper-class homes. Favorite images ranged from gardens and city views to scenes from mythology and daily life, arranged with decorative garlands and frames.

MAG's small "Cupid" fragment once formed part of the colorful wall frescoes that decorated an upper-class Roman villa in Pompeii. Seaside resort towns like Pompeii attracted wealthy Romans like the Vetti family, who built this lavish summer home with elegant dining rooms, libraries, and guest rooms. Image = View of the Ixion Room of the House of the Vettii, Pompeii.


Pair of Double-Head Flasks Roman, Imperial Period, ca. 200 - 400 CE The C. Herbert Ocumpaugh Collection, 28.68.1, .2 The size of these fine Roman glass bottles offers a clue to their former contents; small amounts of expensive perfumes. In ancient Roman burials, perfume flasks served as ritual offerings, helped to mask the scent of death, or represented treasured personal goods. The back-to-back, double-faced design of these small flasks is a type known as janiform (say JAN-ih-form), after Janus, the two-faced Roman god of doorways.

Don’t Look Now… The snarling faces on this pair of small flasks are those of Gorgons (say GORE-gons), frightful snake-haired monster-women from Greek mythology. The most famous Gorgon was Medusa (say meh-DOO-sah), who could turn people to stone at a glance. Their scary qualities made Gorgon heads popular as charms against evil.

Image = Detail of face

How was it Made? Mold-blown Glass Melted glass has a soft, sticky quality that allows it to be shaped in molds or blown (like bubblegum) into rounded hollow shapes from the end of a blowing pipe.

These small flasks were formed using both methods at once. The small blob of molten glass was blown into shape while inside of a removable mold, likely made of clay, which left the shape of the Gorgon heads on the soft glass.

Togatus Roman, Imperial Period, ca. 100 CE Marion Stratton Gould Fund, 73.146 Draped in the massive folds of his toga (say TOE-gah), this unknown Roman man stands as if to speak, holding a rolled-up scroll in his raised left hand. The title of the statue, Togatus (say toe-GAH-tuss) means simply “toga-wearer.” Only upper class Roman male citizens were eligible to wear the toga as a mark of social status and accomplishment.

Doing Double Duty The box at Togatus' feet is filled with scrolls, or rolled-up written documents, demonstrating his considerable education and knowledge. The box also adds structural support for the tremendous weight of marble drapery, preventing the statue from breaking off at the ankles. Image = Detail of scroll box

A Fashionable Face At the time Togatus was carved, Roman men did not wear beards. That changed when Hadrian (ruled 117 – 138), the first emperor to wear a Greek-style beard, made them fashionable. Perhaps the waves of a short beard were added to Togatus’ originally clean-shaven face to keep up with the new style. Image = Detail of Face


Sarcophagus with Portrait Medallion, a Shepherd, and Two Lion Heads Roman, Imperial Period, 250 - 274 CE R. T. Miller Fund, 49.72 Carved as a coffin, this white marble sarcophagus (say sar-KOFF-ah-gus) originally included a decorative marble lid, and was intended to house the earthly remains of an upper-class Roman citizen. Whether it ever served that purpose is unknown, but holes drilled into the back and left side indicate that it was probably recycled to serve as a fountain or water trough.

At Front and Center The central section of the sarcophagus has several details and symbols that personalized it for the intended occupant. • A round frame known as a clipeus (say clip- AY-us), holds a portrait of the deceased. He wears a toga,

garment of the upper classes. His image was likely added after purchase of the sarcophagus from a workshop.

• A shepherd, grasping a typical crooked staff, sits peacefully under a tree to represent the Roman vision of serenity in the afterlife.

• The guardian of the flock, the shepherd's faithful dog sits attentively at his feet. • Perched on a rocky ledge above, a single sheep represents the flock. • Much of the front of this sarcophagus is covered in rows of S-curves. Historians call this type of

decoration strigilation (say strih-jill-AY-shun) after the S-curve of the strigil, an ancient Greek tool.

“Handle” with Care These lion heads and their ring “handles” are only decorative marble carvings, recalling an old tradition. In the Roman past, the lion heads might have been made of bronze, still decorative but mounted with real ring handles for carrying lighter wooden coffins. Image = Lion Head

At the Back: The Panoply On the otherwise unfinished back of the sarcophagus appear two images of a panoply (say PAN-oh-plee), a decorative arrangement of weapons. Behind two angled shields are two crossed spears, a horizontal ax at the middle, and a vertical double-headed ax which appears at the top. Image = Back side detail

Too Beautiful for Burial A carved Roman sarcophagus was made for show. Since Roman law prohibited cemeteries inside the city, the main roads outside the city gates were lined with grave markers and monuments arranged in garden-like displays. Image = The ancient cemetery outside of the Roman city of Pompeii, along the Via Nocera.

Collection Connection: Carved as a coffin, this white marble sarcophagus (say sar-KOFF-ah-gus) includes decorative details that recall an older tradition. The two carved lion heads and the ring “handles” in their mouths represent bronze mountings with real ring handles, fixed to the wooden coffins once used by well-to-do Roman citizens.


Lion Head Medallion TOUR STOP Roman; Made in Caesarea, Palestine, 100 – 200 CE The C. Herbert Ocumpaugh Collection, 28.10 The open mouth on this molded bronze lion may have enabled it to hold a ring-like handle.

The holes in the frame surrounding the head show that it may once have been attached separately to a shield or door as a boss, a raised, round decoration. Rings held by decorative lion-head medallions also served as handles for wooden coffins.

Collection Connection: This bronze lion head, cast from a mold, may have once held a bronze ring in its mouth. The holes around the outer edge show where it was once fixed to a wooden object, perhaps a coffin or shield.

Fish TOUR STOP Roman; Made in Syria, 300 - 600 CE The C. Herbert Ocumpaugh Collection, 28.324 The rippling curves along its back, wide-open mouth, and popping eyes lend this small fish figure a spark of personality. Fashioned of molten glass, the fish was not a complete figure in itself, but likely served as added decoration to a larger vessel.

Real-Life Look-a-Like The glass Fish may be a copy of a real fish, perhaps a Slender Goby, which lives in the Mediterranean Sea. The Slender Goby swims near the bottom where it can hunt small fish. They must be very small, as the Slender Goby is no bigger than this glass Fish! Image = Slender Goby (Gobius geniporus)

MAG App Object Scripts: Europe 19th C 8/26/11 1

European Art of the 19th Century Only a single work of art from this period appears on this version of the app, but look for additional works of later European art in other areas of the 2nd Floor. The Printseller’s Window Walter Goodman (British, 1838 - 1912), 1883 DIRECTORS AUDIO TOUR Marion Stratton Gould Fund, 98.75 VERBAL DESCRIPTION “TOUR” At first glance, this painting seems like a real-life view into a shop window. Using the highly detailed style of painting known as trompe l’oeil (say tromp-LOY), the artist has filled the space with paper prints and books, a variety of collectible objects, and an assortment of photographic calling cards known as cartes de visites (say KART-deh-vee-ZEET), which hang clothesline-style across the front. The printseller himself emerges through a small door at the back, allowing a glimpse of his shop behind.

A Victorian “Vanitas” Like today’s antique shops, this window displays objects familiar to audiences of the Victorian Era in the late 1800s;

• prints made after well-known paintings • cartes de visites, calling cards considered

essential to proper society • reproductions of ancient Greek and Roman

objects • fine pieces of decorative glass and porcelain

This display of luxury, taste, and craftsmanship recalls the artistic tradition of vanitas (say VAN-ih-tass), a moral lesson especially popular in 17th century Dutch art. Paintings featuring rich arrangements of silver and glass objects, musical instruments, flowers, sumptuous but perishable foods, and burning candles, served as decorative reminders of the temporary nature of wealth, beauty, and life itself.

Image = detail of shelf objects

What is trompe l’oeil? Trompe l’oeil (say tromp-LOY) is French for “fool the eye.”

This ancient artistic tradition of hyper-realistic painting features three-dimensional qualities and detailed special effects, like this booklet hanging "outside" the picture frame. The style was very popular at times, but also drew criticism for being a demonstration of mere mechanical skill rather than artistic talent. When Walter Goodman displayed The Printseller’s Window in a London art show in 1892, a newspaper reporter actually accused him of gluing real photographs to his painting! Image = detail of hanging booklet


Explore the Objects This shop window displays a wide variety of decorative objects. How many of these objects can you find in the painting? • A tall, etched, clear glass goblet, or wine glass • A string of pearls • An ancient Greek-style pitcher , or lekythos (say LEHK-ih-thohs), picturing a 4-horse chariot • A light blue porcelain plate, decorated with red flowers, containing a handful of coins or tokens • Two small books open to display illustrations • A green glass vase, with two handles • A magnifying glass • An oval miniature portrait of a gentleman in a blue coat • A terracotta figure of Cupid, the young Roman god of love • A small armless statuette of a standing boy • A dark blue and white Wedgewood-style vase with a scene of classical figures • A glass tankard, or mug, with a metal handle and lid • A gold-rimmed porcelain teacup and saucer in a blue willow pattern • A framed photograph of John Ruskin (British, 1819 – 1900), watercolor artist and critic • A loose of George Augustus Sala (British, 1828 – 1895), a popular writer, miniature photo

humorist, and critic

About the Artist Walter Goodman Although artistically gifted, Walter Goodman was only marginally successful as a painter and ultimately relied on his extensive family for financial support. Goodman came from a family of artists, including his mother Julia Salaman Goodman, who supported her family as a portrait painter. He studied at the Royal Academy in London, and then resided in Edinburgh before and after traveling in Italy, Spain, Cuba, and the United States. His paintings, including The Printseller’s Window, appeared in major British exhibitions but Goodman died in obscurity, largely forgotten until very recently,


Explore the Prints slideshow Explore the prints “for sale” in The Printseller’s Window; most are based on real works of art. • Self-portrait in the Style of Rembrandt

Sir Joshua Reynolds (British, 1723 - 1792), ca. 1775 Print based on the painting in the Royal Academy of Arts, London.

• Santa Cecilia Carlo Dolci (Italian, 1616 - 1687), 1671. Print of painting in the Old Masters Gallery, State Art Collections, Dresden, Germany.

• Albert and Nicholaas (The Artist’s Sons) Peter Paul Rubens (Flemish, 1577 - 1640) Print by Gustav Planer (German, 1818 - 1873), MAG 2008.48 . Copy of a painting in the National Art Galley, Vaduz, Liechtenstein.

• Cornelius van der Geest Sir Anthony van Dyck (Flemish, 1599 - 1641), before 1620 Print based on the painting in the National Gallery, London.

• “Horses and Riders” Unidentified / This print featuring horses and riders has yet to be identified. Do you recognize it?

• “A Gentleman” Unidentified / This print featuring a seated man in a coat has yet to be identified. Do you recognize it?

• “A Woman” Unidentified / This print featuring a woman wearing a long lace veil has yet to be identified. Do you recognize it?

• “Cupid” Unidentified / This print featuring an image of the Roman god Cupid has yet to be identified. Do you recognize it?

• “A Youth” Unidentified / This print featuring a youth in a landscape, dangling something into the edge of a pond, has yet to be identified. Do you recognize it?

• “A Woman” Unidentified / This red ink print or red chalk drawing is partially covered by smaller prints. It features a standing woman in a long gown,

and has yet to be identified. Do you recognize it?


Explore the Photographs Explore the miniature portrait-photograph calling cards, or cartes de visites, of these Victorian artists, contemporaries of Walter Goodman. While he may not have known them personally, he was certainly familiar with their work. • Mariano Fortuny y Marsal (Spanish, 1838 – 1874)

A painter known for scenes of North Africa as well as small, gemlike paintings of aristocrats. • William Powell Frith (British, 1819 – 1909)

His paintings of modern-life subjects were very popular; he sold a large number of engravings of these works.

• 2 – 1883)Gustave Doré (French, 183 The most popular and successful French book illustrator of the mid 1800s. At one time he employed more than forty employees to carve the woodblocks used to create his prints.

• John Everett Millais (British, 1829 – 1896) One of three founding members of the Pre-Raphaelite Brotherhood. The group rejected modern art in favor of a simpler Medieval style of painting, before the influence of the Renaissance master Raphael.

• ster, British (1800 – 1886)Thomas Web Known for his genre paintings, often with children as subjects, depicting simple and humorous incidents from everyday life. He became the leading figure in the Cranbrook Colony of artists in Kent.

• Rosa Bonheur (French, 1822 – 1899) The foremost animalier, or animal painter of the period. Trained in art with her father, whose radical political and social views of gender and class equality influenced her to cut her hair short and dress as a male.

• British, 1830 – 1896) Lord Frederick Leighton ( Hugely successful and popular Victorian painter and sculptor of classical mythology, historical, or biblical subject matter. The first English painter to be given a noble title, he was made Baron Leighton, of Stretton in the County of Shropshire but died the next day.

• Elizabeth Thompson, Lady Butler (British, 1846 – 1933) Popular and well-known in Britain for her carefully crafted, accurate military paintings. However, fell out of favor when the public desired more patriotic pictures that glorified British victories.

• Sir Lawrence Alma-Tadema (British, 1836 – 1912)

The most successful painter of the Victorian era for his distinctive, elaborate paintings of beautiful people in classical settings. As attitudes changed, his paintings became increasingly unpopular, but his visions of the ancient world influenced many historical-drama films.

• 1795 – 1880) Thomas Landseer (British, One member of a famous family of British artists, he produced many original etchings featuring animals and birds. However, he spent much of his career making prints of his brother Edwin’s drawings and paintings.

• – 1894) W. Calder Marshall (British, 1813 Scottish sculptor, studied in Edinburgh, London, and Rome. He specialized in Neo-classical works and Classical subjects.

• (Hungarian, 1844 – 1900) Mihály von Munkácsy Born Michael (Michel) Leo Lieb, orphaned young and apprenticed to a carpenter. Settled in Paris and earned an international reputation with his genre pictures and large scale biblical paintings.


Audio Description will be part of a separate “tour” for the visually impaired… You are looking at The Printseller’s Window, a large oil on canvas by British artist Walter Goodman. The Printseller’s Window, painted around 1883, is 52 inches high by 44 inches wide and is in a simple dark wood frame. This hyper-realistic painting portrays a cluttered display window of a printseller’s shop seen as if you were standing on the street peering in through the window frame. An older man, who wears wire-rimmed spectacles and has a thick, yellow-gray beard and mustache, appears toward the back on the right side of the painting. You see him from the waist up, standing in an opening at the back of the display window, staring intently at the small statue of a reclining figure that he holds in his hands. Starting from the foreground of the painting, the floor of the display window is covered with etchings and lithographic prints of various sizes. Two open books and numerous smaller prints are arranged on top of these prints. In the center, a turquoise and brown pottery dish, partly filled with copper and silver coins, rests on top of one stack of prints. On the far right a circular, rose-colored image of a female figure contrasts with the other black and white prints. In the middle-ground of the painting, raised about a foot above the floor of the display window, a narrow wooden shelf extends across the width of the window. The shelf is lined with objects, which we describe here from left to right. The first object on our left is a green glass tankard with a hinged, pewter lid. Next, we see a white and blue, gold-rimmed teacup and saucer. To the right of the teacup is a slim terracotta-colored Greek vase that is twice as tall as the teacup. In the center of the shelf is a portrait of a bearded gentleman in a rustic frame. A large magnifying glass is propped up against the left side of the frame, enlarging a detail. Crowded next to the frame and only half as high, is a short glass vase. It is partly covered by a small black and white photograph leaning against it. A strand of pearls, which is wrapped around the base of the vase, runs behind the photograph. Two short loops of the pearl necklace dangle off the edge of the shelf. Behind the pearls and to the right is a clear etched glass vase. A miniature oval portrait is perched between this and a small teal-colored vase with raised white designs. This vase is similar in shape to the terracotta vase on the left. The last object on this shelf is a statue of an armless nude child. If you look about 15 inches above the shelf, a string is stretched across the center of the window. A dozen small photographic portraits called cartes-de-visites are clipped to the string. Ten are portraits of men and two of women. All are in formal poses. Above the line of cards, on the left side of the window, a booklet with curled paper pages hangs on a string from a nail. A burgundy colored curtain is draped three-quarters of the way across the top and down the right side of the window. The background color of the interior walls of the display window are green; these are also covered with prints. The man seen through the opening in the back wall appears to be the printseller because he is standing inside the shop; prints and small objects can be seen in the distance behind him. Walter Goodman, a Victorian artist, lived from 1838 to 1912. The Printseller’s Window was purchased by the Memorial Art Gallery thanks to the Marion Stratton Gould Fund. Version 1-3-2011 The verbal descriptions were written by Amy Mednick and edited by Lisa Helen Hoffman, consultant, with additional input from Rene LaTorre of the Association for the Blind and Visually Impaired-Goodwill. Thanks to trained audio describer Anita Nicoletta who volunteered to record these descriptions, and to Ruth Phinney who generously donated the recording and production time at WXXI Reachout Radio. This project was supported in part with funds from the Elizabeth L. and Donald M. Cohn Endowment of the Memorial Art Gallery and the John Steuart Curry Foundation. http://mag.rochester.edu/plugins/audio/AudioDescriptions_VisuallyImpaired/06PrintsellersWindow.mp3

MAG App Object Scripts: 1913 Foyer 8/26/11 1

American Art of the 20th Century Only a single work of American art appears on this version of the app, but be sure to visit the rest of the American collection on the 1st floor. Memory William Ordway Partridge (American , 1861 - 1930) , 1914 Gift of Mrs. James Sibley Watson, 13.12 Cloaked, hooded, and over life size, Memory quietly dominates the space of the Foyer. She cradles a large urn in her arms, a funerary reference from ancient art. Her downcast features, shaded by her hood, give Memory a sad yet dignified appearance that fits her role: the personification of a mother’s grief.

A Fitting Tribute Commissioned by Emily Sibley Watson, the founder of the Memorial Art Gallery, Memory is a tribute to her deceased son James G. Averell. The statue was one of the first works of art to enter the Gallery’s permanent collection when it opened to the public in 1913. Image = zoom view of Statue

A View from MAG’s Past In this historic photograph, Memory stands on the back wall of the current Renaissance gallery. She presides over a sculpture display that includes "casts in plaster of the most beautiful pieces of ancient sculpture,” a replica collection no longer seen in modern museums. very limited space here!!! Image = The Hall of Casts, ca. 1914

About the Artist: William Ordway Partridge William Ordway Partridge ranks as one of America’s most prominent sculptors of the early 1900s.

Born in Paris to American parents, he studied art there, as well as in Florence and Rome. He became best known for monumental public sculptures of literary and historical figures such as Shakespeare and Ulysses S. Grant.

Who was James Averell? James George (“J.G.”) Averell was the son of Gallery founder Emily Sibley Watson and her first husband. Averell studied architecture at Harvard, as well as on travels in Europe. His career was tragically short-lived, as he died of typhoid fever at age 27. Image = Portrait of James G. Averell, base of Memory, 13.13


European Art of the 19th Century Only a single work of art from this period appears on this version of the app, but look for additional works of later European art in other areas of the 2nd Floor. The Printseller’s Window Walter Goodman (British, 1838 - 1912), 1883 DIRECTORS AUDIO TOUR Marion Stratton Gould Fund, 98.75 VERBAL DESCRIPTION “TOUR” At first glance, this painting seems like a real-life view into a shop window. Using the highly detailed style of painting known as trompe l’oeil (say tromp-LOY), the artist has filled the space with paper prints and books, a variety of collectible objects, and an assortment of photographic calling cards known as cartes de visites (say KART-deh-vee-ZEET), which hang clothesline-style across the front. The printseller himself emerges through a small door at the back, allowing a glimpse of his shop behind.

A Victorian “Vanitas” Like today’s antique shops, this window displays objects familiar to audiences of the Victorian Era in the late 1800s;

• prints made after well-known paintings • cartes de visites, calling cards considered

essential to proper society • reproductions of ancient Greek and Roman

objects • fine pieces of decorative glass and porcelain

This display of luxury, taste, and craftsmanship recalls the artistic tradition of vanitas (say VAN-ih-tass), a moral lesson especially popular in 17th century Dutch art. Paintings featuring rich arrangements of silver and glass objects, musical instruments, flowers, sumptuous but perishable foods, and burning candles, served as decorative reminders of the temporary nature of wealth, beauty, and life itself.

Image = detail of shelf objects

What is trompe l’oeil? Trompe l’oeil (say tromp-LOY) is French for “fool the eye.”

This ancient artistic tradition of hyper-realistic painting features three-dimensional qualities and detailed special effects, like this booklet hanging "outside" the picture frame. The style was very popular at times, but also drew criticism for being a demonstration of mere mechanical skill rather than artistic talent. When Walter Goodman displayed The Printseller’s Window in a London art show in 1892, a newspaper reporter actually accused him of gluing real photographs to his painting! Image = detail of hanging booklet


Explore the Objects This shop window displays a wide variety of decorative objects. How many of these objects can you find in the painting? • A tall, etched, clear glass goblet, or wine glass • A string of pearls • An ancient Greek-style pitcher , or lekythos (say LEHK-ih-thohs), picturing a 4-horse chariot • A light blue porcelain plate, decorated with red flowers, containing a handful of coins or tokens • Two small books open to display illustrations • A green glass vase, with two handles • A magnifying glass • An oval miniature portrait of a gentleman in a blue coat • A terracotta figure of Cupid, the young Roman god of love • A small armless statuette of a standing boy • A dark blue and white Wedgewood-style vase with a scene of classical figures • A glass tankard, or mug, with a metal handle and lid • A gold-rimmed porcelain teacup and saucer in a blue willow pattern • A framed photograph of John Ruskin (British, 1819 – 1900), watercolor artist and critic • A loose of George Augustus Sala (British, 1828 – 1895), a popular writer, miniature photo

humorist, and critic

About the Artist Walter Goodman Although artistically gifted, Walter Goodman was only marginally successful as a painter and ultimately relied on his extensive family for financial support. Goodman came from a family of artists, including his mother Julia Salaman Goodman, who supported her family as a portrait painter. He studied at the Royal Academy in London, and then resided in Edinburgh before and after traveling in Italy, Spain, Cuba, and the United States. His paintings, including The Printseller’s Window, appeared in major British exhibitions but Goodman died in obscurity, largely forgotten until very recently,


Explore the Prints slideshow Explore the prints “for sale” in The Printseller’s Window; most are based on real works of art. • Self-portrait in the Style of Rembrandt

Sir Joshua Reynolds (British, 1723 - 1792), ca. 1775 Print based on the painting in the Royal Academy of Arts, London.

• Santa Cecilia Carlo Dolci (Italian, 1616 - 1687), 1671. Print of painting in the Old Masters Gallery, State Art Collections, Dresden, Germany.

• Albert and Nicholaas (The Artist’s Sons) Peter Paul Rubens (Flemish, 1577 - 1640) Print by Gustav Planer (German, 1818 - 1873), MAG 2008.48 . Copy of a painting in the National Art Galley, Vaduz, Liechtenstein.

• Cornelius van der Geest Sir Anthony van Dyck (Flemish, 1599 - 1641), before 1620 Print based on the painting in the National Gallery, London.

• “Horses and Riders” Unidentified / This print featuring horses and riders has yet to be identified. Do you recognize it?

• “A Gentleman” Unidentified / This print featuring a seated man in a coat has yet to be identified. Do you recognize it?

• “A Woman” Unidentified / This print featuring a woman wearing a long lace veil has yet to be identified. Do you recognize it?

• “Cupid” Unidentified / This print featuring an image of the Roman god Cupid has yet to be identified. Do you recognize it?

• “A Youth” Unidentified / This print featuring a youth in a landscape, dangling something into the edge of a pond, has yet to be identified. Do you recognize it?

• “A Woman” Unidentified / This red ink print or red chalk drawing is partially covered by smaller prints. It features a standing woman in a long gown,

and has yet to be identified. Do you recognize it?


Explore the Photographs Explore the miniature portrait-photograph calling cards, or cartes de visites, of these Victorian artists, contemporaries of Walter Goodman. While he may not have known them personally, he was certainly familiar with their work. • Mariano Fortuny y Marsal (Spanish, 1838 – 1874)

A painter known for scenes of North Africa as well as small, gemlike paintings of aristocrats. • William Powell Frith (British, 1819 – 1909)

His paintings of modern-life subjects were very popular; he sold a large number of engravings of these works.

• 2 – 1883)Gustave Doré (French, 183 The most popular and successful French book illustrator of the mid 1800s. At one time he employed more than forty employees to carve the woodblocks used to create his prints.

• John Everett Millais (British, 1829 – 1896) One of three founding members of the Pre-Raphaelite Brotherhood. The group rejected modern art in favor of a simpler Medieval style of painting, before the influence of the Renaissance master Raphael.

• ster, British (1800 – 1886)Thomas Web Known for his genre paintings, often with children as subjects, depicting simple and humorous incidents from everyday life. He became the leading figure in the Cranbrook Colony of artists in Kent.

• Rosa Bonheur (French, 1822 – 1899) The foremost animalier, or animal painter of the period. Trained in art with her father, whose radical political and social views of gender and class equality influenced her to cut her hair short and dress as a male.

• British, 1830 – 1896) Lord Frederick Leighton ( Hugely successful and popular Victorian painter and sculptor of classical mythology, historical, or biblical subject matter. The first English painter to be given a noble title, he was made Baron Leighton, of Stretton in the County of Shropshire but died the next day.

• Elizabeth Thompson, Lady Butler (British, 1846 – 1933) Popular and well-known in Britain for her carefully crafted, accurate military paintings. However, fell out of favor when the public desired more patriotic pictures that glorified British victories.

• Sir Lawrence Alma-Tadema (British, 1836 – 1912)

The most successful painter of the Victorian era for his distinctive, elaborate paintings of beautiful people in classical settings. As attitudes changed, his paintings became increasingly unpopular, but his visions of the ancient world influenced many historical-drama films.

• 1795 – 1880) Thomas Landseer (British, One member of a famous family of British artists, he produced many original etchings featuring animals and birds. However, he spent much of his career making prints of his brother Edwin’s drawings and paintings.

• – 1894) W. Calder Marshall (British, 1813 Scottish sculptor, studied in Edinburgh, London, and Rome. He specialized in Neo-classical works and Classical subjects.

• (Hungarian, 1844 – 1900) Mihály von Munkácsy Born Michael (Michel) Leo Lieb, orphaned young and apprenticed to a carpenter. Settled in Paris and earned an international reputation with his genre pictures and large scale biblical paintings.


Audio Description will be part of a separate “tour” for the visually impaired… You are looking at The Printseller’s Window, a large oil on canvas by British artist Walter Goodman. The Printseller’s Window, painted around 1883, is 52 inches high by 44 inches wide and is in a simple dark wood frame. This hyper-realistic painting portrays a cluttered display window of a printseller’s shop seen as if you were standing on the street peering in through the window frame. An older man, who wears wire-rimmed spectacles and has a thick, yellow-gray beard and mustache, appears toward the back on the right side of the painting. You see him from the waist up, standing in an opening at the back of the display window, staring intently at the small statue of a reclining figure that he holds in his hands. Starting from the foreground of the painting, the floor of the display window is covered with etchings and lithographic prints of various sizes. Two open books and numerous smaller prints are arranged on top of these prints. In the center, a turquoise and brown pottery dish, partly filled with copper and silver coins, rests on top of one stack of prints. On the far right a circular, rose-colored image of a female figure contrasts with the other black and white prints. In the middle-ground of the painting, raised about a foot above the floor of the display window, a narrow wooden shelf extends across the width of the window. The shelf is lined with objects, which we describe here from left to right. The first object on our left is a green glass tankard with a hinged, pewter lid. Next, we see a white and blue, gold-rimmed teacup and saucer. To the right of the teacup is a slim terracotta-colored Greek vase that is twice as tall as the teacup. In the center of the shelf is a portrait of a bearded gentleman in a rustic frame. A large magnifying glass is propped up against the left side of the frame, enlarging a detail. Crowded next to the frame and only half as high, is a short glass vase. It is partly covered by a small black and white photograph leaning against it. A strand of pearls, which is wrapped around the base of the vase, runs behind the photograph. Two short loops of the pearl necklace dangle off the edge of the shelf. Behind the pearls and to the right is a clear etched glass vase. A miniature oval portrait is perched between this and a small teal-colored vase with raised white designs. This vase is similar in shape to the terracotta vase on the left. The last object on this shelf is a statue of an armless nude child. If you look about 15 inches above the shelf, a string is stretched across the center of the window. A dozen small photographic portraits called cartes-de-visites are clipped to the string. Ten are portraits of men and two of women. All are in formal poses. Above the line of cards, on the left side of the window, a booklet with curled paper pages hangs on a string from a nail. A burgundy colored curtain is draped three-quarters of the way across the top and down the right side of the window. The background color of the interior walls of the display window are green; these are also covered with prints. The man seen through the opening in the back wall appears to be the printseller because he is standing inside the shop; prints and small objects can be seen in the distance behind him. Walter Goodman, a Victorian artist, lived from 1838 to 1912. The Printseller’s Window was purchased by the Memorial Art Gallery thanks to the Marion Stratton Gould Fund. Version 1-3-2011 The verbal descriptions were written by Amy Mednick and edited by Lisa Helen Hoffman, consultant, with additional input from Rene LaTorre of the Association for the Blind and Visually Impaired-Goodwill. Thanks to trained audio describer Anita Nicoletta who volunteered to record these descriptions, and to Ruth Phinney who generously donated the recording and production time at WXXI Reachout Radio. This project was supported in part with funds from the Elizabeth L. and Donald M. Cohn Endowment of the Memorial Art Gallery and the John Steuart Curry Foundation. http://mag.rochester.edu/plugins/audio/AudioDescriptions_VisuallyImpaired/06PrintsellersWindow.mp3

MAG App Object Scripts: Islamic + AAC 8/30/11 1

Islamic Art Explore a selection of decorative and functional ceramics, Medieval manuscripts, and ritual objects representing the spread of the Islamic faith and its art forms through the Middle East, Central Asia, and North Africa. Kubachi Ware Tile Iranian, Persian Empire, 16th century Gift of Mrs. Cady Hews Allen, 21.2

Painted with long-necked herons and flowering plants in blue and black, this large ceramic Kubachi Ware (say koo-BAH-chee) tile is decorative enough to stand on its own. However, it was most likely part of a set of tiles that joined to form a large mural, mounted to cover one wall of a room. Such scenes of fanciful gardens, full of real and imaginary plant and animal life, commonly appear in Islamic architecture.

East meets West This tile was produced in an Iranian or Afghan pottery workshop, decorated to western Islamic standards, using colors influenced by Chinese Ming Dynasty blue-and-white porcelain. It represents the exchanges of art and culture enabled by the Silk Road trade networks. Image = zoom


Calligraphic Frieze North Indian, Delhi Sultanate Period (1206 – 1526), 1500s AUDIO—HEAR THE VERSE??? Marie Adelaide Devine Fund, 2009.8 This sandstone fragment formed part of a carved architectural frieze (say freez), or decorative horizontal band. It likely embellished an Islamic shrine or tomb in a mosque complex in north-central India.

The carving is a popular quotation from the Qur’an, known as the “Throne Verse,” written in a decorative Arabic script. Like a font or typeface today, the shape of the script helps to identify its date and origins. This is naskh script, a slightly angular form widely used for architectural carvings, as well as written texts and painted ornamentation, during the period when Islam dominated northern India.

What Does It Say? This frieze fragment carries only a small part of the “Throne Verse,” from Surah (chapter) 2:255 of the Qur’an. This segment reads, “To Him belongs what is in the heavens and what is on earth. No one may intercede…” Image = Zoom

The “Throne Verse” Surah 2:255 God. There is no deity but Him, the living, the eternal! Drowsiness does not overtake Him, nor sleep. To Him belongs what is in the heavens and what is on the earth. No one may intercede with Him save by His permission. He knows what is before them, and what is behind them, yet they comprehend nothing of His knowledge, save as He wills. His throne encompasses the heavens and the earth, and He does not weary of preserving them. He is the sublime, the magnificent!

An Indian Sandstone Tomb Decorative patterns and verses from the Qur'an, carved from local red sandstone, covered entire walls of buildings in Indian mosque complexes. The MAG's fragment does not come from this mosque, but would have been part of a similar site.

Image = (context) Shrine of Shams-ud-din Iltutmish, ca. 1235 Complex of the Quwwat-ul-Islam Mosque, (The Great Mosque of Delhi) New Delhi, India

What Is Calligraphy? The word calligraphy (say cah-LIH-graf-ee) comes from the Greek for "beautiful writing."

Calligraphy is a form of visual art that can be described simply as the art of fancy lettering. The rich tradition of Islamic decorative calligraphy, often incorporating verses from scripture or phrases from prayers, developed from the Islamic belief that representing the human form, particularly in religious art, is a sin against God.

Image = detail, calligraphic décor from Qur’an

What is Qur’an? From below…


Section from a Qur'an endowed by Sultan Qansuh al-Ghawri Egyptian, Mamluk Sultanate Period (1250 – 1517) , late 15th century Marie Adelaide Devine Fund, 2008.69 This delicate work of art is very sensitive to light. In order to protect it, the pages on view are periodically changed; thus the image on this app and the artwork in the case may not “match.” The gold-embellished script of this 33-page book represents only one section, or juz’ of the Qur’an (say koor-AHN), the Islamic holy book. It was created in the late 1400s, sponsored by the Islamic ruler of Egypt, Sultan Qansuh al-Ghawri. When it was completed, the Sultan presented the Qur’an in 1503 to the madrasah (say mah-DRAH-sah), the Islamic religious and law school, located near his mosque in Cairo.

What is the Qur’an? The Qur’an (sometimes spelled “Koran”) is the holy book at the heart of the Islamic religion.

In Arabic, the word qur’an means “recitation,” reflecting the central Muslim belief that the prophet Muhammed (say moo-HAHM-ehd) heard God’s words as recited orally in Arabic by the Angel Gabriel. Although written copies and translations are necessary for learning and documentation, Muslims believe that the perfection of God’s words can only be preserved by reciting the scripture in the original Arabic.

Who was Sultan Qansuh al-Ghawri? Qansuh al-Ghawri ruled as Sultan of Islamic Egypt from 1501 to 1516.

As the second-to-last ruler of the Mamluks in Egypt, he saw the end of a nearly 300 year dynasty. His own reign, begun at the age of 60, was marked by heavy taxes on the populace to support a lavish royal court, civic improvements including watercourses and fortifications, and beautification projects at Mecca. An invasion by the Ottoman Turks cost al-Ghawri his life on the battlefield in 1516. Image = engraving of al-Ghawri

“Beautiful Writing” This Qur'an is a manuscript, which means that each page was written in elaborate Arabic calligraphy (say cah-LIH-graf-ee) and decorated entirely by hand. Calligraphy, Greek for "beautiful writing," is a rich tradition in Islamic arts, particularly in religious art which forbids representing the human form. • The artist used a simple cursive naskh script in black ink for the text of the verses. • A gold rosette marks the start of each verse. • In the margins, larger groups of verses are marked by gold thuluth script embellished with red and black. • Surah, or chapter, headings appear in lines of large gold thuluth script. • Red lines mark the margins of the page.

Image = open book view


Leather-bound Leaves This section of the Qur’an is still bound in its original leather cover with gold embellishments. The entire Qur’an is divided into 30 equal sections, known as ajiza (Arabic for “parts”), so the other 29 books that contained the rest of the Qur’an would likely have had similar binding. Image = front cover

Official Dedication The sultan, or ruler, of Egypt presented a multi-volume Qur’an to the Islamic religious and law school located near his mosque. The first page of this volume is the dedication page, with official inscriptions and seals. • This stamp is a later addition to the page, the seal of

a later Ottoman owner. • The section title, Juz’ 26, appears in silver thuluth

script decorated in blue and outlined in a gold frame. • The inscription includes the dedication date of July

20, 1503 (Muharram AH 909 in the Islamic calendar).

• A large medallion in gold, blue, and copper, is possibly a seal of the Sultan Qansuh al-Ghawri, the patron who paid for and dedicated the Qur’an.

• This small but intricate rosette marks the beginning of a new section, or juz’.

Image = Dedication page

Who were the Mamluks? The Mamluks (say MAHM-looks) are named from an Arabic word for “slave.”

They began as young slave-soldiers, captured during the spread of Islam in the 800s CE, converted to Islam, and trained as army recruits. In time, the Mamluks used their position to claim political power for themselves. While still considered slaves, the Mamluks became known as the “true guardians of Islam,” earning wealth, political authority, and religious honors. Image = "Mamluk, in typical attire," 1799


Sgraffiato Ware Vessel Sharaf al-Abawani (Egyptian, active 1293 – 1341) Anonymous Gift, 51.350 Shaped like an oversized footed cup or chalice (say CHAH-liss), this pottery vessel likely served a ritual or display role. The large symbols and inscriptions in Arabic date it to the Mamluk period of Islamic rule in Egypt. It may have been a costly gift, or an award for services rendered, from the sultan, ruler in Egypt during this period.

Powerful Patronage The interior of the vessel contains an inscription and symbols, proving that the artist produced works for some of the most powerful Mamluk court officials. • The inscription translates roughly to read: From the things made by order of the most

magnificent, the honored, the well served, Badr al-Din(?)...

• This symbol appears multiple times. It may represent a high governmental rank or office, perhaps the jawish, or badge of a military official known as “The Bearer of the Caliph’s Mace."

• This symbol may consist of a triangular stand holding a pillow or saddle, on top of which is a weapon like a sword or club.

Image = interior view

About the Artist: Sharaf al-Abawani The outer inscription reads: “The work of the poor, humble servant Sharaf al-Abawani, the servant of all humanity.” Many complete ceramic vessels bearing the name of Sharaf al-Abawani, as well as fragments, have been found in the area of the old Egyptian capital city of Fustat (say FOO-staht), near present-day Cairo. However, almost nothing is known of him. Image = exterior view

How was it made? “Scratched” Ware This large, ceremonial vessel is decorated with a technique known as sgraffiato (say sgrah-fee-AH-toe), which is Italian for “scratched.”

After being formed and dried, the pottery was covered with a layer of slip, or watered-down clay of a different color. By scratching down through the layer of slip, the artist produced a design by exposing the contrasting color of the vessel underneath. The application of lead glazes and firing at high temperatures resulted in a distinctive effect.

Who were the Mamluks? The Mamluks (say MAHM-looks) are named from an Arabic word for “slave.”

They began as young slave-soldiers, captured during the spread of Islam in the 800s CE, converted to Islam, and trained as army recruits. In time, the Mamluks used their position to claim political power for themselves. While still considered slaves, the Mamluks became known as the “true guardians of Islam,” earning wealth, political authority, and religious honors. Image = "Mamluk, in typical attire," 1799


Leaf from a Manuscript of Poetry by Umar Ibn al-Farid Iranian, Persian Empire, 1600 – 1699 CE I know this is going off-view, but had it written up and done before I found out… The C. Herbert Ocumpaugh Collection, 28.317 as it is 2sided, I thought it was going to be flipped over. Never mind. Good template for other mss??? The rarely-seen design of this Islamic manuscript leaf, or page, incorporates verses from two different poems onto a single page. The unknown artist arranged the verses in decorative shapes and frames, wrote the lines using elegant Arabic calligraphy (say cah-LIH-graf-ee), and embellished the page with gold leaf and watercolors. A Persian translation of the verses appears in red ink below each line.

A Collector’s Item This decorative double-sided sheet was once part of a full manuscript, a book written and decorated entirely by hand. Bound manuscripts were often broken up so the leaves could be sold individually to collectors. Image = (zoom) AUDIO—HEAR THE POEM?

Who was Umar Ibn al-Farid? (say OO-mahr EE-bihn ahl-fah-REED) (Egyptian, 1181- 1235) Both poems on this page are the works of Umar Ibn al-Farid, one of the most beloved poets in Islamic tradition. This richly decorated manuscript leaf, created nearly 400 years after the poet lived, reflects the continued popularity of al-Farid’s poems. Born in Cairo, al-Farid moved to Mecca to study Islamic spiritualism and Arabic literature. He became a master of the Arabic poetic tradition, writing long expressive verses, full of symbolism and colorful imagery, which describe the loving relationship between God, the divine creator, and his creation.


What Is Calligraphy?

The word calligraphy (say cah-LIH-graf-ee) comes from the Greek for "beautiful writing."

Calligraphy is a form of visual art that can be described simply as the art of fancy lettering. The rich tradition of Islamic decorative calligraphy, often incorporating verses from scripture or phrases from prayers, developed from the Islamic belief that representing the human form, particularly in religious art, is a sin against God.

Image = detail, calligraphic décor from Qur’an

“Wine Ode” These spaces each contain a verse from one section of Umar Ibn al-Farid’s poem al-Khāmrīyah, or “Wine Ode.” Alcohol is forbidden by Islam, so the poet carefully points out that the poem refers to the effects of wine as a metaphor, or symbolic image, for the potent power of God’s love. Image = highlighted “clouds” and large boxes

"Ode Rhyming in T" Verses from Umar Ibn al-Farid’s poem al-Dālīyah, or "Ode Rhyming in T," appear in these spaces. The poem describes a difficult caravan journey through the desert, using the desire of romantic love as a metaphor, or symbolic image, for the spiritual desire for God’s love. Image = highlighted smaller boxes

READ A TRANSLATION: "Ode Rhyming in T" Ibn al-Fāriḍ's al-Ḍālīyah, or "Ode Rhyming in T,” is sometimes referred to as the Poem of the Sufi Way. It is one of the longest poems in Arabic literature. The two sides of this leaf contain only verses 5 - 16 of the poem. (5) Fatigue has whittled [the camels] away and loosened their nose rings -- let them quench themselves on the depressions' panic grass. (6) Rapture will wear them away if you do not water them, so give them a drink on the run amid the lowland's large pools, (7) And race with them but spare them, for they are your means of winning the best of valleys. (8) May God lengthen your life! If you pass by Yanbu's valley, then Dahnā, then Badr--setting out early— (9) And journey to Naqā, then to the wetlands of Waddān, to Rābigh with well-watered pools, (10) And cross the stony tacks aiming for the tents of Qudayd, the dwellings of the glorious ones, (11) And draw near to Khulayṣ, then �Usfān, and Marr al-Ẓahrān, the Bedouins' meeting place, (12) And arrive to drink at Jumūm, then Qaṣr and Daknā'-- one and all watering holes for those coming for drink (13) And come to Tan�īm, then to Zāhir, radiant with blossoms to its mountain tops, (14) And cross over to Hajūn and pass through, choosing to visit the shrines of the saints, (15) And reach the tents, then give my greetings carefully to the dear Arabs of that assembly. (16) Be kind, and recall to them a part of my passion, never to be exhausted. Translation by Th. Emil Homerin, Umar Ibn al-Fārid: Sufi Verse, Saintly Life (New York, 2001), 49-50.


READ A TRANSLATION: "Wine Ode" The two sides of this leaf contain only verses 5 – 16 from Ibn al-Fāriḍ's al-Khāmrīyah, or "Wine Ode." These verses describe the miraculous effects of the love of God, symbolized by wine, including the powers of its name. (16) Could the wizard write the letters of its name on the brow of one struck by the jinn, the tracings would cure and cleanse him, (17) And were its name inscribed upon the army's standard, all beneath that banner would fall drunk from the sign. (18) It refines the morals of the tavern mates and guides the irresolute to resolution's path; (19) He who never knew munificence is generous, while one lacking in forbearance bears the rage of anger, (20) And could the stupid one among the folk win a kiss from its strainer, he would sense the hidden sense of its fine qualities. (21) They say to me: "Do describe it, for you know its character well!" Indeed, I have word of its attributes. Translation by Th. Emil Homerin, Umar Ibn al-Fārid: Sufi Verse, Saintly Life (New York, 2001).

MAG App Object Scripts: Italian Renaissance 11/22/11 1

Italian Renaissance Art The period from about 1400 to 1600 in Italy is now known as the Renaissance. It featured a flowering of culture and art that looked back on the classical arts of Rome and Greece. Portrait of a Boy of the Bracciforte Family of Piacenza Girolamo Mazzola Bedoli (Italian, ca. 1505 - ca. 1569), ca. 1540 Marion Stratton Gould Fund, 76.13 This painting is a full-length (head-to-toe) portrait of a young boy dressed in an elaborate outfit embroidered with gold trim. He poses casually in a richly furnished room, between a large wooden chair with gold fringe and a small table holding a book, a flute, and a gold statue. In his right hand he displays a small gold medal bearing a coat of arms, or family symbol, of the Bracciforte (say brach-i-FOR-tay) family of Piacenza, in northern Italy.

Future Fame and Fortune Every detail of this portrait is a visual celebration of wealth and refinement, identifying this boy as a sophisticated young nobleman. The very existence of a painted portrait demonstrates the family’s high expectations for his future, but the boy’s name remains unknown. Image = detail of boy

“Mine by Right” The gold medallion in the boy’s right hand is attached to a gold neklace chain. It bears the Bracciforte coat-of-arms, or family symbol: an arm, wearing armor, holding up a sword. The motto reads IVRE MEO, Latin for "Mine by Right." Image = Zoom detail of medallion

About the Artist Girolamo Mazzola Bedoli

Bedoli made a name for himself as a portrait painter serving the noble families of northern Italy, particularly the Farnese (say far-NAY-zee) family of Parma. His life and work included close associations with Parmigianino (say par-MIJ-ee-ah-NEE-noh), a greatly popular artist. After Parmigianino’s untimely death, Bedoli completed many of his unfinished commissions.

Every Detail Counts hot-spots The numerous items included in the portrait serve to demonstrate the young boy’s proper education, cultivated tastes, and promising future. • The flute indicates his formal training in music. • The books demonstrate that the boy is well-educated, and that his family is wealthy enough to own books. • This gold statue is an allegorical figure representing Fame; by blowing long thin trumpets, Fame

announces this boy’s future life of greatness. • This gold medallion bears a coat of arms, or family symbol. It identifies the boy as a member of the

Bracciforte family, prominent citizens of Piacenza. • The fancy, gold-trimmed purse at his belt emphasizes his family's wealth. • The gold-hilted sword demonstrates that the boy has received training with this aristocratic weapon. • The Dantesca chair (say dan-TESS-kah) was a luxurious new style of portable, folding arm chair. It has a

carved wooden frame with seat and back rests of fabric or leather. • The small table has intricately carved feet made to resemble the paws of an animal, a popular style for

home furnishings.


Renaissance Fashions hot-spots The “Bracciforte Boy” wears an elegant, highly fashionable costume suitable to his social status. • Fabric: ivory-colored brocade, probably made of expensive silk, trimmed with lace and buttons of

gold. • Doublet: a quilted, snug-fitting jacket, buttoned up the front, with a short peplum, or skirt, hanging

below the waist • Coat: actually a longer sleeveless vest, with high collar. • Flat cap: fabric hat, probably also of silk, with soft crown and moderately broad brim; embellished

with feathers • Joined Hose: likely made of silk; today we might call them tights. • Belt: probably leather with a gold buckle; supports an elegant purse and a gold-hilted sword. • Paned Trunk Hose: short breeches made from pa nes, or fabric bands, and padded to swell out at

the bottom edge. • Shoes: flat leather slippers, slashed to allow puffs of fabric to show through the cuts.

Allegory of Hearing Italian, after 1581 Gift of Lester Slocum, Jr. and his sister, Mrs. Joyce S. DiStasio, 98.21 This highly-detailed panel painting is an allegory; an image meant to represent an idea. It has been variously identified as an allegory of Music or of Sound, but has recently been confirmed as an Allegory of Hearing. A young woman sits in a fantastic wooded landscape, surrounded by musical instruments commonly played during the European Renaissance.

Prints and Paintings During the Renaissance, printmakers produced affordable, smaller-scale copies of popular paintings. However, in this case the painting is a copy of this print, itself based on a print series of The Five Senses designed by Maarten de Vos (Flemish, 1532 - 1603). Image = Auditus (Hearing), Raphael Sadeler (Flemish, 1560 -1632), 1581.

Beauty and a Beast? A stag, or male deer, lies quietly under the trees to the left. Has he been drawn out of the forest, his beastly nature charmed by the young woman’s music? Perhaps, but he also serves a symbolic purpose, as stags were believed to have an exceptional sense of hearing.

Renaissance Instruments Seated beneath a tree at center, a young woman represents a personification of Music. She is surrounded by a variety of European musical instruments commonly played during the Renaissance. • Lute: a guitar-like stringed instrument with a long neck and a deep rounded body. • Viola da mano: this very large stringed instrument may be a deep, contrabass version of a popular ancestor to the guitar. • Shawm: an early double-reed woodwind instrument, like the modern oboe or bassoon; the length may identify this as an alto shawm. • Zink: a curved wind instrument with finger holes • Lyre: a small harp, but picked with a plectrum rather than with the fingers. • A case comprising a number of tubes to hold recorders or flutes • An assortment of music books • Bagpipe: one or more reed pipes sounded by an attached skin bag, which is filled with air by the pipes player. • Folded trumpet: based on the early straight horn, but similar to trumpets of today, with the length folded over and over between bell and mouthpiece. • Cittern: a 3-stringed, flat-backed guitar-like instrument, easier to play, more portable, and cheaper to construct than the lute.

MAG App Object Scripts: Italian Renaissance 11/22/11 3 The Conversion of St. Paul Francesco Ubertini (Italian, 1494? - 1557), 1530 - 1535 Marion Stratton Gould Fund, 54.2 This chaotic scene is full of lively horses, gesturing soldiers, and dazzling colors, all against a backdrop of towering rock formations. The focus of the action is in the center foreground, where a white horse has collapsed to its knees. The rider is Saint Paul, dressed in deep blue armor topped by a brilliant red cloak. He gazes upward to the top right corner of the painting, where the clouds part to reveal the bearded figure of God directing a ray of light down toward Paul.

Who was St. Paul? Saint Paul, a Jewish citizen of Rome, was named Saul at birth. One of the strong non-believers in Jesus and his teachings, Saul worked hard to persecute and arrest Christians.

One day, while travelling from Jerusalem to Damascus, Saul was struck blind by a bright ray of light, and heard the voice of God speaking to him. His fellow travelers led him into Damascus, where a follower of Jesus restored his sight.

Saul then became a devout Christian, changed his name to Paul, and preached widely throughout Greece and the eastern Roman Empire. According to Christian tradition he was arrested and sent to Rome, where he was executed with a sword out of respect for his Roman citizenship. Image = detail of Paul

Mimic, Modify and Merge

Ubertini's paintings became famous for his "borrowings." He often mimicked figures or arrangements from other well-known works of art, modified them slightly, and then merged them into his own paintings.

As just one example, find the figure of God in MAG's painting by Ubertini, in the sky at upper right. Scholars believe that Ubertini was inspired by the famous image of God shown below. It is the work of Michelangelo, from the Sistine Chapel ceiling in Rome.

[picture]

Compare this image with the figure of God in Ubertini's painting. Do you see a similarity in the two figures?

Image = Creation of the Sun and Moon Michelangelo (Italian, 1475 - 1564), 1508-12. Sistine Chapel, Vatican, Rome. Photo from http://commons.wikimedia.org/wiki/File: Michelangelo_-_Sistine_chapel_ceiling_-_bay_8.jp

http://commons.wikimedia.org/wiki/File

MAG App Object Scripts: Italian Renaissance 11/22/11 4 Saint Paul’s Story hot-spots

About the Artist Francesco Ubertini Ubertini studied and worked with some of the great artists of the late Italian Renaissance. In 1540, Ubertini joined the official artists serving the nobles in the court of Duke Cosimo I de' Medici (ruled 1537 - 1574), where his art gained great favor. Ubertini developed his own distinct style by borrowing figures, backgrounds, and patterns from famous paintings and prints by other Italian, German, and Dutch artists, making slight changes and adding bright colors. His paintings became “I Spy”-style games for the nobles, who attempted to demonstrate their own artistic knowledge by recognizing the borrowings.

It’s all in the Composition hot-spots The artist directs our attention to Saint Paul, the subject of the painting, through a variety of methods in the composition, or overall arrangement. • Paul’s placement at the very front and center of the

painting makes him one of the largest figures in the painting.

• Many of the figures turn their heads in Saint Paul’s direction, subtly encouraging us to do the same.

• Linear elements like spears, edges of cliffs, and the ray of light from heaven point towards Paul.

• The colors of the painting are more dull and gray-blue at the top, becoming gradually brighter and high-contrast towards the bottom.

Portrait of a Caesar TOUR STOP / COLL CONN Circle of Gregorio di Lorenzo (Italian, active 1461 -1473), ca. 1470 - ca. 1500 Given in memory of Inez D'Amanda Barnell by her friends, 65.8

Carved from marble in relief, or shallow carving into a surface, and fitted into a gilt wooden frame, this portrait displays a man in profile. He wears decorative armor in the style of ancient Rome, with lion heads at the shoulder. His head is crowned with a wreath, the ends of the strings waving at the back of his neck. Power in Profile Long mistaken for a Corsini family portrait, this sculpture copies an imaginary portrait of one of the 12 Caesars, the first emperors of Rome. The powerful Medici family of Florence commissioned the original "Caesar" series, possibly as a comment on their own political dynasty.

About the Artist Circle of Gregorio di Lorenzo

The artist did not sign his finished work. In order to identify the artist, scholars closely examined this sculpture, looking for similar details in other artworks.

Based on their findings, experts attribute this sculpture to the School of Gregorio di Lorenzo. This means that the sculpture may be the work of Lorenzo himself in combination with students or assistants, or the work of another artist who studied or copied Lorenzo’s style.

Gregorio di Lorenzo studied in Florence with Desiderio da Settignano, the sculptor of the Medici’s original 12 Caesars portrait series. Lorenzo himself became an independent master sculptor about 1455. His travels to other Italian and European courts contributed to the spread of Florentine sculptural influences.


MAG App Object scripts: Medieval Europe 11/22/11 1

Medieval Art The period from about 1100 to 1400 in Europe is known as the Medieval Period, or the Middle Ages. Previously thought of as a "dark age" of lost knowledge, disease, and warfare, the period is now recognized for its own remarkable and distinctive arts, many supported by the Catholic church.

Châsse with Scenes from the Life of St. Stephen French; Made in Limoges, 1220 - 1230 R. T. Miller Fund, 49.20 This box or casket in the shape of a miniature building or tomb is known as a châsse (say SHASS). It is a type of reliquary (say REHL-ih-kwair-ee), made to house remains or artifacts associated with a Christian saint. The images on this châsse depict the death of Saint Stephen, the first Christian martyr (killed for his faith). Stephen is also the patron saint of the cathedral of Limoges, France, where this châsse was likely created.

Who was St. Stephen? The story of Saint Stephen appears in the New Testament book of Acts 6:1-82.

Jesus’ Apostles chose Stephen to be a deacon, responsible for distributing Christian funds to the poor. The enemies of the early Christians, angered by his preaching, accused Stephen of blasphemy, or disrespectful speech. He was tried and condemned to death by stoning, becoming the first Christian saint to die for his beliefs.

Colorful Champlevé These colorful designs are created by champlevé (say SHAHMP-leh-VAY). Grooves carved into the metal surface, or wires soldered on to make “walls,” form spaces that are filled with melted glass-like enamels. The enamel cools to produce a jewel-like effect. Image = detail of front (zoom)


Death and Reward hot-spots The back of the châsse, including the lid, depicts the scene of Saint Stephen's death and spiritual reward for his faith. • One side of the handle ends in the shape of a

closed human fist. • One side of the handle ends in the shape of an

animal's head. • Enameled flower-like elements decorate the

background of the scene. • The soul of Saint Stephen, carried by two

angels, rises up through the clouds to heaven. • Stephen kneels on the ground before his

attackers, while stones rain down around him. • One of Stephen's accusers approaches, a stone

ready in his raised right hand.

Image = back view

Open at the Front The front is decorated with a trellis and flower design in gold and colored enamels. The hinged lid has a small latch that snaps into place inside the front panel. Although created to hold a relic, or holy object, related to St. Stephen, it is now empty. Image = front view, lid open

Angels on the Side Each side features a winged angel, holding a book in his left hand. The right hand is raised in a sign of blessing. Notice how The halo around the angel's head and the background designs are filled with colored enamels, while the angel himself is "carved" into the gold surface. Image = side view

Fragment from the Tomb Arcade of Philip the Bold Jean de Marville (Flemish, d. 1389) and Claus Sluter (Netherlandish, d. 1406) , ca. 1384 - 1390 R. T. Miller Fund, 49.51 This marble fragment is an example of the Gothic style of late Medieval church architecture, in miniature. Three slender columns, two of which are attached to sturdier pier structures, join at the top by ornate pointed arches to define a small corner niche. Above the arches, decorative floral motifs continue upwards to frame a second story of tiny columns, which support a flat topped “roof.”

Tomb of Philip the Bold This fragment formed part of a miniature arcade, rows of columns joined by arches. The arcade surrounded the base of an elaborate tomb created for Philip the Bold (1342 - 1404), the powerful Duke of Burgundy. During the French Revolution, the tomb was dismantled and placed in storage. Over time some pieces became damaged, lost, or sold. The complete tomb, reconstructed using reclaimed and replica fragments, is displayed in the former duke’s palace, now the Musée des Beaux-Arts in Dijon, France.

Mourners in Procession The arcade surrounding the base of the tomb sheltered pairs of draped mourning figures known as pleurants (say ploor-AHNT). They represent the relatives, courtiers, priests, and monks at Philip’s funeral, walking in a somber procession. Image = reconstruction view, detail


The Gothic Style One of the hallmarks of the Gothic Style in European architecture of this period is the pointed arch, which allowed buildings to rise higher with less weight. Rows of arched windows, covered with decorative ivy and traces of gilding, make this small archway slender but ornate. Image = detail of fragment arches…

About the Artists The tomb of Philip the Bold was the work of three different artists.

Jean de Marville (Flemish, active 1366 - 1389) Marville, as the official court sculptor for Philip the Bold, designed the entire tomb. He also carved the arcade, including this fragment. Marville worked on the tomb project from 1381 until his death in 1389. * * * * * * * * * * ** * Claus Sluter (Netherlandish, 1360 - ca. 1406)

As Marville's primary workshop assistant, Sluter took over the tomb project and the position of court sculptor after Marville's death. Sluter is recognized today as one of the greatest late Medieval sculptors. After Sluter’s death, his nephew and principal assistant Claus de Werve (active 1396 -1439) finally completed the tomb project in 1414, ten years after Duke Philip’s death.


Console with Doubting Thomas DIRECTOR’S TOUR French; Made in the Loire Valley, early 1200s R. T. Miller Fund, 49.76 The New Testament Gospel of John describes how, three days following his death and burial, Jesus rose from the dead and appeared to some of his followers. One, called Thomas, was not present at this appearance, but said that he would not believe until he saw Jesus with his own eyes. A week later, Jesus reappeared to his followers. Thomas, no longer doubting, knelt and stretched out a finger to touch the wound in Jesus' side. Jesus said to him, “Because you have seen me, you have believed. Blessed are those who have not seen, and have believed.”

A Story in One Scene hot-spots The sculptor who created this stone carving incorporated gestures and symbols to tell this story in a single scene. Notice how the figures in this scene are carved away from the background so deeply that they are almost completely three-dimensional. • The halo over Jesus' head, marking his divine status, bears the sign of the cross, instrument of his

death. • Jesus pulls aside his robe to display the wound in his side, caused by the spear of a Roman soldier. • Jesus once held a tall staff with a cross at the top, now broken, which symbolized His victory over

death. • Thomas, whose head is missing, kneels at Jesus’ right and stretches out a hand to touch the wound. • Peter, the first of Jesus’ Apostles, carries a huge key as a symbol of Jesus’ passing to him “the keys of

the kingdom.” • Mary Magdalene, one of Jesus' most devoted followers, was with him at his death and burial. She is

also the first to have seen Jesus after he rose from the dead. DIDN’T KNOW THAT WAS HER!! • Another of Jesus' Apostles watches the meeting between Jesus and Thomas.

What is a console? In architecture, a console (say CAHN-sohl) is a wall support for a beam, statue, or other structure, often decoratively carved. Image = Console diagram

Console Colors When the Gallery acquired this console in 1949, it had a layer of whitewash which was removed bit by bit with tiny brushes. The vibrant colors underneath proved to be very old restorations, but similar to the painted carvings still in place in the same French church. Image = Angel console, still in place in Saint-Martin-de-Candes Info came straight from object files, via Kerry S!

Saint-Martin-de-Candes This carved limestone console came from the Church of Saint-Martin-de-Candes, along the Loire River in southwest France.

The console was one of a series of four that supported the arched roof of the sacristy, a special storage and dressing room to the side of the church’s east end. Many carvings were removed in 1883, during an extensive restoration. A replica now takes the place of the original "Doubting Thomas" in the Saint-Martin-de-Candes’ sacristy.

Image = interior of Saint-Martin-de-Candes


Crucifixion with God the Father Giovanni del Biondo (Italian, active 1356 - 1399 ), ca. 1375 - 1380 Marion Stratton Gould Fund, 51.26 The scene of Jesus’ death by crucifixion is one of the most powerful images in Christian art. A highly decorative Gothic architectural mount – twisted columns, a scalloped arch, and tall pointed “roof” – and a flat gold background frame the figures of God in Heaven, Jesus on the cross, and his mourners. This depiction of the Crucifixion is not intended as a narrative, or story-telling, painting, but incorporates symbolism and symmetry to create an image suitable as the focus of private prayer.

Devotional Details hot spots By incorporating a few key figures and symbols, the artist turns an episode from the New Testament into a powerful devotional image. • This inscription, a later addition to the panel, reads in Latin ECCE HIC EST CRISTUS IESU REX

JUDEORUM SERVATOR MUNDI SALUS NOSTRA O [Behold this is Jesus Christ king of the Jews, Savior of the world, our Salvation].

• Jesus died by crucifixion, or death on a cross, a Roman form of criminal execution. • St. John, often known as the Beloved Disciple in Crucifixion scenes, was the only one of Jesus’ twelve

Apostles present at his death. • St. Mary Magdalene, one of Jesus’ female followers, is distinguished in art by her long, flowing hair. • The mourning Virgin Mary, Jesus’ mother, is draped in deep blueish-black. • Three angels fly to catch the blood flowing from Jesus’ wounds in small chalices, a reference to Jesus’

blood as the wine of forgiveness. • God the Father observes the scene from above; He holds an open book and gives the sign of blessing. • According to the Gospels, a sign reading INRI was attached to Jesus’ cross at his death. It is a Latin

abbreviation for the phrase IESVS NAZARENVS REX IVDAEORVM [Jesus of Nazareth, King of the Jews].

• A knight’s shield, with the symbol of the Cross above a red and white pattern. • A knight’s shield, with an unidentified symbol.

ABOUT THE ARTIST Giovanni del Biondo Biondo specialized in religious-themed works, many of which have survived, but only two of them bear his signature. His distinctive style allows experts to be certain of the many paintings that have been credited to him, including this panel. Biondo lived and worked in Florence, Italy from 1356, when he was granted citizenship, until his death in 1399.

How was this painting made? Tempera technique In this complicated ancient painting method, a wood panel is covered in fine linen, and then covered with layers of gesso (say JESS-oh), a thin plaster mixed with glue. When dry, the gesso surface is sanded smooth.

Next, the artist lightly scratches the outlines of the image onto the gesso, then applies a layer of red clay called bole to support the gilding, which is applied in extremely thin sheets.

Colors come in a mixture called egg tempera, a paint made of powdered minerals, egg yolk, and water. Because it dries quickly, egg tempera colors have to be made in small batches and painted quickly in thin layers.


Madonna and Child with Saints Francis of Assisi, John the Baptist, Peter and Dominic School of Nardo di Cione (Italian, active 1343 – 1365/66) Marion Stratton Gould Fund, 57.4 The infant Jesus and his mother, the Virgin Mary, commonly appear together in a devotional, often sentimental image known as the Madonna and Child. In this version of that image, they appear as if gazing out from an arched window. On each side of them, two more archways frame the images of four important Christian saints. Together the five archways form an altarpiece, a work of art placed above and behind an altar, the table or cabinet that serves as the focus of Christian religious ritual.

Left Side Saints hot-spots The figures in this painted altarpiece are named by inscriptions on the frame below their images. However, it is their attributes (objects they wear or carry) that make their names immediately apparent to Christians familiar with their stories. • St. Francis of Assisi (1181/82 - 1226) wears the

gray robes of the Franciscan order of monks that he founded.

• His right hand pulls his robe aside to show the stigmata (say stig-MAH-tah), marks that recall the wounds Jesus received at his death.

• St. John the Baptist (c. 6 BCE - ca. 36 CE) appears disheveled and dressed in an animal skin, referring to his life in the wilderness.

• He preached about the Messiah, the expected savior of the Jewish people. His banner reads Ecce agnus dei, or “Behold the Lamb of God,” a reference to Jesus.

(Center) Madonna and Child hot-spots The figures in this painted altarpiece are named by inscriptions on the frame below their images. However, it is their attributes (objects they wear or carry) that make their names immediately apparent to Christians familiar with their stories. • The Virgin Mary, mother of Jesus, is often called

the Madonna. • Jesus appears as a solemn but chubby-cheeked

infant; the gold halo with crosses surrounding his head demonstrates his divine nature.

• The scroll reads EGO SUM, the beginning of the Latin phrase EGO SUM LUX MUNDI, or “I am the light of the world.”

• The gold background contains punchwork, tiny stamped patterns produced by tools called punches. Different artists’ workshops used distinctive punches, so experts can sometimes use punchwork to identify the artist of an unsigned artwork.


Right Side Saints hot-spots The figures in this painted altarpiece are named by inscriptions on the frame below their images. However, it is their attributes (objects they wear or carry) that make their names immediately apparent to Christians familiar with their stories. • St. Peter (died ca. 64 - 68 CE) was leader of

Jesus’ followers, and became head of the Christian church after Jesus’ death.

• His giant key recalls Jesus' words to Peter; "I will give to you the keys of the kingdom of heaven.”

• The book refers to his two letters included in the New Testament.

• St. Dominic (1170 - 1221) founded the black-robed Dominican Order of preacher- monks, and led a life of self-denial and service to others.

• He holds a stalk of lilies, symbol of chastity. • As a sign of humility, he holds the Bible with his

robe covering his left hand.

ABOUT THE ARTIST School of Nardo di Cione The artist did not sign his finished work. In order to identify the artist, scholars closely examined this painting, looking for similar details in other paintings. Based on their findings, experts attribute this painting to the School of Nardo di Cione (say NAR-doh dee CHOH- nay). This means that the painting may be the work of Nardo himself in combination with students or assistants, or the work of another artist who studied or copied Nardo’s painting style. Nardo di Cione was a painter, sculptor and architect active during the mid 1300s in Florence, Italy. His three brothers were also successful artists. Nardo and his elder brother Andrea collaborated on several projects, and shared a workshop in Florence.

MAG App Object scripts: Northern Renaissance Art 11/22/11 1

Northern Renaissance Art During the period from about 1400 to 1600 in northern Europe, especially Germany, France, and the Low Countries (modern Netherlands and Belgium), the arts incorporated influences brought north from Italy, yet retained features unique to Northern arts.

St. Margaret with a Donor Vrancke van der Stockt (Flemish, before 1420 - 1495), 1424 - 1495 Marion Stratton Gould Fund, 44.15

This scene on this small, narrow painting is set inside a typical late Medieval, upper class home. At front, a well-dressed woman kneels on a tile floor, her hands folded in prayer. In front of her, an open prayer book rests on a small wooden bench. Behind her appears an image of Saint Margaret, the woman’s protective patron saint, identified by the chained dragon at her feet.

Donors and Devotions hot-spots This section of painted panel is known as a donor portrait. The donor, the person or family who ordered and paid for the painting, earned the right to appear in the scene, as if part of the event. Two additional matching panels, now detached, formed a small foldable painting that likely served as the focus of private prayers at the donor’s home. • A dragon, subdued and led by a chain, is one of St. Margaret’s common attributes, or identifying

symbols. • This kneeling woman may represent the donor, or perhaps the wife of the donor. A man, possibly her

husband, appears in a matching panel in another museum. • Windows like these would have been common in wealthy Flemish or Dutch medieval homes.

Including familiar domestic details in religious scenes was typical in paintings of this time. What other home furnishings do you see?

• Ownership of a book, and the ability to read it, were signs of great wealth and privilege in Medieval Europe.

• St. Margaret carries a golden staff, topped with a cross. It symbolizes her martyrdom, her death because she refused to deny her faith.

• St. Margaret appears as the woman's patron saint, a spiritual helper and protector. She floats behind the woman and extends her hand, perhaps in the act of "introducing" the woman to the holy figures in the missing central panel.

MAG App Object scripts: Northern Renaissance Art 11/22/11 2 Who was St. Margaret? Saint Margaret was the daughter of a pagan priest in the Roman city of Antioch. When she became a Christian and refused an offer of marriage by a Roman official, her family disowned her. She was arrested and thrown in prison, where the devil appeared in the form of a dragon. He swallowed her, but she burst out of its stomach by making the sign of the Cross. Before she was finally beheaded, Margaret prayed to God that expectant mothers would look to her as their particular patron saint; the safe birth of their babies would recall her miraculous escape from the dragon’s belly. Image = detail of St. Margaret

About the Artist: Vrancke van der Stockt Vrancke van der Stockt lived and worked in Brussels, now in modern Belgium. He became the city's official painter in 1464, succeeding his friend and possible collaborator, the great Flemish painter Rogier van der Weyden (ca. 1399/1400 - 1464) in that position. Van der Stockt was also active in town politics, holding several administrative positions including town councilor. He and his wife, Catherine de Moeyen, had five children, two of whom also became painters.

Part One of Three Image = reconstructed triptych This small, narrow, painted panel once formed the right side of a three-part folding altarpiece known as a triptych (say TRIP-tik). Only one of the other two panels has been identified. Hold this unit up to the left of the painting to see what it might have looked like as part of a whole. Left: St. John the Baptist accompanies a wealthy older man, likely the woman’s husband, in a mirror-image panel.

Kneeling Donor with St. John the Baptist Vrancke van der Stockt (Netherlandish, before 1420 - 1495), ca. 1470 R. T. Miller, Jr. Fund, 1942 Allen Memorial Art Museum at Oberlin College, 1942.128

Right: The central panel, still unidentified, may have resembled this "Virgin and Child" panel.

Madonna with Child and Four Angels Dirk Bouts (Netherlandish, ca. 1415 - 1475), ca. 1469 Granada, Spain; Capilla Real

MAG App Object scripts: Northern Renaissance Art 11/22/11 3 St. Elizabeth with Jug of Wine and Loaf of Bread German, ca. 1500 Bequest of Elizabeth Stebbins in memory of her mother, Elizabeth Sibley, 57.7

This carved wooden image represents Saint Elizabeth (1207 -1231), a daughter of the king and queen of Hungary. Saint Elizabeth is revered for her great acts of charity. She used her wealth and position to distribute funds to the poor, build hospitals, and care for the sick. This statue represents her dressed in the fine clothing of a medieval princess, carrying a loaf of bread and a jug of wine, symbols of charity.

Who was St. Elizabeth? At age 14, St. Elizabeth married Ludwig, heir to the throne of Thuringia, in central Germany. Ludwig died on crusade to the Holy Land in 1227, leaving her a 20-year-old widow with 3 children. Elizabeth gave her wealth to the poor, and cared for the sick in her own hospital. She died aged 24 in 1231. Image = alt view

Adoration of the Magi, ca. 1515 Master of the Holy Blood (Flemish, active early 1500s), ca. 1515 Marion Stratton Gould Fund, 80.43 This painting illustrates the visit of the three wise men, or Magi (say MAY-jy), to the infant Jesus, as described in the New Testament Gospel of Matthew. At front, Jesus sits on the lap of his mother, the Virgin Mary. Her husband Joseph watches protectively from the right. At left, three richly dressed men approach the family group, carrying a variety of costly gifts. The entire scene appears to take place in an architectural setting, with arched doorways and squared pillars framing the two groups of people.

Who were the Magi? The word magi means “priests” in the Zoroastrian (say ZOR-oh-AST-ree-ehn) sacred language.

It is the source of our word magic.

One of the world's oldest monotheistic (single-god) religions, Zoroastrianism was founded in ancient Iran 3,500 years ago. The magi tracked the movements of stars and planets to make predictions and follow prophecies. Image = detail of Magi

Read the Story: Adoration of the Magi from the Gospel of Matthew Following the birth of Jesus, a group of eastern wise men, sometimes called Magi, spotted a new star in the sky. They recognized it as signaling the birth of the Messiah (say meh-SY-ah), the long-anticipated savior king promised to the Jewish people. The magi traveled from the east to worship this new king, following the star and found the baby Jesus. They bowed down before Him and worshiped Him, presenting kingly gifts of gold, frankincense, and myrrh.

The traditional belief in three Magi, to correspond with the three gifts, began in the Medieval period.

MAG App Object scripts: Northern Renaissance Art 11/22/11 4 An Adored Subject hot-spots In northern Europe, popular demand for paintings of the Magi kept generations of artists busy. The scene also allowed artists to demonstrate their skill and creativity in picturing a wide range of ages, ethnic types, material textures, and setting details. • The youngest of the Magi, usually called Balthazar (say BALL-theh-zar), often appears with Asian

or Arabian features. • One of the Magi is usually a dark-skinned African, often wearing a purple cloak. He is named

Gaspar. • The oldest of the Magi, with white beard and hair, is called Melchior (say MEHL-kee-or). He is

shown as a White European. • Gold is a symbol of wealth and kingship in many cultures. • Frankincense (say FRANK-in-sens), burned to create a perfumed smoke, is said to be symbolic of

priesthood. • Myrrh (say MUR), a pleasant smelling, resinous oil used in funerary rites, symbolizes death. • In contrast to the richly trimmed, gold-threaded fabrics of the Magi, Mary's husband Joseph wears a

long sleeved tunic of rustic brown. He clutches his hat to his chest in a respectful gesture. • The Virgin Mary wears a draped red-orange cloak, a departure from her usual blue. • The story of the Magi's visit often takes place in the stable where Jesus was born. However, this

artist sets the episode beneath the decoratively carved pillars of an elegant house.

Image = detail of Magi

ABOUT THE ARTIST Master of the Holy Blood [also known as Maitre du Sant Sang] The artist did not sign his finished work. In order to identify the artist, scholars closely examined this painting, looking for similar details in other paintings. Based on their findings, experts attribute this painting to a Flemish artist they call the Master of the Holy Blood. The name comes from a well-known triptych (say TRIP-tik), or three-panel painting, made by this same artist for the Brotherhood of the Holy Blood in Bruges (now in modern Belgium).

MAG App Object scripts: Northern Renaissance Art 11/22/11 5 St. James French, late 1400s Marie Adelaide Devine Fund and Thomas H. and Marion Hawks Fund, 94.49

The base of this colorful limestone statue of a seated man bears the title “S. Iaque,” medieval French for “Saint James.” He holds a stout staff, wears a long cloak and broad brimmed hat, and carries a shoulder bag called a scrip. These are the garments of medieval Christian pilgrims, who traveled to often distant churches or holy sites to honor various saints, pray for forgiveness, or beg favor. His hat and bag are both adorned with a scallop shell, the symbol worn by those pilgrims who had made the journey to Saint James’ own church at Compostela in northern Spain.

Who was St. James? Saint James was one of Jesus’ Apostles, or first 12 followers. Following Jesus’ death, the Apostles traveled to spread the Christian faith to other parts of the world. James went as far as Spain before returning to Jerusalem. His preaching there angered the king, and he was tried and executed. James' own followers took his body back to the northern coast of Spain, burying it at the site where the church of Santiago de Compostela (say SAHN-tee-AH-goh deh KOM-poh-STEH-lah) now stands.

Santiago de Compostela The word Santiago comes from Sant Iago, Saint James’ name in medieval Spanish.

The cathedral of Santiago de Compostela (say SAHN-tee-AH-goh deh KOM-poh-STEH-lah) was founded at the site in northern Spain where St. James is traditionally believed to be buried. For many Christians, Compostela is considered the third most holy city in Roman Catholicism, after Rome and Jerusalem. It is still a major pilgrim destination today, attracting hundreds of thousands of visitors who come to honor Saint James. Image = Compostela plaza view

Marriage Chest (Minnekästchen) German, late 1400s Marie Adelaide Devine Fund, 2008.2 This small, lidded wooden box is known in German as a Minnekäastchen (say min-eh-KAS-chehn), or “miniature casket.” In northern Europe, this type of small decorative chest might be presented to a lady as a declaration of love and admiration. These were often decorated with romantic symbols, scenes of courtly love, or religious and allegorical figures. The chest was probably used by a lady for storage of small items like jewelry and toiletries.

Saving for the Future The marriage chest recalls the tradition of the hope chest, gradually stocked with linens and other household goods before a girl’s “hoped-for” marriage. This tradition in turn relates to the old custom of the dowry, the marriage price paid to the husband and his family.

MAG App Object scripts: Northern Renaissance Art 11/22/11 6 Explore the Marriage Chest The Lid: Griffins hot-spots The lid of this chest features several animals and objects with important symbolic meaning. The combination of symbols may indicate this casket’s role in a wedding or family union. • This loop of cloth appears to form an initial letter,

perhaps an "O." It could represent the newly married couple’s family name, or the bride-to-be’s first name.

• A crown supported by two crossed gloves, or gauntlets, echoes the two crowns worn by the winged creatures on either side.

• Two griffins, fantastic mythical creatures with eagles' heads and wings on lions' bodies, face each other. Their pose recalls heraldry patterns, where animals or figures significant to the family stand on either side of a shield with the family design.

• At the front, two rabbits emerge from their underground burrows. Rabbits are an ancient and powerful symbol of fertility, making them very appropriate symbols for a marriage.

• Between the griffins lies a small unicorn, a mythical horse with a single horn on its head. The unicorn was symbolic of purity and grace.

The Front: Lions Two lions guard the locking latch on the front of the chest. Long honored and feared as the "king of the beasts," lions also came to have mythical traits that associated them with Christian beliefs.

The Back: Unicorns The legendary unicorn is a horse with a single horn on its head. They are shy creatures which cannot be captured by chase, but lured by a virgin and caught by surprise. These unicorns appear to have been caught; they wear collars attached by chains to tree trunks behind them.

The Right Side: Bactrian Camels The two-humped Bactrian camel is a large, powerful beast of burden. It symbolized mildness and humility, because in order for its back to be loaded with goods, it must kneel. These camels both wear collars of restraint, perhaps a reference to the camel's association with prudence and caution. The Left Side: Monkeys Two monkeys, comfortably seated on cushions beside a tree, feast on fruits. Monkeys often symbolized the devil, or the evils of human nature. However, their similarity to the human form also made monkeys an image of comic relief.

MAG App Object scripts: Northern Renaissance Art 11/22/11 7 Madonna and Child Enthroned with Angels Master of the St. Ursula Legend (Flemish, active 1470 - 1495), before 1483 Marion Stratton Gould Fund, 48.11

The infant Jesus and his mother, the Virgin Mary, commonly appear together in a devotional, often sentimental image known as the Madonna and Child. In this version of that image, the pair sits in royal dignity on an elegant marble throne topped with a tapestry canopy embroidered in gold. They are attended by two youthful, winged angels dressed in white robes. About the Artist “Master of the St. Ursula Legend” The artist did not sign his finished work. In order to identify the artist, scholars closely examined this painting, looking for similar details in other paintings. Based on their findings, experts attribute this painting to a Flemish artist they call the Master of the St. Ursula Legend. The name comes from a series of paintings showing the story of St. Ursula, made by this same artist for the convent of the Black Sisters in Bruges, modern Belgium.

Treated Like Royalty hot spots Many of the details included in this devotional image have symbolic significance. • The two column tops form a scene from the book of Genesis. At right, Adam and Eve cower beneath the

forbidden Tree of the Knowledge of Good and Evil. • The two column tops form a scene from the book of Genesis. At left, an angel wielding a sword arrives

to drive Adam and Eve out of the Garden of Eden. • The baby Jesus holds an apple, referring to the belief that Mary and Jesus are the “new” Adam and Eve,

promising to save humanity from sin. • One angel supports a book for Mary in an unusual image emphasizing her wisdom. • One angel leans over the arm of the throne, holding out a flower for the baby Jesus to see. • In an artistic technique known as simultaneous narrative, two different events in Jesus’ life appear in

the windows. Here the expectant Virgin Mary visits her cousin Elizabeth, who will give birth to John the Baptist.

• In an artistic technique known as simultaneous narrative, two different events in Jesus’ life appear in the windows. Here the adult John the Baptist baptizes the adult Jesus in the river.

• The view out the windows depicts the skyline of Bruges, then a prominent Flemish city. The Church of Notre Dame helps to date this painting to before 1483, the year its new octagonal bell tower was constructed.

MAG App Object scripts: Northern Renaissance Art 11/22/11 8 Partial Armor made for the Dukes of Brunswick-Wolfenbüttel German, made in the Brunswick Armory, 1560s The Maurice and Maxine B. Forman Fund, the Clara and Edwin Strasenburgh Fund, the Marie Adelaide Devine Fund and the June Alexander Memorial Fund 2006.57

This armor is a composite, formed of separate pieces that have been put together to form a partial, or not quite complete, suit. It is plate armor, fashioned from cut and fitted sheets, or plates, of steel. The engraved decoration was inspired by prints made by artists of the time.

The armor once belonged to the Dukes of Brunswick, in central Germany. The Brunswick armory workshop included highly specialized metalworkers who created armors and associated pieces for a variety of purposes. This Partial Armor comes from a series dated to the 1560s, the best of which carry the distinctive “Daniel in the Lion’s Den” badge on the left side of the breastplate.

A Well-dressed Knight hot-spots A harness, or suit of armor, generally included several different mix-and-match components, known as garniture. The parts could be exchanged and combined as needed for specific situations or events. This "Partial Armor" is missing the components for arms, hands, lower legs, and feet. • Close Helmet: a heavy battle helmet which completely covers the head, with a hinged visor to protect

the face. • Gorġet: (say GOR-jet) a collar to protect neck and throat. This gorġet is not a separate piece, but is

attached to the helmet. • Pauldron: (say PAWL-drawn) protection for the upper arm and shoulder, attached to the Almain

collar beneath. Created from a set of overlapping plates called lames (say lah-MEHZ). • Breastplate: part of the cuirass (say KWEER-ahs) that covers the front of the chest and torso and

attaches to the backplate with hinges or straps and buckles. • Backplate: part of the cuirass (say KWEER-ahs) that covers the back and attaches to the breastplate

with hinges or straps and buckles • Tasset: lower-torso covering from the waist down; here the tasset is incorporated into the cuirass (say

KWEER-ahs) • Cuisse: (say KWEEZ) thigh covers created from a set of overlapping plates called lames (say lah-

MEHZ).

[All Zoom views] THE LEFT SIDE View from the left side The Brunswick Armor, as seen from the left side.

THE BACK View from the back The Brunswick Armor, as seen from the back.

THE RIGHT SIDE View from the right side The Brunswick Armor, as seen from the right side.

MAG App Object scripts: Northern Renaissance Art 11/22/11 9 The Dukes of Brunswick The date of 1562 on the breastplate badge of this armor associates it with Duke Henry V, who ruled the duchy from 1514 to 1568 as part of the Holy Roman Empire. Image = Painting of Duke Henry V

The Close Helmet hot-spots The matching decoration on helmet and body armor proves that the components are from a related set. However, this close helmet was designed for heavy field use in battle, while the body armor is lighter in weight, more for show than protection. • Skull, or Crown: the part of the helmet that fits on and encloses the head. • Medial comb: arches across from front to back to offer extra protection for the top of the head as well

as space for decoration. • Plume holder: small tube-like attachment for holding tall, colorful feathery ornaments that added

decorative effect and helped identify the wearer. • Visor: hinged face cover, which swivels up when not required for protection. • Vision slits: slots cut into the upper visor to allow the wearer to see. • Bevor: (say BEH-vor) lower part of visor; in this example pointed like the prow of a ship and pierced

on both sides with air holes arranged in a triangular pattern. • Gorġet: (say GORE-jet) a hinged, two-piece armor that protects the neck, throat and upper chest; in

this case, attached as a collar to the helmet. • Almain collar: a neck-and-shoulders cover, often hidden by other upper body armor pieces.

Explore the Decoration Examine the Medallion (zoom view) This engraved medallion appeared on the breastplate of several of the older armors made in the Brunswick Armory. It served as a type of family crest for the Dukes of Brunswick. The image illustrates a scene from the story of Daniel, whose faith in God saved him from certain death. Daniel in the Lion's Den (from the Old Testament Book of Daniel 6:1-28)

Explore the Decoration Daniel in the Lion's Den hot-spots Daniel, a Jew, served as an official in the court of the Persian King Darius. His success inspired jealousy in his fellow officials, who tricked the king into passing a law that made the worship of gods other than the Persians’ punishable by death. They then arranged for Daniel to be caught worshipping his God. The king had no choice but to follow his own law, and had Daniel thrown into a den of hungry lions. • Although he had been tricked, the Persian King Darius had no choice but to enforce his own laws, and

condemn Daniel to death. • The normally ferocious lions appear untroubled by Daniel's presence. • Daniel's faith in God saved him from certain death in the den of lions. • Being torn to pieces by hungry, vicious lions was a terrible way to punish criminals. • The date of 1562 indicates the year that the craftsmen in the Duke of Brunswick's armory fashioned this

breastplate. • This part of the motto reads, in German,

MEIN LEVEN VND ENDE STE IN GOT HEN --- "My life and destiny rest in God’s hands." • This part of the motto reads, in German, ACH GODT MEIN HER ICH BEITH BEWARE SELE LIB

VND ERE --- Oh my Lord God I pray that you protect my soul, life and honor."

Caption: Daniel in the Lion's Den (from the Old Testament Book of Daniel 6:1-28)

MAG App Object scripts: Northern Renaissance Art 11/22/11 10 Explore the Decoration The Breastplate hot-spots The breastplate features etched and engraved scenes from classical mythology and the Old Testament of the Bible, interspersed with floral decoration and allegorical figures. • Figures inspired by the classical art of Greece and Rome dance and pose in

decorative leafy settings. • Two figures inspired by the classical art of Greece and Rome, in long draped

garments. • A satyr is a mythical half-man half-goat forest deity from Greek mythology. • Abraham and Sacrifice of Isaac (from Genesis 22:1-14)

God tested the faith of Abraham by requiring him to sacrifice Isaac, his beloved son, on the altar. At the last moment, God sent an angel to stop Abraham’s hand, his faith proven.

• Daniel in the Lion’s Den (from Daniel 6:1-28) Daniel’s strong faith in God saved him from certain death.

• Cain and Abel (from Genesis 4:1-16) The sons of Adam and Eve, Cain was a farmer and his brother Abel was a shepherd. When Abel's sacrifice to God was received with greater favor, Cain killed Abel in a jealous rage and was forced to wander the earth in banishment.

• Joab and Amasa (from II Samuel 20) Joab was a nephew of King David and a general in his army. Pretending to greet his cousin and rival Amasa, Joab stabbed and killed him. The inscription reads “Joab kisses Amasa.”

Explore the Decoration The Backplate hot-spots The backplate features etched and engraved scenes from classical mythology and the Old Testament of the Bible, interspersed with floral decoration and allegorical figures. • Figures inspired by the classical art of Greece and Rome dance and pose in

decorative leafy settings. • A 3/ 4 -length figure dressed in ancient Roman-style armor may have been

inspired by classical art. • The decorative border of hares chased by hounds appears on many of the

pieces of armor. • Two long-necked birds face each other. • Creation of Eve (from Genesis 2) • God created Adam and Eve, the first man and woman. Adam was made

from the clay of the earth, Eve from Adam's own rib. • Temptation in the Garden (from Genesis 3)

A serpent tricked Eve into eating fruit from the forbidden “Tree of the Knowledge of Good and Evil.” She then shared the fruit with Adam. As punishment, God sent an angel to drive them out of the Garden of Eden.

• Samson and the Lion (from Judges 13-15) Samson used his incredible strength to kill a lion with the jawbone of a wild donkey. The jawbone he used sits at the lower right.

Explore the Decoration The Almain Collar The name “Almain collar” comes from the French word for "German." This may reflect a belief at the time that the collar was invented by German armorers. Although mainly hidden behind other armor pieces, this collar still features extensive decoration. Image = zoom view

MAG App Object scripts: Northern Renaissance Art 11/22/11 11 Wedding Cutlery Set French, 1560s The Maurice and Maxine B. Forman Fund, the Clara and Edwin Strasenburgh Fund, the Marie Adelaide Devine Fund and the June Alexander Memorial Fund 2006.57

Documents

MAG App Object Scripts: Art By Culture or Date - Descriptionsmag.rochester.edu/plugins/acrobat/tours/PassportObjects.pdf · MAG App Object Scripts: Art By Culture or Date - Descriptions