@museumwnf/sculptures-data 1.0.5 → 1.0.7

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-{"020b103b-b84e-52f0-a58e-80746cb6afa9":{"name":"Incense burner","short_description":"Incense burners were in high demand all around the Muslim world. Incense burners differ in shape and decorative repertoire, as well as quality. Some are fashioned in the form of cylindrical hoods, spherical units or composite architectural shapes. Royalty commissioned burners as gifts to shrines and for their palace and courts. This jade tripod incense burner from China is decorated with Arabic inscriptions inside three cartouches on the sides of its globular body.","type":"Stone-work","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 1100 / c. AD 1700","location":"Kuala Lumpur","dimensions":"Diameter: 10.5cm","provenance":"China","bibliography":"Wilson, M., Thomas, I. & Victoria and Albert Museum, *Chinese jades*, London: V & A Publications, 2004. National Palace Museum (Guo li gu gong bo wu yuan), *Exquisite beauty: Islamic Jades = Guo se tian xiang: Yisilan yu qi*, Taipei: National Palace Museum, 2007.","dynasty":"Qing","materials":["Stone-carved jade"]},"03194f3e-048b-5d3e-a6af-514f37ac800f":{"name":"Winged colossus","short_description":"Massive Assyrian winged animals captured the imagination of Victorian England. Large scale reproductions of them were incorporated into “The Assyrian Court” at the Crystal Palace Exhibition.","type":"Statue","holder":"The British Museum","dates":"7th century BC","location":"London","provenance":"Iraq","keywords":["Assyrian revival"]},"0659eb21-0d9f-5b11-ae51-0ba0f6eea1f1":{"name":"Reverent Baboon with Pharaoh figure","description":"The loud rejoicing of the Hamadryas baboon at the sunrise in its rocky habitat served as a model for the Egyptian celebration of the ascent and descent of the sun at the critical stages of its cycle. Baboons with upraised hands – the Egyptian gesture of reverence – became symbols for the “eastern souls”, the gods who cheer the sun at its appearance above the horizon. The king joins these gods in his role as sun priest.","type":"Sculpture","holder":"Kunsthistorisches Museum, Egyptian Collection","dates":"18th Dyn. Amenophis II, 1454-1419 BC; acquired in 1865/66","location":"Vienna","dimensions":"Height 130 cm, Width 42 cm, Diameter 61,5 cm","copy_editor":"Daniel de la Vega","keywords":["Maximilian of Mexico","Miramare","Egypt"],"materials":["Pink granite"]},"097719cc-6187-5302-96cc-c309d799ec93":{"name":"Parapet well","short_description":"This parapet could be from Granada. It could be the only example from the Nasrid period. It has an inscription with the Nasrid motto: \"Only God wins\".","type":"Architecture","holder":"Lázaro Galdiano Museum","dates":"Nasrid dinasty","location":"Madrid","dimensions":"69 x 59 cm","provenance":"The Alhambra palace (?), Granada","author":"Ámparo López","copy_editor":"Anne Dowell","keywords":["Nasrid art","islamic influence","orientalism","collectionism"],"materials":["Limestone; carved"]},"0b7d9d65-e30b-5a92-acf2-45ddb1343c5c":{"name":"*Apollo and Daphne*","description":"This sculpture is considered one of the masterpieces in the history of art.  \nBernini began sculpting it in 1622 after he finished *The Rape of Proserpina.* He stopped working on it from 1623 to 1624 to sculpt *David*, before completing it in 1625.  \nWith notable technical accuracy, the natural agility of this work shows the astonishing moment when the nymph turns into a laurel tree. The artist uses his exceptional technical skill to turn the marble into roots, leaves and windswept hair. Psychological research, combined with typically Baroque expressiveness, renders the emotion of Daphne's terror, caught by the god in her desperate journey, still ignorant of her ongoing transformation. Apollo, thinking he has achieved his objective, is caught in the moment he becomes aware of the metamorphosis, before he is able to react, watching astonished as his victim turns into a laurel tree. For Apollo's head, Bernini looked to *Apollo Belvedere*, which was in the Vatican at the time.  \nThe base includes two scrolls, the first containing the lines of the distich by Maffeo Barberini, a friend of Cardinal Scipione Borghese and future Pope Urban VIII. It explores the theme of *vanitas* in beauty and pleasure, rendered as a Christian moralisation of a profane theme. The second scroll was added in the mid-1700s.  \nThe group, like others created by Bernini in the Villa, was backed on to a wall, setting a mandatory point of view for the visitor entering the room, to fulfil the pictorial objectives and provide the surprising scenery, key components of the baroque style. As with other sculptures, it was placed in the centre of the room during the renovations of 1700. Bernini worked with the sculptor Giuliano Finelli, who provided the delicate detailing on the base, rocks and part of the leaves and tree.","short_description":"Bernini executed the group between 1622 and 1625. Such a pagan myth (by Ovid in *Metamorphosis*) in the cardinal's house is explained by a moral distich by Maffeo Barberini (Urbano VIII, 1623–1644) on the theme of *vanitas* “those who love to pursue fleeting forms of pleasure, in the end find only leaves and bitter berries in their hands.”","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Cardinal Scipione Borghese","dates":"1622–1625","location":"Rome, Latium","dimensions":"h: 243 cm","provenance":"Borghese Collection","obtention":"The Borghese Collection was acquired by the Italian State in 1902.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al secolo XIX*, Rome, 1954, n.35, pp. 34–37.  \nWittkower, R., *Gian Lorenzo Bernini. The Sculptor of the Roman Baroque*, London, 1955 (edition Italiana Milano, 1990, cat. 18, pp. 13–15).  \nColiva, A., “Apollo e Dafne”, in *Bernini Scultore, La nascita del Barocco in Casa Borghese*, exhibition catalogue, Rome, 1998, pp. 252–275.  \nUlivi, M., Sorrentino, M. A., Chilosi, M. G., Rockwell P., “Apollo e Dafne” in *Bernini scultore e la tecnica esecutiva*, Rome, 2002, pp. 184–207.","artist_birthdate":"1598","artist_birthplace":"Naples","artist_deathdate":"1680","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Metamorphoses","mithology","movement","Ovid","symbol"],"materials":["Marble"]},"0bfcc099-89c3-58ef-bcd9-7607c73b68a5":{"name":"*Angel with Trumpet*","description":"Joseph Leonard Weber was a burgher of Buda from 1757. Probably born in Silesia into the Weber dynasty of sculptors in Svidnica, members of his family moved to Brno and Nagyszombat (Trnava). The Weber name can be found in the register of births in Buda from 1753 since all seven of the Weber children were baptised there.  \nWeber's sculptural activity is documented from 1757 and includes the stone sculptures of *Faith*, *Hope* and *Charity* above the portal of St. Anne's church, dating from 1765, and the statue *St. Florian* on the facade of St. Florian Chapel, as well as the figures that decorate the organ and those on the high and side altars of the chapel (1761–1766).  \nAlmost the entire interior decoration of St. Florian Chapel, Buda is by Weber, made between the 1760s and 1770s. On 20 June 1761, Weber was paid 86 forints for the sculptural decoration of the chapel's organ.  \nIn the 1920s the chapel was rebuilt twice and the interior furnishing was dispersed. The sculptural ensemble of the organ, the white painted figures of King David playing the harp, two angels with trumpets, one with drums and several *putti*, came to the Municipal Museum of Budapest (today Budapest History Museum).  \nThe angel has an adolescent body and curly hair. He is playing a trumpet and has a puffed-out face; he stands *contrapposto*, with exact anatomy. His clothing consists of a light drapery fixed with a ribbon at his left shoulder. The abstract decorative shaping of the drapery was a Rococo stylistic feature of southern German origin. By around 1760, this feature was already a widespread motif used by the sculptors of Pest and Buda, and carried over to Hungary via the art of Károly Bebo, Lipót Antal Conti, Antal Eberhard and József Hebenstreit. It is still evident even during the Neo-Classical era.","short_description":"Weber’s ascendants were sculptors in Silesia, who moved from Svidnica to Brno and Nagyszombat (Trnava). It was while a citizen of Buda in 1761 that Weber worked on the sculptural decoration of the St. Florian Chapel. The Rococo music-making angels once decorated the organ.","type":"Sculpture","holder":"Budapest History Museum","initial_owner":"St. Florian Chapel, Buda","dates":"1761","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 96 cm","place_of_production":"Buda","method_for_datation":"By historical data","provenance":"St. Florian Chapel, Buda","obtention":"From the St. Florian Chapel in Buda","bibliography":"*Barokk művészet Közép-Európában. Utak és találkozások* (Crossroads: Baroque Art in Central Europe) exhibition catalogue, (ed. G. Galavics), Budapest, 1993, pp. 434–435.  \nChmelinová, K., “Beitrag zur Geschichte einer Künstlerfamilie im 18. Jahrhundert in Mitteleuropa. Der Bildhauer Joseph Leonhard Weber und Trnava / Tyrnau.” *Generationen, Interpretationen, Konfrontationen* (ed. B. Balážová), Bratislava, 2007, pp. 151–165.","artist_birthdate":"1702","artist_birthplace":"Svidnica (?)","artist_deathdate":"1773","artist_deathplace":"Buda","author":"Anna Jávor","copy_editor":"Terézia Bardi","translator":"Viktor Mészáros","translation_copy_editor":"Mandi Gomez","keywords":["Antal Eberhard","Buda","gilding","Joseph Leonard Weber","József Hebenstreit","Károly Bebo","King David","Lipót Antal Conti","music","Neo-Classicism","Pest","religious object","St. Anne","St. Florian","wood carving"],"materials":["Limewood, carved, painted, gilded and silvered"]},"0cec6aaa-8c9c-5003-8b7b-39389edbe2cf":{"name":"Stone relief of a lion.","description":"The area of Bab al-Faraj refers to the north and northwestern area of old Aleppo.  \nBab al-Faraj (Gate of Deliverance), also known as Bab al-Faradis (Paradise Gate), was built by the Ayyubid king al-Malik al-Zahir Ghazi (d. AH 613 / AD 1216) as part of his expansion and refortification of the city. Today, the Bab al-Faraj area is almost completely destroyed. Some traces of the wall were revealed in archaeological excavations by the Syrian Directorate of Antiquities, including a round tower that can feasibly be identified with the Burj al-Tha'abin (The Tower of the Serpents). Both serpents and lions were common decorative and talismanic features on city gates and city walls, long used as symbols of protection and of power.  \nThis lion, one of a pair, was carved in relief each from a single large block hewn in an inversed t-shape form. The rather affable beast is carved in profile as if walking, with uplifted paws and a long curving tail over the body. Although rather schematic, details such as the eyebrows, eyes, nose, mouth and some muscular details along the shoulder have been accentuated by deeply cut lines.  \nSuch lions are extremely common in AH 6th- and 7th- / AD 12th– and 13th–century architectural decoration in Anatolia and Mesopotamia, often appearing as a pair on city walls, gates, and other places of fortification. In Aleppo a pair of lions, albeit in a quite different style, protect the entrance tower of the Ayyubid Citadel. A second further and much more similar pair of lions can be found along the western city wall, still integrated. A third pair of lions on the northern city wall is only documented by photography.  \nNot all the existing lion pairs are necessarily in their original location nor are they necessarily attributed to the same date.","short_description":"This stylised animal carving was found in the Bab al-Faraj (Gate of Deliverance) area in the northwest of Aleppo. Although it is difficult to establish the exact dating of this piece, it is known that the gates of Aleppo were fortified by the Ayyubid king al-Malik al-Zahir Ghazi.","type":"Lionm stone","holder":"National Museum of Aleppo, Islamic Department","dates":"Hegira 6th–7th century / AD 12th–13th century.","location":"Aleppo","dimensions":"Height 50 cm, length 104 cm, width 15.3 cm.","method_for_datation":"It is difficult to date this object definitively: some scholars have proposed a Mamluk attribution, identifying the lion as the blazon of Sultan Baybars (r. AH 658–75 / AD 1260–77). While Baybars did use his famous lion emblem on coins and numerous architectural constructions, he is not known to have repaired or renovated any of Aleppo's fortifications or city walls. It is far more probable that the lions belong to the Ayyubid period and the major construction works of al-Malik al-Zahir Ghazi.","method_for_provenance":"The carved lions were not found *in situ*, and therefore their attribution to the Bab al-Faraj is based on oral history. Given the local expertise in stone carving, it is probable that they were made in Aleppo, possibly as part of the Bab al-Faraj or the surrounding wall.","provenance":"Bab al-Faraj, Old Aleppo, Syria.","obtention":"This lion is one of a pair discovered in the Bab al-Faraj area of Aleppo in the 1980s when extensive construction works took place. Archaeological chance-finds were moved to the Museum by the Syrian Directorate of Antiquities.","bibliography":"Gierlichs, J., *Mittelalterliche Tierreliefs in Anatolien und Mesopotamien*, Tübingen,  \n1996.  \nHerzfeld, E., *Matériaux pour un Corpus Inscriptionum Arabicarum: Syrie du Nord, Part 2: Inscriptions et monuments d'Alep,* 3 vols, Cairo, 1954–6, pp.39-43 ; plates. VII b, VIII d, e, IX, X a, XI b.  \nMeinecke, M., “Zur mamlukischen Heraldik”, *Mitteilungen des Deutschen Archäologischen Institutes*, Cairo, XXVIII/2, 1972, pp.217–19.  \nSaba, R., “Taqrir 'an a'mal kashf Sur madinat Halab fi mintaqat Bab al-Faraj”, *Les Annales Archéologique arabes syriennes*, XXXVI–VII, 1986–7, pp.25–32.  \nSauvaget, J., “Inventaire des Monuments Musulmans de la Ville d'Alep”, in *Revue des Études Islamiques*, V, 1931, p.74 ; cat. no. 5.  \nTabbaa, Y., *Constructions of Power and Piety in Medieval Aleppo,* Pennsylvania, 1997, p.20, pp.28–30.","dynasty":"Ayyubid","author":"Julia Gonnella","copy_editor":"Mandi Gomez","keywords":["al-Malik al-Zahir Ghazi","Aleppo","gates","lion","stone carving","Sultan Baybars"],"materials":["Carved stone."]},"0e020cb4-5b0e-5b53-9a97-0e2adfd0f102":{"name":"Large Red Line","description":"Ira Sapir (1995) specialised in glass and sculpture, obtaining his BFA from the California College of Arts and Crafts in 1978.  \nHe opened his own glass studio in 1979 in Oakland, California. During the 80s, he worked with blown glass as if it were a canvas to be painted, developing his well-known elliptical shape in minimalist colours. It was at this point that Torres Esteban contacted him in order to participated in the VICOINTER, 83 project.  \nIn 1985, he decided to take a break in his career. He later began to work with steel and copper, developing a weaving method using both materials. In 2003 he began to carry out installations dominated by steel as a sculptural material.","type":"Sculpture","holder":"Technological Glass Museum. Royal Factory of Glass and Crystal of La Granja","dates":"1983","location":"Real Sitio de San Ildefonso, Segovia","dimensions":"13 x 45cm","method_for_datation":"Personal files regarding VICOINTER, 83, belonging to Torres Esteban. Production by Ira Sapir. Doctoral Thesis by Mª Cristina Giménez Raurell: \"Escultura y vidrio: España (1975-1995). New Glass Movement\".","method_for_provenance":"Feria de Cerámica y Vidrio in Valencia, 1983. VICOINTER, 83.","provenance":"United States of America","obtention":"CEVIDER","author":"Paloma Pastor Rey de Viñas, Saulo Alvarado Martinsanz","translator":"Jessica White","keywords":["Glass sculpture","Sapir","USA","Valencia","VICOINTER"],"materials":["free hand-blown, coloured decoration","glass"]},"102b5a7a-7eb3-5088-8d91-c9be0bc5c5fa":{"name":"Sitting lion.","description":"Made of grey marble in a parallelepiped form that is sculpted, this object features a lion sitting on its hind legs rendered flat against the surface of a lower part of a segment of arch. The head of the animal is far larger than its body. Its eyes are globular and wide open, and its fully opened mouth reveals tightly clenched teeth, giving the face a ferocious air.  \nThe left flank of the animal is more densely decorated than the right. Fur in the form of curls hang from the left flank, to which the tail is also attached. The front legs are missing. The right flank lacks any ornamentation, which suggests that it was this side that was encased in the masonry while the left side was on show.  \nThe rounded shape of this piece leads to the conjecture that it formed part of a segment of a poly-lobed arch that belonged to an entrance door of a Hammadid palace.","short_description":"This marble piece is a sculpture of a lion with a disproportionately large head and a wide open mouth that was probably part of a doorway arch. Its tail is flattened against its left-hand side and the carved curls represent its fur.","type":"Lion, marble","holder":"National Museum of Antiquities and Islamic Arts","dates":"Hegira 406–547 / AD 1015–1152.","location":"Algiers","dimensions":"Length 40.5 cm, width 24 cm, diameter 12 cm.","method_for_datation":"Archaeological repository (De Beylié excavations, 1908).","method_for_provenance":"The object was found on the site of the Qal'at Bani Hammad.","provenance":"Qal’at Bani Hammad, Algeria.","obtention":"Gift from L.Leschi.","bibliography":"Golvin, L., *Recherches archéologiques à la Qal'a des Banû Hammâd*, Paris, 1965.  \nMarçais, G., *Le musée Stéphane Gsell, musée des antiquités et d'art musulman d'Alger*, Algiers, 1950.  \nMarçais, G., “Sur un lion de marbre trouvé à la Kal'a des Beni Hammad”, *Revue africaine*, Algiers, 1939, pp.182–91.","dynasty":"Hammadid","author":"Ali Benbella","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["animal decoration","architectural decoration","Figurative representation","Grey marble","Hammadid","lion","luxurious construction","marble","Palace","palatial architecture","rounded shape","segment of arch of an entrance door"],"materials":["Carved and sculpted grey marble."]},"115adb41-ded2-5669-b97c-a902df406833":{"name":"Stone blazon.","description":"In the Mamluk period, heraldry played an important role and was widely used on architecture, metalwork, textiles, glass and pottery. Its use was strictly the reserve of sultans and particularly of the officers who were awarded individual blazons, each according to their rank. While the early Bahri Mamluks used blazons which represented a distinct office held by an individual, the later Burji Mamluks combined several heraldic emblems which were commonly shared by a corps of *amirs* who served a distinct master.  \nThe stone roundel with the tripartite blazon from the Aleppo Museum represents a widely used composition from the late Mamluk period: it contains the symbol of the *jamdar* (master-of-the-robes) with a so-called “napkin” in the upper field, the stemmed cup of the cup-bearer (*saqi*) charged with the pen box of the *dawadar* (secretary) in the central field, flanked by what has been identified as a pair of powder horns. A second, smaller, stemmed cup is placed in the lower field.  \nAccording to Meinecke (1972), this particular emblem was the most popular blazon of the late Burji period and is known to have been used by at least 47 *amir*s. Its first employment can be traced back to Sultan Qaytbay (AH 872–901 / AD 1468-96) when he was still an officer himself and he then conferred it upon his own followers. It was in use up to AH 922 / AD 1517 and came to represent something like the Mamluk “State blazon”.","short_description":"The use of royal emblems reached a high point during the Mamluk period. This carved stone roundel reveals a composition of symbols including those of the cup-bearer, the secretary and the master of robes.","type":"Blazon, stone","holder":"National Museum of Aleppo, Islamic Department","dates":"Hegira late 9th–early 10th century / AD late 15th–early 16th century.","location":"Aleppo","dimensions":"Height 51.4 cm, width 55 cm, depth 18.7 cm.","method_for_datation":"The piece was dated by comparison with other similar pieces.","method_for_provenance":"Although the provenance is unknown, this medallion probably belonged to either Amir Uzdamur (also known as Özdemir), who ruled Aleppo twice in 884 / 1479 and between 889–99 / 1484–93, or the last Mamluk *amir*, Kha'irbak b. Bilbay. Both were closely connected to Sultan Qaytbay, leaving examples of this emblem on various buildings in the city: Uzdamur on his *caravanserai* (Khan al-Sabun), the Qastal al-Ramadaniyya, the Qastal Jami' al-Sharaf and the Jami' al-Sharaf itself; Kha'irbak on his mausoleum south of Bab al-Maqam and his *khan* in the *suq* not far from the citadel.","provenance":"Unknown (Aleppo, Syria).","obtention":"It is not known how the Museum came by this object.","bibliography":"*Syrie: Mémoire et Civilisation*, exhibition catalogue, Paris, 1994, p.475 ; cat. no. 379.  \nHerzfeld, E., *Matériaux pour un Corpus Inscriptionum Arabicarum: Syrie du Nord, Part 2: Inscriptions et monuments d'Alep,* 3 Vols, Cairo, 1954–6, p.393ff, p.396 ff, pp.404–6; figs. 126, 128, 130; plates CLXX a, CLXXII c.  \nMayer, L. A., *Saracenic Heraldry*, Oxford, 1933, pp.136–8.  \nMeinecke, M., “Zur mamlukischen Heraldik”, *Mitteilungen des Deutschen Archäologischen Institutes, Abteilung Kairo,* XXVIII/2, 1972, pp.213–87.  \nSauvaget, J., *Alep. Essai sur le développement d'une grande ville syrienne des origines au milieu du XIXe siècle*, 2 Vols, Paris, 1941, plates XXII, XXIII.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","author":"Julia Gonnella","copy_editor":"Mandi Gomez","keywords":["Aleppo","blazons","coat of arms","Emblems","Michael Meinecke","stone-carving"],"materials":["Carved stone."]},"16a31ba5-4c16-5a18-9197-2cffb96b8f18":{"name":"*A Member of Nagyszeben (Sibiu) Town Council*","description":"This small alabaster portrait sculpture was found on a building site in Nagyszeben (Sibiu) in around 1880 and initially it was placed in the Hungarian National Museum. At the time, three coloured alabaster figures of two women and a man were in the Brukenthal Museum in Nagyszeben (Sibiu). All three are 28–30 cm in height, the man has a rounded beard and all three are wearing similar clothing (a long fur-collared, fur-lined braided coat, brocade jacket with a broad belt). The male figure – later in Germany (Gundelsheim, Siebenbürgisches Museum) – was identified long ago as Valentin Franck von Franckenstein (1643–1697), a Saxon count, government official, poet and scholarly historiographer, of whom several authentic portraits are known. The “Sachsencomes” were representatives of the descendants of mediaeval German settlers in multi-national Transylvania. A metal relief epitaph dedicated to Franck von Franckenstein was also transferred from the Lutheran church in Nagyszeben (Sibiu) to the Brukenthal Museum. This is attributed to the Lőcse (Levoča) goldsmith, Sebestyén Hann (1645–1713), who frequently worked for Franck. The female figures were identified as the first and second wives of the Saxon count, but the fourth figure in the series, preserved in Budapest, suggests another arrangement. This piece may also be the posthumous portrait of Franck's father, another Saxon count also called Valentin Franck, whose effigy was carved by Elias Nicolai (Lutheran church, Sibiu), or – more probably – of a younger member of the family.  \nInstead of individual characterisations, the sculptor emphasises the social status and age of the subjects, presenting the slightly old-fashioned attire of Hungarian noblemen and women. Similar figures in the same rigid pose are known from Transylvanian tomb sculptures, constituting the link between the Late Renaissance and the Baroque styles of the 17th century. The material, yellowish alabaster with grey veins, was quarried in Transylvania and its varied uses in art reached its apogee in the 17th century.","short_description":"Marking the transition between the styles of the Late Renaissance and Baroque in Transylvania, this fine alabaster statue was made in the style of funerary sculpture. Its pair, a female figure, is still preserved in Nagyszeben (Sibiu).","type":"Sculpture","holder":"Hungarian National Gallery","initial_owner":"Franck von Franckenstein family","dates":"End of the 17th century","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 33 cm","place_of_production":"Nagyszeben (Sibiu)","method_for_datation":"by stylistic analysis and historical data","provenance":"Franck von Franckenstein family from Nagyszeben (Sibiu)","obtention":"Franck von Franckenstein family from Nagyszeben (Sibiu); in 1881 transferred to the Hungarian National Museum, Budapest; from 1936/39 transferred to the Museum of Fine Arts, Budapest; from 1974 in the Hungarian National Gallery, Budapest.","bibliography":"Mojzer, M. (ed.), *Cat. Nr. 340. A Magyar Nemzeti Galéria késő reneszánsz és barokk kiállítása, Képek és szobrok* (*Cat. No. 340 The Late Renaissance and Baroque Exhibition of the Hungarian National Gallery. Paintings and Sculptures),* Budapest, 1982, p. 11.","author":"Anna Jávor","copy_editor":"Terézia Bardi","translator":"Judit Pokoly","translation_copy_editor":"Mandi Gomez","keywords":["alabaster","gilding","Hermannstadt","Leutschau","Levoča","Lőcse","Lutherans","Nagyszeben","painting","relief","Saxons","Sibiu","Transylvania"],"materials":["Alabaster, painted and gilded"]},"1d0c0bff-d4e8-59b7-bd8f-5d6f7251d877":{"name":"*Adoring Angel*","description":"Georg Raphael Donner was one of the most prominent and influential Central European sculptors of the first half of the 18th century. He developed his individual Neo-Classical style at a distance from the Baroque tradition, relying on models from antiquity and 16th-century Italian sculpture. His first monumental works were made for Pozsony (Bratislava) Cathedral, commissioned by Prince Primate Imre Esterházy.  \nFirst of all he worked on the decoration for the Chapel of St. John the Almsgiver, executing the archbishop's sepulchral statue (1729–32). Later, he created the sculptural group of St. Martin and the beggar, as well as two adoring angels for the new high altar in the cathedral (1733–1735). This significant work is characterised by the perfect harmony between the sculpture and architecture; the idea and the form. The crowned canopy of the altar was originally carried by enormous free-standing fluted columns. The central figural group featured St. Martin seated on the back of a rearing horse. He shares his flowing cloak with the beggar lying on the ground. St. Martin is wearing a Hungarian noblemen's outfit and has the facial features of the archbishop. The beggar of heroic stature is looking at the saint with Christ's face, but the saint does not recognise him immediately. An external viewer of the altarpiece cannot recognise Christ's face either, because it is seen in semi-profile. Two huge kneeling angels join the scene on either side, their adoration directed towards the disguised Redeemer. Despite minor differences in movement, hand gesture and in the arrangement of drapery, the adoring angels are practically symmetrical; they are dignified celestial creatures, although their finely modelled, strong bodies are very real. Their pose expresses intimate and perfect veneration.  \nThe beauty of the modelling is enhanced by the subtle grey hue and silken lustre of lead, which also lends an earnest, reserved and elegant appearance to the statues. With these statues, Donner reached an initial peak of his oeuvre. The altar was dismantled in the 1860s when the cathedral was rebuilt in the Neo-Gothic style. The main group of the equestrian statue today is in the side aisle of Bratislava Cathedral, and the two adoring angels are part of the permanent collection at the Hungarian National Gallery.","short_description":"The most important patron of the Viennese sculptor was Primate Imre Esterházy in Pozsony (Bratislava). The high altar of Pozsony (Bratislava) Cathedral was one of Donner's most significant works, but after it was demolished in the 19th century, the group of St. Martin and the beggar can be seen in the nave today, while the two huge angels were taken to Budapest in the 19th century.","type":"Sculpture","holder":"Hungarian National Gallery","initial_owner":"St. Martin’s Cathedral, Pozsony (Bratislava)","dates":"1733–1735","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 200 cm","place_of_production":"Pozsony (Bratislava)","method_for_datation":"By historical documents","provenance":"St. Martin’s Cathedral, Pozsony (Bratislava)","obtention":"St. Martin’s Cathedral, Pozsony (Bratislava); purchased by the National Museum, Budapest in 1875; transferred to the Hungarian National Gallery, Budapest in 1976","bibliography":"Pötzl-Malikova, M., “Zu Leben und Werk Georg Raphael Donner” in *Georg Raphael Donner 1693–1741,* exhibition catalogue, (ed. M. Krapf), Wien, 1993, pp.31–83.  \nMojzer, M., “Die szenische Ordnung des pressburger Hochaltares von Georg Raphael Donner” in *Georg Raphael Donner 1693–1741,* exhibition catalogue, (ed. M. Krapf), Wien, 1993, pp. 101–107.","artist_birthdate":"1693","artist_birthplace":"Esslingen","artist_deathdate":"1741","artist_deathplace":"Vienna","author":"Zsuzsanna Boda","copy_editor":"Terézia Bardi","translator":"Judit Pokoly","translation_copy_editor":"Mandi Gomez","keywords":["Bratislava","Christian themes","funerary architecture","Funerary monument","Italian influence","metalwork","Pozsony"],"materials":["Lead–tin"]},"1f6cda19-3462-52f3-8af4-485020daf089":{"name":"Coat of Arms of the Erdödy Counts","description":"The coat of arms has an elongated triangular composition. In the middle is a a horse-head-shaped shield quartered with a heart in the centre: (1) on gold, a black, displayed, crowned eagle; (2) and (3) a blue bar with two six-pointed gold stars one beside the other; (4) on gold, a crenellated castle with a window and a door, in the heart of the shield: on red a stag rearing to the right from a halved gold wheel. Crest: above the shield, a gold crown from which grows gold acanthus leaves and an angel. Bearers of the arms: on each side is an angel with gold wings and one foot stepping sideways. The “background” is richly decorated with acanthus leaves, which in this case take over the function of the mantle.  \nThe Croatian aristocratic family of Hungarian origin, known as the Bakochs, came from the village of Erdöd. From the 16th to the 19th centuries, the Erdödy family played a leading role in Croatian history, acquiring many estates, bestowing five Croatian *bans* (viceroys) and one bishop, and playing an influential part in Croatian political life. They were particularly famous for fighting against the Ottomans.  \nAmong their many estates, Klanjec castle – built in 1603 and locally known as Novi Dvori Klanječki – is worthy of special mention.  \nThe Erdödy coat of arms was produced in the sculpture workshop of the Ljubljana, later the Zagreb master sculptor and woodcarver, Ivan Komersteiner, whose arrival in Croatia marked the final advent of Baroque art.  \nIn the south apse of Zagreb cathedral there is a similar memorial arms by Ivan Komersteiner produced in 1693 for *Ban* Nikola Erdödy who liberated much of Croatia from the Turks.  \nNikola Erdödy built a chapel in the west wing of Klanjec castle dedicated to St Francis Xavier, which he decorated with wall paintings. It is possible that the family arms shown here is from the castle, or perhaps even that it was on an altar commissioned by the Erdödys, who were known to be great donors.  \nThe Erdödy arms, probably the work of an unknown sculptor from Ivan Komersteiner's workshops, has retained the basic characteristics of Ivan's style, seen particularly in the use of luscious and fleshy acanthus leaves and angel figures as ornamentation.","short_description":"Coat of arms of the Erdödy Counts, it comprises a shaped triangular composition around a crowned, quartered shield in gold-blue, with a red heart at the centre, and the family’s symbols. Two guardian angels support it, while there is a third, smaller, angel above the crown. Behind the shield and above the crown are gold acanthus leaves.  \nThe Erdödys were Croatian aristocrats of Hungarian origin, a family of high nobility that were influential in Croatian political life. The coat of arms is probably the work of the unknown sculptor from the Ivan Komersteiner's workshop. Komersteiner was one of the most important sculptors of continental Croatia at the end of the 17th century.","type":"Coat of arms, wood carving","holder":"Croatian History Museum","dates":"About 1700","location":"Zagreb, North-West Croatia","dimensions":"H: 165 cm; w: 110 cm","place_of_production":"Zagreb","method_for_datation":"From characteristics of morphology, style and typology, and comparison with other works by the unknown master from the Ivan Komersteiner workshop.","obtention":"In 1946, following World War II, the artwork was secured by the Commission for Collecting and Preserving Cultural Monuments, Antiquities and Libraries (KOMZA). In 1952, following the proposal of the Commission for the Liquidation of KOMZA founded by the Ministry of Education, it became the property of the History Museum of Croatia (today the Croatian History Museum).","bibliography":"Bojničić, I., *Der Adel von Kroatien und Slavonien*, Nürnberg, 1899.  \nDuišin, V. A., *Zbornik plemstva u Hrvatskoj, Slavoniji, Dalmaciji, Bosni-Hercegovini, Dubrovniku, Kotoru i Vojvodini* (Book of the Nobility in Croatia, Slavonia, Dalmatia, Bosnia-Herzegovina, Dubrovnik, Kotor and Vojvodina), Zagreb, 1938.  \nBaričević, D., *Barokna skulptura na Gradecu. Zagrebački Gradec 1242–1850* (Baroque Sculpture in Gradec, Zagreb's Gradec 1242–1850), Zagreb, 1994.  \nBrajković, V., *Grbovi, grbovnice, rodoslovlja: katalog Zbirke grbova, grbovnica i rodoslovlja* (Arms, Armorial Charters, Genealogies: catalogue of the Collection of Arms, Armorial Charters and Geneaologies), Zagreb, 1995.  \nPavičić, S., *Sakralno kiparstvo u Hrvatskome povijesnom muzeju* (Religious Sculpture in the Croatian History Museum), Zagreb, 2003.","workshop":"Sculpture workshop of Ivan Komersteiner","author":"Matea Brstilo Rešetar, Nela Tarbuk","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["coat of arms","Erdödy family","gilding","Heraldry","Ottoman","painting","sculpture","woodwork"],"materials":["Wood, carved, polychrome, gilded and painted"]},"1fe23b95-31f5-5b9a-b2ab-2854193671c7":{"name":"*The Outcast*","short_description":"This sculpture by António Soares dos Reis was made in Italy and it rapidly became an icon of romanticism, as it symbolises a young man who has been forced into exile.  The classic contours of the human body, the position of the model and the remarkable sculpture led to the recognition of the author as one of Portugal’s main exponents of sculpture and this piece a National Treasure.","type":"Sculpture","holder":"Soares dos Reis National Museum","dates":"1872","location":"Porto","dimensions":"178 x 68 x 73","artist_birthdate":"1847","artist_birthplace":"Gaia, Portugal","artist_deathdate":"1889","artist_deathplace":"Gaia, Portugal","author":"DGPC","keywords":["sculpture","migration"],"materials":["Carrara marble"]},"208acb08-f9ab-592b-b800-800ffe643ab6":{"name":"She the fresh","description":"In 2014, Rostislav Materka (1982) presented this piece as an entry into the competition organised by the European Glass Experience. According to the artist, the concept that governs the creation of this piece was following “the basics of craftmanship”. Specifically, it drew on the technical abilities of the craftspeople in workshops in the Czech Republic. The challenge was to create the piece without moulds or other external aids, in search of the shape created as a result of the physical properties of the glass itself. Once this shape was achieved, the artist managed to reshape it by sculpting, redefining its visual appearance. It can be said that he upturned the initial idea.","type":"Sculpture","holder":"Technological Glass Museum. Royal Factory of Glass and Crystal of La Granja","dates":"2013","location":"Real Sitio de San Ildefonso, Segovia","dimensions":"42 x 22 x 12cm","method_for_datation":"Per document signed by the artist, in order to participate in the competition promoted by Proyecto EGE","method_for_provenance":"Per document signed by the artist, in order to participate in the competition promoted by Proyecto EGE","provenance":"Czech Republic","obtention":"Donated by the author after EGE exhibition","bibliography":"Lauf, Cornelia et al., *European Glass Experience. Exhibition Catalog*, Venice: European Glass Experience Project, 2015.","author":"Paloma Pastor Rey de Viñas, Saulo Alvarado Martinsanz","translator":"Jessica White","keywords":["Czech Republic","European Glass Experience","Glass sculpture","Materka"],"materials":["free hand-blown, hand-cut, sand-blasted","glass"]},"22f76b8b-02d4-572f-a730-9fa0910f176e":{"name":"Vuelos I","description":"It is one of the greatest exponents of contemporary glass sculpture in Spain. Self-taught, Javier Gómez took his first steps in the world of glass in 1971, when he began working in the family workshop, which he would leave behind shortly later to focus exclusively on his art.  \nJavier Gómez has worked with sculpture for more than 30 years, during which he has never stopped experimenting with sheet glass, using simple, overlapping sheets that are cut, polished and bonded. He sometimes includes expressive elements, such as cracking, sandblasting, or small trapped air bubbles, in addition to cold cuts, in order to achieve eroded and degraded surfaces, where light intentionally condenses causing unexpected plastic effects.  \nHis main source of inspiration has always been nature. He needs the calm of the surroundings in his hometown, Pedro Bernardo (Ávila), home to his studio, in order to work. His sculpture is forever in distant conversation with the orographic beauty of Valle del Tiétar, the landscapes and the birds that surround him. His art can be classified within the abstract genre, however certain organic resonances appear to belong to a distant universe that he has created himself.  \nNot only a sculptor, Javier Gómez has been committed to driving and promoting contemporary glasswork in Spain. His most ambitious project was the 1997 creation of the Museo de Arte en Vidrio de Alcorcón, MAVA, thanks to the legacy of Takako Sano (+2006) and the support of the Local Council.  \nThe piece, Vuelos I, corresponds to the second stage of his work, from 1999 until the present day, when he moved away from the dynamic appearance of the first phase, in search of a new means of expression. He gravitated closer and closer to block sculpture, with a solid and resistant appearance in which the sheets of “floating” glass are held and the colour is incorporated into the pieces, based on shades of black, red, pink, blue, etc. Perfectly polished pieces with a translucent finish, colour scheme tinged by the light. The edges have a more translucent appearance, compared to the more intense central areas.","type":"Sculpture","holder":"Technological Glass Museum. Royal Factory of Glass and Crystal of La Granja","dates":"2009","location":"Real Sitio de San Ildefonso, Segovia","dimensions":"92 x 12 x 10.5cm","method_for_datation":"In conversation with the author in order to proceed with the Exhibition: Javier Gómez. *Retrospectiva*, which tool place at our Museum in 2015.","method_for_provenance":"In conversation with the author in order to proceed with the Exhibition: Javier Gómez. *Retrospectiva*, which tool place at our Museum in 2015.","provenance":"Spain","obtention":"Donated by the author, after Javier Gomez exhibition.","bibliography":"King, Gerry, *Javier Gómez. Vuelos. Alcorcón*, Madrid: MAVA; 2000.  \nRemmers, Mario, *Javier Gómez. Abriendo Espacios. 1999-2005*, Oosterbeek: Galerie de Glorie, 2005.","author":"Paloma Pastor Rey de Viñas, Saulo Alvarado Martinsanz","translator":"Jessica White","keywords":["Glass sculpture","Javier Gomez","Laminated glass","MAVA","Spanish glass"],"materials":["glass","laminated, coloured decoration"]},"2681aa7c-6872-5aaf-afc2-c1e0626603b4":{"name":"Fragment of a frieze.","description":"Fragment of frieze made of *timchent* (local plaster), sculpted with epigraphic, geometric and floral decoration composed of two registers separated into three frames. The first frame consists of repeated, perforated circles, while the other two consist of plaster fillets separated by a milled edge composed of alternating small squares and voids. The epigraphic decoration that adorns the first register consists of an inscription of the word '*baraka*' (benediction) in *kufic* characters, repeated three times, the third instance of which is incomplete. Right from the beginning of the Hegiran era, the word *baraka* was used as an inscription for ceramic plates, jars, copper utensils, architectural elements, etc.  \nThe second register consists of a pattern of lozenges. Below, a small fragment of foiled and stylised leaf can be seen, which probably belonged to a third register of floral decoration.  \nThe sculpture was executed with the aid of a iron blade acting on the *timchent* while it was still soft. According to H. Saladin, this local plaster derived from limestone peculiar to the region was 'applied onto cob or roughstone walls'.  \nThe geometric ornamentation of this panel is reminiscent of what the Romans and the Byzantines from North Africa engraved onto reliquaries, architectural elements, altars, etc.  \nThis fragment formed part of one of the long friezes that ran along the top of the wall right across the room in order to delineate the ceiling from the decoration that adorned the rest of the wall.","short_description":"Frieze fragment with epigraphic, geometric and floral decoration split into three sections set apart by three frames. The first has a *kufic* inscription, '*baraka'* (benediction), repeated three times. The second is decorated with lozenges and the third, almost completely lost, was decorated with floral motifs.","type":"Frieze, plaster","holder":"National Museum of Antiquities and Islamic Arts","dates":"Hegira 296–467 / AD 909–1074.","location":"Algiers","dimensions":"Height 28 cm, length 50 cm, thickness 5.5 cm.","method_for_datation":"From study of the epigraphic decoration that features *kufic* characters, which, according to G. Marçais, could date back to the '11th century \\[AH 5th century\\] and resemble those in Kairouan'.","method_for_provenance":"The fragment was discovered in a palace in Sedrata following the report published in the *Comptes rendus de l'Académie des inscriptions et belles-lettres* in 1952.","provenance":"Sedrata, Algeria.","obtention":"Archaeological repository (van Berchem excavations, 1952).","bibliography":"Bermúdez Pareja, J., “Crónica arqueológica de la España musulmana”, *Al-Andalus,* Vol. XX, 1955, pp.407–452.  \nMarçais, G*., L'architecture musulmane d'Occident*, Paris, 1954.  \nSaladin, H., *Manuel d'art musulman. L'architecture*, Paris, 1907.  \nVan Berchem, M., “Deux campagnes de fouilles à Sédrata en Algérie”, *Comptes rendus de l'Académie des inscriptions et belles-lettres,* 1952, pp.242–6.  \nVan Berchem, M., “Deux campagnes de fouilles à Sédrata (1951–1952)”, *Travaux de l'Institut de recherches sahariennes*, Vol. X, 1953, pp.123–38.","dynasty":"Rustamids of Sedrata","author":"Houria Cherid","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["epigraphic decoration","palatial architecture","plaster","Rustamid.","sculpture","timchent","Wall-cladding"],"materials":["Sculpted local plaster (timchent)."]},"26d6637f-84b8-536e-b789-91910110aa5a":{"name":"Fountain mouth.","description":"A lion, ochre in colour, sculpted in stone as if lying on its four legs. The head, huge and rounded, is disproportionate in relation to the body. The face shows two globular eyes surmounted by thick eyebrows, a large muzzle and an open jaw full of teeth that protrude onto the cheeks. A mane in the form of leaves gently overlapping each other and forming a sort of pinecone, stretches along the back. The tail lies along the right flank. The lion's paws appear thin. The very stylised whole demonstrates rather clumsy execution.  \nThis lion formed the mouth of a fountain, from which water spouted.","short_description":"Fountain spout in the shape of a lying lion noteworthy for the clumsiness of its execution: disproportionate head, protruding eyes, thick eyebrows, mouth open around excessively long teeth and thin paws. The mane resembles a pinecone and the tail is flattened against its right-hand side.","type":"Fountain, stone","holder":"National Museum of Setif","dates":"Hegira 406–547 / AD 1015–1152.","location":"Setif","dimensions":"Height 12.5 cm, length 25.5 cm, width 10.5 cm.","method_for_datation":"Found in the site of the Qal'at Bani Hammad.","method_for_provenance":"Golvin specifies that this fountain mouth was offered to the museum of Setif by P. Massiera, who brought it from the site of the Qal'at Bani Hammad.","provenance":"Qal’at Bani Hammad, Algeria.","obtention":"Gift from P. Massiera.","bibliography":"Bourouiba, R., *Les H'ammadites*, Algiers, 1984.  \nGolvin, L., *Recherches archéologiques à la Qal'a des Banû Hammâd*, Paris, 1965.","dynasty":"Hammadid","author":"Leila Merabet","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["animal","fountain","Hammadid","lion","sculpture","water"],"materials":["Sculpted ochre stone."]},"27de28c8-df7c-5e34-b27a-6b4d7277f037":{"name":"*The Adoration of the Shepherds*","description":"This bas-relief is part of a series which includes four horizontal and four oval scenes, all are in their original frames.  \nThree shepherds approach to adore the Child. The Madonna, St. Joseph and the angels, occupying the middle of the scene, point to the object of interest, Jesus. Piò moulds the tender scene to create a soft and delicate three-dimensional picture, similar to his contemporary painters.","short_description":"This sculpture is a good example of the baroque technique of Bolognese terracotta. Terracotta bas-reliefs were intended as proper paintings, framed and hanging from the walls, but lacking colours. The figures are scattered on different planes; in the foreground they are nearly three dimensional while the background figures are drawn more two dimensionally.","type":"Sculpture","holder":"Museo Diocesano di Arte Sacra di San Giovanni in Persiceto","initial_owner":"Oratorio del Suffragio","dates":"1711","location":"San Giovanni in Persiceto, Bologna, Emilia-Romagna","dimensions":"64 x 77 cm","place_of_production":"Bologna","method_for_datation":"The date is inscribed on the surface of the bas relief. The origin is described by the biographer of the artist, Zanotti.","provenance":"San Giovanni in Persiceto, Bologna","obtention":"The bas-relief was originally made for the oratory of the Suffragio in San Giovanni in Persiceto. It was moved to the oratory of the Holy Sacrament and later to the church of the Madonna della Cintura. In 1948 it was moved again to the Collegiata (the main church) of San Giovanni in Persiceto. The museum of the church was opened to the public and it was exhibited there.","bibliography":"Riccomini, E. “Sculture del Settecento a Bologna: Angelo Piò ed altri problemi”, *Arte Antica e Moderna:* 21, 1963, p. 58.  \n*Scultura Bolognese del Settecento* (exhibition catalogue) (ed. E. Riccomini), Bologna, 1965, p. 76, p. 77, p. 84, p. 85.  \nRoversi, G. C. “Ricerche sul patrimonio artistico persicetano alla fine del sec. XVIII”, *Strada maestra:* 3, 1970, p. 169.  \nRiccomini, E. “Devozione e celebrazione nella scultura emiliana*”*, *Emilia Romagna* (ed. R. Bacchelli), Milan, 1972, p. 360.  \nRiccomini, E. *Vaghezza e Furore*, Bologna, 1977, p. 50.","workshop":"Barocchetto Bolognese","artist_birthdate":"1690","artist_birthplace":"Bologna","artist_deathdate":"1770","artist_deathplace":"Bologna","copyright":"Copyright image: Ufficio Beni culturali ecclesiastici della diocesi di Bologna.","copy_editor":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Adoration of the Sheperds","Angelo Gabriello Piò","Baroque Sculpture","bas-relief","Christian themes","religious object","Terracotta"],"materials":["Terracotta"]},"28b857f3-2101-565b-a2b0-139be4166d04":{"name":"Part of an 'Angel’s concert'","alternate_name":"Musician Angels","description":"The coloured relief 'Angel’s concert' was created as an object of worship. The outer shape follows an erratic course, very likely caused by a missing part of the relief, and with the representation of a swelling cloudscape. Two dressed angels emerge out of the clouds that form the background. One of them is playing the lute and both are singing to the music, accompanied by a winged cherub. The angels are carved out to knee-length while only the cherub’s winged head is shown. Eye-catching, showing chubby and rosy cheeks and an unusual tufty hairstyle with some hair standing up, this relief may be regarded as typical of Hans Krumpper’s style. The relief stands as a very early example for the cheerfulness of the Baroque era, with flocks of church angels marking the climax after 1650.","short_description":"The precious Early Baroque relief of a cheerful angel’s concert within a cloudscape was obviously created as an object of worship. One of the two angels plays the lute, while the other beneath holds the song book.","type":"Relief sculpture","holder":"City Museum","initial_owner":"Unknown","dates":"c. 1620","location":"Weilheim in Oberbayern, Upper Bavaria","dimensions":"Height max. 97 cm, breadth max. 61 cm","place_of_production":"Munich","method_for_datation":"Stylistic analysis of Krumpper’s work.","obtention":"From art dealers in London.","bibliography":"Helm, R., “Musizierende Engel”, *Stadtmuseum Weilheim i.OB 1882–1982*, Stadt Weilheim (City of Weilheim (ed.)), Weilheim i. OB 1982, pp. 78–82.","workshop":"'Weilheim School of sculptors' (with G. Petel, H. Degler, C. Angermair, B. Steinle, P. Dirr); a rare work in wood by H. Krumpper.","artist_birthdate":"c. 1570","artist_birthplace":"Weilheim in Oberbayern","artist_deathdate":"1634","artist_deathplace":"Munich","author":"Reinhardt Helm","translator":"Holger Rhensius, Robert Robin, Wolf Schindler","translation_copy_editor":"Mandi Gomez","keywords":["music","relief","religious object","sculpted wood"],"materials":["Lime-wood, remains of original polychrome coating"]},"2a226eef-1a17-51ae-9e21-911b78e227e7":{"name":"The Builders","short_description":"Arturo Dazzi was the son of the owner of a marble quarry and remained attracted to this raw material throughout his life. He attended the Academy of Fine Arts in Carrara and then won two national contests. The group of *The Builders*, as stated by the artist, was made for his final examination during the four years he spent at the Pensionato Nazionale di Scultura between 1904 to 1907. For this reason, the sculpture is very complicated and needed a lot of study and work in order to be completed. Nonetheless it gave great satisfaction to the artist: exhibited in 1907 in Italy and in 1909 in Munich the group was awarded both times with gold medals. The work shows an idealized version of the social “verism”, or truth, a concept common among young Italian sculptors of the time, and shows the influence of the painting of Constantin Meunier, *Enlèvement d’un creuset brisé*, done in 1884.","type":"Sculpture","holder":"National Gallery of Modern Art (GNAM)","dates":"1907","location":"Rome","dimensions":"168 cm x 228 cm x 90 cm","provenance":"Italy","artist_birthdate":"1881","artist_birthplace":"Carrara","artist_deathdate":"1966","artist_deathplace":"Pisa","copyright":"Copyright image: Soprintendenza alla Galleria Nazionale d'Arte Moderna e Contemporanea.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Sculpture","Italian sculptors","reform","social change","work","post-unitarian Italian society","working class","working class condition","social topics","realism","Verismo","social verismo","artistic exchanges","France"],"materials":["Bronze"]},"2a8712ba-8b88-5ee9-9129-b2c6ecca6096":{"name":"Rectangular Composition","description":"David Magán (1979) trains at the Escuela de Artes y Oficios de Madrid, where he specialises in both woodwork and steelwork. His relationship with glass began in 2003, after having attended a stained glass course, in addition to other glass courses at the Escuela de la Real Fábrica de Cristales. He has since experimented with multiple techniques born of a profound artistic investigation.  \nHe has collaborated in exhibitions and fairs around the world, including Korea, London, Colombia, Belgium or Denmark. His work has also been selected for various Visual Arts exhibitions and competitions, the most recent being the “European Glass Experience”, headed by the City of Venice, in collaboration with the Museo Vetratio di Murano, the Museo Tecnológico del Vidrio de la Granja and the Glass Museum of Riihimaki in Finland.  \nHis work is defined as a geometric abstraction, developed using translucent sheets of coloured glass, suspended in the air, where movement and light fuses the colours. Light is what truly drives his work, with its ability to modify the sculpture and the space that surrounds it, creating an atmosphere filled with colour, shadows and reflections.","type":"Installation","holder":"Technological Glass Museum. Royal Factory of Glass and Crystal of La Granja","dates":"2014","location":"Real Sitio de San Ildefonso, Segovia","dimensions":"200 x 200 x 35cm","method_for_datation":"Per document signed by the artist, in order to participate in the competition promoted by Proyecto EGE","method_for_provenance":"Per document signed by the artist, in order to participate in the competition promoted by Proyecto EGE","provenance":"Spain","obtention":"Donated by the author following the *EGE* exhibition","bibliography":"Lauf, Cornelia et al., *European Glass Experience. Exhibition Catalog*, Venice: European Glass Experience Project, 2015.","author":"Paloma Pastor Rey de Viñas, Saulo Alvarado Martinsanz","translator":"Jessica White","keywords":["European Glass Experience","Glass sculpture","Magan"],"materials":["Glass, steel, cathedral glass"]},"2ce846c0-44cf-593b-a417-5ec441dd4212":{"name":"Bas-relief in carved marble.","description":"In the right-hand section of the bas-relief is a seated figure wearing a richly embroidered tunic. The heavy crown on his head defines him as a sovereign or military leader. With his right hand he lifts a cup to his lips. To his right a musician plays the flute. The man's head is covered with a veil and the sleeves of his tunic are decorated with bands containing geometric motifs. His eyes are almond-shaped and very prominent.  \nThis bas-relief is one of those rare gems of Ifriqiyan art representing people and their daily life. The artist is totally unconcerned with anatomical detail. The musician's face does not betray age, type or expression. This work probably has its roots in a very ancient North African tradition. Some art historians hold that the style recalls various funeral stelae which the Romano-Africans dedicated particularly to Saturn and to Caelestis. Common features are the frontal poses, their rigidity, the indifference to spatial considerations and the prominence of the eyes. The similarities of this piece to several carvings in wood and ivory from the Spanish Umayyad, the Egyptian Fatimid and the Eastern Abbasid eras are astonishing, especially the face of the flute player, the costumes and the veils. The crown has been described as Norman by some experts. Similar crowns have been found on ivory panels from Fatimid Egypt and also on Mesopotamian pottery from the same era.","short_description":"This bas-relief is one of the few Ifriqiyan pieces depicting an animal scene. A person dressed in a rich, embroidered tunic is sat on the right side of the bas-relief. He is wearing a crown on his head, suggesting that he is a king or military leader. To his right, a musician is playing the flute.","type":"Bas-relief, marble","holder":"Bardo Museum.","dates":"Hegira 4th–5th centuries / AD 10th–11th centuries.","location":"Tunis.","dimensions":"Length 53 cm, width 35 cm.","method_for_datation":"The bas-relief was discovered at Mahdiyya, capital of the Fatimids and then of the Zirids during the 4th–5th / 10th–11th centuries, which tends to establish its dating in that era. This is corroborated by the large number of human figures and scenes from daily life produced in Ifriqiya at the same time.","method_for_provenance":"The Ifriqiyan origin of the decoration suggests the object was carved *in situ* re-using an old piece of Italian marble.","provenance":"Mahdiyya.","obtention":"Following its chance discovery at Mahdiyya, the piece was acquired and shown at the Bardo Museum.","bibliography":"*Tunisie, terre de rencontres et de civilisation* (catalogue de l'exposition de Séville)*,* Tunis*,* 1992, p.265.  \nMahfoudh F., “Entre Mahdiyya et la Sicile: Analyse d'un bas-relief sculpté”, *Africa*, 20, 2004, pp.5–33.  \nMarçais, G., “L'art musulman du XIe siècle en Tunisie d'après quelques trouvailles récentes”, *Revue de l'art ancien et moderne*, XLIV, 1923, pp.161–73.  \nMarçais, G., *L'architecture musulmane d'Occident*, Paris, 1954, p.197.  \nYacoub, M., *Chefs-d'œuvre du musée du Bardo, Tunis, 1978, pp.230–2.*","dynasty":"Fatimid–Zirid","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["carving","figurative decoration","marble","relief","Zirid"],"materials":["Carved marble."]},"2f04166a-1867-5f2a-bc57-934a78292a79":{"name":"Tomb of Bishop D. Manuel de Moura Manuel","description":"The Tomb of Bishop D. Manuel de Moura Manuel is based on a traditional French model seen in, for example, the Tomb of Cardinal Richelieu at the Sorbonne in Paris. Laprade introduced a new typology to Portugal: a tomb with an architectural background filled with allegorical figures. The inclusion of funerary symbolism and its association with the allegories of Life and Death are adjusted to fit in with the Baroque spirit. At a time when abstract and formal caskets in cases were the norm this was an innovation in Portugal. The tomb was created in the artist's studio in Coimbra.  \nIn terms of the architectural composition, the pilasters are transformed into Atlantes representing crying women who stage the sorrow of death with veils that partially hide their faces. The mournful tone of these figures contrast with the graceful angels that flit about in an oval-shaped plaque carrying with them the coat of arms of D. Manuel. At the top and bottom of the beam, are *putti* seen together with symbols of Life and Death. The tympanum is decorated with the figure of Time – an allegory of Death – accompanied by an angel that holds the bishop's crosier. The close of the tombstone arch is furnished with a Phoenix – symbol of the Resurrection and celestial Life. The sense of movement is remarkable in the flowing sideways of Time's clothes and the curvature of the prostrate body of D. Manuel. The naturalist portrait of D. Manuel, with one hand on his chest gazing at the image of Our Lady, suggests that he is waiting for the final verdict. Watching over the scene is the macabre skeletal figure of a magistrate wearing a bay-leaf crown – symbolic of the transition from life to death – wearing an amulet with a *Memento Mori* distich.","short_description":"A limestone tomb showing the deceased, Bishop D. Manuel de Moura Manuel, prostrate accompanied by the allegorical figures of Justice, Fortitude, Faith, Charity and Time, and the religious scene of the Appearance of Our Lady of Penha de França in bas-relief.","type":"Tomb sculpture","holder":"Vista Alegre Historic Museum","owner":"Vista Alegre Atlantis, SA – Fábrica de Porcelana da Vista Alegre","initial_owner":"D. Manuel de Moura Manuel, Bishop of Miranda do Douro","dates":"1699–1706","location":"Vista Alegre, Ílhavo, Aveiro","dimensions":"H: 570 cm; w: 215 cm","place_of_production":"Chapel of Nossa Senhora da Penha de França, Vista Alegre, Ílhavo","method_for_datation":"Stylistic analysis and documentation","obtention":"In 1812 José Ferreira Pinto Basto, founder of the Vista Alegre Porcelain Factory, bought Quinta da Ermida to which the lease of the Chapel at Vista Alegre had been assigned. The entire Vista Alegre Estate did not belong to him until 1817. The Museum is guardian of the Chapel of Our Lady of Penha de França, at Vista Alegre.","bibliography":"Gomes, M., *A Vista Alegre: Memoria Histórica*: *Tipografia Minerva*, Aveiro, 1924.  \nGonçalves, A. N., *Inventário Artístico de Portugal – Aveiro – Zona Sul*, Lisbon, 1959, pp. 180–187.  \nArez, I., Coutinho, M. A., Pinto Basto, C. and Frasco, A. F., *Vista Alegre Porcelanas*, Lisbon, 1989, p. 48.  \n“Laprade” in *Dicionário de Arte Barroca em Portugal* (ed. José Fernandes), Lisbon, 1989, pp. 253–257.  \nLopes, H. M. da Silva, *Claude Laprade e o Túmulo da Vista Alegre*: Dissertação de Mestrado em “Teorias da Arte” à Faculdade de Belas, Lisbon, 2001.","workshop":"French-influenced European Baroque","artist_birthdate":"1682","artist_birthplace":"Avignon, France","artist_deathdate":"1738","artist_deathplace":"Portugal","author":"Paulo Pereira","translator":"Lili Cavalheiro, Filipa Quatorze","translation_copy_editor":"Mandi Gomez","keywords":["Baroque","funerary architecture","funerary object","Laprade (Claude)","Tomb sculpture","Vista Alegre"],"materials":["Limestone bas-relief"]},"308e03ea-6946-5a0c-a2aa-392943b0f903":{"name":"Small gazelle in bronze.","description":"This bronze object is composed of three superimposed elements: a small gazelle joined to a rectangular pedestal on top of a ball with a shaft, above a small sphere surrounded by a four-petal corolla. Rivets fix all these elements to the shaft, which holds the different components and serves as an axis. The gazelle, the support, the ball and the shaft are solid cast. The animal has an arched neck and a thin layer of gold covers its body. The tops of its legs are decorated with geometrical knotwork and a woven design on their inner side whereas the inside of the neck is decorated with dots. The small rounded tail is stamped with a cruciform pattern. The gazelle's elegance and its decoration are reminiscent of Umayyad bronzes from Córdoba.  \nThe hollow sphere is not decorated and it is formed by two welded elements. The corolla is made out of flat strips cut into four wide lanceolate petals, gilded with serrated edges. The outside of the strips are decorated with a floral pattern with smooth palms and Marinid-style foliage.  \nThe two parts of this small bronze do not appear to belong to the same period. In all probability the upper part, gazelle and shaft, was made in Córdoba during the Caliphate period. The sphere and the four-petalled corolla would have been added in the Marinid period, possibly to use it at the top of an aquamanile.","short_description":"This elegant object, representing a small gazelle on top of a sphere surrounded by a corolla of petals, would have been placed on top of an aquamanile. Its two halves come from difference periods: the Caliphate of Córdoba and the Marinid era.","type":"Gazelle, metalwork","holder":"Archeological Museum.","dates":"Hegira late 4th and 8th centuries / AD late 10th and 14th centuries.","location":"Rabat.","dimensions":"Total height 13 cm, diameter 5 cm.","method_for_datation":"Through stylistic analysis and comparison with Umayyad and Marinid pieces.","method_for_provenance":"Excavation report (Boube 1972).","provenance":"Dual provenance: the upper part was from Córdoba and the lower part was made in Morocco.","obtention":"Excavated.","bibliography":"Hassar-Benslimane, J., 'Note à propos d'un bronze arabe trouvé au Chellah (Rabat)', *Bulletin d'archéologie marocaine*, Vol. X, 1976, pp.173–84.","dynasty":"Umayyad; Marinid","linkcatalogs":"IAM_MA_EN_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["Figurative representation","geometric decoration"],"materials":["Solid cast bronze."]},"32add590-3c53-51d7-af55-57212f399b39":{"name":"Equestrian figurine.","alternate_name":"Horseman of Raqqa.","description":"A figurine of a bearded horseman with Asian Turkoman facial features, long braided hair and a helmet. Around the right front hoof of the horse is a snake that is climbing towards the rider from his left. The snake is shown opening its mouth to bite the rider through his armour, but he repels it with his shield. He carries a straight sword lifted into the air, ready to strike. There is a grooved cylindrical column coming out of the stomach of the horse that probably supported the statue, keeping it upright. The horse wears blue reins that are executed in relief. The reins continue around the horse's mouth and hang in front of its neck, then, like a harness, run across the sides of the horse's body down to the lower part of its hind legs.  \nThe object is glazed in off-white and blue and, therefore, can be compared to the laqabi-style ware of Persia, also known to have been produced in Raqqa. Laqabi ware is often seen as luxury bowls and dishes with moulded decorations. Production probably centred on the city of Kashan in Persia. Raised areas were often coloured in bright- blue, yellow, green, purple and pink to differentiate them from the white or off-white background.","short_description":"Known as the 'Horseman of Raqqa', this masterpiece of Syrian polychrome underglaze sculptural ceramics clearly displays the influence of the Central Asian military elite on artistic taste and local production.","type":"Figurine, earthenware","holder":"National Museum of Damascus","dates":"Hegira 6th century / AD 12th century.","location":"Damascus","dimensions":"Height 46.5 cm.","method_for_datation":"The object is similar to wares produced in Persia during the Seljuq period in the 12th century; a period that saw significant trade activity and migration between Abbasid domains and those of the Seljuq and other Turkoman peoples.","method_for_provenance":"The provenance of this object is difficult to determine because there was substantial trade activity in ceramics between various centres of production and wealthy consumers. Therefore, it is impossible to determine whether it was made in Persia and imported to Raqqa, or made in Raqqa after exposure to wares from Seljuq Persia. Its “Eastern” features and its similarity to the *laqabi* wares reveals a strong Persian influence in either case.","provenance":"Possibly Raqqa region, Syria.","obtention":"Salim ‘Adil ‘Abd al-Haqq, Director General of Antiquities and Museums in the 1950s, referred to this figurine as the “Horseman of Raqqa” in the *Syrian Archaeological Annals*. It was found along with two others in a man-made pond during archaeological excavations in Raqqa. The pieces were then sold and taken to Paris where this figurine was deposited in a French bank. In 1949, after negotiations with the French government, the Horseman was returned to Syria and the National Museum of Damascus.","bibliography":"Abu al-Faraj al-Ush, M., *A Concise Guide to the National Museum of Damascus,* Damascus, 1969, p.161.  \nDelpont, E. (ed), *L'Orient de Saladin: l'art des Ayyoubides*, Paris, 2001, pp.56–8; fig. 53.  \nPapadopoulo, A., *Islam and Muslim Art*, New York, 1979, p.429; fig. 413.  \nRice, D. T., *Islamic Art*, London, 1965, p.131; fig. 131.  \nWatson, O., *Ceramics from Islamic Lands*, London, 2004, pp.56–9.","dynasty":"Ayyubid","author":"Mona al-Moadin","translator":"Hilary Kalmbach (from the Arabic)","translation_copy_editor":"Mandi Gomez","keywords":["Aleppo","ceramics","earthenware","horse","M. E. de Lorey","Paris","polychrome","Raqqa","Salim ‘Adil ‘Abd al-Haqq"],"materials":["Earthenware, polychrome painted."]},"33034cbb-75d9-5619-8b7f-cac29ec681b4":{"name":"Fragment of a basin.","description":"Fragment of a basin sculpted in low relief, triangular in shape, both parts of which have been restored. Two of the sides are flat, the third is curved.  \nThe scene on the basin, of which only a part has survived, depicts hawking. The torso and part of the thigh of a horse rider can be distinguished, clothed in a pleated tunic belted around the waist by a large belt, and holding a white weapon in the right hand. Behind him, a falconer, whose face is mutilated and whose lower limbs have been amputated, and who is wearing a tunic that is open in front and tightened at the waist by a narrower belt, holds a dead hare. In his left hand, he holds up a falcon, of which only one foot and a bit of the tail can be seen above the horse's rump, the lower part of which is missing. A section of tree trunk, which could belong to a palm tree, appears behind the falconer.  \nTo the left of this scene lies an inscription consisting of two lines in *kufic* lettering. The first line is rather difficult to interpret ; the second reads as follows: ' …*ine wa arba'ou maya … amal ibn* …' (…four hundred…the work of Ibn…). '*ine*' cannot be translated as it is the last syllable of a number that could just as well be forty as seventy or even ninety.","short_description":"Fragment of a sculpted white marble ablutions basin, the two halves of which have been pieced back together. The bas-relief scene shows a falcon hunt. On the left-hand side there is an inscription in *kufic* characters. This object was originally from Andalusian Morocco.","type":"Basin, marble","holder":"National Museum of Antiquities and Islamic Arts","dates":"Hegira 5th century / AD 11th century.","location":"Algiers","dimensions":"Length 51.5 cm, width 21 cm, thickness 7.5 cm.","method_for_datation":"The object features a date which is missing the numerals representing single units and units of tens, and thus can only be placed somewhere between 440 and 489 (1048 and 1096).","method_for_provenance":"Through comparing this bas-relief fragment to basins from al-Andalus, Marçais was able to attribute this fragment to a basin, which could have been used for ablutions, of the same origin.","provenance":"Al-Andalus (Spain).","obtention":"Gift of Edmond Doutté, who acquired it in Rabat in 1902, during an exploration in Morocco.","bibliography":"Marçais, G., *Le musée Stéphane Gsell, musée des antiquités et d'art musulman d'Alger*, Algiers, 1950.  \nMarçais, G., “Sur un bas-relief musulman du musée Stéphane Gsell”, *Annales de l'Institut d'études orientales,* Vol. I, 1934–5, pp.162–75.","dynasty":"Taifa Kingdoms","author":"Leila Merabet","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["Al-Andalus","Basin","hawking","hunting scene","inscription","kufic","low relief","sculpture","Taifas"],"materials":["Sculpted white marble."]},"33919ff9-2350-55d3-9e18-73ae206b029a":{"name":"Head V with square eye","description":"Stanislav Libenský (1921-2002) and Jaroslava Brychtová (1924-2020) are key figures in the Czech Art Glass Movement, which drew the kiln casting technique (glass casted in a mould) to the forefront, in which geometric and monochrome pieces prevailed.  \nBrychtová learned the techniques of cast, moulded and molten glass alongside his father, sculptor and founder of the Železný Brod Glass School, Jaroslav Brychta, in the 40s. In 1950 he led the architectonic glass department at the same school, where he met the director, Stanislav Libeský. Together they developed and perfected the glass fusion moulding technique, inspired by Czech cubism from the early 20th Century and metaphysical philosophy, within the purest abstraction where the light creates a fourth dimension to the sculptural work.  \nTheir work was highly valued by studio glass artists from the United States and Europe at international exhibitions, where their exhibited their work in the 60s and 70s. However, it wasn’t until the 80s that their work was recognised internationally as true pioneering works in the glass sculpting field.","type":"Sculpture","holder":"Technological Glass Museum. Royal Factory of Glass and Crystal of La Granja","dates":"1986","location":"Real Sitio de San Ildefonso, Segovia","dimensions":"50 x 37cm","method_for_datation":"By bibliographical references","method_for_provenance":"By bibliographical references","provenance":"Czech Republic","bibliography":"Kehlmann, Robert, *The Inner Light. Sculpture by Stanislav Libenský & Jaroslava Brychtová. Exhibition Catalog*, Seattle and London: University of Washington Press, 2002.  \nKlein, Dan, Stern, Nane and Petrová, Sylva, S., *Libenský & J. Brychtová*, Paris: Clara Scremini Gallery, 1988.","author":"Paloma Pastor Rey de Viñas, Saulo Alvarado Martinsanz","translator":"Jessica White","keywords":["Brychtová","Czech Republic","Glass sculpture","Libenský","Studio Glass"],"materials":["glass","mould-melted glass, cut, ground"]},"33ca14b6-4b0a-5783-8318-06081aaaa3ca":{"name":"*Truth*","alternate_name":"*Truth Unveiled by Time*","description":"Sitting on rough-surfaced rock the figure of the smiling maiden holds an image of the sun in her right hand. She represents “Truth” according to Cesare Ripa's famous *Iconologia*, an encyclopaedic repertoire illustrating the personifications of abstract concepts, widely used by artists during the Baroque period to represent allegorical figures. A recent study has also shown that the marble figure of the maiden is a faithful sculptural representation of a painting by Correggio, *Allegory of Virtue*, which was in Rome at the time, incomplete, as part of the Pamphilj Collection. According to ideas expressed by the artist in his preparatory drawings, the statue was to be part of an imposing group showing a moral theme, *Truth Unveiled by Time*. It was intended to be overseen by an old man with a scythe, the symbol of Time, intent on lifting the cloth to reveal the radiant beauty of the maiden. The work was conceived during the pontificate of Innocent X Pamphilj (1644–1655). It was a particularly difficult time in the artist's life when he was unjustly accused of causing structural instabilities in Saint Peter's, resulting in the demolition of the bell towers that he had designed. Bernini, who never completed the sculptural group, arranged for the statue to remain at his home as a warning to his descendants. The different ways in which the marble is finished represent an important example of Bernini's extraordinary technical skills. The well researched contrast between the crystalline finish of the figure and the “non finish” of the rocks is also evident in the detail of the foot resting on the globe.  \nThe typically Baroque practice of using a metaphor of the personal to illustrate a universal warning is particularly noteworthy.","short_description":"Bernini carved the sculpture for himself at a difficult time in his career (during the pontificate of Innocent X Pamphilj, 1644–1655) when he was accused of causing structural problems at St. Peter’s bell tower. The group, which was never finished, was to include the figure of Time. Bernini left the sculpture as an eternal warning to his heirs, with whom it remained until 1924.","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Gian Lorenzo Bernini","dates":"1647–1652","location":"Rome, Latium","dimensions":"H: 277 cm; w: 142 cm; d. 114 cm","method_for_datation":"The sculpture was kept in Rome at Bernini’s home in Via della Mercede until 1852, before being moved to Palazzo Bernini in Via del Corso. In 1924 the heirs to Bernini’s estate transferred it permanently to the Galleria Borghese.","provenance":"Heirs of Gian Lorenzo Bernini","obtention":"Acquired by the Italian State in 1957","bibliography":"Winner, M., “Veritas”, in *Bernini scultore. La nascita del barocco in Casa Borghese*, exhibition catalogue, edited by A. Coliva and S. Schütze, Rome, 1998, pp. 290–309.  \nHerrmann Fiore, K., “La Verità”, in *Gian Lorenzo Bernini regista del Barocco. I restauri*, edited by C. Strinati and M. G. Bernardini, Milan, 1999, pp. 27–35.  \nMinozzi, M., Sorrentino, M. A., Tauschnig, G., Rockwell, P., “La Verità”, in *Bernini scultore. La tecnica esecutiva*, a cura di Anna Coliva, Rome, 2002, pp. 234–247.  \nDe Marchi, A. G., “La verità sulla 'Verità' di Bernini: interferenze fra quadri e sculture”, in *Bollettino d'arte*, 6.Ser. 90.2005, 2006, Nos.133/134, pp. 127–132.","artist_birthdate":"1598","artist_birthplace":"Naples","artist_deathdate":"1680","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Marina Minozzi","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Allegory","Iconologia","marble","movement","personification"],"materials":["Carrara Marble"]},"34f34c83-66aa-5e61-897d-108f4bf4dc50":{"name":"*The Rape of Proserpina*","description":"The work was commissioned by Cardinal Scipione Borghese from a young Bernini after he had completed *Aeneas and Anchises*. The group was then given to Ludovico Ludovisi, the new cardinal-nephew of Pope Gregory XV, who had succeeded Paul V Borghese in 1621. This commission was an act of high diplomacy by which Scipione hoped to win favour with the hostile cardinal, who was also an avid collector with a splendid suburban villa beside Villa Borghese.  \nThe subject shows Pluto, god of the underworld, abducting Proserpina, daughter of Ceres and Jupiter. The myth is related to the fertility of the earth and therefore could symbolise Scipione's desire for the rebirth of the Borghese family after the death of his father.  \nThe movement of the figures is a vortex of contrasting forms related to late Mannerist methods, permeated by an expressive theatricality that is typically Baroque.  \nBernini freezes the action at the height of the abduction, allowing him to best describe the tension in the bodies, stressing both the virile potency of the god and the sensual femininity of the nymph.  \nIn her futile struggle against the brutal violence, the nymph pushes her hand into Pluto's face in an attempt to free herself from his grip, while the god, thrust forward, clutches her with a triumphant expression beneath his thick beard.  \nA tear on the girl's desperate face and Pluto's hands sunk gleefully into her thighs are two examples of extraordinary naturalism, a triumph of technique transforming hard marble into soft flesh,  \nAs in other works, Bernini seeks a painted style for the surfaces, applying different finishes to the flesh of the god and the nymph, and creating a hair effect for Cerberus, the three-headed dog guarding the underworld, using a gradine, a tool normally used in an intermediate stage of marble sculpting.  \nThe work, which belonged to the Ludovisi family, was acquired by the Italian State in 1908, and placed in Villa Borghese alongside other groups by the young Bernini that were commissioned by Cardinal Scipione.","short_description":"The sculpture shows Pluto and Proserpina in a twisting pose that is still linked to Mannerist art but which is combined with a Baroque theatricality. Executed between 1621 and 1622 the work was given by Scipione Borghese to Cardinal Ludovisi (*cardinal* *nepote* of Alessandro, the new pope Gregorio XV, 1621–1623).","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Cardinal Scipione Borghese, gifted to Cardinal Ludovisi","dates":"1621–1622","location":"Rome, Latium","dimensions":"h: 250 cm","provenance":"Ludovisi Collection","obtention":"Acquired by the Italian State in 1908.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al secolo XIX*, Rome, 1954, n.33, pp. 29–31.  \nWinner, M., “Ratto di Proserpina” in *Bernini Scultore, La nascita del Barocco in Casa Borghese*, exhibition catalogue, Rome, 1998, pp. 180–203.  \nWittkower, R., *Gian Lorenzo Bernini. The Sculptor of the Roman Baroque*, London, 1955 (ed. Italiana Milano 1990, cat. 10, pp. 234–235).  \nMinozzi, M., Sorrentino, M. A., Chilosi, M. G., Rockwell, P., “Ratto di Proserpina” in *Bernini scultore e la tecnica esecutiva*, Rome, 2002, pp. 144–163.","artist_birthdate":"1598","artist_birthplace":"Naples","artist_deathdate":"1680","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["anatomy","Mannerism","marble","movement","mythology","theatre"],"materials":["Marble"]},"386fe084-5d31-5abb-9f36-fb457dd43935":{"name":"Edward Jenner Inoculates his Small Son with the Smallpox Vaccine","short_description":"Giulio Monteverde was an Italian sculptor who started carving wooden crucifixes before moving on to sculpture during his years at the Academy of Fine Arts in Genoa. In 1865 Monteverde moved to Rome to study at the Academy of St. Luke. The sculpture of Edward Jenner (1749-1823) represents the British physician and naturalist inoculating for the first time, on his own son, the smallpox vaccine that he invented. This work was initially rejected by the Academy of St. Luke, entrusted with selecting works of art for the International Exposition in Vienna, but then exhibited in it thanks to an influential friend. The plaster cast of Jenner won the gold medal in Vienna, and a similar success was had with the marble version presented at the Universal Exhibition in Paris in 1878 when it won the medal of honor. The bronze version shown in the picture represents Jenner administering the smallpox vaccine to his son, blending dynamism and details in the face of the scientist, clothes and objects.","type":"Sculpture","holder":"National Gallery of Modern Art (GNAM)","dates":"c. 1878","location":"Rome","dimensions":"130 x 90 x 97 cm","provenance":"Italy","artist_birthdate":"1837","artist_birthplace":"Bistagno (Alessandria)","artist_deathdate":"1917","artist_deathplace":"Rome","copyright":"Copyright image: Soprintendenza alla Galleria Nazionale d'Arte Moderna e Contemporanea.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Medicine","health","vaccination","epidemics","disease","life expectancy","social changes","scientific development","social topics","post-unitarian Italian society","Positivism","celebration of science","international exhibitions","universal exposition"],"materials":["Bronze"]},"39548f51-03b2-558c-9e39-2e9427feaf5c":{"name":"Basin.","description":"A large marble fountain-basin. The basin is basically a large hemisphere supported on a short foot and topped with a 12-sided rim, one side of which is blank and another of which has a section cut out to support the channel which brought water. Eleven of the sides carry an inscription giving the name and titles of the Ayyubid governor of Hama, al-Malik al-Mansur Muhammad ibn al-Muzaffar Mahmud ibn Muhammad ibn ‘Umar ibn Shahanshah ibn ‘Ayyub (also known by his shorter title of Mansur II Muhammad), who ruled from AH 641–83 / AD 1244–84. The exterior of the basin is carved with a bold design of two interlacing arabesque designs, each repeated six times in alternation and set off against a background of smaller floral decoration. Such a fine basin would probably have been placed in a prominent public mosque to serve the needs of congregants and to proclaim the glory of the ruler.","short_description":"A large marble basin for ablutions, carved on the exterior with prominent interlacing arabesque designs. The 12-sided rim is inscribed with the name and titles of the patron, the governor of Hama. Thus the basin served both the ritual needs of the community and the governor’s public image.","type":"Carved marble","holder":"Victoria and Albert Museum.","dates":"About hegira 676 / AD 1277–8.","location":"London, England","dimensions":"Height 50 cm, diameter 97 cm.","method_for_datation":"The inscription gives the date 676 / 1277–8.","method_for_provenance":"The basin is inscribed with the name and titles of the Ayyubid governor in whose honour this object was made (see description above).","provenance":"Hama, Syria.","obtention":"Purchased by the Museum in 1903.","bibliography":"Ayers, J., Oriental Art in the Victoria and Albert Museum, London, 1983, p.111.","dynasty":"Ayyubid","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["floral decoration","inscription","religious objects","water"],"materials":["Carved marble."]},"3b494886-dcbc-53f0-858a-e56bcd9a8635":{"name":"Sculpturally conceived emblem","short_description":"This work of art belongs to a group of emblems which is an artistic interpretation of an Arabic letter or word that brings the Sufi farther along his path to God when he remembers or repeats it in his devotions (*dhikr*).  \nThis emblem is a symmetrical composition with the word *al-shafi* (the Healer), one of Allah’s many names.","type":"Ottoman emblem, wood","holder":"The David Collection","dates":"Hegira 12th–13th century / AD 18th–19th century","location":"Copenhagen","provenance":"Turkey","dynasty":"Ottoman","keywords":["blazon","calligraphy","inscription","Procession","Standard","Sufism","Symmetry"],"materials":["Wood"]},"3cae71c8-dbf2-536f-bbdd-73e3c7e29ff5":{"name":"*Crucifixion*","alternate_name":"*Dying Christ*","description":"The Dominican Monastery of St. Domingos de Benfica, founded in 1399 on the outskirts of Lisbon, was rebuilt in the second quarter of the 17th century during the government of Friar João de Vasconcelos (1624–1632). During this period Manuel Pereira was commissioned to make a series of sculptural devotional images among which were the *Crucifixion* and *Our Lady of the Rosary* – both located over the aisle altars – and *Saint Dominique of Gusmão* and *St. Peter the Martyr* in the main arch niches.  \nPortuguese Manuel Pereira studied in Rome and lived in Spain where he received important commissions from the Madrid court, which at the time was the capital of the Iberian monarchy (1580–1640). Pereira worked in stone, wood and alabaster, and using these materials he conceived mainly devotional sculptures that visually imparted the values inherited from the Trent Council through the dual rhetoric of *docere* and *delectare* (to teach, to move and to delight), aimed at heightening the inner conversion of the Christian. Manuel Pereira's sculptures are characterised by their dynamic composition, combined with the delicate treatment of the surfaces, which in their smallest details irradiate light, delivering a deep and intense psychology. These aesthetic values are present in the polychrome wooden sculptures of the *Immaculate Conception* in Toledo, *St. Ignatius of Loyola*, *St. Francis Xavier*, *St. Aloysus Gonzaga* and *St. Francis of Borja* commissioned by the Church of São Roque in Lisbon. One can include the *Crucifixions* in Cartuja de Miraflores in Burgos and St. Domingos de Benfica in Lisbon, where the realism and inner drama are remarkably intense. In the São Roque Benfica *Crucifixion,* based on an engraving by Pontius from a painting by Peter Paul Rubens, Pereira's Christ hangs lifeless and heavy from the cross, His face contorted, exhaling His last breath and His eyes closing slowly in agony.","short_description":"The epitome of Manuel Pereira's sculpture lies in his Crucifixions among which this one, in the Church of St. Domingos de Benfica, is remarkably intense. Based on a composition by Rubens, Christ's heavy, lifeless body hangs from the cross, creating a deep and intense psychological tension that visually imparts the values inherited from the Trent Council through the dual rhetoric of *docere* and *delectare* (to teach, to move and to delight), which in this context suggests that the body is elevated to eternity through the inner drama of the Passion.","type":"Wood carving, sculpture","holder":"Church of St. Domingos de Benfica","owner":"Church of St. Domingos de Benfica","initial_owner":"Church of St. Domingos de Benfica","dates":"c. 1630","location":"Largo de São Domingos de Benfica, Lisbon, Lisbon","dimensions":"Monumental, in situ","place_of_production":"Lisbon and Madrid","method_for_datation":"Historical evidence and stylistic analysis","provenance":"Church of St. Domingos de Benfica, Lisbon","obtention":"*In situ*","bibliography":"Pereira, G., *S. Domingos de Benfica*, Lisbon, 1905.  \nSousa, Fr. L. de, Encarnação, Fr. A.da, Santa Catarina, Fr. L. de, *História de São Domingos*, Porto, 1977.  \nGonzález, J. J.M., Escultura Barroca en España, 1600-1700, Madrid, 1983.  \nAlmeida (OP) , Fr. A.-J. de, *“Imagines Sacrae” no Convento de São Domingos de Benfica*, Faculdade de Letras, Universidade de Lisboa, Lisboa, 1999. 2vol.  \nAlmeida (OP) , Fr. A.-J. de, “*El escultor Manuel Pereira y un milagro de Fray João de Vasconcelos, O.P., predicador de Felipe IV*”, in *Reales Sitios*, XL, No. 157 (3er. trimestre), Madrid, 2003, pp.20–31.  \n*Igreja de Nossa Senhora do Rosário*, *Templo da Força Aérea Portuguesa*, Força Aérea Portuguesa, Lisbon, 2006.","workshop":"Roman Classicism, Portuguese and Iberian Baroque sculpture","artist_birthdate":"1588","artist_birthplace":"Porto","artist_deathdate":"1683","artist_deathplace":"Madrid","author":"Maria João Vilhena","translator":"Maria João Vilhena","translation_copy_editor":"Mandi Gomez","keywords":["dramatic gesture","Iberian Baroque","Painted wood sculpture","Realism","Roman Baroque"],"materials":["Woodcarving"]},"3cc3cd1b-6a98-54f3-8299-5ed61c1d3d3d":{"name":"Window.","description":"A window made of stucco, which contains pierced decoration filled with coloured glass. The decorations of the window are placed in two rectangular sections: one, larger, at the bottom and the other, smaller, at the top. The decoration in the lower section is composed of a pointed arch, within which are vegetal motifs including cypress trees, and decorative architectural components such as domes and minarets, which bear a strong Ottoman imprint. The upper section is composed of an inscription in *naskhi* script, which reads: 'Oh Muhammad'.This inscription is written against a background of geometric decoration and stylised-coloured flowers distinguished by their simplicity.  \nStucco windows appeared in buildings in the early Islamic era and were used in Amr ibn al-'As Mosque and in al-Azhar Mosque, during the Fatimid period. In the Mamluk and Ottoman periods stucco coloured-glass windows were used more generally. The Museum of Islamic Art in Cairo has a number of stucco coloured-glass windows in the collection that are embellished with a variety of decorations, which invests in them a special beauty particularly when the sun shines through them or when they are exposed to artificial light. Among the most beautiful is that with the registry number 9886.","short_description":"Stucco windows were known in different Islamic periods and were used in different buildings to filter the sunshine and soften its glare. When their pierced patterns were covered with coloured glass, the aesthetic effect was exquisite.","type":"Stucco, glassware","holder":"Museum of Islamic Art","dates":"Hegira 10th century / AD 16th century.","location":"Cairo","dimensions":"Height 131 cm, width 65 cm.","method_for_datation":"The window is dated based on the decorative architectural components, which have a definite Ottoman stamp. The window is also associated with construction of the Sariyat al-Jabal (Mosque of Suleyman Pasha) which was built in 935 / 1528.","method_for_provenance":"This window is associated with the Mosque of Suleyman Pasha, built in 935 / 1528 in the Citadel of Cairo and was probably made in Cairo, Egypt.","provenance":"Egypt.","obtention":"This object was transferred to the museum from the Mosque of Sariyat al-Jabal (Mosque of Suleyman Pasha).","bibliography":"Al-Pasha, H., *Fan al-Taswir fi Masr al-Islamiya \\[The Art of Pictorial Depiction in Islamic Egypt\\],* Cairo, 1966.  \nHassan, Z. M., *Muslim Art in Fouad I University,* Vol. 1, Cairo, 1950.  \nNaguib, Ezz El Din, et al, “Light Screens”, Cairo, 1997.  \nShiha, M., “Islamic Architecture in Egypt”, *Prisma, Magazine of the Ministry of Culture,* Cairo, 2001.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Muhammad Abbas Muhammad Selim","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Coloured glass","glass","naskhi script","stucco"],"materials":["Stucco, pierced and fitted with coloured glass."]},"47f199fd-3322-5ab8-b00e-f35c60fd72f6":{"name":"Niche.","description":"Rectangular-shaped niche with a rounded back in the form of a shell, ornamented with fillets that end in roll mouldings. The façade of the bay, which is sculpted in bas-relief, is decorated with festoons, lozenges and circles, whereas the cornerstones are adorned with rosettes framed on either side with stylised leaves.  \nThe bay fits within a double frame: the first formed by a lozenge trellis, the second by a narrow fret band.  \nThe decoration of this panel evokes that sculpted by the Romans and the Byzantines from North Africa on shrines that were made of earth, as well as on architectural pieces, altars, etc., all of which attests to the continuity of the ornamental repertory.  \nThe sculpture was executed with a metal blade, worked on the *timchent* while it was still soft. According to H. Saladin (see Bibliography) this local type of plaster made from the region's limestone was 'applied to walls made of cobblestones or rubble'.  \nThe niche was built in the corner of a room at a certain height above ground-level. The upper part has undergone restoration work.","short_description":"Niche with a rounded back and a half-dome whose façade bears *naqsh-hadida* (sculpted plaster) decoration with simple geometric or floral rosette motifs in *timchent* plaster. Placed in the corner of a large room, it would have been used as a cupboard and also to help support the ceiling.","type":"Niche, plaster","holder":"National Museum of Antiquities and Islamic Arts","dates":"Hegira 296–467 / AD 909–1074.","location":"Algiers","dimensions":"Height 77 cm, width 73 cm, depth 41 cm.","method_for_datation":"After the fall of the Rustamid dynasty, the Ibadids of Tahert escaped southward and founded a new town, Sedrata (296–467 / 909–1074). This fragment comes from a palace in that town. Alternatively, a fragment of frieze that was created for the same palace can be dated to the 5th / 11th century, as, according to Marçais, the *kufic* characters that feature could be from the '11th century and resemble those of Kairouan'.","method_for_provenance":"Report published in the *Comptes rendus de l'Académie des inscriptions et belles-lettres* in 1952.","provenance":"Sedrata, Algeria.","obtention":"From an archaeological repository (excavations by Van Berchem, 1952).","bibliography":"Bermúdez Pareja, J., “Crónica arqueológica de la España musulmana”, *Al-Andalus*, Vol. XX, 1955, pp. 407–52.  \nMarçais, G., *L'architecture musulmane d'Occident*, Paris, 1954.  \nSaladin, H*., Manuel d'art musulman. L'architecture*, Paris, 1907.  \nVan Berchem, M., “Deux campagnes de fouilles à Sédrata en Algérie”, *Comptes rendus de l'Académie des inscriptions et belles-lettres*, 1952, pp.242–6.  \nVan Berchem, M., “Deux campagnes de fouilles à Sédrata (1951–1952)”, *Travaux de l'Institut de recherches sahariennes*, Vol. X, 1953, pp.123–38.","dynasty":"Rustamid of Sedrata","author":"Houria Cherid","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["Construction","geometric adornment","geometric decoration","local plaster","monument","niche","palatial architecture","plaster","rectangular case","Rosette","Rustamid","sculpture","Sedrata","Shell","timchent"],"materials":["Local type of plaster (timchent), sculpted."]},"485104a2-c65b-5c03-9552-8fe4f6bc4b16":{"name":"Narcissus","short_description":"Erwin Eisch (1927-2022) was instrumental in founding the studio glass movement, which sought to make artistic statements with glass and move away from the functional and decorative uses that had previously constrained glass-making.  \n  \nThis sculptural form of 'Narcissus' is one of a number of works that Eisch based around the mythological story of Narcissus, as told in several ancient sources. In all accounts the protagonist Narcissus falls in love with his own reflection and unable to pull himself away from the allure of it he eventually passes away to be replaced by a flower that now bears the same name. Eisch's 'Narcissus' sculptures are larger-than-life multi-part figural pieces in which the glass material acts as both human and mirror. the first version was displayed as part of a complex installation in a domestic interior featuring other mixed-media components by Eisch. The V&A's version is the third 'Narcissus' produced by Eisch, and was displayed in a mirrored glass box. This component no longer exists, but at the museum the figure is instead displayed in a showcase with a mirrored surface on which Narcissus lays.","holder":"Victoria & Albert Museum","dates":"1972","location":"London","provenance":"Frauenau, Germany","author":"Simon Spier","materials":["Hand blown glass"]},"49163955-f335-5ec9-ad16-f40d332e867a":{"name":"*The Beheading of St. Paul*","description":"*The Beheading of St. Paul* was commissioned by Virgilio Spada to a Bolognese sculptor, living in Rome, Alessandro Algardi. The statues were made in Rome and shipped to Bologna. They were intended to decorate the high altar of the Barnabite Church San Paolo Maggiore – St. Paul’s, patronised by the Spada family and to commemorate Virgilio’s father, Paul. Upon his death, in 1631, 6000 scudi was bequeathed for the construction of a chapel. In 1634 the Spada moved their residence from Rome to Bologna and Virgilio obtained permission from the pope for building the family chapel in Bologna, instead of Rome. After a few months the Spada made an agreement with the Barnabite fathers in Bologna. They were allowed to build the façade of the church and the high altar with its marble group and shrine. Gian Lorenzo Bernini designed the projects for the shrine and the group was commissioned in 1634 to Alessandro Algardi. The altar was officially inaugurated in 1647. In 1648 Virgilio Spada commissioned a bronze bas-relief to Algardi for the frontal of the same altar, depicting the beheading of St. Paul.  \nThis beautiful group shows the executioner prepared to cut St. Paul’s head with his sword. The saint looks down and offers his head to the blow. There is a strong contrast between the movement of the executioner’s body and the static attitude of the saint. The bas-relief shows what followed after the execution according to tradition: the saint’s head bounces three times on the ground and creates three springs.","short_description":"The group depicts the moment of the beheading of St Paul. Typically, baroque is the juxtaposition between the Saint, already part a heavenly atmosphere, and the executioner with his cruel grimace. The artist succeeds in conveying the tension preceding the blow and the contrast between the saint’s serenity and the executioner’s tense mobility. The beautiful shrine framing the group creates a link with the architecture of the interior of the church.","type":"Sculpture","holder":"Church of San Paolo Maggiore","initial_owner":"Spada family","dates":"1633–1647","location":"Bologna, Emilia-Romagna","dimensions":"St. Paul h. 190 cm; Executioner h. 282 cm","place_of_production":"Rome","method_for_datation":"Bibliography.","obtention":"Originally made for the church.","bibliography":"*La Basilica* *di San Paolo*, Bologna, 1979, p. 16, p. 18, p. 56.  \nHeimburger Ravalli, M. *Alessandro Algardi scultore*, Rome, 1973, n. 16.  \nHeimburger Ravalli, M. *Architettura, scultura e arti minori nel barocco italiano: ricerche nell'archivio Spada*, Florence, 1977.  \nMontagu, J. *Alessandro Algardi*, New Haven and London, 1985, I, pp. 51-58; II, pp. 369-372.  \n*Algardi. L'altra faccia del Barocco* (exhibition catalogue) (ed. J. Montagu), Rome, 1999, pp. 138-143.","workshop":"Baroque","artist_birthdate":"1598","artist_birthplace":"Bologna","artist_deathdate":"1654","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico della Soprintendenza per il Patrimonio storico artistico di Bologna, su concessione del Ministero per i Beni culturali.","copy_editor":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Alessandro Algardi","Christian themes","Gian Lorenzo Bernini","movement","Religious","sculpture","Spada family","St. Paul","Stonework"],"materials":["White Carrara marble"]},"493e7023-35e9-59c4-960b-226c4901faf1":{"name":"*Model for the Equestrian Sculpture of King Louis XIV*","description":"The terracotta model for the equestrian monument to Louis XIV was created by Bernini, already in his seventies, in late 1669 and 1670. The sculpture of the Sun King on horseback was ordered during a trip to Paris by Bernini in 1665, but we know from a letter sent by the artist to Minister Colbert, that it was not confirmed until 1669. The sculptor, who had studied his model carefully in Paris, decided to show him on the Mount of Glory controlling his galloping horse, his sceptre held horizontally; a symbol of regal equity. Although Bernini was not aware of the location intended for the sculpture, he arranged it – in accordance with Baroque taste – favouring a particular view point, in this case from the left, like the contemporary numismatics showing the king on horseback. This work can be traced back to several models both in ancient sculpture and modern painting and sculpture, most notably the model for the equestrian monument of Francis I by Leonardo (Budapest, Szépmuűvészeti Múzeum).  \nThe sculpture was transported to France in 1685, some years after Bernini's death and, as it did not please the king, it was then moved to Versailles. The work was transformed into Marcus Curtius by the French sculptor François Girardon and placed in a hidden corner of the gardens. The execution of the sculpture is actually quite ordinary: it was done by pupils of the French Academy in Rome and not directly by the artist and his prestigious Roman workshop. This makes the autography of this terracotta model of paramount importance, its bursting vitality reviving the splendour of the Berninian idea and his creative journey.  \nThe work was sold several times before ending up in the Contini Bonacossi Collection, from where it was given to the Galleria Borghese in 1923, a donation that was made permanent in 1926.","short_description":"This terracotta was modelled by Bernini in Rome for an equestrian monument of Louis XIV, but the sculpture itself was executed by his pupils. The king, however, did not appreciate the work, and so it was transformed into Marcus Curtius by the French sculptor Francois Girardon, and transferred to Versailles (now at the Louvre).","type":"Terracotta model","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Louis XIV","dates":"c. 1669","location":"Rome, Latium","dimensions":"h: 76 cm","provenance":"Alessandro Contini Bonacossi Collection","obtention":"Donated to the Italian state by the Contini Bonacossi family in 1926.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al secolo XIX*, Rome, 1954, n.38, pp. 41– 42.  \nWittkower, R., *Gian Lorenzo Bernini. The Sculptor of the Roman Baroque*, London, 1955 (ed. Italiana Milano 1990, cat. 74, p. 293).  \nHerrmann Fiore, K., “Luigi XIV a cavallo” in *Bernini Scultore, La nascita del Barocco in Casa Borghese*, exhibition catalogue, Rome, 1998, pp. 310–329.  \nBarberini, M. G., “Gian Lorenzo Bernini: processi creativi” in *Bernini scultore e la tecnica esecutiva*, Rome, 2002, pp. 277–284.","artist_birthdate":"1598","artist_birthplace":"Naples","artist_deathdate":"1680","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["model","monument","numismatics","symbol","Terracotta"],"materials":["Terracotta"]},"499ecee0-d098-5fd0-b896-0867f5949ae9":{"name":"*Kilga*, Jar-stand.","description":"This kilga or jar-stand, was carved from a single block of marble. It has a rectangular open top with legs carved in the form of crouching lions. Around the sides there are relief carvings of lions with an ornamental inscription containing good wishes for the owner. Lions were associated with rulers, suggesting that this object was intended for a palace rather than a religious building. Marble jar-supports of this type are unique to Egypt, used to filter the water of the Nile, thus making it fit to drink. Ibn Ridwan, a physician at the Fatimid court in Cairo in the AH 11th / AD 17th century, wrote: 'The best thing is not to use this water until it has been purified several times … the purified part is placed in a jar; only what seeps through the porosities of the jar will be used'.","short_description":"These marble *kilgas*, or jar-stands, are unique to Egypt. The basin of the stand was intended to support a stone or an unglazed terracotta jar. Being porous, the terracotta jars kept the water cool and also acted as a filter: water would seep through the body of the jar into the basin below.","type":"Stonework, marble","holder":"The British Museum.","dates":"Hegira 5th–6th / AD 11th–12th century.","location":"London, England","dimensions":"Height 40 cm, width 39.5 cm, length 56.5 cm.","method_for_datation":"Stylistic analysis, the shape and style of decoration belongs to a group of similar objects that are associated with the Fatimid dynasty. The *kufic* script can be found in works of other media and architectural inscriptions from the 5th and 6th / 11th and 12th centuries.","method_for_provenance":"Historical sources mention the practice of water purification to filter water from the Nile; furthermore, this *kilga* was found in Egypt.","provenance":"Egypt.","obtention":"Donated by Dr J. M. Rogers in 1988.","bibliography":"Institut du Monde Arabe, *Tresors fatimide du Caire*, exposition presentée a l'Institute du monde Arabe du 28 avril au 30 aout 1998 (Paris, Institut du Monde Arabe, 1998), p.180. (*kilga*s from the Museum of Islamic Art in Cairo.)  \n  \nPhillips, T., *Africa: The Art of a Continent*, London and New York, 1996, cat. no. 7.54. (*kilga* in the Manchester City Art Galleries.)","dynasty":"Fatimid","author":"Emily Shovelton","copy_editor":"Mandi Gomez","keywords":["carved decoration","inscription","water"],"materials":["Marble with carved ornament."]},"4b63a853-7b5d-5c93-8ec7-7348d5091101":{"name":"Model in plaster","description":"Following on the European fascination for the oriental world and for the famous Nasrid Palace of the Alhambra (Granada), a lot of reproductions of its remarkable architecture and decorations were made and spread. José Contreras was commended as restorer and decorator and his son, Rafael (1824–1890), was the leading pioneer of this trend in 1847. His work was continued by the grandson and by a huge number of plaster-cast workshops in Granada, and very likely, in other cities. His plasterworks were very successful in the International Exhibitions and were kept in private collections and museums like South Kensington (London). These delightful polychrome models, accentuated with a black frame, represents different rooms form the Alhambra Palace as the Comares Room, with its double horseshoe.","type":"Sculpture; Decorative Arts","holder":"Cerralbo Museum","dates":"2nd half of the 19th century","location":"Madrid","dimensions":"68 x 41 cm; 72 x 53 and 54 x 49 cm","provenance":"Spain?","author":"Cecilia Casas Desantes, Cristina Giménez","copy_editor":"Anne Dowell","keywords":["Decorations","Design","models","Alhambra"],"materials":["Plaster, wood; casted, painting"]},"4b67b99b-4bc9-5f80-b3eb-d2fe8c8f1154":{"name":"Fountainhead","short_description":"This animal, a hind or female deer, would once have stood beside a pool or fountain in one of the palaces of Umayyad Spain. A very similar piece, now in the Cordoba Museum, was discovered in the ruins of the caliphal pleasure-palace of Madinat al-Zahra, where the historian al-Maqqari mentions there being a marble basin adorned with fountain heads in the shape of different animals. The decoration on the hind’s body gives the impression that it is covered in a sumptuous, tasselled textile.","type":"Metalwork","holder":"Museum of Islamic Art","dates":"Hegira 4th century / AD 10th century","location":"Doha","dimensions":"Height: 56.4 cm, width: 40.9 cm, depth: 12.4 cm","provenance":"Spain, Cordoba","obtention":"Christie’s London, Islamic Art and Indian Miniatures, 25 April 1997, Sale 5779, Lot 259 to Qatar Museums","bibliography":"Allan, James W., *Metalwork Treasures from the Islamic Courts*, London: The Islamic Art Society, 2002.  \n  \nGonnella, Julia, et al., *Museum of Islamic Art: The Collection*, London: Thames & Hudson, 2022.  \n  \nGonnella, Julia, et al., *Museum of Islamic Art: The Guide* London: Thames & Hudson, 2022.  \n  \nSeipel, Joseph H., *God is Beautiful and Loves Beauty: The Object in Islamic Art and Culture*, New Haven: Yale University Press, 2013.  \n  \nWatson, Oliver, *Museum of Islamic Art, Doha, Qatar*, Munich: Prestel Verlag, 2008.","dynasty":"Umayyad","author":"Tara Desjardins","keywords":["Deer","Fountainhead","metalwork","Spain","Umayyad"],"materials":["Casting, Engraving","Copper alloy"]},"4c2db764-43bb-574c-9e09-b5f486e451c3":{"name":"Lion from the Palace of Mushatta.","description":"The scupture is of a lion lying on a thin rectangular plinth. The sculpture has been well preserved, except for its missing front paws and its, to all appearances, wantonly damaged face. The lion is crouching down on its back paws while supporting itself on the shanks of its front legs, so that the whole body is lying on the ground. Its head is raised and looks forward. The damage it suffered means that the carved details on the head can no longer be made out. A shallowly chiselled mane of short, outward-rolling curls frames the lion’s face from its ears down to the neckline, reaching over its shoulder and down along its back. Its ribs and the outline of its chest are characterised with flatly rendered indentations. Its hindquarters, over which its tail rests, are virtually round. The paws are especially long and wide, and lie close to the body. The pose of this sleek animal suggests that it is intently alert.  \nIt is possible that lion’s paws that have been discovered separately belong to this sculpture. However, they could also point to the existence of a second sculpture that was intended to complement this one symmetrically in the audience hall of the palace. Lions were an important iconographic element for rulers in Late Antiquity and the Sassanid period, which led to the Umayyad caliphs upholding and pursuing this tradition. This is made particularly visible by the two lions on the podium of the standing caliphs in Khirbat al-Mafjar, which demonstrate that this tradition flourished during the Umayyad period.  \nSimilar freestanding lion sculptures from the Umayyad period have yet to be discovered at other sites.","short_description":"This majestic lion was found inside the walls of the Palace of Mushatta in Jordan in 1903 in the vicinity of a building complex which may have been planned as an audience hall. Lions were associated with power and strength and were thus appropriate symbols of power in the palace of a Umayyad ruler.","type":"Lion, Palace of Mushatta","holder":"Museum of Islamic Art at the Pergamon Museum","initial_owner":"Probably Caliph al-Walid II (r. AH 125–6 / AD 743–4).","dates":"Hegira 125–6 / AD 743–4.","location":"Berlin","dimensions":"Height 72 cm, length 122 cm, width 42 cm.","method_for_datation":"The provenance of the object was substantiated through its discovery during the salvage operation of Qasr al-Mushatta in 1903; therefore, it appears to be from the same period as the façade.","method_for_provenance":"The provenance was guaranteed through its discovery during the salvage operation in Qasr al-Mushatta in 1903.","provenance":"Palace of Mushatta, Jordan.","obtention":"Acquired as a gift from the Ottoman Sultan Abdul Hamid II to Emperor Wilhelm II, who presented it to the Royal Museums in Berlin in 1903.","bibliography":"Hamilton, R., *Khirbat al-Mafjar: An Arabian Mansion in the Jordan Valley*, Oxford, 1959, pp.228–32, plate LV,1.  \n  \n*Museum für Islamische Kunst*, Mainz, 2001, pp.117–25.  \n  \nSchulz, B., “Mschatta. I: Bericht über die Aufnahme der Ruine”, *Jahrbuch der Königlich Preuzischen Kunstsammlungen* 35, 1904, pp.205–24, plate I.  \n  \nTrümpelmann, L., “Die Skulpturen von Mschatta”, *Archäologischer Anzeiger* 2, 1965, p.246, ill. 25.  \n  \n*The Umayyads: The Rise of Islamic Art*, pp.114–17.","dynasty":"Umayyad","linkcatalogs":"IAM_JO_EN_001","author":"Annette Hagedorn","translator":"Maria Vlotides, Brigitte Finkbeiner","translation_copy_editor":"Monica Allen","keywords":["freestanding sculpture","Sculpture of a lion"],"materials":["Limestone, roughly carved and smoothed over."]},"4d98ef31-dc06-5d00-bccf-06eec1cb0a21":{"name":"To What Exiled Country Are You Returning?","description":"Palestinian artist Ahmad Canaan’s sculpture combines the form of a boat with upright keys to evoke themes of exile, memory and resilience. The boat symbolises journeys and displacement, while the keys recall the Palestinian hope of return to lost homes. The hard metal and minimal design express both fragility and strength, turning the work into a visual object of collective memory and cultural resistance.","type":"Sculpture","holder":"Jordan National Gallery of Fine Arts","owner":"Jordan National Gallery of Fine Arts","dates":"1999","location":"Amman","dimensions":"Height: 57 cm; width: 97 cm; depth: 15 cm","artist_birthdate":"1965","artist_birthplace":"Palestine","catalogue_holding_link":"https://nationalgallery.org/artist/ahmad-canaan/","keywords":["Displacement","Exile","Jordan","Palestinian return","sculpture"],"materials":["Steel"]},"4e167204-1a3f-5a86-944d-ab0b42f8681b":{"name":"Parthian Monument: the adoption of the Emperors","description":"During his reign, the Emperor Hadrian (figure right) adopted Antoninus Pius (centre left), who in turn adopted the 17-year-old Marcus Aurelius (left) and the eight-year-old Lucius Verus. A head stares from behind Hadrian’s left shoulder, presumably representing the guardian spirit of Aelius Verus, late father of Lucius. A bull is being offered to the gods as a sacrifice.","type":"Sculpture","holder":"Kunsthistorisches Museum, Collection of Greek and Roman Antiquities","dates":"After 169 AD","location":"Vienna","dimensions":"Width 150 cm","copy_editor":"Daniel de la Vega","keywords":["Ephesos"],"materials":["Marble"]},"4ef3678b-8294-594e-939b-ef240304bdc5":{"name":"*Infant Jesus as the Good Shepherd*","description":"The ivory carved Indo-Portuguese representation of the Infant Jesus as the Good Shepherd is unique, blending the religious traditions of East and West. Carved in India from a single piece of ivory for a Portuguese patron, it features the Infant Jesus as Good Shepherd, a theme favoured by the Portuguese Empire, and handled here in a peculiar way, far from traditional iconographic models.  \nThe Infant Jesus sits on a three-tiered rocky mountain, each level of which contains a carved “grotto” within which is a scene from the Life of Christ; from bottom to top are the Adoration of the Shepherds, the Adoration of the Magi and the Baptism. Water cascades down onto the lower scenes.  \nAt the top, the Holy Trinity is framed by a tall fan-shaped Tree of Jesse, which acts as a backdrop to the entire piece. Below, the seated Infant Jesus plays an instrument similar to a mandolin. God the Father crowns the composition; wearing a triple-crown tiara with a cross He holds His crucified Son. Grapevines – from which heavy bunches of grapes hang – form the shape of a cross, symbolising the Eucharist, the wine from the grapes turning into the blood of Christ. The Holy Spirit is depicted as a dove flying above the Crucified Christ emblazoned on God's chest.  \nSt. Ignatius Loyola and St. Francis Xavier, founders of the Society of Jesus, flank the central niches of the two upper levels, where there are other saints and scenes from the Life of Christ: the Annunciation, Circumcision and Flight into Egypt. Artworks such as this were intended to reinforce the catechizing strategic mission of the Portuguese Church, framed by the principles of the Counter-Reformation.","short_description":"An ivory carved Indo-Portuguese representation of the Infant Jesus as the Good Shepherd. The Infant sits on a three-tiered rocky mountain featuring scenes from the Life of Christ. The Tree of Jessé, a symbol of the Holy Trinity, fans out as a background.","type":"Sculpture","holder":"Museum and Library of the House of Braganza","owner":"Fundação da Casa de Bragança","initial_owner":"Joaquim Horta Correia","dates":"17th century","location":"Vila Viçosa, Évora","dimensions":"H: 72.5 cm; w: 20.5 cm; d: 16 cm","place_of_production":"Goa (?)","method_for_datation":"Stylistic analysis.","provenance":"Índia","obtention":"Acquired in 2007.","bibliography":"*De Goa a Lisboa,* catalogue, “Europália 91”, Portugal–Brussels, 1991.  \n*Encompassing the Globe,* catalogue, (ed. Jay A. Levenson) Smithsonian Institute, Washington, 2007*.*","workshop":"Indo-Portuguese","author":"Maria de Jesus Monge, Cristina Correia","translator":"Cristina Correia, Manuel Silva Pereira","translation_copy_editor":"Mandi Gomez","keywords":["carving","Christian themes","exotica","Good Shepherd","Indo-Portuguese work","ivory","Jesuit","mission","religious object","religious orders"],"materials":["Carved ivory with remnants of polychrome painting"]},"4f4aebf4-ad51-596f-8d75-02d79f90d769":{"name":"Sphinx","short_description":"This sphinx was found in Rafiqa, Raqqa’s twin city, in 1924 together with the cock in the David Collection and the figure of a horseman in Syria’s National Museum. As ceramic sculptures, they are unique not only in Syria, but also in the rest of the Islamic world. They are fountain figures, and all have pipes to carry water up to the figures’ heads.","type":"Fountain figure","holder":"The David Collection","dates":"Hegira 2nd half of the 6th century / AD 2nd half of the 12th century","location":"Copenhagen","provenance":"Syria, Raqqa","dynasty":"Zangid","keywords":["Fritware","imaginary animal","Syria","zangids","zoomirphic imagery"],"materials":["Cast, modelled, and carved fritware painted in an opaque white and a turquoise glaze"]},"52384f24-9940-5834-bc9f-a6f4efa2c373":{"name":"Model of the Bologna Municipal Opera Theatre","description":"This model is the faithful representation of the original project by Antonio Bibiena for the Municipal Opera Theatre of Bologna. It accurately documents the architectural structure and decorative elements of the interior. It is very important because most of these decorations were lost during the XIX century restyling.  \nThe longitudinal section of the model shows the large stall, the stage, its architectural frame and 4 tiers of boxes as well as the gallery. Tiers of separated boxes all around the hall were an original feature of the Bibiena design specifically meant for the baroque opera theatres. This feature was adopted in the most important European theatres.  \nThe three “architectural orders” employed on the different tiers reflect the Bolognese sober academic tradition in architecture. Wooden models like this one were made by craftsmen or sculptors following the drawings of the architect. This was common for important buildings, public monuments or cathedrals, since the Renaissance period.  \nAbout 10 years later the theatre was finally opened to the public on the 14th of May 1763 with the representation of *The Triumph of Clelia* by C.W. Gluck.","short_description":"This is the wooden model of the Teatro Comunale of Bologna, proposed between 1755-1763 by the famous architect Antonio Bibiena, one of the last members of the Bibiena Family.  \nThe construction of the new public theatre for the city was quite troubled and the project presented by the architect caused some polemics among the academic establishment. For that reason, the municipality asked for an accurate model of the building to be exhibited in the town hall so that all citizens could see it and express their opinion on it.","type":"Woodwork, architectural model","holder":"Museo Internazionale e Biblioteca della Musica","owner":"Museo Internazionale e Biblioteca della Musica","initial_owner":"The Municipal theatre and its wooden model were commissioned by the Municipality of Bologna (Comune di Bologna)","dates":"1756","location":"Bologna, Emilia-Romagna","dimensions":"95x195x168 cm","place_of_production":"Bologna","method_for_datation":"Documents","provenance":"Town Hall (?)","bibliography":"Bergamini, W. “Antonio Galli Bibiena. Nuovo teatro pubblico di Bologna 1755-1763”, *L'arte del Settecento emiliano. Architettura, scenografia, pittura di paesaggio* (exhibition catatlogue) (ed. A. M. Matteucci), Bologna, 1979, pp. 122-123, n. 180.","author":"Marta Forlai","translation_copy_editor":"Lisa Kelman","keywords":["architectural model","Bibiena","model","theatre"],"materials":["Sculpted, painted and gilded wood"]},"54eca39b-22aa-51c8-a036-7621d45074f0":{"name":"Jar-stand (*kilga*).","description":"Carved from a single block of marble, this jar-stand, locally called a *kilga*, consists of a hollow part, octagonal in cross-section, on four feet and a projecting basin in front. The basin is connected to the hollow part through an opening bridged by a tricuspid arch with two projecting lion-head bosses in the panel above. Four chamfers form shallow column-flanked niches showing a flat carved arch motif. *Muqarnas* (stalactite or honeycomb ornament) occupies the centre of the side panels. The two bosses at the side of the basin are repeated with two smaller ones at the upper edge of the side panels of the hollow part. The wide rim of the basin bears a *kufic* inscription carried over to the hollow part of the stand and continued in a band framing the side panels. On the right side the inscription is completely worn out. On the left side the text is in good condition, though the content is unknown. The feet are decorated with rimmed tongues and connected with tricuspid arches.  \nThe stands were intended as supports for large unglazed terracotta water-jars. The porous material of the body allowed water to seep from the bottom of the jar. The water filtered in this process could be ladled from the projecting basin as needed for drinking. Jar-stands of this specific form seem to be unique to Egypt from Fatimid into Mamluk times. The striking shape of the jar-stand might be a combination of several earlier Egyptian traditions for purification, storage, cooling and drawing of water. The dependence on the Nile for drinking water required treatment of the water to make it potable. The alabaster jars that are sometimes seen together with the stands, could not be original since the non-porous stone does not let water through. Not one of the earthenware jars is known to have survived, however.","short_description":"Jar-stand on four feet, carved from a single block of marble and decorated. It consists of a hollow part which was intended to support an unglazed terracotta water-jar. The water which was filtered through the earthenware could be ladled from the projecting basin.","type":"Jar, stand, marble","holder":"Museum of Ethnography (Etnografiska museet)","owner":"Museum of Ethnography, Stockholm.","dates":"Hegira 6th century / AD 12th century.","location":"Stockholm","dimensions":"Height 31 cm, length 64 cm, width 32 cm.","method_for_datation":"Dating of this kind of jar-stand is difficult. A comparative study of the decorative patterns and their parallels in architecture, for example, is lacking. Stands with *kufic* inscriptions are generally dated to the Fatimid period.","method_for_provenance":"The object was acquired by F. R. Martin in Cairo. This type of jar-stand seems to be unique to Egypt because all surviving examples were found there.","provenance":"Egypt.","obtention":"Bought by the museum from the collection of F. R. Martin in 1897.","bibliography":"Ali Ibrahim, L., “Clear Fresh Water in Medieval Cairene Houses”, *Islamic Archaeological Studies* 1, 1982, pp.1–25.  \nElisséeff, N., “An Alabaster Water-Jar”, *Bulletin of the Museum of Fine Arts* 45, 1947, pp.35–8.  \nKnauer, E., “Marble Jar-Stands from Egypt”, *Metropolitan Museum Journal* 14, 1980, pp.67–101.","dynasty":"Fatimid","author":"Friederike Voigt","copy_editor":"Monica Allen","keywords":["calligraphy","kufic writing","water"],"materials":["carved.","Marble"]},"55179813-b0e7-5c56-9d77-119429fc40fd":{"name":"Human head.","description":"Face of a man in his prime. A part of the head and the right side of the face are damaged. The man wears a moustache and a very full beard. The curls of his beard end in circular, shell-like orifices. The iris of the eye is indicated by a fragment of iridescent glass, ovoid in shape. This work has its roots in an ancient North African tradition. It brings to mind numerous stelae dedicated particularly to Saturn, which share the frontal aspect, the beard and the importance accorded to the eyes. However, the statue does bear a strong resemblance to the bas-relief of the prince and the musician found at Mahdiyya. The face appears Oriental but the absence of clothing obviates any definite conclusions.","short_description":"This plaster sculpture shows the face of a man in the prime of life. The style and emphasis of the eyes, forehead and beard are reminiscent of numerous stelae dedicated to Saturn, and the piece also presents some similarities to a piece found in Mahdiyya.","type":"Human head, plaster","holder":"Museum of Islamic Art.","dates":"Hegira, mid-4th–mid-5th centuries / AD 10th–11th centuries.","location":"Raqqada., Kairouan.","dimensions":"Height 16 cm, width 12 cm, thickness 7 cm.","method_for_datation":"This stucco head was found, among other human and animal carvings, in the excavations carried out at Sabra al-Mansuriyya in 1978. It was found in a very ploughed-up area with no clear archaeological layering. The objects were scattered around in a random manner. One has the impression that someone had tried to eradicate or hide these figurative objects for no obvious reason except that there could be a connection with the changing religious mentality in Ifriqiya. This action could indeed coincide with the persecution of the Shi'ites during the troubles in 407 / 1016 or following the split between the Zirid emirate and the Fatimid caliphate in 440 / 1048–9. This date could be a *terminus post quem*. The *terminus ante quem* is just after the founding of Sabra in 337 / 948. Any further precision is rendered impossible due to the lack of a definite archaeological layer.","method_for_provenance":"The manufacture of these objects, which is unique in Ifriqiya and in the Maghreb, appears to have taken place in Sabra al-Mansuriyya and to have been commissioned by the Shi'ites.","provenance":"Sabra al-Mansuriyya.","obtention":"After its discovery at Sabra al-Mansuriyya, this piece was placed in the site storehouse. It was acquired in 1992 by the Museum at Raqqada. It will be displayed in the second section of the Museum, currently under construction.","bibliography":"*30 ans au service du patrimoine* (exhibition catalogue), Tunis, 1986, p.258.  \n*Tunez, Tierra de Culturas* (exhibition catalogue), Valencia, 2004, p.220.","dynasty":"Fatimid–Zirid","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["figurative decoration"],"materials":["Carved plaster."]},"556ddc9e-29c0-523e-bb8e-eb53f4c45d06":{"name":"Ablutions basin.","description":"This parallelepipedic tank marked with plain striations on the inside, the short sides and the corners, was beautifully adorned on the outside, and almost all of the decoration has survived on two sides. The design on the decorated face, whose inscription has been destroyed, is divided into two styles. The first one, rising from the base, consists of a large frieze of grooved foliage, dotted with buds and rosettes and wide-veined plain palms with calyxes, and double ones with acanthus leaves and buds. The second comprises a strip in relief with two lines of grooved intersecting knotwork, one curved and the other straight, bearing fleurons and veined palms. It is framed by an edge, set back, formed by vegetal knotwork accentuated with small stylised palm leaves in the shape of six-pointed stars.  \nThe short side is occupied by two identical animal scenes, sculpted on two vertical panels separated by an empty space. On each panel, there is an eagle spreading its tail, carrying two quadrupeds on its wings and two gazelles from its claws. Two winged ibex confronting each other on either side of a fleuron finish the scene in the lower part.  \nMost of the ornamentation on the other two sides has been destroyed, leaving only the text in *kufic* characters sculpted in relief on the rim and the decoration of the framing ribbon on the large side, which consists of a frieze of aquatic birds and fish alternating on a plant background.  \nThe surviving elements of the inscription that crowned the entire rim of the tank include the last digit of the hegira date (300), and the name of the patron, 'Abd al-Malik, *hajib* (chamberlain) of Hisham II.  \nThe design and animal scenes of this beautiful example of Caliphate artwork are reminiscent of the tank at al-Mansur and would appear to be from the same Madinat al-Zahira marble workshop in Córdoba.","short_description":"This basin is the work of a marble workshop in Madinat al-Zahira, Córdoba, the princely city built by al-Mansur. It was brought to Marrakesh by 'Ali ibn Yusuf and placed in the ablutions room of the Great Mosque.","type":"Basin, marble","holder":"Dar Si Saïd Museum.","dates":"Hegira 381–98 / AD 991–1008 (when 'Abd al-Malik served as *hajib*).","location":"Marrakesh.","dimensions":"Height 70 cm, length 155 cm, width 82 cm, depth 50 cm, thickness of sides 10 cm, thickness of base 20 cm.","method_for_datation":"1\\. The inscription, partially destroyed, sculpted on the upper rim of the tank reads '(the year) three hundred, in the name of God! God's blessing. Victory and divine assistance to the Hajib \\[followed with his honours\\] Abu Marwan 'Abd al-Malik ibn Amir (…), this is part of what he commissioned (…)'.  \n2\\. We know that 'Abd al-Malik was appointed *hajib* of Hisham II between 381 and 398 / 991 and 1008) by his father al-Mansur.","method_for_provenance":"Although it was discovered in the Ibn Yusuf Madrasa in Marrakesh, which belongs to the Sa'did period (10th / 16th century), the name of the patron and the comparative study with the al-Mansur basin in the National Archaeological Museum in Madrid suggest that it was originally from Madinat al-Zahira in Córdoba.","provenance":"Córdoba.","obtention":"As state property from a historical monument.","bibliography":"Deverdun, G., *Marrakech des origines à 1912*, Rabat, 1959.  \nDeverdun, G., *Inscriptions arabes de Marrakech*, Rabat, 1956.  \nGalloti, J., “Sur une cuve de marbre datant du Khalifat de Cordoue”, *Hespéris*, III, fasc. 3, Rabat, 1923, pp.363–91.  \nLévy-Provençal, É., *Histoire de l'Espagne musulmane*, Vol. III, Paris, 1953.  \nPigeon, G., *Manuel d'art musulman*, Vol. I, Paris, 1927.","workshop":"Madinat al-Zahira workshop, Córdoba.","dynasty":"Umayyad Caliphate of Córdoba; reign of Hisham II (AH 366–99 / AD976–1009)","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["epigraphic decoration","figurative decoration","floral decoration","geometric decoration","religious object","vegetal decoration","water"],"materials":["Sculpted white marble."]},"58b9817a-c39c-5ed0-9922-32e3e0ccbd6a":{"name":"The bronze statue representing 22 countries of member of Universal Postal Union","short_description":"The Universal Postal Union was created in 1874, initially under the name \"General Postal Union\", as a result of the Treaty of Bern signed on 9 October 1874. The UPU is a specialized agency of the United Nations that coordinates postal policies among member nations, in addition to the worldwide postal system. Transportation freedom is guaranteed with this treaty.","type":"Statue","holder":"Istanbul Postal Museum","dates":"1874","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["architecture","Vedat Tek","postal service"],"materials":["Bronze"]},"5a261785-3c23-5c9b-b6cc-bbab118fe4a4":{"name":"*Angel I*","description":"This monumental figure of an angel is part of the sculpted decoration of the Minorite Church in Znojmo, only fragments of which have survived. The sculpture with its preserved polychromy, gilded robe and wings has retained its expressive air despite the loss of its former link with the architecture of the altar retable. Despite its larger-than-life size it features precise carving, full volume and a reduced means of expression: an elegant gesture of the hand and decoratively sculpted locks. The face has Heinz’s original trademark modelling of the nose, arches above the eyes and, in particular the chin. The figure testifies to the sculptor’s sense of monumentality. Heinz was among only a few sculptors in Moravia whose starting point was the Czech Radical Baroque style. His first experience as a sculptor was under the tutorage of Jan Sturmer in Olomouc and then in the circle of Matyáš Bernard Braun; he also collaborated with Severin Tischler. The decoration of the garden and funeral chapel in Velké Losiny Chateau exhibits the influence of Baltasar Permoser. Heinz first lived in Olomouc and travelled in Moravia. In 1755 he joined the Dominican Monastery in Znojmo. Whilst there he produced statues for the grounds and decorated altars predominantly in the Znojmo area (Lechovice, Louka, Šatov).","short_description":"The *Angel* figure testifies to the sculptor's sense of monumentality for retable compositions. Heinz was among only a few sculptors in Moravia whose starting point was the Czech Radical Baroque style. The sculpture features precise carving, full volume and a reduced means of expression.","type":"Sculpture","holder":"Moravian Gallery, Brno","owner":"Museum of South Moravia, Znojmo","initial_owner":"Minorite Church, Znojmo","dates":"Before 1750","location":"Governor’s Palace, Brno, Moravia","dimensions":"H: 220 cm","place_of_production":"Znojmo","provenance":"Church of St. Anne, Znojmo","obtention":"The sculpture comes from the decoration of a Franciscan (originally Minorite) Monastery. Around 1843 part of the interior was transferred to the Church of St. Anne, Znojmo, from whence it passed to the Museum of South Moravia, located on the premises of the former Minorite Monastery.","bibliography":"Miloš Stehlík, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie a la age baroque* *1760–1790*, Brno–Paris–Rennes, 2002, pp. 176–177, cat. 53.  \nHelena Zápalková (ed), *Oltář Nejsvětější Trojice z kostela Nanebevzetí Panny Marie v Uničově. Restaurování 2003*–*2005*, Olomouc, 2005.  \nMiloš Stehlík, Matyáš Bernard Braun a Morava, in Miloš Stehlík, *Barok v soše*, Brno, 2006, pp. 65–70.","artist_birthdate":"1698","artist_birthplace":"Svitavy","artist_deathdate":"1759","artist_deathplace":"Znojmo","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Polychrome wood","Radical Baroque","retable","sculpted wood"],"materials":["Wood, polychromy and gilding"]},"5e131b15-3042-5b4a-bc07-e72c9fb0b7fb":{"name":"Figures in Turkish style","description":"In these two porcelain figures, it is showed through the clothes, and combined with the Rococo style of the bases. Produced by many European manufactures at the time, this kind of objects could be easily found in rooms as the *fumoir*, usually decorated in an Orientalist style to recreate exoticism.","type":"Decorative Arts; Porcelain","holder":"National Museum of Romanticism","dates":"Second third of the 19th century","location":"Madrid","dimensions":"31 x 15 x 14 cm / 32 x 15 x 14 cm","provenance":"France","author":"Isabel Ortega Fernández","copy_editor":"Anne Dowell","keywords":["Production of applied art in Europe in the Islamic mode","Turkish influence"],"materials":["Moulded; enamelled, painted and gilded porcelain"]},"5fafc343-ccfd-52d3-8bd4-f2f311ffa1cf":{"name":"*Bust of Clement XII*","description":"Pietro Bracci produced a large number of works, mainly portraits. He was one of the most important late Baroque sculptors of the 18th century in Rome, and was involved in the creation of the Trevi Fountain. He was trained in the Baroque tradition based on the work of Gian Lorenzo Bernini and classical equilibrium.  \nThere is no documentary evidence linking the bust to the sculptor, nor any explicit references in the work-log that Bracci was in the habit of keeping after 1725, but the attribution is generally accepted by scholars.  \nIt is dated around the time of the pontificate of Clement XII Corsini, which lasted from 1730 to 1740, although it is possible that the bust was made after his death.  \nThe ageing face of the pope is sculpted faithfully, reproducing the lines infused with deep expressiveness and intelligence, key characteristics of the artist's portraits. The pontificate's vestments are finely decorated and tied at the chest, while the fur-trimmed cloak and underlying *mozzetta*  \n(a short elbow length cape worn by Catholic clergy) are sculpted to achieve an elegant volume of folds that create a play of light and shadow.  \nThere are other busts of the pope, although full information is not available for all of them. Of particular interest is the one currently in Ravenna, which may have been intended for the pontificate's tomb in Laterano, and the bust of Clement XII, currently exhibited in the Galleria Nazionale di Arte Antica, which was acquired in 1927.  \nThe portrait of the pope in the Galleria Borghese was donated to the museum in 1910 by the Istituto dei Ciechi at the Baths of Diocletian.","short_description":"Pietro Bracci follows the Baroque tradition seen in Bernini's psychological portrait, *Cardinal Scipione Borghese*. Bracci was one of the sculptors involved in the creation of the Trevi Fountain.","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Unknown","dates":"c. 1730–1740","location":"Rome, Latium","dimensions":"h: 76 cm","provenance":"Istituto dei Ciechi (Institute of the Blind) at the Baths of Diocletian","obtention":"Given to the Galleria Borghese in 1910 by the Istituto dei Ciechi at the Baths of Diocletian.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al secolo XIX*, Rome, 1954, n.40 p. 43.  \nHonour, H., in *voce* “Bracci Pietro”, in *Dizionario Biografico degli Italiani*, Milan, 13, 1971, pp. 620–623.  \nStefani, C., *Galleria Borghese*, Milan, 2000, p.76.","artist_birthdate":"1700","artist_birthplace":"Rome","artist_deathdate":"1773","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Bernini","Bust","Classical model","marble","Portrait","talking portrait"],"materials":["Statuary marble"]},"621e7f00-7493-56e2-823c-2c4e19a49512":{"name":"Fragments of plaster.","description":"This panel is composed of two plaster fragments that have been sculpted with decorative motifs consisting of interweaving bands punctuated by blue painted pearls against a red background. These bands form eight-cornered stars, inside which appear flowers that feature three petals.  \nThis type of decoration is quite common in the palaces of the Qal'at Bani Hammad. The paintwork on the majority of fragments has worn off through time.","short_description":"Two plaster fragments sculpted with motifs consisting of interlaced bands punctuated by blue painted pearls on a red background. The bands form eight-pointed stars containing three-petal flowers. This type of covering was used to decorate the dome at the Palace of the Sea (Dar al-Bahr).","type":"Plaster","holder":"National Museum of Antiquities and Islamic Arts","dates":"Hegira 406–547 / AD 1015–1152.","location":"Algiers","dimensions":"Fragment 1: length 42 cm, width 41 cm; Fragment 2: length 44 cm, width 33 cm.","method_for_datation":"From the report of the De Beylié excavation, 1908.","method_for_provenance":"This type of wall-cladding was used in the decoration of the dome of the Dar al-Bahr (Palace of the Sea).","provenance":"Dar al-Bahr, Qal’at Bani Hammad, Algeria.","obtention":"Archaeological repository (De Beylié excavations, 1908).","bibliography":"Beylié, général de, *La Kalaa des Beni Hammad, une capitale berbère de l'Afrique du Nord au XIe siècle*, Paris, 1909.  \nBlanchet, P., “Rapport sur les travaux exécutés à la Qal'a des Beni Hammad”, *Recueil de la Société archéologique du departement de Constantine*, 1899, pp.97–116.  \nMarçais, G., *Algérie médiévale, monuments et paysages historiques*, Paris, 1957.  \nMarçais, G., *Art musulman, album de pierre, plâtre et bois sculpté*, Algiers, 1909.  \nRobert, A., “La kalâa des Beni Hammad”, *Recueil de Constantine*, Vol. 43, 1909.","dynasty":"Hammadid","author":"Ali Benbella","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["architectural decoration","floral decoration","geometric decoration","painting","Palace","palatial architecture","plaster"],"materials":["Plaster, sculpted and painted."]},"623ac570-c51d-5c93-af68-2dca3ce23ce0":{"name":"Suspended Together","description":"Manal Al Dowayan’s Suspended Together can be used to question the assumption that the existence of roads, routes, and transport systems automatically means freedom of movement. Created in 2011, the installation refers to a period when Saudi women needed permission from a male guardian in order to travel. The suspended white doves suggest flight, mobility, and freedom, yet their stillness reveals a condition of restriction. In this sense, the work is especially relevant for discussing travel and infrastructure from a gendered perspective: even when roads exist, not everyone has equal access to movement. The piece reminds viewers that mobility is not only a matter of physical routes, but also of law, social permission, gender, and power. For this reason, the work can be used to expand a discussion of travel in the region beyond railways and roads, toward the unequal social conditions that determine who is allowed to move.","type":"Installation","holder":"Qatar Museums, Mathaf: Arab Museum of Modern Art","owner":"Qatar Museums, Mathaf: Arab Museum of Modern Art","dates":"2011","location":"Doha","copyright":"Qatar Museums, Mathaf: Arab Museum of Modern Art","catalogue_holding_link":"https://collections.qm.org.qa/en/objects/suspended-together-mat201384","keywords":["freedom of movement","Saudi Arabia","transport systems","women"],"materials":["Resin, Paper, Adhesive"]},"63946b1b-16ea-516e-a633-bafee1467d3f":{"name":"Ionian capital from the *Ptolemaion*","description":"This fragmented capital, displaying a Greek-scrolled valuta and a wealth of floriform decoration on the cushion, originates from the so-called Ptolemaion, a gateway built in Samothrace for the Egyptian king Ptolemy II Philadelphus.","type":"Architectural sculpture","holder":"Kunsthistorisches Museum, Collection of Greek and Roman Antiquities","dates":"3rd century BC; excavated in 1873–1875","location":"Vienna","dimensions":"Height 38 cm","copy_editor":"Daniel de la Vega","keywords":["Samothrace","Alexander Conze"],"materials":["Marble"]},"6857e440-8f5f-5412-a588-b0da5f2afb45":{"name":"*Bust of the Cardinal Scipione Borghese*","description":"In 1605 when Paul V became Pope, he immediately made his nephew Scipione a cardinal, despite his young age, quickly promoting him to a position comparable to secretary of state. This enormous power allowed the cardinal-nephew to create a splendid home and a marvellous art collection over a decade, in an unorthodox manner.  \nThe bust portrait of Scipione by Gian Lorenzo Bernini was sculpted for his first major patron in 1632, after a creative hiatus of nearly seven years as a sculptor, during which he developed a new concept in portraits, more representative of the vibrant Baroque style.  \nThe spontaneous and intense pose, the arrangement of the bust with the head turned in a slight movement, the attentive gaze and the mouth open in an expression of vague wonderment combine to create a highly expressive, almost colloquial relation with the viewer.  \nThe cloth folds in the *mozzetta* (a short elbow length cape worn by Catholic clergy) and the detail of the small unfastened button showing us the live body beneath the clothes are an integral and involving part of the piece.  \nThe marked confidence displayed by this excellent example of a Baroque style of which Bernini was a master gives an intimate and human dimension to the sitter, despite his official status.  \nWith the bust almost finished, a hairline fracture opened up in the marble around the forehead, due to the stresses of the sculpting tools. The sculptor was forced to produce a second version of the bust at very short notice. This shows how little attention Bernini paid to his choice of marble, something that was of fundamental importance for other sculptors, such as Michelangelo. Despite the crack, the Cardinal requested that both works be delivered to him, keeping both in the Galleria Borghese.","short_description":"Cardinal Borghese, the pope’s nephew, was a passionate collector and looked after the cultural policy of the papal court. He had a sensitive instinct for artistic quality and gave a boost to the birth of the Baroque. Bernini renders the Cardinal life-like; the transience of human feeling and the expression of inner emotions are part of the Baroque aesthetic.","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Scipione Borghese","dates":"1632","location":"Rome, Latium","dimensions":"H: 82 cm","provenance":"Borghese Collection","obtention":"The Borghese Collection was acquired by the Italian State in 1902.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al secolo XIX*, Rome, 1954, n.36, pp. 37–39.  \nWittkower, R., *Gian Lorenzo Bernini. The Sculptor of the Roman Baroque*, London, 1955 (ed. Italiana Milano, 1990, cat. 31, p. 88).  \nColiva, A., “Due Busti di Scipione Borghese”, in *Bernini Scultore, La nascita del Barocco in Casa Borghese*, catalogo della mostra, Rome, 1998, pp. 276–289.  \nUlivi, M., Sorrentino, M. A., Chilosi, M. G., Rockwell, P., “Due Busti di Scipione Borghese”, in *Bernini scultore e la tecnica esecutiva*, Rome, 2002, pp. 216–233.","artist_birthdate":"1598","artist_birthplace":"Naples","artist_deathdate":"1680","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Bust","collection","collector","marble","patronage","Portrait","talking portrait"],"materials":["Marble"]},"6ac7d68d-dd1a-5e3a-afaa-4d2652475c9f":{"name":"Concavity. Deppari; Projection Series","description":"Toshio Iezumi (1954) began to work with glass in 1983, at the Tokyo Glass Art Institute. It was at this time that he began to work with glass sheets. His sources of inspiration are very broad, from the bronze originating in Ancient China to the most recent works of Constantin Brâncuşi and Donald Judd.  \nUpon graduating in 1985, Iezumi developed and perfected the technique for which he is known today. He began sticking the sheets of glass using a special adhesive cured by UV light, creating an initial block with a similar shape to a cube. It should be noted that the sheets are not placed at random. The sheet which will be furthest away from the spectator tends to be a mirrored sheet. This is a way in which to play with the reflective properties of the glass itself. Thermal glass can be interspersed or finished among the normal sheet glass in order to play with the refraction of light from the different types of glass. He then grinds and sculpts this block until the desired shape is achieved. After this initial grind using a diamond blade, a pneumatic machine is used to sand and polish the piece. This step involves seven sub-steps in order to achieve a pure, delicate finish (with a pneumatic water fed grinder with a grain of between 60 and 1000, finished with a felt disk in cerium oxide). After hours of work he achieves the depth, optic effects and the degree of transparency desired for his work.","type":"Sculpture","holder":"Technological Glass Museum. Royal Factory of Glass and Crystal of La Granja","dates":"1994","location":"Real Sitio de San Ildefonso, Segovia","dimensions":"24 x 21 x 24cm","method_for_datation":"Donated directly by the artist following a monographic course at our installations. This piece was created during the course.","method_for_provenance":"Donated directly by the artist following a monographic course at our installations. This piece was created during the course.","provenance":"Japan","obtention":"Donated by the author following a Coldworking Workshop led by himself.","bibliography":"Morita, Aki, Nakagawa, Yosuko and Iezumi, Toshio, *Iezumi Toshio Exhibition-Grind to Form*, Toyama: Toyama Glass Art Museum, 2017.  \nSano, Takako, Higuchi, Shinichi, Higuchi, Kimiake, Mizuta, Yeriko and de Pablos, Eliseo, *Japón. Vidrio Artístico Contemporáneo*, San Ildefonso, Segovia: Fundación Centro Nacional del Vidrio, 1995.","author":"Paloma Pastor Rey de Viñas, Saulo Alvarado Martinsanz","translator":"Jessica White","keywords":["Glass sculpture","Iezumi","Laminated glass","polised technique"],"materials":["cut, laminated, ground, polished","glass"]},"6bbafa48-66dc-52f4-bf7a-3cc4fe5e25c9":{"name":"Funerary panel","short_description":"This small panel, rectangular in shape, bears a decoration carved in bas-relief on one of the two faces, which suggests that it was designed to be embedded in the wall of a religious monument. The panel is almost complete and in a good condition. The lower corners and the upper right corner are missing. There are gaps on top. A niche design occupies the central section of the panel, framed on three sides by an epigraphic band. The niche is composed by a pointed horseshoe arch resting on two lateral columns with pyramidal bases and vase-shaped capitals. A short inscription, divided on two lines, is engraved inside the arch. The two inscriptions are engraved with a thin, shallow stroke, and executed in a late *kufic* style with slightly bilobed apexes, provided with diacritical marks. The text of the frame, on one line, contains an epitaph and reads on the right side: *\\[hadha\\] qabr al-Hakim al-Faqih Ahmad b.*, on the upper side: *Sulayman al-Shuruti*, and on the left side: *rahmatu llah ʿalayhi wa-salla llahu ʿa*\\[…\\]. These are translated as: '\\[This is\\] the tomb of al-Ḥākim al-Faqīh Aḥmad b. // Sulaymān al-\\[…\\] // May God’s mercy be upon him and may blessings of God be upon \\[…\\]'. The text inside the arch reads: *Allahu akbar*. The text enclosed in the outer frame is preserved in its entirety, except for the first and last words, which have been lost. The epitaph is undated and dedicated to a law scholar (*faqīh*) whose nisba has not yet been deciphered. Note that the invocation at the end of the text contains an expression (*salla Allah ʿala…*) that is usually intended for the Prophet.","type":"Stone work","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 10th century / AD 16th century","location":"Bamberg","dimensions":"289 x 267mm","method_for_datation":"The shape and size of the panel, as well as the palaeographic features of the two texts suggest a date no earlier than the late 16th century. A close comparison with the other similar panels with niche designs found in Ghazni is missing. The other specimens are ascribed to a more ancient period, between the 11th and 13th centuries, and differ both in the shape of the niche and in the writing styles and (and above all) in the content of the texts. In no case, in fact, is there an epitaph.","method_for_provenance":"This funerary element was documented by the Italian Archaeological Mission in 1966, reused in one of the walls of the Ziyārat Ramak, located a few kilometers from the city of Ghazni (MAIA, Inv. No. IG0063; Neg. Nos. 3823/2,3; Fig. a).","provenance":"Ghazni / Afghanistan","obtention":"Purchased from Shadad London in 2001","bibliography":"Massulo, Martina, “Marble Tombs From Ghazni (Fifteenth-Eighteenth Centuries): Morphological and Epigraphic Remarks”, *Eurasian Studies*, 13 (2015): 54-67.","dynasty":"Mughal","author":"Roberta Giunta","copy_editor":"Daniel de la Vega","keywords":["epitaph","Funerary slab","marble"],"materials":["Marble"]},"6c348586-1356-5ba4-b2b5-0c09d19282dc":{"name":"The Victims of Labour","short_description":"Vincenzo Vela studied at the academy of Fine arts of Brera and at the age of 22 he won an Academy of Venice competition. The artwork is an homage to the workers who died during the construction of the Gotthard Tunnel between 1872-82, which had implemented new cost-lowering techniques that also caused numerous incidents and loss of life. Work conditions were very unhealthy: temperatures over 30 degrees, gas exhalations and no air shafts. Even the accommodations were unhealthy and dirty. When the workers went on strike for the inhumane conditions, police shot at protesters, killing four workers. The miners in *The Victims of Labour* are depicted carrying the body of a dying classmate on a stretcher out of the tunnel. A self-portrait of the sculptor is recognisable in the classmate’s face. The harsh modelling of the workers’ bodies, almost deformed, makes the scene even more powerful. The artist affirmed he had no commission for this work which was a passion project. In 1895 it was cast in bronze on request of the Ministry of Education; in 1900 it was sent to the Universal Exhibition in Paris.","type":"Sculpture","holder":"National Gallery of Modern Art (GNAM)","dates":"1882 (fusion 1895)","location":"Rome","dimensions":"239 x 323 x 40 cm","artist_birthdate":"1820","artist_birthplace":"Ligornetto (Switzerland)","artist_deathdate":"1891","artist_deathplace":"Ligornetto (Switzerland)","copyright":"Copyright image: Soprintendenza alla Galleria Nazionale d'Arte Moderna e Contemporanea.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Sculpture","Italian sculptors","realism","Verismo","social topics","post-unitarian Italian society","rights of workers","working class","life expectancy","poverty","industry","communication","industrial development","road","railway","international","universal exposition"],"materials":["Bronze"]},"6cb00351-e32e-5685-bff7-6597c47986b7":{"name":"*St. John the Evangelist*","description":"St. John the Evangelist, gospel author and apocalyptic visionary, holds the Book of Revelations, with seals. At his feet is an eagle, one of his attributes. The eagle's mighty flight and the ancient belief that the bird could shade (or stop) the sun contributed to its coming to symbolise the soul and a mystic vision of God. Much of the animal symbolism of the Evangelists is derived from the Old Testament vision of Ezekiel (Ez 1:10). The eagle was attributed to John by the Church Father Hieronymus.  \nThe slender figure in an elegant, balanced posture with one foot forward is wrapped in a decorative cloak. The cloak, running from the left shoulder around the right hip opens into a mighty relief train that fills the space between the book and a pedestal on the right, the outline of the figure thus appearing compact. Schweigl ornamented the soft surface of the statue with folds and incisions in the hem of the cloak. The soulful face corresponds with traditional representations of St. John the Evangelist, his fine facial features off-set with locks of wavy hair. The visual effect of the sculpture is enhanced by the treatment of its surfaces: gold plate combined with matt and gloss finishes.  \nThe artist's development included being apprenticed to his father who came from Tyrol. After studying at the Vienna Academy and following his father's death, Schweigl took over the family workshop in Brno. The workshop, which also functioned as a private art academy, produced sculptures for the whole of Moravia, part of Silesia. A series of sculptures for the Church of St. James was one of Schweigl's first independent commissions. He wrote several manuscripts on art and artists in Moravia intended for pedagogical schools, which laid the foundations of art history research in Moravia.  \nIn a later phase, Schweigl employed the St. John figure in a statue of the saint for a side altar in Vranov Church near Brno.","short_description":"The slender figure in an elegant, balanced posture with one foot placed forward is wrapped in a decorative cloak. It was one of Schweigl’s first independent commissions. His writing on art laid foundations for art history in Moravia and his workshop’s output covered Moravia and parts of Silesia.","type":"Sculpture","holder":"Moravian Gallery, Brno","owner":"City Museum, Brno","initial_owner":"Parish Church of St. James, Brno","dates":"c. 1760","location":"Governor’s Palace, Brno, Moravia","dimensions":"H: 200 cm","place_of_production":"Brno","method_for_datation":"The authorship of Andreas Schweigl is recorded in written sources regarding the contents of the Church of St. James (Brno City Archive).","provenance":"Parish Church of St. James, Brno","obtention":"This figure was one of several decorative sculptures for the altars in the municipal Parish Church of St. James, Brno. During Re-Gothicization in 1865, the sculpture along with the rest of the contents, were transferred to the parsonage. It has been museum property since 1947.","bibliography":"*Výběr význačných děl*, Brno, 1946, cat. 102.  \nCecilie Hálová-Jahodová, *Ondřej Schweigl. Katalog výstavy,* Prague, 1947/48, cat. 3.  \nVlasta Kratinová, *Baroko.* *Malířství a plastika,* Brno, 1992, cat. 24.  \nJana Svobodová, *Od renesance po modernu I*, *1570–1900,* Brno, 1997, p. 32, cat. 10.","artist_birthdate":"1735","artist_birthplace":"Brno","artist_deathdate":"1812","artist_deathplace":"Brno","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["academy","Bozzetto","Christian themes","eagle","Re-Gothicization","sculpted wood","zoomorphic imagery"],"materials":["Wood, gilding"]},"6e327e6c-97a6-5021-bdda-e534a67a0765":{"name":"Reserve head","description":"The *Reserve head* is one of the major works of the Viennese collection, found in an early tomb in the burial grounds of Giza. Though stylized, the visage is still full of life, with simultaneously idealized and very regular features. Scholars still disagree about the purpose of this type of object. Traditional explanations proffer their use as surrogate heads for the soul (mummifying having then been only in its earliest stages).","type":"Sculpture","holder":"Kunsthistorisches Museum, Egyptian Collection","dates":"4th Dyn. c. 2600 BC; acquired by Hermann Junker during his excavation in Giza 1912–1929","location":"Vienna","dimensions":"Height 27,7 cm, B 17,3 cm, Diameter 24,5 cm","copy_editor":"Daniel de la Vega","keywords":["Giza","Egypt","Hermann Junker"],"materials":["Limestone"]},"6f46e756-ebc7-53f0-b7ab-a41b14c33d87":{"name":"*Aeneas and Anchises*","description":"This is the first work that a young Bernini completed for Scipione Borghese, who already owned a Barocci painting of the same theme. The subject, taken from Virgil's *Aeneid*, was potent for the Cardinal because it confirmed a dynastic celebration, Aeneas being considered an ancestor of the Borghese family, while simultaneously representing the birth of Rome. Aeneas, fleeing Troy with his father Anchises and his son Ascanius, arrived in Lazio and founded the eternal city. As a result, this subject acquired by analogy an historical and theological value: Ancient Rome and the Roman Church. The flight of Aeneas was also related to the Christian idea of *pietas romana*, while the figure of the hero symbolised the political role assumed by Scipione during the papacy of his aging uncle (in Latin, *scipio*, the staff that bears, as Aeneas supports Anchises).  \nThe sculpture retains the compactness of the block shape on a vertical axis into which the contrasting movement of the figures is woven, taken from the previous late-Mannerist period in Tuscany. On account of its transitional style, it has long been assumed to be the joint work of Pietro Bernini, the famous sculptor of Pope Paul V, and his young son. However, recently discovered documents unequivocally ascribe the work to Gian Lorenzo.  \nThe definition of the muscles and the plasticity of the shapes demonstrate Bernini's awareness of Hellenistic art, as well as Raffaello and the Carraccis. The sculptor is undertaking a study of ancient art, integrating it into the new language of art, with its psychology and drama, which would later be known as the Baroque.  \nBernini paid attention to the tactile quality of the marble, finishing the surface with different tools. This allowed him to create contrasts between finishes, achieving the illusion of colour and assimilating the sculpture to a painting.","short_description":"The artist pays attention to the tactile quality of the marble surface to obtain the illusion of colour. Aeneas's escape from Troy had an historical-theological meaning: the concept of *imperium* is moved to the Roman Church. The theme symbolises the *pietas romana* and Scipione's political role.","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Cardinal Scipione Borghese","dates":"1618–1619","location":"Rome, Latium","dimensions":"H: 222 cm","provenance":"Borghese Collection","obtention":"The Borghese Collection was acquired by the Italian State in 1902.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al secolo XIX*, Rome, 1954, n.32, pp. 26–29.  \nWittkower, R., *Gian Lorenzo Bernini. The Sculptor of the Roman Baroque*, London, 1955 (edition Italiana Milano, 1990, cat. 8, p. 233).  \nPreimesberger, R., “Enea e Anchise”, in *Bernini Scultore, La nascita del Barocco in Casa Borghese*, exhibition catalogue, Rome, 1998, pp. 110–123.  \nUlivi, M., Sorrentino, M. A., Chilosi, M. G., Rockwell, P., “Enea e Anchise”, in *Bernini scultore e la tecnica esecutiva*, Rome, 2002, pp. 116–131.","artist_birthdate":"1598","artist_birthplace":"Naples","artist_deathdate":"1680","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["ancient art","Hellenistic art","Mannerism","marble","movement","mythology"],"materials":["Marble"]},"6ff68fbe-d897-52f5-a9e9-6b04552c0b6b":{"name":"*Sleep*","description":"According to the payments made, the sculpture was commissioned between 1635 and 1636 by the nephew of Paul V, Marcantonio Borghese, with the mediation of Marcello Provenzale. It shows a *putto* with light, butterfly wings sleeping deeply. On his head, beside his arm and along his body are opium poppies, which allude symbolically to sleep, as does the small dormouse curled up on the rock. The subject relates to the literary description in Cesare Ripa's *Iconology* (1603), essential reading for artists in the 17th and 18th centuries, who drew on it constantly to compose allegorical subjects. The dormouse was considered to represent sleep or the “third phase” of the night, the “black” phase.  \nThe choice of the valuable and extremely hard Belgian marble (or “touchstone”) was probably due both to iconographic considerations and the artist's desire to show his skill in rendering soft flesh and the limp abandon of the limbs. The work, highly inspired by ancient sculpture, was thought to be an archaeological find in the early 18th century. Placed in Villa Pinciana and extolled by contemporary sources, the room housing it was given the name “sleep room”. It was accompanied by two vases with handles formed by entwined snakes, also in black marble, made in 1638 by Silvio Calci of Viterbo (active in Rome in the first half of the 17th century), possibly also alluding to sleep. Therefore the whole composition can be interpreted as an allegory for sleep, or maybe death.  \nCompared to Bernini's grandiose and theatrical style, which characterised the entire Roman Baroque period, Algardi's style is marked by a greater classicism and a more lyrical tone, attributes that were particularly appreciated in the final years of the 17th century.","short_description":"The sculpture is an allegorical representation. Black marble was chosen because it is a colour associated with the idea of night and sleep. The work shows an attention to antique art and the work of Bernini.","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Marcantonio Borghese","dates":"1635-36","location":"Rome, Latium","dimensions":"h: 48 cm; w: 90 cm","provenance":"Borghese Collection","obtention":"The Borghese Collection was acquired by the Italian State in 1902.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al XIX*, Rome, 1954, n.1, pp. 9–10.  \nMontagu, J., *Alessandro Algardi*, New Haven–London, 1985, cat.137, p. 35.  \n*Alessandro Algardi. L'altra faccia del barocco*, exhibition catalogue, edited by J. Montagu, Rome, 1999, cat.11, pp. 118–119.  \nBarchiesi, S., in *La Stanza* *del Gladiatore. Il capolavoro della committenza Borghese del Settecento*, exhibition catalogue (Rome), Milan, 2004, pp. 156–157.","artist_birthdate":"1598","artist_birthplace":"Bologna","artist_deathdate":"1654","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Marina Minozzi","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Allegory","ancient art","Bernini","Classical model","marble","vegetal decoration"],"materials":["Belgian black marble"]},"70400fa1-9e1b-5253-b587-686c8eff3455":{"name":"Head","description":"Martin Janecký is one of the best-known Czech artists for his use of a technique based on modelling from inside a bubble of melted glass, known as “inside sculpting”. This technique requires great precision in order to control the thickness of the glass, its temperature and ductility, in addition to great skill in managing the tools. Martin works with the help of incredibly skilled assistants who work with him in perfect synchronisation. Janecký can be identified primarily for his head and hand sculptures,  \ncreated with diverse attitudes, textures and tones.  \nMartin began to work with glass at age 13 in his father’s factory. He graduated from the Glass School in Nový Bor in 1998, and it wasn’t until 2003 that he began to gain international acknowledgement following his trip to a glass symposium at the Corning Museum of Glass.  \nHe has been a guest artist at numerous glass schools, workshops and museums across the globe, demonstrating how he creates his sculptures. Some of these include the Corning Studio, Museum of Glass (USA), Pilchuck Glass School, Tacoma Museum of Glass, Stand Wood, Chrysler, Norfolk, Bronholm, Rietvel and at the Real Fábrica de Cristales de La Granja, where he created this piece during his stay in 2017.","type":"Sculpture","holder":"Technological Glass Museum. Royal Factory of Glass and Crystal of La Granja","dates":"2017","location":"Real Sitio de San Ildefonso, Segovia","dimensions":"35 x 20cm","method_for_datation":"Donated directly by the artist following a monographic course at our installations. This piece was created during the course.","method_for_provenance":"Donated directly by the artist following a monographic course at our installations. This piece was created during the course.","provenance":"Royal Glass Factory workshop. Martin Janecky. Czech Republic","obtention":"Donated by the author following a Glass Sculpting Masterclass led by himself","author":"Paloma Pastor Rey de Viñas, Saulo Alvarado Martinsanz","translator":"Jessica White","keywords":["Czech Republic","Glass sculpture","Janecký","Sculpted inside the bubble"],"materials":["Blown and sculpted inside the bubble","glass"]},"72cd6b04-4359-5c17-b1d0-29c1ddfe315f":{"name":"Marble balustrade.","description":"A marble balustrade consisting of nine adjoining pointed arches identical in form and dimensions, and supported by coupled columns of which there are close to 20. The details on the columns as well as on the capitals differ from each other but each pair of columns and their corresponding capitals are identical. The spandrel, the area between the arches, is ornamented with a series of carved marble circles. The column capitals assume one of two forms: the first resembles a finely detailed and knotted Corinthian capital and the second inclines more toward simplicity, approximating a whirling pomegranate blossom. The arches are decorated with carved ornamentation in the form of a knight's blazon. The decorative details on the pillars are varied but are distinguished generally by a chain of number “7s” wrapped around the body of the column in a vertical or horizontal format. The arches rest on marble panels, each supported by a pair of capitals on top of the coupled columns.  \nThis balustrade was originally in the Aqsa Mosque, where it is likely that its function was decorative. It was then transferred to the Islamic Museum following the renovation of the mosque. It is possible that this piece is tied to, with regard to the material, craftsmanship and technique of carving, a Crusader frieze (also at the Museum), which was transferred from the Dome of the Rock. Perhaps this piece was crafted in the same workshop as an atelier renowned for its high-quality carved marble was active in the Haram al-Sharif during the same period.","short_description":"This is a marble balustrade composed of nine adjoining tapered arches, identical in form and dimensions. They are supported by pairs of close to 20 pillars. The balustrade is a product of the Crusader period (Romanesque style).  It is relatively simple in appearance and detail. It was placed in al-Aqsa Mosque for decoration.","type":"Balustrade, marble","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Al-Aqsa Mosque, Jerusalem.","dates":"Hegira 6th century / AD 12th century.","location":"Jerusalem","dimensions":"Height 84 cm, length 348 cm, depth 12 cm.","method_for_datation":"This piece was dated by comparison of both its technique and artistic style with pieces produced in the same period in Palestine, which were acquired by the Islamic Museum.","method_for_provenance":"The registers of the Islamic Museum indicate that the piece was transferred from al-Aqsa Mosque to the Islamic Museum in 1938. The balustrade appears in photographs published by R. W. Hamilton in 1949 showing the interior of the mosque before the balustrade was moved to the Museum. It is plausible that it was made in Jerusalem since large architectural pieces were usually made on site and a workshop was active in the Haram al-Sharif during the same period.","provenance":"Jerusalem.","obtention":"The piece was transferred from al-Aqsa Mosque in 1938.","bibliography":"Hunt, L. A., “Crusader Sculpture and the so-called Templar Workshop: A Reassessment of Two Carved Panels from the Dome of the Rock in Al-Haram al-Sharif Museum in Jerusalem”, in *Palestine Exploration Quarterly*, No. 132, 2000.  \nJacoby, Z., “The Workshop of the Temple Area in Jerusalem in the Twelfth Century: Its Origin, Evolution, and Impact”, *Zeitschrift für Kunstgeschichte*,No. 45, 1982.  \nJacoby, Z., “The Provencial Impact on Crusader Sculpture in Jerusalem: More Evidence on the Temple Area Atelier”, in *Zeitschrift für Kunstgeschichte*, No. 48, 1985.","dynasty":"Crusader","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Balustrade","marble."],"materials":["Hewn and carved marble."]},"736574db-9cd1-5e72-95d5-f1860d3596ad":{"name":"*Mashrabiyya*","short_description":"The *mashrabiyya* is a decorative architectural element characteristic of residences in the Arab world. It was generally used on windows or balconies on the second floor or above. As well as being a natural ventilation device, the *mashrabiyya* served the purpose of shielding the occupant from the vision of passers' by, whilst still allowing natural light to pass through the gaps. This particular piece is square shaped and made of limestone, sculpted in floral patterns.","type":"Architectural sculpture; stonework","holder":"Lebanese Heritage Museum","dates":"19th century","location":"`Ayn Najm","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin","keywords":["Floral decoration","floral art","Architecture"],"materials":["Limestone; engraving"]},"736a018e-a855-56c6-a0e4-184b1dba4cd5":{"name":"Male head","description":"South Arabia (Yemen) has always been famous for its incense. The cultivation and widespread trade of this desirable product turned Yemen into a very important region with a highly autonomous culture. This kind of head, sculpted on tombstones, portrayed the subject partly as abstract idealization and yet in a very naturalistic way.","type":"Sculpture","holder":"Kunsthistorisches Museum, Egyptian Collection","dates":"Beginning of 1st millenium AD South-Arabia; brought to Vienna by Edward Glaser in 1882–1894","location":"Vienna","dimensions":"Height 24 cm, Width 12,5 cm, Diameter 11,5 cm","copy_editor":"Daniel de la Vega","keywords":["Yemen","Eduard Glaser","Museum of Fine Arts Vienna"],"materials":["Alabaster"]},"737ab478-03ce-5011-915a-c7ab2ff80e33":{"name":"*St. Florian*","description":"The wooden statue of *St. Florian* has a counterpart, *St. Donatus*, both of which are one and a-half times life-size. Both pieces were transferred to the National Museum in Budapest on permanent loan from the town of Körmöcbánya (Kremnica) in 1892. There is documentary data to confirm that *St. Florian* was part of the interior furnishing of the Parish Church of Our Lady, on which Stanetti worked between 1763 and 1764.  \nIn 1880 a landslide meant that the church was demolished and that the furnishing was taken out of the church and scattered among various locations. Most of the statues are now in Slovakian museums.  \nIt is known that the two gilded statues *St. Donatus* and *St. Florian* were originally placed independently in the nave. The two saints, which belong to the age of imperial Rome, had been revered since the Middle Ages as protectors from lightning, hailstorms and fire.  \nThe sculptures portray both saints as sturdy athletic men with reserved gestures, and their heroic poses are borrowed from stone sculpture similar to those erected near to vineyards and wheat fields. *St. Donatus* wears a wreath of leaves on his head and holds a bundle of lightning bolts to his chest; the sheaf of wheat that he originally held in his left hand is lost. Helmeted *St. Florian* has a burning house at his feet and a pail in his right hand. The flag from his left hand is lost.  \nDionysius Ignatius Stanetti, who made both sculptures, was a descendant of a noted Silesian dynasty of sculptors. His uncle, Johann (Giovanni) Stanetti perhaps toured Italy and was employed by the court circle in Vienna. Dionysius Stanetti moved to Hungary in the 1740s. He was married in Körmöcbánya (Kremnica) and was a burgher of the town until his death. Apart from the Late Baroque furnishings in the churches of the neighbourhood, he also created monumental public memorials: the Holy Trinity columns in Besztercebánya (Banská Štiavnica) and Körmöcbánya (Kremnica).","short_description":"The Silesian, Dionysius Ignatius Stanetti, settled in Hungary. His sculptures from Upper Hungarian mining towns are well known. The church of Körmöcbánya (Kremnica) was demolished in the 1880s after a landslide and consequently the Baroque furnishings were scattered throughout the region. The two quality sculptures of *St. Donatus* and *St. Florian* were both deposited by Kremnica town in trust to Budapest.","type":"Sculpture","holder":"Hungarian National Gallery","initial_owner":"Roman Catholic Parish Church, Körmöcbánya (Kremnica)","dates":"1764","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 248 cm","place_of_production":"Körmöcbánya (Kremnica)","method_for_datation":"By historical and stylistic data","provenance":"Roman Catholic Parish Church, Körmöcbánya (Kremnica)","obtention":"Originally from the Roman Catholic Parish Church of Körmöcbánya (Kremnica), the two sculptural saints were initially deposited in 1892 at the National Museum in Budapest in perpetuity; in 1950 the sculptures were transferred to the Museum of Fine Arts, Budapest, and in 1974 to the Hungarian National Gallery, Budapest.","bibliography":"Jávor, A., “Dionysius Stanetti szobrai a Magyar Nemzeti Galériában” (“Sculptures by Dionysius Stanetti in the Hungarian National Gallery”), *Művészettörténeti Értesít* XXX, 1981, pp. 50–54.  \nBalážová, B., “Michal Räsner versus Dionýz Staneti”, *Ars,* 2001:1, pp. 46–74.","artist_birthdate":"1710","artist_birthplace":"Dolní Benešov (Beneschau)","artist_deathdate":"1767","artist_deathplace":"Körmöcbánya (Kremnica)","author":"Anna Jávor","copy_editor":"Terézia Bardi","translator":"Judit Pokoly","translation_copy_editor":"Mandi Gomez","keywords":["Dionysius Stanetti","gilding","Johann (Giovanni) Stanetti","Körmöcbánya","Kremnica","Kremnitz","mining towns in Upper Hungary","religious object","Schemnitz","Selmecbánya","Silesia","St. Donatus","St. Florian","wood carving"],"materials":["Limewood, carved, gilded"]},"7aeb03eb-d2c3-50a9-9ca0-0776ebf921fd":{"name":"Sarcophagus of the mourning women","short_description":"In the Sarcophagus of the Crying Women, found at the Royal Necropolis in Sidon like the Alexander Sarcophagus, nothing could be found other than the bones of its owner and a bronze belt buckle, since it had been robbed in an earlier time. From the partial traces on the marble that remained until today, it is understood that it had been dyed in blue and red initially. It is the best example of the group called by archaeologists \"Sarcophagi with Columns\", and it is considered as a final resting place, like the \"Mausoleum of Halicarnassus\" or the \"Nereid Monument\", rather than a tomb. Its architectural features were used in the architecture of the old building of the İstanbul Archaeological Museums. It is an example of Greek sculpture displaying Eastern influences. The shaved heads, bare feet, ragged clothes of the figures and their movements and expressions of sadness are features of Semitic societies. It is thought to be the sarcophagus of the King of Sidon, Straton (374-358 BC), who was said to have led a life of pleasure. The sarcophagus has the shape of an Ionian temple.","type":"sarcophagus; archaeological find","holder":"Istanbul Archaeological Museums","dates":"It is thought to be the sarcophagus of the King of Sidon, Straton (374-358 BC)","location":"Istanbul","provenance":"Sidon","copy_editor":"Daniel de la Vega","keywords":["Sarcophagus Sidon","The Hellenistic Period","Istanbul Archaeological Museums"],"materials":["Stone work"]},"7eacd600-e860-593a-aed7-a9329d9d9011":{"name":"Fragment of the Parthenon frieze","description":"The climax of the Greater Panathenaia, the chief festival of Athens, held in honour of Athena, was a procession which ended with the presentation of the newly woven *peplos* (a woman’s garment) to the tutelary goddess of the city. This is the subject of the frieze around the cella of the Parthenon, the temple on the Athenian Acropolis. This fragment depicts the garment being handed over in the presence of the goddess.","type":"Sculpture","holder":"Kunsthistorisches Museum, Collection of Greek and Roman Antiquities","dates":"c. 440 BC","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Athens","Acropolis","Franz Ferdinand"],"materials":["Stone"]},"7ec7333d-9cff-5b8d-b9c4-f322d00e2d87":{"name":"Megaplanet","description":"Artist Josh Simpson has been influenced by the Studio Glass movement since his career began in 1972. However, a creativity crisis in 1989 led to a U-turn in his career. He decided to take a break and delve into the world of Venetian glass in order to learn the Murrine and Filigree techniques. Inspired by his wife’s experiences and images of the Earth and Space, as captured by NASA, he embarked on the creation of his series of work, *Megaplanets*.  \nThese pieces are very challenging to create. They were born of the creation of the murrines and filigrees for each individual planet. These murrines were then stored for months until they were used. Upon creation of the Megaplanet, silver was melted with a small gob inflated piece of glass. He then continued to work with the marble, adding sheets of glass, one by one, as required. Sheets of gold or platinum, glass enamel, bubbles and many more are then added to these layers. The process takes around eight hours. It is then placed into the annealing furnace. Depending on the size of the Planet, this process can take months. This technique creates pieces similar to paperweights which recreate impressive landscapes.  \nIn 2003, the Museo Tecnológico del Vidrio organised an exclusive exhibition of his work. Following its closure, the artist donated this piece to the Museum.","type":"Sculpture","holder":"Technological Glass Museum. Royal Factory of Glass and Crystal of La Granja","dates":"1995","location":"Real Sitio de San Ildefonso, Segovia","dimensions":"Diameter: 20.5cm","method_for_datation":"In conversation with the author in order to proceed with the Exhibition: Josh Simpson. Visionary Landscapes, which took place at our Museum in 2003.","method_for_provenance":"In conversation with the author in order to proceed with the Exhibition: Josh Simpson. Visionary Landscapes, which took place at our Museum in 2003.","provenance":"United States of America","obtention":"Donated by the author after Josh Simpson. Visionary Landscapes exhibition.","bibliography":"Chaikin, Andrew, *Josh Simpson. Glass Artist*, Cincinnati: Guild Publishing, 2001.  \nPetrová, Sylva, *Visionary Landscapes. The Glasswork of Josh Simpson. Exhibition Catalog*, Greenwich, Connecticut: Bruce Museum of Arts and Science, 1998.","author":"Paloma Pastor Rey de Viñas, Saulo Alvarado Martinsanz","translator":"Jessica White","keywords":["Glass sculpture","Megaplanet","Simpson","Studio Glass"],"materials":["Colourless and multi-coloured opaque glass, hot-worked, flameworked, fused murrine, dichroic glass, blown elements, applied cane drawing, decoration, gold foils, engraved"]},"7f96985d-fe50-5ad6-9b89-32ac54812a59":{"name":"Stone cenotaph.","description":"This large rectangular profusely decorated stone cenotaph belongs to a type that was widely distributed in Syria and Mesopotamia during the AH 6th / AD 12th century. The shape is reminiscent of a classical sarcophagus with a concave base, a cubic centre composed of two side stones, a front and a back stone, a solid convex lintel and a separate lid on the top (today some of the stones are broken). The decoration consists of a magnificent inscription in foliated *kufic* script taken from the Qur'anic verse “Ayat al-Kursi” (“Throne Verse”). The verse runs in bands around all four sides of the tomb, only interrupted by the carved vine-stem motif corner blocks. Two weave-like friezes decorate the base and the lintel of the cenotaph. Four small vertical cartouches are centrally located on each side of the cenotaph. These mention the deceased, Husayn b. Hasan al-Shukri, but no date.  \nThe form and decoration of this cenotaph belongs to the theme of classical continuity in stone carving, typical of Northern Syria during the early Zangid period. The intricate inscription has a close counterpart in the epigraphy of the Madrasa al-Shu'aybiyya, dated AH 545 / AD 1150, which is one of the last examples of the use of *kufic* script in monumental architecture in Syria before it was generally replaced by cursive *naskhi* and *thuluth* scripts.  \nThe cenotaph was found in the Cemetery of Salihin, one of the oldest and certainly the most prestigious funerary site in Aleppo. The cemetery lies to the south of the city and extends around Maqam Ibrahim, an ancient shrine containing a sacred rock associated with the Prophet Abraham, and thus an auspicious burial ground. It is now located in the National Museum of Aleppo.","short_description":"Originally located in the most prestigious cemetery of Aleppo, the Cemetery of Salihin, which has legendary connections with Abraham, this cenotaph is one of the best surviving examples of AH 6th / AD 12th century Syrian stone carving and *kufic* calligraphy.","type":"Cenotaph, stone","holder":"National Museum of Aleppo, Islamic Department","initial_owner":"Husayn b. Hasan al-Shukri.","dates":"Hegira early 6th century / AD 12th century.","location":"Aleppo","dimensions":"Height 98 cm (with cover) 126 cm, length 190 cm, width 93.3 cm.","method_for_datation":"The cenotaph was dated by stylistic criteria and by comparison with other finds. Another well-known but badly preserved cenotaph of the same type is exhibited in the National Museum of Damascus: the tomb of the Artuqid ruler Balak b. Bahram b. Artuq who fell against the Crusaders near Manbij in 518 / 1124 and was buried in Aleppo (Inv. No. 1051).","provenance":"Salihin Cemetery, south of old Aleppo, Syria.","obtention":"The cenotaph was still *in situ* at the Salihin Cemetery when the area was surveyed by archaeologists Jean Sauvaget and Ernst Herzfeld during the 1930s and 1950s respectively.","bibliography":"Herzfeld, E., *Matériaux pour un Corpus Inscriptionum Arabicarum: Syrie du Nord, Part 2: Inscriptions et monuments d'Alep,* 3 Vols, Cairo, 1954–6, pp.180–2; cat. no. 90; plates LXXII b, LXXIII a, b, LXXIV c.  \nSauvaget, J., “Inventaire des Monuments Musulmans de la Ville d'Alep”, *Revue des Études Islamiques*, V, 1931, p.74 ; cat. no. 13.  \nSauvaget, J., “La tombe de l'Ortokide Balak”, *Ars Islamica*, 5/2, 1938, pp.207–15.  \nSauvaget, J., *Alep. Essai sur le développement d'une grande ville syrienne des origines au milieu du XIXe siècle*, 2 Vols, Paris, 1941, plate. XLVI.","dynasty":"Zangid–Atabeg","author":"Julia Gonnella","copy_editor":"Mandi Gomez","keywords":["Aleppo","Cenotaph","foliated kufic script","funerary architecture","funerary object","stone-carving","vine scrolls","zangids"],"materials":["Carved stone."]},"81099b4c-753f-53ba-9785-217e53613a49":{"name":"Madonna and Child","description":"It was not roses that guarded the sleep of the enthroned Madonna with the Child, but human bones. And her sleep lasted not for a hundred years, but for several centuries. The sculpture was piously buried in the charnel house of the church of Raron according to a custom prevalent in Europe at the time, and gradually vanished beneath the skulls and bones of the dead. The reason for burying the wooden figure was provided by the rebuilding of the parish church between 1510 and 1515. The Romanesque Madonna had fallen out of fashion and was no longer needed. The person who finally kissed her awake again was not Prince Charming, but a tradesman from the canton of Valais. During restoration work on the charnel house of Raron in 1924, he was told to clear out the bones – and so he stumbled upon several sculptures, including the most significant example of Romanesque art in Switzerland.","type":"Sculpture","holder":"Swiss National Museum","owner":"Swiss Confederation","dates":"Around AD 1150","location":"Zurich","dimensions":"H: 90,5cm, W: 25cm, Depth: 33cm","method_for_datation":"Stylistic analysis","provenance":"Switzerland, probably Sion, Canton Valais","obtention":"Found in Raron. Bought in 1924","keywords":["Child","Madonna","Raron","sculpture","Vallais"],"materials":["Carved in the round, limewood, polychromy"]},"81262916-5478-5649-8cbf-3097f53ac172":{"name":"*Archangel Gabriel*","description":"The sculpture has a counterpart in a statue of Archangel Raphael, also in the collections of the Moravian Gallery. The angels were part of a Marian altar shaped as a column aedicule retable. The elegance of the columns and gracefulness of the individually approached movements stem from a free and full projection of the figures into space, if somewhat limited by the original altar architecture. In the dynamic meticulously modelled gown, the artist differentiated the fineness of the under-garment wrapping the body and worked into tiny folds, from the heavy folds of the upper attire encircling the figure in generous, carved-in wraps, creating a sweeping, melodious movement. The gesture of the angel’s right hand symbolises the Annunciation, the left hand is shaped to hold a lily, a symbol of the immaculate conception.  \nGothic churches in Bohemian and Moravian towns, refurbished in the Counter-Reformation period, were “re-Gothicized” in the late 19th century. Like this sculpture, their interior equipment passed on to smaller churches and museums. This is one of only a handful of preserved works by Richter, a remarkable but lesser-known sculptor from Olomouc. He created three altars for the Dome of St. Wenceslas in Olomouc (later transferred to Náměšt na Hané) and designed a monstrance for the church. Together with Josef Winterhalder Sr., he worked in Jan Sturmer’s Olomouc workshop.","short_description":"The gesture of the angel’s right hand symbolises the Annunciation, the left hand is shaped to hold a lily, a symbol of the immaculate conception. The sculpture is one of only a handful of known works by Richter, a remarkable sculptor from Olomouc.","type":"Sculpture","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","initial_owner":"Saint Wenceslaus Church, Olomouc","dates":"c.1740","location":"Governor’s Palace, Brno, Moravia","dimensions":"H: 135.5 cm","place_of_production":"Olomouc","provenance":"Saint Wenceslaus Church, Olomouc","obtention":"The sculptures are a part of what remains of the Baroque-period interior of the Dome of St. Wenceslas, Olomouc the major proportion of which was removed during “re-Gothicization” in 1893.","bibliography":"Miloš Stehlík, Sochařství vrcholného baroka na Moravě, in *Dějiny českého výtvarného umění II/2*, Prague, 1989, p. 538.  \nVlasta Kratinová, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie* *a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, p. 175, cat. 52a.","workshop":"Olomouc","artist_birthdate":"1712","artist_birthplace":"Glogów","artist_deathdate":"1762","artist_deathplace":"Olomouc","author":"Zora Wörgötter, Vlasta Kratinová","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Re-Gothicization","religious object","sculpted wood"],"materials":["Wood, gilding"]},"8181fe27-473a-532e-986e-e0786c511a39":{"name":"Aquamanile in the form of a ram.","description":"This standing animal sculpture has lost its front paws, ears and horns. With its long neck and head too small for its body, it exudes a feeling of great strength. On its breast is a crescent which seems to have a medicinal significance. Around its neck it wears a collar, decorated with an incised saw-tooth pattern, from which the crescent hangs. The eyes are circles sculpted around globular protrusions for the iris. This aquamanile was probably a fountain-head embellishing one of the local palaces or large houses. The water ran up a tube from under the ram's belly and emerged from the open spout of its mouth.  \nThis example can be included within a whole series of animal-shaped aquamaniles discovered in various Muslim countries, especially Egypt and Spain. They were generally deer, dogs or birds.","short_description":"Aquamaniles were probably used as fountain heads to decorate palaces and grand residences. This example belongs to a series of aquamaniles in the shape of animals, usually stags, dogs or birds, found in some Muslim countries including Egypt and Spain.","type":"Aquanmanile, metalwork","holder":"Bardo Museum.","dates":"Hegira 4th–early 5th centuries / AD 10th–11th centuries.","location":"Bardo.","dimensions":"Height 32.5 cm.","method_for_datation":"This aquamanile has definite affinities to other pieces found at Madinat al-Zahra, dating from the mid-4th / 10th century, and in Egypt, dating from the 5th century (11th). From the Ifriqiyan historical context and the simple decoration the piece can be dated to somewhere between the 4th–early 5th / 10th–11th centuries.","method_for_provenance":"This piece was a fortuitous discovery made at Beni Khalad probably during the 1930s. In spite of its resemblance to the aquamaniles of al-Andalus, its Ifriqiyan origin appears beyond doubt.","provenance":"Ifriqiya(?).","obtention":"This piece was presented to the Museum by the Friends of the Bardo in May 1941, where it has been on display since.","bibliography":"*Tunisie, terre de rencontres et de civilisation* (Seville exhibition catalogue), Tunis, 1992, p.271.  \nZbiss, S. M., *Actes du congres national des societes savantes*, Alger, 1954, p.303.","dynasty":"Fatimid–Zirid","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["figurative decoration"],"materials":["Cast-bronze."]},"821bf5d1-f03e-5876-835a-d807cdb83a6e":{"name":"Rosette.","description":"Decorative rose patera or rosette in sculpted plaster composed of ten petals in blue on a red background. All that remains of the blue is a tiny trace on the edge of a petal. The central part would have been painted in yellow, as other plaster fragments discovered at the same place were painted in blue, red and yellow. The disappearance of the colour is due to the natural effects of light and air.  \nThis rose patera was no doubt just one element belonging to a plaster frieze that featured three colours (blue, red and yellow); or perhaps, as is affirmed by Marçais, it was placed on the cornerstone of an arch.","short_description":"Sculpted plaster piece representing a ten-petal rosette, originally painted blue, around a corolla, which may have been painted yellow, all on a red background. The colours have not survived well. This rosette would have been part of a multicoloured plaster frieze.","type":"Rosetter, plaster","holder":"National Museum of Setif","dates":"Hegira 406–547 / AD 1015–1152.","location":"Setif","dimensions":"Diameter 19 cm, depth 7.6 cm.","method_for_datation":"It was found in the Dar al-Bahr of the Qal'at Bani Hammad, which dates from the 5th–6th / 11th–12th centuries, according to Kitab al-Istibsar: 'The Banu Hammad built some important constructions in the *qal'a* … including \\[the palace\\] known as Dar al-Bahr, at the centre of which was a vast basin'.","method_for_provenance":"From the report of the De Beylié excavation, 1909.","provenance":"Qal’at Bani Hammad, Algeria.","obtention":"Archaeological repository (De Beylié excavations, 1908).","bibliography":"Beylié, général de, *La Kalaa des Beni Hammad, une capitale berbère de l'Afrique du Nord au XIe siècle*, Paris, 1909.  \nBourouiba, R., *Les H'ammadites*, Algiers, 1984.  \nGolvin, L., *Recherches archéologiques à la Qal'a des Banû Hammâd*, Paris, 1965.  \nMarçais, G*., L'architecture musulmane d'Occident*, Paris, 1954.  \nRobert, A., “La Kalâa des Beni Hammad (Maadid)”, *Recueil de Constantine,* Vol. 43, 1909, pp.97–100.","dynasty":"Hammadid","author":"Houria Cherid","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["architectural decoration","floral decoration","frieze","Hammadid","palatial architecture","plaster","Rosette"],"materials":["Sculpted and painted plaster."]},"8473d6b1-ff39-54e8-aa27-a77f671d0068":{"name":"Lower half of a sculpturesque high relief.","description":"This is one of a prominent group of sculpturesque high-relief representing human figures, animals, and vegetal motifs found in Qasr al-Hayr al-Gharbi. It consists of the lower half of a man sitting on a throne with his feet on a small stool. The stool is in the shape of a colonnaded portico that is supported by seven arches that rest on pairs of pillars. While other statues in the palace appear to be based on Sassanid prototypes, some prominent historians have also linked this figure with those at Qusayr Amra, which show clear Byzantine or Mediterranean influences.  \nThere is speculation that the figure represents Caliph Hisham bin 'Abd al-Malik who commissioned the building of the Qasr al-Hayr al-Gharbi complex. This is based on the fact that the statue exhibits luxurious clothing with traces of red, green and brown paint. The building under his feet symbolises his power and the extent of his rule. It is clearly intended to emphasise the glory and majesty of the ruler.  \nSculptures in stucco are part of the pre-Islamic Iraqi, Iranian and Central Asian tradition. Extremely high-relief pieces such as this, or even stand-alone sculptures in the round, are a new development in this tradition, although they can be compared to the relief sculptures found in Palmyrene tombs of ancient Syria.  \nThis sculpture was located on the second floor of the palace, along the interior façade that overlooks the courtyard colonnade.","short_description":"Although fragmentary, this figurative carving in high-relief may have represented the Umayyad Caliph Hisham bin 'Abd al-Malik dressed in Persian-inspired royal garb and sitting on his throne.","type":"Relier, stone","holder":"National Museum of Damascus.","initial_owner":"Caliph Hisham bin 'Abd al-Malik (r. AH 105–25 / AD 724–43).","dates":"Hegira about 109 / AD 727.","location":"Damascus","dimensions":"Height 1.06 m, width 0.9 m.","method_for_datation":"This object, along with the rest of the palace complex, was dated according to the inscription on the lintel of the door of the *khan* adjoining the palace, which carries the date 109 (727).","method_for_provenance":"The object was found and probably carved *in situ* at Qasr al-Hayr al-Gharbi.","provenance":"Qasr al-Hayr al-Gharbi; 80 km southwest of Palmyra.","obtention":"The object was found during the archaeological excavation of Qasr al-Hayr al-Gharbi completed by the French Expedition of 1936 under the direction of Daniel Schlumberger.","bibliography":"Ettinghausen, R., Grabar, O., and Jenkins-Madina, M., *Islamic Art and*  \n*Architecture 650–1250*, New Haven, 2001, p.44; fig. 52.  \nGrabar, O., *Formation of Islamic Art*, New Haven, 1987, fig. 80.  \nSchlumberger, D., *Qasr el-Heir el-Gharbi*, Paris, 1986.","dynasty":"Umayyad period","linkcatalogs":"IAM_JO_EN_001","author":"Mona al-Moadin","translator":"Hilary Kalmbach (from the Arabic)","translation_copy_editor":"Mandi Gomez","keywords":["Daniel Schlumberger","desert palaces","Limestone","Sassanid","sculpture","statue","Umayyad"],"materials":["Carved limestone."]},"86731854-5b36-5a09-a5f5-43552aeb24a1":{"name":"Panel from a cenotaph.","description":"A carved wooden panel, which once formed part of the cenotaph of Fakhr al-Din Abu al-Tahir Isma’il, an official in the service of the Ayyubid Sultan al-Malik al-‘Adil (r. AH 596–615 / AD 1200–1218). The surface of the panel is divided into smaller panels of varying size, with a long continuous one at the top and seven smaller ones below it. Each of the panels is carved into an abstract arabesque pattern. The spaces between these panels are filled with inscriptions, including verses from the Qur’an and benedictory phrases. Importantly, the date of the panel is given in the lower section. This panel is an interesting example of the re-use of materials in Islamic art, for it was carved on the back of a panel which bears decoration in the style of the Tulunid era (AH 254–92 / AD 868–905).","short_description":"A wooden panel which once formed part of the cenotaph of an Ayyubid official. Its surface is divided into smaller sections, each carved with an arabesque pattern. It was carved on the back of a panel which bears decoration in the style of the Tulunid period, some three centuries earlier.","type":"Woodwork, carved wood","holder":"Victoria and Albert Museum.","dates":"Hegira 613 / AD 1216.","location":"London, England","dimensions":"Length 158.3 cm, height 43.2 cm.","method_for_datation":"The inscription gives the date as Rajab 613 / October–November 1216.","method_for_provenance":"Stylistic comparison.","provenance":"Probably Cairo.","obtention":"Purchased by the Museum in 1883.","bibliography":"Lane-Poole, S., *The Art of the Saracens in Egypt*, London, 1886, p.122.","dynasty":"Ayyubid","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["carving","floral decoration","funerary object"],"materials":["Carved wood."]},"869b86b6-4148-5cb5-9768-3fc1fa05ffdb":{"name":"Warrior relief.","description":"A grey marble slab that is rectangular and nearly square, on which two figures of warriors are carved in high relief. The figures have been depicted within a frame delineated by a deep contour line. Their heads are shown in profile, their bodies from the front; they wear helmets with pointed tops, armour, and short boots. They are shown with one foot forward, as if attacking. The figure on the left has a sword in one hand and a shield in the other. The figure on the right is holding his sword in one hand while grasping the sword's scabbard in the other. Both figures are shown in military dress, and their garments, as well as the details of their bodies, are defined with carved outlines.  \n  \nThe tree with split-palmette leaves on the right-hand side of the slab, as well as the vegetal forms used as fillers in the upper corners, shows the influence of Sassanid on Islamic decorative arts. The warriors' clothes and pointed helmets show similarities with those seen in medieval Crusader painting, offering valuable documentary evidence about military dress and equipment of the period.","short_description":"Konya was the capital of the Anatolian Seljuq Sultanate during the AH 6th–7th / AD 12th–13th centuries and its citadel was decorated with rich figurative reliefs. This warrior relief not only depicts the military costume and arms of the period but also is an important document for the period.","type":"Relief carving","holder":"Museum of Turkish and Islamic Arts.","dates":"Hegira 6th century / AD 12th century.","location":"Sultanahmet, Istanbul","dimensions":"Height 89 cm, width 91 cm, depth 10 cm.","method_for_datation":"Konya citadel, where it is thought this object originated, dates to the 6th / 12th century. For this reason the object is dated to the same century.","method_for_provenance":"It is known from several sources (e.g. the journals of the 19th-century French traveller Charles Texier) that the citadel at Konya, capital of the Anatolian Seljuqs, was adorned with figurative decoration in stone. This object is thought to have belonged to the citadel, which does not survive. It is thus probable that it was made in the vicinity of Konya.","provenance":"Konya, Turkey.","obtention":"The relief was transferred to the Tiled Pavilion (çinili Köşk), Istanbul, in 1870 as part of the 19th-century initiative to collect artworks from across the country. The object was transferred to the Museum in 1941.","bibliography":"*Anadolu Medeniyetleri III, Selçuklu-Osmanlı*, Istanbul, 1983, p.81.  \n  \nOgan, M. A., Kühnel, E., *İstanbul Arkeoloji Müzelerindeki Şaheserler, Vol. III, çinili Köşk'te Türk ve İslam Eserleri Koleksiyonu*, Berlin-Leipzig, 1938, p.36.  \n  \nÖlçer, N. *et al, Museum of Turkish and Islamic Art*, Istanbul, 2002, p.114.  \n  \nRice, T. T., *The Seljuqs*, London, 1961, fig. 61.","dynasty":"Anatolian Seljuq","author":"Gönül Tekeli","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez","keywords":["armours","arms","Crusader","Konya citadel","military wear","relief decoration","War","warfare","warrior"],"materials":["Relief-carved marble."]},"8b2820f2-b570-5834-a941-6d905377879a":{"name":"Cock","description":"It was difficult to make and fire large ceramic figures like this one and the sphinx (Isl 56) with the technology of the day. They easily crackled or simply collapsed. The manganese, turquoise and blue glazes as well as the carved decoration are typical of laqabi ware, but while the glazes on a horizontal surface are kept in place by the carved decoration, this is not the case on an upright object like this one.  \n  \nAlthough both animals must be considered mythical creatures, the artist managed to depict the watchful and aggressive cock with all of this animal’s natural characteristics.","type":"Sculpture","holder":"The David Collection","owner":"The David Collection","dates":"AH 2nd half of the 6th / AD 2nd half of 12th century","location":"Copenhagen","dimensions":"Height: 38.5cm","place_of_production":"Raqqa (Syria)","bibliography":"Folsach, K., et al., Sultan, Shah and Great Mughal: the history and culture of the Islamic world, Copenhagen: The National Museum, 1996: cat. no. 204.  \n  \nDaneshvari, A., Of serpents and dragons in Islamic art: an iconographical study, California: Mazda Publishers, 2011: 172, 110.  \n  \nFolsach, K., “Paradise on earth: water and the Islamic garden” in John Kuhlmann Madsen et al. (eds), Water of life: essays from a symposium held on the occasion of Peder Mortensen's 80th birthday, Copenhagen: Forlaget Orbis, 2016: 191, fig. 5.  \n  \nCanby, S., et al., Court and cosmos: the great age of the Seljuqs, New York: Metropolitan Museum of Art, 2016: fig. 98, 243.  \n  \nEastmond, A., Tamta's world: the life and encounters of a medieval noblewoman from the Middle East to Mongolia, Cambridge: Cambridge University Press, 2017: 256, fig. 87.","dynasty":"Zangids or Ayyubids","copy_editor":"Zeina Al Amad","keywords":["Ayyubids","ceramics","Fritware","sculpture","Sphinx","water","zangids"],"materials":["Cast, modeled and carved fritware, painted in blue, turquoise, and manganese under a transparent glaze"]},"8c4696e3-5efb-53c9-9b91-0ce041e3c7ce":{"name":"*Prince Livio Odescalchi*","description":"Prince Livio Odescalchi (1652–1713) belonged to the influential Italian Odescalchi family, a family that throughout history produced important bishops, cardinals and Pope Innocent XI.  \nEmperor Leopold I Habsburg, in gratitude for the great financial aid granted him by Pope Innocent XI to meet the costs of the war against the Ottoman Turks, named his nephew Livio Duke of Srijem and granted him the Ilok estate as a fief and many other privileges. Livio himself had excelled in the battle to defend Vienna in 1683.  \nHe was a great collector and decorated his residences with fine artworks. He was also a patron of the arts.  \nThe marble *Prince Livio Odescalchi* by the Roman sculptor of French origin, Pierre-Etienne Monnot, is an outstanding work with realistic emphasis on individuality. Dramatic tension is achieved through the expression of the head turned to the right, and by the rich drapery enveloping the body falling in heavy semicircular folds.  \nMonnot often worked for the Odescalchi family. He was an excellent master with a fine technique and a strong and characteristic expression reminiscent of Bernini.","short_description":"The marble *Prince Livio Odescalchi* by the Roman sculptor of French origin, Pierre-Etienne Monnot, shows Prince Livio Odescalchi, a member of the influential Italian family that throughout history produced important bishops, cardinals and Pope Innocent XI. The sculpture shows the influence of Bernini. Livio Odescalchi had links to Ilok and Slavonia by way of the deed of gift he received from Leopold I Habsburg, granting him the Ilok estate and surrounding lands and other privileges for merit in wars against the Ottomans.","type":"Bust","holder":"City Museum, Ilok","initial_owner":"The Odescalchi family, owners of Ilok Manor","dates":"Last quarter of the 17th century","location":"Ilok, Slavonia","dimensions":"H: 82 cm","place_of_production":"Rome","method_for_datation":"Information about the work is due to the research of the Italian art historian, A. Bachi, an expert in Roman Baroque sculpture.","provenance":"Artworks including *Prince Livio Odescalchi* were moved to the newly formed Ilok City Museum in 1952, which transferred to Odescalchi Manor in 1968.","obtention":"Up until World War II, the Odescalchis owned Ilok Manor. As state property, it had several different uses but after refurbishment in 1968, it became a museum and this bust and other objects from the Odescalchi estate became part of the new permanent collection.","bibliography":"Baričević, D., *Tisućugodišnja skulptura u Hrvatskoj* (A Thousand Years of Sculpture in Croatia), Zagreb, 1991.  \nBachi, A., *Scultura del '600 a Roma*, Milan, 1996.","artist_birthdate":"1657","artist_birthplace":"Orchamp-Vennes (Doubs), France","artist_deathdate":"1733","artist_deathplace":"Rome","author":"Nela Tarbuk","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["Bernini","Bust","collector","Ilok","marble","movement","Odescalchi family","Ottoman"],"materials":["Marble"]},"8d32099b-f01e-5606-a9f3-a813c2600508":{"name":"St. Michael Archangel","description":"This statue was made for the library of the convent of St. Michael in the wood, near Bologna, and dates to the last period of Alessandro Algardi’s activity. The sculptor was born in Bologna but mainly worked in Rome after 1625. In the period of the full flourishing of baroque art he became the main interpreter of classicizing sculpture.  \nIn this bronze group depicting the struggle between St. Michael and the devil, Algardi leaves aside his usual stylistic moderation. The rhythm is frantic and agitated: the angel is tense as he strikes his final blow; the clothes hang to his legs, while his face and breast keep their beauty unchanged. The sculpture is influenced by the painting of the same subject painted by Guido Reni for the Roman church of S. Maria della Concezione. Compared with the airy elegance of the painting the sculpture appears more rhetoric and forced.","short_description":"This statue was made for the library of the convent of San Michele in Bosco, near Bologna. It dates to the last period of Alessandro Algardi’s activity. The sculptor was born in Bologna, but after 1625 he worked mostly in Rome. The struggle between the archangel and the devil compelled the artist to abandon his usual controlled style. He adopted a more complex and violent rhythm, while continuing to look for ideal elegance and beauty.","type":"Sculpture","holder":"Museo Civico Medievale","initial_owner":"Convent of St. Michael in the wood","dates":"c. 1647","location":"Bologna, Emilia-Romagna","dimensions":"Height: 74 cm","place_of_production":"Rome","method_for_datation":"In his *Vite de pittori, scultori et architetti moderni*, published in Rome in 1672, Giovanni Pietro Bellori notes that Algardi made for Taddeo Pepoli, abbot of the convent of St. Michael in the wood, a statue depicting St. Michael Archangel trampling over the Devil. The statue was to be exhibited in the library, financed and promoted by the same abbot.","provenance":"Bologna","obtention":"In 1799, when religious orders were suppressed, the Accademia Clementina took care of the statue, once in the library of the convent; in 1871 it was moved to the Museo Civico and since 1985 it has been exhibited in the Museo Civico Medievale.","bibliography":"Heimbürger Ravalli, M. *Alessandro Algardi* *scultore*, Rome, 1973, pp. 161-62.  \nMontagu, J. *Alessandro Algardi*, New Haven and London, 1985, p. 200, pp. 365-67.  \nGrandi, R. in *Introduzione al Museo Civico Medievale*, Bologna, 1987,  pp. 84-86.  \nCannata, P. in *Algardi. L'altra faccia del barocco* (exhibition catalogue) (ed. J. Montagu), Rome, 1999, p. 188, n. 44.","workshop":"Baroque","artist_birthdate":"1595","artist_birthplace":"Bologna","artist_deathdate":"1654","artist_deathplace":"Rome","author":"Elisabetta Berselli","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["academy","Accademia Clementina","Alessandro Algardi","Baroque Sculpture","Christian themes","movement","Pepoli family","religious object","St. Michael"],"materials":["Bronze"]},"8d5bacd1-856d-5b16-8d3e-40994e3243e8":{"name":"Plaster relief.","description":"A section of a frieze depicting two horsemen in battle with a dragon and a lion. The wide upper border contains a geometric composition of interlocking stars and polygons, while the main background is filled with a floral composition including spiralling tendrils and palmettes. On this ground, two horsemen are depicted facing each other; the one on the left, shown charging, is slaying a dragon, while the one on the right kills a lion. Both the figures' clothing and facial types are characteristically Seljuq. The fidelity to nature with which the horses are depicted, as well as the way one horseman turns around in the saddle to thrust his sword into the lion, lend the scene an active air. The portrayal of a horseman slaying a dragon was a popular subject in Anatolia in the Seljuq period as well as before. Christian scenes of Saint George killing the dragon were depicted in a similar way.","short_description":"This plaster fragment from Konya Palace depicts a horseman accompanied by other horsemen fighting a dragon. Costumes and accessories and the way the figures are rendered all reflect the features observed in depictions of horsemen and hunting scenes very common in Anatolian Seljuq-period art.","type":"Stucco, architectural decoration","holder":"Museum of Turkish and Islamic Arts.","dates":"Hegira 7th–8th centuries / AD 13th–14th centuries.","location":"Sultanahmet, Istanbul","dimensions":"Height 28 cm, width 53 cm, depth 4 cm.","method_for_datation":"Equestrian compositions and hunting scenes are widespread in the art of the Anatolian Seljuq period. Stylistic considerations suggest a date of the 7th–8th / 13th–14th centuries.","method_for_provenance":"The object was found during archaeological excavations at the Konya Palace; it is probable that it was made on site.","provenance":"Konya, Turkey.","obtention":"The object was brought to the Museum after being found during archaeological excavations at the Konya Palace in 1941.","bibliography":"Diez, E., and Aslanapa, O., *Türk Sanatı*, Istanbul, 1955.  \nErdmann, K., *Ibn-Bibi als Kunsthistorische Quelle*, Istanbul, 1962.  \nKühnel, E., Ogan, M.A., *İstanbul Arkeoloji Müzelerinde Şaheserler, Vol. III, çinili Köşk'de Türk ve İslam Eserleri Koleksiyonu*, Berlin and Leipzig, 1938.  \nölçer, N. *et al, Museum of Turkish and Islamic Art*, Istanbul, 2002, pp.112-13.  \nSarre, F., *Der Kiosk von Konia*, Berlin, 1936.","dynasty":"Anatolian Seljuq","author":"Cihat Soyhan","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez","keywords":["figurative decoration","geometric decoration","horsemanship","human representation","imaginary animal","Konya","plaster","relief","Seljuq","stucco","zoomorphic imagery"],"materials":["Moulded plaster/stucco."]},"8f66553f-e1b0-520b-9337-b61ebdf1701d":{"name":"*St. Gertrude*","description":"St. Gertrude (626–659) was the daughter of Pepin I of Landen, the Prefect of the Palace of the Merovingian King Dagobert I of Austrasia. She was abbess of the Monastery of Nivelles (today in Belgium) founded by her mother Saint Itta of Aquitania. St. Gertrude is presented as a noble and independent woman who refused to marry because she wanted to be a nun. She devoted her life to the study of the Holy Scriptures and collaborated with the Irish saints Foillan and Ultan to assist the needy and promote Evangelisation.  \nThe Monastery of Arouca commissioned Jacinto Vieira to make a set of limestone sculptures of male Benedictine saints for the nave and a set of female saints for the choir, all of which were particularly venerated by the Cistercian Order. Almost unknown, Jacinto Vieira belonged to a group of Northern Portuguese sculptors, who, during the reign of King João V, sought to combine the national Portuguese aesthetics typical of the 17th century with the Italian aesthetic peculiar to the erudite Roman Baroque. Mainly an expert in sculpture in wood, Vieira managed to adapt his mastery in wood, acquired in the saint-making workshops, to stone sculpture.  \nThis image of St. Gertrude depicts her with an abbess' crosier and a medallion surrounded by a *gloria luminosa* filled with an inflamed heart with Baby Jesus, following the iconographic canons of the day and the austerity of the Cistercians. St. Gertrude stands out due to the elegance of her gesture, her contemplative facial expression and her mystical aura over the other nuns, all of them dressed with delicate pleated garments and habits with enormous sleeves, which are the main features of this set of sculptures.","short_description":"St. Gertrude was canonised in 1677 and is an emblematic character both of the Benedictine and Cistercian orders. *St. Gertrude* is one of a set of stone sculptures from the Monastery of Arouca depicting the saints worshipped by the Cistercian Order to enhance their role in promoting the Teachings of Christ according to the Counter-Reformation.","type":"Sculpture","holder":"Sacred Art Museum of Arouca","owner":"Real Irmandade da Rainha Santa Mafalda de Arouca, Museu de Arte Sacra de Arouca","initial_owner":"Saint Mary's Cistercian Monastery of Arouca","dates":"1723–1725","location":"Arouca, Aveiro","dimensions":"H: 190 cm; w: 74 cm; d: 43 cm","place_of_production":"Arouca","method_for_datation":"Historical evidence.","provenance":"Saint Mary’s Cistercian Monastery of Arouca","obtention":"In situ","bibliography":"Dias, P., \"A pedra de Ançã a escultura de Coimbra e a sua difusão na Galiza\", *Do tardo-gótico ao maneirismo\"*, Lisbon-Corunha, 1995–1996.  \nDias, P., *Mosteiro de Arouca*, RISMA, Arouca, 2000.  \nSerrão, V., *História da Arte, O Barroco*, Lisbon, 2003.  \nPinho, A., Falcão, J., \"A escultura um universo de formas e símbolos\"*, O mosteiro de S.Pedro e S.Paulo de Arouca, História e Arte, o brilho de Cister,* Lisbon 2003.","workshop":"Cistercian art","artist_birthdate":"Unknown","copyright":"Copyright images: Real Irmandade da Rainha de Santa Mafalda,Museu de Arouca.","author":"Cristina Correia","translator":"Cristina Correia","translation_copy_editor":"Mandi Gomez","keywords":["Benedictine order","Cistercian Order","Counter-Reformation","sculpture"],"materials":["Ançã Limestone"]},"8f7d2a93-9bbc-5639-a80e-3049fce77e6c":{"name":"Las palabras las lleva el viento","description":"Alberto Gambale was born in Ferrara. He trained at the Academia de Bellas Artes de Bolonia, before embarking on an immense search and experience within the pictorial and sculptural field, discovering glass as the core material for his work. He perfected his work by way of many other courses with significant artists within the contemporary glass field, such as: Detleft Tonz, specialist in Tiffany glass; Gil Reinolds, German-American Bullseye Artist; Elimer Preder; the great, internationally renowned Italian-American artist, Narcissus Quagliata and S&K Higuchi, Japanese experts in molten glass.  \nIn 1992, he participated in the Polariscope programme, that took place at the Fundación Centro Nacional del Vidrio, in which glassworkers of various nationalities were involved. They all created a piece inspired by a common topic: water. Since, Alberto Gambale has maintained contact with the Escuela del Vidrio at the Foundation, providing several monographic courses, both in stained glass and alternative techniques.  \nHe currently works in his workshop in Ferrara, experimenting in the field of molten glass, as we can observe in this piece, in addition to teaching classes in different Glass Schools, such as the Escuela de Vidrio de Bolzano and the Escuela de Vidrio de la Real Fábrica de Cristales.","type":"Sculpture","holder":"Technological Glass Museum. Royal Factory of Glass and Crystal of La Granja","dates":"ca. 1998","location":"Real Sitio de San Ildefonso, Segovia","dimensions":"46 x 24cm","method_for_datation":"Donated directly by the artist following a monographic course at our installations. This piece was created during the course.","method_for_provenance":"Donated directly by the artist following a monographic course at our installations. This piece was created during the course.","provenance":"Czech Republic","obtention":"Donated by the author following a Kiln Forming Workshop led by himself","author":"Paloma Pastor Rey de Viñas, Saulo Alvarado Martinsanz","translator":"Jessica White","keywords":["Gambale","Glass sculpture","Italy","kiln casting"],"materials":["glass","Kiln casting"]},"90a1aa86-0d15-5967-aec3-c44d24bea557":{"name":"*The Kiss of Judas*","alternate_name":"*The Treason of Judas*","description":"The sculpture represents a scene from the Gospel of St. Matthew (26:49) when Judas, one of the apostles, marks Christ with a kiss as the man who should be arrested and tried. As in the sculptures featuring Christ parting with Mary in the Heiligenkreuz Monastery Museum, Austria, and in the Bratislava City Museum, Slovakia, in *The Kiss of Judas* Giuliani concentrates – in the encounter of two figures – on the motif of instant motion typical of the work of Giovanni Bernini, a key baroque sculptor. The dramatic subject of Judas's treason is conveyed by means of the medium as a contrast in the approach to both figures: the figure of Christ is self-absorbed, resigned to his fate, characterised by calm gestures and static drapery flowing in large forms, while Judas approaches Christ in an expressively captured haste which the sculptor has portrayed, aside from Judas's step forward, by a dramatic gesture extended into space, as well as by Judas's clothes floating around the body as if blowing in a wind.  \nThe sculpture is unique, in that no associates or assistants participated in its creation, as was the case with Giuliani's sizeable works.  \nGiovanni Giuliani was apprenticed in Venice, and later in Munich under Andreas II Faistenberger. From 1690 he worked in Vienna, particularly for the aristocracy, in Moravia for the Kounics (Slavkov) and many times for the Liechtensteins (Lednice).","short_description":"The sculpture depicting a dramatic scene of treason from the Gospel of St. Matthew exemplifies a typical baroque motif of instant motion. Giovanni Giuliani was apprenticed in Venice and later in Munich. From 1690 he worked in Vienna, particularly for the aristocracy in Austria and Moravia.","type":"Wood carving","holder":"Moravian Gallery, Brno","owner":"City Museum, Brno","dates":"Early 18th century","location":"Governor’s Palace, Brno, Moravia","dimensions":"h: 36 cm","place_of_production":"Vienna? / Moravia?","method_for_datation":"The overall approach to shape in the figures is classic Giuliani. His authorship is confirmed by the execution of the faces as well as by the softly modelled and finely executed drapery of both figures, which complement not only the form but also become major interpretational elements of the content.","obtention":"The sculpture became part of the museum’s collections before 1962; its provenance is unknown.","bibliography":"Miloš Stehlík, Nuovi particolari sull´opera do Giovanni Giuliani, *Sborník prací filosofické fakulty brněnské univerzity* F14–15, 1970–1971, p. 225.  \nVlasta Kratinová, in Jiří Kroupa (ed), *V zrcadle stínů.* *Morava* *v době baroka 1760–1790*, Brno–Paris–Rennes, 2002, p. 165, cat. 40.  \nLuigi A. Ronzoni*,* *[Giovanni](http://tinweb.moravska-galerie.cz/tw.exe?ST=03&SID=0061F25094&L=00&KOD=04&PZ=10&JAK=V&KDE=016&RET=Giovanni+Giuliani+%281664%2D1744%29%2E%5C%5C%5C+Band+2%2C%5C%5C%5C+Katalog) Giuliani*, Johann Kräftner (ed), Munich, 2005.","artist_birthdate":"1633","artist_birthplace":"Venice","artist_deathdate":"1744","artist_deathplace":"Heiligenkreuz","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Bernini","Christian themes","dramatic nature","gesture","religious object","sculpted wood","sculpture"],"materials":["Wood with traces of gilding"]},"91accd64-ec4c-56b4-b2f4-b293a427f8c4":{"name":"Carved figure of a mammal.","description":"This mammal looks like a cow with no horns or like a hippopotamus with no tail. The lower part of the two hind legs and of one of the fore-legs is also missing. Face on, the features are quite clear but highly simplified; just rough cavities for the eyes, a hole to indicate the nostrils and a hollowed-out line for the mouth. Seen from the back, the face is totally unrecognisable. The neck and the rest of the body are thick-set. It is unclear what this animal was used for. Could it have decorated the facade of a wall or have been part of a bas-relief? This is very difficult to ascertain because of the rarity of such objects in both Occidental and Oriental Muslim art. We do have clay figures of horses, camels and mules from Iran and Samarkand, but their function is well-defined. They were used as toys or ornaments and are completely different from Kairouanese figures, which are unique in Muslim art.","short_description":"This animal figure in stucco appears to be a bull with no horns or a hippopotamus with no tail. The purpose of this mammal is unknown, given the rarity of such objects in Islamic art. Kairouanese figurines are entirely different.","type":"Mammal, stucco","holder":"Museum of Islamic Art.","dates":"Hegira, mid-4th–mid-5th centuries / AD 10th–11th centuries.","location":"Raqqada., Kairouan.","dimensions":"Length 33 cm, height 16 cm.","method_for_datation":"This stucco head was found, among other human and animal carvings, in the excavations carried out at Sabra al-Mansuriyya in 1978. It was found in a very ploughed-up area with no clear archaeological layering. The objects were scattered around in a random manner. One has the impression that someone had tried to eradicate or hide these figurative objects for no obvious reason except that there could be a connection with the changing religious mentality in Ifriqiya. This action could indeed coincide with the persecution of the Shi'ites during the troubles in 407 / 1016 or following the split between the Zirid emirate and the Fatimid caliphate in 440 / 1048–9. This date could be a *terminus post quem*. The *terminus ante quem* is just after the founding of Sabra in 337 / 948. Any further precision is rendered impossible due to the lack of a definite archaeological layer.","method_for_provenance":"The manufacture of these objects, which is unique in Ifriqiya and in the Maghreb, appears to have taken place in Sabra al-Mansuriyya and to have been commissioned by the Shi'ites.","provenance":"Sabra al-Mansuriyya.","obtention":"After its discovery at Sabra al-Mansuriyya, this piece was placed in the site storehouse. It was acquired in 1992 by the Museum at Raqqada. It will be displayed in the second section of the Museum, currently under construction.","bibliography":"*Tunisie, terre de rencontres et de civilisation* (Seville exhibition catalogue), Tunis, 1986, p.226  \n*30 ans au service du patrimoine* (exhibition catalogue), Tunis, 1986, p.257.","dynasty":"Fatimid–Zirid","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["figurative decoration"],"materials":["Stucco."]},"9234bd90-3685-526a-a423-4819263bef3f":{"name":"Blessing Christ Child","description":"The Christ child giving his blessing might originally have been part of a Madonna with Child. Iconographically and with great certainty the polychrome figure can be identified as the Infant Jesus according to the effortless gesture of his right hand raised in blessing. The almost-nude child is apologetically dressed only with a gold-plated waistcloth across the right thigh, with his arms spread. Finest proportions and the effects from the flesh-tint result in one of the most brilliant small sculptures of Hans Degler and can be compared with his work *Mary and the Jesus Child* donated to the nearby village church of Weilheim-Unterhausen in 1621. Short curls of hair, some of them above the forehead, and the drapery of the waistcloth were typical of that time. The closed lips in the facial expression of the child underline the graveness with which he looks onto the world.","short_description":"It is assumed that, originally, the sculpture was accompanied by the Virgin Mary on whose lap the Infant Jesus was once seated with his outstretched arms.","type":"Sculpture","holder":"City Museum","initial_owner":"Unknown","dates":"c. 1620","location":"Weilheim in Oberbayern, Upper Bavaria","dimensions":"Height 60 cm","place_of_production":"Weilheim in Oberbayern","method_for_datation":"Through stylistic analysis of Hans Degler’s work.","bibliography":"Helm, R., “Segnendes Christkind”, *Stadtmuseum Weilheim i.OB 1882–1982*, Stadt Weilheim (City of Weilheim (ed.)), Weilheim 1982, p. 31f.","workshop":"“Weilheim School of sculptors” (with H. Krumpper, G. Petel, C. Angermair, B. Steinle, P. Dirr); the best-preserved, original 17th-century sculpture in the museum","artist_birthdate":"1564/65","artist_birthplace":"Weilheim","artist_deathdate":"1634/35","artist_deathplace":"Weilheim","author":"Reinhardt Helm","translator":"Holger Rhensius, Robert Robin, Wolf Schindler","translation_copy_editor":"Mandi Gomez","keywords":["Christ child","religious object","sculpted wood"],"materials":["Lime-wood, with original coating"]},"9307f66a-0153-5428-9ef4-503ec9519720":{"name":"*St. Onuphrius*","description":"José de Almeida, a highly important Portuguese sculptor of the Baroque period, made a qualitative leap that can be more easily explained by considering his career and his works that are extant. After studying in Rome under the patronage of King D. João V, he worked at Carlo Monaldi's atelier, and became a member of the St. Lucas Academy which awarded him several commissions. Returning to Lisbon he worked in stone but it was inconclusive due to qualitative irregularity. It is worth mentioning the following works: *St. John the Baptist* and *Queen St. Elizabeth* made for the Bemposta Palace chapel vestibule (finished by Barros Laborão); the *St. Paul* and the *St. Camillus de Lellis* for the porch and façades of the Necessidades Palace, together with his signed works, of which a fountain decorated by him is located in front of the Bemposta Palace chapel.  \nHis series of wooden Virgins include those at St. Mamede Church and the Old Church of Our Lady of Conception, and probably one at the Lady of the Rosary from the S. Domingo Church in Guimarães. Confusingly, they are attributed either to him or to Machado de Castro.  \nLess known are the *The Steps of Passion* or *Processions*, a set of articulated and spindly figures from the brotherhood and the Church of Lady of Monte do Carmo in Lisbon. They exhibit remarkable modelling of the faces and hands, as well as perfect use of both plastic and luminous values, typical of someone with solid training. They represent the largest preserved sculptural cycle in wood made in the Almeida Workshop.  \n*St. Onuphrius*, which aesthetically belongs to this group, is similar to sculptural representations of the previous century. The sculpture is made according to the aesthetic values of Roman sculpture while still retaining its Portuguese identity.","short_description":"In his masterpiece, *St. Onuphrius*, José de Almeida demonstrates his skill in rendering human anatomy; his ability to manipulate light and imbue drama, seen in the clothing and in the details of the hair and beard.","type":"Sculpture","holder":"National Museum of Ancient Art","owner":"Museu Nacional da Arte Antiga","initial_owner":"Church of the Santíssima Trindade e Redenção dos Cativos, Lisbon","dates":"18th century","location":"Lisbon, Lisbon","dimensions":"H: 169 cm; l: 55 cm; w: 39 cm","place_of_production":"Lisbon","method_for_datation":"Cyrillo Volkmar Machado (1823) was the first author to refer to the *Saint Onuphrius*, and attributed it to José de Almeida. In 1914, Joaquim de Vasconcelos discarded this information and suggested it was the work of the sculptor Manuel Pereira. In 1950 and 1963, Reynaldo dos Santos returned to Cyrillo's attribution of José de Almeida which, since then, has been consecrated.","provenance":"Church of the Santíssima Trindade e Redenção dos Cativos, Lisbon","obtention":"*St. Onuphrius* was taken from the Sacramento Convent in Lisbon which was the depository for the objects taken from the extinct religious corporations. It was integrated into the sculpture collection of the Museu Nacional de Arte Antiga in 1913. According to a report dated 1833 it had been used in sculpture classes at the Academy of Fine Arts, having previously been removed from a chapel at the Holy Trinity Church and the Redemption of the Captives, in Lisbon.","bibliography":"Machado, C. V., *Collecção de Memorias Relativas às Vidas dos Pintores, e Escultores, Architectos, e Gravadores Portuguezes, e dos Estrangeiros que estiverão em Portugal*, Lisbon, Imp. De Victorino Rodrigues da Silva, 1823, pp. 253–256.  \nVasconcellos, J. De, \"Santo Onophrio” *Arte Religiosa em Portugal. Pintura. Esculptura. Ourivesaria. Esmaltes. Bronzes. Mobiliario. Tecidos. Bordados. Rendas. Ceramica. Vidros e Crystaes*, Porto, 1914, fasc. Nº 15: Lisbon (Museu de Arte Antiga).  \n*Exposição Temporária de Algumas Obras de Arte do Museu das Janelas Verdes*, Lisbon, 1942.  \nSantos, R., dos, \"Uma escultura de José de Almeida\", *Colóquio. Revista de Artes e Letras*, Lisbon, No. 23, Abril 1963, pp. 3–8.  \nFalcão e P., *José de Almeida escultor setecentista*, Lisbon, 1996.  \n*Die grossen Sammlungen, VIII,* *Museu Nacional de Arte Antiga*. Lisbon–Bonn, Kunst und Ausstellungshalle der Bundesrepublik Deutschland, 1999, cat. 84.  \nCarvalho, M. J. V., de, \"Santo Onofre\", *Museu Nacional de Arte Antiga*, Lisbon, 1999, cat. 84, p. 205.","workshop":"Workshop of José de Almeida","artist_birthdate":"c. 1700","artist_deathdate":"1769","copyright":"Copyright images: Divisão de Documentação Fotográfica/ Instituto dos Museus e da Conservação, I.P.","author":"Anísio Franco, Maria João Vilhena de Carvalho","translator":"Cristina Correia","translation_copy_editor":"Mandi Gomez","keywords":["Carlo Monaldi atelier","Roman Baroque","sculpture"],"materials":["Carved wood"]},"94369548-7782-52b0-adae-f3a0d1f1caf6":{"name":"Lower part of a semi-naked female statue.","description":"The lower part of a semi-naked female figure found at Qasr al-Mushatta. Carved out of limestone, the figure has a drape over her thighs the edge of which she holds with her left hand along with a basket or bag. In her right hand she holds an unidentified object.  \n  \nThe proportions of this female figure are curvaceous and voluptuous. Such figures obviously flouted Muslim principles and were not supposed to be seen by the public.","short_description":"The lower part of a semi-naked female figure found at Qasr al-Mushatta. Carved out of limestone, the figure has a drape over her thighs. Such figures flouted Muslim principles and were not supposed to be seen by the public.","type":"Statue, stone","holder":"Jordan Archaeological Museum.","dates":"Hegira first half of the 2nd century / AD first half of the 8th century.","location":"Amman","dimensions":"Height 75 cm, width 52 cm.","method_for_datation":"Qasr al-Mushatta, where this figure was found, dates to the end of the Umayyad period (first half of the 2nd / first half of the 8th century).","method_for_provenance":"The figure was found within the Umayyad palace of al-Mushatta.","provenance":"al-Mushatta, Jordan.","obtention":"The figure was found during the course of restoration work and an archaeological excavation that was carried out in 1962 by the Department of Antiquities of Jordan at the Umayyad palace of al-Mushatta; the object was then transferred to Jordan Archaeological Museum.","bibliography":"Enderlein, V., and Meinecke, M., *Mschatta-Fassade*, Berlin, 1992, p.144, fig. 8.  \n  \nTrumpelmann, L., 'Die Skulpturen von Mschatta', *Archaologischer Anzeiger*, Berlin, 1965, pp.235–76; A1.1–4 (for other sculptures from al-Mushatta).","dynasty":"Umayyad","linkcatalogs":"IAM_JO_EN_001","author":"Aida Naghawy","copy_editor":"Mandi Gomez","keywords":["Figurative representation","statue","stone","women"],"materials":["Carved limestone."]},"957546c7-81b8-5a1c-88cb-b6935f998bc2":{"name":"*St. John of Nepomuk*","description":"The Czech martyr John of Nepomuk became one of the major Moravian saints at the turn of the 17th century. The general vicar of the Archbishop of Prague was murdered in 1393. As a saint, his cult spread all over the Czech lands and Roman Catholic Europe and even overseas. John of Nepomuk was worshipped even before his canonisation and beatification in Rome in 1729. Today, one still encounters pilgrimage sites, pictures and statues erected in his honour in many places in Moravia.  \nIgnaz Lengelacher, sculptor to the Dietrichstein family, frequently devoted himself to St. John of Nepomuk as a subject for his work in Moravia, from the saint's figure on the Holy Trinity Column in Mikulov (1723–34) to his statue in Pouzdřany (1751).  \nIn terms of composition, the subject appears in Lengelacher's oeuvre in a number of versions, manifesting the artist's fertile imagination and the inventiveness of his approaches to a single saint. St. John is alone in Lengelacher's statues, standing or kneeling, or sometimes accompanied by the standing figures of angels holding characteristic attributes.  \nLengelacher paid particular attention to interpretation of the saint's mental state in the adoration of the cross which, as shown by the position of hands, he had initially been clasping in quiet, self-absorbed contemplation. The seriousness of the subject is accentuated by the strict emphasis placed on the plain physique of the statue. The cloud pedestal provides the figure with a compositional base and indicates a connection with the transcendent, as the figure is an apotheosis of a martyr, a patron saint of the Czech lands.  \nAfter 1750, Lengelacher left for Bavaria and then went to Bruchsal in the Baden region, where he entered the service of the Bishop of Styria. In 1758 he is recorded as the sculptor to the enlightened and art-loving Margrave Karl Friedrich of Baden (c. 1811) in Karlsruhe, whose court also hosted, among others, Voltaire, Lavater and Goethe.","short_description":"John of Nepomuk became one of major Moravian saints at the turn of the 17th century. His cult spread all over Catholic Europe and even reached overseas. Today one still encounters pilgrimage sites, pictures and statues erected in his honour in many places in Moravia.","type":"Sculpture","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","dates":"c. 1740","location":"Governor’s Palace, Brno, Moravia","dimensions":"H: 97 cm","place_of_production":"Moravia","method_for_datation":"Style analysis is supported by the sculpture’s origins as private property in South Moravia.","provenance":"Private owner, Moravia","obtention":"Purchased in 1974 from a private owner.","bibliography":"Vlasta Kratinová, *Baroko*, Brno, 1992, no. 10.  \nMiloš Stehlík, in Ivo Krsek – Zdeněk Kudělka (ed) – Miloš Stehlík – Josef Válka, *Umění baroka na Moravě a ve Slezsku*, Prague, 1996, pp. 99, 408, cat. 154.  \nVlasta Kratinová, in Jiří Kroupa (ed), *Dans le miroir des ombres. La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, pp. 94–95, cat. 8.  \nAnnette Borchardt-Wenzel, *Karl Friedrich von Baden**–Mensch und Legende,* Gernsbach, 2006.","artist_birthdate":"1698","artist_birthplace":"Unter Peissenberg","artist_deathdate":"1780(?)","artist_deathplace":"Baden","author":"Zora Wörgötter, Vlasta Kratinová","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["patronage","religious object","sculpted wood","St. John of Nepomuk"],"materials":["Wood, polychromy"]},"97a74e08-c680-51a4-9ff3-a40be3a5d9ea":{"name":"*The Source*","description":"Mona Saudi sculpts abstract forms imprinted by feelings. Her perfect mastery of gesture allows her to work with dexterity in all materials. Although she has a particular fondness for marble, she also works with granite, pink Jordanian stone, and bronze. Two versions of *The Source* were realised: the first in bronze (AH 1405 / AD 1984), shown here, and the second in pink Jordanian stone in a larger format (AH 1407 / AD 1986). Circles emanating from the central eye, which symbolises the water source, bring movement to the work. The terms \"eye\" and \"source\" are the same word in Arabic.","type":"Sculpture","holder":"Institute of the Arab World","dates":"AH 1405 / AD 1984","location":"Paris","dimensions":"Height: 28cm","obtention":"Gift, 1987.","artist_birthdate":"AH 1364 / AD 1945","artist_deathplace":"AH 1444 / AD 2022","translator":"Judy Harter","keywords":["bronze","Mona Saudi","sculpture","water"],"materials":["Bronze"]},"982741b5-3e8b-59ac-988e-567fb8f0a6fa":{"name":"Monument to Luigi Ferdinando Marsili","description":"This monument was commissioned by the Institute of Sciences of Bologna to commemorate one of its main founders, General Luigi Ferdinando Marsili in 1733, three years after his death. The monument is located in the right arm of the transept of the church of St. Dominic in Bologna which was refurbished a few years before by the architect Dotti. It is made of a very poor material, stucco, which is a mixture of marble powder and sand. Many Bolognese sculptors used stucco in the Baroque age to create true masterpieces for churches and noble residences. From the church wall hangs a great and rich curtain covering objects once beloved by the General; books, weapons, and artist tools. The upper portion is occupied by the slender figure of Fame, holding in her hand a trumpet and an oval medallion with Marsili’s profile. Under the diagonally projecting slab with its Latin inscription struggles Time, represented as an old man with a sickle. The baroque theme of Fame defeating Time is perfectly conveyed.","short_description":"This monument represents the baroque spirit in the use of allegories, in the employment of many diagonals crossing in the composition and in the dynamic movement transmitted to the sculpted curtain.","type":"Sculpture, stucco","holder":"Church of St. Dominic","dates":"1733","location":"Bologna, Emilia-Romagna","place_of_production":"Bologna","method_for_datation":"The monument date is established thanks to archive documents and to the Latin inscription.","obtention":"Originally made for the church.","bibliography":"Macchiavelli, A. *Della origine e progressi della pittura, scultura e architettura, e dei singolari vantaggi che le medesime tre bell'arti hanno alla medesima città di Bologna recato*, Bologna, 1735, p. 47 .  \nZanotti, G. P. *Storia dell'Accademia Clementina*, Bologna, 1739, II, p. 250.  \nRiccomini, E., “Sculture del Settecento a Bologna: Angelo Piò ed altri problemi”, *Arte Antica e Moderna:* 21, 1963, pp. 54-55.  \nRiccòmini, E. *Scultura Bolognese del Settecento* (exhibition catalogue) (ed. E. Riccomini), Bologna, 1965, p. 79,  p. 86, p. 87.  \nRiccomini, E., *Vaghezza e Furore*, Bologna, 1977, pp. 55-56.","workshop":"Barocchetto bolognese","artist_birthdate":"1690","artist_birthplace":"Bologna","artist_deathdate":"1770","artist_deathplace":"Bologna","copy_editor":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Allegory","Baroque Sculpture","Enlightenment","Fame","Luigi Ferdinando Marsili","monument","personification","science","Stuccowork","Time"],"materials":["Stucco"]},"98c08194-bddc-52e4-a6b8-d9483bc9ad1b":{"name":"Statue of Jules Ferry","short_description":"This symbolic statue of the French protectorate in Tunisia was located in the centre of the European quarter, between the cathedral and the official residence of the French government, on the Avenue Jules Ferry, today renamed Avenue Habib-Bourguiba. This bronze statue, reaching around three metres in height, is one of the last surviving elements of a monument which had been dedicated to one of the most important thinkers of French imperialism.","type":"Ironwork","holder":"Musée d’Histoire Moderne et Contemporaine de Kassar Saïd","dates":"19th century","location":"Le Bardo, Tunis","provenance":"Avenue Jules-Ferry","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["French protectorate of Tunisia","Jules Ferry","Habib Bourguiba"],"materials":["Iron, bronze"]},"9a245db6-458e-537c-bdb2-df1379eb0317":{"name":"*St. Roch* and *St. Sebastian*","description":"These splendidly colourful Rococo statues of *St. Roch* and *St. Sebastian* came to the museum from the parish church of Egervár in the county of Zala. The patron of the church, Count Ignác Széchényi, commissioned a new large tabernacle with six carved figures for the high altar of the church, made in around 1730, in 1757. The Széchényi family already had connections with artists in Graz, the area where Philipp Jakob Straub chose to settle and work.  \nBoth statues are of saints believed to be protectors from the plague, and both express pain and suffering. *St. Roch*, dressed in pilgrim's clothes, turns his eyes heavenward. His lips parted in pain, he points to the wound on his foot. Next to him is the dog that allegedly brought him bread when he was suffering from the plague. Bound to a tree and wounded by arrows, the young martyr, *St. Sebastian*, is resigned to his fate. His head rests on his shoulder and tears drip from his closed eyes. *St. Roch*'s garments flutter in deep folds, providing the contrast of light and shade, while light glides softly on the sensuously beautiful body of *St. Sebastian*.  \nThe statues are promoted into the vanguard of Rococo sculpture in Hungary by the outstanding quality of modelling, the subtle and reserved colouring and the empathic rendering of emotions.  \nPhilipp Jakob Straub was born into the Württenberg family of sculptors and moved to Vienna with his brother, Johann Baptist Straub (later court sculptor in Munich), in 1727. Philipp Jakob Straub studied at the Academy of Fine Arts in Vienna from 1730 to 1733, at which time he settled in Graz. In Graz he worked on commissions for the church, the aristocracy and the middle class, both in wood and in stone. On stylistic grounds, research attributes to him an extensive oeuvre in Styria where he introduced the influence of Bavarian Rococo sculpture and the practices of stone sculpture from the court in Vienna.","short_description":"The high altar in the parish church of Egervár (c. 1730) contained tabernacle statues – two of which were *St. Roch* and *St. Sebastian* – and all of which were commissioned from Styria in 1757. Documents relating to count Széchenyi's relationship with the church and the artist helped to confirm the attribution of these works to Philipp Jakob Straub, a member of the South-German Straub family. Straub settled in Graz and brought fine Rococo sculpture to the Transdanubian region.","type":"Sculpture","holder":"Hungarian National Gallery","initial_owner":"Parish Church, Egervár","dates":"1757","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"St. Roch: h: 121 cm; St. Sebastian h: 119 cm","place_of_production":"Egervár","method_for_datation":"By stylistic analysis and historical documents.","provenance":"Parish Church, Egervár","obtention":"Purchased in 1916 by the Museum of Fine Arts; from 1974 in the Hungarian National Gallery","bibliography":"Jávor, A., “Cat. Nr. 199.” in *Barokk művészet Közép-Európában. Utak és találkozások* (Crossroads: Baroque Art in Central Europe) exhibition catalogue, (ed. G. Galavics), Budapest, 1993.","artist_birthdate":"baptized 30 April 1706 in Wiesensteig","artist_deathdate":"26 August 1774","artist_deathplace":"Graz","author":"Zsuzsanna Boda","copy_editor":"Terézia Bardi","translator":"Judit Pokoly","translation_copy_editor":"Mandi Gomez","keywords":["Academy of Fine Arts Vienna","Altarpiece","Egervár","figural decoration","high altar","parish church","patron saints","Philipp Jakob Straub, Johann Baptist Straub, Count Ignác Széchenyi","plague","religious object","Rococo","saints","Styrian Rococo sculpture","wood carving"],"materials":["Wood, carved, painted"]},"9b8ab3ff-1008-5ce8-b032-994aad3a8bf4":{"name":"Fountain basin.","description":"Oblong basin in grey marble. A sculpted decorative element consisting of two poly-lobed arches that end in serpentine motifs can be found at both ends of the cavity. The four cornerstones of the basin's edge are adorned with four full medallions. The cavity of this fountain consists of a hollow with a bordering edge. One of the two sides features an orifice that was once connected to piping. The basin's exterior form becomes narrower towards its base.","short_description":"This rectangular basin is decorated with sculptures consisting of two poly-lobed arches finished with snake motifs. There are four full medallions in the four spandrels around the basin. This basin was probably used to provide water to the Palace of the Sea (Dar al-Bahr).","type":"Basin, fountain, marble","holder":"National Museum of Antiquities and Islamic Arts","dates":"Hegira 405–547 / AD 1015–1152.","location":"Algiers","dimensions":"Height 26.5 cm, length 119 cm, width 52 cm, depth 17 cm.","method_for_datation":"Found in the Dar al-Bahr of the Qal'at Bani Hammad (5th–6th / 11th–12th centuries).","method_for_provenance":"Discovered by De Beylié in the northwest corner of the great court of Dar al-Bahr.","provenance":"Dar al-Bahr, Qal’at Bani Hammad, Algeria.","obtention":"Archaeological repository (De Beylié excavations, 1908).","bibliography":"Beylié, général de, *La Kalaa des Beni Hammad, une capitale berbère de l'Afrique du Nord au XIe siècle*, Paris, 1909.  \nBourouiba, R., *Les H'ammadites*, Algiers, 1984.  \nGolvin, L., *Recherches archéologiques à la Qal'a des Banû Hammâd*, Paris, 1965.  \nMarçais, G., *Le musée Stéphane Gsell, musée des antiquités et d'art musulman d'Alger*, Algiers, 1950.","dynasty":"Hammadid","author":"Leila Merabet","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["arch","architectural decoration","Basin","cornerstone","Dar al-Bahr","fountain","Hammadids","marble","medallion","Palace","palatial architecture","piping","Qal’at Bani Hammad","water"],"materials":["Sculpted grey marble."]},"9b938f78-dd1b-5b00-a709-62c11978cdc8":{"name":"Basin","description":"This basin was discovered in pieces at the end of the 19th century in the centre of Seville. Restoration work has reconstructed the bands of inscriptions, as well as the decoration on three of its sides.  \nThe front is decorated with three tri-lobed arches, framed by alfiz (frame) panels supported on columns. Each arch contains a plant sprouting leaves, palmettes, pinecones and intertwining stems. The space between the arch and the alfiz panel shows the same type of decoration, and the whole thing is framed by an inscribed strip.  \nThe right-hand side shows a space divided vertically into three parts. The central area is undecorated, probably to allow space for the water to come out, and the other two sides show similar scenes: eagles, seizing deer with their talons, bear two lions face to face on their outspread wings, while beneath them two griffins facing each other complete the scene. This iconography, of Sassanid origin, refers to power, abundance and eternity.  \nOnly the inscribed band is preserved from the third side, a strip with ducks and fishes, and, underneath it, the remains of a lion attacking a deer.  \nWe know from the inscription that this basin was commissioned for the royal palace of al-Zahira on the orders of al-Mansur, prime minister and favourite of Hisham II, who was still a child when he became Caliph in AH 366 / AD 976, following the death of his father al-Hakam II. The unstoppable rise to power of al-Mansur started shortly after the accession of Hisham II. With the intention of establishing a parallel dynasty to the legal Umayyad one, al-Mansur built a palatine city called Madinat al-Zahira. This new city, rival to Madinat al-Zahra, was in the eastern part of Córdoba, but limited material remains have survived to the present day. The city was burnt to the ground in AH 399 / AD 1009.","short_description":"Emulating the Umayyad caliphs who built Madinat al-Zahra, the hajib of Córdoba al-Mansur built the palatine city of Madinat al-Zahira, and he commissioned this ablutions basin for it, as stated on the inscription. Animal-shaped spouts would have emerged from the attached side pillars, of which only traces have survived.","type":"Basin, marble","holder":"National Archaeological Museum.","dates":"Hegira 377 / AD 988.","location":"Madrid","dimensions":"Height 68 cm, width 150 cm, depth 77 cm.","method_for_datation":"The inscription in *kufic* lettering says: '…Almanzor Abi Amir Muhammad ben Abi Amir and glory to God. \\[This was\\] ordered to be made for the royal palace of al-Zahira and was finished with the help and assistance of God under the direction of the great Amiri Fata in the year seven seventy and three hundred'. Consequently, the basin has been dated to 377 / 988.","method_for_provenance":"There are two other basins attributable to the same period and place, one of which can be found in the Alhambra Museum, Grenada, and the other in Marrakesh (Morocco). This latter was made for ‘Abd al-Malik, son of Al-Mansur. The three pieces have similar decorations of eastern origin on one of their sides.","provenance":"The missing royal palace of Madinat al-Zahira (Córdoba), Spain.","obtention":"The basin arrived at the National Archaeological Museum in stages. The two most important parts, the front and part of one of the sides, were bought on 22 November 1882. Another fragment arrived in 1923. Finally, on 30 July 1930, the last piece arrived from the Provincial Archaeological Museum of Seville.","bibliography":"Bernus-Taylor, M., ‘Les cuves’, in *Les Andalousies de Damas à Cordoue. Exposition presentée á l’Institut du monde arabe du 28 novembre 2000 à 15 avril 2001*. Paris : Hazan, 2000 : p. 133.  \n  \nEwert, C., *et al.*, “Denkmaler des Islam”, *Hispania Antiqua*, 21 (1997): 176.  \n  \nLévi-Provençal, E., *Inscriptions Arabes d'Espagne*, Paris : Larose, 1931: p.194.  \n  \nRevilla Vielva, R., *Catálogo de las Antigüedades que se Conservan en el Patio árabe del Museo Arqueológico Nacional*, Madrid: Imp. De Estanislao Maestre, 1932: p.77.  \n  \nRosser Owen, M., *Articulating the Hijjaba: Cultural Patronage and Political Legitimacy in al-Andalus. The ‘Amirid Regency c. 970-1010*, Leiden: Brill, 2021: pp. 274-282.  \n  \nTorres Balbás, L., ‘España Musulmana Hasta la Caída del Califato de Córdoba (711–1031)’, in *Historia de España, vol. 5*, Madrid: Espasa Calpe España, 1957: p.718.  \n  \nZozaya, J., ‘Antigüedades Andalusíes de los Siglos VIII al XV’, in *Guía General del Museo Arqueológico Nacional, vol. II*, Madrid: Ministerio de cultura y deporte, 1991: p.66.","dynasty":"Umayyads of al-Andalus, Caliphate period","author":"Margarita Sánchez Llorente, Beatriz Campderá Gutiérrez","copy_editor":"Rosalía Aller","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["Basin","Palace","water"],"materials":["Carved marble."]},"9ba14117-d905-597a-95be-0025b3200e4e":{"name":"‘The Younger Memnon’","short_description":"Henry Salt and J.L. Burckhardt donated this colossal bust of Ramesses II to the British Museum in 1817 where it created a sensation and became known as the Younger Memnon. It was removed from the Ramesseum in Thebes by the explorer Giovanni Belzoni, who transported it to Alexandria, from where it was shipped to England.","type":"Statue","holder":"The British Museum","dates":"19th Dynasty; donated to the British Museum in 1817","location":"London","provenance":"Egypt","keywords":["archaeology","Egyptomania","exploration","collection","collecting","museums","travel","traveller","statue"]},"9f13783f-37c2-5e26-9fc8-82aec3de2188":{"name":"Marble plaque.","description":"A marble plaque, approximately rectangular in shape, the apex of which is an ornamented crown. In the centre of the plaque is a mosque lamp, carved in high relief and suspended from the crown by thick ropes. Flanking either side of the lamp, at the bottom of the composition, there are engraved carvings of two candlesticks with tapering wicks. The neck and base of the lamp are embellished with vegetal motifs and braided bands; in the centre of the body is an inscription that states: 'God is the Light of the Heavens and the Earth'. Vegetal decorations appear above and below the carved inscription, which is contained within a rectangle and delineated by two beaded borders.  \nAlthough, this form of decoration does not appear in any known Mamluk glass mosque lamps, nevertheless the general form and the carved inscription are distinguishing characteristics of Mamluk mosque lamps. The candlesticks, in relief, that appear on the plaque, are decorated with vegetal scrolls and diamond-shaped motifs. The background of the plaque is decorated with vegetal scrolls composed of grape clusters, heart-shaped buds and split leaves, in addition to a pair of stylised lotus blossoms below the lamp. Traces of brown paint also appear in the background.  \nA number of Mamluk carved plaques, embellished in engraved decoration in marble, stone and plaster bear testimony to the widespread popularity of the sculptural arts (in wood and stone) during the Mamluk period. They also bear witness to the creativity and originality of the craftsmen in the design of vegetal and geometric compositions.","short_description":"This example of Mamluk-period marble engraving depicts a mosque lantern (*mishkah*), two candlesticks and an inscription saying 'God is the Light of the Heavens and the Earth'. Such marblework bears witness to the skill of the craftsmen in that era.","type":"Plaque, marble","holder":"Museum of Islamic Art","dates":"Hegira 8th century / AD 14th century.","location":"Cairo","dimensions":"Height 60 cm, length 36 cm.","method_for_datation":"The object is known to date to the 8th / 14th century because it was made for the Madrasa Bedeiriyya in Cairo, built during this time period.","method_for_provenance":"This plaque was found in the Madrasa Bedeiriyya, which lies in the neighbourhood of the Madrasa Salihiyya al-Najmiyya in the Fatimid Street Al-Muizz Li-Din Allah in Cairo. The Madrasa Bedeiriyya was founded in 758 / 1357 by Nasir al-Din Muhammad ibn Bedeir al-'Abbas who worked as a lecturer of *fiqh* (jurisprudence) of the Shaf'i school. It is likely that the plaque was produced in Cairo for the *madrasa*.","provenance":"Egypt.","obtention":"The plaque was found on site at the Madrasa Bedeiriyya. The Council for the Preservation of Arab Monuments undertook the preservation of the plaque in the eastern court of the mosque of al-Hakim bi Amrillah in 1880, where the first acquisitions of the Museum of Islamic Art were housed before they were transferred to the present Museum building in 1903.","bibliography":"Al-Maqrizi, *Al-mawā'iz wa'l-i'tibār bi-dhikr al-khiţaţ wa'l-āthār \\[Exhortations and Contemplation of the Recollection of Plans and Monuments\\],* 2 vols, Cairo, 1853.  \nAtil, E., *Renaissance of Islam: Art of the Mamluks,* Washington D.C., 1987.  \nHassan, Z. M., *Funūn Al-Islām \\[Arts of Islam\\],* Cairo, 1948.  \nStierlin, H., and Stierlin, A., *Splendours of the Islamic World: Mamluk Art in Cairo (1250–1517),* London, New York, 1997.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","author":"Al-Sayyed Muhammad Khalifa Hammad","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["epigraphy","floral motif","high relief","inscription","Lamp","marble","religious object","vegetal motif"],"materials":["Marble engraved in high relief."]},"a2bff875-de56-5054-ba77-30b1b3d100cd":{"name":"*Au bord du Nil* (On the Banks of the Nile)","description":"Often called the father of modern Egyptian sculpture, Mahmoud Mokhtar united the art of his country's pharaonic past with the 20th century to convey the spirit of a newly independent Egypt. The artist aspired to create an artistic language that would reconcile contemporary Egyptian society with its cultural and historical identity.  \nThroughout his career, Mokhtar drew inspiration from scenes of everyday life in Egypt's countryside and he frequently depicted the fallaha (peasant woman). Au Bord du Nil is a life-size statue that shows a fallaha wearing a tarha (traditional Egyptian veil) and holding a balas (jug used to transport water) on her head. The fallaha was a leitmotif in the artist's output, representing Egypt and the Nile Delta as an intrinsic part of the nation. The sculpture exemplifies Mokhtar's clean, bold and angular lines, evoking the ancient priestesses who walked the Nile's banks.  \n  \n*Au Bord du Nil* sends a clear, powerful message in response to the turbulent political climate of the 1930s (AH 1348), when Egypt was under British military administration. At the time, the Egyptian people's desire to reclaim national sovereignty had grown, prompting Mokhtar to transform the fallaha into a nationalist emblem.","type":"Sculpture","holder":"MATHAF, Arab Museum of Modern Art","dates":"AH 1350 / AH 1931","location":"Doha","dimensions":"40.8cm × 9.6cm × 8.3cm","copy_editor":"Judy Harter","keywords":["bronze","Nile","water","woman"],"materials":["Bronze"]},"a94ed934-07d9-5fb3-9373-ad09b02656d8":{"name":"*Virgin Mary with Jesus*","description":"This standing Madonna with child is characterised by an S-shaped cloak encircling the figure from the left shoulder to the right knee, appearing blown by a sudden gust of wind. The cloak makes up a surprisingly rich yet compact outline for the carved statue. Madonna’s posture contrasts with the expressive air of the drapery. Her head slightly turned towards the child, she is only holding him with indicated touches of the hands, presenting Christ to the viewer in the manner of the Gothic Madonna and thereby emphasising the notion of the Eucharist. The motif of Baby Jesus playing with Madonna’s veil is of the same origin. With her physique, facial expression and plain clothes, the Madonna’s nature appears almost secular.  \nWeber employed a similar compositional scheme, in a reduced form and mirror-like manner, in the figure of St. Rose of Lima on a side altar in the Dominican Church of the Holy Cross, Znojmo. The restrained expression of both figures is typical of Weber’s oeuvre, which found a relatively broad application in South Moravia (in Lechovice, Suchohrdly, Tasovice, Dyje, Znojmo). In the 1740s Weber worked for the Augustinian order in Brno (his son was a member of the order). Apart from his decoration of the Augustinian library (now to be found in Old Brno), an entrance portal with the figures of Moravian margraves has survived.  \nLeonard Weber came from a large family of sculptors in Silesia and later settled in Slovakia. Sculptors of the same name, possibly a father and son, whose relationship has not yet been demonstrated, were also active in Budapest at the time.","short_description":"The standing Madonna with child is characterised by an S-shaped cloak encircling the figure from the left shoulder to the right knee, appearing blown by a gust of wind. The restrained expression of the figures is typical of Weber’s oeuvre, which became relatively widespread in South Moravia.","type":"Sculpture","holder":"Moravian Gallery","owner":"Moravian Gallery, Brno","dates":"Before 1730","location":"Governor’s Palace, Brno, Moravia","dimensions":"h: 33 cm","place_of_production":"Moravia","method_for_datation":"Provenance and style analysis.","provenance":"Budkov Chateau Collection","obtention":"Acquired before 1950 from a private collection, Budkov Chateau.","bibliography":"Vlasta Kratinová, *Barock in Mähren,* Wien, 1988, p. 100, cat. 63.  \nVlasta Kratinová, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, p. 169, cat. 45.","artist_birthdate":"1702","artist_birthplace":"Svidnica","artist_deathdate":"after 1766","artist_deathplace":"Trnava","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Christian themes","Madonna","religious object","sculpted wood"],"materials":["Wood"]},"a955d465-0ca9-595d-bd2a-f998ffb85fd5":{"name":"Bas-relief with bull.","description":"A bas-relief of a bull carved in marble. The right-hand and lower parts of the carving are missing. The head of the bull is full-face and the body and the neck are in profile. The head looks, oddly, at a complete right angle to the neck. The features are strongly sculpted, with the nose suggested by folds ending in a cavity. The eyes are round, the iris well-carved and the lower eyelids stand out aggressively from the eyeballs. The forehead is two deep folds under a plaited mane.  \nOnly one horn remains, next to the ear, the other having been broken off. The body of the animal is harmonious but gives no impression of robust strength. From the position of the legs, the bull seems to be rubbing up against a tree composed of a trunk and a few branches. Behind the animal's body two buds and three open vine-leaves emerge. Each element has several lobes and is sculpted in a naturalistic style. The carving is set within a frame decorated with grooved arcs and points similarly to an 'egg and dart' design. The naturalistic manner of the carving has led some historians to attribute a Byzantine origin to the piece and suggest that it was re-used in the Aghlabid era. But, in fact, several similar pieces exist in Muslim art and the frontal muzzle is very frequently found. Moreover, we should not forget that Byzantine and classical influences are characteristic of early Aghlabid art.","short_description":"The decoration of this bas-relief is quite common in Islamic art, and is evidence of the survival of Byzantine and classical influences. The body of the animal, a bull, is sculpted harmoniously and the sculpture is framed by arcs and points similar to 'egg and dart' design.","type":"Bas-relief, marble","holder":"Museum of Islamic Art.","dates":"Hegira, second half of the 3rd century / AD 9th century.","location":"Raqqada., Kairouan.","dimensions":"Height 38 cm, length 57 cm, thickness 11 cm.","method_for_datation":"This piece decorated one of the walls in the state rooms of the as-Sahn Palace on the Raqqada site, which was excavated between 1961 and 1969. We know that this second Aghlabid capital was built in 263 / 876, which puts a *terminus post quem* date on the bas-relief. The chronological period covers two centuries, up until the desertion of Raqqada at the time of the Hilalian invasions in 449 / 1057. Not possessing an excavation file with information on the archaeological layer in which the object was found, we are unable to date it more precisely. However, the classical style of the decoration would suggest the second half of the 3rd / 9th century.","method_for_provenance":"An architectural decoration found *in situ*, the piece was probably carved at Raqqada, re-using some old marble of Italian origin.","provenance":"Very probably Raqqada.","obtention":"After its discovery at the Raqqada excavations in 1960 the bas-relief was conserved at the site storehouse until 1993. It was then transferred to the Museum of Islamic Art at Raqqada and displayed there.","bibliography":"*Ifriqiya: Thirteen Centuries of Art and Architecture in Tunisia*, pp.174–6.","dynasty":"Aghlabid","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["animal decoration","carving","figurative decoration","relief"],"materials":["Carved marble."]},"ae331064-372e-59a2-9ad1-641a18b7d070":{"name":"Sanctuary and Altarpiece of the Transit of St. Bernard","description":"The Cistercian Monastery of Alcobaça was founded as a gift to St. Bernard of Clairvaux shortly before his death on an estate granted by King Afonso Henriques (the first King of Portugal) in 1153. Having just conquered the Arabs, Afonso Henriques wanted to commemorate his victory, and foundation of the monastery was part of his strategy to consolidate his authority in the new kingdom. The Monastery is considered to be one of the best preserved medieval monastery complexes in Europe besides being a bastion of the Portuguese nationality.  \nSanctuary: as part of the New Sacristy, this Chapel was called the “Mirror of Heaven” by the eminent Portuguese art historian, Reinaldo dos Santos, due to its supreme beauty and spirituality. Building began in 1670 when Frei Constantino Sampaio was Abbot of the Monastery (1669–1672).  \nWith an octagonal plan, the interior is fully covered with gilded wood and is lit by a ceiling lantern. This light, filtered and diffused, enhances the theatrical atmosphere of the gilded and polychrome Baroque octagonal structure, which includes six horizontal niches filled by 89 reliquary sculptures.  \nAltarpiece of the Transit of St. Bernard: the sculptural ensemble in terracotta represents the Transit of St. Bernard. It was built when Frei Sebastião de Sottomayor was the Abbot of the Monastery (1675–1678). The ensemble can be divided into two groups: at the lower level is a group of free-standing sculptures and another of high-relief figures inserted at the back of the altar. St. Bernard is shown in agony at the centre of the scene, while close to his feet Cistercian monks mourn his death. Close to St. Bernard’s head, the kneeling General Abbot and a group of musician angles glorify his death. At the top, surrounded by two musician-angels and cherubs, the Virgin welcomes the soul of St. Bernard with opened arms. The life-size sculptures are built in overlapping horizontal blocks.","short_description":"The Monastery of Alcobaça was founded as a gift to St. Bernard of Clairvaux shortly before his death on an estate granted by King Afonso Henriques in 1153. The monastery became powerful due to donations throughout the centuries and contains several treasures, namely the Baroque reliquary Sanctuary and the Altarpiece of the Transit of St. Bernard.","type":"Sculpture – Sanctuary and Altarpiece","holder":"Alcobaça Monastery","owner":"Alcobaça Monastery","initial_owner":"Alcobaça Monastery","location":"Alcobaça, Leiria","place_of_production":"Alcobaça","method_for_datation":"Historical evidence and stylistic analysis","provenance":"Alcobaça Monastery","obtention":"In Situ","bibliography":"Moura, C., *O Limiar do Barroco*, Lisbon, 1986.  \nSerrão, V., *História da Arte - O Barroco*, Lisbon, 2003.  \nMoura, C., *A Escultura de Alcobaça e a imaginária monástico-conventual (1590–1700),* Lisbon, tese doutoramento, 2007.  \nA. V. Remígio, “The Monastery of Saint Mary of Alcobaça. The Conservation-Restoration of the Sanctuary Reliquaries”, available at HTTP:  \n[http://www.e-conservationline.com/content/view/800/258/#ing1-4](http://www.e-conservationline.com/content/view/800/258/#ing1-4) (26/10/2009).","workshop":"“Terracotta” workshop, Alcobaça","copyright":"Copyright images: Instituto de Gestão do Património Arquitectónico e Arquelógico,I.P/DIDA A.F.","author":"Cecília Gil","translator":"Cristina Correia, Andreia Charneca","translation_copy_editor":"Mandi Gomez","keywords":["Cistercian Order","Counter-Reformation","Our Lady of Assumption","sculpture","Terracotta"],"materials":["Sanctuary: chased, polychrome and gilded wood and terracotta. Altarpiece Transit of St. Bernard: terracotta"]},"b0c35ccd-b16d-5ff5-98a0-4001791ebd8b":{"name":"Head of a sphinx of Sesostris III","description":"The 12th Dynasty was the most important period of the Middle Kingdom. Its founder, Amenemhat I, vizier to the last Mentu-hotep (11th Dynasty), usurped the throne. His greatest challenge was to reintegrate the two parts of the country, Upper and Lower Egypt, which had split and subsequently grown apart during the First Intermediate Period.","type":"Sculpture","holder":"Kunsthistorisches Museum, Egyptian Collection","dates":"12th Dyn. Sesostris III, 1878-1843 BC; brought to Vienna in 1893","location":"Vienna","dimensions":"Height 21,9 cm, Width 33,2 cm, Diameter 32,1 cm","copy_editor":"Daniel de la Vega","keywords":["Deir el-Bahari","Deir el-Bahri"],"materials":["Green schist"]},"b1189adf-8651-54d6-9426-8461bdc5c6a6":{"name":"Figurine of a dog","short_description":"Dimitrija Chupovski (1878–1940) was the President of the Slav-Macedonian Scientific Literary Society in St. Petersburg also known as St. Petersburg Colony of Macedonians. Chupovski was also actively engaged in publishing of the periodical Macedonian and Russian-language publication, “Makedonski Golos” (“Macedonian Voice\"), first issued in 1912.","type":"Ornament; sculpture","holder":"Museum of Macedonia","dates":"Early 20th century","location":"Skopje","author":"Nada Andonovska (author), Dragan Georgiev, historian (consultant)","copy_editor":"Daniel de la Vega","keywords":["President","literary society","sculpture","metalwork"]},"b34a6459-d73e-575a-bf25-d6eeecca51a1":{"name":"*The Opening of the Suez Canal*","short_description":"The artist Pietro Magni studied at the Academy of Brera, travelled to Rome in 1849 and battled for the Roman Republic. His first artwork as mentioned in the author’s biography is *The First Steps*, known though the photographs to have been on display at the International Exhibition in London in 1862. In 1863 the businessman Pietro Revoltella commissioned the artist to create a marble group showing the opening of the Suez Canal, now in the Revoltella Museum in Trieste. It shows how important the project was for the commissioner, confident that the new opening toward the East would offer economic advantages to his city. Unfortunately he died two months before seeing the Suez Canal completed. The sculpture shows a classical allegory with Europe uniting the Mediterranean Sea and the Red Sea, behind them the genius of commerce with winged feet indicating the canal the unifies Europe and Asia.","type":"Sculpture","holder":"Revoltella Civic Museum","dates":"1863","location":"Trieste","dimensions":"190x140 cm","provenance":"Italy","artist_birthdate":"1817","artist_birthplace":"Milano","artist_deathdate":"1877","artist_deathplace":"Milano","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Sculptors","route","travel","waterway","Austria","Lloyd","Assicurazioni Generali","Bourse","Adriatic","Egypt","Said","Ismail","Pasha","Ferdinand de Lesseps","Suez Canal Company","Compagnie universelle du canal maritime de Suez","vice-president","Cairo","India"],"materials":["Marble"]},"b3644b51-f021-58b2-9968-b330cbd36614":{"name":"Jar-stand","short_description":"This jar-stand or *kilga* was carved out of one massive block of marble. It rests on four horn-shaped feet joined by single mihrab-shaped arches. The sides are carved with muqarnas, the third side and the corners with bold trefoils. The border of the lower part is decorated with an inscription repeating the phrase *al-baraka al-kamila* (perfect blessing).  \nThe upper part is designed to hold a water jar made of unglazed earthenware and a receptacle at its lower front side. The porous material of the jar cools the water through evaporation. The porous material of the unglazed jar served as a filter. The water was collected in the lower basin and had the quality of drinking water. *Kilgas* were found in well-equipped households or were part of public endowments such as public water fountains or mosques.","type":"Stone work","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 5th-6th century / AD 11th-12th century","location":"Bamberg","dimensions":"Height 31.2cm, Length: 50.8cm","method_for_datation":"Marble jar-stands of this particular design were characteristic for Fatimid and Ayyubid Egypt and are found nowhere else.","provenance":"Egypt","obtention":"Acquired at Sotheby's London 1987","bibliography":"Knauer, Elfriede R., Marble Jar-Stands from Egypt, *Metropolitan Museum Journal*, 4 (1979): 67–101.  \nO'Kane, Bernard and Abbas, Mohamed, *The Illustrated guide to the Museum of Islamic Art in Cairo*, Cairo: American Univ. Cairo Press, 2012: 63, 150-151.","dynasty":"Fatimid","author":"Verena Daiber","copy_editor":"Daniel de la Vega","keywords":["Jar-stand","kilga","marble"],"materials":["Carved marble"]},"b3b65730-0a51-56dc-a29d-497a32b57535":{"name":"Stucco stained-glass window.","alternate_name":"*Qamariyya* (skylight); *shamsiyya* (window)","description":"A large arched rectangular stained-glass window with a wooden frame of 7.5 cm wide. It also has two interior frames of stucco that are each 5 cm wide. Together the frames contain the entire window. Flanking the two plaster frames is a decorative band that is 10 cm wide. The window has 10 decorative elements, consisting of one-, two-, three- or four-leafed blossoms. Circles with a fan-like circumference divide these units from each other.  \nThe principal decorative scheme of the window consists of an upper section and a lower one connected by a circle. In each section there are 14 circles; each of which has a circumference of 20 cm. The circles encompass vegetal decoration in the form of bifurcating branches, which surround the interior circumference of each section and meet above it. The decoration in the upper section includes the text of the *Basmala* (“In the name of God …”) and in the lower section, a verse from “Surat al-nisa'” “Chapter of the Women” (4: 125), which reads “Allah did Take Abraham for a Friend”. The epigraphic inscriptions are coloured in white glaze to accentuate them.  \nThe manufacture of stucco windows inset with stained glass requires a number of stages. The first stage is the preparation of a solid wooden frame to contain the finished window. Liquid plaster is then poured into the frame and left to dry completely. The window is then placed on an iron mount where an imprint of the decoration is made on the surface of the plaster. This can be done by transferring the design from a sheet of tracing paper with the use of a needle and lead filings, and then using a cutting tool. The carving is done directly on to the plaster by hand with the use of precision tools. The work is extremely exacting as the plaster is fragile, making the window vulnerable to damage. The carving is done at a level of deflection of 45 per cent, allowing light to fall at the centre of the mosque hall. The glass is slotted into the empty spaces from the back. Finally, the window is transferred from the workshop to the site where it is mounted. To produce a window such as this would take between nine and 12 months.","short_description":"The windows at al-Aqsa Mosque and the Dome of the Rock as well as other religious buildings are made from plaster and coloured glass. This window from al-Aqsa Mosque is adorned with vegetal, geometric and epigraphic decoration. The fragility of these windows has led to their being replaced almost every century.","type":"Stucco, glasswork","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif","initial_owner":"Al-Aqsa Mosque.","dates":"Hegira 12th century / AD 18th century.","location":"Jerusalem","dimensions":"Height 288 cm, width 166 cm, depth 9.5 cm.","method_for_datation":"The date of the object was established by analysis of its decoration, and by comparison with other similar windows that had already been reliably dated, some of which are preserved at the Islamic Museum, while others remain *in situ* at the Dome of Rock and al-Aqsa Mosque.","method_for_provenance":"Jerusalem was narrowed down as the place of production as a stained-glass stucco-window workshop is still operational at the Haram al-Sharif to this day. Furthermore, a window such as this would have been difficult to transport due to their extreme fragility, so it is likely to have been crafted *in situ*.","provenance":"Jerusalem.","obtention":"The window was transferred from al-Aqsa Mosque to the Islamic Museum during restoration of the mosque after a fire in 1969.","bibliography":"Flood, F. B., “The Ottoman Windows in the Dome of the Rock and al-Aqsa Mosque”, in S. Auld and R. Hillenbrand (eds), *Ottoman Jerusalem*, London, 2000.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["stained-glass","stucco","vegetal decoration"],"materials":["Wood, plaster (stucco) and stained-glass crafted using casting, carving and mounting."]},"b72e7f3c-1702-565a-9c32-720167e16639":{"name":"*Maria Immaculata*","description":"This marble figurine, signed by Schletterer, corresponds with the popular type of Immaculate Virgin that evolved during the Catholic revival: the Virgin is at prayer atop a globe and a crescent moon, while she stands on the head of a serpent that symbolises evil. The slender female figure is modelled in a slight S-curve; her compact silhouette determined by the cloak. This feature, along with her charming face and the picturesque details such as the *putto* hiding beneath the drapery, derive from a Viennese variant of the arsenal of Late Baroque Venetian sculpture. The most notable representative of this trend in the imperial city of Vienna was Lorenzo Mattielli, while the leading master of the classical style was Georg Raphael Donner. Both artists influenced the oeuvre of the Tyrolese sculptor, Jakob Christoph Schletterer, who passed down his increasingly sophisticated classicistic style to subsequent generations during his long tutorship at the Academy of Fine Arts in Vienna. In the main, Schletterer made altar sculpture and reliefs for monastic churches in Lower Austria, but sepulchral monuments are also known to be by his hand. His documented works in Hungary – the Virgin Column in Sopron made after Andrea Altomonte's plans in 1745, and the garden statues at Darufalva (Drassburg) from 1758 – suggest that he probably delivered other works to Transdanubia. This signed, white marble *Immaculata* from Esterházy Castle, today at the Hungarian National Gallery in Budapest, is a more animated Rococo variant of the garden statue in Darufalva (Drassburg). In the collection of the Hungarian National Museum there is a similar Immaculata figurine, produced in Tata and transferred from the Cistercian abbey in Zirc, which also dates to the 1750s.","short_description":"As a follower of Georg Raphael Donner and a professor at the Academy of Fine Arts in Vienna, Schletterer’s monumental works are found throughout Hungary (Győr, Sopron and Drassburg). This small, signed sculpture belonged to the Esterházy family in Tata.","type":"Sculpture (figurine)","holder":"Kuny Domokos Museum, Tata","initial_owner":"Count Ferenc Esterházy","dates":"c. 1758","location":"Tata, Nyugat-Magyarország / West Hungary","dimensions":"H: 46 cm","place_of_production":"Tata","method_for_datation":"By the signature","provenance":"Count Ferenc Esterházy, Esterházy Castle, Tata","obtention":"From the collection of Count Ferenc Esterházy at Esterházy Castle, Tata; Kuny Domokos Museum, Tata","bibliography":"*Barokk művészet Közép-Európában. Utak és találkozások* (Crossroads: Baroque Art in Central Europe) exhibition catalogue, (ed. G. Galavics), Budapest, 1993, pp. 421–424.","artist_birthdate":"1699","artist_birthplace":"Wenns, Tyrol","artist_deathdate":"1774","artist_deathplace":"Vienna","author":"Anna Jávor","copy_editor":"Terézia Bardi","translator":"Judit Pokoly","translation_copy_editor":"Mandi Gomez","keywords":["academy","Andrea Altomonte","Cistercian","Count Ferenc Esterházy","Esterházy","Georg Raphael Donner","Jakob Christoph Schletterer","Madonna","marble","religious orders","Rococo","teaching"],"materials":["Marble, carved"]},"b9e5d59c-90cf-5a1d-80ec-21247c2e8944":{"name":"*St. Francis Xavier and St. Ignatius of Loyola*","description":"Saint Ignatius of Loyola was the main founder and the first Superior General of the Society of Jesus, a religious order of the Catholic Church professing directly to the Pope a vow of obedience, as far as missionary duties were concerned. The early Jesuits were sent by Ignatius to pagan lands where they could work on the propagation and strengthening of the Catholic faith. Among them was St. Francis Xavier. He had studied at the same college as St. Ignatius in Paris and helped him plan the foundation of the Society of Jesus. St Francis was sent to Lisbon in 1540 principally because King D. João III wanted him to serve in India.  \nIn a short period of 10 years (1542–1552) he converted people from Goa, Ceylon, Malacca and Moluccas, where he established several missionary centres; he also established some others in central and southern Japan. He was buried in Goa where is body is still enshrined at the Basilica of Bom Jesus. He continues to be considered the greatest missionary since the Apostles.  \nChristianity was expanded by St. Francis Xavier's work as a missionary and by his apostolic zeal. He became a model of holiness and an instrument of evangelisation against other confessional denominations.  \nThe floral and vegetal motifs that adorn these two sculptures have their origins in oriental art. Commissioned during Portuguese rule in Asia the sculptures are the result of the exchange of knowledge and ideas, techniques and materials from both cultures. The technical expertise reached by both Chinese and Japanese artists allowed their elite cosmopolitan styles to be linked together, and their patrons and the merchants who dealt with their work, to discover new art markets.","short_description":"According to the austerity of Counter-Reformation rules, the Society of Jesus ordered a simplified interior design for the Church of São Roque, which included the Asian-influenced painted wooden sculptures *St. Ignatius of Loyola* and *St. Francis Xavier*.","type":"Sculpture","holder":"Lisbon's Holy House of Mercy / Museum of São Roque","owner":"Santa Casa de Misericórdia, Lisbon / Museum of São Roque","initial_owner":"Society of Jesus","dates":"c. 1600 (?)","location":"Lisbon, Lisbon","dimensions":"H: 114 cm; w: 44 cm; depth: 35 cm / H: 113 cm; w: 40 cm; d: 34 cm","place_of_production":"Lisbon (?) Japan (?)","method_for_datation":"Attributed by Teresa Morna and Francisco Lameira in *Escultura: Colecção de Escultura da Misericórdia de Lisboa, Século XVI ao Século XX* Lisbon, 2000; 2005.","provenance":"Church of São Roque","obtention":"Society of Jesus","bibliography":"Caetano, J. O., *Pintura – Séc. XVI ao Século XX - Colecção de Pintura da Misericórdia de Lisboa*, Tomo I, Volume V, Lisbon, 1998.  \nSerrão, V., *a Lenda de S. Francisco Xavier pelo pintor André Reinoso*, Lisbon, 1993.  \nMorna, T. F., *Escultura: Colecção de Escultura da Misericórdia de Lisboa, Século XVI ao Século XX*, Lisbon, 2000, Nos 16–19.  \nHenriques, A., Marques, M., *São Francisco Xavier – Vida e Lenda*, Lisbon, 2006.","author":"Antonio Meira Marques Henriques","translator":"Antonio Meira Marques Henriques","translation_copy_editor":"Mandi Gomez","keywords":["Jesuit mission","miscegenation","pilgrimage","Romano-Iberian wooden sculptures","Society of Jesus"],"materials":["Wood, painted and gilded"]},"bad4cf07-fa59-5807-ad90-cd911e6be4ac":{"name":"*St. Thaddeus Jude*","description":"This sculpture portrays the saint in a state of self-absorption and contemplation. With the head slightly tilted towards the right shoulder, the shape is defined by a picturesque cloak inventively arranged on the chest to cascade over a plain, low pedestal. The rich folds of the gown are partially obscured by a medallion with a profile of Christ, while the iconography identifies the bust as St. Jude Thaddeus, a close relative of Jesus and disciple to Him. Jude Thaddeus brought a portrait of Christ’s face to the king of Edessa (the Image of Edessa). Jude died a martyr’s death in Persia or Phoenicia and is often represented by the attribute of the club that killed him. St. Thaddeus Jude is patron saint of the desperate and of lost or forgotten causes. The silver surface of the bust accentuates its spiritual, melancholic aura.  \nThe Provincial Museum in Olomouc owns a similar sculpture of a female figure with a ribbon in her hair. Presumably both busts are fragments of a larger series, the remainder of which are missing. Their “distant” inspiration may have been Bernini’s prestigious portraits.  \nZahner probably came to Olomouc via Vienna, after an apprenticeship to his father in Würzburg. In the 1740s he was assigned a particularly significant task, taking up the sculpted decoration of the Holy Trinity Column in Olomouc.  \nWith more demanding commissions, Zahner was assisted by Jan Kammereit, Wofgang Träger and Jan Michael Scherhauf. The work of this Bavaria-trained sculptor was received with great acclaim in Moravia.","short_description":"This sculpture portrays the saint in a state of self-absorption and contemplation. The rich folds of the gown are partially obscured by a medallion with a profile of Christ and the iconography identifies the bust as St. Jude Thaddeus. A. Zahner also created the UNESCO monument, Holy Trinity Column in Olomouc.","type":"Sculpture","holder":"Moravian Gallery, Brno","owner":"Provincial Museum, Olomouc","dates":"Before 1730","location":"Governor’s Palace, Brno, Moravia","dimensions":"h: 73 cm","place_of_production":"Olomouc","method_for_datation":"The attribution of this originally anonymous carving to Zahner was determined, in particular, by the characteristics of the saint: chiselled nose and sunken eyes, which resemble Zahner’s earlier works. His work is typified by an effort to transcribe the mental disposition of his figures.","obtention":"Acquired after 1945, provenance unknown.","bibliography":"Miloš Stehlík, Slohová podstata sochařského díla Ondřeje Zahnera, *Opuscula Historiae Artium* F 42, 1998, pp. 7–26.  \nVlasta Kratinová, in: Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, pp. 172–173, cat. 49.","artist_birthdate":"1709","artist_birthplace":"Ettershausen","artist_deathdate":"1752","artist_deathplace":"Olomouc","copyright":"Copyright images: Moravská galerie v Brně, Vlastivědné muzeum Olomouc.","author":"Zora Wörgötter, Vlasta Kratinová","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Abgar of Edessa","Bernini","Bust","religious object","sculpted wood"],"materials":["Wood, silver-plated"]},"bd055ba2-904e-5725-948d-558c018101af":{"name":"Fragment of wall decoration.","description":"Fragment of wall-cladding made of *timchent* (local plaster) sculpted in the form of floral decoration spread over three registers separated by three frames formed of flat fillets that are themselves separated by a milled edge. In the lower register are four columns surmounted by arches in the form of rose pateras that are composed of nine very geometric palm leaves. The decoration of the second register employs symmetrical trefoil leaves that evoke a spread of vine leaves attached to their stems by large peduncles; the latter are perforated with circular holes forming lower lobes. The stems, linked to the perforated peduncles, recoil into hooks and join back on themselves to form rings.  \nOnly a small fragment of decoration remains to be seen on the upper register, composed of stylised leaves covering the whole surface.  \nThis fragment was discovered in three pieces and was then reconstructed.  \nThe sculpture was executed with the aid of an iron blade acting on the *timchent* while it was still soft. According to H. Saladin, this local plaster derived from limestone peculiar to the region was 'applied onto cob or roughstone walls'.  \nThis sculpted fragment is only one part of a wall-cladding that ornamented the wall of a room in a palace.","short_description":"Fragment of sculpted wall-cladding with floral decoration divided between three sections separated by flat or granulated lines. In the lower part, four columns support rosette-shaped arches, while in the upper part stylised leaves stretch up to the top section, of which little remains.","type":"Wall decoration, plaster","holder":"National Museum of Antiquities and Islamic Arts","dates":"Hegira 296–467 / AD 909–1074.","location":"Algiers","dimensions":"Length 71 cm, width 57 cm, thickness 5.5 cm.","method_for_datation":"From study of the inscription that features on a frieze found in the same palace. According to G. Marçais, the *kufic* characters of this inscription could date back to the '11th century and resemble those in Kairouan', which dates this fragment to the 5th / 11th century.","method_for_provenance":"The fragment was discovered in a palace in Sedrata following the report published in the *Comptes rendus de l'Académie des inscriptions et belles-lettres* in 1952.","provenance":"Sedrata, Algeria.","obtention":"Archaeological repository (van Berchem excavations, 1952).","bibliography":"Bermúdez Pareja, J., ”Crónica Arqueológica de la España Musulmana”, *Al-Andalus,* Vol. XX, 1955, pp.407–52.  \nMarçais, G*., L'architecture musulmane d'Occident*, Paris, 1954.  \nSaladin, H., *Manuel d'art musulman. L'architecture*, Paris, 1907.  \nVan Berchem, M., “Deux campagnes de fouilles à Sédrata en Algérie”, *Comptes rendus de l'Académie des inscriptions et belles-lettres,* 1952, pp.242–6.  \nVan Berchem, M., “Deux campagnes de fouilles à Sédrata (1951–1952)”, *Travaux de l'Institut de recherches sahariennes*, Vol. X, 1953, pp.123–38.","dynasty":"Rustamids of Sedrata","author":"Houria Cherid","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["architectural decoration","geometric decoration","palatial architecture","plaster","Rustamid","sculpture","timchent","Wall-cladding"],"materials":["Sculpted local plaster (timchent)."]},"be5014f2-b4bb-570b-94a8-c7b05ca72a9f":{"name":"Untitled","description":"Sculpture of two blocks, designed for assembly and composed of horizontally-overlapping glass sheets. A signature of “TE85” appears on the upper part of the piece. Torres Esteban’s work is often characterized by this use of green, cut and cold-glued industrial plate glass. The form of the piece is also typical of the artist’s style. Here we see an interest in volume, with luminescent and kinetic effects that show the influence of Eusebio Sempere.  \n  \nThe work of Joaquín Torres Esteban is associated with the Studio Glass Movement, which originated in the United States and spread internationally. Torres Esteban is one of the pioneers of laminated glass sculpture in Spain. Throughout his glassmaking career, he participated in numerous international events and organized VICOINTER’83, an international contemporary glass exhibition in Valencia.  \n  \nIn 1986, the National Museum of Decorative Arts dedicated a monographic exhibition to Torres Esteban, after which the artist donated this piece.","type":"Glass and crystal; sculpture","holder":"National Museum of Decorative Arts","dates":"1985","location":"Madrid","dimensions":"Height: 23cm, Length: 15.5cm, Width: 15.5cm","method_for_datation":"Artist’s signature and accompanying reference to date of piece; donation record and artist’s monographic exhibition at the museum","method_for_provenance":"Donation record and artist’s monographic exhibition at the museum","provenance":"Madrid, Spain","obtention":"Donation of the artist following participation in a monographic exhibition at the National Museum of Decorative Arts","bibliography":"Giménez Raurell, María Cristina, \"Escultura y vidrio: España (1975-1995), New Glass Movement\" (unpublished doctoral thesis, directed by: Dr. José Martín Martínez) Universidad de Valencia: 2015.","dynasty":"Contemporary Period","author":"Celia Diego Generoso","copy_editor":"Janice Medina","translator":"Autumn Linn","keywords":["Laminated glass","sculpture","Studio Glass Movement"],"materials":["cut, polished, cold-glued","Laminated glass"]},"bf493827-b9c5-5274-9a0c-39fb761a93e1":{"name":"Figurative architectural fragment.","description":"An architectural fragment with figures made of limestone and carved in low relief. It is rectangular in shape, with two crowned arches on the bottom side. On the upper section there are various figures in rectangular cartouches. In order, these include symmetrically placed birds, human figures, peacocks, and winged lions (griffins). The birds are shown in profile; their upper parts each have a rosette motif. The human figures each hold a rosette in one hand and an object resembling a ball in the other. They are shown from the front, sitting cross-legged in the traditional Turkic posture of authority. The peacocks, shown in profile, have tails which end in volutes and bodies with rosettes on them. The griffins face each other in a walking stance and have the characteristics of Seljuq lions: their hind feet are on the ground, while one of their front feet is drawn back toward the body at chest level, and the other is extended forward. The upper part of each griffin's body has a wing motif which extends upward from the front leg. Their tails pass between their hind legs to end above the body. Two bird motifs (eagles) are seen at the tops of the arches. The eagles have thick beaks, pointed claws, and short tails; the one on the right is broken at body level.  \n  \nThe arches are like those found in Artuqid architecture, with their crowns of sharp 'teeth' and the spiralling columns that support them. Between them, surrounded by a chain-motif border, is an inscription in *naskhi* script. The inscription reads, 'May the owner's honour and fortune continue. May God make his life and those of his *amirs* long'. Below the inscription are two kneeling figures holding spears in their hands and facing each other. Between them is a spiralling column. These figures, which we can identify as the guardians of the Tree of Life, are a symbolic expression rooted in shamanistic beliefs.  \n  \nThe inscription suggests that the object may have come from a tomb or a charitable structure such as a fountain.","short_description":"Anatolian Seljuq stonework of the AH 6th–7th / AD 12th–13th centuries displays extensive figurative decoration. Human and animal figures assuming symbolic meanings from pre-Islamic faiths are rendered exhibiting central Asian influences both in technique and style.","type":"Fragment, stone","holder":"Museum of Turkish and Islamic Arts","dates":"Hegira 7th century / AD 13th century","location":"Sultanahmet, Istanbul","dimensions":"Height 55 cm, width 96.5 cm, depth 7 cm.","method_for_datation":"There is no documentary evidence indicating exactly where the object was produced or found, however, the composition, placement of figures, symbolic meaning, technique and architectural elements, as well as the fact that the craftsmanship exhibits all the characteristics of 7th / 13th century Artuqid work, allow us to date the object to that period.","method_for_provenance":"Inventory documents indicate that the object was initially brought to the Tiled Pavilion (çinili Köşk), from Diyarbakır. For this reason it is probable that the object was produced in southeastern Anatolia, in Diyarbakır or the region around it.","provenance":"Southeastern Anatolia (probably Diyarbakır), Turkey.","obtention":"The object was transferred from Diyarbakır to the Tiled Pavilion (çinili Köşk), Istanbul, in 1898 as part of the 19th-century initiative to collect artworks from across the country. The object was transferred to the Museum of Turkish and Islamic Arts in 1941.","bibliography":"Glück, H., Diez, E., *Die Kunst des Islam*, Berlin, 1925, p.236.  \n  \nOgan, A., Kühnel, E., *İstanbul Arkeoloji Müzelerindeki Şaheserler, Vol. 3: çinili Köşk'te Türk ve İslam Eserleri Koleksiyonu*, Berlin-Leipzig, 1938, p.36.  \n  \nölçer, N. *et al, Museum of Turkish and Islamic Art*, Istanbul, 2002, pp.103-5.  \n  \nöney, G., “Artuklu Devrinden Bir Hayat Ağacı Kabartması Hakkında”, *Vakıflar Dergisi*, VII (1968) Istanbul, pp.117–20.","dynasty":"Artuqid period","author":"Gönül Tekeli","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez","keywords":["animal decoration","Chain motif","figurative decoration","human representation","imaginary animal","Limestone","low relief","relief","stone carving","zoomorphic imagery"],"materials":["Carved limestone (low relief)."]},"c148a3a5-ac87-5785-bf74-013a0b3503df":{"name":"Parts of the St. Mary and St. Ladislaus altarpieces from Zagreb Cathedral","alternate_name":"St. Mary and St. Ladislaus altarpieces","description":"The museum's altarpiece composition comprises parts of two altarpieces, that of St. Mary and St. Ladislaus. It has a central niche from the altarpiece of St. Mary – decorated with acanthus leaves, putti and bunches of fruit – within which the statue of Mary with the Child Jesus in her arms is standing on a half-moon entwined by a serpent. In front of the niche stand the statues of St. Ladislaus, the King, and St. Emeric, the Duke, which belonged to the altarpiece of Ladislaus.      \nThe composition, flanked by carved consoles attached to the wall, has the same ornamental decoration as seen in the central niche of the altarpiece of St. Mary; the consoles used to support painted altarpiece wings. Above them are the statues of the four evangelists, which were originally in the niches of the predella panel of the altarpiece of St. Ladislaus.  \nIn a contract of 1686, the sculptor from Ljubljana, Ivan Komersteiner, agreed to make the altarpiece of St. Mary for the apse of the north aisle of Zagreb Cathedral. In another contract of 1688, he agreed to make its pair, the altarpiece of St. Ladislaus, for the apse on the south aisle. Komersteiner was already a citizen of Zagreb with a workshop in Zagreb's Kaptol.    \nThe two altarpieces were identical in design: winged altarpieces with painted panels showing scenes from the Life of Mary on the altarpiece dedicated to her, with statues distributed on two levels and in the attic. Painted panels depicting scenes from the Life of St. Ladislaus decorated the altarpiece dedicated to him, with appropriate statues. While the wings from the altarpiece of St. Mary were destroyed those from the altarpiece of St. Ladislaus are kept in Zagreb City Museum.     \nSt. Ladislaus, the King of Hungary, was responsible for the foundation of the Zagreb Diocese.  \nKomersteiner was responsible for the statues and woodcarving. Ivan Eisenhort and Bernardo Bobić collaborated on the painting and gilding of the altarpieces, while Matijaž Erlman began the work on the architecture for the altarpiece of St. Mary.  \nThe arrival of the sculptor, Komersteiner, to Zagreb marked the final entrance of the Baroque in the sculpture of continental Croatia. He brought with him as a novelty the ornamental decorative motif of Baroque acanthus, so-called Italian leaves, and his statues anticipate a new style expressed in the mobility of the slender figures of saints in characteristic counterpoise, freeing them from dependence on altarpiece niches.      \nKomersteine's expression in his work has no direct analogies either in Croatia or in neighbouring territories, but the indirect influence of Italian art in his work is undeniable.  \nDuring renovations in 1882, both altarpieces were removed from Zagreb Cathedral.","short_description":"A “composite” altarpiece composition comprising parts from the Altarpieces of St. Mary and St. Ladislaus originally designed for the apses of the north and south aisles of Zagreb Cathedral.  \nDuring renovation of the cathedral in 1882, both altarpieces were removed and partially destroyed in the process. They were made by Ivan Komersteiner, a sculptor who worked first in Ljubljana and then in Zagreb. His arrival in Zagreb marked the final entrance of the Baroque to continental Croatia.","type":"Altarpiece(s)","holder":"Museum of Arts and Crafts","initial_owner":"Zagreb Cathedral","dates":"1686–1688; 1688–1690","location":"Zagreb, North-West Croatia","dimensions":"H: 220 cm; w: 214 cm; d:194 cm","place_of_production":"Zagreb","method_for_datation":"Contracts from 1686 and 1688 in Acta capituli antiqua fasc. 101","provenance":"From Zagreb Cathedral","obtention":"In 1921, the Commission for Education and Religion gave the order to transfer parts of the altarpieces to the Museum of Arts and Crafts to protect the cultural heritage.","bibliography":"Tkalčić, I., *Prvostolna crkva zagrebačka* (Zagreb Cathedral), Zagreb, 1885.  \nBaričević, D., *Kiparstvo manirizma i baroka. Sveti trag, devetsto godina umjetnosti Zagrebačke nadbiskupije 1094–1994*. Katalog izložbe (Mannerist and Baroque Sculpture. The Holy Trail, 900 Years of Art in the Zagreb Archdiocese 1094–1994), exhibition catalogue, Zagreb, 1994.","workshop":"Sculptural workshop of Ivan Komersteiner","artist_birthdate":"Unknown","artist_birthplace":"Unknown","artist_deathdate":"1694","artist_deathplace":"Zagreb","author":"Nela Tarbuk","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["Altarpiece","carved wood","floral decoration","gilding","Madonna","sculpted wood","sculpture","vegetal decoration","workshop"],"materials":["Carved wood, polychrome and gilded"]},"c2f6e9fe-ab29-564b-aeb1-f14417f8e49c":{"name":"*Pietà*","alternate_name":"*Our Lady of Pietà*","description":"With a preference for sculpture of enormous dimensions that entirely occupy the grand gilded altarpieces of the period, Frei Cipriano da Cruz is considered to be the most extraordinary representative of the National Baroque style.  \nHis sculpture was generally based on models that circulated throughout Europe and can be considered within the context of other depictions of the Crucifixion and Passion of Christ. A monk-sculptor, the *Pietà* is one of Frei Cipriano's greatest achievements. It exemplifies a theme widespread in Portuguese art in the 16th and 17th centuries, meeting most of the essential Tridentine ideals.  \nThe *Pietà* belongs to an ensemble of pieces made by Frei Cipriano for the S. Bento Church, which belonged to the college of the Benedictine order in Coimbra and was demolished in 1932.  \nThis ensemble features anatomical details that are typical of Frei Cipriano, in particular the hands and faces. In the *Pietà* Christ's hands are rough with square-shaped finger nails. His face is framed by abundant curly hair; the S-shaped curls are also present in the beard. The Virgin displays a heavy look; she has high symmetrical eyebrows, a long triangular-shaped nose, and thin defined lips.  \nThe heavy and pyramidal structure of the *Pietà* is accentuated by the drapery: the red, blue and gold cloak that completely wraps the figure. The drapery is notable in that its decorative motifs correspond with textiles of the period – elaborate brocades and oriental silks. The drapery and embroidery, generally designated as “upholstery”, were pre-made in resin-wax and were applied to the figure later after painting and finishing.  \nThe motif of the artichoke particularly stands out. It imitates the three-bordered brocade of Spanish and Italian origin and is strategically placed on the Virgin's knee to have the greatest visual impact.  \nAccording to recent research (Alcoforado and Le Gac, 2003) Manuel da Costa Pereira, who was responsible for painting and gilding the *Pietà*, often worked with other painters. Further research about them will bring us closer to understanding the originality of Frei Cipriano da Cruz's sculpture.","short_description":"With a preference for sculpture of enormous dimensions that entirely occupy the grand gilded altarpieces of the period, Frei Cipriano da Cruz is considered to be the most extraordinary representative of the National Baroque style. The Pietà represents one of his greatest achievements.","type":"Sculpture ensemble belonging to an altarpiece structure","holder":"Machado de Castro National Museum","owner":"Museu Nacional de Machado de Castro","initial_owner":"Church and college of S. Bento, Coimbra","dates":"1685–1690","location":"Coimbra, Coimbra","dimensions":"H: 137 cm; w: 152 cm; d: 64.5 cm","place_of_production":"Coimbra","method_for_datation":"Archive documents: carving and gilding contracts","provenance":"Church and college of S. Bento, Coimbra","obtention":"By transfer as a consequence of the extinction of the religious orders.","bibliography":"Smith, R. C., *Frei Cipriano da Cruz, Escultor de Tibães. Elementos para o estudo do Barroco em Portugal*, Barcelos, 1968.  \nMoura, C., “Uma poética da refulgência: a escultura e a talha dourada”, *História da Arte em Portugal*, VIII, Lisbon, 1986.  \nMoura, C., “Frei Cipriano da Cruz Sousa”, *Dicionário da Arte Barroca em Portugal*, ed. J. Fernandes Pereira and P. Pereira, Lisbon, 1989.  \nAlcoforado, A., Le Gac, A., *Frei Cipriano da Cruz em Coimbra*, Coimbra, 2003.  \nAlcoforado, A., “Imagens e símbolos esculpidos”, *Museu Nacional de Machado de Castro-Roteiro*, Lisbon, 2005, pp. 46–68.","workshop":"Portuguese Baroque/Benedictine conventual sculpture","copyright":"Copyright images: Divisão de Documentação Fotográfica/ Instituto dos Museus e da Conservação, I.P.","author":"Ana Alcoforado","translator":"Lili Cavalheiro, Cristina Correia","translation_copy_editor":"Mandi Gomez","keywords":["altarpiece structure","Benedictine order","collection","Madonna","Sculptor","three-bordered brocade","upholstery"],"materials":["Carved wood, gilded and polychrome, with chisel chasing","sgrafitto and embroidery applied to resin-wax."]},"c37ef84c-4918-5c4a-89b2-3c585804a510":{"name":"*Bust of a Saint*","description":"The bust, on an original volute pedestal, arises out of a relatively narrow base widening into a compact chest. The bearded head is that of an old man, with a cloak thrown loosely over the right shoulder. The figure might be St. Hieronymus, one of the church fathers. The pedestal shows that the object was a reliquary.  \n*Bust of a Saint* demonstrates the artist's broad creativity seen not only his technical craft but also in his ability to capture mental states. The ecstatic expression of desire and submission to God is not rough-hewn, but has an elegant, court-like nature manifest in the figure's S-shaped movement and the soft shaping of the volume.  \nLengelacher may have familiarised himself with bust-making in his native Bavaria, or during a stay in Vienna through Giovanni Giuliani, who provided the gallery pews in the Heiligenkreutz Monastery, Lower Austria, with a whole series of busts. Lengelacher probably met Giuliani while working on the decorations of the Belveder in Vienna.  \nIn 1719 Lengelacher settled in Mikulov, where as sculptor to Walter František of Dietrichstein, he created sculpted interior decorations for several south Moravian churches. Lengelacher's *Bust of a Saint* is part of a series of original decorations for altar tables in the Church of St. Michael, Dolní Věstonice, which Lengelacher embellished with stuccoes and carvings. The artist worked there from the 1720s in relation to one of his first major commissions, the Benedictine church in Rajhrad (1727–1734).","short_description":"*Bust of a Saint* demonstrates both the artist's skill as a sculptor and his ability to capture mental states. The ecstatic expression of desire and submission to God is not rough-hewn but has an elegant, court-like nature. The reliquary bust is part of the original altar decorations in Dolní Věstonice.","type":"Sculpture","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","initial_owner":"Church of St. Michael in Dolní Věstonice","dates":"1730","location":"Governor’s Palace, Brno, Moravia","dimensions":"h: 27.2 cm","place_of_production":"Moravia","method_for_datation":"The authorship and dating of the sculpture have been determined by its provenance and confirmed by an analysis of the style.","provenance":"Private collection","obtention":"The bust and its counterpart were purchased in 1913 from a private vendor. It comes from the Church of St. Michael in Dolní Věstonice in South Moravia.","bibliography":"Miloš Stehlík, Moravské dílo Ignáce Lengelachera, in *30 let Krajského střediska památkové péče a ochrany přírody v Brně,* Brno, 1989, pp. 154–174.  \nMiloš Stehlík, in Ivo Krsek – Zdeněk Kudělka (ed) – Miloš Stehlík – Josef Válka, *Umění baroka na Moravě a ve Slezsku*, Prague, 1996, p. 99.  \nVlasta Kratinová, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, p. 166, cat. 42.","artist_birthdate":"1698","artist_birthplace":"Unter Peissenberg","artist_deathdate":"1780(?)","artist_deathplace":"Baden","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Bust","religious object","reliquary","sculpted wood","sculpture"],"materials":["Wood, silver-plated"]},"c38f62f6-12fe-51b9-8cb4-2373b6920841":{"name":"*David*","description":"This is the third group that Gian Lorenzo Bernini undertook for Scipione Borghese, around the same time that he was making *Apollo and Daphne*.  \nIt shows David, the young hero of the Old Testament (the Book of Kings), prophet of Christ, just before he slings his stone at the giant Philistine Goliath. David's attitude would be incomprehensible if we did not perceive our own space as part of the scene. The enemy Goliath is in the same space as the viewer, with Bernini removing the boundary between the sculpture and the space that surrounds it, a space that also encloses us, participants in the scene. The resultant theatrical effect is one of the recurring themes in Baroque art.  \nThe work reveals the influence of modern and ancient sculptural models as well as contemporary painting styles, but the artist affords the whole a new realism. The face, possibly a self-portrait, is concentrated in a moment of high drama. The tension of the imminent action is visible in every muscle of the face and body, suspended between stasis and motion, as well as in the detail of the foot jutting out over the plinth, giving a strong impression of gripping on to it.  \nThe sculpture was backed on to a wall so that the viewer, when entering the room, saw it from the angle intended by the artist: obliquely from the left. This effect was calculated to enhance the plastic tension of the hero and the pictorial value of the sculpture through development of the action by walking around to the front of the statue.    \nThe original base was lost when the work was moved around the Villa over the centuries. The plinth has been enlarged using plaster to suit a taste for greater regularity, but was removed in a recent restoration, restoring the Baroque effect rendered by the structure of the foot.","short_description":"Cardinal Borghese commissioned Bernini to sculpt the David when he was 25 years old. The artist had the intuition to stop the biblical hero just one second before the shot, placing Goliath’s presence in the viewer's space; perhaps a self-portrait of Bernini.","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Cardinal Scipione Borghese","dates":"1623–1624","location":"Rome, Latium","dimensions":"h: 170 cm","provenance":"Borghese Collection","obtention":"The Borghese Collection was acquired by the Italian State in 1902.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al secolo XIX*, Rome, 1954, n.34, pp. 31–34.  \nWittkower, R., *Gian Lorenzo Bernini. The Sculptor of the Roman Baroque*, London, 1955 (ed. Italiana Milano, 1990, cat. 17, p. 239).  \nPreimesberger, R., “David”, in *Bernini Scultore, La nascita del Barocco in Casa Borghese*, exhibition catalogue, Rome, 1998, pp. 204–219.  \nMinozzi, M., Sorrentino M. A., Chilosi M. G., Rockwell P., “David” in *Bernini scultore e la tecnica esecutiva*, Rome, 2002, pp. 164–183.","artist_birthdate":"1598","artist_birthplace":"Naples","artist_deathdate":"1680","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["anatomy","Classical model","marble","movement","self portrait","theatre"],"materials":["Marble"]},"c3bdb147-116b-56ed-8b27-f2a31d87f80f":{"name":"Putto with a winged helmet blowing a horn","alternate_name":"Horn-blowing putto / Putto with crumhorn","description":"The small sculpture was assumedly used as a table decoration in the Augsburg Fugger Palace, the residence of the Fugger family. At the time, wealthy merchants may have felt the influence of Roman mythology and this reason chosen as their symbol the God of Commerce, Travel and Theft, Mercury, who is iconographically reflected by the winged helmet worn by the putto. The aeruginous black bronze figure has been placed in a standing, forward-stepping frontal position on a plinth. The nude body is partly covered by a fluttering cape. With his head raised and chubby cheeks, the Putto is about to sound the crumhorn and to recount the history of the Fugger family to his audience. The impression of effort and determination comes from the gesture of his left arm stretched out with a clenched fist. The front of the helmet has been decorated with the motif of a fire-spitting dragon, which might well represent a symbol of defence.","short_description":"The small bronze figure of a nude Putto sounding a crumhorn and wearing a winged helmet can be regarded as an allusion to Mercury the antique God of Commerce and Travel with the helmet symbolising the world of wealthy merchants.","type":"Small sculpture","holder":"City Museum","initial_owner":"House of Fugger, Augsburg","dates":"c. 1627/30 (possibly later)","location":"Weilheim in Oberbayern, Upper Bavaria","dimensions":"Height 19 cm","place_of_production":"Augsburg","method_for_datation":"Through stylistic analysis of Petel’s work.","obtention":"From art dealers in Munich.","bibliography":"Helm, R., “Putto mit Krummhorn”, *Kunst und Handwerk in Weilheim i.OB*, Stadt Weilheim (City of Weilheim (ed.)), Weilheim i. OB 2000, pp. 78–82.","workshop":"“Weilheim School of sculptors” (with H. Krumpper, H. Degler, C. Angermair, B. Steinle, P. Dirr); an important work of the Early Baroque in Weilheim in Oberbayern because of the pathos displayed by the figures.","artist_birthdate":"1601/2","artist_birthplace":"Weilheim in Oberbayern","artist_deathdate":"1634/5","artist_deathplace":"Augsburg","author":"Reinhardt Helm","translator":"Holger Rhensius, Robert Robin, Wolf Schindler","translation_copy_editor":"Mandi Gomez","keywords":["bronze figure","figural decoration"],"materials":["Bronze, black patina"]},"c3e4b4cd-933f-5d90-8421-12d6189be2e7":{"name":"Stucco stained-glass window.","alternate_name":"*Qamariyya* (skylight); *shamsiyya* (window).","description":"A stucco stained-glass window divided into 21 decorative units of vegetal and geometric motifs and inscriptions. The first unit is composed of a circular “flower” that complements and forms the arch, and which is adorned with a colourful geometric decoration in yellow, turquoise and dark-red glass. Adjacent to this area is a rectangular zone which contains the only inscription on the window. This is a verse from the Qur'an \\[“al-Tawba”\\] (“the Repentance”, 9: 18), which reads: “In the Cause of Allah, They are not comparable in the sight of Allah.” The inscription is carved in an interlaced script of white glass. The surrounding space is filled with simple squares of light-blue glass. Adjacent to the inscription are three squares of equal size. The two side squares are identical, and in the middle of each of them there is an eight-sided star. Both are divided into small pieces of dark-red, green and yellow glass. The middle square contains two polygons of yellow and blue glass; the decorative component transfers thereafter to three long rectangles. The two side rectangles are identical and are decorated with intertwining zigzag lines of blue, yellow and dark-red glass. The middle rectangle takes the form of a flower, out of which emerges an intertwining plant that wraps around three times to resemble a circle, and which is topped by a crown formed from vegetal motifs. The window terminates with three squares that are identical in size, and which resemble those mentioned earlier.  \nThe manufacture of stucco windows inset with stained glass requires a number of stages. The first stage is the preparation of a solid wooden frame to contain the finished window. Liquid plaster is then poured into the frame and left to dry completely. The window is then placed on an iron mount where an imprint of the decoration is made on the surface of the plaster. This can be done by transferring the design from a sheet of tracing paper with the use of a needle and lead filings, and then using a cutting tool. The carving is done directly on to the plaster by hand with the use of precision tools. The work is extremely exacting as the plaster is fragile, making the window vulnerable to damage. The carving is done at a level of deflection of 45 per cent, allowing light to fall at the centre of the mosque hall. The glass is slotted into the empty spaces from the back. Finally, the window is transferred from the workshop to the site where it is mounted. To produce a window such as this would take between nine and 12 months.","short_description":"This stucco window from al-Aqsa Mosque is divided into 11 decorative elements derived from vegetal, geometric and epigraphic forms. The independent elements appear as a collective unit within a wooden frame, which gathers a multiplicity of decorative forms in a number of colours.","type":"Stucco, glasswork","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Al-Aqsa Mosque, Jerusalem.","dates":"Hegira 12th century / AD 18th century.","location":"Jerusalem","dimensions":"Height 325 cm, width 128 cm.","method_for_datation":"The piece was dated by comparison of its style, decoration and form of production with other dated pieces, which are still *in situ*.","method_for_provenance":"Jerusalem was narrowed down as the place of the production of this piece in view of the presence of a permanent workshop for the production of such windows in the Haram al-Sharif. This workshop is still active at the Haram today and was re-established following a fire at al-Aqsa Mosque in 1969.","provenance":"Jerusalem.","obtention":"The piece was transferred from al-Aqsa Mosque to the Islamic Museum in around 1929 during renovation works that took place following an earthquake which struck Jerusalem in 1927.","bibliography":"Flood, F. B., “The Ottoman Windows in the Dome of the Rock and al-Aqsa Mosque”, in S. Auld and R. Hillenbrand (eds), *Ottoman Jerusalem*, London, 2000.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_FR_001; IAM_PA_FR_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["geometric decoration","Mosque interior decoration","stained-glass","stucco","vegetal decoration"],"materials":["Carved wood, plaster/stucco and stained-glass."]},"c41a0993-462a-5165-a2e7-78834dccf500":{"name":"*Bust of Cardinal Domenico Ginnasi*","description":"In 1911 the bust was found in the Carmelite Convent at the Church of Santa Maria della Vittoria, relocated from the Church of SS. Pietro e Marcellino, the seat of the Teresian Nuns. The nuns moved there in 1757, from the convent founded after the death of Domenico Ginnasi in Palazzo Ginnasi in 1639, and they took the bust with them, having always identified it as a portrait of the cardinal.  \nThe work was first attributed to both Bernini and Algardi, before being linked to Giuliano Finelli following comparison with the bust the sculptor made for the cardinal for his funeral monument at S. Lucia dei Ginnasi (the decoration is based on a design by Lanfranco, whose daughter married Finelli).  \nThe sculptor worked with Bernini on several occasions, notably on *Apollo and Daphne* in the Galleria Borghese and the baldachin (large sculpted bronze canopy over the altar) of Saint Peter's. He worked alone from 1629 and joined Rome's artistic circle thanks to the numerous contacts that he was able to make, notably Pietro da Cortona, who in turn introduced him to the Sacchetti family, well known patrons.  \nHis style is characterised by attention to detail, intense skill and psychological depth, but always retaining spontaneity and immediacy, a peculiarity of Bernini's so-called “talking portrait”. The partially unbuttoned *mozzetta* (a short elbow length cape worn by Catholic clergy), the kindly and informal face and the realistic lines are clear evidence of this style.  \nIn relation to this, a *Bust of Cardinal Scipione Borghese* made by Finelli and currently in the Metropolitan Museum of New York, was sculpted at the same time as the Bernini version (1632). In 1634 Finelli moved to Naples, where he developed a portrait style closer to Parthenopean and Spanish taste, preferring distant, official, commemorative portraits. However in the work undertaken at this time for Roman clients, he never completely abandoned his refined virtuosity and keen psychological study, as can be seen in the bust of Cardinal Ginnasi, sculpted in 1639.","short_description":"A pupil of Bernini, Finelli focused his attention on the particular rather than the whole. This tendency prevented Finelli from being a great statuary artist, although it enabled him to evolve a striking flair for portraiture.","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Carmelite Sisters, Palazzo Ginnasi Convent (?)","dates":"1639","location":"Rome, Latium","dimensions":"h: 68 cm","provenance":"Carmelite Convent in Santa Maria della Vittoria","obtention":"Carmelite Convent in Santa Maria della Vittoria, 1911.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al secolo XIX*, Rome, 1954, n.2, p. 10.  \nSanta Maria, P. L., in *voce* “Giuliano Finelli”, in *Dizionario Biografico degli Italiani*, Milan, 48, 1997, pp. 32–34.  \nStefani, C., *Galleria Borghese*, Milan, 2000, p. 385.","artist_birthdate":"1602–3","artist_birthplace":"Massa (Massa–Carrara)","artist_deathdate":"1653","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Algardi","Bernini","Bust","marble","patronage","Portrait","talking portrait"],"materials":["Statuary marble"]},"c4ea2f24-36c4-5686-ab6e-70e5af5815a2":{"name":"Horse and rider","short_description":"The small statue in full relief represents a rider on horseback and it was a vase or a bottle.","type":"Ceramic; pottery","holder":"MAO Museum of Oriental Art","dates":"Hegira 6th–7th century / AD 12th–13th century","location":"Turin","dimensions":"Height 27.5 cm, length 23.5 cm","provenance":"Iran","dynasty":"Seljuq","keywords":["ceramic","pottery","Seljuq"],"materials":["black and cobalt blue decoration under turquoise glaze","Frit body"]},"cbb6bbe3-72b1-5d00-b8a3-fc74f38248d4":{"name":"Sacramento Monstrance","alternate_name":"*Anjo Custódia* do Sacramento","description":"An exceptional example of Baroque workmanship during the period of King João V, the Sacramento Monstrance – also called the *Anjo Custódia “*Angel Monstrance” – assumes the form of an Atlantis angel, a figure that is sometimes incorporated into the lower part of gilded wooden altarpieces. In this particular case the Atlantis angel appears free; instead of the usual representation as a pillar sustaining a globe the angel holds a radiant sun. Theatrical tension is undoubtedly achieved with the decoration of the piece itself, but the monstrance would have been surrounded by the gilded wood of the sacred space of the high altar and the aim would have been to increase the emotional and devotional fervour of the congregation and lead them to contemplate the divine light of truth and its beauty.  \nSymbol of the Church Triumphant, the monstrance is a splendid composition of contrasting effects: dynamic lines and imposing shape – the result of which sees the elegant sculptural angel in polychrome and gilded wood – and the resplendence of silver, colour and glinting of both the enamel and glass.  \nThe kneeling angel holds a spherical, smooth and polished monstrance enveloped in a corona of silver rays. Surrounding the *luna* – the space where the host is kept and exhibited – are Eucharistic symbols enhanced by brightly coloured enamel work, and mounted over a circular base with eight ornamental silver-gilt cherubs. Vegetal motifs and coloured glass form flowers to complete the decoration. The monstrance presents a municipal contrast between the silver from Lisbon (L), in use since 1690, and the incomplete hallmark of an unidentified goldsmith from Lisbon, whose initials were LRP, and who was active between the end of the 17th century and the first half of the 18th century.","short_description":"Holding the solar sphere made out of silver – glowing with the true Word of God – the Atlantes angel is supposed to increase the emotional and devotional fervour of the congregation and lead them to contemplate the divine light of truth and its beauty. This piece was probably the highlight of the gilded wood high altar at Sacramento Convent in Lisbon.","type":"Metalwork","holder":"Machado de Castro National Museum","owner":"Museu Nacional Machado de Castro, Coimbra","initial_owner":"Santíssimo Sacramento Convent, Lisbon","dates":"First half of the 18th century","location":"Coimbra, Coimbra","dimensions":"H: 222 cm ; w.: 162 cm","place_of_production":"Lisbon","method_for_datation":"This goldsmith’s hallmark first appeared in the early part of the decade of 1690 and continued to appear throughout the first decades of the 18th century. The technical and stylistic affinities of both the figure of the Atlantis angel and the polychrome allow the monstrance to be placed within the Baroque style during the reign of João V (1707–1750).","provenance":"Santíssimo Sacramento Convent, Lisbon","obtention":"The monstrance came originally from the Santíssimo Sacramento Convent in Alcântara, Lisbon. Founded in 1612, the convent belonged to the female branch of the Dominican order and was closed after the death of the last nun in 1897. The monstrance was transferred to Coimbra in 1914 where it became part of the gold and silverware collection of the National Museum of Machado de Castro.","bibliography":"Gonçalves, A. N., *Catálogo do Museu Machado de Castro*, Coimbra, 1940, p. 50, cat. 272.  \nAlmeida, F. M. de, *Inventário de Marcas de Pratas Portuguesas e Brasileiras. Século XV a 1887*, Lisbon, 1993, p. 78 (L-17A) and p. 149 (L-402A).  \nTeixeira, J., de Monterroso, “Custódia do Sacramento” in The Age of the Baroque in Portugal, (ed. J. A. Levenson), New Haven–London, 1993, pp. 286–288.  \nAlves, F., Ferrão, P., *Alfaias de culto, símbolos de prestígio*, Lisbon, 2005, p. 84.","copyright":"Copyright images: Divisão de Documentação Fotográfica/ Instituto dos Museus e da Conservação, I.P.","author":"Fernanda Alves, Pedro Miguel Ferrão","translator":"Lili Cavalheiro, Pedro Miguel Ferrão","translation_copy_editor":"Mandi Gomez","keywords":["Atlantes angel","goldsmiths","luna","monstrance","religious object"],"materials":["Monstrance: chiselled silver with relief, enamel and glass","sculpture: gilded and polychrome oak."]},"cc3b74af-a7c4-51db-b788-69489a7072e4":{"name":"*Proximus tuus* \\[Latin: Your Neighbour\\]","short_description":"In 1880 Achille D’Orsi submitted two artworks, including *Proximus Tuus*, to the National Exhibition of Fine Arts in Brera. The sculpture of *Proximus Tuus* made D’Orsi famous as a member of the Italian “Verismo” school of painting. The misery and harshness of fieldwork is represented for the first time in sculpture to denounce the consequences of the brutalisation of the human beings. This clear social denunciation created the emergence of a huge debate over this issue. The body and the facial expression of the peasant exhausted by labour became a symbol of the working class. The sculpture makes a plea for sympathy and pity for the worker right from the work’s title, expressed in Latin. The subject of the painting has been reproduced and copied several times in order to produce greater awareness over these problems.","type":"Sculpture","holder":"National Gallery of Modern Art (GNAM)","dates":"1880","location":"Rome","dimensions":"106 x 120 x 135 cm","provenance":"Italy","artist_birthdate":"1845","artist_birthplace":"Naples","artist_deathdate":"1929","artist_deathplace":"Naples","copyright":"Copyright image: Soprintendenza alla Galleria Nazionale d'Arte Moderna e Contemporanea.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Italian sculptors","realism","Positivism","Verismo","social topics","post-unitarian Italian society","health","work","rights of workers","peasant","agriculture","working class","social changes","reforms","life expectancy","poverty","literacy","illiteracy","labour"],"materials":["Bronze"]},"cd05b644-c357-52ab-89b2-eb3a5e54560e":{"name":"Parian ware colossus","short_description":"Figurines based on the Assyrian sculptures were popular collecting pieces. Owners displayed their interest current events. Buyers included the rich and famous, as well as museums. These Parian ware figurines were also exhibited. Winged bull.","type":"Ceramic","holder":"The British Museum","dates":"1882","location":"London","provenance":"United Kingdom","keywords":["Assyrian revival"]},"ce2320b1-90a7-587e-a23e-2b91e7aba0bb":{"name":"Tomb relief from Palmyra","short_description":"Late antique relief of a woman and a man from Palmyra. This relief was given to the Imperial collection by k.k. Legationsrat Dr James Samson, an Austrian diplomat in the Ottoman Empire.","type":"Sculpture","holder":"Kunsthistorisches Museum, Collection of Greek and Roman Antiquities","dates":"AD 3rd century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Palmyra","Syria"],"materials":["Stone"]},"cee9abc9-7697-5210-9e9a-510d6ec672a0":{"name":"Model for a male saint (St. Paul?)","description":"The small sculpture without a colour setting was originally used as a model for an assistant figure on an altar which is still unknown. Its strong impression, influenced by the sculptor J. B. Straub, resembles the laterally reversed large figure of *St. Joachim* which is part of the high altar of the monastery church of Fürstenfeld. The sculpture is considered to resemble the Apostle Paul, which iconographically is typified by the full beard and the large folio held on the left thigh. The dressed figure with a greatcoat has been placed in a standing position, with bare feet, right leg on the ground, and the left foot gaining a foothold on a rock. While the left arm is stretched out ahead and to the side with (the now lost) hand in an instructive attitude, the head is slightly raised and the lips are closed. The plinth is of modern origin.","short_description":"The small sculpture without a colour setting was originally used as a model for an assistant figure on an altar. Despite the small size of the figure its impression is astonishingly monumental.","type":"Small sculpture","holder":"City Museum","dates":"Third-quarter of the 18th century (possibly later)","location":"Weilheim in Oberbayern, Upper Bavaria","dimensions":"Height 41 cm","place_of_production":"Weilheim in Oberbayern","method_for_datation":"Stylistic analysis of Schmädl’s work.","obtention":"From art dealers in Munich.","bibliography":"Helm, R. “Prophet oder Apostel”, *Kunst und Handwerk in Weilheim i.OB*, Stadt Weilheim (City of Weilheim (ed.)), Weilheim i. OB 2000, pp. 68–70.","workshop":"“(Late) Weilheim School of sculptors”; one of Schmädl’s most accomplished sculptures","artist_birthdate":"1705","artist_birthplace":"Oberstdorf","artist_deathdate":"1777","artist_deathplace":"Weilheim in Oberbayern","author":"Reinhardt Helm","translator":"Holger Rhensius, Robert Robin, Wolf Schindler","translation_copy_editor":"Mandi Gomez","keywords":["model","religious object"],"materials":["Lime-wood"]},"cfd3dc7b-5257-57f1-9440-8273cb0c0104":{"name":"*At The Well*","type":"Painting","holder":"National Museum of Oman","owner":"National Museum of Oman","dates":"AH 1431–32 / AD 2010","location":"Muscat","dimensions":"Height: 51 cm, base length: 24.5 cm, base width: 21.7 cm","place_of_production":"Oman","provenance":"Collections of Sultan Qaboos bin Sa’id al Sa’id","artist_birthdate":"AD 1965","artist_birthplace":"Zanzibar Island","copy_editor":"Alvaro Miranda","materials":["Bronze and wood"]},"cfe04c10-c802-5c71-9567-60d035ba26a9":{"name":"Head of St. Philip Neri","description":"This head modelled in wax is considered a replica of a bronze in the collection of the Rhode Island School of Design in Providence, made by Alessandro Algardi around 1640. Another bronze version is in the Galleria Nazionale d'Arte Antica in Rome. These bronzes were made a few years before the artist was charged with the statue in marble of St. Philip Neri for the sacristy of Santa Maria in Vallicella, in Rome (1635–38). For this commission Algardi carefully studied the death mask of the saint, dead in 1595 and sanctified in 1622. The saint's face is strained by old age and suffering but shows deep humanity, humility and the extraordinary strength of a man near to God. Its classicising features make it similar to an antique portrait.  \nAlgardi, a pupil of Ludovico Carracci's, began a career as a sculptor and in 1625 moved to Rome where he spent nearly all his artistic life.","short_description":"This wax head is thought to be a replica of two bronze ones portraying the same saint, made by Alessandro Algardi around 1640. The sculptor previously carved a marble statue of St. Philip with an angel for the sacristy of Santa Maria in Vallicella in Rome (1635-38). In these head portraits which are strictly devotional, he deepens his analysis of the facial features, emphasising the strong humanity of the saint and his strong moral and spiritual strength.","type":"Sculpture","holder":"Museo di Arte Industriale e Galleria Davia Bargellini","dates":"c. 1640","location":"Bologna, Emilia-Romagna","dimensions":"Height: 39 cm","place_of_production":"Rome (?)","method_for_datation":"The bronze head in Providence is nearly identical to the wax one, which bears a date. Critics think that heads like this were commissioned to sculptors after the success of the marble statue with St. Philip Neri and the angel for S. Maria in Vallicella, finished in 1638.","obtention":"The work was probably purchased at the beginning of the twentieth-century; no documentation survives.","bibliography":"Mezzetti, A. “Alessandro Algardi”, in *L'ideale classico del Seicento in Italia e la pittura di paesaggio* (exhibition catalogue), Bologna, 1962, p. 359.  \nHeimbürger Ravalli, M. *Alessandro Algardi* *scultore*, Rome, 1973, n. 15b.  \nMontagu, J. *Alessandro Algardi*, New Haven and London, 1985, p. 384, n. 76.C.1.  \nMazza, A. in *Museo Davia Bargellini*(ed. R. Grandi), Bologna, 1987, p. 152.  \nArcangeli, L. in *Algardi. L'altra faccia del barocco* (exhibition catalogue) (ed. J. Montagu), Rome, 1999, p. 148.","workshop":"Baroque","artist_birthdate":"1595","artist_birthplace":"Bologna","artist_deathdate":"1654","artist_deathplace":"Rome","author":"Elisabetta Berselli","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Alessandro Algardi","Baroque Sculpture","Counter-Reformation","Oratorian Congregation","religious order","St. Philip Neri"],"materials":["Red wax"]},"d2379132-91f2-5a63-8508-ac615d5bf783":{"name":"Fragment of a female statue from Mushatta.","description":"This fragment of the lower half of a female body is of a woman, whose robe has fallen, revealing her body from her hips to below her bottom. It is still possible to make out that the woman is holding the pleated robe with her right hand at her thigh, while remains of the robe are preserved at the left thigh. Her hips and buttocks remain uncovered. The thighs are intact up to a point just above the knee. The back part is covered in places by cloth, but the front of her legs is naked. The female figure, through its plump proportions and voluptuous forms, represents the aesthetic ideal of the Umayyad period for the representative arts. It belonged to the repertory of themes in the art of the court. Over the left thigh there is a deeply carved inscription in *kufic* script that runs vertically downwards, which would once have revealed the name of the woman. A satisfactory translation of the inscription has yet to be completed.  \nThe fragment belongs to a group of female figures that were displayed within various Umayyad castles. It can be said that these figures were based on the forms used both in Byzantine sculpture and painting and in Sassanid sculpture. The Umayyad Court developed its own thematic repertoire while borrowing from older examples. As well as in Mushatta, life-sized female figures were also found in Khirbat al-Mafdjar and Qasr al-Hair al-Gharbi. Near life-size paintings decorate the Palace in Qusayr ‘Amra.  \nThe question arises whether less dogmatic articles of faith obtaining during the earlier part of the Umayyad period favoured the creation of such sculptures. Undoubtedly, women were portrayed then as dancing girls and musicians, as members of harems or as goddesses. Given its incomplete condition, it is impossible to say whether this female figure was intended to represent a girl from the harem. Another female sculpture from Mushatta can be seen carrying an embossed container or cloth bag on her left side, for the purpose of sprinkling herself, or the ruler, with sweet-smelling perfume. Sculptures such as these demonstrate how powerfully pre-Islamic forms still exerted themselves over the art of this period. Nevertheless, the fact that this figure was then deliberately damaged shows how such freestanding sculptures were later disapproved of and rejected.","short_description":"In the Umayyad period Islamic caliphs and princes chose to adorn their palaces with a rich figural repertoire. This damaged female lower body with a vertical *kufic* inscription on the left thigh belonged to a partially clad, life-sized figure.","type":"Female statue, fragment, Mushatta, stone","holder":"Museum of Islamic Art at the Pergamon Museum","initial_owner":"Probably Caliph al-Walid II (r. AH 125–6 / AD 743–4).","dates":"Around hegira 125–6 / AD 743–4.","location":"Berlin","dimensions":"Height 70 cm, width 50 cm.","method_for_datation":"The origin of this piece is affirmed through its discovery during the excavation of Qasr al-Mushatta in 1903, and it could thus be contemporary to the façade.","method_for_provenance":"The provenance of the object has been affirmed through its discovery during the excavations in Qasr al-Mushatta in 1903.","provenance":"Mushatta, Jordan.","obtention":"As a gift from the Ottoman Sultan Abd al-Hamid (Abdülhamid) II along with the façade of Mushatta in 1903.","bibliography":"Baer, E., “Female Images in Early Islam”, *Damaszener Mitteilungen* 11, 1999, pp.13–24, plate 5a.  \nHillenbrand, R., “La Dolce Vita in Early Islamic Syria: The Evidence of Later Umayyad Palaces”, *Art History* 5(1), 1982, pp.1–35.  \nTrümpelmann, L., *Mschatta*, Tübingen, 1962, p.36.  \nTrümpelmann, L., “Die Skulpturen von Mschatta”, *Archäologischer Anzeiger* 2, 1965, pp.235–75, ill. 9–12.  \nTalgam, R., *The Stylistic Origins of the Umayyad Sculpture*, Wiesbaden, 2004, Vol. 1, pp.17, 29; Vol. 2, pp.61, 67, 94, 108.","dynasty":"Umayyad","linkcatalogs":"IAM_JO_EN_001","author":"Annette Hagedorn","translator":"Maria Vlotides, Brigitte Finkbeiner","translation_copy_editor":"Monica Allen","keywords":["Female figure","Fragment","sculpture","torso"],"materials":["Limestone, carved and sculpted."]},"d2e14578-6d14-5f7d-85be-43b1df94ecf2":{"name":"Mary with child","description":"The Madonna, originally from Zurich and reminiscent of antique statues in posture and clothing, was imported from Northern Italy. It is an example of the reinterpretation of a sacred sculpture after the Reformation. It was used to represent the Haus Zum grossen Weissen Fräulein (house of the large white maiden) at Obere Zäune 12 in Zurich. The collection of stone sculptures in the Swiss National Museum is modest. Whereas sculptures south of the Alps were mainly carved from stone, wood was the preferred material north of the Alps.","type":"Sculpture","holder":"Swiss National Museum","owner":"Swiss Confederation","dates":"Around 1500","location":"Zurich","dimensions":"H: 110cm","method_for_datation":"Stylistic analysis","provenance":"Northern Italy","obtention":"Given into property 1891 as part of the «Morgengabe»","keywords":["Haus zum grossen weissen Fräulein","Madonna with child","marble","Northern Italy","Obere Zäune","sculpture","Zurich"],"materials":["Carved marble"]},"d6415725-869b-5372-aaf8-ec6ca4131379":{"name":"*Judith and Holofernes*","description":"This carved panel depicting *Judith and Holofernes* in high relief is part of pair, the other panel is an image of *Rebecca and Eliezer at the Well*.  \nDuring the Baroque era, Northern Europe experienced a revival of collecting precious ivory objects. The anonymous artist is very skilled in ivory carving technique and shows a deep knowledge of Italian classicism and baroque sculpture. The scene is well planned showing Judith with the sword in her hand, the beheaded body of Holofernes and an old servant holding the head of Holofernes. An angel is in the background holding a curtain. Clarity, narrative, theatricality and elegance join together to form a high quality work of art. These two bas-relieves have been frequently attributed to the French sculptor Pierre Puget; if this is correct, these panels are the only surviving ivory works of his.","short_description":"This carved panel depicting *Judith and Holofernes* in high relief is part of a pair, its pendant showing *Rebecca and Eliezer at the Well*.  \nIn the seventeenth-century there was a revival in collecting precious carved ivory objects, especially in northern Europe. Clear and efficacious narrative, theatricality and elegance combine in this high quality piece which has all the main features of late seventeenth-century art.","type":"Sculpture","holder":"Museo Civico Medievale","dates":"Third quarter of the seventeenth century","location":"Bologna, Emilia-Romagna","dimensions":"24 x 15 cm","place_of_production":"Unknown","method_for_datation":"The carving is dated to around the second half of the seventeenth-century due to stylistic evidence.","obtention":"Petronio Matteucci, a professor of astronomy in Bologna University and assistant to the Specola donated both panels to the University Collections in 1740. With the creation of the Museo Civico di Bologna (1871), the two panels were given to the Municipality and exhibited in room XV in the new museum. In 1985 they became part of the ivory collection of the Museo Civico Medievale.","bibliography":"Bigiavi, L. “Due opere giovanili del Puget al Museo Civico di Bologna”, *Paragone:*  123, 1960, pp. 37-40, fig. 38.  \nHerding, K. *Das Bildnerische Werk*, Berlin, 1970, fig. 18.  \nBernardini, C., in *Introduzione al Museo Civico Medievale*, Bologna, 1987, pp. 89-90, n. 61.  \nSouchal, F. *French Sculptors of the sevententh and eigthteenth-centuries, the Reign of Louis XIV*, London, III, 1987, n. 41.  \nGeorget, L. in *Pierre Puget, Peintre, sculpteur, Architecte 1620-1694* (exhibition catalogue), Marseilles, 1994, pp. 164-165, n. 59.","workshop":"Full baroque","author":"Elisabetta Berselli","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["bas-relief","carving","Christian themes","collection","collector","ivory","Judith and Holofernes","Pendant","Pierre Puget","university"],"materials":["Carved ivory"]},"dc31ffa1-da00-5df9-9b60-5eca4bdaeb38":{"name":"Frieze","short_description":"Frieze of ram heads from South Arabia found by Eduard Glaser during one of his four expeditions in Yemen from 1882 to 1894.","type":"Sculpture","holder":"Kunsthistorisches Museum, Egyptian Collection","dates":"4-3th century BC; brought to Vienna by Edward Glaser in 1882–1894","location":"Vienna","dimensions":"Height 12 cm, B 20 cm, Diameter 15 cm","copy_editor":"Daniel de la Vega","keywords":["Yemen","Eduard Glaser","Museum of Fine Arts Vienna"],"materials":["Stone (Kalksinter)"]},"e0f5275e-821c-5cc3-a635-77aec649ddfd":{"name":"Zoomorphic figurine","short_description":"Free standing earthenware horse figurine was probably a toy. It's covered with a cream coloured engobe and painted in a brownish black slip under a transparent colourless glaze.","type":"Toy, earthenware, ceramic","holder":"Dar al-Athar al-Islamiyyah","dates":"Hegira 4th century / AD 10th century","location":"Kuwait City","provenance":"East Iranian World","dynasty":"Samanid","keywords":["earthenware","Engobe","Glaze","horse","horsemanship","slip"]},"e144c07e-081a-52eb-91fc-9fd067a8b179":{"name":"*Motherhood*","type":"Sculpture","holder":"National Museum of Oman","owner":"National Museum of Oman","dates":"AH 1402–03 /AD 1982","location":"Muscat","dimensions":"Height: 80cm","place_of_production":"Oman","provenance":"Local acquisition, purchasing AD 2018","obtention":"Local acquisition program (purchased 2018).","artist_birthdate":"AD 1955","artist_birthplace":"City of Masqat","artist_deathdate":"2018","artist_deathplace":"City of Masqat. Sultanate of Oman","copy_editor":"Alvaro Miranda","materials":["Teak Wood"]},"e608c729-04c2-56e1-b2e3-0064a245a0ed":{"name":"*Portrait of Historian, Márton György Kovachich*","description":"Messerschmidt was born in south-west Germany. After studying in Munich and Graz, he matriculated at the Academy of Fine Arts in Vienna in 1755. Having graduated, he was employed at the Imperial Arms collection. During the period 1760–69 his work followed the artistic style of the Late Baroque court, at that time under the determining influence of Balthasar Ferdinand Moll. From 1769, Messerschmidt's first Neo-Classical works appear and to which he applied the experiences of his study trip to Rome in 1765. In 1770–72, Messerschmidt began to work on his so-called *Character Heads*, obviously connected with certain paranoid ideas and hallucinations from which, at the beginning of the 1770s, the master began to suffer. After an unsuccessful application to the office of a leading professor at the Academy, in 1777, he settled down in Pozsony (Bratislava) where he dedicated himself primarily to his *Character Heads* and in addition made other portraits as well.  \nThe bust of Márton György Kovachich (1743–1821), a historian, a custodian of the Buda university library, and one of the most eminent scholars of the Enlightenment in Hungary, was the last of these commissions in Messerschmidt's oeuvre. Kovachich commissioned the portrait directly from the artist in Pozsony (Bratislava), a fact corroborated by a letter from Kovachich dated 1 May 1783, at which time the portrait was already standing in his room in Buda. Like the *Character Heads* the bust is made in the early Neo-Classical style preferred by Messerschmidt since 1769–70. His works of this period have an accentuated plainness, but nevertheless have a vigorous modelling and structure. The portraits have a timeless, monumental character enhanced by their firm portraiture, one marked by the face-on portrayal of his subject. These stylistic characteristics of the Neo-Classical aesthetic are, however, coupled with an exact portrayal of the sitter's features, so that Messerschmidt's portraits remain very close to a realistic appraisal of human individuality.","short_description":"Messerschmidt moved to Vienna and later to Pozsony (Bratislava) from Bavaria. He made his famous *Character Heads* in Pozsony (Bratislava) when he was mentally ill. All of them portray the features of the artist. The bust of the historian, Kovachich, was made by the artist at a time when he his mental health was good.","type":"Sculpture","holder":"Museum of Fine Arts","initial_owner":"Márton György Kovachich, University of Buda, Studio of Kovachich, Buda","dates":"1782","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 44 cm","place_of_production":"Buda","method_for_datation":"By historical documents","provenance":"University of Buda, Studio of Kovachich, Buda","obtention":"Purchased from a private collection in 1896","bibliography":"Pötzl-Maliková, M., *Franz Xaver Messerschmidt*, München, 1982, pp. 239–240.  \nPötzl-Maliková, M., “Cat. Nr. 187” in *Barokk művészet Közép-Európában. Utak és találkozások* (Crossroads: Baroque Art in Central Europe) exhibition catalogue, (ed. G. Galavics), Budapest, 1993.  \nKrapf, M., “Cat. Nr. 66” in *Franz Xaver Messerschmidt 1736–1783,* exhibition catalogue, (ed. M. Krapf), Wien, 2002.","artist_birthdate":"1736","artist_birthplace":"Wiesensteig","artist_deathdate":"1783","artist_deathplace":"Pozsony (Bratislava)","author":"Zsuzsanna Boda (after Maria Pötzl-Maliková)","copy_editor":"Terézia Bardi","translator":"Tamás Sajó","translation_copy_editor":"Mandi Gomez","keywords":["Bratislava","Buda","education","Enlightenment","library","metalwork","Neo-Classicism","Pozsony","Pressburg","teaching","university"],"materials":["Tin cast"]},"e6f7eabb-fc4e-5c98-b6ca-f2544ae496d9":{"name":"Model in plaster","description":"Following on the European fascination for the oriental world and for the famous Nasrid Palaces of the Alhambra (Granada, Spain), a lot of reproductions of its remarkable architectures and decorations were made and spread. José Contreras was commended as restorer and decorator and his son, Rafael (1824–1890), was the leading pioneer of this trend in 1847. His work was continued by the grandson and by a huge number of plaster-cast workshops in Granada, and very likely, in other cities. His plasterworks were very successful in the International Exhibitions and were kept in private collections and museums like South Kensington (London). This polychrome plaster cast res a window in the Mexnar Palace of Granada (Spain).","type":"Sculpture; Decorative Arts","holder":"Cerralbo Museum","dates":"2nd half of the 19th century","location":"Madrid","dimensions":"35 x 34 cm","provenance":"Spain?","author":"Cecilia Casas Desantes, Cristina Giménez","copy_editor":"Anne Dowell","keywords":["Decorations","Design","models","Alhambra"],"materials":["Plaster, wood; casted, painting"]},"e705767c-f39f-5e1f-b8fc-8f075dc24a4f":{"name":"Sphinx","description":"This sphinx was found in Rafiqa, Raqqa’s twin city, in AH 1343 / AD 1924 together with the cock (Isl 57) and the figure of a horseman in Syria’s National Museum. As ceramic sculptures, they are unique not only in Syria, but also in the rest of the Islamic world.  \n  \nThey are fountain figures, and all have pipes to carry water up to the figures’ heads. The North African historian al-Maqqari wrote that the Iberian Umayyad caliph Abd al-Rahman III had a fountain made with 12 figures: a lion with a gazelle, a crocodile, a serpent, an eagle, an elephant, a dove, a falcon, a peacock, a hen, a cock, a hawk and a vulture.","type":"Sculpture","holder":"The David Collection","owner":"The David Collection","dates":"AH 2nd half of the 6th / AD 2nd half of 12th century","location":"Copenhagen","dimensions":"Height: 37cm","place_of_production":"Raqqa (Syria)","bibliography":"Folsach, K., *et al.*, *Sultan, Shah and Great Mughal: the history and culture of the Islamic world*, Copenhagen: The National Museum, 1996: cat. no. 204.  \n  \nDaneshvari, A., *Of serpents and dragons in Islamic art: an iconographical study*, California: Mazda Publishers, 2011: 172, 110.  \n  \nFolsach, K., “Paradise on earth: water and the Islamic garden” in John Kuhlmann Madsen et al. (eds), *Water of life: essays from a symposium held on the occasion of Peder Mortensen's 80th birthday*, Copenhagen: Forlaget Orbis, 2016: 191, fig. 5.  \n  \nCanby, S., *et al.*, *Court and cosmos: the great age of the Seljuqs*, New York: Metropolitan Museum of Art, 2016: fig. 98, 243.  \n  \nEastmond, A., *Tamta's world: the life and encounters of a medieval noblewoman from the Middle East to Mongolia*, Cambridge: Cambridge University Press, 2017: 256, fig. 87.","dynasty":"Zangids or Ayyubids","copy_editor":"Zeina Al Amad","keywords":["Ayyubids","ceramics","Fritware","sculpture","Sphinx","water","zangids"],"materials":["Cast, modeled and carved fritware, painted in blue, turquoise, and manganese under a transparent glaze"]},"e78d7a24-9514-5540-ad77-b08982afe7c2":{"name":"Bust of a female saint","alternate_name":"St. Barbara or Katharine","description":"The bust, thought to resemble St. Barbara or St. Katharine, was originally positioned on a plinth and might have been part of a family altar. Both saints were especially known as objects of worship in Bavaria, a fact that is iconographically typified by the figure’s crowned head. She wears a blouse with collar, brooch and breastplate, partly covered by a coat across her left shoulder and right arm. Bright-eyed, and her head slightly turned to the left, she looks on with the utmost attention. Her hair is parted in the middle and falls down in undulating tresses across the shoulders. The remainder of the original polychrome coating, which was possibly enriched by gold leaf on the crown and breastplate, is found on her lips and eyes. The pale greyish-yellow colour of lime-wood dominates.","short_description":"The intimate bust of a female saint with long, undulating hair falling down to her shoulders and a crown on her head shows traces of the original polychrome coating, which remains on her eyes and lips, and gives the face a living attitude.","type":"Sculpture (bust)","holder":"City Museum","initial_owner":"Collection of the House of Wittelsbach","dates":"1625/8","location":"Weilheim in Oberbayern, Upper Bavaria","dimensions":"Height 26.5 cm, breadth 25 cm","place_of_production":"Munich","method_for_datation":"Stylistic analysis of Angermair’s work.","obtention":"From an art dealer in Munich.","bibliography":"Helm, R., “Büste einer Heiligen”, *Kunst und Handwerk in Weilheim i.OB*, *Kunst und Handwerk in Weilheim i.OB*, Stadt Weilheim (City of Weilheim (ed.)), Weilheim i. OB 2000, pp. 73–5.","workshop":"“Weilheim School of sculptors” (with H. Krumpper, H. Degler, G. Petel, B. Steinle, P. Dirr); one of Angermair’s most accomplished small sculptures","artist_birthdate":"c. 1580","artist_birthplace":"Weilheim in Oberbayern","artist_deathdate":"1633","artist_deathplace":"Munich","author":"Reinhardt Helm","translator":"Holger Rhensius, Robert Robin, Wolf Schindler","translation_copy_editor":"Mandi Gomez","keywords":["religious object","sculpted wood"],"materials":["Lime-wood, remains of original polychrome coating"]},"e79d0da8-0e74-53d4-8df3-5ad805dd038d":{"name":"High Choir, Organs","description":"The dioceses of Braga and its archbishops was very important within the Catholic Church since the early Middle Ages, before the foundation of the Kingdom of Portugal, as well as throughout the Portuguese history namely in the Baroque period.  \nIn the North of Portugal during the 18th century there was an active workshop that provided important clients in accordance with the splendour and dignity of the court and religious life. Facing the need to replace the old choir stalls from the 16th century, Braga Cathedral commissioned Marceliano de Araújo and Miguel Francisco da Silva to design the monumental High Choir, the choir stalls and the gilded, carved wood organ cases in 1737.  \nThe whole set of the choir stalls made of carved and gilded wood includes two rows of seats, the cathedra for the Archbishop and in the centre a remarkable choir stand with the same decorative programme. Due to the major role of music within the Baroque Roman Catholic liturgy, Simão Fontanes was commissioned to build the mechanics of two impressive Baroque organs (1737-1738) with thousands of copper pipes, which are encased in magnificent cases made by Braga's woodcarver Marceliano de Araújo.  \nThe ceiling painting also belonging to this phase of the cathedral redecoration was executed by Manuel Furtado de Mendonça.  \nThe organs of the Braga Cathedral, commonly included within the category of the Iberian organs, are installed in two balconies over the central nave. The abundance of sculpture ornaments distributed from the base of the building to the top of the Cathedral allows us to include this artwork as one of the finest examples of the Baroque woodcarving in Portugal.","short_description":"The choir is located at the west end of the nave and includes two encased organs and choir stalls. They are an example of the work produced in the 18th century by the Northern Portuguese workshop to supply important clients in accordance with the dignity of the court and religious life.","type":"Ecclesiastical furniture and sculpture","holder":"Braga Cathedral","owner":"Braga Cathedral","initial_owner":"Braga Cathedral","dates":"1730-1739","location":"Braga, Braga","place_of_production":"Braga","method_for_datation":"Historical evidence and stylistic analysis","provenance":"Braga Cathedral","obtention":"In situ","bibliography":"Ferreira, J. A., *Fastos Episcopais da Igreja Primacial de Braga (séc. III - séc. XX)*, III, Braga, 1932.  \nSmith, C. R., *A Talha em Portugal*, Lisboa, 1963.  \nSmith, C. R., *Marceliano de Araújo – Escultor Bracarense*, Porto, 1970.  \nAlves, N. M. F., \"A actividade de pintores e douradores em Braga nos séculos XVII e XVIII\", in *Actas do IX Centenário da Dedicação da Sé de Braga*, vol. II/2, Braga, 1990.  \nDoderer, G., *Os Órgãos da Sé Catedral de Braga*, Lisboa, 1992.","workshop":"Porto and northern region workshop","author":"Fernanda Barbosa","translator":"Cristina Correia","translation_copy_editor":"Mandi Gomez","keywords":["carved","gilding","musical instruments","organ cases, organ","wood"],"materials":["Wood, carved and gilded with gold leaf"]},"eb6df6e0-21ee-543e-853b-04c21c09966f":{"name":"*Sacred and Profane Love*","description":"Undeniably, the process of contact and conquest of the Portuguese Discoveries in the 15th and 16th centuries – through which Portugal came to dominate a large part of the world – was decisive in the creation of numerous and lasting cultural traditions. Peoples of Western and Eastern Cultures experimented with their limits of knowledge, customs and beliefs, a dynamic that was favorable to an artistic symbiosis.  \nThe Discovery of the New World promoted cultural exchange and hastened the decline of Islamic dominance. It permitted Trans-Asian trade to prosper and specifically encouraged an exchange of artistic knowledge, techniques and language.  \nThe allegory of *Sacred and Profane Love* is an interesting example of the artistic confluence of Christian Art in Asia. Probably the work of a Portuguese artist, this ivory plaque represents the strength and purity of Christian and Divine Love over what were perceived pagan beliefs like Hinduism and Islamism. Cupid and his arrows, symbol of Pagan Love, are smashed by the faithful spiritual love for Jesus Christ. In the background is a large group of Jesuits praying to the Triumph and Glory of Divine Love. The Jesuit, St. Francis Xavier, visited Ceylon in 1545 and again in 1548, before journeying to Japan in 1549.  \nThe representation of Divine or Sacred Love over pagan beliefs is well known in Asia, due to the fabulous Altar of St. Catherine made by the Portuguese painter Garcia Fernandes for Goa Cathedral (now in the sacristy). The plaque seen here reveals rare erudition in the organisation of the figures and in the iconography. Note for example the artist's sensibility in his rendering of the shadows around the main figures. Although the piece was produced by a local workshop it is clear that the *chiaroscuro* effects have been deliberately used to heighten the drama and give the piece the three-dimensionality made popular by the paintings of Caravaggio.","short_description":"An ivory plaque depicting an allegory of Sacred and Profane Love. At the bottom is an inscription: “*Mostras de qvem he*” (“Show to whom you belong”). Divine Love steps over Cupid who has fallen to the floor with his arms tied. Holding an arrow in his right hand, he touches the wounded chest of Jesus Crucified. At the bottom of the Cross an inscription reads: “My Love was crucified”.","type":"Plaque","holder":"Museum of Art and Archeology of Viana do Castelo","dates":"First half of the 17th century","location":"Viana do Castelo, Viana do Castelo","dimensions":"H: 23cm; w: 17.8 cm; depth: 1.8 cm","place_of_production":"Ceylon","method_for_datation":"Stylistic analysis","obtention":"Donated by Manuel Espregueira Oliveira (private collector)","bibliography":"Tavora, B. F. de Tavares, e, “Uma rara placa de marfim cingalo-portuguesa de motivo alegórico”, in Gil Vicente, Vol. XXII, Nos 7–8, Guimarães, 1971.  \nTavora, B. F. de Tavares, e, *Imaginária Luso-Oriental*, Lisbon,1983.  \nPinto, M., Mendes H. (ed), *Via Orientalis*, Bruxelas-Europália, 1991.","artist_birthdate":"Unknown","author":"Rui Oliveira Lopes","translator":"Lili Cavalheiro, Cristina Correia","translation_copy_editor":"Mandi Gomez","keywords":["Allegory","chiaroscuro","Christian themes","Indo-Portuguese","ivory","Religion","religious object"],"materials":["Ivory"]},"ee1f0807-ca9d-507c-adf4-27f446a10f42":{"name":"Statue of Athlete – Ephesos","description":"After competitions in the *palestra* (sports arena), it was customary for the athletes to clean the sand from their oiled bodies with a strigil, or scraping iron. The Ephesian athlete seen here has already finished this task and – with his hair still soaking in sweat – is cleaning the strigil itself. This statue cannot be attributed to any Greek artist with certainty, yet Roman reproductions in marble and depictions on pottery reliefs and engraved stones speak to a high degree of familiarity with the original.","type":"Sculpture","holder":"Kunsthistorisches Museum, Collection of Greek and Roman Antiquities","dates":"2nd century AD (copy after a Greek original from the last quarter of the 4th century BC); found in 1895","location":"Vienna","dimensions":"Height 192 cm","provenance":"Ephesos","copy_editor":"Daniel de la Vega","keywords":["Ephesos","Abdul Hamid II","Emperor Franz Joseph"],"materials":["Bronze"]},"ef74c9ed-a4dc-57df-a3a1-c5538d838390":{"name":"*Tomb statue of Prince Pál Esterházy and his first wife (Orsolya Esterházy?)*","description":"The four wooden statues representing the Esterházy brothers (Pál and Ferenc) and their wives were certainly commissioned by the Pál Esterházy family. The founder of the dynasty, Palatin Pál, built a family mausoleum in the Franciscan Church in Kismarton (Eisenstadt), within the residential area that formed part of his large estates. Although the crypt was completely rebuilt in 1856–57 its previous appearance can be reconstructed on the basis of a detailed description of the interior from 1835–36 and a plan of the building. As these documents prove, the Kismarton (Eisenstadt) Mausoleum consisted of a lower and an upper chapel. The rounded niches on the upper level were for the gilded-wood, kneeling figures of Pál and Ferenc Esterházy, Orsolya Esterházy and Kata Thököly. The statues in the Hungarian National Gallery, one of which also bears some marks of gilding, seem to be identical to these niche figures. The statues are composed on a frontal view. Their backs are grooved, and their feet are not perfectly carved, a sign that the statues were designed for wall-niches. Pál Esterházy is represented in somewhat historic clothes (coat-of-arms and a short skirt), with a wig, and the Order of the Golden Fleece, which he obtained in 1681. His wife wears Hungarian apparel, a shoulder corset decorated with flowers, a blouse with pleated shoulders, a girdle decorated with precious stones and a necklace.  \nIn the lower chapel is the still extant sarcophagus of Palatin Pál, which could be viewed from the upper level through the lattice window. There was an altar dedicated to the Virgin Mary in each chapel. Members of the Esterházy family kneeling in the niches of the upper chapel in gestures of eternal worship were, thus, turned to the Virgin Mary mourning her son, suggesting therefore that they committed themselves to her patronage not only in life but even in death.  \nThe design of Pál Esterházy's sepulchral chapel represents an organic part of his art patronage, in which the cult of the Virgin Mary was determinative.","short_description":"The sculptures represent the founder of the Esterházy dynasty, Pál Esterházy, and his first wife, Orsolya Esterházy (together with the figures of his brother and sister-in-law) kneeling in prayer. The works originate from the Kismarton (Eisenstadt) family vault and are representative examples of 17th-century portrait sculpture of the region.","type":"Sculpture (portrait, tomb sculpture)","holder":"Hungarian National Gallery","initial_owner":"Esterházy family or the Franciscan Order","dates":"Late 17th century","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 112 cm; H: 117 cm","place_of_production":"Kismarton (Eisenstadt)","method_for_datation":"By historical data","provenance":"Franciscan Church, Esterházy Mausoleum, Kismarton (Eisenstadt)","obtention":"Purchased through art dealers from Pozsony (Bratislava) for the collection of the Museum of Applied Arts, Budapest; transferred in 1950 to the Museum of Fine Arts, Budapest and in 1974 to the Hungarian National Gallery, Budapest.","bibliography":"*Barokk művészet Közép-Európában. Utak és találkozások* (Crossroads: Baroque Art in Central Europe) exhibition catalogue, (ed. G. Galavics), Budapest, 1993, pp. 412–414.","author":"Anna Jávor","copy_editor":"Terézia Bardi","translator":"Viktor Mészáros","translation_copy_editor":"Mandi Gomez","keywords":["coat-of-arms","costume","Eisenstadt","Éva Thököly","Franciscan order","funerary architecture","Kismarton","Madonna","Order of the Golden Fleece","patronage","sculpture","tomb","Virgin Mary","wood carving"],"materials":["Limewood, carved"]},"ef7b97e5-69b3-517c-bb7c-4c9c0bd06850":{"name":"Basin.","description":"This small basin consists of three elements: a socle (plinth) with a sculpted shaft and a basin fixed to the socle. The socle is divided into two, acting as a base and a shaft. The cubic base is crowned with a step moulding. The lower part of the cylindrical shaft, which widens at the top, is sculpted with two toruses like the base of a column. This section is followed by a smooth surface engraved with four rows of superposed arches crowned with gadroons sculpted in low relief. The upper part, which narrows towards the top, is engraved with two horizontal grooves.  \nThe hemispheric basin has deep flutes hollowed out of the inside and a circular aperture at its centre for the provision of water. It is sculpted on the outside with gadroons in high relief.  \nThis small font, designed in the image of the large basins that stand in the centre of the courtyards of sanctuaries and *madrasas*, was found in the ablutions room of the Buinaniya.","short_description":"This small ablutions room font was designed in the image of the great basins that stood in the centre of sanctuary courtyards. The outside of the bowl is decorated with regular gadroons in high relief, and the inside with flutes.","type":"Basin, marble","holder":"Batha Museum.","initial_owner":"*Habus* (endowment).","dates":"Hegira 751–7 / AD 1351–6.","location":"Fez.","dimensions":"Height 41.6 cm, shaft height 21.5 cm, basin diameter 35 cm.","method_for_datation":"From the date of construction of the Buinaniya, where the basin came from.","method_for_provenance":"Salvaged *in situ*.","provenance":"Buinaniya Madrasa, Fez.","obtention":"Salvaged during the restoration of the monument.","bibliography":"Cambazard-Amahan, C., *Le décor sur bois dans l'architecture de Fès*, Paris, 1989.  \nMarçais, G., *L'architecture musulmane d'Occident*, Paris, 1954.  \nTerrasse, Ch., *Médersas du Maroc*, Paris, 1927.  \nTerrasse, H. and Hainaut, J., *Les arts décoratifs au Maroc*, Paris, 1925.  \n*Andalusian Morocco: A Discovery in Living Art*, pp.124–6.","dynasty":"Marinid","linkcatalogs":"IAM_MA_EN_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["geometric decoration","habus","marble","religious object"],"materials":["Sculpted and engraved white marble."]},"f066d3bf-136b-5661-b693-1a11ebfeb55e":{"name":"*Mashrabiyya* window.","description":"A stucco and coloured glass *mashrabiyya* window, which belongs to a set of openwork windows in the Kelvingrove Collection, each with a different design in the centre of the niche. This one shows a cypress tree surrounded by flower stems under a niche. The green, red, and yellow coloured-glass pieces have been imbedded in the stucco openwork from the back. During the Ottoman period in Cairo both mosques and private houses were adorned with such windows from as early as the AH 10th / AD 16th century. The tradition of setting coloured-glass in stucco has endured since its earliest days in the Abbasid capital of Samarra (AH mid-2nd / AD 9th century) to the present day.","short_description":"This stucco and coloured glass window is decorated with a cypress tree and floral arrangements, typical of AH 13th- / AD 19th-century Ottoman art. The cypress tree symbolises a true Muslim as it stands tall and bows in the wind gracefully. Windows such as this adorned both homes and mosques in Cairo.","type":"Stucco, Architectural decoration","holder":"Kelvingrove Art Gallery and Museum, Glasgow Museums.","dates":"Hegira 13th century / AD 19th century.","location":"Glasgow, Scotland","dimensions":"Height 72.5 cm, width 74 cm.","method_for_datation":"Artistic analysis: the style and technique of this window resembles many 13th- / 19th-century stucco windows still in place in Cairo today.","provenance":"Cairo, Egypt.","obtention":"Purchased by Glasgow Museums / Kelvingrove Art Gallery in 1896.","bibliography":"Jenkins, M., *Islamic Glass, A Brief History,* Metropolitan Museum of Art, New York, 1986.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["Architectural features","floral decoration","palatial architecture","religious object","religious symbol"],"materials":["moulded and carved openwork with coloured glass.","Stucco"]},"f4070107-bd84-5299-8132-72ae7c8a76e8":{"name":"*Portrait of Felice Zacchia Rondanini*","description":"Domenico Guidi, nephew of the sculptor Giuliano Finelli, with whom he worked in Naples (1639–49), moved to the workshops of Algardi in Rome in 1649. He stayed there until the death of his master, from whom he learned the classicism that is a fundamental part of his style, although he was not as skilled in its execution.  \nThe bust was acquired by the Italian state from an antique market in 1907. It was initially attributed to the Berninian school on account of the elliptical shape enclosing the female figure and the “unfinished” back, a trait peculiar to Bernini on unseen surfaces. It was later attributed to 17th- and 18th-century sculptors (such as Bracci on account of the stylistic analogies with the sculptor's bust of Clement XII in the Borghese collection). It was finally attributed to Guidi, who was summoned by Bernini in 1668 to decorate the Ponte Sant'Angelo, although his style was more classical and less elaborate in form.  \nThe woman is probably Felice Zacchia Rondanini, daughter of Laudivio Zacchia who, once widowed, gave his life to religion and was made a cardinal in 1626. Algardi made a portrait of the father, having already made several busts for the Rondanini family. For his part, Guidi was responsible for the Rondanini tomb in S. Maria del Popolo, Rome in 1657. In 1683, in the same church, he sculpted the funerary monument to Vincenza Danesi, who some scholars connect to the Borghese portrait, although there is no documentation to support the theory. A ring is fixed under the cloak, which suggests it was originally intended to be placed in a niche, and the measurements coincide with the anchor points of the Danesi monument.  \nThe old lady wears a large veil forming a convex shape, on which shadows accentuate the face in the foreground, which is struck by light. The detail on the face is particularly interesting, especially the deep lines on the face and neck and the wart on the right cheek, emphasising the realism of the portrait.  \nGuidi was so well regarded by the French for his classicism that by the end of his career he was a synonym for French taste. Nonetheless, a sculptural group made for Louis XIV failed to please the king and it ended up in the same place as Bernini's: the gardens of Versailles.","short_description":"A portrait of an old lady who wears a veil. The detail on the face is particularly interesting, especially the deep lines on the face and neck and the wart on the right cheek, emphasising the realism of the portrait.  \nGuidi produced a few works for Bernini (such as the *Angel with a Lance* on Ponte Sant'Angelo) most of his collaborative work was, however, with Algardi.","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Unknown","dates":"1683 (?)","location":"Rome, Latium","dimensions":"h: 60 cm (without stand)","provenance":"Antique market","obtention":"Acquired by the Italian State in 1907.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al secolo XIX*, Rome 1954, n.10, pp. 15–16.  \nStefani, C., *Galleria Borghese*, Milan, 2000, p. 378.  \nBershad, D. L., in *voce* “Guidi Domenico”, in *Dizionario Biografico degli Italiani*, Milan, 61, 2003, pp. 214–220.","artist_birthdate":"1625","artist_birthplace":"Torano (Massa-Carrara)","artist_deathdate":"1701","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Algardi","ancient art","Bernini","Bust","Classical model","classicism","marble","Portrait","women","workshop"],"materials":["Statuary marble"]},"f5c68eab-37f6-5a2c-b181-f87cfef70a15":{"name":"Human head.","description":"The face is that of an apparently fine-featured man but the damage to the nose and mouth is very serious. He wears a turban in the Oriental manner. It reminds us of certain pictures of human figures on pottery of the Samanid era of Nishabour (Iran). The turban is V-shaped and a deep fold extends right across its width. The face is covered with a veil, like several other images of heads from Fatimid Egypt and Umayyad Spain in the AH 4th and 5th / AD 10th and 11th centuries. The man's eyes are quite prominent and seem originally to have been covered by two pieces of glass indicating the irises, like other images found on site at Sabra.  \nThe head's discovery in the Fatimid capital gives weight to the opinion that the Shi'ites, unlike the very iconoclastic Malikites, tolerated human representation in their sculptures.","short_description":"The discovery of this piece in Sabra al-Mansuriyya, the Fatimid capital, supports the idea that Shi'ite Muslims tolerated sculptures of human forms, unlike the very iconoclastic Malikites. This image is similar to others originating from Spain and Egypt at that time.","type":"Human head, plaster","holder":"Museum of Islamic Art.","dates":"Hegira, mid-4th–mid-5th centuries / AD 10th–11th centuries.","location":"Raqqada., Kairouan.","dimensions":"Height 11.5 cm, width 11.5 cm, thickness 7.5 cm.","method_for_datation":"This stucco head was found, among other human and animal carvings, in the excavations carried out at Sabra al-Mansuriyya in 1978. It was found in a very ploughed-up area with no clear archaeological layering. The objects were scattered around in a random manner. One has the impression that someone had tried to eradicate or hide these figurative objects for no obvious reason except that there could be a connection with the changing religious mentality in Ifriqiya. This action could indeed coincide with the persecution of the Shi'ites during the troubles in 407 / 1016 or following the split between the Zirid emirate and the Fatimid caliphate in 440 / 1048–9. This date could be a *terminus post quem*. The *terminus ante quem* is just after the founding of Sabra in 337 / 948. Any further precision is rendered impossible due to the lack of a definite archaeological layer.","method_for_provenance":"The manufacture of these objects, which is unique in Ifriqiya and in the Maghreb, appears to have taken place in Sabra al-Mansuriyya and to have been commissioned by the Shi'ites.","provenance":"Sabra al-Mansuriyya","obtention":"After its discovery at Sabra al-Mansuriyya, this piece was placed in the site storehouse. It was acquired in 1992 by the Museum at Raqqada. It will be displayed in the second section of the Museum, currently under construction.","bibliography":"*Tunisie, terre de rencontres et de civilisation* (Seville exhibition catalogue), Tunis, 1992, p.229.","dynasty":"Fatimid–Zirid","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["figurative decoration","human figure"],"materials":["Carved plaster."]},"f5ef250e-6f10-578b-9290-9c8967a2f518":{"name":"*Conversion of St. Paul* Altarpiece","description":"A Rococo type of *reredos* (retable) with ornamental pilasters instead of columns, and a wealth of Rococo ornamentation in compact form. At the centre is the *Conversion of St. Paul*, flanked by two female saints without attributes. Two angels kneel at the corners of the cornice. The central, upper section of the altarpiece holds the coat of arms of the Halper-Sigetski family.  \nInitially, the altarpiece stood in St. Mark's Church in Zagreb, near the triumphal arch. Like most altarpieces in the church, this one was commissioned by a particular guild, the boot-makers' guild. Its production was part funded by a donation from Anna Gerlichich in 1760, as an inscription on the altarpiece details.  \nThe altarpiece is by an accomplished master, showing a high level of design and technical skill. The influence of Vid Königer (one of the greatest Styrian sculptors of the second half of the 18th century) is apparent, seen in the female saints in particular.  \nDuring restoration of St Mark's at the end of the 19th century, the altarpiece was moved to the chapel of Zajezda Manor in Hrvatsko zagorje, at that time owned by Baron Halper-Sigetski, who placed his baronial arms on it.","short_description":"A richly carved Rococo altarpiece: two saints stand either side of twisted pilasters and two angels decorate the attic, while the central scene of the *Conversion of St Paul* is in high relief.  \nCommissioned for St Mark's Church by the boot-makers' guild in 1760, it was part-funded by a donation from Anna Gerlichich, as an inscription on the altarpiece details.  \nDuring restoration of the church at the end of the 19th century, the altarpiece was moved to the chapel of Zajezda Manor in Hrvatsko zagorje, at that time owned by Baron Halper-Sigetski, who placed his baronial arms on it.","type":"Altarpiece","holder":"Croatian History Museum","initial_owner":"Church of St. Mark, Zagreb","dates":"1760","location":"Zagreb, North-West Croatia","dimensions":"H: 226 cm; w: 258 cm; depth 70 cm","place_of_production":"Zagreb","method_for_datation":"By stylistic analysis and research.  \nDuring restoration and conservation work an older painted layer was discovered under the coat of arms revealing letters next to the frame and the year: \"S. D. M. ANNA SAN(C) NATA DE GERLICHISCH 1760\". Anna Gerličić, whose name appears on the coat of arms, probably sponsored some of the work for this altarpiece, such as the gilding.","provenance":"Boot-Makers’ Guild altarpiece, Church of St. Mark, Zagreb","obtention":"During restoration of St. Mark’s Church by architects Schmidt and Bollé (1876–1882), in 1880, the altarpiece was moved to the chapel of the former Patačić Manor in Zajezda. It is probable that the coat of arms of the Halper-Sigetski family was applied to the altarpiece while at Zajezda Manor in Hrvatsko zagorje, from where it was transferred to Zagreb.","bibliography":"Baričević, D., “Barokno kiparstvo u isusovačkim crkvama u Hrvatskoj” (Baroque Sculpture in Jesuit Churches in Croatia), *Zbornik Isusovci u Hrvata* (The Jesuits in Croatia, Collection), Vienna, 1992.  \nBaričević, D., *Barokna skulptura na Gradecu, Zagrebački Gradec 1242–1850* (Baroque Sculpture in Gradec, Zagreb's Gradec 1242–1850), Grad Zagreb, 1992.  \nŠercer, M., *Stari zagrebački obrti* (Old Zagreb Crafts), Zagreb, 1991.  \nPavičić, S., *Religious Sculpture in the Croatian History Museum,* catalogue of the museum collections CHM, XXXVIII, HPM, Zagreb, 2003.","author":"Snježana Pavičić, Nela Tarbuk","translator":"Snježana Pavičić, Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["Altarpiece","Christian themes","gilding","guild","polychrome decoration","religious object","reredos","retable","sculpture","Theatrical architecture","wood carving"],"materials":["Carved wood, polychrome, gilded and marmorised"]},"f968ffa7-16a4-52b6-80b2-1fcd031e5841":{"name":"Relief of a lute player.","description":"The origin of this roughly worked marble block is unknown. Only through comparing it to fragments on other similarly decorated buildings are we able to give it both a date and a social context. It depicts a musician with his legs crossed, playing a lute. He is wearing trousers and a wide-sleeved shirt.  \nThe musician’s hair is long, which is in keeping with the fashion of the day. The man is shown in a front-facing pose. He clutches the lute’s neck with his left hand, and with his right holds a plectrum, which is used to pluck the instrument’s strings. Stylistically, the relief is very basic. No details are included. The surface is crudely cut, which may be an indication that the relief was never completed. Another possibility might be that the surface was covered by painted stucco. Stone reliefs were incorporated into the city walls of Konya, among other places, during the Seljuq period.  \nThroughout the centuries, music has featured at the magnificent royal courts of Eastern princes. Court celebrations and their musical entertainment had already been written about since the Middle Ages, with much admiration. These sources also relate how much the sultan or prince enjoyed this musical entertainment. Not only were meals consumed at these events, but wine was drunk too. One listened to songs and watched dancers of both sexes perform. Music was felt as the enjoyment of a beauty that was not merely visible. The authors of these historical sources include Ibn Khaldun and al-Ghazzali among others. The harmony between different religious communities is illustrated by the fact that even an Iraqi Christian chronicler, Bar Hebraeus, describes with admiration a feast thrown by the Seljuq Sultan ‘Ala’ al-Din Kay Qubadh (Alaaddin Keykubad) I in 1237.","short_description":"The musician on this marble relief plays a lute. It may have belonged to a group of similar reliefs which decorated a palace with scenes from court life. In Seljuq Anatolia, reliefs were often assembled to decorate different buildings including city walls such as those in Konya.","type":"Stonework, marble","holder":"Museum of Islamic Art at the Pergamon Museum","initial_owner":"R. Nadolny, German Ambassador to Turkey 1924–33.","dates":"Hegira early 7th / AD early 13th century.","location":"Berlin","dimensions":"Height 36 cm, width 20 cm.","method_for_datation":"Lute players were frequently represented in Islamic art. This stone relief is characteristic of Seljuq Anatolia, as only there have similar reliefs been found remaining.","method_for_provenance":"The previous owner stated that the relief was of Turkish provenance when the object was acquired. This information as well as the style in which it was made testify to its Anatolian Seljuq origin.","provenance":"Turkey.","obtention":"Bought from R. Nadolny in 1948.","bibliography":"Farmer, H. G., *Islam. Musikgeschichte in Bildern* (eds. H. Beseler and M. Schneider), Vol. III/2, Leipzig, 1966, pp.54–5, ill. 39.  \n  \nHagedorn, A., *Die Blacas-Kanne: Zu Ikonographie und Bedeutung Islamischer Metallarbeiten des Vorderen Orients im 13. und 14. Jahrhundert*, Münster, 1992, pp.93, 109–111, 137–8.  \n  \nKühnel, E., “Der Lautenspieler in der Islamischen Kunst”, *Berichte aus den Ehemaligen Preussischen Kunstsammlungen 1,* 1951, pp.29–35, ill. 6.  \n  \n*Museum für Islamische Kunst*, Mainz, 2001, p.68.  \n  \nSchöttler, P., *Die Rumseldschuken*, Freiburg, 1995, p.81, fig. 360.","dynasty":"Seljuqs of Rum (Anatolian Seljuq)","author":"Annette Hagedorn","translator":"Maria Vlotides, Brigitte Finkbeiner","translation_copy_editor":"Monica Allen","keywords":["Anatolia","Anatolian Seljuq","Lute player","marble","music","musician","relief","Rum Seljuq"],"materials":["Marble."]},"f9783fd3-09a2-5548-be22-593259d96e06":{"name":"Fragment of the Parthenon frieze","description":"The climax of the Greater Panathenaia, the chief festival of Athens, held in honour of Athena, was a procession which ended with the presentation of the newly woven peplos (a woman’s garment) to the tutelary goddess of the city. This is the subject of the frieze around the cella of the Parthenon, the temple on the Athenian Acropolis. This fragment shows two bearded elder citizens of Athens in conversation.","type":"Sculpture","holder":"Kunsthistorisches Museum, Collection of Greek and Roman Antiquities","dates":"c. 440 BC","location":"Vienna","dimensions":"Height 26 cm","copy_editor":"Daniel de la Vega","keywords":["Athens","Acropolis","Franz Ferdinand"],"materials":["Marble"]},"fa6093d9-67a1-536f-b0bb-38a5d07cb915":{"name":"Lion from a fountain.","description":"A sculpture such as this hollow lion – standing erect with its uplifted tasselled tail in the shape of a handle – is testament to the variety of Fatimid art. The open jaw of the lion once held a water pipe. The lion’s shape is based on a composition of very abstract forms. Thus its paws are flat, its ribs drawn out linearly, and the lines to describe both the extension of its ears and its bulging eyebrows are simple. The surface of its body along its back, chest and upper legs, is decorated with a spiral pattern that reinforces the sculpture’s stylised form. The engraved inscription found on both sides of the neck can be seen clearly and may date from the AH 7th / AD 13th century. It refers to bi-rasem al-amir Shams al-Din wali Misr, who was probably the governor of ‘Misr’ (Lower Egypt and Cairo).  \nA fully modelled sculpture of a living creature is of interest, as it does not conform to the specifications of Islamic dogma. However, such sculptures emerged from the Egyptian Court because, within its circles, the prohibition of the representation of living forms was not always enforced or adhered to, and also because the Fatimid Shi’ites adopted a liberal view. The Museum of Islamic Art in Cairo holds a sitting lion figure. The Berlin lion could have formed part of a sculptured fountain that featured a variety of figures. Thus, it would correspond to the lions of the well-known, bigger lion fountains of the Alhambra in Granada, Spain. Given its small size, the lion could have been part of a larger construction featuring a number of sculptures such as those represented in Iraqi manuscripts from the AH 7th / AD 13th century onwards. Bronze figures like this lion were widespread across the Mediterranean, and especially across Spain. One of these Spanish lions can be seen in the Louvre Museum in Paris. One can assume that most of these bronze lions did not survive the test of time and were melted down.","short_description":"This lively little lion with an open mouth and upturned tail was used as a fountain spigot during the Fatimid period in Egypt. It is made of cast bronze that has been decorated with scrolls on the back and the legs. Fountains with animal decoration were widespread in Mediterranean countries.","type":"Fountain, lion, metalwork","holder":"Museum of Islamic Art at the Pergamon Museum","dates":"Hegira 5th–6th century / AD 11th–12th century.","location":"Berlin","dimensions":"Height 11.5 cm, length 14.5 cm.","method_for_datation":"Similar figures, cast in bronze, were made especially in Fatimid Egypt. Both the design and the decoration of the lion fountain demonstrate parallels to similar pieces that were created during the Fatimid period. Additionally, it features an inscription that names an apparent governor of Egypt.","method_for_provenance":"The inscription appears to name a governor of Egypt. Furthermore the stylistic markings testify to having originated from the Egyptian Fatimid period.","provenance":"Egypt","obtention":"From a private art gallery in 1911.","bibliography":"Enderlein, V., *Islamische Kunst*, Dresden, 1990, pp.121–4.  \nEttinghausen, R. and Grabar, O., *The Art and Architecture of Islam 650–1250*, Harmondsworth, 1987, pp.197–200.  \n*Museum für Islamische Kunst*, Catalogue, Berlin 1979, no. 313.  \n*Museum für Islamische Kunst*, Catalogue, Stuttgart; Zürich, 1980, 52–3, no. 20.  \nWard, R., *Islamic Metalwork*, London, 1993, pp.60–9.","dynasty":"Fatimid","author":"Annette Hagedorn","translator":"Maria Vlotides, Brigitte Finkbeiner","translation_copy_editor":"Monica Allen","keywords":["Bronze casting","Fatimid"],"materials":["Bronze casting, hollow, engraved."]},"fc0f934c-a60f-5984-b826-24611c304045":{"name":"Fountain spout","description":"Small gilded bronze sculpture in the form of a hind. The figure is fragile and disproportionate. Almost all of the surface is covered with delicate oriental plant decoration (lotus flowers inscribed in circles) which make it look as if it is swathed in a rich fabric. Judging from the remains left in the grooves of the engraving and various parts of the body, the piece would have been completely gilded.  \nThe simple forms of the body, its facial characteristics and its legs, which end with discs and are extremely short in relation to its body, are reminiscent of representations of animals that appear in Fatimid ceramics.  \nThis sculpture undoubtedly served as a fountain spout because, apart from the legs, its body is hollow and there is a hole in its belly to allow water to pass through and cascade out of its mouth.  \nThe presence of water in Umayyad gardens was a sign of wealth, luxury and well-being. Fountains were an important aesthetic element in Islamic palaces in the West and in al-Andalus in particular. This hind would probably have been accompanied by other bronze animals.","short_description":"Its cloven hoofs, the base of its horns and its short pointed tail suggest that this animal is a fawn. It would undoubtedly have been used as a spout in a basin or fountain in a Córdoban palace, with the water entering through a duct beneath the belly and coming out through the mouth.","type":"Fountain, metalwork","holder":"National Archaeological Museum","dates":"Hegira 339–90 / AD 950–1000.","location":"Madrid","dimensions":"Height 32.3 cm, length 31.5 cm.","method_for_datation":"By stylistic analysis. Although the Madrid hind is smaller and less stylised, it is clearly similar to other pieces found in the 10th / 16th century among the ruins of the Madinat al-Zahra palace, one of which can be found in the Archaeological Museum of Córdoba. The second disappeared at the start of the 19th centuryfrom the Monastery of Guadalupe, where it was being stored, but has recently been recovered and has been in the Qatar National Museum since 1997.","method_for_provenance":"Some researchers believe that this piece could have been imported from Fatimid Egypt. However, its discovery in the province of Córdoba and the similarities to the deer of Córdoba and Qatar suggest that the three sculptures were produced, if not in the same workshop, at least in the same geographical area of al-Andalus, where metalwork workshops developed.","provenance":"Córdoba, Spain.","obtention":"The hind was bought by the National Archaeological Museum on 3 February 1940.","bibliography":"Camps Cazorla, E., “Ciervo Califal de Bronce”, in *Adquisiciones del Museo Arqueológico Nacional (1940–1945)*, Madrid, 1947.  \nCamps Cazorla, E., “Un Nuevo Ciervo Califal de Bronce”, in *Archivo Español de Arte, Madrid, 1943, pp.212–22.*  \n*El Esplendor de los Omeyas Cordobeses*, Exhibition catalogue, Granada, 2001.  \nGómez Moreno, M., *El Arte Árabe Español Hasta los Almohades. Arte Mozárabe*, Ars Hispaniae, Vol. III, Madrid, 1951, p.336.  \nZozaya, J., “Importaciones Casuales en al-Andalus”, in *Actas del IV Congreso de Arqueología Medieval Española*, Vol. I, Alicante, 1993, p.125.","dynasty":"Umayyads of al-Andalus, Caliphate period","author":"Margarita Sánchez Llorente","copy_editor":"Rosalía Aller","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["floral decoration","fountain","garden","Palace","water"],"materials":["Bronze, lost-wax casting, engraved and gilded."]},"fc579321-e275-5fe1-8dd0-ec1b2c450394":{"name":"El transparente Universo (The Transparent Universe)","description":"Originally from Segovia, Torres Esteban represents one of the first exponents who worked with studio glass in Spain. From the late 70s, his presence in international forums enabled him to contact sculptors from around the world and make propositions to the representatives of CEVIDER in Valencia, the organizer of the VICOINTER ‘83 exhibition.  \nThe glasswork by Torres Esteban is characterised by the construction of monumental geometric shapes, which is owed to both constructivism and kinetic art. His playfulness led him to work with geometry and the shapes he created, all of which were generally of a changeable nature. His works facilitate different arrangements that move away from the solidity of the closed to the open, the passive space that surrounded the cube, becomes dynamic and plays with the light that is projected on the interior surfaces of the piece, in which certain cuts in glass sheets that compose it have developed spherical cavities.","type":"Sculpture","holder":"Technological Glass Museum. Royal Factory of Glass and Crystal of La Granja","owner":"Torres Esteban","dates":"1984","location":"Real Sitio de San Ildefonso, Segovia","dimensions":"98.5 x 101cm","method_for_datation":"Author archives and conversations with his son in order to create the exhibition: “Torres Esteban. A passion for glass”.","method_for_provenance":"Temporary exhibition at the Royal Glass Factory. Museo Tecnológico del Vidrio, 1998","provenance":"Spain","obtention":"Loan Deposit. Joaquin Torres","bibliography":"González Vicario, Mª Teresa, de Pablos, Eliseo, Gómez, Javier and García, Pedro, *Torres Esteban. Una pasión por el vidrio*, San Ildefonso, Segovia: Fundación Centro Nacional del Vidrio, 1998.","author":"Paloma Pastor Rey de Viñas, Saulo Alvarado Martinsanz","translator":"Jessica White","keywords":["Glass sculpture","Laminated glass","Torres Esteban","VICOINTER"],"materials":["glass","laminated, cut"]}}
+{"020b103b-b84e-52f0-a58e-80746cb6afa9":{"name":"Incense burner","short_description":"Incense burners were in high demand all around the Muslim world. Incense burners differ in shape and decorative repertoire, as well as quality. Some are fashioned in the form of cylindrical hoods, spherical units or composite architectural shapes. Royalty commissioned burners as gifts to shrines and for their palace and courts. This jade tripod incense burner from China is decorated with Arabic inscriptions inside three cartouches on the sides of its globular body.","type":"Stone-work","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 1100 / c. AD 1700","location":"Kuala Lumpur","dimensions":"Diameter: 10.5cm","provenance":"China","bibliography":"Wilson, M., Thomas, I. & Victoria and Albert Museum, *Chinese jades*, London: V & A Publications, 2004. National Palace Museum (Guo li gu gong bo wu yuan), *Exquisite beauty: Islamic Jades = Guo se tian xiang: Yisilan yu qi*, Taipei: National Palace Museum, 2007.","dynasty":"Qing","materials":["Stone-carved jade"]},"03194f3e-048b-5d3e-a6af-514f37ac800f":{"name":"Winged colossus","short_description":"Massive Assyrian winged animals captured the imagination of Victorian England. Large scale reproductions of them were incorporated into “The Assyrian Court” at the Crystal Palace Exhibition.","type":"Statue","holder":"The British Museum","dates":"7th century BC","location":"London","provenance":"Iraq","keywords":["Assyrian revival"]},"0659eb21-0d9f-5b11-ae51-0ba0f6eea1f1":{"name":"Reverent Baboon with Pharaoh figure","description":"The loud rejoicing of the Hamadryas baboon at the sunrise in its rocky habitat served as a model for the Egyptian celebration of the ascent and descent of the sun at the critical stages of its cycle. Baboons with upraised hands – the Egyptian gesture of reverence – became symbols for the “eastern souls”, the gods who cheer the sun at its appearance above the horizon. The king joins these gods in his role as sun priest.","type":"Sculpture","holder":"Kunsthistorisches Museum, Egyptian Collection","dates":"18th Dyn. Amenophis II, 1454-1419 BC; acquired in 1865/66","location":"Vienna","dimensions":"Height 130 cm, Width 42 cm, Diameter 61,5 cm","copy_editor":"Daniel de la Vega","keywords":["Maximilian of Mexico; Miramare; Egypt"],"materials":["Pink granite"]},"097719cc-6187-5302-96cc-c309d799ec93":{"name":"Parapet well","short_description":"This parapet could be from Granada. It could be the only example from the Nasrid period. It has an inscription with the Nasrid motto: \"Only God wins\".","type":"Architecture","holder":"Lázaro Galdiano Museum","dates":"Nasrid dinasty","location":"Madrid","dimensions":"69 x 59 cm","provenance":"The Alhambra palace (?), Granada","author":"Ámparo López","copy_editor":"Anne Dowell","keywords":["Nasrid art; islamic influence; orientalism; collectionism"],"materials":["Limestone; carved"]},"0b7d9d65-e30b-5a92-acf2-45ddb1343c5c":{"name":"*Apollo and Daphne*","description":"This sculpture is considered one of the masterpieces in the history of art.  \nBernini began sculpting it in 1622 after he finished *The Rape of Proserpina.* He stopped working on it from 1623 to 1624 to sculpt *David*, before completing it in 1625.  \nWith notable technical accuracy, the natural agility of this work shows the astonishing moment when the nymph turns into a laurel tree. The artist uses his exceptional technical skill to turn the marble into roots, leaves and windswept hair. Psychological research, combined with typically Baroque expressiveness, renders the emotion of Daphne's terror, caught by the god in her desperate journey, still ignorant of her ongoing transformation. Apollo, thinking he has achieved his objective, is caught in the moment he becomes aware of the metamorphosis, before he is able to react, watching astonished as his victim turns into a laurel tree. For Apollo's head, Bernini looked to *Apollo Belvedere*, which was in the Vatican at the time.  \nThe base includes two scrolls, the first containing the lines of the distich by Maffeo Barberini, a friend of Cardinal Scipione Borghese and future Pope Urban VIII. It explores the theme of *vanitas* in beauty and pleasure, rendered as a Christian moralisation of a profane theme. The second scroll was added in the mid-1700s.  \nThe group, like others created by Bernini in the Villa, was backed on to a wall, setting a mandatory point of view for the visitor entering the room, to fulfil the pictorial objectives and provide the surprising scenery, key components of the baroque style. As with other sculptures, it was placed in the centre of the room during the renovations of 1700. Bernini worked with the sculptor Giuliano Finelli, who provided the delicate detailing on the base, rocks and part of the leaves and tree.","short_description":"Bernini executed the group between 1622 and 1625. Such a pagan myth (by Ovid in *Metamorphosis*) in the cardinal's house is explained by a moral distich by Maffeo Barberini (Urbano VIII, 1623–1644) on the theme of *vanitas* “those who love to pursue fleeting forms of pleasure, in the end find only leaves and bitter berries in their hands.”","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Cardinal Scipione Borghese","dates":"1622–1625","location":"Rome, Latium","dimensions":"h: 243 cm","provenance":"Borghese Collection","obtention":"The Borghese Collection was acquired by the Italian State in 1902.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al secolo XIX*, Rome, 1954, n.35, pp. 34–37.  \nWittkower, R., *Gian Lorenzo Bernini. The Sculptor of the Roman Baroque*, London, 1955 (edition Italiana Milano, 1990, cat. 18, pp. 13–15).  \nColiva, A., “Apollo e Dafne”, in *Bernini Scultore, La nascita del Barocco in Casa Borghese*, exhibition catalogue, Rome, 1998, pp. 252–275.  \nUlivi, M., Sorrentino, M. A., Chilosi, M. G., Rockwell P., “Apollo e Dafne” in *Bernini scultore e la tecnica esecutiva*, Rome, 2002, pp. 184–207.","artist_birthdate":"1598","artist_birthplace":"Naples","artist_deathdate":"1680","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Mithology; Ovid; Metamorphoses; symbol; movement"],"materials":["Marble"]},"0bfcc099-89c3-58ef-bcd9-7607c73b68a5":{"name":"*Angel with Trumpet*","description":"Joseph Leonard Weber was a burgher of Buda from 1757. Probably born in Silesia into the Weber dynasty of sculptors in Svidnica, members of his family moved to Brno and Nagyszombat (Trnava). The Weber name can be found in the register of births in Buda from 1753 since all seven of the Weber children were baptised there.  \nWeber's sculptural activity is documented from 1757 and includes the stone sculptures of *Faith*, *Hope* and *Charity* above the portal of St. Anne's church, dating from 1765, and the statue *St. Florian* on the facade of St. Florian Chapel, as well as the figures that decorate the organ and those on the high and side altars of the chapel (1761–1766).  \nAlmost the entire interior decoration of St. Florian Chapel, Buda is by Weber, made between the 1760s and 1770s. On 20 June 1761, Weber was paid 86 forints for the sculptural decoration of the chapel's organ.  \nIn the 1920s the chapel was rebuilt twice and the interior furnishing was dispersed. The sculptural ensemble of the organ, the white painted figures of King David playing the harp, two angels with trumpets, one with drums and several *putti*, came to the Municipal Museum of Budapest (today Budapest History Museum).  \nThe angel has an adolescent body and curly hair. He is playing a trumpet and has a puffed-out face; he stands *contrapposto*, with exact anatomy. His clothing consists of a light drapery fixed with a ribbon at his left shoulder. The abstract decorative shaping of the drapery was a Rococo stylistic feature of southern German origin. By around 1760, this feature was already a widespread motif used by the sculptors of Pest and Buda, and carried over to Hungary via the art of Károly Bebo, Lipót Antal Conti, Antal Eberhard and József Hebenstreit. It is still evident even during the Neo-Classical era.","short_description":"Weber’s ascendants were sculptors in Silesia, who moved from Svidnica to Brno and Nagyszombat (Trnava). It was while a citizen of Buda in 1761 that Weber worked on the sculptural decoration of the St. Florian Chapel. The Rococo music-making angels once decorated the organ.","type":"Sculpture","holder":"Budapest History Museum","initial_owner":"St. Florian Chapel, Buda","dates":"1761","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 96 cm","place_of_production":"Buda","method_for_datation":"By historical data","provenance":"St. Florian Chapel, Buda","obtention":"From the St. Florian Chapel in Buda","bibliography":"*Barokk művészet Közép-Európában. Utak és találkozások* (Crossroads: Baroque Art in Central Europe) exhibition catalogue, (ed. G. Galavics), Budapest, 1993, pp. 434–435.  \nChmelinová, K., “Beitrag zur Geschichte einer Künstlerfamilie im 18. Jahrhundert in Mitteleuropa. Der Bildhauer Joseph Leonhard Weber und Trnava / Tyrnau.” *Generationen, Interpretationen, Konfrontationen* (ed. B. Balážová), Bratislava, 2007, pp. 151–165.","artist_birthdate":"1702","artist_birthplace":"Svidnica (?)","artist_deathdate":"1773","artist_deathplace":"Buda","author":"Anna Jávor","copy_editor":"Terézia Bardi","translator":"Viktor Mészáros","translation_copy_editor":"Mandi Gomez","keywords":["Neo-Classicism; Joseph Leonard Weber; Károly Bebo; Lipót Antal Conti; Antal Eberhard; József Hebenstreit; St. Florian; St. Anne; King David; Buda; Pest; wood carving; gilding; music; religious object"],"materials":["Limewood, carved, painted, gilded and silvered"]},"0cec6aaa-8c9c-5003-8b7b-39389edbe2cf":{"name":"Stone relief of a lion.","description":"The area of Bab al-Faraj refers to the north and northwestern area of old Aleppo.  \nBab al-Faraj (Gate of Deliverance), also known as Bab al-Faradis (Paradise Gate), was built by the Ayyubid king al-Malik al-Zahir Ghazi (d. AH 613 / AD 1216) as part of his expansion and refortification of the city. Today, the Bab al-Faraj area is almost completely destroyed. Some traces of the wall were revealed in archaeological excavations by the Syrian Directorate of Antiquities, including a round tower that can feasibly be identified with the Burj al-Tha'abin (The Tower of the Serpents). Both serpents and lions were common decorative and talismanic features on city gates and city walls, long used as symbols of protection and of power.  \nThis lion, one of a pair, was carved in relief each from a single large block hewn in an inversed t-shape form. The rather affable beast is carved in profile as if walking, with uplifted paws and a long curving tail over the body. Although rather schematic, details such as the eyebrows, eyes, nose, mouth and some muscular details along the shoulder have been accentuated by deeply cut lines.  \nSuch lions are extremely common in AH 6th- and 7th- / AD 12th– and 13th–century architectural decoration in Anatolia and Mesopotamia, often appearing as a pair on city walls, gates, and other places of fortification. In Aleppo a pair of lions, albeit in a quite different style, protect the entrance tower of the Ayyubid Citadel. A second further and much more similar pair of lions can be found along the western city wall, still integrated. A third pair of lions on the northern city wall is only documented by photography.  \nNot all the existing lion pairs are necessarily in their original location nor are they necessarily attributed to the same date.","short_description":"This stylised animal carving was found in the Bab al-Faraj (Gate of Deliverance) area in the northwest of Aleppo. Although it is difficult to establish the exact dating of this piece, it is known that the gates of Aleppo were fortified by the Ayyubid king al-Malik al-Zahir Ghazi.","type":"Lionm stone","holder":"National Museum of Aleppo, Islamic Department","dates":"Hegira 6th–7th century / AD 12th–13th century.","location":"Aleppo","dimensions":"Height 50 cm, length 104 cm, width 15.3 cm.","method_for_datation":"It is difficult to date this object definitively: some scholars have proposed a Mamluk attribution, identifying the lion as the blazon of Sultan Baybars (r. AH 658–75 / AD 1260–77). While Baybars did use his famous lion emblem on coins and numerous architectural constructions, he is not known to have repaired or renovated any of Aleppo's fortifications or city walls. It is far more probable that the lions belong to the Ayyubid period and the major construction works of al-Malik al-Zahir Ghazi.","method_for_provenance":"The carved lions were not found *in situ*, and therefore their attribution to the Bab al-Faraj is based on oral history. Given the local expertise in stone carving, it is probable that they were made in Aleppo, possibly as part of the Bab al-Faraj or the surrounding wall.","provenance":"Bab al-Faraj, Old Aleppo, Syria.","obtention":"This lion is one of a pair discovered in the Bab al-Faraj area of Aleppo in the 1980s when extensive construction works took place. Archaeological chance-finds were moved to the Museum by the Syrian Directorate of Antiquities.","bibliography":"Gierlichs, J., *Mittelalterliche Tierreliefs in Anatolien und Mesopotamien*, Tübingen,  \n1996.  \nHerzfeld, E., *Matériaux pour un Corpus Inscriptionum Arabicarum: Syrie du Nord, Part 2: Inscriptions et monuments d'Alep,* 3 vols, Cairo, 1954–6, pp.39-43 ; plates. VII b, VIII d, e, IX, X a, XI b.  \nMeinecke, M., “Zur mamlukischen Heraldik”, *Mitteilungen des Deutschen Archäologischen Institutes*, Cairo, XXVIII/2, 1972, pp.217–19.  \nSaba, R., “Taqrir 'an a'mal kashf Sur madinat Halab fi mintaqat Bab al-Faraj”, *Les Annales Archéologique arabes syriennes*, XXXVI–VII, 1986–7, pp.25–32.  \nSauvaget, J., “Inventaire des Monuments Musulmans de la Ville d'Alep”, in *Revue des Études Islamiques*, V, 1931, p.74 ; cat. no. 5.  \nTabbaa, Y., *Constructions of Power and Piety in Medieval Aleppo,* Pennsylvania, 1997, p.20, pp.28–30.","dynasty":"Ayyubid","author":"Julia Gonnella","copy_editor":"Mandi Gomez","keywords":["Lion; gates; stone carving; Aleppo; al-Malik al-Zahir Ghazi; Sultan Baybars"],"materials":["Carved stone."]},"0e020cb4-5b0e-5b53-9a97-0e2adfd0f102":{"name":"Large Red Line","description":"Ira Sapir (1995) specialised in glass and sculpture, obtaining his BFA from the California College of Arts and Crafts in 1978.  \nHe opened his own glass studio in 1979 in Oakland, California. During the 80s, he worked with blown glass as if it were a canvas to be painted, developing his well-known elliptical shape in minimalist colours. It was at this point that Torres Esteban contacted him in order to participated in the VICOINTER, 83 project.  \nIn 1985, he decided to take a break in his career. He later began to work with steel and copper, developing a weaving method using both materials. In 2003 he began to carry out installations dominated by steel as a sculptural material.","type":"Sculpture","holder":"Technological Glass Museum. Royal Factory of Glass and Crystal of La Granja","dates":"1983","location":"Real Sitio de San Ildefonso, Segovia","dimensions":"13 x 45cm","method_for_datation":"Personal files regarding VICOINTER, 83, belonging to Torres Esteban. Production by Ira Sapir. Doctoral Thesis by Mª Cristina Giménez Raurell: \"Escultura y vidrio: España (1975-1995). New Glass Movement\".","method_for_provenance":"Feria de Cerámica y Vidrio in Valencia, 1983. VICOINTER, 83.","provenance":"United States of America","obtention":"CEVIDER","author":"Paloma Pastor Rey de Viñas, Saulo Alvarado Martinsanz","translator":"Jessica White","keywords":["Sapir; Glass sculpture; VICOINTER; Valencia; USA"],"materials":["Glass; free hand-blown, coloured decoration"]},"102b5a7a-7eb3-5088-8d91-c9be0bc5c5fa":{"name":"Sitting lion.","description":"Made of grey marble in a parallelepiped form that is sculpted, this object features a lion sitting on its hind legs rendered flat against the surface of a lower part of a segment of arch. The head of the animal is far larger than its body. Its eyes are globular and wide open, and its fully opened mouth reveals tightly clenched teeth, giving the face a ferocious air.  \nThe left flank of the animal is more densely decorated than the right. Fur in the form of curls hang from the left flank, to which the tail is also attached. The front legs are missing. The right flank lacks any ornamentation, which suggests that it was this side that was encased in the masonry while the left side was on show.  \nThe rounded shape of this piece leads to the conjecture that it formed part of a segment of a poly-lobed arch that belonged to an entrance door of a Hammadid palace.","short_description":"This marble piece is a sculpture of a lion with a disproportionately large head and a wide open mouth that was probably part of a doorway arch. Its tail is flattened against its left-hand side and the carved curls represent its fur.","type":"Lion, marble","holder":"National Museum of Antiquities and Islamic Arts","dates":"Hegira 406–547 / AD 1015–1152.","location":"Algiers","dimensions":"Length 40.5 cm, width 24 cm, diameter 12 cm.","method_for_datation":"Archaeological repository (De Beylié excavations, 1908).","method_for_provenance":"The object was found on the site of the Qal'at Bani Hammad.","provenance":"Qal’at Bani Hammad, Algeria.","obtention":"Gift from L.Leschi.","bibliography":"Golvin, L., *Recherches archéologiques à la Qal'a des Banû Hammâd*, Paris, 1965.  \nMarçais, G., *Le musée Stéphane Gsell, musée des antiquités et d'art musulman d'Alger*, Algiers, 1950.  \nMarçais, G., “Sur un lion de marbre trouvé à la Kal'a des Beni Hammad”, *Revue africaine*, Algiers, 1939, pp.182–91.","dynasty":"Hammadid","author":"Ali Benbella","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["Palace; figurative representation; lion; animal decoration; marble; Hammadid; palatial architecture; architectural decoration; Grey marble; rounded shape; segment of arch of an entrance door; luxurious construction"],"materials":["Carved and sculpted grey marble."]},"115adb41-ded2-5669-b97c-a902df406833":{"name":"Stone blazon.","description":"In the Mamluk period, heraldry played an important role and was widely used on architecture, metalwork, textiles, glass and pottery. Its use was strictly the reserve of sultans and particularly of the officers who were awarded individual blazons, each according to their rank. While the early Bahri Mamluks used blazons which represented a distinct office held by an individual, the later Burji Mamluks combined several heraldic emblems which were commonly shared by a corps of *amirs* who served a distinct master.  \nThe stone roundel with the tripartite blazon from the Aleppo Museum represents a widely used composition from the late Mamluk period: it contains the symbol of the *jamdar* (master-of-the-robes) with a so-called “napkin” in the upper field, the stemmed cup of the cup-bearer (*saqi*) charged with the pen box of the *dawadar* (secretary) in the central field, flanked by what has been identified as a pair of powder horns. A second, smaller, stemmed cup is placed in the lower field.  \nAccording to Meinecke (1972), this particular emblem was the most popular blazon of the late Burji period and is known to have been used by at least 47 *amir*s. Its first employment can be traced back to Sultan Qaytbay (AH 872–901 / AD 1468-96) when he was still an officer himself and he then conferred it upon his own followers. It was in use up to AH 922 / AD 1517 and came to represent something like the Mamluk “State blazon”.","short_description":"The use of royal emblems reached a high point during the Mamluk period. This carved stone roundel reveals a composition of symbols including those of the cup-bearer, the secretary and the master of robes.","type":"Blazon, stone","holder":"National Museum of Aleppo, Islamic Department","dates":"Hegira late 9th–early 10th century / AD late 15th–early 16th century.","location":"Aleppo","dimensions":"Height 51.4 cm, width 55 cm, depth 18.7 cm.","method_for_datation":"The piece was dated by comparison with other similar pieces.","method_for_provenance":"Although the provenance is unknown, this medallion probably belonged to either Amir Uzdamur (also known as Özdemir), who ruled Aleppo twice in 884 / 1479 and between 889–99 / 1484–93, or the last Mamluk *amir*, Kha'irbak b. Bilbay. Both were closely connected to Sultan Qaytbay, leaving examples of this emblem on various buildings in the city: Uzdamur on his *caravanserai* (Khan al-Sabun), the Qastal al-Ramadaniyya, the Qastal Jami' al-Sharaf and the Jami' al-Sharaf itself; Kha'irbak on his mausoleum south of Bab al-Maqam and his *khan* in the *suq* not far from the citadel.","provenance":"Unknown (Aleppo, Syria).","obtention":"It is not known how the Museum came by this object.","bibliography":"*Syrie: Mémoire et Civilisation*, exhibition catalogue, Paris, 1994, p.475 ; cat. no. 379.  \nHerzfeld, E., *Matériaux pour un Corpus Inscriptionum Arabicarum: Syrie du Nord, Part 2: Inscriptions et monuments d'Alep,* 3 Vols, Cairo, 1954–6, p.393ff, p.396 ff, pp.404–6; figs. 126, 128, 130; plates CLXX a, CLXXII c.  \nMayer, L. A., *Saracenic Heraldry*, Oxford, 1933, pp.136–8.  \nMeinecke, M., “Zur mamlukischen Heraldik”, *Mitteilungen des Deutschen Archäologischen Institutes, Abteilung Kairo,* XXVIII/2, 1972, pp.213–87.  \nSauvaget, J., *Alep. Essai sur le développement d'une grande ville syrienne des origines au milieu du XIXe siècle*, 2 Vols, Paris, 1941, plates XXII, XXIII.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","author":"Julia Gonnella","copy_editor":"Mandi Gomez","keywords":["Emblems; blazons; stone-carving; Aleppo; Michael Meinecke; coat of arms"],"materials":["Carved stone."]},"16a31ba5-4c16-5a18-9197-2cffb96b8f18":{"name":"*A Member of Nagyszeben (Sibiu) Town Council*","description":"This small alabaster portrait sculpture was found on a building site in Nagyszeben (Sibiu) in around 1880 and initially it was placed in the Hungarian National Museum. At the time, three coloured alabaster figures of two women and a man were in the Brukenthal Museum in Nagyszeben (Sibiu). All three are 28–30 cm in height, the man has a rounded beard and all three are wearing similar clothing (a long fur-collared, fur-lined braided coat, brocade jacket with a broad belt). The male figure – later in Germany (Gundelsheim, Siebenbürgisches Museum) – was identified long ago as Valentin Franck von Franckenstein (1643–1697), a Saxon count, government official, poet and scholarly historiographer, of whom several authentic portraits are known. The “Sachsencomes” were representatives of the descendants of mediaeval German settlers in multi-national Transylvania. A metal relief epitaph dedicated to Franck von Franckenstein was also transferred from the Lutheran church in Nagyszeben (Sibiu) to the Brukenthal Museum. This is attributed to the Lőcse (Levoča) goldsmith, Sebestyén Hann (1645–1713), who frequently worked for Franck. The female figures were identified as the first and second wives of the Saxon count, but the fourth figure in the series, preserved in Budapest, suggests another arrangement. This piece may also be the posthumous portrait of Franck's father, another Saxon count also called Valentin Franck, whose effigy was carved by Elias Nicolai (Lutheran church, Sibiu), or – more probably – of a younger member of the family.  \nInstead of individual characterisations, the sculptor emphasises the social status and age of the subjects, presenting the slightly old-fashioned attire of Hungarian noblemen and women. Similar figures in the same rigid pose are known from Transylvanian tomb sculptures, constituting the link between the Late Renaissance and the Baroque styles of the 17th century. The material, yellowish alabaster with grey veins, was quarried in Transylvania and its varied uses in art reached its apogee in the 17th century.","short_description":"Marking the transition between the styles of the Late Renaissance and Baroque in Transylvania, this fine alabaster statue was made in the style of funerary sculpture. Its pair, a female figure, is still preserved in Nagyszeben (Sibiu).","type":"Sculpture","holder":"Hungarian National Gallery","initial_owner":"Franck von Franckenstein family","dates":"End of the 17th century","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 33 cm","place_of_production":"Nagyszeben (Sibiu)","method_for_datation":"by stylistic analysis and historical data","provenance":"Franck von Franckenstein family from Nagyszeben (Sibiu)","obtention":"Franck von Franckenstein family from Nagyszeben (Sibiu); in 1881 transferred to the Hungarian National Museum, Budapest; from 1936/39 transferred to the Museum of Fine Arts, Budapest; from 1974 in the Hungarian National Gallery, Budapest.","bibliography":"Mojzer, M. (ed.), *Cat. Nr. 340. A Magyar Nemzeti Galéria késő reneszánsz és barokk kiállítása, Képek és szobrok* (*Cat. No. 340 The Late Renaissance and Baroque Exhibition of the Hungarian National Gallery. Paintings and Sculptures),* Budapest, 1982, p. 11.","author":"Anna Jávor","copy_editor":"Terézia Bardi","translator":"Judit Pokoly","translation_copy_editor":"Mandi Gomez","keywords":["Relief; alabaster; painting; gilding; Lutherans; Transylvania; Hermannstadt; Nagyszeben; Sibiu; Saxons; Lőcse; Levoča; Leutschau"],"materials":["Alabaster, painted and gilded"]},"1d0c0bff-d4e8-59b7-bd8f-5d6f7251d877":{"name":"*Adoring Angel*","description":"Georg Raphael Donner was one of the most prominent and influential Central European sculptors of the first half of the 18th century. He developed his individual Neo-Classical style at a distance from the Baroque tradition, relying on models from antiquity and 16th-century Italian sculpture. His first monumental works were made for Pozsony (Bratislava) Cathedral, commissioned by Prince Primate Imre Esterházy.  \nFirst of all he worked on the decoration for the Chapel of St. John the Almsgiver, executing the archbishop's sepulchral statue (1729–32). Later, he created the sculptural group of St. Martin and the beggar, as well as two adoring angels for the new high altar in the cathedral (1733–1735). This significant work is characterised by the perfect harmony between the sculpture and architecture; the idea and the form. The crowned canopy of the altar was originally carried by enormous free-standing fluted columns. The central figural group featured St. Martin seated on the back of a rearing horse. He shares his flowing cloak with the beggar lying on the ground. St. Martin is wearing a Hungarian noblemen's outfit and has the facial features of the archbishop. The beggar of heroic stature is looking at the saint with Christ's face, but the saint does not recognise him immediately. An external viewer of the altarpiece cannot recognise Christ's face either, because it is seen in semi-profile. Two huge kneeling angels join the scene on either side, their adoration directed towards the disguised Redeemer. Despite minor differences in movement, hand gesture and in the arrangement of drapery, the adoring angels are practically symmetrical; they are dignified celestial creatures, although their finely modelled, strong bodies are very real. Their pose expresses intimate and perfect veneration.  \nThe beauty of the modelling is enhanced by the subtle grey hue and silken lustre of lead, which also lends an earnest, reserved and elegant appearance to the statues. With these statues, Donner reached an initial peak of his oeuvre. The altar was dismantled in the 1860s when the cathedral was rebuilt in the Neo-Gothic style. The main group of the equestrian statue today is in the side aisle of Bratislava Cathedral, and the two adoring angels are part of the permanent collection at the Hungarian National Gallery.","short_description":"The most important patron of the Viennese sculptor was Primate Imre Esterházy in Pozsony (Bratislava). The high altar of Pozsony (Bratislava) Cathedral was one of Donner's most significant works, but after it was demolished in the 19th century, the group of St. Martin and the beggar can be seen in the nave today, while the two huge angels were taken to Budapest in the 19th century.","type":"Sculpture","holder":"Hungarian National Gallery","initial_owner":"St. Martin’s Cathedral, Pozsony (Bratislava)","dates":"1733–1735","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 200 cm","place_of_production":"Pozsony (Bratislava)","method_for_datation":"By historical documents","provenance":"St. Martin’s Cathedral, Pozsony (Bratislava)","obtention":"St. Martin’s Cathedral, Pozsony (Bratislava); purchased by the National Museum, Budapest in 1875; transferred to the Hungarian National Gallery, Budapest in 1976","bibliography":"Pötzl-Malikova, M., “Zu Leben und Werk Georg Raphael Donner” in *Georg Raphael Donner 1693–1741,* exhibition catalogue, (ed. M. Krapf), Wien, 1993, pp.31–83.  \nMojzer, M., “Die szenische Ordnung des pressburger Hochaltares von Georg Raphael Donner” in *Georg Raphael Donner 1693–1741,* exhibition catalogue, (ed. M. Krapf), Wien, 1993, pp. 101–107.","artist_birthdate":"1693","artist_birthplace":"Esslingen","artist_deathdate":"1741","artist_deathplace":"Vienna","author":"Zsuzsanna Boda","copy_editor":"Terézia Bardi","translator":"Judit Pokoly","translation_copy_editor":"Mandi Gomez","keywords":["Funerary  monument; metalwork; Italian influence; Christian themes; Pozsony; Bratislava; funerary architecture"],"materials":["Lead–tin"]},"1f6cda19-3462-52f3-8af4-485020daf089":{"name":"Coat of Arms of the Erdödy Counts","description":"The coat of arms has an elongated triangular composition. In the middle is a a horse-head-shaped shield quartered with a heart in the centre: (1) on gold, a black, displayed, crowned eagle; (2) and (3) a blue bar with two six-pointed gold stars one beside the other; (4) on gold, a crenellated castle with a window and a door, in the heart of the shield: on red a stag rearing to the right from a halved gold wheel. Crest: above the shield, a gold crown from which grows gold acanthus leaves and an angel. Bearers of the arms: on each side is an angel with gold wings and one foot stepping sideways. The “background” is richly decorated with acanthus leaves, which in this case take over the function of the mantle.  \nThe Croatian aristocratic family of Hungarian origin, known as the Bakochs, came from the village of Erdöd. From the 16th to the 19th centuries, the Erdödy family played a leading role in Croatian history, acquiring many estates, bestowing five Croatian *bans* (viceroys) and one bishop, and playing an influential part in Croatian political life. They were particularly famous for fighting against the Ottomans.  \nAmong their many estates, Klanjec castle – built in 1603 and locally known as Novi Dvori Klanječki – is worthy of special mention.  \nThe Erdödy coat of arms was produced in the sculpture workshop of the Ljubljana, later the Zagreb master sculptor and woodcarver, Ivan Komersteiner, whose arrival in Croatia marked the final advent of Baroque art.  \nIn the south apse of Zagreb cathedral there is a similar memorial arms by Ivan Komersteiner produced in 1693 for *Ban* Nikola Erdödy who liberated much of Croatia from the Turks.  \nNikola Erdödy built a chapel in the west wing of Klanjec castle dedicated to St Francis Xavier, which he decorated with wall paintings. It is possible that the family arms shown here is from the castle, or perhaps even that it was on an altar commissioned by the Erdödys, who were known to be great donors.  \nThe Erdödy arms, probably the work of an unknown sculptor from Ivan Komersteiner's workshops, has retained the basic characteristics of Ivan's style, seen particularly in the use of luscious and fleshy acanthus leaves and angel figures as ornamentation.","short_description":"Coat of arms of the Erdödy Counts, it comprises a shaped triangular composition around a crowned, quartered shield in gold-blue, with a red heart at the centre, and the family’s symbols. Two guardian angels support it, while there is a third, smaller, angel above the crown. Behind the shield and above the crown are gold acanthus leaves.  \nThe Erdödys were Croatian aristocrats of Hungarian origin, a family of high nobility that were influential in Croatian political life. The coat of arms is probably the work of the unknown sculptor from the Ivan Komersteiner's workshop. Komersteiner was one of the most important sculptors of continental Croatia at the end of the 17th century.","type":"Coat of arms, wood carving","holder":"Croatian History Museum","dates":"About 1700","location":"Zagreb, North-West Croatia","dimensions":"H: 165 cm; w: 110 cm","place_of_production":"Zagreb","method_for_datation":"From characteristics of morphology, style and typology, and comparison with other works by the unknown master from the Ivan Komersteiner workshop.","obtention":"In 1946, following World War II, the artwork was secured by the Commission for Collecting and Preserving Cultural Monuments, Antiquities and Libraries (KOMZA). In 1952, following the proposal of the Commission for the Liquidation of KOMZA founded by the Ministry of Education, it became the property of the History Museum of Croatia (today the Croatian History Museum).","bibliography":"Bojničić, I., *Der Adel von Kroatien und Slavonien*, Nürnberg, 1899.  \nDuišin, V. A., *Zbornik plemstva u Hrvatskoj, Slavoniji, Dalmaciji, Bosni-Hercegovini, Dubrovniku, Kotoru i Vojvodini* (Book of the Nobility in Croatia, Slavonia, Dalmatia, Bosnia-Herzegovina, Dubrovnik, Kotor and Vojvodina), Zagreb, 1938.  \nBaričević, D., *Barokna skulptura na Gradecu. Zagrebački Gradec 1242–1850* (Baroque Sculpture in Gradec, Zagreb's Gradec 1242–1850), Zagreb, 1994.  \nBrajković, V., *Grbovi, grbovnice, rodoslovlja: katalog Zbirke grbova, grbovnica i rodoslovlja* (Arms, Armorial Charters, Genealogies: catalogue of the Collection of Arms, Armorial Charters and Geneaologies), Zagreb, 1995.  \nPavičić, S., *Sakralno kiparstvo u Hrvatskome povijesnom muzeju* (Religious Sculpture in the Croatian History Museum), Zagreb, 2003.","workshop":"Sculpture workshop of Ivan Komersteiner","author":"Matea Brstilo Rešetar, Nela Tarbuk","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["Heraldry; coat of arms; Erdödy family; Ottoman; woodwork; gilding; painting; sculpture"],"materials":["Wood, carved, polychrome, gilded and painted"]},"1fe23b95-31f5-5b9a-b2ab-2854193671c7":{"name":"*The Outcast*","short_description":"This sculpture by António Soares dos Reis was made in Italy and it rapidly became an icon of romanticism, as it symbolises a young man who has been forced into exile.  The classic contours of the human body, the position of the model and the remarkable sculpture led to the recognition of the author as one of Portugal’s main exponents of sculpture and this piece a National Treasure.","type":"Sculpture","holder":"Soares dos Reis National Museum","dates":"1872","location":"Porto","dimensions":"178 x 68 x 73","artist_birthdate":"1847","artist_birthplace":"Gaia, Portugal","artist_deathdate":"1889","artist_deathplace":"Gaia, Portugal","author":"DGPC","keywords":["sculpture; migration"],"materials":["Carrara marble"],"artist":"António Soares dos Reis"},"208acb08-f9ab-592b-b800-800ffe643ab6":{"name":"She the fresh","description":"In 2014, Rostislav Materka (1982) presented this piece as an entry into the competition organised by the European Glass Experience. According to the artist, the concept that governs the creation of this piece was following “the basics of craftmanship”. Specifically, it drew on the technical abilities of the craftspeople in workshops in the Czech Republic. The challenge was to create the piece without moulds or other external aids, in search of the shape created as a result of the physical properties of the glass itself. Once this shape was achieved, the artist managed to reshape it by sculpting, redefining its visual appearance. It can be said that he upturned the initial idea.","type":"Sculpture","holder":"Technological Glass Museum. Royal Factory of Glass and Crystal of La Granja","dates":"2013","location":"Real Sitio de San Ildefonso, Segovia","dimensions":"42 x 22 x 12cm","method_for_datation":"Per document signed by the artist, in order to participate in the competition promoted by Proyecto EGE","method_for_provenance":"Per document signed by the artist, in order to participate in the competition promoted by Proyecto EGE","provenance":"Czech Republic","obtention":"Donated by the author after EGE exhibition","bibliography":"Lauf, Cornelia et al., *European Glass Experience. Exhibition Catalog*, Venice: European Glass Experience Project, 2015.","author":"Paloma Pastor Rey de Viñas, Saulo Alvarado Martinsanz","translator":"Jessica White","keywords":["Glass sculpture; Materka; European Glass Experience; Czech Republic"],"materials":["Glass; free hand-blown, hand-cut, sand-blasted"]},"22f76b8b-02d4-572f-a730-9fa0910f176e":{"name":"Vuelos I","description":"It is one of the greatest exponents of contemporary glass sculpture in Spain. Self-taught, Javier Gómez took his first steps in the world of glass in 1971, when he began working in the family workshop, which he would leave behind shortly later to focus exclusively on his art.  \nJavier Gómez has worked with sculpture for more than 30 years, during which he has never stopped experimenting with sheet glass, using simple, overlapping sheets that are cut, polished and bonded. He sometimes includes expressive elements, such as cracking, sandblasting, or small trapped air bubbles, in addition to cold cuts, in order to achieve eroded and degraded surfaces, where light intentionally condenses causing unexpected plastic effects.  \nHis main source of inspiration has always been nature. He needs the calm of the surroundings in his hometown, Pedro Bernardo (Ávila), home to his studio, in order to work. His sculpture is forever in distant conversation with the orographic beauty of Valle del Tiétar, the landscapes and the birds that surround him. His art can be classified within the abstract genre, however certain organic resonances appear to belong to a distant universe that he has created himself.  \nNot only a sculptor, Javier Gómez has been committed to driving and promoting contemporary glasswork in Spain. His most ambitious project was the 1997 creation of the Museo de Arte en Vidrio de Alcorcón, MAVA, thanks to the legacy of Takako Sano (+2006) and the support of the Local Council.  \nThe piece, Vuelos I, corresponds to the second stage of his work, from 1999 until the present day, when he moved away from the dynamic appearance of the first phase, in search of a new means of expression. He gravitated closer and closer to block sculpture, with a solid and resistant appearance in which the sheets of “floating” glass are held and the colour is incorporated into the pieces, based on shades of black, red, pink, blue, etc. Perfectly polished pieces with a translucent finish, colour scheme tinged by the light. The edges have a more translucent appearance, compared to the more intense central areas.","type":"Sculpture","holder":"Technological Glass Museum. Royal Factory of Glass and Crystal of La Granja","dates":"2009","location":"Real Sitio de San Ildefonso, Segovia","dimensions":"92 x 12 x 10.5cm","method_for_datation":"In conversation with the author in order to proceed with the Exhibition: Javier Gómez. *Retrospectiva*, which tool place at our Museum in 2015.","method_for_provenance":"In conversation with the author in order to proceed with the Exhibition: Javier Gómez. *Retrospectiva*, which tool place at our Museum in 2015.","provenance":"Spain","obtention":"Donated by the author, after Javier Gomez exhibition.","bibliography":"King, Gerry, *Javier Gómez. Vuelos. Alcorcón*, Madrid: MAVA; 2000.  \nRemmers, Mario, *Javier Gómez. Abriendo Espacios. 1999-2005*, Oosterbeek: Galerie de Glorie, 2005.","author":"Paloma Pastor Rey de Viñas, Saulo Alvarado Martinsanz","translator":"Jessica White","keywords":["Javier Gomez; Glass sculpture; laminated glass; Spanish glass; MAVA"],"materials":["Glass; laminated, coloured decoration"]},"2681aa7c-6872-5aaf-afc2-c1e0626603b4":{"name":"Fragment of a frieze.","description":"Fragment of frieze made of *timchent* (local plaster), sculpted with epigraphic, geometric and floral decoration composed of two registers separated into three frames. The first frame consists of repeated, perforated circles, while the other two consist of plaster fillets separated by a milled edge composed of alternating small squares and voids. The epigraphic decoration that adorns the first register consists of an inscription of the word '*baraka*' (benediction) in *kufic* characters, repeated three times, the third instance of which is incomplete. Right from the beginning of the Hegiran era, the word *baraka* was used as an inscription for ceramic plates, jars, copper utensils, architectural elements, etc.  \nThe second register consists of a pattern of lozenges. Below, a small fragment of foiled and stylised leaf can be seen, which probably belonged to a third register of floral decoration.  \nThe sculpture was executed with the aid of a iron blade acting on the *timchent* while it was still soft. According to H. Saladin, this local plaster derived from limestone peculiar to the region was 'applied onto cob or roughstone walls'.  \nThe geometric ornamentation of this panel is reminiscent of what the Romans and the Byzantines from North Africa engraved onto reliquaries, architectural elements, altars, etc.  \nThis fragment formed part of one of the long friezes that ran along the top of the wall right across the room in order to delineate the ceiling from the decoration that adorned the rest of the wall.","short_description":"Frieze fragment with epigraphic, geometric and floral decoration split into three sections set apart by three frames. The first has a *kufic* inscription, '*baraka'* (benediction), repeated three times. The second is decorated with lozenges and the third, almost completely lost, was decorated with floral motifs.","type":"Frieze, plaster","holder":"National Museum of Antiquities and Islamic Arts","dates":"Hegira 296–467 / AD 909–1074.","location":"Algiers","dimensions":"Height 28 cm, length 50 cm, thickness 5.5 cm.","method_for_datation":"From study of the epigraphic decoration that features *kufic* characters, which, according to G. Marçais, could date back to the '11th century \\[AH 5th century\\] and resemble those in Kairouan'.","method_for_provenance":"The fragment was discovered in a palace in Sedrata following the report published in the *Comptes rendus de l'Académie des inscriptions et belles-lettres* in 1952.","provenance":"Sedrata, Algeria.","obtention":"Archaeological repository (van Berchem excavations, 1952).","bibliography":"Bermúdez Pareja, J., “Crónica arqueológica de la España musulmana”, *Al-Andalus,* Vol. XX, 1955, pp.407–452.  \nMarçais, G*., L'architecture musulmane d'Occident*, Paris, 1954.  \nSaladin, H., *Manuel d'art musulman. L'architecture*, Paris, 1907.  \nVan Berchem, M., “Deux campagnes de fouilles à Sédrata en Algérie”, *Comptes rendus de l'Académie des inscriptions et belles-lettres,* 1952, pp.242–6.  \nVan Berchem, M., “Deux campagnes de fouilles à Sédrata (1951–1952)”, *Travaux de l'Institut de recherches sahariennes*, Vol. X, 1953, pp.123–38.","dynasty":"Rustamids of Sedrata","author":"Houria Cherid","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["Wall-cladding; plaster; timchent; sculpture; palatial architecture; epigraphic decoration; Rustamid."],"materials":["Sculpted local plaster (*timchent*)."]},"26d6637f-84b8-536e-b789-91910110aa5a":{"name":"Fountain mouth.","description":"A lion, ochre in colour, sculpted in stone as if lying on its four legs. The head, huge and rounded, is disproportionate in relation to the body. The face shows two globular eyes surmounted by thick eyebrows, a large muzzle and an open jaw full of teeth that protrude onto the cheeks. A mane in the form of leaves gently overlapping each other and forming a sort of pinecone, stretches along the back. The tail lies along the right flank. The lion's paws appear thin. The very stylised whole demonstrates rather clumsy execution.  \nThis lion formed the mouth of a fountain, from which water spouted.","short_description":"Fountain spout in the shape of a lying lion noteworthy for the clumsiness of its execution: disproportionate head, protruding eyes, thick eyebrows, mouth open around excessively long teeth and thin paws. The mane resembles a pinecone and the tail is flattened against its right-hand side.","type":"Fountain, stone","holder":"National Museum of Setif","dates":"Hegira 406–547 / AD 1015–1152.","location":"Setif","dimensions":"Height 12.5 cm, length 25.5 cm, width 10.5 cm.","method_for_datation":"Found in the site of the Qal'at Bani Hammad.","method_for_provenance":"Golvin specifies that this fountain mouth was offered to the museum of Setif by P. Massiera, who brought it from the site of the Qal'at Bani Hammad.","provenance":"Qal’at Bani Hammad, Algeria.","obtention":"Gift from P. Massiera.","bibliography":"Bourouiba, R., *Les H'ammadites*, Algiers, 1984.  \nGolvin, L., *Recherches archéologiques à la Qal'a des Banû Hammâd*, Paris, 1965.","dynasty":"Hammadid","author":"Leila Merabet","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["Hammadid; fountain; sculpture; animal; lion; water"],"materials":["Sculpted ochre stone."]},"27de28c8-df7c-5e34-b27a-6b4d7277f037":{"name":"*The Adoration of the Shepherds*","description":"This bas-relief is part of a series which includes four horizontal and four oval scenes, all are in their original frames.  \nThree shepherds approach to adore the Child. The Madonna, St. Joseph and the angels, occupying the middle of the scene, point to the object of interest, Jesus. Piò moulds the tender scene to create a soft and delicate three-dimensional picture, similar to his contemporary painters.","short_description":"This sculpture is a good example of the baroque technique of Bolognese terracotta. Terracotta bas-reliefs were intended as proper paintings, framed and hanging from the walls, but lacking colours. The figures are scattered on different planes; in the foreground they are nearly three dimensional while the background figures are drawn more two dimensionally.","type":"Sculpture","holder":"Museo Diocesano di Arte Sacra di San Giovanni in Persiceto","initial_owner":"Oratorio del Suffragio","dates":"1711","location":"San Giovanni in Persiceto, Bologna, Emilia-Romagna","dimensions":"64 x 77 cm","place_of_production":"Bologna","method_for_datation":"The date is inscribed on the surface of the bas relief. The origin is described by the biographer of the artist, Zanotti.","provenance":"San Giovanni in Persiceto, Bologna","obtention":"The bas-relief was originally made for the oratory of the Suffragio in San Giovanni in Persiceto. It was moved to the oratory of the Holy Sacrament and later to the church of the Madonna della Cintura. In 1948 it was moved again to the Collegiata (the main church) of San Giovanni in Persiceto. The museum of the church was opened to the public and it was exhibited there.","bibliography":"Riccomini, E. “Sculture del Settecento a Bologna: Angelo Piò ed altri problemi”, *Arte Antica e Moderna:* 21, 1963, p. 58.  \n*Scultura Bolognese del Settecento* (exhibition catalogue) (ed. E. Riccomini), Bologna, 1965, p. 76, p. 77, p. 84, p. 85.  \nRoversi, G. C. “Ricerche sul patrimonio artistico persicetano alla fine del sec. XVIII”, *Strada maestra:* 3, 1970, p. 169.  \nRiccomini, E. “Devozione e celebrazione nella scultura emiliana*”*, *Emilia Romagna* (ed. R. Bacchelli), Milan, 1972, p. 360.  \nRiccomini, E. *Vaghezza e Furore*, Bologna, 1977, p. 50.","workshop":"Barocchetto Bolognese","artist_birthdate":"1690","artist_birthplace":"Bologna","artist_deathdate":"1770","artist_deathplace":"Bologna","copyright":"Copyright image: Ufficio Beni culturali ecclesiastici della diocesi di Bologna.","copy_editor":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Angelo Gabriello Piò; *Adoration of the Sheperds*; Baroque sculpture; Religious object; Terracotta; Christian themes; bas-relief"],"materials":["Terracotta"]},"28b857f3-2101-565b-a2b0-139be4166d04":{"name":"Part of an 'Angel’s concert'","alternate_name":"Musician Angels","description":"The coloured relief 'Angel’s concert' was created as an object of worship. The outer shape follows an erratic course, very likely caused by a missing part of the relief, and with the representation of a swelling cloudscape. Two dressed angels emerge out of the clouds that form the background. One of them is playing the lute and both are singing to the music, accompanied by a winged cherub. The angels are carved out to knee-length while only the cherub’s winged head is shown. Eye-catching, showing chubby and rosy cheeks and an unusual tufty hairstyle with some hair standing up, this relief may be regarded as typical of Hans Krumpper’s style. The relief stands as a very early example for the cheerfulness of the Baroque era, with flocks of church angels marking the climax after 1650.","short_description":"The precious Early Baroque relief of a cheerful angel’s concert within a cloudscape was obviously created as an object of worship. One of the two angels plays the lute, while the other beneath holds the song book.","type":"Relief sculpture","holder":"City Museum","initial_owner":"Unknown","dates":"c. 1620","location":"Weilheim in Oberbayern, Upper Bavaria","dimensions":"Height max. 97 cm, breadth max. 61 cm","place_of_production":"Munich","method_for_datation":"Stylistic analysis of Krumpper’s work.","obtention":"From art dealers in London.","bibliography":"Helm, R., “Musizierende Engel”, *Stadtmuseum Weilheim i.OB 1882–1982*, Stadt Weilheim (City of Weilheim (ed.)), Weilheim i. OB 1982, pp. 78–82.","workshop":"'Weilheim School of sculptors' (with G. Petel, H. Degler, C. Angermair, B. Steinle, P. Dirr); a rare work in wood by H. Krumpper.","artist_birthdate":"c. 1570","artist_birthplace":"Weilheim in Oberbayern","artist_deathdate":"1634","artist_deathplace":"Munich","author":"Reinhardt Helm","translator":"Holger Rhensius, Robert Robin, Wolf Schindler","translation_copy_editor":"Mandi Gomez","keywords":["Religious object; music; sculpted wood; relief"],"materials":["Lime-wood, remains of original polychrome coating"]},"2a226eef-1a17-51ae-9e21-911b78e227e7":{"name":"The Builders","short_description":"Arturo Dazzi was the son of the owner of a marble quarry and remained attracted to this raw material throughout his life. He attended the Academy of Fine Arts in Carrara and then won two national contests. The group of *The Builders*, as stated by the artist, was made for his final examination during the four years he spent at the Pensionato Nazionale di Scultura between 1904 to 1907. For this reason, the sculpture is very complicated and needed a lot of study and work in order to be completed. Nonetheless it gave great satisfaction to the artist: exhibited in 1907 in Italy and in 1909 in Munich the group was awarded both times with gold medals. The work shows an idealized version of the social “verism”, or truth, a concept common among young Italian sculptors of the time, and shows the influence of the painting of Constantin Meunier, *Enlèvement d’un creuset brisé*, done in 1884.","type":"Sculpture","holder":"National Gallery of Modern Art (GNAM)","dates":"1907","location":"Rome","dimensions":"168 cm x 228 cm x 90 cm","provenance":"Italy","artist_birthdate":"1881","artist_birthplace":"Carrara","artist_deathdate":"1966","artist_deathplace":"Pisa","copyright":"Copyright image: Soprintendenza alla Galleria Nazionale d'Arte Moderna e Contemporanea.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Sculpture; Italian sculptors; reform; social change; work; post-unitarian Italian society; working class; working class condition; social topics; realism; Verismo; social verismo; artistic exchanges; France"],"materials":["Bronze"],"artist":"Arturo Dazzi"},"2a8712ba-8b88-5ee9-9129-b2c6ecca6096":{"name":"Rectangular Composition","description":"David Magán (1979) trains at the Escuela de Artes y Oficios de Madrid, where he specialises in both woodwork and steelwork. His relationship with glass began in 2003, after having attended a stained glass course, in addition to other glass courses at the Escuela de la Real Fábrica de Cristales. He has since experimented with multiple techniques born of a profound artistic investigation.  \nHe has collaborated in exhibitions and fairs around the world, including Korea, London, Colombia, Belgium or Denmark. His work has also been selected for various Visual Arts exhibitions and competitions, the most recent being the “European Glass Experience”, headed by the City of Venice, in collaboration with the Museo Vetratio di Murano, the Museo Tecnológico del Vidrio de la Granja and the Glass Museum of Riihimaki in Finland.  \nHis work is defined as a geometric abstraction, developed using translucent sheets of coloured glass, suspended in the air, where movement and light fuses the colours. Light is what truly drives his work, with its ability to modify the sculpture and the space that surrounds it, creating an atmosphere filled with colour, shadows and reflections.","type":"Installation","holder":"Technological Glass Museum. Royal Factory of Glass and Crystal of La Granja","dates":"2014","location":"Real Sitio de San Ildefonso, Segovia","dimensions":"200 x 200 x 35cm","method_for_datation":"Per document signed by the artist, in order to participate in the competition promoted by Proyecto EGE","method_for_provenance":"Per document signed by the artist, in order to participate in the competition promoted by Proyecto EGE","provenance":"Spain","obtention":"Donated by the author following the *EGE* exhibition","bibliography":"Lauf, Cornelia et al., *European Glass Experience. Exhibition Catalog*, Venice: European Glass Experience Project, 2015.","author":"Paloma Pastor Rey de Viñas, Saulo Alvarado Martinsanz","translator":"Jessica White","keywords":["Magan; Glass sculpture; European Glass Experience"],"materials":["Glass, steel, cathedral glass"]},"2ce846c0-44cf-593b-a417-5ec441dd4212":{"name":"Bas-relief in carved marble.","description":"In the right-hand section of the bas-relief is a seated figure wearing a richly embroidered tunic. The heavy crown on his head defines him as a sovereign or military leader. With his right hand he lifts a cup to his lips. To his right a musician plays the flute. The man's head is covered with a veil and the sleeves of his tunic are decorated with bands containing geometric motifs. His eyes are almond-shaped and very prominent.  \nThis bas-relief is one of those rare gems of Ifriqiyan art representing people and their daily life. The artist is totally unconcerned with anatomical detail. The musician's face does not betray age, type or expression. This work probably has its roots in a very ancient North African tradition. Some art historians hold that the style recalls various funeral stelae which the Romano-Africans dedicated particularly to Saturn and to Caelestis. Common features are the frontal poses, their rigidity, the indifference to spatial considerations and the prominence of the eyes. The similarities of this piece to several carvings in wood and ivory from the Spanish Umayyad, the Egyptian Fatimid and the Eastern Abbasid eras are astonishing, especially the face of the flute player, the costumes and the veils. The crown has been described as Norman by some experts. Similar crowns have been found on ivory panels from Fatimid Egypt and also on Mesopotamian pottery from the same era.","short_description":"This bas-relief is one of the few Ifriqiyan pieces depicting an animal scene. A person dressed in a rich, embroidered tunic is sat on the right side of the bas-relief. He is wearing a crown on his head, suggesting that he is a king or military leader. To his right, a musician is playing the flute.","type":"Bas-relief, marble","holder":"Bardo Museum.","dates":"Hegira 4th–5th centuries / AD 10th–11th centuries.","location":"Tunis.","dimensions":"Length 53 cm, width 35 cm.","method_for_datation":"The bas-relief was discovered at Mahdiyya, capital of the Fatimids and then of the Zirids during the 4th–5th / 10th–11th centuries, which tends to establish its dating in that era. This is corroborated by the large number of human figures and scenes from daily life produced in Ifriqiya at the same time.","method_for_provenance":"The Ifriqiyan origin of the decoration suggests the object was carved *in situ* re-using an old piece of Italian marble.","provenance":"Mahdiyya.","obtention":"Following its chance discovery at Mahdiyya, the piece was acquired and shown at the Bardo Museum.","bibliography":"*Tunisie, terre de rencontres et de civilisation* (catalogue de l'exposition de Séville)*,* Tunis*,* 1992, p.265.  \nMahfoudh F., “Entre Mahdiyya et la Sicile: Analyse d'un bas-relief sculpté”, *Africa*, 20, 2004, pp.5–33.  \nMarçais, G., “L'art musulman du XIe siècle en Tunisie d'après quelques trouvailles récentes”, *Revue de l'art ancien et moderne*, XLIV, 1923, pp.161–73.  \nMarçais, G., *L'architecture musulmane d'Occident*, Paris, 1954, p.197.  \nYacoub, M., *Chefs-d'œuvre du musée du Bardo, Tunis, 1978, pp.230–2.*","dynasty":"Fatimid–Zirid","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["Figurative decoration; carving; marble; Zirid; relief"],"materials":["Carved marble."]},"2f04166a-1867-5f2a-bc57-934a78292a79":{"name":"Tomb of Bishop D. Manuel de Moura Manuel","description":"The Tomb of Bishop D. Manuel de Moura Manuel is based on a traditional French model seen in, for example, the Tomb of Cardinal Richelieu at the Sorbonne in Paris. Laprade introduced a new typology to Portugal: a tomb with an architectural background filled with allegorical figures. The inclusion of funerary symbolism and its association with the allegories of Life and Death are adjusted to fit in with the Baroque spirit. At a time when abstract and formal caskets in cases were the norm this was an innovation in Portugal. The tomb was created in the artist's studio in Coimbra.  \nIn terms of the architectural composition, the pilasters are transformed into Atlantes representing crying women who stage the sorrow of death with veils that partially hide their faces. The mournful tone of these figures contrast with the graceful angels that flit about in an oval-shaped plaque carrying with them the coat of arms of D. Manuel. At the top and bottom of the beam, are *putti* seen together with symbols of Life and Death. The tympanum is decorated with the figure of Time – an allegory of Death – accompanied by an angel that holds the bishop's crosier. The close of the tombstone arch is furnished with a Phoenix – symbol of the Resurrection and celestial Life. The sense of movement is remarkable in the flowing sideways of Time's clothes and the curvature of the prostrate body of D. Manuel. The naturalist portrait of D. Manuel, with one hand on his chest gazing at the image of Our Lady, suggests that he is waiting for the final verdict. Watching over the scene is the macabre skeletal figure of a magistrate wearing a bay-leaf crown – symbolic of the transition from life to death – wearing an amulet with a *Memento Mori* distich.","short_description":"A limestone tomb showing the deceased, Bishop D. Manuel de Moura Manuel, prostrate accompanied by the allegorical figures of Justice, Fortitude, Faith, Charity and Time, and the religious scene of the Appearance of Our Lady of Penha de França in bas-relief.","type":"Tomb sculpture","holder":"Vista Alegre Historic Museum","owner":"Vista Alegre Atlantis, SA – Fábrica de Porcelana da Vista Alegre","initial_owner":"D. Manuel de Moura Manuel, Bishop of Miranda do Douro","dates":"1699–1706","location":"Vista Alegre, Ílhavo, Aveiro","dimensions":"H: 570 cm; w: 215 cm","place_of_production":"Chapel of Nossa Senhora da Penha de França, Vista Alegre, Ílhavo","method_for_datation":"Stylistic analysis and documentation","obtention":"In 1812 José Ferreira Pinto Basto, founder of the Vista Alegre Porcelain Factory, bought Quinta da Ermida to which the lease of the Chapel at Vista Alegre had been assigned. The entire Vista Alegre Estate did not belong to him until 1817. The Museum is guardian of the Chapel of Our Lady of Penha de França, at Vista Alegre.","bibliography":"Gomes, M., *A Vista Alegre: Memoria Histórica*: *Tipografia Minerva*, Aveiro, 1924.  \nGonçalves, A. N., *Inventário Artístico de Portugal – Aveiro – Zona Sul*, Lisbon, 1959, pp. 180–187.  \nArez, I., Coutinho, M. A., Pinto Basto, C. and Frasco, A. F., *Vista Alegre Porcelanas*, Lisbon, 1989, p. 48.  \n“Laprade” in *Dicionário de Arte Barroca em Portugal* (ed. José Fernandes), Lisbon, 1989, pp. 253–257.  \nLopes, H. M. da Silva, *Claude Laprade e o Túmulo da Vista Alegre*: Dissertação de Mestrado em “Teorias da Arte” à Faculdade de Belas, Lisbon, 2001.","workshop":"French-influenced European Baroque","artist_birthdate":"1682","artist_birthplace":"Avignon, France","artist_deathdate":"1738","artist_deathplace":"Portugal","author":"Paulo Pereira","translator":"Lili Cavalheiro, Filipa Quatorze","translation_copy_editor":"Mandi Gomez","keywords":["Tomb sculpture; Baroque; Laprade (Claude); *Vista Alegre*; funerary object; funerary architecture"],"materials":["Limestone bas-relief"]},"308e03ea-6946-5a0c-a2aa-392943b0f903":{"name":"Small gazelle in bronze.","description":"This bronze object is composed of three superimposed elements: a small gazelle joined to a rectangular pedestal on top of a ball with a shaft, above a small sphere surrounded by a four-petal corolla. Rivets fix all these elements to the shaft, which holds the different components and serves as an axis. The gazelle, the support, the ball and the shaft are solid cast. The animal has an arched neck and a thin layer of gold covers its body. The tops of its legs are decorated with geometrical knotwork and a woven design on their inner side whereas the inside of the neck is decorated with dots. The small rounded tail is stamped with a cruciform pattern. The gazelle's elegance and its decoration are reminiscent of Umayyad bronzes from Córdoba.  \nThe hollow sphere is not decorated and it is formed by two welded elements. The corolla is made out of flat strips cut into four wide lanceolate petals, gilded with serrated edges. The outside of the strips are decorated with a floral pattern with smooth palms and Marinid-style foliage.  \nThe two parts of this small bronze do not appear to belong to the same period. In all probability the upper part, gazelle and shaft, was made in Córdoba during the Caliphate period. The sphere and the four-petalled corolla would have been added in the Marinid period, possibly to use it at the top of an aquamanile.","short_description":"This elegant object, representing a small gazelle on top of a sphere surrounded by a corolla of petals, would have been placed on top of an aquamanile. Its two halves come from difference periods: the Caliphate of Córdoba and the Marinid era.","type":"Gazelle, metalwork","holder":"Archeological Museum.","dates":"Hegira late 4th and 8th centuries / AD late 10th and 14th centuries.","location":"Rabat.","dimensions":"Total height 13 cm, diameter 5 cm.","method_for_datation":"Through stylistic analysis and comparison with Umayyad and Marinid pieces.","method_for_provenance":"Excavation report (Boube 1972).","provenance":"Dual provenance: the upper part was from Córdoba and the lower part was made in Morocco.","obtention":"Excavated.","bibliography":"Hassar-Benslimane, J., 'Note à propos d'un bronze arabe trouvé au Chellah (Rabat)', *Bulletin d'archéologie marocaine*, Vol. X, 1976, pp.173–84.","dynasty":"Umayyad; Marinid","linkcatalogs":"IAM_MA_EN_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["figurative representation; geometric decoration"],"materials":["Solid cast bronze."]},"32add590-3c53-51d7-af55-57212f399b39":{"name":"Equestrian figurine.","alternate_name":"Horseman of Raqqa.","description":"A figurine of a bearded horseman with Asian Turkoman facial features, long braided hair and a helmet. Around the right front hoof of the horse is a snake that is climbing towards the rider from his left. The snake is shown opening its mouth to bite the rider through his armour, but he repels it with his shield. He carries a straight sword lifted into the air, ready to strike. There is a grooved cylindrical column coming out of the stomach of the horse that probably supported the statue, keeping it upright. The horse wears blue reins that are executed in relief. The reins continue around the horse's mouth and hang in front of its neck, then, like a harness, run across the sides of the horse's body down to the lower part of its hind legs.  \nThe object is glazed in off-white and blue and, therefore, can be compared to the laqabi-style ware of Persia, also known to have been produced in Raqqa. Laqabi ware is often seen as luxury bowls and dishes with moulded decorations. Production probably centred on the city of Kashan in Persia. Raised areas were often coloured in bright- blue, yellow, green, purple and pink to differentiate them from the white or off-white background.","short_description":"Known as the 'Horseman of Raqqa', this masterpiece of Syrian polychrome underglaze sculptural ceramics clearly displays the influence of the Central Asian military elite on artistic taste and local production.","type":"Figurine, earthenware","holder":"National Museum of Damascus","dates":"Hegira 6th century / AD 12th century.","location":"Damascus","dimensions":"Height 46.5 cm.","method_for_datation":"The object is similar to wares produced in Persia during the Seljuq period in the 12th century; a period that saw significant trade activity and migration between Abbasid domains and those of the Seljuq and other Turkoman peoples.","method_for_provenance":"The provenance of this object is difficult to determine because there was substantial trade activity in ceramics between various centres of production and wealthy consumers. Therefore, it is impossible to determine whether it was made in Persia and imported to Raqqa, or made in Raqqa after exposure to wares from Seljuq Persia. Its “Eastern” features and its similarity to the *laqabi* wares reveals a strong Persian influence in either case.","provenance":"Possibly Raqqa region, Syria.","obtention":"Salim ‘Adil ‘Abd al-Haqq, Director General of Antiquities and Museums in the 1950s, referred to this figurine as the “Horseman of Raqqa” in the *Syrian Archaeological Annals*. It was found along with two others in a man-made pond during archaeological excavations in Raqqa. The pieces were then sold and taken to Paris where this figurine was deposited in a French bank. In 1949, after negotiations with the French government, the Horseman was returned to Syria and the National Museum of Damascus.","bibliography":"Abu al-Faraj al-Ush, M., *A Concise Guide to the National Museum of Damascus,* Damascus, 1969, p.161.  \nDelpont, E. (ed), *L'Orient de Saladin: l'art des Ayyoubides*, Paris, 2001, pp.56–8; fig. 53.  \nPapadopoulo, A., *Islam and Muslim Art*, New York, 1979, p.429; fig. 413.  \nRice, D. T., *Islamic Art*, London, 1965, p.131; fig. 131.  \nWatson, O., *Ceramics from Islamic Lands*, London, 2004, pp.56–9.","dynasty":"Ayyubid","author":"Mona al-Moadin","translator":"Hilary Kalmbach (from the Arabic)","translation_copy_editor":"Mandi Gomez","keywords":["Earthenware; ceramics; horse; polychrome; Raqqa; Aleppo; Paris; Salim ‘Adil ‘Abd al-Haqq; M. E. de Lorey"],"materials":["Earthenware, polychrome painted."]},"33034cbb-75d9-5619-8b7f-cac29ec681b4":{"name":"Fragment of a basin.","description":"Fragment of a basin sculpted in low relief, triangular in shape, both parts of which have been restored. Two of the sides are flat, the third is curved.  \nThe scene on the basin, of which only a part has survived, depicts hawking. The torso and part of the thigh of a horse rider can be distinguished, clothed in a pleated tunic belted around the waist by a large belt, and holding a white weapon in the right hand. Behind him, a falconer, whose face is mutilated and whose lower limbs have been amputated, and who is wearing a tunic that is open in front and tightened at the waist by a narrower belt, holds a dead hare. In his left hand, he holds up a falcon, of which only one foot and a bit of the tail can be seen above the horse's rump, the lower part of which is missing. A section of tree trunk, which could belong to a palm tree, appears behind the falconer.  \nTo the left of this scene lies an inscription consisting of two lines in *kufic* lettering. The first line is rather difficult to interpret ; the second reads as follows: ' …*ine wa arba'ou maya … amal ibn* …' (…four hundred…the work of Ibn…). '*ine*' cannot be translated as it is the last syllable of a number that could just as well be forty as seventy or even ninety.","short_description":"Fragment of a sculpted white marble ablutions basin, the two halves of which have been pieced back together. The bas-relief scene shows a falcon hunt. On the left-hand side there is an inscription in *kufic* characters. This object was originally from Andalusian Morocco.","type":"Basin, marble","holder":"National Museum of Antiquities and Islamic Arts","dates":"Hegira 5th century / AD 11th century.","location":"Algiers","dimensions":"Length 51.5 cm, width 21 cm, thickness 7.5 cm.","method_for_datation":"The object features a date which is missing the numerals representing single units and units of tens, and thus can only be placed somewhere between 440 and 489 (1048 and 1096).","method_for_provenance":"Through comparing this bas-relief fragment to basins from al-Andalus, Marçais was able to attribute this fragment to a basin, which could have been used for ablutions, of the same origin.","provenance":"Al-Andalus (Spain).","obtention":"Gift of Edmond Doutté, who acquired it in Rabat in 1902, during an exploration in Morocco.","bibliography":"Marçais, G., *Le musée Stéphane Gsell, musée des antiquités et d'art musulman d'Alger*, Algiers, 1950.  \nMarçais, G., “Sur un bas-relief musulman du musée Stéphane Gsell”, *Annales de l'Institut d'études orientales,* Vol. I, 1934–5, pp.162–75.","dynasty":"Taifa Kingdoms","author":"Leila Merabet","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["Basin; low relief; Taifas; hunting scene; hawking; sculpture; inscription; kufic; al-Andalus"],"materials":["Sculpted white marble."]},"33919ff9-2350-55d3-9e18-73ae206b029a":{"name":"Head V with square eye","description":"Stanislav Libenský (1921-2002) and Jaroslava Brychtová (1924-2020) are key figures in the Czech Art Glass Movement, which drew the kiln casting technique (glass casted in a mould) to the forefront, in which geometric and monochrome pieces prevailed.  \nBrychtová learned the techniques of cast, moulded and molten glass alongside his father, sculptor and founder of the Železný Brod Glass School, Jaroslav Brychta, in the 40s. In 1950 he led the architectonic glass department at the same school, where he met the director, Stanislav Libeský. Together they developed and perfected the glass fusion moulding technique, inspired by Czech cubism from the early 20th Century and metaphysical philosophy, within the purest abstraction where the light creates a fourth dimension to the sculptural work.  \nTheir work was highly valued by studio glass artists from the United States and Europe at international exhibitions, where their exhibited their work in the 60s and 70s. However, it wasn’t until the 80s that their work was recognised internationally as true pioneering works in the glass sculpting field.","type":"Sculpture","holder":"Technological Glass Museum. Royal Factory of Glass and Crystal of La Granja","dates":"1986","location":"Real Sitio de San Ildefonso, Segovia","dimensions":"50 x 37cm","method_for_datation":"By bibliographical references","method_for_provenance":"By bibliographical references","provenance":"Czech Republic","bibliography":"Kehlmann, Robert, *The Inner Light. Sculpture by Stanislav Libenský & Jaroslava Brychtová. Exhibition Catalog*, Seattle and London: University of Washington Press, 2002.  \nKlein, Dan, Stern, Nane and Petrová, Sylva, S., *Libenský & J. Brychtová*, Paris: Clara Scremini Gallery, 1988.","author":"Paloma Pastor Rey de Viñas, Saulo Alvarado Martinsanz","translator":"Jessica White","keywords":["Studio Glass; Glass sculpture; Libenský; Brychtová; Czech Republic"],"materials":["Glass; mould-melted glass, cut, ground"]},"33ca14b6-4b0a-5783-8318-06081aaaa3ca":{"name":"*Truth*","alternate_name":"*Truth Unveiled by Time*","description":"Sitting on rough-surfaced rock the figure of the smiling maiden holds an image of the sun in her right hand. She represents “Truth” according to Cesare Ripa's famous *Iconologia*, an encyclopaedic repertoire illustrating the personifications of abstract concepts, widely used by artists during the Baroque period to represent allegorical figures. A recent study has also shown that the marble figure of the maiden is a faithful sculptural representation of a painting by Correggio, *Allegory of Virtue*, which was in Rome at the time, incomplete, as part of the Pamphilj Collection. According to ideas expressed by the artist in his preparatory drawings, the statue was to be part of an imposing group showing a moral theme, *Truth Unveiled by Time*. It was intended to be overseen by an old man with a scythe, the symbol of Time, intent on lifting the cloth to reveal the radiant beauty of the maiden. The work was conceived during the pontificate of Innocent X Pamphilj (1644–1655). It was a particularly difficult time in the artist's life when he was unjustly accused of causing structural instabilities in Saint Peter's, resulting in the demolition of the bell towers that he had designed. Bernini, who never completed the sculptural group, arranged for the statue to remain at his home as a warning to his descendants. The different ways in which the marble is finished represent an important example of Bernini's extraordinary technical skills. The well researched contrast between the crystalline finish of the figure and the “non finish” of the rocks is also evident in the detail of the foot resting on the globe.  \nThe typically Baroque practice of using a metaphor of the personal to illustrate a universal warning is particularly noteworthy.","short_description":"Bernini carved the sculpture for himself at a difficult time in his career (during the pontificate of Innocent X Pamphilj, 1644–1655) when he was accused of causing structural problems at St. Peter’s bell tower. The group, which was never finished, was to include the figure of Time. Bernini left the sculpture as an eternal warning to his heirs, with whom it remained until 1924.","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Gian Lorenzo Bernini","dates":"1647–1652","location":"Rome, Latium","dimensions":"H: 277 cm; w: 142 cm; d. 114 cm","method_for_datation":"The sculpture was kept in Rome at Bernini’s home in Via della Mercede until 1852, before being moved to Palazzo Bernini in Via del Corso. In 1924 the heirs to Bernini’s estate transferred it permanently to the Galleria Borghese.","provenance":"Heirs of Gian Lorenzo Bernini","obtention":"Acquired by the Italian State in 1957","bibliography":"Winner, M., “Veritas”, in *Bernini scultore. La nascita del barocco in Casa Borghese*, exhibition catalogue, edited by A. Coliva and S. Schütze, Rome, 1998, pp. 290–309.  \nHerrmann Fiore, K., “La Verità”, in *Gian Lorenzo Bernini regista del Barocco. I restauri*, edited by C. Strinati and M. G. Bernardini, Milan, 1999, pp. 27–35.  \nMinozzi, M., Sorrentino, M. A., Tauschnig, G., Rockwell, P., “La Verità”, in *Bernini scultore. La tecnica esecutiva*, a cura di Anna Coliva, Rome, 2002, pp. 234–247.  \nDe Marchi, A. G., “La verità sulla 'Verità' di Bernini: interferenze fra quadri e sculture”, in *Bollettino d'arte*, 6.Ser. 90.2005, 2006, Nos.133/134, pp. 127–132.","artist_birthdate":"1598","artist_birthplace":"Naples","artist_deathdate":"1680","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Marina Minozzi","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Personification; Iconologia; allegory; marble; movement"],"materials":["Carrara Marble"]},"34f34c83-66aa-5e61-897d-108f4bf4dc50":{"name":"*The Rape of Proserpina*","description":"The work was commissioned by Cardinal Scipione Borghese from a young Bernini after he had completed *Aeneas and Anchises*. The group was then given to Ludovico Ludovisi, the new cardinal-nephew of Pope Gregory XV, who had succeeded Paul V Borghese in 1621. This commission was an act of high diplomacy by which Scipione hoped to win favour with the hostile cardinal, who was also an avid collector with a splendid suburban villa beside Villa Borghese.  \nThe subject shows Pluto, god of the underworld, abducting Proserpina, daughter of Ceres and Jupiter. The myth is related to the fertility of the earth and therefore could symbolise Scipione's desire for the rebirth of the Borghese family after the death of his father.  \nThe movement of the figures is a vortex of contrasting forms related to late Mannerist methods, permeated by an expressive theatricality that is typically Baroque.  \nBernini freezes the action at the height of the abduction, allowing him to best describe the tension in the bodies, stressing both the virile potency of the god and the sensual femininity of the nymph.  \nIn her futile struggle against the brutal violence, the nymph pushes her hand into Pluto's face in an attempt to free herself from his grip, while the god, thrust forward, clutches her with a triumphant expression beneath his thick beard.  \nA tear on the girl's desperate face and Pluto's hands sunk gleefully into her thighs are two examples of extraordinary naturalism, a triumph of technique transforming hard marble into soft flesh,  \nAs in other works, Bernini seeks a painted style for the surfaces, applying different finishes to the flesh of the god and the nymph, and creating a hair effect for Cerberus, the three-headed dog guarding the underworld, using a gradine, a tool normally used in an intermediate stage of marble sculpting.  \nThe work, which belonged to the Ludovisi family, was acquired by the Italian State in 1908, and placed in Villa Borghese alongside other groups by the young Bernini that were commissioned by Cardinal Scipione.","short_description":"The sculpture shows Pluto and Proserpina in a twisting pose that is still linked to Mannerist art but which is combined with a Baroque theatricality. Executed between 1621 and 1622 the work was given by Scipione Borghese to Cardinal Ludovisi (*cardinal* *nepote* of Alessandro, the new pope Gregorio XV, 1621–1623).","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Cardinal Scipione Borghese, gifted to Cardinal Ludovisi","dates":"1621–1622","location":"Rome, Latium","dimensions":"h: 250 cm","provenance":"Ludovisi Collection","obtention":"Acquired by the Italian State in 1908.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al secolo XIX*, Rome, 1954, n.33, pp. 29–31.  \nWinner, M., “Ratto di Proserpina” in *Bernini Scultore, La nascita del Barocco in Casa Borghese*, exhibition catalogue, Rome, 1998, pp. 180–203.  \nWittkower, R., *Gian Lorenzo Bernini. The Sculptor of the Roman Baroque*, London, 1955 (ed. Italiana Milano 1990, cat. 10, pp. 234–235).  \nMinozzi, M., Sorrentino, M. A., Chilosi, M. G., Rockwell, P., “Ratto di Proserpina” in *Bernini scultore e la tecnica esecutiva*, Rome, 2002, pp. 144–163.","artist_birthdate":"1598","artist_birthplace":"Naples","artist_deathdate":"1680","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Mythology; marble; movement; Mannerism; theatre; anatomy"],"materials":["Marble"]},"386fe084-5d31-5abb-9f36-fb457dd43935":{"name":"Edward Jenner Inoculates his Small Son with the Smallpox Vaccine","short_description":"Giulio Monteverde was an Italian sculptor who started carving wooden crucifixes before moving on to sculpture during his years at the Academy of Fine Arts in Genoa. In 1865 Monteverde moved to Rome to study at the Academy of St. Luke. The sculpture of Edward Jenner (1749-1823) represents the British physician and naturalist inoculating for the first time, on his own son, the smallpox vaccine that he invented. This work was initially rejected by the Academy of St. Luke, entrusted with selecting works of art for the International Exposition in Vienna, but then exhibited in it thanks to an influential friend. The plaster cast of Jenner won the gold medal in Vienna, and a similar success was had with the marble version presented at the Universal Exhibition in Paris in 1878 when it won the medal of honor. The bronze version shown in the picture represents Jenner administering the smallpox vaccine to his son, blending dynamism and details in the face of the scientist, clothes and objects.","type":"Sculpture","holder":"National Gallery of Modern Art (GNAM)","dates":"c. 1878","location":"Rome","dimensions":"130 x 90 x 97 cm","provenance":"Italy","artist_birthdate":"1837","artist_birthplace":"Bistagno (Alessandria)","artist_deathdate":"1917","artist_deathplace":"Rome","copyright":"Copyright image: Soprintendenza alla Galleria Nazionale d'Arte Moderna e Contemporanea.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Medicine; health; vaccination; epidemics; disease; life expectancy; social changes; scientific development; social topics; post-unitarian Italian society; Positivism; celebration of science; international exhibitions; universal exposition"],"materials":["Bronze"],"artist":"Giulio Monteverde"},"39548f51-03b2-558c-9e39-2e9427feaf5c":{"name":"Basin.","description":"A large marble fountain-basin. The basin is basically a large hemisphere supported on a short foot and topped with a 12-sided rim, one side of which is blank and another of which has a section cut out to support the channel which brought water. Eleven of the sides carry an inscription giving the name and titles of the Ayyubid governor of Hama, al-Malik al-Mansur Muhammad ibn al-Muzaffar Mahmud ibn Muhammad ibn ‘Umar ibn Shahanshah ibn ‘Ayyub (also known by his shorter title of Mansur II Muhammad), who ruled from AH 641–83 / AD 1244–84. The exterior of the basin is carved with a bold design of two interlacing arabesque designs, each repeated six times in alternation and set off against a background of smaller floral decoration. Such a fine basin would probably have been placed in a prominent public mosque to serve the needs of congregants and to proclaim the glory of the ruler.","short_description":"A large marble basin for ablutions, carved on the exterior with prominent interlacing arabesque designs. The 12-sided rim is inscribed with the name and titles of the patron, the governor of Hama. Thus the basin served both the ritual needs of the community and the governor’s public image.","type":"Carved marble","holder":"Victoria and Albert Museum.","dates":"About hegira 676 / AD 1277–8.","location":"London, England","dimensions":"Height 50 cm, diameter 97 cm.","method_for_datation":"The inscription gives the date 676 / 1277–8.","method_for_provenance":"The basin is inscribed with the name and titles of the Ayyubid governor in whose honour this object was made (see description above).","provenance":"Hama, Syria.","obtention":"Purchased by the Museum in 1903.","bibliography":"Ayers, J., Oriental Art in the Victoria and Albert Museum, London, 1983, p.111.","dynasty":"Ayyubid","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["floral decoration; religious objects; water; inscription"],"materials":["Carved marble."]},"3b494886-dcbc-53f0-858a-e56bcd9a8635":{"name":"Sculpturally conceived emblem","short_description":"This work of art belongs to a group of emblems which is an artistic interpretation of an Arabic letter or word that brings the Sufi farther along his path to God when he remembers or repeats it in his devotions (*dhikr*).  \nThis emblem is a symmetrical composition with the word *al-shafi* (the Healer), one of Allah’s many names.","type":"Ottoman emblem, wood","holder":"The David Collection","dates":"Hegira 12th–13th century / AD 18th–19th century","location":"Copenhagen","provenance":"Turkey","dynasty":"Ottoman","keywords":["Calligraphy; Sufism; Symmetry; inscription; blazon; standard; procession"],"materials":["Wood"]},"3cae71c8-dbf2-536f-bbdd-73e3c7e29ff5":{"name":"*Crucifixion*","alternate_name":"*Dying Christ*","description":"The Dominican Monastery of St. Domingos de Benfica, founded in 1399 on the outskirts of Lisbon, was rebuilt in the second quarter of the 17th century during the government of Friar João de Vasconcelos (1624–1632). During this period Manuel Pereira was commissioned to make a series of sculptural devotional images among which were the *Crucifixion* and *Our Lady of the Rosary* – both located over the aisle altars – and *Saint Dominique of Gusmão* and *St. Peter the Martyr* in the main arch niches.  \nPortuguese Manuel Pereira studied in Rome and lived in Spain where he received important commissions from the Madrid court, which at the time was the capital of the Iberian monarchy (1580–1640). Pereira worked in stone, wood and alabaster, and using these materials he conceived mainly devotional sculptures that visually imparted the values inherited from the Trent Council through the dual rhetoric of *docere* and *delectare* (to teach, to move and to delight), aimed at heightening the inner conversion of the Christian. Manuel Pereira's sculptures are characterised by their dynamic composition, combined with the delicate treatment of the surfaces, which in their smallest details irradiate light, delivering a deep and intense psychology. These aesthetic values are present in the polychrome wooden sculptures of the *Immaculate Conception* in Toledo, *St. Ignatius of Loyola*, *St. Francis Xavier*, *St. Aloysus Gonzaga* and *St. Francis of Borja* commissioned by the Church of São Roque in Lisbon. One can include the *Crucifixions* in Cartuja de Miraflores in Burgos and St. Domingos de Benfica in Lisbon, where the realism and inner drama are remarkably intense. In the São Roque Benfica *Crucifixion,* based on an engraving by Pontius from a painting by Peter Paul Rubens, Pereira's Christ hangs lifeless and heavy from the cross, His face contorted, exhaling His last breath and His eyes closing slowly in agony.","short_description":"The epitome of Manuel Pereira's sculpture lies in his Crucifixions among which this one, in the Church of St. Domingos de Benfica, is remarkably intense. Based on a composition by Rubens, Christ's heavy, lifeless body hangs from the cross, creating a deep and intense psychological tension that visually imparts the values inherited from the Trent Council through the dual rhetoric of *docere* and *delectare* (to teach, to move and to delight), which in this context suggests that the body is elevated to eternity through the inner drama of the Passion.","type":"Wood carving, sculpture","holder":"Church of St. Domingos de Benfica","owner":"Church of St. Domingos de Benfica","initial_owner":"Church of St. Domingos de Benfica","dates":"c. 1630","location":"Largo de São Domingos de Benfica, Lisbon, Lisbon","dimensions":"Monumental, in situ","place_of_production":"Lisbon and Madrid","method_for_datation":"Historical evidence and stylistic analysis","provenance":"Church of St. Domingos de Benfica, Lisbon","obtention":"*In situ*","bibliography":"Pereira, G., *S. Domingos de Benfica*, Lisbon, 1905.  \nSousa, Fr. L. de, Encarnação, Fr. A.da, Santa Catarina, Fr. L. de, *História de São Domingos*, Porto, 1977.  \nGonzález, J. J.M., Escultura Barroca en España, 1600-1700, Madrid, 1983.  \nAlmeida (OP) , Fr. A.-J. de, *“Imagines Sacrae” no Convento de São Domingos de Benfica*, Faculdade de Letras, Universidade de Lisboa, Lisboa, 1999. 2vol.  \nAlmeida (OP) , Fr. A.-J. de, “*El escultor Manuel Pereira y un milagro de Fray João de Vasconcelos, O.P., predicador de Felipe IV*”, in *Reales Sitios*, XL, No. 157 (3er. trimestre), Madrid, 2003, pp.20–31.  \n*Igreja de Nossa Senhora do Rosário*, *Templo da Força Aérea Portuguesa*, Força Aérea Portuguesa, Lisbon, 2006.","workshop":"Roman Classicism, Portuguese and Iberian Baroque sculpture","artist_birthdate":"1588","artist_birthplace":"Porto","artist_deathdate":"1683","artist_deathplace":"Madrid","author":"Maria João Vilhena","translator":"Maria João Vilhena","translation_copy_editor":"Mandi Gomez","keywords":["Painted wood sculpture; Roman Baroque; Iberian Baroque; Realism; dramatic gesture"],"materials":["Woodcarving"]},"3cc3cd1b-6a98-54f3-8299-5ed61c1d3d3d":{"name":"Window.","description":"A window made of stucco, which contains pierced decoration filled with coloured glass. The decorations of the window are placed in two rectangular sections: one, larger, at the bottom and the other, smaller, at the top. The decoration in the lower section is composed of a pointed arch, within which are vegetal motifs including cypress trees, and decorative architectural components such as domes and minarets, which bear a strong Ottoman imprint. The upper section is composed of an inscription in *naskhi* script, which reads: 'Oh Muhammad'.This inscription is written against a background of geometric decoration and stylised-coloured flowers distinguished by their simplicity.  \nStucco windows appeared in buildings in the early Islamic era and were used in Amr ibn al-'As Mosque and in al-Azhar Mosque, during the Fatimid period. In the Mamluk and Ottoman periods stucco coloured-glass windows were used more generally. The Museum of Islamic Art in Cairo has a number of stucco coloured-glass windows in the collection that are embellished with a variety of decorations, which invests in them a special beauty particularly when the sun shines through them or when they are exposed to artificial light. Among the most beautiful is that with the registry number 9886.","short_description":"Stucco windows were known in different Islamic periods and were used in different buildings to filter the sunshine and soften its glare. When their pierced patterns were covered with coloured glass, the aesthetic effect was exquisite.","type":"Stucco, glassware","holder":"Museum of Islamic Art","dates":"Hegira 10th century / AD 16th century.","location":"Cairo","dimensions":"Height 131 cm, width 65 cm.","method_for_datation":"The window is dated based on the decorative architectural components, which have a definite Ottoman stamp. The window is also associated with construction of the Sariyat al-Jabal (Mosque of Suleyman Pasha) which was built in 935 / 1528.","method_for_provenance":"This window is associated with the Mosque of Suleyman Pasha, built in 935 / 1528 in the Citadel of Cairo and was probably made in Cairo, Egypt.","provenance":"Egypt.","obtention":"This object was transferred to the museum from the Mosque of Sariyat al-Jabal (Mosque of Suleyman Pasha).","bibliography":"Al-Pasha, H., *Fan al-Taswir fi Masr al-Islamiya \\[The Art of Pictorial Depiction in Islamic Egypt\\],* Cairo, 1966.  \nHassan, Z. M., *Muslim Art in Fouad I University,* Vol. 1, Cairo, 1950.  \nNaguib, Ezz El Din, et al, “Light Screens”, Cairo, 1997.  \nShiha, M., “Islamic Architecture in Egypt”, *Prisma, Magazine of the Ministry of Culture,* Cairo, 2001.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Muhammad Abbas Muhammad Selim","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Stucco; naskhi script; glass; coloured glass"],"materials":["Stucco, pierced and fitted with coloured glass."]},"47f199fd-3322-5ab8-b00e-f35c60fd72f6":{"name":"Niche.","description":"Rectangular-shaped niche with a rounded back in the form of a shell, ornamented with fillets that end in roll mouldings. The façade of the bay, which is sculpted in bas-relief, is decorated with festoons, lozenges and circles, whereas the cornerstones are adorned with rosettes framed on either side with stylised leaves.  \nThe bay fits within a double frame: the first formed by a lozenge trellis, the second by a narrow fret band.  \nThe decoration of this panel evokes that sculpted by the Romans and the Byzantines from North Africa on shrines that were made of earth, as well as on architectural pieces, altars, etc., all of which attests to the continuity of the ornamental repertory.  \nThe sculpture was executed with a metal blade, worked on the *timchent* while it was still soft. According to H. Saladin (see Bibliography) this local type of plaster made from the region's limestone was 'applied to walls made of cobblestones or rubble'.  \nThe niche was built in the corner of a room at a certain height above ground-level. The upper part has undergone restoration work.","short_description":"Niche with a rounded back and a half-dome whose façade bears *naqsh-hadida* (sculpted plaster) decoration with simple geometric or floral rosette motifs in *timchent* plaster. Placed in the corner of a large room, it would have been used as a cupboard and also to help support the ceiling.","type":"Niche, plaster","holder":"National Museum of Antiquities and Islamic Arts","dates":"Hegira 296–467 / AD 909–1074.","location":"Algiers","dimensions":"Height 77 cm, width 73 cm, depth 41 cm.","method_for_datation":"After the fall of the Rustamid dynasty, the Ibadids of Tahert escaped southward and founded a new town, Sedrata (296–467 / 909–1074). This fragment comes from a palace in that town. Alternatively, a fragment of frieze that was created for the same palace can be dated to the 5th / 11th century, as, according to Marçais, the *kufic* characters that feature could be from the '11th century and resemble those of Kairouan'.","method_for_provenance":"Report published in the *Comptes rendus de l'Académie des inscriptions et belles-lettres* in 1952.","provenance":"Sedrata, Algeria.","obtention":"From an archaeological repository (excavations by Van Berchem, 1952).","bibliography":"Bermúdez Pareja, J., “Crónica arqueológica de la España musulmana”, *Al-Andalus*, Vol. XX, 1955, pp. 407–52.  \nMarçais, G., *L'architecture musulmane d'Occident*, Paris, 1954.  \nSaladin, H*., Manuel d'art musulman. L'architecture*, Paris, 1907.  \nVan Berchem, M., “Deux campagnes de fouilles à Sédrata en Algérie”, *Comptes rendus de l'Académie des inscriptions et belles-lettres*, 1952, pp.242–6.  \nVan Berchem, M., “Deux campagnes de fouilles à Sédrata (1951–1952)”, *Travaux de l'Institut de recherches sahariennes*, Vol. X, 1953, pp.123–38.","dynasty":"Rustamid of Sedrata","author":"Houria Cherid","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["Niche; shell; plaster; timchent; sculpture; Palatial architecture; geometric decoration; Rustamid; Sedrata; rectangular case; monument; construction; geometric adornment; rosette; local plaster"],"materials":["Local type of plaster (timchent), sculpted."]},"485104a2-c65b-5c03-9552-8fe4f6bc4b16":{"name":"Narcissus","short_description":"Erwin Eisch (1927-2022) was instrumental in founding the studio glass movement, which sought to make artistic statements with glass and move away from the functional and decorative uses that had previously constrained glass-making.  \n  \nThis sculptural form of 'Narcissus' is one of a number of works that Eisch based around the mythological story of Narcissus, as told in several ancient sources. In all accounts the protagonist Narcissus falls in love with his own reflection and unable to pull himself away from the allure of it he eventually passes away to be replaced by a flower that now bears the same name. Eisch's 'Narcissus' sculptures are larger-than-life multi-part figural pieces in which the glass material acts as both human and mirror. the first version was displayed as part of a complex installation in a domestic interior featuring other mixed-media components by Eisch. The V&A's version is the third 'Narcissus' produced by Eisch, and was displayed in a mirrored glass box. This component no longer exists, but at the museum the figure is instead displayed in a showcase with a mirrored surface on which Narcissus lays.","holder":"Victoria & Albert Museum","dates":"1972","location":"London","provenance":"Frauenau, Germany","author":"Simon Spier","materials":["Hand blown glass"]},"49163955-f335-5ec9-ad16-f40d332e867a":{"name":"*The Beheading of St. Paul*","description":"*The Beheading of St. Paul* was commissioned by Virgilio Spada to a Bolognese sculptor, living in Rome, Alessandro Algardi. The statues were made in Rome and shipped to Bologna. They were intended to decorate the high altar of the Barnabite Church San Paolo Maggiore – St. Paul’s, patronised by the Spada family and to commemorate Virgilio’s father, Paul. Upon his death, in 1631, 6000 scudi was bequeathed for the construction of a chapel. In 1634 the Spada moved their residence from Rome to Bologna and Virgilio obtained permission from the pope for building the family chapel in Bologna, instead of Rome. After a few months the Spada made an agreement with the Barnabite fathers in Bologna. They were allowed to build the façade of the church and the high altar with its marble group and shrine. Gian Lorenzo Bernini designed the projects for the shrine and the group was commissioned in 1634 to Alessandro Algardi. The altar was officially inaugurated in 1647. In 1648 Virgilio Spada commissioned a bronze bas-relief to Algardi for the frontal of the same altar, depicting the beheading of St. Paul.  \nThis beautiful group shows the executioner prepared to cut St. Paul’s head with his sword. The saint looks down and offers his head to the blow. There is a strong contrast between the movement of the executioner’s body and the static attitude of the saint. The bas-relief shows what followed after the execution according to tradition: the saint’s head bounces three times on the ground and creates three springs.","short_description":"The group depicts the moment of the beheading of St Paul. Typically, baroque is the juxtaposition between the Saint, already part a heavenly atmosphere, and the executioner with his cruel grimace. The artist succeeds in conveying the tension preceding the blow and the contrast between the saint’s serenity and the executioner’s tense mobility. The beautiful shrine framing the group creates a link with the architecture of the interior of the church.","type":"Sculpture","holder":"Church of San Paolo Maggiore","initial_owner":"Spada family","dates":"1633–1647","location":"Bologna, Emilia-Romagna","dimensions":"St. Paul h. 190 cm; Executioner h. 282 cm","place_of_production":"Rome","method_for_datation":"Bibliography.","obtention":"Originally made for the church.","bibliography":"*La Basilica* *di San Paolo*, Bologna, 1979, p. 16, p. 18, p. 56.  \nHeimburger Ravalli, M. *Alessandro Algardi scultore*, Rome, 1973, n. 16.  \nHeimburger Ravalli, M. *Architettura, scultura e arti minori nel barocco italiano: ricerche nell'archivio Spada*, Florence, 1977.  \nMontagu, J. *Alessandro Algardi*, New Haven and London, 1985, I, pp. 51-58; II, pp. 369-372.  \n*Algardi. L'altra faccia del Barocco* (exhibition catalogue) (ed. J. Montagu), Rome, 1999, pp. 138-143.","workshop":"Baroque","artist_birthdate":"1598","artist_birthplace":"Bologna","artist_deathdate":"1654","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico della Soprintendenza per il Patrimonio storico artistico di Bologna, su concessione del Ministero per i Beni culturali.","copy_editor":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["*St. Paul*; sculpture; Alessandro Algardi; Religious; Spada family; Stonework; Gian Lorenzo Bernini; Christian themes; movement"],"materials":["White Carrara marble"]},"493e7023-35e9-59c4-960b-226c4901faf1":{"name":"*Model for the Equestrian Sculpture of King Louis XIV*","description":"The terracotta model for the equestrian monument to Louis XIV was created by Bernini, already in his seventies, in late 1669 and 1670. The sculpture of the Sun King on horseback was ordered during a trip to Paris by Bernini in 1665, but we know from a letter sent by the artist to Minister Colbert, that it was not confirmed until 1669. The sculptor, who had studied his model carefully in Paris, decided to show him on the Mount of Glory controlling his galloping horse, his sceptre held horizontally; a symbol of regal equity. Although Bernini was not aware of the location intended for the sculpture, he arranged it – in accordance with Baroque taste – favouring a particular view point, in this case from the left, like the contemporary numismatics showing the king on horseback. This work can be traced back to several models both in ancient sculpture and modern painting and sculpture, most notably the model for the equestrian monument of Francis I by Leonardo (Budapest, Szépmuűvészeti Múzeum).  \nThe sculpture was transported to France in 1685, some years after Bernini's death and, as it did not please the king, it was then moved to Versailles. The work was transformed into Marcus Curtius by the French sculptor François Girardon and placed in a hidden corner of the gardens. The execution of the sculpture is actually quite ordinary: it was done by pupils of the French Academy in Rome and not directly by the artist and his prestigious Roman workshop. This makes the autography of this terracotta model of paramount importance, its bursting vitality reviving the splendour of the Berninian idea and his creative journey.  \nThe work was sold several times before ending up in the Contini Bonacossi Collection, from where it was given to the Galleria Borghese in 1923, a donation that was made permanent in 1926.","short_description":"This terracotta was modelled by Bernini in Rome for an equestrian monument of Louis XIV, but the sculpture itself was executed by his pupils. The king, however, did not appreciate the work, and so it was transformed into Marcus Curtius by the French sculptor Francois Girardon, and transferred to Versailles (now at the Louvre).","type":"Terracotta model","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Louis XIV","dates":"c. 1669","location":"Rome, Latium","dimensions":"h: 76 cm","provenance":"Alessandro Contini Bonacossi Collection","obtention":"Donated to the Italian state by the Contini Bonacossi family in 1926.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al secolo XIX*, Rome, 1954, n.38, pp. 41– 42.  \nWittkower, R., *Gian Lorenzo Bernini. The Sculptor of the Roman Baroque*, London, 1955 (ed. Italiana Milano 1990, cat. 74, p. 293).  \nHerrmann Fiore, K., “Luigi XIV a cavallo” in *Bernini Scultore, La nascita del Barocco in Casa Borghese*, exhibition catalogue, Rome, 1998, pp. 310–329.  \nBarberini, M. G., “Gian Lorenzo Bernini: processi creativi” in *Bernini scultore e la tecnica esecutiva*, Rome, 2002, pp. 277–284.","artist_birthdate":"1598","artist_birthplace":"Naples","artist_deathdate":"1680","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Terracotta; model; monument; symbol; numismatics"],"materials":["Terracotta"]},"499ecee0-d098-5fd0-b896-0867f5949ae9":{"name":"*Kilga*, Jar-stand.","description":"This kilga or jar-stand, was carved from a single block of marble. It has a rectangular open top with legs carved in the form of crouching lions. Around the sides there are relief carvings of lions with an ornamental inscription containing good wishes for the owner. Lions were associated with rulers, suggesting that this object was intended for a palace rather than a religious building. Marble jar-supports of this type are unique to Egypt, used to filter the water of the Nile, thus making it fit to drink. Ibn Ridwan, a physician at the Fatimid court in Cairo in the AH 11th / AD 17th century, wrote: 'The best thing is not to use this water until it has been purified several times … the purified part is placed in a jar; only what seeps through the porosities of the jar will be used'.","short_description":"These marble *kilgas*, or jar-stands, are unique to Egypt. The basin of the stand was intended to support a stone or an unglazed terracotta jar. Being porous, the terracotta jars kept the water cool and also acted as a filter: water would seep through the body of the jar into the basin below.","type":"Stonework, marble","holder":"The British Museum.","dates":"Hegira 5th–6th / AD 11th–12th century.","location":"London, England","dimensions":"Height 40 cm, width 39.5 cm, length 56.5 cm.","method_for_datation":"Stylistic analysis, the shape and style of decoration belongs to a group of similar objects that are associated with the Fatimid dynasty. The *kufic* script can be found in works of other media and architectural inscriptions from the 5th and 6th / 11th and 12th centuries.","method_for_provenance":"Historical sources mention the practice of water purification to filter water from the Nile; furthermore, this *kilga* was found in Egypt.","provenance":"Egypt.","obtention":"Donated by Dr J. M. Rogers in 1988.","bibliography":"Institut du Monde Arabe, *Tresors fatimide du Caire*, exposition presentée a l'Institute du monde Arabe du 28 avril au 30 aout 1998 (Paris, Institut du Monde Arabe, 1998), p.180. (*kilga*s from the Museum of Islamic Art in Cairo.)  \n  \nPhillips, T., *Africa: The Art of a Continent*, London and New York, 1996, cat. no. 7.54. (*kilga* in the Manchester City Art Galleries.)","dynasty":"Fatimid","author":"Emily Shovelton","copy_editor":"Mandi Gomez","keywords":["Water; carved decoration; inscription"],"materials":["Marble with carved ornament."]},"4b63a853-7b5d-5c93-8ec7-7348d5091101":{"name":"Model in plaster","description":"Following on the European fascination for the oriental world and for the famous Nasrid Palace of the Alhambra (Granada), a lot of reproductions of its remarkable architecture and decorations were made and spread. José Contreras was commended as restorer and decorator and his son, Rafael (1824–1890), was the leading pioneer of this trend in 1847. His work was continued by the grandson and by a huge number of plaster-cast workshops in Granada, and very likely, in other cities. His plasterworks were very successful in the International Exhibitions and were kept in private collections and museums like South Kensington (London). These delightful polychrome models, accentuated with a black frame, represents different rooms form the Alhambra Palace as the Comares Room, with its double horseshoe.","type":"Sculpture; Decorative Arts","holder":"Cerralbo Museum","dates":"2nd half of the 19th century","location":"Madrid","dimensions":"68 x 41 cm; 72 x 53 and 54 x 49 cm","provenance":"Spain?","author":"Cecilia Casas Desantes, Cristina Giménez","copy_editor":"Anne Dowell","keywords":["Decorations; Design; models; Alhambra"],"materials":["Plaster, wood; casted, painting"]},"4b67b99b-4bc9-5f80-b3eb-d2fe8c8f1154":{"name":"Fountainhead","short_description":"This animal, a hind or female deer, would once have stood beside a pool or fountain in one of the palaces of Umayyad Spain. A very similar piece, now in the Cordoba Museum, was discovered in the ruins of the caliphal pleasure-palace of Madinat al-Zahra, where the historian al-Maqqari mentions there being a marble basin adorned with fountain heads in the shape of different animals. The decoration on the hind’s body gives the impression that it is covered in a sumptuous, tasselled textile.","type":"Metalwork","holder":"Museum of Islamic Art","dates":"Hegira 4th century / AD 10th century","location":"Doha","dimensions":"Height: 56.4 cm, width: 40.9 cm, depth: 12.4 cm","provenance":"Spain, Cordoba","obtention":"Christie’s London, Islamic Art and Indian Miniatures, 25 April 1997, Sale 5779, Lot 259 to Qatar Museums","bibliography":"Allan, James W., *Metalwork Treasures from the Islamic Courts*, London: The Islamic Art Society, 2002.  \n  \nGonnella, Julia, et al., *Museum of Islamic Art: The Collection*, London: Thames & Hudson, 2022.  \n  \nGonnella, Julia, et al., *Museum of Islamic Art: The Guide* London: Thames & Hudson, 2022.  \n  \nSeipel, Joseph H., *God is Beautiful and Loves Beauty: The Object in Islamic Art and Culture*, New Haven: Yale University Press, 2013.  \n  \nWatson, Oliver, *Museum of Islamic Art, Doha, Qatar*, Munich: Prestel Verlag, 2008.","dynasty":"Umayyad","author":"Tara Desjardins","keywords":["Fountainhead; Deer; Spain; Umayyad; Metalwork"],"materials":["Copper Alloy; Casting, Engraving"]},"4c2db764-43bb-574c-9e09-b5f486e451c3":{"name":"Lion from the Palace of Mushatta.","description":"The scupture is of a lion lying on a thin rectangular plinth. The sculpture has been well preserved, except for its missing front paws and its, to all appearances, wantonly damaged face. The lion is crouching down on its back paws while supporting itself on the shanks of its front legs, so that the whole body is lying on the ground. Its head is raised and looks forward. The damage it suffered means that the carved details on the head can no longer be made out. A shallowly chiselled mane of short, outward-rolling curls frames the lion’s face from its ears down to the neckline, reaching over its shoulder and down along its back. Its ribs and the outline of its chest are characterised with flatly rendered indentations. Its hindquarters, over which its tail rests, are virtually round. The paws are especially long and wide, and lie close to the body. The pose of this sleek animal suggests that it is intently alert.  \nIt is possible that lion’s paws that have been discovered separately belong to this sculpture. However, they could also point to the existence of a second sculpture that was intended to complement this one symmetrically in the audience hall of the palace. Lions were an important iconographic element for rulers in Late Antiquity and the Sassanid period, which led to the Umayyad caliphs upholding and pursuing this tradition. This is made particularly visible by the two lions on the podium of the standing caliphs in Khirbat al-Mafjar, which demonstrate that this tradition flourished during the Umayyad period.  \nSimilar freestanding lion sculptures from the Umayyad period have yet to be discovered at other sites.","short_description":"This majestic lion was found inside the walls of the Palace of Mushatta in Jordan in 1903 in the vicinity of a building complex which may have been planned as an audience hall. Lions were associated with power and strength and were thus appropriate symbols of power in the palace of a Umayyad ruler.","type":"Lion, Palace of Mushatta","holder":"Museum of Islamic Art at the Pergamon Museum","initial_owner":"Probably Caliph al-Walid II (r. AH 125–6 / AD 743–4).","dates":"Hegira 125–6 / AD 743–4.","location":"Berlin","dimensions":"Height 72 cm, length 122 cm, width 42 cm.","method_for_datation":"The provenance of the object was substantiated through its discovery during the salvage operation of Qasr al-Mushatta in 1903; therefore, it appears to be from the same period as the façade.","method_for_provenance":"The provenance was guaranteed through its discovery during the salvage operation in Qasr al-Mushatta in 1903.","provenance":"Palace of Mushatta, Jordan.","obtention":"Acquired as a gift from the Ottoman Sultan Abdul Hamid II to Emperor Wilhelm II, who presented it to the Royal Museums in Berlin in 1903.","bibliography":"Hamilton, R., *Khirbat al-Mafjar: An Arabian Mansion in the Jordan Valley*, Oxford, 1959, pp.228–32, plate LV,1.  \n  \n*Museum für Islamische Kunst*, Mainz, 2001, pp.117–25.  \n  \nSchulz, B., “Mschatta. I: Bericht über die Aufnahme der Ruine”, *Jahrbuch der Königlich Preuzischen Kunstsammlungen* 35, 1904, pp.205–24, plate I.  \n  \nTrümpelmann, L., “Die Skulpturen von Mschatta”, *Archäologischer Anzeiger* 2, 1965, p.246, ill. 25.  \n  \n*The Umayyads: The Rise of Islamic Art*, pp.114–17.","dynasty":"Umayyad","linkcatalogs":"IAM_JO_EN_001","author":"Annette Hagedorn","translator":"Maria Vlotides, Brigitte Finkbeiner","translation_copy_editor":"Monica Allen","keywords":["Sculpture of a lion; freestanding sculpture"],"materials":["Limestone, roughly carved and smoothed over."]},"4d98ef31-dc06-5d00-bccf-06eec1cb0a21":{"name":"To What Exiled Country Are You Returning?","description":"Palestinian artist Ahmad Canaan’s sculpture combines the form of a boat with upright keys to evoke themes of exile, memory and resilience. The boat symbolises journeys and displacement, while the keys recall the Palestinian hope of return to lost homes. The hard metal and minimal design express both fragility and strength, turning the work into a visual object of collective memory and cultural resistance.","type":"Sculpture","holder":"Jordan National Gallery of Fine Arts","owner":"Jordan National Gallery of Fine Arts","dates":"1999","location":"Amman","dimensions":"Height: 57 cm; width: 97 cm; depth: 15 cm","artist_birthdate":"1965","artist_birthplace":"Palestine","catalogue_holding_link":"https://nationalgallery.org/artist/ahmad-canaan/","keywords":["Jordan; Sculpture; Displacement; Exile; Palestinian return"],"materials":["Steel"]},"4e167204-1a3f-5a86-944d-ab0b42f8681b":{"name":"Parthian Monument: the adoption of the Emperors","description":"During his reign, the Emperor Hadrian (figure right) adopted Antoninus Pius (centre left), who in turn adopted the 17-year-old Marcus Aurelius (left) and the eight-year-old Lucius Verus. A head stares from behind Hadrian’s left shoulder, presumably representing the guardian spirit of Aelius Verus, late father of Lucius. A bull is being offered to the gods as a sacrifice.","type":"Sculpture","holder":"Kunsthistorisches Museum, Collection of Greek and Roman Antiquities","dates":"After 169 AD","location":"Vienna","dimensions":"Width 150 cm","copy_editor":"Daniel de la Vega","keywords":["Ephesos"],"materials":["Marble"]},"4ef3678b-8294-594e-939b-ef240304bdc5":{"name":"*Infant Jesus as the Good Shepherd*","description":"The ivory carved Indo-Portuguese representation of the Infant Jesus as the Good Shepherd is unique, blending the religious traditions of East and West. Carved in India from a single piece of ivory for a Portuguese patron, it features the Infant Jesus as Good Shepherd, a theme favoured by the Portuguese Empire, and handled here in a peculiar way, far from traditional iconographic models.  \nThe Infant Jesus sits on a three-tiered rocky mountain, each level of which contains a carved “grotto” within which is a scene from the Life of Christ; from bottom to top are the Adoration of the Shepherds, the Adoration of the Magi and the Baptism. Water cascades down onto the lower scenes.  \nAt the top, the Holy Trinity is framed by a tall fan-shaped Tree of Jesse, which acts as a backdrop to the entire piece. Below, the seated Infant Jesus plays an instrument similar to a mandolin. God the Father crowns the composition; wearing a triple-crown tiara with a cross He holds His crucified Son. Grapevines – from which heavy bunches of grapes hang – form the shape of a cross, symbolising the Eucharist, the wine from the grapes turning into the blood of Christ. The Holy Spirit is depicted as a dove flying above the Crucified Christ emblazoned on God's chest.  \nSt. Ignatius Loyola and St. Francis Xavier, founders of the Society of Jesus, flank the central niches of the two upper levels, where there are other saints and scenes from the Life of Christ: the Annunciation, Circumcision and Flight into Egypt. Artworks such as this were intended to reinforce the catechizing strategic mission of the Portuguese Church, framed by the principles of the Counter-Reformation.","short_description":"An ivory carved Indo-Portuguese representation of the Infant Jesus as the Good Shepherd. The Infant sits on a three-tiered rocky mountain featuring scenes from the Life of Christ. The Tree of Jessé, a symbol of the Holy Trinity, fans out as a background.","type":"Sculpture","holder":"Museum and Library of the House of Braganza","owner":"Fundação da Casa de Bragança","initial_owner":"Joaquim Horta Correia","dates":"17th century","location":"Vila Viçosa, Évora","dimensions":"H: 72.5 cm; w: 20.5 cm; d: 16 cm","place_of_production":"Goa (?)","method_for_datation":"Stylistic analysis.","provenance":"Índia","obtention":"Acquired in 2007.","bibliography":"*De Goa a Lisboa,* catalogue, “Europália 91”, Portugal–Brussels, 1991.  \n*Encompassing the Globe,* catalogue, (ed. Jay A. Levenson) Smithsonian Institute, Washington, 2007*.*","workshop":"Indo-Portuguese","author":"Maria de Jesus Monge, Cristina Correia","translator":"Cristina Correia, Manuel Silva Pereira","translation_copy_editor":"Mandi Gomez","keywords":["Ivory; exotica; Indo-Portuguese work; Good Shepherd; Christian themes; carving; religious object; Jesuit; mission; religious orders"],"materials":["Carved ivory with remnants of polychrome painting"]},"4f4aebf4-ad51-596f-8d75-02d79f90d769":{"name":"Sphinx","short_description":"This sphinx was found in Rafiqa, Raqqa’s twin city, in 1924 together with the cock in the David Collection and the figure of a horseman in Syria’s National Museum. As ceramic sculptures, they are unique not only in Syria, but also in the rest of the Islamic world. They are fountain figures, and all have pipes to carry water up to the figures’ heads.","type":"Fountain figure","holder":"The David Collection","dates":"Hegira 2nd half of the 6th century / AD 2nd half of the 12th century","location":"Copenhagen","provenance":"Syria, Raqqa","dynasty":"Zangid","keywords":["Syria; Fritware; zangids; imaginary animal; zoomirphic imagery"],"materials":["Cast, modelled, and carved fritware painted in an opaque white and a turquoise glaze"]},"52384f24-9940-5834-bc9f-a6f4efa2c373":{"name":"Model of the Bologna Municipal Opera Theatre","description":"This model is the faithful representation of the original project by Antonio Bibiena for the Municipal Opera Theatre of Bologna. It accurately documents the architectural structure and decorative elements of the interior. It is very important because most of these decorations were lost during the XIX century restyling.  \nThe longitudinal section of the model shows the large stall, the stage, its architectural frame and 4 tiers of boxes as well as the gallery. Tiers of separated boxes all around the hall were an original feature of the Bibiena design specifically meant for the baroque opera theatres. This feature was adopted in the most important European theatres.  \nThe three “architectural orders” employed on the different tiers reflect the Bolognese sober academic tradition in architecture. Wooden models like this one were made by craftsmen or sculptors following the drawings of the architect. This was common for important buildings, public monuments or cathedrals, since the Renaissance period.  \nAbout 10 years later the theatre was finally opened to the public on the 14th of May 1763 with the representation of *The Triumph of Clelia* by C.W. Gluck.","short_description":"This is the wooden model of the Teatro Comunale of Bologna, proposed between 1755-1763 by the famous architect Antonio Bibiena, one of the last members of the Bibiena Family.  \nThe construction of the new public theatre for the city was quite troubled and the project presented by the architect caused some polemics among the academic establishment. For that reason, the municipality asked for an accurate model of the building to be exhibited in the town hall so that all citizens could see it and express their opinion on it.","type":"Woodwork, architectural model","holder":"Museo Internazionale e Biblioteca della Musica","owner":"Museo Internazionale e Biblioteca della Musica","initial_owner":"The Municipal theatre and its wooden model were commissioned by the Municipality of Bologna (Comune di Bologna)","dates":"1756","location":"Bologna, Emilia-Romagna","dimensions":"95x195x168 cm","place_of_production":"Bologna","method_for_datation":"Documents","provenance":"Town Hall (?)","bibliography":"Bergamini, W. “Antonio Galli Bibiena. Nuovo teatro pubblico di Bologna 1755-1763”, *L'arte del Settecento emiliano. Architettura, scenografia, pittura di paesaggio* (exhibition catatlogue) (ed. A. M. Matteucci), Bologna, 1979, pp. 122-123, n. 180.","author":"Marta Forlai","translation_copy_editor":"Lisa Kelman","keywords":["theatre; model; architectural model; Bibiena"],"materials":["Sculpted, painted and gilded wood"]},"54eca39b-22aa-51c8-a036-7621d45074f0":{"name":"Jar-stand (*kilga*).","description":"Carved from a single block of marble, this jar-stand, locally called a *kilga*, consists of a hollow part, octagonal in cross-section, on four feet and a projecting basin in front. The basin is connected to the hollow part through an opening bridged by a tricuspid arch with two projecting lion-head bosses in the panel above. Four chamfers form shallow column-flanked niches showing a flat carved arch motif. *Muqarnas* (stalactite or honeycomb ornament) occupies the centre of the side panels. The two bosses at the side of the basin are repeated with two smaller ones at the upper edge of the side panels of the hollow part. The wide rim of the basin bears a *kufic* inscription carried over to the hollow part of the stand and continued in a band framing the side panels. On the right side the inscription is completely worn out. On the left side the text is in good condition, though the content is unknown. The feet are decorated with rimmed tongues and connected with tricuspid arches.  \nThe stands were intended as supports for large unglazed terracotta water-jars. The porous material of the body allowed water to seep from the bottom of the jar. The water filtered in this process could be ladled from the projecting basin as needed for drinking. Jar-stands of this specific form seem to be unique to Egypt from Fatimid into Mamluk times. The striking shape of the jar-stand might be a combination of several earlier Egyptian traditions for purification, storage, cooling and drawing of water. The dependence on the Nile for drinking water required treatment of the water to make it potable. The alabaster jars that are sometimes seen together with the stands, could not be original since the non-porous stone does not let water through. Not one of the earthenware jars is known to have survived, however.","short_description":"Jar-stand on four feet, carved from a single block of marble and decorated. It consists of a hollow part which was intended to support an unglazed terracotta water-jar. The water which was filtered through the earthenware could be ladled from the projecting basin.","type":"Jar, stand, marble","holder":"Museum of Ethnography (Etnografiska museet)","owner":"Museum of Ethnography, Stockholm.","dates":"Hegira 6th century / AD 12th century.","location":"Stockholm","dimensions":"Height 31 cm, length 64 cm, width 32 cm.","method_for_datation":"Dating of this kind of jar-stand is difficult. A comparative study of the decorative patterns and their parallels in architecture, for example, is lacking. Stands with *kufic* inscriptions are generally dated to the Fatimid period.","method_for_provenance":"The object was acquired by F. R. Martin in Cairo. This type of jar-stand seems to be unique to Egypt because all surviving examples were found there.","provenance":"Egypt.","obtention":"Bought by the museum from the collection of F. R. Martin in 1897.","bibliography":"Ali Ibrahim, L., “Clear Fresh Water in Medieval Cairene Houses”, *Islamic Archaeological Studies* 1, 1982, pp.1–25.  \nElisséeff, N., “An Alabaster Water-Jar”, *Bulletin of the Museum of Fine Arts* 45, 1947, pp.35–8.  \nKnauer, E., “Marble Jar-Stands from Egypt”, *Metropolitan Museum Journal* 14, 1980, pp.67–101.","dynasty":"Fatimid","author":"Friederike Voigt","copy_editor":"Monica Allen","keywords":["Calligraphy; kufic writing; water"],"materials":["Marble; carved."]},"55179813-b0e7-5c56-9d77-119429fc40fd":{"name":"Human head.","description":"Face of a man in his prime. A part of the head and the right side of the face are damaged. The man wears a moustache and a very full beard. The curls of his beard end in circular, shell-like orifices. The iris of the eye is indicated by a fragment of iridescent glass, ovoid in shape. This work has its roots in an ancient North African tradition. It brings to mind numerous stelae dedicated particularly to Saturn, which share the frontal aspect, the beard and the importance accorded to the eyes. However, the statue does bear a strong resemblance to the bas-relief of the prince and the musician found at Mahdiyya. The face appears Oriental but the absence of clothing obviates any definite conclusions.","short_description":"This plaster sculpture shows the face of a man in the prime of life. The style and emphasis of the eyes, forehead and beard are reminiscent of numerous stelae dedicated to Saturn, and the piece also presents some similarities to a piece found in Mahdiyya.","type":"Human head, plaster","holder":"Museum of Islamic Art.","dates":"Hegira, mid-4th–mid-5th centuries / AD 10th–11th centuries.","location":"Raqqada., Kairouan.","dimensions":"Height 16 cm, width 12 cm, thickness 7 cm.","method_for_datation":"This stucco head was found, among other human and animal carvings, in the excavations carried out at Sabra al-Mansuriyya in 1978. It was found in a very ploughed-up area with no clear archaeological layering. The objects were scattered around in a random manner. One has the impression that someone had tried to eradicate or hide these figurative objects for no obvious reason except that there could be a connection with the changing religious mentality in Ifriqiya. This action could indeed coincide with the persecution of the Shi'ites during the troubles in 407 / 1016 or following the split between the Zirid emirate and the Fatimid caliphate in 440 / 1048–9. This date could be a *terminus post quem*. The *terminus ante quem* is just after the founding of Sabra in 337 / 948. Any further precision is rendered impossible due to the lack of a definite archaeological layer.","method_for_provenance":"The manufacture of these objects, which is unique in Ifriqiya and in the Maghreb, appears to have taken place in Sabra al-Mansuriyya and to have been commissioned by the Shi'ites.","provenance":"Sabra al-Mansuriyya.","obtention":"After its discovery at Sabra al-Mansuriyya, this piece was placed in the site storehouse. It was acquired in 1992 by the Museum at Raqqada. It will be displayed in the second section of the Museum, currently under construction.","bibliography":"*30 ans au service du patrimoine* (exhibition catalogue), Tunis, 1986, p.258.  \n*Tunez, Tierra de Culturas* (exhibition catalogue), Valencia, 2004, p.220.","dynasty":"Fatimid–Zirid","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["Figurative decoration"],"materials":["Carved plaster."]},"556ddc9e-29c0-523e-bb8e-eb53f4c45d06":{"name":"Ablutions basin.","description":"This parallelepipedic tank marked with plain striations on the inside, the short sides and the corners, was beautifully adorned on the outside, and almost all of the decoration has survived on two sides. The design on the decorated face, whose inscription has been destroyed, is divided into two styles. The first one, rising from the base, consists of a large frieze of grooved foliage, dotted with buds and rosettes and wide-veined plain palms with calyxes, and double ones with acanthus leaves and buds. The second comprises a strip in relief with two lines of grooved intersecting knotwork, one curved and the other straight, bearing fleurons and veined palms. It is framed by an edge, set back, formed by vegetal knotwork accentuated with small stylised palm leaves in the shape of six-pointed stars.  \nThe short side is occupied by two identical animal scenes, sculpted on two vertical panels separated by an empty space. On each panel, there is an eagle spreading its tail, carrying two quadrupeds on its wings and two gazelles from its claws. Two winged ibex confronting each other on either side of a fleuron finish the scene in the lower part.  \nMost of the ornamentation on the other two sides has been destroyed, leaving only the text in *kufic* characters sculpted in relief on the rim and the decoration of the framing ribbon on the large side, which consists of a frieze of aquatic birds and fish alternating on a plant background.  \nThe surviving elements of the inscription that crowned the entire rim of the tank include the last digit of the hegira date (300), and the name of the patron, 'Abd al-Malik, *hajib* (chamberlain) of Hisham II.  \nThe design and animal scenes of this beautiful example of Caliphate artwork are reminiscent of the tank at al-Mansur and would appear to be from the same Madinat al-Zahira marble workshop in Córdoba.","short_description":"This basin is the work of a marble workshop in Madinat al-Zahira, Córdoba, the princely city built by al-Mansur. It was brought to Marrakesh by 'Ali ibn Yusuf and placed in the ablutions room of the Great Mosque.","type":"Basin, marble","holder":"Dar Si Saïd Museum.","dates":"Hegira 381–98 / AD 991–1008 (when 'Abd al-Malik served as *hajib*).","location":"Marrakesh.","dimensions":"Height 70 cm, length 155 cm, width 82 cm, depth 50 cm, thickness of sides 10 cm, thickness of base 20 cm.","method_for_datation":"1\\. The inscription, partially destroyed, sculpted on the upper rim of the tank reads '(the year) three hundred, in the name of God! God's blessing. Victory and divine assistance to the Hajib \\[followed with his honours\\] Abu Marwan 'Abd al-Malik ibn Amir (…), this is part of what he commissioned (…)'.  \n2\\. We know that 'Abd al-Malik was appointed *hajib* of Hisham II between 381 and 398 / 991 and 1008) by his father al-Mansur.","method_for_provenance":"Although it was discovered in the Ibn Yusuf Madrasa in Marrakesh, which belongs to the Sa'did period (10th / 16th century), the name of the patron and the comparative study with the al-Mansur basin in the National Archaeological Museum in Madrid suggest that it was originally from Madinat al-Zahira in Córdoba.","provenance":"Córdoba.","obtention":"As state property from a historical monument.","bibliography":"Deverdun, G., *Marrakech des origines à 1912*, Rabat, 1959.  \nDeverdun, G., *Inscriptions arabes de Marrakech*, Rabat, 1956.  \nGalloti, J., “Sur une cuve de marbre datant du Khalifat de Cordoue”, *Hespéris*, III, fasc. 3, Rabat, 1923, pp.363–91.  \nLévy-Provençal, É., *Histoire de l'Espagne musulmane*, Vol. III, Paris, 1953.  \nPigeon, G., *Manuel d'art musulman*, Vol. I, Paris, 1927.","workshop":"Madinat al-Zahira workshop, Córdoba.","dynasty":"Umayyad Caliphate of Córdoba; reign of Hisham II (AH 366–99 / AD976–1009)","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["Religious object; water; figurative decoration; vegetal decoration; floral decoration; geometric decoration; epigraphic decoration"],"materials":["Sculpted white marble."]},"58b9817a-c39c-5ed0-9922-32e3e0ccbd6a":{"name":"The bronze statue representing 22 countries of member of Universal Postal Union","short_description":"The Universal Postal Union was created in 1874, initially under the name \"General Postal Union\", as a result of the Treaty of Bern signed on 9 October 1874. The UPU is a specialized agency of the United Nations that coordinates postal policies among member nations, in addition to the worldwide postal system. Transportation freedom is guaranteed with this treaty.","type":"Statue","holder":"Istanbul Postal Museum","dates":"1874","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["architecture; Vedat Tek; postal service"],"materials":["Bronze"]},"5a261785-3c23-5c9b-b6cc-bbab118fe4a4":{"name":"*Angel I*","description":"This monumental figure of an angel is part of the sculpted decoration of the Minorite Church in Znojmo, only fragments of which have survived. The sculpture with its preserved polychromy, gilded robe and wings has retained its expressive air despite the loss of its former link with the architecture of the altar retable. Despite its larger-than-life size it features precise carving, full volume and a reduced means of expression: an elegant gesture of the hand and decoratively sculpted locks. The face has Heinz’s original trademark modelling of the nose, arches above the eyes and, in particular the chin. The figure testifies to the sculptor’s sense of monumentality. Heinz was among only a few sculptors in Moravia whose starting point was the Czech Radical Baroque style. His first experience as a sculptor was under the tutorage of Jan Sturmer in Olomouc and then in the circle of Matyáš Bernard Braun; he also collaborated with Severin Tischler. The decoration of the garden and funeral chapel in Velké Losiny Chateau exhibits the influence of Baltasar Permoser. Heinz first lived in Olomouc and travelled in Moravia. In 1755 he joined the Dominican Monastery in Znojmo. Whilst there he produced statues for the grounds and decorated altars predominantly in the Znojmo area (Lechovice, Louka, Šatov).","short_description":"The *Angel* figure testifies to the sculptor's sense of monumentality for retable compositions. Heinz was among only a few sculptors in Moravia whose starting point was the Czech Radical Baroque style. The sculpture features precise carving, full volume and a reduced means of expression.","type":"Sculpture","holder":"Moravian Gallery, Brno","owner":"Museum of South Moravia, Znojmo","initial_owner":"Minorite Church, Znojmo","dates":"Before 1750","location":"Governor’s Palace, Brno, Moravia","dimensions":"H: 220 cm","place_of_production":"Znojmo","provenance":"Church of St. Anne, Znojmo","obtention":"The sculpture comes from the decoration of a Franciscan (originally Minorite) Monastery. Around 1843 part of the interior was transferred to the Church of St. Anne, Znojmo, from whence it passed to the Museum of South Moravia, located on the premises of the former Minorite Monastery.","bibliography":"Miloš Stehlík, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie a la age baroque* *1760–1790*, Brno–Paris–Rennes, 2002, pp. 176–177, cat. 53.  \nHelena Zápalková (ed), *Oltář Nejsvětější Trojice z kostela Nanebevzetí Panny Marie v Uničově. Restaurování 2003*–*2005*, Olomouc, 2005.  \nMiloš Stehlík, Matyáš Bernard Braun a Morava, in Miloš Stehlík, *Barok v soše*, Brno, 2006, pp. 65–70.","artist_birthdate":"1698","artist_birthplace":"Svitavy","artist_deathdate":"1759","artist_deathplace":"Znojmo","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Polychrome wood; retable; Radical Baroque; sculpted wood"],"materials":["Wood, polychromy and gilding"]},"5e131b15-3042-5b4a-bc07-e72c9fb0b7fb":{"name":"Figures in Turkish style","description":"In these two porcelain figures, it is showed through the clothes, and combined with the Rococo style of the bases. Produced by many European manufactures at the time, this kind of objects could be easily found in rooms as the *fumoir*, usually decorated in an Orientalist style to recreate exoticism.","type":"Decorative Arts; Porcelain","holder":"National Museum of Romanticism","dates":"Second third of the 19th century","location":"Madrid","dimensions":"31 x 15 x 14 cm / 32 x 15 x 14 cm","provenance":"France","author":"Isabel Ortega Fernández","copy_editor":"Anne Dowell","keywords":["Production of applied art in Europe in the Islamic mode; Turkish influence"],"materials":["Moulded; enamelled, painted and gilded porcelain"]},"5fafc343-ccfd-52d3-8bd4-f2f311ffa1cf":{"name":"*Bust of Clement XII*","description":"Pietro Bracci produced a large number of works, mainly portraits. He was one of the most important late Baroque sculptors of the 18th century in Rome, and was involved in the creation of the Trevi Fountain. He was trained in the Baroque tradition based on the work of Gian Lorenzo Bernini and classical equilibrium.  \nThere is no documentary evidence linking the bust to the sculptor, nor any explicit references in the work-log that Bracci was in the habit of keeping after 1725, but the attribution is generally accepted by scholars.  \nIt is dated around the time of the pontificate of Clement XII Corsini, which lasted from 1730 to 1740, although it is possible that the bust was made after his death.  \nThe ageing face of the pope is sculpted faithfully, reproducing the lines infused with deep expressiveness and intelligence, key characteristics of the artist's portraits. The pontificate's vestments are finely decorated and tied at the chest, while the fur-trimmed cloak and underlying *mozzetta*  \n(a short elbow length cape worn by Catholic clergy) are sculpted to achieve an elegant volume of folds that create a play of light and shadow.  \nThere are other busts of the pope, although full information is not available for all of them. Of particular interest is the one currently in Ravenna, which may have been intended for the pontificate's tomb in Laterano, and the bust of Clement XII, currently exhibited in the Galleria Nazionale di Arte Antica, which was acquired in 1927.  \nThe portrait of the pope in the Galleria Borghese was donated to the museum in 1910 by the Istituto dei Ciechi at the Baths of Diocletian.","short_description":"Pietro Bracci follows the Baroque tradition seen in Bernini's psychological portrait, *Cardinal Scipione Borghese*. Bracci was one of the sculptors involved in the creation of the Trevi Fountain.","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Unknown","dates":"c. 1730–1740","location":"Rome, Latium","dimensions":"h: 76 cm","provenance":"Istituto dei Ciechi (Institute of the Blind) at the Baths of Diocletian","obtention":"Given to the Galleria Borghese in 1910 by the Istituto dei Ciechi at the Baths of Diocletian.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al secolo XIX*, Rome, 1954, n.40 p. 43.  \nHonour, H., in *voce* “Bracci Pietro”, in *Dizionario Biografico degli Italiani*, Milan, 13, 1971, pp. 620–623.  \nStefani, C., *Galleria Borghese*, Milan, 2000, p.76.","artist_birthdate":"1700","artist_birthplace":"Rome","artist_deathdate":"1773","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Portrait; bust; marble; classical model; Bernini; talking portrait"],"materials":["Statuary marble"]},"621e7f00-7493-56e2-823c-2c4e19a49512":{"name":"Fragments of plaster.","description":"This panel is composed of two plaster fragments that have been sculpted with decorative motifs consisting of interweaving bands punctuated by blue painted pearls against a red background. These bands form eight-cornered stars, inside which appear flowers that feature three petals.  \nThis type of decoration is quite common in the palaces of the Qal'at Bani Hammad. The paintwork on the majority of fragments has worn off through time.","short_description":"Two plaster fragments sculpted with motifs consisting of interlaced bands punctuated by blue painted pearls on a red background. The bands form eight-pointed stars containing three-petal flowers. This type of covering was used to decorate the dome at the Palace of the Sea (Dar al-Bahr).","type":"Plaster","holder":"National Museum of Antiquities and Islamic Arts","dates":"Hegira 406–547 / AD 1015–1152.","location":"Algiers","dimensions":"Fragment 1: length 42 cm, width 41 cm; Fragment 2: length 44 cm, width 33 cm.","method_for_datation":"From the report of the De Beylié excavation, 1908.","method_for_provenance":"This type of wall-cladding was used in the decoration of the dome of the Dar al-Bahr (Palace of the Sea).","provenance":"Dar al-Bahr, Qal’at Bani Hammad, Algeria.","obtention":"Archaeological repository (De Beylié excavations, 1908).","bibliography":"Beylié, général de, *La Kalaa des Beni Hammad, une capitale berbère de l'Afrique du Nord au XIe siècle*, Paris, 1909.  \nBlanchet, P., “Rapport sur les travaux exécutés à la Qal'a des Beni Hammad”, *Recueil de la Société archéologique du departement de Constantine*, 1899, pp.97–116.  \nMarçais, G., *Algérie médiévale, monuments et paysages historiques*, Paris, 1957.  \nMarçais, G., *Art musulman, album de pierre, plâtre et bois sculpté*, Algiers, 1909.  \nRobert, A., “La kalâa des Beni Hammad”, *Recueil de Constantine*, Vol. 43, 1909.","dynasty":"Hammadid","author":"Ali Benbella","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["Palace; plaster; painting; geometric decoration; floral decoration; palatial architecture; architectural decoration"],"materials":["Plaster, sculpted and painted."]},"623ac570-c51d-5c93-af68-2dca3ce23ce0":{"name":"Suspended Together","description":"Manal Al Dowayan’s Suspended Together can be used to question the assumption that the existence of roads, routes, and transport systems automatically means freedom of movement. Created in 2011, the installation refers to a period when Saudi women needed permission from a male guardian in order to travel. The suspended white doves suggest flight, mobility, and freedom, yet their stillness reveals a condition of restriction. In this sense, the work is especially relevant for discussing travel and infrastructure from a gendered perspective: even when roads exist, not everyone has equal access to movement. The piece reminds viewers that mobility is not only a matter of physical routes, but also of law, social permission, gender, and power. For this reason, the work can be used to expand a discussion of travel in the region beyond railways and roads, toward the unequal social conditions that determine who is allowed to move.","type":"Installation","holder":"Qatar Museums, Mathaf: Arab Museum of Modern Art","owner":"Qatar Museums, Mathaf: Arab Museum of Modern Art","dates":"2011","location":"Doha","copyright":"Qatar Museums, Mathaf: Arab Museum of Modern Art","catalogue_holding_link":"https://collections.qm.org.qa/en/objects/suspended-together-mat201384","keywords":["transport systems; freedom of movement; women; Saudi Arabia"],"materials":["Resin, Paper, Adhesive"]},"63946b1b-16ea-516e-a633-bafee1467d3f":{"name":"Ionian capital from the *Ptolemaion*","description":"This fragmented capital, displaying a Greek-scrolled valuta and a wealth of floriform decoration on the cushion, originates from the so-called Ptolemaion, a gateway built in Samothrace for the Egyptian king Ptolemy II Philadelphus.","type":"Architectural sculpture","holder":"Kunsthistorisches Museum, Collection of Greek and Roman Antiquities","dates":"3rd century BC; excavated in 1873–1875","location":"Vienna","dimensions":"Height 38 cm","copy_editor":"Daniel de la Vega","keywords":["Samothrace; Alexander Conze"],"materials":["Marble"]},"6857e440-8f5f-5412-a588-b0da5f2afb45":{"name":"*Bust of the Cardinal Scipione Borghese*","description":"In 1605 when Paul V became Pope, he immediately made his nephew Scipione a cardinal, despite his young age, quickly promoting him to a position comparable to secretary of state. This enormous power allowed the cardinal-nephew to create a splendid home and a marvellous art collection over a decade, in an unorthodox manner.  \nThe bust portrait of Scipione by Gian Lorenzo Bernini was sculpted for his first major patron in 1632, after a creative hiatus of nearly seven years as a sculptor, during which he developed a new concept in portraits, more representative of the vibrant Baroque style.  \nThe spontaneous and intense pose, the arrangement of the bust with the head turned in a slight movement, the attentive gaze and the mouth open in an expression of vague wonderment combine to create a highly expressive, almost colloquial relation with the viewer.  \nThe cloth folds in the *mozzetta* (a short elbow length cape worn by Catholic clergy) and the detail of the small unfastened button showing us the live body beneath the clothes are an integral and involving part of the piece.  \nThe marked confidence displayed by this excellent example of a Baroque style of which Bernini was a master gives an intimate and human dimension to the sitter, despite his official status.  \nWith the bust almost finished, a hairline fracture opened up in the marble around the forehead, due to the stresses of the sculpting tools. The sculptor was forced to produce a second version of the bust at very short notice. This shows how little attention Bernini paid to his choice of marble, something that was of fundamental importance for other sculptors, such as Michelangelo. Despite the crack, the Cardinal requested that both works be delivered to him, keeping both in the Galleria Borghese.","short_description":"Cardinal Borghese, the pope’s nephew, was a passionate collector and looked after the cultural policy of the papal court. He had a sensitive instinct for artistic quality and gave a boost to the birth of the Baroque. Bernini renders the Cardinal life-like; the transience of human feeling and the expression of inner emotions are part of the Baroque aesthetic.","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Scipione Borghese","dates":"1632","location":"Rome, Latium","dimensions":"H: 82 cm","provenance":"Borghese Collection","obtention":"The Borghese Collection was acquired by the Italian State in 1902.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al secolo XIX*, Rome, 1954, n.36, pp. 37–39.  \nWittkower, R., *Gian Lorenzo Bernini. The Sculptor of the Roman Baroque*, London, 1955 (ed. Italiana Milano, 1990, cat. 31, p. 88).  \nColiva, A., “Due Busti di Scipione Borghese”, in *Bernini Scultore, La nascita del Barocco in Casa Borghese*, catalogo della mostra, Rome, 1998, pp. 276–289.  \nUlivi, M., Sorrentino, M. A., Chilosi, M. G., Rockwell, P., “Due Busti di Scipione Borghese”, in *Bernini scultore e la tecnica esecutiva*, Rome, 2002, pp. 216–233.","artist_birthdate":"1598","artist_birthplace":"Naples","artist_deathdate":"1680","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Bust; portrait; marble; collection; collector; patronage; talking portrait"],"materials":["Marble"]},"6ac7d68d-dd1a-5e3a-afaa-4d2652475c9f":{"name":"Concavity. Deppari; Projection Series","description":"Toshio Iezumi (1954) began to work with glass in 1983, at the Tokyo Glass Art Institute. It was at this time that he began to work with glass sheets. His sources of inspiration are very broad, from the bronze originating in Ancient China to the most recent works of Constantin Brâncuşi and Donald Judd.  \nUpon graduating in 1985, Iezumi developed and perfected the technique for which he is known today. He began sticking the sheets of glass using a special adhesive cured by UV light, creating an initial block with a similar shape to a cube. It should be noted that the sheets are not placed at random. The sheet which will be furthest away from the spectator tends to be a mirrored sheet. This is a way in which to play with the reflective properties of the glass itself. Thermal glass can be interspersed or finished among the normal sheet glass in order to play with the refraction of light from the different types of glass. He then grinds and sculpts this block until the desired shape is achieved. After this initial grind using a diamond blade, a pneumatic machine is used to sand and polish the piece. This step involves seven sub-steps in order to achieve a pure, delicate finish (with a pneumatic water fed grinder with a grain of between 60 and 1000, finished with a felt disk in cerium oxide). After hours of work he achieves the depth, optic effects and the degree of transparency desired for his work.","type":"Sculpture","holder":"Technological Glass Museum. Royal Factory of Glass and Crystal of La Granja","dates":"1994","location":"Real Sitio de San Ildefonso, Segovia","dimensions":"24 x 21 x 24cm","method_for_datation":"Donated directly by the artist following a monographic course at our installations. This piece was created during the course.","method_for_provenance":"Donated directly by the artist following a monographic course at our installations. This piece was created during the course.","provenance":"Japan","obtention":"Donated by the author following a Coldworking Workshop led by himself.","bibliography":"Morita, Aki, Nakagawa, Yosuko and Iezumi, Toshio, *Iezumi Toshio Exhibition-Grind to Form*, Toyama: Toyama Glass Art Museum, 2017.  \nSano, Takako, Higuchi, Shinichi, Higuchi, Kimiake, Mizuta, Yeriko and de Pablos, Eliseo, *Japón. Vidrio Artístico Contemporáneo*, San Ildefonso, Segovia: Fundación Centro Nacional del Vidrio, 1995.","author":"Paloma Pastor Rey de Viñas, Saulo Alvarado Martinsanz","translator":"Jessica White","keywords":["Iezumi; Glass sculpture; laminated glass; polised technique"],"materials":["Glass; cut, laminated, ground, polished"]},"6bbafa48-66dc-52f4-bf7a-3cc4fe5e25c9":{"name":"Funerary panel","short_description":"This small panel, rectangular in shape, bears a decoration carved in bas-relief on one of the two faces, which suggests that it was designed to be embedded in the wall of a religious monument. The panel is almost complete and in a good condition. The lower corners and the upper right corner are missing. There are gaps on top. A niche design occupies the central section of the panel, framed on three sides by an epigraphic band. The niche is composed by a pointed horseshoe arch resting on two lateral columns with pyramidal bases and vase-shaped capitals. A short inscription, divided on two lines, is engraved inside the arch. The two inscriptions are engraved with a thin, shallow stroke, and executed in a late *kufic* style with slightly bilobed apexes, provided with diacritical marks. The text of the frame, on one line, contains an epitaph and reads on the right side: *\\[hadha\\] qabr al-Hakim al-Faqih Ahmad b.*, on the upper side: *Sulayman al-Shuruti*, and on the left side: *rahmatu llah ʿalayhi wa-salla llahu ʿa*\\[…\\]. These are translated as: '\\[This is\\] the tomb of al-Ḥākim al-Faqīh Aḥmad b. // Sulaymān al-\\[…\\] // May God’s mercy be upon him and may blessings of God be upon \\[…\\]'. The text inside the arch reads: *Allahu akbar*. The text enclosed in the outer frame is preserved in its entirety, except for the first and last words, which have been lost. The epitaph is undated and dedicated to a law scholar (*faqīh*) whose nisba has not yet been deciphered. Note that the invocation at the end of the text contains an expression (*salla Allah ʿala…*) that is usually intended for the Prophet.","type":"Stone work","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 10th century / AD 16th century","location":"Bamberg","dimensions":"289 x 267mm","method_for_datation":"The shape and size of the panel, as well as the palaeographic features of the two texts suggest a date no earlier than the late 16th century. A close comparison with the other similar panels with niche designs found in Ghazni is missing. The other specimens are ascribed to a more ancient period, between the 11th and 13th centuries, and differ both in the shape of the niche and in the writing styles and (and above all) in the content of the texts. In no case, in fact, is there an epitaph.","method_for_provenance":"This funerary element was documented by the Italian Archaeological Mission in 1966, reused in one of the walls of the Ziyārat Ramak, located a few kilometers from the city of Ghazni (MAIA, Inv. No. IG0063; Neg. Nos. 3823/2,3; Fig. a).","provenance":"Ghazni / Afghanistan","obtention":"Purchased from Shadad London in 2001","bibliography":"Massulo, Martina, “Marble Tombs From Ghazni (Fifteenth-Eighteenth Centuries): Morphological and Epigraphic Remarks”, *Eurasian Studies*, 13 (2015): 54-67.","dynasty":"Mughal","author":"Roberta Giunta","copy_editor":"Daniel de la Vega","keywords":["Funerary slab; marble; epitaph"],"materials":["Marble"]},"6c348586-1356-5ba4-b2b5-0c09d19282dc":{"name":"The Victims of Labour","short_description":"Vincenzo Vela studied at the academy of Fine arts of Brera and at the age of 22 he won an Academy of Venice competition. The artwork is an homage to the workers who died during the construction of the Gotthard Tunnel between 1872-82, which had implemented new cost-lowering techniques that also caused numerous incidents and loss of life. Work conditions were very unhealthy: temperatures over 30 degrees, gas exhalations and no air shafts. Even the accommodations were unhealthy and dirty. When the workers went on strike for the inhumane conditions, police shot at protesters, killing four workers. The miners in *The Victims of Labour* are depicted carrying the body of a dying classmate on a stretcher out of the tunnel. A self-portrait of the sculptor is recognisable in the classmate’s face. The harsh modelling of the workers’ bodies, almost deformed, makes the scene even more powerful. The artist affirmed he had no commission for this work which was a passion project. In 1895 it was cast in bronze on request of the Ministry of Education; in 1900 it was sent to the Universal Exhibition in Paris.","type":"Sculpture","holder":"National Gallery of Modern Art (GNAM)","dates":"1882 (fusion 1895)","location":"Rome","dimensions":"239 x 323 x 40 cm","artist_birthdate":"1820","artist_birthplace":"Ligornetto (Switzerland)","artist_deathdate":"1891","artist_deathplace":"Ligornetto (Switzerland)","copyright":"Copyright image: Soprintendenza alla Galleria Nazionale d'Arte Moderna e Contemporanea.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Sculpture; Italian sculptors; realism; Verismo; social topics; post-unitarian Italian society; rights of workers; working class; life expectancy; poverty; industry; communication; industrial development; road; railway; international; universal exposition"],"materials":["Bronze"],"artist":"Vincenzo Vela"},"6cb00351-e32e-5685-bff7-6597c47986b7":{"name":"*St. John the Evangelist*","description":"St. John the Evangelist, gospel author and apocalyptic visionary, holds the Book of Revelations, with seals. At his feet is an eagle, one of his attributes. The eagle's mighty flight and the ancient belief that the bird could shade (or stop) the sun contributed to its coming to symbolise the soul and a mystic vision of God. Much of the animal symbolism of the Evangelists is derived from the Old Testament vision of Ezekiel (Ez 1:10). The eagle was attributed to John by the Church Father Hieronymus.  \nThe slender figure in an elegant, balanced posture with one foot forward is wrapped in a decorative cloak. The cloak, running from the left shoulder around the right hip opens into a mighty relief train that fills the space between the book and a pedestal on the right, the outline of the figure thus appearing compact. Schweigl ornamented the soft surface of the statue with folds and incisions in the hem of the cloak. The soulful face corresponds with traditional representations of St. John the Evangelist, his fine facial features off-set with locks of wavy hair. The visual effect of the sculpture is enhanced by the treatment of its surfaces: gold plate combined with matt and gloss finishes.  \nThe artist's development included being apprenticed to his father who came from Tyrol. After studying at the Vienna Academy and following his father's death, Schweigl took over the family workshop in Brno. The workshop, which also functioned as a private art academy, produced sculptures for the whole of Moravia, part of Silesia. A series of sculptures for the Church of St. James was one of Schweigl's first independent commissions. He wrote several manuscripts on art and artists in Moravia intended for pedagogical schools, which laid the foundations of art history research in Moravia.  \nIn a later phase, Schweigl employed the St. John figure in a statue of the saint for a side altar in Vranov Church near Brno.","short_description":"The slender figure in an elegant, balanced posture with one foot placed forward is wrapped in a decorative cloak. It was one of Schweigl’s first independent commissions. His writing on art laid foundations for art history in Moravia and his workshop’s output covered Moravia and parts of Silesia.","type":"Sculpture","holder":"Moravian Gallery, Brno","owner":"City Museum, Brno","initial_owner":"Parish Church of St. James, Brno","dates":"c. 1760","location":"Governor’s Palace, Brno, Moravia","dimensions":"H: 200 cm","place_of_production":"Brno","method_for_datation":"The authorship of Andreas Schweigl is recorded in written sources regarding the contents of the Church of St. James (Brno City Archive).","provenance":"Parish Church of St. James, Brno","obtention":"This figure was one of several decorative sculptures for the altars in the municipal Parish Church of St. James, Brno. During Re-Gothicization in 1865, the sculpture along with the rest of the contents, were transferred to the parsonage. It has been museum property since 1947.","bibliography":"*Výběr význačných děl*, Brno, 1946, cat. 102.  \nCecilie Hálová-Jahodová, *Ondřej Schweigl. Katalog výstavy,* Prague, 1947/48, cat. 3.  \nVlasta Kratinová, *Baroko.* *Malířství a plastika,* Brno, 1992, cat. 24.  \nJana Svobodová, *Od renesance po modernu I*, *1570–1900,* Brno, 1997, p. 32, cat. 10.","artist_birthdate":"1735","artist_birthplace":"Brno","artist_deathdate":"1812","artist_deathplace":"Brno","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Bozzetto; academy; Re-Gothicization; sculpted wood; eagle; zoomorphic imagery; Christian themes"],"materials":["Wood, gilding"]},"6e327e6c-97a6-5021-bdda-e534a67a0765":{"name":"Reserve head","description":"The *Reserve head* is one of the major works of the Viennese collection, found in an early tomb in the burial grounds of Giza. Though stylized, the visage is still full of life, with simultaneously idealized and very regular features. Scholars still disagree about the purpose of this type of object. Traditional explanations proffer their use as surrogate heads for the soul (mummifying having then been only in its earliest stages).","type":"Sculpture","holder":"Kunsthistorisches Museum, Egyptian Collection","dates":"4th Dyn. c. 2600 BC; acquired by Hermann Junker during his excavation in Giza 1912–1929","location":"Vienna","dimensions":"Height 27,7 cm, B 17,3 cm, Diameter 24,5 cm","copy_editor":"Daniel de la Vega","keywords":["Giza; Egypt; Hermann Junker"],"materials":["Limestone"]},"6f46e756-ebc7-53f0-b7ab-a41b14c33d87":{"name":"*Aeneas and Anchises*","description":"This is the first work that a young Bernini completed for Scipione Borghese, who already owned a Barocci painting of the same theme. The subject, taken from Virgil's *Aeneid*, was potent for the Cardinal because it confirmed a dynastic celebration, Aeneas being considered an ancestor of the Borghese family, while simultaneously representing the birth of Rome. Aeneas, fleeing Troy with his father Anchises and his son Ascanius, arrived in Lazio and founded the eternal city. As a result, this subject acquired by analogy an historical and theological value: Ancient Rome and the Roman Church. The flight of Aeneas was also related to the Christian idea of *pietas romana*, while the figure of the hero symbolised the political role assumed by Scipione during the papacy of his aging uncle (in Latin, *scipio*, the staff that bears, as Aeneas supports Anchises).  \nThe sculpture retains the compactness of the block shape on a vertical axis into which the contrasting movement of the figures is woven, taken from the previous late-Mannerist period in Tuscany. On account of its transitional style, it has long been assumed to be the joint work of Pietro Bernini, the famous sculptor of Pope Paul V, and his young son. However, recently discovered documents unequivocally ascribe the work to Gian Lorenzo.  \nThe definition of the muscles and the plasticity of the shapes demonstrate Bernini's awareness of Hellenistic art, as well as Raffaello and the Carraccis. The sculptor is undertaking a study of ancient art, integrating it into the new language of art, with its psychology and drama, which would later be known as the Baroque.  \nBernini paid attention to the tactile quality of the marble, finishing the surface with different tools. This allowed him to create contrasts between finishes, achieving the illusion of colour and assimilating the sculpture to a painting.","short_description":"The artist pays attention to the tactile quality of the marble surface to obtain the illusion of colour. Aeneas's escape from Troy had an historical-theological meaning: the concept of *imperium* is moved to the Roman Church. The theme symbolises the *pietas romana* and Scipione's political role.","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Cardinal Scipione Borghese","dates":"1618–1619","location":"Rome, Latium","dimensions":"H: 222 cm","provenance":"Borghese Collection","obtention":"The Borghese Collection was acquired by the Italian State in 1902.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al secolo XIX*, Rome, 1954, n.32, pp. 26–29.  \nWittkower, R., *Gian Lorenzo Bernini. The Sculptor of the Roman Baroque*, London, 1955 (edition Italiana Milano, 1990, cat. 8, p. 233).  \nPreimesberger, R., “Enea e Anchise”, in *Bernini Scultore, La nascita del Barocco in Casa Borghese*, exhibition catalogue, Rome, 1998, pp. 110–123.  \nUlivi, M., Sorrentino, M. A., Chilosi, M. G., Rockwell, P., “Enea e Anchise”, in *Bernini scultore e la tecnica esecutiva*, Rome, 2002, pp. 116–131.","artist_birthdate":"1598","artist_birthplace":"Naples","artist_deathdate":"1680","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Mythology; marble; movement; Mannerism; ancient art; Hellenistic art"],"materials":["Marble"]},"6ff68fbe-d897-52f5-a9e9-6b04552c0b6b":{"name":"*Sleep*","description":"According to the payments made, the sculpture was commissioned between 1635 and 1636 by the nephew of Paul V, Marcantonio Borghese, with the mediation of Marcello Provenzale. It shows a *putto* with light, butterfly wings sleeping deeply. On his head, beside his arm and along his body are opium poppies, which allude symbolically to sleep, as does the small dormouse curled up on the rock. The subject relates to the literary description in Cesare Ripa's *Iconology* (1603), essential reading for artists in the 17th and 18th centuries, who drew on it constantly to compose allegorical subjects. The dormouse was considered to represent sleep or the “third phase” of the night, the “black” phase.  \nThe choice of the valuable and extremely hard Belgian marble (or “touchstone”) was probably due both to iconographic considerations and the artist's desire to show his skill in rendering soft flesh and the limp abandon of the limbs. The work, highly inspired by ancient sculpture, was thought to be an archaeological find in the early 18th century. Placed in Villa Pinciana and extolled by contemporary sources, the room housing it was given the name “sleep room”. It was accompanied by two vases with handles formed by entwined snakes, also in black marble, made in 1638 by Silvio Calci of Viterbo (active in Rome in the first half of the 17th century), possibly also alluding to sleep. Therefore the whole composition can be interpreted as an allegory for sleep, or maybe death.  \nCompared to Bernini's grandiose and theatrical style, which characterised the entire Roman Baroque period, Algardi's style is marked by a greater classicism and a more lyrical tone, attributes that were particularly appreciated in the final years of the 17th century.","short_description":"The sculpture is an allegorical representation. Black marble was chosen because it is a colour associated with the idea of night and sleep. The work shows an attention to antique art and the work of Bernini.","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Marcantonio Borghese","dates":"1635-36","location":"Rome, Latium","dimensions":"h: 48 cm; w: 90 cm","provenance":"Borghese Collection","obtention":"The Borghese Collection was acquired by the Italian State in 1902.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al XIX*, Rome, 1954, n.1, pp. 9–10.  \nMontagu, J., *Alessandro Algardi*, New Haven–London, 1985, cat.137, p. 35.  \n*Alessandro Algardi. L'altra faccia del barocco*, exhibition catalogue, edited by J. Montagu, Rome, 1999, cat.11, pp. 118–119.  \nBarchiesi, S., in *La Stanza* *del Gladiatore. Il capolavoro della committenza Borghese del Settecento*, exhibition catalogue (Rome), Milan, 2004, pp. 156–157.","artist_birthdate":"1598","artist_birthplace":"Bologna","artist_deathdate":"1654","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Marina Minozzi","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Marble; allegory; Bernini; vegetal decoration; ancient art; classical model"],"materials":["Belgian black marble"]},"70400fa1-9e1b-5253-b587-686c8eff3455":{"name":"Head","description":"Martin Janecký is one of the best-known Czech artists for his use of a technique based on modelling from inside a bubble of melted glass, known as “inside sculpting”. This technique requires great precision in order to control the thickness of the glass, its temperature and ductility, in addition to great skill in managing the tools. Martin works with the help of incredibly skilled assistants who work with him in perfect synchronisation. Janecký can be identified primarily for his head and hand sculptures,  \ncreated with diverse attitudes, textures and tones.  \nMartin began to work with glass at age 13 in his father’s factory. He graduated from the Glass School in Nový Bor in 1998, and it wasn’t until 2003 that he began to gain international acknowledgement following his trip to a glass symposium at the Corning Museum of Glass.  \nHe has been a guest artist at numerous glass schools, workshops and museums across the globe, demonstrating how he creates his sculptures. Some of these include the Corning Studio, Museum of Glass (USA), Pilchuck Glass School, Tacoma Museum of Glass, Stand Wood, Chrysler, Norfolk, Bronholm, Rietvel and at the Real Fábrica de Cristales de La Granja, where he created this piece during his stay in 2017.","type":"Sculpture","holder":"Technological Glass Museum. Royal Factory of Glass and Crystal of La Granja","dates":"2017","location":"Real Sitio de San Ildefonso, Segovia","dimensions":"35 x 20cm","method_for_datation":"Donated directly by the artist following a monographic course at our installations. This piece was created during the course.","method_for_provenance":"Donated directly by the artist following a monographic course at our installations. This piece was created during the course.","provenance":"Royal Glass Factory workshop. Martin Janecky. Czech Republic","obtention":"Donated by the author following a Glass Sculpting Masterclass led by himself","author":"Paloma Pastor Rey de Viñas, Saulo Alvarado Martinsanz","translator":"Jessica White","keywords":["Glass sculpture; Janecký; Czech Republic; Sculpted inside the bubble"],"materials":["Glass; Blown and sculpted inside the bubble"]},"72cd6b04-4359-5c17-b1d0-29c1ddfe315f":{"name":"Marble balustrade.","description":"A marble balustrade consisting of nine adjoining pointed arches identical in form and dimensions, and supported by coupled columns of which there are close to 20. The details on the columns as well as on the capitals differ from each other but each pair of columns and their corresponding capitals are identical. The spandrel, the area between the arches, is ornamented with a series of carved marble circles. The column capitals assume one of two forms: the first resembles a finely detailed and knotted Corinthian capital and the second inclines more toward simplicity, approximating a whirling pomegranate blossom. The arches are decorated with carved ornamentation in the form of a knight's blazon. The decorative details on the pillars are varied but are distinguished generally by a chain of number “7s” wrapped around the body of the column in a vertical or horizontal format. The arches rest on marble panels, each supported by a pair of capitals on top of the coupled columns.  \nThis balustrade was originally in the Aqsa Mosque, where it is likely that its function was decorative. It was then transferred to the Islamic Museum following the renovation of the mosque. It is possible that this piece is tied to, with regard to the material, craftsmanship and technique of carving, a Crusader frieze (also at the Museum), which was transferred from the Dome of the Rock. Perhaps this piece was crafted in the same workshop as an atelier renowned for its high-quality carved marble was active in the Haram al-Sharif during the same period.","short_description":"This is a marble balustrade composed of nine adjoining tapered arches, identical in form and dimensions. They are supported by pairs of close to 20 pillars. The balustrade is a product of the Crusader period (Romanesque style).  It is relatively simple in appearance and detail. It was placed in al-Aqsa Mosque for decoration.","type":"Balustrade, marble","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Al-Aqsa Mosque, Jerusalem.","dates":"Hegira 6th century / AD 12th century.","location":"Jerusalem","dimensions":"Height 84 cm, length 348 cm, depth 12 cm.","method_for_datation":"This piece was dated by comparison of both its technique and artistic style with pieces produced in the same period in Palestine, which were acquired by the Islamic Museum.","method_for_provenance":"The registers of the Islamic Museum indicate that the piece was transferred from al-Aqsa Mosque to the Islamic Museum in 1938. The balustrade appears in photographs published by R. W. Hamilton in 1949 showing the interior of the mosque before the balustrade was moved to the Museum. It is plausible that it was made in Jerusalem since large architectural pieces were usually made on site and a workshop was active in the Haram al-Sharif during the same period.","provenance":"Jerusalem.","obtention":"The piece was transferred from al-Aqsa Mosque in 1938.","bibliography":"Hunt, L. A., “Crusader Sculpture and the so-called Templar Workshop: A Reassessment of Two Carved Panels from the Dome of the Rock in Al-Haram al-Sharif Museum in Jerusalem”, in *Palestine Exploration Quarterly*, No. 132, 2000.  \nJacoby, Z., “The Workshop of the Temple Area in Jerusalem in the Twelfth Century: Its Origin, Evolution, and Impact”, *Zeitschrift für Kunstgeschichte*,No. 45, 1982.  \nJacoby, Z., “The Provencial Impact on Crusader Sculpture in Jerusalem: More Evidence on the Temple Area Atelier”, in *Zeitschrift für Kunstgeschichte*, No. 48, 1985.","dynasty":"Crusader","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Balustrade; marble."],"materials":["Hewn and carved marble."]},"736574db-9cd1-5e72-95d5-f1860d3596ad":{"name":"*Mashrabiyya*","short_description":"The *mashrabiyya* is a decorative architectural element characteristic of residences in the Arab world. It was generally used on windows or balconies on the second floor or above. As well as being a natural ventilation device, the *mashrabiyya* served the purpose of shielding the occupant from the vision of passers' by, whilst still allowing natural light to pass through the gaps. This particular piece is square shaped and made of limestone, sculpted in floral patterns.","type":"Architectural sculpture; stonework","holder":"Lebanese Heritage Museum","dates":"19th century","location":"`Ayn Najm","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin","keywords":["Floral decoration; floral art; Architecture"],"materials":["Limestone; engraving"]},"736a018e-a855-56c6-a0e4-184b1dba4cd5":{"name":"Male head","description":"South Arabia (Yemen) has always been famous for its incense. The cultivation and widespread trade of this desirable product turned Yemen into a very important region with a highly autonomous culture. This kind of head, sculpted on tombstones, portrayed the subject partly as abstract idealization and yet in a very naturalistic way.","type":"Sculpture","holder":"Kunsthistorisches Museum, Egyptian Collection","dates":"Beginning of 1st millenium AD South-Arabia; brought to Vienna by Edward Glaser in 1882–1894","location":"Vienna","dimensions":"Height 24 cm, Width 12,5 cm, Diameter 11,5 cm","copy_editor":"Daniel de la Vega","keywords":["Yemen; Eduard Glaser; Museum of Fine Arts Vienna"],"materials":["Alabaster"]},"737ab478-03ce-5011-915a-c7ab2ff80e33":{"name":"*St. Florian*","description":"The wooden statue of *St. Florian* has a counterpart, *St. Donatus*, both of which are one and a-half times life-size. Both pieces were transferred to the National Museum in Budapest on permanent loan from the town of Körmöcbánya (Kremnica) in 1892. There is documentary data to confirm that *St. Florian* was part of the interior furnishing of the Parish Church of Our Lady, on which Stanetti worked between 1763 and 1764.  \nIn 1880 a landslide meant that the church was demolished and that the furnishing was taken out of the church and scattered among various locations. Most of the statues are now in Slovakian museums.  \nIt is known that the two gilded statues *St. Donatus* and *St. Florian* were originally placed independently in the nave. The two saints, which belong to the age of imperial Rome, had been revered since the Middle Ages as protectors from lightning, hailstorms and fire.  \nThe sculptures portray both saints as sturdy athletic men with reserved gestures, and their heroic poses are borrowed from stone sculpture similar to those erected near to vineyards and wheat fields. *St. Donatus* wears a wreath of leaves on his head and holds a bundle of lightning bolts to his chest; the sheaf of wheat that he originally held in his left hand is lost. Helmeted *St. Florian* has a burning house at his feet and a pail in his right hand. The flag from his left hand is lost.  \nDionysius Ignatius Stanetti, who made both sculptures, was a descendant of a noted Silesian dynasty of sculptors. His uncle, Johann (Giovanni) Stanetti perhaps toured Italy and was employed by the court circle in Vienna. Dionysius Stanetti moved to Hungary in the 1740s. He was married in Körmöcbánya (Kremnica) and was a burgher of the town until his death. Apart from the Late Baroque furnishings in the churches of the neighbourhood, he also created monumental public memorials: the Holy Trinity columns in Besztercebánya (Banská Štiavnica) and Körmöcbánya (Kremnica).","short_description":"The Silesian, Dionysius Ignatius Stanetti, settled in Hungary. His sculptures from Upper Hungarian mining towns are well known. The church of Körmöcbánya (Kremnica) was demolished in the 1880s after a landslide and consequently the Baroque furnishings were scattered throughout the region. The two quality sculptures of *St. Donatus* and *St. Florian* were both deposited by Kremnica town in trust to Budapest.","type":"Sculpture","holder":"Hungarian National Gallery","initial_owner":"Roman Catholic Parish Church, Körmöcbánya (Kremnica)","dates":"1764","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 248 cm","place_of_production":"Körmöcbánya (Kremnica)","method_for_datation":"By historical and stylistic data","provenance":"Roman Catholic Parish Church, Körmöcbánya (Kremnica)","obtention":"Originally from the Roman Catholic Parish Church of Körmöcbánya (Kremnica), the two sculptural saints were initially deposited in 1892 at the National Museum in Budapest in perpetuity; in 1950 the sculptures were transferred to the Museum of Fine Arts, Budapest, and in 1974 to the Hungarian National Gallery, Budapest.","bibliography":"Jávor, A., “Dionysius Stanetti szobrai a Magyar Nemzeti Galériában” (“Sculptures by Dionysius Stanetti in the Hungarian National Gallery”), *Művészettörténeti Értesít* XXX, 1981, pp. 50–54.  \nBalážová, B., “Michal Räsner versus Dionýz Staneti”, *Ars,* 2001:1, pp. 46–74.","artist_birthdate":"1710","artist_birthplace":"Dolní Benešov (Beneschau)","artist_deathdate":"1767","artist_deathplace":"Körmöcbánya (Kremnica)","author":"Anna Jávor","copy_editor":"Terézia Bardi","translator":"Judit Pokoly","translation_copy_editor":"Mandi Gomez","keywords":["St. Florian; St. Donatus; Dionysius Stanetti; Johann (Giovanni) Stanetti; mining towns in Upper Hungary; Silesia; Körmöcbánya; Kremnica; Kremnitz; Selmecbánya; Schemnitz; wood carving; gilding; religious object"],"materials":["Limewood, carved, gilded"]},"7aeb03eb-d2c3-50a9-9ca0-0776ebf921fd":{"name":"Sarcophagus of the mourning women","short_description":"In the Sarcophagus of the Crying Women, found at the Royal Necropolis in Sidon like the Alexander Sarcophagus, nothing could be found other than the bones of its owner and a bronze belt buckle, since it had been robbed in an earlier time. From the partial traces on the marble that remained until today, it is understood that it had been dyed in blue and red initially. It is the best example of the group called by archaeologists \"Sarcophagi with Columns\", and it is considered as a final resting place, like the \"Mausoleum of Halicarnassus\" or the \"Nereid Monument\", rather than a tomb. Its architectural features were used in the architecture of the old building of the İstanbul Archaeological Museums. It is an example of Greek sculpture displaying Eastern influences. The shaved heads, bare feet, ragged clothes of the figures and their movements and expressions of sadness are features of Semitic societies. It is thought to be the sarcophagus of the King of Sidon, Straton (374-358 BC), who was said to have led a life of pleasure. The sarcophagus has the shape of an Ionian temple.","type":"sarcophagus; archaeological find","holder":"Istanbul Archaeological Museums","dates":"It is thought to be the sarcophagus of the King of Sidon, Straton (374-358 BC)","location":"Istanbul","provenance":"Sidon","copy_editor":"Daniel de la Vega","keywords":["Sarcophagus Sidon; The Hellenistic Period; Istanbul Archaeological Museums"],"materials":["Stone work"]},"7eacd600-e860-593a-aed7-a9329d9d9011":{"name":"Fragment of the Parthenon frieze","description":"The climax of the Greater Panathenaia, the chief festival of Athens, held in honour of Athena, was a procession which ended with the presentation of the newly woven *peplos* (a woman’s garment) to the tutelary goddess of the city. This is the subject of the frieze around the cella of the Parthenon, the temple on the Athenian Acropolis. This fragment depicts the garment being handed over in the presence of the goddess.","type":"Sculpture","holder":"Kunsthistorisches Museum, Collection of Greek and Roman Antiquities","dates":"c. 440 BC","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Athens; Acropolis; Franz Ferdinand"],"materials":["Stone"]},"7ec7333d-9cff-5b8d-b9c4-f322d00e2d87":{"name":"Megaplanet","description":"Artist Josh Simpson has been influenced by the Studio Glass movement since his career began in 1972. However, a creativity crisis in 1989 led to a U-turn in his career. He decided to take a break and delve into the world of Venetian glass in order to learn the Murrine and Filigree techniques. Inspired by his wife’s experiences and images of the Earth and Space, as captured by NASA, he embarked on the creation of his series of work, *Megaplanets*.  \nThese pieces are very challenging to create. They were born of the creation of the murrines and filigrees for each individual planet. These murrines were then stored for months until they were used. Upon creation of the Megaplanet, silver was melted with a small gob inflated piece of glass. He then continued to work with the marble, adding sheets of glass, one by one, as required. Sheets of gold or platinum, glass enamel, bubbles and many more are then added to these layers. The process takes around eight hours. It is then placed into the annealing furnace. Depending on the size of the Planet, this process can take months. This technique creates pieces similar to paperweights which recreate impressive landscapes.  \nIn 2003, the Museo Tecnológico del Vidrio organised an exclusive exhibition of his work. Following its closure, the artist donated this piece to the Museum.","type":"Sculpture","holder":"Technological Glass Museum. Royal Factory of Glass and Crystal of La Granja","dates":"1995","location":"Real Sitio de San Ildefonso, Segovia","dimensions":"Diameter: 20.5cm","method_for_datation":"In conversation with the author in order to proceed with the Exhibition: Josh Simpson. Visionary Landscapes, which took place at our Museum in 2003.","method_for_provenance":"In conversation with the author in order to proceed with the Exhibition: Josh Simpson. Visionary Landscapes, which took place at our Museum in 2003.","provenance":"United States of America","obtention":"Donated by the author after Josh Simpson. Visionary Landscapes exhibition.","bibliography":"Chaikin, Andrew, *Josh Simpson. Glass Artist*, Cincinnati: Guild Publishing, 2001.  \nPetrová, Sylva, *Visionary Landscapes. The Glasswork of Josh Simpson. Exhibition Catalog*, Greenwich, Connecticut: Bruce Museum of Arts and Science, 1998.","author":"Paloma Pastor Rey de Viñas, Saulo Alvarado Martinsanz","translator":"Jessica White","keywords":["Studio Glass; Glass sculpture; Simpson; Megaplanet"],"materials":["Colourless and multi-coloured opaque glass, hot-worked, flameworked, fused murrine, dichroic glass, blown elements, applied cane drawing, decoration, gold foils, engraved"]},"7f96985d-fe50-5ad6-9b89-32ac54812a59":{"name":"Stone cenotaph.","description":"This large rectangular profusely decorated stone cenotaph belongs to a type that was widely distributed in Syria and Mesopotamia during the AH 6th / AD 12th century. The shape is reminiscent of a classical sarcophagus with a concave base, a cubic centre composed of two side stones, a front and a back stone, a solid convex lintel and a separate lid on the top (today some of the stones are broken). The decoration consists of a magnificent inscription in foliated *kufic* script taken from the Qur'anic verse “Ayat al-Kursi” (“Throne Verse”). The verse runs in bands around all four sides of the tomb, only interrupted by the carved vine-stem motif corner blocks. Two weave-like friezes decorate the base and the lintel of the cenotaph. Four small vertical cartouches are centrally located on each side of the cenotaph. These mention the deceased, Husayn b. Hasan al-Shukri, but no date.  \nThe form and decoration of this cenotaph belongs to the theme of classical continuity in stone carving, typical of Northern Syria during the early Zangid period. The intricate inscription has a close counterpart in the epigraphy of the Madrasa al-Shu'aybiyya, dated AH 545 / AD 1150, which is one of the last examples of the use of *kufic* script in monumental architecture in Syria before it was generally replaced by cursive *naskhi* and *thuluth* scripts.  \nThe cenotaph was found in the Cemetery of Salihin, one of the oldest and certainly the most prestigious funerary site in Aleppo. The cemetery lies to the south of the city and extends around Maqam Ibrahim, an ancient shrine containing a sacred rock associated with the Prophet Abraham, and thus an auspicious burial ground. It is now located in the National Museum of Aleppo.","short_description":"Originally located in the most prestigious cemetery of Aleppo, the Cemetery of Salihin, which has legendary connections with Abraham, this cenotaph is one of the best surviving examples of AH 6th / AD 12th century Syrian stone carving and *kufic* calligraphy.","type":"Cenotaph, stone","holder":"National Museum of Aleppo, Islamic Department","initial_owner":"Husayn b. Hasan al-Shukri.","dates":"Hegira early 6th century / AD 12th century.","location":"Aleppo","dimensions":"Height 98 cm (with cover) 126 cm, length 190 cm, width 93.3 cm.","method_for_datation":"The cenotaph was dated by stylistic criteria and by comparison with other finds. Another well-known but badly preserved cenotaph of the same type is exhibited in the National Museum of Damascus: the tomb of the Artuqid ruler Balak b. Bahram b. Artuq who fell against the Crusaders near Manbij in 518 / 1124 and was buried in Aleppo (Inv. No. 1051).","provenance":"Salihin Cemetery, south of old Aleppo, Syria.","obtention":"The cenotaph was still *in situ* at the Salihin Cemetery when the area was surveyed by archaeologists Jean Sauvaget and Ernst Herzfeld during the 1930s and 1950s respectively.","bibliography":"Herzfeld, E., *Matériaux pour un Corpus Inscriptionum Arabicarum: Syrie du Nord, Part 2: Inscriptions et monuments d'Alep,* 3 Vols, Cairo, 1954–6, pp.180–2; cat. no. 90; plates LXXII b, LXXIII a, b, LXXIV c.  \nSauvaget, J., “Inventaire des Monuments Musulmans de la Ville d'Alep”, *Revue des Études Islamiques*, V, 1931, p.74 ; cat. no. 13.  \nSauvaget, J., “La tombe de l'Ortokide Balak”, *Ars Islamica*, 5/2, 1938, pp.207–15.  \nSauvaget, J., *Alep. Essai sur le développement d'une grande ville syrienne des origines au milieu du XIXe siècle*, 2 Vols, Paris, 1941, plate. XLVI.","dynasty":"Zangid–Atabeg","author":"Julia Gonnella","copy_editor":"Mandi Gomez","keywords":["Stone-carving; cenotaph; funerary object; Aleppo; foliated kufic script; vine scrolls; funerary architecture; Zangids"],"materials":["Carved stone."]},"81099b4c-753f-53ba-9785-217e53613a49":{"name":"Madonna and Child","description":"It was not roses that guarded the sleep of the enthroned Madonna with the Child, but human bones. And her sleep lasted not for a hundred years, but for several centuries. The sculpture was piously buried in the charnel house of the church of Raron according to a custom prevalent in Europe at the time, and gradually vanished beneath the skulls and bones of the dead. The reason for burying the wooden figure was provided by the rebuilding of the parish church between 1510 and 1515. The Romanesque Madonna had fallen out of fashion and was no longer needed. The person who finally kissed her awake again was not Prince Charming, but a tradesman from the canton of Valais. During restoration work on the charnel house of Raron in 1924, he was told to clear out the bones – and so he stumbled upon several sculptures, including the most significant example of Romanesque art in Switzerland.","type":"Sculpture","holder":"Swiss National Museum","owner":"Swiss Confederation","dates":"Around AD 1150","location":"Zurich","dimensions":"H: 90,5cm, W: 25cm, Depth: 33cm","method_for_datation":"Stylistic analysis","provenance":"Switzerland, probably Sion, Canton Valais","obtention":"Found in Raron. Bought in 1924","keywords":["Madonna; Child; Sculpture; Raron; Vallais"],"materials":["Carved in the round, limewood, polychromy"]},"81262916-5478-5649-8cbf-3097f53ac172":{"name":"*Archangel Gabriel*","description":"The sculpture has a counterpart in a statue of Archangel Raphael, also in the collections of the Moravian Gallery. The angels were part of a Marian altar shaped as a column aedicule retable. The elegance of the columns and gracefulness of the individually approached movements stem from a free and full projection of the figures into space, if somewhat limited by the original altar architecture. In the dynamic meticulously modelled gown, the artist differentiated the fineness of the under-garment wrapping the body and worked into tiny folds, from the heavy folds of the upper attire encircling the figure in generous, carved-in wraps, creating a sweeping, melodious movement. The gesture of the angel’s right hand symbolises the Annunciation, the left hand is shaped to hold a lily, a symbol of the immaculate conception.  \nGothic churches in Bohemian and Moravian towns, refurbished in the Counter-Reformation period, were “re-Gothicized” in the late 19th century. Like this sculpture, their interior equipment passed on to smaller churches and museums. This is one of only a handful of preserved works by Richter, a remarkable but lesser-known sculptor from Olomouc. He created three altars for the Dome of St. Wenceslas in Olomouc (later transferred to Náměšt na Hané) and designed a monstrance for the church. Together with Josef Winterhalder Sr., he worked in Jan Sturmer’s Olomouc workshop.","short_description":"The gesture of the angel’s right hand symbolises the Annunciation, the left hand is shaped to hold a lily, a symbol of the immaculate conception. The sculpture is one of only a handful of known works by Richter, a remarkable sculptor from Olomouc.","type":"Sculpture","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","initial_owner":"Saint Wenceslaus Church, Olomouc","dates":"c.1740","location":"Governor’s Palace, Brno, Moravia","dimensions":"H: 135.5 cm","place_of_production":"Olomouc","provenance":"Saint Wenceslaus Church, Olomouc","obtention":"The sculptures are a part of what remains of the Baroque-period interior of the Dome of St. Wenceslas, Olomouc the major proportion of which was removed during “re-Gothicization” in 1893.","bibliography":"Miloš Stehlík, Sochařství vrcholného baroka na Moravě, in *Dějiny českého výtvarného umění II/2*, Prague, 1989, p. 538.  \nVlasta Kratinová, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie* *a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, p. 175, cat. 52a.","workshop":"Olomouc","artist_birthdate":"1712","artist_birthplace":"Glogów","artist_deathdate":"1762","artist_deathplace":"Olomouc","author":"Zora Wörgötter, Vlasta Kratinová","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Re-Gothicization; religious object; sculpted wood"],"materials":["Wood, gilding"]},"8181fe27-473a-532e-986e-e0786c511a39":{"name":"Aquamanile in the form of a ram.","description":"This standing animal sculpture has lost its front paws, ears and horns. With its long neck and head too small for its body, it exudes a feeling of great strength. On its breast is a crescent which seems to have a medicinal significance. Around its neck it wears a collar, decorated with an incised saw-tooth pattern, from which the crescent hangs. The eyes are circles sculpted around globular protrusions for the iris. This aquamanile was probably a fountain-head embellishing one of the local palaces or large houses. The water ran up a tube from under the ram's belly and emerged from the open spout of its mouth.  \nThis example can be included within a whole series of animal-shaped aquamaniles discovered in various Muslim countries, especially Egypt and Spain. They were generally deer, dogs or birds.","short_description":"Aquamaniles were probably used as fountain heads to decorate palaces and grand residences. This example belongs to a series of aquamaniles in the shape of animals, usually stags, dogs or birds, found in some Muslim countries including Egypt and Spain.","type":"Aquanmanile, metalwork","holder":"Bardo Museum.","dates":"Hegira 4th–early 5th centuries / AD 10th–11th centuries.","location":"Bardo.","dimensions":"Height 32.5 cm.","method_for_datation":"This aquamanile has definite affinities to other pieces found at Madinat al-Zahra, dating from the mid-4th / 10th century, and in Egypt, dating from the 5th century (11th). From the Ifriqiyan historical context and the simple decoration the piece can be dated to somewhere between the 4th–early 5th / 10th–11th centuries.","method_for_provenance":"This piece was a fortuitous discovery made at Beni Khalad probably during the 1930s. In spite of its resemblance to the aquamaniles of al-Andalus, its Ifriqiyan origin appears beyond doubt.","provenance":"Ifriqiya(?).","obtention":"This piece was presented to the Museum by the Friends of the Bardo in May 1941, where it has been on display since.","bibliography":"*Tunisie, terre de rencontres et de civilisation* (Seville exhibition catalogue), Tunis, 1992, p.271.  \nZbiss, S. M., *Actes du congres national des societes savantes*, Alger, 1954, p.303.","dynasty":"Fatimid–Zirid","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["Figurative decoration"],"materials":["Cast-bronze."]},"821bf5d1-f03e-5876-835a-d807cdb83a6e":{"name":"Rosette.","description":"Decorative rose patera or rosette in sculpted plaster composed of ten petals in blue on a red background. All that remains of the blue is a tiny trace on the edge of a petal. The central part would have been painted in yellow, as other plaster fragments discovered at the same place were painted in blue, red and yellow. The disappearance of the colour is due to the natural effects of light and air.  \nThis rose patera was no doubt just one element belonging to a plaster frieze that featured three colours (blue, red and yellow); or perhaps, as is affirmed by Marçais, it was placed on the cornerstone of an arch.","short_description":"Sculpted plaster piece representing a ten-petal rosette, originally painted blue, around a corolla, which may have been painted yellow, all on a red background. The colours have not survived well. This rosette would have been part of a multicoloured plaster frieze.","type":"Rosetter, plaster","holder":"National Museum of Setif","dates":"Hegira 406–547 / AD 1015–1152.","location":"Setif","dimensions":"Diameter 19 cm, depth 7.6 cm.","method_for_datation":"It was found in the Dar al-Bahr of the Qal'at Bani Hammad, which dates from the 5th–6th / 11th–12th centuries, according to Kitab al-Istibsar: 'The Banu Hammad built some important constructions in the *qal'a* … including \\[the palace\\] known as Dar al-Bahr, at the centre of which was a vast basin'.","method_for_provenance":"From the report of the De Beylié excavation, 1909.","provenance":"Qal’at Bani Hammad, Algeria.","obtention":"Archaeological repository (De Beylié excavations, 1908).","bibliography":"Beylié, général de, *La Kalaa des Beni Hammad, une capitale berbère de l'Afrique du Nord au XIe siècle*, Paris, 1909.  \nBourouiba, R., *Les H'ammadites*, Algiers, 1984.  \nGolvin, L., *Recherches archéologiques à la Qal'a des Banû Hammâd*, Paris, 1965.  \nMarçais, G*., L'architecture musulmane d'Occident*, Paris, 1954.  \nRobert, A., “La Kalâa des Beni Hammad (Maadid)”, *Recueil de Constantine,* Vol. 43, 1909, pp.97–100.","dynasty":"Hammadid","author":"Houria Cherid","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["Rosette; floral decoration; plaster; frieze; Hammadid; palatial architecture; architectural decoration"],"materials":["Sculpted and painted plaster."]},"8473d6b1-ff39-54e8-aa27-a77f671d0068":{"name":"Lower half of a sculpturesque high relief.","description":"This is one of a prominent group of sculpturesque high-relief representing human figures, animals, and vegetal motifs found in Qasr al-Hayr al-Gharbi. It consists of the lower half of a man sitting on a throne with his feet on a small stool. The stool is in the shape of a colonnaded portico that is supported by seven arches that rest on pairs of pillars. While other statues in the palace appear to be based on Sassanid prototypes, some prominent historians have also linked this figure with those at Qusayr Amra, which show clear Byzantine or Mediterranean influences.  \nThere is speculation that the figure represents Caliph Hisham bin 'Abd al-Malik who commissioned the building of the Qasr al-Hayr al-Gharbi complex. This is based on the fact that the statue exhibits luxurious clothing with traces of red, green and brown paint. The building under his feet symbolises his power and the extent of his rule. It is clearly intended to emphasise the glory and majesty of the ruler.  \nSculptures in stucco are part of the pre-Islamic Iraqi, Iranian and Central Asian tradition. Extremely high-relief pieces such as this, or even stand-alone sculptures in the round, are a new development in this tradition, although they can be compared to the relief sculptures found in Palmyrene tombs of ancient Syria.  \nThis sculpture was located on the second floor of the palace, along the interior façade that overlooks the courtyard colonnade.","short_description":"Although fragmentary, this figurative carving in high-relief may have represented the Umayyad Caliph Hisham bin 'Abd al-Malik dressed in Persian-inspired royal garb and sitting on his throne.","type":"Relier, stone","holder":"National Museum of Damascus.","initial_owner":"Caliph Hisham bin 'Abd al-Malik (r. AH 105–25 / AD 724–43).","dates":"Hegira about 109 / AD 727.","location":"Damascus","dimensions":"Height 1.06 m, width 0.9 m.","method_for_datation":"This object, along with the rest of the palace complex, was dated according to the inscription on the lintel of the door of the *khan* adjoining the palace, which carries the date 109 (727).","method_for_provenance":"The object was found and probably carved *in situ* at Qasr al-Hayr al-Gharbi.","provenance":"Qasr al-Hayr al-Gharbi; 80 km southwest of Palmyra.","obtention":"The object was found during the archaeological excavation of Qasr al-Hayr al-Gharbi completed by the French Expedition of 1936 under the direction of Daniel Schlumberger.","bibliography":"Ettinghausen, R., Grabar, O., and Jenkins-Madina, M., *Islamic Art and*  \n*Architecture 650–1250*, New Haven, 2001, p.44; fig. 52.  \nGrabar, O., *Formation of Islamic Art*, New Haven, 1987, fig. 80.  \nSchlumberger, D., *Qasr el-Heir el-Gharbi*, Paris, 1986.","dynasty":"Umayyad period","linkcatalogs":"IAM_JO_EN_001","author":"Mona al-Moadin","translator":"Hilary Kalmbach (from the Arabic)","translation_copy_editor":"Mandi Gomez","keywords":["Umayyad; desert palaces; statue; sculpture; Daniel Schlumberger; limestone; Sassanid"],"materials":["Carved limestone."]},"86731854-5b36-5a09-a5f5-43552aeb24a1":{"name":"Panel from a cenotaph.","description":"A carved wooden panel, which once formed part of the cenotaph of Fakhr al-Din Abu al-Tahir Isma’il, an official in the service of the Ayyubid Sultan al-Malik al-‘Adil (r. AH 596–615 / AD 1200–1218). The surface of the panel is divided into smaller panels of varying size, with a long continuous one at the top and seven smaller ones below it. Each of the panels is carved into an abstract arabesque pattern. The spaces between these panels are filled with inscriptions, including verses from the Qur’an and benedictory phrases. Importantly, the date of the panel is given in the lower section. This panel is an interesting example of the re-use of materials in Islamic art, for it was carved on the back of a panel which bears decoration in the style of the Tulunid era (AH 254–92 / AD 868–905).","short_description":"A wooden panel which once formed part of the cenotaph of an Ayyubid official. Its surface is divided into smaller sections, each carved with an arabesque pattern. It was carved on the back of a panel which bears decoration in the style of the Tulunid period, some three centuries earlier.","type":"Woodwork, carved wood","holder":"Victoria and Albert Museum.","dates":"Hegira 613 / AD 1216.","location":"London, England","dimensions":"Length 158.3 cm, height 43.2 cm.","method_for_datation":"The inscription gives the date as Rajab 613 / October–November 1216.","method_for_provenance":"Stylistic comparison.","provenance":"Probably Cairo.","obtention":"Purchased by the Museum in 1883.","bibliography":"Lane-Poole, S., *The Art of the Saracens in Egypt*, London, 1886, p.122.","dynasty":"Ayyubid","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["floral decoration; funerary object; carving"],"materials":["Carved wood."]},"869b86b6-4148-5cb5-9768-3fc1fa05ffdb":{"name":"Warrior relief.","description":"A grey marble slab that is rectangular and nearly square, on which two figures of warriors are carved in high relief. The figures have been depicted within a frame delineated by a deep contour line. Their heads are shown in profile, their bodies from the front; they wear helmets with pointed tops, armour, and short boots. They are shown with one foot forward, as if attacking. The figure on the left has a sword in one hand and a shield in the other. The figure on the right is holding his sword in one hand while grasping the sword's scabbard in the other. Both figures are shown in military dress, and their garments, as well as the details of their bodies, are defined with carved outlines.  \n  \nThe tree with split-palmette leaves on the right-hand side of the slab, as well as the vegetal forms used as fillers in the upper corners, shows the influence of Sassanid on Islamic decorative arts. The warriors' clothes and pointed helmets show similarities with those seen in medieval Crusader painting, offering valuable documentary evidence about military dress and equipment of the period.","short_description":"Konya was the capital of the Anatolian Seljuq Sultanate during the AH 6th–7th / AD 12th–13th centuries and its citadel was decorated with rich figurative reliefs. This warrior relief not only depicts the military costume and arms of the period but also is an important document for the period.","type":"Relief carving","holder":"Museum of Turkish and Islamic Arts.","dates":"Hegira 6th century / AD 12th century.","location":"Sultanahmet, Istanbul","dimensions":"Height 89 cm, width 91 cm, depth 10 cm.","method_for_datation":"Konya citadel, where it is thought this object originated, dates to the 6th / 12th century. For this reason the object is dated to the same century.","method_for_provenance":"It is known from several sources (e.g. the journals of the 19th-century French traveller Charles Texier) that the citadel at Konya, capital of the Anatolian Seljuqs, was adorned with figurative decoration in stone. This object is thought to have belonged to the citadel, which does not survive. It is thus probable that it was made in the vicinity of Konya.","provenance":"Konya, Turkey.","obtention":"The relief was transferred to the Tiled Pavilion (çinili Köşk), Istanbul, in 1870 as part of the 19th-century initiative to collect artworks from across the country. The object was transferred to the Museum in 1941.","bibliography":"*Anadolu Medeniyetleri III, Selçuklu-Osmanlı*, Istanbul, 1983, p.81.  \n  \nOgan, M. A., Kühnel, E., *İstanbul Arkeoloji Müzelerindeki Şaheserler, Vol. III, çinili Köşk'te Türk ve İslam Eserleri Koleksiyonu*, Berlin-Leipzig, 1938, p.36.  \n  \nÖlçer, N. *et al, Museum of Turkish and Islamic Art*, Istanbul, 2002, p.114.  \n  \nRice, T. T., *The Seljuqs*, London, 1961, fig. 61.","dynasty":"Anatolian Seljuq","author":"Gönül Tekeli","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez","keywords":["Crusader; relief decoration; warrior; Konya citadel; arms; armours; military wear; war; warfare"],"materials":["Relief-carved marble."]},"8b2820f2-b570-5834-a941-6d905377879a":{"name":"Cock","description":"It was difficult to make and fire large ceramic figures like this one and the sphinx (Isl 56) with the technology of the day. They easily crackled or simply collapsed. The manganese, turquoise and blue glazes as well as the carved decoration are typical of laqabi ware, but while the glazes on a horizontal surface are kept in place by the carved decoration, this is not the case on an upright object like this one.  \n  \nAlthough both animals must be considered mythical creatures, the artist managed to depict the watchful and aggressive cock with all of this animal’s natural characteristics.","type":"Sculpture","holder":"The David Collection","owner":"The David Collection","dates":"AH 2nd half of the 6th / AD 2nd half of 12th century","location":"Copenhagen","dimensions":"Height: 38.5cm","place_of_production":"Raqqa (Syria)","bibliography":"Folsach, K., et al., Sultan, Shah and Great Mughal: the history and culture of the Islamic world, Copenhagen: The National Museum, 1996: cat. no. 204.  \n  \nDaneshvari, A., Of serpents and dragons in Islamic art: an iconographical study, California: Mazda Publishers, 2011: 172, 110.  \n  \nFolsach, K., “Paradise on earth: water and the Islamic garden” in John Kuhlmann Madsen et al. (eds), Water of life: essays from a symposium held on the occasion of Peder Mortensen's 80th birthday, Copenhagen: Forlaget Orbis, 2016: 191, fig. 5.  \n  \nCanby, S., et al., Court and cosmos: the great age of the Seljuqs, New York: Metropolitan Museum of Art, 2016: fig. 98, 243.  \n  \nEastmond, A., Tamta's world: the life and encounters of a medieval noblewoman from the Middle East to Mongolia, Cambridge: Cambridge University Press, 2017: 256, fig. 87.","dynasty":"Zangids or Ayyubids","copy_editor":"Zeina Al Amad","keywords":["Water; sphinx; ceramics; sculpture; fritware; Ayyubids; Zangids"],"materials":["Cast, modeled and carved fritware, painted in blue, turquoise, and manganese under a transparent glaze"]},"8c4696e3-5efb-53c9-9b91-0ce041e3c7ce":{"name":"*Prince Livio Odescalchi*","description":"Prince Livio Odescalchi (1652–1713) belonged to the influential Italian Odescalchi family, a family that throughout history produced important bishops, cardinals and Pope Innocent XI.  \nEmperor Leopold I Habsburg, in gratitude for the great financial aid granted him by Pope Innocent XI to meet the costs of the war against the Ottoman Turks, named his nephew Livio Duke of Srijem and granted him the Ilok estate as a fief and many other privileges. Livio himself had excelled in the battle to defend Vienna in 1683.  \nHe was a great collector and decorated his residences with fine artworks. He was also a patron of the arts.  \nThe marble *Prince Livio Odescalchi* by the Roman sculptor of French origin, Pierre-Etienne Monnot, is an outstanding work with realistic emphasis on individuality. Dramatic tension is achieved through the expression of the head turned to the right, and by the rich drapery enveloping the body falling in heavy semicircular folds.  \nMonnot often worked for the Odescalchi family. He was an excellent master with a fine technique and a strong and characteristic expression reminiscent of Bernini.","short_description":"The marble *Prince Livio Odescalchi* by the Roman sculptor of French origin, Pierre-Etienne Monnot, shows Prince Livio Odescalchi, a member of the influential Italian family that throughout history produced important bishops, cardinals and Pope Innocent XI. The sculpture shows the influence of Bernini. Livio Odescalchi had links to Ilok and Slavonia by way of the deed of gift he received from Leopold I Habsburg, granting him the Ilok estate and surrounding lands and other privileges for merit in wars against the Ottomans.","type":"Bust","holder":"City Museum, Ilok","initial_owner":"The Odescalchi family, owners of Ilok Manor","dates":"Last quarter of the 17th century","location":"Ilok, Slavonia","dimensions":"H: 82 cm","place_of_production":"Rome","method_for_datation":"Information about the work is due to the research of the Italian art historian, A. Bachi, an expert in Roman Baroque sculpture.","provenance":"Artworks including *Prince Livio Odescalchi* were moved to the newly formed Ilok City Museum in 1952, which transferred to Odescalchi Manor in 1968.","obtention":"Up until World War II, the Odescalchis owned Ilok Manor. As state property, it had several different uses but after refurbishment in 1968, it became a museum and this bust and other objects from the Odescalchi estate became part of the new permanent collection.","bibliography":"Baričević, D., *Tisućugodišnja skulptura u Hrvatskoj* (A Thousand Years of Sculpture in Croatia), Zagreb, 1991.  \nBachi, A., *Scultura del '600 a Roma*, Milan, 1996.","artist_birthdate":"1657","artist_birthplace":"Orchamp-Vennes (Doubs), France","artist_deathdate":"1733","artist_deathplace":"Rome","author":"Nela Tarbuk","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["Odescalchi family; Ottoman; collector; Ilok; bust; marble; movement; Bernini"],"materials":["Marble"]},"8d32099b-f01e-5606-a9f3-a813c2600508":{"name":"St. Michael Archangel","description":"This statue was made for the library of the convent of St. Michael in the wood, near Bologna, and dates to the last period of Alessandro Algardi’s activity. The sculptor was born in Bologna but mainly worked in Rome after 1625. In the period of the full flourishing of baroque art he became the main interpreter of classicizing sculpture.  \nIn this bronze group depicting the struggle between St. Michael and the devil, Algardi leaves aside his usual stylistic moderation. The rhythm is frantic and agitated: the angel is tense as he strikes his final blow; the clothes hang to his legs, while his face and breast keep their beauty unchanged. The sculpture is influenced by the painting of the same subject painted by Guido Reni for the Roman church of S. Maria della Concezione. Compared with the airy elegance of the painting the sculpture appears more rhetoric and forced.","short_description":"This statue was made for the library of the convent of San Michele in Bosco, near Bologna. It dates to the last period of Alessandro Algardi’s activity. The sculptor was born in Bologna, but after 1625 he worked mostly in Rome. The struggle between the archangel and the devil compelled the artist to abandon his usual controlled style. He adopted a more complex and violent rhythm, while continuing to look for ideal elegance and beauty.","type":"Sculpture","holder":"Museo Civico Medievale","initial_owner":"Convent of St. Michael in the wood","dates":"c. 1647","location":"Bologna, Emilia-Romagna","dimensions":"Height: 74 cm","place_of_production":"Rome","method_for_datation":"In his *Vite de pittori, scultori et architetti moderni*, published in Rome in 1672, Giovanni Pietro Bellori notes that Algardi made for Taddeo Pepoli, abbot of the convent of St. Michael in the wood, a statue depicting St. Michael Archangel trampling over the Devil. The statue was to be exhibited in the library, financed and promoted by the same abbot.","provenance":"Bologna","obtention":"In 1799, when religious orders were suppressed, the Accademia Clementina took care of the statue, once in the library of the convent; in 1871 it was moved to the Museo Civico and since 1985 it has been exhibited in the Museo Civico Medievale.","bibliography":"Heimbürger Ravalli, M. *Alessandro Algardi* *scultore*, Rome, 1973, pp. 161-62.  \nMontagu, J. *Alessandro Algardi*, New Haven and London, 1985, p. 200, pp. 365-67.  \nGrandi, R. in *Introduzione al Museo Civico Medievale*, Bologna, 1987,  pp. 84-86.  \nCannata, P. in *Algardi. L'altra faccia del barocco* (exhibition catalogue) (ed. J. Montagu), Rome, 1999, p. 188, n. 44.","workshop":"Baroque","artist_birthdate":"1595","artist_birthplace":"Bologna","artist_deathdate":"1654","artist_deathplace":"Rome","author":"Elisabetta Berselli","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Alessandro Algardi; *St. Michael* ; Baroque sculpture; Pepoli family; Accademia Clementina; Religious object; Christian themes; academy; movement"],"materials":["Bronze"]},"8d5bacd1-856d-5b16-8d3e-40994e3243e8":{"name":"Plaster relief.","description":"A section of a frieze depicting two horsemen in battle with a dragon and a lion. The wide upper border contains a geometric composition of interlocking stars and polygons, while the main background is filled with a floral composition including spiralling tendrils and palmettes. On this ground, two horsemen are depicted facing each other; the one on the left, shown charging, is slaying a dragon, while the one on the right kills a lion. Both the figures' clothing and facial types are characteristically Seljuq. The fidelity to nature with which the horses are depicted, as well as the way one horseman turns around in the saddle to thrust his sword into the lion, lend the scene an active air. The portrayal of a horseman slaying a dragon was a popular subject in Anatolia in the Seljuq period as well as before. Christian scenes of Saint George killing the dragon were depicted in a similar way.","short_description":"This plaster fragment from Konya Palace depicts a horseman accompanied by other horsemen fighting a dragon. Costumes and accessories and the way the figures are rendered all reflect the features observed in depictions of horsemen and hunting scenes very common in Anatolian Seljuq-period art.","type":"Stucco, architectural decoration","holder":"Museum of Turkish and Islamic Arts.","dates":"Hegira 7th–8th centuries / AD 13th–14th centuries.","location":"Sultanahmet, Istanbul","dimensions":"Height 28 cm, width 53 cm, depth 4 cm.","method_for_datation":"Equestrian compositions and hunting scenes are widespread in the art of the Anatolian Seljuq period. Stylistic considerations suggest a date of the 7th–8th / 13th–14th centuries.","method_for_provenance":"The object was found during archaeological excavations at the Konya Palace; it is probable that it was made on site.","provenance":"Konya, Turkey.","obtention":"The object was brought to the Museum after being found during archaeological excavations at the Konya Palace in 1941.","bibliography":"Diez, E., and Aslanapa, O., *Türk Sanatı*, Istanbul, 1955.  \nErdmann, K., *Ibn-Bibi als Kunsthistorische Quelle*, Istanbul, 1962.  \nKühnel, E., Ogan, M.A., *İstanbul Arkeoloji Müzelerinde Şaheserler, Vol. III, çinili Köşk'de Türk ve İslam Eserleri Koleksiyonu*, Berlin and Leipzig, 1938.  \nölçer, N. *et al, Museum of Turkish and Islamic Art*, Istanbul, 2002, pp.112-13.  \nSarre, F., *Der Kiosk von Konia*, Berlin, 1936.","dynasty":"Anatolian Seljuq","author":"Cihat Soyhan","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez","keywords":["Konya; relief; Seljuq; plaster; stucco; figurative decoration; human representation; horsemanship; geometric decoration; imaginary animal; zoomorphic imagery"],"materials":["Moulded plaster/stucco."]},"8f66553f-e1b0-520b-9337-b61ebdf1701d":{"name":"*St. Gertrude*","description":"St. Gertrude (626–659) was the daughter of Pepin I of Landen, the Prefect of the Palace of the Merovingian King Dagobert I of Austrasia. She was abbess of the Monastery of Nivelles (today in Belgium) founded by her mother Saint Itta of Aquitania. St. Gertrude is presented as a noble and independent woman who refused to marry because she wanted to be a nun. She devoted her life to the study of the Holy Scriptures and collaborated with the Irish saints Foillan and Ultan to assist the needy and promote Evangelisation.  \nThe Monastery of Arouca commissioned Jacinto Vieira to make a set of limestone sculptures of male Benedictine saints for the nave and a set of female saints for the choir, all of which were particularly venerated by the Cistercian Order. Almost unknown, Jacinto Vieira belonged to a group of Northern Portuguese sculptors, who, during the reign of King João V, sought to combine the national Portuguese aesthetics typical of the 17th century with the Italian aesthetic peculiar to the erudite Roman Baroque. Mainly an expert in sculpture in wood, Vieira managed to adapt his mastery in wood, acquired in the saint-making workshops, to stone sculpture.  \nThis image of St. Gertrude depicts her with an abbess' crosier and a medallion surrounded by a *gloria luminosa* filled with an inflamed heart with Baby Jesus, following the iconographic canons of the day and the austerity of the Cistercians. St. Gertrude stands out due to the elegance of her gesture, her contemplative facial expression and her mystical aura over the other nuns, all of them dressed with delicate pleated garments and habits with enormous sleeves, which are the main features of this set of sculptures.","short_description":"St. Gertrude was canonised in 1677 and is an emblematic character both of the Benedictine and Cistercian orders. *St. Gertrude* is one of a set of stone sculptures from the Monastery of Arouca depicting the saints worshipped by the Cistercian Order to enhance their role in promoting the Teachings of Christ according to the Counter-Reformation.","type":"Sculpture","holder":"Sacred Art Museum of Arouca","owner":"Real Irmandade da Rainha Santa Mafalda de Arouca, Museu de Arte Sacra de Arouca","initial_owner":"Saint Mary's Cistercian Monastery of Arouca","dates":"1723–1725","location":"Arouca, Aveiro","dimensions":"H: 190 cm; w: 74 cm; d: 43 cm","place_of_production":"Arouca","method_for_datation":"Historical evidence.","provenance":"Saint Mary’s Cistercian Monastery of Arouca","obtention":"In situ","bibliography":"Dias, P., \"A pedra de Ançã a escultura de Coimbra e a sua difusão na Galiza\", *Do tardo-gótico ao maneirismo\"*, Lisbon-Corunha, 1995–1996.  \nDias, P., *Mosteiro de Arouca*, RISMA, Arouca, 2000.  \nSerrão, V., *História da Arte, O Barroco*, Lisbon, 2003.  \nPinho, A., Falcão, J., \"A escultura um universo de formas e símbolos\"*, O mosteiro de S.Pedro e S.Paulo de Arouca, História e Arte, o brilho de Cister,* Lisbon 2003.","workshop":"Cistercian art","artist_birthdate":"Unknown","copyright":"Copyright images: Real Irmandade da Rainha de Santa Mafalda,Museu de Arouca.","author":"Cristina Correia","translator":"Cristina Correia","translation_copy_editor":"Mandi Gomez","keywords":["Sculpture; Counter-Reformation; Cistercian order; Benedictine order"],"materials":["Ançã Limestone"]},"8f7d2a93-9bbc-5639-a80e-3049fce77e6c":{"name":"Las palabras las lleva el viento","description":"Alberto Gambale was born in Ferrara. He trained at the Academia de Bellas Artes de Bolonia, before embarking on an immense search and experience within the pictorial and sculptural field, discovering glass as the core material for his work. He perfected his work by way of many other courses with significant artists within the contemporary glass field, such as: Detleft Tonz, specialist in Tiffany glass; Gil Reinolds, German-American Bullseye Artist; Elimer Preder; the great, internationally renowned Italian-American artist, Narcissus Quagliata and S&K Higuchi, Japanese experts in molten glass.  \nIn 1992, he participated in the Polariscope programme, that took place at the Fundación Centro Nacional del Vidrio, in which glassworkers of various nationalities were involved. They all created a piece inspired by a common topic: water. Since, Alberto Gambale has maintained contact with the Escuela del Vidrio at the Foundation, providing several monographic courses, both in stained glass and alternative techniques.  \nHe currently works in his workshop in Ferrara, experimenting in the field of molten glass, as we can observe in this piece, in addition to teaching classes in different Glass Schools, such as the Escuela de Vidrio de Bolzano and the Escuela de Vidrio de la Real Fábrica de Cristales.","type":"Sculpture","holder":"Technological Glass Museum. Royal Factory of Glass and Crystal of La Granja","dates":"ca. 1998","location":"Real Sitio de San Ildefonso, Segovia","dimensions":"46 x 24cm","method_for_datation":"Donated directly by the artist following a monographic course at our installations. This piece was created during the course.","method_for_provenance":"Donated directly by the artist following a monographic course at our installations. This piece was created during the course.","provenance":"Czech Republic","obtention":"Donated by the author following a Kiln Forming Workshop led by himself","author":"Paloma Pastor Rey de Viñas, Saulo Alvarado Martinsanz","translator":"Jessica White","keywords":["Italy; Glass sculpture; kiln casting; Gambale"],"materials":["Glass; Kiln casting"]},"90a1aa86-0d15-5967-aec3-c44d24bea557":{"name":"*The Kiss of Judas*","alternate_name":"*The Treason of Judas*","description":"The sculpture represents a scene from the Gospel of St. Matthew (26:49) when Judas, one of the apostles, marks Christ with a kiss as the man who should be arrested and tried. As in the sculptures featuring Christ parting with Mary in the Heiligenkreuz Monastery Museum, Austria, and in the Bratislava City Museum, Slovakia, in *The Kiss of Judas* Giuliani concentrates – in the encounter of two figures – on the motif of instant motion typical of the work of Giovanni Bernini, a key baroque sculptor. The dramatic subject of Judas's treason is conveyed by means of the medium as a contrast in the approach to both figures: the figure of Christ is self-absorbed, resigned to his fate, characterised by calm gestures and static drapery flowing in large forms, while Judas approaches Christ in an expressively captured haste which the sculptor has portrayed, aside from Judas's step forward, by a dramatic gesture extended into space, as well as by Judas's clothes floating around the body as if blowing in a wind.  \nThe sculpture is unique, in that no associates or assistants participated in its creation, as was the case with Giuliani's sizeable works.  \nGiovanni Giuliani was apprenticed in Venice, and later in Munich under Andreas II Faistenberger. From 1690 he worked in Vienna, particularly for the aristocracy, in Moravia for the Kounics (Slavkov) and many times for the Liechtensteins (Lednice).","short_description":"The sculpture depicting a dramatic scene of treason from the Gospel of St. Matthew exemplifies a typical baroque motif of instant motion. Giovanni Giuliani was apprenticed in Venice and later in Munich. From 1690 he worked in Vienna, particularly for the aristocracy in Austria and Moravia.","type":"Wood carving","holder":"Moravian Gallery, Brno","owner":"City Museum, Brno","dates":"Early 18th century","location":"Governor’s Palace, Brno, Moravia","dimensions":"h: 36 cm","place_of_production":"Vienna? / Moravia?","method_for_datation":"The overall approach to shape in the figures is classic Giuliani. His authorship is confirmed by the execution of the faces as well as by the softly modelled and finely executed drapery of both figures, which complement not only the form but also become major interpretational elements of the content.","obtention":"The sculpture became part of the museum’s collections before 1962; its provenance is unknown.","bibliography":"Miloš Stehlík, Nuovi particolari sull´opera do Giovanni Giuliani, *Sborník prací filosofické fakulty brněnské univerzity* F14–15, 1970–1971, p. 225.  \nVlasta Kratinová, in Jiří Kroupa (ed), *V zrcadle stínů.* *Morava* *v době baroka 1760–1790*, Brno–Paris–Rennes, 2002, p. 165, cat. 40.  \nLuigi A. Ronzoni*,* *[Giovanni](http://tinweb.moravska-galerie.cz/tw.exe?ST=03&SID=0061F25094&L=00&KOD=04&PZ=10&JAK=V&KDE=016&RET=Giovanni+Giuliani+%281664%2D1744%29%2E%5C%5C%5C+Band+2%2C%5C%5C%5C+Katalog) Giuliani*, Johann Kräftner (ed), Munich, 2005.","artist_birthdate":"1633","artist_birthplace":"Venice","artist_deathdate":"1744","artist_deathplace":"Heiligenkreuz","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Bernini; dramatic nature; gesture; sculpture; sculpted wood; Christian themes; religious object"],"materials":["Wood with traces of gilding"]},"91accd64-ec4c-56b4-b2f4-b293a427f8c4":{"name":"Carved figure of a mammal.","description":"This mammal looks like a cow with no horns or like a hippopotamus with no tail. The lower part of the two hind legs and of one of the fore-legs is also missing. Face on, the features are quite clear but highly simplified; just rough cavities for the eyes, a hole to indicate the nostrils and a hollowed-out line for the mouth. Seen from the back, the face is totally unrecognisable. The neck and the rest of the body are thick-set. It is unclear what this animal was used for. Could it have decorated the facade of a wall or have been part of a bas-relief? This is very difficult to ascertain because of the rarity of such objects in both Occidental and Oriental Muslim art. We do have clay figures of horses, camels and mules from Iran and Samarkand, but their function is well-defined. They were used as toys or ornaments and are completely different from Kairouanese figures, which are unique in Muslim art.","short_description":"This animal figure in stucco appears to be a bull with no horns or a hippopotamus with no tail. The purpose of this mammal is unknown, given the rarity of such objects in Islamic art. Kairouanese figurines are entirely different.","type":"Mammal, stucco","holder":"Museum of Islamic Art.","dates":"Hegira, mid-4th–mid-5th centuries / AD 10th–11th centuries.","location":"Raqqada., Kairouan.","dimensions":"Length 33 cm, height 16 cm.","method_for_datation":"This stucco head was found, among other human and animal carvings, in the excavations carried out at Sabra al-Mansuriyya in 1978. It was found in a very ploughed-up area with no clear archaeological layering. The objects were scattered around in a random manner. One has the impression that someone had tried to eradicate or hide these figurative objects for no obvious reason except that there could be a connection with the changing religious mentality in Ifriqiya. This action could indeed coincide with the persecution of the Shi'ites during the troubles in 407 / 1016 or following the split between the Zirid emirate and the Fatimid caliphate in 440 / 1048–9. This date could be a *terminus post quem*. The *terminus ante quem* is just after the founding of Sabra in 337 / 948. Any further precision is rendered impossible due to the lack of a definite archaeological layer.","method_for_provenance":"The manufacture of these objects, which is unique in Ifriqiya and in the Maghreb, appears to have taken place in Sabra al-Mansuriyya and to have been commissioned by the Shi'ites.","provenance":"Sabra al-Mansuriyya.","obtention":"After its discovery at Sabra al-Mansuriyya, this piece was placed in the site storehouse. It was acquired in 1992 by the Museum at Raqqada. It will be displayed in the second section of the Museum, currently under construction.","bibliography":"*Tunisie, terre de rencontres et de civilisation* (Seville exhibition catalogue), Tunis, 1986, p.226  \n*30 ans au service du patrimoine* (exhibition catalogue), Tunis, 1986, p.257.","dynasty":"Fatimid–Zirid","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["Figurative decoration"],"materials":["Stucco."]},"9234bd90-3685-526a-a423-4819263bef3f":{"name":"Blessing Christ Child","description":"The Christ child giving his blessing might originally have been part of a Madonna with Child. Iconographically and with great certainty the polychrome figure can be identified as the Infant Jesus according to the effortless gesture of his right hand raised in blessing. The almost-nude child is apologetically dressed only with a gold-plated waistcloth across the right thigh, with his arms spread. Finest proportions and the effects from the flesh-tint result in one of the most brilliant small sculptures of Hans Degler and can be compared with his work *Mary and the Jesus Child* donated to the nearby village church of Weilheim-Unterhausen in 1621. Short curls of hair, some of them above the forehead, and the drapery of the waistcloth were typical of that time. The closed lips in the facial expression of the child underline the graveness with which he looks onto the world.","short_description":"It is assumed that, originally, the sculpture was accompanied by the Virgin Mary on whose lap the Infant Jesus was once seated with his outstretched arms.","type":"Sculpture","holder":"City Museum","initial_owner":"Unknown","dates":"c. 1620","location":"Weilheim in Oberbayern, Upper Bavaria","dimensions":"Height 60 cm","place_of_production":"Weilheim in Oberbayern","method_for_datation":"Through stylistic analysis of Hans Degler’s work.","bibliography":"Helm, R., “Segnendes Christkind”, *Stadtmuseum Weilheim i.OB 1882–1982*, Stadt Weilheim (City of Weilheim (ed.)), Weilheim 1982, p. 31f.","workshop":"“Weilheim School of sculptors” (with H. Krumpper, G. Petel, C. Angermair, B. Steinle, P. Dirr); the best-preserved, original 17th-century sculpture in the museum","artist_birthdate":"1564/65","artist_birthplace":"Weilheim","artist_deathdate":"1634/35","artist_deathplace":"Weilheim","author":"Reinhardt Helm","translator":"Holger Rhensius, Robert Robin, Wolf Schindler","translation_copy_editor":"Mandi Gomez","keywords":["Religious object; Christ child; sculpted wood"],"materials":["Lime-wood, with original coating"]},"9307f66a-0153-5428-9ef4-503ec9519720":{"name":"*St. Onuphrius*","description":"José de Almeida, a highly important Portuguese sculptor of the Baroque period, made a qualitative leap that can be more easily explained by considering his career and his works that are extant. After studying in Rome under the patronage of King D. João V, he worked at Carlo Monaldi's atelier, and became a member of the St. Lucas Academy which awarded him several commissions. Returning to Lisbon he worked in stone but it was inconclusive due to qualitative irregularity. It is worth mentioning the following works: *St. John the Baptist* and *Queen St. Elizabeth* made for the Bemposta Palace chapel vestibule (finished by Barros Laborão); the *St. Paul* and the *St. Camillus de Lellis* for the porch and façades of the Necessidades Palace, together with his signed works, of which a fountain decorated by him is located in front of the Bemposta Palace chapel.  \nHis series of wooden Virgins include those at St. Mamede Church and the Old Church of Our Lady of Conception, and probably one at the Lady of the Rosary from the S. Domingo Church in Guimarães. Confusingly, they are attributed either to him or to Machado de Castro.  \nLess known are the *The Steps of Passion* or *Processions*, a set of articulated and spindly figures from the brotherhood and the Church of Lady of Monte do Carmo in Lisbon. They exhibit remarkable modelling of the faces and hands, as well as perfect use of both plastic and luminous values, typical of someone with solid training. They represent the largest preserved sculptural cycle in wood made in the Almeida Workshop.  \n*St. Onuphrius*, which aesthetically belongs to this group, is similar to sculptural representations of the previous century. The sculpture is made according to the aesthetic values of Roman sculpture while still retaining its Portuguese identity.","short_description":"In his masterpiece, *St. Onuphrius*, José de Almeida demonstrates his skill in rendering human anatomy; his ability to manipulate light and imbue drama, seen in the clothing and in the details of the hair and beard.","type":"Sculpture","holder":"National Museum of Ancient Art","owner":"Museu Nacional da Arte Antiga","initial_owner":"Church of the Santíssima Trindade e Redenção dos Cativos, Lisbon","dates":"18th century","location":"Lisbon, Lisbon","dimensions":"H: 169 cm; l: 55 cm; w: 39 cm","place_of_production":"Lisbon","method_for_datation":"Cyrillo Volkmar Machado (1823) was the first author to refer to the *Saint Onuphrius*, and attributed it to José de Almeida. In 1914, Joaquim de Vasconcelos discarded this information and suggested it was the work of the sculptor Manuel Pereira. In 1950 and 1963, Reynaldo dos Santos returned to Cyrillo's attribution of José de Almeida which, since then, has been consecrated.","provenance":"Church of the Santíssima Trindade e Redenção dos Cativos, Lisbon","obtention":"*St. Onuphrius* was taken from the Sacramento Convent in Lisbon which was the depository for the objects taken from the extinct religious corporations. It was integrated into the sculpture collection of the Museu Nacional de Arte Antiga in 1913. According to a report dated 1833 it had been used in sculpture classes at the Academy of Fine Arts, having previously been removed from a chapel at the Holy Trinity Church and the Redemption of the Captives, in Lisbon.","bibliography":"Machado, C. V., *Collecção de Memorias Relativas às Vidas dos Pintores, e Escultores, Architectos, e Gravadores Portuguezes, e dos Estrangeiros que estiverão em Portugal*, Lisbon, Imp. De Victorino Rodrigues da Silva, 1823, pp. 253–256.  \nVasconcellos, J. De, \"Santo Onophrio” *Arte Religiosa em Portugal. Pintura. Esculptura. Ourivesaria. Esmaltes. Bronzes. Mobiliario. Tecidos. Bordados. Rendas. Ceramica. Vidros e Crystaes*, Porto, 1914, fasc. Nº 15: Lisbon (Museu de Arte Antiga).  \n*Exposição Temporária de Algumas Obras de Arte do Museu das Janelas Verdes*, Lisbon, 1942.  \nSantos, R., dos, \"Uma escultura de José de Almeida\", *Colóquio. Revista de Artes e Letras*, Lisbon, No. 23, Abril 1963, pp. 3–8.  \nFalcão e P., *José de Almeida escultor setecentista*, Lisbon, 1996.  \n*Die grossen Sammlungen, VIII,* *Museu Nacional de Arte Antiga*. Lisbon–Bonn, Kunst und Ausstellungshalle der Bundesrepublik Deutschland, 1999, cat. 84.  \nCarvalho, M. J. V., de, \"Santo Onofre\", *Museu Nacional de Arte Antiga*, Lisbon, 1999, cat. 84, p. 205.","workshop":"Workshop of José de Almeida","artist_birthdate":"c. 1700","artist_deathdate":"1769","copyright":"Copyright images: Divisão de Documentação Fotográfica/ Instituto dos Museus e da Conservação, I.P.","author":"Anísio Franco, Maria João Vilhena de Carvalho","translator":"Cristina Correia","translation_copy_editor":"Mandi Gomez","keywords":["Roman Baroque; Carlo Monaldi atelier; sculpture"],"materials":["Carved wood"]},"94369548-7782-52b0-adae-f3a0d1f1caf6":{"name":"Lower part of a semi-naked female statue.","description":"The lower part of a semi-naked female figure found at Qasr al-Mushatta. Carved out of limestone, the figure has a drape over her thighs the edge of which she holds with her left hand along with a basket or bag. In her right hand she holds an unidentified object.  \n  \nThe proportions of this female figure are curvaceous and voluptuous. Such figures obviously flouted Muslim principles and were not supposed to be seen by the public.","short_description":"The lower part of a semi-naked female figure found at Qasr al-Mushatta. Carved out of limestone, the figure has a drape over her thighs. Such figures flouted Muslim principles and were not supposed to be seen by the public.","type":"Statue, stone","holder":"Jordan Archaeological Museum.","dates":"Hegira first half of the 2nd century / AD first half of the 8th century.","location":"Amman","dimensions":"Height 75 cm, width 52 cm.","method_for_datation":"Qasr al-Mushatta, where this figure was found, dates to the end of the Umayyad period (first half of the 2nd / first half of the 8th century).","method_for_provenance":"The figure was found within the Umayyad palace of al-Mushatta.","provenance":"al-Mushatta, Jordan.","obtention":"The figure was found during the course of restoration work and an archaeological excavation that was carried out in 1962 by the Department of Antiquities of Jordan at the Umayyad palace of al-Mushatta; the object was then transferred to Jordan Archaeological Museum.","bibliography":"Enderlein, V., and Meinecke, M., *Mschatta-Fassade*, Berlin, 1992, p.144, fig. 8.  \n  \nTrumpelmann, L., 'Die Skulpturen von Mschatta', *Archaologischer Anzeiger*, Berlin, 1965, pp.235–76; A1.1–4 (for other sculptures from al-Mushatta).","dynasty":"Umayyad","linkcatalogs":"IAM_JO_EN_001","author":"Aida Naghawy","copy_editor":"Mandi Gomez","keywords":["Figurative representation; statue; stone; women"],"materials":["Carved limestone."]},"957546c7-81b8-5a1c-88cb-b6935f998bc2":{"name":"*St. John of Nepomuk*","description":"The Czech martyr John of Nepomuk became one of the major Moravian saints at the turn of the 17th century. The general vicar of the Archbishop of Prague was murdered in 1393. As a saint, his cult spread all over the Czech lands and Roman Catholic Europe and even overseas. John of Nepomuk was worshipped even before his canonisation and beatification in Rome in 1729. Today, one still encounters pilgrimage sites, pictures and statues erected in his honour in many places in Moravia.  \nIgnaz Lengelacher, sculptor to the Dietrichstein family, frequently devoted himself to St. John of Nepomuk as a subject for his work in Moravia, from the saint's figure on the Holy Trinity Column in Mikulov (1723–34) to his statue in Pouzdřany (1751).  \nIn terms of composition, the subject appears in Lengelacher's oeuvre in a number of versions, manifesting the artist's fertile imagination and the inventiveness of his approaches to a single saint. St. John is alone in Lengelacher's statues, standing or kneeling, or sometimes accompanied by the standing figures of angels holding characteristic attributes.  \nLengelacher paid particular attention to interpretation of the saint's mental state in the adoration of the cross which, as shown by the position of hands, he had initially been clasping in quiet, self-absorbed contemplation. The seriousness of the subject is accentuated by the strict emphasis placed on the plain physique of the statue. The cloud pedestal provides the figure with a compositional base and indicates a connection with the transcendent, as the figure is an apotheosis of a martyr, a patron saint of the Czech lands.  \nAfter 1750, Lengelacher left for Bavaria and then went to Bruchsal in the Baden region, where he entered the service of the Bishop of Styria. In 1758 he is recorded as the sculptor to the enlightened and art-loving Margrave Karl Friedrich of Baden (c. 1811) in Karlsruhe, whose court also hosted, among others, Voltaire, Lavater and Goethe.","short_description":"John of Nepomuk became one of major Moravian saints at the turn of the 17th century. His cult spread all over Catholic Europe and even reached overseas. Today one still encounters pilgrimage sites, pictures and statues erected in his honour in many places in Moravia.","type":"Sculpture","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","dates":"c. 1740","location":"Governor’s Palace, Brno, Moravia","dimensions":"H: 97 cm","place_of_production":"Moravia","method_for_datation":"Style analysis is supported by the sculpture’s origins as private property in South Moravia.","provenance":"Private owner, Moravia","obtention":"Purchased in 1974 from a private owner.","bibliography":"Vlasta Kratinová, *Baroko*, Brno, 1992, no. 10.  \nMiloš Stehlík, in Ivo Krsek – Zdeněk Kudělka (ed) – Miloš Stehlík – Josef Válka, *Umění baroka na Moravě a ve Slezsku*, Prague, 1996, pp. 99, 408, cat. 154.  \nVlasta Kratinová, in Jiří Kroupa (ed), *Dans le miroir des ombres. La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, pp. 94–95, cat. 8.  \nAnnette Borchardt-Wenzel, *Karl Friedrich von Baden**–Mensch und Legende,* Gernsbach, 2006.","artist_birthdate":"1698","artist_birthplace":"Unter Peissenberg","artist_deathdate":"1780(?)","artist_deathplace":"Baden","author":"Zora Wörgötter, Vlasta Kratinová","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["St. John of Nepomuk; sculpted wood; religious object; patronage"],"materials":["Wood, polychromy"]},"97a74e08-c680-51a4-9ff3-a40be3a5d9ea":{"name":"*The Source*","description":"Mona Saudi sculpts abstract forms imprinted by feelings. Her perfect mastery of gesture allows her to work with dexterity in all materials. Although she has a particular fondness for marble, she also works with granite, pink Jordanian stone, and bronze. Two versions of *The Source* were realised: the first in bronze (AH 1405 / AD 1984), shown here, and the second in pink Jordanian stone in a larger format (AH 1407 / AD 1986). Circles emanating from the central eye, which symbolises the water source, bring movement to the work. The terms \"eye\" and \"source\" are the same word in Arabic.","type":"Sculpture","holder":"Institute of the Arab World","dates":"AH 1405 / AD 1984","location":"Paris","dimensions":"Height: 28cm","obtention":"Gift, 1987.","artist_birthdate":"AH 1364 / AD 1945","artist_deathplace":"AH 1444 / AD 2022","translator":"Judy Harter","keywords":["Water; bronze; sculpture; Mona Saudi"],"materials":["Bronze"]},"982741b5-3e8b-59ac-988e-567fb8f0a6fa":{"name":"Monument to Luigi Ferdinando Marsili","description":"This monument was commissioned by the Institute of Sciences of Bologna to commemorate one of its main founders, General Luigi Ferdinando Marsili in 1733, three years after his death. The monument is located in the right arm of the transept of the church of St. Dominic in Bologna which was refurbished a few years before by the architect Dotti. It is made of a very poor material, stucco, which is a mixture of marble powder and sand. Many Bolognese sculptors used stucco in the Baroque age to create true masterpieces for churches and noble residences. From the church wall hangs a great and rich curtain covering objects once beloved by the General; books, weapons, and artist tools. The upper portion is occupied by the slender figure of Fame, holding in her hand a trumpet and an oval medallion with Marsili’s profile. Under the diagonally projecting slab with its Latin inscription struggles Time, represented as an old man with a sickle. The baroque theme of Fame defeating Time is perfectly conveyed.","short_description":"This monument represents the baroque spirit in the use of allegories, in the employment of many diagonals crossing in the composition and in the dynamic movement transmitted to the sculpted curtain.","type":"Sculpture, stucco","holder":"Church of St. Dominic","dates":"1733","location":"Bologna, Emilia-Romagna","place_of_production":"Bologna","method_for_datation":"The monument date is established thanks to archive documents and to the Latin inscription.","obtention":"Originally made for the church.","bibliography":"Macchiavelli, A. *Della origine e progressi della pittura, scultura e architettura, e dei singolari vantaggi che le medesime tre bell'arti hanno alla medesima città di Bologna recato*, Bologna, 1735, p. 47 .  \nZanotti, G. P. *Storia dell'Accademia Clementina*, Bologna, 1739, II, p. 250.  \nRiccomini, E., “Sculture del Settecento a Bologna: Angelo Piò ed altri problemi”, *Arte Antica e Moderna:* 21, 1963, pp. 54-55.  \nRiccòmini, E. *Scultura Bolognese del Settecento* (exhibition catalogue) (ed. E. Riccomini), Bologna, 1965, p. 79,  p. 86, p. 87.  \nRiccomini, E., *Vaghezza e Furore*, Bologna, 1977, pp. 55-56.","workshop":"Barocchetto bolognese","artist_birthdate":"1690","artist_birthplace":"Bologna","artist_deathdate":"1770","artist_deathplace":"Bologna","copy_editor":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["monument; *Fame*; *Time*; Luigi Ferdinando Marsili; Baroque sculpture; Stuccowork; personification; allegory; science; Enlightenment"],"materials":["Stucco"]},"98c08194-bddc-52e4-a6b8-d9483bc9ad1b":{"name":"Statue of Jules Ferry","short_description":"This symbolic statue of the French protectorate in Tunisia was located in the centre of the European quarter, between the cathedral and the official residence of the French government, on the Avenue Jules Ferry, today renamed Avenue Habib-Bourguiba. This bronze statue, reaching around three metres in height, is one of the last surviving elements of a monument which had been dedicated to one of the most important thinkers of French imperialism.","type":"Ironwork","holder":"Musée d’Histoire Moderne et Contemporaine de Kassar Saïd","dates":"19th century","location":"Le Bardo, Tunis","provenance":"Avenue Jules-Ferry","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["French protectorate of Tunisia; Jules Ferry; Habib Bourguiba"],"materials":["Iron, bronze"]},"9a245db6-458e-537c-bdb2-df1379eb0317":{"name":"*St. Roch* and *St. Sebastian*","description":"These splendidly colourful Rococo statues of *St. Roch* and *St. Sebastian* came to the museum from the parish church of Egervár in the county of Zala. The patron of the church, Count Ignác Széchényi, commissioned a new large tabernacle with six carved figures for the high altar of the church, made in around 1730, in 1757. The Széchényi family already had connections with artists in Graz, the area where Philipp Jakob Straub chose to settle and work.  \nBoth statues are of saints believed to be protectors from the plague, and both express pain and suffering. *St. Roch*, dressed in pilgrim's clothes, turns his eyes heavenward. His lips parted in pain, he points to the wound on his foot. Next to him is the dog that allegedly brought him bread when he was suffering from the plague. Bound to a tree and wounded by arrows, the young martyr, *St. Sebastian*, is resigned to his fate. His head rests on his shoulder and tears drip from his closed eyes. *St. Roch*'s garments flutter in deep folds, providing the contrast of light and shade, while light glides softly on the sensuously beautiful body of *St. Sebastian*.  \nThe statues are promoted into the vanguard of Rococo sculpture in Hungary by the outstanding quality of modelling, the subtle and reserved colouring and the empathic rendering of emotions.  \nPhilipp Jakob Straub was born into the Württenberg family of sculptors and moved to Vienna with his brother, Johann Baptist Straub (later court sculptor in Munich), in 1727. Philipp Jakob Straub studied at the Academy of Fine Arts in Vienna from 1730 to 1733, at which time he settled in Graz. In Graz he worked on commissions for the church, the aristocracy and the middle class, both in wood and in stone. On stylistic grounds, research attributes to him an extensive oeuvre in Styria where he introduced the influence of Bavarian Rococo sculpture and the practices of stone sculpture from the court in Vienna.","short_description":"The high altar in the parish church of Egervár (c. 1730) contained tabernacle statues – two of which were *St. Roch* and *St. Sebastian* – and all of which were commissioned from Styria in 1757. Documents relating to count Széchenyi's relationship with the church and the artist helped to confirm the attribution of these works to Philipp Jakob Straub, a member of the South-German Straub family. Straub settled in Graz and brought fine Rococo sculpture to the Transdanubian region.","type":"Sculpture","holder":"Hungarian National Gallery","initial_owner":"Parish Church, Egervár","dates":"1757","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"St. Roch: h: 121 cm; St. Sebastian h: 119 cm","place_of_production":"Egervár","method_for_datation":"By stylistic analysis and historical documents.","provenance":"Parish Church, Egervár","obtention":"Purchased in 1916 by the Museum of Fine Arts; from 1974 in the Hungarian National Gallery","bibliography":"Jávor, A., “Cat. Nr. 199.” in *Barokk művészet Közép-Európában. Utak és találkozások* (Crossroads: Baroque Art in Central Europe) exhibition catalogue, (ed. G. Galavics), Budapest, 1993.","artist_birthdate":"baptized 30 April 1706 in Wiesensteig","artist_deathdate":"26 August 1774","artist_deathplace":"Graz","author":"Zsuzsanna Boda","copy_editor":"Terézia Bardi","translator":"Judit Pokoly","translation_copy_editor":"Mandi Gomez","keywords":["Figural decoration; parish church; high altar; altarpiece; wood carving; saints; patron saints; plague; Rococo; Styrian Rococo sculpture; Philipp Jakob Straub, Johann Baptist Straub, Count Ignác Széchenyi; Academy of Fine Arts Vienna; Egervár; religious object"],"materials":["Wood, carved, painted"]},"9b8ab3ff-1008-5ce8-b032-994aad3a8bf4":{"name":"Fountain basin.","description":"Oblong basin in grey marble. A sculpted decorative element consisting of two poly-lobed arches that end in serpentine motifs can be found at both ends of the cavity. The four cornerstones of the basin's edge are adorned with four full medallions. The cavity of this fountain consists of a hollow with a bordering edge. One of the two sides features an orifice that was once connected to piping. The basin's exterior form becomes narrower towards its base.","short_description":"This rectangular basin is decorated with sculptures consisting of two poly-lobed arches finished with snake motifs. There are four full medallions in the four spandrels around the basin. This basin was probably used to provide water to the Palace of the Sea (Dar al-Bahr).","type":"Basin, fountain, marble","holder":"National Museum of Antiquities and Islamic Arts","dates":"Hegira 405–547 / AD 1015–1152.","location":"Algiers","dimensions":"Height 26.5 cm, length 119 cm, width 52 cm, depth 17 cm.","method_for_datation":"Found in the Dar al-Bahr of the Qal'at Bani Hammad (5th–6th / 11th–12th centuries).","method_for_provenance":"Discovered by De Beylié in the northwest corner of the great court of Dar al-Bahr.","provenance":"Dar al-Bahr, Qal’at Bani Hammad, Algeria.","obtention":"Archaeological repository (De Beylié excavations, 1908).","bibliography":"Beylié, général de, *La Kalaa des Beni Hammad, une capitale berbère de l'Afrique du Nord au XIe siècle*, Paris, 1909.  \nBourouiba, R., *Les H'ammadites*, Algiers, 1984.  \nGolvin, L., *Recherches archéologiques à la Qal'a des Banû Hammâd*, Paris, 1965.  \nMarçais, G., *Le musée Stéphane Gsell, musée des antiquités et d'art musulman d'Alger*, Algiers, 1950.","dynasty":"Hammadid","author":"Leila Merabet","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["Basin; fountain; marble; arch; cornerstone; piping; water; palace; medallion; Hammadids; Qal’at Bani Hammad; Dar al-Bahr; palatial architecture; architectural decoration"],"materials":["Sculpted grey marble."]},"9b938f78-dd1b-5b00-a709-62c11978cdc8":{"name":"Basin","description":"This basin was discovered in pieces at the end of the 19th century in the centre of Seville. Restoration work has reconstructed the bands of inscriptions, as well as the decoration on three of its sides.  \nThe front is decorated with three tri-lobed arches, framed by alfiz (frame) panels supported on columns. Each arch contains a plant sprouting leaves, palmettes, pinecones and intertwining stems. The space between the arch and the alfiz panel shows the same type of decoration, and the whole thing is framed by an inscribed strip.  \nThe right-hand side shows a space divided vertically into three parts. The central area is undecorated, probably to allow space for the water to come out, and the other two sides show similar scenes: eagles, seizing deer with their talons, bear two lions face to face on their outspread wings, while beneath them two griffins facing each other complete the scene. This iconography, of Sassanid origin, refers to power, abundance and eternity.  \nOnly the inscribed band is preserved from the third side, a strip with ducks and fishes, and, underneath it, the remains of a lion attacking a deer.  \nWe know from the inscription that this basin was commissioned for the royal palace of al-Zahira on the orders of al-Mansur, prime minister and favourite of Hisham II, who was still a child when he became Caliph in AH 366 / AD 976, following the death of his father al-Hakam II. The unstoppable rise to power of al-Mansur started shortly after the accession of Hisham II. With the intention of establishing a parallel dynasty to the legal Umayyad one, al-Mansur built a palatine city called Madinat al-Zahira. This new city, rival to Madinat al-Zahra, was in the eastern part of Córdoba, but limited material remains have survived to the present day. The city was burnt to the ground in AH 399 / AD 1009.","short_description":"Emulating the Umayyad caliphs who built Madinat al-Zahra, the hajib of Córdoba al-Mansur built the palatine city of Madinat al-Zahira, and he commissioned this ablutions basin for it, as stated on the inscription. Animal-shaped spouts would have emerged from the attached side pillars, of which only traces have survived.","type":"Basin, marble","holder":"National Archaeological Museum.","dates":"Hegira 377 / AD 988.","location":"Madrid","dimensions":"Height 68 cm, width 150 cm, depth 77 cm.","method_for_datation":"The inscription in *kufic* lettering says: '…Almanzor Abi Amir Muhammad ben Abi Amir and glory to God. \\[This was\\] ordered to be made for the royal palace of al-Zahira and was finished with the help and assistance of God under the direction of the great Amiri Fata in the year seven seventy and three hundred'. Consequently, the basin has been dated to 377 / 988.","method_for_provenance":"There are two other basins attributable to the same period and place, one of which can be found in the Alhambra Museum, Grenada, and the other in Marrakesh (Morocco). This latter was made for ‘Abd al-Malik, son of Al-Mansur. The three pieces have similar decorations of eastern origin on one of their sides.","provenance":"The missing royal palace of Madinat al-Zahira (Córdoba), Spain.","obtention":"The basin arrived at the National Archaeological Museum in stages. The two most important parts, the front and part of one of the sides, were bought on 22 November 1882. Another fragment arrived in 1923. Finally, on 30 July 1930, the last piece arrived from the Provincial Archaeological Museum of Seville.","bibliography":"Bernus-Taylor, M., ‘Les cuves’, in *Les Andalousies de Damas à Cordoue. Exposition presentée á l’Institut du monde arabe du 28 novembre 2000 à 15 avril 2001*. Paris : Hazan, 2000 : p. 133.  \n  \nEwert, C., *et al.*, “Denkmaler des Islam”, *Hispania Antiqua*, 21 (1997): 176.  \n  \nLévi-Provençal, E., *Inscriptions Arabes d'Espagne*, Paris : Larose, 1931: p.194.  \n  \nRevilla Vielva, R., *Catálogo de las Antigüedades que se Conservan en el Patio árabe del Museo Arqueológico Nacional*, Madrid: Imp. De Estanislao Maestre, 1932: p.77.  \n  \nRosser Owen, M., *Articulating the Hijjaba: Cultural Patronage and Political Legitimacy in al-Andalus. The ‘Amirid Regency c. 970-1010*, Leiden: Brill, 2021: pp. 274-282.  \n  \nTorres Balbás, L., ‘España Musulmana Hasta la Caída del Califato de Córdoba (711–1031)’, in *Historia de España, vol. 5*, Madrid: Espasa Calpe España, 1957: p.718.  \n  \nZozaya, J., ‘Antigüedades Andalusíes de los Siglos VIII al XV’, in *Guía General del Museo Arqueológico Nacional, vol. II*, Madrid: Ministerio de cultura y deporte, 1991: p.66.","dynasty":"Umayyads of al-Andalus, Caliphate period","author":"Margarita Sánchez Llorente, Beatriz Campderá Gutiérrez","copy_editor":"Rosalía Aller","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["Water; basin; palace"],"materials":["Carved marble."]},"9ba14117-d905-597a-95be-0025b3200e4e":{"name":"‘The Younger Memnon’","short_description":"Henry Salt and J.L. Burckhardt donated this colossal bust of Ramesses II to the British Museum in 1817 where it created a sensation and became known as the Younger Memnon. It was removed from the Ramesseum in Thebes by the explorer Giovanni Belzoni, who transported it to Alexandria, from where it was shipped to England.","type":"Statue","holder":"The British Museum","dates":"19th Dynasty; donated to the British Museum in 1817","location":"London","provenance":"Egypt","keywords":["archaeology; Egyptomania; exploration; collection; collecting; museums; travel; traveller; statue"]},"9f13783f-37c2-5e26-9fc8-82aec3de2188":{"name":"Marble plaque.","description":"A marble plaque, approximately rectangular in shape, the apex of which is an ornamented crown. In the centre of the plaque is a mosque lamp, carved in high relief and suspended from the crown by thick ropes. Flanking either side of the lamp, at the bottom of the composition, there are engraved carvings of two candlesticks with tapering wicks. The neck and base of the lamp are embellished with vegetal motifs and braided bands; in the centre of the body is an inscription that states: 'God is the Light of the Heavens and the Earth'. Vegetal decorations appear above and below the carved inscription, which is contained within a rectangle and delineated by two beaded borders.  \nAlthough, this form of decoration does not appear in any known Mamluk glass mosque lamps, nevertheless the general form and the carved inscription are distinguishing characteristics of Mamluk mosque lamps. The candlesticks, in relief, that appear on the plaque, are decorated with vegetal scrolls and diamond-shaped motifs. The background of the plaque is decorated with vegetal scrolls composed of grape clusters, heart-shaped buds and split leaves, in addition to a pair of stylised lotus blossoms below the lamp. Traces of brown paint also appear in the background.  \nA number of Mamluk carved plaques, embellished in engraved decoration in marble, stone and plaster bear testimony to the widespread popularity of the sculptural arts (in wood and stone) during the Mamluk period. They also bear witness to the creativity and originality of the craftsmen in the design of vegetal and geometric compositions.","short_description":"This example of Mamluk-period marble engraving depicts a mosque lantern (*mishkah*), two candlesticks and an inscription saying 'God is the Light of the Heavens and the Earth'. Such marblework bears witness to the skill of the craftsmen in that era.","type":"Plaque, marble","holder":"Museum of Islamic Art","dates":"Hegira 8th century / AD 14th century.","location":"Cairo","dimensions":"Height 60 cm, length 36 cm.","method_for_datation":"The object is known to date to the 8th / 14th century because it was made for the Madrasa Bedeiriyya in Cairo, built during this time period.","method_for_provenance":"This plaque was found in the Madrasa Bedeiriyya, which lies in the neighbourhood of the Madrasa Salihiyya al-Najmiyya in the Fatimid Street Al-Muizz Li-Din Allah in Cairo. The Madrasa Bedeiriyya was founded in 758 / 1357 by Nasir al-Din Muhammad ibn Bedeir al-'Abbas who worked as a lecturer of *fiqh* (jurisprudence) of the Shaf'i school. It is likely that the plaque was produced in Cairo for the *madrasa*.","provenance":"Egypt.","obtention":"The plaque was found on site at the Madrasa Bedeiriyya. The Council for the Preservation of Arab Monuments undertook the preservation of the plaque in the eastern court of the mosque of al-Hakim bi Amrillah in 1880, where the first acquisitions of the Museum of Islamic Art were housed before they were transferred to the present Museum building in 1903.","bibliography":"Al-Maqrizi, *Al-mawā'iz wa'l-i'tibār bi-dhikr al-khiţaţ wa'l-āthār \\[Exhortations and Contemplation of the Recollection of Plans and Monuments\\],* 2 vols, Cairo, 1853.  \nAtil, E., *Renaissance of Islam: Art of the Mamluks,* Washington D.C., 1987.  \nHassan, Z. M., *Funūn Al-Islām \\[Arts of Islam\\],* Cairo, 1948.  \nStierlin, H., and Stierlin, A., *Splendours of the Islamic World: Mamluk Art in Cairo (1250–1517),* London, New York, 1997.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","author":"Al-Sayyed Muhammad Khalifa Hammad","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Religious object; high relief; inscription; marble; floral motif; vegetal motif; lamp; inscription; epigraphy"],"materials":["Marble engraved in high relief."]},"a2bff875-de56-5054-ba77-30b1b3d100cd":{"name":"*Au bord du Nil* (On the Banks of the Nile)","description":"Often called the father of modern Egyptian sculpture, Mahmoud Mokhtar united the art of his country's pharaonic past with the 20th century to convey the spirit of a newly independent Egypt. The artist aspired to create an artistic language that would reconcile contemporary Egyptian society with its cultural and historical identity.  \nThroughout his career, Mokhtar drew inspiration from scenes of everyday life in Egypt's countryside and he frequently depicted the fallaha (peasant woman). Au Bord du Nil is a life-size statue that shows a fallaha wearing a tarha (traditional Egyptian veil) and holding a balas (jug used to transport water) on her head. The fallaha was a leitmotif in the artist's output, representing Egypt and the Nile Delta as an intrinsic part of the nation. The sculpture exemplifies Mokhtar's clean, bold and angular lines, evoking the ancient priestesses who walked the Nile's banks.  \n  \n*Au Bord du Nil* sends a clear, powerful message in response to the turbulent political climate of the 1930s (AH 1348), when Egypt was under British military administration. At the time, the Egyptian people's desire to reclaim national sovereignty had grown, prompting Mokhtar to transform the fallaha into a nationalist emblem.","type":"Sculpture","holder":"MATHAF, Arab Museum of Modern Art","dates":"AH 1350 / AH 1931","location":"Doha","dimensions":"40.8cm × 9.6cm × 8.3cm","copy_editor":"Judy Harter","keywords":["woman; water; bronze; Nile"],"materials":["Bronze"]},"a94ed934-07d9-5fb3-9373-ad09b02656d8":{"name":"*Virgin Mary with Jesus*","description":"This standing Madonna with child is characterised by an S-shaped cloak encircling the figure from the left shoulder to the right knee, appearing blown by a sudden gust of wind. The cloak makes up a surprisingly rich yet compact outline for the carved statue. Madonna’s posture contrasts with the expressive air of the drapery. Her head slightly turned towards the child, she is only holding him with indicated touches of the hands, presenting Christ to the viewer in the manner of the Gothic Madonna and thereby emphasising the notion of the Eucharist. The motif of Baby Jesus playing with Madonna’s veil is of the same origin. With her physique, facial expression and plain clothes, the Madonna’s nature appears almost secular.  \nWeber employed a similar compositional scheme, in a reduced form and mirror-like manner, in the figure of St. Rose of Lima on a side altar in the Dominican Church of the Holy Cross, Znojmo. The restrained expression of both figures is typical of Weber’s oeuvre, which found a relatively broad application in South Moravia (in Lechovice, Suchohrdly, Tasovice, Dyje, Znojmo). In the 1740s Weber worked for the Augustinian order in Brno (his son was a member of the order). Apart from his decoration of the Augustinian library (now to be found in Old Brno), an entrance portal with the figures of Moravian margraves has survived.  \nLeonard Weber came from a large family of sculptors in Silesia and later settled in Slovakia. Sculptors of the same name, possibly a father and son, whose relationship has not yet been demonstrated, were also active in Budapest at the time.","short_description":"The standing Madonna with child is characterised by an S-shaped cloak encircling the figure from the left shoulder to the right knee, appearing blown by a gust of wind. The restrained expression of the figures is typical of Weber’s oeuvre, which became relatively widespread in South Moravia.","type":"Sculpture","holder":"Moravian Gallery","owner":"Moravian Gallery, Brno","dates":"Before 1730","location":"Governor’s Palace, Brno, Moravia","dimensions":"h: 33 cm","place_of_production":"Moravia","method_for_datation":"Provenance and style analysis.","provenance":"Budkov Chateau Collection","obtention":"Acquired before 1950 from a private collection, Budkov Chateau.","bibliography":"Vlasta Kratinová, *Barock in Mähren,* Wien, 1988, p. 100, cat. 63.  \nVlasta Kratinová, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, p. 169, cat. 45.","artist_birthdate":"1702","artist_birthplace":"Svidnica","artist_deathdate":"after 1766","artist_deathplace":"Trnava","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Madonna; sculpted wood; religious object; Christian themes"],"materials":["Wood"]},"a955d465-0ca9-595d-bd2a-f998ffb85fd5":{"name":"Bas-relief with bull.","description":"A bas-relief of a bull carved in marble. The right-hand and lower parts of the carving are missing. The head of the bull is full-face and the body and the neck are in profile. The head looks, oddly, at a complete right angle to the neck. The features are strongly sculpted, with the nose suggested by folds ending in a cavity. The eyes are round, the iris well-carved and the lower eyelids stand out aggressively from the eyeballs. The forehead is two deep folds under a plaited mane.  \nOnly one horn remains, next to the ear, the other having been broken off. The body of the animal is harmonious but gives no impression of robust strength. From the position of the legs, the bull seems to be rubbing up against a tree composed of a trunk and a few branches. Behind the animal's body two buds and three open vine-leaves emerge. Each element has several lobes and is sculpted in a naturalistic style. The carving is set within a frame decorated with grooved arcs and points similarly to an 'egg and dart' design. The naturalistic manner of the carving has led some historians to attribute a Byzantine origin to the piece and suggest that it was re-used in the Aghlabid era. But, in fact, several similar pieces exist in Muslim art and the frontal muzzle is very frequently found. Moreover, we should not forget that Byzantine and classical influences are characteristic of early Aghlabid art.","short_description":"The decoration of this bas-relief is quite common in Islamic art, and is evidence of the survival of Byzantine and classical influences. The body of the animal, a bull, is sculpted harmoniously and the sculpture is framed by arcs and points similar to 'egg and dart' design.","type":"Bas-relief, marble","holder":"Museum of Islamic Art.","dates":"Hegira, second half of the 3rd century / AD 9th century.","location":"Raqqada., Kairouan.","dimensions":"Height 38 cm, length 57 cm, thickness 11 cm.","method_for_datation":"This piece decorated one of the walls in the state rooms of the as-Sahn Palace on the Raqqada site, which was excavated between 1961 and 1969. We know that this second Aghlabid capital was built in 263 / 876, which puts a *terminus post quem* date on the bas-relief. The chronological period covers two centuries, up until the desertion of Raqqada at the time of the Hilalian invasions in 449 / 1057. Not possessing an excavation file with information on the archaeological layer in which the object was found, we are unable to date it more precisely. However, the classical style of the decoration would suggest the second half of the 3rd / 9th century.","method_for_provenance":"An architectural decoration found *in situ*, the piece was probably carved at Raqqada, re-using some old marble of Italian origin.","provenance":"Very probably Raqqada.","obtention":"After its discovery at the Raqqada excavations in 1960 the bas-relief was conserved at the site storehouse until 1993. It was then transferred to the Museum of Islamic Art at Raqqada and displayed there.","bibliography":"*Ifriqiya: Thirteen Centuries of Art and Architecture in Tunisia*, pp.174–6.","dynasty":"Aghlabid","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["Figurative decoration; carving; relief; animal decoration"],"materials":["Carved marble."]},"ae331064-372e-59a2-9ad1-641a18b7d070":{"name":"Sanctuary and Altarpiece of the Transit of St. Bernard","description":"The Cistercian Monastery of Alcobaça was founded as a gift to St. Bernard of Clairvaux shortly before his death on an estate granted by King Afonso Henriques (the first King of Portugal) in 1153. Having just conquered the Arabs, Afonso Henriques wanted to commemorate his victory, and foundation of the monastery was part of his strategy to consolidate his authority in the new kingdom. The Monastery is considered to be one of the best preserved medieval monastery complexes in Europe besides being a bastion of the Portuguese nationality.  \nSanctuary: as part of the New Sacristy, this Chapel was called the “Mirror of Heaven” by the eminent Portuguese art historian, Reinaldo dos Santos, due to its supreme beauty and spirituality. Building began in 1670 when Frei Constantino Sampaio was Abbot of the Monastery (1669–1672).  \nWith an octagonal plan, the interior is fully covered with gilded wood and is lit by a ceiling lantern. This light, filtered and diffused, enhances the theatrical atmosphere of the gilded and polychrome Baroque octagonal structure, which includes six horizontal niches filled by 89 reliquary sculptures.  \nAltarpiece of the Transit of St. Bernard: the sculptural ensemble in terracotta represents the Transit of St. Bernard. It was built when Frei Sebastião de Sottomayor was the Abbot of the Monastery (1675–1678). The ensemble can be divided into two groups: at the lower level is a group of free-standing sculptures and another of high-relief figures inserted at the back of the altar. St. Bernard is shown in agony at the centre of the scene, while close to his feet Cistercian monks mourn his death. Close to St. Bernard’s head, the kneeling General Abbot and a group of musician angles glorify his death. At the top, surrounded by two musician-angels and cherubs, the Virgin welcomes the soul of St. Bernard with opened arms. The life-size sculptures are built in overlapping horizontal blocks.","short_description":"The Monastery of Alcobaça was founded as a gift to St. Bernard of Clairvaux shortly before his death on an estate granted by King Afonso Henriques in 1153. The monastery became powerful due to donations throughout the centuries and contains several treasures, namely the Baroque reliquary Sanctuary and the Altarpiece of the Transit of St. Bernard.","type":"Sculpture – Sanctuary and Altarpiece","holder":"Alcobaça Monastery","owner":"Alcobaça Monastery","initial_owner":"Alcobaça Monastery","location":"Alcobaça, Leiria","place_of_production":"Alcobaça","method_for_datation":"Historical evidence and stylistic analysis","provenance":"Alcobaça Monastery","obtention":"In Situ","bibliography":"Moura, C., *O Limiar do Barroco*, Lisbon, 1986.  \nSerrão, V., *História da Arte - O Barroco*, Lisbon, 2003.  \nMoura, C., *A Escultura de Alcobaça e a imaginária monástico-conventual (1590–1700),* Lisbon, tese doutoramento, 2007.  \nA. V. Remígio, “The Monastery of Saint Mary of Alcobaça. The Conservation-Restoration of the Sanctuary Reliquaries”, available at HTTP:  \n[http://www.e-conservationline.com/content/view/800/258/#ing1-4](http://www.e-conservationline.com/content/view/800/258/#ing1-4) (26/10/2009).","workshop":"“Terracotta” workshop, Alcobaça","copyright":"Copyright images: Instituto de Gestão do Património Arquitectónico e Arquelógico,I.P/DIDA A.F.","author":"Cecília Gil","translator":"Cristina Correia, Andreia Charneca","translation_copy_editor":"Mandi Gomez","keywords":["Terracotta; sculpture; Our Lady of Assumption; Cistercian Order; Counter-Reformation"],"materials":["Sanctuary: chased, polychrome and gilded wood and terracotta. Altarpiece Transit of St. Bernard: terracotta"]},"b0c35ccd-b16d-5ff5-98a0-4001791ebd8b":{"name":"Head of a sphinx of Sesostris III","description":"The 12th Dynasty was the most important period of the Middle Kingdom. Its founder, Amenemhat I, vizier to the last Mentu-hotep (11th Dynasty), usurped the throne. His greatest challenge was to reintegrate the two parts of the country, Upper and Lower Egypt, which had split and subsequently grown apart during the First Intermediate Period.","type":"Sculpture","holder":"Kunsthistorisches Museum, Egyptian Collection","dates":"12th Dyn. Sesostris III, 1878-1843 BC; brought to Vienna in 1893","location":"Vienna","dimensions":"Height 21,9 cm, Width 33,2 cm, Diameter 32,1 cm","copy_editor":"Daniel de la Vega","keywords":["Deir el-Bahari; Deir el-Bahri"],"materials":["Green schist"]},"b1189adf-8651-54d6-9426-8461bdc5c6a6":{"name":"Figurine of a dog","short_description":"Dimitrija Chupovski (1878–1940) was the President of the Slav-Macedonian Scientific Literary Society in St. Petersburg also known as St. Petersburg Colony of Macedonians. Chupovski was also actively engaged in publishing of the periodical Macedonian and Russian-language publication, “Makedonski Golos” (“Macedonian Voice\"), first issued in 1912.","type":"Ornament; sculpture","holder":"Museum of Macedonia","dates":"Early 20th century","location":"Skopje","author":"Nada Andonovska (author), Dragan Georgiev, historian (consultant)","copy_editor":"Daniel de la Vega","keywords":["President; literary society; sculpture; metalwork"]},"b34a6459-d73e-575a-bf25-d6eeecca51a1":{"name":"*The Opening of the Suez Canal*","short_description":"The artist Pietro Magni studied at the Academy of Brera, travelled to Rome in 1849 and battled for the Roman Republic. His first artwork as mentioned in the author’s biography is *The First Steps*, known though the photographs to have been on display at the International Exhibition in London in 1862. In 1863 the businessman Pietro Revoltella commissioned the artist to create a marble group showing the opening of the Suez Canal, now in the Revoltella Museum in Trieste. It shows how important the project was for the commissioner, confident that the new opening toward the East would offer economic advantages to his city. Unfortunately he died two months before seeing the Suez Canal completed. The sculpture shows a classical allegory with Europe uniting the Mediterranean Sea and the Red Sea, behind them the genius of commerce with winged feet indicating the canal the unifies Europe and Asia.","type":"Sculpture","holder":"Revoltella Civic Museum","dates":"1863","location":"Trieste","dimensions":"190x140 cm","provenance":"Italy","artist_birthdate":"1817","artist_birthplace":"Milano","artist_deathdate":"1877","artist_deathplace":"Milano","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Sculptors; route; travel; waterway; Austria; Lloyd; Assicurazioni Generali; Bourse; Adriatic; Egypt; Said; Ismail; Pasha; Ferdinand de Lesseps; Suez Canal Company; Compagnie universelle du canal maritime de Suez; vice-president; Cairo; India"],"materials":["Marble"],"artist":"Pietro Magni"},"b3644b51-f021-58b2-9968-b330cbd36614":{"name":"Jar-stand","short_description":"This jar-stand or *kilga* was carved out of one massive block of marble. It rests on four horn-shaped feet joined by single mihrab-shaped arches. The sides are carved with muqarnas, the third side and the corners with bold trefoils. The border of the lower part is decorated with an inscription repeating the phrase *al-baraka al-kamila* (perfect blessing).  \nThe upper part is designed to hold a water jar made of unglazed earthenware and a receptacle at its lower front side. The porous material of the jar cools the water through evaporation. The porous material of the unglazed jar served as a filter. The water was collected in the lower basin and had the quality of drinking water. *Kilgas* were found in well-equipped households or were part of public endowments such as public water fountains or mosques.","type":"Stone work","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 5th-6th century / AD 11th-12th century","location":"Bamberg","dimensions":"Height 31.2cm, Length: 50.8cm","method_for_datation":"Marble jar-stands of this particular design were characteristic for Fatimid and Ayyubid Egypt and are found nowhere else.","provenance":"Egypt","obtention":"Acquired at Sotheby's London 1987","bibliography":"Knauer, Elfriede R., Marble Jar-Stands from Egypt, *Metropolitan Museum Journal*, 4 (1979): 67–101.  \nO'Kane, Bernard and Abbas, Mohamed, *The Illustrated guide to the Museum of Islamic Art in Cairo*, Cairo: American Univ. Cairo Press, 2012: 63, 150-151.","dynasty":"Fatimid","author":"Verena Daiber","copy_editor":"Daniel de la Vega","keywords":["Jar-stand; kilga; marble"],"materials":["Carved marble"]},"b3b65730-0a51-56dc-a29d-497a32b57535":{"name":"Stucco stained-glass window.","alternate_name":"*Qamariyya* (skylight); *shamsiyya* (window)","description":"A large arched rectangular stained-glass window with a wooden frame of 7.5 cm wide. It also has two interior frames of stucco that are each 5 cm wide. Together the frames contain the entire window. Flanking the two plaster frames is a decorative band that is 10 cm wide. The window has 10 decorative elements, consisting of one-, two-, three- or four-leafed blossoms. Circles with a fan-like circumference divide these units from each other.  \nThe principal decorative scheme of the window consists of an upper section and a lower one connected by a circle. In each section there are 14 circles; each of which has a circumference of 20 cm. The circles encompass vegetal decoration in the form of bifurcating branches, which surround the interior circumference of each section and meet above it. The decoration in the upper section includes the text of the *Basmala* (“In the name of God …”) and in the lower section, a verse from “Surat al-nisa'” “Chapter of the Women” (4: 125), which reads “Allah did Take Abraham for a Friend”. The epigraphic inscriptions are coloured in white glaze to accentuate them.  \nThe manufacture of stucco windows inset with stained glass requires a number of stages. The first stage is the preparation of a solid wooden frame to contain the finished window. Liquid plaster is then poured into the frame and left to dry completely. The window is then placed on an iron mount where an imprint of the decoration is made on the surface of the plaster. This can be done by transferring the design from a sheet of tracing paper with the use of a needle and lead filings, and then using a cutting tool. The carving is done directly on to the plaster by hand with the use of precision tools. The work is extremely exacting as the plaster is fragile, making the window vulnerable to damage. The carving is done at a level of deflection of 45 per cent, allowing light to fall at the centre of the mosque hall. The glass is slotted into the empty spaces from the back. Finally, the window is transferred from the workshop to the site where it is mounted. To produce a window such as this would take between nine and 12 months.","short_description":"The windows at al-Aqsa Mosque and the Dome of the Rock as well as other religious buildings are made from plaster and coloured glass. This window from al-Aqsa Mosque is adorned with vegetal, geometric and epigraphic decoration. The fragility of these windows has led to their being replaced almost every century.","type":"Stucco, glasswork","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif","initial_owner":"Al-Aqsa Mosque.","dates":"Hegira 12th century / AD 18th century.","location":"Jerusalem","dimensions":"Height 288 cm, width 166 cm, depth 9.5 cm.","method_for_datation":"The date of the object was established by analysis of its decoration, and by comparison with other similar windows that had already been reliably dated, some of which are preserved at the Islamic Museum, while others remain *in situ* at the Dome of Rock and al-Aqsa Mosque.","method_for_provenance":"Jerusalem was narrowed down as the place of production as a stained-glass stucco-window workshop is still operational at the Haram al-Sharif to this day. Furthermore, a window such as this would have been difficult to transport due to their extreme fragility, so it is likely to have been crafted *in situ*.","provenance":"Jerusalem.","obtention":"The window was transferred from al-Aqsa Mosque to the Islamic Museum during restoration of the mosque after a fire in 1969.","bibliography":"Flood, F. B., “The Ottoman Windows in the Dome of the Rock and al-Aqsa Mosque”, in S. Auld and R. Hillenbrand (eds), *Ottoman Jerusalem*, London, 2000.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["stucco; stained-glass; vegetal decoration"],"materials":["Wood, plaster (stucco) and stained-glass crafted using casting, carving and mounting."]},"b72e7f3c-1702-565a-9c32-720167e16639":{"name":"*Maria Immaculata*","description":"This marble figurine, signed by Schletterer, corresponds with the popular type of Immaculate Virgin that evolved during the Catholic revival: the Virgin is at prayer atop a globe and a crescent moon, while she stands on the head of a serpent that symbolises evil. The slender female figure is modelled in a slight S-curve; her compact silhouette determined by the cloak. This feature, along with her charming face and the picturesque details such as the *putto* hiding beneath the drapery, derive from a Viennese variant of the arsenal of Late Baroque Venetian sculpture. The most notable representative of this trend in the imperial city of Vienna was Lorenzo Mattielli, while the leading master of the classical style was Georg Raphael Donner. Both artists influenced the oeuvre of the Tyrolese sculptor, Jakob Christoph Schletterer, who passed down his increasingly sophisticated classicistic style to subsequent generations during his long tutorship at the Academy of Fine Arts in Vienna. In the main, Schletterer made altar sculpture and reliefs for monastic churches in Lower Austria, but sepulchral monuments are also known to be by his hand. His documented works in Hungary – the Virgin Column in Sopron made after Andrea Altomonte's plans in 1745, and the garden statues at Darufalva (Drassburg) from 1758 – suggest that he probably delivered other works to Transdanubia. This signed, white marble *Immaculata* from Esterházy Castle, today at the Hungarian National Gallery in Budapest, is a more animated Rococo variant of the garden statue in Darufalva (Drassburg). In the collection of the Hungarian National Museum there is a similar Immaculata figurine, produced in Tata and transferred from the Cistercian abbey in Zirc, which also dates to the 1750s.","short_description":"As a follower of Georg Raphael Donner and a professor at the Academy of Fine Arts in Vienna, Schletterer’s monumental works are found throughout Hungary (Győr, Sopron and Drassburg). This small, signed sculpture belonged to the Esterházy family in Tata.","type":"Sculpture (figurine)","holder":"Kuny Domokos Museum, Tata","initial_owner":"Count Ferenc Esterházy","dates":"c. 1758","location":"Tata, Nyugat-Magyarország / West Hungary","dimensions":"H: 46 cm","place_of_production":"Tata","method_for_datation":"By the signature","provenance":"Count Ferenc Esterházy, Esterházy Castle, Tata","obtention":"From the collection of Count Ferenc Esterházy at Esterházy Castle, Tata; Kuny Domokos Museum, Tata","bibliography":"*Barokk művészet Közép-Európában. Utak és találkozások* (Crossroads: Baroque Art in Central Europe) exhibition catalogue, (ed. G. Galavics), Budapest, 1993, pp. 421–424.","artist_birthdate":"1699","artist_birthplace":"Wenns, Tyrol","artist_deathdate":"1774","artist_deathplace":"Vienna","author":"Anna Jávor","copy_editor":"Terézia Bardi","translator":"Judit Pokoly","translation_copy_editor":"Mandi Gomez","keywords":["Madonna; marble; Rococo; Cistercian; religious orders; Jakob Christoph Schletterer; Andrea Altomonte; Georg Raphael Donner; Esterházy; Count Ferenc Esterházy; academy; teaching"],"materials":["Marble, carved"]},"b9e5d59c-90cf-5a1d-80ec-21247c2e8944":{"name":"*St. Francis Xavier and St. Ignatius of Loyola*","description":"Saint Ignatius of Loyola was the main founder and the first Superior General of the Society of Jesus, a religious order of the Catholic Church professing directly to the Pope a vow of obedience, as far as missionary duties were concerned. The early Jesuits were sent by Ignatius to pagan lands where they could work on the propagation and strengthening of the Catholic faith. Among them was St. Francis Xavier. He had studied at the same college as St. Ignatius in Paris and helped him plan the foundation of the Society of Jesus. St Francis was sent to Lisbon in 1540 principally because King D. João III wanted him to serve in India.  \nIn a short period of 10 years (1542–1552) he converted people from Goa, Ceylon, Malacca and Moluccas, where he established several missionary centres; he also established some others in central and southern Japan. He was buried in Goa where is body is still enshrined at the Basilica of Bom Jesus. He continues to be considered the greatest missionary since the Apostles.  \nChristianity was expanded by St. Francis Xavier's work as a missionary and by his apostolic zeal. He became a model of holiness and an instrument of evangelisation against other confessional denominations.  \nThe floral and vegetal motifs that adorn these two sculptures have their origins in oriental art. Commissioned during Portuguese rule in Asia the sculptures are the result of the exchange of knowledge and ideas, techniques and materials from both cultures. The technical expertise reached by both Chinese and Japanese artists allowed their elite cosmopolitan styles to be linked together, and their patrons and the merchants who dealt with their work, to discover new art markets.","short_description":"According to the austerity of Counter-Reformation rules, the Society of Jesus ordered a simplified interior design for the Church of São Roque, which included the Asian-influenced painted wooden sculptures *St. Ignatius of Loyola* and *St. Francis Xavier*.","type":"Sculpture","holder":"Lisbon's Holy House of Mercy / Museum of São Roque","owner":"Santa Casa de Misericórdia, Lisbon / Museum of São Roque","initial_owner":"Society of Jesus","dates":"c. 1600 (?)","location":"Lisbon, Lisbon","dimensions":"H: 114 cm; w: 44 cm; depth: 35 cm / H: 113 cm; w: 40 cm; d: 34 cm","place_of_production":"Lisbon (?) Japan (?)","method_for_datation":"Attributed by Teresa Morna and Francisco Lameira in *Escultura: Colecção de Escultura da Misericórdia de Lisboa, Século XVI ao Século XX* Lisbon, 2000; 2005.","provenance":"Church of São Roque","obtention":"Society of Jesus","bibliography":"Caetano, J. O., *Pintura – Séc. XVI ao Século XX - Colecção de Pintura da Misericórdia de Lisboa*, Tomo I, Volume V, Lisbon, 1998.  \nSerrão, V., *a Lenda de S. Francisco Xavier pelo pintor André Reinoso*, Lisbon, 1993.  \nMorna, T. F., *Escultura: Colecção de Escultura da Misericórdia de Lisboa, Século XVI ao Século XX*, Lisbon, 2000, Nos 16–19.  \nHenriques, A., Marques, M., *São Francisco Xavier – Vida e Lenda*, Lisbon, 2006.","author":"Antonio Meira Marques Henriques","translator":"Antonio Meira Marques Henriques","translation_copy_editor":"Mandi Gomez","keywords":["Society of Jesus; Jesuit mission; pilgrimage; miscegenation; Romano-Iberian wooden sculptures"],"materials":["Wood, painted and gilded"]},"bad4cf07-fa59-5807-ad90-cd911e6be4ac":{"name":"*St. Thaddeus Jude*","description":"This sculpture portrays the saint in a state of self-absorption and contemplation. With the head slightly tilted towards the right shoulder, the shape is defined by a picturesque cloak inventively arranged on the chest to cascade over a plain, low pedestal. The rich folds of the gown are partially obscured by a medallion with a profile of Christ, while the iconography identifies the bust as St. Jude Thaddeus, a close relative of Jesus and disciple to Him. Jude Thaddeus brought a portrait of Christ’s face to the king of Edessa (the Image of Edessa). Jude died a martyr’s death in Persia or Phoenicia and is often represented by the attribute of the club that killed him. St. Thaddeus Jude is patron saint of the desperate and of lost or forgotten causes. The silver surface of the bust accentuates its spiritual, melancholic aura.  \nThe Provincial Museum in Olomouc owns a similar sculpture of a female figure with a ribbon in her hair. Presumably both busts are fragments of a larger series, the remainder of which are missing. Their “distant” inspiration may have been Bernini’s prestigious portraits.  \nZahner probably came to Olomouc via Vienna, after an apprenticeship to his father in Würzburg. In the 1740s he was assigned a particularly significant task, taking up the sculpted decoration of the Holy Trinity Column in Olomouc.  \nWith more demanding commissions, Zahner was assisted by Jan Kammereit, Wofgang Träger and Jan Michael Scherhauf. The work of this Bavaria-trained sculptor was received with great acclaim in Moravia.","short_description":"This sculpture portrays the saint in a state of self-absorption and contemplation. The rich folds of the gown are partially obscured by a medallion with a profile of Christ and the iconography identifies the bust as St. Jude Thaddeus. A. Zahner also created the UNESCO monument, Holy Trinity Column in Olomouc.","type":"Sculpture","holder":"Moravian Gallery, Brno","owner":"Provincial Museum, Olomouc","dates":"Before 1730","location":"Governor’s Palace, Brno, Moravia","dimensions":"h: 73 cm","place_of_production":"Olomouc","method_for_datation":"The attribution of this originally anonymous carving to Zahner was determined, in particular, by the characteristics of the saint: chiselled nose and sunken eyes, which resemble Zahner’s earlier works. His work is typified by an effort to transcribe the mental disposition of his figures.","obtention":"Acquired after 1945, provenance unknown.","bibliography":"Miloš Stehlík, Slohová podstata sochařského díla Ondřeje Zahnera, *Opuscula Historiae Artium* F 42, 1998, pp. 7–26.  \nVlasta Kratinová, in: Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, pp. 172–173, cat. 49.","artist_birthdate":"1709","artist_birthplace":"Ettershausen","artist_deathdate":"1752","artist_deathplace":"Olomouc","copyright":"Copyright images: Moravská galerie v Brně, Vlastivědné muzeum Olomouc.","author":"Zora Wörgötter, Vlasta Kratinová","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Bust; Bernini; religious object; sculpted wood; Abgar of Edessa"],"materials":["Wood, silver-plated"]},"bd055ba2-904e-5725-948d-558c018101af":{"name":"Fragment of wall decoration.","description":"Fragment of wall-cladding made of *timchent* (local plaster) sculpted in the form of floral decoration spread over three registers separated by three frames formed of flat fillets that are themselves separated by a milled edge. In the lower register are four columns surmounted by arches in the form of rose pateras that are composed of nine very geometric palm leaves. The decoration of the second register employs symmetrical trefoil leaves that evoke a spread of vine leaves attached to their stems by large peduncles; the latter are perforated with circular holes forming lower lobes. The stems, linked to the perforated peduncles, recoil into hooks and join back on themselves to form rings.  \nOnly a small fragment of decoration remains to be seen on the upper register, composed of stylised leaves covering the whole surface.  \nThis fragment was discovered in three pieces and was then reconstructed.  \nThe sculpture was executed with the aid of an iron blade acting on the *timchent* while it was still soft. According to H. Saladin, this local plaster derived from limestone peculiar to the region was 'applied onto cob or roughstone walls'.  \nThis sculpted fragment is only one part of a wall-cladding that ornamented the wall of a room in a palace.","short_description":"Fragment of sculpted wall-cladding with floral decoration divided between three sections separated by flat or granulated lines. In the lower part, four columns support rosette-shaped arches, while in the upper part stylised leaves stretch up to the top section, of which little remains.","type":"Wall decoration, plaster","holder":"National Museum of Antiquities and Islamic Arts","dates":"Hegira 296–467 / AD 909–1074.","location":"Algiers","dimensions":"Length 71 cm, width 57 cm, thickness 5.5 cm.","method_for_datation":"From study of the inscription that features on a frieze found in the same palace. According to G. Marçais, the *kufic* characters of this inscription could date back to the '11th century and resemble those in Kairouan', which dates this fragment to the 5th / 11th century.","method_for_provenance":"The fragment was discovered in a palace in Sedrata following the report published in the *Comptes rendus de l'Académie des inscriptions et belles-lettres* in 1952.","provenance":"Sedrata, Algeria.","obtention":"Archaeological repository (van Berchem excavations, 1952).","bibliography":"Bermúdez Pareja, J., ”Crónica Arqueológica de la España Musulmana”, *Al-Andalus,* Vol. XX, 1955, pp.407–52.  \nMarçais, G*., L'architecture musulmane d'Occident*, Paris, 1954.  \nSaladin, H., *Manuel d'art musulman. L'architecture*, Paris, 1907.  \nVan Berchem, M., “Deux campagnes de fouilles à Sédrata en Algérie”, *Comptes rendus de l'Académie des inscriptions et belles-lettres,* 1952, pp.242–6.  \nVan Berchem, M., “Deux campagnes de fouilles à Sédrata (1951–1952)”, *Travaux de l'Institut de recherches sahariennes*, Vol. X, 1953, pp.123–38.","dynasty":"Rustamids of Sedrata","author":"Houria Cherid","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["Wall-cladding; timchent; plaster; sculpture; palatial architecture; geometric decoration; Rustamid; architectural decoration"],"materials":["Sculpted local plaster (timchent)."]},"be5014f2-b4bb-570b-94a8-c7b05ca72a9f":{"name":"Untitled","description":"Sculpture of two blocks, designed for assembly and composed of horizontally-overlapping glass sheets. A signature of “TE85” appears on the upper part of the piece. Torres Esteban’s work is often characterized by this use of green, cut and cold-glued industrial plate glass. The form of the piece is also typical of the artist’s style. Here we see an interest in volume, with luminescent and kinetic effects that show the influence of Eusebio Sempere.  \n  \nThe work of Joaquín Torres Esteban is associated with the Studio Glass Movement, which originated in the United States and spread internationally. Torres Esteban is one of the pioneers of laminated glass sculpture in Spain. Throughout his glassmaking career, he participated in numerous international events and organized VICOINTER’83, an international contemporary glass exhibition in Valencia.  \n  \nIn 1986, the National Museum of Decorative Arts dedicated a monographic exhibition to Torres Esteban, after which the artist donated this piece.","type":"Glass and crystal; sculpture","holder":"National Museum of Decorative Arts","dates":"1985","location":"Madrid","dimensions":"Height: 23cm, Length: 15.5cm, Width: 15.5cm","method_for_datation":"Artist’s signature and accompanying reference to date of piece; donation record and artist’s monographic exhibition at the museum","method_for_provenance":"Donation record and artist’s monographic exhibition at the museum","provenance":"Madrid, Spain","obtention":"Donation of the artist following participation in a monographic exhibition at the National Museum of Decorative Arts","bibliography":"Giménez Raurell, María Cristina, \"Escultura y vidrio: España (1975-1995), New Glass Movement\" (unpublished doctoral thesis, directed by: Dr. José Martín Martínez) Universidad de Valencia: 2015.","dynasty":"Contemporary Period","author":"Celia Diego Generoso","copy_editor":"Janice Medina","translator":"Autumn Linn","keywords":["Laminated glass; sculpture; Studio Glass Movement"],"materials":["Laminated glass; cut, polished, cold-glued"]},"bf493827-b9c5-5274-9a0c-39fb761a93e1":{"name":"Figurative architectural fragment.","description":"An architectural fragment with figures made of limestone and carved in low relief. It is rectangular in shape, with two crowned arches on the bottom side. On the upper section there are various figures in rectangular cartouches. In order, these include symmetrically placed birds, human figures, peacocks, and winged lions (griffins). The birds are shown in profile; their upper parts each have a rosette motif. The human figures each hold a rosette in one hand and an object resembling a ball in the other. They are shown from the front, sitting cross-legged in the traditional Turkic posture of authority. The peacocks, shown in profile, have tails which end in volutes and bodies with rosettes on them. The griffins face each other in a walking stance and have the characteristics of Seljuq lions: their hind feet are on the ground, while one of their front feet is drawn back toward the body at chest level, and the other is extended forward. The upper part of each griffin's body has a wing motif which extends upward from the front leg. Their tails pass between their hind legs to end above the body. Two bird motifs (eagles) are seen at the tops of the arches. The eagles have thick beaks, pointed claws, and short tails; the one on the right is broken at body level.  \n  \nThe arches are like those found in Artuqid architecture, with their crowns of sharp 'teeth' and the spiralling columns that support them. Between them, surrounded by a chain-motif border, is an inscription in *naskhi* script. The inscription reads, 'May the owner's honour and fortune continue. May God make his life and those of his *amirs* long'. Below the inscription are two kneeling figures holding spears in their hands and facing each other. Between them is a spiralling column. These figures, which we can identify as the guardians of the Tree of Life, are a symbolic expression rooted in shamanistic beliefs.  \n  \nThe inscription suggests that the object may have come from a tomb or a charitable structure such as a fountain.","short_description":"Anatolian Seljuq stonework of the AH 6th–7th / AD 12th–13th centuries displays extensive figurative decoration. Human and animal figures assuming symbolic meanings from pre-Islamic faiths are rendered exhibiting central Asian influences both in technique and style.","type":"Fragment, stone","holder":"Museum of Turkish and Islamic Arts","dates":"Hegira 7th century / AD 13th century","location":"Sultanahmet, Istanbul","dimensions":"Height 55 cm, width 96.5 cm, depth 7 cm.","method_for_datation":"There is no documentary evidence indicating exactly where the object was produced or found, however, the composition, placement of figures, symbolic meaning, technique and architectural elements, as well as the fact that the craftsmanship exhibits all the characteristics of 7th / 13th century Artuqid work, allow us to date the object to that period.","method_for_provenance":"Inventory documents indicate that the object was initially brought to the Tiled Pavilion (çinili Köşk), from Diyarbakır. For this reason it is probable that the object was produced in southeastern Anatolia, in Diyarbakır or the region around it.","provenance":"Southeastern Anatolia (probably Diyarbakır), Turkey.","obtention":"The object was transferred from Diyarbakır to the Tiled Pavilion (çinili Köşk), Istanbul, in 1898 as part of the 19th-century initiative to collect artworks from across the country. The object was transferred to the Museum of Turkish and Islamic Arts in 1941.","bibliography":"Glück, H., Diez, E., *Die Kunst des Islam*, Berlin, 1925, p.236.  \n  \nOgan, A., Kühnel, E., *İstanbul Arkeoloji Müzelerindeki Şaheserler, Vol. 3: çinili Köşk'te Türk ve İslam Eserleri Koleksiyonu*, Berlin-Leipzig, 1938, p.36.  \n  \nölçer, N. *et al, Museum of Turkish and Islamic Art*, Istanbul, 2002, pp.103-5.  \n  \nöney, G., “Artuklu Devrinden Bir Hayat Ağacı Kabartması Hakkında”, *Vakıflar Dergisi*, VII (1968) Istanbul, pp.117–20.","dynasty":"Artuqid period","author":"Gönül Tekeli","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez","keywords":["Chain motif; figurative decoration; limestone; low relief; stone carving; human representation; animal decoration; imaginary animal; zoomorphic imagery; relief"],"materials":["Carved limestone (low relief)."]},"c148a3a5-ac87-5785-bf74-013a0b3503df":{"name":"Parts of the St. Mary and St. Ladislaus altarpieces from Zagreb Cathedral","alternate_name":"St. Mary and St. Ladislaus altarpieces","description":"The museum's altarpiece composition comprises parts of two altarpieces, that of St. Mary and St. Ladislaus. It has a central niche from the altarpiece of St. Mary – decorated with acanthus leaves, putti and bunches of fruit – within which the statue of Mary with the Child Jesus in her arms is standing on a half-moon entwined by a serpent. In front of the niche stand the statues of St. Ladislaus, the King, and St. Emeric, the Duke, which belonged to the altarpiece of Ladislaus.      \nThe composition, flanked by carved consoles attached to the wall, has the same ornamental decoration as seen in the central niche of the altarpiece of St. Mary; the consoles used to support painted altarpiece wings. Above them are the statues of the four evangelists, which were originally in the niches of the predella panel of the altarpiece of St. Ladislaus.  \nIn a contract of 1686, the sculptor from Ljubljana, Ivan Komersteiner, agreed to make the altarpiece of St. Mary for the apse of the north aisle of Zagreb Cathedral. In another contract of 1688, he agreed to make its pair, the altarpiece of St. Ladislaus, for the apse on the south aisle. Komersteiner was already a citizen of Zagreb with a workshop in Zagreb's Kaptol.    \nThe two altarpieces were identical in design: winged altarpieces with painted panels showing scenes from the Life of Mary on the altarpiece dedicated to her, with statues distributed on two levels and in the attic. Painted panels depicting scenes from the Life of St. Ladislaus decorated the altarpiece dedicated to him, with appropriate statues. While the wings from the altarpiece of St. Mary were destroyed those from the altarpiece of St. Ladislaus are kept in Zagreb City Museum.     \nSt. Ladislaus, the King of Hungary, was responsible for the foundation of the Zagreb Diocese.  \nKomersteiner was responsible for the statues and woodcarving. Ivan Eisenhort and Bernardo Bobić collaborated on the painting and gilding of the altarpieces, while Matijaž Erlman began the work on the architecture for the altarpiece of St. Mary.  \nThe arrival of the sculptor, Komersteiner, to Zagreb marked the final entrance of the Baroque in the sculpture of continental Croatia. He brought with him as a novelty the ornamental decorative motif of Baroque acanthus, so-called Italian leaves, and his statues anticipate a new style expressed in the mobility of the slender figures of saints in characteristic counterpoise, freeing them from dependence on altarpiece niches.      \nKomersteine's expression in his work has no direct analogies either in Croatia or in neighbouring territories, but the indirect influence of Italian art in his work is undeniable.  \nDuring renovations in 1882, both altarpieces were removed from Zagreb Cathedral.","short_description":"A “composite” altarpiece composition comprising parts from the Altarpieces of St. Mary and St. Ladislaus originally designed for the apses of the north and south aisles of Zagreb Cathedral.  \nDuring renovation of the cathedral in 1882, both altarpieces were removed and partially destroyed in the process. They were made by Ivan Komersteiner, a sculptor who worked first in Ljubljana and then in Zagreb. His arrival in Zagreb marked the final entrance of the Baroque to continental Croatia.","type":"Altarpiece(s)","holder":"Museum of Arts and Crafts","initial_owner":"Zagreb Cathedral","dates":"1686–1688; 1688–1690","location":"Zagreb, North-West Croatia","dimensions":"H: 220 cm; w: 214 cm; d:194 cm","place_of_production":"Zagreb","method_for_datation":"Contracts from 1686 and 1688 in Acta capituli antiqua fasc. 101","provenance":"From Zagreb Cathedral","obtention":"In 1921, the Commission for Education and Religion gave the order to transfer parts of the altarpieces to the Museum of Arts and Crafts to protect the cultural heritage.","bibliography":"Tkalčić, I., *Prvostolna crkva zagrebačka* (Zagreb Cathedral), Zagreb, 1885.  \nBaričević, D., *Kiparstvo manirizma i baroka. Sveti trag, devetsto godina umjetnosti Zagrebačke nadbiskupije 1094–1994*. Katalog izložbe (Mannerist and Baroque Sculpture. The Holy Trail, 900 Years of Art in the Zagreb Archdiocese 1094–1994), exhibition catalogue, Zagreb, 1994.","workshop":"Sculptural workshop of Ivan Komersteiner","artist_birthdate":"Unknown","artist_birthplace":"Unknown","artist_deathdate":"1694","artist_deathplace":"Zagreb","author":"Nela Tarbuk","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["Altarpiece; Madonna; workshop; sculpture; sculpted wood; carved wood; floral decoration; vegetal decoration; gilding"],"materials":["Carved wood, polychrome and gilded"]},"c2f6e9fe-ab29-564b-aeb1-f14417f8e49c":{"name":"*Pietà*","alternate_name":"*Our Lady of Pietà*","description":"With a preference for sculpture of enormous dimensions that entirely occupy the grand gilded altarpieces of the period, Frei Cipriano da Cruz is considered to be the most extraordinary representative of the National Baroque style.  \nHis sculpture was generally based on models that circulated throughout Europe and can be considered within the context of other depictions of the Crucifixion and Passion of Christ. A monk-sculptor, the *Pietà* is one of Frei Cipriano's greatest achievements. It exemplifies a theme widespread in Portuguese art in the 16th and 17th centuries, meeting most of the essential Tridentine ideals.  \nThe *Pietà* belongs to an ensemble of pieces made by Frei Cipriano for the S. Bento Church, which belonged to the college of the Benedictine order in Coimbra and was demolished in 1932.  \nThis ensemble features anatomical details that are typical of Frei Cipriano, in particular the hands and faces. In the *Pietà* Christ's hands are rough with square-shaped finger nails. His face is framed by abundant curly hair; the S-shaped curls are also present in the beard. The Virgin displays a heavy look; she has high symmetrical eyebrows, a long triangular-shaped nose, and thin defined lips.  \nThe heavy and pyramidal structure of the *Pietà* is accentuated by the drapery: the red, blue and gold cloak that completely wraps the figure. The drapery is notable in that its decorative motifs correspond with textiles of the period – elaborate brocades and oriental silks. The drapery and embroidery, generally designated as “upholstery”, were pre-made in resin-wax and were applied to the figure later after painting and finishing.  \nThe motif of the artichoke particularly stands out. It imitates the three-bordered brocade of Spanish and Italian origin and is strategically placed on the Virgin's knee to have the greatest visual impact.  \nAccording to recent research (Alcoforado and Le Gac, 2003) Manuel da Costa Pereira, who was responsible for painting and gilding the *Pietà*, often worked with other painters. Further research about them will bring us closer to understanding the originality of Frei Cipriano da Cruz's sculpture.","short_description":"With a preference for sculpture of enormous dimensions that entirely occupy the grand gilded altarpieces of the period, Frei Cipriano da Cruz is considered to be the most extraordinary representative of the National Baroque style. The Pietà represents one of his greatest achievements.","type":"Sculpture ensemble belonging to an altarpiece structure","holder":"Machado de Castro National Museum","owner":"Museu Nacional de Machado de Castro","initial_owner":"Church and college of S. Bento, Coimbra","dates":"1685–1690","location":"Coimbra, Coimbra","dimensions":"H: 137 cm; w: 152 cm; d: 64.5 cm","place_of_production":"Coimbra","method_for_datation":"Archive documents: carving and gilding contracts","provenance":"Church and college of S. Bento, Coimbra","obtention":"By transfer as a consequence of the extinction of the religious orders.","bibliography":"Smith, R. C., *Frei Cipriano da Cruz, Escultor de Tibães. Elementos para o estudo do Barroco em Portugal*, Barcelos, 1968.  \nMoura, C., “Uma poética da refulgência: a escultura e a talha dourada”, *História da Arte em Portugal*, VIII, Lisbon, 1986.  \nMoura, C., “Frei Cipriano da Cruz Sousa”, *Dicionário da Arte Barroca em Portugal*, ed. J. Fernandes Pereira and P. Pereira, Lisbon, 1989.  \nAlcoforado, A., Le Gac, A., *Frei Cipriano da Cruz em Coimbra*, Coimbra, 2003.  \nAlcoforado, A., “Imagens e símbolos esculpidos”, *Museu Nacional de Machado de Castro-Roteiro*, Lisbon, 2005, pp. 46–68.","workshop":"Portuguese Baroque/Benedictine conventual sculpture","copyright":"Copyright images: Divisão de Documentação Fotográfica/ Instituto dos Museus e da Conservação, I.P.","author":"Ana Alcoforado","translator":"Lili Cavalheiro, Cristina Correia","translation_copy_editor":"Mandi Gomez","keywords":["Sculptor; collection; altarpiece structure; upholstery; three-bordered brocade; Benedictine order; Madonna"],"materials":["Carved wood, gilded and polychrome, with chisel chasing; *sgrafitto* and embroidery applied to resin-wax."]},"c37ef84c-4918-5c4a-89b2-3c585804a510":{"name":"*Bust of a Saint*","description":"The bust, on an original volute pedestal, arises out of a relatively narrow base widening into a compact chest. The bearded head is that of an old man, with a cloak thrown loosely over the right shoulder. The figure might be St. Hieronymus, one of the church fathers. The pedestal shows that the object was a reliquary.  \n*Bust of a Saint* demonstrates the artist's broad creativity seen not only his technical craft but also in his ability to capture mental states. The ecstatic expression of desire and submission to God is not rough-hewn, but has an elegant, court-like nature manifest in the figure's S-shaped movement and the soft shaping of the volume.  \nLengelacher may have familiarised himself with bust-making in his native Bavaria, or during a stay in Vienna through Giovanni Giuliani, who provided the gallery pews in the Heiligenkreutz Monastery, Lower Austria, with a whole series of busts. Lengelacher probably met Giuliani while working on the decorations of the Belveder in Vienna.  \nIn 1719 Lengelacher settled in Mikulov, where as sculptor to Walter František of Dietrichstein, he created sculpted interior decorations for several south Moravian churches. Lengelacher's *Bust of a Saint* is part of a series of original decorations for altar tables in the Church of St. Michael, Dolní Věstonice, which Lengelacher embellished with stuccoes and carvings. The artist worked there from the 1720s in relation to one of his first major commissions, the Benedictine church in Rajhrad (1727–1734).","short_description":"*Bust of a Saint* demonstrates both the artist's skill as a sculptor and his ability to capture mental states. The ecstatic expression of desire and submission to God is not rough-hewn but has an elegant, court-like nature. The reliquary bust is part of the original altar decorations in Dolní Věstonice.","type":"Sculpture","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","initial_owner":"Church of St. Michael in Dolní Věstonice","dates":"1730","location":"Governor’s Palace, Brno, Moravia","dimensions":"h: 27.2 cm","place_of_production":"Moravia","method_for_datation":"The authorship and dating of the sculpture have been determined by its provenance and confirmed by an analysis of the style.","provenance":"Private collection","obtention":"The bust and its counterpart were purchased in 1913 from a private vendor. It comes from the Church of St. Michael in Dolní Věstonice in South Moravia.","bibliography":"Miloš Stehlík, Moravské dílo Ignáce Lengelachera, in *30 let Krajského střediska památkové péče a ochrany přírody v Brně,* Brno, 1989, pp. 154–174.  \nMiloš Stehlík, in Ivo Krsek – Zdeněk Kudělka (ed) – Miloš Stehlík – Josef Válka, *Umění baroka na Moravě a ve Slezsku*, Prague, 1996, p. 99.  \nVlasta Kratinová, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, p. 166, cat. 42.","artist_birthdate":"1698","artist_birthplace":"Unter Peissenberg","artist_deathdate":"1780(?)","artist_deathplace":"Baden","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Bust; reliquary; religious object; sculpture; sculpted wood"],"materials":["Wood, silver-plated"]},"c38f62f6-12fe-51b9-8cb4-2373b6920841":{"name":"*David*","description":"This is the third group that Gian Lorenzo Bernini undertook for Scipione Borghese, around the same time that he was making *Apollo and Daphne*.  \nIt shows David, the young hero of the Old Testament (the Book of Kings), prophet of Christ, just before he slings his stone at the giant Philistine Goliath. David's attitude would be incomprehensible if we did not perceive our own space as part of the scene. The enemy Goliath is in the same space as the viewer, with Bernini removing the boundary between the sculpture and the space that surrounds it, a space that also encloses us, participants in the scene. The resultant theatrical effect is one of the recurring themes in Baroque art.  \nThe work reveals the influence of modern and ancient sculptural models as well as contemporary painting styles, but the artist affords the whole a new realism. The face, possibly a self-portrait, is concentrated in a moment of high drama. The tension of the imminent action is visible in every muscle of the face and body, suspended between stasis and motion, as well as in the detail of the foot jutting out over the plinth, giving a strong impression of gripping on to it.  \nThe sculpture was backed on to a wall so that the viewer, when entering the room, saw it from the angle intended by the artist: obliquely from the left. This effect was calculated to enhance the plastic tension of the hero and the pictorial value of the sculpture through development of the action by walking around to the front of the statue.    \nThe original base was lost when the work was moved around the Villa over the centuries. The plinth has been enlarged using plaster to suit a taste for greater regularity, but was removed in a recent restoration, restoring the Baroque effect rendered by the structure of the foot.","short_description":"Cardinal Borghese commissioned Bernini to sculpt the David when he was 25 years old. The artist had the intuition to stop the biblical hero just one second before the shot, placing Goliath’s presence in the viewer's space; perhaps a self-portrait of Bernini.","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Cardinal Scipione Borghese","dates":"1623–1624","location":"Rome, Latium","dimensions":"h: 170 cm","provenance":"Borghese Collection","obtention":"The Borghese Collection was acquired by the Italian State in 1902.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al secolo XIX*, Rome, 1954, n.34, pp. 31–34.  \nWittkower, R., *Gian Lorenzo Bernini. The Sculptor of the Roman Baroque*, London, 1955 (ed. Italiana Milano, 1990, cat. 17, p. 239).  \nPreimesberger, R., “David”, in *Bernini Scultore, La nascita del Barocco in Casa Borghese*, exhibition catalogue, Rome, 1998, pp. 204–219.  \nMinozzi, M., Sorrentino M. A., Chilosi M. G., Rockwell P., “David” in *Bernini scultore e la tecnica esecutiva*, Rome, 2002, pp. 164–183.","artist_birthdate":"1598","artist_birthplace":"Naples","artist_deathdate":"1680","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Classical model; movement; marble; anatomy; self portrait; theatre"],"materials":["Marble"]},"c3bdb147-116b-56ed-8b27-f2a31d87f80f":{"name":"Putto with a winged helmet blowing a horn","alternate_name":"Horn-blowing putto / Putto with crumhorn","description":"The small sculpture was assumedly used as a table decoration in the Augsburg Fugger Palace, the residence of the Fugger family. At the time, wealthy merchants may have felt the influence of Roman mythology and this reason chosen as their symbol the God of Commerce, Travel and Theft, Mercury, who is iconographically reflected by the winged helmet worn by the putto. The aeruginous black bronze figure has been placed in a standing, forward-stepping frontal position on a plinth. The nude body is partly covered by a fluttering cape. With his head raised and chubby cheeks, the Putto is about to sound the crumhorn and to recount the history of the Fugger family to his audience. The impression of effort and determination comes from the gesture of his left arm stretched out with a clenched fist. The front of the helmet has been decorated with the motif of a fire-spitting dragon, which might well represent a symbol of defence.","short_description":"The small bronze figure of a nude Putto sounding a crumhorn and wearing a winged helmet can be regarded as an allusion to Mercury the antique God of Commerce and Travel with the helmet symbolising the world of wealthy merchants.","type":"Small sculpture","holder":"City Museum","initial_owner":"House of Fugger, Augsburg","dates":"c. 1627/30 (possibly later)","location":"Weilheim in Oberbayern, Upper Bavaria","dimensions":"Height 19 cm","place_of_production":"Augsburg","method_for_datation":"Through stylistic analysis of Petel’s work.","obtention":"From art dealers in Munich.","bibliography":"Helm, R., “Putto mit Krummhorn”, *Kunst und Handwerk in Weilheim i.OB*, Stadt Weilheim (City of Weilheim (ed.)), Weilheim i. OB 2000, pp. 78–82.","workshop":"“Weilheim School of sculptors” (with H. Krumpper, H. Degler, C. Angermair, B. Steinle, P. Dirr); an important work of the Early Baroque in Weilheim in Oberbayern because of the pathos displayed by the figures.","artist_birthdate":"1601/2","artist_birthplace":"Weilheim in Oberbayern","artist_deathdate":"1634/5","artist_deathplace":"Augsburg","author":"Reinhardt Helm","translator":"Holger Rhensius, Robert Robin, Wolf Schindler","translation_copy_editor":"Mandi Gomez","keywords":["Figural decoration; bronze figure"],"materials":["Bronze, black patina"]},"c3e4b4cd-933f-5d90-8421-12d6189be2e7":{"name":"Stucco stained-glass window.","alternate_name":"*Qamariyya* (skylight); *shamsiyya* (window).","description":"A stucco stained-glass window divided into 21 decorative units of vegetal and geometric motifs and inscriptions. The first unit is composed of a circular “flower” that complements and forms the arch, and which is adorned with a colourful geometric decoration in yellow, turquoise and dark-red glass. Adjacent to this area is a rectangular zone which contains the only inscription on the window. This is a verse from the Qur'an \\[“al-Tawba”\\] (“the Repentance”, 9: 18), which reads: “In the Cause of Allah, They are not comparable in the sight of Allah.” The inscription is carved in an interlaced script of white glass. The surrounding space is filled with simple squares of light-blue glass. Adjacent to the inscription are three squares of equal size. The two side squares are identical, and in the middle of each of them there is an eight-sided star. Both are divided into small pieces of dark-red, green and yellow glass. The middle square contains two polygons of yellow and blue glass; the decorative component transfers thereafter to three long rectangles. The two side rectangles are identical and are decorated with intertwining zigzag lines of blue, yellow and dark-red glass. The middle rectangle takes the form of a flower, out of which emerges an intertwining plant that wraps around three times to resemble a circle, and which is topped by a crown formed from vegetal motifs. The window terminates with three squares that are identical in size, and which resemble those mentioned earlier.  \nThe manufacture of stucco windows inset with stained glass requires a number of stages. The first stage is the preparation of a solid wooden frame to contain the finished window. Liquid plaster is then poured into the frame and left to dry completely. The window is then placed on an iron mount where an imprint of the decoration is made on the surface of the plaster. This can be done by transferring the design from a sheet of tracing paper with the use of a needle and lead filings, and then using a cutting tool. The carving is done directly on to the plaster by hand with the use of precision tools. The work is extremely exacting as the plaster is fragile, making the window vulnerable to damage. The carving is done at a level of deflection of 45 per cent, allowing light to fall at the centre of the mosque hall. The glass is slotted into the empty spaces from the back. Finally, the window is transferred from the workshop to the site where it is mounted. To produce a window such as this would take between nine and 12 months.","short_description":"This stucco window from al-Aqsa Mosque is divided into 11 decorative elements derived from vegetal, geometric and epigraphic forms. The independent elements appear as a collective unit within a wooden frame, which gathers a multiplicity of decorative forms in a number of colours.","type":"Stucco, glasswork","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Al-Aqsa Mosque, Jerusalem.","dates":"Hegira 12th century / AD 18th century.","location":"Jerusalem","dimensions":"Height 325 cm, width 128 cm.","method_for_datation":"The piece was dated by comparison of its style, decoration and form of production with other dated pieces, which are still *in situ*.","method_for_provenance":"Jerusalem was narrowed down as the place of the production of this piece in view of the presence of a permanent workshop for the production of such windows in the Haram al-Sharif. This workshop is still active at the Haram today and was re-established following a fire at al-Aqsa Mosque in 1969.","provenance":"Jerusalem.","obtention":"The piece was transferred from al-Aqsa Mosque to the Islamic Museum in around 1929 during renovation works that took place following an earthquake which struck Jerusalem in 1927.","bibliography":"Flood, F. B., “The Ottoman Windows in the Dome of the Rock and al-Aqsa Mosque”, in S. Auld and R. Hillenbrand (eds), *Ottoman Jerusalem*, London, 2000.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_FR_001; IAM_PA_FR_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Stucco; stained-glass; vegetal decoration; geometric decoration; mosque interior decoration"],"materials":["Carved wood, plaster/stucco and stained-glass."]},"c41a0993-462a-5165-a2e7-78834dccf500":{"name":"*Bust of Cardinal Domenico Ginnasi*","description":"In 1911 the bust was found in the Carmelite Convent at the Church of Santa Maria della Vittoria, relocated from the Church of SS. Pietro e Marcellino, the seat of the Teresian Nuns. The nuns moved there in 1757, from the convent founded after the death of Domenico Ginnasi in Palazzo Ginnasi in 1639, and they took the bust with them, having always identified it as a portrait of the cardinal.  \nThe work was first attributed to both Bernini and Algardi, before being linked to Giuliano Finelli following comparison with the bust the sculptor made for the cardinal for his funeral monument at S. Lucia dei Ginnasi (the decoration is based on a design by Lanfranco, whose daughter married Finelli).  \nThe sculptor worked with Bernini on several occasions, notably on *Apollo and Daphne* in the Galleria Borghese and the baldachin (large sculpted bronze canopy over the altar) of Saint Peter's. He worked alone from 1629 and joined Rome's artistic circle thanks to the numerous contacts that he was able to make, notably Pietro da Cortona, who in turn introduced him to the Sacchetti family, well known patrons.  \nHis style is characterised by attention to detail, intense skill and psychological depth, but always retaining spontaneity and immediacy, a peculiarity of Bernini's so-called “talking portrait”. The partially unbuttoned *mozzetta* (a short elbow length cape worn by Catholic clergy), the kindly and informal face and the realistic lines are clear evidence of this style.  \nIn relation to this, a *Bust of Cardinal Scipione Borghese* made by Finelli and currently in the Metropolitan Museum of New York, was sculpted at the same time as the Bernini version (1632). In 1634 Finelli moved to Naples, where he developed a portrait style closer to Parthenopean and Spanish taste, preferring distant, official, commemorative portraits. However in the work undertaken at this time for Roman clients, he never completely abandoned his refined virtuosity and keen psychological study, as can be seen in the bust of Cardinal Ginnasi, sculpted in 1639.","short_description":"A pupil of Bernini, Finelli focused his attention on the particular rather than the whole. This tendency prevented Finelli from being a great statuary artist, although it enabled him to evolve a striking flair for portraiture.","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Carmelite Sisters, Palazzo Ginnasi Convent (?)","dates":"1639","location":"Rome, Latium","dimensions":"h: 68 cm","provenance":"Carmelite Convent in Santa Maria della Vittoria","obtention":"Carmelite Convent in Santa Maria della Vittoria, 1911.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al secolo XIX*, Rome, 1954, n.2, p. 10.  \nSanta Maria, P. L., in *voce* “Giuliano Finelli”, in *Dizionario Biografico degli Italiani*, Milan, 48, 1997, pp. 32–34.  \nStefani, C., *Galleria Borghese*, Milan, 2000, p. 385.","artist_birthdate":"1602–3","artist_birthplace":"Massa (Massa–Carrara)","artist_deathdate":"1653","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Bust; marble; portrait; Bernini; Algardi; patronage; talking portrait"],"materials":["Statuary marble"]},"c4ea2f24-36c4-5686-ab6e-70e5af5815a2":{"name":"Horse and rider","short_description":"The small statue in full relief represents a rider on horseback and it was a vase or a bottle.","type":"Ceramic; pottery","holder":"MAO Museum of Oriental Art","dates":"Hegira 6th–7th century / AD 12th–13th century","location":"Turin","dimensions":"Height 27.5 cm, length 23.5 cm","provenance":"Iran","dynasty":"Seljuq","keywords":["Seljuq; ceramic; pottery"],"materials":["Frit body; black and cobalt blue decoration under turquoise glaze"]},"cbb6bbe3-72b1-5d00-b8a3-fc74f38248d4":{"name":"Sacramento Monstrance","alternate_name":"*Anjo Custódia* do Sacramento","description":"An exceptional example of Baroque workmanship during the period of King João V, the Sacramento Monstrance – also called the *Anjo Custódia “*Angel Monstrance” – assumes the form of an Atlantis angel, a figure that is sometimes incorporated into the lower part of gilded wooden altarpieces. In this particular case the Atlantis angel appears free; instead of the usual representation as a pillar sustaining a globe the angel holds a radiant sun. Theatrical tension is undoubtedly achieved with the decoration of the piece itself, but the monstrance would have been surrounded by the gilded wood of the sacred space of the high altar and the aim would have been to increase the emotional and devotional fervour of the congregation and lead them to contemplate the divine light of truth and its beauty.  \nSymbol of the Church Triumphant, the monstrance is a splendid composition of contrasting effects: dynamic lines and imposing shape – the result of which sees the elegant sculptural angel in polychrome and gilded wood – and the resplendence of silver, colour and glinting of both the enamel and glass.  \nThe kneeling angel holds a spherical, smooth and polished monstrance enveloped in a corona of silver rays. Surrounding the *luna* – the space where the host is kept and exhibited – are Eucharistic symbols enhanced by brightly coloured enamel work, and mounted over a circular base with eight ornamental silver-gilt cherubs. Vegetal motifs and coloured glass form flowers to complete the decoration. The monstrance presents a municipal contrast between the silver from Lisbon (L), in use since 1690, and the incomplete hallmark of an unidentified goldsmith from Lisbon, whose initials were LRP, and who was active between the end of the 17th century and the first half of the 18th century.","short_description":"Holding the solar sphere made out of silver – glowing with the true Word of God – the Atlantes angel is supposed to increase the emotional and devotional fervour of the congregation and lead them to contemplate the divine light of truth and its beauty. This piece was probably the highlight of the gilded wood high altar at Sacramento Convent in Lisbon.","type":"Metalwork","holder":"Machado de Castro National Museum","owner":"Museu Nacional Machado de Castro, Coimbra","initial_owner":"Santíssimo Sacramento Convent, Lisbon","dates":"First half of the 18th century","location":"Coimbra, Coimbra","dimensions":"H: 222 cm ; w.: 162 cm","place_of_production":"Lisbon","method_for_datation":"This goldsmith’s hallmark first appeared in the early part of the decade of 1690 and continued to appear throughout the first decades of the 18th century. The technical and stylistic affinities of both the figure of the Atlantis angel and the polychrome allow the monstrance to be placed within the Baroque style during the reign of João V (1707–1750).","provenance":"Santíssimo Sacramento Convent, Lisbon","obtention":"The monstrance came originally from the Santíssimo Sacramento Convent in Alcântara, Lisbon. Founded in 1612, the convent belonged to the female branch of the Dominican order and was closed after the death of the last nun in 1897. The monstrance was transferred to Coimbra in 1914 where it became part of the gold and silverware collection of the National Museum of Machado de Castro.","bibliography":"Gonçalves, A. N., *Catálogo do Museu Machado de Castro*, Coimbra, 1940, p. 50, cat. 272.  \nAlmeida, F. M. de, *Inventário de Marcas de Pratas Portuguesas e Brasileiras. Século XV a 1887*, Lisbon, 1993, p. 78 (L-17A) and p. 149 (L-402A).  \nTeixeira, J., de Monterroso, “Custódia do Sacramento” in The Age of the Baroque in Portugal, (ed. J. A. Levenson), New Haven–London, 1993, pp. 286–288.  \nAlves, F., Ferrão, P., *Alfaias de culto, símbolos de prestígio*, Lisbon, 2005, p. 84.","copyright":"Copyright images: Divisão de Documentação Fotográfica/ Instituto dos Museus e da Conservação, I.P.","author":"Fernanda Alves, Pedro Miguel Ferrão","translator":"Lili Cavalheiro, Pedro Miguel Ferrão","translation_copy_editor":"Mandi Gomez","keywords":["Monstrance; luna; Atlantes angel; goldsmiths; religious object"],"materials":["Monstrance: chiselled silver with relief, enamel and glass; sculpture: gilded and polychrome oak."]},"cc3b74af-a7c4-51db-b788-69489a7072e4":{"name":"*Proximus tuus* \\[Latin: Your Neighbour\\]","short_description":"In 1880 Achille D’Orsi submitted two artworks, including *Proximus Tuus*, to the National Exhibition of Fine Arts in Brera. The sculpture of *Proximus Tuus* made D’Orsi famous as a member of the Italian “Verismo” school of painting. The misery and harshness of fieldwork is represented for the first time in sculpture to denounce the consequences of the brutalisation of the human beings. This clear social denunciation created the emergence of a huge debate over this issue. The body and the facial expression of the peasant exhausted by labour became a symbol of the working class. The sculpture makes a plea for sympathy and pity for the worker right from the work’s title, expressed in Latin. The subject of the painting has been reproduced and copied several times in order to produce greater awareness over these problems.","type":"Sculpture","holder":"National Gallery of Modern Art (GNAM)","dates":"1880","location":"Rome","dimensions":"106 x 120 x 135 cm","provenance":"Italy","artist_birthdate":"1845","artist_birthplace":"Naples","artist_deathdate":"1929","artist_deathplace":"Naples","copyright":"Copyright image: Soprintendenza alla Galleria Nazionale d'Arte Moderna e Contemporanea.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Italian sculptors; realism; Positivism; Verismo; social topics; post-unitarian Italian society; health; work; rights of workers; peasant; agriculture; working class; social changes; reforms; life expectancy; poverty; literacy; illiteracy; labour"],"materials":["Bronze"],"artist":"Achille D'Orsi"},"cd05b644-c357-52ab-89b2-eb3a5e54560e":{"name":"Parian ware colossus","short_description":"Figurines based on the Assyrian sculptures were popular collecting pieces. Owners displayed their interest current events. Buyers included the rich and famous, as well as museums. These Parian ware figurines were also exhibited. Winged bull.","type":"Ceramic","holder":"The British Museum","dates":"1882","location":"London","provenance":"United Kingdom","keywords":["Assyrian revival"]},"ce2320b1-90a7-587e-a23e-2b91e7aba0bb":{"name":"Tomb relief from Palmyra","short_description":"Late antique relief of a woman and a man from Palmyra. This relief was given to the Imperial collection by k.k. Legationsrat Dr James Samson, an Austrian diplomat in the Ottoman Empire.","type":"Sculpture","holder":"Kunsthistorisches Museum, Collection of Greek and Roman Antiquities","dates":"AD 3rd century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Palmyra; Syria;"],"materials":["Stone"]},"cee9abc9-7697-5210-9e9a-510d6ec672a0":{"name":"Model for a male saint (St. Paul?)","description":"The small sculpture without a colour setting was originally used as a model for an assistant figure on an altar which is still unknown. Its strong impression, influenced by the sculptor J. B. Straub, resembles the laterally reversed large figure of *St. Joachim* which is part of the high altar of the monastery church of Fürstenfeld. The sculpture is considered to resemble the Apostle Paul, which iconographically is typified by the full beard and the large folio held on the left thigh. The dressed figure with a greatcoat has been placed in a standing position, with bare feet, right leg on the ground, and the left foot gaining a foothold on a rock. While the left arm is stretched out ahead and to the side with (the now lost) hand in an instructive attitude, the head is slightly raised and the lips are closed. The plinth is of modern origin.","short_description":"The small sculpture without a colour setting was originally used as a model for an assistant figure on an altar. Despite the small size of the figure its impression is astonishingly monumental.","type":"Small sculpture","holder":"City Museum","dates":"Third-quarter of the 18th century (possibly later)","location":"Weilheim in Oberbayern, Upper Bavaria","dimensions":"Height 41 cm","place_of_production":"Weilheim in Oberbayern","method_for_datation":"Stylistic analysis of Schmädl’s work.","obtention":"From art dealers in Munich.","bibliography":"Helm, R. “Prophet oder Apostel”, *Kunst und Handwerk in Weilheim i.OB*, Stadt Weilheim (City of Weilheim (ed.)), Weilheim i. OB 2000, pp. 68–70.","workshop":"“(Late) Weilheim School of sculptors”; one of Schmädl’s most accomplished sculptures","artist_birthdate":"1705","artist_birthplace":"Oberstdorf","artist_deathdate":"1777","artist_deathplace":"Weilheim in Oberbayern","author":"Reinhardt Helm","translator":"Holger Rhensius, Robert Robin, Wolf Schindler","translation_copy_editor":"Mandi Gomez","keywords":["Religious object; model"],"materials":["Lime-wood"]},"cfd3dc7b-5257-57f1-9440-8273cb0c0104":{"name":"*At The Well*","type":"Painting","holder":"National Museum of Oman","owner":"National Museum of Oman","dates":"AH 1431–32 / AD 2010","location":"Muscat","dimensions":"Height: 51 cm, base length: 24.5 cm, base width: 21.7 cm","place_of_production":"Oman","provenance":"Collections of Sultan Qaboos bin Sa’id al Sa’id","artist_birthdate":"AD 1965","artist_birthplace":"Zanzibar Island","copy_editor":"Alvaro Miranda","materials":["Bronze and wood"]},"cfe04c10-c802-5c71-9567-60d035ba26a9":{"name":"Head of St. Philip Neri","description":"This head modelled in wax is considered a replica of a bronze in the collection of the Rhode Island School of Design in Providence, made by Alessandro Algardi around 1640. Another bronze version is in the Galleria Nazionale d'Arte Antica in Rome. These bronzes were made a few years before the artist was charged with the statue in marble of St. Philip Neri for the sacristy of Santa Maria in Vallicella, in Rome (1635–38). For this commission Algardi carefully studied the death mask of the saint, dead in 1595 and sanctified in 1622. The saint's face is strained by old age and suffering but shows deep humanity, humility and the extraordinary strength of a man near to God. Its classicising features make it similar to an antique portrait.  \nAlgardi, a pupil of Ludovico Carracci's, began a career as a sculptor and in 1625 moved to Rome where he spent nearly all his artistic life.","short_description":"This wax head is thought to be a replica of two bronze ones portraying the same saint, made by Alessandro Algardi around 1640. The sculptor previously carved a marble statue of St. Philip with an angel for the sacristy of Santa Maria in Vallicella in Rome (1635-38). In these head portraits which are strictly devotional, he deepens his analysis of the facial features, emphasising the strong humanity of the saint and his strong moral and spiritual strength.","type":"Sculpture","holder":"Museo di Arte Industriale e Galleria Davia Bargellini","dates":"c. 1640","location":"Bologna, Emilia-Romagna","dimensions":"Height: 39 cm","place_of_production":"Rome (?)","method_for_datation":"The bronze head in Providence is nearly identical to the wax one, which bears a date. Critics think that heads like this were commissioned to sculptors after the success of the marble statue with St. Philip Neri and the angel for S. Maria in Vallicella, finished in 1638.","obtention":"The work was probably purchased at the beginning of the twentieth-century; no documentation survives.","bibliography":"Mezzetti, A. “Alessandro Algardi”, in *L'ideale classico del Seicento in Italia e la pittura di paesaggio* (exhibition catalogue), Bologna, 1962, p. 359.  \nHeimbürger Ravalli, M. *Alessandro Algardi* *scultore*, Rome, 1973, n. 15b.  \nMontagu, J. *Alessandro Algardi*, New Haven and London, 1985, p. 384, n. 76.C.1.  \nMazza, A. in *Museo Davia Bargellini*(ed. R. Grandi), Bologna, 1987, p. 152.  \nArcangeli, L. in *Algardi. L'altra faccia del barocco* (exhibition catalogue) (ed. J. Montagu), Rome, 1999, p. 148.","workshop":"Baroque","artist_birthdate":"1595","artist_birthplace":"Bologna","artist_deathdate":"1654","artist_deathplace":"Rome","author":"Elisabetta Berselli","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Alessandro Algardi; St. Philip Neri; Baroque Sculpture; Counter-Reformation; Oratorian Congregation; religious order"],"materials":["Red wax"]},"d2379132-91f2-5a63-8508-ac615d5bf783":{"name":"Fragment of a female statue from Mushatta.","description":"This fragment of the lower half of a female body is of a woman, whose robe has fallen, revealing her body from her hips to below her bottom. It is still possible to make out that the woman is holding the pleated robe with her right hand at her thigh, while remains of the robe are preserved at the left thigh. Her hips and buttocks remain uncovered. The thighs are intact up to a point just above the knee. The back part is covered in places by cloth, but the front of her legs is naked. The female figure, through its plump proportions and voluptuous forms, represents the aesthetic ideal of the Umayyad period for the representative arts. It belonged to the repertory of themes in the art of the court. Over the left thigh there is a deeply carved inscription in *kufic* script that runs vertically downwards, which would once have revealed the name of the woman. A satisfactory translation of the inscription has yet to be completed.  \nThe fragment belongs to a group of female figures that were displayed within various Umayyad castles. It can be said that these figures were based on the forms used both in Byzantine sculpture and painting and in Sassanid sculpture. The Umayyad Court developed its own thematic repertoire while borrowing from older examples. As well as in Mushatta, life-sized female figures were also found in Khirbat al-Mafdjar and Qasr al-Hair al-Gharbi. Near life-size paintings decorate the Palace in Qusayr ‘Amra.  \nThe question arises whether less dogmatic articles of faith obtaining during the earlier part of the Umayyad period favoured the creation of such sculptures. Undoubtedly, women were portrayed then as dancing girls and musicians, as members of harems or as goddesses. Given its incomplete condition, it is impossible to say whether this female figure was intended to represent a girl from the harem. Another female sculpture from Mushatta can be seen carrying an embossed container or cloth bag on her left side, for the purpose of sprinkling herself, or the ruler, with sweet-smelling perfume. Sculptures such as these demonstrate how powerfully pre-Islamic forms still exerted themselves over the art of this period. Nevertheless, the fact that this figure was then deliberately damaged shows how such freestanding sculptures were later disapproved of and rejected.","short_description":"In the Umayyad period Islamic caliphs and princes chose to adorn their palaces with a rich figural repertoire. This damaged female lower body with a vertical *kufic* inscription on the left thigh belonged to a partially clad, life-sized figure.","type":"Female statue, fragment, Mushatta, stone","holder":"Museum of Islamic Art at the Pergamon Museum","initial_owner":"Probably Caliph al-Walid II (r. AH 125–6 / AD 743–4).","dates":"Around hegira 125–6 / AD 743–4.","location":"Berlin","dimensions":"Height 70 cm, width 50 cm.","method_for_datation":"The origin of this piece is affirmed through its discovery during the excavation of Qasr al-Mushatta in 1903, and it could thus be contemporary to the façade.","method_for_provenance":"The provenance of the object has been affirmed through its discovery during the excavations in Qasr al-Mushatta in 1903.","provenance":"Mushatta, Jordan.","obtention":"As a gift from the Ottoman Sultan Abd al-Hamid (Abdülhamid) II along with the façade of Mushatta in 1903.","bibliography":"Baer, E., “Female Images in Early Islam”, *Damaszener Mitteilungen* 11, 1999, pp.13–24, plate 5a.  \nHillenbrand, R., “La Dolce Vita in Early Islamic Syria: The Evidence of Later Umayyad Palaces”, *Art History* 5(1), 1982, pp.1–35.  \nTrümpelmann, L., *Mschatta*, Tübingen, 1962, p.36.  \nTrümpelmann, L., “Die Skulpturen von Mschatta”, *Archäologischer Anzeiger* 2, 1965, pp.235–75, ill. 9–12.  \nTalgam, R., *The Stylistic Origins of the Umayyad Sculpture*, Wiesbaden, 2004, Vol. 1, pp.17, 29; Vol. 2, pp.61, 67, 94, 108.","dynasty":"Umayyad","linkcatalogs":"IAM_JO_EN_001","author":"Annette Hagedorn","translator":"Maria Vlotides, Brigitte Finkbeiner","translation_copy_editor":"Monica Allen","keywords":["Female figure; sculpture; fragment; torso"],"materials":["Limestone, carved and sculpted."]},"d2e14578-6d14-5f7d-85be-43b1df94ecf2":{"name":"Mary with child","description":"The Madonna, originally from Zurich and reminiscent of antique statues in posture and clothing, was imported from Northern Italy. It is an example of the reinterpretation of a sacred sculpture after the Reformation. It was used to represent the Haus Zum grossen Weissen Fräulein (house of the large white maiden) at Obere Zäune 12 in Zurich. The collection of stone sculptures in the Swiss National Museum is modest. Whereas sculptures south of the Alps were mainly carved from stone, wood was the preferred material north of the Alps.","type":"Sculpture","holder":"Swiss National Museum","owner":"Swiss Confederation","dates":"Around 1500","location":"Zurich","dimensions":"H: 110cm","method_for_datation":"Stylistic analysis","provenance":"Northern Italy","obtention":"Given into property 1891 as part of the «Morgengabe»","keywords":["Madonna with child; Zurich; Sculpture; Northern Italy; Marble; Haus zum grossen weissen Fräulein; Obere Zäune"],"materials":["Carved marble"]},"d6415725-869b-5372-aaf8-ec6ca4131379":{"name":"*Judith and Holofernes*","description":"This carved panel depicting *Judith and Holofernes* in high relief is part of pair, the other panel is an image of *Rebecca and Eliezer at the Well*.  \nDuring the Baroque era, Northern Europe experienced a revival of collecting precious ivory objects. The anonymous artist is very skilled in ivory carving technique and shows a deep knowledge of Italian classicism and baroque sculpture. The scene is well planned showing Judith with the sword in her hand, the beheaded body of Holofernes and an old servant holding the head of Holofernes. An angel is in the background holding a curtain. Clarity, narrative, theatricality and elegance join together to form a high quality work of art. These two bas-relieves have been frequently attributed to the French sculptor Pierre Puget; if this is correct, these panels are the only surviving ivory works of his.","short_description":"This carved panel depicting *Judith and Holofernes* in high relief is part of a pair, its pendant showing *Rebecca and Eliezer at the Well*.  \nIn the seventeenth-century there was a revival in collecting precious carved ivory objects, especially in northern Europe. Clear and efficacious narrative, theatricality and elegance combine in this high quality piece which has all the main features of late seventeenth-century art.","type":"Sculpture","holder":"Museo Civico Medievale","dates":"Third quarter of the seventeenth century","location":"Bologna, Emilia-Romagna","dimensions":"24 x 15 cm","place_of_production":"Unknown","method_for_datation":"The carving is dated to around the second half of the seventeenth-century due to stylistic evidence.","obtention":"Petronio Matteucci, a professor of astronomy in Bologna University and assistant to the Specola donated both panels to the University Collections in 1740. With the creation of the Museo Civico di Bologna (1871), the two panels were given to the Municipality and exhibited in room XV in the new museum. In 1985 they became part of the ivory collection of the Museo Civico Medievale.","bibliography":"Bigiavi, L. “Due opere giovanili del Puget al Museo Civico di Bologna”, *Paragone:*  123, 1960, pp. 37-40, fig. 38.  \nHerding, K. *Das Bildnerische Werk*, Berlin, 1970, fig. 18.  \nBernardini, C., in *Introduzione al Museo Civico Medievale*, Bologna, 1987, pp. 89-90, n. 61.  \nSouchal, F. *French Sculptors of the sevententh and eigthteenth-centuries, the Reign of Louis XIV*, London, III, 1987, n. 41.  \nGeorget, L. in *Pierre Puget, Peintre, sculpteur, Architecte 1620-1694* (exhibition catalogue), Marseilles, 1994, pp. 164-165, n. 59.","workshop":"Full baroque","author":"Elisabetta Berselli","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["*Judith and Holofernes*; carving; ivory; Pierre Puget; Pendant; university; bas-relief; Christian themes; collection; collector"],"materials":["Carved ivory"]},"dc31ffa1-da00-5df9-9b60-5eca4bdaeb38":{"name":"Frieze","short_description":"Frieze of ram heads from South Arabia found by Eduard Glaser during one of his four expeditions in Yemen from 1882 to 1894.","type":"Sculpture","holder":"Kunsthistorisches Museum, Egyptian Collection","dates":"4-3th century BC; brought to Vienna by Edward Glaser in 1882–1894","location":"Vienna","dimensions":"Height 12 cm, B 20 cm, Diameter 15 cm","copy_editor":"Daniel de la Vega","keywords":["Yemen; Eduard Glaser; Museum of Fine Arts Vienna"],"materials":["Stone (Kalksinter)"]},"e0f5275e-821c-5cc3-a635-77aec649ddfd":{"name":"Zoomorphic figurine","short_description":"Free standing earthenware horse figurine was probably a toy. It's covered with a cream coloured engobe and painted in a brownish black slip under a transparent colourless glaze.","type":"Toy, earthenware, ceramic","holder":"Dar al-Athar al-Islamiyyah","dates":"Hegira 4th century / AD 10th century","location":"Kuwait City","provenance":"East Iranian World","dynasty":"Samanid","keywords":["Earthenware;  Horse; Engobe; Slip; Glaze; horsemanship"]},"e144c07e-081a-52eb-91fc-9fd067a8b179":{"name":"*Motherhood*","type":"Sculpture","holder":"National Museum of Oman","owner":"National Museum of Oman","dates":"AH 1402–03 /AD 1982","location":"Muscat","dimensions":"Height: 80cm","place_of_production":"Oman","provenance":"Local acquisition, purchasing AD 2018","obtention":"Local acquisition program (purchased 2018).","artist_birthdate":"AD 1955","artist_birthplace":"City of Masqat","artist_deathdate":"2018","artist_deathplace":"City of Masqat. Sultanate of Oman","copy_editor":"Alvaro Miranda","materials":["Teak Wood"]},"e608c729-04c2-56e1-b2e3-0064a245a0ed":{"name":"*Portrait of Historian, Márton György Kovachich*","description":"Messerschmidt was born in south-west Germany. After studying in Munich and Graz, he matriculated at the Academy of Fine Arts in Vienna in 1755. Having graduated, he was employed at the Imperial Arms collection. During the period 1760–69 his work followed the artistic style of the Late Baroque court, at that time under the determining influence of Balthasar Ferdinand Moll. From 1769, Messerschmidt's first Neo-Classical works appear and to which he applied the experiences of his study trip to Rome in 1765. In 1770–72, Messerschmidt began to work on his so-called *Character Heads*, obviously connected with certain paranoid ideas and hallucinations from which, at the beginning of the 1770s, the master began to suffer. After an unsuccessful application to the office of a leading professor at the Academy, in 1777, he settled down in Pozsony (Bratislava) where he dedicated himself primarily to his *Character Heads* and in addition made other portraits as well.  \nThe bust of Márton György Kovachich (1743–1821), a historian, a custodian of the Buda university library, and one of the most eminent scholars of the Enlightenment in Hungary, was the last of these commissions in Messerschmidt's oeuvre. Kovachich commissioned the portrait directly from the artist in Pozsony (Bratislava), a fact corroborated by a letter from Kovachich dated 1 May 1783, at which time the portrait was already standing in his room in Buda. Like the *Character Heads* the bust is made in the early Neo-Classical style preferred by Messerschmidt since 1769–70. His works of this period have an accentuated plainness, but nevertheless have a vigorous modelling and structure. The portraits have a timeless, monumental character enhanced by their firm portraiture, one marked by the face-on portrayal of his subject. These stylistic characteristics of the Neo-Classical aesthetic are, however, coupled with an exact portrayal of the sitter's features, so that Messerschmidt's portraits remain very close to a realistic appraisal of human individuality.","short_description":"Messerschmidt moved to Vienna and later to Pozsony (Bratislava) from Bavaria. He made his famous *Character Heads* in Pozsony (Bratislava) when he was mentally ill. All of them portray the features of the artist. The bust of the historian, Kovachich, was made by the artist at a time when he his mental health was good.","type":"Sculpture","holder":"Museum of Fine Arts","initial_owner":"Márton György Kovachich, University of Buda, Studio of Kovachich, Buda","dates":"1782","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 44 cm","place_of_production":"Buda","method_for_datation":"By historical documents","provenance":"University of Buda, Studio of Kovachich, Buda","obtention":"Purchased from a private collection in 1896","bibliography":"Pötzl-Maliková, M., *Franz Xaver Messerschmidt*, München, 1982, pp. 239–240.  \nPötzl-Maliková, M., “Cat. Nr. 187” in *Barokk művészet Közép-Európában. Utak és találkozások* (Crossroads: Baroque Art in Central Europe) exhibition catalogue, (ed. G. Galavics), Budapest, 1993.  \nKrapf, M., “Cat. Nr. 66” in *Franz Xaver Messerschmidt 1736–1783,* exhibition catalogue, (ed. M. Krapf), Wien, 2002.","artist_birthdate":"1736","artist_birthplace":"Wiesensteig","artist_deathdate":"1783","artist_deathplace":"Pozsony (Bratislava)","author":"Zsuzsanna Boda (after Maria Pötzl-Maliková)","copy_editor":"Terézia Bardi","translator":"Tamás Sajó","translation_copy_editor":"Mandi Gomez","keywords":["Enlightenment; Neo-Classicism; university; library; Buda; education; teaching; Pozsony; Bratislava; Pressburg; metalwork"],"materials":["Tin cast"]},"e6f7eabb-fc4e-5c98-b6ca-f2544ae496d9":{"name":"Model in plaster","description":"Following on the European fascination for the oriental world and for the famous Nasrid Palaces of the Alhambra (Granada, Spain), a lot of reproductions of its remarkable architectures and decorations were made and spread. José Contreras was commended as restorer and decorator and his son, Rafael (1824–1890), was the leading pioneer of this trend in 1847. His work was continued by the grandson and by a huge number of plaster-cast workshops in Granada, and very likely, in other cities. His plasterworks were very successful in the International Exhibitions and were kept in private collections and museums like South Kensington (London). This polychrome plaster cast res a window in the Mexnar Palace of Granada (Spain).","type":"Sculpture; Decorative Arts","holder":"Cerralbo Museum","dates":"2nd half of the 19th century","location":"Madrid","dimensions":"35 x 34 cm","provenance":"Spain?","author":"Cecilia Casas Desantes, Cristina Giménez","copy_editor":"Anne Dowell","keywords":["Decorations; Design; models; Alhambra"],"materials":["Plaster, wood; casted, painting"]},"e705767c-f39f-5e1f-b8fc-8f075dc24a4f":{"name":"Sphinx","description":"This sphinx was found in Rafiqa, Raqqa’s twin city, in AH 1343 / AD 1924 together with the cock (Isl 57) and the figure of a horseman in Syria’s National Museum. As ceramic sculptures, they are unique not only in Syria, but also in the rest of the Islamic world.  \n  \nThey are fountain figures, and all have pipes to carry water up to the figures’ heads. The North African historian al-Maqqari wrote that the Iberian Umayyad caliph Abd al-Rahman III had a fountain made with 12 figures: a lion with a gazelle, a crocodile, a serpent, an eagle, an elephant, a dove, a falcon, a peacock, a hen, a cock, a hawk and a vulture.","type":"Sculpture","holder":"The David Collection","owner":"The David Collection","dates":"AH 2nd half of the 6th / AD 2nd half of 12th century","location":"Copenhagen","dimensions":"Height: 37cm","place_of_production":"Raqqa (Syria)","bibliography":"Folsach, K., *et al.*, *Sultan, Shah and Great Mughal: the history and culture of the Islamic world*, Copenhagen: The National Museum, 1996: cat. no. 204.  \n  \nDaneshvari, A., *Of serpents and dragons in Islamic art: an iconographical study*, California: Mazda Publishers, 2011: 172, 110.  \n  \nFolsach, K., “Paradise on earth: water and the Islamic garden” in John Kuhlmann Madsen et al. (eds), *Water of life: essays from a symposium held on the occasion of Peder Mortensen's 80th birthday*, Copenhagen: Forlaget Orbis, 2016: 191, fig. 5.  \n  \nCanby, S., *et al.*, *Court and cosmos: the great age of the Seljuqs*, New York: Metropolitan Museum of Art, 2016: fig. 98, 243.  \n  \nEastmond, A., *Tamta's world: the life and encounters of a medieval noblewoman from the Middle East to Mongolia*, Cambridge: Cambridge University Press, 2017: 256, fig. 87.","dynasty":"Zangids or Ayyubids","copy_editor":"Zeina Al Amad","keywords":["Water; sphinx; ceramics; sculpture; fritware; Ayyubids; Zangids"],"materials":["Cast, modeled and carved fritware, painted in blue, turquoise, and manganese under a transparent glaze"]},"e78d7a24-9514-5540-ad77-b08982afe7c2":{"name":"Bust of a female saint","alternate_name":"St. Barbara or Katharine","description":"The bust, thought to resemble St. Barbara or St. Katharine, was originally positioned on a plinth and might have been part of a family altar. Both saints were especially known as objects of worship in Bavaria, a fact that is iconographically typified by the figure’s crowned head. She wears a blouse with collar, brooch and breastplate, partly covered by a coat across her left shoulder and right arm. Bright-eyed, and her head slightly turned to the left, she looks on with the utmost attention. Her hair is parted in the middle and falls down in undulating tresses across the shoulders. The remainder of the original polychrome coating, which was possibly enriched by gold leaf on the crown and breastplate, is found on her lips and eyes. The pale greyish-yellow colour of lime-wood dominates.","short_description":"The intimate bust of a female saint with long, undulating hair falling down to her shoulders and a crown on her head shows traces of the original polychrome coating, which remains on her eyes and lips, and gives the face a living attitude.","type":"Sculpture (bust)","holder":"City Museum","initial_owner":"Collection of the House of Wittelsbach","dates":"1625/8","location":"Weilheim in Oberbayern, Upper Bavaria","dimensions":"Height 26.5 cm, breadth 25 cm","place_of_production":"Munich","method_for_datation":"Stylistic analysis of Angermair’s work.","obtention":"From an art dealer in Munich.","bibliography":"Helm, R., “Büste einer Heiligen”, *Kunst und Handwerk in Weilheim i.OB*, *Kunst und Handwerk in Weilheim i.OB*, Stadt Weilheim (City of Weilheim (ed.)), Weilheim i. OB 2000, pp. 73–5.","workshop":"“Weilheim School of sculptors” (with H. Krumpper, H. Degler, G. Petel, B. Steinle, P. Dirr); one of Angermair’s most accomplished small sculptures","artist_birthdate":"c. 1580","artist_birthplace":"Weilheim in Oberbayern","artist_deathdate":"1633","artist_deathplace":"Munich","author":"Reinhardt Helm","translator":"Holger Rhensius, Robert Robin, Wolf Schindler","translation_copy_editor":"Mandi Gomez","keywords":["Religious object; sculpted wood"],"materials":["Lime-wood, remains of original polychrome coating"]},"e79d0da8-0e74-53d4-8df3-5ad805dd038d":{"name":"High Choir, Organs","description":"The dioceses of Braga and its archbishops was very important within the Catholic Church since the early Middle Ages, before the foundation of the Kingdom of Portugal, as well as throughout the Portuguese history namely in the Baroque period.  \nIn the North of Portugal during the 18th century there was an active workshop that provided important clients in accordance with the splendour and dignity of the court and religious life. Facing the need to replace the old choir stalls from the 16th century, Braga Cathedral commissioned Marceliano de Araújo and Miguel Francisco da Silva to design the monumental High Choir, the choir stalls and the gilded, carved wood organ cases in 1737.  \nThe whole set of the choir stalls made of carved and gilded wood includes two rows of seats, the cathedra for the Archbishop and in the centre a remarkable choir stand with the same decorative programme. Due to the major role of music within the Baroque Roman Catholic liturgy, Simão Fontanes was commissioned to build the mechanics of two impressive Baroque organs (1737-1738) with thousands of copper pipes, which are encased in magnificent cases made by Braga's woodcarver Marceliano de Araújo.  \nThe ceiling painting also belonging to this phase of the cathedral redecoration was executed by Manuel Furtado de Mendonça.  \nThe organs of the Braga Cathedral, commonly included within the category of the Iberian organs, are installed in two balconies over the central nave. The abundance of sculpture ornaments distributed from the base of the building to the top of the Cathedral allows us to include this artwork as one of the finest examples of the Baroque woodcarving in Portugal.","short_description":"The choir is located at the west end of the nave and includes two encased organs and choir stalls. They are an example of the work produced in the 18th century by the Northern Portuguese workshop to supply important clients in accordance with the dignity of the court and religious life.","type":"Ecclesiastical furniture and sculpture","holder":"Braga Cathedral","owner":"Braga Cathedral","initial_owner":"Braga Cathedral","dates":"1730-1739","location":"Braga, Braga","place_of_production":"Braga","method_for_datation":"Historical evidence and stylistic analysis","provenance":"Braga Cathedral","obtention":"In situ","bibliography":"Ferreira, J. A., *Fastos Episcopais da Igreja Primacial de Braga (séc. III - séc. XX)*, III, Braga, 1932.  \nSmith, C. R., *A Talha em Portugal*, Lisboa, 1963.  \nSmith, C. R., *Marceliano de Araújo – Escultor Bracarense*, Porto, 1970.  \nAlves, N. M. F., \"A actividade de pintores e douradores em Braga nos séculos XVII e XVIII\", in *Actas do IX Centenário da Dedicação da Sé de Braga*, vol. II/2, Braga, 1990.  \nDoderer, G., *Os Órgãos da Sé Catedral de Braga*, Lisboa, 1992.","workshop":"Porto and northern region workshop","author":"Fernanda Barbosa","translator":"Cristina Correia","translation_copy_editor":"Mandi Gomez","keywords":["Gilding; carved; wood; organ cases, organ; musical instruments"],"materials":["Wood, carved and gilded with gold leaf"]},"eb6df6e0-21ee-543e-853b-04c21c09966f":{"name":"*Sacred and Profane Love*","description":"Undeniably, the process of contact and conquest of the Portuguese Discoveries in the 15th and 16th centuries – through which Portugal came to dominate a large part of the world – was decisive in the creation of numerous and lasting cultural traditions. Peoples of Western and Eastern Cultures experimented with their limits of knowledge, customs and beliefs, a dynamic that was favorable to an artistic symbiosis.  \nThe Discovery of the New World promoted cultural exchange and hastened the decline of Islamic dominance. It permitted Trans-Asian trade to prosper and specifically encouraged an exchange of artistic knowledge, techniques and language.  \nThe allegory of *Sacred and Profane Love* is an interesting example of the artistic confluence of Christian Art in Asia. Probably the work of a Portuguese artist, this ivory plaque represents the strength and purity of Christian and Divine Love over what were perceived pagan beliefs like Hinduism and Islamism. Cupid and his arrows, symbol of Pagan Love, are smashed by the faithful spiritual love for Jesus Christ. In the background is a large group of Jesuits praying to the Triumph and Glory of Divine Love. The Jesuit, St. Francis Xavier, visited Ceylon in 1545 and again in 1548, before journeying to Japan in 1549.  \nThe representation of Divine or Sacred Love over pagan beliefs is well known in Asia, due to the fabulous Altar of St. Catherine made by the Portuguese painter Garcia Fernandes for Goa Cathedral (now in the sacristy). The plaque seen here reveals rare erudition in the organisation of the figures and in the iconography. Note for example the artist's sensibility in his rendering of the shadows around the main figures. Although the piece was produced by a local workshop it is clear that the *chiaroscuro* effects have been deliberately used to heighten the drama and give the piece the three-dimensionality made popular by the paintings of Caravaggio.","short_description":"An ivory plaque depicting an allegory of Sacred and Profane Love. At the bottom is an inscription: “*Mostras de qvem he*” (“Show to whom you belong”). Divine Love steps over Cupid who has fallen to the floor with his arms tied. Holding an arrow in his right hand, he touches the wounded chest of Jesus Crucified. At the bottom of the Cross an inscription reads: “My Love was crucified”.","type":"Plaque","holder":"Museum of Art and Archeology of Viana do Castelo","dates":"First half of the 17th century","location":"Viana do Castelo, Viana do Castelo","dimensions":"H: 23cm; w: 17.8 cm; depth: 1.8 cm","place_of_production":"Ceylon","method_for_datation":"Stylistic analysis","obtention":"Donated by Manuel Espregueira Oliveira (private collector)","bibliography":"Tavora, B. F. de Tavares, e, “Uma rara placa de marfim cingalo-portuguesa de motivo alegórico”, in Gil Vicente, Vol. XXII, Nos 7–8, Guimarães, 1971.  \nTavora, B. F. de Tavares, e, *Imaginária Luso-Oriental*, Lisbon,1983.  \nPinto, M., Mendes H. (ed), *Via Orientalis*, Bruxelas-Europália, 1991.","artist_birthdate":"Unknown","author":"Rui Oliveira Lopes","translator":"Lili Cavalheiro, Cristina Correia","translation_copy_editor":"Mandi Gomez","keywords":["Religion; ivory; allegory; Indo-Portuguese; religious object; Christian themes; chiaroscuro"],"materials":["Ivory"]},"ee1f0807-ca9d-507c-adf4-27f446a10f42":{"name":"Statue of Athlete – Ephesos","description":"After competitions in the *palestra* (sports arena), it was customary for the athletes to clean the sand from their oiled bodies with a strigil, or scraping iron. The Ephesian athlete seen here has already finished this task and – with his hair still soaking in sweat – is cleaning the strigil itself. This statue cannot be attributed to any Greek artist with certainty, yet Roman reproductions in marble and depictions on pottery reliefs and engraved stones speak to a high degree of familiarity with the original.","type":"Sculpture","holder":"Kunsthistorisches Museum, Collection of Greek and Roman Antiquities","dates":"2nd century AD (copy after a Greek original from the last quarter of the 4th century BC); found in 1895","location":"Vienna","dimensions":"Height 192 cm","provenance":"Ephesos","copy_editor":"Daniel de la Vega","keywords":["Ephesos; Abdul Hamid II; Emperor Franz Joseph"],"materials":["Bronze"]},"ef74c9ed-a4dc-57df-a3a1-c5538d838390":{"name":"*Tomb statue of Prince Pál Esterházy and his first wife (Orsolya Esterházy?)*","description":"The four wooden statues representing the Esterházy brothers (Pál and Ferenc) and their wives were certainly commissioned by the Pál Esterházy family. The founder of the dynasty, Palatin Pál, built a family mausoleum in the Franciscan Church in Kismarton (Eisenstadt), within the residential area that formed part of his large estates. Although the crypt was completely rebuilt in 1856–57 its previous appearance can be reconstructed on the basis of a detailed description of the interior from 1835–36 and a plan of the building. As these documents prove, the Kismarton (Eisenstadt) Mausoleum consisted of a lower and an upper chapel. The rounded niches on the upper level were for the gilded-wood, kneeling figures of Pál and Ferenc Esterházy, Orsolya Esterházy and Kata Thököly. The statues in the Hungarian National Gallery, one of which also bears some marks of gilding, seem to be identical to these niche figures. The statues are composed on a frontal view. Their backs are grooved, and their feet are not perfectly carved, a sign that the statues were designed for wall-niches. Pál Esterházy is represented in somewhat historic clothes (coat-of-arms and a short skirt), with a wig, and the Order of the Golden Fleece, which he obtained in 1681. His wife wears Hungarian apparel, a shoulder corset decorated with flowers, a blouse with pleated shoulders, a girdle decorated with precious stones and a necklace.  \nIn the lower chapel is the still extant sarcophagus of Palatin Pál, which could be viewed from the upper level through the lattice window. There was an altar dedicated to the Virgin Mary in each chapel. Members of the Esterházy family kneeling in the niches of the upper chapel in gestures of eternal worship were, thus, turned to the Virgin Mary mourning her son, suggesting therefore that they committed themselves to her patronage not only in life but even in death.  \nThe design of Pál Esterházy's sepulchral chapel represents an organic part of his art patronage, in which the cult of the Virgin Mary was determinative.","short_description":"The sculptures represent the founder of the Esterházy dynasty, Pál Esterházy, and his first wife, Orsolya Esterházy (together with the figures of his brother and sister-in-law) kneeling in prayer. The works originate from the Kismarton (Eisenstadt) family vault and are representative examples of 17th-century portrait sculpture of the region.","type":"Sculpture (portrait, tomb sculpture)","holder":"Hungarian National Gallery","initial_owner":"Esterházy family or the Franciscan Order","dates":"Late 17th century","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 112 cm; H: 117 cm","place_of_production":"Kismarton (Eisenstadt)","method_for_datation":"By historical data","provenance":"Franciscan Church, Esterházy Mausoleum, Kismarton (Eisenstadt)","obtention":"Purchased through art dealers from Pozsony (Bratislava) for the collection of the Museum of Applied Arts, Budapest; transferred in 1950 to the Museum of Fine Arts, Budapest and in 1974 to the Hungarian National Gallery, Budapest.","bibliography":"*Barokk művészet Közép-Európában. Utak és találkozások* (Crossroads: Baroque Art in Central Europe) exhibition catalogue, (ed. G. Galavics), Budapest, 1993, pp. 412–414.","author":"Anna Jávor","copy_editor":"Terézia Bardi","translator":"Viktor Mészáros","translation_copy_editor":"Mandi Gomez","keywords":["Tomb; sculpture; Franciscan order; coat-of-arms; Order of the Golden Fleece; Virgin Mary; Madonna; Éva Thököly; costume; patronage; Kismarton; Eisenstadt; funerary architecture; wood carving"],"materials":["Limewood, carved"]},"ef7b97e5-69b3-517c-bb7c-4c9c0bd06850":{"name":"Basin.","description":"This small basin consists of three elements: a socle (plinth) with a sculpted shaft and a basin fixed to the socle. The socle is divided into two, acting as a base and a shaft. The cubic base is crowned with a step moulding. The lower part of the cylindrical shaft, which widens at the top, is sculpted with two toruses like the base of a column. This section is followed by a smooth surface engraved with four rows of superposed arches crowned with gadroons sculpted in low relief. The upper part, which narrows towards the top, is engraved with two horizontal grooves.  \nThe hemispheric basin has deep flutes hollowed out of the inside and a circular aperture at its centre for the provision of water. It is sculpted on the outside with gadroons in high relief.  \nThis small font, designed in the image of the large basins that stand in the centre of the courtyards of sanctuaries and *madrasas*, was found in the ablutions room of the Buinaniya.","short_description":"This small ablutions room font was designed in the image of the great basins that stood in the centre of sanctuary courtyards. The outside of the bowl is decorated with regular gadroons in high relief, and the inside with flutes.","type":"Basin, marble","holder":"Batha Museum.","initial_owner":"*Habus* (endowment).","dates":"Hegira 751–7 / AD 1351–6.","location":"Fez.","dimensions":"Height 41.6 cm, shaft height 21.5 cm, basin diameter 35 cm.","method_for_datation":"From the date of construction of the Buinaniya, where the basin came from.","method_for_provenance":"Salvaged *in situ*.","provenance":"Buinaniya Madrasa, Fez.","obtention":"Salvaged during the restoration of the monument.","bibliography":"Cambazard-Amahan, C., *Le décor sur bois dans l'architecture de Fès*, Paris, 1989.  \nMarçais, G., *L'architecture musulmane d'Occident*, Paris, 1954.  \nTerrasse, Ch., *Médersas du Maroc*, Paris, 1927.  \nTerrasse, H. and Hainaut, J., *Les arts décoratifs au Maroc*, Paris, 1925.  \n*Andalusian Morocco: A Discovery in Living Art*, pp.124–6.","dynasty":"Marinid","linkcatalogs":"IAM_MA_EN_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["Religious object; habus; geometric decoration; marble"],"materials":["Sculpted and engraved white marble."]},"f066d3bf-136b-5661-b693-1a11ebfeb55e":{"name":"*Mashrabiyya* window.","description":"A stucco and coloured glass *mashrabiyya* window, which belongs to a set of openwork windows in the Kelvingrove Collection, each with a different design in the centre of the niche. This one shows a cypress tree surrounded by flower stems under a niche. The green, red, and yellow coloured-glass pieces have been imbedded in the stucco openwork from the back. During the Ottoman period in Cairo both mosques and private houses were adorned with such windows from as early as the AH 10th / AD 16th century. The tradition of setting coloured-glass in stucco has endured since its earliest days in the Abbasid capital of Samarra (AH mid-2nd / AD 9th century) to the present day.","short_description":"This stucco and coloured glass window is decorated with a cypress tree and floral arrangements, typical of AH 13th- / AD 19th-century Ottoman art. The cypress tree symbolises a true Muslim as it stands tall and bows in the wind gracefully. Windows such as this adorned both homes and mosques in Cairo.","type":"Stucco, Architectural decoration","holder":"Kelvingrove Art Gallery and Museum, Glasgow Museums.","dates":"Hegira 13th century / AD 19th century.","location":"Glasgow, Scotland","dimensions":"Height 72.5 cm, width 74 cm.","method_for_datation":"Artistic analysis: the style and technique of this window resembles many 13th- / 19th-century stucco windows still in place in Cairo today.","provenance":"Cairo, Egypt.","obtention":"Purchased by Glasgow Museums / Kelvingrove Art Gallery in 1896.","bibliography":"Jenkins, M., *Islamic Glass, A Brief History,* Metropolitan Museum of Art, New York, 1986.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["Architectural features; floral decoration; religious symbol; religious object; palatial architecture"],"materials":["Stucco; moulded and carved openwork with coloured glass."]},"f4070107-bd84-5299-8132-72ae7c8a76e8":{"name":"*Portrait of Felice Zacchia Rondanini*","description":"Domenico Guidi, nephew of the sculptor Giuliano Finelli, with whom he worked in Naples (1639–49), moved to the workshops of Algardi in Rome in 1649. He stayed there until the death of his master, from whom he learned the classicism that is a fundamental part of his style, although he was not as skilled in its execution.  \nThe bust was acquired by the Italian state from an antique market in 1907. It was initially attributed to the Berninian school on account of the elliptical shape enclosing the female figure and the “unfinished” back, a trait peculiar to Bernini on unseen surfaces. It was later attributed to 17th- and 18th-century sculptors (such as Bracci on account of the stylistic analogies with the sculptor's bust of Clement XII in the Borghese collection). It was finally attributed to Guidi, who was summoned by Bernini in 1668 to decorate the Ponte Sant'Angelo, although his style was more classical and less elaborate in form.  \nThe woman is probably Felice Zacchia Rondanini, daughter of Laudivio Zacchia who, once widowed, gave his life to religion and was made a cardinal in 1626. Algardi made a portrait of the father, having already made several busts for the Rondanini family. For his part, Guidi was responsible for the Rondanini tomb in S. Maria del Popolo, Rome in 1657. In 1683, in the same church, he sculpted the funerary monument to Vincenza Danesi, who some scholars connect to the Borghese portrait, although there is no documentation to support the theory. A ring is fixed under the cloak, which suggests it was originally intended to be placed in a niche, and the measurements coincide with the anchor points of the Danesi monument.  \nThe old lady wears a large veil forming a convex shape, on which shadows accentuate the face in the foreground, which is struck by light. The detail on the face is particularly interesting, especially the deep lines on the face and neck and the wart on the right cheek, emphasising the realism of the portrait.  \nGuidi was so well regarded by the French for his classicism that by the end of his career he was a synonym for French taste. Nonetheless, a sculptural group made for Louis XIV failed to please the king and it ended up in the same place as Bernini's: the gardens of Versailles.","short_description":"A portrait of an old lady who wears a veil. The detail on the face is particularly interesting, especially the deep lines on the face and neck and the wart on the right cheek, emphasising the realism of the portrait.  \nGuidi produced a few works for Bernini (such as the *Angel with a Lance* on Ponte Sant'Angelo) most of his collaborative work was, however, with Algardi.","type":"Sculpture","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Unknown","dates":"1683 (?)","location":"Rome, Latium","dimensions":"h: 60 cm (without stand)","provenance":"Antique market","obtention":"Acquired by the Italian State in 1907.","bibliography":"Faldi, I., *Galleria Borghese. Le sculture dal secolo XVI al secolo XIX*, Rome 1954, n.10, pp. 15–16.  \nStefani, C., *Galleria Borghese*, Milan, 2000, p. 378.  \nBershad, D. L., in *voce* “Guidi Domenico”, in *Dizionario Biografico degli Italiani*, Milan, 61, 2003, pp. 214–220.","artist_birthdate":"1625","artist_birthplace":"Torano (Massa-Carrara)","artist_deathdate":"1701","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Maria Assunta Sorrentino","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Bust; marble; portrait; women; workshop; Algardi; Bernini; classicism; classical model; ancient art"],"materials":["Statuary marble"]},"f5c68eab-37f6-5a2c-b181-f87cfef70a15":{"name":"Human head.","description":"The face is that of an apparently fine-featured man but the damage to the nose and mouth is very serious. He wears a turban in the Oriental manner. It reminds us of certain pictures of human figures on pottery of the Samanid era of Nishabour (Iran). The turban is V-shaped and a deep fold extends right across its width. The face is covered with a veil, like several other images of heads from Fatimid Egypt and Umayyad Spain in the AH 4th and 5th / AD 10th and 11th centuries. The man's eyes are quite prominent and seem originally to have been covered by two pieces of glass indicating the irises, like other images found on site at Sabra.  \nThe head's discovery in the Fatimid capital gives weight to the opinion that the Shi'ites, unlike the very iconoclastic Malikites, tolerated human representation in their sculptures.","short_description":"The discovery of this piece in Sabra al-Mansuriyya, the Fatimid capital, supports the idea that Shi'ite Muslims tolerated sculptures of human forms, unlike the very iconoclastic Malikites. This image is similar to others originating from Spain and Egypt at that time.","type":"Human head, plaster","holder":"Museum of Islamic Art.","dates":"Hegira, mid-4th–mid-5th centuries / AD 10th–11th centuries.","location":"Raqqada., Kairouan.","dimensions":"Height 11.5 cm, width 11.5 cm, thickness 7.5 cm.","method_for_datation":"This stucco head was found, among other human and animal carvings, in the excavations carried out at Sabra al-Mansuriyya in 1978. It was found in a very ploughed-up area with no clear archaeological layering. The objects were scattered around in a random manner. One has the impression that someone had tried to eradicate or hide these figurative objects for no obvious reason except that there could be a connection with the changing religious mentality in Ifriqiya. This action could indeed coincide with the persecution of the Shi'ites during the troubles in 407 / 1016 or following the split between the Zirid emirate and the Fatimid caliphate in 440 / 1048–9. This date could be a *terminus post quem*. The *terminus ante quem* is just after the founding of Sabra in 337 / 948. Any further precision is rendered impossible due to the lack of a definite archaeological layer.","method_for_provenance":"The manufacture of these objects, which is unique in Ifriqiya and in the Maghreb, appears to have taken place in Sabra al-Mansuriyya and to have been commissioned by the Shi'ites.","provenance":"Sabra al-Mansuriyya","obtention":"After its discovery at Sabra al-Mansuriyya, this piece was placed in the site storehouse. It was acquired in 1992 by the Museum at Raqqada. It will be displayed in the second section of the Museum, currently under construction.","bibliography":"*Tunisie, terre de rencontres et de civilisation* (Seville exhibition catalogue), Tunis, 1992, p.229.","dynasty":"Fatimid–Zirid","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["Figurative decoration; human figure"],"materials":["Carved plaster."]},"f5ef250e-6f10-578b-9290-9c8967a2f518":{"name":"*Conversion of St. Paul* Altarpiece","description":"A Rococo type of *reredos* (retable) with ornamental pilasters instead of columns, and a wealth of Rococo ornamentation in compact form. At the centre is the *Conversion of St. Paul*, flanked by two female saints without attributes. Two angels kneel at the corners of the cornice. The central, upper section of the altarpiece holds the coat of arms of the Halper-Sigetski family.  \nInitially, the altarpiece stood in St. Mark's Church in Zagreb, near the triumphal arch. Like most altarpieces in the church, this one was commissioned by a particular guild, the boot-makers' guild. Its production was part funded by a donation from Anna Gerlichich in 1760, as an inscription on the altarpiece details.  \nThe altarpiece is by an accomplished master, showing a high level of design and technical skill. The influence of Vid Königer (one of the greatest Styrian sculptors of the second half of the 18th century) is apparent, seen in the female saints in particular.  \nDuring restoration of St Mark's at the end of the 19th century, the altarpiece was moved to the chapel of Zajezda Manor in Hrvatsko zagorje, at that time owned by Baron Halper-Sigetski, who placed his baronial arms on it.","short_description":"A richly carved Rococo altarpiece: two saints stand either side of twisted pilasters and two angels decorate the attic, while the central scene of the *Conversion of St Paul* is in high relief.  \nCommissioned for St Mark's Church by the boot-makers' guild in 1760, it was part-funded by a donation from Anna Gerlichich, as an inscription on the altarpiece details.  \nDuring restoration of the church at the end of the 19th century, the altarpiece was moved to the chapel of Zajezda Manor in Hrvatsko zagorje, at that time owned by Baron Halper-Sigetski, who placed his baronial arms on it.","type":"Altarpiece","holder":"Croatian History Museum","initial_owner":"Church of St. Mark, Zagreb","dates":"1760","location":"Zagreb, North-West Croatia","dimensions":"H: 226 cm; w: 258 cm; depth 70 cm","place_of_production":"Zagreb","method_for_datation":"By stylistic analysis and research.  \nDuring restoration and conservation work an older painted layer was discovered under the coat of arms revealing letters next to the frame and the year: \"S. D. M. ANNA SAN(C) NATA DE GERLICHISCH 1760\". Anna Gerličić, whose name appears on the coat of arms, probably sponsored some of the work for this altarpiece, such as the gilding.","provenance":"Boot-Makers’ Guild altarpiece, Church of St. Mark, Zagreb","obtention":"During restoration of St. Mark’s Church by architects Schmidt and Bollé (1876–1882), in 1880, the altarpiece was moved to the chapel of the former Patačić Manor in Zajezda. It is probable that the coat of arms of the Halper-Sigetski family was applied to the altarpiece while at Zajezda Manor in Hrvatsko zagorje, from where it was transferred to Zagreb.","bibliography":"Baričević, D., “Barokno kiparstvo u isusovačkim crkvama u Hrvatskoj” (Baroque Sculpture in Jesuit Churches in Croatia), *Zbornik Isusovci u Hrvata* (The Jesuits in Croatia, Collection), Vienna, 1992.  \nBaričević, D., *Barokna skulptura na Gradecu, Zagrebački Gradec 1242–1850* (Baroque Sculpture in Gradec, Zagreb's Gradec 1242–1850), Grad Zagreb, 1992.  \nŠercer, M., *Stari zagrebački obrti* (Old Zagreb Crafts), Zagreb, 1991.  \nPavičić, S., *Religious Sculpture in the Croatian History Museum,* catalogue of the museum collections CHM, XXXVIII, HPM, Zagreb, 2003.","author":"Snježana Pavičić, Nela Tarbuk","translator":"Snježana Pavičić, Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["Altarpiece; *reredos*; retable; guild; theatrical architecture; religious object; Christian themes; sculpture; polychrome decoration; wood carving; gilding"],"materials":["Carved wood, polychrome, gilded and marmorised"]},"f968ffa7-16a4-52b6-80b2-1fcd031e5841":{"name":"Relief of a lute player.","description":"The origin of this roughly worked marble block is unknown. Only through comparing it to fragments on other similarly decorated buildings are we able to give it both a date and a social context. It depicts a musician with his legs crossed, playing a lute. He is wearing trousers and a wide-sleeved shirt.  \nThe musician’s hair is long, which is in keeping with the fashion of the day. The man is shown in a front-facing pose. He clutches the lute’s neck with his left hand, and with his right holds a plectrum, which is used to pluck the instrument’s strings. Stylistically, the relief is very basic. No details are included. The surface is crudely cut, which may be an indication that the relief was never completed. Another possibility might be that the surface was covered by painted stucco. Stone reliefs were incorporated into the city walls of Konya, among other places, during the Seljuq period.  \nThroughout the centuries, music has featured at the magnificent royal courts of Eastern princes. Court celebrations and their musical entertainment had already been written about since the Middle Ages, with much admiration. These sources also relate how much the sultan or prince enjoyed this musical entertainment. Not only were meals consumed at these events, but wine was drunk too. One listened to songs and watched dancers of both sexes perform. Music was felt as the enjoyment of a beauty that was not merely visible. The authors of these historical sources include Ibn Khaldun and al-Ghazzali among others. The harmony between different religious communities is illustrated by the fact that even an Iraqi Christian chronicler, Bar Hebraeus, describes with admiration a feast thrown by the Seljuq Sultan ‘Ala’ al-Din Kay Qubadh (Alaaddin Keykubad) I in 1237.","short_description":"The musician on this marble relief plays a lute. It may have belonged to a group of similar reliefs which decorated a palace with scenes from court life. In Seljuq Anatolia, reliefs were often assembled to decorate different buildings including city walls such as those in Konya.","type":"Stonework, marble","holder":"Museum of Islamic Art at the Pergamon Museum","initial_owner":"R. Nadolny, German Ambassador to Turkey 1924–33.","dates":"Hegira early 7th / AD early 13th century.","location":"Berlin","dimensions":"Height 36 cm, width 20 cm.","method_for_datation":"Lute players were frequently represented in Islamic art. This stone relief is characteristic of Seljuq Anatolia, as only there have similar reliefs been found remaining.","method_for_provenance":"The previous owner stated that the relief was of Turkish provenance when the object was acquired. This information as well as the style in which it was made testify to its Anatolian Seljuq origin.","provenance":"Turkey.","obtention":"Bought from R. Nadolny in 1948.","bibliography":"Farmer, H. G., *Islam. Musikgeschichte in Bildern* (eds. H. Beseler and M. Schneider), Vol. III/2, Leipzig, 1966, pp.54–5, ill. 39.  \n  \nHagedorn, A., *Die Blacas-Kanne: Zu Ikonographie und Bedeutung Islamischer Metallarbeiten des Vorderen Orients im 13. und 14. Jahrhundert*, Münster, 1992, pp.93, 109–111, 137–8.  \n  \nKühnel, E., “Der Lautenspieler in der Islamischen Kunst”, *Berichte aus den Ehemaligen Preussischen Kunstsammlungen 1,* 1951, pp.29–35, ill. 6.  \n  \n*Museum für Islamische Kunst*, Mainz, 2001, p.68.  \n  \nSchöttler, P., *Die Rumseldschuken*, Freiburg, 1995, p.81, fig. 360.","dynasty":"Seljuqs of Rum (Anatolian Seljuq)","author":"Annette Hagedorn","translator":"Maria Vlotides, Brigitte Finkbeiner","translation_copy_editor":"Monica Allen","keywords":["Lute player; relief; marble; Anatolia; Rum Seljuq; Anatolian Seljuq; music; musician"],"materials":["Marble."]},"f9783fd3-09a2-5548-be22-593259d96e06":{"name":"Fragment of the Parthenon frieze","description":"The climax of the Greater Panathenaia, the chief festival of Athens, held in honour of Athena, was a procession which ended with the presentation of the newly woven peplos (a woman’s garment) to the tutelary goddess of the city. This is the subject of the frieze around the cella of the Parthenon, the temple on the Athenian Acropolis. This fragment shows two bearded elder citizens of Athens in conversation.","type":"Sculpture","holder":"Kunsthistorisches Museum, Collection of Greek and Roman Antiquities","dates":"c. 440 BC","location":"Vienna","dimensions":"Height 26 cm","copy_editor":"Daniel de la Vega","keywords":["Athens; Acropolis; Franz Ferdinand"],"materials":["Marble"]},"fa6093d9-67a1-536f-b0bb-38a5d07cb915":{"name":"Lion from a fountain.","description":"A sculpture such as this hollow lion – standing erect with its uplifted tasselled tail in the shape of a handle – is testament to the variety of Fatimid art. The open jaw of the lion once held a water pipe. The lion’s shape is based on a composition of very abstract forms. Thus its paws are flat, its ribs drawn out linearly, and the lines to describe both the extension of its ears and its bulging eyebrows are simple. The surface of its body along its back, chest and upper legs, is decorated with a spiral pattern that reinforces the sculpture’s stylised form. The engraved inscription found on both sides of the neck can be seen clearly and may date from the AH 7th / AD 13th century. It refers to bi-rasem al-amir Shams al-Din wali Misr, who was probably the governor of ‘Misr’ (Lower Egypt and Cairo).  \nA fully modelled sculpture of a living creature is of interest, as it does not conform to the specifications of Islamic dogma. However, such sculptures emerged from the Egyptian Court because, within its circles, the prohibition of the representation of living forms was not always enforced or adhered to, and also because the Fatimid Shi’ites adopted a liberal view. The Museum of Islamic Art in Cairo holds a sitting lion figure. The Berlin lion could have formed part of a sculptured fountain that featured a variety of figures. Thus, it would correspond to the lions of the well-known, bigger lion fountains of the Alhambra in Granada, Spain. Given its small size, the lion could have been part of a larger construction featuring a number of sculptures such as those represented in Iraqi manuscripts from the AH 7th / AD 13th century onwards. Bronze figures like this lion were widespread across the Mediterranean, and especially across Spain. One of these Spanish lions can be seen in the Louvre Museum in Paris. One can assume that most of these bronze lions did not survive the test of time and were melted down.","short_description":"This lively little lion with an open mouth and upturned tail was used as a fountain spigot during the Fatimid period in Egypt. It is made of cast bronze that has been decorated with scrolls on the back and the legs. Fountains with animal decoration were widespread in Mediterranean countries.","type":"Fountain, lion, metalwork","holder":"Museum of Islamic Art at the Pergamon Museum","dates":"Hegira 5th–6th century / AD 11th–12th century.","location":"Berlin","dimensions":"Height 11.5 cm, length 14.5 cm.","method_for_datation":"Similar figures, cast in bronze, were made especially in Fatimid Egypt. Both the design and the decoration of the lion fountain demonstrate parallels to similar pieces that were created during the Fatimid period. Additionally, it features an inscription that names an apparent governor of Egypt.","method_for_provenance":"The inscription appears to name a governor of Egypt. Furthermore the stylistic markings testify to having originated from the Egyptian Fatimid period.","provenance":"Egypt","obtention":"From a private art gallery in 1911.","bibliography":"Enderlein, V., *Islamische Kunst*, Dresden, 1990, pp.121–4.  \nEttinghausen, R. and Grabar, O., *The Art and Architecture of Islam 650–1250*, Harmondsworth, 1987, pp.197–200.  \n*Museum für Islamische Kunst*, Catalogue, Berlin 1979, no. 313.  \n*Museum für Islamische Kunst*, Catalogue, Stuttgart; Zürich, 1980, 52–3, no. 20.  \nWard, R., *Islamic Metalwork*, London, 1993, pp.60–9.","dynasty":"Fatimid","author":"Annette Hagedorn","translator":"Maria Vlotides, Brigitte Finkbeiner","translation_copy_editor":"Monica Allen","keywords":["Bronze casting; Fatimid"],"materials":["Bronze casting, hollow, engraved."]},"fc0f934c-a60f-5984-b826-24611c304045":{"name":"Fountain spout","description":"Small gilded bronze sculpture in the form of a hind. The figure is fragile and disproportionate. Almost all of the surface is covered with delicate oriental plant decoration (lotus flowers inscribed in circles) which make it look as if it is swathed in a rich fabric. Judging from the remains left in the grooves of the engraving and various parts of the body, the piece would have been completely gilded.  \nThe simple forms of the body, its facial characteristics and its legs, which end with discs and are extremely short in relation to its body, are reminiscent of representations of animals that appear in Fatimid ceramics.  \nThis sculpture undoubtedly served as a fountain spout because, apart from the legs, its body is hollow and there is a hole in its belly to allow water to pass through and cascade out of its mouth.  \nThe presence of water in Umayyad gardens was a sign of wealth, luxury and well-being. Fountains were an important aesthetic element in Islamic palaces in the West and in al-Andalus in particular. This hind would probably have been accompanied by other bronze animals.","short_description":"Its cloven hoofs, the base of its horns and its short pointed tail suggest that this animal is a fawn. It would undoubtedly have been used as a spout in a basin or fountain in a Córdoban palace, with the water entering through a duct beneath the belly and coming out through the mouth.","type":"Fountain, metalwork","holder":"National Archaeological Museum","dates":"Hegira 339–90 / AD 950–1000.","location":"Madrid","dimensions":"Height 32.3 cm, length 31.5 cm.","method_for_datation":"By stylistic analysis. Although the Madrid hind is smaller and less stylised, it is clearly similar to other pieces found in the 10th / 16th century among the ruins of the Madinat al-Zahra palace, one of which can be found in the Archaeological Museum of Córdoba. The second disappeared at the start of the 19th centuryfrom the Monastery of Guadalupe, where it was being stored, but has recently been recovered and has been in the Qatar National Museum since 1997.","method_for_provenance":"Some researchers believe that this piece could have been imported from Fatimid Egypt. However, its discovery in the province of Córdoba and the similarities to the deer of Córdoba and Qatar suggest that the three sculptures were produced, if not in the same workshop, at least in the same geographical area of al-Andalus, where metalwork workshops developed.","provenance":"Córdoba, Spain.","obtention":"The hind was bought by the National Archaeological Museum on 3 February 1940.","bibliography":"Camps Cazorla, E., “Ciervo Califal de Bronce”, in *Adquisiciones del Museo Arqueológico Nacional (1940–1945)*, Madrid, 1947.  \nCamps Cazorla, E., “Un Nuevo Ciervo Califal de Bronce”, in *Archivo Español de Arte, Madrid, 1943, pp.212–22.*  \n*El Esplendor de los Omeyas Cordobeses*, Exhibition catalogue, Granada, 2001.  \nGómez Moreno, M., *El Arte Árabe Español Hasta los Almohades. Arte Mozárabe*, Ars Hispaniae, Vol. III, Madrid, 1951, p.336.  \nZozaya, J., “Importaciones Casuales en al-Andalus”, in *Actas del IV Congreso de Arqueología Medieval Española*, Vol. I, Alicante, 1993, p.125.","dynasty":"Umayyads of al-Andalus, Caliphate period","author":"Margarita Sánchez Llorente","copy_editor":"Rosalía Aller","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["Water; fountain; garden; palace; floral decoration"],"materials":["Bronze, lost-wax casting, engraved and gilded."]},"fc579321-e275-5fe1-8dd0-ec1b2c450394":{"name":"El transparente Universo (The Transparent Universe)","description":"Originally from Segovia, Torres Esteban represents one of the first exponents who worked with studio glass in Spain. From the late 70s, his presence in international forums enabled him to contact sculptors from around the world and make propositions to the representatives of CEVIDER in Valencia, the organizer of the VICOINTER ‘83 exhibition.  \nThe glasswork by Torres Esteban is characterised by the construction of monumental geometric shapes, which is owed to both constructivism and kinetic art. His playfulness led him to work with geometry and the shapes he created, all of which were generally of a changeable nature. His works facilitate different arrangements that move away from the solidity of the closed to the open, the passive space that surrounded the cube, becomes dynamic and plays with the light that is projected on the interior surfaces of the piece, in which certain cuts in glass sheets that compose it have developed spherical cavities.","type":"Sculpture","holder":"Technological Glass Museum. Royal Factory of Glass and Crystal of La Granja","owner":"Torres Esteban","dates":"1984","location":"Real Sitio de San Ildefonso, Segovia","dimensions":"98.5 x 101cm","method_for_datation":"Author archives and conversations with his son in order to create the exhibition: “Torres Esteban. A passion for glass”.","method_for_provenance":"Temporary exhibition at the Royal Glass Factory. Museo Tecnológico del Vidrio, 1998","provenance":"Spain","obtention":"Loan Deposit. Joaquin Torres","bibliography":"González Vicario, Mª Teresa, de Pablos, Eliseo, Gómez, Javier and García, Pedro, *Torres Esteban. Una pasión por el vidrio*, San Ildefonso, Segovia: Fundación Centro Nacional del Vidrio, 1998.","author":"Paloma Pastor Rey de Viñas, Saulo Alvarado Martinsanz","translator":"Jessica White","keywords":["Torres Esteban; Glass sculpture; VICOINTER; Laminated glass"],"materials":["Glass; laminated, cut"]}}