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conservation, Islamic
Fair, L., Rizzo, A., and Edelstein, B. 2010.

When it came to depicting Jesus on the Cross, many artists of the earlier Middle Ages portrayed Jesus as alive and alert, his body entirely resistant to the trauma of crucifixion. In this example, Jesus almost bears himself easily, with his torso erect, knees slightly bent, and head held high
Rorimer, James J., and Margaret B. Freeman.

From the Saint Anne Portal, Cathedral of Notre-Dame, Paris (ca. 1180–ca. 1793 (?)).; possibly Dr. Lecorché, France (?); [ Lucien J. Demotte, Paris and New York (through Manuel Cobo, by 1930–sold 1937)]; [ C
Mitteilungen des Museen-Verbandes 61 (March 1939). pp. 13–14, fig. 2a, b.

Jean, Duke of Berry d. 1416 (1408/09–d. 1416; item no. 960 in 1413 inventory) ; Yolande, Queen of Sicily and Duchess of Anjou (1417–d.1443) ; Pierre-Gabriel Bourlier, baron d’Ailly (before 1879–sold by 1884) ; Baron Edmond James de Rothschild, Paris (by 1884–d
Freeman, Margaret B.

Jean, Duke of Berry d. 1416 (1408/09–d. 1416; item no. 960 in 1413 inventory) ; Yolande, Queen of Sicily and Duchess of Anjou (1417–d.1443) ; Pierre-Gabriel Bourlier, baron d’Ailly (before 1879–sold by 1884) ; Baron Edmond James de Rothschild, Paris (by 1884–d
Freeman, Margaret B.

Inscription: No artist’s inscription, signature, or sealFrontispiece Unidentified artist, 1 column in standard script, undated: Summer Mountains by Yan Wengui燕文貴 《�山圖》Other inscriptionQing emperor Qianlong 清�乾隆 (r
Elliot Family and John B.

Sally B.

Palazzo Barberini, Rome, likely 1679-at least 1881 and probably 1890; E. Volpi, Florence, as early as 1890-1905; exported from Italy, July 1905 (dated customs stamp on reverse of panel); Oscar Huldschinsky, Berlin, from 1906-May 1928; Huldschinsky sale, Cassirer and Helbing, Berlin, May 10–11, 1928, no
B[attista]. Cavalcaselle.

The Artist: Jules Bastien-Lepage lived for only thirty-six years, but he made a large impact on the French art world of the second half of the nineteenth century (see fig. 1 above, and Augustus Saint-Gaudens’s medallion made in tribute to him, The Met, B[ryson]. B[urroughs]. "Nineteenth-Century French Painting."

This picture was painted in 1653 for the Sicilian nobleman Don Antonio Ruffo (1610/11–1678) and sent from Amsterdam to his palace in Messina during the summer of 1654. Ruffo was an avid collector; at his death he had 364 paintings, including a work by Van Dyck, Saint Rosalie Interceding for the Plague-stricken of Palermo, now also in The Met (B[ob]. Haak.