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This is one of a very few works that may be attributed to Berlinghiero based on analogies of style with a Crucifix in the Museo di Villa Guinigi, Lucca, that is signed „Berlingherius me pinxit.“ The painter—a key figure in the history of Tuscan painting—was from Volterra and is first documented in 1228 together with his two sons Barone and Bonaventura, both of whom, together with a third son, Marco, also became painters
Edward B. Garrison.

New York: The Metropolitan Museum of Art, 1930. pp. 186–87, ill. fig. 116 (b/w)

Gifts, 2015 Object Number: 2015.243a, b Signature: Signed, dated, and inscribed

B.

Inscription: (as in order on object): Exaseru[n]t . senes . / . los suos ut . no[n] . vide / susAnna . et . / . in co[n]cupiscentia[m] / declinaveru[n]t ocu / re[n]t c[a]elu[m] . dAniel 13 [should be Exaserunt senes in concupiscentiam Susanna et declinaverunt oculos suos ut non viderent caelum, Daniel 13] (the old men were inflamed in desire by Susanna and turned away their eyes so that they might not see heaven [Daniel 13:8-9])
Husband, Timothy B., and Madeline H. Caviness, ed.

Pair of DoorsThis pair of doors once belonged to a minbar and most probably came from the base of its stairs.[1] An elaborate geometric design centered on twelve-pointed stars arranged in staggered rows decorates the front of the doors, which are constructed of rosewood
New York: The Metropolitan Museum of Art, 1930. pp. 99–100, ill. fig. 44 (b/w).

From the north nave of the former Carmelite church at Boppard-am-Rhein in Rheinland-Pfalz (Rhein-Hunsrück-Kreis), near Koblenz, Germany.; Count Hermann Pückler, Muskau (from 1818) ; [ Frédéric Spitzer Austrian, Paris (from at least 1875–sold 1893)] ; his posthumous sale, Chevallier & Mannheim, Paris (April 17–June 16, 1893, no
Shepard, Mary B. Europe in the Middle Ages, edited by Charles T.

From the north nave of the former Carmelite church at Boppard-am-Rhein in Rheinland-Pflaz (Rhein-Hunsrück-Kreis), near Koblenz, Germany; Count Hermann Pückler, Muskau (from 1818) ; [ Frédéric Spitzer Austrian, Paris (from at least 1875-1893)] ; his posthumous sale, Chevallier & Mannheim, Paris (April 17–June 16, 1893, nos
Shepard, Mary B. Europe in the Middle Ages, edited by Charles T.

Inrô and netsuke, often made of expensive, rare materials and bearing the signature and seal of the carver, were designed not only for their functional ability to carry things, but also as markers of wealth.
Netsuke served as anchors or counterweights for inrô and sagemono ( 14.40.843a,b)

Fragmentary PlateThis shallow plate has a plain rim with a rounded edge. The wall curves down and in, with a depression ( diam. 4 cm [1 5/8 in.]) at the center of the floor. Most of the floor is missing; similar plates have either a plain base or three applied feet (see, for example, Smith 1957, no
Metropolitan Museum of Art Bulletin vol. 37 no. 4 (1942). p. 109, ill. fig. 33 (b/