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Turner made three trips to Venice, in the late summers of 1819, 1833, and 1840, and the present painting, exhibited at the Royal Academy in 1835, must have been painted upon his return from his second visit, presumably using his own drawings and watercolors as source materials
CCCXVII b 23) and another, of about 1840, in the British Museum (1958,0712.443).

Tunic with Dionysos and Dionysian ThemesA longer, wider version of the tunic was the ubiquitous garment of the Late Antique period. This tunic is one of four in the Museum’s collection said to be from Akhmim, an ancient weaving center and apparently a center of both pagan and Christian thought and religion
New York: The Metropolitan Museum of Art, 1995. no. 31, listed p.46, ill. fig. 10

The Artist: Antonio Vivarini was a member of a family documented on the island of Murano (Venice) and Padua from the second half of the fourteenth century. His father, Michele, and the founder of the family, „Vivarinus vitruarius,“ were both glassmakers
Art in America 26 (April 1938), p. 92, ill. p. 89. Harry B. Wehle.

PhD diss., 1973 p. 216.

Left:nswt Ds=f, „the king himself“Hr.w anx-msw.t, Horus Ankhmesu (Horus name of Senwosret I)Below vulture: Di=s…,may she give…“n[Tr nfr sHtp-jb-]raw Di(.w) an[x mj D.t]Right:Hr
North, Pyramid Temple of Amenemhat I, northeast corner of the statue-cult temple B,

Bulletin of the Metropolitan Museum of Art, 35(10): p. 202.

Carboni, Stefano, and Timothy B. Husband.

 
The Metropolitan Museum of Art, New York, Amelia B.

Gallery 171 The amphora comes from a shipwrecked cargo vessel (Grand Congloué B)

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Building a Collection of Islamic Art at the Metropolitan Museum, 1870–2011 Priscilla P.