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,
Paris: Galerie Georges Petit, December 8–10, 1902. no. 68, p. 27, ill. p. 26.
Cup (no. 65.172.1) and Beaker (no. 1974.45)Inevitably, the immediate models used by Iranian glassmakers following the advent of Islam came from their Sasanian heritage, which in turn had developed from a centuries-long distinctive and individual artistic tradition in the geographical area of Greater Iran
Donald B. Harden, K. S. Painter, Ralph H. Pinder-Wilson, and Hugh Tait.
Inscription: „To the spirits of the dead. To the most saintly Cominia Tyche, his most chaste and loving wife, [from] Lucius Annius Festus. [She] died at the age of twenty-seven years, eleven months, twenty-eight days
The Art Bulletin, 14(1): p. 33. Richter, Gisela M. A. 1938.
Glass-Stained Credit Line: The Cloisters Collection, 1936 Object Number: 36.39.1a, b
Carboni, Stefano, and Timothy B. Husband.
The Metropolitan Museum of Art, New York, Amelia B.
The Artist: Only during the last five decades has Donato de‘ Bardi emerged as an important figure in the history of north Italian painting, notable for the manner in which he responded to Netherlandish and French painting and set the stage for the achievement of Vincenzo Foppa—the outstanding painter of fifteenth-century Lombardy
Art News 36 (Janauary 15, 1938), p. 13, ill. Harry B. Wehle.
The Artist: One of the leading painters in mid-fourteenth century Italy, Giovanni da Milano was trained in Lombardy, where he developed a style of soft delicacy and precise observation of the natural world
Milan, 1936, p. 210. Harry B. Wehle.
reportedly the parish church, Castelfranco di Sopra, near Florence (until late 18th century); the Baglioni family, villa Baglioni, Cerreto (late 18th century–about 1903); [Stefano Bardini, Florence, until 1903; probably sold for 115,000 lire through A
Milan, [1936], p. 87, fig. 1 [French ed., (1937), p. 93, fig. 1], calls it the first
