The Bulletin of the Metropolitan Museum of Art 31 (11), p. 221.
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.
see Cleveland Museum of Art, 2007.193; Metropolitan Museum of Art, 1978.412.237a, b;
CapitalMasterfully carved, this Corinthian-style capital must have originally decorated a colonnaded hall or courtyard arcade in one of the lavishly embellished palaces erected during the tenth century under the patronage of the Umayyad dynasty in and around Cordoba, its capital
New York: The Metropolitan Museum of Art, 1944. p. 106, ill. fig. 60 (b/w).
A library of educational resources on racial justice compiled by employees of The Met.
Embrace Our Differences by Carolyn B. Helsel, Y.
This rectangular ivory panel once formed the cover of a writing tablet. On one side of the panel, a young woman and a man with a hawk kneel before the winged god Cupid (usually called Amor or The God of Love in contemporary texts)
Ivories-Elephant Credit Line: The Cloisters Collection, 2003 Object Number: 2003.131.3a, b
De Boccard, p. 165, pl. CXXVIII, fig. 1103. Harper, Prudence O. 1969.
Inscription: Inscribed in graphite with numerous color notations, including, in left margin: „violet / fond jaune / violet / filaments bleus / fond blanc“; top center: „baguettes vertes et rouges“; right margin: „bleu et jaune le milieu des fleurs / bleu / violet / vert“; far right (oriented perpendicularly): „l’aigle qui [illegible]“Marking: Stamped in red ink, lower left: Delacroixp estate mark (Lugt 838a)
"Devotion to Drawing: The Karen B.
16th century; glass installed in the chapel of a building constructed on the same site
Smithsonian Institution Research Reports 4 (Spring 1973). p. 4.
Signature: [On recto, annotated in pen and light brown ink at lower left:] di Michel Angelo bona RotiInscription: On verso, annotated in pen and brown ink at upper right: 58 Annotated by early 16th century hand at lower center, following the same numbering system of the Michelangelo drawings in the Buonarroti family: nº
Munich, 1925, p. 33, no. 32.
