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In this painting, the Madonna and Child are flanked by Saint Francis to the left, shown in the gray habit of the Franciscan order and holding the cross within his stigmata-marked hand, and Saint Jerome to the right, attired in the red robes of a cardinal, signifying his service to Pope Damasus I (305–384 CE)
by 1834–d. 1849); his son, principe Maffeo Barberini Colonna di Sciarra, Rome (b.

Berlin: Dietrich Reimer Verlag, 1928. p. 40. Lamm, Carl Johan.

Daily Chronicle (October 5, 1912), p. 6 [reprinted in J. B.

Marking: Arms (central panel, left window): D’or au chevron de sable charge sur sa pointe d’une chaine de quatre chainons d’argent elle meme placee en chevron. For Ingelbrechts (Ingelbrechts or Ymbrechts) of Malines and Spain
Forsyth, William H., and Margaret B. Freeman.

Rorimer, James J., and Margaret B. Freeman.

The Artist: Together with Maso di Banco (for which see 43.98.13), Taddeo Gaddi was Giotto’s most celebrated pupil and assistant
B. C. Kreplin in Allgemeines Lexikon der bildenden Künstler. Ed.

This crucifix was made to be carried in processions and is painted on both sides. Before entering the Kress collection (Shapley 1966) the two sides were separated, but they were re-united in the Museum in 1988
Harry B. Wehle.

The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.
Escobar Fred Eychaner Allan and June B.

Beads (1980.456, .457) and pendant (30.95.37)Among the luxury arts that flourished under the Fatimid caliphs, gold jewelry stands out for its innovation and complexity. According to literary sources, prodigious amounts of such jewelry were manufactured for both royal and patrician patrons; most of these items were later melted down for currency or refashioned into newer pieces
Catalogue by Mikhail B. Piotrovsky, John Vrieze, and others.

The Artist: Simone Martini was one of the greatest and most influential painters of his time. His work combines an astonishing mastery of naturalistically observed details with an exquisite technique, beautifully exemplified in The Met’s painting of Saint Andrew by the description of the hands, the tilted book, and the dangling tassel and the refined tooling of the halo
Burton B. Fredericksen and Federico Zeri.