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

Zurich, October 22–24, 1942. p. 22, no. 254 & pl. XIII.

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).

Bulletin of the Metropolitan Museum of Art, 8(3): p. 95.Richter, Gisela M.
Bulletin of the Metropolitan Museum of Art, 8(3): p. 95. Richter, Gisela M.

Credit Line: Rogers Fund, 1909 Object Number: 09.180.13a, b Excavated by the Egyptian

Edward B. Garrison. Italian Romanesque Panel Painting.

[By 1918, R.D. Messayeh, New York]; [1919, purchased by Joseph Brummer from Messayeh, New York (Brummer inv. no. N315)]; acquired by the Museum in 1947, purchased from the estate of Joseph Brummer, New York
Louchheim, Aline B. 1949. “Near-Eastern Art Placed on Display: Metropolitan Shows

1840s, excavated under the direction of Austen Henry Layard; 1849, presented by Layard to Lady Charlotte Guest for Canford Manor, Dorsetshire (Dorset), England; 1919, purchased by Dikran Kelekian from Ivor Churchill Guest; 1927, purchased by J
New York: The Metropolitan Museum of Art, p. 8.

When it came to depicting Jesus on the Cross, many artists of the earlier Middle Ages portrayed Jesus as alive and alert, his body entirely resistant to the trauma of crucifixion. In this example, Jesus almost bears himself easily, with his torso erect, knees slightly bent, and head held high
Rorimer, James J., and Margaret B. Freeman.

Oxford, 1932, p. 183. Bernard Berenson.