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.
P2050).
The Metropolitan Museum of Art Bulletin 7 (7), p. 186-189, ill. p. 190.
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.
image, center): a) Letters from HomeInscribed (in pencil, along bottom of image):b)
image, center): a) Letters from Home Inscribed (in pencil, along bottom of image): b)
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.
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.
From a hypogeum (so-called “tomb B�) on the property of Savino Scocchera in Mandorleto Grotticelle, east of Canosa, Italy 1895, found in a tomb near Canosa, Apulia, Italy; [by 1904 and until 1906, with Cesare and Ercole Canessa, Naples and Paris]; acquired in 1906, purchased from C
burial as the loutrophoroi 06.1021.245 and 06.1021.249; the pyxis 06.1021.253a, 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.
