Emile Gavet, Paris (until 1897) ; his sale, Galerie Georges Petit, Paris (May 9–June 9, 1897, no. 327) ; Paul Casimir Garnier, Paris (1897–1916) ; his sale, Hôtel Drouot, Paris (December 18–23, 1916, no
collection/search/471972 https://www.metmuseum.org/art/collection/search/471972 Link
Theodore M. Davis Excavations by Quibell and Weigall, 1905. Acquired by Davis in the division of finds, 1905. Theodore M. Davis Collection 1905-1015. Bequeathed to the Museum by Davis, 1915; accessioned, 1930
collection/search/544515 https://www.metmuseum.org/art/collection/search/544515 Link
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PanelIn their time, the royal quarters at Madinat al-Zahra, the caliphal court in al-Andalus, must have been a spectacular sight, with lavish architectural decoration; luxuriant curtains, textiles, and furnishings; and sumptuous objects
collection/search/446285 https://www.metmuseum.org/art/collection/search/446285 Link
Fragmentary PlateThis shallow plate has a plain rim with a rounded edge. The wall curves down and in, with a depression ( diam. 4 cm [1 5/8 in.]) at the center of the floor. Most of the floor is missing; similar plates have either a plain base or three applied feet (see, for example, Smith 1957, no
collection/search/449824 https://www.metmuseum.org/art/collection/search/449824 Link
collection/search/435617 https://www.metmuseum.org/art/collection/search/435617 Link
collection/search/500928 https://www.metmuseum.org/art/collection/search/500928 Link
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This group of five ivory panels are the reassembled elements of a „composite casket,“ so called by scholars because the narrative scenes that adorn them are vignettes from a variety of popular stories and chivalric romances
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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
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