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The Picture: A vase of flowers stands on a stone socle, its contents spilling forth from the surrounding alcove. Visible on the heavily shadowed vase, perhaps made of terracotta or gilt bronze, are the plump figure of a reclining putto, vegetable ornamentation, and a grotesque face
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The Painting and its History: The greatest portraitist of noblemen at the court of Philip IV in Spain, Velázquez was also a master of making vibrant likenesses, often bust-length, of less high-standing sitters
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collection that features a storage compartment for the owner’s valuables (2000.160.53a, b)

The Background: Between 1649 and 1651, Velázquez travelled to Italy for the second and last time in his life. The main purpose of the trip was to buy paintings and sculptures for King Philip IV of Spain, and while he was in Rome, the painter also received the prestigious commission to portray Pope Innocent X (the canvas is now in the Galleria Doria Pamphilj, Rome)
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Attribution, Date, and Bruegel’s Working Methods: When The Met acquired The Harvesters in 1919, the extraordinarily low sale price in part had to do with the art market that had virtually collapsed during World War I
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The Crusaders then took over many of the cities on the Mediterranean coast and built a large number of fortified castles all over the Holy Land to protect their new territories.
sometimes combines an Islamic aesthetic with Christian subject matter ( 1971.39a,b)

New York: The Metropolitan Museum of Art, 2015, p. 108, fig. 65.

Reception Room (Qa’a)This interior, a splendid example of a wood-paneled reception chamber (qa‘a) from a private house in Damascus, is among the earliest extant, nearly complete interiors of its kind, dated by an inscription to A
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