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"Mirror of the Medieval World," March 9–June 1, 1999. New York.

"Masterpieces of Fifty Centuries," November 14, 1970–June 1, 1971.

Inscription: (top center): F [image of a knot] R (too fragmentary for interpretation, most likely added later as a reference to Francius de La Rochedfoucauld) (in each corner): : A [image of a knot] E [reversed] (unidentified)(on two dog collars): A [image of a knot] E [reversed] (unidentified)
"Masterpieces of Fifty Centuries," November 14, 1970–June 1, 1971.

Culture: Italian Medium: Steel, copper alloy, textile, leather Dimensions: H. 66 1/

This panel and a scene showing the Flagellation of Christ (The Met 2001.216.2) come from a large dismantled retable probably made for the high altar of the former Collegiate Church (Kollegiatstift) of Sankt Maria und Sankt Georg, now the Neustädter Marienkirche, in Bielefeld
Fig. 1.

Georges de La Tour’s Fortune Teller is one of the painter’s early masterpieces. It has been variously dated between 1620 and 1639, and it is most likely from the 1630s. The canvas is signed at top right: G
€“1652 Lunéville) Date: probably 1630s Medium: Oil on canvas Dimensions: 40 1/

A Guide to the Collections, Part 1: Ancient and Oriental Art, 2nd edn.

The Artist: One of the great figures of seventeenth-century painting, Giovanni Francesco Barbieri was born in the town of Cento, not far from Ferrara. His nickname, Guercino—literally, “the little crossed-eyed�—derives from an eye defect evident in portraits of the artist
Fig. 1.

1862–1918 Vienna) Date: 1912–13 Medium: Oil on canvas Dimensions: 59 x 43 1/

From the convent of the Poor Clares at Buda (part of the modern city of Budapest); Countess V. Batthyany, Vienna ; Count Arthur Batthyany ; Frederick I, Grand Duke of Baden 1826–1907 ; his sale, Hôtel Drouot, Paris (January 28-29, 1867, no
Metropolitan Museum of Art Bulletin, n.s., 21, no. 10 (June 1963). pp. 328, 330, 335, fig. 1,