BottleThis bottle clearly illustrates the transitional phase of development between Late Antique and early Islamic period artifacts. Of all the crafts, glassmaking was perhaps the most conservative in terms of both artistic continuity over time and the transfer of skills and ideas from one generation to another
As a rule, Late Roman glass did not have a pontil mark, and neither does this bottle
Managing Horticulturist Caleb Leech discusses how medieval agriculturists approached soil management.
(Harvey 168) It is most likely the common cowpea, believed to have originated in
The Artist: The Sienese master 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
He may have spent some time with Duccio (see 2004.442), but in his monumental mural
Shoes provide important clues to dramatic changes in fashionable dress through the centuries, documenting shifts in aesthetic taste, as well as advances in design and manufacturing techniques.
elongated toes, these shoes affected the wearer’s ease of movement and would not have
The Artist: Hugo van der Goes (ca. 1440–1482), born in Ghent, was one of the leading Flemish artists of the second half of the fifteenth century. Initially, Hugo followed in the grand tradition of the illusionism of Jan van Eyck’s paintings, with a palette of richly saturated colors and a clear organization of space that depended on single vanishing-point perspective
Punnett Endowment Fund, Marquand and Charles B.
conservation, Islamic
X-radiographs, which have even shorter wavelengths, can uncover evidence of original
Superfine: Tailoring Black Style presents a cultural and historical examination of Black style over three hundred years through the concept of dandyism.
Black identity formation in the Atlantic diaspora and the ways Black designers have
This roundel is a rare and splendid example of early fifteenth-century Franco-Flemish embroidery. The detailed pictorial design and luminous palette, created by colored silk and metallic threads, highlight the sophistication of this medium, which was so highly prized during this period
panels are now dispersed among public and private collections), the embroideries may have
Moroni’s portrait of the Bergamasque professor Bartolomeo Bonghi (died 1584) is one of his finest works from the 1550s. Bonghi is shown seated on a Savonarolan-style chair with a book in his left hand, gazing toward the viewer, and with a cityscape through the window beyond
B[ryson]. B[urroughs]. "Venetian Paintings."
