LaurieAnnie's photos

Crucified Christ Germany or Austria (Bavaria), Medieval (Ottonian/Romanesque), 11th century Unidentified artist, Salzburg, Austria Dimensions: Overall (from top of head to bottom of base under feet): 180 cm (70 7/8 in.) Medium or Technique: Wood; willow with polychromy Classification: Sculpture Accession Number: 51.1405 Text from: www.mfa.org/collections/object/crucified-christ-64969

Saint Malo French, Normandy, from Harcouët (Calvados), Medieval (Gothic), second half of 13th century Unidentified artist Place of Origin: Harcouët (Calvados), Normandy, France Dimensions: Overall: 147.3 x 50.8 x 31.8cm (58 x 20 x 12 1/2in.) Mount (Wooden pallet / 1/4" thick "Volara" pad(bolted-3/4" brass rod)): 10.2 x 63.5 x 71.1 cm (4 x 25 x 28 in.) Medium or Technique: Stone; limestone, microsparite, from Caen Classification: Sculpture Accession Number: 54.1797 Holding a small model of a church or a reliquary in his hand, this smiling young man is Saint Malo, a sixth-century saint venerated in northern France, where a town on the Brittany coast bears his name. One tale associated with Saint Malo tells of him walking on water, which explains the representation of waves below the feet of this image. The monumentality of the figure and his lively expression give the sculpture a vivid presence. Text from: www.mfa.org/collections/object/saint-malo-64973

Saint Malo French, Normandy, from Harcouët (Calvados), Medieval (Gothic), second half of 13th century Unidentified artist Place of Origin: Harcouët (Calvados), Normandy, France Dimensions: Overall: 147.3 x 50.8 x 31.8cm (58 x 20 x 12 1/2in.) Mount (Wooden pallet / 1/4" thick "Volara" pad(bolted-3/4" brass rod)): 10.2 x 63.5 x 71.1 cm (4 x 25 x 28 in.) Medium or Technique: Stone; limestone, microsparite, from Caen Classification: Sculpture Accession Number: 54.1797 Holding a small model of a church or a reliquary in his hand, this smiling young man is Saint Malo, a sixth-century saint venerated in northern France, where a town on the Brittany coast bears his name. One tale associated with Saint Malo tells of him walking on water, which explains the representation of waves below the feet of this image. The monumentality of the figure and his lively expression give the sculpture a vivid presence. Text from: www.mfa.org/collections/object/saint-malo-64973

Relief of a winged genius Near Eastern, Mesopotamian, Assyrian, Neo-Assyrian Period, reign of Ashurnasirpal II, 883–859 B.C. Findspot: Nimrud (Calah, Kalhu), Iraq Dimensions: Height x width x depth: 230 x 132 x 9.4 cm (90 9/16 x 51 15/16 x 3 11/16 in.) Medium or Technique: Gypsum Classification: Architectural elements Accession Number: 81.56 Slab depicting a winged genius (or "apkallu," antediluvian sage) holding a mace from the Northwest Palace of Ashurnasirpal II (reigned 883–859 B.C.) in Nimrud. Across the center, the panel is inscribed with the "Standard Inscription" of Ashurnasirpal II. Inscription The standard inscription of Assurnasirpal II (as carved on the reliefs in the Museum of Fine Arts, Boston) Palace of Assurnasirpal, priest of Assur, the favorite of Bel and Ninurta, the beloved of Anu and Dagan, the Strong one of the great gods, the mighty king, king of the world, king of Assyria, son of Tukulti-Ninurta, the great king, the mighty king, king of the world, king of Assyria; (grand)son of Adad-Nirari, king of the world, king of Assyria; the ...valiant hero, who goes hither and yon, trusting in Assur his lord and who is without rival among the princes of the four quarters; the shepherd of the fertile pastures, who fears no opposition; the mighty flood, who has no opponent; the king who subjects the unruly, the entire hosts of the nations' subjects; the strong man who treads on the necks of his foes, who crushes all his enemies, who shatters the alliance of the rebels; the king, who with the help of the great gods, his lords, proceeds and whose hand has conquered all lands; who has mastered all the mountain regions and has received their tribute, who takes hostages and establishes his power over all the lands. When Assur, the lord who pronounced my name and who made great my kingdom, entrusted his unrelenting weapon unto the power of my authority, I overthrew with weapons the armies of the land of Lullume (i.e. Luristan in western Iran), the wide spreading ones in the midst of battle. With the help of Shamash and Adad, the gods in whom I trust, I thundered over the lands of Nairi, Kirkhi, Shubari, and Nirbe (i.e. Kurdistan) like Adad the destroyer. (I am) the king who from beyond the Tigris to Mount Lebanon and the Great Sea brought into submission under his feet the country of the Laqe in its whole extent, the land of Sukhi together with the city of Rapiqu (i.e. the Euphrates Valley) whose hand conquered (the territory) from the source of the River Subnat as far as the land of Urartu (i.e. Armenia). Text from: www.mfa.org/collections/object/relief-of-a-winged-genius-...

Relief of a winged genius Near Eastern, Mesopotamian, Assyrian, Neo-Assyrian Period, reign of Ashurnasirpal II, 883–859 B.C. Findspot: Nimrud (Calah, Kalhu), Iraq Dimensions: Height x width x depth: 230 x 132 x 9.4 cm (90 9/16 x 51 15/16 x 3 11/16 in.) Medium or Technique: Gypsum Classification: Architectural elements Accession Number: 81.56 Slab depicting a winged genius (or "apkallu," antediluvian sage) holding a mace from the Northwest Palace of Ashurnasirpal II (reigned 883–859 B.C.) in Nimrud. Across the center, the panel is inscribed with the "Standard Inscription" of Ashurnasirpal II. Inscription The standard inscription of Assurnasirpal II (as carved on the reliefs in the Museum of Fine Arts, Boston) Palace of Assurnasirpal, priest of Assur, the favorite of Bel and Ninurta, the beloved of Anu and Dagan, the Strong one of the great gods, the mighty king, king of the world, king of Assyria, son of Tukulti-Ninurta, the great king, the mighty king, king of the world, king of Assyria; (grand)son of Adad-Nirari, king of the world, king of Assyria; the ...valiant hero, who goes hither and yon, trusting in Assur his lord and who is without rival among the princes of the four quarters; the shepherd of the fertile pastures, who fears no opposition; the mighty flood, who has no opponent; the king who subjects the unruly, the entire hosts of the nations' subjects; the strong man who treads on the necks of his foes, who crushes all his enemies, who shatters the alliance of the rebels; the king, who with the help of the great gods, his lords, proceeds and whose hand has conquered all lands; who has mastered all the mountain regions and has received their tribute, who takes hostages and establishes his power over all the lands. When Assur, the lord who pronounced my name and who made great my kingdom, entrusted his unrelenting weapon unto the power of my authority, I overthrew with weapons the armies of the land of Lullume (i.e. Luristan in western Iran), the wide spreading ones in the midst of battle. With the help of Shamash and Adad, the gods in whom I trust, I thundered over the lands of Nairi, Kirkhi, Shubari, and Nirbe (i.e. Kurdistan) like Adad the destroyer. (I am) the king who from beyond the Tigris to Mount Lebanon and the Great Sea brought into submission under his feet the country of the Laqe in its whole extent, the land of Sukhi together with the city of Rapiqu (i.e. the Euphrates Valley) whose hand conquered (the territory) from the source of the River Subnat as far as the land of Urartu (i.e. Armenia). Text from: www.mfa.org/collections/object/relief-of-a-winged-genius-...

Relief of a winged genius Near Eastern, Mesopotamian, Assyrian, Neo-Assyrian Period, reign of Ashurnasirpal II, 883–859 B.C. Findspot: Nimrud (Calah, Kalhu), Iraq Dimensions: Height x width x depth: 230 x 132 x 9.4 cm (90 9/16 x 51 15/16 x 3 11/16 in.) Medium or Technique: Gypsum Classification: Architectural elements Accession Number: 81.56 Slab depicting a winged genius (or "apkallu," antediluvian sage) holding a mace from the Northwest Palace of Ashurnasirpal II (reigned 883–859 B.C.) in Nimrud. Across the center, the panel is inscribed with the "Standard Inscription" of Ashurnasirpal II. Inscription The standard inscription of Assurnasirpal II (as carved on the reliefs in the Museum of Fine Arts, Boston) Palace of Assurnasirpal, priest of Assur, the favorite of Bel and Ninurta, the beloved of Anu and Dagan, the Strong one of the great gods, the mighty king, king of the world, king of Assyria, son of Tukulti-Ninurta, the great king, the mighty king, king of the world, king of Assyria; (grand)son of Adad-Nirari, king of the world, king of Assyria; the ...valiant hero, who goes hither and yon, trusting in Assur his lord and who is without rival among the princes of the four quarters; the shepherd of the fertile pastures, who fears no opposition; the mighty flood, who has no opponent; the king who subjects the unruly, the entire hosts of the nations' subjects; the strong man who treads on the necks of his foes, who crushes all his enemies, who shatters the alliance of the rebels; the king, who with the help of the great gods, his lords, proceeds and whose hand has conquered all lands; who has mastered all the mountain regions and has received their tribute, who takes hostages and establishes his power over all the lands. When Assur, the lord who pronounced my name and who made great my kingdom, entrusted his unrelenting weapon unto the power of my authority, I overthrew with weapons the armies of the land of Lullume (i.e. Luristan in western Iran), the wide spreading ones in the midst of battle. With the help of Shamash and Adad, the gods in whom I trust, I thundered over the lands of Nairi, Kirkhi, Shubari, and Nirbe (i.e. Kurdistan) like Adad the destroyer. (I am) the king who from beyond the Tigris to Mount Lebanon and the Great Sea brought into submission under his feet the country of the Laqe in its whole extent, the land of Sukhi together with the city of Rapiqu (i.e. the Euphrates Valley) whose hand conquered (the territory) from the source of the River Subnat as far as the land of Urartu (i.e. Armenia). Text from: www.mfa.org/collections/object/relief-of-a-winged-genius-...

Board for the game of pegs and holes Near Eastern, Levantine, Middle Bronze Age, about 2000–1500 B.C. Dimensions: 4 x 13.4 x 28 cm (1 9/16 x 5 1/4 x 11 in.); Legacy dimension: L: 28 cm W: 13.4 cm H: 4 cm Medium or Technique: Limestone; reproduction pegs Classification: Tools & equipment Accession Number: 1996.62 This board was used for an immensely popular game enjoyed from Egypt to Iran. Played with pegs, the game seems to have been a race in which the opposing pieces, by counts of dice, were moved down the inner rows of holes and up the outer rows on their respective sides. The first player to reach the hole at the top probably seized an opposing piece, and the game likely continued until one player won all his opponent's pieces. The displayed pegs, with heads of horses and hounds, have been reproduced from fragmentary ivory originals excavated by the Museum in the Sudan in 1919. Text from: www.mfa.org/collections/object/board-for-the-game-of-pegs...

Cylinder Near Eastern, Mesopotamian, Babylonian, Neo-Babylonian Period, reign of Nebuchadnezzar I, 604–562 B.C. Babylon Dimensions: Overall: 17 x 8.4 cm (6 11/16 x 3 5/16 in.) Medium or Technique: Pottery Classification: Inscriptions Accession Number: 44.658 Clay cylinder of King Nebuchadnezzar II (reigned 604-562 B.C.) with cuneiform writing. The inscription on this cylinder records the restoration by Nebuchadnezzar II, king of Babylon, of the temple of the god Lugalmarada in the town of Marad. The text reveals that during the restoration, it was discovered that the ancient lower courses of the structure had been laid by Naram-Sin, king of Akkad, more than sixteen hundred years earlier. Text from: www.mfa.org/collections/object/cylinder-251934

Bronze helmet Near Eastern, Iranian, Persian, Parthian, 249 B.C.–A.D. 224 Place of Manufacture: Iran or eastern Anatolia Dimensions: Height: 34 cm (13 3/8 in.) Medium or Technique: Bronze Classification: Warfare, hunting, & fishing Catalogue Raisonné: Sculpture in Stone and Bronze (MFA), no. 120. Accession Number: 1979.41 Bronze helmet in the form of a Kedaris (the headdress popular among the nomadic peoples of Anatolia), with elaborately chased patterning imitating the quilted fabric, and rosettes on the sides and peak. Text from: www.mfa.org/collections/object/bronze-helmet-155932

Tile: figure with streams of water flowing from jars held in his hand Near Eastern, Mesopotamian, Assyrian, Neo-Assyrian Period, 883–612 B.C. Medium or Technique: Painted or glazed terracotta Classification: Architectural elements Accession Number: 1997.189 Text from: "Wall paintings from provincial Assyrian palaces; Assyrian borderlands." A beardless male figure or a female figure with streams of "purifying" water flowing from jars held in his/her hand.

Deep bowl Near Eastern, Levantine, Phoenician, Neo-Assyrian Period, 883–612 B.C. Dimensions: Height: 11.4 cm (4 1/2 in.) Medium or Technique: Gilded silver Classification: Vessels Accession Number: 27.170 Design in two friezes. In the top register soldiers march among date palms accompanied by a mounted rider and two chariots. One chariot is Assyrian in style and carries a bearded man with a conical hat who appears to be Assyrian. The other chariot appears Egyptian and carries a clean-shaven man who also seems to be Egyptian, as do the troops themselves. Below, the "Egyptian" soldiers hunt a lion in a landscape of hills, trees, and plants. The bowl perfectly illustrates the mixture of styles that characterizes Phoenician art of the eastern Mediterranean region. Text from: www.mfa.org/collections/object/deep-bowl-242466

Drinking vessel in the shape of a fist Near Eastern, Anatolian, Hittite, Hittite New Kingdom, reign of Tudhaliya III, 14th century B.C. Place of Manufacture: central Anatolia Dimensions: Width x length: 10 x 15.5 cm (3 15/16 x 6 1/8 in.) Medium or Technique: Silver Classification: Vessels Accession Number: 2004.2230 This ceremonial drinking vessel is shaped in the form of a human fist with a procession of musicians in relief along the cuff. Text from: www.mfa.org/collections/object/drinking-vessel-in-the-sha...

Statuette of a dog Near Eastern, Mesopotamian or Babylonian, Middle Bronze Age, Isin-Larsa or Old Babylonian, 2000–1800 B.C. Findspot: Iraq Dimensions: Height x width: 24 x 10.5 cm (9 7/16 x 4 1/8 in.) Medium or Technique: Terracotta Classification: Sculpture Accession Number: 1972.872 Terracotta statuette of a seated dog, wearing a distinctive collar. The dog is the symbol of the healing goddess Gula. The statuette was probably dedicated at a shrine to the goddess. Text from: www.mfa.org/collections/object/statuette-of-a-dog-164309

Madame Cézanne in a Red Armchair about 1877 Paul Cézanne, French, 1839–1906 Dimensions: 72.4 x 55.9 cm (28 1/2 x 22 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Portrait - Single - Female Accession Number: 44.776 Cézanne's wife, Hortense Fiquet, was his most frequent model—he painted nearly thirty portraits of her. Posing for Cézanne demanded great patience, for he was a slow and painstaking worker and always required the presence of the model. This early portrait has a serene monumentality, its many small blocks of subtly varied color locked into a harmonious whole. In one of his most frequently quoted statements, Cézanne said, "I want to make of Impressionism an art as solid as that of the museums." Text from: www.mfa.org/collections/object/madame-c-zanne-in-a-red-ar...

Madame Cézanne in a Red Armchair about 1877 Paul Cézanne, French, 1839–1906 Dimensions: 72.4 x 55.9 cm (28 1/2 x 22 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Portrait - Single - Female Accession Number: 44.776 Cézanne's wife, Hortense Fiquet, was his most frequent model—he painted nearly thirty portraits of her. Posing for Cézanne demanded great patience, for he was a slow and painstaking worker and always required the presence of the model. This early portrait has a serene monumentality, its many small blocks of subtly varied color locked into a harmonious whole. In one of his most frequently quoted statements, Cézanne said, "I want to make of Impressionism an art as solid as that of the museums." Text from: www.mfa.org/collections/object/madame-c-zanne-in-a-red-ar...

Dr. Franz Xavier von Soist 1850 Franz Ittenbach, German, 1813–1879 Dimensions: Unframed: 35 1/2 x 25 1/4 in. (90.2 x 64.1 cm) Medium or Technique: Oil on canvas Classification: Paintings Accession Number: 2009.2527 Text from: www.mfa.org/collections/object/dr-franz-xavier-von-soist-...

Dr. Franz Xavier von Soist 1850 Franz Ittenbach, German, 1813–1879 Dimensions: Unframed: 35 1/2 x 25 1/4 in. (90.2 x 64.1 cm) Medium or Technique: Oil on canvas Classification: Paintings Accession Number: 2009.2527 Text from: www.mfa.org/collections/object/dr-franz-xavier-von-soist-...