Works of Art (86)
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Head of an Angel, ca. 1250, France, Paris, Notre-Dame Cathedral (?), Limestone (1990.132) |
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The Agony in the Garden, predella panel,
Raphael (Raffaello Sanzio or Santi) (Italian, Marchigian),
Oil on wood (32.130.1) |
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The Last Supper,
Ugolino da Siena (Italian, Sienese),
Tempera on panel (1975.1.7) |
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The Angel Gabriel Appearing to Zacharias, ca. 1799–1800, William Blake (British), Pen and black ink, tempera and glue size on canvas (51.30.1) |
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The Annunciation to Zacharias; (verso) The Angel of the Annunciation,
Giovanni di Paolo (Italian, Sienese),
Tempera and gold on wood, (1975.1.37) |
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"Antioch Chalice," first half of 6th century, Byzantine; Made in Antioch or Kaper Koraon (?), Silver, silver-gilt (50.4) |
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Assumption of the Virgin in an Initial A: Cutting from an Antiphonary, ca. 1470–80, Cosimo Tura (Italian), Tempera and gold leaf on parchment (11.50.1) |
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Baptism of Christ, ca. 1480–1490, Pupil of Veit Stoss, Cracow, Lindenwood (12.130.1) |
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Batrashil, 1534/35, Syria, Silk embroidery with metallic thread (14.137) |
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Birth of the Virgin, 1467, Fra Carnevale (Bartolomeo di Giovanni Corradini) (Italian, Marchigian), Tempera and oil on wood (35.121) |
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Calling of Matthew, Workshop of Jan Sanders van Hemessen (Netherlandish), Oil on wood (71.155) |
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Capital with Bust of the Archangel Michael, ca. 1250–1300, Byzantine; Made in Constantinople, possibly from the Monastery of the Virgin Peribleptos ("All-Seeing"), now the Sulumanastir, a mosque, Marble (1983.167) |
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Capital, with the Presentation of Christ in the Temple, From the Abbey of Saint-Guilhem-le-Désert, France, Limestone (25.120.60) |
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Chasuble, ca. 1330–1350, English, Silk and silver-gilt thread and colored silks in underside couching, split stitch, laid-and-couched work, and raised work, with pearls on velvet (27.162.1) |
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Christ and the Adulteress, mid-1540s, Lucas Cranach the Elder (German), Oil on wood (1982.60.35) |
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Christ and the Apostles Entering the Temple in Jerusalem in an Initial D, ca. 1411–13,
Lorenzo Monaco (Piero di Giovanni) (Italian, Florentine); Fra Angelico(?) (Italian),
Pen and ink on parchment (1999.391)
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Christ Blessing the Children, mid-1540s, Lucas Cranach the Elder (German), Oil on wood (1982.60.36) |
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Christ Carrying the Cross, ca. 1475–80, Martin Schongauer (German), Engraving (35.27) |
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Christ Presented to the People, Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch), Drypoint; eighth (final) state (41.1.36) |
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Christ Presented to the People, Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch), Drypoint; second state of eight (41.1.34) |
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The Circumcision: From the series The Early Life of the Virgin, 1593–94, Hendrick Goltzius (Netherlandish), Engraving (17.37.36) |
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Claviorganum, 1598, Made by Laurentium Hauslaib, Nuremberg, Germany, Wood and various materials (89.4.1191) |
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Crib of the Infant Jesus, 15th century, South Netherlandish; Made in Brabant, Carved and polychromed oak, copper gilt, silver gilt, painted parchment, and silk embroidered with seed pearls, gold thread, tinsel, and translucent enamels (1974.121) |
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Crucifixion; The Last Judgment, ca. 1430, Jan van Eyck and Workshop Assistant (Netherlandish), Oil on canvas, transferred from wood (33.92ab) |
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Cylindrical box, ca. 1225–1250; Ayyubid, Syrian or northern Mesopotamian (Jazira), Brass with silver inlay (1971.39) |
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Dead Christ with the Virgin, Saint John, and Angels, ca. 1390–1405, French (Paris), Opaque and translucent enamel on gold (17.190.913) |
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The Denial of Saint Peter, Caravaggio (Michelangelo Merisi) (Italian, Lombard), Oil on canvas (1997.167) |
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Descent from the Cross, ca. 1550–60, School of Jean Goujon (French), Marble (29.56) |
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Diptych with the Last Judgment and Coronation of the Virgin, ca. 1250–1270, French; Paris, Elephant ivory (1970.324.7a–b) |
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Enkolpion: Cameo of an Archangel (Michael?), probably 14th century, Byzantine (Constantinople?), Sardonyx (40.20.58) |
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Entombment of Christ, ca. 1390–1405, French (Paris), Opaque and translucent enamel on gold (1982.60.398) |
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The Entombment, 1554,
Moretto da Brescia (Alessandro Bonvicino) (Italian, Brescian),
Oil on canvas (12.61) |
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The Entombment, ca. 1654, Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch), Etching printed on Chinese paper; first state of four (20.46.17) |
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The Entombment, Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch), Etching, drypoint, and engraving; second state of four (23.51.7) |
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Epiphany, possibly ca. 1320, Giotto di Bondone (Italian, Florentine), Tempera on wood, gold ground (11.126.1) |
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Fifteen Mysteries and the Virgin of the Rosary, Netherlandish Painter (possibly Goswijn van der Weyden), Oil on wood (1987.290.3a–p) |
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The Flagellation; The Madonna of Mercy, processional banner, ca. 1540,
Girolamo Romanino (Italian, Brescian),
Distemper and oil(?) on canvas (1989.86) |
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Four Scenes from the Passion, ca. 1520, Master of the Blumenthal Passion (Netherlandish), Oil on wood (41.190.14) |
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The Good Samaritan, 1633, Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch), Etching and drypoint; first state of four (41.1.53) |
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Guardroom with the Deliverance of Saint Peter, ca. 1645–47, David Teniers the Younger (Flemish), Oil on wood (64.65.5) |
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Head of an Apostle, ca. 1280–1300, Upper Rhineland, probably Strasbourg, Red sandstone (2004.453) |
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Holy Virgins Greeted by Christ as They Enter the Gates of Paradise: Leaf from the Breviary of Charles the Bold and Margaret of York, ca. 1467–70, Simon Marmion (French), Tempera and gold leaf on parchment (1975.1.2477) |
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Icon with Christ "Overseer of All" and the Chorus of Saints, ca. 1300–1500, Byzantine, Steatite (63.68.1-13) |
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Icon with the Presentation of Christ in the Temple, 1400–1500, Byzantine, Wood, painted, with gold ground (31.67.8) |
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Jeremiah Dictating the Word of God to Baruch, Peter Paul Rubens (Flemish), after Raphael (Italian), Red chalk, brush and red wash, body color, heightened with white, on paper washed with pink (1995.401) |
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Lamentation Group, dated 1487, Italian (Faenza), probably made for a Franciscan church or convent near Faenza, Tin-glazed earthenware (majolica) (04.26a-h) |
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Lamentation, 1591, Scipione Pulzone (Il Gaetano) (Italian, Roman), Oil on canvas (1984.74) |
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Lamentation, ca. 1450, Petrus Christus (Netherlandish)
Oil on wood (91.26.12) |
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Lamentation, ca. 1510–20, Attributed to Jan de Beer (Netherlandish), Pen and black ink, over traces of black chalk (2001.189) |
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Lamentation, ca. 1582, Ludovico Carracci (Italian, Bolognese), Oil on canvas (2000.68) |
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Lamentation, recto and verso, early 1470s, Simon Marmion (French), Oil and tempera(?) on oak panel (1975.1.128) |
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Last Judgment, ca. 1520–25,, Joos van Cleve (Netherlandish), Oil on wood (40.174.1) |
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Last Supper, from a set of four tapestries of the Passion, known as the Alba Passion, ca. 1520–30, Bernaert van Orley (Flemish); Probably designed by Pieter de Pannemaker (Flemish), Flemish, Wool, silk, and silver-gilt thread (1975.1.1915) |
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Last Supper, triptych, 1515–20, Netherlandish (Antwerp Mannerist) Painter, Oil on wood (17.190.18a–c) |
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Leaf from a Manuscript: The Birth of the Virgin in an Initial G, ca. 1375, Don Silvestro dei Gheraducci, Italian; Florence, Tempera and gold leaf on parchment (21.168) |
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Manuscript Illumination with the Evangelist Luke, late 13th–early 14th century, Tempera and gold leaf on parchment (2001.633) |
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Meditationes passionis Christi; Devote meditatione sopra la passione del nostro Signore (Devout Meditations on the Passion of Our Lord): The Raising of Lazarus, opening page (folios 1v and 2r),
Author: Pseudo-Bonaventura,
Venice: Hieronymus de Sanctis & Cornelio, 1487,
Printed book with woodcut illustrations (33.17) |
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Miracle of the Loaves and Fishes, ca. 1545–50, Tintoretto (Jacopo Robusti) (Italian, Venetian), Oil on canvas (13.75) |
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Page from an Illuminated Gospel, late 14th–early 15th century, Ethiopia, Lake Tana region, Wood, vellum, pigment (1998.66) |
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The Parable of the Wise and Foolish Virgins, ca. 1803–5, William Blake (British), Watercolor, brush and gray wash, pen and black ink over graphite (14.81.2) |
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Paradise (predella panel), ca. 1445,
Giovanni di Paolo (Italian, Sienese),
Tempera and gold on canvas, transferred from wood, (06.1046) |
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Pendant Icon, 17th–18th century, Ethiopia; Amharic, Wood, tempera paint (1997.81.1) |
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Pendant Triptych (with Scenes of the Passion), 16th century, Mexican, Boxwood, feathers, gold, enamel (10.141.2) |
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Pietà, ca. 1864,
Jean-Baptiste Carpeaux (French), Terracotta (2001.199) |
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Pilate Washing His Hands, 1663, Mattia Preti (Italian, Neapolitan), Oil on canvas (1978.402) |
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Plaque with Emmaus Scenes, ca. 860–880, Carolingian, Ivory (1970.324.1) |
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Plaque with the Ascension, ca. 1050, Western Germany, Ivory (1970.324.2) |
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Plaque with the Journey to Emmaus and the Noli Me Tangere, ca. 1115–1120, Spanish; Made in León, Ivory, traces of gilding (17.190.47) |
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Portal from the Church of San Leonardo al Frigido, ca. 1170–1180, Italian; Made in Tuscany, White Carrara marble, grayish marble (62.189) |
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Predica del arte del ben morire (Sermon on the Art of Dying Well): Title page (signature a1),
Author: Girolamo Savonarola,
[Florence: Ant. Tubini, shortly after 1500], 4th ed.,
Book with printed text and four woodcut illustrations (25.30.95) |
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Prophet, ca. 1390–1410, French (Bourges or Burgundy) or South Lowlands, Colorless glass, silver stain, and vitreous paint (1995.301) |
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Pyx Depicting Women at the Tomb of Christ, 500s, Byzantine; Made in the eastern Mediterranean, Ivory (17.190.57) |
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Rosary Bead, early 16th century, South Lowlands (Brabant), Boxwood (17.190.475) |
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Saint Matthew and the Angel, 1534,
Giovanni Girolamo Savoldo (Italian, Brescian),
Oil on canvas (12.14) |
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Saints Peter and John Healing the Lame Man, 1655, Nicolas Poussin (French), Oil on canvas (24.45.2) |
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Saints Peter, Martha, Mary Magdalene, and Leonard, ca. 1514–16,
Correggio (Antonio Allegri) (Italian, Parma),
Oil on canvas (12.211) |
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Salome with the Head of Saint John the Baptist, probably ca. 1506–7,
Andrea Solario (Italian, Milanese),
Oil on wood (32.100.81) |
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Situla (Bucket for Holy Water), ca. 860–880, Carolingian; From the Church of Saints Peter and Paul, Crannenburg, Germany, possibly made in Reims, northern France, Ivory with copper alloy gilt mounts and inlays (17.190.45) |
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The Supper at Emmaus, 1622–23, Diego Rodríguez de Silva y Velázquez (Spanish), Oil on canvas (14.40.631) |
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Tabernacle of Cherves, ca. 1220–1230, French; Made in Limoges, Gilded copper and champlevé enamel (17.190.735) |
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Three Holy Women at the Holy Sepulcher, early 10th century; Ottonian, Possibly modern Milan, Northern Italy, Elephant ivory (1993.19) |
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Triptych (Sacring Tablet): Institution of the Sacrament of the Lord's Supper, 16th century, Mexican, Feathers and colored paper laid down on wood, in gilt wood frame (88.3.1) |
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Two Angels, first quarter of 14th century, North Italian, Fresco (1971.115.1ab) |
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Visitation, 1444, Probably Strasbourg; From the Carmelite church at Boppard-am-Rhein, Pot-metal glass (13.64.3ab) |
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Visitation, ca. 1310, Attributed to Master Heinrich of Constance, German; Made in Constance, Walnut, paint, gilding, rock-crystal cabochons (17.190.724) |
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Thematic Essays (22)
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