Writing

Researcher of Medieval manuscripts Wendy Stein discusses her fascination with writing and its history.

Loading

If somebody hands me something that I need to sign and hands me a ballpoint pen, I will reject it.

Play again
Connections Home

URL
Share
Sign Up

New Connections appear every Wednesday. Sign up for a reminder.

Captions On
/
  • Wendy Stein
    1280852
  • Manuscript Illumination with the Evangelist Luke  |  late 13th–early 14th century  |  Byzantine  |  Tempera and gold leaf on parchment  |  Purchase, The Jaharis Family Foundation Inc. Gift, 2001 (2001.633)
    7491024
  • Notes on Paintings and Excerpts from Books  |  20th century  |  Xie Zhiliu (Chinese)  |  Bound volume; ink on paper  |  Gift of Sarah Shay, 2005 (2005.411.260)
    1280997
  • Notes on Paintings and Excerpts from Books  |  20th century  |  Xie Zhiliu (Chinese)  |  Bound volume; ink on paper  |  Gift of Sarah Shay, 2005 (2005.411.260)
    12131024
  • Notes on Paintings and Excerpts from Books  |  20th century  |  Xie Zhiliu (Chinese)  |  Bound volume; ink on paper  |  Gift of Sarah Shay, 2005 (2005.411.260)
    11441024
  • Writing board of an apprentice scribe  |  Dynasty 11 or earlier (ca. 2030 b.c.)  |  Egyptian; Provenance unknown  |  Whitewashed wood and ink  |  Gift of Edward S. Harkness, 1928 (28.9.5)
    6841024
  • Writing board of an apprentice scribe  |  Dynasty 11 or earlier (ca. 2030 b.c.)  |  Egyptian; Provenance unknown  |  Whitewashed wood and ink  |  Gift of Edward S. Harkness, 1928 (28.9.5)
    8381024
  • Writing board of an apprentice scribe  |  Dynasty 11 or earlier (ca. 2030 b.c.)  |  Egyptian; Provenance unknown  |  Whitewashed wood and ink  |  Gift of Edward S. Harkness, 1928 (28.9.5)
    8521024
  • Ostracon with Lines from Homer's Iliad  |  580–640  |  Byzantine  |  Limestone with ink incription  |  Rogers Fund, 1914 (14.1.140)
    12801000
  • Leaf from a Qur'an manuscript  |  13th–14th century  |  Attributed to Spain  |  Ink, colors, and gold on vellum  |  Rogers Fund, 1942 (42.63)
    10661024
  • Calligraphic Trompe-l'oeil  |  1709  |  Matthias Buchinger (German)  |  Pen and red, brown, and black ink, brush and grey wash  |  Purchase, Jean A. Bonna Gift, 2007 (2007.223.44)
    7351024
  • Still Life with a Skull and a Writing Quill  |  1628  |  Pieter Claesz (Dutch)  |  Oil on wood  |  Rogers Fund, 1949 (49.107)
    1280855
  • The Martyrdom of Saint Bartholomew  |  ca. 1340  |  Leaf from the laudario created for Sant'Agnese, Florence  |  Pacino di Bonaguida (Italian, active ca. 1303–ca. 1340)  |  Italian (Florence)  |  Tempera, gold, and ink on parchment  |  The Cloisters Collection, 2006 (2006.250)
    7571024
  • Belles Heures of Jean of France, Duc of Berry: Folio 223v, The Duke of Berry on a Journey  |  1405–1408/9  |  Herman, Paul, and Jean Limbourg (Franco-Netherlandish, active in France)  |  French; Made in Paris  |  Ink, tempera, and gold leaf on vellum  |  The Cloisters Collection, 1954 (54.1.1)
    7101024
  • Belles Heures of Jean of France, Duc of Berry: Folio 17v, Saint Catherine of Alexandria's Wounds are Anointed by the Angels  |  1405–1408/9  |  Herman, Paul, and Jean Limbourg (Franco-Netherlandish, active in France)  |  French; Made in Paris  |  Ink, tempera, and gold leaf on vellum  |  The Cloisters Collection, 1954 (54.1.1)
    6941024
  • Leaf from a Manuscript of Valerius Maximus  |  ca. 1380–90  |  Workshop of Pierre Remiet (French)  |  Made in Paris  |  Parchment, tempera, ink, gold leaf  |  Bequest of Gwynne M. Andrews, 1930 (31.134.8)
    7991024
  • Leaf from a Manuscript of Valerius Maximus  |  ca. 1380–90  |  Workshop of Pierre Remiet (French)  |  Made in Paris  |  Parchment, tempera, ink, gold leaf  |  Bequest of Gwynne M. Andrews, 1930 (31.134.8)
    881511
  • Book Cover  |  1343  |  Italian; Siena  |  Tempera on wood  |  Rogers Fund, 1910 (10.203.3)
    6301024
  • Book Cover  |  1343  |  Italian; Siena  |  Tempera on wood  |  Rogers Fund, 1910 (10.203.3)
    1280899
  • Allegorical Design (recto), Stage Design (verso)  |  1496  |  Leonardo da Vinci (Italian)  |  Pen and brown ink  |  Rogers Fund, 1917 (17.142.2)
    7441024
  • Allegorical Design (recto), Stage Design (verso)  |  1496  |  Leonardo da Vinci (Italian)  |  Pen and brown ink  |  Rogers Fund, 1917 (17.142.2)
    1280898
  • [Lunchroom Window on the Bowery, People's Restaurant, New York City]  |  1933–34  |  Walker Evans (American)  |  Film negative  |  Walker Evans Archive, 1994 (1994.256.649)
    1280980
  • Typewriter Keys  |  1921  |  Ralph Steiner (American)  |  Gelatin silver print  |  Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987 (1987.1100.148)  |  © Ralph Steiner, compliments of Estate
    7841024
  • Funerary altar of Cominia Tyche  |  ca. 90–100 a.d.; Flavian or Trajanic  |  Roman  |  Marble  |  Gift of Philip Hofer, 1938 (38.27)
    7301024
  • Funerary altar of Cominia Tyche  |  ca. 90–100 a.d.; Flavian or Trajanic  |  Roman  |  Marble  |  Gift of Philip Hofer, 1938 (38.27)
    1280799
  • Divina proportione  |  1509  |  Leonardo da Vinci (Italian); Fra Luca Pacioli (Italian)  |  Published by Paganinus de Paganinus, Venice  |  Book with woodcut illustrations  |  Rogers Fund, 1919 (19.50)
    8741024
  • Biographies of Lian Po and Lin Xiangru  |  ca. 1095  |  Huang Tingjian (Chinese)  |  Handscroll; ink on paper  |  Bequest of John M. Crawford Jr., 1988 (1989.363.4)
    1280536
  • Biographies of Lian Po and Lin Xiangru  |  ca. 1095  |  Huang Tingjian (Chinese)  |  Handscroll; ink on paper  |  Bequest of John M. Crawford Jr., 1988 (1989.363.4)
    1280961
  • Biographies of Lian Po and Lin Xiangru  |  ca. 1095  |  Huang Tingjian (Chinese)  |  Handscroll; ink on paper  |  Bequest of John M. Crawford Jr., 1988 (1989.363.4)
    7681024
  • Biographies of Lian Po and Lin Xiangru  |  ca. 1095  |  Huang Tingjian (Chinese)  |  Handscroll; ink on paper  |  Bequest of John M. Crawford Jr., 1988 (1989.363.4)
    7681024
  • Bowl  |  10th century  |  Samarqand (Uzbekistan) or Nishapur (Iran)  |  Earthenware, red body, white engobe, underglaze-painted  |  Rogers Fund, 1965 (65.106.2)
    10241024
  • Vegetarian Vegetable from Campbell's Soup II  |  1969  |  Andy Warhol (American)  |  Screenprint  |  Gift of Mr. and Mrs. Peter Eider-Orley, 1972 (1972.724.3)
    6731024
  • The Martyrdom of Saint Bartholomew  |  ca. 1340  |  Leaf from the laudario created for Sant'Agnese, Florence  |  Pacino di Bonaguida (Italian, active ca. 1303–ca. 1340)  |  Italian (Florence)  |  Tempera, gold, and ink on parchment  |  The Cloisters Collection, 2006 (2006.250)
    7561024
  • The Writing Master  |  1882  |  Thomas Eakins (American)  |  Oil on canvas  |  John Stewart Kennedy Fund, 1917 (17.173)
    11711024
  • The Writing Master  |  1882  |  Thomas Eakins (American)  |  Oil on canvas  |  John Stewart Kennedy Fund, 1917 (17.173)
    1280764
  • Wendy Stein
    1280852
  • My name is Wendy Stein. I work in the department of Medieval art, and I'm gonna be talking about "Writing."

  • When we first started learning cursive, I started being conscious of choosing how I wanted to write. I actually had a lot of trouble. The teacher was strict. You had to do your first thing

  • on yellow paper, and if you had it very well done on yellow paper

  • then you were allowed to use white. And it always took me a long time

  • to get off the yellow paper, and I have hated yellow ever since.

  • People had to learn how to write hieroglyphs just as a kid has to learn how to write anything today. And these are incredibly

  • tatty, handmade, casual, and informal.

  • You see the struggle of learning. This is true also in

  • this tiny fragment, which has text from Homer's Iliad. It has the same line repeated four times in horrible Greek handwriting, and you see that somebody is just struggling and that some teacher is saying, "Write it again, write it again, write it again."

  • By high school I chose brown ink and real fountain pens as a preference. Today, if somebody hands me

  • something that I need to sign and hands me a ballpoint pen, I will reject it.

  • I address over four hundred Christmas cards every year by hand. One of the things that I require is that the pen has a continuous flow.

  • That fed into my interest in manuscripts. When you study a Medieval manuscript, you can get to the level of having a sense of a scribal hand, of an individual.

  • The handwriting that's in the Belles Heures is quite formal, structured, kind of gothic hand

  • very, very regular. It's presenting prayers that are absolutely canonical. And if you look

  • at another manuscript, where it's Roman history, the

  • handwriting is more flowing, there's a different level of formality.

  • This Book Cover has a picture of people writing. The text is beautifully designed, with these very elaborate capitals that have extreme difference between their thick areas and their thin areas

  • so that the whole bottom half reads like this lively checkerboard.

  • I was a little bit into the questions of handwriting analysis in high school, when I thought

  • "Oh, maybe if I make my handwriting really small, people will think I'm a genius."

  • The personality and verve of the menu board writer, with those highlighted costs. Look at those numbers, you just want to buy something that's got a five in it!

  • I'm as obsessive about font as I am about pen and paper. So although Arial is the default font in all the computers, I will always change it to one of the serif fonts.

  • What a serif is, really goes back to Roman inscriptions.

  • At the bottom of each down stroke there's a little foot, and that little finishing of the stroke is the serif.

  • I prefer serifs, they have a greater formality to me. They stand up and they have a better personality.

  • When you look at Chinese and Japanese calligraphy, you have that effect, when you

  • hear a poem read by someone who can read well, where the emotional impact of the poem is doubled

  • because you have it expressed. The letters themselves are so alive

  • they seem to tell a story in their form independently of whatever is written there.

  • So there's the double layer that goes on. You have a formal appreciation, but there also is a straight-ahead meaning. And the one place where that doesn't obtain is in

  • Andy Warhol's Campbell's soup cans. It's about imagery that has become something identifiable as a logo is identifiable. The last thing it's about is vegetarian vegetable soup.

  • I like the intimacy of handwriting. It's

  • dismaying in an elderly person the way that their handwriting starts to disintegrate. All

  • of us can find over time how our handwriting evolves.

  • One's personhood is conveyed.

  • 2001.633
    Manuscript Illumination with the Evangelist Luke, late 13th–early 14th century, Byzantine, Tempera and gold leaf on parchment Purchase, The Jaharis Family Foundation Inc. Gift, 2001 (2001.633)
  • 2005.411.260
    Notes on Paintings and Excerpts from Books, 20th century, Xie Zhiliu (Chinese), Bound volume; ink on paper Gift of Sarah Shay, 2005 (2005.411.260)
  • 28.9.5
    Writing board of an apprentice scribe, Dynasty 11 or earlier (ca. 2030 b.c.), Egyptian; Provenance unknown, Whitewashed wood and ink Gift of Edward S. Harkness, 1928 (28.9.5)
  • 14.1.140
    Ostracon with Lines from Homer's Iliad, 580–640, Byzantine, Limestone with ink incription Rogers Fund, 1914 (14.1.140)
  • 42.63
    Leaf from a Qur'an manuscript, 13th–14th century, Attributed to Spain, Ink, colors, and gold on vellum Rogers Fund, 1942 (42.63)
  • 2007.223.44
    Calligraphic Trompe-l'oeil, 1709, Matthias Buchinger (German), Pen and red, brown, and black ink, brush and grey wash Purchase, Jean A. Bonna Gift, 2007 (2007.223.44)
  • 49.107
    Still Life with a Skull and a Writing Quill, 1628, Pieter Claesz (Dutch), Oil on wood Rogers Fund, 1949 (49.107)
  • 2006.250
    The Martyrdom of Saint Bartholomew, ca. 1340, Leaf from the laudario created for Sant'Agnese, Florence, Pacino di Bonaguida (Italian, active ca. 1303–ca. 1340), Italian (Florence), Tempera, gold, and ink on parchment The Cloisters Collection, 2006 (2006.250)
  • 54.1.1_av3
    Belles Heures of Jean of France, Duc of Berry: Folio 223v, The Duke of Berry on a Journey, 1405–1408/9, Herman, Paul, and Jean Limbourg (Franco-Netherlandish, active in France), French; Made in Paris, Ink, tempera, and gold leaf on vellum The Cloisters Collection, 1954 (54.1.1)
  • 31.134.8
    Leaf from a Manuscript of Valerius Maximus, ca. 1380–90, Workshop of Pierre Remiet (French), Made in Paris, Parchment, tempera, ink, gold leaf Bequest of Gwynne M. Andrews, 1930 (31.134.8)
  • 10.203.3
    Book Cover, 1343, Italian; Siena, Tempera on wood Rogers Fund, 1910 (10.203.3)
  • 17.142.2
    Allegorical Design (recto), Stage Design (verso), 1496, Leonardo da Vinci (Italian), Pen and brown ink Rogers Fund, 1917 (17.142.2)
  • 1994.256.649
    [Lunchroom Window on the Bowery, People's Restaurant, New York City], 1933–34, Walker Evans (American), Film negative Walker Evans Archive, 1994 (1994.256.649)
  • 1987.1100.148
    Typewriter Keys, 1921, Ralph Steiner (American), Gelatin silver print Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987 (1987.1100.148) © Ralph Steiner, compliments of Estate
  • 38.27
    Funerary altar of Cominia Tyche, ca. 90–100 a.d.; Flavian or Trajanic, Roman, Marble Gift of Philip Hofer, 1938 (38.27)
  • 19.50
    Divina proportione, 1509, Leonardo da Vinci (Italian); Fra Luca Pacioli (Italian), Published by Paganinus de Paganinus, Venice, Book with woodcut illustrations Rogers Fund, 1919 (19.50)
  • 1989.363.4
    Biographies of Lian Po and Lin Xiangru, ca. 1095, Huang Tingjian (Chinese), Handscroll; ink on paper Bequest of John M. Crawford Jr., 1988 (1989.363.4)
  • 65.106.2
    Bowl, 10th century, Samarqand (Uzbekistan) or Nishapur (Iran), Earthenware, red body, white engobe, underglaze-painted Rogers Fund, 1965 (65.106.2)
  • 1972.724.3
    Vegetarian Vegetable from Campbell's Soup II, 1969, Andy Warhol (American), Screenprint Gift of Mr. and Mrs. Peter Eider-Orley, 1972 (1972.724.3)
  • 2006.250_av1
    The Martyrdom of Saint Bartholomew, ca. 1340, Leaf from the laudario created for Sant'Agnese, Florence, Pacino di Bonaguida (Italian, active ca. 1303–ca. 1340), Italian (Florence), Tempera, gold, and ink on parchment The Cloisters Collection, 2006 (2006.250)
  • 17.173
    The Writing Master, 1882, Thomas Eakins (American), Oil on canvas John Stewart Kennedy Fund, 1917 (17.173)
  • Manuscript Illumination with the Evangelist Luke, late 13th–early 14th century, Byzantine, Tempera and gold leaf on parchment Purchase, The Jaharis Family Foundation Inc. Gift, 2001 (2001.633)
    Notes on Paintings and Excerpts from Books, 20th century, Xie Zhiliu (Chinese), Bound volume; ink on paper Gift of Sarah Shay, 2005 (2005.411.260)
    Writing board of an apprentice scribe, Dynasty 11 or earlier (ca. 2030 b.c.), Egyptian; Provenance unknown, Whitewashed wood and ink Gift of Edward S. Harkness, 1928 (28.9.5)
    Ostracon with Lines from Homer's Iliad, 580–640, Byzantine, Limestone with ink incription Rogers Fund, 1914 (14.1.140)
    Leaf from a Qur'an manuscript, 13th–14th century, Attributed to Spain, Ink, colors, and gold on vellum Rogers Fund, 1942 (42.63)
    Calligraphic Trompe-l'oeil, 1709, Matthias Buchinger (German), Pen and red, brown, and black ink, brush and grey wash Purchase, Jean A. Bonna Gift, 2007 (2007.223.44)
    Still Life with a Skull and a Writing Quill, 1628, Pieter Claesz (Dutch), Oil on wood Rogers Fund, 1949 (49.107)
    The Martyrdom of Saint Bartholomew, ca. 1340, Leaf from the laudario created for Sant'Agnese, Florence, Pacino di Bonaguida (Italian, active ca. 1303–ca. 1340), Italian (Florence), Tempera, gold, and ink on parchment The Cloisters Collection, 2006 (2006.250)
    Belles Heures of Jean of France, Duc of Berry: Folio 223v, The Duke of Berry on a Journey, 1405–1408/9, Herman, Paul, and Jean Limbourg (Franco-Netherlandish, active in France), French; Made in Paris, Ink, tempera, and gold leaf on vellum The Cloisters Collection, 1954 (54.1.1)
    Leaf from a Manuscript of Valerius Maximus, ca. 1380–90, Workshop of Pierre Remiet (French), Made in Paris, Parchment, tempera, ink, gold leaf Bequest of Gwynne M. Andrews, 1930 (31.134.8)
    Book Cover, 1343, Italian; Siena, Tempera on wood Rogers Fund, 1910 (10.203.3)
    Allegorical Design (recto), Stage Design (verso), 1496, Leonardo da Vinci (Italian), Pen and brown ink Rogers Fund, 1917 (17.142.2)
    [Lunchroom Window on the Bowery, People's Restaurant, New York City], 1933–34, Walker Evans (American), Film negative Walker Evans Archive, 1994 (1994.256.649)
    Typewriter Keys, 1921, Ralph Steiner (American), Gelatin silver print Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987 (1987.1100.148) © Ralph Steiner, compliments of Estate
    Funerary altar of Cominia Tyche, ca. 90–100 a.d.; Flavian or Trajanic, Roman, Marble Gift of Philip Hofer, 1938 (38.27)
    Divina proportione, 1509, Leonardo da Vinci (Italian); Fra Luca Pacioli (Italian), Published by Paganinus de Paganinus, Venice, Book with woodcut illustrations Rogers Fund, 1919 (19.50)
    Biographies of Lian Po and Lin Xiangru, ca. 1095, Huang Tingjian (Chinese), Handscroll; ink on paper Bequest of John M. Crawford Jr., 1988 (1989.363.4)
    Bowl, 10th century, Samarqand (Uzbekistan) or Nishapur (Iran), Earthenware, red body, white engobe, underglaze-painted Rogers Fund, 1965 (65.106.2)
    Vegetarian Vegetable from Campbell's Soup II, 1969, Andy Warhol (American), Screenprint Gift of Mr. and Mrs. Peter Eider-Orley, 1972 (1972.724.3)
    The Martyrdom of Saint Bartholomew, ca. 1340, Leaf from the laudario created for Sant'Agnese, Florence, Pacino di Bonaguida (Italian, active ca. 1303–ca. 1340), Italian (Florence), Tempera, gold, and ink on parchment The Cloisters Collection, 2006 (2006.250)
    The Writing Master, 1882, Thomas Eakins (American), Oil on canvas John Stewart Kennedy Fund, 1917 (17.173)
    8000–2000 B.C.
    2000–1000 B.C.
    1000 B.C.–1 A.D.
    1–500 A.D.
    500–1000 A.D.
    1000–1400 A.D.
    1400–1600 A.D.
    1600–1800 A.D.
    1800–1900 A.D.
    1900–Present

    Works of art in order of appearance

    Last Updated: August 19, 2013. Not all works of art in the Museum's collection may be on view on a particular day. For the most accurate location information, please check this page on the day of your visit.

    Manuscript Illumination with the Evangelist Luke
    late 13th–early 14th century
    Byzantine
    Tempera and gold leaf on parchment
    Purchase, The Jaharis Family Foundation Inc. Gift, 2001 (2001.633)
    Not on view
    Medieval Art and The CloistersFirst Floor
    Notes on Paintings and Excerpts from Books
    20th century
    Xie Zhiliu (Chinese)
    Bound volume; ink on paper
    Gift of Sarah Shay, 2005 (2005.411.260)
    Not on view
    Asian ArtSecond Floor
    Writing board of an apprentice scribe
    Dynasty 11 or earlier (ca. 2030 b.c.)
    Egyptian; Provenance unknown
    Whitewashed wood and ink
    Gift of Edward S. Harkness, 1928 (28.9.5)
    Not on view
    Egyptian ArtFirst Floor
    Ostracon with Lines from Homer's Iliad
    580–640
    Byzantine
    Limestone with ink incription
    Rogers Fund, 1914 (14.1.140)
    On view: Gallery 302
    Medieval Art and The CloistersFirst Floor
    Leaf from a Qur'an manuscript
    13th–14th century
    Attributed to Spain
    Ink, colors, and gold on vellum
    Rogers Fund, 1942 (42.63)
    Not on view
    Islamic ArtSecond Floor
    Calligraphic Trompe-l'oeil
    1709
    Matthias Buchinger (German)
    Pen and red, brown, and black ink, brush and grey wash
    Purchase, Jean A. Bonna Gift, 2007 (2007.223.44)
    Not on view
    Drawings and PrintsSecond Floor
    Still Life with a Skull and a Writing Quill
    1628
    Pieter Claesz (Dutch)
    Oil on wood
    Rogers Fund, 1949 (49.107)
    On view: Gallery 635
    European PaintingsSecond Floor
    The Martyrdom of Saint Bartholomew
    ca. 1340
    Leaf from the laudario created for Sant'Agnese, Florence
    Pacino di Bonaguida (Italian, active ca. 1303–ca. 1340)
    Italian (Florence)
    Tempera, gold, and ink on parchment
    The Cloisters Collection, 2006 (2006.250)
    Not on view
    Medieval Art and The CloistersFirst Floor
    Belles Heures of Jean of France, Duc of Berry: Folio 223v, The Duke of Berry on a Journey
    1405–1408/9
    Herman, Paul, and Jean Limbourg (Franco-Netherlandish, active in France)
    French; Made in Paris
    Ink, tempera, and gold leaf on vellum
    The Cloisters Collection, 1954 (54.1.1)
    On view at The Cloisers: Gallery 013
    Medieval Art and The CloistersFirst Floor
    Leaf from a Manuscript of Valerius Maximus
    ca. 1380–90
    Workshop of Pierre Remiet (French)
    Made in Paris
    Parchment, tempera, ink, gold leaf
    Bequest of Gwynne M. Andrews, 1930 (31.134.8)
    Not on view
    Medieval Art and The CloistersFirst Floor
    Book Cover
    1343
    Italian; Siena
    Tempera on wood
    Rogers Fund, 1910 (10.203.3)
    On view: Gallery 307
    Medieval Art and The CloistersFirst Floor
    Allegorical Design (recto), Stage Design (verso)
    1496
    Leonardo da Vinci (Italian)
    Pen and brown ink
    Rogers Fund, 1917 (17.142.2)
    Not on view
    Drawings and PrintsSecond Floor
    [Lunchroom Window on the Bowery, People's Restaurant, New York City]
    1933–34
    Walker Evans (American)
    Film negative
    Walker Evans Archive, 1994 (1994.256.649)
    Not on view
    PhotographsSecond Floor
    Typewriter Keys
    1921
    Ralph Steiner (American)
    Gelatin silver print
    Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987 (1987.1100.148)
    © Ralph Steiner, compliments of Estate
    Not on view
    PhotographsSecond Floor
    Funerary altar of Cominia Tyche
    ca. 90–100 a.d.; Flavian or Trajanic
    Roman
    Marble
    Gift of Philip Hofer, 1938 (38.27)
    On view: Gallery 162
    Greek and Roman ArtFirst Floor and Mezzanine
    Divina proportione
    1509
    Leonardo da Vinci (Italian); Fra Luca Pacioli (Italian)
    Published by Paganinus de Paganinus, Venice
    Book with woodcut illustrations
    Rogers Fund, 1919 (19.50)
    Not on view
    Drawings and PrintsSecond Floor
    Biographies of Lian Po and Lin Xiangru
    ca. 1095
    Huang Tingjian (Chinese)
    Handscroll; ink on paper
    Bequest of John M. Crawford Jr., 1988 (1989.363.4)
    Not on view
    Asian ArtSecond Floor
    Bowl
    10th century
    Samarqand (Uzbekistan) or Nishapur (Iran)
    Earthenware, red body, white engobe, underglaze-painted
    Rogers Fund, 1965 (65.106.2)
    On view: Gallery 450
    Islamic ArtSecond Floor
    Vegetarian Vegetable from Campbell's Soup II
    1969
    Andy Warhol (American)
    Screenprint
    Gift of Mr. and Mrs. Peter Eider-Orley, 1972 (1972.724.3)
    Not on view
    Drawings and PrintsSecond Floor
    The Martyrdom of Saint Bartholomew
    ca. 1340
    Leaf from the laudario created for Sant'Agnese, Florence
    Pacino di Bonaguida (Italian, active ca. 1303–ca. 1340)
    Italian (Florence)
    Tempera, gold, and ink on parchment
    The Cloisters Collection, 2006 (2006.250)
    Not on view
    Medieval Art and The CloistersFirst Floor
    The Writing Master
    1882
    Thomas Eakins (American)
    Oil on canvas
    John Stewart Kennedy Fund, 1917 (17.173)
    On view: Gallery 767
    American Paintings and SculptureFirst and Second Floors

    © 2011 The Metropolitan Museum of Art