Works of Art (263)
 |
Head of an Angel, ca. 1250, France, Paris, Notre-Dame Cathedral (?), Limestone (1990.132) |
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The Adoration of the Magi,
Giovanni di Paolo (Giovanni di Paolo di Grazia) (Italian, Sienese),
Tempera and gold on wood (1982.60.4) |
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Adoration of the Magi, 1507, Circle of the Strassburger Werkstattgemeinschaft, German (Munich), Pot-metal and colorless glass, silver stain, and vitreous paint (1996.262) |
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Adoration of the Magi, 1526, Quentin Massys (also Matsys or Metsys) (Netherlandish), Oil on wood (11.143) |
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Adoration of the Magi, ca. 1520, Attributed to Master of James IV of Scotland, Ink and tempera on vellum (48.149.15) |
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Adoration of the Magi, Imitator of Antwerp Mannerism, Oil on oak panel (1975.1.122) |
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Adoration of the Magi, Netherlandish (Antwerp Mannerist) Painter, ca. 1520, Oil on wood (21.132.2) |
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The Adoration of the Shepherds with Saint Catherine of Alexandria, 1599, Cigoli (Ludovico Cardi) (Italian, Florentine), Oil on canvas (1991.7) |
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Adoration of the Shepherds, 14th century, Bartolo di Fredi (Italian, Sienese), Italian; Made in Siena, Tempera on wood, gold ground, arched top (25.120.288) |
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The Adoration of the Shepherds, before 1527,
L'Ortolano (Giovanni Battista Benvenuti) (Italian, Ferrarese),
Oil on canvas, transferred from wood (30.95.296) |
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The Adoration of the Shepherds, ca. 1500, Francesco Marmitta (Italian), Tempera and gold leaf on parchment (1975.1.2491) |
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Adoration of the Shepherds, shortly after 1450, Andrea Mantegna (Italian, Paduan), Tempera on canvas, transferred from wood (32.130.2) |
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Adoration, ca. 1760–70, François Boucher (French), Gouache over black chalk on paper (1997.95) |
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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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All Saints in an Initial E: Cutting from an Antiphonary, ca. 1430–40, Osservanza Master (Italian), Tempera and gold leaf on parchment (1975.1.2484) |
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Amulet, 6th century,
Byzantine, from Egypt (?),
Hematite amulet carved intaglio, with gilded silver mount (17.190.491) |
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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 from a Book of Hours, ca. 1485–90,
France (Tours),
Tempera and gold leaf on parchment (2004.564) |
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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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Annunciation Triptych, ca. 1425, Robert Campin and Assistant (South Netherlandish), South Netherlandish; Made in Tournai, Oil on wood (56.70) |
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Annunciation, 1480–89, Hans Memling (Netherlandish), Oil on canvas, transferred from wood panel (1975.1.113) |
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The Annunciation, 1672, Luca Giordano (Italian, Neapolitan), Oil on canvas (1973.311.2) |
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The Annunciation, Attributed to Parmigianino (Girolamo Francesco Maria Mazzola) (Italian, Parma), Oil on wood (1982.319) |
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The Annunciation, ca. 1485,
Botticelli (Alessandro di Mariano Filipepi) (Italian, Florentine),
Tempera and gold on wood (1975.1.74) |
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Annunciation, ca. 1522–25, Correggio (Antonio Allegri) (Italian, Parma), Pen and black ink, brush and gray wash, highlighted extensively with white gouache squared in red chalk, on pink-washed paper (19.76.9) |
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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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Apse, 1175–1200, Spanish; From the Church of San Martin, Fuentidueña, Segovia, Limestone (L.58.86) |
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The Archangel Gabriel Announcing the Birth of Christ, 1520s,
Lucas van Leyden (Netherlandish),
Pen and brown ink, traces of squaring in black chalk (2008.253) |
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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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Assumption of the Virgin with Saints Michael and Benedict, altarpiece, late 1480s, Luca Signorelli and Workshop (Italian, Tuscan), Oil and gold on wood (29.164) |
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Assumption of the Virgin, ca. 1340, Bernardo Daddi (Italian [Florence]), Tempera on panel (1975.1.58) |
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Assumption of the Virgin, early 16th century, Bergognone (Ambrogio di Stefano da Fossano) (Italian, Milanese), Oil and gold on wood (27.39.1) |
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The Assumption of the Virgin, Francesco de Mura (Italian, Neapolitan), Pen and black ink, gray wash, over black chalk (1971.243) |
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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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Belles Heures of Jean of France, Duke of Berry, 1406–8 or 1409, Pol, Jean, and Herman de Limbourg (Franco-Netherlandish), French; Made in Paris, Ink, tempera, and gold leaf on vellum (54.1.1) |
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The Betrayal of Christ, predella panel,
Bartolomeo di Tommaso (Italian, Umbrian),
Tempera on wood (58.87.1) |
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Bible, ca. 1250–1275, French; Paris, Tempera and gold leaf on parchment; leather binding (1997.320) |
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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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The Block, 1971, Romare Bearden (American), Cut and pasted papers on Masonite (1978.61.1-6) |
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Bookbinding, 18th century, Iran, Papier-mâché, painted and lacquered (34.23) |
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Booklet with Scenes of the Passion, carving, ca. 1300; painting, ca. 1310–20,
Northern France (carving) and Upper Rhine (painting),
Elephant ivory, polychromy, gilding (1982.60.399) |
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Brother Gregorio Belo of Vicenza, 1547,
Lorenzo Lotto (Italian, Venetian),
Oil on canvas (65.117) |
 |
Bust of the Virgin, ca. 1390–95,
Bohemia,
Terracotta with polychromy (2005.393) |
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Calling of Matthew, Workshop of Jan Sanders van Hemessen (Netherlandish), Oil on wood (71.155) |
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Calvary Scene, 18th century, Ecuadoran (Quito), Wood, polychromed and gilded, with glass eyes and silver attachments (64.164.230–.233) |
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Cameo of the Virgin and Child, ca. 1050–1100,
Byzantine (probably Constantinople); mounted in Paris ca. 1800 in a gold frame by Adrien Jean Maximillian Vachette, Agate (2007.445) |
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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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Chalice of Peter of Sassoferrato, 1341–42 with later, perhaps 15th-century, cup,
Italian; Siena, from the Franciscan Church of Sassoferrato,
Silver gilded and translucent enamel (1988.67) |
 |
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 Blessing, ca. 1524,
Andrea Solario (Italian, Milanese),
Oil on wood (22.16.12) |
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Christ Carrying the Cross, ca. 1475–80, Martin Schongauer (German), Engraving (35.27) |
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Christ Crucified between the Two Thieves: The Three Crosses, Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch), Drypoint printed on vellum; second state (41.1.31) |
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Christ Crucified between the Two Thieves: The Three Crosses, Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch), Drypoint, engraving, and scraping; fourth state of five (41.1.33) |
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Christ Crucified between the Virgin and Saint John, 14th century,
Probably French,
Onyx; mounted, probably a pendant in gold with enamel and rock crystal (40.20.59) |
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Christ in the Wilderness,
Moretto da Brescia (Alessandro Bonvicino) (Italian, Brescian),
Oil on canvas (11.53) |
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Christ on the Cross, with the Virgin and Saints Mary Magdalene, John the Evangelist, Monica(?), Augustine(?), Peter Martyr, Thomas Aquinas, Francis, and Elizabeth of Hungary(?), ca. 1453–54,
Fra Angelico (Italian),
Tempera on panel (14.40.628) |
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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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Coronation of the Virgin, ca. 1455, Giovanni di Paolo (Italian, Sienese), Tempera on panel (1975.1.38) |
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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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The Crucified Christ, ca. 1300,
Walrus ivory with traces of paint and gilding (2005.274) |
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Crucifix, 1180–1230, Said to be from a monastery near Treviso, northern Italy, Wood with traces of paint (47.100.54) |
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Crucifix, second half of 12th century, Spanish; From the convent of Santa Clara de Astudillo, Palencia, Cross: red pine, polychromy, textured gilt, and glass; Christ: white oak and polychromy (35.36ab) |
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Crucifixion with Donors and Saints Peter and Margaret, ca. 1525–27, Cornelis Engebrechtsz (Netherlandish), Oil on wood (88.3.88) |
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The Crucifixion, 1340s,
Pietro Lorenzetti (Italian, Sienese),
Tempera on wood, gold ground, with original engaged frame (2002.436) |
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The Crucifixion, ca. 1420,
Fra Angelico (Italian),
Tempera on panel (43.98.5) |
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Crucifixion, ca. 1570, Hans Speckaert (Flemish), Pen and brown and brownish black iron gall inks, brush and iron ink washes, heightened with white (1999.85) |
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Crucifixion, part of an altarpiece wing, ca. 1400, Master of the Berswordt Altar (German, Westphalian), Tempera and gold on wood (43.161) |
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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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Cuirass and Tassets (Torso and Thigh Defense), ca. 1510–20, Attributed to Kolman Helmschmid (German), German (Augsburg), Etched steel (38.143) |
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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 Scenes of the Annunciation, Nativity, Crucifixion, and Resurrection, 1300–1325, German; Made in Cologne (possibly), Rhine valley, silver gilt with translucent and opaque enamels (1980.366) |
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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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Doorway from Moutiers-Saint-Jean, ca. 1250, French, Limestone with traces of polychromy (32.147) |
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Double-Sided Icon Pendant, with Archangel Michael and the Prophet Daniel in the Lion's Den, 13th century (?),
Byzantine,
Serpentine (lizardite?) (1987.442.4) |
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Double-Sided Pendant Icon with the Virgin and Christ Pantokrator, ca. 1080–1120, Byzantine; Made in Constantinople, Cloisonné enamel, gold (1994.403) |
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Embroidery with the Annunciation, mid-15th century, Netherlandish, Silk and metallic threads on linen (1990.350) |
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Enkolpion: Cameo of an Archangel (Michael?), probably 14th century, Byzantine (Constantinople?), Sardonyx (40.20.58) |
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Enthroned Virgin and Child, 1210–1220, Said to be from the priory of Oignies, Belgium, Oak with traces of paint (41.190.283) |
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Enthroned Virgin and Child, ca. 1260–1280, French; Paris, Elephant ivory with traces of paint and gilding (1999.208) |
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Enthroned Virgin and Child, ca. 1300,
England (probably London),
Elephant ivory (1979.402) |
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Enthroned Virgin and Child, French; Made in Burgundy, Birch with paint (47.101.15) |
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Enthroned Virgin, late 12th century, Scandinavian, perhaps from Gotland, Poplar with remains of polychromy (17.190.716) |
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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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Figures of the Mourning Virgin and Saint John, ca. 1744–45, Italian; Capodimonte, Soft-paste porcelain (45.7 cm) |
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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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Flask with Adoration of the Magi, 500s, Byzantine, Silver with gilded silver (1984.196) |
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The Flight into Egypt, early 1470s,
Cosimo Tura (Cosimo di Domenico di Bonaventura) (Italian, Ferrarese),
Tempera on wood (49.7.17) |
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The Flight into Egypt, Luca Giordano (Italian, Neapolitan), Oil on canvas (61.50) |
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Four Horsemen of the Apocalypse, ca. 1497–98, Albrecht Dürer (German), Woodcut (19.73.209) |
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Frontispiece of the Apocalypse, 1555, Jean Duvet (French), Engraving (25.2.68) |
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Gift-Bearing Figures (from a Nativity Group), 18th century, Guatemalan, Wood, polychromed and gilded (64.164.176–.179) |
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Golgotha, 1945,
Romare Bearden (American),
Watercolor, pen and India ink, and pencil on paper (54.143.9) |
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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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Hanging lamp (cesendello), late 15th–early 16th century,
Venice,
Free-blown glass, enameled and gilded (14.83) |
 |
Head of an Apostle, ca. 1280–1300, Upper Rhineland, probably Strasbourg, Red sandstone (2004.453) |
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Head of Christ, late 15th–early 16th century, Netherlands, North Brabant, Limestone, traces of wood (1983.406) |
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Head of Joseph, ca. 1230,
France; Chartres,
Limestone with traces of polychrome (2007.143)
|
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Head of the Madonna, fragment, Andrea del Sarto (Andrea d'Agnolo) (Italian, Florentine), Oil on wood (32.100.89) |
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Head of the Virgin in Three-Quarter View Facing Right, 1508–12, Leonardo da Vinci (Italian), Italian, Charcoal, black and red chalks; traces of framing line in pen and brown ink at upper right (51.90) |
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Holy Family with Saint John, the Magdalene, and Nicodemus, ca. 1512, Albrecht Dürer (German), Drypoint, first state (19.73.51) |
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The Holy Family with Saints and Donors, ca. 1507,
Attributed to Sebastiano del Piombo (Italian, Venetian),
Oil on wood (1973.155.5) |
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Holy Family with Saints Anne and Joachim, Relief, 16th century (1567–68), Diego de Pesquera (Spanish), Made in Spain, Wood, polychromed and gilded (45.128.5) |
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The Holy Family with Saints Francis and Anne and the Infant Saint John the Baptist, probably early 1630s, Peter Paul Rubens (Flemish), Oil on canvas (02.24) |
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The Holy Family, ca. 1510–20,
Jan Gossaert (Netherlandish),
Pen and two colors of light brown ink, over remains of black chalk, on vellum (2001.190) |
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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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Ia Orana Maria (Hail Mary), 1891, Paul Gauguin (French), Oil on canvas (51.112.2) |
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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 Deesis, mid-900s, Byzantine; Probably made in Constantinople, Ivory (17.190.133) |
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Icon with the Koimesis ("Falling Asleep") of the Virgin Mary, late 10th century, Byzantine; Probably made in Constantinople, Ivory (17.190.132) |
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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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Icon with the Virgin and Child, carved mid-10th–11th century,
Byzantine; Probably made in Constantinople,
Ivory (17.190.103) |
 |
Icon with the Virgin Eleousa, ca. early 14th century,
Byzantine (Constantinople),
Lazurite, malachite, silver coupons, glass, terracotta, calcite, and various stone tesserae; gilded wood frame, wax substraight |
 |
The Immaculate Conception, 1627,
Guido Reni (Italian, Bolognese),
Oil on canvas (59.32) |
 |
Initial R, with the Annunciation, from a Gradual, ca. 1300, German; Probably made at the convent of Sankt Katharinenthal, Lake Constance, Tempera and gold leaf on parchment (1982.175) |
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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) |
 |
The Journey of the Magi (fragment), ca. 1435,
Sassetta (Stefano di Giovanni) (Italian, Sienese),
Tempera and gold on wood, (43.98.1) |
 |
Lamentation Group, dated 1487, Italian (Faenza), probably made for a Franciscan church or convent near Faenza, Tin-glazed earthenware (majolica) (04.26a-h) |
 |
Lamentation with Sorrowing Angels, 17th century,
Workshop of Mattheus van Beveren (Flemish),
Flemish,
Boxwood (64.164.242) |
 |
Lamentation, 1591, Scipione Pulzone (Il Gaetano) (Italian, Roman), Oil on canvas (1984.74) |
 |
The Lamentation, 1603,
Domenichino (Domenico Zampieri) (Italian),
Oil on copper (2008.72) |
 |
Lamentation, ca. 1450, Petrus Christus (Netherlandish)
Oil on wood (91.26.12) |
 |
Lamentation, ca. 1510–20, Attributed to Jan de Beer (Netherlandish), Pen and black ink, over traces of black chalk (2001.189) |
 |
The Lamentation, ca. 1582,
Ludovico Carracci (Italian, Bolognese),
Oil on canvas (2000.68) |
 |
Lamentation, recto and verso, early 1470s, Simon Marmion (French), Oil and tempera(?) on oak panel (1975.1.128) |
 |
Last Judgment, ca. 1520–25,, Joos van Cleve (Netherlandish), Oil on wood (40.174.1) |
 |
Last Judgment, from a Book of Hours, ca. 1400, French; Paris, Tempera and gold on vellum (1998.179) |
 |
The Last Supper,
Ugolino da Siena (Italian, Sienese),
Tempera on panel (1975.1.7) |
 |
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) |
 |
Last Supper, triptych, 1515–20, Netherlandish (Antwerp Mannerist) Painter, Oil on wood (17.190.18a–c) |
 |
Le Cellier Altarpiece, triptych, 1509, Jean Bellegambe (Netherlandish), Oil on wood (32.100.102) |
 |
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) |
 |
Leaf from a Missal, ca. 1270–1290, French; Made in Paris, Tempera and gold leaf on parchment (1981.322) |
 |
Madonna and Child Enthroned with Saints and Angels,
Francesco Botticini (Francesco di Giovanni) (Italian, Florentine),
Tempera on wood (61.235) |
 |
Madonna and Child Enthroned with Saints, altarpiece, ca. 1504, Raphael (Raffaello Sanzio or Santi) (Italian, Marchigian), Tempera and gold on wood (16.30ab) |
 |
Madonna and Child Enthroned with Two Angels,
Fra Filippo Lippi (Italian, Florentine),
Tempera and gold on wood, transferred from wood (49.7.9) |
 |
Madonna and Child with Angels,
Cosimo Rosselli (Italian, Florentine),
Tempera and gold on wood (32.100.84) |
 |
Madonna and Child with Angels, Relief, ca. 1455–60, Antonio Rossellino (Italian, Florentine), Made in Florence, Italy, Marble, gilding on halo and dress (14.40.675) |
 |
Madonna and Child with Saints and Angels, ca. 1350,
Lippo Memmi (Filippo di Memmo) (Italian, Sienese),
Tempera on wood, gold ground (43.98.6)
|
 |
Madonna and Child with Saints Francis and Dominic and Angels,
Giulio Cesare Procaccini (Italian, Milanese),
Oil on canvas (1979.209) |
 |
Madonna and Child with Saints Jerome and Mary Magdalene, ca. 1490,
Neroccio de' Landi (Neroccio di Bartolommeo di Benedetto di Neroccio de' Landi) (Italian, Sienese),
Tempera on wood (61.43) |
 |
Madonna and Child with Saints,
Bonifazio Veronese (Bonifazio de' Pitati) (Italian, Venetian),
Oil on wood (1995.536) |
 |
Madonna and Child with Saints, 1607,
Ludovico Carracci (Italian, Bolognese),
Oil on copper (2007.330) |
 |
Madonna and Child with Saints, altarpiece, ca. 1520,
Girolamo dai Libri (Italian, Veronese),
Tempera and oil on canvas (20.92) |
 |
Madonna and Child, 1370s, Paolo di Giovanni Fei (Italian, Sienese), Tempera on wood, gold ground (41.190.13) |
 |
Madonna and Child, ca. 1485, Filippino Lippi (Italian, Florentine), Tempera, oil, and gold on wood (49.7.10) |
 |
Madonna and Child, ca. 1495–1500,
Francesco Francia (Francesco di Marco di Giacomo Raibolini) (Italian, Bolognese),
Oil on wood (1982.448)
|
 |
Madonna and Child, probably before 1508,
Bramantino (Bartolomeo Suardi) (Italian, Milanese),
Tempera on wood (12.178.2) |
 |
Madonna in the Clouds, ca. 1581 (no later than 1582), Federico Barocci (Italian), Etching and engraving; sheet (17.50.18.147) |
 |
Manuscript Illumination with the Evangelist Luke, late 13th–early 14th century, Tempera and gold leaf on parchment (2001.633) |
 |
Manuscript of the Apocalypse, 1320s, Normandy, Paint, gold, silver, and brown ink on vellum (68.174) |
 |
The Marriage Feast at Cana, ca. 1498–1500,
Juan de Flandes (Netherlandish),
Oil on panel (1982.60.20) |
 |
Marriage of the Virgin, ca. 1430, Michelino da Besozzo (Michelino de Mulinari) (Italian, Lombard), Tempera and gold on wood (43.98.7) |
 |
Mater Dolorosa (Mourning Virgin), 18th century, Sino-Spanish, Wood with pigments, gilding, ivory, and silver (2002.133a,b) |
 |
Medallion with the Crucifixion, ca. 1100,
France (Conques),
Gilt copper, cloisonné and champlevé (2007.189) |
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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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Memento Mori, with Dives in Hell, ca. 1500,
Southern Lowlands,
Boxwood (1985.136) |
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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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Mourning Virgin, from a Crucifixion Group, ca. 1585–90, Manner of Germain Pilon (French), Gilt bronze (1998.437) |
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The Nativity (The Adoration of the Christ Child), ca. 1460,
Zanobi Strozzi (Italian),
Tempera on panel (24.22)
|
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Nativity Group with Angel, 18th century, Guatemalan, Wood, polychromed and gilded, with glass eyes and silver-gilt halos (64.164.168ab–.172) |
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Nativity Scene, 18th century, Ecuadoran, with Hispano-Philippine ivory inserts, Bodies of wood, polychromed and gilded; faces and shoulders, ivory touched up with polychromy (64.164.172–.174) |
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The Nativity with Donors and Saints Jerome and Leonard, ca. 1510–15,
Gerard David (Netherlandish),
Oil on canvas, transferred from wood (49.7.20a–c) |
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The Nativity, ca. 1435–40,
Zanobi Strozzi (Italian); Fra Angelico (Italian),
Tempera on panel (1983.490) |
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Page from an Illuminated Gospel, late 14th century,
Ethiopia, Highland region,
Parchment (vellum), wood (accacia), tempera, ink (1998.66) |
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Panel with Christ and the Four Symbols of the Evangelists, carved ca. 1050,
Ottonian (possibly Fulda, Germany),
Ivory (17.190.51) |
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Panel with the Evangelist Mark and His Symbol, carved 1000–1100,
Ottonian (probably Cologne, Germany),
Ivory (17.190.36) |
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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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Paternoster Pendant with the Virgin and Child (obverse) and the Meeting of Joachim and Anna at the Golden Gate (reverse), ca. 1440–50, Franco-Flemish (Burgundy), Onyx cameo, gold (obverse); translucent enamel, silver (reverse) (1975.1.1522) |
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Pendant Brooch with Cameo of Enthroned Virgin and Child, cameo 11th–12th century; Rus' mount 12th–14th century,
Byzantine (Constantinople),
Chalcedony cameo in gold mount with pearls, emeralds, garnets, sapphires, and sardonyx intaglio (2007.9) |
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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 (Vesperbild), ca. 1400, Bohemian, Limestone (2001.78) |
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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 Agnus Dei and Four Evangelists, probably 9th century, German or North Italian, Ivory (17.190.38) |
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Plaque with Christ in Majesty and the Four Evangelists, 1000–1100; mounted on a 15th-century Lectionary,
Ottonian (probably Cologne, Germany),
Ivory (41.100.169) |
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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 Crucifixion and the Defeat of Hades, mid-10th century, Byzantine; Probably made in Constantinople, Ivory (17.190.44) |
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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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Processional Cross, ca. 1000–1050, Byzantine, Silver with gilding and gilded silver medallions (1993.163) |
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Processional Cross, late 11th–early 12th century, Spanish; Made in Asturias, Silver, partially gilt on wood core, carved gems, jewels (17.190.1406) |
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Project for a Wall Tomb for Pope Julius II, Michelangelo Buonarroti (Italian), Pen and brown ink, brush and brown wash, over leadpoint or black chalk and ruling (62.93.1) |
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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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Relief: Lamentation beneath the Cross, carved 1632,
Adam Lenckhart (German),
Italy,
Ivory (24.80.87) |
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Reliquary of the True Cross (Staurotheke), late 8th–early 9th century, Byzantine; Made in Constantinople, Cloisonné enamel, silver, silver-gilt, gold, niello (17.190.715ab) |
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Reliquary Shrine, second quarter of 14th century, Attributed to Jean de Touyl (French), Made in Paris, Gilt-silver, translucent enamel, paint (62.96) |
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The Rest on the Flight into Egypt, ca. 1627, Nicolas Poussin (French), Oil on canvas (1997.117.6) |
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Ring of Pope Paul II, 1464–71,
Italy (Rome),
Blue glass mounted in gilt brass (1989.79) |
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Rosary Bead, early 16th century, South Lowlands (Brabant), Boxwood (17.190.475) |
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Saint John on Patmos, ca. 1511,
Hans Baldung Grien (German),
Oil on panel (1983.451) |
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Saint John the Baptist Preaching, ca. 1650,
Mattia Preti (Italian, Neapolitan),
Oil on canvas (2005.477) |
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Saint Joseph and the Christ Child, second half of 17th century,
Attributed to Nicolaas van der Veken (Flemish),
Flemish,
Boxwood (1971.68) |
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Saint Margaret, ca. 1475,
Southern France (Toulouse?),
Alabaster with traces of gilding (2000.641) |
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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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Santa Francesca Romana Clothed by the Virgin, Attributed to Antonio da Viterbo the Elder (Italian), Tempera on panel (1975.1.100) |
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Segment of a Crosier Shaft, late 12th century,
North Spain,
Elephant ivory (1981.1) |
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Shrine of the Virgin, ca. 1300, German; Made in Rhine valley, Oak, linen covering, paint, gilding, gesso (17.190.185) |
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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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Standing Virgin and Child, ca. 1470,
Attributed to Nikolaus Gerhaert von Leiden (Northern Lowlands),
Vienna,
Boxwood (1996.14) |
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Studies for the Nativity (recto); Three Geometrical Diagrams and a Caricature of a Head (verso), 1480–85, Leonardo da Vinci (Italian), Italian, Metalpoint largely reworked with pen and brown ink on salmon-pink prepared paper (17.142.1) |
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The Supper a | |
