Works of Art (310)
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Abner's Messenger before David (?), wing of an altarpiece, ca. 1480,
Master of the Saint Barbara Legend (Netherlandish),
Oil on wood (32.100.56a) |
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Adoration of the Magi (Detail), ca. 1390, Austrian; From the Schlosskapelle, Ebreichsdorf, Austria, Pot-metal and colorless glass with silver stain and vitreous paint (1986.285.1,2) |
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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 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, 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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Altar Angels, late 13th century, French, Oak with traces of polychromy (52.33.1,2) |
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Altar Cross, 12th century, English, Walrus ivory (63.12) |
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Altar Frontal, late 14th century, German, Silk on linen (69.106) |
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Altarcloth (detail), second half of 14th century, German; From the convent of Altenberg, Linen embroidered with satin, chain, chevron, and Romanian stitches (29.87) |
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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 Angel of the Annunciation, ca. 1500, Raffaellino del Garbo (Raffaelle di Bartolommeo di Giovanni di Carlo) (Italian, Florentine), Pen and brown ink and wash with white gouache over black chalk (12.56.5a) |
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Angel of the Revelation, ca. 1803–5, William Blake (British), Watercolor, pen and black ink, over traces of graphite (14.81.1) |
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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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Annunciation Triptych, ca. 1425, Robert Campin and Assistant (South Netherlandish), South Netherlandish; Made in Tournai, Oil on wood (56.70) |
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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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"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, 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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Attarouthi Treasure, 500–650, Byzantine; From Attarouthi, Syria, Silver and silver with gilding (1986.3.1-15) |
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Baptism of Christ, ca. 1480–1490, Pupil of Veit Stoss, Cracow, Lindenwood (12.130.1) |
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The Baptism of Christ, Sebastiano Ricci (Italian, Venetian), Oil on canvas (1981.186) |
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Basin (Lebrillo) with Lacework Pattern, ca. 1650, Mexican (Puebla), Tin-glazed earthenware decorated in cobalt strapwork with lace patterning in manganese (12.3.1) |
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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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Biblical sampler, 1768, Sarah Lawrence (American), New York City, Silk thread on linen (1999.271) |
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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 Birth of the Virgin, ca. 1690, Francesco Solimena (Italian, Neapolitan), Oil on canvas (07.66) |
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Bishop of Assisi Handing a Palm to Saint Clare, ca. 1360, German, Made in Nuremberg, Tempera and gold on oak panel (1984.343) |
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Book Cover Plaque: Christ in Majesty, ca. 1185–1210, French; Made in Limoges, Gilded copper and champlevé enamel (17.190.757) |
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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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Bowl Base with Old and New Testament Scenes, ca. 350–400,
Byzantine, said to have been found in 1715 in the Roman catacomb of Saint Callisto,
Glass, gold leaf (16.174.2) |
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Bowl Base with Saints Peter and Paul Flanking a Column with the Christogram of Christ, made late 300s, Gold, glass leaf, Byzantine, from Rome (16.174.3) |
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Brother Gregorio Belo of Vicenza, 1547,
Lorenzo Lotto (Italian, Venetian),
Oil on canvas (65.117) |
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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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Central Plaque of a Cross, ca. 1185–1195, French; Made in Limoges, Gilded copper with champlevé enamel (17.190.409a) |
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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) |
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Chalice, 16th century (1532–33), Made in Paris, France, Silver-gilt (1996.287) |
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Chalice, ca. 1380, Spanish; Catalonia, Barcelona, Silver, silver gilt, and translucent enamel (1988.66) |
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Chalice, late 18th century, Mexican, Silver gilt (33.120.68a) |
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Chalice, Paten, and Straw, ca. 1230–1250, German, Silver, partly gilded; niello, jewels (47.101.26-29) |
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Chasse of Champagnat, ca. 1150, French; Made in Limoges, Gilded copper and champlevé enamel (17.190.685-87, 695, 710-11) |
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Chasuble, 18th century, Italian (probably Sicily), Silk and metal thread (1984.462.1) |
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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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Chrismatory, ca. 1200–1220, Limoges, Copper: engraved, chased, and gilt; champlevé enamel: lapis and lavender blue, turquoise, light and dark green, red, and white (17.190.853) |
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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 and the Pharisees, Anthony van Dyck (Flemish), Pen and brown ink, brush and brown wash (1980.515) |
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Christ Bearing the Cross, ca. 1489–1500, Nicolaos Tzafouris , Greek (Crete), Oil and tempera on wood, gold ground (29.158.746) |
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Christ Blessing, ca. 1524,
Andrea Solario (Italian, Milanese),
Oil on wood (22.16.12) |
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Christ Blessing, Surrounded by a Donor and His Family (Triptych of a Protestant Family), ca. 1575–80, Attributed to Ludger tom Ring the Younger (German), Oil on wood (17.190.13–15) |
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Christ Carrying the Cross, ca. 1475–80, Martin Schongauer (German), Engraving (35.27) |
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Christ Carrying the Cross, ca. 1580s (?), El Greco (Domenikos Theotokopoulos) (Greek), Oil on canvas (1975.1.145) |
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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 Giving the Keys to Peter, ca. 1315, German; Cologne, Pot-metal glass and vitreous paint (29.55.1,2) |
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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 Presenting the Keys to Peter and the Law to Paul, second half of 12th century, German (Westphalia), Elephant ivory (1979.399) |
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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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Cloister of Saint-Guilhem-le-Désert, before 1206 (with 14th-century additions), French (near Montpellier), Limestone (25.120.1-.134) |
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Container for Holy Oils, carved 500–700,
Northeastern France,
Bone decorated with engraving and pigment (65.68.2) |
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Conversion of Saint Paul, 1587–89, Ludovico Carracci (Italian, Bolognese), Pen and brown ink, brush and brown wash, highlighted with white gouache and cream color oil paint over some black chalk underdrawing (2002.33) |
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Coptic Manuscript, 700–900, Coptic; Possibly from the Kasr Deir es Surian (Castle of the Monastery of the Syrians), Wadi an-Natrun, Egypt; Written and illustrated in Egypt, Ink and colored inks on parchment (19.196.5) |
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Coptic Manuscript, Coptic; Possibly from the Dayr al-Suriyan (Monastery of the Syrians), Wadi an-Natrun, Egypt; Written and illustrated in Egypt; Written in Coptic, with Arabic in the margins, in black and red, Paper (19.196.3) |
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The Coronation of the Virgin, after 1595, Annibale Carracci (Italian, Bolognese), Oil on canvas (1971.155) |
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Corpus of Christ, ca. 1250, French; Possibly made in Paris, Elephant ivory, traces of paint (1978.521.3) |
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Crozier with Serpent Devouring a Flower, ca. 1200–1220, French, made in Limoges, Gilded copper; champlevé enamel; glass cabochons (17.190.833) |
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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, 16th century (?), Democratic Republic of Congo; Kongo peoples, Brass, wood (1999.295.8) |
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Crucifix, early 17th century, Democratic Republic of Congo; Kongo peoples, Brass (1999.295.4) |
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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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Crucifix: Saint Anthony of Padua, 18th century, Angola/Democratic Republic of Congo; Kongo, Brass (1999.295.14) |
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The Crucifixion with the Virgin and Saint John, ca. 1625, Hendrick ter Brugghen (Dutch), Oil on canvas (56.228) |
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Crucifixion, 14th century, Master of the Codex of Saint George (Italian, Florentine), Italian; Probably made in Avignon, Tempera on wood, tooled gold ground (61.200.1,2) |
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The Crucifixion, ca. 1420,
Fra Angelico (Italian),
Tempera on panel (43.98.5) |
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Descent from the Cross, ca. 1550–60, School of Jean Goujon (French), Marble (29.56) |
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Descent from the Cross: Cutting from a Missal, ca. 1475–76, Girolamo da Cremona (Italian), Tempera and gold leaf on parchment, laid down on wood (49.7.8) |
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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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A Dominican Friar [Petrus de Cruce?] and a Companion below the Dragon's Tower, ca. 1417–20,
Fra Angelico (Italian),
Pen and brush with brown ink, on parchment (1972.118.260) |
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Double-Sided Gospel Leaf, first half of 14th century,
Ethiopia; Tigray region,
Tempera on parchment (2006.100) |
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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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Embroidered panel, ca. 1800, Morocco, Linen, silk (1970.272) |
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Embroidery with the Annunciation, mid-15th century, Netherlandish, Silk and metallic threads on linen (1990.350) |
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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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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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Eucharistic Dove, ca. 1215–1235, French; Made in Limoges, Gilded copper with champlevé enamel (17.190.344) |
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Ewost'atéwos and Eight Disciples, late 17th century,
Ethiopia,
Wood, tempera (2006.98) |
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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 First Communion,
Eugène Carrière (French),
Oil on canvas (63.138.5) |
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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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Folio from The Hours of Jeanne d'Évreux: Calendar Page for November (Gathering Acorns), ca. 1324–1328, Jean Pucelle (French), French; Made in Paris, Grisaille and tempera on vellum (54.1.2) |
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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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Fragment from a Lintel or Frieze with Cross and Rosette Medallions, ca. 500–600, Byzantine; Said to be from the Monastery of Apa Jeremias, Saqqara (found in the neighboring village of Mitrahina), Limestone (10.176.37) |
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Frieze Fragment (possibly from an altar), 18th century, Bolivian, Silver (1978.303.7) |
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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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The Glorification of the Eucharist, probably ca. 1630, Peter Paul Rubens (Flemish), Oil on wood (37.160.12) |
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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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The Groenendaal Passion, late 15th century,
Twelve engravings by Israhel van Meckenem (German), two touched with gold; one hand-colored woodcut, Netherlandish School, 15th century; one hand-colored metalcut, Cologne School, 15th century; and 32 leaves of manuscript text in Dutch and Latin in brown ink with initials in red, bound in Netherlandish blind-stamped leather (2003.476) |
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Hanging lamp (cesendello), late 15th–early 16th century,
Venice,
Free-blown glass, enameled and gilded (14.83) |
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Head of Christ, Master of the Orcagnesque Misericordia (Italian, Florentine), Tempera on wood, gold ground (1981.365.2) |
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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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Hieronymus in Deserto (Saint Jerome in the Wilderness), ca. 1555–56, Jan and Lucas van Doetecum after Pieter Bruegel the Elder (Netherlandish), Etching and engraving; only state (26.72.13) |
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The Holy Family with Saints Anne and Catherine of Alexandria, 1648, Jusepe de Ribera (Spanish), Oil on canvas (34.73) |
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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 with the Infant Saint John the Baptist, ca. 1530, Andrea del Sarto (Andrea d'Agnolo) (Italian, Florentine), Oil on wood (22.75) |
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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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Holy-water stoup with relief of Saint Mary of Egypt, Giovanni Giardini (Italian), Gilt bronze, lapis lazuli, and silver (1995.110) |
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Horn, ca. 1100–1200, South Italian, Ivory (17.190.218) |
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Hours of Jeanne d'Évreux, ca. 1324–1328, Jean Pucelle (French), Made in Paris, Grisaille and tempera on vellum (54.1.2) |
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Icon with Saint Demetrios, ca. 950–1000, Byzantine, Ivory (1970.324.3) |
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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 Virgin and Child, carved mid-10th–11th century,
Byzantine; Probably made in Constantinople,
Ivory (17.190.103) |
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The Immaculate Conception, 1627,
Guido Reni (Italian, Bolognese),
Oil on canvas (59.32) |
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Incipit Page to the Gospel of John, 1300–1310, From a gospel book attributed to the illuminator Sargis; scribe unknown, Armenian; Probably from Siwnik’, Noravank’, Vellum, pigments, and gold (38.171.2) |
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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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Initial V from a Bible, ca. 1175–1195, French; From the Abbey of Pontigny, Tempera on parchment (1999.364.2) |
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King David in Prayer in an Initial B: Cutting from a Psalter, 1450, Zanobi Strozzi (Italian), Tempera and gold leaf on parchment (1975.1.2470) |
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Lamentation with Sorrowing Angels, 17th century,
Workshop of Mattheus van Beveren (Flemish),
Flemish,
Boxwood (64.164.242) |
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Lamentation, 1591, Scipione Pulzone (Il Gaetano) (Italian, Roman), Oil on canvas (1984.74) |
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The Lamentation, 1603,
Domenichino (Domenico Zampieri) (Italian),
Oil on copper (2008.72) |
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The Lamentation, ca. 1582,
Ludovico Carracci (Italian, Bolognese),
Oil on canvas (2000.68) |
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Last Judgment in an Initial C: Cutting from an Antiphonary, ca. 1406–7, Lorenzo Monaco (Piero di Giovanni) (Italian, Florentine), Tempera and gold leaf on parchment (1975.1.2485) |
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Last Judgment, from a Book of Hours, ca. 1400, French; Paris, Tempera and gold on vellum (1998.179) |
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The Last Supper,
Ugolino da Siena (Italian, Sienese),
Tempera on panel (1975.1.7) |
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Le Cellier Altarpiece, triptych, 1509, Jean Bellegambe (Netherlandish), Oil on wood (32.100.102) |
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Leaf from a Laudario with the Martyrdom of Saint Bartholomew,
Pacino di Bonaguida (Italian),
Tempera and gold on parchment (2006.250) |
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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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Leaf from a Missal, ca. 1270–1290, French; Made in Paris, Tempera and gold leaf on parchment (1981.322) |
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Leaf from a Missal, ca. 1290, Northeast French; Beauvais (?), Tempera and gold leaf, on parchment (1992.238) |
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Leaf from a Royal Manuscript, with Scenes from the Life of Saint Francis, ca. 1320–1342, Italian; Made in Bologna, for Hungarian use, Tempera and gold leaf on parchment (1994.516) |
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Leaf from the Epistle to the Hebrews, 12th century (1101), Byzantine; Found in Meteora, Greece (before 1898), Tempera, gold, and ink on parchment (1991.232.15) |
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Leaf from the Hours of Étienne Chevalier: The Right Hand of God Protecting the Faithful against Demons, ca. 1452–60, Jean Fouquet (French), Tempera and gold leaf on parchment (1975.1.2490) |
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Leaves from a Beatus Manuscript, ca. 1180,
Spanish (Burgos, Castile-León),
Tempera, gold, and ink on parchment, metal leaf (1991.232.1–.14) |
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Liber chronicarum (Nuremberg Chronicle), 1493,
Wilhelm Pleydenwurff (German),
Engraver and Publisher: Michel Wolgemuth (German),
Author: Hartmann Schedel,
Printed book with woodcut illustrations (21.36.145) |
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Liber Chronicarum (Nuremberg Chronicle), Author: Hartmann Schedel, Illustrators: Michael Wolgemut (German), and Wilhelm Pleydenwurff (German), Nuremberg: Anton Koberger, 1493, Woodcut illustrations with printed text; bound volume (1981.1178.29) |
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Liturgical Comb, ca. 1200–1210, English, Ivory (1988.279) |
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Madonna and Child Enthroned with Saints and Angels,
Francesco Botticini (Francesco di Giovanni) (Italian, Florentine),
Tempera on wood (61.235) |
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Madonna and Child Enthroned with Two Angels,
Fra Filippo Lippi (Italian, Florentine),
Tempera and gold on wood, transferred from wood (49.7.9) |
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Madonna and Child with Angels,
Cosimo Rosselli (Italian, Florentine),
Tempera and gold on wood (32.100.84) |
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Madonna and Child with Saints and Angels, ca. 1350,
Lippo Memmi (Filippo di Memmo) (Italian, Sienese),
Tempera on wood, gold ground (43.98.6)
|
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Madonna and Child with Saints Francis and Dominic and Angels,
Giulio Cesare Procaccini (Italian, Milanese),
Oil on canvas (1979.209) |
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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) |
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Madonna and Child with Saints,
Bonifazio Veronese (Bonifazio de' Pitati) (Italian, Venetian),
Oil on wood (1995.536) |
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Madonna and Child with Saints, altarpiece, ca. 1520,
Girolamo dai Libri (Italian, Veronese),
Tempera and oil on canvas (20.92) |
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Madonna and Child, 1370s, Paolo di Giovanni Fei (Italian, Sienese), Tempera on wood, gold ground (41.190.13) |
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Madonna and Child, Berlinghiero (Italian, Lucca), Tempera on wood, gold ground (60.173) |
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Madonna and Child, ca. 1300,
Duccio di Buoninsegna (Italian, Sienese),
Tempera and gold on wood, with original engaged frame (2004.442)
|
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Madonna and Child, ca. 1326, Simone Martini (Italian [Siena]), Tempera on panel (1975.1.12) |
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Madonna and Child, ca. 1485, Filippino Lippi (Italian, Florentine), Tempera, oil, and gold on wood (49.7.10) |
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Madonna and Child, ca. 1495–1500,
Francesco Francia (Francesco di Marco di Giacomo Raibolini) (Italian, Bolognese),
Oil on wood (1982.448)
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Madonna and Child, probably before 1508,
Bramantino (Bartolomeo Suardi) (Italian, Milanese),
Tempera on wood (12.178.2) |
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Madonna in the Clouds, ca. 1581 (no later than 1582), Federico Barocci (Italian), Etching and engraving; sheet (17.50.18.147) |
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Magdalena Poenitens (Penitent Magdalene), ca. 1555–56, Joannes and Lucas van Doetecum after Pieter Bruegel the Elder (Netherlandish), Etching with engraving; first state of two (26.72.14) |
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Man of Sorrows and the Mater dolorosa, ca. 1480, Strassburger Werkstattgemeinschaft (Lautenbach Master), German (Swabia); From the chapter house of Constance Cathedral, Pot-metal glass and vitreous paint (1998.215a,b) |
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The Man of Sorrows, ca. 1420–30, Michele Giambono (Michele Giovanni Bono) (Italian, Venetian), Tempera and gold on wood (06.180) |
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The Man of Sorrows, mid-14th century, Central Italy, Gilt copper, champlevé enamel (1982.480) |
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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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Manuscript Leaf from a Choir Book, second half of 15th century,
Mariano del Buono (Italian, Florentine(?)),
Parchment, tempera, ink, gold leaf (96.32.15) |
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Manuscript Leaf from a Gospel Book, 1290–1330, Armenian; Written in Armenian and painted possibly in the Lake Van region, Vaspurakan (now eastern Turkey), Ink and tempera on parchment (57.185.3) |
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Manuscript Leaf from a Psalter: Agony in the Garden and Betrayal of Christ, ca. 1270, English, Vellum, tempera, ink, metal leaf (22.24.4) |
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Manuscript of the Apocalypse, 1320s, Normandy, Paint, gold, silver, and brown ink on vellum (68.174) |
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Martyrdom of Saint Agatha in an Initial D: Cutting from an Antiphonary, ca. 1470–73, Sano di Pietro (Italian), Tempera and gold leaf on parchment (1975.1.2488) |
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Martyrdom of Saint Lawrence, 1571, Cornelis Cort (Flemish), after Titian (Tiziano Vecellio) (Italian, Venetian), Engraving (49.97.537) |
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Martyrdom of Saint Lawrence, Lucas Vorsterman the Elder (Flemish), after Peter Paul Rubens (Flemish), Engraving (51.501.7125) |
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The Mass of Saint Basil, 1746,
Pierre Hubert Subleyras (French),
Oil on canvas (2007.166) |
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Mater Dolorosa (Mourning Virgin), 18th century, Sino-Spanish, Wood with pigments, gilding, ivory, and silver (2002.133a,b) |
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Medallion from an Icon Frame, ca. 1100, Byzantine; From the Djumati Monastery, Georgia (now Republic of Georgia); Made in Constantinople, Cloisonné enamel, gold (17.190.678) |
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Medallion with the Crucifixion, ca. 1100,
France (Conques),
Gilt copper, cloisonné and champlevé (2007.189) |
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Memento Mori, with Dives in Hell, ca. 1500,
Southern Lowlands,
Boxwood (1985.136) |
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The Miracle of Christ Healing the Blind, possibly ca. 1570, El Greco (Domenikos Theotokopoulos) (Greek), Oil on canvas (1978.416) |
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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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Monstrance, 1646, Attributed to Diego de Atienzia (Spanish, Guadalajara), Peruvian, Silver gilt, enamel (32.100.231a,b) |
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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 from a Tree of Jesse Window, 14th century, German (Swabia), Pot-metal glass, vitreous paint (22.25a-f) |
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Panel from an Altar Frontal: The Flagellation, mid-14th century, Italian; Made in Florence, Silk and metallic threads on linen (64.27.18) |
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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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Peaceable Kingdom, ca. 1830–32, Edward Hicks (American), Oil on canvas (1970.283.1) |
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Pectoral Cross, 1000–1050, Probably from the Abbey of Saint-Bertin at Saint-Omer, northwestern France, Walrus ivory with copper alloy gilt inlays (17.190.217) |
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Pectoral Cross, 1200–1400,
Byzantine,
Gold, pearls (2005.38) |
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Pectoral Cross, 6th–7th century,
Byzantine (Constantinople?),
Gold (2006.569) |
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Pectoral: Saint Anthony (Toni Malau), 18th century, Angola/Democratic Republic of Congo; Kongo, Brass (1999.295.1) |
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Pendant Plaque, 4th–5th century, Byzantine, Lapis lazuli (1984.32) |
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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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Peter and John Heal a Cripple at the Gate of the Temple, Bartholomeus Spranger (Netherlandish), Pen and brown ink and wash, heightened with white, over red chalk on blue paper (2001.107b) |
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Pietà (Vesperbild), ca. 1400, Bohemian, Limestone (2001.78) |
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Pilgrim's Badge Depicting the Shrine of Saint Thomas Becket at Canterbury Cathedral, ca. 1400, English, Pewte (2001.310) |
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Plaque Showing the Pentecost, ca. 1150–1175, Mosan, Champlevé enamel on copper gilt (65.105) |
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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 Otto I presenting the Cathedral of Magdeburg, 962–968, Ottonian; From the Cathedral of Magdeburg, probably made in Milan, northern Italy, Ivory (41.100.157) |
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Plaque with Saint John the Evangelist, early 9th century; Early Medieval, Carolingian; Made in Aachen, Elephant ivory (1977.421) |
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