Teen Advisory Group Member Evelin discusses the short film Flash in the Metropolitan, her favorite work in the exhibition Spies in the House of Art.

This catalogue deals primarily with the collection of American powder horns and primers formed by J. H. Grenville Gilbert, of Ware, Massachusetts, and generously presented to The Metropolitan Museum of Art in 1937. An essay on American engraved powder horns and a résumé of the Gilbert collection precede the catalogue, which consists of detailed descriptions of the individual pieces and notes of genealogical or historical interest. Each horn in the collection is illustrated by a collotype reproduction and, with one exception (an undecorated horn), by a line drawing of the engraved area. An indexed checklist of the collections records the pertinent details of each powder horn.

Recent research sheds light on the life and work of a Massachusetts militiaman and influential horn carver.

Glass was present in nearly every aspect of daily life—from a lady’s morning toilette to a merchant’s afternoon business dealings to the evening cena, or dinner.

Roman cameo glass was difficult to produce; the creation of a multilayered matrix presented considerable technical challenges, and the carving of the finished glass required a great deal of skill.

Press Officer Meryl Cates recaps a recent MetLiveArts event, Feast of Jerusalem, that featured a sumptuous dinner highlighting the culinary traditions of the region.

In the field of Islamic art, glass is a craft that often rose to excellence but has been largely overlooked by art historians.

The Roman glass industry drew heavily on the skills and techniques that were used in other contemporary crafts such as metalworking, gem cutting, and pottery production.

Conservator Caitlin Mahony consults with Chuna McIntyre, a Yup'ik dancer, on her approach to conserving a Yup'ik mask.

The prosperous upper classes of Augustan Rome appreciated [gold-band] glass for its stylistic value and apparent opulence