This flask is decorated with images of Christ, the Virgin, and two military saints (Sergios and Bacchos?), represented with the soft, voluminous drapery and staring eyes typical of the art of Byzantine Syria. The inscription tells how the donors, Megale and her family, gave this flask in fulfillment of a vow and for the eternal salvation of departed souls. The flask, the original lid and chain of which are now lost, was probably used to hold consecrated oil for the rite of baptism, or for the anointing of the sick or dying.For the latest information about this object, flasks, visit art.thewalters.org.Dynasty: Inscriptions: [Transcription] + Ὑπὲρ εὐχῆς καὶ σωτηρίας Μεγάλης / + καὶ τν αὐτῆς τέκνων καὶ ἀνεψιῶ(ν) κα(ὶ) / ὑπὲρ ἀναπαύσεως Ἡλιοδώρου καὶ Ἀκακίου.; [Translation] + For the prayer and salvation of Megale and of her children and nephews, and for the repose of the soul of Heliodorus and Acacius.Reign: Style:
Lamps filled with scented oil were used throughout the Mediterranean region. Intended for use in the home, the lamp could rest on a table, be suspended by chains, or be fitted onto a spiked (pricket) lampstand. On this example, a cross is incorporated into the center of the leaf-shaped handle.For the latest information about this object, lamps, visit art.thewalters.org.Dynasty: Inscriptions: Reign: Style:
The queen’s body is depicted in mixed perspective, with her torso frontal and her head turned to her right. She holds a double cornucopia in her left arm. A mantle appears to be wrapped around her waist. Brown pigment colors the queen’s wavy hair, arranged in the melon hairstyle, around which she wears a diadem. Based on complete examples of the oinochoe type, the queen would have held a patera in her outstretched right arm, and she would have been depicted full-length, with her weight on her right hip, left leg bent. To her right would have been an altar, and behind her would have been a tapering column. Egyptian faience jugs or wine pitchers (oinochoai) of this kind were used in the cult of the Ptolemaic rulers and always depict one of the queens of the early Ptolemaic period in high relief. This queen can be identified as Arsinoe II (died ca. 270 BCE) by the double cornucopia she holds.For the latest information about this object, oinochoai, visit art.thewalters.org.Dynasty: Ptolemaic DynastyInscriptions: Reign: Style:
The queen’s body is depicted in mixed perspective, with her torso frontal and her head turned to her left to look at the long, slim cornucopia she holds in her left arm. Her right arm, missing from the elbow, would have been raised up to hold a scepter or staff. A mantle is draped over her left shoulder and wrapped around her lower body, partially covering her sleeveless chiton. Brown pigment colors the queen’s wavy hair, arranged in the melon hairstyle, around which she wears a diadem.
Based on complete examples of the oinochoe type, the queen would likely have been depicted participating in an offering scene, and an altar and a tapering column were probably also part of the composition. Egyptian faience jugs or wine pitchers (oinochoai) of this kind were used in the cult of the Ptolemaic rulers and always depict one of the queens of the early Ptolemaic period in high relief. This queen has been identified as possibly Arsinoe III (died 204 BCE), wife of Ptolemy IV Philopator.For the latest information about this object, oinochoai, visit art.thewalters.org.Dynasty: Ptolemaic DynastyInscriptions: Reign: Style:
This Safavid drawing of an old bearded man, Walters manuscript leaf W.686, is inscribed with the name of the famous Persian artist Riza-yi 'Abbasi (died 1044 AH/AD 1634). The name of the artist, written in black Nasta'liq script, appears in the lower right corner of the page. It was produced in the middle of the 11th century AH/AD 17th in Iran. Such drawings are often framed by poetic verses. This example is surrounded by panels of verses from a poem by 'Abd al-Rahman Jami (died 898 AH/AD 1492). It has been suggested that the man depicted is meant to represent the poet Jami himself.For the latest information about this object, illuminated manuscripts; folios (leaves), visit art.thewalters.org.Dynasty: Inscriptions: Reign: Style:
This folio, Walters manuscript leaf W.686, is the back of a drawing of an old man kneeling.For the latest information about this object, illuminated manuscripts; folios (leaves), visit art.thewalters.org.Dynasty: Inscriptions: Reign: Style:
On this folio from Walters manuscript W.662, the old woman is depicted convincing a young woman by means of a crying dog.For the latest information about this object, illuminated manuscripts; folios (leaves), visit art.thewalters.org.Dynasty: Ottoman DynastyInscriptions: Reign: Style:
Walters manuscript W.615, an illuminated copy of One hundred sayings, referred to as Mi'at kalimah in Arabic and Sad kalimah in Persian and attributed to the 4th caliph of Islam, "Ali ibn Abi Talib (died 40 AH/AD 661), contains a Persian paraphrase (dubayt) by Rashid al-Din Muhammad al-Balkhi, known as al-Vatvat (Watwat) (died ca. 578 AH/AD 1182). The manuscript was completed in Iran sometime in the 9th century AH/AD 15th. The sayings of `Ali in Arabic are written in blue Muhaqqaq and gold Thuluth scripts, and the Persian verses are written in black Naskh scripts. The codex opens with an illuminated titlepiece inscribed in white Tawqi script (fol. 1b). The dark brown goatskin binding with central lobed medallion and pendants and doublures with filigree decoration may date to the 9th or 10th century AH/AD 15th or 16th.For the latest information about this object, illuminated manuscripts, visit art.thewalters.org.Dynasty: Inscriptions: Reign: Style: