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alb3634552 Speculum Romanae Magnificentiae: The Victory of Scipio. Artist: Master of the Die (Italian, active Rome, ca. 1530-60); After (?) Raphael (Raffaello Sanzio or Santi) (Italian, Urbino 1483-1520 Rome) in the first state. Dimensions: plate: 8 9/16 x 10 in. (21.8 x 25.4 cm)sheet: 19 x 13 3/16 in. (48.3 x 33.5 cm). Publisher: Published by Antonio Lafreri (French, Orgelet, Franche-Comte ca. 1512-1577 Rome). Series/Portfolio: Speculum Romanae Magnificentia. Date: 16th century.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 2, plate 134 in the scrapbook. Museum: Metropolitan Museum of Art, New York, USA.

alb3676724 Footed goblet with bulging bowl. Culture: British, London. Designer: Philip Webb (British, Oxford 1831-1915 West Sussex). Dimensions: Overall (confirmed): 4 3/4 × 3 3/8 × 3 3/8 in. (12.1 × 8.6 × 8.6 cm). Maker: James Powell and Sons. Manufacturer: Whitefriars Glassworks (British, 1834-1980). Retailer: Morris, Marshall, Faulkner & Co.. Date: 1860.This footed goblet provides an ideal bridge between the burgeoning Arts and Crafts movement championed by Morris and Company and the endeavors of James Powell & Sons' Whitefriars Glassworks to encourage modern, British design in glassware. The goblet was designed by Philip Webb in 1860, as part of a series of table glasses with spiral trails for William Morris's home, the Red House. Made by James Powell & Sons, the series of glassware was also sold through Morris, Marshall, Faulkner & Co. Harry Powell (grandson of the wine-merchant, James Powell, who had purchased the Whitefriars Glassworks in 1834) and principal designer at Whitefriars singled out this group of designs for special comment, illustrating this goblet design in an article in the Architectural Review in 1899. At that time, such were the Whitefriars' records of the commission that Harry Powell believed the designer to have been Morris himself. Following a visit to the Whitefriars Glassworks by the future director of the Fitzwilliam Museum, Sydney Cockerell (at that time, still Morris & Co.'s manager) this mistake was rectified (on a postcard preserved in the Museum of London, acc. 3312) and when Harry Powell mentioned the Red House glassware designs in his revised entry for "Glass" in the Encyclopedia Britannica in 1906, he ascribed them to Webb. Harry Powell also sketched this goblet design amongst the series of designs annotated as "by Philip Webb for William Morris for the Red House at Upton" in his design notebook logging "Glasses with Histories", made around 1912 onwards (preserved in the Museum of London, acc. 3252). The page of this notebook illustrating this goblet's design is illustrated by W. Evans, C. Ross & A. Werner, Whitefriars Glass. James Powell & Sons of London, London: Museum of London, 1995 (plate 422, p.275). Very soon after Whitefriars first produced this group of glassware designed by Webb, Christopher Dresser admired it, in 1862, calling attention to its "simplicity of treatment". Museum: Metropolitan Museum of Art, New York, USA.

alb3634513 Speculum Romanae Magnificentiae: Dance of Fauns and Bacchants. Artist: Anonymous; After Agostino Veneziano (Agostino dei Musi) (Italian, Venice ca. 1490-after 1536 Rome). Dimensions: plate: 7 5/16 x 10 1/2 in. (18.5 x 26.7 cm)sheet: 9 13/16 x 13 3/16 in. (25 x 33.5 cm). Series/Portfolio: Speculum Romanae Magnificentiae. Date: early 16th century.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 2, plate 140 in the scrapbook. Museum: Metropolitan Museum of Art, New York, USA.

alb3652542 Speculum Romanae Magnificentiae: Hercules Colossus at Padua (L'Ercole di casa Benavides a Padova). Artist: Anonymous, Italian, 16th century; Depicts a statue by Bartolomeo Ammanati (Ammannati) (Italian, Settignano near Florence 1511-1592 Florence). Dimensions: sheet: 20 13/16 x 15 15/16 in. (52.8 x 40.5 cm). Draftsman: After drawing attributed to Enea Vico (Italian, Parma 1523-1567 Ferrara). Published in: Rome. Publisher: Published by Antonio Lafreri (French, Orgelet, Franche-Comte ca. 1512-1577 Rome). Date: 1553.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally plate 61, volume 2. Museum: Metropolitan Museum of Art, New York, USA.

alb3645072 Speculum Romanae Magnificentiae: Farnese Palace. Artist: Francesco Villamena (Italian, Assisi ca. 1565-1624 Rome). Dimensions: sheet: 15 1/16 x 18 11/16 in. (38.2 x 47.4 cm)plate: 15 1/16 x 17 9/16 in. (38.2 x 44.6 cm)mount: 17 1/2 x 21 7/8 in. (44.5 x 55.6 cm). Series/Portfolio: Speculum Romanae Magnificentiae. Date: 16th century.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 3, plate 54 in the scrapbook. Museum: Metropolitan Museum of Art, New York, USA.

alb3655353 Hadley's Falls (No. 5 of The Hudson River Portfolio). Artist: after William Guy Wall (Irish, Dublin 1792-after 1864 Ireland (active America)). Dimensions: Image: 14 1/16 x 20 3/16 in. (35.7 x 51.3 cm)Sheet: 19 x 24 1/2 in. (48.3 x 62.2 cm). Etcher: Begun by John Rubens Smith (American, London 1775-1849 New York); Finished by John Hill (American (born England), London 1770-1850 Clarksville, New York). Printer: William and Charles Rollinson (American, active ca. 1808-33). Publisher: Henry J. Megarey (American, 1818-1845 New York); W. B. Gilley (New York, NY); John Mill (Charleston, South Carolina). Series/Portfolio: The Hudson River Portfolio. Date: 1821-22.When the artist William Guy Wall and writer John Agg visited this site, north of Glens Falls on the Hudson, it not easy to access. The text accompanying the image tells us that, "a moment's view of these Falls...as they suddenly burst upon the sight of the traveller...is sufficient compensation for all the difficulties he may have encountered. Instead of one unbroken sheet of water, falling perpendicularly...the whole body of the river seems to have forced a passage through the intercepting barrier of cliffs which obstructed its course; with ungovernable fury and deafening clamour, over a gradual but rugged declivity, composed of the massive and tenacious fragments which its impetuosity has thrown down." The image comes from the Hudson River Portfolio, a monument of American printmaking produced through the collaboration of artists, a writer, and publishers. In the summer of 1820, the Irish-born Wall toured and sketched along the Hudson, then painted a series of large watercolors. Prints of equal scale were proposed--to be issued to subscribers in sets of four--and John Rubens Smith hired to work the plates. Almost immediately, Smith was replaced by the skilled London-trained aquatint engraver John Hill, who finished the first four plates, and produced sixteen more by 1825. Over the next decade, the popularity of the Portfolio stimulated new appreciation for American landscape, and prepared the way for the Hudson River School. Museum: Metropolitan Museum of Art, New York, USA.

alb3645093 The Hippopotamus at the Zoological Gardens, Regent's Park. Artist: de Borbón, Juan (Spanish, 1822-1887). Dimensions: Image: 11.1 × 12 cm (4 3/8 × 4 3/4 in.)Mount: 43.8 × 30.5 cm (17 1/4 × 12 in.). Date: 1852.Although his childhood was spent at the court of his uncle Fernando VII, the king of Spain, Prince Juan de Borbón spent the major part of his life in England, in exile following his father's violent challenge to the succession of Fernando's daughter Isabel II in 1833. Apparently harboring no royal ambitions, Juan assumed the somewhat obscure title of Count de Montizon in public and, when the dubious title of pretender to the Spanish throne passed to him from his elder brother, he renounced all claim in favor of Queen Isabel. His passions, instead, ran to physics, chemistry, and natural history; photography, it seems, was an appropriate amateur pursuit that combined all three interests.This photograph was the Count de Montizon's contribution to "The Photographic Album for the Year 1855," a publication of the Royal Photographic Society's Photographic Exchange Club. The accompanying text reads: "This animal was captured in August 1849, when quite young, on the banks of the White Nile; and was sent over to England by the Pasha of Egypt as a present to Queen Victoria. He arrived at Southampton on May 25, 1850; and on the evening of the same day was safely housed in the apartment prepared for him at the Zoological Gardens, where he has ever since been an object of great attraction."The animals of the Zoological Gardens were a favorite subject for the count's demonstrations of photography's capacity to arrest movement in photographs "taken on collodion with a double lens, by instantaneous exposure" (as he wrote in the technical caption for this picture). If the notion of instantaneity seems incongruous in this picture of a sluggish and corpulent hippo, it is perhaps better seen in the curious spectators who, from the photographer's vantage point, appear to be the zoo's caged inhabitants. Museum: Metropolitan Museum of Art, New York, USA. Author: Juan de Borbón.

alb3625749 Saint John the Baptist. Artist: Juan Martínez Montañés (Spanish, Alcalá la Real 1568-1649 Seville). Culture: Spanish, Seville. Dimensions: Overall (confirmed): H. 60 5/8 x W. 29 5/8 x D. 27 5/8 in. (154 x 75.2 x 70.2 cm). Date: ca. 1620-30.Juan Martínez Montañés was one of the greatest spanish sculptors of the first half of the seventeenth century. Based in Seville, he carved numerous wooden statues and reliefs that were painted and integrated into large altar screens called retablos (English: retables) for churches in his native region or to be shipped to the New World. His forte as an artist was the single figure, standing or seated, usually robust, naturally posed, and richly robed. Somewhat defensively, he gave his reason for this: "As for the appearance of the statues when they are seen away from their settings by those who do not understand or maliciously criticize them, we say that once they are in their places they will be very effective, and if they did not have so much drapery they would look very insignificant when they were put in compartments at a distance." [Note 1] To modern eyes, his works even when removed from their original contexts have a powerfully sculptural form; but it is important to remember how critical the original church setting was in the artist's conception. The Museum's statue of Saint John the Baptist, a rare work by the master in a collection outside Spain or South America, illustrates these points. A mature man with a powerful physique, he wears a short brown tunic cinched with a rope around the waist. A crimson robe patterned with foliage and cherub heads is draped over his shoulder and partially covers the rock formation on which he stands and leans. His left hand rests on the rock while his right reaches across his body to point. This gesture was certainly toward a missing Lamb of God on an altar in the monastery church for which Saint John was made or toward the top of a banderole with the message "Behold the Lamb of God" stuck in the ground by the saint's left foot (where a hole exists) and rising to his left shoulder. The altar of Saint John the Baptist (1635 - 37) in the Convento de Santa Paula, Seville (fig. 31), gives an idea of how this might have appeared. [Note 2] His strongly defined carved features include a thin, split goatee -- the rest of his light beard and mustache are painted -- a knot of hair over the forehead and long tousled locks, a creased forehead, and straight, subtly carved eyebrows. Made of Spanish cedar, the statue has held up relatively well over the centuries, although some fingers of the right hand have been recarved and the right arm rejoined. [Note 3]As a physical type, John the Baptist is like other statues of the saint carved by the artist. The one he made for the retablo of San Isidoro del Campo at Santiponce (after 1609) is generally similar in pose, though the raised foot of the Museum's figure makes the saint's gesture more emphatic, and its face is smoother and not quite as eloquent as here. [Note 4] Closer to this one in its powerful presence and expressive face is the Saint John the Baptist in high relief on the retablo of the Convento de San Leandro, Seville (1622 - 23). [Note 5] A dating of the Museum's statue during the artist's mature years seems to be borne out by these comparisons. Beatrice Proske assigned it to the 1620s or early 1630s. José Hernández Díaz preferred to date the figure to the first decade of the century, before the retablo of San Isidoro at Santiponce. [Note 6] He viewed the Museum's Saint John as a striking and characteristic work entirely by Martínez Montañés, but Proske thought she detected the intervention of another artist in the sculptor's workshop and described it as in the style of Montañés.Documents connect the statue to the Sevillian Convento de la Nuestra Señora de la Concepción, which was suppressed in 1837. In a notice published in 1844 that inventoried the contents of the monastery church, Félix González de León described one of its retablos: Under a big molded arch with pilasters supporting a cornice, on a high pedestal placed over the base of the retable itself stood the most beautiful figure of Saint John the Baptist ever made by the celebrated Martínez Montañés. One can hardly explain the beauties of the design and the treatment of draperies and body of this famous image, the honor of its author and its country. [Note 7]He further noted niches on either side of the statue decorated with pediments and angels and filled with paintings of stories about the saint. Relatively modest by the standards of the time, the retablo must have been somewhat like those in the Convento de Santa Paula, centered on the statue of the saint. Martínez Montañés's resolutely straightforward image with pleasing partial side views would have been well suited to such a frame. The emphatic gesture was designed to be read from a distance, and as the sculptor himself explained, the voluminous drapery would give the figure weight and solidity in the midst of such splendid decorations. The sculptor's father was an embroiderer in the city of Alcalá la Real, and the son's taste for richly decorated textiles must have developed early in life. Traditionally, Spanish sculpture of this period was painted by specialists other than the carver. This figure's relatively simple painted patterns and colors only enhance the power of the carving. NOTES1. Quoted in Proske 1967, p. 4 (translated from López Martínez 1932, p. 238).2. Proske 1967, pp. 125 - 27, figs. 193, 194.3. U.S. Department of Agriculture, Madison, Wisconsin, letter of April 25, 1966, in the curatorial files of the Department of European Sculpture and Decorative Arts, Metropolitan Museum. The statue was cleaned by Christine Faltermeier and the right arm reset by Rudolph Colban in the summer of 1975.4. Proske 1967, pp. 61 - 69, figs. 73, 76.5. Ibid., pp. 93 - 95, figs. 108, 109, 131. 6. Hernández Díaz 1987, pp. 261, 264.7. González de León 1844, vol. 1, pp. 228 - 29. Museum: Metropolitan Museum of Art, New York, USA.

alb3639502 The Battle of Qos-qulaq. Artist: after Giuseppe Castiglione (Italian, Milan 1688-1766 Beijing); (direxit) Charles Nicolas Cochin II (French, Paris 1715-1790 Paris); Benoit Louis Prevost (French, 1747-ca. 1804). Dimensions: Sheet: 25 11/16 × 39 5/8 in. (65.2 × 100.7 cm)Plate: 22 5/8 × 36 1/8 in. (57.5 × 91.8 cm). Series/Portfolio: The Conquests of the Emperor of China(Les Conquêtes de l'Empereur de la Chine). Date: 1774.This print shows the 1759 battle of Qos-qulaq during which the Khoja were defeated. Qing officers on horseback instruct their cavalry and archers on horseback chase enemy horsemen.Part of a set of sixteen, "The Battle of Qos-qulaq" was commissioned by the Qianlong Emperor in 1765 to commemorate Manchu victories (1755-59) over the Eleuths, the Dzungars, and other Central Asian peoples in the present-day region of Xinjiang. Made under the direction of Charles-Nicolas Cochin (1715-1790), the prints, which follow reduced-scale copies of paintings by Jesuit artists working in Beijing, were etched and engraved in France from 1767 to 1774 by the finest printmakers at the court of Louis XV. The Chinese merchants of Canton (present-day Guangzhou) paid for the copper plates and two hundred sets of prints to be delivered to China, with only a few sets retained in Paris.The prints exemplify the fusion of Eastern and Western representational styles fostered within the Qing imperial painting academy. The European technique of chiaroscuro-the modeling of forms through the use of light and shading-has been visibly tempered, as has the use of one-point perspective. Instead, the scenes present panoramic views and strongly up-tilt ground planes. At the same time, howevery, they reflect European preferences for anatomical accuracy, a single light source, and the mathematically correct reduction of scale to create the illusion of recession. Museum: Metropolitan Museum of Art, New York, USA. Author: Benoît Louis Prévost. (direxit) Charles Nicolas Cochin II. After Giuseppe Castiglione.

alb3655455 Speculum Romanae Magnificentiae: Laocoon. Artist: Sisto Badalocchio (Italian, Parma 1585-after 1619 Rome or Parma). Dimensions: sheet: 14 15/16 x 11 5/8 in. (38 x 29.6 cm)mount: 18 7/8 x 14 3/4 in. (48 x 37.4 cm). Publisher: Agostino Veneziano (Agostino dei Musi) (Italian, Venice ca. 1490-after 1536 Rome). Series/Portfolio: Speculum Romanae Magnificentiae. Date: 1561.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 2, plate 79 in the scrapbook. Museum: Metropolitan Museum of Art, New York, USA.

alb3638637 The Jewish Woman of Algiers. Artist: Charles-Henri-Joseph Cordier (French, 1827-1905). Culture: French, Paris. Dimensions: Overall on socle (confirmed): H. 35 1/2 x W. 25 1/4 x D. 13 3/4 in., 265lb. (90.2 x 64.1 x 34.9 cm, 120.2032kg) [Weight breakdown: head 37 lbs, marble bust 228 lbs; marble socle 100.7 lbs]; Pedestal (confirmed): H. 41 3/8 x W. 18 1/4 x D. 18 1/4 x 11 3/4 in., 551.2lb. (105.1 x 46.4 x 46.4 x 29.8 cm, 250kg). Maker: Pedestal attributed to designs by Charles-François Rossigneux (French, 1818-afer 1909). Date: 1862.In his unpublished memoirs Charles Cordier cites the law of April 27, 1848 that abolished slavery in France and its colonies, writing: "My art incorporated the reality of a whole new subject, the revolt against slavery and the birth of anthropology." In pioneering ethnography as a subject for sculpture in the nineteenth century, Cordier aimed to illustrate what he described as "the idea of the universality of beauty." His busts often paired couples of the opposite sex but of the same race. This rare instance of matched busts of women (see also La Capresse des Colonies, 2006.112) was desired by the purchaser, a gaming club in Marseilles, that also commissioned the sumptuous Second-Empire pedestals from Cordier. The busts revel in the period taste for polychromy in sculpture, an international phenomenon sparked by artistic debates about the painting of ancient statuary and inspired by ancient Roman and Renaissance sculpture composed of variously colored marbles. On a trip to Algeria in 1856 Cordier discovered onyx deposits in recently reopened ancient quarries and began to use the stone in busts such as these. He ingeniously fitted enameled bronze heads into the vibrantly patterned stone, creating exciting though costly representations of Africans that appealed to the highest levels of European society. Museum: Metropolitan Museum of Art, New York, USA.

alb3651523 Portrait of the Boy Eutyches. Dimensions: h. 38 cm (14 15/16 in); w. 19 cm (7 1/2 in). Date: A.D. 100-150.The young teenage boy in this remarkably lifelike portrait looks calmly at the viewer, his head in three-quarter view. He is dressed in a white Roman tunic with a narrow purple clavus (a vertical stripe) over the right shoulder. A mantle is draped over the left shoulder. The boy wears his dark brown hair short, with locks brushed to both sides of the forehead. The inscription in dark purple pigment below the neckline of the tunic is in Greek, which was the common language of the eastern Mediterranean at the time. Scholars do not completely agree on the inscription's translation. The boy's name ("Eutyches, freedman of Kasanios") seems indisputable; then follows either "son of Herakleides Evandros" or "Herakleides, son of Evandros." It is also unclear whether the "I signed" at the end of the inscription refers to the painter of the portrait or to the manumission (act of freeing a slave) that would have been witnessed by Herakleides or Evandros. An artist's signature would be unique in mummy portraits.Paintings of this type, often called Faiyum portraits (though not all of them come from the Faiyum oasis), are typical products of the multicultural, multiethnic society of Roman Egypt. Most of them are painted in the elaborate encaustic technique, in which pigments were mixed with hot or cold beeswax and other ingredients, such as egg, resin, and linseed oil. This versatile medium allowed artists to create images that in many ways are akin to oil paintings. The boy's head, for instance, stands out from the light olive-colored background, creating an impression of real depth. His face is modeled with flowing brushstrokes and a subtle blend of light and dark colors. Shadows on the left side of the face, neck, and garment and bright shiny spots on the forehead and below the right eye indicate a strong source of light on the boy's right. Most arresting are the dark brown eyes with black pupils reflecting the light with bright spots. This manner of painting, which is very different from the traditional Egyptian style but was well known in Graeco-Roman Egypt, originated in Classical Greece in the fifth and fourth centuries B.C.E.Although the painting techique on Faiyum portrait panels is Greek, their use is entirely Egyptian. When a person died, the portrait panel was placed over the face of the mummy with parts of the outermost wrapping holding it in place. This implies Egyptian beliefs about the afterlife. After having been ruled for three hundred years by a Greek (Macedonian) dynasty and a century or more by Roman administrators, Roman Egypt was an extremely diverse civilization. The population consisted of Roman citizens and citizens of Greek cities such as Alexandria (both of these groups made up of peoples of many different ethnicities) and native Egyptians. The subjects of the mummy portraits clearly were dressed and coiffed like Romans, and many of them bore Greek names or names that were Greek versions of Egyptian names. However, they and their families found consolation in the ancient Egyptian beliefs about the afterlife. Museum: Metropolitan Museum of Art, New York, USA.

alb3673735 [Broadside for the Capture of John Wilkes Booth, John Surratt, and David Herold]. Artist: Alexander Gardner (American, Glasgow, Scotland 1821-1882 Washington, D.C.). Dimensions: Sheet: 60.5 x 31.3 cm (23 13/16 x 12 5/16 in.)Each photograph: 8.6 x 5.4 cm (3 3/8 x 2 1/8 in.). Maker: Unknown (American). Photography Studio: Silsbee, Case & Company (American, active Boston); Unknown. Date: April 20, 1865.On the night of April 14, 1865, just five days after Lee's surrender to Grant at Appomattox, John Wilkes Booth shot Lincoln at the Ford Theatre in Washington, D.C. Within twenty-four hours, Secret Service director Colonel Lafayette Baker had already acquired photographs of Booth and two of his accomplices. Booth's photograph was secured by a standard police search of the actor's room at the National Hotel; a photograph of John Surratt, a suspect in the plot to kill Secretary of State William Seward, was obtained from his mother, Mary (soon to be indicted as a fellow conspirator), and David Herold's photograph was found in a search of his mother's carte-de-visite album. The three photographs were taken to Alexander Gardner's studio for immediate reproduction. This bill was issued on April 20, the first such broadside in America illustrated with photographs tipped onto the sheet.The descriptions of the alleged conspirators combined with their photographic portraits proved invaluable to the militia. Six days after the poster was released Booth and Herold were recognized by a division of the 16th New York Cavalry. The commanding officer, Lieutenant Edward Doherty, demanded their unconditional surrender when he cornered the two men in a barn near Port Royal, Virginia. Herold complied; Booth refused. Two Secret Service detectives accompanying the cavalry, then set fire to the barn. Booth was shot as he attempted to escape; he died three hours later. After a military trial Herold was hanged on July 7 at the Old Arsenal Prison in Washington, D.C.Surratt escaped to England via Canada, eventually settling in Rome. Two years later a former schoolmate from Maryland recognized Surratt, then a member of the Papal Guard, and he was returned to Washington to stand trial. In September 1868 the charges against him were nol-prossed after the trial ended in a hung jury. Surratt retired to Maryland, worked as a clerk, and lived until 1916. Museum: Metropolitan Museum of Art, New York, USA.