255 Sentences With "ivories" | Random Sentence Generator

Because many of us know that ticklin' ivories ain't easy.

So, grab your pinks, your blues, your whites and ivories!

The coos of the pigeonjazz pianists who enjoy ticklingthe ivories.

Preston sings along as Davis tickles the ivories in his house.

Now you can talk to Alexa while you're ticklin' the ivories on the Roland Go:Piano.

Covering John Williams is a great way to tickle the ivories like a true movie buff.

There are people among us, like Mozart, who have a natural knack for tickling the ol' ivories.

Young Piano, as he calls himself, is from Frankfurt and has some serious chops on the ivories.

He begins tapping the ivories, sending large hammers onto the splattered heads of Ricks from other dimensions.

Officials say she used the restaurant and another property as a front for the illegal trade in ivories.

But there's something different about a new robotic hand that tickles the ivories with techniques usually reserved for humans.

"On Halloween, your breath is taken, for tonight, the dead awaken," the ghosts sing as a skeleton tickles the ivories.

We decided to use a palette very much like a cloud: sheer and light material, silvers, golds, ivories, light blues.

That's right, this chicken knows how to tickle the ivories, with a beak that sounds better than my ten fingers.

Keyboard Cat makes an appearance at the 50-second mark, adding his musical genius with a few strokes of the ivories.

It definitely added something to the shooting environment, just like in between takes someone randomly sits down and tickles the ivories.

LONDON — It's not every day you get to see Elton John casually tickling the ivories in a random London train station.

His performance recalls the gay piano bars of a bygone era, with someone tickling the ivories as volunteers warble show tunes.

AND FINALLY ... The entertainer Elmo the Irish setter tickles those ivories and belts out a tune that only a dog parent could love.

Legend, meanwhile, is rocking an embroidered jacket while he adopts his signature pose of dutifully taking selfies with Chrissy Teigen tickling the ivories.

The donation from the Sir Victor Sassoon Chinese Ivories Trust includes intricately carved Buddhist, Taoist, and Confucian devotional figurines; brush pots; fans; and vases.

DeVine turned 33 on November 7, and Efron probably figured it was easier and cheaper to tickle the ivories than to buy an actual present.

Last year saw the arrival of his most intimate record yet, Piano, which as the title suggests, saw Taylor tinkling the ivories in fine style.

The pinks and reds and ivories and whites in its flesh will be as distinct as if they'd been painted on with a nail-polish brush.

AND FINALLY ... Buddy's blues Like the rest of us, Buddy the beagle probably had a challenging week, so he lets off some steam by tickling the ivories.

Wearing shades of creams and ivories, models showed a total of 47 looks inspired by the deserts of Wadi Rum for the brand's Spring/Summer 2017 collection.

Fan favorites like the painters Goya and Velázquez will be on hand, but so will medieval metalwork and ivories, given that the show covers about 4,000 years.

MA candidate Samantha Rastatter is taking on just such a project by investigating the social and material history of wool, elk ivories, and beaver pelts in Wyoming.

Tickling the ivories is a lifelong passion for Priebus and he has been doing it "more than usual" lately, he told Reuters in an interview last week.

" The article continued, "As I beheld the flushed member pinned against the ivories like the snakeling in Rikki-Tikki-Tavi, I immediately feared my urinating days were over.

"Backbeat" screens the same evening as "The Doors," with Kyle MacLachlan, a long way from coffee and cherry pie, tickling the ivories as Ray Manzarek, the band's keyboardist.

There were definitely a number of Swifties who said they tuned in specifically to watch their queen sing as she danced her fingers across the ivories in a candlelit room.

In the best round of Show and Tell ever, Legend reportedly took time to tickle the ivories and accompany the choir class as they rehearsed "Seasons of Love" from Rent.

"Due to the present prohibitions on the ivory trade, assembling a collection of Chinese ivories in such a scale would be virtually impossible today," the museum said in an emailed statement.

Sebastian charms Mia by tickling those ivories, a classic trick employed over 20 years ago by one Raj Malhotra (Shah Rukh Khan) to convince a girl that he's more than wayward charm.

The couple, who got engaged in June 2018, said their "I do's" underneath a beautiful chuppah decorated with tibet roses, ranunculus, astilbe, lisianthus, garden roses and peonies all in whites and ivories.

But it's an infrequent occurrence that we get our very own personal John Cena visit, a visit that includes him tickling the ivories on the baby grand piano that's parked in our lobby.

THE JEWELED ISLE: ART FROM SRI LANKA Ivories, textiles, decorative objects and antique photographs, most from the museum's own infrequently shown collection, showcase 2,000 years of culture on this South Asian island. Dec.

Elton wasn't going to budge until the ivories did him justice ... and with the help of a tech who tinkered for 10 minutes, the piano was back on track and the show went on.

But the museum says that this is only partly true: Some of the ivories that Mr. Lukas claimed were from the 18th century were in fact made in the 20th century for foreign collectors.

Mr. Schmidt, a German art historian who arrived from the Minneapolis Institute of Art in 2015 as the Uffizi's first non-Italian director, is a scholar of Medici ivories, and also widely considered an expert on bronzes.

Along with viewing 100 or so ivories, stained-glass pieces, paintings, illuminated manuscripts and other artwork, visitors are invited to touch a modern reproduction of the 16th-century gold-and-enamel Langdale rosary, which belonged to an English family.

Nimrud flourished between 900 B.C. and 612 B.C. Buildings there "have yielded thousands of carved ivories, mostly made in the 9th and 8th centuries B.C., now one of the richest collections of ivory in the world," according to Encyclopedia Britannica's website.

The couple, who got engaged in Venice in June 2018, wed in front of 200 of their closest friends and family beneath a beautiful chuppah decorated with tibet roses, ranunculus, astilbe, lisianthus, garden roses and peonies all in whites and ivories.

A 71-year-old professional pianist, singer and composer, Katzman has swung open the doors of Internet recognition with his Twitch streams that feature him tickling the ivories with improvised, firecracker-powered song renditions that are racking up nearly 500,000 viewers.

"Eastern Christians" has been billed as the largest exhibition anywhere devoted to the religion in the Middle East, and among its paintings, manuscripts, tapestries, mosaics, ivories and liturgical vestments are several critical loans from Lebanon, Jordan, Israel and Iraqi Kurdistan.

Every afternoon in elementary school, I plunked my discordant fingers in the cracks between the keys, not because I didn't know the score, but because the thickened skin on the tips of my fingers prevented me from feeling the ivories — literally.

Nimrud flourished between 900 B.C. and 612 B.C. Buildings there "have yielded thousands of carved ivories, mostly made in the 9th and 8th centuries B.C., now one of the richest collections of ivory in the world," according to the Encyclopedia Britannica's website.

The couple, who got engaged in June 2018, said their "I do's" in front of 200 of their closest friends and family, underneath a beautiful chuppah decorated with tibet roses, ranunculus, astilbe, lisianthus, garden roses and peonies all in whites and ivories.

From fantastic tailoring that made slouchy two-pieces over a plain white T-shirt the contemporary power suit to her unmistakable color palette (the camels and ivories, the navies, but also that brilliant poppy red she often returned to), Philo's aesthetic was significant without having to shout.

The couple, who got engaged in June 2018, wed in front of 200 of their closest friends and family on April 13 at the Terranea Resort in Rancho Palo Verdes, California beneath a beautiful chuppah decorated with tibet roses, ranunculus, astilbe, lisianthus, garden roses and peonies all in whites and ivories.

But if you're sick of all that drama—and are fearing the impending hot takes from what may be no more than a fun little dance off—maybe you just want to drink in this nice little moment from Mavericks head coach Rick Carlisle tickling the ivories: NBA (red) weddings are fun, huh?

A panel from the Salerno Ivories depicting the Nativity and Flight into Egypt The Salerno ivories consist of approximately forty figurative plaques, thirteen medallions, and seventeen border carving fragments.Corey, Elizabeth C. "The Purposeful Patron: Political Covenant In The Salerno Ivories." Viator: Medieval And Renaissance Studies, Vol 40, No 2, pg. 55, 2009.

Rumors of looting from the site and photographs of the ivories from a nearby dealer have further demonstrated that the pieces originally came from Acemhöyük, where they were looted and eventually sold on the antiquities market. Since their acquisition by the Metropolitan Museum of Art, they have become known as the Pratt Ivories or the Acemhöyük ivories.

The Salerno Ivories: Objects, Histories, Contexts. Berlin: Gebr. Mann Verlag, pg.

Many of the Iraqi-held ivories have been lost or damaged. Following the Iraq War 2003 the National Museum of Iraq in Baghdad was looted, and many of the ivories kept there were damaged or stolen. Other ivories that were stored in a bank vault in Baghdad were damaged by water when the building was shelled. In March 2011, the British Museum purchased one third of the Mallowan ivories (comprising 1,000 complete ivories and 5,000 fragments) from the British Institute for the Study of Iraq for £1.17 million, following a public fundraising campaign that raised £750,000 in six months, and with the support of grants from the National Heritage Memorial Fund and the Art Fund.

Salerno Ivory Plaque depicting Cain and Abel from the Old Testament Cycle The earliest documentation of the ivories was in the inventories of the Salerno Cathedral during the early sixteenth century. A lack of further written sources causes debate over when and where the ivories were carved, who commissioned them, the arrangement of the panels, and the geographical and cultural origins of the artists. The dating of the ivories spans from the later eleventh to the mid twelfth century. The original sequence and arrangement for the ivories are unknown.Dell’Acqua, Francesca.

The Hall of Nimrud Ivories at the Iraq Museum in Baghdad, Iraq. This hall displays the largest number of Nimrud ivories than any other museum. A supine bull, one of the Nimrud ivories found by Sir Max Mallowan, The Sulaymaniyah Museum, Iraq. Further discoveries were made between 1949 and 1963 by a team from the British School of Archaeology in Iraq led by the archaeologist Max Mallowan.

The Ivories are primarily understood as Christian religious works, but some scholars have also proposed they held a political significance as well. Since there are no concrete facts to support this, just theories and observations, the truth of the ivories' purpose remains unknown.

Four ivory sphinxes from Acemhöyük, Turkey. Pratt ivories, Metropolitan Museum of Art The Pratt Ivories, also known as the Acemhöyük Ivories, are a collection of furniture attachments produced in Anatolia in the early second millennium B.C. They were donated to the Metropolitan Museum of Art between 1932 and 1937 by Mr. and Mrs. George D. Pratt. The group represents one of the most important assemblages of furniture fittings from the ancient Near East.

Most household pets have more of a talent for widdling on the furniture than tinkling on the ivories.

Some pieces still preserve remnants of gold leafing. Many were already centuries old when put in storage and may have fallen out of fashion by that time. The gold may have been removed from the ivories before they were put in storage, or it may have been taken by the Babylonians when they sacked and razed Nimrud in 612 BC. Plaque Some of the ivories have Phoenician letters engraved on their back, which it is thought may have been used as guides to the assembly of pieces onto the furniture to which the ivories were attached. The presence of Phoenician letters on the ivories suggests that they were the product of Phoenician craftsmen.

Marfins no Impéro Português/Ivories of the Portuguese Empire,Marfins no Impéro Português/Ivories of the Portuguese Empire, with Gauvin Alexander Bailey and Nuno Vassallo e Silva, Lisbon 2013, 296 pp. and King's College Chapel, 1515-2015: Art, Music and Religion in Cambridge.(ed., with Nicolette Zeeman), London / Tornhout 2014.

There are also small square-and-circle bust portraits of different Apostles and Donors. Scholars use manuscript illustrations and contemporary ivory monuments as sources for the iconography of the Salerno Ivories. These include a sixth- century manuscript called the Cotton Genesis as well as Middle Byzantine Octateuch manuscripts, which lend traditions of Old Testament illustrations and stylistic influences to the Salerno Ivories. Another sizable group of ivories called the Grado Chair series were used as a model for several of the New Testament scenes.

The first group of ivories was excavated from the site of the palace of Shalmaneser III (ruled 859–824 BC) at the Assyrian capital of Nimrud. The palace was rediscovered in 1845 by Austin Henry Layard, on the very first day of his excavations; on the second day, he made the first discovery of ivories.

Corey, Elizabeth C. "The Two Great Lights: Regnum And Sacerdotium In The Salerno Ivories." History of Political Thought 34, no. 1, pg.

In 2011 the BISI sold one third of its collection of Nimrud Ivories, discovered between 1949 and 1963 in excavations led by Sir Max Mallowan, to the British Museum for £1.17million.Christie ivories to go on show at British Museum Another third was donated to the British Museum in recognition of the storage of the collection by the museum over the previous 24 years. It is anticipated that the remaining third of the collection will be returned to Iraq sometime in the future. A selection of the ivories was put on display at the British Museum in 2011.

The room contains a bay window, mantel, and a marbel wash basin behind a paneled door. The Schwartz Ivories Room was once a dressing or servant's room. It now contains the Simon Schwartz Collection of Chinese Ivories, which was donated to the museum in 1973. The collection contains items from over 300 years of history including over 40 rare pieces.

"Syrian Heritage in Jeopardy: The Case of the Arslan Tash Ivories." Journal of Eastern Mediterranean Archaeology and Heritage Studies, vol. 5, no. 1, pp.

This was emulated in Hittite ivories like one of a young girl, half seated, cupping her breasts, and wearing a traditional cap. Most of the objects available from the second millennium come in the mediums of carved ivories, baked clay, and small seals. A group of ivories from Acemhöyük, now housed in the Metropolitan Museum of Art of New York, includes a small sphinx with long curls of hair over its chest that art historians refer to as Hathor curls. As for seals, while there were more traditional cylinder seals, the composition of these Hittite stamp seals did not include a ground-line, and thus the figures are free floating.

On the final band there are further imaginary animals. The style of the situla is less monumental than ivories of the previous period, but more lively.

The Trier Cathedral treasure consists mainly of reliquaries, liturgical vessels, religious statues and reliefs, ivories and illuminated manuscripts. The objects date from the 3rd through the 20th century.

The Salerno Ivories: Objects, Histories, Contexts. Berlin: Gebr. Mann Verlag, 2015. The supporting columns are about 23 cm x 2 cm and the busts are 6 cm squared.

Ivory carving was also prevalent in South India, especially in Mysore and Tamil Nadu, and also in Uttar Pradesh and Rajasthan. Sri Lankan ivories were also a noted tradition.

In this work by Adam Lenckhardt, ivory's unique appeal to the sense of touch helps to convey the vulnerability of Cleopatra's flesh. The Walters Art Museum. Most medieval ivories were gilded and coloured, sometimes all over and sometimes just in parts of the design, but usually only scant traces survive of their surface colouring; many were scrubbed by 19th century dealers. A fair number of Gothic ivories survive with original colour in good condition however.

Laughing Gas Laughing Gas is a 1914 film starring Charlie Chaplin. The film is also known as Busy Little Dentist, Down and Out, Laffing Gas, The Dentist, and Tuning His Ivories.

The Nimrud Ivories are being published in a series of scholarly catalogues. Many of these are available free online from the British Institute for the Study of Iraq (BISI): links here.

Mallowan found thousands of ivories, many of which were discovered at the bottom of wells into which they had apparently been thrown when the city was sacked, either in the turmoil that followed the death of Sargon II in 705 BC or when Nineveh fell and was destroyed in 612 BC. Mallowan's wife was the famous British crime novelist, Agatha Christie (1890–1976), who was fascinated with archaeology, and who accompanied her husband on the Nimrud excavations. Christie helped photograph and preserve many of the ivories found during the excavations, explaining in her autobiography that she cleaned the ivories using a fine knitting needle, an orange stick and a pot of face cream. The collection of ivories uncovered by Mallowan were divided between Iraq and Britain, where they remained at the British School of Archaeology in Iraq (later to become the British Institute for the Study of Iraq) until 1987. They were then put in storage at the British Museum until 2011, but were not put on display.

Eastmond, The Salerno Ivories: Objects, Histories, Contexts. Berlin: Gebr. Mann Verlag, pgs.99, 97-109, 103-106, 2016.Bergman, Robert P. “A School of Romanesque Ivory Carving in Amalfi.” Metropolitan Museum Journal, vol.

Salerno Ivory Plaque Depicting The Creation from the Old Testament Cycle The Salerno Ivories are a collection of over 70 Biblical ivory plaques from around the 11th or 12th century that contain elements of Early Christian, Byzantine, and Islamic art as well as influences from Western Romanesque and Anglo-Saxon art.Müller, Kathrin. “OLD AND NEW. Divine Revelation in the Salerno Ivories.” Mitteilungen des Kunsthistorischen Institutes in Florenz, vol. 54, no. 1, 2010, pp. 1–30. JSTOR, JSTOR, www.jstor.org/stable/41414763.

For this collection Mayer printed in 1856 a catalogue and history, compiled for him by Charles Roach Smith, entitled Inventorium Sepulchrale. Other sections of the museum contained antique ivories, gems and rings, enamels, miniatures, and metalwork.

It is the largest unified set of ivory carvings preserved from the pre-Gothic Middle Ages.,Bergman, Robert P. The Salerno Ivories : Ars Sacra from Medieval Amalfi. Cambridge, Mass.: Harvard University Press, pgs.1-2, 1980.

Many of the ivories would have originally been decorated with gold leaf or semi-precious stones, which were stripped from them at some point before their final burial. A large group were found in what was apparently a palace storeroom for unused furniture. Many were found at the bottom of wells, having apparently been dumped there when the city was sacked during the poorly- recorded collapse of the Assyrian Empire between 616 BC and 599 BC.Metropolitan note Cloisonné furniture plaque with two griffins in a floral landscape, Phoenician style, Metropolitan Museum of Art Many of the ivories were taken to the United Kingdom and were deposited in (though not owned by) the British Museum. In 2011, the Museum acquired most of the British-held ivories through a donation and purchase and is to put a selection on view.

75 Since the Pompeii statuette was necessarily made sometime before 79 CE, if it was indeed manufactured in Gandhara, it would suggest that the Begram ivories are also of this early date, in the 1st century CE.

A silver cover from about 1170/80 was attached to the back cover of the Carolingian Treasury Gospels until 1870, when it was recycled as a front cover for the Liuthar Gospels. In 1972, this cover was removed and the Gospels were rebound. This cover measures 30.8 x 23.7 centimetres and consists of a wooden core, a sheet of silver, and Byzantine ivories from the middle of the tenth century. The ivories form the centre of the cover, depicting busts of four saints: John the Evangelist, John the Baptist, Theodore Tyron and Saint George.

The miniaturists of the period 1760–1780 were still learning to paint on ivory, as it has a greasy surface which is difficult to paint with watercolour. Rather than attempt to paint on large surfaces, many portrait miniaturists from this period used ivories of only 1½ to 2 inches in height. Ivory was used for miniatures, as it gives a beautiful luminosity to the skin tones of the sitter's face. During the 1780s and 1790s Crosse did use some large sized ivories of 3.5 inches or more in height.

Although the Pratt ivories cannot be fully understood due to the loss of their archaeological context, Elizabeth Simpson, through in depth analysis of the sphinxes and lion legs determined that the pieces were originally part of what had been a low throne or chair. Her reconstruction of the work, based on close investigation of the ivories' construction, reveals a chair with legs formed from the sphinxes and lion legs. The sphinxes are the lowest element, touching the floor and supporting the weight of the chair. The lion legs rest on top these, facing forward.

Griffin, ivory, Begram ivories. Both ivory and bone were carved in relief panels, often with two or three strips forming a single inlay. Only ivory was used for openwork. After carving the surfaces were smoothed and lightly polished.

Oxford University Press. 2000. p. 134. The scarcity of ivory in the area, and its significance in the art of the Byzantine Empire and Church certainly encouraged its production.Osborn, Harold and Antonia Bostrom. "Ivories". The Oxford Companion to western Art.

446 Other groups of ivories have also been identified, presumably representing the output of different workshops, perhaps also employed by the Court, but generally of lower quality, or at least refinement.Originally by Goldschmidt and Kurt Weitzmann, Die byzantinischen Elfenbeinskulpturen des X.-XIII. Jahrhunderts, Berlin, 1930-34 Since much greater numbers of ivories survive than panel paintings from the period, they are very important for the history of Macedonian art. All sides of the triptych are fully carved, with more saints on the outsides of the side leaves, and an elaborate decorative scheme on the back of the central leaf.

Courtauld website. artandarchitecture.org.uk Some items, including two Van Dyck portraits and The Gamblers by the Le Nain Brothers, as well as a collection of stoneware ceramics, were excluded from the bequest and remained at Highnam. Earlier a few important items, mainly medieval ivories, had been sold to pay death duties on the deaths of Thomas' sons Hubert and Ernest (see below). The most significant of these are three ivories in the Victoria and Albert Museum (who also have four 16th-century Limoges enamels sold in 1871) and a chasse reliquary that reached the National Gallery of Art in Washington via the Widener collection.

He wrote that the Metropolitan and British Museum masks were among the most beautiful ivories carved in Benin, and that their artist was both refined and sensitive. Kate Ezra wrote that the mask's thinness showcased the "sensitivity and solemnity" of early Benin art.

It is intended that the remainder will be returned to Iraq. A significant number of ivories were already held by Iraqi institutions but many have been lost or damaged through war and looting. Other museums around the world have groups of pieces.

International trade is, however, somewhat restricted by the Convention on the International Trade of Endangered Species (CITES). Reliquary Cross, 10th c In the Early Medieval period, when supplies of elephant ivory reaching Europe reduced or ceased after the Muslim conquests, walrus ivory began to be traded by Vikings into northern Europe as a replacement. King Alfred the Great of Wessex records that he was presented with walrus tusks by the Viking trader Ohthere of Hålogaland in about 890, which may mark the start of this trade.Webster, 158 Nearly all ivories in Anglo-Saxon art use walrus, and most northern European ivories of the 11th and 12th centuries.

Engleheart mainly painted watercolour on ivory, and his work can be categorised into three distinct periods. His initial paintings were small in size. It was common for artists of the period circa 1775 to paint on small ivories of approximately 1½ to 2 inches in height.

Afghanistan: Forging Civilizations Along the Silk Road, Joan Aruz, Elisabetta Valtz Fino, Metropolitan Museum of Art, 2012 p.75 There is therefore a possibility that these ivories were made locally in the northwest regions on India, and should be dated to the early 1st century CE.

The climax of the Sarepta discoveries at Sarafand is the cult shrine of "Tanit/Astart", who is identified in the site by an inscribed votive ivory plaque, the first identification of Tanit in her homeland. The site revealed figurines, further carved ivories, amulets and a cultic mask.

Plus a portrait of the Rev. Andrew Murray, 1st Lord Balvaird. The collection of large European ivories came from Bavaria, Italy and France. They were carved in the 17th, 18th and 19th centuries in elephant and walrus tusk, and collected mainly by William David Murray, 4th Earl of Mansfield.

Looted Afghan art smuggled to London. The Observer. March 11, 2001 In November 2004, much of the missing collection numbering 22,513 items was found safely hidden. Over 200 crates had been moved downtown for storage at the end of the Soviet occupation including the Bactrian gold and Bagram Ivories.

Excavations revealed remarkable bas-reliefs, ivories, and sculptures. A statue of Ashurnasirpal II was found in an excellent state of preservation, as were colossal winged man- headed lions weighing to Time Life Lost Civilizations series: Mesopotamia: The Mighty Kings. (1995) p. 112–121 each guarding the palace entrance.

Each plaque is carved in high relief, with figures, objects and animals in the scene appearing to come out of the ivory panel. Some of the different figures have glass eyes still intact in colors like blue, black or red.Museo Diocesano The Salerno Ivories: Objects, Histories, Contexts. Berlin: Gebr.

Otto I, Metropolitan Museum of Art The Magdeburg Ivories are a set of 16 surviving ivory panels illustrating episodes of Christ's life. They were commissioned by Emperor Otto I, probably to mark the dedication of Magdeburg Cathedral, and the raising of the Magdeburg see to an archbishopric in 968.Lasko, 88; some sources say there are 17 plaques, but a clear majority say 16. The panels were initially part of an unknown object in the cathedral that has been variously conjectured to be an antependium or altar front, a throne, door, pulpit, or an ambon; traditionally this conjectural object, and therefore the ivories as a group, has been called the Magdeburg Antependium.

The Nimrud ivories are a large group of small carved ivory plaques and figures dating from the 9th to the 7th centuries BC that were excavated from the Assyrian city of Nimrud (in modern Ninawa in Iraq) during the 19th and 20th centuries. Most are fragments of the original forms; there are over 1,000 significant pieces, and many more very small fragments. The ivories mostly originated outside Mesopotamia and are thought to have been made in the Levant and Egypt. They are carved with motifs typical of those regions and were used to decorate a variety of high-status objects, including pieces of furniture, chariots and horse-trappings, weapons, and small portable objects of various kinds.

Secular texts were also illuminated: important examples include the Alexander Romance and the history of John Skylitzes. The Byzantines inherited the Early Christian distrust of monumental sculpture in religious art, and produced only reliefs, of which very few survivals are anything like life-size, in sharp contrast to the medieval art of the West, where monumental sculpture revived from Carolingian art onwards. Small ivories were also mostly in relief. The so-called "minor arts" were very important in Byzantine art and luxury items, including ivories carved in relief as formal presentation Consular diptychs or caskets such as the Veroli casket, hardstone carvings, enamels, glass, jewelry, metalwork, and figured silks were produced in large quantities throughout the Byzantine era.

In 1957 a message in a bottle from one of the seamen of was washed ashore between Babbacombe and Peppercombe in Devon. The letter, dated 15 August 1843 read: "Dear Brother, Please e God i be with y against Michaelmas. Prepare y search Lundy for y Jenny ivories. Adiue William, Odessa".

Carlotta Gall. Afghan Artifacts, Feared Lost, Are Discovered Safe in Storage. New York Times. November 18, 2004 Some 228 of these treasures, including pieces of Bactrian Gold and many of the Bagram Ivories, were exhibited at the National Gallery of Art in Washington, D.C., from May 25 to September 7, 2008.

The leading institutions were the British School of Archaeology in Jerusalem, the Palestine Exploration Fund, and the Hebrew University.Crowfoot, J. W.; G.M. Crowfoot (1938). Early Ivories from Samaria (Samaria-Sebaste. reports of the work of the Joint expedition in 1931–1933 and of the British expedition in 1935; no. 2).

Henig, 155-157; Strong, 93-94 The cameo appears to have been cut from a larger work.Highlights The surviving "State Gems" emerge from medieval collections where they were clearly highly prized, and are presumed, like the various Late Antique consular diptychs and other ivories, to have survived above ground since antiquity.

Many of these were religious in nature, although a large number of objects with secular or non-representational decoration were produced: for example, ivories representing themes from classical mythology. Byzantine ceramics were relatively crude, as pottery was never used at the tables of the rich, who ate off Byzantine silver.

Anglo-Saxon artists created carved ivories, illuminated manuscripts, embroidered cloths, crosses and stone sculpture, although relatively few of these have survived to the modern period.Whitelock, pp. 224–225. They produced a wide range of metalwork, frequently using gold and garnets, with brooches, buckles, sword hilts and drinking horns particularly favoured designs.Whitelock, p. 224.

Wood, horn, amber, stone, bamboo, silicone, fossilized ivories, tusks, bones, and porcelain can also be used to craft body piercing jewelry. With so many different materials being used, body piercing jewelry can be as modest or as adventurous as the wearer pleases. Less conservative piercings and piercing jewelry is becoming more socially acceptable.

The Borradaile Triptych is an ivory Byzantine tryptich carved in Constantinople between 900–1000 AD. It was bequeathed by Charles Borradaile to the British Museum in 1923 British Museum Collection and is one of the "Romanos Group" of ivories that are closely connected with the Imperial Court, along with the Harbaville Triptych and Wernher Triptych.

There are many examples in Medieval psalters, because of the relation to King David, son of Jesse, and writer of the Psalms. Other examples are in stained glass windows, stone carvings around the portals of medieval cathedrals and painting on walls and ceilings. The Tree of Jesse also appears in smaller art forms such as embroideries and ivories.

Wood was undoubtedly extremely important, but rarely survives long in the Indian climate. Organic animal materials such as ivory or bone were discouraged by the Dharmic religions, although Buddhist examples exist, such as the Begram ivories, many of Indian manufacture, but found in Afghanistan, and some relatively modern carved tusks. In Muslim settings they are more common.

One of the best preserved English ivories, the John Grandisson Triptych was made between 1330 and 1340. It measures high by wide. The triptych is made from three rectangular panels of elephant ivory and folds closed along two sets of three silver hinges. The central panel is divided into two scenes, with the Coronation of the Virgin above and the Crucifixion below.

Rear facade Interior; plaque from the Magdeburg Ivories (10th century), dimly visible on the top shelf of the display cabinet here The Musée Antoine Vivenel is the municipal museum of the city of Compiègne in northern France, located at 2, rue d'Austerlitz, 60200 Compiègne. It was founded in 1839, following an important gift by Antoine Vivenel, architect and art collector.

The largest single ivory find was made between 1957–1963 when a British School team led by David Oates discovered a room at the Nimrud palace that was dubbed the "ivory room", which had apparently served as the main storage centre for ivory objects amassed by the Assyrian kings. Subsequent excavations by the Iraqi Department of Antiquities unearthed still more ivories.

The subject matter of monumental Byzantine art was primarily religious and imperial: the two themes are often combined, as in the portraits of later Byzantine emperors that decorated the interior of the sixth-century church of Hagia Sophia in Constantinople. However, the Byzantines inherited the Early Christian distrust of monumental sculpture in religious art, and produced only reliefs, of which very few survivals are anything like life-size, in sharp contrast to the medieval art of the West, where monumental sculpture revived from Carolingian art onwards. Small ivories were also mostly in relief. The so-called "minor arts" were very important in Byzantine art and luxury items, including ivories carved in relief as formal presentation Consular diptychs or caskets such as the Veroli casket, hardstone carvings, enamels, glass, jewelry, metalwork, and figured silks were produced in large quantities throughout the Byzantine era.

Indian art also found its way into Italy, within the context of Indo-Roman trade: in 1938 the Pompeii Lakshmi was found in the ruins of Pompeii (destroyed in an eruption of Mount Vesuvius in 79 CE). The rarity of parallels has resulted in disputes as to the origin and date of the ivories, although the stratigraphy would suggest a date no later than the 2nd century. The building itself in which the ivories were found has been dated to the 1st century CE. The Pompeii Lakshmi, a caryatid found in the Via dell'Abbondanza in Pompeii with a Kharosthi fitter's mark provides further evidence of long-distance trade in Indian furniture decorated with ivory. This could also mean that she might have originated from the northwestern region of India, and manufactured in local workshops around the area of Gandhara.

The medallion was found at Adana and is in the Istanbul Archaeological Museum, Inv. no 82. For the rest of the Early Medieval period illuminated manuscripts contain the only painted scenes to have survived in quantity, though many scenes have survived from the applied arts, especially ivories, and some in cast bronze. The period of Christ's Works still seems relatively prominent compared to the High Middle Ages.

Votive seals and ivories have been found in the cave.J. Lesley Fitton,Ivory in Greece and the Eastern Mediterranean from the Bronze Age to the Hellenistic Period (British Museum. Dept. of Greek and Roman Antiquities),1992 Like the Dictaean cave, the Idaean cave was known as a place of initiations.Yulia Ustinova, Caves and the Ancient Greek Mind: descending underground in the search for Ultimate Truth 2009:180.

The Trier Cathedral Treasury is a museum of Christian art and medieval art in Trier, Germany. The museum is owned by the Roman Catholic Diocese of Trier and is located inside the Cathedral of Trier. It contains some of the church's most valuable relics, reliquaries, liturgical vessels, ivories, manuscripts and other artistic objects. The history of the Trier church treasure goes back at least 800 years.

Mais l'article de lEncyclopédie Larousse précise que les fenêtres donnent sur le boulevard des Capucines. The couple later returned to Paris in 1875. In 1876, Pierre Prins restores ancient ivories for the Louvre Museum, and went to paint in the countryside on the side of Bas-Meudon, at Île Seguin. His wife, Fanny Claus- Prins, passed away in 1877, at the age of 31.

It also features artifacts from the founding of the archdiocese to the present day. The collections include Filipino ivories, carvings and Flemish tapestries, the tombstone of Alfonso Suárez de Figueroa, and the Custodia Procesional del Corpus of 1558. There are also works by Luis de Morales and Zurbarán. The Museo Taurino (Bullfighting Museum) is located in the city centre, organized by the Extremadurian Bullfighting Club.

The other comparable ivories of this era are in effect ecclesiastical diptychs such as the gospel of Saint-Lupicin or the binding of Etschmiadzin. It measures high by wide overall, with the central panel high by wide by deep. It is made from elephant ivory, sculpted and mounted with precious stones (7 pearls survive). It carries no traces of polychromy, contrary to what certain historians have supposed.

It was bought by the town in 1903 and today is home to the Dieppe museum with its collection of ivories (crucifixes, rosaries, statuettes, fans, snuffboxes, etc.), maritime exhibits and the papers and belongings of Camille Saint-Saëns. The castle offers a panoramic view over the town and the coast. The Château de Dieppe has been officially classed since 1862 as a monument historique by the French Ministry of Culture.

The museum also has a number of Ethiopian Christian manuscripts and artworks, although these works form a part Thomson Collection of boxwoods and ivories. In 2002, the museum was bequeathed 1,000 works by Aboriginal Australian and Torres Strait Islanders artists. Some of these items are exhibited at a gallery on the second floor of the museum. In 2004, Kenneth Thomson donated over 2,000 works from his personal collection to the museum.

They are carved with the same arms.Ivory triptych by Medieval, ArtFund, retrieved 7 December 2013. The Grandisson ivories in the Louvre and British Museum demonstrate iconographic features that suggest Italian influence and the style of paintings from the province of Siena in Tuscany. Prior to John Webb buying it on behalf of the British Museum in 1861, the triptych was in the possession of the Russian Prince Aleksey Saltykov.

Contents of the residence, comprising furniture, pictures and prints, ivories, bronzes, clocks and decorative porcelain ... 1913 Oct. 20–29 Frensham Place was also the birthplace of Count Antoine Seilern, one of the most noted art collectors of the twentieth century. He was born at the house on 17 September 1901, the son of an Austrian nobleman Count Carl Seilern and his American wife Antoinette Woerishoffer.Count Antonie Seilern (1901–1978). Obituary.

Benerib was a wife of pharaoh Hor-Aha,Aidan Dodson & Dyan Hilton, The Complete Royal Families of Ancient Egypt, Thames & Hudson (2004), p.46 but she was not the mother of his heir, Djer. The mother of king Djer is named as Khenthap, another wife of Hor- Aha. Benerib is thought to be the wife of Hor-Aha based on ivories found in her tomb at Abydos which show his name.

It first appears in art in the West in the 9th century. It is almost never found in Byzantine art, and remains very rare in Eastern Orthodox art at any date. Initially found in illuminated manuscripts and small ivories, there are surviving monumental wall-paintings from around 1000 in Italy. From the start there are most often three figures, Christ and two servants of Pontius Pilate who whip him.

3, 2013. and depicts narrative scenes from both the Old and New Testaments. The majority of the plaques are housed in the Diocesan Museum of the Cathedral of Salerno, which is where the group's main namesake comes from. It is supposed the ivories originated in either Salerno and Amalfi, which both contain identified ivory workshops, however neither has been definitively linked to the plaques so the city of origin remains unknown.

211, 2016. Scholars have proposed the plaques were part of a throne, casket or door, but no evidence has been found to support this. The only documentation discussing an arrangement order for the plaques was at the death of the Archbishop of the Cathedral Lucio Sanseverino in 1623, when he requested them hung on an altar at the Cathedral. There are various possibilities for the origin of the ivories.

Many art pieces and artifacts from Afghanistan were looted during several wars; scores of artworks were smuggled to Britain and sold to wealthy collectors. "There are also fears that the bulk of the collection once in Kabul Museum, ... is now in smugglers' or collectors' hands. The most famous exhibits were the Begram ivories, a series of exquisite Indian panels nearly 2,000 years old, excavated by French archaeologists in the Thirties (1930s)".Jason Burke.

Some archaeological evidence concerning Alexandria of the Caucasus was gathered by Charles Masson (1800–1853), providing insight into the history of that lost city. His findings include coins, rings, seals and other small objects. In the 1930s Roman Ghirshman, while conducting excavations near Bagram, found Egyptian and Syrian glassware, bronze statuettes, bowls, the Begram ivories and other objects including statues. This is an indication that Alexander's conquests opened India to imports from the west.

Later Renaissance works include ones by Il Garofalo, Sassoferrato, and there is a Baroque Assumption by Francesco Solimena. There are a number of illuminated manuscript pages from the workshop of the Boucicaut Master. The sculptures include three fine 15th- century marble reliefs of the Virgin and Child, the most significant by Mino da Fiesole. There is a Limoges enamel book cover panel, a number of Renaissance Limoges items, and several small Gothic ivories.

In 1923 Mary Greg further gifted to the Gallery her late husband Thomas Greg's collection of pottery from the Roman period to the early 19th- century which had been on loan to the Gallery since 1904. In 1920 Dr David Lloyd Roberts bequeathed his collection of paintings, watercolours, prints, silver and glass to the Gallery, while in 1934 John Yates bequeathed his extensive collection of jades, oriental ivories, enamels, antiquities and Victorian paintings.

Robert Cromie "Bob" Jordan (1891–1966) worked as a young man in the Hong Kong and Shanghai Bank in Shanghai, before contracting polio. Sir John and Lady Jordan were keen Sinophiles and collectors. Part of their extensive collection of ornate oriental carvings, jade, silver, ivories, textiles, porcelain, paintings and teapots was bequeathed to Bangor Borough Council by their son Bob and now form part of the collections of the North Down Museum.

Literary figures would often gather in Tyrrell's shops, which acted as stimulating cultural centres. For example, the roomy Castlereagh bookshop: > became "a veritable treasurehouse" ... where artists, writers and collectors > met to browse, to bargain or just to talk. It was crammed with paintings, > prints, china, bronze, jade, ivories, coins, medals, and, of course, books. To express their gratitude several wrote poems, including: Henry Lawson's "The Song of Tyrrell's Bell"Henry Lawson, "The Song of Tyrrell's Bell", poetrynook.com.

Special issue on Lạng Sơn (1988), p.24-25 The Dinh kings (968-980) encouraged the growth of trade in the region and requested the Sung emperors of China that they establish trade relations at Yong Zhou. The Chinese Annals have revealed that the Vietnamese traded perfumes, elephant ivories, rhinoceros horns, gold, silver and salt in return for Chinese fabrics. Later, under the Lý Dynasty an extensive market was established at Vĩnh Bình on the Kỳ Cùng River.

Later Renaissance works include ones by Il Garofalo and Sassoferrato, and there is a Baroque Assumption by Francesco Solimena. There are a number of illuminated manuscript pages from the workshop of the Boucicaut Master. The sculptures include three fine 15th-century marble reliefs of the Virgin and Child, the most significant of them one by Mino da Fiesole. There is a Limoges enamel book cover panel, a number of Renaissance Limoges items, and several small Gothic ivories.

Ancient Egyptian art refers to art produced in ancient Egypt between the 31st century BC and the 4th century AD. It includes paintings, sculptures, drawings on papyrus, faience, jewelry, ivories, architecture, and other art media. It is also very conservative: the art style changed very little over time. Much of the surviving art comes from tombs and monuments, giving more insight into the ancient Egyptian afterlife beliefs. The ancient Egyptian language had no word for "art".

As a schoolgirl Stephanie Page worked as a volunteer on archaeological excavations at Verulamium, Cirencester, and Bignor Villa. In 1962 she was invited by David Oates, a family friend, to an archaeological dig he was directing in Nimrud, northern Iraq. Here she was responsible for cleaning and conserving the discovered ivories. Between 1962 and 1966 she studied Assyriology at Cambridge University, and followed it up with a PhD from the School of Oriental and African Studies, London.

Visual examination is a very useful method to identify ivory. By using the characteristics of the variety of ivories listed about in addition to images and samples often they type of ivory can be identified. It is helpful to consider the size of the object, if it is a long and uninterrupted section it is may be elephant or mammoth. The weight is another indicator as ivory and bone are heavier than shell, horn, plastics, and composite mixtures.

In January 2008, he performed as a guest artist at the Inaugural Ball of Louisiana Governor Bobby Jindal, sharing the stage with Deacon John Moore and his band, "The Ivories". Johnson recently took possession of his new home in the Harry Connick Jr. "Musicians' Village" development in New Orleans for Hurricane Katrina refugee musicians. King Al rides in the Goodchildren Easter Parade In 2012 Johnson was proclaimed honorary "King for Life" of New Orleans' Goodchildren Social Aid & Pleasure Club.

He studied piano from the age of five and was influenced by hearing the ragtime piano playing of his mother in her band, Lettie's Collegiate Syncopators.Grassino, S, "Ragtime: Tickling the Ivories in St. Louis' Musical History", The Valley Park Current News Magazine, May 2009, p. 7a. During the early 1950s, Lou Busch adopted the personality of Joe "Fingers" Carr, and made a series of ragtime recordings. These recordings mightily influenced Trebor's interests in the direction of ragtime.

Beginning in Room 19, the art collection in Museo Correr is divided into two parts. On the first floor, four rooms house the collection of small bronzes, including pieces by Veneto region sculptors from the late 15th to the first decades of the 17th century. On the second floor, 19 rooms display the Picture Gallery, which focuses primarily on Venetian painting up to the 16th century. There are also rooms dedicated to maiolica-work and to carved ivories.

The term "Ottonian art" was not coined until 1890, and the following decade saw the first serious studies of the period; for the next several decades the subject was dominated by German art historians mainly dealing with manuscripts,Suckale-Redlefsen, 524–525 apart from Adolph Goldschmidt's studies of ivories and sculpture in general. A number of exhibitions held in Germany in the years following World War II helped introduce the subject to a wider public and promote the understanding of art media other than manuscript illustrations. The 1950 Munich exhibition Ars Sacra ("sacred art" in Latin) devised this term for religious metalwork and the associated ivories and enamels, which was re-used by Peter Lasko in his book for the Pelican History of Art, the first survey of the subject written in English, as the usual art-historical term, the "minor arts", seemed unsuitable for this period, where they were, with manuscript miniatures, the most significant art forms.Suckale-Redlefsen, 524; Lasko, xxii lists a number of the exhibitions up to 1972.

Indian art found its way into Pompeii, within the context of Indo-Roman trade: in 1938 the ivory Pompeii Lakshmi was found in the ruins of Pompeii. India was a major centre for Ivory carving since ancient times, as shown by the Begram ivories. Murshidabad in State of West Bengal, India was a famed centre for ivory carving. A set of ivory table and chairs, displayed at Victoria Memorial, Kolkata is an exquisite example of carving done by Murshidabad Carvers.

The museum also has decorative artefacts such as textiles, ivories, Mughal jades, silver, gold and artistic metal ware. It also has a collection of European paintings, Chinese and Japanese porcelain, ivory and jade artefacts. The museum also has sections dedicated to arms and armour and another to Nepali and Tibetan art. The arms and armour section contains a finely decorated armour of Akbar dating to 1581 CE, consisting of a steel breastplate and a shield, the former inscribed with religious verses.

It is possible that even more extensive areas than those suggested by the remaining traces were once gilded, but that the fire reached temperatures high enough to burn off much the metal. 330x330px The color of the sphinxes and lion legs are also frequently commented upon in scholarship of the ivories. Variations in color occur among the pieces (gray, pink, orange, and red), resulting in pieces that match in form but not in color. These disparities are the result of varying conditions (i.e.

These show scenes of hunting, warfare, ritual and processions."Assyria: Nimrud (Rooms 7–8)", British Museum, accessed 6 March 2015;Frankfort, 156-164 The Nimrud Ivories are a large group of ivory carvings, probably mostly originally decorating furniture and other objects, that had been brought to Nimrud from several parts of the ancient Near East, and were in a palace storeroom and other locations. These are mainly in the British Museum and the National Museum of Iraq, as well as other museums.

However, the Egyptian themes are often misconstrued, and the hieroglyphs do not form valid names, so they would seem to be debased imitations of Egyptian art. A far greater number of ivories were found at Nimrud than at any other Assyrian site, and it is thought that they had been brought to Nimrud as booty or imported as luxury goods from cities on the Mediterranean coast. Some centuries later it seems that these objects fell out of fashion, and were put into storage.

This was half-illustrated by an English artist in about 1180-1200, and completed by a Catalan artist in 1340-50, naturally using a different Gothic style. The images are necessarily somewhat simplified, and the number of figures reduced. Earlier there were derivative works in other media; similar groups of figures appear in a Carolingian engraved crystal in the British Museum (the Lothair Crystal, stylistically very different) and metalwork, and some late Carolingian ivories repeat figure compositions found in the Utrecht psalter (Calkins, 211).

The collection includes paintings by Sandro Botticelli, Filippino Lippi, Hans Memling, Gabriël Metsu, Francesco Francia, and portraits by the English painters Sir Joshua Reynolds, George Romney and John Hoppner. The collection also contains an eclectic mix of decorative art with many pieces by acknowledged masters, including Renaissance jewellery, medieval, Byzantine and Renaissance ivories, enamels, bronzes, Italian maiolica, tapestries, furniture and Sèvres porcelain, as well as a life size marble sculpture by Bergonzoli of an angel kissing a semi-nude woman entitled "The Love of Angels".

Contemporary image of Otto I, lower left, in one of the Magdeburg Ivories. Otto presents Magdeburg Cathedral to Christ and Saints, and is depicted smaller than them as a sign of humility. Otto returned to Germany in January 965, believing his affairs in Italy had been settled. On 20 May 965, the Emperor's long-serving lieutenant on the eastern front, Margrave Gero, died and left a vast march stretching from the Billung March in the north to the Duchy of Bohemia in the south.

One of the Nimrud ivories shows a lion eating a man. Neo-Assyrian period, 9th to 7th centuries BC. The earliest language written in Mesopotamia was Sumerian, an agglutinative language isolate. Along with Sumerian, Semitic languages were also spoken in early Mesopotamia. SubartuanFinkelstein, J.J. (1955), "Subartu and Subarian in Old Babylonian Sources", (Journal of Cuneiform Studies Vol 9, No. 1) a language of the Zagros, perhaps related to the Hurro-Urartuan language family is attested in personal names, rivers and mountains and in various crafts.

Nativity panel, ca 1400, using a composition previously found in French ivories. H. 37.5 cm (14 ¾ in.), W. 26 cm (10 in.), D. 4.5 cm (1 ¾ in.) The alabaster used in the industry was quarried largely in the area around South Derbyshire near Tutbury and Chellaston. The craftsmen were known by various names such as alabastermen, kervers, marblers, and image-makers. The tomb of John of Eltham, Earl of Cornwall, who died in 1334, in Westminster Abbey, is an early example, of very high quality.

The private area had twelve main rooms arranged around a courtyard above which was a gallery, There were two dining rooms on the ground floor, two libraries and a chapel upstairs. The house held an eclectic collection of paintings, statues, bronzes, ivories, enamels and weapons. In 1877 Pierre's private assets were valued at an estimated 413,300 francs. In 1878 by presidential decree Bardou changed his name to Bardou-Job, an unusual example of the creator adopting the name of the brand rather than the reverse.

Retrieved 13 September 2015Jewel Topsfield, "Tinkling ivories still music to the ears of veteran teacher at 90", The Age, 15 January 2013. Retrieved 13 September 2015 He died in 1949, aged 64. From as early as 1902 Goll made a large number of 78 recordings, now held by the National Library of Australia, but very few are currently available; his recording of two pieces by Max Reger has been released on CD. Cyril Scott's 1912 realisation of Sumer Is Icumen In was dedicated to Edward Goll.Cyril Scott.

While references in Byzantine texts to ivory after the sixth century are few, various historians have suggested that early Christian ivories such as the ivory plaque with the coronation of Emperor Leo VI's son, Constantine VII Prophyrogenitos, were made in an urgent effort to erase their peasant origins from the public memory, to legitimate the power of the Macedonian dynasty, and to communicate to the Byzantine society the ideology that their kingship was the will of God.Cormack, Robin. "Byzantine Art". Oxford History of Art.

Other special finds come from the side-rooms of the sanctuary, which yielded a treasure trove of gold, silver, and bronze objects, including a gold cobra (a uraeus), and a unique assemblage of ivories with cultic connotations. The ivories include a depiction of a woman, perhaps a royal personage; a knob bearing the cartouche of the 12th century Pharaoh Ramses VIII; a large head, probably from the top of a harp; and a large object with a male figure on the front, the image of a royal female personage on the side, and a cartouche of the 13th century Pharaoh Merneptah on the back. The buildings of the elite zone also produced 16 short inscriptions including kdš l’šrt ("dedicated to [the goddess] Asherat"), lmqm ("for the shrine"), and the letter tet with three horizontal lines below it (probably indicating 30 units of produce set aside for tithing), and silver hoards. The entire Iron II city was destroyed in a violent conflagration during the 604 BCE campaign of the Neo-Babylonian King Nebuchadnezzar II, after which the site was only partially and briefly resettled in the first quarter of the 6th century.

Naman P. Ahuja (born 1974) is an art historian and curator based in New Delhi. He is Professor of Indian Art and Architecture at Jawaharlal Nehru University, New Delhi where his research and graduate teaching focus on Indian iconography and sculpture, temple architecture and Sultanate-period painting. He is also the Editor of Marg, India’s leading quarterly magazine and journal on the arts, published from Mumbai. His studies on privately owned objects—terracottas, ivories and small finds—have drawn attention to a wide range of ritual cultures and transcultural exchanges at an everyday, quotidian level.

The Providence Journals Rick Massimo, wrote that the song is "being rather melodramatic but melodically successful". Chris Harris of Rolling Stone wrote that Lee is "stroking the ivories and delivering her lyrics with an elegant sweetness" which he found reminiscent of Tori Amos and Sarah McLachlan. A writer for Reuters called the song "as intense and affecting as anything before it -- and this time, Amy Lee's lyric steps from the dark side, reveling in the relief of positivity." Jason Nahrung of The Courier-Mail praised the song, calling it "sombrely arranged but lyrically uplifting".

Miniatures of the 6th-century Rabula Gospel display the more abstract and symbolic nature of Byzantine art. Surviving Byzantine art is mostly religious and with exceptions at certain periods is highly conventionalised, following traditional models that translate carefully controlled church theology into artistic terms. Painting in fresco, illuminated manuscripts and on wood panel and, especially in earlier periods, mosaic were the main media, and figurative sculpture very rare except for small carved ivories. Manuscript painting preserved to the end some of the classical realist tradition that was missing in larger works.

The touring band for the Falling Off the Lavender Bridge album at various points consisted of friends of Hynes' from other bands, including Florence Welch of Florence and the Machine and Emmy the Great. Mike Siddell, formerly of Hope of the States, played violin with the band. Anna Prior, formerly of Leeds bands Dead Disco and The Ivories, played drums for most of the tour. Other guest members to have contributed in live shows include Alex Turner of the Arctic Monkeys, Faris Badwan of The Horrors, Frederick Blood- Royale of Ox.Eagle.Lion.

Unlike many other Phoenician city-states and dependencies, Carthage grew prosperous not only from maritime commerce but from its proximity to fertile agricultural land and rich mineral deposits. As the main hub for trade between Africa and the rest of the ancient world, it also provided a myriad of rare and luxurious goods, including terracotta figurines and masks, jewelry, delicately carved ivories, ostrich eggs, and a variety of foods and wine.An imagined rendition of ancient Carthage. The city's strategic location and favorable geography were key to its rise.

After graduating from Amherst he resided for several years in New York City, where he took a course in law at Columbia Law School in New York City and studied architecture. He also devoted his time to his study of Characterology. After finishing his education he traveled in the United States, Europe, northern Africa, Mexico, Central America, Yucatan, the West Indies and the Bermudas. He collected paintings, old armor, ancient pottery, old ivories, primitive glassware and objets d'art while living in London for seventeen years after his marriage.

Boston Daily Globe, October 22, 1912. p. 5 On board the Era, Comer made plaster casts of their faces. The 300 masks can be found in museums in Germany, Canada, and New York. The Canadian Museum of Civilization bought a large collection of Comer's artifacts in 1913, including a group of animal ivories (fox, musk ox, narwhal, polar bear, wolf), most of which, if not all, were created by "Harry" Ippaktuq Tasseok (or Teseuke), Chief of the Aivilingmiut, and Comer's chief Inuit shipmate while wintering at Cape Fullerton.

Trusted was educated at The Maynard School, Exeter and left in 1973. She gained her BA and MA at the University of Cambridge followed by her PhD at the Courtauld Institute of Art. Trusted joined the Victoria and Albert Museum in 1979 where she worked on British and Spanish sculpture as well as extensively on European decorative arts in the V&A; collection such as ambers, ivories, and medals. As Senior Curator of Sculpture, Trusted was the lead curator for the redevelopment of the V&A; Cast Courts, which opened in 2018.

The exhibition was the first in Britain to focus on British neoclassical sculpture. The exhibition included works by Thomas Banks, Antonio Canova, Joseph Nollekens, and Bertel Thorvaldsen. Trusted's work on the baroque and later ivory collections at the Victoria and Albert Museum led to a major publication in 2013, Baroque & Later Ivories, which was praised in review for its detailed approach to the subject and described as a 'veritable magnum opus'. Trusted's previous work in 2007 on The arts of Spain: Iberia and Latin America 1450-1700 was also praised as "excellent" and "highly reliable".

The National Archaeological Museum () is a museum located right on Piazza San Marco in Venice. The National Archaeological Museum was established in 1523 by Cardinal Domenico Grimani. This Museum has a great collection of Greek and Roman sculptures, ceramics, coins and stones dating back as far as the 1st Century B.C. Some of the archeological collections from the Correr Museum are also housed here. Visitors can also view the elegant vases, impeccable ivories, portraits of long-ago Roman emperors, marbles and busts, gems and jewelry in this museum.

Approximately three decades later, excavations at Acemhöyük in Turkey provided a conclusive answer to the question of the ivories' date and origin. Led by Nimet Özgüç, digging at the site began in 1962, revealing two monumental buildings dating to the early second millennium B.C. One of these structures, in the south-eastern region of the mound, was termed the Sarikaya palace. It had originally consisted of around fifty rooms before ultimately being destroyed by a large fire. Excavations of its rooms revealed numerous clay bullae, which had been baked by the conflagration.

It would come to be understood that one of the wings presented on the falcon was in fact a replica produced by the museum, and that the Acemhöyük wing in fact belonged to the piece. Other items found were stylistically comparable to the Pratt ivories, including an ivory lion and panels bearing rosette and guilloche designs. Clay bullae matching those in the Pratt collection were also uncovered. Furthermore, later investigations by Machteld Mellink uncovered a photograph from an antiquities dealer in Antakya, which showed of two of the Pratt sphinxes.

The museum has an extensive collection of historical and art-historical objects from the early Middle Ages to the present. The vast collection presents a picture of Protestant and Catholic art and cultural history of the Netherlands, and its impact on Dutch society. The collection includes richly illustrated manuscripts, book-bindings decorated with precious stones, richly- worked images, paintings, altarpieces, pieces of clothing and ecclesiastical objects in gold and silver. Among the highlights in the collection are the 9th-century chalice of Saint Lebuinus and carved ivories from the Lebuïnuskerk in Deventer.

Four ivory sphinxes from Acemhöyük, Turkey. Pratt ivories, Metropolitan Museum of Art Between 1932 and 1937, a group of 2nd millennium B.C. ivory furniture fittings were donated to the Metropolitan Museum of Art by the collector George D. Pratt. Subsequent scholarship has shown that several of these pieces originally formed part of an elaborate gold and ivory throne, which has been convincingly reconstructed by Elizabeth Simpson. In the 1960s, archaeological excavations of the Sarikaya Palace revealed stylistically similar ivory pieces, including a wing that matched with a falcon in the Pratt collection.

Many wax impressions from impressive seals survive on charters and documents, although Romanesque coins are generally not of great aesthetic interest. The Cloisters Cross is an unusually large ivory crucifix, with complex carving including many figures of prophets and others, which has been attributed to one of the relatively few artists whose name is known, Master Hugo, who also illuminated manuscripts. Like many pieces it was originally partly coloured. The Lewis chessmen are well-preserved examples of small ivories, of which many pieces or fragments remain from croziers, plaques, pectoral crosses and similar objects.

225 The treasure binding includes four of the recycled Magdeburg Ivories, Ottonian plaques from another object that was probably destroyed in a fire.Fillitz, Hermann. Die Gruppe der Magdeburger Elfenbeintafeln, Verlag Philipp von Zabern, 2001, The book was long held at the church in Enger and owes its name to Widukind, Duke of Saxony, who was said to have received the manuscript from Charlemagne. It was, however, not made until long after their time; its illuminations likely derived from a lost work of the Ada School of Carolingian art.

Moore grew up in New Orleans' 8th Ward. He plays guitar and is the brother of the Creole scholar Sybil Kein. He was active on the New Orleans R&B; scene since his teens, and became a session man on many hit recordings of the late 1950s and the 1960s, including those by Allen Toussaint, Irma Thomas, Lee Dorsey, Ernie K-Doe, and others. His band The Ivories at New Orleans' Dew Drop Inn attracted an enthusiastic following, sometimes upstaging visiting national acts Moore was hired to open for.

Adomnan of Iona wrote a story about St Columba giving a sword decorated with carved ivory as a gift that a penitent would bring to his master so he could redeem himself from slavery.Adomnan of Iona. Life of St Columba. Penguin books, 1995 The Syrian and North African elephant populations were reduced to extinction, probably due to the demand for ivory in the Classical world.Revello, Manuela, “Orientalising ivories from Italy”, in BAR, British Archaeological Reports, Proceedings of International Symposium of Mediterranean Archaeology, February 24–26, 2005, Università degli Studi di Chieti, 111–118.

Mosaics and ivories portray emperors, bishops, priests and the faithful wearing the hair of a medium length, cut squarely across the forehead. Women then wore a round head-dress which encircled the face. Emperors and empresses wore a large, low crown, wide at the top, ornamented with precious stones cut en cabochon, and jeweled pendants falling down to the shoulders, such as may be seen in the mosaics of S. Vitalis at Ravenna and a large number of diptychs. The hair of patriarchs and bishops was of medium length and was surmounted by a closed crown or a double tiara.

However, the palace soon proved unsuitable for the storage of such important artworks. Therefore, in 1941, Heinrich Himmler had a list of "Items important to the Reich and items unimportant to the Reich" drawn up and the fourteen "Items important to the Reich" were taken to Albrechtsburg in Meissen. These items included the Karlsschrein, the Marienschrein, Bust of Charlemagne, the Cross of Lothar, the ivories, the codices, and the two great Gothic reliquaries (Charlemagne's reliquary and Three Towers reliquary). The rest of the collection was sent back to Aachen Cathedral where they were carefully walled up in the south tower of the Westwerk.

From the possession of the Wittelsbach the Bavarian National Museum also presents unique Baroque objects from all areas of craft and artistic production, such as ostentatious furniture, jewelry, weapons, musical instruments, watches, glasses, miniatures, ivories and bronzes. Of importance are especially Florentine bronzes from the collection of the Medici and pastel paintings from Venice including works of Rosalba Carriera. The Bavarian National Museum has the most important collection of the Bavarian Rococo sculpture. A rich collection of architectural models and designs for frescoes and altarpieces documents the new buildings and conversions of churches in the competition of the various monasteries and convents.

Surviving religious works from the Early Middle Ages are mostly illuminated manuscripts and carved ivories, originally made for metalwork that has since been melted down.Kitzinger Early Medieval Art pp. 36–53, 61–64Henderson Early Medieval pp. 18–21, 63–71 Objects in precious metals were the most prestigious form of art, but almost all are lost except for a few crosses such as the Cross of Lothair, several reliquaries, and finds such as the Anglo-Saxon burial at Sutton Hoo and the hoards of Gourdon from Merovingian France, Guarrazar from Visigothic Spain and Nagyszentmiklós near Byzantine territory.

Neo-gothic in style, the Palace as it is today was finished in 1808. One of its best known features is the gallery designed by William Atkinson. On view in the State Rooms of Scone Palace are collections of furniture, ceramics, ivories, and clocks. Some of the prized contents of Scone Palace are Rococo chairs by Pierre Bara, further items by Robert Adam and Chippendale, Dresden and Sèvres porcelains, as well as a unique collection of Vernee Martin vases and a Jean-Henri Riesener writing desk given to David Murray, 2nd Earl of Mansfield, by Marie- Antoinette.

Later in the Middle Ages, the Cretan school was the main source of icons for the West, and the artists there could adapt their style to Western iconography when required. While theft is one way that Byzantine images made their way West to Italy, the relationship between Byzantine icons and Italian images of the Madonna is far more rich and complicated. Byzantine art played a long, critical role in Western Europe, especially when Byzantine territories included parts of Eastern Europe, Greece and much of Italy itself. Byzantine manuscripts, ivories, gold, silver and luxurious textiles were distributed throughout the West.

It is regarded as the finest, and best-preserved, of the "Romanos group" of ivories from a workshop in Constantinople, probably closely connected with the Imperial Court. The group takes its name from the Romanos and Eudokia ivory plaque in the Cabinet des Médailles of the Bibliothèque nationale de France, Paris showing Christ crowning an Emperor, named as Romanos, and his Empress. This is thought to be either Romanos II crowned in 959, or possibly Romanos IV, crowned in 1068. Related works are in Rome, the Vatican, and Moscow, this last another coronation probably datable to 944.

10 Dec 2012, Soap Opera Digest, Legendary Soap Exec Producer Dies, Accessed 14 June 2014, "..Emmy-winner Paul Rauch,... is survived by his wife, Israela Margalit, an accomplished concert pianist, playwright and writer. .." Rauch died in 2012. Margalit's children are Ilann Maazel,George Whipple, 7 July 2009, Time Warner News NY1, Mother, Son Tickle The Ivories In Steinway Hall , Accessed 14 June 2014, "..mother and son duo ... Award-winning pianist Israela Margalit who shared the piano bench with her son, Ilann Margalit Maazel..." an award- winning civil rights lawyer and a pianist, and Fiona Maazel, an award-winning novelist and creative writing professor.

E.' The flesh tones are coloured by reddish tints over a pale ground, with the facial features accentuated using a bluish- grey tone. During the period circa 1780–1795, Engleheart developed his very distinctive style, with his draughtsmanship and use of colour becoming consistent and high quality. He still sometimes paints small sized miniatures, but he more frequently paints on ivories of around 2½ inches in height. His works are easily recognisable: he often portrays his sitters with deep eyes under strong eyebrows, together with a slightly lengthened nose, and the flesh colour of the face is painted using a brownish yellow tone.

Bagram became the capital of the Kushan Empire in the 1st century, from here they invaded and conquered Peshawar in the south. The "Bagram treasure" as it has been called, is indicative of intense commercial exchanges between all the cultural centers of the classical time, with the Kushan empire at the junction of the land and sea trade between the east and west. However, the works of art found in Bagram, such as the Begram ivories, are either quite purely Hellenistic, Roman, Chinese or Indian, with only little indications of the cultural syncretism found in Greco-Buddhist art.

In 1881, he performed a similar service for the Central and South American Telegraph Company, whose cables extended from the Isthmus of Tehuantepec in Mexico to Callao, Peru, in all between 4,000 and 5,000 miles. This work he completed in 1882. He retired from active business in 1885 and settled in Camden, Maine. There he had a library of 10,000 volumes, and a collection of Chiriquí Province pottery, which was exhibited at the Smithsonian Institution in Washington, D.C.. He also had a collection of carved ivories which was exhibited at the Metropolitan Museum of Art in New York City.

The throne was also carried during religious ceremonies. The decorated back and side of the throne suggested that the throne was designed to be moved out of the apse and placed near the chancel while the bishop addressed the congregation, instead of being left stationary against the wall. The gift was also for the dedication of San Vitale; Justinian hired 6th-century Byzantine artists, who were summoned by the court to Constantinople from around the Empire, to create this piece. The style of the ivories and even the use of ivory itself suggest that the throne belongs to the School of Ivory Carving.

Most of the earliest extant ivory carvings from sub-Saharan Africa were not made for African consumers. Richly decorated oliphants, or side-blown horns, from the sixteenth century are among the earliest known of the Kongo Kingdom's royal commissions in ivory. Although made in the form of musical instruments to be used during court ceremonies, many such sculptures were likely given as gifts and made for sale to Portuguese elites, missionaries, and traders. In the 1950s, historian William Fagg coined the term “Afro-Portuguese ivories” to describe Kongo oliphants and other ivory sculptures from this period.

After making several art crime arrests, in 1971 he was appointed the sole member of the New York City Police Department's bureau for art crime, the only bureau of its kind in the nation. His work was varied, including art theft, vandalism, and forgeries, and he took as many as 40-50 calls per day from around the world. In 1981, he recovered an 1858 candelabrum once owned by the king of Egypt only 11 days after being notified of the theft by British authorities. Over his desk hung a congratulatory photograph from the foreign minister of Italy for recovering two ivories worth $1.5 million stolen from a museum in Pesaro.

The album received generally favorable reviews, earning a metascore of 76 on Metacritic. It was an Editor's Pick in the July 2008 issue of Paste, and ranked at #43 in Q's 50 Best Albums of the Year. In its positive review, Spin wrote: "Stepping away from the ivories, Wasser wanders into a patch of violin tangles and glitchy twitters ('Holiday'), gets soulful support from horns ('Magpies'), and builds a song out of a Robert Frippish guitar lick, sustained synth chords, stark percussion, and a backup choir consisting only of herself ('Start of My Heart')." "She addresses the dark stuff in relationships," enthused actress Juliette Lewis.

Although the tryptych form was more common, there were also ivory diptychs with religious scenes carved in relief, a form found first in Byzantine art before becoming very popular in the Gothic period in the West, where they were mainly produced in Paris. These suited the mobile lives of medieval elites. The ivories tended to have scenes in several registers (vertical layers) crowded with small figures. The paintings generally had single subjects on a panel, the two matching, though by the 15th century one panel (usually the left one) might contain a portrait head of the owner or commissioner, with the Virgin or another religious subject on the other side.

During the Early Middle Ages the style favoured sculpted crosses and ivories, manuscript painting, gold and enamel jewellery, demonstrating a love of intricate, interwoven designs such as in the Staffordshire Hoard discovered in 2009. Some of these blended Gaelic and Anglian styles, such as the Lindisfarne Gospels and Vespasian Psalter. Later Gothic art was popular at Winchester and Canterbury, examples survive such as Benedictional of St. Æthelwold and Luttrell Psalter. The Tudor era saw prominent artists as part of their court, portrait painting which would remain an enduring part of English art, was boosted by German Hans Holbein, natives such as Nicholas Hilliard built on this.

The Begram ivories are a group of over a thousand decorative plaques, small figures and inlays, carved from ivory and bone, and formerly attached to wooden furniture, that were excavated in the 1930s in Bagram (Begram), Afghanistan. They are rare and important exemplars of Kushan art of the 1st or 2nd centuries CE, attesting to the cosmopolitan tastes and patronage of local dynasts, the sophistication of contemporary craftsmanship, and to the ancient trade in luxury goods. They are the best known element of the Begram Hoard. The Délégation Archéologique Française en Afghanistan conducted excavations at the site between 1936 and 1940, uncovering two walled-up strongrooms, Room 10 and Room 13.

Kongo Elephant Tusk Carved with Figures in Relief, from the collections of the Brooklyn Museum Kongo ivories are some of the finest sculptural works produced by the people of the west-central Africa's Lower Congo region. In the Kongo Kingdom, ivory was a precious commodity that was strictly controlled by chiefs and kings, who commissioned sculptors to produce fine ivory sculptures for their personal and courtly use. With the rise of the transatlantic trade, ivory became one of the most valuable African natural resources sought by Western industry. Eventually, Kongo ivory carvers produced works not only for indigenous leaders and elites but also for Europeans and other foreigners.

In 1859, he made the first of several visits to Italy, where he devoted much time to studying coins and ivories, enamels and bookbindings, of which and other rare and beautiful things he subsequently made a fine collection. Many of his smaller pictures are masterly studies of such objects, and in nearly all of his principal pictures they figure as accessories. As a collector he is said to have combined the specific knowledge of the connoisseur with the practical and general discernment of the artist ; but the only contributions he made to the literature of the subject were the notes in Mr. Gibson Craig's privately issued 'Facsimiles of old Bookbinding' (1882).

The archangel is usually identified as Michael, and the panel is assumed to have formed the right part of a diptych, with the lost left half possibly depicting Emperor Justinian (reigned 527–565), to whom the archangel would be offering the insignia of imperial power. The panel is the largest single piece of carved Byzantine ivory that survives, at 42.9 × 14.3 cm (16 7/8 × 5 5/8 in). It is, along with the Barberini ivory, one of two important surviving 6th-century Byzantine ivories attributed to the imperial workshops of Constantinople under Justinian,A. Cutler, "The making of the Justinian diptychs", Byzantion 54 (1984), pp. 75-115.

He built the city of Heliopolis and taught the Egyptians astrology. In the second half of the 8th century, the sanctuary of Athena received votive gifts that are markers for cultural contacts: small ivories from the Near East and bronze objects from Syria. At Kameiros on the northwest coast, a former Bronze Age site, where the temple was founded in the 8th century, there is another notable contemporaneous sequence of carved ivory figurines. The cemeteries of Kameiros and Ialyssos yielded several exquisite exemplars of the Orientalizing Rhodian jewelry, dated in the 7th and early 6th centuries BC.Sideris A., "Orientalizing Rhodian Jewellery in the Aegean", Cultural Portal of the Aegean Archipelago, Athens 2007.

The Applied Arts Collection of Milan (Raccolte d’Arte Applicata di Milano in Italian) is located in the Sforza Castle museum complex under the management of the municipality of Milan, Italy. The museum is divided into several sections with particular emphasis on jewelry, ivories, pottery and art glass. The ceramic collection includes medieval, Renaissance and Baroque pottery, a maiolica group with pieces from 17th-century Lodi and Milan, and a collection of European chinaware and earthenware. The collection of artistic glass includes the Cup Gonzagna, made of crystal clear glass and decorated with a pattern of small golden flowers and the Gonzaga coat of arm with a quadripartite black eagle on a white background.

The Kasten der Heiligen Kunigunde (jewelry box of Holy Cunegonde), is a unique masterpiece made in the year 1000 in Scandinavia of wood, bronze and narwhal tusk. Reliefs from the Magdeburg Ivories, plaques probably from an antependium of Emperor Otto I and a relief of the West Roman imperial court with one of the oldest representations of the Ascension among the most famous works in the ivory collection. Key works of ivory art, important stained glass windows, and not least excellent testimonies of textile are found in the Gothic department. On display are also historic Gothic chamber ensembles such as the magnificently painted Zunftstube of Augsburg weavers, one of the finest Gothic cabinets at all.

Types of ivories included small, devotional polyptychs, single figures, especially of the Virgin, mirror-cases, combs, and elaborate caskets with scenes from Romances, used as engagement presents.Calkins, 193–198 The very wealthy collected extravagantly elaborate, jewelled and enamelled metalwork, both secular and religious, like the Duc de Berry's Holy Thorn Reliquary, until they ran short of money, when they were melted down again for cash.Cherry, 25–48; Henderson, 134–141 Gothic sculptures independent of architectural ornament were primarily created as devotional objects for the home or intended as donations for local churches,Stokstad (2005), 537. although small reliefs in ivory, bone and wood cover both religious and secular subjects, and were for church and domestic use.

The music video of the song was directed by Cameron Duddy and Mars, and was released February 5, 2013. The video portrays the taping of a TV special, in which Mars is playing a lonely balladeer on the ivories while sitting in front of a piano with sunglasses donned and a half-full glass of whiskey atop his instrument, wearing a suit with a carnation boutonnière, while he keeps reminding himself of what he could have done to keep his lover. The video is based on 70's vibe and retro effects. The set and the idea of the video is similar to one used for "Love in the Key of C", a 1997 Belinda Carlisle minor hit.

The survival rate for ivory panels has always been relatively high compared to equivalent luxury media like precious metal because a thin ivory panel cannot be re-used, although some have been turned over and carved again on the reverse. The majority of book-cover plaques are now detached from their original books and metalwork surrounds, very often because the latter has been stripped off for breaking up at some point. Equally they are more robust than small paintings. Ivory works have always been valued, and because of their survival rate and portability were very important in the transmission of artistic style, especially in Carolingian art, which copied and varied many Late Antique ivories.

The gaps in the openwork probably revealed a gold or gilded backing behind.Lasko, 88–89 Two further panels are known from 16th-century drawings, and the original number was probably significantly larger, as many common subjects from the Life of Christ are absent, while some surviving subjects are rather rare. Lasko suggests that fewer than half the original group survive, and mentions the Carolingian cycle of 62 wall paintings at Saint John Abbey, Müstair, which includes seven of the fifteen narrative scenes in the ivories. The strong emphasis among the surviving plaques on episodes from the gospel accounts of Christ's period of ministry might suggest that they decorated a pulpit rather than an altar.

Following the dismantling of the object they were created for, the Magdeburg Ivories were then reused in reliquaries and book covers and are now dispersed to a total of nine museums.Fillitz gives the full list The Berlin State Library has four plaques, the World Museum in Liverpool and Bavarian National Museum in Munich have three each. the Louvre in Paris has two, and there are single plaques in the Musée Antoine Vivenel in Compiègne, Hessisches Landesmuseum in Darmstadt, British Museum in London, and Metropolitan Museum in New York. The four plaques in Berlin are inserted in the treasure binding of the 10th-century Codex Wittekindeus, while all the other plaques are now displayed as stand-alone objects.

The house was commissioned by Samuel Mayo Nickerson, one of the founders of the First National Bank in Chicago and Union Stockyards National Bank, as well as having interests in liquor and wine businesses and an explosives company during the Civil War. Nickerson, his wife Mathilda Pinkham Crosby, and their son Roland lived in the house from 1883 to 1900. The mansion was used for many social gatherings characteristic of the Gilded Age, including a masquerade ball and a number of receptions. It also served as exhibition space in which the Nickersons displayed their renowned art collection of American and European paintings and drawings, Indian jewelry, and Japanese and Chinese ivories and curios.

He felt that it was reminiscent of the tracks prevalent on the band's debut album, characterized by similarity to Tori Amos's material and observed that on The Open Door, this type of songs were "[p]ushed to the background". In an album review, Sara Berry from St. Louis Post-Dispatch opined that "The band deftly balances scorching rock anthems with reflective, piano-heavy ballads like 'Lithium'". IGN's Ed Thompson wrote that Lee's "gentle tickling of the ivories" is notably present on "Lithium". A Stornoway Gazette writer dubbed the song an "extreme-power-ballad maelstrom" and felt that it was one of the album's instances where "pop metal actually does justice to both musical genres".

Protocorinthian skyphos, c. 625 BC, Louvre The orientalizing style was the product of cultural ferment in the Aegean and Eastern Mediterranean of the 8th and 7th centuries BC. Fostered by trade links with the city-states of Asia Minor, the artifacts of the East influenced a highly stylized yet recognizable representational art. Ivories, pottery and metalwork from the Neo-Hittite principalities of northern Syria and Phoenicia found their way to Greece, as did goods from Anatolian Urartu and Phrygia, yet there was little contact with the cultural centers of Egypt or Assyria. The new idiom developed initially in Corinth (as Proto-Corinthian) and later in Athens between 725 BC and 625 BC (as Proto-Attic).

This is the second most expensive purchase by the British Museum since the end of the Second World War, second only in price to the Queen of the Night which cost £1.5 million in 2003. In addition to the purchase, the British Institute for the Study of Iraq has also donated another third of its collection to the British Museum in recognition of the storage of the collection by the museum over the previous 24 years. It is anticipated that the remaining third of the collection will be returned to Iraq sometime in the future. A selection of the ivories will be put on display at the British Museum from 14 March 2011.

The panel's origins in a twelfth-century Sicilian or Levantine workshop has also been considered, as well as possible monastic bonds or affiliations to the Norman court. Smaller groups of the plaques and fragments of panels are currently housed in different museum collections in Europe and America, including the Metropolitan Museum of Art in New York, the Louvre in Paris, and the Museum of Fine Arts in Budapest. The plaques make up one part of a broad group of ivory artifacts from the same era and region of southern Italy. These consist of collections of objects such as oliphants, bone-and-ivory boxes, chess pieces, Siculo-Arabic boxes, Italo-Byzantine ivories and the Farfa Casket.

"Antependium" is the word used for elaborate fixed altar frontals, which, in large churches and especially in the Ottonian art of the Early Medieval period, were sometimes of gold studded with gems, enamels and ivories, and in other periods and churches often carved stone, painted wood panel, stucco, or other materials, such as azulejo tiling in Portugal. When the front of an altar is elaborately carved or painted, the additional cloth altar frontal normally reaches down only a few inches from the top of the altar table; this is called a "frontlet". In other cases it may reach to the floor (the "frontal", properly so called). In both situations, it will usually cover the entire width of the altar.

Their sound was catchy piano pop, influenced by the likes of Elton John, Harry Nilsson, The Beatles, Elvis Costello, Ray Charles, They Might Be Giants, XTC, Randy Newman, and Thelonious Monk, and with their combined love of jazz, they created a very energetic sound with (mostly) upbeat tempos and complicated chord progressions. Because of the prominence of piano in the songs, the band often was often compared with contemporaries Ben Folds Five. However, as Stewart Mason with Allmusic noted: > "Unlike Folds' strained "look at me" cleverness, ivories-tickling leader > Seth Timbs doesn't draw too much attention to himself lyrically, and his > cohorts...[were] a much more cohesive and musically capable unit than the > Five were.""[ Fluid Ounces > Overview]". Allmusic.

A fascination with the natural beauties of wood led Theo to explore the techniques of ornamental turning, the art of deep-cut engraving and sculpting woods, ivories and metals using precision lathes. He restored a Holtzappfel lathe originating from 1861, and in the 1950s began to design and make elegant objets d'art from rare wood and ivory, for pleasure and then as commissions. Theo soon began to receive commissions from notable collectors of Carl Fabergé, and from museums such as the Virginia Museum of Fine Arts, United States. In 1984, Theo was persuaded to produce a Collection to be sold on the international market incorporating precious metals, crystal, enamelling, stone-carving, precious gems and porcelain.

The museum contains nearly 7000 objects purchased from the antique shops Bing, Burty, and Sichel, as well as Au Bon Marché and small boutiques, illustrating daily life in China and Japan from the 12th to 19th centuries. They are exhibited in large wooden cabinets inlaid with mother-of-pearl, and include Kyoto ceramics, Nanban Art resulting from contacts between the Japanese and the Portuguese 1543–1640, over 300 netsuke from the Tokugawa period (1603–1837), porcelain of various East India companies, dolls and figurines, carvings of semi-precious stones, ivories and bronzes, furniture, lacquerwork, with many fine carvings of animal and human forms. The museum was closed for refurbishment from 1996 to April 2012. It is opened on Thursdays pm, Saturdays pm and Sundays pm.

His customers included members of the Russian Stroganoff family, the high-flying British politician Sir Philip Sassoon and American collectors such as Benjamin Altman, William Randolph Hearst, J. P. Morgan, Henry Walters, and Joseph Widener. Initially Seligmann dealt mainly in antiques including enamels, ivories, sculptures, tapestries and especially 18th century French furniture but paintings became increasingly important at the beginning of the 20th century. After the end of the First World War, interest in European art grew in the United States led by socialites such as Walter Arensberg, Albert C. Barnes, Louisine Havemeyer, Bertha Palmer, Duncan Phillips, and John Quinn. In 1909, Seligmann bought the prestigious Hôtel de Monaco where he established his headquarters and received his most important clients.

These are the major centres, but others exist, characterized by the works of art produced there. Saint Mark from the Ebbo Gospels The Court School of Charlemagne (also known as the Ada School) produced the earliest manuscripts, including the Godescalc Evangelistary (781–783); the Lorsch Gospels (778–820); the Ada Gospels; the Soissons Gospels; the Harley Golden Gospels (800-820); and the Vienna Coronation Gospels; ten manuscripts in total are usually recognised. The Court School manuscripts were ornate and ostentatious, and reminiscent of 6th-century ivories and mosaics from Ravenna, Italy. They were the earliest Carolingian manuscripts and initiated a revival of Roman classicism, yet still maintained Migration Period art (Merovingian and Insular) traditions in their basically linear presentation, with no concern for volume and spatial relationships.

His painting style does not really change from that developed in the preceding years, but his ivories are now large, measuring around 3 to 3½ inches in height. The clothes of his sitters are much simpler, following the simple style which came into fashion in France from 1789 onwards, as a result of the Revolution. Powdered hair was further helped out of fashion in Britain in 1795, when the British government imposed a tax of 1 guinea per annum on those individuals wishing to wear hair powder or powdered wigs; the tax being introduced to part finance the war with France (it was during the French Revolutionary Wars). The fashions of this era are referred to as the Regency style.

Many of Neilston's dwellings are painted in whites or ivories. In his book Ordnance Survey of Scotland (1884), Francis Hindes Groome remarked that Neilston "presents an old-fashioned yet neat and compact appearance", a view echoed by Hugh McDonald in Rambles Round Glasgow (1910), who stated that Neilston "is a compact, neat, and withal somewhat old-fashioned little township", although continued that it has "few features calling for special remark". It is frequently described as a quiet dormitory village, although some sources from around the turn of the 20th century describe Neilston as a town. Neilston is not contiguous with any other settlement, and according to the General Register Office for Scotland, does not form part of Greater Glasgow, despite being very close.

Orhue is also applied to the surface of the clay altar, which is constructed of symbolically charged earth and water and, in the past, was placed over the grave of the Oba's father. According to Barbara Blackmun, "The whiteness of the ivory tusk therefore enhances the sanctity and effectiveness of the altar. The motifs carved upon the ivories are only one part of a potent ensemble designed to furnish a point of contact not only between the reigning king and his newly- deified predecessor, but also with his ancestral lineage of divine rulers and other spiritual forces guiding the kingdom." Each large, carved tusk is supported by a heavy pedestal in the form of a crowned head of an Oba made of shining brass.

Most of the Gambier-Parry items on display at the Courtauld Gallery are in this room on the ground floor. Thomas Gambier Parry (1816–1888) was a keen and versatile collector for most of his adult life. Many of his purchases were made on trips to the continent, especially Italy, but he also bought from dealers and auctions in England, and sometimes sold items. His most important collections were of late medieval and Early Renaissance paintings, small sculpted reliefs, ivories, and maiolica, but he also had a significant early collection of Islamic metalwork, and a variety of other types of objects, for example Hispano-Moresque ware, glass and three small post-Byzantine wooden crosses from Mount Athos elaborately carved with miniature scenes.

About the middle of the nineteenth century, a new style of ivory carving developed in the area to meet the demand of the export trade along the Loango Coast of west-central Africa. This style consisted of fine, detailed relief carving that depicts scenes of Kongo life. Scenes commonly portrayed in relief on the ivories capture the dynamic and cosmopolitan coastal activity related to the transatlantic trade. Most carved Loango tusks are not longer than two to three feet because they were sourced from forest elephants, which are much smaller than the African savannah elephant. Full Loango tusk sculptures that were sculpted from the enormous tusks of savannah elephants are extremely rare; one notable example is now part of the Brooklyn Museum’s collection.

One game was not known as the writing that explained it could not be properly deciphered at the time of discovery. The cult addressed a xoanon (archaic wooden effigy) of malevolent reputation, for it was reputedly from Tauride, whence it was stolen by Orestes and Iphigenia, according to Euripides. Orientalizing carved ivory images found at the site show the winged goddess grasping an animal or bird in either hand in the manner of the Potnia Theron; half-finished ivories from the site show that their facture was local (Rose in Dawkins 1929:400). Pausanias describes the subsequent origin of the diamastigosis (ritual flagellation): > I will give other evidence that the Orthia in Lacedaemon is the wooden image > from the foreigners.

Historiography of the Philippines refers to the studies, sources, critical methods and interpretations used by scholars to study the history of the Philippines. The Philippine archipelago has been part of many empires before the Spanish empire has arrived in the 16th century. The pre-colonial Philippines uses the Abugida writing system that has been widely used in writing and seals on documents though it was for communication and no recorded writings of early literature or history Ancient Filipinos usually write documents on bamboo, bark, and leaves which did not survive unlike inscriptions on clays, metals, and ivories did like the Laguna Copperplate Inscription and Butuan Ivory Seal. The discovery of the Butuan Ivory Seal also proves the use of paper documents in ancient Philippines.

Most of the plaques are divided into an upper half and lower half and contain two separate scenes, with a few exceptions. The plaques illustrate a comprehensive linear narrative of the life of Christ and the most important phases of his life, from his birth and infancy to his Resurrection. The Old Testament series of plaques contains a series of scenes beginning with Creation (pictured at top of page) and then recounting the stories of Adam and Eve, Cain and Abel, Noah, Abraham, Isaac, Jacob, and Moses, ending with Moses Receiving the Laws. Unlike other late medieval works where episodes from the Old and New Testaments were illustrated side by side, the two Testaments are separate and not conjunct in the Salerno Ivories.

The band's style mixes electronics and rock and was described as "Kate Bush on crack with Goldfrapp on synths," with Vanier's voice moving "effortlessly from seductive whispers to banshee wails." Q Magazine characterised it as "somewhere between Siouxsie & The Banshees and Cyndi Lauper having a sing-off with Kate Bush; the band’s spiky synth stabs providing the perfect canvas for Vanier's enchanting howl." Simon Price, writing for The Independent, stated that the "drama-pop trio" was like a throwback to "more interesting times", noting that "Classically trained singer-pianist Rosie Vanier has a voice which leaps from sugary pop to operatic whoops, her ivories chiming through a repertoire ranging from the turbulent to the serene, and even juddering Moroder electro-disco."Price, Simon (2008-10-05).

Alexandre-Charles Sauvageot (Paris, 6 November 1781Copy of his baptism certificate in Paris Saint-Sulpice, Legion of Honour file, feuille 7/10 – 30 March 1860)Necrology and funeral in Montmartre of Charles Sauvageot by Le Roux de Lincy Revue européenne 1860 was a French classical violinist and collector of French antiques The son of Jean Sauvageot, bourgeois and Françoise- Antoinette Frené, he was single. Until 1829 he was second violin at the Paris opera and since 1810 clerk at the Direction des Douanes and Honorary Curator of the Imperial Museums. From 1826-1827, he gathered a very important collection of objects from the Middle Ages and the Renaissance - art objects, sculptures, paintings, ivories, musical instruments, etc. - which he donated to the Louvre Museum in 1856 and again in 1860.

Parias were generally paid in gold coin (aurei, "golden ones", or numos de auro, "coins of gold", in Latin), usually Islamic dinars or mithqals, accompanied by gifts of carpets, silks, ivories, plate, and other luxuries not produced widely in Christian Europe. They were extremely large sums for the times, though it is impossible to determine their precise value in modern terms. The vetus paria in about 1060, when it was being paid to Ferdinand of León, was worth around 10,000 aurei per annum. This was raised to 12,000 numos de auro per annum when Sancho IV of Navarre acquired it. In 1075 Alfonso VI negotiated 30,000 mithqals from Granada, including two years' worth of arrears, putting the annual parias at around 10,000 mithqals, comparable to the vetus paria.

Head of a bull that once guarded the entrance to the Hundred-Column Hall in Persepolis The head of this Sumerian female was excavated at Khafajah (4th season) by the Oriental Institute, now in the Sulaymaniyah Museum, Iraqi Kurdistan The Museum of the Oriental Institute has artifacts from digs in Egypt, Israel, Syria, Turkey, Iraq, and Iran. Notable works in the collection include the famous Megiddo Ivories; various treasures from Persepolis, the old Persian capital; a collection of Luristan Bronzes; a colossal 40-ton human-headed winged bull (or Lamassu) from Khorsabad, the capital of Sargon II; and a monumental statue of King Tutankhamun. The museum has free admission, although visitors are encouraged to donate. The Oriental Institute is a center of active research on the ancient Near East.

In addition to plaques, many small ivory carvings of female heads have been found at Nimrud, most only one or two inches in height, but a few over 5 inches tall. Many of these heads wear a flat cap which is very similar to the flat caps depicted on much earlier ivories from the Tel Megiddo site in modern Israel. Another common carved form found at Nimrud comprises figurines of two naked females joined back to back, which are thought to have been used either as handles for fans or mirrors, or as a decorative element on furniture. The plaques show a wide variety of themes, some of which exhibit a pure Assyrian style, and some of which show Egyptian influence, with engravings of Egyptian people or gods, and even Egyptian hieroglyphs.

Before the Berlin Conference of 1885, traders and explorers to Africa purchased or stole art as souvenirs and curios, spreading beyond the coast; ivory objects made along African coasts had been collected for centuries, and many were made by Africans and used for European gain mainly in areas reached by the Portuguese, the Afro-Portuguese ivories. The period dominated by curio collecting, in which objects served as souvenirs, was followed by a period of trophy collecting in which large collections of artifacts (mostly weapons), and animal skins, horns, and tusks from hunting expeditions were formed. Starting in the 1870s, thousands of African sculptures arrived in Europe in the aftermath of colonial conquest and exploratory expeditions. They were placed on view in museums such as the Musée d'Ethnographie du Trocadéro, founded in 1878 in Paris, and its counterparts in other European cities.

Most of the Gambier-Parry items on display at the Courtauld Gallery are in this room on the ground floor Gambier Parry was a keen and versatile collector for most of his adult life. Many of his purchases were made on trips to the Continent, especially in Italy, but he also bought from dealers and auctions in England, and sometimes sold items. His most important collections were of late medieval and Early Renaissance paintings, small sculpted reliefs, ivories, and maiolica, but he also had a significant early collection of Islamic metalwork, and a variety of other types of objects, for example Hispano-Moresque ware, glass and three small post-Byzantine wooden crosses from Mount Athos, elaborately carved with miniature scenes. The Courtauld Gallery website shows images and descriptions of 324 objects from the 1966 bequest, which included the bulk of the collection.

On each straight edge men of the senatorial class had a tablion, a lozenge shaped coloured panel across the chest or midriff (at the front), which was also used to show the further rank of the wearer by the colour or type of embroidery and jewels used (compare those of Justinian and his courtiers). Theodosius I and his co-emperors were shown in 388 with theirs at knee level in the Missorium of Theodosius I of 387, but over the next decades the tablion can be seen to move higher on the Chlamys, for example in ivories of 413-414.Kilerich, 275 A paragauda or border of thick cloth, usually including gold, was also an indicator of rank. Sometimes an oblong cloak would be worn, especially by the military and ordinary people; it was not for court occasions.

During the first decade of Canadian television, Thomson performed regularly on Wayne & Shuster, The Barris Beat, The Denny Vaughan Show, and Hit Parade, and also appeared as an actor in various live dramas. She also met or worked with both established stars such as Duke Ellington—who told her "I'm going to tickle the ivories, then I'm going to tickle you"—as well as then-unknowns like Norman Jewison — at the time the studio director on The Big Revue — singer Robert Goulet, and a young folksinger named Gordon Lightfoot, who told everyone in the CBC cafeteria that he was going to be a star. In 1958, Thomson was elected to the board of ACTRA as a dancer representative. She would continue to serve ACTRA in many capacities over the next forty years, including as vice-president in 1975.

The ivories comprise plaques decorated in relief with intricate carvings of sphinxes, lions, serpents, people, flowers and geometric motifs, as well as carvings of female heads and female figurines. They were carved in various locations across the Ancient Near East, including Egypt, modern Syria and Lebanon, with relatively few carved locally. The ivory used to make these objects would originally have been derived from Syrian elephants which were endemic in the Middle East in ancient times, but by the 8th century BC the Syrian elephant had been hunted close to extinction, and ivory for later objects would have had to be imported from India, or, more likely, Africa. The ivory plaques are thought to have been used to decorate chariots, furniture and horse trappings, and would originally have been covered in gold leaf or ornamented with semi-precious stones such as lapis lazuli.

Icon of the Deesis St. Catherine's Monastery Sinai, 12th century) Great Deesis with Prophets; 16th century; Walters Art Museum In Byzantine art, and later Eastern Orthodox art generally, the Deësis or Deisis (, "prayer" or "supplication"), is a traditional iconic representation of Christ in Majesty or Christ Pantocrator: enthroned, carrying a book, and flanked by the Virgin Mary and St. John the Baptist, and sometimes other saints and angels. Mary and John, and any other figures, are shown facing towards Christ with their hands raised in supplication on behalf of humanity. In early examples, it was often placed on the templon beam in Orthodox churches or above doors, though it also appears on icons and devotional ivories. After the development of the full iconostasis screen there was room for a larger "Deesis row" or "Great Deesis" of full-length figures, and the number of figures expanded, in both Byzantium and Russia.

Grundy's collection, which is displayed as part of the temporary exhibitions programme and is not on permanent display, includes Victorian oils and watercolours, modern British paintings, contemporary prints, jewellery and video, oriental ivories, ceramics, as well as photographs and souvenirs of Blackpool. Works in the collection include Aircraftsman Shaw by Welsh painter Augustus John, Sanctuary Wood by English landscape painter Paul Nash, The Yellow Funnel by English painter Eric Ravilious, The Waterway by English painter Lucy Kemp-Welch and Woods and Forests by English landscape painter John Linnell. Other artists whose work is represented include: Craigie Aitchison, Richard Ansdell, Thomas Sidney Cooper, Martin Creed, Thomas Creswick, Stanhope Forbes, Laura Ford, Gilbert and George, Herbert von Herkomer, John Frederick Herring, Sr., Edward Atkinson Hornel, Harold Knight, Laura Knight, Henry Herbert La Thangue, Peter Liversidge, David Roberts, Lindsay Seers, William Shayer, Julian Trevelyan, Eugène Joseph Verboeckhoven and Benjamin Williams Leader.

As one of the largest museums of France, le Musée des Beaux-Arts de Dijon is known for its rich collections of sculptures, paintings, art objects and various other items from the past. Those interested in a specific historical age can admire various stunning items from Antiquity, Middle Ages, Renaissance as well as masterpieces stretching from the 17th century to the 21st century. Among the attractions of the museum, you can find the tombs of Philippe le Hardi and Jean sans Peur, a collection of German and Swiss primitives (the most important in France) and a collection of French paintings, rich in artists dating back to the time of Louis XIV, not forgetting the collection of contemporary art. The museum also holds extra- European collections, such as ceramic and Islamic glasses, weapons and oriental caskets, ancient ivories of Africa, everyday objects and African ceremonial masks, Chinese and Japanese porcelains, Korean stoneware, Tibetan and Indian sculptures and pre-Columbian ceramics.

In 1892 he was appointed to the faculty of the University of Graz, but in 1894 and 1895, he lived in Cairo, where he studied the early Byzantine and Islamic art of Egypt, and compiled a catalog of the Coptic art in the Cairo Museum. Upon his return he entered a period of intense scholarly activity, publishing numerous articles on Byzantine and Islamic art, fields in which he considered himself to be the pioneer. It was in the midst of this activity that Strzygowski published his first frankly polemical work, Orient oder Rom: Beiträge zur Geschichte der spätantiken und frühchristlichen Kunst (1901) (The Orient or Rome: contributions to the history of late antique and early Christian art). Drawing on such diverse materials as Palmyrene art and sculpture, Anatolian sarcophagi, late antique ivories from Egypt, and Coptic textiles, Strzygowski argued, in overtly racial and often racist terms, that style change in late antiquity was the product of an overwhelming "Oriental" or "Semitic" influence.

Located across the back alley, a block south of the Walters mansion on West Monument Street/Mount Vernon Place, on the northwest corner of North Charles Street at West Centre Street. The mansion and gallery were also just south and west of the landmark Washington Monument in the Mount Vernon-Belvedere neighborhood, just north of the downtown business district and northeast of Cathedral Hill. Upon his 1931 death, Henry Walters bequeathed the entire collection of then more than 22,000 works, the original Charles Street Gallery building, and his adjacent townhouse/mansion just across the alley to the north on West Mount Vernon Place to the City of Baltimore, "for the benefit of the public." The collection includes masterworks of ancient Egypt, Greek sculpture and Roman sarcophagi, medieval ivories, illuminated manuscripts, Renaissance bronzes, Old Master European and 19th-century paintings, Chinese ceramics and bronzes, Art Deco jewelry, and ancient Near East, Mesopotamian, or ancient Middle East items.

Dubal has written several books, including The Art of the Piano, Evenings with Horowitz, Conversations with Menuhin, Reflections from the Keyboard, Conversations with Joao Carlos Martins, The Essential Canon of Classical Music (an encyclopedic guide to the prominent composers of the Western canon), and Remembering Horowitz (with 125 essays by accomplished pianists and a disc of Vladimir Horowitz and Dubal in conversation).David Dubal's page at Amazon.com He also wrote and hosted The Golden Age of the Piano, an Emmy Award-winning documentary produced by Peter Rosen.38th Annual New York Emmy Awards Several of his articles on music have appeared in The Wall Street Journal,Dubal on Gottschalk in Wall Street Journal (2013)Dubal on Liszt in Wall Street Journal (2012)Dubal on Chopin's 'Preludes' in Wall Street Journal (2010)Dubal on Debussy in Wall Street Journal (2012) and his piece "Let's Tickle the Ivories" was published in The New Criterion.

As a result, a large numbers of Lamassu's, bas-reliefs, stelae, including the Black Obelisk of Shalmaneser III, were brought to the British Museum. Room 52 – Ancient Iran with the Cyrus Cylinder, considered to be the world's first charter of human rights, 559–530 BC Layard's work was continued by his assistant, Hormuzd Rassam and in 1852–1854 he went on to discover the North Palace of Ashurbanipal at Nineveh with many magnificent reliefs, including the famous Royal Lion Hunt scenes. He also discovered the Royal Library of Ashurbanipal, a large collection of cuneiform tablets of enormous importance that today number around 130,000 pieces. W. K. Loftus excavated in Nimrud between 1850 and 1855 and found a remarkable hoard of ivories in the Burnt Palace. Between 1878 and 1882 Rassam greatly improved the Museum's holdings with exquisite objects including the Cyrus Cylinder from Babylon, the bronze gates from Balawat, important objects from Sippar, and a fine collection of Urartian bronzes from Toprakkale.

They were produced as unique examples, whereas each consular diptych was produced in large numbers to offer to the emperor on certain occasions, principally a nobleman's entry to the consulship. No complete example of an imperial diptych survives and so their existence is contested. The ivories specialist R. Delbrück has theorised that the 19 surviving fragments of ivory panels which clearly do not belong to the usual type of consular diptychs constitute evidence of imperial diptychs, despite having many characteristics in common with consular diptychs. The iconography of these diptychs obeys a stereotypical scheme, as illustrated by the Barberini ivory, which is the best example of the posited type - an imperial diptych's programme would be made up of a central figure of the emperor or empress, figures of dignitaries on its side panels, an upper register showing a personification of Constantinople or a medallion with a bust of Christ and a lower register showing barbarians making offerings to the emperor.

Dr. Simpson specializes in the arts and technology of the ancient world, including the history of furniture, jewelry and metalwork, and ceramics and glass. Her research centers on archaeological detective work and the interpretation of objects that have not been well understood. This includes the reinterpretation of the furniture and wooden artifacts from Gordion, which are now in the Museum of Anatolian Civilizations, Ankara, as well as the famous Pratt ivories in the Metropolitan Museum of Art, New York. She solved a 100-year-old mystery regarding the identity of the Andokides Painter, the fine red-figure artist who painted a series of bilingual vases in Athens in the late 6th century B.C. Simpson is a former curator in the Department of Ancient Near Eastern Art at the Metropolitan Museum of Art, New York, and the recipient of grants from the National Endowment for the Humanities, the American Council of Learned Societies, the National Geographic Society, the Samuel H. Kress Foundation, the Getty Grant Program, and the Archaeological Institute of America.

Panel from the Magdeburg Ivories depicting Pilate at the Flagellation of Christ, German, tenth century The older Byzantine model of depicting Pilate washing his hands continues to appear on artwork into the tenth century; beginning in the seventh century, however, a new iconography of Pilate also emerges, which does not always show him washing his hands, includes him in additional scenes, and is based on contemporary medieval rather than Roman models. The majority of depictions from this time period come from France or Germany, belonging to Carolingian or later Ottonian art, and are mostly on ivory, with some in frescoes, but no longer on sculpture except in Ireland. New images of Pilate that appear in this period include depictions of the Ecce homo, Pilate's presentation of the scourged Jesus to the crowd in John 19:5, as well as scenes deriving from the apocryphal Acts of Pilate. Pilate also comes to feature in scenes such as the Flagellation of Christ, where he is not mentioned in the Bible.

Royal regalia of Bavaria (1807) inside the treasury) Among the exhibits are Emperor Charles the Bald's prayer-book from around 860, the altar-ciborium of Emperor Arnulf of Carinthia from around 890, the crown of the Empress Cunigunde, reliquary of the True Cross which belonged to the Emperor Henry II, a cross which belonged to Queen Gisela, all from around 1000, the Reliquary Crown of Henry II from around 1270, an English Queen's crown from around 1370 (the oldest surviving crown of England that came to the palatinate line of the house of Wittelsbach as the dowry of Blanche of England, the daughter of King Henry IV of England), the famous Statuette of St George (Munich, ca. 1599), the insignia and orders of the Bavarian monarchs, including crowns and insignia of the Emperor Charles VII (1742), the Crown of Bavaria (1807), ceremonial swords and ruby jewellery which belonged to Queen Therese. A precious set of matching dishes served the French Empress Marie Louise during her journeys. Non-European art and craftwork, including Chinese porcelain, ivories from Ceylon and captured Turkish daggers are also on display.

The work of the mission gave Loftus and his friend Henry Adrian Churchill the chance to visit ancient sites and, in 1850, to excavate for a month at Uruk (Warka) and Larsa (Senkereh), discovering the Ziggurat of Ur. Briefly, in February to April 1851, Loftus was released from the work of the Commission to excavate at Susa on behalf of the British Museum, but was in June replaced by Hormuzd Rassam, together with whom Loftus subsequently explored the sites and collaborated on a report on the work at Susa. He is credited with the discovery of the Apadana, later excavated by the French amateur archaeologist Marcel-Auguste Dieulafoy. Engaged in 1853 by the newly founded Assyrian Excavation Fund to conduct excavations in Warka, Loftus worked at the site from January to April 1854, uncovering the famous coloured clay cone wall and some tablets written in cuneiform script. In October of the same year he transferred to Nineveh, and also worked at Nimrud, where in February 1855 he found the so-called "Burnt Palace" of the Assyrian king Assurnasirpal II and a hoard of exquisite ivories.

Michelangelo's The Virgin and Child with Saint John and Angels, also known as the Manchester Madonna, c. 1497 Oscar Gustave Rejlander allegorical photographic montage, The Two Ways of Life, first exhibited at the Manchester Art Treasures Exhibition in 1857 The exhibition comprised over 16,000 works split into 10 categories – Pictures by Ancient Masters, Pictures by Modern Masters, British Portraits and Miniatures, Water Colour Drawings, Sketches and Original Drawings (Ancient), Engravings, Illustrations of Photography, Works of Oriental Art, Varied Objects of Oriental Art, and Sculpture. The collection included 5,000 paintings and drawings by "Modern Masters" such as Hogarth, Gainsborough, Turner, Constable, and the Pre- Raphaelites, and 1,000 works by European Old Masters, including Rubens, Raphael, Titian and Rembrandt; several hundred sculptures; photographs, including Crimean War images by James Robertson and the photographic tableau Two Ways of Life by Oscar Gustave Rejlander; and other works of decorative arts, such as Wedgwood china, Sèvres and Meissen porcelain, Venetian glass, Limoges enamels, ivories, tapestries, furniture, tableware and armour. The Committee bought the collection of Jules Soulages of Toulouse, founder of the Société Archéologique du Midi de la France for £13,500 to form the core of the collection of medieval and Renaissance decorative arts.

Gallery Part of the Pre-Raphaelite Collection Sculpture Gallery Front of the museum The Walker's collection includes Italian and Netherlandish paintings from 1300–1550, European art from 1550–1900, including works by Giambattista Pittoni, Rembrandt, Poussin and Degas, 18th and 19th-century British art, including a major collection of Victorian painting and many Pre-Raphaelite works, a wide collection of prints, drawings and watercolours, 20th-century works by artists such as Lucian Freud, David Hockney and Gilbert and George and a major sculpture collection."Collections", National Museums Liverpool Retrieved 25 June 2010 The select collection of minor or decorative arts covers a wide range, from Gothic ivories to British ceramics up to the present day. The first John Moores Contemporary Painting Prize exhibition was held in 1957. Sponsored by Sir John Moores, founder of Littlewoods, the competition has been held every two years ever since and is the biggest painting prize in the UK."John Moores Contemporary Painting Prize", National Museums Liverpool Retrieved 25 June 2010 There is a regular programme of temporary exhibitions which in 2009-10 has included Aubrey Williams, Bridget Riley, Sickert and Freud.

For the town of Brussels he executed The Four Continents (Maison du Renard, Grand, Place), The Lansquenets crowning the lucarnes of the Maison de Roi, and the Monument at Everard 't Serclaes under the arcades of the Maison de l'Etoile, and, for the Belgian government, Flemish Art, German Art, Classic Art and Art applied to Industry (all in the Centre for Fine Arts, Brussels), The Laurel at the Botanical Garden of Brussels, and the statue of Bernard van Orley (Petit Sablon Square, Brussels). Additional works produced by Dillens include An Enigma (1876), the bronze busts of Rogier de la Pasture and P. P. Rubens (1879), Etruria (1880), The Painter Leon Frederic (1888), Madame Léon Herbo, Hermes, a scheme of decoration for the ogival façade of the hotel de ville at Ghent (1893), The Genius of the Funeral Monument of the Moselli Family, The Silence of Death (for the entrance of the cemetery of St Gilles), two caryatids for the town hall of St Gilles, presentation plaquette to Dr Heger, medals of MM. Godefroid and Vanderkindere and of The Three Burgomasters of Brussels, and the ivories Allegretto, Minerva and the Jamaer Memorial. Dillens died in Brussels in November 1904.

Please follow to Estense Gallery for more details. Established in 1854 by Francesco V of Austria-Este and located since 1894 at its current address in the Palazzo dei Musei, the Estense Gallery includes four salons and sixteen exhibition rooms dedicated to the artistic heritage nurtured by the dukes and duchesses of Este throughout their years as leaders of Ferrara, but mostly focusing on the period following the move of the ducal seat capital from Ferrara to Modena in 1598. Gathered by aristocratic collectors with multiple interests, the Este collections include a rich collection of paintings dating from the fourteenth to the eighteenth centuries, including a group from the Po Valley school of painting, various sculptures in marble and terracotta; a large number of high quality decorative objects which formed part of the sumptuous furnishings in the various ducal residence, as well as important collections of drawings, bronzes, majolica, medals, ivories and musical instruments. Among the works by famous artists are a Pietà by Cima da Conegliano, a Madonna with Child by Correggio, a Portrait of Francesco I d'Este by Velázquez, a Triptych by El Greco, a marble bust of Francesco I d'Este by Bernini and a Crucifix by Guido Reni.