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style="color:transparent;max-width:100%;height:auto;--img-bg-color:#68583d;--img-color:#fff" sizes="(max-width: 960px) 85vw, 30vw" srcSet="https://cdn.sanity.io/images/cctd4ker/production/6a5556d3c48e72411149fb48ef147b3bd8911583-250x309.jpg?w=256&q=75&fit=clip&auto=format 256w, https://cdn.sanity.io/images/cctd4ker/production/6a5556d3c48e72411149fb48ef147b3bd8911583-250x309.jpg?w=384&q=75&fit=clip&auto=format 384w, https://cdn.sanity.io/images/cctd4ker/production/6a5556d3c48e72411149fb48ef147b3bd8911583-250x309.jpg?w=640&q=75&fit=clip&auto=format 640w, https://cdn.sanity.io/images/cctd4ker/production/6a5556d3c48e72411149fb48ef147b3bd8911583-250x309.jpg?w=750&q=75&fit=clip&auto=format 750w, https://cdn.sanity.io/images/cctd4ker/production/6a5556d3c48e72411149fb48ef147b3bd8911583-250x309.jpg?w=828&q=75&fit=clip&auto=format 828w, https://cdn.sanity.io/images/cctd4ker/production/6a5556d3c48e72411149fb48ef147b3bd8911583-250x309.jpg?w=1080&q=75&fit=clip&auto=format 1080w, https://cdn.sanity.io/images/cctd4ker/production/6a5556d3c48e72411149fb48ef147b3bd8911583-250x309.jpg?w=1200&q=75&fit=clip&auto=format 1200w, https://cdn.sanity.io/images/cctd4ker/production/6a5556d3c48e72411149fb48ef147b3bd8911583-250x309.jpg?w=1920&q=75&fit=clip&auto=format 1920w, https://cdn.sanity.io/images/cctd4ker/production/6a5556d3c48e72411149fb48ef147b3bd8911583-250x309.jpg?w=2048&q=75&fit=clip&auto=format 2048w, https://cdn.sanity.io/images/cctd4ker/production/6a5556d3c48e72411149fb48ef147b3bd8911583-250x309.jpg?w=3840&q=75&fit=clip&auto=format 3840w" src="https://cdn.sanity.io/images/cctd4ker/production/6a5556d3c48e72411149fb48ef147b3bd8911583-250x309.jpg?w=3840&q=75&fit=clip&auto=format"/></div></div><div class="publication-details-box_publicationText__CwWiF"><h1 style="margin:0"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">Metropolitan Museum Studies in Art, Science, and Technology</span></h1><div class="publication-details-box_authorText__WeZg9">Various authors</div><div class="publication-details-box_authorText__WeZg9">2010</div><div class="publication-details-box_additionalDetails__tJaHx"><div>164 pages</div><div>175 illustrations</div></div><div class="library-and-store-links_container__uZIAB" data-sentry-component="LibraryAndStoreLinks" data-sentry-source-file="index.jsx"><div class="library-and-store-links_printStatusMessage__wCYGV">This title is out of print.</div><div style="--grid-gap:var(--spacing-micro);--grid-columns:2" class="grid_gridByColumnCount__TeDpp grid_grid__Z8NYn " data-sentry-element="Element" data-sentry-source-file="index.jsx" data-sentry-component="GridContainer"><div class="dropdown-navigation_container__umkPG" data-sentry-component="DropdownNavigation" data-sentry-source-file="index.tsx"><button class="dropdown-navigation_button__Wy6bS secondary" data-sentry-element="Button" data-sentry-source-file="index.jsx" data-sentry-component="Button">Find in a library<svg xmlns="http://www.w3.org/2000/svg" width="1em" height="1em" fill="none" viewBox="0 0 48 48" class="undefined undefined" data-sentry-element="ChevronDown" data-sentry-source-file="index.tsx"><path fill="currentColor" stroke="currentColor" stroke-width="0.5" d="m40.277 13.5 2.223 2.077L24.489 34.5 6.5 15.579 8.723 13.5l15.813 16.888z"></path></svg></button></div><a class="button secondary" href="https://cdn.sanity.io/files/cctd4ker/production/360ea262d52ce5dffd98714174bbc38dc9072f7c.pdf">Download PDF (185.21 MB)</a><a class="button secondary" href="http://books.google.com/books?id=WC6dhyxENZsC&pg=frontcover">Read online</a></div></div></div></div></section><section class="page-section_wrapper__mFtQK" data-sentry-element="PageSection" data-sentry-source-file="index.jsx" data-sentry-component="PageSection"><div class="tab-drawer_wrapper__Go80z undefined" data-sentry-component="TabDrawers" data-sentry-source-file="index.tsx"><div class="tabs_wrapper__xVpUT undefined" data-sentry-component="Tabs" data-sentry-source-file="index.jsx"><fieldset class="tabs_fieldset__NRtDM"><legend data-sentry-element="Element" data-sentry-source-file="index.jsx" class="screen-reader-only_text__226tQ" data-sentry-component="ScreenReaderOnly">View More Publication Info</legend><div class="tabs_tab__shByP"><input type="radio" id="Table of contents-tab-id" class="tabs_input__mwg3g" name="publications-tabs" checked="" value="Table of contents"/><label for="Table of contents-tab-id" class="tabs_label__YG6gQ tabs_small__4mOy2"><div class="tabs_tabText__tixoU">Table of contents</div></label></div><div class="tabs_tab__shByP"><input type="radio" id="About the authors-tab-id" class="tabs_input__mwg3g" name="publications-tabs" value="About the authors"/><label for="About the authors-tab-id" class="tabs_label__YG6gQ tabs_small__4mOy2"><div class="tabs_tabText__tixoU">About the authors</div></label></div><div class="tabs_tab__shByP"><input type="radio" id="Praise-tab-id" class="tabs_input__mwg3g" name="publications-tabs" value="Praise"/><label for="Praise-tab-id" class="tabs_label__YG6gQ tabs_small__4mOy2"><div class="tabs_tabText__tixoU">Praise</div></label></div></fieldset></div><div class="tab-drawer_bodyWrapper__qg8iy tab-drawer_divider__uAZwv"><p>Director's Foreword<br/><em>Thomas P. Campbell</em></p><p>Acknowledgments</p><p>The Practice of Objects Conservation in The Metropolitan Museum of Art (1870–1942)<br/><em>Lawrence Becker and Deborah Schorsch</em></p><p>Twelfth-Century French Polychrome Sculpture in The Metropolitan Museum of Art: Materials and Techniques<br/><em>Lucretia Kargère and Adriana Rizzo</em></p><p>Evidence for the Use of Azurite and Natural Ultramarine Pigments in Ancient Egypt<br/><em>Ann Heywood</em></p><p>Technical Study of Three Allegorical Paintings by Paolo Veronese: "The Choice between Virtue and Vice, Wisdom and Strength," and "Mars and Venus United by Love"<br/><em>Dorothy Mahon, Silvia A. Centeno, Mark T. Wypyski, Xavier F. Salomon, and Andrea Bayer</em></p><p>Compositional Study of Medieval Islamic Enameled Glass from The Metropolitan Museum of Art<br/><em>Mark T. Wypyski</em></p><p>Piece-Molding Casting: A Chinese Tradition for Fourth- and Fifth-Century Bronze Buddha Images<br/><em>Donna Strahan</em></p><p>Petrographic and Mineralogical Analysis of the Casting Core of a Chinese Bronze "Buddha Maitreya"<br/><em>Federico Carò</em></p><p>Manuscript Guidelines</p></div></div></section><section id="met-art-in-publication" class="page-section_clampedWidthWrapper__kBLdL" data-sentry-component="PageSection" data-sentry-source-file="index.jsx"><div class="component-header_wrapper__kS6_W" data-sentry-component="ComponentHeader" data-sentry-source-file="index.jsx"><div class="component-header_titleAndLinkWrapper__mDA0q"><div><h2><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">Met Art in Publication</span></h2></div></div><p class="component-header_description__yxN6Q"></p></div><section class="object-grid_grid__hKKqs"><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/242017"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/242017/539629/main-image" alt="Limestone statue of Aphrodite holding winged Eros, Limestone, Cypriot"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Limestone statue of Aphrodite holding winged Eros" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/242017">Limestone statue of Aphrodite holding winged Eros</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn">Cypriot</div><div>late 4th century BCE</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/252923"></a><div class="no-image_wrapper__7bKy3" data-sentry-component="NoImage" data-sentry-source-file="index.jsx"><svg xmlns="http://www.w3.org/2000/svg" width="1em" height="1em" fill="none" viewBox="0 0 24 24" class="no-image_icon__9HFYF" data-sentry-element="NoImageIcon" data-sentry-source-file="index.jsx"><path fill="currentColor" d="M3.147 2.228a.65.65 0 1 0-.92.919l18.626 18.625a.65.65 0 0 0 .92-.919zM20.994 18.898V5.46a2 2 0 0 0-2-2H5.555l1.649 1.649h11.287a1 1 0 0 1 1 1v11.287zM3.016 5.163l1.46 1.46v9.487c1.363-2.43 3.664-5.65 3.664-5.65l4.391 6.421 1.016-1.187 5.744 5.744a2.006 2.006 0 0 1-.297.022h-14a2 2 0 0 1-2-2v-14c0-.101.007-.2.022-.297"></path><path fill="currentColor" d="M16.494 9.46a1.5 1.5 0 1 0 0-3 1.5 1.5 0 0 0 0 3M18.371 16.276l-1.98-3.905-.888 1.037z"></path></svg></div></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Terracotta volute-krater (bowl for mixing wine and water)" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/252923">Terracotta volute-krater (bowl for mixing wine and water)</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"><div>Polion</div></div><div>ca. 420 BCE</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/549020"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/549020/1317379/main-image" alt="Coffin of Harmose, Wood, gesso, paint, gold"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Coffin of Harmose" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/549020">Coffin of Harmose</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"></div><div>ca. 1479–1458 B.C.</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/544206"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/544206/1348533/main-image" alt="Lintel of Amenemhat I and Deities, Limestone, paint"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Lintel of Amenemhat I and Deities" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/544206">Lintel of Amenemhat I and Deities</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"></div><div>ca. 1981–1952 B.C.</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/544449"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/544449/1179859/main-image" alt="Large Kneeling Statue of Hatshepsut, Granite"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Large Kneeling Statue of Hatshepsut" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/544449">Large Kneeling Statue of Hatshepsut</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"></div><div>ca. 1479–1458 B.C.</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/548223"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/548223/2215174/main-image" alt="Statuette of Harpokrates, gilded silver"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Statuette of Harpokrates" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/548223">Statuette of Harpokrates</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"></div><div>304–30 B.C.</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/12071"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/12071/35316/restricted" alt="Edward Robinson, John Singer Sargent American, Oil on canvas, American"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Edward Robinson" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/12071">Edward Robinson</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"><div>John Singer Sargent</div></div><div>1903</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/552049"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/552049/1216707/main-image" alt="Seated Harpokrates with the crown of Amun, named as "Harpokrates-the-great, the eldest, the first of Amun", Cupreous metal, precious metal inlay"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Seated Harpokrates with the crown of Amun, named as "Harpokrates-the-great, the eldest, the first of Amun"" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/552049">Seated Harpokrates with the crown of Amun, named as "Harpokrates-the-great, the eldest, the first of Amun"</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"></div><div>664–30 B.C.</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/565010"></a><div class="no-image_wrapper__7bKy3" data-sentry-component="NoImage" data-sentry-source-file="index.jsx"><svg xmlns="http://www.w3.org/2000/svg" width="1em" height="1em" fill="none" viewBox="0 0 24 24" class="no-image_icon__9HFYF" data-sentry-element="NoImageIcon" data-sentry-source-file="index.jsx"><path fill="currentColor" d="M3.147 2.228a.65.65 0 1 0-.92.919l18.626 18.625a.65.65 0 0 0 .92-.919zM20.994 18.898V5.46a2 2 0 0 0-2-2H5.555l1.649 1.649h11.287a1 1 0 0 1 1 1v11.287zM3.016 5.163l1.46 1.46v9.487c1.363-2.43 3.664-5.65 3.664-5.65l4.391 6.421 1.016-1.187 5.744 5.744a2.006 2.006 0 0 1-.297.022h-14a2 2 0 0 1-2-2v-14c0-.101.007-.2.022-.297"></path><path fill="currentColor" d="M16.494 9.46a1.5 1.5 0 1 0 0-3 1.5 1.5 0 0 0 0 3M18.371 16.276l-1.98-3.905-.888 1.037z"></path></svg></div></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Linen, from Wah's Mummy" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/565010">Linen, from Wah's Mummy</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"></div><div>ca. 1981–1975 B.C.</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/545189"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/545189/1343146/main-image" alt="Necklace of Wah, Silver, linen cord"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Necklace of Wah" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/545189">Necklace of Wah</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"></div><div>ca. 1981–1975 B.C.</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/544228"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/544228/1343141/main-image" alt="Scarab of the Storehouse Overseer Wah, Silver, electrum, glazed steatite, linen cord"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Scarab of the Storehouse Overseer Wah" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/544228">Scarab of the Storehouse Overseer Wah</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"></div><div>ca. 1981–1975 B.C.</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/472389"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/472389/935814/main-image" alt="Virgin and Child, Limestone, paint, gilt, glass, French"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Virgin and Child" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/472389">Virgin and Child</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn">French</div><div>ca. 1340–50</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/470311"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/470311/951335/main-image" alt="Enthroned Virgin and Child, Birch with paint and glass, French"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Enthroned Virgin and Child" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/470311">Enthroned Virgin and Child</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn">French</div><div>ca. 1130–1140</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/472227"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/472227/1512973/main-image" alt="Abacus, Stone, European"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Abacus" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/472227">Abacus</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn">European</div><div>20th century</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/471853"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/471853/935802/main-image" alt="Enthroned Virgin and Child, Walnut with gesso, paint, tin leaf, traces of linen, and possible human remains, French"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Enthroned Virgin and Child" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/471853">Enthroned Virgin and Child</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn">French</div><div>1150–1200</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/463795"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/463795/953347/main-image" alt="Virgin and Child in Majesty, Walnut with paint, tin relief on a lead white ground, and linen, French"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Virgin and Child in Majesty" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/463795">Virgin and Child in Majesty</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn">French</div><div>ca. 1175–1200</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/544326"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/544326/1476464/main-image" alt="Coffin of Khnumnakht, Wood, paint"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Coffin of Khnumnakht" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/544326">Coffin of Khnumnakht</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"></div><div>ca. 1850–1750 B.C.</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/544518"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/544518/1903568/main-image" alt="Painter's Palette Inscribed with the Name of Amenhotep III, Ivory, pigment"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Painter's Palette Inscribed with the Name of Amenhotep III" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/544518">Painter's Palette Inscribed with the Name of Amenhotep III</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"></div><div>ca. 1390–1352 B.C.</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/546301"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/546301/1083029/restricted" alt="Inner rectangular coffin of Hapiankhtifi, Coniferous wood (Taxus sp.), paint"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Inner rectangular coffin of Hapiankhtifi" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/546301">Inner rectangular coffin of Hapiankhtifi</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"></div><div>ca. 1981–1802 B.C.</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" rel="noreferrer" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/547676"></a><img loading="lazy" class="collection-object_image__XVQPm collection-object_gridView__8kZLF" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/547676/1084287/main-image" alt="Fragment of a Leather Hanging(?) with an Erotic Scene, Leather (probably goat), paint"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Fragment of a Leather Hanging(?) with an Erotic Scene" rel="noreferrer" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/547676">Fragment of a Leather Hanging(?) with an Erotic Scene</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"></div><div>ca. 1550–1458 B.C.</div></div></figcaption></figure></section><div class="load-more-wrapper_controls__jvvRg"><div class="load-more-wrapper_helperText__frGRS">Showing 20 of 32</div><button tabindex="0" class="load-more-wrapper_button__1lQCC">Load more <svg xmlns="http://www.w3.org/2000/svg" fill="none" style="transform:rotate(90deg)" viewBox="0 0 48 48" width="1em" height="1em" data-sentry-element="DownChevron" data-sentry-source-file="index.tsx"><path 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class="shelf_slider__c2o5b"><div class="publication-card_card__I2Znr" data-sentry-component="PublicationCard" data-sentry-source-file="index.tsx"><div class="publication-card_imageWrapper__35Jn2"><img alt="Cover of Metropolitan Museum Studies in Art, Science, and Technology, Volume 2" data-loading="true" data-sentry-element="Image" data-sentry-component="SanityImage" data-sentry-source-file="index.jsx" loading="lazy" width="250" height="297" decoding="async" data-nimg="1" class="sanity-image_img__cWxRo publication-card_image__xMOzw" style="color:transparent;max-width:100%;height:auto" sizes="250px" srcSet="https://cdn.sanity.io/images/cctd4ker/production/755fc127bbb9c1a51e4a1b0bfa1472feaec83127-250x297.jpg?w=16&q=75&fit=clip&auto=format 16w, https://cdn.sanity.io/images/cctd4ker/production/755fc127bbb9c1a51e4a1b0bfa1472feaec83127-250x297.jpg?w=32&q=75&fit=clip&auto=format 32w, 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https://cdn.sanity.io/images/cctd4ker/production/755fc127bbb9c1a51e4a1b0bfa1472feaec83127-250x297.jpg?w=750&q=75&fit=clip&auto=format 750w, https://cdn.sanity.io/images/cctd4ker/production/755fc127bbb9c1a51e4a1b0bfa1472feaec83127-250x297.jpg?w=828&q=75&fit=clip&auto=format 828w, https://cdn.sanity.io/images/cctd4ker/production/755fc127bbb9c1a51e4a1b0bfa1472feaec83127-250x297.jpg?w=1080&q=75&fit=clip&auto=format 1080w, https://cdn.sanity.io/images/cctd4ker/production/755fc127bbb9c1a51e4a1b0bfa1472feaec83127-250x297.jpg?w=1200&q=75&fit=clip&auto=format 1200w, https://cdn.sanity.io/images/cctd4ker/production/755fc127bbb9c1a51e4a1b0bfa1472feaec83127-250x297.jpg?w=1920&q=75&fit=clip&auto=format 1920w, https://cdn.sanity.io/images/cctd4ker/production/755fc127bbb9c1a51e4a1b0bfa1472feaec83127-250x297.jpg?w=2048&q=75&fit=clip&auto=format 2048w, https://cdn.sanity.io/images/cctd4ker/production/755fc127bbb9c1a51e4a1b0bfa1472feaec83127-250x297.jpg?w=3840&q=75&fit=clip&auto=format 3840w" src="https://cdn.sanity.io/images/cctd4ker/production/755fc127bbb9c1a51e4a1b0bfa1472feaec83127-250x297.jpg?w=3840&q=75&fit=clip&auto=format"/><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/met-publications/metropolitan-museum-studies-in-art-science-and-technology-volume-2"></a></div><div class="publication-card_body__gdoKj"><h4 class="publication-card_heading__fie9z"><a data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/met-publications/metropolitan-museum-studies-in-art-science-and-technology-volume-2"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">Metropolitan Museum Studies in Art, Science, and Technology, Volume 2</span></a></h4><div class="publication-card_date__0K8zx">2014</div></div><div class="publication-card_badgeWrapper__y1I4t"><div class="badge_badge__Uonuj" style="color:var(--color-grey-900)" data-sentry-component="Badge" data-sentry-source-file="index.tsx">Free to download</div></div></div><div class="publication-card_card__I2Znr" data-sentry-component="PublicationCard" data-sentry-source-file="index.tsx"><div class="publication-card_imageWrapper__35Jn2"><img alt="Journal v 52 cover" data-loading="true" data-sentry-element="Image" data-sentry-component="SanityImage" data-sentry-source-file="index.jsx" loading="lazy" width="250" height="304" decoding="async" data-nimg="1" class="sanity-image_img__cWxRo publication-card_image__xMOzw" style="color:transparent;max-width:100%;height:auto" sizes="250px" srcSet="https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=16&q=75&fit=clip&auto=format 16w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=32&q=75&fit=clip&auto=format 32w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=48&q=75&fit=clip&auto=format 48w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=64&q=75&fit=clip&auto=format 64w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=96&q=75&fit=clip&auto=format 96w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=128&q=75&fit=clip&auto=format 128w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=256&q=75&fit=clip&auto=format 256w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=384&q=75&fit=clip&auto=format 384w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=640&q=75&fit=clip&auto=format 640w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=750&q=75&fit=clip&auto=format 750w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=828&q=75&fit=clip&auto=format 828w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=1080&q=75&fit=clip&auto=format 1080w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=1200&q=75&fit=clip&auto=format 1200w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=1920&q=75&fit=clip&auto=format 1920w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=2048&q=75&fit=clip&auto=format 2048w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=3840&q=75&fit=clip&auto=format 3840w" src="https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=3840&q=75&fit=clip&auto=format"/><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/met-publications/the-metropolitan-museum-journal-volume-52-2017"></a></div><div class="publication-card_body__gdoKj"><h4 class="publication-card_heading__fie9z"><a data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/met-publications/the-metropolitan-museum-journal-volume-52-2017"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">Metropolitan Museum Journal, Volume 52 (2017)</span></a></h4><div class="publication-card_date__0K8zx">2017</div></div><div class="publication-card_badgeWrapper__y1I4t"><div class="badge_badge__Uonuj" style="color:var(--color-grey-900)" data-sentry-component="Badge" data-sentry-source-file="index.tsx">Free to download</div></div></div><div class="publication-card_card__I2Znr" data-sentry-component="PublicationCard" data-sentry-source-file="index.tsx"><div class="publication-card_imageWrapper__35Jn2"><img alt=""Scientific Research in The Metropolitan Museum of Art": The Metropolitan Museum of Art Bulletin, v. 67, no. 1 (Summer, 2009)" data-loading="true" data-sentry-element="Image" data-sentry-component="SanityImage" data-sentry-source-file="index.jsx" loading="lazy" width="250" height="323" decoding="async" data-nimg="1" class="sanity-image_img__cWxRo publication-card_image__xMOzw" style="color:transparent;max-width:100%;height:auto" sizes="250px" srcSet="https://cdn.sanity.io/images/cctd4ker/production/f87eda62907901158041a3b982b885761f7dc556-250x323.jpg?w=16&q=75&fit=clip&auto=format 16w, https://cdn.sanity.io/images/cctd4ker/production/f87eda62907901158041a3b982b885761f7dc556-250x323.jpg?w=32&q=75&fit=clip&auto=format 32w, https://cdn.sanity.io/images/cctd4ker/production/f87eda62907901158041a3b982b885761f7dc556-250x323.jpg?w=48&q=75&fit=clip&auto=format 48w, https://cdn.sanity.io/images/cctd4ker/production/f87eda62907901158041a3b982b885761f7dc556-250x323.jpg?w=64&q=75&fit=clip&auto=format 64w, https://cdn.sanity.io/images/cctd4ker/production/f87eda62907901158041a3b982b885761f7dc556-250x323.jpg?w=96&q=75&fit=clip&auto=format 96w, https://cdn.sanity.io/images/cctd4ker/production/f87eda62907901158041a3b982b885761f7dc556-250x323.jpg?w=128&q=75&fit=clip&auto=format 128w, https://cdn.sanity.io/images/cctd4ker/production/f87eda62907901158041a3b982b885761f7dc556-250x323.jpg?w=256&q=75&fit=clip&auto=format 256w, https://cdn.sanity.io/images/cctd4ker/production/f87eda62907901158041a3b982b885761f7dc556-250x323.jpg?w=384&q=75&fit=clip&auto=format 384w, https://cdn.sanity.io/images/cctd4ker/production/f87eda62907901158041a3b982b885761f7dc556-250x323.jpg?w=640&q=75&fit=clip&auto=format 640w, https://cdn.sanity.io/images/cctd4ker/production/f87eda62907901158041a3b982b885761f7dc556-250x323.jpg?w=750&q=75&fit=clip&auto=format 750w, https://cdn.sanity.io/images/cctd4ker/production/f87eda62907901158041a3b982b885761f7dc556-250x323.jpg?w=828&q=75&fit=clip&auto=format 828w, https://cdn.sanity.io/images/cctd4ker/production/f87eda62907901158041a3b982b885761f7dc556-250x323.jpg?w=1080&q=75&fit=clip&auto=format 1080w, https://cdn.sanity.io/images/cctd4ker/production/f87eda62907901158041a3b982b885761f7dc556-250x323.jpg?w=1200&q=75&fit=clip&auto=format 1200w, https://cdn.sanity.io/images/cctd4ker/production/f87eda62907901158041a3b982b885761f7dc556-250x323.jpg?w=1920&q=75&fit=clip&auto=format 1920w, https://cdn.sanity.io/images/cctd4ker/production/f87eda62907901158041a3b982b885761f7dc556-250x323.jpg?w=2048&q=75&fit=clip&auto=format 2048w, https://cdn.sanity.io/images/cctd4ker/production/f87eda62907901158041a3b982b885761f7dc556-250x323.jpg?w=3840&q=75&fit=clip&auto=format 3840w" src="https://cdn.sanity.io/images/cctd4ker/production/f87eda62907901158041a3b982b885761f7dc556-250x323.jpg?w=3840&q=75&fit=clip&auto=format"/><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/met-publications/scientific-research-the-metropolitan-museum-of-art-bulletin-v-67-no-1-summer-2009"></a></div><div class="publication-card_body__gdoKj"><h4 class="publication-card_heading__fie9z"><a data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/met-publications/scientific-research-the-metropolitan-museum-of-art-bulletin-v-67-no-1-summer-2009"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">"Scientific Research in The Metropolitan Museum of Art"</span></a></h4><div class="publication-card_date__0K8zx">2009</div></div><div class="publication-card_badgeWrapper__y1I4t"><div class="badge_badge__Uonuj" style="color:var(--color-grey-900)" data-sentry-component="Badge" data-sentry-source-file="index.tsx">Free to download</div></div></div><div class="publication-card_card__I2Znr" data-sentry-component="PublicationCard" data-sentry-source-file="index.tsx"><div class="publication-card_imageWrapper__35Jn2"><img alt=""Appearance and Reality: Recent Studies in Conservation": The Metropolitan Museum of Art Bulletin, v. 55, no. 3 (Winter, 1997-1998)" data-loading="true" data-sentry-element="Image" data-sentry-component="SanityImage" data-sentry-source-file="index.jsx" loading="lazy" width="250" height="333" decoding="async" data-nimg="1" class="sanity-image_img__cWxRo publication-card_image__xMOzw" style="color:transparent;max-width:100%;height:auto" sizes="250px" srcSet="https://cdn.sanity.io/images/cctd4ker/production/0f6e6d7114760e4a4e2f00827ee98aad637a33e1-250x333.jpg?w=16&q=75&fit=clip&auto=format 16w, https://cdn.sanity.io/images/cctd4ker/production/0f6e6d7114760e4a4e2f00827ee98aad637a33e1-250x333.jpg?w=32&q=75&fit=clip&auto=format 32w, https://cdn.sanity.io/images/cctd4ker/production/0f6e6d7114760e4a4e2f00827ee98aad637a33e1-250x333.jpg?w=48&q=75&fit=clip&auto=format 48w, https://cdn.sanity.io/images/cctd4ker/production/0f6e6d7114760e4a4e2f00827ee98aad637a33e1-250x333.jpg?w=64&q=75&fit=clip&auto=format 64w, https://cdn.sanity.io/images/cctd4ker/production/0f6e6d7114760e4a4e2f00827ee98aad637a33e1-250x333.jpg?w=96&q=75&fit=clip&auto=format 96w, https://cdn.sanity.io/images/cctd4ker/production/0f6e6d7114760e4a4e2f00827ee98aad637a33e1-250x333.jpg?w=128&q=75&fit=clip&auto=format 128w, https://cdn.sanity.io/images/cctd4ker/production/0f6e6d7114760e4a4e2f00827ee98aad637a33e1-250x333.jpg?w=256&q=75&fit=clip&auto=format 256w, https://cdn.sanity.io/images/cctd4ker/production/0f6e6d7114760e4a4e2f00827ee98aad637a33e1-250x333.jpg?w=384&q=75&fit=clip&auto=format 384w, https://cdn.sanity.io/images/cctd4ker/production/0f6e6d7114760e4a4e2f00827ee98aad637a33e1-250x333.jpg?w=640&q=75&fit=clip&auto=format 640w, https://cdn.sanity.io/images/cctd4ker/production/0f6e6d7114760e4a4e2f00827ee98aad637a33e1-250x333.jpg?w=750&q=75&fit=clip&auto=format 750w, https://cdn.sanity.io/images/cctd4ker/production/0f6e6d7114760e4a4e2f00827ee98aad637a33e1-250x333.jpg?w=828&q=75&fit=clip&auto=format 828w, https://cdn.sanity.io/images/cctd4ker/production/0f6e6d7114760e4a4e2f00827ee98aad637a33e1-250x333.jpg?w=1080&q=75&fit=clip&auto=format 1080w, https://cdn.sanity.io/images/cctd4ker/production/0f6e6d7114760e4a4e2f00827ee98aad637a33e1-250x333.jpg?w=1200&q=75&fit=clip&auto=format 1200w, https://cdn.sanity.io/images/cctd4ker/production/0f6e6d7114760e4a4e2f00827ee98aad637a33e1-250x333.jpg?w=1920&q=75&fit=clip&auto=format 1920w, https://cdn.sanity.io/images/cctd4ker/production/0f6e6d7114760e4a4e2f00827ee98aad637a33e1-250x333.jpg?w=2048&q=75&fit=clip&auto=format 2048w, https://cdn.sanity.io/images/cctd4ker/production/0f6e6d7114760e4a4e2f00827ee98aad637a33e1-250x333.jpg?w=3840&q=75&fit=clip&auto=format 3840w" src="https://cdn.sanity.io/images/cctd4ker/production/0f6e6d7114760e4a4e2f00827ee98aad637a33e1-250x333.jpg?w=3840&q=75&fit=clip&auto=format"/><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/met-publications/appearance-and-reality-the-metropolitan-museum-of-art-bulletin-v-55-no-3-winter-1997-1998"></a></div><div class="publication-card_body__gdoKj"><h4 class="publication-card_heading__fie9z"><a data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/met-publications/appearance-and-reality-the-metropolitan-museum-of-art-bulletin-v-55-no-3-winter-1997-1998"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">"Appearance and Reality: Recent Studies in Conservation"</span></a></h4><div class="publication-card_date__0K8zx">1997</div></div><div class="publication-card_badgeWrapper__y1I4t"><div class="badge_badge__Uonuj" style="color:var(--color-grey-900)" data-sentry-component="Badge" data-sentry-source-file="index.tsx">Free to download</div></div></div><div class="publication-card_card__I2Znr" data-sentry-component="PublicationCard" data-sentry-source-file="index.tsx"><div class="publication-card_imageWrapper__35Jn2"><img alt="Journal v 52 cover" data-loading="true" data-sentry-element="Image" data-sentry-component="SanityImage" data-sentry-source-file="index.jsx" loading="lazy" width="250" height="304" decoding="async" data-nimg="1" class="sanity-image_img__cWxRo publication-card_image__xMOzw" style="color:transparent;max-width:100%;height:auto" sizes="250px" srcSet="https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=16&q=75&fit=clip&auto=format 16w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=32&q=75&fit=clip&auto=format 32w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=48&q=75&fit=clip&auto=format 48w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=64&q=75&fit=clip&auto=format 64w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=96&q=75&fit=clip&auto=format 96w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=128&q=75&fit=clip&auto=format 128w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=256&q=75&fit=clip&auto=format 256w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=384&q=75&fit=clip&auto=format 384w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=640&q=75&fit=clip&auto=format 640w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=750&q=75&fit=clip&auto=format 750w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=828&q=75&fit=clip&auto=format 828w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=1080&q=75&fit=clip&auto=format 1080w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=1200&q=75&fit=clip&auto=format 1200w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=1920&q=75&fit=clip&auto=format 1920w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=2048&q=75&fit=clip&auto=format 2048w, https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=3840&q=75&fit=clip&auto=format 3840w" src="https://cdn.sanity.io/images/cctd4ker/production/b151bf35de36a5ac74c82493bd9430e90e2e78d1-250x304.jpg?w=3840&q=75&fit=clip&auto=format"/><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/met-publications/kernrosenfieldcaroshibayama-metropolitan-museum-journal-v-52-2017"></a></div><div class="publication-card_body__gdoKj"><h4 class="publication-card_heading__fie9z"><a data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/met-publications/kernrosenfieldcaroshibayama-metropolitan-museum-journal-v-52-2017"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">"The Sacred and the Modern: A Multidisciplinary Study of the History, Conservation, and Science of the Madina Sitārah"</span></a></h4><div class="publication-card_date__0K8zx">2017</div></div></div></div></div></section><section id="related-content" class="page-section_clampedWidthWrapper__kBLdL" data-sentry-component="PageSection" data-sentry-source-file="index.jsx"><div class="component-header_wrapper__kS6_W" data-sentry-component="ComponentHeader" data-sentry-source-file="index.jsx"><div class="component-header_titleAndLinkWrapper__mDA0q"><div><h2><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">Related Content</span></h2></div></div><p 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In this work the goddess is clearly identified as Aphrodite by the small figure of her son Eros, winged god of love, who perches on her shoulder. The Cypriots did not adopt a conventional Greek way to represent Aphrodite but transferred their own iconography for the Great Goddess of the island to their images of Aphrodite. From the ninth to the sixth century B.C. images of the Cypriot Great Goddess were inspired by Eastern art, especially that of the Syro-Phoenician goddess Astarte, who appeared nude. From the fifth century the local goddess was shown with a high round headdress decorated with vegetal and floral motifs, as befits a fertility goddess. Here Aphrodite wears such a crown decorated with palmettes alternating with nude females—recalling the figures of Astarte. She has long locks falling over her shoulders, a motif taken from early Greek sculpture, and she wears a chiton with himation (cloak) drawn up over the back of the headdress.50:T72c,In this relief Amenemhat I is shown celebrating his thirty-year jubilee (\u003ci\u003eSed Festival\u003c/i\u003e), ritually demonstrating that he was still vigorous and fit to rule. The king is flanked by the jackal-headed god Anubis and the falcon-headed Horus, deities closely associated with coronation rituals; each god offers him an \u003ci\u003eankh\u003c/i\u003e, the hieroglyph for life. To the left stands Nekhbet, patron goddess of Upper Egypt (the south), and on the right is Wadjet of Lower Egypt (the north), creating a symmetrical composition that evokes the unified land. The king wears a tightly curled wig, with an uraeus cobra on his brow to protect him f"])</script><script>self.__next_f.push([1,"rom his enemies, and the false beard of kingship. He carries a flail, also a symbol of his rule, and a ceremonial instrument known as a \u003ci\u003emekes\u003c/I\u003e.\u003cbr/\u003e\u003cbr/\u003eThe first king of Dynasty 12, Amenemhat I is known to have been born in the south of Egypt, and may have served as vizier to the last ruler of the previous dynasty, Mentuhotep IV. Early in his reign, he moved the capital from Thebes to a new city in the north, Itj-tawy. In order to ensure the stability of his new dynasty, he also appears to have established a coregency with his son, Senwosret I, ten years before his demise.\u003cbr/\u003e\u003cbr/\u003eThis block was found in the foundations of the king's mortuary temple at Lisht, the royal cemetery of the new capital. It was reused from an earlier building that stood either at the same site or somewhere else in the area of Itj-tawy. The low relief carving is delicate, with many details only indicated by the well-preserved paint. In style, it is transitional between the Theban reliefs of Dynasty 11 (see for example \u003ca href=\"https://www.metmuseum.org/art/collection/search/548212\"\u003e07.230.2\u003c/a\u003e) and that of the \"Memphite\" (northern) school, which would become the classical style of the Middle Kingdom.51:T7fc,On the upper terrace of Hatshepsut's temple at Deir el-Bahri, the central sanctuary was dedicated to the god Amun-Re, whose principal place of worship was Karnak temple, located across the Nile, on the east bank of the river. During a yearly festival, called the Beautiful Feast of the Valley, the god's image was transported across the river to the west bank. Carrying the god in his sacred barque, the festival procession followed a roadway lined with sphinxes that led to Hatshepsut’s temple. On the middle terrace, the pathway was flanked by colossal kneeling statues that represented Hatshepsut as the ideal Egyptian king - a young man in the prime of life. \u003cbr/\u003e\u003cbr/\u003eSome of the statues were depicted wearing the white crown of Upper Egypt (\u003ca href=\"https://www.metmuseum.org/art/collection/search/544448\"\u003e30.3.1\u003c/a\u003e). Others, li"])</script><script>self.__next_f.push([1,"ke this one and \u003ca href=\"https://www.metmuseum.org/art/collection/search/544447\"\u003e30.3.2\u003c/a\u003e, wear the \u003ci\u003enemes\u003c/i\u003e-headcloth. Hatshepsut also wears the false beard and \u003ci\u003eshendyt\u003c/i\u003e-kilt that are part of the regalia of a king. Looking at the side of her face it's possible to see the strap that holds this false beard in place (fig. 1). The inscription on this statue indicates that Hatshepsut is offering Amun \u003ci\u003eMaat\u003c/i\u003e (translated as order, truth, or justice). By making this offering, Hatshepsut affirms that \u003ci\u003eMaat\u003c/i\u003e is the guiding principal of her reign. \u003cbr/\u003e\u003cbr/\u003eThe fragments of these statues were discovered during several seasons of excavations by the Museum’s Egyptian Expedition. The statues were reassembled as much as possible in the field (see attached photographs). In the division of finds, the most complete examples were sent to the Egyptian Museum in Cairo. Fragments of the statues given to the Metropolitan Museum were reconstructed in New York by attaching them to metal armatures and filling in the gaps with plaster (Figs. 2–4). Although the plaster has been tinted to blend with the stone, it is possible to distinguish the original stone fragments from the plaster fill.52:T51a,The figure represents a child god in a seated/reclining position, wearing the double feather crown, complete with a streamer at the back. The crown associates him with the god Amun, a connection that is also made explicit in the inscription on the base. The child god, as here, is usually distinguished from adult gods by a range of iconographic clues: his nudity, the finger raised to the mouth (a child-like gesture), and a sidelock on the right side of his head. The sidelock was cast separately and was then mechanically attached to the crown with a pin. The braiding is inlaid with silver.\u003cbr/\u003eChild gods grew in popularity and cult from the Third Intermediate Period onwards, rivaling even the most powerful and ancient gods, especially as temple offerings. Because of their profusion and many local forms, generally it is very"])</script><script>self.__next_f.push([1," difficult to assign precise identities to child gods, but an inscription on the base names this figure as Harpokrates. Horus the child (or Harpokrates) is best known as the son of Osiris and Isis, but in some cases, such as this one and 25.184.19, he is also referred to as the son of Amun. Such multi-layered associations are common to Egyptian religion, which had no strict canon perse and which, by this point in time, was built upon millennia of change and adaptation.53:T623,This large silver scarab is of exceptionally fine workmanship. It was cast in several sections that were soldered together. Details on the legs, head, and wing cases and the scroll meander pattern on the base were chased. An electrum suspension tube runs through the length of the scarab and the Inlaid hieroglyphs on the scarab's wing cases are electrum, an alloy of gold and silver. Their light color renders them almost invisible unless the scarab is tarnished. The inscription on the left wing case list Wah's name and his title \"overseer of the storehouse\" (more broadly speaking, \"estate manager\"). Those on the right name his employer, the \"nobleman\" Meketre.\u003cbr/\u003e\u003cbr/\u003eMeketre, an important official who began his career under Mentuhotep II of Dynasty 11 and continued to serve successive kings into early Dynasty 12, had an imposing tomb built in Western Thebes and Wah was buried in a small tomb nearby. Wah's burial was found intact by the Museum excavators and the entire tomb group, including the wrapped mummy, coffin, funerary offerings, and numerous linen sheets came to the Museum in the division of finds in 1920. In 1939, x-rays of Wah's mummy revealed the presence of jewelry, some made of metal, and in 1940 the mummy was unwrapped. Among the pieces of personal jewelry were three scarab and bead bracelets (this one, \u003ca href=\"https://www.metmuseum.org/art/collection/search/545187\"\u003e40.3.13\u003c/a\u003e, and \u003ca href=\"https://www.metmuseum.org/art/collection/search/545120\"\u003e40.3.14\u003c/a\u003e). All three were found in wrappings over the wrists of Wah's mu"])</script><script>self.__next_f.push([1,"mmy.54:T517,The brilliantly painted exterior of the coffin of Khnumnakht, an individual unknown except for his name, displays the multiplicity of texts and decorative panels characteristic of coffin decoration in the late Middle Kingdom. It has at least one feature—the figure of the goddess on the head end—that is rare before the late Middle Kingdom. The figures and hieroglyphs have been drawn by the confident hand of a skilled artist and each hieroglyph has been carefully painted in the prescribed manner of the time and place in which the coffin was made.\u003cbr/\u003e\u003cbr/\u003eOn the left side of the coffin box there is an architectural facade with a small doorway in the center at the bottom. This is the equivalent of the Old Kingdom false door, which allowed the spirit of the deceased to move between the land of the dead and the land of the living. In this case, it is painted to resemble two wooden door leaves secured with two door bolts. Above the door are two eyes that look forth into the land of the living. The face of the mummy would have been directly behind this panel. The rest of the exterior is inscribed with invocations to, and recitations by, various primeval deities, particularly those associated with death and rebirth, such as Osiris, foremost god of the dead, and Anubis, god of embalming.55:T551,This fragment of painted leather was found in debris during the clearance of a Middle Kingdom tomb some two hundred yards east of Hatshepsut's temple at Deir el-Bahri. No other New Kingdom material was found in this tomb, but the hairstyle of the harpist, her clothing and jewelry, and her willowy, long-waisted figure date the piece to early Dynasty 18.\u003cbr/\u003e\u003cbr/\u003eThe erotic nature of the scene, with its naked male dancer, suggests that this piece was inteneded for the shrine of the goddess Hathor at Deir el-Bahri. In her aspect as a fertility goddess, Hathor was associated with Bes, a fertility god who was depicted as part human, part lion. The nude figure may be either a priest or a mummer who would have worn a mask "])</script><script>self.__next_f.push([1,"and played the part of Bes at a festival honoring the goddess. The dancer and the partially preserved man in the register above both carry an object with multiple brown strands. These have been described as scourges, but they could as easily be some sort of percussion instrument used to accompany the music and to placate the goddess.\u003cbr/\u003e\u003cbr/\u003eThe material is probably goat hide. Two holes in the leather were patched before the surface was painted. The lower left corner has been reinforced with a patch of red-dyed leather that holds a leather tie. This suggests that the piece was attached to an item of furniture or tied to a pole.56:T45f,Vessels of this characteristic shape, a rounded bowl with a pronounced, tall foot, were sometimes called tazze and were thought to evoke Christian chalices. They became popular in the Islamic eastern Mediterranean during the twelfth and thirteenth centuries, a period of active exchange between the Islamic and Christian worlds. This piece is among the earliest known examples of enameled glass. 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In that role, she worked closely with the curators in the Department of Egyptian Art on all new acquisitions and gifts, outgoing and incoming loans, gallery conditions, special exhibitions, permanent gallery installations, and materials and technology research. Her own research has focused on the pigments of ancient Egypt. She joined the Department of Objects Conservation in 1988 after graduate work in art history and conservation at the Institute of Fine Arts at New York University. 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Cambridge: Fitzwilliam Museum: University of Cambridge, 2010.\",\"_key\":\"219563ceeb3d2\"}],\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"894010996a53\",\"markDefs\":[]},{\"_key\":\"13a1361e2df2\",\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"Heywood, Ann. “Evidence for the Use of Azurite and Natural Ultramarine Pigments in Ancient Egypt.” \",\"_key\":\"5f6c5a8463570\"},{\"_type\":\"span\",\"marks\":[\"em\"],\"text\":\"Metropolitan Museum Studies in Art, Science, and Technology 1\",\"_key\":\"5f6c5a8463571\"},{\"marks\":[],\"text\":\" (2010): 73–81.\",\"_key\":\"5f6c5a8463572\",\"_type\":\"span\"}],\"_type\":\"block\",\"style\":\"normal\"},{\"_key\":\"2f07ba2b3d92\",\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"Heywood, Ann. “The Use of Huntite as a White Pigment in Ancient Egypt.” In \",\"_key\":\"965c1ec5fa7a0\"},{\"marks\":[\"em\"],\"text\":\"Colour and Painting in Ancient Egypt\",\"_key\":\"965c1ec5fa7a1\",\"_type\":\"span\"},{\"_type\":\"span\",\"marks\":[],\"text\":\", edited by W. V. Davies, 5–9. London: British Museum Press, 2001.\",\"_key\":\"965c1ec5fa7a2\"}],\"_type\":\"block\",\"style\":\"normal\"}],\"titleSuffix\":\"\",\"firstName\":\"Ann\",\"headshot\":{\"_type\":\"image\",\"alt\":\"Headshot of Ann Heywood\",\"asset\":{\"_ref\":\"image-f514f0dad0677fee4d279c69c6318fe5c6b479ad-2010x2680-jpg\",\"_type\":\"reference\"}},\"middleName\":\"\",\"slug\":{\"current\":\"ann-heywood\"}},{\"lastName\":\"Centeno\",\"displayName\":\"\",\"_type\":\"person\",\"firstName\":\"Silvia\",\"headshot\":{\"_type\":\"image\",\"alt\":\"Headshot of Silvia Centeno\",\"asset\":{\"_ref\":\"image-68a883393ef5f2e304e9bb85014d16c06183acd5-2010x2680-jpg\",\"_type\":\"reference\"}},\"titlePrefix\":\"\",\"slug\":{\"current\":\"silvia-a-centeno\"},\"titleSuffix\":\"\",\"_createdAt\":\"2023-08-23T17:05:40Z\",\"_id\":\"345305A6-0C91-45C8-B088-88FF87F64213\",\"_rev\":\"UrxBk5b8nDlnAIZv8lNsOJ\",\"bibliography\":[{\"children\":[{\"text\":\"Centeno, Silvia A., Mahon, Dorothy, Carò, Federico, Pullins, David. “\",\"_key\":\"a158053687af0\",\"_type\":\"span\",\"marks\":[]},{\"_type\":\"span\",\"marks\":[\"9caecb69c853\"],\"text\":\"Discovering the evolution of Jacques-Louis David’s portrait of Antoine-Laurent and Marie-Anne Pierrette Paulze Lavoisier.\",\"_key\":\"a158053687af1\"},{\"_type\":\"span\",\"marks\":[],\"text\":\"” Heritage Science, 9 (2021): 84. https://doi.org/10.1186/s40494-021-00551-y.\",\"_key\":\"a158053687af2\"}],\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"e02a2730d653\",\"markDefs\":[{\"_type\":\"link\",\"href\":\"https://heritagesciencejournal.springeropen.com/articles/10.1186/s40494-021-00551-y\",\"_key\":\"9caecb69c853\"}]},{\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"1a30aa2ddf59\",\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"Centeno, Silvia A. “The Spectroscopic Study of Pigments and Binders in Works of Art,” In J.M. Madariaga Ed. Analytical Strategies for Cultural Heritage Materials and their Degradation. Cambridge, UK: The Royal Society of Chemistry (2021): 183–200\",\"_key\":\"38e36c5c85360\"}]},{\"_key\":\"958a82163c3c\",\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"Centeno, Silvia A., Mahon, Dorothy, Carò, Federico, and Lazarte Luna, José Luis. “New light on the use of wood ash residues in the ground preparations of Baroque paintings from Spain, North and South America.” In A. H. Christensen, A. Jager and J.H. Townsend (eds.) Ground Layers in European Painting 1550–1750. London and Copenhagen: Archetype Publications and CATS 28 (2020): 21–30.\",\"_key\":\"d229b4fc8f670\"}],\"_type\":\"block\",\"style\":\"normal\"},{\"style\":\"normal\",\"_key\":\"c05a881a88db\",\"markDefs\":[{\"_type\":\"link\",\"href\":\"https://www.researchgate.net/profile/Silvia-Centeno-2\",\"_key\":\"1733148a102b\"}],\"children\":[{\"marks\":[],\"text\":\"ResearchGate: \",\"_key\":\"cd03538ab8670\",\"_type\":\"span\"},{\"_key\":\"cd03538ab8671\",\"_type\":\"span\",\"marks\":[\"1733148a102b\"],\"text\":\"Publications by Silvia A. Centeno\"}],\"_type\":\"block\"}],\"sitecoreDisplayName\":\"Silvia A. Centeno\",\"biography\":[{\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"Silvia A. Centeno focuses on artists' materials and techniques and deterioration processes in paintings, photographs, and works of art on paper. She received a PhD in chemistry from Universidad Nacional de La Plata, Argentina, and started at The Met as an L. W. Frohlich Fellow to study unusual gilding techniques in Pre-Columbian metalwork. She has published and lectured on a number of topics, including pigment- and platinum-based photographic processes, daguerreotypes, heavy-metal soap deterioration in oil paintings, modern paints, early lithographic inks, and Renaissance paintings. She currently leads interdisciplinary team projects working on the elucidation of nineteenth-century photographic processes and on the deterioration of oil paintings.\",\"_key\":\"4455c0faab0c0\"}],\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"faeb3e0b9646\"}],\"sitecoreIds\":[\"{345305A6-0C91-45C8-B088-88FF87F64213}\",\"{8CB81368-EBC2-4238-B0C2-2D4D3A49F682}\"],\"middleName\":\"A.\",\"_updatedAt\":\"2024-08-09T20:30:12Z\"},{\"_rev\":\"4bzlbtE25UledjYM2GOvIZ\",\"sitecoreIds\":[\"{CA2978D2-3B18-41F3-BC8A-3086E1544916}\",\"{FCC7159C-D84B-41BC-93C7-A05D0B301883}\",\"{3505D34A-C7CE-47CF-94BC-36C7E2F1D31E}\"],\"headshot\":{\"_type\":\"image\",\"alt\":\"Headshot of Deborah Schorsch\",\"asset\":{\"_ref\":\"image-10065070e086f96c66de5ede1416c25ecb837ece-2010x2680-jpg\",\"_type\":\"reference\"}},\"biography\":[{\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"Deborah Schorsch received her graduate training in art history and conservation at NYU’s Institute of Fine Arts. Her professional focus is the technical study of metalwork and other materials from ancient Egypt. In close collaboration with the Museum’s Egyptian art curators, she has studied ritual statuary, jewelry, and utilitarian implements of gold, silver, bronze, and copper, documenting manufacturing processes and materials in order to define ancient technological styles. She has also lectured and published on ancient and ethnographic metalwork from the Near East, Peru, West Africa, Europe, and India, and on the history of conservation practice at The Met and has participated on excavations and conservation educational initiatives in North and South America, Africa, Europe, and Asia.\",\"_key\":\"ea10872ecf740\"}],\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"a980f3e27463\"}],\"bibliography\":[{\"children\":[{\"text\":\"Schorsch, Deborah. “Ritual Metal Statuary in Ancient Egypt: ‘A Long Life and a Great and Good Old Age.’” In \",\"_key\":\"73c1a04bf8c90\",\"_type\":\"span\",\"marks\":[]},{\"marks\":[\"em\"],\"text\":\"Statues in Context: Production, Meaning and (Re)uses\",\"_key\":\"73c1a04bf8c91\",\"_type\":\"span\"},{\"_type\":\"span\",\"marks\":[],\"text\":\", edited by Aurelia Masson-Berghoff, 249–68. British Museum Publications on Egypt and Sudan. Peeters. Leuven, 2019.\",\"_key\":\"73c1a04bf8c92\"}],\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"68978109ece5\",\"markDefs\":[]},{\"style\":\"normal\",\"_key\":\"e0fddcb4805f\",\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"Schorsch, Deborah, Lawrence Becker, and Federico Carò. “Enlightened Technology: Casting Divinity in the Gupta Age.” \",\"_key\":\"9e6ef5c8e8c00\"},{\"text\":\"Arts of Asia\",\"_key\":\"9e6ef5c8e8c01\",\"_type\":\"span\",\"marks\":[\"em\"]},{\"_type\":\"span\",\"marks\":[],\"text\":\" 49, no. 2 (Mar–Apr 2019): 131–43.\",\"_key\":\"9e6ef5c8e8c02\"}],\"_type\":\"block\"},{\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"4331c01cd561\",\"markDefs\":[{\"_type\":\"link\",\"href\":\"https://www.metmuseum.org/art/metpublications/search-publication-results?searchType=C\u0026Tag=\u0026title=\u0026author=Deborah%20Schorsch\u0026pt=0\u0026tc=0\u0026dept=0\u0026fmt=0\",\"_key\":\"c130f21be6f5\"}],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"MetPublications: \",\"_key\":\"c6603288a2750\"},{\"_type\":\"span\",\"marks\":[\"c130f21be6f5\"],\"text\":\"Selected publications by Deborah Schorsch\",\"_key\":\"c6603288a2751\"}]}],\"_updatedAt\":\"2024-07-29T19:09:24Z\",\"lastName\":\"Salomon\",\"displayName\":\"\",\"_type\":\"person\",\"firstName\":\"Deborah\",\"_createdAt\":\"2023-08-23T17:09:53Z\",\"titlePrefix\":\"\",\"slug\":{\"current\":\"salomon-deborah-schorsch\"},\"sitecoreDisplayName\":\"Salomon, Deborah Schorsch\",\"titleSuffix\":\"\",\"_id\":\"CA2978D2-3B18-41F3-BC8A-3086E1544916\"},{\"middleName\":\"\",\"displayName\":\"\",\"sitecoreIds\":[\"{EEA034FF-EE75-49DC-868B-059BAE3EF626}\",\"{D7407FAA-62D3-4D2F-B598-31A9C332C75E}\"],\"titleSuffix\":\"\",\"firstName\":\"Federico\",\"bibliography\":[{\"markDefs\":[],\"children\":[{\"_key\":\"77d18182934c0\",\"_type\":\"span\",\"marks\":[],\"text\":\"Carò, Federico, “Non-invasive XRF analysis of ancient Egyptian and near Eastern turquoise: A pilot study.” Journal of Archaeological Science: Reports, 36 (2021): 102893.\"}],\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"8484808d8d74\"},{\"style\":\"normal\",\"_key\":\"d4cb88878fcc\",\"markDefs\":[{\"_type\":\"link\",\"href\":\"https://heritagesciencejournal.springeropen.com/articles/10.1186/s40494-018-0166-5\",\"_key\":\"9ec166ca36a7\"}],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"Carò, Federico, Centeno, Silvia, and D. Mahon. “\",\"_key\":\"40dcd71c5e680\"},{\"marks\":[\"9ec166ca36a7\"],\"text\":\"Painting with Recycled Materials: On the morphology of calcite pseudomorphs as evidence of the use of wood ash residues in Baroque paintings\",\"_key\":\"40dcd71c5e681\",\"_type\":\"span\"},{\"text\":\".” Heritage Science, 6 (2018):3.\",\"_key\":\"40dcd71c5e682\",\"_type\":\"span\",\"marks\":[]}],\"_type\":\"block\"},{\"_key\":\"02e8e790eec2\",\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"Carò, Federico, and Janet Douglas. “Nature and Provenance of the Sandstone Used for Bayon Style Sculptures Produced During the Reign of Jayavarman VII.” Journal of Archaeological Science, 40 (2013): 723–734.\",\"_key\":\"40c46c6ebd2d0\"}],\"_type\":\"block\",\"style\":\"normal\"},{\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"ResearchGate: \",\"_key\":\"005c22e116830\"},{\"_key\":\"005c22e116831\",\"_type\":\"span\",\"marks\":[\"538c9c1c8432\"],\"text\":\"Publications by Federico Carò\"}],\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"9df04c93617e\",\"markDefs\":[{\"_type\":\"link\",\"href\":\"https://www.researchgate.net/profile/Federico_Caro\",\"_key\":\"538c9c1c8432\"}]}],\"titlePrefix\":\"\",\"_id\":\"EEA034FF-EE75-49DC-868B-059BAE3EF626\",\"slug\":{\"current\":\"federico-caro\"},\"lastName\":\"Carò\",\"_type\":\"person\",\"sitecoreDisplayName\":\"Federico Carò\",\"biography\":[{\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"3dbb471cdba9\",\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"Federico Carò received his PhD in earth science from the University of Pavia, Italy, where he worked on the characterization of natural and artificial building materials. At The Met, he investigates inorganic materials and techniques employed in artistic production, in close collaboration with conservators and curators. Particularly, his research interests focus on the mineralogical, petrographic, and geochemical characterization of stone and other geological materials in provenance and conservation studies. Since 2007, he has been involved in the study of Southeast Asian sculptural and architectural stone materials.\",\"_key\":\"816c8657cab70\"}]}],\"_rev\":\"O0vuxKgeMNuoujP6WMy59s\",\"headshot\":{\"_type\":\"image\",\"alt\":\"Headshot of Research Scientist\",\"asset\":{\"_ref\":\"image-ce150e06cfa66ed3202972d3108f8451c76d2318-2010x2680-jpg\",\"_type\":\"reference\"}},\"_createdAt\":\"2023-08-23T17:04:26Z\",\"_updatedAt\":\"2024-08-09T20:29:45Z\"},{\"displayName\":\"\",\"sitecoreIds\":[\"{A8B01272-22CF-4338-A84C-AC119BF4CE3A}\",\"{0A9DFE72-F9B2-4770-951D-768AF78ADF66}\"],\"_createdAt\":\"2023-08-23T17:11:09Z\",\"titlePrefix\":\"\",\"lastName\":\"Salomon\",\"titleSuffix\":\"\",\"_type\":\"person\",\"_id\":\"A8B01272-22CF-4338-A84C-AC119BF4CE3A\",\"_updatedAt\":\"2023-08-23T17:11:09Z\",\"_rev\":\"MUXgria13R37nUvk4gGVR2\",\"sitecoreDisplayName\":\"Xavier Salomon\",\"firstName\":\"Xavier\",\"middleName\":\"\",\"slug\":{\"current\":\"xavier-salomon\"}},{\"_rev\":\"aYGCZYnO9T0elayIrSUCCA\",\"lastName\":\"Salmon\",\"middleName\":\"\",\"_updatedAt\":\"2023-12-14T21:19:28Z\",\"_type\":\"person\",\"sitecoreIds\":[\"{B49529DD-B37F-4E43-BD71-5B5A71FB5023}\"],\"_createdAt\":\"2023-08-23T17:09:53Z\",\"slug\":{\"current\":\"salmon-xavier\"},\"displayName\":\"\",\"sitecoreDisplayName\":\"Salmon, Xavier\",\"titleSuffix\":\"\",\"firstName\":\"Xavier\",\"titlePrefix\":\"\",\"_id\":\"B49529DD-B37F-4E43-BD71-5B5A71FB5023\"},{\"sitecoreIds\":[\"{79B73C5E-F453-49D5-9AF4-7D30B56BD47D}\"],\"_createdAt\":\"2023-08-23T17:10:59Z\",\"_id\":\"79B73C5E-F453-49D5-9AF4-7D30B56BD47D\",\"lastName\":\"Wypyski\",\"_type\":\"person\",\"sitecoreDisplayName\":\"Wypyski, Mark T.\",\"firstName\":\"Mark\",\"middleName\":\"T.\",\"titlePrefix\":\"\",\"slug\":{\"current\":\"wypyski-mark-t\"},\"displayName\":\"\",\"_rev\":\"4vyIlJfwMwqB8NbLF52g8o\",\"biography\":[{\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"739ea7e8e571\",\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"Mark Wypyski graduated from Haverford College with a combined BS/BA degree, and earned graduate degrees in science, art history, and art conservation from Rutgers University and New York University’s Institute of Fine Arts. Having worked at The Met since 1986, he specializes in the application of electron microscopy and X-ray microanalysis for the characterization of art and archaeological materials. His many research projects over the years have concentrated mainly on compositional analysis of ancient and historic glasses and enamels.\",\"_key\":\"3a72c098f6210\"}]}],\"titleSuffix\":\"\",\"headshot\":{\"_type\":\"image\",\"alt\":\"Headshot of Mark Wypyski\",\"asset\":{\"_ref\":\"image-700c13397d3c9e032ce874cf62fc6d2155e742f4-2010x2680-jpg\",\"_type\":\"reference\"}},\"bibliography\":[{\"_key\":\"3d6ebc68988e\",\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"Mark Wypyski, “Chemical Analysis of Early Islamic Glass from Nishapur.” In Journal of Glass Studies 57 (2015): 121–136.\",\"_key\":\"2c39d63bf8b30\"}],\"_type\":\"block\",\"style\":\"normal\"},{\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"51f52dd006ba\",\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"Mark Wypyski, “Compositional Study of Medieval Islamic Enameled Glass from the Metropolitan Museum of Art.” In Metropolitan Museum Studies in Art, Science, and Technology 1 (2010): 109–132.\",\"_key\":\"2b6ea75bf4790\"}]},{\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"Mark Wypyski, “The Neptune Pendant: Renaissance Jewel or Nineteenth-Century Invention?” In The Metropolitan Museum of Art Bulletin 67, no. 1 (2009): 33–39.\",\"_key\":\"d70eefffb6f90\"}],\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"89823c43a3ae\"}],\"_updatedAt\":\"2024-08-09T20:33:29Z\"},{\"_type\":\"person\",\"sitecoreIds\":[\"{A062CB55-8DBD-476C-9C3C-9553E8E3632F}\",\"{6D7D8610-EE74-4B82-9B75-5DEB39D8AA4C}\"],\"firstName\":\"Lucretia\",\"displayName\":\"\",\"_rev\":\"4bzlbtE25UledjYM2GOddI\",\"titleSuffix\":\"\",\"_id\":\"A062CB55-8DBD-476C-9C3C-9553E8E3632F\",\"titlePrefix\":\"\",\"sitecoreDisplayName\":\"Kargère, Lucretia Goddard\",\"biography\":[{\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"Lucretia Kargère is Conservator for Medieval sculptures at The Metropolitan Museum of Art. She has been the principal conservator for The Met Cloisters since 2002. She came to The Met in 1996, when she was awarded the first of several fellowships for the technical study and treatment of medieval sculpture. Lucretia has published a significant study of French Romanesque sculptures from the Museum collection, and is the co-author of \",\"_key\":\"df807373d0b70\"},{\"_type\":\"span\",\"marks\":[\"em\"],\"text\":\"The Conservation of Medieval Polychrome Wood Sculpture\",\"_key\":\"df807373d0b71\"},{\"_type\":\"span\",\"marks\":[],\"text\":\" (Getty Publications 2020). She holds a BA from Brown University, and an MA in art history and advanced certificate in conservation from the Institute of Fine Arts at New York University.\",\"_key\":\"df807373d0b72\"}],\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"6b267077a01b\"}],\"bibliography\":[{\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"Marincola, Michele D., and Lucretia Kargère. \",\"_key\":\"c88cfcc6e9dc0\"},{\"text\":\"The Conservation of Medieval Polychrome Wood Sculpture: History, Theory, Practice\",\"_key\":\"c88cfcc6e9dc1\",\"_type\":\"span\",\"marks\":[\"em\"]},{\"_key\":\"c88cfcc6e9dc2\",\"_type\":\"span\",\"marks\":[],\"text\":\". Los Angeles: Getty Conservation Institute, 2020.\"}],\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"7aed951c6023\"},{\"style\":\"normal\",\"_key\":\"57392a391695\",\"markDefs\":[],\"children\":[{\"_key\":\"2eac26e551c90\",\"_type\":\"span\",\"marks\":[],\"text\":\"Kargère, Lucretia, Pierre-Yves Le Pogam, Juliette Lévy-Hinstin, and Nathalie Pingaud. “Un Christ roman auvergnatretrouve son unitégrâce à l'étude de la polychromie.” \"},{\"_key\":\"2eac26e551c91\",\"_type\":\"span\",\"marks\":[\"em\"],\"text\":\"Technè\"},{\"_key\":\"2eac26e551c92\",\"_type\":\"span\",\"marks\":[],\"text\":\" 39 (2014): 60–65.\"}],\"_type\":\"block\"},{\"markDefs\":[{\"_type\":\"link\",\"href\":\"https://www.metmuseum.org/art/metpublications/Metropolitan_Museum_Studies_in_Art_Science_and_Technology\",\"_key\":\"40f37b0674ca\"}],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"Kargère, Lucretia, and Adriana Rizzo. “Twelfth-Century French Polychrome Sculpture in The Metropolitan Museum of Art: Materials and Techniques.” \",\"_key\":\"7d6a93a75a850\"},{\"_type\":\"span\",\"marks\":[\"40f37b0674ca\",\"em\"],\"text\":\"Metropolitan Museum Studies in Art, Science, and Technology\",\"_key\":\"7d6a93a75a851\"},{\"_type\":\"span\",\"marks\":[],\"text\":\" \",\"_key\":\"7d6a93a75a852\"},{\"_key\":\"7d6a93a75a853\",\"_type\":\"span\",\"marks\":[\"em\"],\"text\":\"1\"},{\"marks\":[],\"text\":\" (2010): 39–72.\",\"_key\":\"7d6a93a75a854\",\"_type\":\"span\"}],\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"e619b1069c70\"}],\"_createdAt\":\"2023-08-23T17:08:15Z\",\"lastName\":\"Kargère\",\"headshot\":{\"_type\":\"image\",\"alt\":\"Headshot of Lucretia Kargère\",\"asset\":{\"_ref\":\"image-94a2f17136953ac58b59592c8b2366aab28a23cc-2010x2680-jpg\",\"_type\":\"reference\"}},\"_updatedAt\":\"2024-07-29T19:01:32Z\",\"slug\":{\"current\":\"lucretia-kargere\"}},{\"_type\":\"person\",\"sitecoreDisplayName\":\"Becker, Lawrence\",\"firstName\":\"Lawrence\",\"_createdAt\":\"2023-08-23T17:06:11Z\",\"_updatedAt\":\"2024-07-26T20:36:07Z\",\"slug\":{\"current\":\"becker-lawrence\"},\"lastName\":\"Becker\",\"titlePrefix\":\"\",\"_rev\":\"oyIUHkUBdFuSXDBDnDB47Q\",\"biography\":[{\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"Lawrence Becker was a member of the Museum’s conservation staff from 1980 to 1989. Following tenures at the Virginia Museum of Fine Arts and the Worcester Art Museum, he returned to The Met in 2003 as Sherman Fairchild Conservator in Charge of Objects Conservation, a position he held until 2014. Initially focusing on the conservation and study of archaeological sculpture and objects from Egypt, West Asia, and the Greco-Roman world, his interests gradually shifted toward the arts of South, Southeast, and East Asia. Larry received undergraduate and law degrees from Columbia University and graduate training in art history and conservation from the Institute of Fine Arts at New York University.\",\"_key\":\"e9a3ece4fb3c0\"}],\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"93ba69bab4b8\",\"markDefs\":[]}],\"sitecoreIds\":[\"{751337DD-0462-4B74-98BB-A1908CAB6793}\"],\"bibliography\":[{\"style\":\"normal\",\"_key\":\"2f8d8f34d9ca\",\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"Becker, Lawrence, and Christine Kondoleon. \",\"_key\":\"4b9325e5edba0\"},{\"marks\":[\"em\"],\"text\":\"The Arts of Antioch: Art Historical and Scientific Approaches to Roman Mosaics and a Catalogue of the Worcester Art Museum Antioch Collection\",\"_key\":\"4b9325e5edba1\",\"_type\":\"span\"},{\"_type\":\"span\",\"marks\":[],\"text\":\". Worcester, MA: Worcester Art Museum, 2005.\",\"_key\":\"4b9325e5edba2\"}],\"_type\":\"block\"},{\"markDefs\":[{\"href\":\"https://www.metmuseum.org/art/metpublications/Wisdom_Embodied_Chinese_Buddhist_and_Daoist_Sculpture_in_The_Metropolitan_Museum_of_Art?Tag=\u0026title=wisdom%20embodied\u0026author=\u0026pt=0\u0026tc=0\u0026dept=0\u0026fmt=0\",\"_key\":\"bda766fe71fc\",\"_type\":\"link\"}],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"Becker, Lawrence. “Technical Study of Two Northern Wei Altarpieces Dedicated to the Buddha Maitreya.” In \",\"_key\":\"aec5fde2c9420\"},{\"text\":\"Wisdom Embodied, Chinese Buddhist and Daoist Sculpture in the Metropolitan Museum of Art\",\"_key\":\"aec5fde2c9421\",\"_type\":\"span\",\"marks\":[\"bda766fe71fc\",\"em\"]},{\"_type\":\"span\",\"marks\":[],\"text\":\", by Denise Patry Leidy and Donna Strahan, 198–205. 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She received her Ph.D. from Princeton University in 1990, and has been on the staff of The Met since that time.\"}],\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"5828b46ec036\",\"markDefs\":[]},{\"_key\":\"5be143d228ee\",\"markDefs\":[],\"children\":[{\"_key\":\"c3aed4c9e818\",\"_type\":\"span\",\"marks\":[],\"text\":\"An expert on Italian Renaissance art, she has worked on a range of exhibitions, both thematic investigations—such as \"},{\"_type\":\"span\",\"marks\":[\"em\"],\"text\":\"Painters of Reality: The Legacy of Leonardo and Caravaggio in Lombardy\",\"_key\":\"a83dd537c752\"},{\"_type\":\"span\",\"marks\":[],\"text\":\" (2004) and \",\"_key\":\"39dc08c0fd14\"},{\"_type\":\"span\",\"marks\":[\"em\"],\"text\":\"Art and Love in Renaissance Italy\",\"_key\":\"8269079cdfdb\"},{\"_key\":\"f04b25e87b55\",\"_type\":\"span\",\"marks\":[],\"text\":\" (2008–9)—and monographic shows on artists such as Giambattista Tiepolo, Dosso Dossi, and Antonello da Messina. 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Centeno, Ann Heywood, Lucretia Kargère, Dorothy Mahon, Adriana Rizzo, Xavier F. Salomon, Deborah Schorsch, Donna Strahan, and Mark T. Wypyski\",\"numberOfIllustrations\":175,\"datePublished\":\"2010-01-01\",\"googleBookLink\":\"http://books.google.com/books?id=WC6dhyxENZsC\u0026pg=frontcover\",\"isbn\":\"9780300151602\",\"praise\":[{\"_type\":\"praise\",\"sourceName\":\"The Art Book\",\"text\":\"\\\"The final articles by Donna Strahan and Federico Caro deal in exemplary fashion with a series of Chinese Buddha statues ... 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Metropolitan Museum of Art, 2010.\",\"_key\":\"bdd402ea5c302\",\"_type\":\"span\"}],\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"bdd402ea5c30\"}],\"description\":null,\"_createdAt\":\"2023-09-28T19:53:43Z\",\"pdf\":{\"size\":194205700,\"url\":\"https://cdn.sanity.io/files/cctd4ker/production/360ea262d52ce5dffd98714174bbc38dc9072f7c.pdf\"},\"worldcatId\":\"501399861\"},\"title\":\"Metropolitan Museum Studies in Art, Science, and Technology\",\"data-sentry-element\":\"LibraryAndStoreLinks\",\"data-sentry-source-file\":\"index.jsx\"}]]}]]}],false]}],[\"$\",\"section\",null,{\"id\":null,\"className\":\"page-section_wrapper__mFtQK\",\"data-sentry-element\":\"PageSection\",\"data-sentry-source-file\":\"index.jsx\",\"data-sentry-component\":\"PageSection\",\"children\":[null,[\"$\",\"$L33\",null,{\"tabs\":[{\"name\":\"Table of contents\",\"body\":[[\"$\",\"p\",null,{\"children\":[\"Director's Foreword\",[\"$\",\"br\",null,{}],\"\",[\"$\",\"em\",null,{\"children\":[\"Thomas P. 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She is interested in the study of organic materials and their degradation, as well as conservation-related issues. Main analytical techniques she uses are spectroscopy (ATR-FTIR, FTIR, Raman) and chromatography-mass spectrometry (Py-GC/MS, GC/MS). Adriana received an MS degree in industrial chemistry from the University of Venice, Italy, and a postgraduate diploma in the conservation of easel paintings from the Courtauld Institute of Art.\"]}]]}]}],[\"$\",\"div\",null,{\"style\":{\"marginTop\":\"var(--spacing-xxs)\"},\"children\":[\"$\",\"div\",null,{\"className\":\"accordion_accordion__XhGIc\",\"style\":{\"--title-padding\":\"var(--spacing-micro)\"},\"children\":[[\"$\",\"details\",\"accordion-item-0\",{\"className\":\"accordion_details__KCDfm\",\"children\":[[\"$\",\"summary\",null,{\"className\":\"accordion_summary__bMgD_\",\"children\":[\"$\",\"div\",null,{\"className\":\"accordion_button__hY5el\",\"children\":[\"$\",\"div\",null,{\"children\":\"Selected publications\"}]}]}],[\"$\",\"div\",null,{\"className\":\"accordion_body__4G2Xj\",\"children\":[[\"$\",\"p\",null,{\"children\":[\"de Sá, Susana Franca, Kim Verkens, Adriana Rizzo, lGlenn Petersen, Sarah Scaturro, Ines Correia and Madalena Carita. 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Rozeik, J. Dawson, and M. Wright, 9–15. Cambridge: Fitzwilliam Museum: University of Cambridge, 2010.\"]}],[\"$\",\"p\",null,{\"children\":[\"Heywood, Ann. “Evidence for the Use of Azurite and Natural Ultramarine Pigments in Ancient Egypt.” \",[\"$\",\"em\",null,{\"children\":[\"Metropolitan Museum Studies in Art, Science, and Technology 1\"]}],\" (2010): 73–81.\"]}],[\"$\",\"p\",null,{\"children\":[\"Heywood, Ann. “The Use of Huntite as a White Pigment in Ancient Egypt.” In \",[\"$\",\"em\",null,{\"children\":[\"Colour and Painting in Ancient Egypt\"]}],\", edited by W. V. Davies, 5–9. London: British Museum Press, 2001.\"]}]]}]]}]]}]}]]}]]}],[\"$\",\"div\",null,{\"className\":\"person-card_personCard__NbYbq\",\"data-sentry-component\":\"PersonCard\",\"data-sentry-source-file\":\"index.tsx\",\"children\":[[\"$\",\"div\",null,{\"className\":\"person-card_imageWrapper___nkJh\",\"children\":[\"$\",\"$L2c\",null,{\"fill\":true,\"image\":\"$39\",\"sizes\":\"150px\"}]}],[\"$\",\"div\",null,{\"className\":\"person-card_body__EWv0i\",\"children\":[[\"$\",\"h4\",null,{\"className\":\"person-card_name__zEKc_\",\"children\":\"Silvia A. Centeno\"}],[\"$\",\"div\",null,{\"className\":\"person-card_subHeading__jzrxv\",\"children\":\"$undefined\"}],[\"$\",\"div\",null,{\"children\":[\"$\",\"$L34\",null,{\"maxLines\":8,\"data-sentry-element\":\"ReadMoreWrapper\",\"data-sentry-source-file\":\"index.tsx\",\"children\":[[\"$\",\"p\",null,{\"children\":[\"Silvia A. Centeno focuses on artists' materials and techniques and deterioration processes in paintings, photographs, and works of art on paper. She received a PhD in chemistry from Universidad Nacional de La Plata, Argentina, and started at The Met as an L. W. Frohlich Fellow to study unusual gilding techniques in Pre-Columbian metalwork. She has published and lectured on a number of topics, including pigment- and platinum-based photographic processes, daguerreotypes, heavy-metal soap deterioration in oil paintings, modern paints, early lithographic inks, and Renaissance paintings. She currently leads interdisciplinary team projects working on the elucidation of nineteenth-century photographic processes and on the deterioration of oil paintings.\"]}]]}]}],[\"$\",\"div\",null,{\"style\":{\"marginTop\":\"var(--spacing-xxs)\"},\"children\":[\"$\",\"div\",null,{\"className\":\"accordion_accordion__XhGIc\",\"style\":{\"--title-padding\":\"var(--spacing-micro)\"},\"children\":[[\"$\",\"details\",\"accordion-item-0\",{\"className\":\"accordion_details__KCDfm\",\"children\":[[\"$\",\"summary\",null,{\"className\":\"accordion_summary__bMgD_\",\"children\":[\"$\",\"div\",null,{\"className\":\"accordion_button__hY5el\",\"children\":[\"$\",\"div\",null,{\"children\":\"Selected publications\"}]}]}],[\"$\",\"div\",null,{\"className\":\"accordion_body__4G2Xj\",\"children\":[[\"$\",\"p\",null,{\"children\":[\"Centeno, Silvia A., Mahon, Dorothy, Carò, Federico, Pullins, David. “\",[\"$\",\"$L3b\",null,{\"className\":null,\"href\":\"https://heritagesciencejournal.springeropen.com/articles/10.1186/s40494-021-00551-y\",\"target\":\"_self\",\"rel\":\"noreferrer\",\"data-sentry-element\":\"Link\",\"data-sentry-component\":\"ExternalLink\",\"data-sentry-source-file\":\"index.jsx\",\"children\":[\"Discovering the evolution of Jacques-Louis David’s portrait of Antoine-Laurent and Marie-Anne Pierrette Paulze Lavoisier.\"]}],\"” Heritage Science, 9 (2021): 84. https://doi.org/10.1186/s40494-021-00551-y.\"]}],[\"$\",\"p\",null,{\"children\":[\"Centeno, Silvia A. “The Spectroscopic Study of Pigments and Binders in Works of Art,” In J.M. Madariaga Ed. Analytical Strategies for Cultural Heritage Materials and their Degradation. Cambridge, UK: The Royal Society of Chemistry (2021): 183–200\"]}],[\"$\",\"p\",null,{\"children\":[\"Centeno, Silvia A., Mahon, Dorothy, Carò, Federico, and Lazarte Luna, José Luis. “New light on the use of wood ash residues in the ground preparations of Baroque paintings from Spain, North and South America.” In A. H. Christensen, A. Jager and J.H. Townsend (eds.) Ground Layers in European Painting 1550–1750. London and Copenhagen: Archetype Publications and CATS 28 (2020): 21–30.\"]}],[\"$\",\"p\",null,{\"children\":[\"ResearchGate: \",[\"$\",\"$L3b\",null,{\"className\":null,\"href\":\"https://www.researchgate.net/profile/Silvia-Centeno-2\",\"target\":\"_self\",\"rel\":\"noreferrer\",\"data-sentry-element\":\"Link\",\"data-sentry-component\":\"ExternalLink\",\"data-sentry-source-file\":\"index.jsx\",\"children\":[\"Publications by Silvia A. Centeno\"]}]]}]]}]]}]]}]}]]}]]}],[\"$\",\"div\",null,{\"className\":\"person-card_personCard__NbYbq\",\"data-sentry-component\":\"PersonCard\",\"data-sentry-source-file\":\"index.tsx\",\"children\":[[\"$\",\"div\",null,{\"className\":\"person-card_imageWrapper___nkJh\",\"children\":[\"$\",\"$L2c\",null,{\"fill\":true,\"image\":\"$3c\",\"sizes\":\"150px\"}]}],[\"$\",\"div\",null,{\"className\":\"person-card_body__EWv0i\",\"children\":[[\"$\",\"h4\",null,{\"className\":\"person-card_name__zEKc_\",\"children\":\"Deborah Salomon\"}],[\"$\",\"div\",null,{\"className\":\"person-card_subHeading__jzrxv\",\"children\":\"$undefined\"}],[\"$\",\"div\",null,{\"children\":[\"$\",\"$L34\",null,{\"maxLines\":8,\"data-sentry-element\":\"ReadMoreWrapper\",\"data-sentry-source-file\":\"index.tsx\",\"children\":[[\"$\",\"p\",null,{\"children\":[\"Deborah Schorsch received her graduate training in art history and conservation at NYU’s Institute of Fine Arts. Her professional focus is the technical study of metalwork and other materials from ancient Egypt. In close collaboration with the Museum’s Egyptian art curators, she has studied ritual statuary, jewelry, and utilitarian implements of gold, silver, bronze, and copper, documenting manufacturing processes and materials in order to define ancient technological styles. She has also lectured and published on ancient and ethnographic metalwork from the Near East, Peru, West Africa, Europe, and India, and on the history of conservation practice at The Met and has participated on excavations and conservation educational initiatives in North and South America, Africa, Europe, and Asia.\"]}]]}]}],[\"$\",\"div\",null,{\"style\":{\"marginTop\":\"var(--spacing-xxs)\"},\"children\":[\"$\",\"div\",null,{\"className\":\"accordion_accordion__XhGIc\",\"style\":{\"--title-padding\":\"var(--spacing-micro)\"},\"children\":[[\"$\",\"details\",\"accordion-item-0\",{\"className\":\"accordion_details__KCDfm\",\"children\":[[\"$\",\"summary\",null,{\"className\":\"accordion_summary__bMgD_\",\"children\":[\"$\",\"div\",null,{\"className\":\"accordion_button__hY5el\",\"children\":[\"$\",\"div\",null,{\"children\":\"Selected publications\"}]}]}],[\"$\",\"div\",null,{\"className\":\"accordion_body__4G2Xj\",\"children\":[[\"$\",\"p\",null,{\"children\":[\"Schorsch, Deborah. “Ritual Metal Statuary in Ancient Egypt: ‘A Long Life and a Great and Good Old Age.’” In \",[\"$\",\"em\",null,{\"children\":[\"Statues in Context: Production, Meaning and (Re)uses\"]}],\", edited by Aurelia Masson-Berghoff, 249–68. British Museum Publications on Egypt and Sudan. Peeters. Leuven, 2019.\"]}],[\"$\",\"p\",null,{\"children\":[\"Schorsch, Deborah, Lawrence Becker, and Federico Carò. “Enlightened Technology: Casting Divinity in the Gupta Age.” \",[\"$\",\"em\",null,{\"children\":[\"Arts of Asia\"]}],\" 49, no. 2 (Mar–Apr 2019): 131–43.\"]}],[\"$\",\"p\",null,{\"children\":[\"MetPublications: \",[\"$\",\"$L3b\",null,{\"className\":null,\"href\":\"https://www.metmuseum.org/art/metpublications/search-publication-results?searchType=C\u0026Tag=\u0026title=\u0026author=Deborah%20Schorsch\u0026pt=0\u0026tc=0\u0026dept=0\u0026fmt=0\",\"target\":\"_self\",\"rel\":\"noreferrer\",\"data-sentry-element\":\"Link\",\"data-sentry-component\":\"ExternalLink\",\"data-sentry-source-file\":\"index.jsx\",\"children\":[\"Selected publications by Deborah Schorsch\"]}]]}]]}]]}]]}]}]]}]]}],[\"$\",\"div\",null,{\"className\":\"person-card_personCard__NbYbq\",\"data-sentry-component\":\"PersonCard\",\"data-sentry-source-file\":\"index.tsx\",\"children\":[[\"$\",\"div\",null,{\"className\":\"person-card_imageWrapper___nkJh\",\"children\":[\"$\",\"$L2c\",null,{\"fill\":true,\"image\":\"$3e\",\"sizes\":\"150px\"}]}],[\"$\",\"div\",null,{\"className\":\"person-card_body__EWv0i\",\"children\":[[\"$\",\"h4\",null,{\"className\":\"person-card_name__zEKc_\",\"children\":\"Federico Carò\"}],[\"$\",\"div\",null,{\"className\":\"person-card_subHeading__jzrxv\",\"children\":\"$undefined\"}],[\"$\",\"div\",null,{\"children\":[\"$\",\"$L34\",null,{\"maxLines\":8,\"data-sentry-element\":\"ReadMoreWrapper\",\"data-sentry-source-file\":\"index.tsx\",\"children\":[[\"$\",\"p\",null,{\"children\":[\"Federico Carò received his PhD in earth science from the University of Pavia, Italy, where he worked on the characterization of natural and artificial building materials. At The Met, he investigates inorganic materials and techniques employed in artistic production, in close collaboration with conservators and curators. Particularly, his research interests focus on the mineralogical, petrographic, and geochemical characterization of stone and other geological materials in provenance and conservation studies. Since 2007, he has been involved in the study of Southeast Asian sculptural and architectural stone materials.\"]}]]}]}],[\"$\",\"div\",null,{\"style\":{\"marginTop\":\"var(--spacing-xxs)\"},\"children\":[\"$\",\"div\",null,{\"className\":\"accordion_accordion__XhGIc\",\"style\":{\"--title-padding\":\"var(--spacing-micro)\"},\"children\":[[\"$\",\"details\",\"accordion-item-0\",{\"className\":\"accordion_details__KCDfm\",\"children\":[[\"$\",\"summary\",null,{\"className\":\"accordion_summary__bMgD_\",\"children\":[\"$\",\"div\",null,{\"className\":\"accordion_button__hY5el\",\"children\":[\"$\",\"div\",null,{\"children\":\"Selected publications\"}]}]}],[\"$\",\"div\",null,{\"className\":\"accordion_body__4G2Xj\",\"children\":[[\"$\",\"p\",null,{\"children\":[\"Carò, Federico, “Non-invasive XRF analysis of ancient Egyptian and near Eastern turquoise: A pilot study.” Journal of Archaeological Science: Reports, 36 (2021): 102893.\"]}],[\"$\",\"p\",null,{\"children\":[\"Carò, Federico, Centeno, Silvia, and D. Mahon. “\",[\"$\",\"$L3b\",null,{\"className\":null,\"href\":\"https://heritagesciencejournal.springeropen.com/articles/10.1186/s40494-018-0166-5\",\"target\":\"_self\",\"rel\":\"noreferrer\",\"data-sentry-element\":\"Link\",\"data-sentry-component\":\"ExternalLink\",\"data-sentry-source-file\":\"index.jsx\",\"children\":[\"Painting with Recycled Materials: On the morphology of calcite pseudomorphs as evidence of the use of wood ash residues in Baroque paintings\"]}],\".” Heritage Science, 6 (2018):3.\"]}],[\"$\",\"p\",null,{\"children\":[\"Carò, Federico, and Janet Douglas. “Nature and Provenance of the Sandstone Used for Bayon Style Sculptures Produced During the Reign of Jayavarman VII.” Journal of Archaeological Science, 40 (2013): 723–734.\"]}],[\"$\",\"p\",null,{\"children\":[\"ResearchGate: \",[\"$\",\"$L3b\",null,{\"className\":null,\"href\":\"https://www.researchgate.net/profile/Federico_Caro\",\"target\":\"_self\",\"rel\":\"noreferrer\",\"data-sentry-element\":\"Link\",\"data-sentry-component\":\"ExternalLink\",\"data-sentry-source-file\":\"index.jsx\",\"children\":[\"Publications by Federico Carò\"]}]]}]]}]]}]]}]}]]}]]}],[\"$\",\"div\",null,{\"className\":\"person-card_personCard__NbYbq\",\"data-sentry-component\":\"PersonCard\",\"data-sentry-source-file\":\"index.tsx\",\"children\":[[\"$\",\"div\",null,{\"className\":\"person-card_imageWrapper___nkJh\",\"children\":[\"$\",\"svg\",null,{\"xmlns\":\"http://www.w3.org/2000/svg\",\"width\":\"1em\",\"height\":\"1em\",\"fill\":\"none\",\"viewBox\":\"0 0 118 157\",\"className\":\"person-card_noImage__fMiMk\",\"children\":[\"$\",\"path\",null,{\"fill\":\"#E3E3E3\",\"fillRule\":\"evenodd\",\"d\":\"M22 37.5C22 58.21 38.79 75 59.5 75S97 58.21 97 37.5 80.21 0 59.5 0 22 16.79 22 37.5M59 75c-32.585 0-59 36.713-59 82h118c0-45.287-26.415-82-59-82\",\"clipRule\":\"evenodd\"}]}]}],[\"$\",\"div\",null,{\"className\":\"person-card_body__EWv0i\",\"children\":[[\"$\",\"h4\",null,{\"className\":\"person-card_name__zEKc_\",\"children\":\"Xavier Salomon\"}],[\"$\",\"div\",null,{\"className\":\"person-card_subHeading__jzrxv\",\"children\":\"$undefined\"}],[\"$\",\"div\",null,{\"children\":[\"$\",\"$L34\",null,{\"maxLines\":8,\"data-sentry-element\":\"ReadMoreWrapper\",\"data-sentry-source-file\":\"index.tsx\",\"children\":null}]}],null]}]]}],[\"$\",\"div\",null,{\"className\":\"person-card_personCard__NbYbq\",\"data-sentry-component\":\"PersonCard\",\"data-sentry-source-file\":\"index.tsx\",\"children\":[[\"$\",\"div\",null,{\"className\":\"person-card_imageWrapper___nkJh\",\"children\":[\"$\",\"svg\",null,{\"xmlns\":\"http://www.w3.org/2000/svg\",\"width\":\"1em\",\"height\":\"1em\",\"fill\":\"none\",\"viewBox\":\"0 0 118 157\",\"className\":\"person-card_noImage__fMiMk\",\"children\":\"$40\"}]}],[\"$\",\"div\",null,{\"className\":\"person-card_body__EWv0i\",\"children\":[[\"$\",\"h4\",null,{\"className\":\"person-card_name__zEKc_\",\"children\":\"Xavier Salmon\"}],[\"$\",\"div\",null,{\"className\":\"person-card_subHeading__jzrxv\",\"children\":\"$undefined\"}],[\"$\",\"div\",null,{\"children\":[\"$\",\"$L34\",null,{\"maxLines\":8,\"data-sentry-element\":\"ReadMoreWrapper\",\"data-sentry-source-file\":\"index.tsx\",\"children\":null}]}],null]}]]}],[\"$\",\"div\",null,{\"className\":\"person-card_personCard__NbYbq\",\"data-sentry-component\":\"PersonCard\",\"data-sentry-source-file\":\"index.tsx\",\"children\":[[\"$\",\"div\",null,{\"className\":\"person-card_imageWrapper___nkJh\",\"children\":[\"$\",\"$L2c\",null,{\"fill\":true,\"image\":\"$42\",\"sizes\":\"150px\"}]}],[\"$\",\"div\",null,{\"className\":\"person-card_body__EWv0i\",\"children\":[[\"$\",\"h4\",null,{\"className\":\"person-card_name__zEKc_\",\"children\":\"Mark T. Wypyski\"}],[\"$\",\"div\",null,{\"className\":\"person-card_subHeading__jzrxv\",\"children\":\"$undefined\"}],[\"$\",\"div\",null,{\"children\":[\"$\",\"$L34\",null,{\"maxLines\":8,\"data-sentry-element\":\"ReadMoreWrapper\",\"data-sentry-source-file\":\"index.tsx\",\"children\":[[\"$\",\"p\",null,{\"children\":[\"Mark Wypyski graduated from Haverford College with a combined BS/BA degree, and earned graduate degrees in science, art history, and art conservation from Rutgers University and New York University’s Institute of Fine Arts. Having worked at The Met since 1986, he specializes in the application of electron microscopy and X-ray microanalysis for the characterization of art and archaeological materials. His many research projects over the years have concentrated mainly on compositional analysis of ancient and historic glasses and enamels.\"]}]]}]}],[\"$\",\"div\",null,{\"style\":{\"marginTop\":\"var(--spacing-xxs)\"},\"children\":[\"$\",\"div\",null,{\"className\":\"accordion_accordion__XhGIc\",\"style\":{\"--title-padding\":\"var(--spacing-micro)\"},\"children\":[[\"$\",\"details\",\"accordion-item-0\",{\"className\":\"accordion_details__KCDfm\",\"children\":[[\"$\",\"summary\",null,{\"className\":\"accordion_summary__bMgD_\",\"children\":[\"$\",\"div\",null,{\"className\":\"accordion_button__hY5el\",\"children\":[\"$\",\"div\",null,{\"children\":\"Selected publications\"}]}]}],[\"$\",\"div\",null,{\"className\":\"accordion_body__4G2Xj\",\"children\":[[\"$\",\"p\",null,{\"children\":[\"Mark Wypyski, “Chemical Analysis of Early Islamic Glass from Nishapur.” In Journal of Glass Studies 57 (2015): 121–136.\"]}],[\"$\",\"p\",null,{\"children\":[\"Mark Wypyski, “Compositional Study of Medieval Islamic Enameled Glass from the Metropolitan Museum of Art.” In Metropolitan Museum Studies in Art, Science, and Technology 1 (2010): 109–132.\"]}],[\"$\",\"p\",null,{\"children\":[\"Mark Wypyski, “The Neptune Pendant: Renaissance Jewel or Nineteenth-Century Invention?” In The Metropolitan Museum of Art Bulletin 67, no. 1 (2009): 33–39.\"]}]]}]]}]]}]}]]}]]}],[\"$\",\"div\",null,{\"className\":\"person-card_personCard__NbYbq\",\"data-sentry-component\":\"PersonCard\",\"data-sentry-source-file\":\"index.tsx\",\"children\":[[\"$\",\"div\",null,{\"className\":\"person-card_imageWrapper___nkJh\",\"children\":[\"$\",\"$L2c\",null,{\"fill\":true,\"image\":\"$44\",\"sizes\":\"150px\"}]}],[\"$\",\"div\",null,{\"className\":\"person-card_body__EWv0i\",\"children\":[[\"$\",\"h4\",null,{\"className\":\"person-card_name__zEKc_\",\"children\":\"Lucretia Kargère\"}],[\"$\",\"div\",null,{\"className\":\"person-card_subHeading__jzrxv\",\"children\":\"$undefined\"}],[\"$\",\"div\",null,{\"children\":[\"$\",\"$L34\",null,{\"maxLines\":8,\"data-sentry-element\":\"ReadMoreWrapper\",\"data-sentry-source-file\":\"index.tsx\",\"children\":[[\"$\",\"p\",null,{\"children\":[\"Lucretia Kargère is Conservator for Medieval sculptures at The Metropolitan Museum of Art. She has been the principal conservator for The Met Cloisters since 2002. She came to The Met in 1996, when she was awarded the first of several fellowships for the technical study and treatment of medieval sculpture. Lucretia has published a significant study of French Romanesque sculptures from the Museum collection, and is the co-author of \",[\"$\",\"em\",null,{\"children\":[\"The Conservation of Medieval Polychrome Wood Sculpture\"]}],\" (Getty Publications 2020). She holds a BA from Brown University, and an MA in art history and advanced certificate in conservation from the Institute of Fine Arts at New York University.\"]}]]}]}],[\"$\",\"div\",null,{\"style\":{\"marginTop\":\"var(--spacing-xxs)\"},\"children\":[\"$\",\"div\",null,{\"className\":\"accordion_accordion__XhGIc\",\"style\":{\"--title-padding\":\"var(--spacing-micro)\"},\"children\":[[\"$\",\"details\",\"accordion-item-0\",{\"className\":\"accordion_details__KCDfm\",\"children\":[[\"$\",\"summary\",null,{\"className\":\"accordion_summary__bMgD_\",\"children\":[\"$\",\"div\",null,{\"className\":\"accordion_button__hY5el\",\"children\":[\"$\",\"div\",null,{\"children\":\"Selected publications\"}]}]}],[\"$\",\"div\",null,{\"className\":\"accordion_body__4G2Xj\",\"children\":[[\"$\",\"p\",null,{\"children\":[\"Marincola, Michele D., and Lucretia Kargère. \",[\"$\",\"em\",null,{\"children\":[\"The Conservation of Medieval Polychrome Wood Sculpture: History, Theory, Practice\"]}],\". Los Angeles: Getty Conservation Institute, 2020.\"]}],[\"$\",\"p\",null,{\"children\":[\"Kargère, Lucretia, Pierre-Yves Le Pogam, Juliette Lévy-Hinstin, and Nathalie Pingaud. “Un Christ roman auvergnatretrouve son unitégrâce à l'étude de la polychromie.” \",[\"$\",\"em\",null,{\"children\":[\"Technè\"]}],\" 39 (2014): 60–65.\"]}],[\"$\",\"p\",null,{\"children\":[\"Kargère, Lucretia, and Adriana Rizzo. “Twelfth-Century French Polychrome Sculpture in The Metropolitan Museum of Art: Materials and Techniques.” \",[\"$\",\"$L3b\",null,{\"className\":null,\"href\":\"https://www.metmuseum.org/art/metpublications/Metropolitan_Museum_Studies_in_Art_Science_and_Technology\",\"target\":\"_self\",\"rel\":\"noreferrer\",\"data-sentry-element\":\"Link\",\"data-sentry-component\":\"ExternalLink\",\"data-sentry-source-file\":\"index.jsx\",\"children\":[[\"$\",\"em\",null,{\"children\":[\"Metropolitan Museum Studies in Art, Science, and Technology\"]}]]}],\" \",[\"$\",\"em\",null,{\"children\":[\"1\"]}],\" (2010): 39–72.\"]}]]}]]}]]}]}]]}]]}],[\"$\",\"div\",null,{\"className\":\"person-card_personCard__NbYbq\",\"data-sentry-component\":\"PersonCard\",\"data-sentry-source-file\":\"index.tsx\",\"children\":[[\"$\",\"div\",null,{\"className\":\"person-card_imageWrapper___nkJh\",\"children\":[\"$\",\"$L2c\",null,{\"fill\":true,\"image\":\"$46\",\"sizes\":\"150px\"}]}],[\"$\",\"div\",null,{\"className\":\"person-card_body__EWv0i\",\"children\":[[\"$\",\"h4\",null,{\"className\":\"person-card_name__zEKc_\",\"children\":\"Lawrence Becker\"}],[\"$\",\"div\",null,{\"className\":\"person-card_subHeading__jzrxv\",\"children\":\"$undefined\"}],[\"$\",\"div\",null,{\"children\":[\"$\",\"$L34\",null,{\"maxLines\":8,\"data-sentry-element\":\"ReadMoreWrapper\",\"data-sentry-source-file\":\"index.tsx\",\"children\":[[\"$\",\"p\",null,{\"children\":[\"Lawrence Becker was a member of the Museum’s conservation staff from 1980 to 1989. Following tenures at the Virginia Museum of Fine Arts and the Worcester Art Museum, he returned to The Met in 2003 as Sherman Fairchild Conservator in Charge of Objects Conservation, a position he held until 2014. Initially focusing on the conservation and study of archaeological sculpture and objects from Egypt, West Asia, and the Greco-Roman world, his interests gradually shifted toward the arts of South, Southeast, and East Asia. Larry received undergraduate and law degrees from Columbia University and graduate training in art history and conservation from the Institute of Fine Arts at New York University.\"]}]]}]}],[\"$\",\"div\",null,{\"style\":{\"marginTop\":\"var(--spacing-xxs)\"},\"children\":[\"$\",\"div\",null,{\"className\":\"accordion_accordion__XhGIc\",\"style\":{\"--title-padding\":\"var(--spacing-micro)\"},\"children\":[[\"$\",\"details\",\"accordion-item-0\",{\"className\":\"accordion_details__KCDfm\",\"children\":[[\"$\",\"summary\",null,{\"className\":\"accordion_summary__bMgD_\",\"children\":[\"$\",\"div\",null,{\"className\":\"accordion_button__hY5el\",\"children\":[\"$\",\"div\",null,{\"children\":\"Selected publications\"}]}]}],[\"$\",\"div\",null,{\"className\":\"accordion_body__4G2Xj\",\"children\":[[\"$\",\"p\",null,{\"children\":[\"Becker, Lawrence, and Christine Kondoleon. \",[\"$\",\"em\",null,{\"children\":[\"The Arts of Antioch: Art Historical and Scientific Approaches to Roman Mosaics and a Catalogue of the Worcester Art Museum Antioch Collection\"]}],\". Worcester, MA: Worcester Art Museum, 2005.\"]}],[\"$\",\"p\",null,{\"children\":[\"Becker, Lawrence. “Technical Study of Two Northern Wei Altarpieces Dedicated to the Buddha Maitreya.” In \",[\"$\",\"$L3b\",null,{\"className\":null,\"href\":\"https://www.metmuseum.org/art/metpublications/Wisdom_Embodied_Chinese_Buddhist_and_Daoist_Sculpture_in_The_Metropolitan_Museum_of_Art?Tag=\u0026title=wisdom%20embodied\u0026author=\u0026pt=0\u0026tc=0\u0026dept=0\u0026fmt=0\",\"target\":\"_self\",\"rel\":\"noreferrer\",\"data-sentry-element\":\"Link\",\"data-sentry-component\":\"ExternalLink\",\"data-sentry-source-file\":\"index.jsx\",\"children\":[[\"$\",\"em\",null,{\"children\":[\"Wisdom Embodied, Chinese Buddhist and Daoist Sculpture in the Metropolitan Museum of Art\"]}]]}],\", by Denise Patry Leidy and Donna Strahan, 198–205. New York: The Metropolitan Museum of Art, 2010.\"]}],[\"$\",\"p\",null,{\"children\":[\"Becker, Lawrence, Donna Strahan, and Ariel O'Connor. “Technical Observations on Casting Technology in First-Millennium Cambodia, Thailand, and Vietnam.” In \",[\"$\",\"$L3b\",null,{\"className\":null,\"href\":\"https://www.metmuseum.org/art/metpublications/Lost_Kingdoms_Hindu_Buddhist_Sculpture_of_Early_Southeast_Asia?Tag=\u0026title=lost%20kingdoms\u0026author=\u0026pt=0\u0026tc=0\u0026dept=0\u0026fmt=0\",\"target\":\"_self\",\"rel\":\"noreferrer\",\"data-sentry-element\":\"Link\",\"data-sentry-component\":\"ExternalLink\",\"data-sentry-source-file\":\"index.jsx\",\"children\":[[\"$\",\"em\",null,{\"children\":[\"Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia\"]}]]}],\", by John Guy, 267–71. New York: The Metropolitan Museum of Art, 2014.\"]}]]}]]}]]}]}]]}]]}],[\"$\",\"div\",null,{\"className\":\"person-card_personCard__NbYbq\",\"data-sentry-component\":\"PersonCard\",\"data-sentry-source-file\":\"index.tsx\",\"children\":[[\"$\",\"div\",null,{\"className\":\"person-card_imageWrapper___nkJh\",\"children\":[\"$\",\"$L2c\",null,{\"fill\":true,\"image\":\"$48\",\"sizes\":\"150px\"}]}],[\"$\",\"div\",null,{\"className\":\"person-card_body__EWv0i\",\"children\":[[\"$\",\"h4\",null,{\"className\":\"person-card_name__zEKc_\",\"children\":\"Dorothy Mahon\"}],[\"$\",\"div\",null,{\"className\":\"person-card_subHeading__jzrxv\",\"children\":\"$undefined\"}],[\"$\",\"div\",null,{\"children\":[\"$\",\"$L34\",null,{\"maxLines\":8,\"data-sentry-element\":\"ReadMoreWrapper\",\"data-sentry-source-file\":\"index.tsx\",\"children\":[[\"$\",\"p\",null,{\"children\":[\"Dorothy Mahon received her MA in the history of art and a certificate of advanced study in conservation from the Institute of Fine Arts at New York University. She was appointed to the staff in 1981 and has conserved paintings spanning the collection, with emphasis on the technical examination and treatment of European paintings of the 15th to 19th centuries and American paintings, including works by Veronese, Caravaggio, Rembrandt, Goya, Delacroix, Homer, and Sargent. She has participated in the supervision and training of many graduate interns and fellows, and has served as a member of the editorial board of the \",[\"$\",\"em\",null,{\"children\":[\"Metropolitan Museum Journal\"]}],\".\"]}]]}]}],[\"$\",\"div\",null,{\"style\":{\"marginTop\":\"var(--spacing-xxs)\"},\"children\":[\"$\",\"div\",null,{\"className\":\"accordion_accordion__XhGIc\",\"style\":{\"--title-padding\":\"var(--spacing-micro)\"},\"children\":[[\"$\",\"details\",\"accordion-item-0\",{\"className\":\"accordion_details__KCDfm\",\"children\":[[\"$\",\"summary\",null,{\"className\":\"accordion_summary__bMgD_\",\"children\":[\"$\",\"div\",null,{\"className\":\"accordion_button__hY5el\",\"children\":[\"$\",\"div\",null,{\"children\":\"Selected publications\"}]}]}],[\"$\",\"div\",null,{\"className\":\"accordion_body__4G2Xj\",\"children\":[[\"$\",\"p\",null,{\"children\":[\"Mahon, Dorothy; Silvia A. Centeno, Margaret Iocono, Federico Carò, Andrea Obermeier, and Heike Stege. “Johannes Vermeer’s Mistress and Maid: New Discoveries Cast Light on Changes to the Composition and the Discoloration of Some Paint Passages.” \",[\"$\",\"em\",null,{\"children\":[\"Heritage Science\"]}],\" 8 (2020), article no. 30. \",[\"$\",\"$L3b\",null,{\"className\":null,\"href\":\"https://doi.org/10.1186/s40494-020-00375-2\",\"target\":\"_self\",\"rel\":\"noreferrer\",\"data-sentry-element\":\"Link\",\"data-sentry-component\":\"ExternalLink\",\"data-sentry-source-file\":\"index.jsx\",\"children\":[\"https://doi.org/10.1186/s40494-020-00375-2\"]}],\".\"]}],[\"$\",\"p\",null,{\"children\":[\"Centeno, Silvia A., Dorothy Mahon, Federico Carò, David Pullins, “Discovering the Evolution of Jacques-Louis David’s Portrait of Antoine-Laurent and Marie-Anne Pierrette Paulze Lavoisier,” \",[\"$\",\"em\",null,{\"children\":[\"Heritage Science\"]}],\", 2021. (an open source online journal) \",[\"$\",\"$L3b\",null,{\"className\":null,\"href\":\"https://rdcu.be/cwkET\",\"target\":\"_self\",\"rel\":\"noreferrer\",\"data-sentry-element\":\"Link\",\"data-sentry-component\":\"ExternalLink\",\"data-sentry-source-file\":\"index.jsx\",\"children\":[\"https://rdcu.be/cwkET\"]}]]}],[\"$\",\"p\",null,{\"children\":[\"Mahon, Dorothy, “On the Conservation History of Rembrandt Paintings in The Metropolitan Museum of Art and The Frick Collection 1891-2018,” in \",[\"$\",\"em\",null,{\"children\":[\"Rembrandt: Conservation Histories\"]}],\", Archetype, 2021\"]}]]}]]}]]}]}]]}]]}],[\"$\",\"div\",null,{\"className\":\"person-card_personCard__NbYbq\",\"data-sentry-component\":\"PersonCard\",\"data-sentry-source-file\":\"index.tsx\",\"children\":[[\"$\",\"div\",null,{\"className\":\"person-card_imageWrapper___nkJh\",\"children\":[\"$\",\"svg\",null,{\"xmlns\":\"http://www.w3.org/2000/svg\",\"width\":\"1em\",\"height\":\"1em\",\"fill\":\"none\",\"viewBox\":\"0 0 118 157\",\"className\":\"person-card_noImage__fMiMk\",\"children\":\"$40\"}]}],[\"$\",\"div\",null,{\"className\":\"person-card_body__EWv0i\",\"children\":[[\"$\",\"h4\",null,{\"className\":\"person-card_name__zEKc_\",\"children\":\"Donna K. Strahan\"}],[\"$\",\"div\",null,{\"className\":\"person-card_subHeading__jzrxv\",\"children\":\"$undefined\"}],[\"$\",\"div\",null,{\"children\":[\"$\",\"$L34\",null,{\"maxLines\":8,\"data-sentry-element\":\"ReadMoreWrapper\",\"data-sentry-source-file\":\"index.tsx\",\"children\":null}]}],null]}]]}],[\"$\",\"div\",null,{\"className\":\"person-card_personCard__NbYbq\",\"data-sentry-component\":\"PersonCard\",\"data-sentry-source-file\":\"index.tsx\",\"children\":[[\"$\",\"div\",null,{\"className\":\"person-card_imageWrapper___nkJh\",\"children\":[\"$\",\"$L2c\",null,{\"fill\":true,\"image\":\"$4a\",\"sizes\":\"150px\"}]}],[\"$\",\"div\",null,{\"className\":\"person-card_body__EWv0i\",\"children\":[[\"$\",\"h4\",null,{\"className\":\"person-card_name__zEKc_\",\"children\":\"Andrea Bayer\"}],[\"$\",\"div\",null,{\"className\":\"person-card_subHeading__jzrxv\",\"children\":\"$undefined\"}],[\"$\",\"div\",null,{\"children\":[\"$\",\"$L34\",null,{\"maxLines\":8,\"data-sentry-element\":\"ReadMoreWrapper\",\"data-sentry-source-file\":\"index.tsx\",\"children\":[[\"$\",\"p\",null,{\"children\":[\"Appointed the Museum’s Deputy Director for Collections and Administration in October 2018, Andrea Bayer was previously the Jayne Wrightsman Curator in the Department of European Paintings. She received her Ph.D. from Princeton University in 1990, and has been on the staff of The Met since that time.\"]}],[\"$\",\"p\",null,{\"children\":[\"An expert on Italian Renaissance art, she has worked on a range of exhibitions, both thematic investigations—such as \",[\"$\",\"em\",null,{\"children\":[\"Painters of Reality: The Legacy of Leonardo and Caravaggio in Lombardy\"]}],\" (2004) and \",[\"$\",\"em\",null,{\"children\":[\"Art and Love in Renaissance Italy\"]}],\" (2008–9)—and monographic shows on artists such as Giambattista Tiepolo, Dosso Dossi, and Antonello da Messina. Her most recent exhibitions include \",[\"$\",\"em\",null,{\"children\":[\"Unfinished: Thoughts Left Visible\"]}],\", one of the inaugural exhibitions at The Met Breuer. She was a curator in European Paintings from 2007 to 2018, and, in 2014, became the Jayne Wrightsman Curator. Outside the department, Bayer served as Interim Deputy Director for Collections and Administration (May–October 2018), Interim Head of Education (2008–9), and for six years was coordinating curator for the Curatorial Studies program run jointly by the Museum and New York University’s Institute of Fine Arts. She is currently co-chairman of the Director’s Exhibition Committee.\"]}]]}]}],null]}]]}]]}]}]},{\"name\":\"Praise\",\"body\":[\"$\",\"div\",null,{\"className\":\"praise-list_wrapper__PLE9A\",\"data-sentry-component\":\"PraiseList\",\"data-sentry-source-file\":\"index.jsx\",\"children\":[[\"$\",\"figure\",\"JsrDMvZoEauTCm1gEszMK\",{\"className\":\"$undefined\",\"children\":[[\"$\",\"blockquote\",null,{\"children\":[\"$\",\"$L2d\",null,{\"children\":\"\\\"The final articles by Donna Strahan and Federico Caro deal in exemplary fashion with a series of Chinese Buddha statues ... The whole book is splendidly illustrated and the abstracts are given in a variety of appropriate languages.\\\"\"}]}],[\"$\",\"figcaption\",null,{\"children\":[\"$\",\"cite\",null,{\"className\":\"praise-list_attribution__wRvxV\",\"children\":\"The Art Book\"}]}]]}]]}]}],\"inputGroupName\":\"publications-tabs\",\"screenreaderLegendText\":\"View More Publication Info\",\"data-sentry-element\":\"TabDrawers\",\"data-sentry-source-file\":\"page.tsx\"}],false]}],[\"$\",\"section\",null,{\"id\":\"met-art-in-publication\",\"className\":\"page-section_clampedWidthWrapper__kBLdL\",\"data-sentry-component\":\"PageSection\",\"data-sentry-source-file\":\"index.jsx\",\"children\":[[\"$\",\"div\",null,{\"className\":\"component-header_wrapper__kS6_W\",\"data-sentry-component\":\"ComponentHeader\",\"data-sentry-source-file\":\"index.jsx\",\"children\":[[\"$\",\"div\",null,{\"className\":\"component-header_titleAndLinkWrapper__mDA0q\",\"children\":[[\"$\",\"div\",null,{\"children\":[\"$\",\"h2\",null,{\"className\":\"$undefined\",\"children\":[\"$\",\"$L2d\",null,{\"data-sentry-element\":\"MarkdownParser\",\"data-sentry-source-file\":\"index.jsx\",\"children\":\"Met Art in Publication\"}]}]}],null]}],[\"$\",\"p\",null,{\"className\":\"component-header_description__yxN6Q\",\"children\":[\"$\",\"$L2d\",null,{\"data-sentry-element\":\"MarkdownParser\",\"data-sentry-source-file\":\"index.jsx\",\"children\":null}]}]]}],[\"$\",\"$L4e\",null,{\"enforceMaxObjectWidth\":true,\"objects\":[{\"__typename\":\"Object\",\"id\":242017,\"objectID\":242017,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Limestone statue of Aphrodite holding winged Eros\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"Classical\",\"date\":\"late 4th century BCE\",\"culture\":\"Cypriot\",\"medium\":\"Limestone\",\"dimensions\":\"49 3/4 × 26 × 10 in., 450 lb. (126.4 × 66 × 25.4 cm, 204.1 kg)\",\"creditLine\":\"The Cesnola Collection, Purchased by subscription, 1874–76\",\"accessionNumber\":\"74.51.2464\",\"webLabel\":\"$4f\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":242017,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/242017/539629/main-image\",\"altText\":\"Limestone statue of Aphrodite holding winged Eros, Limestone, Cypriot\"}}},{\"__typename\":\"Object\",\"id\":252923,\"objectID\":252923,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Terracotta volute-krater (bowl for mixing wine and water)\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":{\"__typename\":\"Artist\",\"displayName\":\"Polion\"},\"all\":[{\"__typename\":\"Artist\",\"displayName\":\"Polion\"}]},\"period\":\"Classical\",\"date\":\"ca. 420 BCE\",\"culture\":\"Greek, Attic\",\"medium\":\"Terracotta\",\"dimensions\":\"H. 23 3/16 in. (58.9 cm); H. with handles 26 5/8 in. (67.6 cm)\",\"creditLine\":\"Fletcher Fund, 1927\",\"accessionNumber\":\"27.122.8\",\"webLabel\":\"Obverse and reverse, Apollo departing Mount Olympos in his chariot\u003cbr/\u003eOn the neck, obverse and reverse, athletes\u003cbr/\u003eSigned by Polion as painter\u003cbr/\u003e\u003cbr/\u003eIn its scale, the pronounced architectonic articulation especially of the lip, and the Olympian iconography that concerns Apollo but features Athena on the obverse, this work is representative of Athens in its glory. The athletic scenes on the neck depict Athenians in a noble and peaceful context. The assemblage of gods who either converse or attend Apollo as he prepares to mount his chariot presents a similar combination of ease and dignity that characterized the gods gathered on the Parthenon frieze.\",\"images\":{\"__typename\":\"Images\",\"primary\":null}},{\"__typename\":\"Object\",\"id\":549020,\"objectID\":549020,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Coffin of Harmose\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"New Kingdom\",\"date\":\"ca. 1479–1458 B.C.\",\"culture\":\"\",\"medium\":\"Wood, gesso, paint, gold\",\"dimensions\":\"H. 212.5 cm (83 11/16 in.); W. 55 cm (21 5/8 in.); D. 60 cm (23 5/8 in.); Th. of boards 4 cm (1 9/16 in.)\",\"creditLine\":\"Rogers Fund, 1936\",\"accessionNumber\":\"36.3.172a, b\",\"webLabel\":\"Finely crafted of pinewood and painted in brilliant colors, the anthropoid coffin of the singer Hormose was discovered in the limestone chip dumped on the slope below Senenmut's tomb chapel (TT 71). The face is overlaid with gold foil and the eyes are carved of alabaster and obsidian set into ebony sockets. Next to the coffin lay Hormose's lute, now in Cairo, and two forked wooden staves, one of which is tipped with a bronze ferrule (36.3.167, .268).\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":549020,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/549020/1317379/main-image\",\"altText\":\"Coffin of Harmose, Wood, gesso, paint, gold\"}}},{\"__typename\":\"Object\",\"id\":544206,\"objectID\":544206,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Lintel of Amenemhat I and Deities\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"Middle Kingdom\",\"date\":\"ca. 1981–1952 B.C.\",\"culture\":\"\",\"medium\":\"Limestone, paint\",\"dimensions\":\"H. 36.8 × W. 172.7 × D. 13.3 cm, 183.7 kg (14 1/2 × 68 × 5 1/4 in., 405 lb.)\",\"creditLine\":\"Rogers Fund, 1908\",\"accessionNumber\":\"08.200.5\",\"webLabel\":\"$50\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":544206,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/544206/1348533/main-image\",\"altText\":\"Lintel of Amenemhat I and Deities, Limestone, paint\"}}},{\"__typename\":\"Object\",\"id\":544449,\"objectID\":544449,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Large Kneeling Statue of Hatshepsut\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"New Kingdom\",\"date\":\"ca. 1479–1458 B.C.\",\"culture\":\"\",\"medium\":\"Granite\",\"dimensions\":\"H. 261.5 cm (102 15/16 in.); W. 80 cm (31 1/2 in.); D. 137 cm (53 15/16 in.)\",\"creditLine\":\"Rogers Fund, 1929\",\"accessionNumber\":\"29.3.1\",\"webLabel\":\"$51\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":544449,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/544449/1179859/main-image\",\"altText\":\"Large Kneeling Statue of Hatshepsut, Granite\"}}},{\"__typename\":\"Object\",\"id\":548223,\"objectID\":548223,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Statuette of Harpokrates\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"Ptolemaic Period\",\"date\":\"304–30 B.C.\",\"culture\":\"\",\"medium\":\"gilded silver\",\"dimensions\":\"H. 13.3 × W. 3 × D. 7 cm (5 1/4 × 1 3/16 × 2 3/4 in.)\",\"creditLine\":\"Rogers Fund, 1907\",\"accessionNumber\":\"07.228.23\",\"webLabel\":\"\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":548223,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/548223/2215174/main-image\",\"altText\":\"Statuette of Harpokrates, gilded silver\"}}},{\"__typename\":\"Object\",\"id\":12071,\"objectID\":12071,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Edward Robinson\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":{\"__typename\":\"Artist\",\"displayName\":\"John Singer Sargent\"},\"all\":[{\"__typename\":\"Artist\",\"displayName\":\"John Singer Sargent\"}]},\"period\":\"\",\"date\":\"1903\",\"culture\":\"American\",\"medium\":\"Oil on canvas\",\"dimensions\":\"56 1/2 x 36 1/4 in. (143.5 x 92.1 cm)\",\"creditLine\":\"Gift of Mrs. Edward Robinson, 1931\",\"accessionNumber\":\"31.60\",\"webLabel\":\"Edward Robinson (1858–1931) probably met Sargent in the early 1890s, when he was the curator of classical antiquities at the Museum of Fine Arts, Boston, and the artist was working on murals for the Boston Public Library. Robinson was appointed director of the Museum of Fine Arts in 1902, the year before Sargent painted him. He would come to the Metropolitan Museum as assistant director in 1905 and serve as director from 1910 until 1931. In Sargent’s portrait, the library interior and the ancient bronze mirror on the desk (which Robinson presented to the Metropolitan in 1929 (29.141a–c) refer to Robinson’s career as an archaeologist and a scholar.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":false,\"objectID\":12071,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/12071/35316/restricted\",\"altText\":\"Edward Robinson, John Singer Sargent American, Oil on canvas, American\"}}},{\"__typename\":\"Object\",\"id\":552049,\"objectID\":552049,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Seated Harpokrates with the crown of Amun, named as \\\"Harpokrates-the-great, the eldest, the first of Amun\\\"\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"Late Period–Ptolemaic Period\",\"date\":\"664–30 B.C.\",\"culture\":\"\",\"medium\":\"Cupreous metal, precious metal inlay\",\"dimensions\":\"H. 28.6 cm (11 1/4 in.); W. 5.8 cm (2 5/16 in.); D. 9 cm (3 9/16 in.)\",\"creditLine\":\"Gift of Mrs. S. W. Straus, 1925\",\"accessionNumber\":\"25.184.19\",\"webLabel\":\"$52\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":552049,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/552049/1216707/main-image\",\"altText\":\"Seated Harpokrates with the crown of Amun, named as \\\"Harpokrates-the-great, the eldest, the first of Amun\\\", Cupreous metal, precious metal inlay\"}}},{\"__typename\":\"Object\",\"id\":565010,\"objectID\":565010,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Linen, from Wah's Mummy\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"Middle Kingdom\",\"date\":\"ca. 1981–1975 B.C.\",\"culture\":\"\",\"medium\":\"Linen\",\"dimensions\":null,\"creditLine\":\"Rogers Fund and Edward S. Harkness Gift, 1920\",\"accessionNumber\":\"20.3.203aaaa\",\"webLabel\":\"\",\"images\":{\"__typename\":\"Images\",\"primary\":null}},{\"__typename\":\"Object\",\"id\":545189,\"objectID\":545189,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Necklace of Wah\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"Middle Kingdom\",\"date\":\"ca. 1981–1975 B.C.\",\"culture\":\"\",\"medium\":\"Silver, linen cord\",\"dimensions\":\"L. of necklace 70.5 cm (27 3/4 in.); Greatest diam. 3.2 cm (1 1/4 in.); Smallest diam. 2.5 cm (1 in.)\",\"creditLine\":\"Rogers Fund and Edward S. Harkness Gift, 1940\",\"accessionNumber\":\"40.3.19\",\"webLabel\":\"After Wah's mummy had been partially wrapped, this necklace of silver beads was tied around the neck. The beads were strung on twelve or more strands of thread that were then twisted through ties of thick linen cord.\u003cbr/\u003e\u003cbr/\u003eThree other necklaces had been placed on the mummy in the same position. One of these is made of gold beads (40.3.17); one is made of blue faience beads (40.3.18); and one is strung with beads of a variety of shapes and materials (40.3.16). All these necklaces were probably worn by Wah during his lifetime.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":545189,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/545189/1343146/main-image\",\"altText\":\"Necklace of Wah, Silver, linen cord\"}}},{\"__typename\":\"Object\",\"id\":544228,\"objectID\":544228,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Scarab of the Storehouse Overseer Wah\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"Middle Kingdom\",\"date\":\"ca. 1981–1975 B.C.\",\"culture\":\"\",\"medium\":\"Silver, electrum, glazed steatite, linen cord\",\"dimensions\":\"scarab: l. 3.9 cm (1 1/2 in.); w. 2.7 cm (1 1/16 in.); h. 2.5 cm (1 in.); barrel bead: l. 1.4 cm (9/16 in.); diam. 1 cm (3/8 in.); cylindrical bead: l. 1.9 cm (3/4 in.); 0.8 cm (5/16 in.)\u003cbr/\u003eoverall length: 43 cm (16 15/16 in)\",\"creditLine\":\"Rogers Fund and Edward S. Harkness Gift, 1940\",\"accessionNumber\":\"40.3.12\",\"webLabel\":\"$53\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":544228,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/544228/1343141/main-image\",\"altText\":\"Scarab of the Storehouse Overseer Wah, Silver, electrum, glazed steatite, linen cord\"}}},{\"__typename\":\"Object\",\"id\":472389,\"objectID\":472389,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Virgin and Child\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"\",\"date\":\"ca. 1340–50\",\"culture\":\"French\",\"medium\":\"Limestone, paint, gilt, glass\",\"dimensions\":\"68 × 22 13/16 × 11 1/4 in. (172.7 × 58 × 28.5 cm)\",\"creditLine\":\"The Cloisters Collection, 1937\",\"accessionNumber\":\"37.159\",\"webLabel\":\"This monumental image of the Virgin and Child is carved in the style of Parisian sculptures from about 1340. Here, the Christ Child playfully reaches for the Virgin's veil. Remarkably, the sculpture retains most of its original paint and gilding and appears today much as it would have in the fourteenth century.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":472389,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/472389/935814/main-image\",\"altText\":\"Virgin and Child, Limestone, paint, gilt, glass, French\"}}},{\"__typename\":\"Object\",\"id\":470311,\"objectID\":470311,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Enthroned Virgin and Child\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"\",\"date\":\"ca. 1130–1140\",\"culture\":\"French\",\"medium\":\"Birch with paint and glass\",\"dimensions\":\"40 1/2 in. × 13 in. × 11 1/4 in. (102.9 cm, 28.5 cm)\",\"creditLine\":\"The Cloisters Collection, 1947\",\"accessionNumber\":\"47.101.15\",\"webLabel\":\"The simple patterning of the drapery lends elegance to this figure of the Virgin, while her slightly slumped shoulders, forward tilt, and placid gaze might suggest both fatigue and acceptance of her new role as the mother of Jesus. Traces of the medieval painted decoration are preserved. The Virgin’s proper right eye, made of blue glass, is original. The other eye is a recent replacement. \u003cbr/\u003eThis is one of only a few Romanesque sculptures in wood from Burgundy to survive. The patterning of the drapery and the heavy-lidded eyes relate this piece to the sculptures of the cathedral of Saint-Lazare at Autun, such as the Angel (47.101.16) exhibited in this gallery.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":470311,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/470311/951335/main-image\",\"altText\":\"Enthroned Virgin and Child, Birch with paint and glass, French\"}}},{\"__typename\":\"Object\",\"id\":472227,\"objectID\":472227,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Abacus\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"\",\"date\":\"20th century\",\"culture\":\"European\",\"medium\":\"Stone\",\"dimensions\":\"Overall: 3 3/4 x 15 5/8 x 24 3/8 in. (9.5 x 39.7 x 61.9 cm)\",\"creditLine\":\"The Cloisters Collection, 1925\",\"accessionNumber\":\"25.120.121\",\"webLabel\":\"\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":472227,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/472227/1512973/main-image\",\"altText\":\"Abacus, Stone, European\"}}},{\"__typename\":\"Object\",\"id\":471853,\"objectID\":471853,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Enthroned Virgin and Child\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"\",\"date\":\"1150–1200\",\"culture\":\"French\",\"medium\":\"Walnut with gesso, paint, tin leaf, traces of linen, and possible human remains\",\"dimensions\":\"27 × 11 1/4 × 11 in. (68.6 × 28.6 × 27.9 cm)\",\"creditLine\":\"The Cloisters Collection and James J. Rorimer Memorial Fund, 1967\",\"accessionNumber\":\"67.153\",\"webLabel\":\"The stark and rhythmic lines of this sculpture are almost modern in their effect. In fact, this seemingly straightforward image of the infant Jesus seated rigidly on the Virgin’s lap represents a complex, medieval theological notion known as a Sedes Sapientiae (Throne of Wisdom), in which Mary serves as a throne for Christ, who in turn embodies divine wisdom. Placed on an altar, this imposing group was an object of veneration that could also be carried in procession or incorporated into a theatrical performance within a church. A circular cavity in the Virgin’s left shoulder suggests that the sculpture contained a relic. Recent conservation treatment has revealed remains of the original painted and applied metal decoration. A Virgin and Child (16.32.194) probably by the same artist is on view in the Main Building of The Metropolitan Museum of Art.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":471853,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/471853/935802/main-image\",\"altText\":\"Enthroned Virgin and Child, Walnut with gesso, paint, tin leaf, traces of linen, and possible human remains, French\"}}},{\"__typename\":\"Object\",\"id\":463795,\"objectID\":463795,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Virgin and Child in Majesty\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"\",\"date\":\"ca. 1175–1200\",\"culture\":\"French\",\"medium\":\"Walnut with paint, tin relief on a lead white ground, and linen\",\"dimensions\":\"Overall: 31 5/16 x 12 1/2 x 11 1/2 in. (79.5 x 31.7 x 29.2 cm)\",\"creditLine\":\"Gift of J. Pierpont Morgan, 1916\",\"accessionNumber\":\"16.32.194a, b\",\"webLabel\":\"In medieval sculpture, individual body parts were often accentuated to convey meaning. Here, Mary’s oversized hands direct our attention to Jesus, enthroned upon his mother’s lap. This type of sculpture, much favored in the twelfth century, is known as a Throne of Wisdom (Sedes Sapientiae).\u003cbr/\u003e\u003cbr/\u003eAppearing like a miniature adult, Jesus, as the Son of God, is Wisdom incarnate. He would have grasped a Bible, a further reference to the concept of divine wisdom that he embodies. Mary is both sculpture and vessel—her body has a cavity behind her shoulder, which suggests the work was a container for holy relics. Such devotional statues may have been carried in church processions.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":463795,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/463795/953347/main-image\",\"altText\":\"Virgin and Child in Majesty, Walnut with paint, tin relief on a lead white ground, and linen, French\"}}},{\"__typename\":\"Object\",\"id\":544326,\"objectID\":544326,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Coffin of Khnumnakht\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"Middle Kingdom\",\"date\":\"ca. 1850–1750 B.C.\",\"culture\":\"\",\"medium\":\"Wood, paint\",\"dimensions\":\"L. 207.5 cm (81 11/16 in); W. 51.8 cm (20 3/8 in); H. 68 cm (26 3/4 in)\",\"creditLine\":\"Rogers Fund, 1915\",\"accessionNumber\":\"15.2.2a, b\",\"webLabel\":\"$54\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":544326,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/544326/1476464/main-image\",\"altText\":\"Coffin of Khnumnakht, Wood, paint\"}}},{\"__typename\":\"Object\",\"id\":544518,\"objectID\":544518,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Painter's Palette Inscribed with the Name of Amenhotep III\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"New Kingdom\",\"date\":\"ca. 1390–1352 B.C.\",\"culture\":\"\",\"medium\":\"Ivory, pigment\",\"dimensions\":\"l. 17.5 cm (6 7/8 in.); w. 4.4 cm (1 3/4 in.); th. 0.9 cm (3/8 in.)\",\"creditLine\":\"Purchase, Edward S. Harkness Gift, 1926\",\"accessionNumber\":\"26.7.1294\",\"webLabel\":\"This painter's palette was carved from a single piece of ivory. Six oval wells contain cakes of pigments including blue, green, brown (?), yellow, red, and black. The oval cartouche at one end encircles the throne name of Amenhotep III, Nebmaatre, and the epithet \\\"beloved of Re.\\\"\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":544518,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/544518/1903568/main-image\",\"altText\":\"Painter's Palette Inscribed with the Name of Amenhotep III, Ivory, pigment\"}}},{\"__typename\":\"Object\",\"id\":546301,\"objectID\":546301,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Inner rectangular coffin of Hapiankhtifi\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"Middle Kingdom\",\"date\":\"ca. 1981–1802 B.C.\",\"culture\":\"\",\"medium\":\"Coniferous wood (Taxus sp.), paint\",\"dimensions\":\"L. 203.5 × W. 57 × H. 83 cm (80 1/8 × 22 7/16 × 32 11/16 in.)\",\"creditLine\":\"Gift of J. Pierpont Morgan, 1912\",\"accessionNumber\":\"12.183.11b.1, .2\",\"webLabel\":\"The smaller inner rectangular coffin of the steward Hapiankhtifi was found nested inside a larger outer coffin (\u003ca href=\\\"https://www.metmuseum.org/art/collection/search/545442\\\"\u003e12.183.11a\u003c/a\u003e). Inside was an anthropoid coffin (\u003ca href=\\\"https://www.metmuseum.org/art/collection/search/544324\\\"\u003e12.183.11c.1–.2\u003c/a\u003e) containing the mummy of a middle-aged man (now in the Peabody Museum). The decoration of this inner rectangular coffin is simpler than that of the outer coffin, with fewer bands of text. At the head end of one long side, between two vertical bands of inscription recording protective speeches by various gods, are painted\u003ci\u003e wedjat\u003c/i\u003e eyes out of which the deceased could see and brightly-colored niches (a \\\"palace facade\\\" pattern) to identify the coffin as the divine home of the deceased.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":false,\"objectID\":546301,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/546301/1083029/restricted\",\"altText\":\"Inner rectangular coffin of Hapiankhtifi, Coniferous wood (Taxus sp.), paint\"}}},{\"__typename\":\"Object\",\"id\":547676,\"objectID\":547676,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Fragment of a Leather Hanging(?) with an Erotic Scene\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"New Kingdom\",\"date\":\"ca. 1550–1458 B.C.\",\"culture\":\"\",\"medium\":\"Leather (probably goat), paint\",\"dimensions\":\"leather: H. 16 × W. 18 cm (6 5/16 × 7 1/16 in.); frame: H. 21.5 × W. 24.4 × Th. 1.3 cm (8 7/16 × 9 5/8 × 1/2 in.)\",\"creditLine\":\"Rogers Fund, 1931\",\"accessionNumber\":\"31.3.98\",\"webLabel\":\"$55\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":547676,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/547676/1084287/main-image\",\"altText\":\"Fragment of a Leather Hanging(?) with an Erotic Scene, Leather (probably goat), paint\"}}},{\"__typename\":\"Object\",\"id\":544454,\"objectID\":544454,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Upper Part of the Seated Statue of a Queen\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"New Kingdom\",\"date\":\"ca. 1580–1550 B.C.\",\"culture\":\"\",\"medium\":\"Indurated limestone, paint\",\"dimensions\":\"H. 28 cm (11 in.); W. 17.8 cm (7 in.); D. 10 cm (3 15/16 in.)\",\"creditLine\":\"Rogers Fund, 1916\",\"accessionNumber\":\"16.10.224\",\"webLabel\":\"This image of a queen wearing the vulture headdress over a voluminous tripartite wig was split off its backslab in antiquity, most probably by somebody who wanted to make use of this conveniently shaped piece of stone for other purposes. It is conceivable that a king (her father, son, or husband) was originally represented seated beside her. The sculpture has been identified tentatively as Queen Ahmes Nefertari, mother of Amenhotep I, and dated to the reign of Ahmose (ca. 1550-1525 B.C.) at the very beginning of the 18th Dynasty. However, the remarkable flatness of the face and wig is familiar from certain works created during the 17th Dynasty (compare the seated statue of Siamun, 65.115), and the intriguing interplay of fleshy musculature in the lower part of the face is even reminiscent of late Middle Kingdom images. This combination of stylistic traits is best understood in the context of the excitingly multifaceted artistic period between the end of the Middle and the beginning of the New Kingdom.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":544454,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/544454/1084271/main-image\",\"altText\":\"Upper Part of the Seated Statue of a Queen, Indurated limestone, paint\"}}},{\"__typename\":\"Object\",\"id\":544321,\"objectID\":544321,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Broad Collar of Wah\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"Middle Kingdom\",\"date\":\"ca. 1981–1975 B.C.\",\"culture\":\"\",\"medium\":\"Faience, linen thread\",\"dimensions\":\"H. 34.5 cm (13 9/16 in.); W. 39 cm (15 3/8 in.)\",\"creditLine\":\"Rogers Fund and Edward S. Harkness Gift, 1940\",\"accessionNumber\":\"40.3.2\",\"webLabel\":\"This broad collar is one of the finest examples of its type from the early Middle Kingdom. It was carefully designed using beads of diminishing lengths to create the curved form. Although a few areas needed reinforcing with modern thread, the stringing is almost entirely original. The collar is part of a set of funerary jewelry belonging to Wah, the estate manager of Meketre.\u003cbr/\u003e\u003cbr/\u003eWah's broad collar, \u003ca href=\\\"https://www.metmuseum.org/art/collection/search/545174\\\"\u003eanklets\u003c/a\u003e, and bracelets were made as funerary ornaments for the burial and were found in the layers of linen wrapping that were closest to the body; the collar had been tied around the neck, the bracelets and anklets had been laid over the lower arms and legs. They are all made of a ceramic material called Egyptian faience. Beaded jewelry sets of this type are illustrated in the object friezes that decorate many Middle Kingdom coffins, and fragmentary examples have been found in numerous tombs of the period.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":544321,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/544321/1343158/main-image\",\"altText\":\"Broad Collar of Wah, Faience, linen thread\"}}},{\"__typename\":\"Object\",\"id\":549169,\"objectID\":549169,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Cult Image of the God Ptah\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"Third Intermediate Period–early Dynasty 26\",\"date\":\"ca. 945–600 B.C.\",\"culture\":\"\",\"medium\":\"Lapis lazuli\",\"dimensions\":\"Height of figure 5.2 cm (2 1/16 in); w. 1.8 cm (11/16 in); d. 1.1 cm (7/16 in.); Height of dais 0.4 cm (3/16 in); w 1.0 cm (3/8 in); d 1.6 cm (5/8 in)\",\"creditLine\":\"Anne and John V. Hansen Egyptian Purchase Fund, 2007\",\"accessionNumber\":\"2007.24\",\"webLabel\":\"This statuette depicts Ptah, the chief god of Egypt's capital city Memphis, who is easy to identify by his tight-fitting cap and enveloping shroud. Other iconographic details, such as the royal beard, the large and detailed broad collar, the scepter of merged \\\"was\\\" and \\\"djed\\\" signs, and a platform representing the hieroglyph for universal order, as well as the brilliant blue stone, communicate four important epithets: Lord of Lower Egypt, Master Craftsman, Lord of Truth, and Lord of the Sky.\u003cbr/\u003e\u003cbr/\u003eThe superior carving of the god's face, scepter, and jewelry is astonishing for a piece of such diminutive size and hard stone. Its style and quality suggests the sculpture was made in a royal workshop and most likely intended for use as a votive piece in Ptah's large temple at Memphis or in a small shrine dedicated to the god elsewhere in Egypt.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":549169,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/549169/1111185/main-image\",\"altText\":\"Cult Image of the God Ptah, Lapis lazuli\"}}},{\"__typename\":\"Object\",\"id\":437891,\"objectID\":437891,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Mars and Venus United by Love\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":{\"__typename\":\"Artist\",\"displayName\":\"Paolo Veronese (Paolo Caliari)\"},\"all\":[{\"__typename\":\"Artist\",\"displayName\":\"Paolo Veronese (Paolo Caliari)\"}]},\"period\":\"\",\"date\":\"1570s\",\"culture\":\"\",\"medium\":\"Oil on canvas\",\"dimensions\":\"81 x 63 3/8 in. (205.7 x 161 cm)\",\"creditLine\":\"John Stewart Kennedy Fund, 1910\",\"accessionNumber\":\"10.189\",\"webLabel\":\"The love between Mars, the god of war, and Venus, the goddess of love, is encouraged by a meddlesome pair of cupids. One ties the couple together, while his co-conspirator restrains Mars’s warhorse. The painting celebrates the civilizing and nurturing effects of love, as milk flows from Venus’s breast and Mars is disarmed. A brilliant colorist, Veronese amplifies the sensuality of the subject through his lush palette. Works such as this had an enduring impact on later artists including Velázquez and Giambattista Tiepolo. Possibly commissioned by Emperor Maximilian II, the painting was owned by Emperor Rudolf II in Prague by 1621, along with other mythological works by the artist.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":437891,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/437891/797737/main-image\",\"altText\":\"Mars and Venus United by Love, Paolo Veronese (Paolo Caliari) Italian, Oil on canvas\"}}},{\"__typename\":\"Object\",\"id\":449097,\"objectID\":449097,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Long-Necked Bottle\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"\",\"date\":\"first half 14th century\",\"culture\":\"\",\"medium\":\"Glass, colorless with green tinge; blown, blown applied foot, applied decoration, enameled, and gilded\",\"dimensions\":\"H. 19 5/8 in. (49.8 cm)\u003cbr/\u003eMax. Diam. 9 11/16 in. (24.6 cm)\u003cbr/\u003eDiam. of Base: 6 5/16 in. (16 cm)\",\"creditLine\":\"Purchase, Joseph Pulitzer Bequest, 1936\",\"accessionNumber\":\"36.33\",\"webLabel\":\"Especially after the Mongol‑Mamluk peace of 1323, the Chinese motifs popular in contemporary Ilkhanid art began to appear in the art and architecture of the Mamluks. Here, a Chinese cloud‑collar design provides the framework of four medallions, each decorated with a bird of prey attacking a goose, surrounded by a floral ground of Chinese‑inspired lotus and peony blossoms. Bottles of this shape served as wine decanters, and are depicted as such in banqueting scenes in a variety of media.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":449097,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/449097/901371/main-image\",\"altText\":\"Long-Necked Bottle, Glass, colorless with green tinge; blown, blown applied foot, applied decoration, enameled, and gilded\"}}},{\"__typename\":\"Object\",\"id\":444717,\"objectID\":444717,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Footed Bowl with Eagle Emblem\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"\",\"date\":\"mid-13th century\",\"culture\":\"\",\"medium\":\"Glass; dip-molded, blown, enameled, and gilded\",\"dimensions\":\"H. 7 3/16 in. (18.3 cm)\u003cbr/\u003eMax. Diam. 8 in. (20.3 cm)\u003cbr/\u003eDiam. of Base: 5 in. (12.7 cm)\",\"creditLine\":\"Edward C. Moore Collection, Bequest of Edward C. Moore, 1891\",\"accessionNumber\":\"91.1.1538\",\"webLabel\":\"$56\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":444717,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/444717/1893238/main-image\",\"altText\":\"Footed Bowl with Eagle Emblem, Glass; dip-molded, blown, enameled, and gilded\"}}},{\"__typename\":\"Object\",\"id\":444713,\"objectID\":444713,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Mosque Lamp of Amir Ahmad al-Mihmandar\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"\",\"date\":\"ca. 1325\",\"culture\":\"\",\"medium\":\"Glass, colorless with brown tinge; blown, folded foot, applied wick holder and handles, enameled and gilded\",\"dimensions\":\"H. 10 1/2in. (26.7cm)\u003cbr/\u003eMax. Diam. 8 3/16 in. (20.8 cm)\",\"creditLine\":\"Edward C. Moore Collection, Bequest of Edward C. Moore, 1891\",\"accessionNumber\":\"91.1.1534\",\"webLabel\":\"According to its inscription, Ahmad al‑Mihmandar (d. 1332) donated this lamp—probably one of several— to the madrasa that he erected in Cairo in 1324–25. His blazon, a white disk charged with a gold shield against a red bar, appears six times, amid a Qur'anic inscription on the neck (Sura 9:18) and against dense foliage on the underside.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":444713,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/444713/881171/main-image\",\"altText\":\"Mosque Lamp of Amir Ahmad al-Mihmandar, Glass, colorless with brown tinge; blown, folded foot, applied wick holder and handles, enameled and gilded\"}}},{\"__typename\":\"Object\",\"id\":453588,\"objectID\":453588,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Bottle\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"\",\"date\":\"ca. 1870–80\",\"culture\":\"\",\"medium\":\"Glass; free blown, enameled, and gilded\",\"dimensions\":\"H. 19 11/16 in. (50 cm)\u003cbr/\u003eDiam. 9 7/16 in. (24 cm)\",\"creditLine\":\"Gift of Anthony Blumka, in honor of Justin Frederick Nasatir, 1998\",\"accessionNumber\":\"1998.396\",\"webLabel\":\"\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":false,\"objectID\":453588,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/453588/864621/restricted\",\"altText\":\"Bottle, Glass; free blown, enameled, and gilded\"}}},{\"__typename\":\"Object\",\"id\":72381,\"objectID\":72381,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Seated Buddha\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":null,\"date\":\"1st to mid-2nd century\",\"culture\":\"Pakistan (ancient region of Gandhara)\",\"medium\":\"Bronze with traces of gold leaf\",\"dimensions\":\"H. 6 5/8 in. (16.8 cm); W. 4 1/2 in. (11.4 cm); D. 4 in. (10.2 cm)\",\"creditLine\":\"Gift of Muneichi Nitta, 2003\",\"accessionNumber\":\"2003.593.1\",\"webLabel\":\"This small bronze Buddha is probably one of the earliest iconic representations of Shakyamuni from Gandhara. He sits in a yogic posture holding his right hand in abhaya mudra (a gesture of approachability); his unusual halo has serrations that indicate radiating light. His hairstyle, the form of his robes, and the treatment of the figure reflect stylistic contacts with the classical traditions of the West. This Buddha shows closer affinities to Roman sculpture than any other surviving Gandharan bronze.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":72381,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/72381/146371/main-image\",\"altText\":\"Seated Buddha, Bronze with traces of gold leaf, Pakistan (ancient region of Gandhara)\"}}},{\"__typename\":\"Object\",\"id\":61820,\"objectID\":61820,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Seated Buddha, probably Shakyamuni (Shijiamouni)\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"Sixteen Kingdoms period (304–439)\",\"date\":\"late 4th–early 5th century\",\"culture\":\"China\",\"medium\":\"Gilt bronze; piece-mold cast\",\"dimensions\":\"H. 6 1/2 in. (16.5 cm); W. 2 3/4 in. (7 cm); D. 1 3/8 in. (3.5 cm)\",\"creditLine\":\"Purchase, Arthur M. Sackler Gift, 1974\",\"accessionNumber\":\"1974.268.8a–c\",\"webLabel\":\"Representations of the Buddha wearing a thick shawl over both shoulders and sitting atop a throne with lions on either side are Chinese adaptations of images derived from the northwest region of the Indian subcontinent, particularly from areas in present-day Pakistan (known as Gandhara in the ancient world). Scientific examination of this sculpture has shown that it was cast using several ceramic molds, a technique that was also used to create the ancient bronze ritual vessels on view in this gallery. By the fifth century, the lost-wax method, which may have been introduced with Buddhism, was used more often for the casting of Chinese sculptures.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":61820,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/61820/1851362/main-image\",\"altText\":\"Seated Buddha, probably Shakyamuni (Shijiamouni), Gilt bronze; piece-mold cast, China\"}}},{\"__typename\":\"Object\",\"id\":42733,\"objectID\":42733,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Buddha Maitreya (Mile)\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"Northern Wei dynasty (386–534)\",\"date\":\"dated 486 (10th year of Taihe reign)\",\"culture\":\"China\",\"medium\":\"Gilt bronze with traces of pigment; piece-mold cast\",\"dimensions\":\"H. 55 1/4 in. (140.3 cm); W. 24 1/2 in. (62.2 cm); D. 19 1/4 in. (48.9 cm)\",\"creditLine\":\"John Stewart Kennedy Fund, 1926\",\"accessionNumber\":\"26.123\",\"webLabel\":\"This is the largest early gilt-bronze Chinese sculpture known today. The Buddha’s broad shoulders, powerful physique, and long legs derive from fifth century Indian prototypes that spread to China along the Silk Road, an example of which can be seen directly behind you in the gallery for Indian art. \u003cbr/\u003e\u003cbr/\u003eMaitreya is worshiped both as a bodhisattva and as a Buddha, for it is believed that once the current cosmic era has destroyed itself, he will be reborn as the teaching Buddha of the next great era. The identification of this figure as the Buddha Maitreya is based on the dedicatory inscription at the back of the base, which dates the sculpture to 486 and states that it was commissioned in honor of the dowager empress Wenming (442–490), who controlled the Northern Wei dynasty during the last three decades of the fifth century.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":42733,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/42733/163638/main-image\",\"altText\":\"Buddha Maitreya (Mile), Gilt bronze with traces of pigment; piece-mold cast, China\"}}},{\"__typename\":\"Object\",\"id\":61821,\"objectID\":61821,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Bodhidharma Seated in Meditation\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":null,\"all\":[]},\"period\":\"Ming dynasty (1368–1644)\",\"date\":null,\"culture\":\"China\",\"medium\":\"Cast iron\",\"dimensions\":\"H. 36 in. (91.4 cm); W. 17 in. (43.2 cm); D. 11 1/4 in. (28.6 cm)\",\"creditLine\":\"Gift of Fong Chow, in memory of his grandparents, Sir Shouson and Lady Yip Chow, 1975\",\"accessionNumber\":\"1975.413\",\"webLabel\":\"\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":61821,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/61821/86072/main-image\",\"altText\":\"Bodhidharma Seated in Meditation, Cast iron, China\"}}}]}],false]}],[\"$\",\"section\",null,{\"className\":\"shelf-section_wrapper__aNTeG\",\"data-sentry-component\":\"ShelfSection\",\"data-sentry-source-file\":\"index.jsx\",\"children\":[[\"$\",\"div\",null,{\"className\":\"component-header_wrapper__kS6_W 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