Classic Sculptures of Allegorical Figures

Sculptures depicting female figures representing ideals like Republic and Hope, rendered in various materials from the 17th to 19th centuries.

Simon Miedema, Cast bronze statue of child with sickle and bundle of grain in hand, summer, from series the seasons, sculpture sculpture bronze metal, cast Series = spring - summer - autumn - winter cabinet furniture furniture crowning Made on behalf of J.P. van der Schilden as crowning box designed by him.

Jean Gautherin (1840-1890). The Republic. Plaster. 1879. Museum of Fine Arts of the City of Paris, Petit Palais. 102006-18 At the foot, woman, portrait, republic, statue, republican symbol, table law

Flora. France, 17th century. Sculpture. Earthenware on modern painted and gilt wood base

Study for The Blessed Alessandro Sauli, 1663-1668. Pierre Puget (French, 1620-1694). Terracotta; overall: 69.7 cm (27 7/16 in.).

Hope. The hope is on a rock above a plinth with truncated corners with the left foot head. The legs are slightly to the right, the upper and head to the left. With the right arm, it is based on a horizontal anchor, on which it is, the hand holds a part of her cloak. She raises her left arm. A long veil hangs from her head and fall over back and left arm. She is wearing a robe with sleeves, the folded collar of which is closed by a knot. The cloak, which is struck to the left over her lap, partially depends on her right arm; Sandals at the feet. On the left side of the plinth: W.H. From the Wall FC 1776.

Simon Miedema, Cast bronze statue of child with sickle and bundle of grain in hand, summer, from series the seasons, sculpture sculpture bronze metal, cast Series = spring - summer - autumn - winter cabinet furniture furniture crowning Made on behalf of J.P. van der Schilden as crowning box designed by him.

Tanagra type clay female figurine from Valle Pega, Emilia Romagna region, Italy, Italic civilization

Part of Maria Met Kind, Eugène Lacomblé, 1800 - 1900 Head of the Christ child. clay Head of the Christ child. clay

Kneeling Angel (shield carrier), Master Jubert (workshop or), c. 1480 Troyes limestone Troyes limestone

. Rombout Verhulst came from Mechelen (in present day Belgium) to Amsterdam to work on the decoration of Amsterdams new town hall (now the Palace on Dam Square). He later settled in The Hague, where he made this statue of Prudentia. Together with a counterpart, it adorned the gate of Zwaansvliet, a country estate built by the merchant François van Os in the Beemster Polder around 1628.

Pilaster (Tetramorph) from the Parapet of a Pulpit with Symbol of the Evangelists ca. 1302-10 Workshop of Giovanni Pisano Italian The trumpet-blowing angels, heralding the Last Judgment once flanked a relief of Christ as Judge (now in Berlin) in the center. The central pilaster is composed of a compact group with symbols of the evangelists: the angel of Matthew at center, the ox of Luke at his left, and the lion of Mark on the right. The pilaster supported an eagle lectern, similar to the adjacent one, for the reading of the Gospels. The eagleof John thus completed a representation known as a tetramorph. Probably executed by assistants after designs by the sculptor Giovanni Pisano, the pulpit was finished in 1310. It was dismantled in 1603, then reconstructed in the cathedral in 1926.. Pilaster (Tetramorph) from the Parapet of a Pulpit with Symbol of the Evangelists 466326

Winter, anonymous, c. 1740 - c. 1760 Figure multicolored painted representing the winter. Braunschweig . Figure multicolored painted representing the winter. Braunschweig .

Venus Italica, by Canova Antonio, 1804 - 1812, 19th Century, marble, full relief. Italy: Tuscany: Florence: Palazzo Pitti. Whole artwork. Statue nude woman goddess love Venus

Cupid and Psyche 1794 Antonio Canova Italian Canova made two slightly different versions of this composition. The first, commissioned by a Briton, was later acquired by Napoleon's brother-in-law and is now in the Musée du Louvre, Paris. The second, for which this full-scale model was prepared, was made for Prince Nicholas Youssoupov and is now in the Hermitage, Saint Petersburg. The plaster was inherited by Canova's assistant, Adamo Tadolini, who used it to replicate additional groups. The metal pins inserted over the surface assisted the sculptor in transferring the form of the complex group from the plaster to the block of marble from which the sculpture was carved. Listen to experts illuminate this artwork's story Listen Play or pause #5228. Cupid and Psyche Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is not available at this time. We are working to make it available as soon as possible.. Cupid and Psyche. Antonio Canova (Italian, Possagno

Saint Michael ca. 1475 French Saint Michael, the warrior archangel of Heaven, is portrayed battling the devil in the guise of a dragon. Swiveling to spear the serpentine foe, the saint is clad in a suit of mail covered by a cuirass of plate armor. The tip of his now-broken weapon remains visible in the dragon's gaping mouth. The dragon fights back by curling his tentacle-like tail around St. Michael's leg reflecting medieval belief that dragons kill their prey by squeezing them to death. This highly accomplished sculpture, with its exquisite detail, fine modeling, and adroitly twisting pose, may well have been a noble commission.. Saint Michael. French. ca. 1475. Limestone, traces of paint & gilding. Made in Touraine, French. Sculpture-Stone

Astronomy probably 17th century After a composition by Giambologna Netherlandish. Astronomy. After a composition by Giambologna (Netherlandish, Douai 1529-1608 Florence). Italian, Florence. probably 17th century. Gilt bronze. Sculpture-Bronze

Virgin of the Immaculate Conception late 17th century Probably after a model by Lorenzo Vaccaro Italian. Virgin of the Immaculate Conception. Probably after a model by Lorenzo Vaccaro (Italian, 1653-1706). Italian, Naples. late 17th century. Gilt bronze, silver, partly polychrome. Sculpture

Eros riding a goat 3rd century B.C. or later Cypriot The figurine is mold-made and hollow. The back is handmade and flattened. There is an oval vent near the bottom of the back. The figurine is broken across the animal's neck and mended.. Eros riding a goat 241155

Figure: Amor piercing shot heart; Koenigliche Porcellain Fabrique, Meissen (1710-1763), Schwabe, Heinrich (1847-); Kon. XIX century (1880-00-00-1900-00-00);

Figure of learned or manner. Image of a learned or manner on associated pedestal with birds and flowers.

The child murder of Bethlehem. The sculpture group consists of 2 parts.

Image of the Saint Catharina with crown, book, wheel and sword. Image of the Saint Catharina with crown, book, wheel and sword. Casting in plaster. The forms are located in the municipal collection in Utrecht.

Allegorical Figure of Peace, c. 1780, Sèvres Porcelain Factory, Paris, 1756-present, 14 3/4 in. (37.47 cm), Bisque porcelain, France, 18th century

Anonymous. "Veiled dancer". Molded terracotta, bistre earth, white slip over the entire height. 350. Museum of Fine Arts of the City of Paris, Petit Palais. 99931-18 Antiquity, white slip, middle of the 4th 4th 4th 4th 4th century before av. JC, bistre earth, terracotta molded, ancient

Henri Allouard (1844-1929). "Work". Terracotta patinated plaster, 1880-1900. Paris, Carnavalet museum. 60824-1 Allegory, woman, terracotta patina, statue, work, women's work

Figure of a Youth. Rhineland, Middle Rhine (), circa 1425-1440 . Sculpture. Linden wood with traces of polychromy

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Ganymede and the Eagle, 1782 Ganymedes with eagle. Rome lead (metal) casting Ganymedes with eagle. Rome lead (metal) casting

Jean-Antoine Houdon (1741-1828). Portrait of Mrs. Thénard. 1757-1849) to the Comédie Française in the role of Hermione. bust. Plaster. Paris, Carnavalet museum. Portrait

Statuette mid-18th century French. Statuette 190438 French, Statuette, mid-18th century, Gilt bronze, Overall (confirmed): 14 1/2 x 7 1/2 x 5 in., 17.4lb. (36.8 x 19.1 x 12.7 cm, 7.8926kg). The Metropolitan Museum of Art, New York. Gift of J. Pierpont Morgan, 1906 (07.225.510.716)

Saint John the Evangelist, c. 1325-1330. Germany or Moravia, 14th century. Ivory with traces of paint and gilding; overall: 15.8 x 3.2 cm (6 1/4 x 1 1/4 in.).

De apostel Bartholomeus, anonymous, c. 1515 Austria linden Austria linden

Terracotta statuette of an actor late 5th-early 4th century B.C. Greek Fourteen of these figures are said to have been found together in a burial in Attica. They are among the earliest known statuettes of actors and are superbly executed and preserved. Originally they were brightly painted. They document the beginning of standardized characters and masks, indicating the popularity not of a specific figure but of typesthe old man, the slave, the courtesan, etc.that appeared repeatedly in different plays. By the mid-fourth century B.C., Attic examples or local copies were known throughout the Greek world, from Southern Russia to Spain.. Terracotta statuette of an actor. Greek. late 5th-early 4th century B.C.. Terracotta. Late Classical. Terracottas

. She stands on a rectangular soil with the right leg forwards and headed to the right with the head. On the right arm, about which the skirt is included, she wears a dog that she holds with both hands. Her hairstyle consists of separated hair on the forehead, which is tightly aside from the center of the head and backwards and falls into pipes curls on shoulder and back. On the head a V-shaped hair clip () With a small town in front. About a robe, which depends on the ground and court shoe point, a Jap consisting of a wide skirt, which has been pinned from behind, and a pointed handling torch with short puffs and turned collar of ermine, on which a brooch. About back and arms hangs one of the shoulders slipped scarf, the ends of which are getting back to back.

Court Lady and Dancer, anonymous, c. 600 - c. 699 Graffy of earthenware, with traces of polychromy. A lady with a headgear and rich clothing. Tang. China earthenware. dye painting Graffy of earthenware, with traces of polychromy. A lady with a headgear and rich clothing. Tang. China earthenware. dye painting

Cupid as sculptor ca. 1765 Chelsea Porcelain Manufactory. Cupid as sculptor. British, Chelsea. ca. 1765. Soft-paste porcelain. Chelsea Porcelain Manufactory (British, 1745-1784, Gold Anchor Period, 1759-69). Ceramics-Porcelain

Angel. Culture: French. Dimensions: H. 80.7 cm. (31 3/4 in.). Date: late 15th century. Museum: Metropolitan Museum of Art, New York, USA.

Mourner. Culture: French. Dimensions: Overall: 15 3/8 x 5 1/2 x 4 3/4 in. (39 x 13.9 x 12 cm). Date: mid-15th century. Museum: Metropolitan Museum of Art, New York, USA.

Nydia, The Blind Flower Girl of Pompeii. Randolph Rogers; American, 1825-1892. Date: 1855-1856. Dimensions: 130.8 × 64.1 × 91.4 cm (51 1/2 × 25 1/4 × 36 in.). Marble. Origin: Rome. Museum: The Chicago Art Institute, Chicago, USA.

Figure of a Standing Lady. Culture: Japan. Dimensions: H. 14 1/4 in. (36.2 cm). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Seated Falconer. Culture: China. Dimensions: H. 6 in. (15.2 cm); W. 5 3/4 in. (14.6 cm). Date: mid-to-late 6th century. Museum: Metropolitan Museum of Art, New York, USA.

Rear for a Maria with child. Achteral for a Maria with child

Apollo en Diana, Meissener porcelain manufactory, c. 1760 Group of painted porcelain. Diana is sitting on an oval pedestal decorated with partly gilded rocailles on a hill -covered hill. Left of her is Apollo, an arrow cooker with arrows on the back, a shield behind him and two hunting dogs at his feet. There are two sitting putti next to Diana. Behind Apollo is a breast image on the back. The image is marked. Float porcelain Group of painted porcelain. Diana is sitting on an oval pedestal decorated with partly gilded rocailles on a hill -covered hill. Left of her is Apollo, an arrow cooker with arrows on the back, a shield behind him and two hunting dogs at his feet. There are two sitting putti next to Diana. Behind Apollo is a breast image on the back. The image is marked. Float porcelain

Saint Andrew (from the church of Saint Martin inAngers), ca.1180-95, Polychrome limestone, 195.6 × 45.7 × 42.5 cm, 861.83 kg (77 × 18 × 16 3/4 in., 1900 lb.), Onview, French,Angers, 12thcentury, Sculpture

Venus Giving Arms to Aeneas Jean Cornu French 1704 The later reign of Louis XIV witnessed a veritable explosion of theatrical Baroque sculptural groups devoted to the retelling of classical myths. In an episode taken from Virgil's Aeneid, the goddess Venus descends from the skies to present her son, the Trojan prince Aeneas, with a spectacular set of armor. As an addition to the story, Cupid, half-brother of Aeneas, raises the shield. View more. Venus Giving Arms to Aeneas. Jean Cornu (French, Paris 1650-1710 Lisieux). French, Paris. 1704. Terracotta and painted wood. Sculpture

BUEN PASTOR - SIGLO IV - MARMOL BLANCO - 67x32 cm - ESTILO PALEOCRISTIANO. Location: PALACIO PILATOS. Sevilla. Seville. SPAIN.

John Locke, unknown artist, eighteenth century, ca. 1775, Terracotta, Overall: 13 inches (33 cm), man, portrait

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Figure. Culture: China. Dimensions: H. 12 1/2 in. (31.8 cm); W. 5 3/4 in. (14.6 cm); D. 3 3/8 in. (8.6 cm). Museum: Metropolitan Museum of Art, New York, USA.

Neptune (one of a pair) ca. 1770-80 Ralph Wood the Younger. Neptune (one of a pair). British, Burslem, Staffordshire. ca. 1770-80. Lead-glazed earthenware. Ceramics-Pottery

Standing Female Saint. Artist: Hans von Reutlingen (German, Aachen, 1465-1547) or Workshop. Culture: German. Dimensions: Overall: 3 3/4 x 1 5/16 x 1 1/4in. (9.5 x 3.4 x 3.1cm). Date: ca. 1510.This finely worked figure appears to have come from the immense bust reliquary of Saint Lambert commissioned by the prince-bishop Erard de La Marck for the now-destroyed cathedral of Saint Lambert in Liège. Created by the Aachen goldsmith Hans von Reutlingen and his workshop beginning in 1508, it was consecrated on April 22, 1512. The left hand of the crowned female figure is also missing, together with her other attribute, making it impossible to determine whether she represents the Virgin, a royal, or a martyred female saint. Museum: Metropolitan Museum of Art, New York, USA.

One of the Magi (Balthasar), from an Adoration of the Magi, anonymous, c. 1510 Lower Rhine region oak (wood) Lower Rhine region oak (wood)

Lute-playing Angel, made shortly after 1503. Hans Schnatterpeck (Austrian). Black Forest balsalm fir with polychromy; overall: 75 cm (29 1/2 in.).

'"Portrait of Alexander Menshikov"'. Russia, St Petersburg, 1717. Dimensions: 122,5x96x44 cm. Museum: State Hermitage, St. Petersburg.

Windstreekhoeder, anonymous, 618 - 906 One of the guards of the four over the world. China bronze (metal). gilding (material) gilding One of the guards of the four over the world. China bronze (metal). gilding (material) gilding

DETALLE - SANTO ENTIERRO - MADERA DE NOGAL - SIGLO XVI - PROCEDENTE DE LA RIOJA. Location: MUSEO MARES-COLECCION. Barcelona. SPANIEN.

Flora with children ca. 1778-85 Este. Flora with children 189028 Factory: Este, Modeler: possibly Jean-Pierre Varion, active from 1749, died 1780/1, Flora with children, ca. 177885, Hard-paste porcelain, Height: 8 in. (20.3 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1906 (06.389)

Virgin and Child. Culture: French. Dimensions: Overall: 35 3/4 x 14 1/4 x 10 1/4 in. (90.8 x 36.2 x 26 cm). Date: ca. 1400-1425.This sculpture is inspired by Claus Sluter's Virgin and Child on the trumeau (central pier of a doorway) of the portal of the Chartreuse de Champmol, Dijon, begun in 1390. Museum: Metropolitan Museum of Art, New York, USA.

Justice, early 16th century, Attributed to Niccolò Tribolo, Italian, 1500-1550, 12 x 3 7/8 x 3 in. (30.48 x 9.84 x 7.62 cm), Bronze, Italy, 16th century

ESTATUA DE ULISES EN BRONCE. ROMANO. ESCULTURA. AJUAR.(DEPOSITO: MUSEO ARQUEOLOGICO PROVINCIAL DE CORDOBA).

Terracotta statue of Eros holding an apple Late 4th century B.C. Greek, Cypriot The figurine is mold-made and hollow. The back is handmade and flattened. There is an irregular round vent in the back at the level of the abdomen.. Terracotta statue of Eros holding an apple. Greek, Cypriot. Late 4th century B.C.. Terracotta; mold-made and hand-made. Early Hellenistic. Terracottas

Europe, Portugal, Lisbon, Estrela, National Museum of Ancient Art, St. Antony

Ten weepers from the tomb of Isabella of Bourbon, Borman workshop (attributed to), Renier van Thienen (I) (attributed to), c. 1475 - c. 1476 It stands with the left leg forward and has used the head to the left. He wears a bourrelet with a hanging piece and hanging lamfer, of which he holds the lower part with the right hand. The left arm holds he bent next to the body, the hand off. The long with fur lined Houppelande hangs to the floor and has a split at the front, including the left leg; To the means a wide belt. The wide, sleeves reaching to the ground end in lobben. Brussels bronze (metal) casting It stands with the left leg forward and has used the head to the left. He wears a bourrelet with a hanging piece and hanging lamfer, of which he holds the lower part with the right hand. The left arm holds he bent next to the body, the hand off. The long with fur lined Houppelande hangs to the floor and has a split at the front, including the left leg; To the means a wide belt. The wide,

Display Rock, late 18th-early 19th century, 19 3/4 x 16 x 7 1/4 in. (50.17 x 40.64 x 18.42 cm), Ling-pi stone, China, 18th-19th century

Model for a Monument to Alexandre Dumas, père (1802 - 1870). Albert-Ernest Carrier-Belleuse (French, 1824 - 1887)

Queen, from a group of Donor Figures including a King, Queen, and Prince ca. 1350 French These royal donors in prayer may have belonged to an altar or a tomb. Based on comparisons with contemporary portraits, the statuettes may portray Philip VI Valois (d. 1350); his second wife, Blanche of Navarre (d. 1398); and one of their sons, John the Good or Philip of France.. Queen, from a group of Donor Figures including a King, Queen, and Prince 464368

Johann-Joachim Kaendler. "Flore or spring". Ceramic. Paris, Cognacq-Jay museum. 35788-15 Allegory, bouquet flower, ceramic, woman, Meissen factory, spring, season

Terracotta statuette of a woman leaning on a pillar 2nd century B.C. Greek, South Italian, Tarentine Standing, legs crossed, upper part of figure undraped, leaning right hand on pedestal.. Terracotta statuette of a woman leaning on a pillar. Greek, South Italian, Tarentine. 2nd century B.C.. Terracotta. Hellenistic. Terracottas

Dancers of Delphi Sculpture Dancers of delphi sculpture isolated on white background photo Copyright: xZoonar.com/DanielxFerreira-LeitesxCiccarinox 18196686

Male character mingqi. Terracotta, brown glaze, traces of polychromy. Paris, Cernuschi museum. 78843-25 Beyond, belief, figurine, mingqi, funeral object, male character, model character, funeral rite, statuette

Statuette of Sacrificing Woman, 600-480 BC. Italy, Etruscan, Archaic period. Bronze; overall: 19.1 cm (7 1/2 in.); base: 7.9 cm (3 1/8 in.).

Allegorical Figure of Asia Made 1770-1780 Derby. Soft-paste porcelain with polychrome enamels and gilding . Derby Porcelain Manufactory

Shō Kannon, 900s. Japan, Heian period (794-1185). Wood with traces of color; overall: 101.6 cm (40 in.); with base: 124.5 cm (49 in.).

Chinese Woman, the Greek A (attributed to), c. 1700 - c. 1720 Female figure, Kuan Yin, Van Faience. Blue painted. Delft . Female figure, Kuan Yin, Van Faience. Blue painted. Delft .

Altar Angel (one of a pair) ca. 1275-1300 French This figure, along with its pair (acc. no. 52.33.2) probably once held either candlesticks or instruments of the Passion. Deriving in style from the smiling angels on the west facade of Reims Cathedral, such works were placed around an altar. They stood on top of small columns that supported rods on which curtains were hung. The angels were originally painted in rich colors and gold. Their upward trailing wings are now lost. Listen to experts illuminate this artwork's story Listen Play or pause #26. Altar Angel (one of a pair) Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is not available at this time. We are working to make it available as soon as possible.. Altar Angel (one of a pair). French. ca. 1275-1300. Oak with traces of paint. Made in Artois, France. Sculpture-Wood

The Theft of the Rose. Culture: French, Sèvres. Dimensions: Height: 12 in. (30.5 cm). Modeler: Louis Simon Boizot (French, Paris 1743-1809 Paris). Date: 1789.This is a sketch model for a group produced in biscuit porcelain by the Sèvres Manufactory where Boizot was director of sculptural works from 1773 to 1809. Museum: Metropolitan Museum of Art, New York, USA.

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Terracotta statuette of a seated female figure 4th century B.C. Greek The "niche" surrounding the figure suggests that she is probably a deity.. Terracotta statuette of a seated female figure 254769 Greek, Terracotta statuette of a seated female figure, 4th century B.C., Terracotta, 6 3/4 in. x 2 3/4 in. (17.1 cm x 6.9 cm). The Metropolitan Museum of Art, New York. Gift of Archaeological Institute of America, 1953 (53.5.44)

Figure of a Chinese man. Culture: French, Saint-Cloud or Paris. Dimensions: Height: 7 in. (17.8 cm). Factory: Saint-Cloud factory (French, before 1698-1766) or; Rue de la Ville l'Evêque. Date: ca. 1730-40. Museum: Metropolitan Museum of Art, New York, USA.

Mary Magdalene, anonymous, c. 1520 Maria Magdalena, polychrome painted. Brussels oak (wood) Maria Magdalena, polychrome painted. Brussels oak (wood)

Candlestick late 16th century Inspired by engravings by Agostino Veneziano (Agostino dei Musi) With the widespread availability of brass, cheaper and easier to work than bronze, the middle classes could aspire to own artistically inventive household objects. Brass foundries were initially associated with the Netherlandish Meuse region, particularly the town of Dinant, prompting the designation dinanderie for such objects. Following the Sack of Dinant, Nuremberg became the industrys center, producing works for the open market. Objects like these brought simplified versions of the latest designs to a wide class of consumers. The candlestick, for example, is loosely inspired by engravings by the Italian Renaissance artist Agostino Veneziano, perhaps by way of the Flemish artist Pieter Coecke van Aelst, whose tapestries and printed books feature similar turban-wearing column figures.[Elizabeth Cleland, 2017. Candlestick. Inspired by engravings by Agostino Veneziano (Agostino dei Musi) (I

Male character mingqi. Terracotta with brown glaze, traces of polychromy. Paris, Cernuschi museum. 78843-14 Beyond, belief, figurine, mingqi, funeral object, male character, model character, funeral rite, statuette

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia23. Hutzel, Max 1960-1990 General Notes: INCOMPLETE RECORD--NEGATIVES PROCESSED, PRINTS FILED German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Satyress and her Infant ca. 1520 or later Workshop of Severo Calzetta da Ravenna Italian In this tender vignette, a satyress looks downwards with a dreamy and pensive expression while an infant satyr at her knee glances upwards, grasping a bird in his right hand. The candle socket in the satyress's right hand and the shell-shaped inkwell would have provided illumination and ink for writing.. Satyress and her Infant 460994

Virgin and Child ca. 1400 French. Virgin and Child. French. ca. 1400. Ivory. Ivories

Roman Bronze Figure of the Goddess Fortuna 1st-2nd C. AD Roman Art Christie's Images, London, England

Jain Siddha Bahubali, Entwined with Forest Vines. Culture: India (Karnataka). Dimensions: H. 4 3/8 in. (11.1 cm). Date: late 6th-7th century.The oldest Jain image in the Metropolitan Museum's collection also happens to be the earliest known representation of the subject in Jain art, that of Bahubali, a prince who attained the stature of a perfected being (siddha). Although never admitted to the pantheon of twenty-four tirthankaras, he nonetheless attained jina-like status. The legend of Bahubali tells of a prince who renounces violence after coming close to slaying his brother Bharata in a battle of succession and then renounces pride and its expression--violence to other living creatures. Embracing ahimsa (nonviolence), he meditates in the "body-abandonment" posture in a forest, where he is entwined by vines and hosts birds that nest in his hair until he attains moksha.This diminutive icon is part of a tradition that inspired the largest rock-cut icon in the Indian subcontinent, the

Figure of Spring from the Four Seasons, c. 1775. Bristol Porcelain Factory (British, 1770-81). Hard-paste porcelain; overall: 27 x 14.5 x 9.4 cm (10 5/8 x 5 11/16 x 3 11/16 in.). The modern notion of childhood as a time of innocence and simplicity emerged during the second half of the eighteenth century. This understanding of adolescence led to numerous depictions of children as personifications of the four seasons. Here spring is portrayed as a young girl adorning her hair with flowers. The flowers filling her basket and growing in the grass around her signal springs arrival.

The Archangel Gabriel. Dated: 1325/1350. Dimensions: overall: 159.4 x 47.3 x 36 cm (62 3/4 x 18 5/8 x 14 3/16 in.). Medium: wood, polychromed and gilded. Museum: National Gallery of Art, Washington DC. Author: Pisan 14th Century.

Michhelangeto Allak, Jean-Jacoques Adöèners, C. 1849 - c. 1852 bronze (metal) gilding bronze (metal) gilding

Man with Arms Crossed in Front. Nevers, France. Date: 1700-1750. Dimensions: H. 7.3 cm (2 7/8 in.). Glass; lampwork (verre de Nevers), metal armature. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Statuette of Eros with a Deer. Unknown

Anonymous. "Saint Cephalophore (Saint Alban)". Polychromed coniferous wood. 1515. Museum of Fine Arts of the City of Paris, Petit Palais. 123479-28

. These two figures once served as guardians to the entrance of the burial chamber of a Chinese tomb. Their decoration with coloured glazes was particularly costly and reveals the high status of the deceased. The bodies of these figures are virtually identical: they were probably made from the same mould. Only the heads have been individually modelled.

Zodiac Figure: Pig 18th century China. Zodiac Figure: Pig. China. 18th century. Porcelain, in the biscuit and with turquoise and aubergine glazes. Qing dynasty (1644-1911). Ceramics

Netsuke of Man Carrying a Frog in One Hand and a Branch in the Other 19th century Japan. Netsuke of Man Carrying a Frog in One Hand and a Branch in the Other. Japan. 19th century. Ivory. Edo (1615-1868) or Meiji period (1868-1912). Netsuke

Mary Magdalene, from a Crucifixion Altar, anonymous, c. 1550 On a ground she kneels to the right, used the head and upper body to the viewer and holds his hands against each other in a praying position. The separate hair waves widely over her back and disappears under the sagged cloak, which completely hides her legs. A finely pleated shirt comes from the wide neck opening of the overclock in Voorschuin and bulging through the elbow split of the sleeve, which is potted at the top. A scarf has been forced around the drug; A necklace with a pendant over the shoulders, rings on the fingers. The passions on the upper rug at Hals and Moewen show elips -shaped decorations. Southern Netherlands boxwood (hardwood) On a ground she kneels to the right, used the head and upper body to the viewer and holds his hands against each other in a praying position. The separate hair waves widely over her back and disappears under the sagged cloak, which completely hides her legs. A finely pleated shirt co

Arhat (Luohan) ca. 1000 China Listen to experts illuminate this artwork's story Listen Play or pause #7447. Arhat (Luohan), Part 1 Play or pause #7447. Arhat (Luohan), Part 2 Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is not available at this time. We are working to make it available as soon as possible.. Arhat (Luohan). China. ca. 1000. Stoneware with three-color glaze. Liao dynasty (907-1125). Sculpture

Terracotta statuette of an actor. Culture: Greek, Attic. Dimensions: H. 4 1/8 in. (10.5 cm). Date: late 5th-early 4th century B.C..Fourteen of these figures are said to have been found together in a burial in Attica. They are among the earliest known statuettes of actors and are superbly executed and preserved. Originally they were brightly painted. They document the beginning of standardized characters and masks, indicating the popularity not of a specific figure but of types--the old man, the slave, the courtesan, etc.--that appeared repeatedly in different plays. By the mid-fourth century B.C., Attic examples or local copies were known throughout the Greek world, from Southern Russia to Spain. Museum: Metropolitan Museum of Art, New York, USA.

One of the Set of the Four Evangelists: Mark. Alessandro Vittoria; Italian, 1525-1608. Date: 1575-1585. Dimensions: H. 60 cm (23 3/8 in.). Terracotta. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

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