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Warrior with Shield, 1953–1954
Henry Moore

Not on View

Vessel in the shape of an owl. Two flanges, one ending just under the beak in front and the other continuing to the top of the head in back, have alternating straight and L-shaped scores, those on the front flange being much the deeper of the two. The tail, with a scored flange border, forms the back support of the vessel. Apart from the realistically-formed feet, the bird is strongly stylized. The body is completely covered by rows of scales except for the shoulder line, expressed by a vigorous spiral, and the wings quills, rendered by bands filled with antithetical spirals. Patina green. — Zun wine vessel in the shape of an owl, 13th-12th century BCE
China

G214

Leopard Aquamanile, Bronze, Benin Culture, Africa, XVIIc; covered with incised spots and smnall punch marks. Rare example. — Water pitcher, 18th century
Edo

G250

face-covering helmet with back and sides curled upward; vertical opening at center from eye holes through bottom; organic design on forehead; curving eyebrows, connected at center — Corinthian helmet, c. 540 BCE
Unknown Greek

G241

Found in a temple near Pondicherry. The figure represents cosmic activity. The significance of the gestures is as follows the drum in the right hand signifies creation; the fire in the upper left hand, destruction; the abaya (fear not) position of the lower right hand, protection; the position of the raised left foot, salvation; the foot placed on the prostrate dwarf, Apasmarapurusa, removal of illusion/ignorance. — Shiva Nataraja (Lord of the Dance), c. 1100
India

Not on View

Bust — Portrait of Luca Salvioni, c. 1536
Agostino Zoppo

G340

Portrait Bust of Pope Clement X, Circle of Gianlorenzo Bernini — Portrait Bust of Pope Clement X, modeled c. 1668 (cast late 17th century)
Circle of Gianlorenzo Bernini

G310

head (male) wearing thick collar up to lower lip; openwork caplike headdress with hanging braids and beaded cords around ears; two "beads" on forehead; flower-like beaded elements at temples--one at PR ear, two at PL ear; open circle at top of head — Memorial head, 1550-1650
Edo

G250

Golden Bird, Constantin Brancusi — Golden Bird, c. 1919
Constantin Brancusi

Not on View

standing horse with legs slightly splayed outward; wide eyes; open mouth with exposed teeth; upward-pointed ears; green patina with white, blue and red pigment traces — Celestial Horse, 25-220
China

Not on View

Theseus Slaying the Centaur Bianor, Antoine-Louis Barye; Caster: F. (Ferdinand) Barbedienne — Theseus Slaying the Centaur Bianor, c. 1850 (modeled, cast c. 1891)
Antoine-Louis Barye; Caster: F. (Ferdinand) Barbedienne

G303

Baboon and Young, Pablo Picasso — Baboon and Young, 1951
Pablo Picasso

G376

Equestrian Figure — Bronco Buster, 19th century
Frederic Remington

G301

bronze budhist temple bell; tall football shaped body with flat top; two dragons turned away from each other form hanger at top center; sides decorated with two rectangular fields striped with three bands of three raised circular bumps — Bo bell, late 6th-5th century BCE
China

G215

Portrait. — Portrait of John Scott Bradstreet, 1915
Paul Fjelde; Depicted: John S. Bradstreet

G319

Female Figure; Figure of Diana with bow in left hand (goddess in classical Greek Mythology) — Diana with a Bow, 1890
Frederick William MacMonnies

G323

standing male nude; represents man awakening to a fuller comprehension of his physical powers — The Age of Bronze, 1876–77 (plaster model); casting date unknown
Auguste Rodin; Caster: Alex Rudier Fondeur

G355

Light golden brown patination. After the monument in Dijon, France, commissioned 1852. — Hebe and the Eagle of Jupiter, model c. 1853-55 (casting history and edition size unknown)
François Rude; Caster: Thièbaut Frères

G354

Figure; This work was cast posthumously from a terracotta sketch, ca. 1900; casting history and edition size unknown — Dancer Putting on Her Stocking, 19th century
Edgar Degas

G351

standing female figure holding an apple in her proper left hand — Eve with Apple, c. 1902
Aristide Maillol

G324

Woman in a Bathtub, 1889 modeled (cast 1920-21) no. 26/C
Edgar Degas

G351

The Fighter of the Spirit, 1928
Ernst Barlach

Exterior Grounds

cast no. 2/10; figure — Large Seated Nude, c. 1923–1925
Henri Matisse

G377

thinly cast with a narrow spout and pointed lip above an oblong body cast with three medial lines, a single loop handle; all standing on tall blade-form legs — Jue wine vessel, 16th-15th century BCE
China

G214

The Avenger, modeled 1914, cast 1923
Ernst Barlach

G371

Old base (b) R5A2.1 MS — Psyche Abandoned, c. 1800
Augustin Pajou; Caster: Possibly Pierre-Philippe Thomire

G306

possibly a cast of the bozzetto of the larger sculpture modeled by Giovanni Bologna for a statue at the Medici Villa of Castello, outside Florence; base is of a later date — Florence or Venus, first half of the 17th century
Italy

G310

The decor is disposed in the three areas usual in vessels of this class the foot, bulb, and neck. The foot belt, divided into four panels by deeply scored flanges, displays a mask t'ao-tieh with a C-shaped mouthline, hooked forehead shield, small eyebrows, and S-shaped norns. Above is a narrow band with consecutive trunked dragons. The decor ground is of squared spirals throughout. The bulb, also divided into four panels, displays a t'ao-tieh bodied to the extent that some simple lines of a vertical body still remain above the leg. The central line of the face, with no forehead shield, is formed by the flange. The lower zone of the high throat is filled with consecutive snakes, their heads turned EN FACE. Above are slender rising blades, the major part of each filled with a t'ao-t'ieh to be seen from above. Streaked eyebrows appear over buldging eyes, and over these, again, long-drawn-out C-shaped figures forming the horns. Below the eyes are two C-shaped figures, modifications of mouthlines. At the end of the blade, separated from the t'ao-t'ieh by a narrow, empty band, is a V-figure- a corruption of a cicada drawing. Patina grey-green and blue-green with patches of red. Except for a cross-shaped perforation between the foot and the area above, the beaker is in almost every detail exactly similar to the one with a Yin inscription published in Huang, TSUN KU CHAI. — Gu wine vessel, 12th-11th century BCE
China

G214

Ptolemaic Ruler in the Guise of Hercules, Graeco-Egyptian — Ptolemaic Ruler in the Guise of Hercules, 2nd century BCE
Graeco-Egyptian

G242

nude little smiling boy with two dimples and short curly hair, riding on a seahorse; lily pads and scallops on base; octagonal bottom has alternating seahorses and fluted designs; greenish patina — Putto on Seahorse, 1933
Evelyn Beatrice Longman

G280

The sculpture quality of these dashing beasts is admirably conveyed by their carriage, the proud pose of their heads, and the almost arrogant suppleness of their bodies. The forceful comma-shapes of the tails and their jaunty tufts, as well as the double-rope pattern on the mustachios, give ample proof that, in spite of the scale that, in these creatures must be dated later than Middle Chou. Patina grey-green — Winged dragon, one of a pair, 5th-4th century BCE
China

G214

The name Kuei for this vessel type is well established in the early literature. The surfaces of the vessel are divided into four vertical panels by four flanges on the foot, two flanges and two handles on the body. These narrow, thin flanges contrast contrast sharply with the heavy handles and their massive bovine heads. The principal figures in the decor, executed in low relief except for the strongly protruding eyes, are so covered with adorning lines that they tend to merge with the ground of squared spirals. In the foot belt are rudimentary t'ao-t'ieh masks, the central line formrd by two of the flanges, and two consecutive, head-turning dragons with C-shaped horns. The mask t'ao-t'ieh on the belly, with ordinary features strongly detatched, is flanked by vertical dragons. The flanges form the centers of two such t'ao-tieh, the handles of two other masks in which the face (nose and hooked forehead shield) has been cleft, leavint an interstice as broad as the handles between the two halves. This space under the handles is decorated with a bovine head in flat relief, thus creating a small t'ao-t'ieh inside a larger one. The neck belt displays dragons with oversized beaks. Patina blackish. — Gui food vessel, 11th century BCE
China

G214

Jia wine vessel, 12th century BCE

China

G214

This vessel, the disposition of its decor on a bare ground, the panels and the system of flanges, free animal's heads, and handles that delimit them, are the same as in the Kuei 50.46.19, Karlgren pl.49. The beaked dragons in neck and foot belts have the unusual feature of an additional plume which hangs down from the curled-up tail. The handles are topped with rams' heads and terminate at the bottom with a C-hook reminiscent of the bird's tail on vessels 49 and 52. Most interesting feature of the vessel is the decor on the bottom surface. It is a coiled dragon, in threadlike relief, with a rolled-up nose and a body adorned with a row of big scales. A foot with claws and fetlock is seen on the inside curve. The outer edge of the body has tufts which in pairs form C-figures. The space behind the tail has been filled out with a simple figure with is really the rudiment of a dragon body. Patina grey-green. — Gui food vessel, 11th-10th century BCE
China

G214

The principle surface displays a rectangular field of interlocked T's on a ground of squared spirals framed on three sides by rows of spikes. Scored flanges at the four corners of the vessel are supplemented in the upper belt by additional flanges which thus divide it into eight panels. Antithetical, long-tailed birds flank the short flanges forming the central ridge of a rudimentary t'ao-t'ieh mask. Hanging blades appear on the cylindrical legs, and disfigured dragons in flat relief on the outer surface of the upright handles. Patina green — Fangding food vessel, 11th century BCE
China

G214

This ting represents the Huai style at its extreme point in the matter of the vessel shape. The tradition that in this style the body of the Ting is big and bulky in proportion to the extremely short, thin legs, is here carried to the ultimate degree. The high lid, its ring-shaped top capable of serving as a foot if the lid is inverted, is fully spherical in shape. The legs are very small and thin and display a t'ao-t'ieh with spiral horns on their upper parts. (The t'ao-t'ieh, all but extinct during Middle Chou, reappeared in the Huai Style Period). Dissolved dragon rigid ring handles are adorned with a row of cowries bordered by rope-patterned bands. On the top of the lid, a loosely twined cord pattern encloses a quartefoil with its central disk filled with granulation. Patina blue-green. — Vessel with Cover, 5th-4th century BCE
China

G214

'Kia', with uprights. A strongly S-profiled wall, its inward curvature placed low, creates a high, flaring collar decorated with a band of dragonized t'ao-t'ieh. Above is a row of rising blades filled with stylized cicadas. On the body, three deeply scored flanges form the central ridges of three dissolved t'ao-t'ieh on a spiral ground. The handle is surmounted by an animal's head with well defined feratures. The upper part, forming the neck of the animal, is covered with rows of scales; the lower part, starting from the mouth, is decorated with incised compound spirals in front and with lozenges in low relief on the sides. Directly under the handle, two small dragons with turned heads stand opposite each other. Patina blue-green. — Jia wine vessel, 13th-12th century BCE
China

G214

The low-relief decor is confined to the belly of this flask. In the lower, main belt, on a ground of squared spirals, it displays a geometrical pattern reminiscent of the compound lozenge and interlocked 'T' motifs. It also recalls the decor of the white ceramic wares of Anyang. The band of highly stylized dragons above presents another point of contact with Anyang ceramics. The top belt on the body carries a band of 'S' shaped spirals bordered by circle bands.The lid and its knob are almost conical. Both are adorned with whorl circles; in relief on the lid, on the knob in incised lines. On the throat, just below the lid, are two small ears, perhaps for passing a cord. Patina grey-green. — Hu wine vessel, 13th-12th century BCE
China

G214

The decor of the upper part of this bipartite boiler is restricted to a neck belt with low, narrow flanges of which every second becomes the central ridge in the face of a dragonized t'ao-t'ieh,the halves formed by winged dragons.The bulbs of the Li-ting forming the lower half of the vessel are adorned with forceful t'ao-t'ieh heads of a fairly realistic bovine type, with eyebrows, ears, scaly horns . — Yan steamer, 11th century BCE
T'Ien Nung

G214

Stout Wine Beaker,'Tsun', inscribed. A high degree of sophistication is evident in the decor of this broad beaker. In the foot and principal body belts it is disposed in six panels formed by six flanges with straight and L-shaped scores. The foot belt displays a dragonized t'ao-t'ieh with S-shaped horns, and a tail rising in an S-curve. The same decor occurs in the main body belt, where the vertical dragons under the raised tail are clearly visible. The narrow belt above has only three flanges, which form the central lines of dragonized, winged t'ao-t'ieh. The spaces occupied below by additional flanges are filled by t'ao-t'ieh in flat relief. All of these dragonized t'ao-t'ieh have T-shaped horns. The six panels on the shoulder, delimited alternately by flanges and big, plastically rendered rams heads, carry dragon figures with protruding eyes executed in exaggerated loops. In the lower belt of the neck, which has no flanges, pairs of consecutive trunked dragons facing to the right confronting pairs facing to the left. They have bottle horns and quills on their backs. Above, in the slender, rising blades, the decor filling consists of antithetical dragons with standing C-shaped horns, their trunk-like noses meeting in the median line, their narrow, band-like bodies joining at the tip of the blade and its filling is probably meant to suggest an eyed cicada, which it does in fact vaguely suggest. Patina green with patches of blue. The inscription depicts a wine vessel. — Zun wine vessel, late 12th-11th century BCE
China

G214

The term Tou for this type of vessel is confirmed by inscriptions. The slightly flattened sphere formed by body and lid appears huge and bulky in comparison with the short, footed stem. When inverted on its shallow disk the lid serves as a separate bowl. This top is adorned with a whorl circle surrounded by squared spirals. The surrounding border is filled with interlaced snakes on a granulation ground. On the lid proper there are three decor belts, separated by bare bands, filled with a minute comma-pattern. The body of the vessel has a similar belt of commas set off by a bare band at the rim and by a narrow rope-patterned band in relief below. There follows a very narrow band of comma pattern above a band of heart-shaped hanging blades filled with commas. the foot, like the disk on the lid, has a belt with interlaced snakes on a granulation ground. The ring-shaped handles have pointed spirals and a rope-patterned band. Patina Grey-green with patches of blue. — Dou food vessel, one of a pair, 400 BCE
China

G214

bronze hollow cast in the lost wax process, representing the goddess Isis in a striding attitude — Goddess Isis, 1st century
Ancient Egyptian

G250

Hu wine vessel, late 9th-8th century BCE

China

G214

bowl with loop handles on three legs; band of t'ao-t'ieh masks and medallions surrounding rim — Ting (Ritual Food Vessel), 12th century BCE
China

G214

bulb shaped with ring handles; handles held on by hardware with animal-like "face"; incised pattern covers entire vessel; vessle is green with areas of white showing through the pattern — Hu wine vessel, 5th-4th century BCE
China

G214

The pronounced sperical shape of this flask is most unusual. the decor is disposed in four broad belts set off from each other by narrow, bare, ridged bands bordering a single line of spirals. The belts, and the rising blades on the neck, are filled awith the comma pattern. The t'ao-t'ieh on the ring handle has scale bands on top and two big scales under the eyes. Patina blue-green. — Hu wine vessel, 4th century BCE
China

G214

Thick, unusually heavy flanges, narrowing toward the vessel, divide the foot, bulb, and neck into panels. They are scored with alternating straight and T-shaped scores, the stem of the T turned inward instead of outward in the usual fashion. This is a most eccentric feature. The decor, on a ground of squared spirals, covers almost the entire vessel. The t'ao-t'ieh on foot and bulb are similar but vary in detail.The foot monster has a lower forehead shield, no eyebrows and S-shaped horns, as against the recumbent C-shaped horns of the beast on the bulb. The remnants of a vertical body and a leg are the same on both. In the lower neck belt are antithetical beaked dragons. Above are blunt, sturdy rising blades with a decor to be seen from the top. Flanking the flange, as a central line, are two antithetical dragons with strongly hooked beaks and C-shaped horns, their bodies going down (with a leg half way and a tuft lower down) meeting at the end of the blade. Together their heads form a t'ao-t'ieh (observe the ears in the outer border of the blade). In the decor throughout, the principal raised features, shaped as broad, flat bands, are quite smooth except for a few scores on the horns of the bulb t'ao-t'ieh. Patina green with patches of red. The symbol in the inscription may be an abbreviation of the graph lu. For a comment see Karlgren, Number 18 (50.46.97). — Zun wine vessel, 11th century BCE
China

G214

This vessel is a remarkable example of its type, and of perfect workmanship. The body is divided into three horizontal belts by narrow, bare interstices uninterrupted by the scored flanges which, with the handle of the vessel, delimit four panels. The plain handle has an animal's head with zigzag lines across the nose and C-shaped horns with parallel lines in thin, thread relief. The lid is partly shaped as a plastic animal. The head, with the forehead lozenge and bottle horns of a t'ao-t'ieh, has other, more realistic details well-modelled ears and a mouth with saw-like teeth. The body is that of a long-drawn-out dragon in low relief reclining along the center of the lid. The central flange, curving with the body in the looped tail, has straight and T-shaped scores. A t'ao-t'ieh and various types of dragons figure in a decor scheme that covers almost the entire body of the vessel. The bodied t'ao-t'ieh with S-shaped horns in the middle belt is flanked by strongly stylized head turning dragons. Also strongly stylized are the dragons in the foot belt, which are similar to those on vessels 50.46.43, Karlgren #11, and 50.46.89, Karlgren #21. The consecutive dragons in the neck belt are not identical. To the right is an ordinary beaked dragon with recumbent C-shaped horn and a small vertical crest. The dragon under the spout of the vessel has no crest. Its horn is heart-shaped, and it has the drawn-out, pointed eye of the t'ao-t'ieh below. Its enormous beak is drawn out to parallel the curve in the rim. Inside the curve of the beak is a small, head turning dragon. The big dragon on the lid has spirals at the base of the horns and a single scale between parallel zigzag lines that flank the central flange, forming the common lozenge pattern. The legs, in flat relief, flank the big dragon, thier tails meeting at the end of the lid. Patina light blue-green. — Gong wine vessel, late 13th century BCE
China

G214

This small sculpture of a kneeling man holding a tube-like vessel in his extended hands is one of a group of similar figures that may have served as torch bearers in a tomb. The sensitively modelled face, with an expression at once tentative and hopeful lends credibility to this supposition. The figure is clothed in a close-fitting garment that wraps from left to right in a broad overlap and is belted with a narrow band. The head-covering, rather like an open helmet, is broad at the back and rises to a peak-like top before descending in a narrow, tounge-shaped band to the forehead. It is bound to the head by a strap that goes down in front of the ears and under the chin. A second strap passes around the head from the forehead to the occiput. This figure is one of a group of bronze sculptures found in the Han family tombs a Kin-ts'un near Lo-yang and reported by W. C. White in Tombs of Old Lo-Yang. The artistic tradition of the early Yin culture, modified by an approach to nature, still persists in some of these small bronze sculptures from the old Lo-yang area. Their general characteristics - the unvarying block-like form, the broad type with large round eyes, the details of costume, particularly the head gear, reflect a new interest in and a closer observation of nature. Such figures constitute the links between early Yin sculptures and those of Han time. Essential characteristics of the earlier works do persist, but in a modified form. One discerns also in these small works, as in some other early Chinese bronzes, a resemblance to certain examples of pre-Columbian art -- a kind of parallelism which points to a similar artistic disposition or a common origin, rather than to any direct influence or intercommunication between these centers of art so widely separated in time and space. However this paralleleism came about, it is clear that the sculptural products of Yin-Chou art reflect traditions of style no longer to be found in those of Han time. Patina green — Kneeling figure, 4th century BCE
China

G214

The rich decor of the vessel covers every surface except the backs of the stubby legs. The ground is squared spirals throughout. On the long side of the body the median line is marked by a free animal's head on the neck belt and by a t'ao-t'ieh in low relief on the bottom. The shoulder line of the owl is boldly stylized into an enormous spiral, the wing quills emerging in narrow parallel bands. Behind the quills the tail protrudes in a short downward hook. The shoulder, neck and quills are covered with scales. Two birds with cleft crests, bottle horns, and tails adorned with scales, flank the free head on the neck of the vessel. Coiled dragons decorate the front sides of the legs, and the bottom surface of the vessel is covered with scales in parallel rows. The whole area is bordered at the rim by a circle band which appears also on the adjoining rim of the lid. The owl has enormous eyes, and the horns are the large, C-shaped type of the ordinary t'ao-t'ieh. Patina bluish-green — You wine vessel in double-owl shape, 12th-11th century BCE
China

G214

This unique vessel displays a technical perfection which proves that the artisans of Early Zhou sometimes fully equaled their Yin predecessors in taste and skill. The usual division into four panels is suggested exclusively by the free animals' heads alternating, in the neck region, with the handles. The decor ground, of rounded and acute angled spirals, carries an eyed band with diagonals in the foot belt and antithetical tail-raising birds in flat relief on the belly. The crests of these extraordinary birds split up in three strands, the middle one a short, spearlike point; the other two forming long plumes, one falling staight down past the turned head and in front of the breast, the other going forward past (and parallel with) the beak, then rising in a bold sweep above the head and descending in two parts behind the first strand. Thus three parallel bands descend, the outer two adorned with rounded figures reminiscent of those of a peacock. For comment of these figures see Karlgren, number 29, 50.46.120. From the raised tail three bands descend in a fashion exactly similar to those of the crest. The animal's head on the handle has large tusks protruding at the sides. The hook on the bottom is reminiscent of the bird representation often seen on Kuei handles. patina pale green with patches of blue green. The meaning of the inscription is ' The King attacked Tsi-yu and went out and attacked Naohei. When he came [back], he made liao-sacrifice [burnt-offering] in Tsung Chou and presented to [me], Kuo Po X, cowries, ten double strings. [I] presume in response to extol the king's grace, and so I have made my accomplished dead father's precious Kuei vessel. May for a myriad years sons and grandsons forever treasure and use it.' For comment on the inscription, see Karlgren, number 36 (50.46.119). The birds on the Kuei have a clase parallel on a 'YU' in the Simitomo Collection (Senoku, Volume 2, Plate 67) and on a 'TSUN' in the Imperial Collection, but are, for the rest, unique. Mr. Loo stated that this vessel and th — Gui food vessel, 10th century BCE
China

G214

Goddess Isis holding the infant Horus on her knee — Goddess Isis, c. 664 BCE - 30 CE
Ancient Egyptian

G250

The body of the vessel displays a band of hanging blades with crisply delineated cicadas in a ground of squared spirals. In the neck belt, piars of consecutive beaked dragons are separated from pairs of antithetical beaked dragons by rudimentary flanges. Again the background is squared spirals. Patinagreen. — Ding food vessel, 12th century BCE
China

G214

An eccentric combination of four masks occurs on this bronze. A forceful t'ao-t'ieh head with recumbent C-shaped horns, the borders decorated with straight and T-shaped scores, appears on one side of the top. This monster bites on a human head with the broad nose typical of many early masks. On the other side a ram's head, with horns turned down, bites on a head resembling a t'ao-t'ieh but with a raised elephant's trunk instead of the usual ridge in the central line. This remarkable and unusual piece is a powerful example of early Chinese sculpture. Patina green. — Pole finial, 12th-11th century BCE
China

G214

green patina overall; rounded body with inward-flaring shoulder and outward-flaring flat mouth; three feet; six decorative brackets; two "handles"; elaborate decorations overall of geometric forms — Shengding food vessel, 6th century BCE
China

G214

Clock, Jean-Antoine Lepine; Painter: Joseph Coteau — Clock, c. 1789
Jean-Antoine Lepine; Painter: Joseph Coteau

G314

facing right — Ordos Belt Plaque, one of a pair, 3rd-2nd century BCE
China

G214

Crouching hoofed mythical animal; double horn with head turned to side and mouth open; scaly body with flamelike ribbons at haunches; tufted mane and tail — Water Dropper, 16th-17th century
China

G217

facing left — Ordos Belt Plaque, one of a pair, 3rd-2nd century BCE
China

G214

The term Tou for this type of vessel is confirmed by inscriptions. The slightly flattened sphere formed by body and lid appears huge and bulky in comparison with the short, footed stem. When inverted on its shallow disk the lid serves as a separate bowl. This top is adorned with a whorl circle surrounded by squared spirals. The surrounding border is filled with interlaced snakes on a granulation ground. On the lid proper there are three decor belts, separated by bare bands, filled with a minute comma-pattern. The body of the vessel has a similar belt of commas set off by a bare band at the rim and by a narrow rope-patterned band in relief below. There follows a very narrow band of comma pattern above a band of heart-shaped hanging blades filled with commas. the foot, like the disk on the lid, has a belt with interlaced snakes on a granulation ground. The ring-shaped handles have pointed spirals and a rope-patterned band. Patina Grey-green with patches of blue. — Pair of dou (ritual food vessels), 5th century BCE
China

G214

In as much as Huai style vessels of hybrid character cannot be positively assigned to the definite classes of the ritually stricter early epochs, no special name is given to this specimen. The decor, in five successive belts, is a pattern of interlaced dragons executed in narrow, flat double bands. The eyes and the points where the tails of the upper and lower dragons interlace are accented by high, wart-like buttons. Stout handles on the shoulder of the vessel are surmounted by a t/ao-t'ieh head archaic to the point of having recumbent C-shaped horns which are, however, adorned with big tufts. The neck and the lower band of the body are bare. — Lei wine vessel, 6th century BCE
China

G214

The bowl, in the broad and bulky shape of the Huai style, is supported by four human figures with horned animals' heads. The rigid ring handles have an out-curving lower projection which, with the outer bend of the ring, forms a dragon with a curled-up tail. This dragon has a head like a t'ao-t'ieh. The ring-shaped top of the lid, adorned with a triple-strand plait pattern in openwork, is affixed to the lid with a row of small props. The close affinity of this vessel to one almost exactly similar in the Royal Ontario Museum is interesting in view of the fact that the latter is known to have come from the Kin-ts'un tombs (Ca.450-230 B.C.). Patina green. — Covered zhou ritual food vessel, 475-221 BCE
China

G214

The Pan of the Yin era do not usually have handles; those of Early Chou usually, but not invariably, do. The division of the two decor belts, neck and foot, is achieved in the former by an unusually realistic bovine head, and in the latter by a thin flange. The decor ground is of spirals of varying size throughout. The bird in the foot belt, of the regular type, displays one odd variation. The long tail is, as usual, cleft in two parts, the lower descending, the upper rising in a long loop. In this instance, however, the shorter part is modified so as to resemble the leg of the bird, giving the impression that the bird has one front and one hind leg. The tuft in the middle, whee the tail goes out from the boky, is a common feature (cf. vessel 50.46.19, Karlgren #33). The winged dragon in the upper belt has a small vertial crest and a big bottle horn with a fingerleaf top that has an eye in the center of the leaf. Patina grey-green in neck and foot belts. — Pan water basin, 12th-11th century BCE
China

G214

A flange with alternating straight and T-shaped scores of the type commonly found on early ritual vessels decorates the upper idge of this weapon. Along the blade proper, just below the flange, is a band of head-turning dragons with bottle horns on a ground of squared spirals. This decor is in low relief. Patina green. — Sacrificial knife, 12th century BCE
China

G214

The tang still retains the shape derived from the animal's head that appeared on early profane knivers in the An-yang area. The original meaning of the profane knife was lost when it became a ritual dagger-axe and the crested bird took place of the animal's head. In this example tyhe space has been filled with a dragon, here almost entirely dissolved, with the head turned toward the blade. The eye and curled tail are still discernible. A t'ao-t'iehmask, alos strongly dissolved, appears just under the lugs. A C-shaped horn can be seen in the upper right corner. A band of spiral decor runs from the base of the mask to the point of the blade. Patina green — Ceremonial dagger, 12th-11th century BCE
China

G214

The squared body, with its throat developing into a round shape at the rim, is most unusual in this vessel type. The decor results largely from a complicated arrangement of heavy flanges occurring at the corners and in the middle of the foot and central belts. The decor area is thus divided into eight panels. A similar area of eight panels is created in the lower of the two parts of th neck, except that the median line is here achieved by free animals' heads instead of the flanges which appear only at the corners of the neck, where they project as long hooks from the rim. The decor, on a ground of rounded spirals, covers almost the entire vessel. The winged dragons with vertical crests and detached C-shaped horns, which flank the forehead shield of a t'ao-t'ieh in the foot belt, reappear in the lower part of the neck, where they flank the free animal's head in the median line. The central band displays a t'ao-t'ieh drawn in bold, sweeping curves which cannot, as is usual, be broken up into two antithetical dragons. The only relic of the dragon is a small vertical line at the side of each horn above the ear. The upper part of the neck displays broad rising blades, the flanges serving as their median line. The content of the upper blade is seen, from above, to be a violently stylized dragon, the curved beak, crest, and leaf-shaped horn clearly visible, the body a maze of curving lines. Patina grey-green. — Zun wine vessel, 10th century BCE
China

G214

The purpose served by this implement is unknown, but it is possible that it was used for stirring wine. A highly complicated combination of animal motifs occurs in openwork on the handle. This handle, in its entirety, forms a beaked head with the rod serving as the body. As it approaches the handle, the rod displays a leg with a tuft and claw which rises to touch the beak of the bird. The handle itself divides into one bird whose crest supports the belly of a dragon. The dragon turns its head to the left, showing the teeth in its open mouth. For clarification of this involved composition, see Katrlgren Number 76, figures 70,71, 72. This composition occurs frequently in dagger axes, e.g., Karlgren plate 99 (50.46.15 and 50.46.67). Patina green — Implement, 11th-10th century BCE
China

G214

This example, on a high, cylindrical base, is closely related to 50.46.24. Here, however the scored flanges extend to the back of the head and the front of the neck instead of being confined to the back. The S-shaped horns are reminiscent of those seen on many t'ao-t'ieh, e.g. Karlgren Number 31 (50.46.104). Patina grey-green. — Chariot Finial with Bird, late 12th-11th century BCE
China

G214

Mirror, round, black and green patina. — Mirror, 1st-2nd century
China

G215

mirror, round, with pictorial decoration in relief, Yeuh type — Mirror, 1st-2nd century
China

G215

The bovine head of this example has high, spreading horns and the forehead lozenge of a t'ao-t'ieh. Directly below is a band of rising blades with spiral filling. The terminal border of the pole top also has a spiral decro. PatinaGreen. — Cow-head finial, 12th century BCE
China

G214

Square ting, rectangular, inscribed. The decor of the principal surface is confined to the upper belt, where rudimentary t'ao-t'ieh masks are flanked by head-turning dragons in flat relief on a ground of squared spirals. The heavy, segmented flanges at the corners of the vessel reappear as the central ridges of the forceful t'ao-t'ieh heads on the legs. Patina gray-green — Fangding wine vessel, late 11th century BCE
China

G214

Chariot shaft socket, China — Chariot shaft socket, 13th-12th century BCE
China

G214

With the exception of its cylindrical base, which is shorter and broader than that of the pole top shown with it (Karlgren Plate 95), this example closely resembles its companion (50.46.28). It too, has a pellet in its body. Patina blue-green. — Chariot Finials with Bird, 11th century BCE
China

G214

The graceful shape of a Hu flask is accentuated by the bold and forceful handle terminating in heavy animal masks with bottle horns. Springing from the space between the horns is a thick flange, deeply scored, that out-lines the sweep of the handle up and over the body of the vessel. The handle is attached to the domed and collarless lid by a curled-up gaping dragon, with a double row of scales, whose body encircles the conocal knob of the lid. The vessel is sparingly decorated with hands of pointed spirals on the lid, neck, and foot. Beneath the spirals on the neck belt is a band of dragonized t'ao-t'ieh in low relief. Patina blue-green with marks of mat wrapping. — You wine vessel, 12th century BCE
China

G214

You wine vessel, 12th-11th century BCE

China

G214

Four inch gilt bronze mirror decorated with seahorse, grape, bird and foliage design; box — Mirror, 7th-11th century
China

G208

'fang-yi', so-called, inscribed. The term 'fang-yi' meaning 'square vessel' is a make-shift and does not mean that this type of vessel can be identified with any particular class of which the use is revealed in the classics. The vessel, of rectangular cross section, is divided into eight vertical panels by thick flanges with straight and T-shaped scores. On the narrow sides, the central flange terminates with the t'ao-t'ieh mask of which it forms the median line, thus stopping short of the top ridge of the lid. The three belts on the body are set off by shallow, narrow flutes which do not interrupt the flanges. The foot belt corresponds to a real foot, the bottom of the vessel coinciding with the lower flute. The four openings in the sides were possibly vents for fumes of burning charcoal. The whole vessel is densely covered with decor on a ground of squared spirals which do not, oddly enough, balance in the two halves of the surface. In the foot are antithetical elephants adorned with whorl circles. On the principal surface the t'ao-t'ieh has the common C-shaped mouth line, forehead shield with rounded top, and C-horns with borders scored like flanges. On the broad sides the t'ao-t'ieh is flanked by vertical dragons in relief so low and bands so narrow that they are almost lost in the background. In the neck band are trunked dragons with heart-shaped horns and rows of scales on the body. Along their backs is a flange-like border with straight and T-shaped scores. The dragons on the broad side have a lower jaw turning outward; those on the narrow side have jaws turning inward. The lid decor repeats the t'ao-t'ieh of the body, but inverted, to be seen from above. The knob is undecorated. Inside the lid is a cicada. Patina gray-green — Fangyi wine vessel, early 12th century BCE
China

G214

The name Su for this type of vessel is confirmed by inscriptions, the difference between a Su and a Kuei being that the former is oblong, the latter round. The lid of this Su, if inverted, will be a vessel in itself. The workmanship, unusually fine for the period, exhibits some of the most typical features of the Middle Chou Style. The foot belt presents the so-called 'wavy line,' here executed in open work; the belly has the 'grooves' (gadrooned bands); and the neck and lid belts display the 'scale band' in flat relief. In the last two areas a small flange appears in the center of the long side, thus following the Yin tradition of dividing a cessel into four panels by handles and flanges - or free animals' heads. the Yin time but ubiquitous in Chou. Inside the ring on the lid is a bottom decor in flat, double-banded relief a beg S-shaped dragon's body ending in a dragon's head at each end. To be noted, in addition to the long tongue, the ear, and the crooked horn, are the eyes in high relief just below the tufts midway on the body. Patina green with patches of blue. — Xu food vessel, early 9th century BCE
China

G214

This cap is unusual in that it still has the linch pins. The closed end of the cap, set off from the pin end by a triple band in rounded relief, is decorated with a broad wavy band enclosing, in the inner loop, a figure reminiscent of a cicada. In the outer loop of the wave is a scale-like motif. The top of the linch-pin is formed of an animal's head with spiral horns curving inward. They are executed in heavy, thread-like relief. The ears are formed of a large spiral and the snout is blunt and heavy. Patina grey-green — Wheel-axle Cap, one of a pair, 770-476 BCE
China

G214

Mirror, round, with design of dragons and compound lozenges. Shou-chou type. — Mirror, 4th-3rd century BCE
China

G214

Round, silverized, animal and grape design — Mirror, 8th century
China

G208

Round, Tree of Life design, rabbit preparing elixir of long life. — Mirror, 8th century
China

G208

Round, lacquer, gold and silver. — Mirror, 8th century
China

G208

Mirror, round, with dragons on interlocking 'T' ground. Lo-yang type — Mirror, 4th-3rd century BCE
China

G214

Mirror with figures. — Mirror, 220-586
China

G215

BROKEN INTO THREE PIECES — Mirror, 3rd century BCE
China

G214

one of a pair of axle-caps includes hook and pin; interlocking Chih dragon motif on caps, hook with bird head, and tiger mask on the pin — Axle-Cap, one of a pair, 5th-4th century BCE
China

G214

Coat of arms of Cardinal Scipione Borghese (1579–1633), Italy — Coat of arms of Cardinal Scipione Borghese (1579–1633), c. 1620–30
Italy

G330

scepter with 2 snakes with knotted bodies at top, a pair of wings below and a bulbous form on a bent stem — Caduceus, 2nd century
Roman

G241

dagger, double-edged. Arms and Armor-Edged Weapon — Dagger, 900-400 BCE
Persia (Iran)

G242

tapering stand; demon heads on bottom; birds in foliage with berries in relief at center; dragon in clouds at top below pointed finial; has storage box for five piece group — Candlestick, from a five-piece Buddhist altar set, 18th century
Japan

G220

tapering stand; demon heads on bottom; birds in foliage with berries in relief at center; dragon in clouds at top below pointed finial — Candlestick, from a five-piece Buddhist altar set, 18th century
Japan

G220

urn-like container decorated with dart designs on back and at neck; birds in foliage with berries at body, from a five-piece altar set — Flower vase, from a five-piece Buddhist altar set, 18th century
Japan

G220

urn-like container decorated with dart designs on back and at neck; birds in foliage with berries at body, from a five-piece altar set — Flower vase, from a five-piece Buddhist altar set, 18th century
Japan

G220

stemmed container on a wide foot; bulbous body; perforated domed cover with a seated animal finial; body of container decorated with birds in foliage with berries — Incense burner, from a five-piece Buddhist altar set, 18th century
Japan

G220

base in the form of a man, kneeling, with PR arm raised; curved apron; curling hair, bushy brows over bulging eyes, large nose, moustache and small beard; wearing robe decorated with raised medallions, apron, chain mail issuing from animal masks on shoulders, boots; foliate drip pan with baluster-shaped socket cast with coiled dragon balanced on man's head; seperate candleholder of flaring cylindrical form, raised on long stem, with two horned, four clawed dragon in very high relief, chasing a flaming pearl amid clouds; blackish patina — Two-piece Candlestick, one of a pair, early 17th century
China

G201

base in the form of a man, kneeling, with PL arm raised; curved apron; curling hair, bushy brows over bulging eyes, large nose, moustache and small beard; wearing robe decorated with raised medallions, apron, chain mail issuing from animal masks on shoulders, boots; foliate drip pan with baluster-shaped socket cast with coiled dragon balanced on man's head; seperate candleholder of flaring cylindrical form, raised on long stem, with two horned, four clawed dragon in very high relief, chasing a flaming pearl amid clouds; blackish patina — Two-piece Candlestick, one of a pair, 14th-17th century
China

G201

circular mirror with knob on verso decorated with chinese characters; purchased with BBD funds by Qi Xiyu — Mirror, Date Unknown
China

G215

Satyr and Nymph, Ferdinando Tacca — Satyr and Nymph, 17th century
Ferdinando Tacca

G310

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