Giacobbe Giusti, GIAMPIETRINO: Magdalena Penitente, Hermitage

Giacobbe Giusti, GIAMPIETRINO: Magdalena Penitente, Hermitage

 

 

Bibliography[

• Bock, Darrell L. (2004), Breaking The Da Vinci Code, Nashville, Tennessee: Thomas Nelson, pp. 143–144, ISBN 978-1-4185-1338-2
• Bradshaw, Peter (February 27, 2018), « Mary Magdalene review – toothless attempt to overturn Sunday school myths: Rooney Mara brings her customary intensity to the title role as Jesus’ ‘favourite pupil’, but the result is a bit too solemn to be a convincing reinvention », The Guardian
• Campbell, Lorne (2009), « The New Pictorial Language of Rogier van der Weyden », in Campbell, Lorne; Van der Stock, Jan, Rogier Van Der Weyden: 1400-1464 : Master of Passions, Eugene, Oregon: Wipf & Stock, pp. 2–64, ISBN 9789085261056
• Carr, Flora (March 30, 2018), « The Real Reason Why Mary Magdalene Is Such a Controversial Figure », TIME
• Casey, Maurice (2010), Jesus of Nazareth: An Independent Historian’s Account of His Life and Teaching, New York City, New York and London, England: T & T Clark, ISBN 978-0-567-64517-3
• Crossan, John Dominic (1995), Jesus: A Revolutionary Biography, San Francisco, California: HarperOne, ISBN 0-06-061662-8
• « Life of Mary Magdalen », William Caxton‘s English version of the Golden Legend of Jacobus de Voragine
• Chilton, Bruce (2005), Mary Magdalene: A Biography, New York City, New York, London, England, Toronto, Ontario, Sydney, Australia, and Auckland, New Zealand: Image Doubleday, ISBN 978-0-385-51318-0
• Dalton, Stephen (February 27, 2018), « Mary Magdalene: Film Review », The Hollywood Reporter
• DeConick, April D. (2011), Holy Misogyny: Why the Sex and Gender Conflicts in the Early Church Still Matter, New York City, New York and London, England: Continuum International Publishing Group, ISBN 978-1-4411-9602-6
• Ehrman, Bart D. (2004), Truth and Fiction in The Da Vinci Code: A Historian Reveals What We Really Know about Jesus, Mary Magdalene, and Constantine, Oxford, England: Oxford University Press, ISBN 0-19-518140-9
• Ehrman, Bart D. (2006), Peter, Paul, and Mary Magdalene: The Followers of Jesus in History and Legend, Oxford, England: Oxford University Press, ISBN 978-0-19-530013-0
• Ehrman, Bart D. (2014), How Jesus Became God: The Exaltation of a Jewish Preacher from Galilee, New York City, New York: HarperOne, ISBN 978-0-06-177818-6
• Erhardt, Michelle; Morris, Amy (2012), « Introduction », Mary Magdalene: Iconographic Studies from the Middle Ages to the Baroque, Studies in Religion and the Arts, Leiden, The Netherlands: Brill, ISBN 978-90-04-23224-2
• Ferguson, George (1976) [1954], « St. Mary Magdalene », Signs and Symbols in Christian Art, Oxford, England: Oxford University Press, pp. 134–135
• Foss, Clive (1979), Ephesus After Antiquity: A Late Antique, Byzantine and Turkish City, Cambridge, England: Cambridge University Press, ISBN 0-521-22086-6
• Geneva Press (2008), The Presbyterian Handbook for Pastors, Louiseville, Kentucky: Geneva Press, ISBN 978-0-664-50299-7
• Green, Mary E. (2014), « Mary Magdalene, the Myrrh Bearer », Eyes to See: The Redemptive Purpose of Icons, New York City, New York, Harrisburg, Pennsylvania, and Denver Colorado: Morehouse Publishing, ISBN 978-0-8192-2939-7
• Haag, Michael (2016), The Quest For Mary Magdalene: History & Legend, London, England: Profile Books, ISBN 978-1847659385
• Hailes, Sam (March 6, 2018), « Why Mary Magdalene is the Hollywood film Christians have been waiting for: This new movie paints a clear picture of Jesus, says Sam Hailes », Premiere Christianity
• Haskins, Susan (2005) [1993], Mary Magdalen: Myth and Metaphor, New York City, New York: Pimplico, ISBN 1-8459-5004-6
• Herzog, William R. (2005), Prophet and Teacher: An Introduction to the Historical Jesus, Louisville, Kentucky: Westminster Knox Press, ISBN 0-664-22528-4
• Hinkle, Mary (2003) [1986], « Mary Magdalene », in Fahlbusch, Erwin; Lochman, Jan Milič; Mbiti, John; Pelikan, Jaroslav; Vischer, Lukas; Bromiley, Geoffrey W.; Barrett, David B., The Encyclopedia of Christianity, J-O, 3, Grand Rapids, Michigan, Cambridge, England, Leiden, The Netherlands, and Boston, Massachusetts: William B. Eerdmans Publishing Company and Brill, pp. 446–448, ISBN 0-8028-2415-3
• Johnston, Barbara, « Sacred Kingship and Royal Patronage in the La Vie de la Magdalene: Pilgrimage, Politics, Passion Plays, and the Life of Louise of Savoy » (Florida State), R. Neuman, Dissertation, PDF, 88–93
• Jones, Roger; Penny, Nicholas (1983), Raphael, New Haven, Connecticut: Yale University Press, ISBN 978-0300040524
• Kelly, Henry Ansgar (2006), Satan: A Biography, Cambridge, England: Cambridge University Press, ISBN 978-0521604024
• Kim, Young Richard (2015), Epiphanius of Cyprus: Imagining an Orthodox World, Ann Arbor, Michigan: University of Michigan Press, pp. 37–39, ISBN 978-0-472-11954-7
• King, Ross (2012), Leonardo and the Last Supper, New York City, New York and London, England: Bloomsbury, ISBN 978-0-7475-9947-0
• Kugelmann, Robert (1983), The Windows of Soul: Psychological Physiology of the Human Eye and Primary Glaucoma, London, England and Toronto, Canada: Associated University Presses, ISBN 0-8387-5035-4
• Lang, J. Stephen (2003), What the Good Book Didn’t Say: Popular Myths and Misconceptions About the Bible, New York City New York: Citadel Press, ISBN 0-8065-2460-X
• Levine, Amy-Jill; Allison, Dale C. Jr.; Crossan, John Dominic (October 16, 2006), The Historical Jesus in Context, Princeton, New Jersey: Princeton University Press, ISBN 0-691-00992-9
• Maisch, Ingrid (1998) [1996], Mary Magdalene: The Image of a Woman through the Centuries, translated by Maloney, Linda M., Collegeville, Minnesota: Liturgical Presss, ISBN 0-8146-2471-5
• Powell, Mark Allen (1998), Jesus as a Figure in History: How Modern Historians View the Man from Galilee, Louiseville, Kentucky: Westminster John Knox Press, p. 168, ISBN 978-0-664-25703-3
• Pringle, Denys (1998), « Magdala », The Churches of the Crusader Kingdom of Jerusalem: A Corpus, II: L-Z (excluding Tyre), Cambridge, England: Cambridge University Press, ISBN 0-521-39037-0
• Roper, Lyndal (2016), Martin Luther: Renegade and Prophet, New York City, New York: Random House, ISBN 9780812996203
• Sabar, Ariel (2016), « The Scholar Who Discovered the ‘Jesus’s Wife’ Fragment Now Says It’s Likely a Fake », The Atlantic
• Sanders, E. P. (1993), The Historical Figure of Jesus, London, England, New York City, New York, Ringwood, Australia, Toronto, Ontario, and Auckland, New Zealand: Penguin Books, ISBN 0-14-014499-4
• Schaberg, Jane (2004) [2002], The Resurrection of Mary Magdalene: Legends, Apocrypha, and the Christian Testament, New York City, New York and London, England: Continuum International Publishing Group, ISBN 0-8264-1645-4
• Strong, Steven; Strong, Evan (2008), Mary Magdalene’s Dreaming: A Comparison of Aboriginal Wisdom and Gnostic Scripture, Lanham, Maryland, Boulder, Colorado, New York City, New York, Toronto, Ontario, and Plymouth, England: University Press of America, ISBN 978-0-7618-4281-1
• Wilson, Kenneth (2011), Methodist Theology, Doing Theology, London, England and New York City, New York: Bloomsbury T & T Clark, ISBN 978-0-5670-8135-3
• Witcombe, Christopher L. C. E. (June 2002), « The Chapel of the Courtesan and the Quarrel of the Magdalens », The Art Bulletin, New York City, New York: College Art Association, 84 (2): 273–292, doi:10.2307/3177269, JSTOR 3177269
• Wright, N. T. (March 1, 2003), The Resurrection of the Son of God, Christian Origins and the Question of God, 3, Eugene, Oregon: Fortress Press, ISBN 978-0800626792

https://en.wikipedia.org/wiki/Mary_Magdalene

http://www.giacobbegiusti.com

Giacobbe Giusti, HALAF culture

Giacobbe Giusti, HALAF culture

The Gate of Nimrud (Metropolitan Museum)

From the gate of Nimrud. A human-headed winged bull and winged lion (lamassu), Neo-Assyrian from the reign of Ashurnasirpal II; 883–859 B.C. Mesopotamia, Nimrud (ancient Kalhu) Alabaster (gypsum); H. 10 ft. 3 1/2 in. (313.7 cm) Gift of John D. Rockefeller Jr., 1932 (32.143.1–.2) Location: Metropolitan Museum of Art, New York. From the 9th to the 7th century B.C., the kings of Assyria ruled over a vast empire centered in northern Iraq. The great Assyrian king Ashurnasirpal II (r. 883–859 B.C.) undertook a vast building program at Nimrud, ancient Kalhu. Until it became the capital city under Ashurnasirpal, Nimrud had been no more than a provincial town. The new capital occupied an area of about nine hundred acres, around which Ashurnasirpal constructed a mudbrick wall that was 120 feet thick, 42 feet high, and five miles long. In the southwest corner of this enclosure was the acropolis, where the temples, palaces, and administrative offices of the empire were located. In 879 B.C. Ashurnasirpal held a festival for 69,574 people to celebrate the construction of the new capital, and the event was documented by an inscription that read: « …the happy people of all the lands together with the people of Kalhu—for ten days I feasted, wined, bathed, and honored them and sent them back to their home in peace and joy. »

Giacobbe Giusti, HALAF culture

Bowl fragment from Halaf, circa 5600–5000 B.C., Ceramic Metropolitan Museum of Art

Giacobbe Giusti, HALAF culture

A reconstruction of a Halaf temple, now the facade of the National Museum of Aleppo

Giacobbe Giusti, HALAF culture

Tel Halaf terracotta fertility figurine, 5000-4000 BC. Walters Museum

As early as the 7th millennium BC, cultures in the Near East began to create organized settlements with well-developed religious and funerary practices. The Halaf culture of Anatolia (central Turkey) and northern Syria arose around 5000 BC and produced remarkable female figurines with distinctive fertility attributes. This statuette is seated with legs extended, her arms cradling her protruding breasts. Bands of pigment emphasize the full, rounded forms of her limbs and suggest facial features, a necklace, and loincloth.

Giacobbe Giusti, HALAF culture

Bowl fragment from Halaf, circa 5600–5000 B.C., Ceramic Metropolitan Museum of Art

Giacobbe Giusti, HALAF culture

 

Geographical range	Mesopotamia
Period	Neolithic 3 – Pottery Neolithic (PN)
Dates	circa 6,100 B.C.E. — circa5,100 B.C.E.
Type site	Tell Halaf
Major sites	Tell Brak
Preceded by	Pre-Pottery Neolithic B
Followed by	Halaf-Ubaid Transitional period, Hassuna culture, Samarra culture

Tell Halaf

Tell Brak

Tell Sabi Abyad

Tell Arpachiyah

Tepe Gawra

Chagar Bazar

Map of Iraq showing important sites that were occupied during the Halaf culture (clickable map)

The Neolithic This box: view talk edit
↑ Mesolithic
Fertile Crescent Heavy Neolithic Shepherd Neolithic Trihedral Neolithic Pre-Pottery (A, B) Qaraoun culture Tahunian culture Yarmukian Culture Halaf culture Halaf-Ubaid Transitional period Ubaid culture Byblos Jericho Tell Aswad Çatalhöyük Jarmo Europe Arzachena culture Boian culture Butmir culture Cardium Pottery culture Cernavodă culture Coțofeni culture Cucuteni-Trypillian culture Dudeşti culture Gorneşti culture Gumelniţa–Karanovo culture Hamangia culture Khirokitia Linear Pottery culture Malta Temples Ozieri culture Petreşti culture Shulaveri-Shomu culture Sesklo culture Tisza culture Tiszapolgár culture Usatovo culture Varna culture Vinča culture Vučedol culture Neolithic Transylvania Neolithic Southeastern Europe China Peiligang culture Pengtoushan culture Beixin culture Cishan culture Dadiwan culture Houli culture Xinglongwa culture Xinle culture Zhaobaogou culture Hemudu culture Daxi culture Majiabang culture Yangshao culture Hongshan culture Dawenkou culture Songze culture Liangzhu culture Majiayao culture Qujialing culture Longshan culture Baodun culture Shijiahe culture Yueshi culture Tibet South Asia Mehrgarh Gufkaral Burzoham Chirand Mundigak Koldihwa Brahmagiri Neolithic Philippines Jade culture
farming, animal husbandry pottery, metallurgy, wheel circular ditches, henges, megaliths Neolithic religion
↓ Chalcolithic

The Halaf culture is a prehistoric period which lasted between about 6100 BCE and 5100 BCE.^[1] The period is a continuous development out of the earlier Pottery Neolithic and is located primarily in south-eastern Turkey, Syria, and northern Iraq, although Halaf-influenced material is found throughout Greater Mesopotamia.

While the period is named after the site of Tell Halaf in north Syria, excavated by Max von Oppenheim between 1911 and 1927, the earliest Halaf period material was excavated by John Garstang in 1908 at the site of Sakce Gözü, then in Syria but now part of Turkey.^[2] Small amounts of Halaf material were also excavated in 1913 by Leonard Woolleyat Carchemish, on the Turkish/Syrian border.^[3] However, the most important site for the Halaf tradition was the site of Tell Arpachiyah, now located in the suburbs of Mosul, Iraq.^[4]

The Halaf period was succeeded by the Halaf-Ubaid Transitional periodwhich comprised the late Halaf (c. 5400-5000 BC), and then by the Ubaid period.

Origin

Previously, the Syrian plains were not considered as the homeland of Halaf culture, and the Halafians were seen either as hill people who descended from the nearby mountains of southeastern Anatolia, or herdsmen from northern Iraq.^[5] However, those views changed with the recent archaeology conducted since 1986 by Peter Akkermans, which have produced new insights and perspectives about the rise of Halaf culture.^[6]A formerly unknown transitional culture between the pre-Halaf Neolithic‘s era and Halaf’s era was uncovered in the Balikh valley, at Tell Sabi Abyad(the Mound of the White Boy).

Currently, eleven occupational layers have been unearthed in Sabi Abyad. Levels from 11 to 7 are considered pre-Halaf; from 6 to 4, transitional; and from 3 to 1, early Halaf. No hiatus in occupation is observed except between levels 11 and 10.^[5] The new archaeology demonstrated that Halaf culture was not sudden and was not the result of foreign people, but rather a continuous process of indigenous cultural changes in northern Syria,^[7]that spread to the other regions.^[1]

Culture

Architecture

Giacobbe Giusti, HALAF culture

 

A reconstruction of a Halaf temple, now the facade of the National Museum of Aleppo

Although no Halaf settlement has been extensively excavated some buildings have been excavated: the tholoi of Tell Arpachiyah, circular domed structures approached through long rectangular anterooms. Only a few of these structures were ever excavated. They were constructed of mud-brick sometimes on stone foundations and may have been for ritual use (one contained a large number of female figurines). Other circular buildings were probably just houses.

Halaf pottery

Giacobbe Giusti, HALAF culture

 

Halafian ware

The best known, most characteristic pottery of Tell Halaf, called Halaf ware, produced by specialist potters, can be painted, sometimes using more than two colors (called polychrome) with geometric and animal motifs. Other types of Halaf pottery are known, including unpainted, cooking ware and ware with burnished surfaces. There are many theories about why the distinctive pottery style developed.

The theory is that the pottery came about due to regional copying and that it was exchanged as a prestige item between local elites is now disputed. The polychrome painted Halaf pottery has been proposed to be a « trade pottery »—pottery produced for export—however, the predominance of locally produced painted pottery in all areas of Halaf sites including potters settlement questions that theory.

Halaf pottery has been found in other parts of northern Mesopotamia, such as at Nineveh and Tepe Gawra, Chagar Bazar and at many sites in Anatolia (Turkey) suggesting that it was widely used in the region. In addition, the Halaf communities made female figurines of partially baked clay and stone and stamp seals of stone, (see also Impression seal). The seals are thought to mark the development of concepts of personal property, as similar seals were used for this purpose in later times. The Halaf people used tools made of stone and clay. Copper was also known, but was not used for tools.

Economy

Giacobbe Giusti, HALAF culture

 

Tel Halaf terracotta fertility figurine, 5000-4000 BC. Walters Museum

Dryland farming was practiced by the population. This type of farming was based on exploiting natural rainfall without the help of irrigation, in a similar practice to that still practiced today by the Hopi people of Arizona. Emmer wheat, two-rowed barley and flax were grown. They kept cattle, sheep and goats.

Halaf’s end (Northern Ubaid)

Halaf culture ended by 5000 BC after entering the so-called Halaf-Ubaid Transitional period.^[8] Many Halafians settlements were abandoned, and the remaining ones showed Ubaidian characters.^[9] The new period is named Northern Ubaid to distinguish it from the proper Ubaid in southern Mesopotamia,^[10] and two explanations were presented for the transformation. The first maintain an invasion and a replacement of the Halafians by the Ubaidians, however, there is no hiatus between the Halaf and northern Ubaid which exclude the invasion theory.^[9][11]The most plausible theory is a Halafian adoption of the Ubaid culture,^[9] which is supported by most scholars including Oates, Breniquet and Akkermans.^[10][11][12]

• Samarra culture

References

Citations

1. ^ Jump up to:^a b Mario Liverani (2013). The Ancient Near East: History, Society and Economy. p. 48.
2. Jump up^ Castro Gessner, G. 2011. « A Brief Overview of the Halaf Tradition » in Steadman, S and McMahon, G (eds.) The Oxford Handbook of Ancient anatolia. Oxford: Oxford University Press. pp. 780
3. Jump up^ Castro Gessner, G. 2011. « A Brief Overview of the Halaf Tradition » in Steadman, S and McMahon, G (eds.) The Oxford Handbook of Ancient anatolia. Oxford: Oxford University Press. pp. 781
4. Jump up^ Campbell, S. 2000. « The Burnt House at Arpachiyah: A Reexamination » Bulletin of the American Schools of Oriental Research no. 318. pp. 1
5. ^ Jump up to:^a b Maria Grazia Masetti-Rouault; Olivier Rouault; M. Wafler (2000). La Djéziré et l’Euphrate syriens de la protohistoire à la fin du second millénaire av. J.C, Tendances dans l’interprétation historique des données nouvelles, (Subartu) – Chapter : Old and New Perspectives on the Origins of the Halaf Culture by Peter Akkermans. pp. 43–44.
6. Jump up^ Peter M. M. G. Akkermans, Glenn M. Schwartz (2003). The Archaeology of Syria: From Complex Hunter-Gatherers to Early Urban Societies (c.16,000-300 BC). p. 101.
7. Jump up^ Peter M. M. G. Akkermans, Glenn M. Schwartz (2003). The Archaeology of Syria: From Complex Hunter-Gatherers to Early Urban Societies (c.16,000-300 BC). p. 116.
8. Jump up^ John L. Brooke (2014). Climate Change and the Course of Global History: A Rough Journey. p. 204.
9. ^ Jump up to:^a b c Georges Roux (1992). Ancient Iraq. p. 101.
10. ^ Jump up to:^a b Susan Pollock; Reinhard Bernbeck (2009). Archaeologies of the Middle East: Critical Perspectives. p. 190.
11. ^ Jump up to:^a b Peter M. M. G. Akkermans, Glenn M. Schwartz (2003). The Archaeology of Syria: From Complex Hunter-Gatherers to Early Urban Societies (c.16,000-300 BC). p. 157.
12. Jump up^ Robert J. Speakman; Hector Neff (2005). Laser Ablation ICP-MS in Archaeological Research. p. 128.

Bibliography

• Akkermans, Peter M. M. G.; Schwartz, Glenn M. (2003). The Archaeology of Syria: From Complex Hunter-Gatherers to Early Urban Societies (c.16,000-300 BC). Cambridge University Press. ISBN 978-0-52179-666-8.
• Liverani, Mario (2013). The Ancient Near East: History, Society and Economy. Routledge. ISBN 978-1-134-75091-7.
• Masetti-Rouault, Maria Grazia; Rouault, Olivier; Wafler, Markus (2000). La Djéziré et l’Euphrate syriens de la protohistoire à la fin du second millénaire av. J.C, Tendances dans l’interprétation historique des données nouvelles, (Subartu). Brepols. ISBN 978-2-50351-063-7.

Halaf culture.

 

Giacobbe Giusti, Metropolitan Museum of Art

 

Location in Manhattan Show map of ManhattanShow map of New York CityShow map of New YorkShow map of the USShow all
Established	April 13, 1870; 148 years ago[1][2][3]
Location	1000 Fifth Avenue, New York, NY 10028
Visitors	6,692,909 (2017)[4]
Director	Max Hollein
Public transit access	Subway:  ​ ​to 86th Street Bus: M1, M2, M3, M4, M79, M86 SBS
Website	www.metmuseum.org
The Metropolitan Museum of Art
U.S. National Register of Historic Places
U.S. National Historic Landmark
Elevation by Simon Fieldhouse
Built	1874; 144 years ago
Architect	Richard Morris Hunt; also Calvert Vaux; Jacob Wrey Mould
Architectural style	Beaux-Arts
NRHP reference #	86003556
Significant dates
Added to NRHP	January 29, 1972[5]
Designated NHL	June 24, 1986[6] [7]

The Metropolitan Museum of Art of New York, colloquially « the Met,« ^[a] is the largest art museum in the United States. With 7.06 million visitors in 2016, it was the third most visited art museum in the world, and the fifth most visited museum of any kind. ^[8] Its permanent collection contains over two million works,^[9] divided among seventeen curatorial departments. The main building, on the eastern edge of Central Park along Manhattan’s Museum Mile, is by area one of the world’s largest art galleries. A much smaller second location, The Cloistersat Fort Tryon Park in Upper Manhattan, contains an extensive collection of art, architecture, and artifacts from Medieval Europe. On March 18, 2016, the museum opened the Met Breuermuseum at Madison Avenue in the Upper East Side; it extends the museum’s modern and contemporary art program.

The permanent collection consists of works of art from classical antiquity and ancient Egypt, paintings, and sculptures from nearly all the Europeanmasters, and an extensive collection of American and modern art. The Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, and Islamic art. The museum is home to encyclopedic collections of musical instruments, costumes, and accessories, and antique weapons and armor from around the world. Several notable interiors, ranging from first-century Rome through modern American design, are installed in its galleries.

The Metropolitan Museum of Art was founded in 1870 for the purpose of opening a museum to bring art and art education to the American people. It opened on February 20, 1872, and was originally located at 681 Fifth Avenue.

Giacobbe Giusti, National Museum of Aleppo
Arabic: متحف حلب الوطني‎

 

The main entrance, a temple gateway from the Iron Age Neo-Hittite settlement of Tell Halaf
Location in Aleppo
Established	1931
Location	Baron Street, Aleppo, Syria
Coordinates	36.203754°N 37.150607°E
Type	Archaeological

The National Museum of Aleppo(Arabic: متحف حلب الوطني‎) is the largest museum in the city of Aleppo, Syria, and was founded in 1931. It is located in the heart of the northern city on Baron Street, adjacent to the famous Baron Hotel and near the Bab al-FarajClock Tower. The majority of the museum’s exhibitions are devoted to the archaeology of Syria, with most of the finds coming from archaeological sites of the northern part of the country.

History of the museum

In 1931, under the decision of the Syrian authorities, a small Ottomanpalace was designated to become the National Museum in the city of Aleppo. After three decades, the building became too small to host the growing number of exhibited items. Therefore, it was decided in 1966 to demolish the old building and replace it with a larger, more modern structure. New building was built after the project of Yugoslav architects Zdravko Bregovac and Vjenceslav Richter who won the first price for their competition entry.^[1]
In July 2016 the museum was hit by numerous missiles and mortar shells fired by rebel forces. This caused extensive damage to the roof and structure of the building. Most of the collection had already been evacuated but concerns have been expressed regarding items which could not be moved.^[2][3][4]

Collections

Giacobbe Giusti, National Museum of Aleppo
Arabic: متحف حلب الوطني‎

Statues at the entrance of the museum.

Items from all historical periods are exhibited in the museum. However, the largest sections of the museum are devoted to the Iron Age and the Islamic period. The entrance to the museum is a temple gateway with a female sphinx from the Iron Age (9th century BC) Neo-Hittite settlement of Tell Halaf.

 

 

 

 

Giacobbe Giusti, The Walters Art Museum

North Charles Street original main entrance
Former name	The Walters Art Gallery
Established	1934
Location	Mount Vernon-Belvedere, Baltimore, Maryland, U.S.
Type	Art museum
Director	Julia Marciari-Alexander (2016)[1]
Public transit access	Light Rail Hunt Valley–BWI Marshall Centre Street Station
Website	Official website

The Walters Art Museum, located in Mount Vernon-Belvedere, Baltimore, Maryland, United States, is a public art museum founded and opened in 1934. It holds collections established during the mid-19th century. The Museum’s collection was amassed substantially by major American art and sculpture collectors, a father and son: William Thompson Walters, (1819–1894), who began serious collecting when he moved to Paris as a nominal Southern/Confederate sympathizer at the outbreak of the American Civil Warin 1861; and Henry Walters (1848–1931), who refined the collection and made arrangements for the construction of a later landmark building to rehouse it. After allowing the Baltimore public to occasionally view his father’s and his growing added collections at his West Mount Vernon Place townhouse/mansion during the late 1800s, he arranged for an elaborate stone palazzo-styled structure built for that purpose in 1905–1909. Located across the back alley, a block south of the Walters mansion on West Monument Street/Mount Vernon Place, on the northwest corner of North Charles Street at West Centre Street.

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

In 2000, « The Walters Art Gallery » changed its long-time name to « The Walters Art Museum »^[1] to reflect its image as a large public institution and eliminate confusion among some of the increasing out-of-state visitors. The following year, « The Walters » (as it is often known in the city) reopened its original main building after a dramatic three-year physical renovation and replacement of internal utilities and infrastructure. The Archimedes Palimpsest was on loan to the Walters Art Museum from a private collector for conservation and spectral imaging studies.

Starting on October 1, 2006, the museum began having free admission year-round as a result of substantial grants given by Baltimore City and the surrounding suburban Baltimore County arts agencies and authorities.^[2] In 2012, « The Walters » released nearly 20,000 of its own images of its collections on a Creative Commons license, and collaborated in their upload to the world-wide web and the internet on Wikimedia Commons.^[3] This was one of the largest and most comprehensive such releases made by any museum.^[3]

https://en.wikipedia.org/wiki/Halaf_culture

www.metmuseum.org

https://thewalters.org/

https://en.wikipedia.org/wiki/National_Museum_of_Aleppo

http://www.giacobbegiusti.com