{"title":"Creation Narratives on Ancient Maya Codex-Style Ceramics in the Metropolitan Museum","authors":"J. Doyle","doi":"10.1086/691105","DOIUrl":"https://doi.org/10.1086/691105","url":null,"abstract":"","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/691105","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60655085","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Stormy Weather in Revolutionary Paris: A Pair of Dihl et Guérhard Vases","authors":"I. Moon","doi":"10.1086/691109","DOIUrl":"https://doi.org/10.1086/691109","url":null,"abstract":"","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/691109","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60655686","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Louis Comfort Tiffany’s Designs for American Synagogues (1889–1926)","authors":"P. Pongracz","doi":"10.1086/691112","DOIUrl":"https://doi.org/10.1086/691112","url":null,"abstract":"","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/691112","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60655744","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Fragments of Time: Ancient Glass in the Department of Greek and Roman Art","authors":"C. Lightfoot","doi":"10.1086/691104","DOIUrl":"https://doi.org/10.1086/691104","url":null,"abstract":"","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/691104","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60655077","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Palace for Louis XVI: Jean Augustin Renard at Rambouillet","authors":"B. Baudez","doi":"10.1086/691107","DOIUrl":"https://doi.org/10.1086/691107","url":null,"abstract":"","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/691107","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60655605","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sophilos and Early Greek Narrative","authors":"M. B. Moore","doi":"10.1086/691103","DOIUrl":"https://doi.org/10.1086/691103","url":null,"abstract":"","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/691103","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60655070","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Buddhist Source for a Stoneware “Basket” Designed by Georges Hoentschel","authors":"Denise Patry Leidy","doi":"10.1086/680035","DOIUrl":"https://doi.org/10.1086/680035","url":null,"abstract":"","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/680035","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60341821","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Over the last ten years, The Metropolitan Museum of Art has acquired a substantial and representative collection of works by the circle of German and Austrian artists living in Rome about 1800, most notably Joseph Anton Koch (1768 – 1839) and Johann Christian Reinhart (1761 – 1847). Both artists devoted themselves to landscapes in a Neoclassical style that picture an idealized nature as a reflection of a higher spirituality. They held a key position in the revival of landscape painting and drawing about 1800 — not only in the rich painted and graphic oeuvre they left behind but also in their personal influence as critical guides to the events in the art world unfolding around them. They functioned as promoters of the next generation of artists, for whom the ideal classicism of Koch and Reinhart served as a starting point for the development of a genuine Romantic conception of landscape. The graphic work of the Tirol native Joseph Anton Koch from different periods and in various genres is particularly well represented in the Museum’s collection. He was unquestionably one of the most important practitioners of Neoclassical landscape painting and drawing. The son of a landless laborer in the Lechtal in Tirol (Austria), Koch received decisive assistance from the bishop of Augsburg, who, after being apprised of the boy’s early demonstration of a talent for drawing, made it possible for him to receive proper artistic training. During his years at the Hohe Karlsschule in Stuttgart from 1785 to 1791, Koch was stirred by the ideas of the French Revolution. Rejecting the restrictive and outmoded teaching methods, he left the school in 1791 for Strasbourg. There he first moved in Jacobin circles but soon distanced himself from them and set out on travels through Switzerland, where, over several years, he produced a large number of landscape studies from nature that served as a reservoir of motifs for his later works. After going to Italy and briefly staying in Naples, he settled in Rome in 1795, where he received his mail at the Antico Caffè Greco in the Strada Condotti. There he joined the circle around Johann Christian Reinhart, the Danish-German painter Asmus Jakob Carstens (1754 – 1788), and the Danish sculptor Bertel Thorvaldsen (1770 – 1844). He spent the greater part of his life in Rome, where, with his pronounced, outgoing personality, he became the center of the German artists’ colony. Something of that personality is expressed in an outstanding portrait of Koch by the Swiss artist and sometime coworker in Koch’s atelier Hieronymus Hess (1799 – 1850),1 which is now also in the Metropolitan Museum (Figure 1).2 Koch, born in 1768 — as is noted on the drawing — belonged to a generation that chose to ennoble the empirical image of nature with idealized compositions and the incorporation of narratives, generally drawn from classical mythology. The first of his works to be discussed here is a gouache of a southern coastal landscape that is impressive for
{"title":"Nature as Ideal: Drawings by Joseph Anton Koch and Johann Christian Reinhart","authors":"Cornelia Reiter","doi":"10.1086/680048","DOIUrl":"https://doi.org/10.1086/680048","url":null,"abstract":"Over the last ten years, The Metropolitan Museum of Art has acquired a substantial and representative collection of works by the circle of German and Austrian artists living in Rome about 1800, most notably Joseph Anton Koch (1768 – 1839) and Johann Christian Reinhart (1761 – 1847). Both artists devoted themselves to landscapes in a Neoclassical style that picture an idealized nature as a reflection of a higher spirituality. They held a key position in the revival of landscape painting and drawing about 1800 — not only in the rich painted and graphic oeuvre they left behind but also in their personal influence as critical guides to the events in the art world unfolding around them. They functioned as promoters of the next generation of artists, for whom the ideal classicism of Koch and Reinhart served as a starting point for the development of a genuine Romantic conception of landscape. The graphic work of the Tirol native Joseph Anton Koch from different periods and in various genres is particularly well represented in the Museum’s collection. He was unquestionably one of the most important practitioners of Neoclassical landscape painting and drawing. The son of a landless laborer in the Lechtal in Tirol (Austria), Koch received decisive assistance from the bishop of Augsburg, who, after being apprised of the boy’s early demonstration of a talent for drawing, made it possible for him to receive proper artistic training. During his years at the Hohe Karlsschule in Stuttgart from 1785 to 1791, Koch was stirred by the ideas of the French Revolution. Rejecting the restrictive and outmoded teaching methods, he left the school in 1791 for Strasbourg. There he first moved in Jacobin circles but soon distanced himself from them and set out on travels through Switzerland, where, over several years, he produced a large number of landscape studies from nature that served as a reservoir of motifs for his later works. After going to Italy and briefly staying in Naples, he settled in Rome in 1795, where he received his mail at the Antico Caffè Greco in the Strada Condotti. There he joined the circle around Johann Christian Reinhart, the Danish-German painter Asmus Jakob Carstens (1754 – 1788), and the Danish sculptor Bertel Thorvaldsen (1770 – 1844). He spent the greater part of his life in Rome, where, with his pronounced, outgoing personality, he became the center of the German artists’ colony. Something of that personality is expressed in an outstanding portrait of Koch by the Swiss artist and sometime coworker in Koch’s atelier Hieronymus Hess (1799 – 1850),1 which is now also in the Metropolitan Museum (Figure 1).2 Koch, born in 1768 — as is noted on the drawing — belonged to a generation that chose to ennoble the empirical image of nature with idealized compositions and the incorporation of narratives, generally drawn from classical mythology. The first of his works to be discussed here is a gouache of a southern coastal landscape that is impressive for","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/680048","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60342201","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The nineteenth-century French novelist Honoré de Balzac (1799 – 1850) has a well-documented reputation for drawing on the conventions of art to add depth and nuance to his literary work. Intrigued by a wide range of biblical, mythological, and genre subjects, he peppered his novels with references to scores of paintings that would have been familiar to his audience.1 He was also a passionate collector, who, like a character in one of his novels, frequented the establishments of art dealers in an effort to fill his home with paintings, drawings, and decorative arts.2 Yet, notwithstanding his evident appreciation of art and his ability to conjure up the rich iconography of well-known painters, he seems not to have been a sophisticated collector. Toward the end of his life, he noted in a letter to art critic Théophile Thoré that, although he enjoyed hunting for additions to his “petit musée,” he was not particularly knowledgeable on the subject of paintings.3 While he professed to own pictures by or attributed to such artists as Holbein, Domenichino, and Rubens,4 no work by or even after these artists has ever been associated with his collection. To date, only two pieces have been identified: Bacchante in a Landscape by Jean-Baptiste Mallet, now in the Louvre, Paris, and The Expulsion from Paradise by Charles Joseph Natoire (1700 – 1777), belonging to the Metropolitan Museum (Figure 1).5 Research indicates that Balzac purchased the Natoire in 1846 with his future wife, Eve Hanska (1804 – 1882), and that it remained in their collection for thirty-six years.6 The history of Balzac’s engagement with the painting can be traced through the letters he wrote over a period of almost seventeen years to Hanska — a noblewoman of Polish descent who had married Wenceslas Hanski (1782 – 1841) in 1819 and lived in western Ukraine at Wierzchownia, then part of the Russian Empire.7 The two began corresponding in February 1832, when Hanska sent Balzac an admiring yet critical fan letter, referring to herself simply as “L’Étrangère” (the foreigner).8 After an epistolary courtship interspersed with extended periods of shared travel and stopovers in Wierzchownia, the two were married on March 14, 1850. Tragically, Balzac died of ill health on August 18, only five months later. Balzac and Hanska first saw the Natoire on a trip across Italy, Switzerland, and Germany in 1846.9 On March 16 of that year, the writer boarded a mail coach in Paris for Rome, where he met up with Hanska. In mid-April, the two set sail for Genoa, continuing by way of Lake Orta and the Simplon Pass to Switzerland. On May 16, a few days before the writer’s forty-seventh birthday, they arrived in Basel, where they stayed at the luxurious Hôtel des Trois Rois to celebrate the feast day of Saint Honoré.10 At Miville-Krug, a local dealer in antiquities, they saw a number of items of interest, including The Expulsion from Paradise, which depicts the liminal moment when Adam and Eve come to terms with the
19世纪法国小说家巴尔扎克(1799 - 1850)以利用艺术惯例为其文学作品增添深度和细微差别而闻名。他被广泛的圣经、神话和流派题材所吸引，在他的小说中穿插了大量他的读者所熟悉的绘画他还是一个狂热的收藏家，就像他的小说中的一个人物一样，他经常出入艺术品经销商的场所，努力使他的家里充满油画、素描和装饰艺术品然而，尽管他对艺术有明显的鉴赏力，也有能力召唤出知名画家丰富的肖像，但他似乎不是一个老练的收藏家。在他生命的最后阶段，他在给艺术评论家thamesophile thor的一封信中提到，尽管他喜欢为自己的“小穆斯海姆”寻找补充，但他在绘画方面并不是特别精通虽然他声称自己拥有霍尔拜因、多梅尼奇诺和鲁本斯等艺术家的作品，或者认为这些艺术家的作品是他们的，但这些艺术家的作品甚至是他们之后的作品都没有与他的收藏联系起来。到目前为止，只有两幅作品被鉴定出来:一幅是让-巴蒂斯特·马雷的《风景中的酒神》，现藏于巴黎卢浮宫;另一幅是查尔斯·约瑟夫·纳托瓦的《驱逐天堂》(1700 - 1777)，现藏于大都会博物馆(图1)研究表明，巴尔扎克于1846年与他未来的妻子伊芙·汉斯卡(Eve Hanska, 1804 - 1882)购买了《Natoire》，这幅画在他们的收藏中保存了36年巴尔扎克与这幅画的交往历史可以追溯到他在近17年的时间里写给汉斯卡的信——汉斯卡是一位波兰血统的贵妇，于1819年嫁给了瓦茨拉夫·汉斯基(1782 - 1841)，住在乌克兰西部的Wierzchownia，当时是俄罗斯帝国的一部分。两人于1832年2月开始通信，当时汉斯卡给巴尔扎克寄了一封赞赏而又批评的粉丝信，称自己为“L ' Étrangère”(外国人)经过书信式的求爱，两人长时间的共同旅行和在维也纳的中途停留，于1850年3月14日结婚。不幸的是，仅仅5个月后的8月18日，巴尔扎克就因病去世了。1846.年，巴尔扎克和汉斯卡在穿越意大利、瑞士和德国的旅途中第一次看到了《国民报》。同年3月16日，巴尔扎克从巴黎登上了一辆开往罗马的邮车，在那里他与汉斯卡相遇。四月中旬，两人启航前往热那亚，继续取道奥尔塔湖和辛普朗山口前往瑞士。5月16日，也就是作家47岁生日的前几天，他们抵达巴塞尔，在那里他们住在豪华的Hôtel des Trois Rois酒店，庆祝圣奥诺瑞姆节在当地的古董商米维尔-克鲁格(Miville-Krug)那里，他们看到了许多有趣的作品，包括《被驱逐出天堂》(The expel from Paradise)，这幅画描绘了亚当和夏娃面对自己处境的严重性，愤怒的上帝断然将他们赶出伊甸园的关键时刻。巴尔扎克在1846年写给汉斯卡的信中描述了这幅作品，他意识到了它的悲情:“在我橱柜里的严肃画作中，《国民》显得很可怜。当时，纳托瓦的遗产在法国并非没有争议。一方面，他被认为是一位有成就的画家和教师，在皇家美术与雕塑学院担任教授，并在罗马的法国学院担任院长，他在这个职位上呆了将近25年。他的一些最受尊敬的画作装饰了巴黎的凡尔赛宫、Hôtel de Soubise和小教堂，而卢浮宫据说藏有他的三幅神话作品:另一方面，保护主义者亚历山大·勒努瓦在1837年重新开始了关于洛可可和新古典主义艺术相对价值的长期争论，他认为纳托瓦尔和他同时代的弗朗索瓦·布歇、巴尔扎克和纳托瓦尔的《被驱逐出天堂》
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F. Carò, Giulia Chiostrini, Elizabeth Cleland, Nobuko Shibayama
Pieter Coecke van Aelst (1502 – 1550) was one of the most celebrated Netherlandish artists of his generation.1 An important panel painter and printer of influential architectural treatises, Coecke was above all a master draftsman-designer, and the primary medium for his artistic expression was tapestry design. Tapestry series based on his cartoons were woven up by the celebrated Brussels-based workshops directed by Willem de Pannemaker and Willem de Kempeneer, as well as lesser-known weavers like Jan van der Vijst and Paulus van Oppenem, and were acquired by the great Renaissance collectors, from Henry VIII to Francis I, Mary of Hungary, Charles V, and Cosimo I de’ Medici. The three securely documented tapestry series that form the core of Pieter Coecke van Aelst’s stylistically attributed body of works are the Life of Saint Paul, the Seven Deadly Sins, and the Story of Joshua.2 These were all phenomenally successful and woven in multiple high-quality editions. The Seven Deadly Sins, in particular, is one of the most appealing and inventive series of Renaissance tapestries known, presenting a subversive triumphal procession of the vices across seven tapestries, each devoted to a different sin. Uniquely for tapestries of this period, a written program survives in a manuscript in Madrid, describing the “significance of the seven tapestries of the seven deadly sins by Willem de Pannemaker of which master Pieter of Aelst, painter of Antwerp, made the designs and compositions.”3 Coecke probably began designing the Sins in late 1532, pausing during 1533, when he traveled to Constantinople (in part on a tapestry-selling expedition to Süleyman the Magnificent), completing the design of the series after his return in early 1534. Of the earliest documented edition, woven before 1536, which belonged to Henry VIII, only Avarice survives; it is now in the Morgan Library and Museum in New York.4 Of the three best-preserved Seven Deadly Sins editions, one (Figure 1) originally belonged to Mary of Hungary (1505 – 1558), governor of the Habsburg Netherlands (1531 – 55). Made before 1544, it is now in the Spanish Patrimonio Nacional. Another (Figure 2), made about 1545, was first acquired by the unfortunate Count Lamoraal van Egmont, prince of Gavere (1522 – 1568). Follow ing Egmont’s execution, it passed to Philip II and is now also in the Patrimonio Nacional. The third, woven about 1548 – 49 and probably originally in the collection of the dukes of Lorraine, is now in the Kunsthistorisches Museum in Vienna.5 Since 1957, The Metropolitan Museum of Art has owned one piece of the Seven Deadly Sins that Coecke designed; it represents Gluttony and is the only known survival from this, the fifth known edition (Figure 3).6 In a breathtakingly colorful sweep of twisting figures, fantastical beasts, and patterned cloth and trappings, the figures unfurl across the tapestry’s surface.7 The textile’s well-preserved, vivid palette enlivens the full subtleties of Coecke’s des
Pieter Coecke van Aelst(1502 - 1550)是他那一代最著名的荷兰艺术家之一作为一名重要的面板画家和有影响力的建筑论文的印刷商，科克首先是一名绘图大师和设计师，他的艺术表达的主要媒介是挂毯设计。以他的漫画为基础的挂毯系列是由著名的布鲁塞尔工作室编织的，这些工作室由威廉·德·潘纳梅克和威廉·德·肯佩纳尔指导，以及像扬·范·德·维杰斯特和保卢斯·范·奥本南这样的不太知名的织工编织而成，并被伟大的文艺复兴收藏家所收购，从亨利八世到弗朗西斯一世，匈牙利的玛丽，查理五世和科西莫·德·美第奇。三个安全记录的挂毯系列构成了Pieter Coecke van Aelst的风格作品的核心，即《圣保罗的一生》，《七宗罪》和《约书亚的故事》。2这些都是非常成功的，并且编织了多个高质量的版本。尤其是《七宗罪》，它是文艺复兴时期最吸引人、最具创意的挂毯系列之一，在七幅挂毯上展示了一幅颠覆性的罪恶凯旋游行，每幅挂毯都致力于一种不同的罪恶。在这一时期的挂毯中，马德里的一份手稿中保存着一份书面程序，描述了威廉·德·潘纳梅克(Willem de Pannemaker)的“七宗死罪挂毯的意义”，安特卫普画家阿尔斯特大师彼得(Pieter of Aelst)为这些挂毯设计和构图。Coecke可能在1532年末开始设计Sins，在1533年期间暂停，当时他前往君士坦丁堡(部分是在一次销售挂毯的远征中前往sansleyman the Magnificent)，并在1534年初返回后完成了该系列的设计。最早的有记载的版本是1536年以前编的，属于亨利八世，只有《贪婪》幸存下来;在保存最完好的三个《七宗罪》版本中，有一个(图1)最初属于匈牙利的玛丽(1505 - 1558)，她是荷兰哈布斯堡王朝的总督(1531 - 55)。它制作于1544年之前，现收藏于西班牙国家遗产博物馆。另一幅(图2)，大约制作于1545年，最初被不幸的加维尔王子拉莫拉尔·范·埃格蒙特伯爵(1522 - 1568)获得。埃格蒙特被处决后，它传给了菲利普二世，现在也在国家遗产中。第三件编织于1548 - 1549年，最初可能在洛林公爵的收藏中，现在在维也纳的艺术史博物馆。自1957年以来，大都会艺术博物馆拥有科克设计的七宗罪中的一件;它代表了饕餮，是已知的第五个版本中唯一幸存的版本(图3)在一幅令人惊叹的色彩缤纷的画面中，扭曲的人物、奇异的野兽、有图案的布料和装饰物，这些人物展开在挂毯的表面上纺织品保存完好，生动的调色板使Coecke的设计充满了微妙之处。由于救赎彼得·科克·范·阿斯特的饕餮挂毯:从科学分析中学习
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