http://collections.mfa.org/collections/315222/objects/rdfMFA Images: Weapons & Warhttp://collections.mfa.org/internal/media/dispatcher/1028763/resize%3Aformat%3Dfullhttp://collections.mfa.org/internal/media/dispatcher/743588/resize%3Aformat%3DfullAdmiral Kabayama Fights Furiously in the Great Sino-Japanese Naval Battle off Takushan in China (Shinkoku Daikôsan oki Nisshin daikaisen Kabayama shôgun funsen no zu)1894 (Meiji 27), OctoberYōshū Chikanobu (Hashimoto Chikanobu)Woodblock print (nishiki-e); ink and color on paperhttp://collections.mfa.org/objects/130152/rdfhttp://collections.mfa.org/internal/media/dispatcher/774705/resize%3Aformat%3DfullAttack at Seminary Ridge, Gettysburg, July 18631863Unidentified artist, American, 19th centuryPastel on prepared board (sandpaper)Civil War subject- Stream crossed by road center, filled with marching troops; other troops deploying left and right. Batteries firing in foreground; two Union officers on horseback left. Confederate troops in distance.http://collections.mfa.org/objects/258927/rdfhttp://collections.mfa.org/internal/media/dispatcher/743580/resize%3Aformat%3DfullBanzai for the Japanese Navy and Army! Illustration of the Great Battle near Weihaiwei (Nihon kairiku banzai; Ikaiei fukin daigekisen no zu)1895 (Meiji 28), FebruaryKobayashi IkuhideWoodblock print (nishiki-e); ink and color on paperhttp://collections.mfa.org/objects/129929/rdfhttp://collections.mfa.org/internal/media/dispatcher/928877/resize%3Aformat%3DfullBattle at Jinzhoucheng on the Road to Port Arthur (Ryojun michi Kinshûjô sen)1894 (Meiji 27), November 28Kobayashi KiyochikaWoodblock print (nishiki-e); ink and color on paperhttp://collections.mfa.org/objects/129943/rdfhttp://collections.mfa.org/internal/media/dispatcher/1044192/resize%3Aformat%3DfullThe Battle of Bunker Hillabout 1776–77Winthrop ChandlerOil on panelhttp://collections.mfa.org/objects/34496/rdfhttp://collections.mfa.org/internal/media/dispatcher/1110771/resize%3Aformat%3DfullA Battle Scene from Knickerbocker's History of New York1838John QuidorOil on canvashttp://collections.mfa.org/objects/33214/rdfhttp://collections.mfa.org/internal/media/dispatcher/896548/resize%3Aformat%3DfullBattleship Potemkin1926Anton LavinskyPoster, color lithographhttp://collections.mfa.org/objects/358489/rdfhttp://collections.mfa.org/internal/media/dispatcher/783335/resize%3Aformat%3DfullThe Boston Massacre1770Paul Revere, Jr.Engraving, hand-colored with watercolor and gold pigment by Christian RemickIn contemporary 18th-century frame; glazed, carved and gilded inner frame.http://collections.mfa.org/objects/171062/rdfhttp://collections.mfa.org/internal/media/dispatcher/679591/resize%3Aformat%3DfullCaptivesEvariste Vital LuminaisOil on canvashttp://collections.mfa.org/objects/32136/rdfhttp://collections.mfa.org/internal/media/dispatcher/928850/resize%3Aformat%3DfullCavalry Charge1902Jean Baptiste Edouard DetailleOil on canvashttp://collections.mfa.org/objects/32125/rdfhttp://collections.mfa.org/internal/media/dispatcher/929186/resize%3Aformat%3DfullChinese and Japanese Troops in a Great Battle at Gaiping (Nisshin ryôgun Gaihei daigekisen no zu)1895 (Meiji 28),FebruaryJûgunsha NakagawaWoodblock print (nishiki-e); ink and color on paperTriptych: 21.1540 (right), 21.1541 (center), 21.1542 (left)MFA impressions: 21.1540-2, 2000.423a-c, RES.23.250-2http://collections.mfa.org/objects/470673/rdfhttp://collections.mfa.org/internal/media/dispatcher/927786/resize%3Aformat%3DfullThe Courageous Fight of Captain Matsuzaki During the Battle of Songhwan (Seikan no eki ni oite Matsuzaki taii yûsen no zu)1894 (Meiji 27), AugustYōsai NobukazuWoodblock print (nishiki-e); ink and color on paperhttp://collections.mfa.org/objects/129968/rdfhttp://collections.mfa.org/internal/media/dispatcher/1028763/resize%3Aformat%3DfullThe Death of General Warren at the Battle of Bunker's Hill, 17 June, 1775after 1815–before 1831John TrumbullOil on canvashttp://collections.mfa.org/objects/34260/rdfhttp://collections.mfa.org/internal/media/dispatcher/605572/resize%3Aformat%3DfullDeparture of the 7th Regiment, N.Y.S.M., April 19, 18611861George HaywardTransparent and opaque watercolor over graphite on paperView of Broadway, corner of Courtland St.http://collections.mfa.org/objects/157914/rdfhttp://collections.mfa.org/internal/media/dispatcher/933442/resize%3Aformat%3DfullDesperate Battle of Captain Asakawa at Tuchengzi (Dojôshi ni okeru Taii Asakawa shi no kusen)1895 (Meiji 28), JanuaryKobayashi KiyochikaWoodblock print (nishiki-e); ink and color on paperhttp://collections.mfa.org/objects/129941/rdfhttp://collections.mfa.org/internal/media/dispatcher/605514/resize%3Aformat%3DfullEntrance of the Fifty-Fifth Massachusetts Regiment (Colored) into Charleston, South Carolina, Feb. 21, 18651865Thomas NastOil over brush and brown wash, with graphite underdrawing, on heavy wove paperCol. Bennett reining in his horse center. Exultant Black figure waving his hat, and numerous bystanders. Ruined buildings behind.http://collections.mfa.org/objects/157839/rdfhttp://collections.mfa.org/internal/media/dispatcher/786629/resize%3Aformat%3DfullEquestrian portrait of Nadir Shah Afsharabout 1740– 45Muhammad Ali ibn Abd al-Bayg ibn Ali Quli JabbadarInk and color on paperhttp://collections.mfa.org/objects/13926/rdfhttp://collections.mfa.org/internal/media/dispatcher/1586481/resize%3Aformat%3DfullExecution of the Emperor Maximilian1867Edouard ManetOil on canvashttp://collections.mfa.org/objects/32372/rdfhttp://collections.mfa.org/internal/media/dispatcher/769525/resize%3Aformat%3DfullGeneral Attack on the Tientsin Castle by the Allied Armies: The Hakkō-tai Corps of the 11th Regiment Opening the South Inner Gate and Charging (Rekkoku rengōgun Tenshinjō sōkōgeki, hohei daijūichi rentai daihachi Hakkōtai Minami Naimon kaihi tosshin no zu), No. 12 from the series Pictorial Report on the War in China (Shinkoku senran gahō, sono jūni)1900 (Meiji 33), August 8Kasai TorajirōLithograph; ink and color on paperhttp://collections.mfa.org/objects/337180/rdfhttp://collections.mfa.org/internal/media/dispatcher/979940/resize%3Aformat%3DfullGrant's First Attack at VicksburgMay 19, 1863Unidentified artist, American, 19th centuryGraphite pencil and watercolor on paperArtists of the Civil War. Battery moving into action from left; band in wagon drawn by white horses in foreground center. Infantry and cavalry left, under fire; the city in distance center.http://collections.mfa.org/objects/259084/rdfhttp://collections.mfa.org/internal/media/dispatcher/979970/resize%3Aformat%3DfullThe Great Battle at the Uji River (Ujikawa ōgassen)about 1839–41 (Tenpô 10–12)Utagawa KuniyoshiWoodblock print (nishiki-e); ink and color on paperTriptych: 17.3209.12 (left), 17.3209.13 (center), 17.3209.14 (right)http://collections.mfa.org/objects/494231/rdfhttp://collections.mfa.org/internal/media/dispatcher/924263/resize%3Aformat%3DfullGreat Sino-Japanese Battle at Fenghuangcheng (Hôôjô Nisshin dai gekisen no zu)1894 (Meiji 27), OctoberToyohara Kuniteru IIIWoodblock print (nishiki-e); ink and color on paperhttp://collections.mfa.org/objects/129967/rdfhttp://collections.mfa.org/internal/media/dispatcher/927791/resize%3Aformat%3DfullGreat Victory of Our Armed Forces at the Battle of Pyongyang (Heijō gekisen waga gun dai shōri no zu)1894 (Meiji 27), OctoberKobayashi KiyochikaWoodblock print (nishiki-e); ink and color on paperhttp://collections.mfa.org/objects/129936/rdfhttp://collections.mfa.org/internal/media/dispatcher/924281/resize%3Aformat%3DfullThe Great Victory of Our Army at the Battle of Pyongyang (Heijô no gekisen waga gun dai shôri no zu)1894–95 (Meiji 27–28)Adachi GinkōWoodblock print (nishiki-e); ink and color on paperhttp://collections.mfa.org/objects/150030/rdfhttp://collections.mfa.org/internal/media/dispatcher/924297/resize%3Aformat%3DfullGreat Victory of Our Forces at the Battle of the Yellow Sea--Second Illustration (Kôkai ni okeru wagagun no daishô, dai ni zu)1894 (Meiji 27), OctoberKobayashi KiyochikaWoodblock print (nishiki-e); ink and color on paperMFA impressions: 2000.10a-c, 2000.380.16a-chttp://collections.mfa.org/objects/155826/rdfhttp://collections.mfa.org/internal/media/dispatcher/923643/resize%3Aformat%3DfullIllustration of a Fierce Russo-Japanese War Battle: Our Troops Occupy Chongju, a Great Japanese Victory (Nichiro gekisen gazu, Teishû o senryô su, Nihon dai shôri)1904 (Meiji 37), MayKyôkatsuWoodblock print (nishiki-e); ink and color on paperhttp://collections.mfa.org/objects/129748/rdfhttp://collections.mfa.org/internal/media/dispatcher/743669/resize%3Aformat%3DfullIllustration of the Great Naval Battle at the Harbor Entrance to Port Arthur in the Russo-Japanese War (Nichiro Ryojunkô daikaisen no zu)1904 (Meiji 37), printed February 13, published February 16RosetsuWoodblock print (nishiki-e); ink and color on paperhttp://collections.mfa.org/objects/130046/rdfhttp://collections.mfa.org/internal/media/dispatcher/743590/resize%3Aformat%3DfullThe Imperial Navy Wins a Major Victory in a Great Naval Battle off Takushan (Daikosan oki daikaisen teikoku kaigun daishôri)1894 (Meiji 27), printed September, published OctoberKuniomiWoodblock print (nishiki-e); ink and color on paperInscription: "Illustration showing how the great Chinese warship Dingyuan, the biggest in the East, weighing 7000 tons, was defeated by our warship Matsushima"http://collections.mfa.org/objects/129965/rdfhttp://collections.mfa.org/internal/media/dispatcher/923646/resize%3Aformat%3DfullIn the Battle of the Sha River, a Company of Our Right-Wing Forces Drives a Strong Enemy Force to the Left Bank of the Taizi River (Shaka no kaisen ni waga uyokugun no ichi jûtai gankyô no teki o Taishika no sagan ni gekitsui)1904 (Meiji 37), printed November 12, published November 15Hirose YoshikuniWoodblock print (nishiki-e); ink and color on paperhttp://collections.mfa.org/objects/129780/rdfhttp://collections.mfa.org/internal/media/dispatcher/924302/resize%3Aformat%3DfullIn the Battle of the Yellow Sea a Sailor onboard Our Japanese Warship Matsushima, on the Verge of Dying, Asked Whether or Not the Enemy Ship Had Been Destroyed (Kôkai no tatakai ni waga Matsushima no suihei shi ni nozonde tekikan no sonpi o tou)1894 (Meiji 27), OctoberKobayashi KiyochikaWoodblock print (nishiki-e); ink and color on paperMFA impressions: 2000.109a-c, 2000.380.21a-c, RES.27.192a-chttp://collections.mfa.org/objects/155832/rdfhttp://collections.mfa.org/internal/media/dispatcher/969535/resize%3Aformat%3DfullIzumi Saburô Chikahira, No. 14 from the series Paragons of Bravery in Thirty-six Battles (Yûkai sanjûroku kassen)about 1851–52 (Kaei 4–5)Utagawa KuniyoshiWoodblock print (nishiki-e); ink and color on paperhttp://collections.mfa.org/objects/253688/rdfhttp://collections.mfa.org/internal/media/dispatcher/923648/resize%3Aformat%3DfullJapanese Suicide Squads Fight Bravely in the Naval Battle at Port Arthur during the Russo-Japanese War (Nichiro Ryojunkô kaisen Nihon kesshitai yûsen)1904 (Meiji 37), MarchSengai (?)Woodblock print (nishiki-e); ink and color on paperBased on an 1894 design by Adachi Ginkô: 2000.376a-c, 2000.380.14a-cThe website of the Fine Arts Museums of San Francisco reads this artist's name as Sengai (in romanization only). The impression at the Achenbach Foundation for Graphic Arts includes an intact left margin with the publication information, including the name of publisher Fukuda Hatsujirô.The catalogue of the Meiji University Museum, Criminal Materials Section, lists the print as #240 and dates in to March 1904, but does not give the second character of the signature.http://collections.mfa.org/objects/130045/rdfhttp://collections.mfa.org/internal/media/dispatcher/840812/resize%3Aformat%3DfullKozuka with design of a boat on the Yodo Riverearly to mid-19th centuryHosono SchoolMain material: shibuichi; surface treatment: migaki-ji; other metals: gold, silver, and copper; decorative technique: iroe hirazoganhttp://collections.mfa.org/objects/12283/rdfhttp://collections.mfa.org/internal/media/dispatcher/840835/resize%3Aformat%3DfullKozuka with design of carp and weedsearly to mid-19th centuryIshiguro MasayoshiMain material: shakudo; surface treatment: nanako-ji; other metals: gold and shibuichi; decorative technique: iroe takazoganhttp://collections.mfa.org/objects/9718/rdfhttp://collections.mfa.org/internal/media/dispatcher/840813/resize%3Aformat%3DfullKozuka with design of crowsmid-19th centuryYanagawa NaomasaMain material: silver; surface treatment: migaki-ji; other metals: gold and shakudo; decorative technique: iroe takazogan, iroe hirazoganhttp://collections.mfa.org/objects/12284/rdfhttp://collections.mfa.org/internal/media/dispatcher/871504/resize%3Aformat%3DfullKozuka with design of deer and moon in KasugaAbout 1850Kanō NatsuoMain material: shakudō; surface treatment: nanako-ji; other metals: gold and silver; decorative technique: iroe takazōganhttp://collections.mfa.org/objects/28053/rdfhttp://collections.mfa.org/internal/media/dispatcher/857365/resize%3Aformat%3DfullKozuka with design of Li Bai supported by two attendantsAbout 1870–89Miyata NobuhisaMain material: gold; surface treatment: migaki-ji; decorative technique: takaborihttp://collections.mfa.org/objects/9672/rdfhttp://collections.mfa.org/internal/media/dispatcher/840862/resize%3Aformat%3DfullKozuka with design of many monkeysmid-18th centuryTetsugendo NaoshigeMain material: iron; other metals: copper, shibuichi and gold; decorative technique: iroe takazoganhttp://collections.mfa.org/objects/12345/rdfhttp://collections.mfa.org/internal/media/dispatcher/840843/resize%3Aformat%3DfullKozuka with design of millet-headsmid-19th centuryAraki TōmeiMain material: shakudo; surface treatment: nanako-ji; other metals: gold, copper and shakudo; decorative technique: iroe takazoganhttp://collections.mfa.org/objects/9726/rdfhttp://collections.mfa.org/internal/media/dispatcher/857357/resize%3Aformat%3DfullKozuka with design of Nio and temple attendantearly to mid-19th centuryYokoya Sōmin VMain material: shakudo; surface treatment: nanako-ji; other metals: silver, shakudo, shibuichi and copper; decorative technique: iroe takazogan and katakiri-borihttp://collections.mfa.org/objects/12348/rdfhttp://collections.mfa.org/internal/media/dispatcher/840842/resize%3Aformat%3DfullKozuka with design of Okame mask on hangerLate 18th–early 19th centuryHamano NaoyukiMain material: shibuichi; surface treatment: chirimen-ji; other metals: gold, silver and shakudo; decorative technique: iroe takazoganhttp://collections.mfa.org/objects/9725/rdfhttp://collections.mfa.org/internal/media/dispatcher/892133/resize%3Aformat%3DfullKozuka with design of tiger and bambooearly to mid-19th centuryMurakami JochikuMain material: iron; other metals: gold, shakudo and copper; decorative technique: iroe takazoganhttp://collections.mfa.org/objects/12301/rdfhttp://collections.mfa.org/internal/media/dispatcher/1346112/resize%3Aformat%3DfullLieutenant Commander Yamanaka, Chief Gunner of Our Ship Fuji, Fights Fiercely in the Naval Battle at the Entrance to Port Arthur (Ryojunkô no kaisen ni waga Fuji hôjutsuchô Yamanaka shôsa funsen)1904 (Meiji 37), MarchMigita ToshihideWoodblock print (nishiki-e); ink and color on paperMFA impressions: 2000.75a-c, RES.51.81a-chttp://collections.mfa.org/objects/154794/rdfhttp://collections.mfa.org/internal/media/dispatcher/924264/resize%3Aformat%3DfullThe Most Illustrious Soldier in the Battle of the Hyeonmu Gate [at Pyongyang], Harada Jûkichi, Climbs Up Ahead and Fights Bravely (Genbumon kôgeki zuiichi gunkôsha Harada Jûkichi shi sento funsen zu)1894 (Meiji 27), NovemberMizuno ToshikataWoodblock print (nishiki-e); ink and color on paperMFA impressions: 2000.101a-c, RES.23.306-8, RES.23.338-40, RES.27.170a-chttp://collections.mfa.org/objects/129988/rdfhttp://collections.mfa.org/internal/media/dispatcher/1203864/resize%3Aformat%3DfullMounting for a sword of the itomaki-no- tachi type with design of family crests (tsuka and saya)17th centuryArtist unknown, JapaneseSilk, leather (domestic cow, Bos Taurus), gold, lacquer (urushi), gilt metal, wood, shakudō (alloy of copper, gold, silver, iron, zinc, and lead)Tsunagi (wooden blade): hō wood (Magnolia Obovata)http://collections.mfa.org/objects/25262/rdfhttp://collections.mfa.org/internal/media/dispatcher/1203791/resize%3Aformat%3DfullMounting for a sword of the tantô type with decoration of autumn grassesmid-19th centuryTanaka ToshiyoshiHilt: white string ray skin (Himantura Sp); Scabbard: lacquered hō wood (Magnolia obovata) ; Fittings: gold, silver, shakudô, and suaka; Tsunagi (wooden blade): hō wood (Magnolia obovata)http://collections.mfa.org/objects/27509/rdfhttp://collections.mfa.org/internal/media/dispatcher/840104/resize%3Aformat%3DfullNapoleonic Campaigns: Battle of AhensbergundatedJacques-François SwebachBrush and brown wash over pen and black ink on cream antique laid paperhttp://collections.mfa.org/objects/247742/rdfhttp://collections.mfa.org/internal/media/dispatcher/840106/resize%3Aformat%3DfullNapoleonic Campaigns: Battle of Ligny (June 16, 1815)undatedJacques-François SwebachBrush and brown wash over pen and black ink on cream antique laid paperhttp://collections.mfa.org/objects/247744/rdfhttp://collections.mfa.org/internal/media/dispatcher/840107/resize%3Aformat%3DfullNapoleonic Campaigns: Battle of Raab (June 14, 1809)undatedJacques-François SwebachBrush and brown wash over pen and black ink on cream antique laid paperhttp://collections.mfa.org/objects/247745/rdfhttp://collections.mfa.org/internal/media/dispatcher/840110/resize%3Aformat%3DfullNapoleonic Campaigns: Battle of Smolensk (1812)Jacques-François SwebachBrush and brown wash over pen and black ink on cream antique laid paperhttp://collections.mfa.org/objects/247748/rdfhttp://collections.mfa.org/internal/media/dispatcher/780337/resize%3Aformat%3DfullThe National Lancers with the Reviewing Officers on Boston Common1837Fitz Henry LaneHand-colored lithographhttp://collections.mfa.org/objects/36704/rdfhttp://collections.mfa.org/internal/media/dispatcher/1268921/resize%3Aformat%3DfullNight Attack on the Sanjō Palace, from the Illustrated Scrolls of the Events of the Heiji Era (Heiji monogatari emaki)second half of the 13th centuryHandscroll; ink and color on paperhttp://collections.mfa.org/objects/24523/rdfhttp://collections.mfa.org/internal/media/dispatcher/927795/resize%3Aformat%3DfullThe Occupation of the Fortress at Niuzhuang: The Battle of Lieutenant Colonel Imada (Gyûsôjô senryô: Imada chûsa sentô no zu)1895 (Meiji 28), MarchAdachi GinkōWoodblock print (nishiki-e); ink and color on paperhttp://collections.mfa.org/objects/150152/rdfhttp://collections.mfa.org/internal/media/dispatcher/757216/resize%3Aformat%3DfullOfficer's swordabout 1805–12Thomas Ellicott WarnerSilver, ivory, steelThis large sword has an eagle-head handle. The silver scabbard is engraved with a Greek fret border, overlapping eagle feathers at the end, and two passages of bundled lightning bolts between oak leaves. Two applied bands of holly leaves hold silver rings from which to hang the sword. The eagle’s neck feathers on the handle are carved ivory, and the head is cast. A scroll handle, with a female head on the outside, emanates from the bird’s beak. Each side of the steel blade is blued and etched in gilt. One side is inscribed with the motto “Liberty and Independence” and an arm wielding a sword. The other side is inscribed with “1783” and the motto “E PLURIBUS UNUM” and is decorated with an American eagle.http://collections.mfa.org/objects/40697/rdfhttp://collections.mfa.org/internal/media/dispatcher/783104/resize%3Aformat%3DfullOn the War Path1837–74Alfred Jacob MillerWatercolor over graphite with gum arabic additions on paperNative Americans riding on horseback.http://collections.mfa.org/objects/36871/rdfhttp://collections.mfa.org/internal/media/dispatcher/743654/resize%3Aformat%3DfullOur Army's Great Victory at the Night Battle of Pyongyang (Heijô yasen wagahei daishôri)1894 (Meiji 27), SeptemberKobayashi ToshimitsuWoodblock print (nishiki-e); ink, color and silver on paperMFA impressions: 2000.51a-c, 2000.359a-chttp://collections.mfa.org/objects/129992/rdfhttp://collections.mfa.org/internal/media/dispatcher/923633/resize%3Aformat%3DfullOur Army's Great Victory at the Night Battle of Pyongyang (Heijô yasen wagahei daishôri)1894 (Meiji 27), SeptemberKobayashi ToshimitsuWoodblock print (nishiki-e); ink and color on paperMFA impressions: 2000.51a-c, 2000.359a-chttp://collections.mfa.org/objects/150407/rdfhttp://collections.mfa.org/internal/media/dispatcher/1493252/resize%3Aformat%3DfullOur Troops Occupy the Fortress at Huangjinshan in the Battle of Lüshunkou [=the Battle of Port Arthur] (Wagahei Ryojunkô Ôgonzan hôrui senryô)1894 (Meiji 27)Ozaki ToshitaneWoodblock print (nishiki-e); ink and color on paperPublication information in left margin, cut off of this impression (and only partly visible in the photo in Genshoku 2).The event now known as the Battle of Lüshunkou took place on November 21, 1894. In modern usage, the "Battle of Port Arthur" usually refers to another battle ten years later, during the Russo-Japanese War.http://collections.mfa.org/objects/129993/rdfhttp://collections.mfa.org/internal/media/dispatcher/780484/resize%3Aformat%3DfullPitcher (oinochoe) with battle of the Greeks and Amazonsabout 320–310 B.C.The Helios GroupCeramic, Red FigurePrincipal design: Battle of Greeks and Amazons. In center an Amazon and a Greek, mounted on white horses; an Amazon prostrate on the ground. The handle has female heads in relief at the mouth and base. Both modeled heads are glazed back, the lip is undecorated, and the grooved foot has a tall, broad stem.ITALIAN VASE PAINTING in ITALY, # 66 - (89.260)Oinochoe (shape 1)Attributed to the Helios Groupabout 320-310 B.C.Battle of Greeks and Amazons. In the center, back to back, an Amazon and a Greek are mounted on rearing white horses. The Amazon wears a short chiton, embades, a sleeved tunic (red with white spots), a belt with white dots, and a yellow Phrygian cap. Holding a spear in her right hand, she lunges at a Greek standing at the left who holds a spear in his right hand and a shield on his left arm. The shield is turned with the interior toward the viewer, so that the white porpax and antilabe are visible. He wears a yellow Phyrgian helmet with a red crest and two plumes, a chlamys, a yellow cuirass with pteryges, and yellow greaves; on the ground between his feet is an Amazon's cap, with the opening turned toward the viewer. A second Amazon is prostrate on the ground at the right, about to be run through by the mounted Greek, who raises a spear in his right hand, its upper shaft lost in the ornament on the shoulder. The Greek wears a short chiton, a chlamys, a yellow Phrygian helment without crest or plumes, and a white cuirass. The fallen Amazon wears a short chiton, yellow Phrygian cap, shoes, and red trousers with white spots. She holds a white pelta, like the one lying on the dotted groundline at left, with lacy designs in dilute glaze (a central floral framed by tendrils). Her hatchet has fallen on the ground by her side. Floating in the field at far left and center top are two rosettes; a plant grows at lower left. A dense complex of palmettes and scrolling tendrils covers the back of the vase. On the neck are white rays beneath a band of white wave-pattern framed by stripes. There is a band of rosettes with white-tipped petals on the shoulder. The groundline consists of linked maeanders to right. The vases of the Helios Group, all oinochoai, are by late followers of the Baltimore Painter. Compare the Amazonomachy on Leipzig T 956 (RVAp, II, p. 932, no. 28/124). The Boston vase is particularly close to the White Sakkos Painter.http://collections.mfa.org/objects/154065/rdfhttp://collections.mfa.org/internal/media/dispatcher/1226192/resize%3Aformat%3DfullPoperinghe: Two Soldiers1918John Singer SargentTranslucent watercolor, with touches of opaque watercolor, over graphite on paperhttp://collections.mfa.org/objects/231628/rdfhttp://collections.mfa.org/internal/media/dispatcher/1154208/resize%3Aformat%3DfullPortrait of H. R. H. the Prince of Wales at a Review, Attended by Lord Heathfield, General Turner, Col. Bloomfield, and Baron Eben; Col. Quinton in the Distance1809John Singleton CopleyOil on canvashttp://collections.mfa.org/objects/32175/rdfhttp://collections.mfa.org/internal/media/dispatcher/1112453/resize%3Aformat%3DfullPrepatory Sketch for Pickett's Charge at the Battle of Gettysburgabout 1871Peter Frederick RothermelOil on canvashttp://collections.mfa.org/objects/33817/rdfhttp://collections.mfa.org/internal/media/dispatcher/971903/resize%3Aformat%3DfullPrivate Harada Jûkichi Opens the Hyeonmu Gate from Within the Fort at Pyongyang1894 (Meiji 27)Mizuno ToshikataWoodblock print (nishiki-e); ink and color on paperTriptych: 21.1786 (right), 21.1787 (center), 21.1788 (left)MFA impressions: 21.1786-8, RES.27.202a-chttp://collections.mfa.org/objects/491110/rdfhttp://collections.mfa.org/internal/media/dispatcher/896488/resize%3Aformat%3DfullRape of the Sabine Women1963Pablo PicassoOil on canvas© 2011 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.http://collections.mfa.org/objects/33864/rdfhttp://collections.mfa.org/internal/media/dispatcher/783106/resize%3Aformat%3DfullRunning Fight, Sioux and Crows1837–74Alfred Jacob MillerWatercolor over black chalk with gum arabic additions on brown paperThree mounted Native Americans in foreground, separated from melée in rear; Native America center, attacking brave left, who has slipped from his saddle and clings to his horse's neck.Verso: large graphite and wash sketch of lower portion of a figure.http://collections.mfa.org/objects/36886/rdfhttp://collections.mfa.org/internal/media/dispatcher/913847/resize%3Aformat%3DfullRusso-Japanese War: Great Japan Red Cross Battlefield Hospital Treating Injured (Nichiro sensō dai Nihon Sekijūji yasenbyōin fushōsha kyūryō no zu)1904 (Meiji 37), MarchUtagawa Kokunimasa (Ryūa)Woodblock print (nishiki-e); ink and color on paperhttp://collections.mfa.org/objects/130048/rdfhttp://collections.mfa.org/internal/media/dispatcher/976196/resize%3Aformat%3DfullSergeant William Russell, 5th Battalion, Royal Artiller1856Robert HowlettPhotograph, albumen print from wet collodion negativehttp://collections.mfa.org/objects/265591/rdfhttp://collections.mfa.org/internal/media/dispatcher/1679633/resize%3Aformat%3DfullSheridan's Ride1871Thomas Buchanan ReadOil on canvashttp://collections.mfa.org/objects/34593/rdfhttp://collections.mfa.org/internal/media/dispatcher/927798/resize%3Aformat%3DfullSino-Japanese Pitched Battles: Two Generals Fighting at Fenghuangcheng (Nisshin gekisen ryôshô Hôôjô sen no zu)1894 (Meiji 27), November 3Yōsai NobukazuWoodblock print (nishiki-e); ink and color on paperhttp://collections.mfa.org/objects/129969/rdfhttp://collections.mfa.org/internal/media/dispatcher/924272/resize%3Aformat%3DfullSino-Japanese War: The Fierce Battle on the Pontoon Bridge at Jiuliancheng (Nisshin: Kyûrenjô funabashi gekisen no zu)1894 (Meiji 27), OctoberKobayashi ToshimitsuWoodblock print (nishiki-e); ink and color on paperMFA impressions: 2000.23a-c, 2000.380.32a-chttp://collections.mfa.org/objects/150121/rdfhttp://collections.mfa.org/internal/media/dispatcher/776232/resize%3Aformat%3DfullSmall sword with original scabbard and waistbeltabout 1735Jacob HurdSilver, steel, leatherThe sword has a silver hilt with turned tip; flattened spherical pommel; and twisted wire-wound grip with plain ferrel. The knuckle guard and pas d’anes are simply curved and slightly molded. The quillion ends in a bulb form; the bivalve shell guard has molded edges. The plain, unmarked tapering steel blade is hollow ground and triangular in section. The tooled red (Morroccan?) leather scabbard, waist belt, and frog are original.http://collections.mfa.org/objects/41388/rdfhttp://collections.mfa.org/internal/media/dispatcher/881717/resize%3Aformat%3DfullSwordLate 16th centurySekiMetal (non-specific)http://collections.mfa.org/objects/25257/rdfhttp://collections.mfa.org/internal/media/dispatcher/840388/resize%3Aformat%3DfullSwordabout 1300–1200 B.C.BronzeTwo-edged blade with a midrib running along the entire length. Flanged tang for insertion in the hilt. Six rivets remain at the flaring portion of the blade. Pointed-oval cross-section. This type of sword is known as Griffzungenschwerter or, more specifically Naue II. Excellent preservation, with yellow (cleaned) Tiber patina.http://collections.mfa.org/objects/153173/rdfhttp://collections.mfa.org/internal/media/dispatcher/971648/resize%3Aformat%3DfullSword of the tantō typeearly - mid 19th centuriesIshiguro MasaakiBlade: tempered steelHilt: ray skin wrapped with black threadHilt ornament: Gold repousse and applied metal sheetMetal fittings: polished gold; high relief; inlay, and applied metal sheetSheath: snakeskin wrapped diagonally on black lacquerhttp://collections.mfa.org/objects/25239/rdfhttp://collections.mfa.org/internal/media/dispatcher/971650/resize%3Aformat%3DfullSword of the wakizashi type with mountingmid 14th century and 19th centuryMihara no jû MorimasaSteel with hilt in white ray skin, wrapped with white thread (tsumami-maki); hilt ornaments (menuki), fittings (fuchi, kashira, kozuka, kôgai, tsuba) in copper-gold alloy (shakudô) repousse and punched, with applied gold sheet; sheath in gold aventurine lacquer with "sprinkled" (makie) designshttp://collections.mfa.org/objects/11266/rdfhttp://collections.mfa.org/internal/media/dispatcher/1174727/resize%3Aformat%3DfullSword, Pistols, and Teacup1872 or afterJames Reeve StuartOil on canvashttp://collections.mfa.org/objects/33224/rdfhttp://collections.mfa.org/internal/media/dispatcher/743600/resize%3Aformat%3DfullTwenty-six Shots from Tingyuen Turned Our Central Ammunition Room into a Scene of Carnage, illustration for the unpublished book Conditions aboard the Battleship Matsushima During the Battle of the Yellow Sea (Kôkai kaisen ni okeru Matsushima kannai no jôkyô)1896 (Meiji 29)Kobayashi TeikōWoodblock print (nishiki-e); ink and color on paperThe book by the author and naval officer Kimura Kōkichi (1861-1940), with 18 illustrations by Kobayashi Teikō, was scheduled to be published in February 1896 but was suppressed because of the realism of the text and the illustrations--the cruel aspects of the war were not considered appropriate for public consumption.The MFA has 4 of the unbound illustrations, 2000.330 to 2000.333.http://collections.mfa.org/objects/155631/rdfhttp://collections.mfa.org/internal/media/dispatcher/1718547/resize%3Aformat%3DfullUS Army Cavalry Regiment with Horses Standing on Giant Cedararound 1900Unidentified artist, American, 19th centuryPhotograph, gelatin silver printhttp://collections.mfa.org/objects/398615/rdfhttp://collections.mfa.org/internal/media/dispatcher/1396467/resize%3Aformat%3DfullWar Ground1863Alfred Jacob MillerOil on canvashttp://collections.mfa.org/objects/33200/rdf