http://collections.mfa.org/collections/315233/objects/rdfMFA Images: Patterns, Design, and Decorationhttp://collections.mfa.org/internal/media/dispatcher/733051/resize%3Aformat%3Dfullhttp://collections.mfa.org/internal/media/dispatcher/952370/resize%3Aformat%3DfullAlbum folio with portrait possibly of “Mota Raja,” Udai Singh of Marwarabout 1580–85Ink, color, and gold on paperhttp://collections.mfa.org/objects/148515/rdfhttp://collections.mfa.org/internal/media/dispatcher/953045/resize%3Aformat%3DfullAlbum page from the “Late Shah Jahan Album”Folio, borders, illumination about 1650–58; calligraphy about 1505–45Mir 'Ali HeraviInk, color, and gold on paperhttp://collections.mfa.org/objects/148626/rdfhttp://collections.mfa.org/internal/media/dispatcher/813512/resize%3Aformat%3DfullArchitectural panel with a griffinabout A.D. 175–200Marble, probably from the from the island of Proconnesus in the Sea of Marmara near IstanbulThis relief together with 03.748 presented griffins confronting one another on either side of a central element. The composition would have had sacred and protective connotations and may have formed part of the decoration of a temple. It is also possible that the reliefs embellished a large funerary structure or a secular public building, such as a basilica or market hall.An eagle-griffin stands with one paw raised and the central element was probably a candelabrum. The griffin's tail turns into a rich acanthus vine, which sends out a lateral shoot and terminates in a cluster of leaves. The frame consists (from inside out) of an astragal, a row of acanthus leaves with intervening leaf tongues, a Lesbian cymation, and an astragal.The panel is incomplete at the right end, where it has been cut off vertically. The outer, rectangular frame is somewhat damaged. It originally would have been paired with 03.748.http://collections.mfa.org/objects/151301/rdfhttp://collections.mfa.org/internal/media/dispatcher/728336/resize%3Aformat%3DfullBatik samplelate 19th centuryCotton, natural dyes; plain weave,hand-drawn (tulis) wax-resist (batik)Sample of cotton batik with design of strange trees, butterflies, etc, is printed with neutral orange and light neutral orange on a dark blue ground.http://collections.mfa.org/objects/67793/rdfhttp://collections.mfa.org/internal/media/dispatcher/961854/resize%3Aformat%3DfullBedcoverabout 1895Charles Francis Annesley VoyseySilk plain weave, block-printedHanging consisting of 2 loom widths intended to be sewn together thereby creating central field with border running along 2 sides and bottom. Design of field: large yellow tulips with green intertwining stems and leaves against orange ground; rows of upright tulips alternating with rows of downward hanging tulips. Border: small yellow buds with long spiralling green stems. Band of white silk along lower edge. Condition very good except for tears along top and bottom. Designed for G.P. & J. Bakerhttp://collections.mfa.org/objects/272966/rdfhttp://collections.mfa.org/internal/media/dispatcher/590341/resize%3Aformat%3DfullBuddhist priest's robe (kesa)17th or 18th centuryAppliquéd silk, gilt paperColumns: lampas with 3/1 twill foundation and plain-weave supplementary weave (kinran)Rest of the kesa: 3/1 broken twill with continuous supplementary wefts bound in plain-weave orderPieced and appliquédSix-columned kesa with decoration of lotus arabesques. Columns: Satin weave indigo blue silk ground with woven-in patterns of lotuses and scrolling vines in supplementary wefts of flat gold-leafed paper thread. Rest of the kesa: Four-harness warp-faced light green silk twill ground with woven-in patterns of peonies with double-tendrilled scrolling vines in supplementary wefts of flat gold-leafed paper thread. Lining: White plain-weave silk.Inscription: @ (in ink). White and green plain silk braid attached.http://collections.mfa.org/objects/13975/rdfhttp://collections.mfa.org/internal/media/dispatcher/605428/resize%3Aformat%3DfullBuddhist priest's robe (kesa)late 19th to early 20th centuryAppliquéd silk, Lampas with plain-weave foundation and 1/3 twill supplementary weave; pieced and appliquédSeven-columned kesa with decoration of shokko patterns. Columns, dividing bands, border, shiten: red silk ground with figured patterns of interlocking geometric shapes (shokko). Chrysanthemums enclosed within square-shaped motifs are linked with four-petalled flowers. Chrysanthemum arabesques and reversed swastikas decorate the interstitial spaces. The pattern no longer exhibits the formal quality of the original Japanese design. Niten: none. Lining: silk plain-weave fabric of degummed red warps and degummed white wefts.http://collections.mfa.org/objects/15840/rdfhttp://collections.mfa.org/internal/media/dispatcher/618450/resize%3Aformat%3DfullBuddhist priest's robe (kesa)latter half of 18th to first half of 19th centuryAppliquéd silk, gilt paper; 4and1 satin weave patterned with complementary wefts bound in 1/2 twill order and continuous supplementary wefts (gilt paper) bound in 1\4 twill order (nishiki); pieced and appliquédSeven-columned kesa with decoration of geometric lozenges and peonies. Columns, dividing bands, borders: medium-toned blue figured silk with geometric lozenges and peony motifs. The geometric lozenges with floral centers form the background, and large peony motifs float on this surface. Similar to the seven-columned kesa with decoration of geometric lozenges and peonies (60.1165a). Shiten, niten: none. Lining: gray striped plain-weave silk. This kesa is part of a set including the ohi with decoration of geometric lozenges and peonies (60.1164b).http://collections.mfa.org/objects/22086/rdfhttp://collections.mfa.org/internal/media/dispatcher/644567/resize%3Aformat%3DfullBuddhist priest's robe (kesa)latter half of the 19th to early 20th centuryAppliquéd Karaori, silk, gilt paper; silvered paper filé; 5/1 twill weave with continuous supplementary wefts (gilt paper) bound in 1/2 twill order and discontinuous supplementary weft floats (silk and filé); pieced and appliquédSeven-columned kesa with decoration of flower baskets. Columns, dividing bands, border: red silk six-harness twill weave ground patterned with flower baskets in the long floats of the supplementary wefts. The flat gold-leafed paper thread glitters brilliantly. The flower baskets are rendered in horizontal bands using flat gold-leafed paper and multicolored supplementary wefts. Shiten, niten: white silk ground patterned with flower baskets in the long floats of the supplementary wefts. The same motif appears on the columns, dividing bands, and border. Lining: silk plain-weave fabric of degummed dark blue warps and degummed brown wefts (modern addition).http://collections.mfa.org/objects/28701/rdfhttp://collections.mfa.org/internal/media/dispatcher/1643220/resize%3Aformat%3DfullBuddhist priest's robe (kesa)late 18th to early 19th centuryAppliquéd silk, gilt paper; 2/1 twill weave with continuous supplementary wefts (gilt paper) bound in 1/2 twill order and discontinuous supplementary-weft floats (silk) bound at intervals; pieced and appliquéd (Karaori)Seven-columned kesa with decoration of chrysanthemums. Columns, dividing bands, borders, shiten, niten: red silk ground patterned with chrysanthemum bushes in the floats of the supplementary wefts. The supplementary-weft floats are not very long, but the relaxed quality is still apparent. Although the chrysanthemum motifs are a bit stylized, they are not rigid. This is a special characteristic of karaori from the latter half of the eighteenth century through the first half of the nineteenth century. Lining: Purple plain-weave silk, probably of the same period as the outer fabric.http://collections.mfa.org/objects/28704/rdfhttp://collections.mfa.org/internal/media/dispatcher/726701/resize%3Aformat%3DfullBuddhist priest's robe (kesa)latter half of 19th centuryAppliquéd Nishiki, silk, gilt paper; lampas with 2/1 twill foundation and 1/2 twill supplementary weave; pieced and appliquédSeven-columned kesa with decoration of peonies. Columns, dividing bands, border: gold figured silk with peony motifs. The gold ground is decorated with large peonies and curved branches. Shiten, niten: in each corner, there is a red silk ground fabric with a representation of one of the Four Guardian Kings woven in supplementary wefts of flat gold-leafed paper thread. The two panels on either side of the central column contain the same figures as the two squares in the upper left and right corners. Lining: light blue silk monochrome figured satin-weave with mandarin orange and diamond-shaped motifs. Set with 39.1.http://collections.mfa.org/objects/65640/rdfhttp://collections.mfa.org/internal/media/dispatcher/726709/resize%3Aformat%3DfullBuddhist priest's robe (kesa)late 18th to early 19th centuryColumns: silk, gilt paper; 2/1twill weave with continuous supplementary wefts (gilt paper) bound in twill order and discontinuous supplementary weft floats (silk) bound at intervals (karaori)Dividing bands: silk, silvered paper; lampas with 4/1 satin foundation and 1/2 twill supplementary weave (shuchin); pieced and appliquédSeven columned kesa with decoration of snow-covered chrysanthemums. Columns, sections of dividing bands, border: gold silk ground patterned with layers of of stylized snowflakes in the long floats of the supplementary wefts. Chrysanthemums and abstract floral motifs covered by the snow overlap to create a wave pattern. Sections of dividing bands, shiten, niten: gold silk figured satin-weave ground with designs of clouds, butterflies, and the myriad treasures. The butterfly motifs are are also seen on Western-style plants, suggesting the possible influence of European textiles. Lining: red plain-weave silk.http://collections.mfa.org/objects/65642/rdfhttp://collections.mfa.org/internal/media/dispatcher/1643218/resize%3Aformat%3DfullBuddhist priest's robe (kesa)late 19th to early 20th centuryKaraori, silk, gilt paper; lampas with 2/1 twill foundation and 1/2 twill supplementary weave; pieced and appliquédSeven-columned kesa with decoration of Shakkyo patterns. Columns, dividing bands, border: red silk ground patterned in the long floats of the supplementary wefts. Horizontal bands of clouds decorate the upper portion, followed in descending order by Chinese lions and peonies, and waterfalls and peonies. Three fragments of cloth, each measuring 66.9 cm, have been joined horizontally. Together they include the motifs used in the No play entitled "Shakkyo," and this was clearly the intention of the maker of the garment. A white twisted cord sewn onto the outer fabric delineates the columns, dividing bands, and borders. Shiten, niten: white ground patterned with lotus roundels in long floats of supplementary wefts. Lining: white six-harness warp-faced twill weave with designs of butterfly roundels and undulating vertical bands (tatewaku) in twill weave.http://collections.mfa.org/objects/68360/rdfhttp://collections.mfa.org/internal/media/dispatcher/728764/resize%3Aformat%3DfullBuddhist priest's robe (kesa)late 19th centurySilk, gilt paper; 4and1 satin weave with continuous supplementary wefts bound in 1/4 twill order (shuchin); pieced and appliquédSeven-columned kesa with decoration of shokko patterns. Columns, dividing bands, border: red silk figured satin-weave ground with interlocking octagons and squared shokko. Two types of floral patterns decorate the interiors of the octagonal motifs, and the seven treasures (shippo) and diamond patterns ornament the interiors of the square motifs. Shiten, niten: white silk three-harness warp-faced twill weave ground with motifs of Sanskirit characters surrounded by simplified dragon forms. Lining: white silk four-harness warp-faced twill ground with patterns of reversed swastikas in twill weave.http://collections.mfa.org/objects/68381/rdfhttp://collections.mfa.org/internal/media/dispatcher/728770/resize%3Aformat%3DfullBuddhist priest's robe (kesa)19th centurySilk, gilt paper; lampas with 4and1 satin foundation and 1/2 twill supplementary weave (nishiki); piecedSeven-columned kesa with decoration of tortoise shell hexagons. Columns, dividing bands, border: light green figured silk with patterns of interlocking tortoise shell hexagons (kikko tsunagi) and lozenges (matsukawabishi). Interlocking geometric patterns (shukko) and cloud motifs fill in the lozenge patterns created by the large overlapping hexagons. Shiten, niten: not extant. Lining: silk plain-weave fabric of degummed red warps and degummed indigo wefts. Inscription in ink, on the edge of the lining.http://collections.mfa.org/objects/68384/rdfhttp://collections.mfa.org/internal/media/dispatcher/728774/resize%3Aformat%3DfullBuddhist priest's robe (kesa)latter half of the 19th centuryNishiki, silk, gilt paper; 2/1 weave with continuous (gilt paper) and discontinuous (silk) supplementary wefts bound in 1\2 twill order; pieced and appliquédSeven-columned kesa with decoration of lotus petals floating on water. Columns, dividing bands, border: green silk ground with figured patterns of running water and floating lotus petals. The flat gold-leafed paper yarn is very thin. In addition to the flat gold-leafed paper and single-color threads, two differently colored threads are twisted to form one weft yarn. A red, round braided cord is attached in two places to the outer fabric. Shiten, niten: red silk three-harness warp-faced twill ground with woven-in patterns of butterfly roundels and clouds in supplementary wefts of flat gold-leafed paper thread. Lining: silk plain-weave fabric of degummed red warps and degummed indigo wefts.http://collections.mfa.org/objects/68386/rdfhttp://collections.mfa.org/internal/media/dispatcher/995896/resize%3Aformat%3DfullBuddhist priest's robe (kesa)19th centuryAppliquéd silk, plain weave ground with silk floss and gilt paper as supplementary weft (karaori), pieced and appliquédSeven-columned kesa with decoration of chrysanthemums and flowing water. Columns, dividing bands, border: the silk ground fabric of red, yellow, and purple bands is patterned with flowing water, chrysanthemums, snow-laden bamboo grass, and pines in the long floats of the supplementary wefts. Chrysanthemums, snow-laden bamboo, pines, and large bamboo baskets float along the flowing water. There are no breaks in the bands; instead, the colors are interwoven. Shiten, niten: red silk ground with woven-in patterns of chrysanthemum arabesques in supplementary wefts of flat gold-leafed paper thread. Lining: none.http://collections.mfa.org/objects/120407/rdfhttp://collections.mfa.org/internal/media/dispatcher/817810/resize%3Aformat%3DfullChalice veil18th centurySilk with silk embroideryhttp://collections.mfa.org/objects/46120/rdfhttp://collections.mfa.org/internal/media/dispatcher/817779/resize%3Aformat%3DfullChalice veil17th–18th centurySilk; embroideryGround: cream white taffeta. Design: conventional flowers growing from each corner. In center aureole enclosing IHS. Blue, green and yellowish green, yellow, orange, reddish orange and cream white silk, couched on surface. Edged with narrow gold lace. Worn and torn.http://collections.mfa.org/objects/66954/rdfhttp://collections.mfa.org/internal/media/dispatcher/843820/resize%3Aformat%3DfullChalice veil18th centuryBrocadeCorded silk ground on which is a design of curving stems and bunches of flowers, woven with gold thread and narrow strips of silver and gilt, blue, violet, bright red, white, green, yellow and black silk. Edged with gold lace. Much worn.http://collections.mfa.org/objects/70728/rdfhttp://collections.mfa.org/internal/media/dispatcher/843630/resize%3Aformat%3DfullChalice veil18th centuryBrocadeOrange red silk ground; the design of waving stems bearing flowers and leaves woven in white, pink, and green silk. Pieced and lined with green silk and edged with gold braidhttp://collections.mfa.org/objects/71376/rdfhttp://collections.mfa.org/internal/media/dispatcher/817882/resize%3Aformat%3DfullChalice veilSilk; embroideryCream white silk embroidered in pink, blue, green, black and yellow silk and gold threads.http://collections.mfa.org/objects/71425/rdfhttp://collections.mfa.org/internal/media/dispatcher/817881/resize%3Aformat%3DfullChalice veil17th centurySilk faille with silk floss and gold-colored wrapped metallic thread (couched) embroideryChalice veil? White silk embroidered with a design of flowers, tulips etc., in bright greens, yellows, blues and pink silks and gold thread. center cut out.http://collections.mfa.org/objects/71431/rdfhttp://collections.mfa.org/internal/media/dispatcher/965101/resize%3Aformat%3DfullCoverlate 17th to early 18th centuryWool, silk, cotton, and linen interlocked and dovetailed tapestryTapestry-woven cover with design of Chinese-influenced motifs: large fantastic birds, animals, and flowers, woven with yellow, green, blue, violet, white and pink wool, with a little silk, on a crimson wool ground. Three borders with designs similar to main field.http://collections.mfa.org/objects/68440/rdfhttp://collections.mfa.org/internal/media/dispatcher/799035/resize%3Aformat%3DfullDesign for a Ceramic Plate for Albert & Charles Vieillard, Bordeaux, for service "Chevreuse"about 1875–90Amédée de CaranzaWatercolor and ink over graphitehttp://collections.mfa.org/objects/271659/rdfhttp://collections.mfa.org/internal/media/dispatcher/1032466/resize%3Aformat%3DfullFloral Embroidery Design with large white flowers, small blue flowers, and strawberriesJean François BonyWatercolor and gouacheLarge white flowers, strawberries and small blue flowers.http://collections.mfa.org/objects/244223/rdfhttp://collections.mfa.org/internal/media/dispatcher/965113/resize%3Aformat%3DfullFragment of a floor coverlate 17th or early 18th centuryCotton plain weave, painted, mordant dyed and resist dyedA fragment of a thin cotton dastarkana, or "summer carpet," with seams running through the center and along the border. The center consists of undyed cotton with staggered rows of repeated red poppy plants, some of which are upside down. The border consists of a green ground with a row of red leaves or petals. Comparable examples of thin cotton floorspreads decorated with poppies have been attributed to the town of Burhanpur, a Mughal stronghold in the northern Deccan. The attribution is made on the basis of the delicate and decorative treatment of the poppy plants, which resemble those found in paintings by Deccani artists. http://collections.mfa.org/objects/49130/rdfhttp://collections.mfa.org/internal/media/dispatcher/729829/resize%3Aformat%3DfullFragment of furnishing fabriclate 19th centuryWilliam MorrisBlock-printed cotton plain weaveThe ground is light pink and covered with red dots. The design of acanthus leaves and pomegranate-like forms is of cream, white and pink, outlined and detailed with red.http://collections.mfa.org/objects/71542/rdfhttp://collections.mfa.org/internal/media/dispatcher/729833/resize%3Aformat%3DfullFragment of furnishing fabriclate 19th centuryMorris & Co.Block-printed cotton plain weaveCream white ground. The design of branches of magnolia-like flowers, is printed in two shades of yellow and gray blue.http://collections.mfa.org/objects/71543/rdfhttp://collections.mfa.org/internal/media/dispatcher/729837/resize%3Aformat%3DfullFragment of furnishing fabric1880–90Morris & Co.Block-printed cotton plain weaveThe ground is of cream white cotton. The design of acanthus-like leaves and flowers suggesting tulips and marigolds, is printed with gray, blue and greenish yellow.http://collections.mfa.org/objects/71544/rdfhttp://collections.mfa.org/internal/media/dispatcher/718197/resize%3Aformat%3DfullFragment of furnishing fabric: "Tulip"Design registered 1875William MorrisBlock-printed cotton plain weave (chintz)The "tulip" chintz designed by William Morris and produced by Thomas Wardle at Leek. Woodblock printed in two shades of blue and in tan. Over one full repeat of stylized tulips and large curving leaves against a ground covered with small leafy branches.http://collections.mfa.org/objects/48288/rdfhttp://collections.mfa.org/internal/media/dispatcher/1062131/resize%3Aformat%3DfullFront side panel of outer coffin of Djehutynakht2010–1961 B.C.CedarThe outer coffin of the local governor Djehutynakht of Deir el-Bersha is perhaps the finest Middle Kingdom coffin in existence. Like the second coffin that once nested inside it, the rectangular outer coffin was made of massive planks of imported cedar, pegged together and decorated on both its inner and outer faces. The paintings and inscribed funerary texts were intended to facilitate Djehutynakht's passage to the afterlife and to sustain his ka in eternity. While coffins of later periods would feature elaborate exterior decoration, those of the early Middle Kingdom were relatively plain on the outside, but beautifully embellished inside, where the offering scenes often parallel those seen in painted tombs. The paintings on the interior of Djehutynakht's coffin are masterpieces, exquisitely detailed in thick, vividly colored paint. The artist's painstaking brush strokes and eloquent use of shading produced a level of realism rarely surpassed in Egyptian art. The primary scene is on the left side of the coffin at the location where Djehutynakht's head once faced. The focal point is an intricately decorated false door through which the ka could pass between the afterlife and the world of the living. Djehutynakht sits in front of the false door and receives an offering of incense. Before and beneath him is a vast wealth of neatly piled offerings, including an oversized ceremonial wine jar, sacred oils, the legs and heads of spotted cattle, tables laden with fruits, vegetables, meat, bread, and magnificently detailed geese. The two rows of large painted hieroglyphs above the scene contain a funerary prayer requesting offerings from the king and the funerary god Osiris on festival days. At the far right is the beginning of a menu giving a full list of desired offerings. Inscribed below in neat columns of tiny, cursive hieroglyphs are the Coffin Texts, a collection of funerary rituals and spells intended to protect and guide the dead on their way to the afterlife. These texts continue around the coffin's interior.http://collections.mfa.org/objects/142815/rdfhttp://collections.mfa.org/internal/media/dispatcher/845819/resize%3Aformat%3DfullGuitar (chitarra battente)1725Jacopo Mosca CavelliBloodwood (Brosimum paraense), spruce (Picea abies), walnut (Juglans regia), ivory (Loxodonta africana), mother-of-pearl (Pinctada maxima), tortoiseshell (Eretmochelys imbricate), brass, masticArched back comprised of thirteen ribs of bloodwood, each separated by strip of diamond-shaped pieces of pearl set in black mastic. Sides comprised of five ribs, decorated similarly to back. Two-piece belly of fine-grain spruce, bound with ivory and edged with pieces of pearl similar to back; field decorated with interlacing, foliate designs, and cherub of inlaid tortoiseshell and pearl set in black mastic. Carved rose of walnut. Neck and headstock of bloodwood (?) inlaid with interlacing similar to belly. Front of headstock veneered with ivory, tortoiseshell, and pearl, incorporating heraldic devices of star, dove, and tri-lobed mountain. Tuning pegs of boxwood (?) with buttons of ivory. Fingerboard veneered with tortoiseshell, bound with ivory, and inlaid with pearl in foliate designs. Ten frets of brass with sloped strips of ivory inlaid behind each. Nut of ivory. Bridge (modern) of maple (?) with saddle of ivory. Five pins of brass at lower end of body for fastening strings. Fourteen strings in five courses of one pair and four triples. Internal construction: Two lateral braces on belly (one above soundhole). Ribs lined with pieces of linen and parchment from pages of sacred music.http://collections.mfa.org/objects/397415/rdfhttp://collections.mfa.org/internal/media/dispatcher/913790/resize%3Aformat%3DfullHarivamsa (Genealogy of Krishna): The Birth and Escape of KrishnaAbout 1590, border added laterOpaque watercolor and gold on paperhttp://collections.mfa.org/objects/148520/rdfhttp://collections.mfa.org/internal/media/dispatcher/711411/resize%3Aformat%3DfullLength of a dress or furnishing fabric1650–1700Silk twill-weave ground with polychrome silk and silver metallic thread discontinuous supplementary patterning weftsLength of fabric with overall pattern of flowers against a ground of cloth-of-silver (a twill ground of cream-colored yarn with weft yarns wrapped in silver); pink and green flowers (perhaps poppies) appear in staggered rows; each flower consists of a single blossom seen in profile and a small bud on a leafy stem.http://collections.mfa.org/objects/48960/rdfhttp://collections.mfa.org/internal/media/dispatcher/750370/resize%3Aformat%3DfullLength of furnishing fabricmid-19th centuryOwen JonesSilk; satin, block-printedTurquoise silk satin block-printed in rust color with strapwork moresque design inspired by Owen Jones and Jules Goury's "Plans, elevations, Sections, and Details of the Alhambra." Alhambra inscription: "And there is no victor but God."Condition: good; small spots of discoloration throughouthttp://collections.mfa.org/objects/149805/rdfhttp://collections.mfa.org/internal/media/dispatcher/886047/resize%3Aformat%3DfullLength of furnishing fabric1920–30Warp-patterned (ikat) plain weave cotton with paired weftsMuted blues, oranges, greens, yellows and browns in a blurred geometric repeat pattern.http://collections.mfa.org/objects/360891/rdfhttp://collections.mfa.org/internal/media/dispatcher/869689/resize%3Aformat%3DfullLength of furnishing fabricearly 20th centuryL. C. Chase Co.Wool mohair plushStamped: "Chase Velmo"http://collections.mfa.org/objects/406961/rdfhttp://collections.mfa.org/internal/media/dispatcher/927806/resize%3Aformat%3DfullLength of furnishing fabric: Crayabout 1884William MorrisBlock-printed cotton plain weavePlain weave cotton block-printed with large-scale pattern of meandering vines of lush peony blossoms and buds, with delicate scrolling leaves; in shades of pink, yellow, blue, green, and white against a cranberry-red ground. Selvedge printed: "Morris & Company 449 Oxford Street London W."http://collections.mfa.org/objects/458743/rdfhttp://collections.mfa.org/internal/media/dispatcher/845842/resize%3Aformat%3DfullLength of furnishing fabric from Yuanmingyuan1750–75Silk voided velvet; cut and uncut pine with satin-weave groundLength of furnishing fabric from the Yuanmingyuan (Qianlong summer palace) with overall design of peonies and leaves in cut and uncut silk velvet in pale green, blue, light gray, salmon and pink on a voided velvet, creme satin ground.http://collections.mfa.org/objects/29337/rdfhttp://collections.mfa.org/internal/media/dispatcher/802658/resize%3Aformat%3DfullLength of furnishing fabric: "Rose and Thistle"about 1881William MorrisPrinted cotton plain weaveRose and thistle pattern printed in red. Design of large roses on undulating vertical stems separated by thistles. Full loom width hemmed at both ends. Printed along right selvege: REG'D. MORRIS and COMPANY.http://collections.mfa.org/objects/123755/rdfhttp://collections.mfa.org/internal/media/dispatcher/585582/resize%3Aformat%3DfullLength of furnishing fabric: "Trail"Designed 1891John Henry DearleBlock-printed cotton plain weave (chintz)Woodblock print on cotton in red, greens, pink and salmon on white ground. Design of meandering flowers on vine, lesser flora in lighter shade fills out background; 2 1/2 repeats. Marked on selveges: "Reg-Morris and Company, 449 Oxford Street, London W." Originally designed as wallpaper, known as "Flora". Designed for Morris and Co. printed at Merton Abbey.http://collections.mfa.org/objects/125732/rdfhttp://collections.mfa.org/internal/media/dispatcher/965127/resize%3Aformat%3DfullLength of furnishing or dress fabricabout 1914Paul IribeSilk satin, discharge-printedBlack silk satin ground discharge-printed with allover pattern of pink and red roses with green foliage, in blue and yellow neoclassical urns with printed gold metallic highlights. Paper tag attached: "Ondoyant imprimé, 1m 25, Ton 43341, Coloris M, Appartenant à M. S.[?] Bianchini" (hand-written in ink).http://collections.mfa.org/objects/336928/rdfhttp://collections.mfa.org/internal/media/dispatcher/715087/resize%3Aformat%3DfullLength of painted silk1790sSilk plain-weave (rib variation) painted with polychrome temperaLength of white ribbed silk with overall pattern of scattered floral sprigs and narrow vertical bands, each composed on nine colored stripes, encircled by a serpentine leafy stem painted with polychrome tempera colors.http://collections.mfa.org/objects/51582/rdfhttp://collections.mfa.org/internal/media/dispatcher/965097/resize%3Aformat%3DfullLength of velvetfirst half of 16th centurySilk cut and voided velvet with supplementary metal-wrapped patterning weftsSilk velvet length probably the sleeve of a caftan; red ground of cut silk pilewith voided design of cintamani, or "tiger stripes" and "three balls," brocaded with metal thread (metal wound on yellow silk).http://collections.mfa.org/objects/73248/rdfhttp://collections.mfa.org/internal/media/dispatcher/585973/resize%3Aformat%3DfullLength of velvet furnishing fabric1712–14Silk, cut and uncut voided velvetPanel of burgundy and green-gold silk cut and uncut velvet on white satin ground. Woven repeat design of arcaded columns, vases of flowers, and other architectural and floral motifs. Two and one half loom widths. Condition: Good, but some losses, reweavings, and piecing.http://collections.mfa.org/objects/127223/rdfhttp://collections.mfa.org/internal/media/dispatcher/811069/resize%3Aformat%3DfullLower body wrapper (kain panjang)late 19th to early 20th centuryCotton, natural dyes; plain-weave ground, hand-drawn (tulis) wax resist-dyed (batik)Man's or woman's rectangular cotton batik lower body wrapper (kain panjang) with an overall pattern of five rows of fish medallions in blue, gray and white on a gray ground, a design possibly inspired by Chinese ceramics.http://collections.mfa.org/objects/68434/rdfhttp://collections.mfa.org/internal/media/dispatcher/756144/resize%3Aformat%3DfullLower body wrapper (kain sarong)early 20th centuryCotton, dyes; plain weave, hand-drawn (tulis) wax-resist (batik)Man's or woman's rectangular cotton batik lower body wrapper (kain sarong) with overall design in the main field (badan) of the "broken knife" (parang) pattern in diagonal bands of alternating blue and natural ecru ground with scattered floral motifs in light brown, blue and natural ecru. There is a deep band (kepala) of scrolling floral motifs on alternating bands of blue and light brown ground.http://collections.mfa.org/objects/47582/rdfhttp://collections.mfa.org/internal/media/dispatcher/728907/resize%3Aformat%3DfullLower body wrapper (kain sarong)late 19th centuryCotton; plain weave, hand-drawn (tulis) wax-resist (batik)Man's or woman's cotton batik lower body wrapper (kain sarong) with an overall design in the central field (badan) of floral and leaf motifs in red, black and natural ecru on a dark blue ground. On one end is a red panel (kepala) with a floral design in blue and natural ecru. Across the top and bottom of the garment and on each side of the panel are scalloped borders of natural ecru decorated with red, light and dark blue. This piece has been sewn together to form a tube.http://collections.mfa.org/objects/68529/rdfhttp://collections.mfa.org/internal/media/dispatcher/1021300/resize%3Aformat%3DfullMan Leading a Horselate 16th centuryOpaque watercolor and gold on paperhttp://collections.mfa.org/objects/148535/rdfhttp://collections.mfa.org/internal/media/dispatcher/961849/resize%3Aformat%3DfullMan's court sash (patka)about 1700Cotton plain weave, block-printed; hand-painted and mordant and resist-dyed, with metal-wrapped thread fringeA sash consisting primarily of undyed cotton, with narrow borders of fan-shaped yellow chrysanthemums outlined in red, presented in alternating directions between undulating leafy stems. The pallakas contain five tall chrysanthemum plants bearing similarly fan-shaped flowers on long, leafy stems. Each plant tapers to a curving end. The ends are trimmed in gilt yarn fringe.An important element of male courtly attire in 16th, 17th, and 18th-century India, the patka or girdle played a symbolic and decorative role comparable to the necktie today. Often the most lavishly decorated component of a man's formal dress, the patka tied at the waist with the ends hanging toward the knees. The length of the ends and the position of the knot changed according to the fashions of the times. The ends of the patka, known as the pallakas, tend to be more elaborately and sumptuously ornamented than the central area, with lavish embroidery and metal thread. Because rulers often granted patkas as token of esteem, the sashes became symbols of political status as well as emblems of wealth and good taste.http://collections.mfa.org/objects/48786/rdfhttp://collections.mfa.org/internal/media/dispatcher/961848/resize%3Aformat%3DfullMan's court sash (patka)17th or early 18th centuryCotton compound weave (twill and plain weave) with supplementary silk and metal-wrapped patterning weftsA dark blue sash of silk brocade is decorated on both ends with a series of ivory-colored chevron-patterned bands. The narrow edges and wide ends of the sash consist of multi-colored embroidered flowers on a gold brocade ground. In the pallaka (end) panels, four tall flowering plants, perhaps poppies, serve as perches for blue and green birds. Gold fringe falls from both ends. An important element of male courtly attire in sixteenth-, seventeenth-, and eighteenth-century India, the patka or girdle played a symbolic and decorative role comparable to the necktie today. Often the most lavishly decorated component of a man's formal dress, the patka tied at the waist with the ends hanging toward the knees. The length of the ends and the position of the knot changed according to the fashions of the times. The ends of the patka, known as the pallakas, tend to be more elaborately and sumptuously ornamented than the central area, with lavish embroidery and metal thread. Because rulers often granted patkas as token of esteem, the sashes became symbols of political status as well as emblems of wealth and good taste.http://collections.mfa.org/objects/49154/rdfhttp://collections.mfa.org/internal/media/dispatcher/711707/resize%3Aformat%3DfullMan's court sash (patka)late 17th or early 18th centuryCotton plain-weave, painted and treated with mordants, resist-dyedSash of undyed plain-weave cotton with borders of red and blue flowers on a green ground; borders are repeated four times to divide the central field from the pallakas at each end; pallakas consist of rows of lozenge-shaped red flowers against an natural undyed ground; short natural cotton fringe on each crosswise end. An important element of male courtly attire in sixteenth-, seventeenth-, and eighteenth-century India, the patka or girdle played a symbolic and decorative role comparable to the necktie today. Often the most lavishly decorated component of a man's formal dress, the patka tied at the waist with the ends hanging toward the knees. The length of the ends and the position of the knot changed according to the fashions of the times. The ends of the patka, known as the pallakas, tend to be more elaborately and sumptuously ornamented than the central area, with lavish embroidery and metal thread. Because rulers often granted patkas as token of esteem, the sashes became symbols of political status as well as emblems of wealth and good taste.http://collections.mfa.org/objects/49217/rdfhttp://collections.mfa.org/internal/media/dispatcher/962052/resize%3Aformat%3DfullMan's mantle and two border fragmentsA.D. 50–100Wool (camelid fiber) plain weave, embroidered with wool (camelid fiber)Black wool ground with design worked in wool of bird impersonators with elaborate wings, fringed capes, headdresses, and snakes, carrying ceremonial staffs and trophy heads. The colors (crimson, pink, blue, dark green, yellow and grayish green) are used in four different combinations of color in the figures. Unfinished rectangles in each corner show similar figures on an embroidered golden brown ground.http://collections.mfa.org/objects/456932/rdfhttp://collections.mfa.org/internal/media/dispatcher/939620/resize%3Aformat%3DfullMan's robe restyled as a Tibetan chuba17th centurySilk, metal-wrapped, and peacock-feather-wrapped thread slit tapestryTapestry-woven dragon robe, restyled as Tibetan chuba during the 19th century. Large gold dragon on front and back, ground covered with blue and green clouds. Ying-lung dragon with three eyes, horns and five claws. Restyling incorporates 4 later rank badges and other kossu fabricshttp://collections.mfa.org/objects/315329/rdfhttp://collections.mfa.org/internal/media/dispatcher/962048/resize%3Aformat%3DfullMan's semi-formal court robe (jifu)first quarter of the 18th centurySilk satin-weave ground with silk, metallic gold thread and gilt paper strip discontinuous supplementary patterning wefts tied down with supplementary warps in twill-weaveMan's semi-formal court robe (jifu) with horse-hoof cuffs and side opening with round metal buttons and a design of waves and mountains across the bottom, above which are nine five-clawed dragons holding pearls, clouds, Artemisia leaf, coins and coral in polychrome silk, gilt paper strip and metallic gold thread discontinuous supplementary patterning wefts on a yellow silk satin ground, navy blue silk piping at neck and front edges, lined with pink plain-weave silk.http://collections.mfa.org/objects/8041/rdfhttp://collections.mfa.org/internal/media/dispatcher/847894/resize%3Aformat%3DfullMan's semi-formal court robe (jifu)fourth quarter of the 18th centurySilk satin-weave ground with gold-wrapped thread discontinuous supplementary patterning wefts tied down with supplementary warps in twill-weave; metal buttonsMan's semi-formal court robe (jifu) with horse-shoe cuffs and side opening with round gold metal buttons and design of water and mountain along the bottom; above which are nine five-clawed dragons, sacred pearl, bats and clouds on an interlocking swastika background pattern in light and dark gold-wrapped thread discontinuous supplementary patterning wefts; eyes of dragons brocaded in blue and white silk; neckband and cuffs of black satin patterned with continuous supplementary gold-metallic wefts and sleeve extensions of navy blue twill-weave silk with pale yellow stripes in silk discontinuous supplementary patterning wefts; lined with blue plain-weave silk.http://collections.mfa.org/objects/254517/rdfhttp://collections.mfa.org/internal/media/dispatcher/927804/resize%3Aformat%3DfullMan's wrapper20th centuryCotton plain weave with supplementary wefts (strip woven)http://collections.mfa.org/objects/452030/rdfhttp://collections.mfa.org/internal/media/dispatcher/965121/resize%3Aformat%3DfullMantleA.D. 700–900Wool [camelid] plain weave with discontinuous warps and wefts, disassembled, tie-dyed, and reassembledPaired step-block units create squares in following color combinations; light blue/brown, yellow/dark blue, green/red. Tie-dye designs of diamonds and striped in natural, red, yellow. Selvedges and fringe intact.http://collections.mfa.org/objects/36608/rdfhttp://collections.mfa.org/internal/media/dispatcher/965122/resize%3Aformat%3DfullMantle or shroudabout A.D. 1550Wool and cotton interlocked tapestry with overstitched edgingCameloid wool, two joined tapestry woven pieces, 1824 evenly spaced geometric motifs called t'ocapu.http://collections.mfa.org/objects/127000/rdfhttp://collections.mfa.org/internal/media/dispatcher/952378/resize%3Aformat%3DfullMelancholic Woman and Attendantabout 1590 with later borderBasawanOpaque watercolor and gold on paperhttp://collections.mfa.org/objects/148807/rdfhttp://collections.mfa.org/internal/media/dispatcher/1260045/resize%3Aformat%3DfullNoh costume (atsuita)late 18th to early 19th centurySilk; 1/2 twill ground, ikat-dyed, gilt-paper patterning wefts tied in 1/2 twill order; silk weft floats; embroidered in later 19th centuryNoh theater robe for a man's role (atsuita) with alternating color blocks (dangawari) of reddish-orange and natural ecru and an overall design of waves (araumi), cart wheels (genji guruma) and winged dragons in white, blue, green and purple silk and gilt paper supplemental weft patterning. There is reddish-orange plain-weave silk lining.http://collections.mfa.org/objects/28296/rdfhttp://collections.mfa.org/internal/media/dispatcher/973453/resize%3Aformat%3DfullNoh costume (atsuita)late 17th to early 18th centurySilk twill with supplementary silk and gilt-paper weftsNoh theater robe for a male role (atsuita) with a green ground and overall design of peonies in light green, orange, pale blue, pale yellow and brown silk and undulating vertical lines (tatewaku) in white silk supplemental weft patterning. There is a reddish-orange plain-weave silk lining.http://collections.mfa.org/objects/28297/rdfhttp://collections.mfa.org/internal/media/dispatcher/757435/resize%3Aformat%3DfullNoh costume (atsuita)late 19th centurySilk twill ground ikat-dyed, patterned with supplementary silk and gilt-paper patterning weftsNoh theater robe for a male role (atsuita) of alternating blocks of color (dangawari) in red, purple, green and pale green and overall design of Chinese flowers (karahana) and wheels between undulating vertical lines in green, pink, gold, purple, orange and gilt paper supplemental weft patterning. There is a reddish-orange plain-weave silk lining.http://collections.mfa.org/objects/28316/rdfhttp://collections.mfa.org/internal/media/dispatcher/757431/resize%3Aformat%3DfullNoh costume (atsuita)mid-19th centurySilk twill with supplementary silk and gilt paper discontinuous patterning wefts tied in 2/1 twill order; ikat dyed ground (karaori)Noh costume robe (atsuita) for male role with alternating blocks of color and design (dangawari) including diamonds, squares, floral medallions and dragon roundels in violet, blue, brown, red, white, green, yellow and pink silk and gilt paper supplementary weft patterning. There is a purple, plain-weave silk lining.http://collections.mfa.org/objects/68355/rdfhttp://collections.mfa.org/internal/media/dispatcher/942477/resize%3Aformat%3DfullNoh costume (atsuita)late 18th to early 19th centurySilk; twill with ikat-dyed warps (kasuri) and supplementary silk patterning weftsNoh theater robe (atsuita) with overall design of young pines, cherry blossoms and paulownia on diagonal bands of dark blue, green, and red created by the warp ikat technique (kasuri). Some embroidered leaves and flowers added at worn areas (shoulder, hem, and collar).http://collections.mfa.org/objects/68363/rdfhttp://collections.mfa.org/internal/media/dispatcher/756041/resize%3Aformat%3DfullNoh costume (karaori)late 18th to early 19th centurySilk; twill-weave ground, ikat-dyed warps, gilt paper strip discontinuous supplementary patterning wefts tied down with supplementary warps in twill-weave, silk discontinuous supplementary patterning weftsNoh theater robe (karaori) with alternating color blocks of reddish-orange, light brown and light blue and an overall design of wisteria and wild pinks in green, blue, purple, orange and pink silk discontinuous supplementary patterning wefts and clouds in gilt paper discontinuous supplementary patterning wefts; reddish-orange plain-weave silk lining.http://collections.mfa.org/objects/28290/rdfhttp://collections.mfa.org/internal/media/dispatcher/942479/resize%3Aformat%3DfullNoh costume (karaori)early 19th centurySilk twill with resist-dyed warps and supplementary silk and gilt-paper patterning weftsNoh theater robe for female roles (karaori) of alternating color blocks of white and purple patterned with sails, pines and mist in blue, orange, green, purple, white and tan silk and concentric waves (seigaiha) in gilt paper. There is a red plain-weave silk lining.http://collections.mfa.org/objects/28291/rdfhttp://collections.mfa.org/internal/media/dispatcher/977839/resize%3Aformat%3DfullNoh costume (karaori)18th centurySilk; 2/1 twill ground, ikat-dyed and patterned with silk floats and silk and gilt paper patterning wefts tied in 1/2 twill orderNoh theater robe (karaori) with alternating color blocks (dangawari) of reddish-orange and natural ecru covered in a gold pine bark lozenge (matsukawa-bishi) and flower motif patterning with overall design of drooping cherry blossoms, phoenix (ho-o) and magpie (kasasagi) roundels in blue, orange, green and purple silk supplemental weft patterning. There is a reddish-orange plain-weave silk lining.http://collections.mfa.org/objects/28292/rdfhttp://collections.mfa.org/internal/media/dispatcher/942475/resize%3Aformat%3DfullNoh costume (karaori)late 18th to early 19th centurySilk; twill with ikat-dyed warps and supplementary silk and gilt-paper patterning weftsNoh theater robe (karaori) with alternating color blocks (dangawari) in light blue and orange and an overall design of autumn grasses, clematis and bamboo wickerwork in white, blue, orange, green and gold supplemental weft patterning. There is a purple plain-weave silk lining.http://collections.mfa.org/objects/28295/rdfhttp://collections.mfa.org/internal/media/dispatcher/639658/resize%3Aformat%3DfullNoh costume (karaori)late 18th centuryTwill weave ground ikat-dyed and patterned with supplementary wefts of silk and gilt paperNoh theater robe for a female role (karaori) of alternating color blocks (dangawari) in green and natural ecru and overall design of gold latticework and orange trellis covered with evening glories in white, light and dark blue, purple, pink, orange and gold supplemental weft patterning. There is reddish-orange plain-weave silk lining.http://collections.mfa.org/objects/28299/rdfhttp://collections.mfa.org/internal/media/dispatcher/1110828/resize%3Aformat%3DfullNoh costume (karaori)19th centurySilk twill, ikat-dyed warps and silk and gilt-paper patterning weftsNoh theater robe for female role (karaori) patterned with pines and sails on alternating blocks of color in reddish-orange and light blue (dangawari); possibly embroidered later at collar back.http://collections.mfa.org/objects/28311/rdfhttp://collections.mfa.org/internal/media/dispatcher/644474/resize%3Aformat%3DfullNoh costume (karaori)late 19th or early 20th centurySilk; twill, ikat-dyed warps and silk and gilt-paper patterning weftsNoh theater robe (karaori) with alternating blocks of color (dangawari) in reddish-orange and white with flowing water in gold and overall design of reeds, wild geese, chrysanthemums and flowing water in blue, purple, green, orange and white silk supplementary weft patterning.http://collections.mfa.org/objects/28695/rdfhttp://collections.mfa.org/internal/media/dispatcher/811071/resize%3Aformat%3DfullNoh costume (karaori)late 19th or early 20th centurySilk twill-weave, ikat-dyed warps and silk and gilt-paper strip discontinuous supplementary patterning weftsSilk Noh theater robe of reddish-orange and natural ecru color blocks delineated by the warp ikat (kasuri) technique with an overall design of various flower motifs in pink, purple, blue, green, yellow, orange and white silk supplemental weft patterning on a backdrop of bamboo latticework in gilt paper supplemental weft patterning; reddish-orange plain weave silk lining.http://collections.mfa.org/objects/68348/rdfhttp://collections.mfa.org/internal/media/dispatcher/964911/resize%3Aformat%3DfullNoh costume (nuihaku)late 17th to early 18th centurySilk satin, embroidered with silk, with stenciled gold leaf (nuihaku)Short-sleeved dark blue silk satin robe covered with an overall design of camellias embroidered in blue, green, orange and white over a stenciled gold leaf bamboo latticework.http://collections.mfa.org/objects/24497/rdfhttp://collections.mfa.org/internal/media/dispatcher/1208375/resize%3Aformat%3DfullNoh theater costume (atsuita)2nd half 18th century, restyled during Meiji periodSilk twill ground, warp ikat (kasuri) dyed; silk and gilt-paper (kinran) supplemental weft patterningNoh theater robe (atsuita) for male role with reddish-orange and dark blue ground color blocks (dangawari) and overall design of cloud-shaped gongs (unban) and hexagonal lozenges (kikko-mon) surrounding diamond-shaped flower motifs in dark blue, light blue, green, orange, white, pink, yellow and gilt paper thread accents. There is a dark blue plain-weave silk lining.http://collections.mfa.org/objects/24498/rdfhttp://collections.mfa.org/internal/media/dispatcher/961852/resize%3Aformat%3DfullOne face of a cushion cover18th or 19th centuryLinen and cotton plain weave, embroidered with silkOne face of a cushion cover, probably made from a larger piece cut down. Worked in satin stitch with blue silk yarns on probably a linen and cotton ground. Scrolling floral design includes birds, double-headed eagle, insects, and double-tailed mermaid whose fish tails merge with carnations; scrollwork border along one edge.http://collections.mfa.org/objects/123588/rdfhttp://collections.mfa.org/internal/media/dispatcher/757372/resize%3Aformat%3Dfull[One of] 23 Floral embroidery designslate 18th–early 19th centuryJean François BonyOpaque watercolor on paperhttp://collections.mfa.org/objects/244296/rdfhttp://collections.mfa.org/internal/media/dispatcher/765852/resize%3Aformat%3Dfull[One of] 35 All-over patternsEarly 19th centuryUnidentified artist, FrenchGouacheFloral design in white and light blue on brown.http://collections.mfa.org/objects/244149/rdfhttp://collections.mfa.org/internal/media/dispatcher/748070/resize%3Aformat%3Dfull[One of] 35 All-over patternsEarly 19th centuryUnidentified artist, FrenchGouacheTwo similar floral designs: one in yellow, white and reds, the other in yellow, blue and reds.http://collections.mfa.org/objects/244151/rdfhttp://collections.mfa.org/internal/media/dispatcher/765853/resize%3Aformat%3Dfull[One of] 35 All-over patternsEarly 19th centuryUnidentified artist, FrenchGouacheFloral design in blue and orange.http://collections.mfa.org/objects/244152/rdfhttp://collections.mfa.org/internal/media/dispatcher/765849/resize%3Aformat%3Dfull[One of] 35 All-over patternsEarly 19th centuryUnidentified artist, FrenchGouacheStylized design of blue leaves and berries.http://collections.mfa.org/objects/244191/rdfhttp://collections.mfa.org/internal/media/dispatcher/765851/resize%3Aformat%3Dfull[One of] 35 All-over patternsEarly 19th centuryUnidentified artist, FrenchGouacheFloral design, yellow, orange and purple on brown.http://collections.mfa.org/objects/244364/rdfhttp://collections.mfa.org/internal/media/dispatcher/965105/resize%3Aformat%3DfullPanels from a bed tent18th or 19th centuryLinen plain weave, embroidered with silkhttp://collections.mfa.org/objects/52031/rdfhttp://collections.mfa.org/internal/media/dispatcher/961827/resize%3Aformat%3DfullPart of a long coverEarly 17th centuryLinen plain weave, embroidered with silk and metallic threadsPolychrome silk and gilt-silver yarns embroidered on undyed linen ground. Pattern of eight individual floral slips repeated throughout, divided from one another by diamond lattice-work of gilt-silver yarns. Gilt-silver border at top and both sides. Cut across bottom. Other part of this embroidery is in the Metropolitan Museum of Art. Good condition; faded.http://collections.mfa.org/objects/47987/rdfhttp://collections.mfa.org/internal/media/dispatcher/1624163/resize%3Aformat%3DfullPictorial quilt1895–98Harriet PowersCotton plain weave, pieced, appliqued, embroidered, and quiltedAppliqué quilt, dyed and printed cotton fabrics applied to cotton. The quilt is divided into fifteen pictorial rectangles. Worked with pieces of beige, pink, mauve, orange, dark red, gray-green and shades of blue cotton.This extraordinary quilt was created by Harriet Powers, an African American woman who was born into slavery in Clarke County, Georgia on October 29,1837. This quilt (together with Powers's descriptions and small portrait photograph) was presented by a group of "faculty ladies" at Atlanta University to a trustee by 1898. Powers had created a similar quilt around 1886, which had been exhibited at the Cotton States Exposition in Atlanta in 1895.The following are Powers' descriptions of all fifteen blocks starting in the upper left and moving to the right.FIRST ROW: 1. Job praying for his enemies. Job crosses. Job's coffin. 2. The dark day of May 19, 1780. The seven stars were seen 12 N. in the day. The cattle wall went to bed, chickens to roost and the trumpet was blown. The sun went off to a small spot and then to darkness. 3. The serpent lifted up by Moses and women bringing their children to look upon it to be healed. 4. Adam and Eve in the garden. Eve tempted by the serpent. Adam's rib by which Eve was made. The sun and the moon. God's all-seeing eye and God's merciful hand. 5. John baptizing Christ and the spirit of God descending and resting upon his shoulder like a dove. SECOND ROW: 6. Jonah cast over board of the ship and swallowed by a whale. Turtles. 7. God created two of every kind, male and female. 8. The falling of the stars on Nov. 13, 1833. The people were frightened and thought that the end had come. God's hand staid the stars. The varmints rushed out of their beds. 9. Two of every kind of animal continued...camels, elephants, "gheraffs," lions, etc. 10. The angels of wrath and the seven vials. The blood of fornications. Seven-headed beast and 10 horns which arose of the water. THIRD ROW: 11. Cold Thursday, 10 of February, 1895. A woman frozen while at prayer. A woman frozen at a gateway. A man with a sack of meal frozen. Icicles formed from the breath of a mule. All blue birds killed. A man frozen at his jug of liquor. 12. The red light night of 1846. A man tolling the bell to notify the people of the wonder. Women, children and fowls frightened by God's merciful hand caused no harm to them. 13. Rich people who were taught nothing of God. Bob Johnson and Kate Bell of Virginia. They told their parents to stop the clock at one and tomorrow it would strike one and so it did. This was the signal that they had entered everlasting punishment. The independent hog which ran 500 miles from Georgia to Virginia, her name was Betts. 14. The creation of animals continues. 15. The crucifixion of Christ between the two thieves. The sun went into darkness. Mary and Martha weeping at his feet. The blood and water run from his right side.http://collections.mfa.org/objects/116166/rdfhttp://collections.mfa.org/internal/media/dispatcher/843737/resize%3Aformat%3DfullPiece of brocade18th centurySilk; brocadeThe ground is woven with narrow strips of silver; on this are waving bands woven with silver thread and violet silk and cord, and silver spangles, from which spring bunches of brocade and velvet flowers, woven with pink, red, white, green, and yellow silk and gold thread and narrow strips of metal.http://collections.mfa.org/objects/69217/rdfhttp://collections.mfa.org/internal/media/dispatcher/843786/resize%3Aformat%3DfullPiece of brocadeLate 17th–18th centuryBrocadeWhite and green brocaded silk ground on which is a design of a basket holding one flower and leaves and scattered sprays of poppy-like flowers, woven with pink, red, white, yellow, and blue silk.http://collections.mfa.org/objects/71660/rdfhttp://collections.mfa.org/internal/media/dispatcher/843789/resize%3Aformat%3DfullPiece of brocadeLate 17th–18th centuryBrocadeWhite silk ground on which is a design of large flowers etc., woven with bright yellow, green, two shades of pink, blue, and bluish violet silk.http://collections.mfa.org/objects/71765/rdfhttp://collections.mfa.org/internal/media/dispatcher/733139/resize%3Aformat%3DfullPiece of velvetLate 19th centuryPrinted silk velvetWhite ground; the design of fleur-de-lis is printed with strong violet, green and pink.http://collections.mfa.org/objects/69848/rdfhttp://collections.mfa.org/internal/media/dispatcher/733140/resize%3Aformat%3DfullPiece of velvetLate 19th centuryPrinted silk velvetWhite ground. The design of open single flowers ("passion flowers"?), is printed with light bluish violet, light green, pink and brown. Some of the outline and details are of dark green.http://collections.mfa.org/objects/69850/rdfhttp://collections.mfa.org/internal/media/dispatcher/733137/resize%3Aformat%3DfullPink satinLate 19th centuryPrinted silkThe design of single roses, carnations, etc., is printed with various shades of yellow, green, brown and dark red.http://collections.mfa.org/objects/69844/rdfhttp://collections.mfa.org/internal/media/dispatcher/1092248/resize%3Aformat%3DfullPitcher (oinochoe) in the Wild Goat style, with bands of flowers, animals, and birds620–580 B.C.CeramicMilesian Wild Goat Style oinochoe with trefoil mouth. From bottom to neck three bands: (1) lotus flowers and buds; (2) dog pursuing six goats; (3) palmettes, griffins, geese and goats. Creamy slip. Handle repaired.Body flares from base; well-defined shoulder, trefoil mouth.Wild Goat Style is an "Orientalizing" (using motifs originating in the Near East) animal frieze style of East Greece. The style particularly involves repetitive animal friezes, especially featuring wild goats; dense use of filler motifs, especially floral motifs (often rosettes); subsidiary patterned friezes (guilloche, lotus or bud friezes); and large floral centerpieces (spirals, lotus, palmettes). This oinochoe is Milesian. Miletos was a major producer and exporter of fine, painted pottery like this; other subregions of East Greece also produced Wild Goat Style vases.http://collections.mfa.org/objects/154590/rdfhttp://collections.mfa.org/internal/media/dispatcher/933468/resize%3Aformat%3DfullPlants and their Application to Ornament1897Eugène Samuel GrassetIllustrated book with 72 color lithographs(London: Chapman & Hall, Ltd. [1897]) Large folio; 74 leaves; modern half gilt-stamped dark brown calf, decorated fabric boards (J. MacDonald Co., Norwalk, Conn.).Illustrations of various plants, followed by related decorative applications of plant forms. English edition of "La plante et ses applications ornementales," issued in Paris by the Librairie Centrale des Beaux-Arts, E. Lévy, presumably simultaneously. That edition does not carry a publication date, but is assumed to be 1896/1897. A few plates are dated 1895. The introduction in both editions, signed by Grasset, is dated May 1896. The plates are usually cited as lithographed by a group of Grasset's students after his own watercolors (see Turn of the Century, cat. 49), the largest number by Verneuil. However, none of the plates are even initialled by Grasset, and he is cited only as "Editor" on the title. Both editions comprise two volumes, with 72 plates each. The MFA copy is of vol. 1 only; the only citation found is a copy in the British Library. The title indicates it was issued "in twelve monthly parts."http://collections.mfa.org/objects/459446/rdfhttp://collections.mfa.org/internal/media/dispatcher/928909/resize%3Aformat%3DfullQuilt1835-40Wool plain weave, pieced, quilted, and embroidered with wool and cottonPieced wool quilt in green, orange, and black with appliqued figures of people, animals, floral elements, and geometric motifs. Scalloped edges with cut-outs at bottom corners for bedposts.http://collections.mfa.org/objects/462617/rdfhttp://collections.mfa.org/internal/media/dispatcher/802643/resize%3Aformat%3DfullSaltillo sarapemid-19th centuryCotton and wool tapestry with diagonal and dovetail joinsMain field blue and black, with zigzag stripes in white; round medallion in center filled with lines and geometrical forms in red, blue and white; border of groups of S shaped and circular forms in blue, red and white; colors strong and fresh; made in two breadths and sewed together; loose cotton warp threads on ends.http://collections.mfa.org/objects/73645/rdfhttp://collections.mfa.org/internal/media/dispatcher/802642/resize%3Aformat%3DfullSaltillo sarapeearly 19th centuryWool and cotton tapestry with diagonal and dovetail joinsSaltillo sarape with main field of dark blue and black, zigzag stripes of white and brown; round medallion in center filled with lines and geometrical forms in white, pink, light and dark blue, and brown; border of groups of S shaped and circular forms; green and black woolen cord sewed on sides, and long cotton fringe sewed on the ends; made in two breadths.http://collections.mfa.org/objects/73646/rdfhttp://collections.mfa.org/internal/media/dispatcher/802636/resize%3Aformat%3DfullSaltillo sarapemid-19th centuryWool tapestry with diagonal and dovetail joinsSaltillo sarape with all-over design of broken lines in white, light and dark blue, green, yellow and pinks; diamond-shaped medallion in center; straight bands of same colors on ends into which a cotton fringe is knotted which is a later addition; sides bound with brown cotton tape; made in two breadths and sewn together.http://collections.mfa.org/objects/74254/rdfhttp://collections.mfa.org/internal/media/dispatcher/802650/resize%3Aformat%3DfullSaltillo sarape1850–70Wool and cotton tapestry with diagonal and dovetail joinsSerape (Shoulder blanket). Two panels, sewn together. Aggregate diamond medallion on field of zig-zag stripes; solid color bands at ends; colors: red, blue, green, brown, white, yellow. Warp ends knotted as fringe. Wool weft, cotton warp. Condition: some spots, stains.http://collections.mfa.org/objects/125485/rdfhttp://collections.mfa.org/internal/media/dispatcher/802651/resize%3Aformat%3DfullSaltillo sarape1850–70Wool and cotton tapestry with diagonal and dovetailSarape made of two panels, sewn together. Scalloped medallion with zig-zag stripes in white, red, green, blue on charcoal/brown background; field with white diamond and zig-zag stripes on checkered brown/blue background; small floral motif on side and end borders; solid bands at ends. Warp ends knotted as fringe. Wool weft, cotton warp.http://collections.mfa.org/objects/125501/rdf