Walters Art Museum
The Walters Art Museum in Baltimore, Maryland sits in the Mount
Vernon neighborhood, opening in 1934 with a magnificent collection
started by William Thompson Walters, who had started collecting when
he moved to Paris at the outset of the Civil War and his son, Henry
that refined the collections and moved them into a palazzo structure
on Charles Street in 1909. After Henry passed on, he left the
collection and the Charles Street building to the city with more
than 22,000 artworks included. This wonderful collection contains
masterworks of ancient Egypt, art deco jewelry, Greek sculpture,
Chinese bronzes and ceramics, medieval ivories, Roman sarcophagi,
renaissance bronzes, illuminated manuscripts and old master and 19th
century paintings. The Walters Art Gallery would become the Walters
Art Museum in 2000 to better showcase its inventory, and the next
year, opened its biggest building after a three year restoration.
The Walters also contains the Archimedes Palimpsest that is on loan
from its private collector that wants spectral imaging studies and
conservation done to it. Their permanent collection houses
many marvelous exhibits that include the ancient artworks with
examples from the near east, Greece, Egypt, Etruria, Nubia and Rome
with two featured huge 3000 pound statues of the Egyptian goddess
Sekhmet, marble sarcophagi from tombs that had belonged to the
Calpurnian and Licinian families, the Walters mummy, a Roman bronze
banquet couch, a big amount of Roman portrait head, alabaster
reliefs from the palace of Asunrasirpal II, the Praxitelean Satyr
and Greek gold jewelry from the Greek bracelets from Olbia that sat
on the banks of the Black sea. It also contains art of the ancient
Americas that include the nearly 100 gold relics from the Chiriqui
area of western Panama, which has become the nucleus of this
collection, with gifts and donations coming in that added works from
South and Central America, that include excellent pieces from the
Mesoamerican Olmec, Aztec and Maya cultures and the Moche and Inca
peoples of eastern South America. In the Asian collection of art
there are Japanese arms and weapons, Japanese and Chinese lacquers,
metalworks and porcelain. Some of the most outstanding works in this
collection include a late 12th or early 13th century Cambodian
bronze of the eight armed Avalokiteshvara, an exquisitely painted
Ming Dynasty wine jar and a T'ang Dynasty earthenware camel. The
museum owns the oldest surviving Chinese wood and lacquer image of
the Buddha from the late 6th century that has been moved to a
gallery of its own to better showcase this magnificent work.
Presently, it contains one of the best and biggest collections of
Thai scrolls, banner paintings and bronze in the world. In their
Islamic art section, there is a fabulous 7th century carved and
hammered silver bowl from Iran and a 13th century candlestick made
of gold, silver and copper from the Mamluk Egypt; a 17th century
Turkish tile with a beautiful image of the Great Mosque of Mecca,
16th century mausoleum doors decorated with elaborate wood carvings
in a radiating star pattern and a 17th century silk sash from the
Moghul India. They own many Islamic manuscripts that include a 15th
century Koran from northern India a Turkish calligraphy album by
Sheik Handullah al Amasi one of the finest calligraphers of all
time, a 16th century copy of the Khamsa by Amir Khusraw and a great
number of illustrated works by famous artists for the emperor Akbar.
In the medieval art section, you will discover a magnificent number
of works produced during the Middle Ages in every artistic media of
the period, that has become the nucleus of this collection. It is
considered one of the best in the nation, and include examples of
icons, paintings, sculpture, stained glass, textiles and metalworks.
It has become famous for its ivories collection, early Byzantine
silver, reliquaries, enamels, illuminated manuscripts,
post-Byzantine art and the biggest and best collection of Ethiopian
Christian art that exists outside the country of Ethiopia.
Their renaissance and baroque art contains sculpture, weapons and
armor, paintings, ceramics, metal works and furniture and includes
the magnificent Hugo van der Goes' Door with Saint John the Baptist,
Fra Carnavale's The Ideal City, Heemskerck's Panorama with the
Adduction of Helen Amidst the Wonders of the Ancient World,
Bernini's bozzetto of Risen Christ, El Greco's Receiving the
Stigmata, Tiepolo's Scipio Africanus Freeing Massiva, Veronese's
Portrait of Countess Livia da Porto Thiene and her Daughter Porzia
and the Madonna of the Candelabra from Raphael. The 18th and 19th
century artworks contain both masters and impressionists that
include Monet, Alfred Sisley, Edouard Manet, Sevres porcelain, art
nouveau jewelry by Rene Laligque, jeweled objects from the House of
Fabrege, precious jewels by Tiffany and Company, paintings by
Delacroix, Ingres and Gericault, the Barbizon masters that included
Rousseau and Millet, Gerome and Alma-Tadema.
USS Constellation
The
USS Constellation was built in 1854 as a sloop-of-war and the second
vessel to carry that glorious name, located in the Baltimore,
Maryland harbor, after being disassembled in the Gosport Navy Yard
in Norfolk, Virginia and then rebuilt in the same yard using some of
the materials it lacked from the frigate. It is one of the last
sail-only warships that was designed and constructed by the US Navy.
It was launched in 1854 and commissioned in 1855 with Captain
Charles H. Bell in command. During the years of 1855 to 1858, the
sloop would be used in the Mediterranean squadron as a diplomatic
ship, and from 1859 to 1861, she would become the flagship of the US
African squadron that disrupted the slave trade by interdicting
three ships and releasing the slaves that had been imprisoned. She
would spend the majority of the war in the Med fleet, deterring
Confederate cruisers and commerce raiders in the Mediterranean Sea.
Once the Civil War ended, she would carry famine relief stores to
Ireland and many exhibits to the Paris Exposition Universelle of
1878, as well as becoming a floating naval barracks for some time.
The ship would be used for practice for the Naval academy midshipmen
and then become a training ship for the naval training center in
Newport, Rhode Island in 1894 where the vessel would help train over
60,000 recruits during WWI. The Constellation would be
decommissioned in 1940 as a national symbol by President Franklin
Roosevelt, and in WWII, she would be used as a relief flagship for
the Atlantic fleet, although she became the flagship for Admiral
Ernest J. King and Vice-Admiral Royal E. Ingersoll during the first
six months or that war. In 1955, she would be decommissioned again
and this time, stricken from the naval vessel register within six
months. She would be taken to her permanent berth, Constellation
Dock, Inner Harbor at Pier 1, Baltimore, Maryland and become a
National Historic Landmark in 1963. She is now, the last surviving
American Civil War era naval vessel and one of the last sail-powered
warships constructed by the US Navy. By 1994, she would be deemed an
unsafe ship and towed to drydock at Fort McHenry in 1996, with her
receiving a marvelous $9 million restoration and rejuvenation that
was finished by 1999. She would take her first voyage out of the
inner harbor in October, 2004, heading to the US Naval Academy in
Annapolis taking six days to complete. Today, there are wonderful
and exciting tours available with almost the entire ship being able
to be seen, with about half the lines left. Every day a cannon is
fired, and tour groups can take part in various demonstrations like
the turning the yards. She is now part of the Historic Ships in
Baltimore that also operates the Coast Guard cutter USCGC Taney
(WHEC-37) the Seven Foot Knoll light, the lightship Chesapeake and
the WWII era submarine USS Torsk (SS-423). Helping to make the ship
even more famous and spoken of, she would become the target of a
great controversy that suggested the ship was the original frigate,
just rebuilt from the keel up with many parts used from the old
frigate, but after considerable researching and looking over many
documents, it was determined that the sloop was indeed a new ship,
different from the old frigate and thus the controversy was settled.
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