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The "apocalyptic woman" in John's vision in the Book of Revelation was interpreted by the Catholic Church as being the Virgin Mary triumphing over evil in the world. In that vision, a woman with a child, a crescent moon at her feet, crushes a serpent (the devil) beneath her foot. The warmth of the pear wood and fluidity of the carving result in a figure that in quality far exceeds the conventional devotional statuette, neverthless, attributing this piece more specifically than "Flemsih" isn't possible because so few carvers signed their work.
Page data
- Page
- 1
- Source index
- 0
- Type
- photo
- Media ID
- 17d5e681833d6bb5
- Size
- unknown
Document data
- ID
- 35384
- Core
- obj
- Type
- object
DTO data
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"title": "Virgin and Child atop the Globe",
"description": "The \"apocalyptic woman\" in John's vision in the Book of Revelation was interpreted by the Catholic Church as being the Virgin Mary triumphing over evil in the world. In that vision, a woman with a child, a crescent moon at her feet, crushes a serpent (the devil) beneath her foot. The warmth of the pear wood and fluidity of the carving result in a figure that in quality far exceeds the conventional devotional statuette, neverthless, attributing this piece more specifically than \"Flemsih\" isn't possible because so few carvers signed their work.",
"provenance": "Henry Walters, Baltimore [date and mode of acquisition unknown]; Walters Art Museum, 1931, by bequest.",
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Context sent to Scholar
Document identity
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Document source metadata
{
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"contentType": "object",
"stage": "normalized",
"title": "Virgin and Child atop the Globe",
"description": "The \"apocalyptic woman\" in John's vision in the Book of Revelation was interpreted by the Catholic Church as being the Virgin Mary triumphing over evil in the world. In that vision, a woman with a child, a crescent moon at her feet, crushes a serpent (the devil) beneath her foot. The warmth of the pear wood and fluidity of the carving result in a figure that in quality far exceeds the conventional devotional statuette, neverthless, attributing this piece more specifically than \"Flemsih\" isn't possible because so few carvers signed their work.",
"provenance": "Henry Walters, Baltimore [date and mode of acquisition unknown]; Walters Art Museum, 1931, by bequest.",
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Document source extras
{
"med": "pearwood",
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Page context
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