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The Magi Follow the Star (folio 34 recto), from a Mirror of Holiness (Mir’at al-quds) of Father Jerome Xavier at the Cleveland Museum of Art: 1602–4, Gum tempera, ink, and gold on paper. Explore the work's context, creator attribution and c
The Adoration of the Shepherds, from a Mirror of Holiness (Mir’at al-quds) of Father Jerome Xavier at the Cleveland Museum of Art: 1602–4, Gum tempera, ink, and gold on paper. Explore the work's context, creator attribution and collection h
Angels bring food to Jesus in the wilderness (folio 55 recto), from a Mirror of Holiness (Mir’at al-quds) of Father Jerome Xavier at the Cleveland Museum of Art: 1602–4, Gum tempera, ink, color, and gold on paper. Explore the work's context
The Adoration of the Magi, from a Mirror of Holiness (Mir’at al-quds) of Father Jerome Xavier at the Cleveland Museum of Art: 1602–4, Gum tempera, ink, and gold on paper. Explore the work's context, creator attribution and collection histor
Simeon Kneels in Front of Mary and Jesus after Recognizing Them (folio 40 recto), from a Mirror of Holiness (Mir’at al-quds) of Father Jerome Xavier at the Cleveland Museum of Art: 1602–4, Gum tempera, ink, and gold on paper. Explore the wo
John the Baptist recognizes Christ by the appearance of a dove (folio 50 verso), from a Mirror of Holiness (Mir’at al-quds) of Father Jerome Xavier at the Cleveland Museum of Art: 1602–4, Gum tempera, ink, and gold on paper. Explore the wor
The Marriage at Cana (folio 58 verso), from a Mirror of Holiness (Mir’at al-quds) of Father Jerome Xavier at the Cleveland Museum of Art: 1602–4, Gum tempera, ink, color, and gold on paper. Explore the work's context, creator attribution an
Moses praying to end the serpents’ attack on the Israelites (folio 63 verso), from a Mirror of Holiness (Mir’at al-quds) of Father Jerome Xavier at the Cleveland Museum of Art: 1602–4, Gum tempera, ink, color, and gold on paper. Explore the
Jesus Heals the Nobleman’s Son in Capernaum (folio 70 recto), from a Mirror of Holiness (Mir’at al-quds) of Father Jerome Xavier at the Cleveland Museum of Art: 1602–4, Gum tempera, ink, color, and gold on paper. Explore the work's context,
A raven brings food to Elijah (folio 72 recto), from a Mirror of Holiness (Mir’at al-quds) of Father Jerome Xavier, at the Cleveland Museum of Art: 1602–4, Gum tempera, ink, color, and gold on paper. Explore the work's context, creator attr
Jesus being awakened during a tempest on the Sea of Galilee (folio 77 recto), from a Mirror of Holiness (Mir’at al-quds) of Father Jerome Xavier at the Cleveland Museum of Art: 1602–4, Gum tempera, ink, color, and gold on paper. Explore the
Jesus on Mount Tabor, near Nazareth where he Chooses Twelve of his Followers and Calls them Apostles (folio 87 verso), from a Mirror of Holiness (Mir’at al-quds) of Father Jerome Xavier at the Cleveland Museum of Art: 1602–04, Gum tempera,
Jesus Raises Jairus’s Daughter from the Dead (folio 82 verso), from a Mirror of Holiness (Mir’at al-quds) of Father Jerome Xavier at the Cleveland Museum of Art: 1602–4, Gum tempera, ink, color, and gold on paper. Explore the work's context
Mary Magdalene Presents Ointment to Jesus (folio 102 verso), from a Mirror of Holiness (Mir’at al-quds) of Father Jerome Xavier at the Cleveland Museum of Art: 1602–04, Gum tempera, ink, color, and gold on paper. Explore the work's context,
Salome Receiving John the Baptist’s Head on a Platter (folio 112 verso), from a Mirror of Holiness (Mir’at al-quds) of Father Jerome Xavier at the Cleveland Museum of Art: 1602–4, Gum tempera, ink, color, and gold on paper. Explore the work
Jesus writes on the ground (folio 130 verso), from a Mirror of Holiness (Mir’at al-quds) of Father Jerome Xavier at the Cleveland Museum of Art: 1602–4, Gum tempera, ink, color, and gold on paper. Explore the work's context, creator attribu
Jesus being portrayed by King Abgar’s painter (folio 143 recto), from a Mirror of Holiness (Mir’at al-quds) of Father Jerome Xavier at the Cleveland Museum of Art: 1602–4, Gum tempera, ink, color, and gold on paper. Explore the work's conte
The Entry into Jerusalem (folio 156 recto), from a Mirror of Holiness (Mir’at al-quds) of Father Jerome Xavier at the Cleveland Museum of Art: 1602–4, Gum tempera, ink, color, and gold on paper. Explore the work's context, creator attributi
The Flagellation (folio 182 recto), from a Mirror of Holiness (Mir’at al-quds) of Father Jerome Xavier at the Cleveland Museum of Art: 1602–4, Gum tempera, ink, color, and gold on paper. Explore the work's context, creator attribution and c
Nose Ornament with Human Head and Condors Attacking Humans at the Cleveland Museum of Art: c. 100–300 CE, gold alloy. Explore the work's context, creator attribution and collection history.
Nose Ornament with Decapitators and Human Heads at the Cleveland Museum of Art: c. 100–300 CE, gold alloy and silver. Explore the work's context, creator attribution and collection history.
Nose Ornament with Serpents and Long-necked Birds at the Cleveland Museum of Art: c. 100–300 CE, gold alloy and silver. Explore the work's context, creator attribution and collection history.
The Temptation of Saint Anthony (second version) at the Cleveland Museum of Art: 1635, etching. Explore the work's context, creator attribution and collection history.
Neath Abbey at the Cleveland Museum of Art: c. 1840s, watercolor with traces of graphite underdrawing and scratch-away. Explore the work's context, creator attribution and collection history.
Inside the East End of Nettley Abbey at the Cleveland Museum of Art: 1794, gray wash with extensive point of brush with traces of graphite; squared with graphite. Explore the work's context, creator attribution and collection history.
Leigh Tor Rocks at Poundsgate, near New Bridge on the Dart, Devon at the Cleveland Museum of Art: 1800, watercolor with pen and black ink and traces of graphite underdrawing. Explore the work's context, creator attribution and collection hi
On the Thames at the Cleveland Museum of Art: c. 1827–29, watercolor with graphite and scraping. Explore the work's context, creator attribution and collection history.
Royal Elephant Ramkali with a Mahout at the Cleveland Museum of Art: c. 1761, gum tempera, ink, and gold on paper. Explore the work's context, creator attribution and collection history.
Leaf from a Book of Hours: Initial D at the Cleveland Museum of Art: c. 1400, ink, tempera and gold on vellum. Explore the work's context, creator attribution and collection history.
Leaf from a Book of Hours: St. Matthew at the Cleveland Museum of Art: c. 1415–20, ink, tempera and gold on vellum. Explore the work's context, creator attribution and collection history.
![Leaf from a Book of Hours: Decorated Initial D[eus] with Foliated Border (Opening of Terce: Hours of the Holy Spirit) (1430s; Cleveland 2005.205)](https://openaccess-cdn.clevelandart.org/2005.205/2005.205_web.jpg)
Leaf from a Book of Hours: Decorated Initial D[eus] with Foliated Border (Opening of Terce: Hours of the Holy Spirit) at the Cleveland Museum of Art: 1430s, ink, tempera and gold on vellum. Explore the work's context, creator attribution an
Leaf from a Book of Hours: Office of the Dead: Angel Chasing a Devil (recto) and Two Devils (verso) at the Cleveland Museum of Art: c. 1460, ink, tempera and gold on vellum. Explore the work's context, creator attribution and collection his
Leaf from a Book of Hours: Office of the Dead: Angel Chasing a Devil (recto) at the Cleveland Museum of Art: c. 1460, ink, tempera and gold on vellum. Explore the work's context, creator attribution and collection history.
Leaf from a Book of Hours: Office of the Dead: Two Devils (verso) at the Cleveland Museum of Art: c. 1460, ink, tempera and gold on vellum. Explore the work's context, creator attribution and collection history.
Leaf from a Latin Bible: Initial A and Initial A: Judith Beheading Holofernes at the Cleveland Museum of Art: c. 1230–1240, ink and tempera on vellum. Explore the work's context, creator attribution and collection history.
Leaf from a Book of Hours: The Betrayal of Christ at the Cleveland Museum of Art: c. 1470–85, ink, tempera and gold on vellum. Explore the work's context, creator attribution and collection history.
The Terrace of the Villa Brancas at the Cleveland Museum of Art: 1876, etching. Explore the work's context, creator attribution and collection history.
Landscape with Cottage (recto); Studies of Heads (verso) at the Cleveland Museum of Art: c. 1820s, black chalk and gray wash with scraping. Explore the work's context, creator attribution and collection history.
Landscape with Cottage (recto) at the Cleveland Museum of Art: c. 1820s, black chalk and gray wash with scraping. Explore the work's context, creator attribution and collection history.
Studies of Heads (verso) at the Cleveland Museum of Art: c. 1820s(?), black chalk. Explore the work's context, creator attribution and collection history.