Metropolitan Museum- Special Exhibitions

Crown of the Virgin of the Immaculate Conception, known as the Crown of the Andes Date: Ca. 1660 (diadem) and ca. 1770 (arches) Geography: Made in Colombia Culture: Colombian; Popayán Medium: Gold, repoussé and chased; emeralds Dimensions: 13 1/2 in. (34.3 cm) Body diameter: 13 1/4 in. (33.7 cm) Classification: Gold Credit Line: Purchase, Lila Acheson Wallace Gift, Acquisitions Fund and Mary Trumbull Adams Fund, 2015 Accession Number: 2015.437 This imperial gold crown, worked in repoussé and set with nearly 450 emeralds, was made to adorn a sculpture of the Virgin Mary venerated in Popayán, Colombia. A symbol of the Virgin's divine rulership, the crown is surmounted by four arches topped by a cross-bearing orb that symbolizes Christ's dominion over the world. The crown's diadem, an openwork band of foliate scrolls, is embellished with emeralds mounted in the form of flowers, a reference to the Virgin's purity. This combination of gold and emeralds also reflects the aesthetic preferences of Precolumbian cultures of Colombia and Panama. Text from: www.metmuseum.org/art/collection/search/21698

Crown of the Virgin of the Immaculate Conception, known as the Crown of the Andes Date: Ca. 1660 (diadem) and ca. 1770 (arches) Geography: Made in Colombia Culture: Colombian; Popayán Medium: Gold, repoussé and chased; emeralds Dimensions: 13 1/2 in. (34.3 cm) Body diameter: 13 1/4 in. (33.7 cm) Classification: Gold Credit Line: Purchase, Lila Acheson Wallace Gift, Acquisitions Fund and Mary Trumbull Adams Fund, 2015 Accession Number: 2015.437 This imperial gold crown, worked in repoussé and set with nearly 450 emeralds, was made to adorn a sculpture of the Virgin Mary venerated in Popayán, Colombia. A symbol of the Virgin's divine rulership, the crown is surmounted by four arches topped by a cross-bearing orb that symbolizes Christ's dominion over the world. The crown's diadem, an openwork band of foliate scrolls, is embellished with emeralds mounted in the form of flowers, a reference to the Virgin's purity. This combination of gold and emeralds also reflects the aesthetic preferences of Precolumbian cultures of Colombia and Panama. Text from: www.metmuseum.org/art/collection/search/21698

Mosaic of Bird Date: A.D. 600–800 Geography: Guatemala, Petén Culture: Maya Medium: Mother-of-pearl, Spondylus shell Dimensions: H. 6 1/4 × W. 4 3/16 in. (15.8 × 10.7 cm) Classifications: Shell-Ornaments, Jewelry Credit Line: Museo Nacional de Arqueología y Etnología, Guatemala City (17.7.21.210a) The Maya death god—with a distended belly simulating a rotting corpse—wears a towering headdress composed of mother-of-pearl with a trefoil crown, a symbol of Maya rulership. The bird’s bare red head and white body possibly identify it as a king vulture. Text from: www.metmuseum.org/art/collection/search/722320

Mosaic of Bird Date: A.D. 600–800 Geography: Guatemala, Petén Culture: Maya Medium: Mother-of-pearl, Spondylus shell Dimensions: H. 6 1/4 × W. 4 3/16 in. (15.8 × 10.7 cm) Classifications: Shell-Ornaments, Jewelry Credit Line: Museo Nacional de Arqueología y Etnología, Guatemala City (17.7.21.210a) The Maya death god—with a distended belly simulating a rotting corpse—wears a towering headdress composed of mother-of-pearl with a trefoil crown, a symbol of Maya rulership. The bird’s bare red head and white body possibly identify it as a king vulture. Text from: www.metmuseum.org/art/collection/search/722320

Flying-Panel Metate Date: A.D. 400–800 Geography: Costa Rica Culture: Central Region Medium: Volcanic stone Dimensions: H. 18 × W. 31 3/4 × D. 32 7/8 in. (45.7 × 80.6 × 83.5 cm) Classification: Stone-Furniture Credit Line: Colección Museo Nacional de Costa Rica/CCSS, San José (73.981) Artists transformed relatively common materials such as volcanic stone into luxury objects. Each leg of this metate (a grinding stone possibly used as a ceremonial stool) features stylized vultures with trophy heads. Below, a feline—perhaps a jaguar or puma—bares its teeth and grasps one leg of the stool while its tail connects to the metate’s surface. A creature with the snout and fangs of a crocodile and the upright stance of a human is on the feline’s back. Text from: www.metmuseum.org/art/collection/search/722317

Flying-Panel Metate Date: A.D. 400–800 Geography: Costa Rica Culture: Central Region Medium: Volcanic stone Dimensions: H. 18 × W. 31 3/4 × D. 32 7/8 in. (45.7 × 80.6 × 83.5 cm) Classification: Stone-Furniture Credit Line: Colección Museo Nacional de Costa Rica/CCSS, San José (73.981) Artists transformed relatively common materials such as volcanic stone into luxury objects. Each leg of this metate (a grinding stone possibly used as a ceremonial stool) features stylized vultures with trophy heads. Below, a feline—perhaps a jaguar or puma—bares its teeth and grasps one leg of the stool while its tail connects to the metate’s surface. A creature with the snout and fangs of a crocodile and the upright stance of a human is on the feline’s back. Text from: www.metmuseum.org/art/collection/search/722317

Pendant with Figurine Date: A.D. 600–1000 Geography: Peru Culture: Wari Medium: Spondylus shell and stone inlay, metal Dimensions: H. 5 1/4 × W. 4 1/2 × D. 2 in. (13.3 × 11.4 × 5.1 cm) Classification: Shell-Ornaments Credit Line: Fowler Museum at UCLA, Los Angeles, Gift of Mr. and Mrs. Herbert L. Lucas, Jr. (X88-255) This figurine depicts a high-status Wari man wearing a tapestry tunic, earspools, and a headdress; he is perched on a Spondylus princeps valve. The tunic—inlaid with other rare, imported materials, including mother-of-pearl—demonstrates the imperial reach of the Wari Empire. Text from: www.metmuseum.org/art/collection/search/722154

Pendant with Figurine Date: A.D. 600–1000 Geography: Peru Culture: Wari Medium: Spondylus shell and stone inlay, metal Dimensions: H. 5 1/4 × W. 4 1/2 × D. 2 in. (13.3 × 11.4 × 5.1 cm) Classification: Shell-Ornaments Credit Line: Fowler Museum at UCLA, Los Angeles, Gift of Mr. and Mrs. Herbert L. Lucas, Jr. (X88-255) This figurine depicts a high-status Wari man wearing a tapestry tunic, earspools, and a headdress; he is perched on a Spondylus princeps valve. The tunic—inlaid with other rare, imported materials, including mother-of-pearl—demonstrates the imperial reach of the Wari Empire. Text from: www.metmuseum.org/art/collection/search/722154

Chac Mool Date: A.D. 800–1250 Geography: Mexico, Yucatan Culture: Maya Medium: Stone Dimensions: H. 36 1/2 × W. 41 × D. 22 1/4 in., Wt. 1200 lb. (92.7 × 104.1 × 56.5 cm, 544316.429g) Classification: Stone-Sculpture Credit Line: Museo Regional de Antropología de Yucatán, Palacio Cantón, Secretaría de Cultura-INAH, Mérida (10-290458) Sculptures of this type, featuring a reclining male figure holding a bowl on his torso, were given the invented name Chac Mool by nineteenth-century explorers during an archaeological expedition to Chichen Itza. The figure is adorned with a headdress, earflares, bracelets, and anklets, all likely depicted as if they were made of jade. The bowl served as a receptacle for sacrificial liquids and burnt offerings and may have been symbolic of the circular cenotes. Text from: www.metmuseum.org/art/collection/search/747580

Chac Mool Date: A.D. 800–1250 Geography: Mexico, Yucatan Culture: Maya Medium: Stone Dimensions: H. 36 1/2 × W. 41 × D. 22 1/4 in., Wt. 1200 lb. (92.7 × 104.1 × 56.5 cm, 544316.429g) Classification: Stone-Sculpture Credit Line: Museo Regional de Antropología de Yucatán, Palacio Cantón, Secretaría de Cultura-INAH, Mérida (10-290458) Sculptures of this type, featuring a reclining male figure holding a bowl on his torso, were given the invented name Chac Mool by nineteenth-century explorers during an archaeological expedition to Chichen Itza. The figure is adorned with a headdress, earflares, bracelets, and anklets, all likely depicted as if they were made of jade. The bowl served as a receptacle for sacrificial liquids and burnt offerings and may have been symbolic of the circular cenotes. Text from: www.metmuseum.org/art/collection/search/747580

Ceremonial Knife (Tumi) Date: 10th–12th century Geography: Peru, North Coast Culture: Lambayeque (Sicán) Medium: Gold, silver, turquoise Dimensions: H. 14 1/4 × W. 6 1/4 × D. 1 5/8 in. (36.2 × 15.9 × 4.1 cm) Classification: Metal-Implements Credit Line: Gift and Bequest of Alice K. Bache, 1974, 1977 Accession Number: 1974.271.60 Around A.D. 1000, high-status tombs were constructed at Batán Grande, a site now called the Sicán Archaeological Precinct, where a single burial could include as many as five masks: one attached to the head and the others stacked at the feet. The shape of the eyes is characteristic of the Sicán deity, also shown atop the ceremonial knife (tumi). Text from: www.metmuseum.org/art/collection/search/309982

Ceremonial Knife (Tumi) Date: 10th–12th century Geography: Peru, North Coast Culture: Lambayeque (Sicán) Medium: Gold, silver, turquoise Dimensions: H. 14 1/4 × W. 6 1/4 × D. 1 5/8 in. (36.2 × 15.9 × 4.1 cm) Classification: Metal-Implements Credit Line: Gift and Bequest of Alice K. Bache, 1974, 1977 Accession Number: 1974.271.60 Around A.D. 1000, high-status tombs were constructed at Batán Grande, a site now called the Sicán Archaeological Precinct, where a single burial could include as many as five masks: one attached to the head and the others stacked at the feet. The shape of the eyes is characteristic of the Sicán deity, also shown atop the ceremonial knife (tumi). Text from: www.metmuseum.org/art/collection/search/309982

Vessel in the Shape of a Figure Date: A.D. 500–800 Geography: Costa Rica, Guanacaste Province Culture: Guanacaste-Nicoya Medium: Ceramic Dimensions: H. 9 5/8 × W. 8 3/8 × D. 7 7/8 in. (24.4 × 21.3 × 20 cm) Classification: Ceramics-Vessels Credit Line: Colección Museo Nacional de Costa Rica, San José (14505) This vessel is a rare representation of an individual wearing gold disks. The disks—shown in low relief as concentric rings emulating repoussé (raised relief) details—decorate the chest, both sides of the shoulders, the knees, and the rear hips. The figure’s body is also decorated with black and red paint and images of curled-snout crocodilians. Text from: www.metmuseum.org/art/collection/search/722315

Vessel in the Shape of a Figure Date: A.D. 500–800 Geography: Costa Rica, Guanacaste Province Culture: Guanacaste-Nicoya Medium: Ceramic Dimensions: H. 9 5/8 × W. 8 3/8 × D. 7 7/8 in. (24.4 × 21.3 × 20 cm) Classification: Ceramics-Vessels Credit Line: Colección Museo Nacional de Costa Rica, San José (14505) This vessel is a rare representation of an individual wearing gold disks. The disks—shown in low relief as concentric rings emulating repoussé (raised relief) details—decorate the chest, both sides of the shoulders, the knees, and the rear hips. The figure’s body is also decorated with black and red paint and images of curled-snout crocodilians. Text from: www.metmuseum.org/art/collection/search/722315

Helmet Date: A.D. 700–900 Geography: Panama Culture: Coclé Medium: Gold Dimensions: H. 3 3/4 × W. 8 1/4 × D. 8 1/4 in. (9.5 × 21 × 21 cm) Classification: Metalwork-Ornaments Credit Line: Peabody Museum of Archaeology and Ethnology, Harvard University, Peabody Museum Expedition, 1931 (31-36-20/C13366) The complex repoussé (raised relief) design on this helmet features three double-headed crocodilians with anthropomorphic bodies, reptilian claws, long jaws with upturned snouts, and crests. The thirty-six holes around the rim may have been used to attach dangling ornaments or feather inserts. The armband has mirror images of crocodilians with birds perched on or above their tails. The helmet and armband (one of a pair) were found among numerous ornaments in the tomb of an elderly male, one of the richest burials at Sitio Conte. Text from: www.metmuseum.org/art/collection/search/722183

Helmet Date: A.D. 700–900 Geography: Panama Culture: Coclé Medium: Gold Dimensions: H. 3 3/4 × W. 8 1/4 × D. 8 1/4 in. (9.5 × 21 × 21 cm) Classification: Metalwork-Ornaments Credit Line: Peabody Museum of Archaeology and Ethnology, Harvard University, Peabody Museum Expedition, 1931 (31-36-20/C13366) The complex repoussé (raised relief) design on this helmet features three double-headed crocodilians with anthropomorphic bodies, reptilian claws, long jaws with upturned snouts, and crests. The thirty-six holes around the rim may have been used to attach dangling ornaments or feather inserts. The armband has mirror images of crocodilians with birds perched on or above their tails. The helmet and armband (one of a pair) were found among numerous ornaments in the tomb of an elderly male, one of the richest burials at Sitio Conte. Text from: www.metmuseum.org/art/collection/search/722183

Helmet Date: A.D. 700–1000 Geography: Panama, Darién Culture: Coclé (?) Medium: Gold Dimensions: H. 4 1/2 × W. 7 11/16 × D. 7 11/16 in. (11.5 × 19.5 × 19.5 cm) Classification: Metalwork-Ornaments Credit Line: Peabody Museum of Archaeology and Ethnology, Harvard University, Anonymous Gift and Gift of Thomas Barbour, 1933 (33-1-20/209) This helmet—of thin hammered sheet gold embossed with zoomorphic designs—was less about stopping a weapon’s blow than projecting the wealth and power of the individual who wore it. In each wedge sits a two-headed crocodile, bent legs and scutes depicted in repoussé. Text from: www.metmuseum.org/art/collection/search/722184

Helmet Date: A.D. 700–1000 Geography: Panama, Darién Culture: Coclé (?) Medium: Gold Dimensions: H. 4 1/2 × W. 7 11/16 × D. 7 11/16 in. (11.5 × 19.5 × 19.5 cm) Classification: Metalwork-Ornaments Credit Line: Peabody Museum of Archaeology and Ethnology, Harvard University, Anonymous Gift and Gift of Thomas Barbour, 1933 (33-1-20/209) This helmet—of thin hammered sheet gold embossed with zoomorphic designs—was less about stopping a weapon’s blow than projecting the wealth and power of the individual who wore it. In each wedge sits a two-headed crocodile, bent legs and scutes depicted in repoussé. Text from: www.metmuseum.org/art/collection/search/722184