428:
120:
159:
into it and placed it among the reeds by the bank of the Nile. And his sister stationed herself at a distance, to learn what would befall him. The daughter of
Pharaoh came down to bathe in the Nile, while her maidens walked along the Nile. She spied the basket among the reeds and sent her slave girl to fetch it. When she opened it, she saw that it was a child, a boy crying. She took pity on it and said, “This must be a Hebrew child.” Then his sister said to Pharaoh’s daughter, “Shall I go and get you a Hebrew nurse to suckle the child for you?” And Pharaoh’s daughter answered, “Yes.” So the girl went and called the child’s mother. And Pharaoh’s daughter said to her, “Take this child and nurse it for me, and I will pay your wages.” So the woman took the child and nursed it.
401:
444:
574:
801:
100:
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837:
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20:
386:
345:
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251:
819:
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1192:" of Kanesh once bore thirty sons in a single year. She said: 'What a horde is this which I have born!' She caulked(?) baskets with fat, put her sons in them, and launched them in the river. The river carried them down to the sea at the land of Zalpuwa. Then the gods took them up out of the sea and reared them. When some years had passed, the queen again gave birth, this time to thirty daughters. This time she herself reared them."
700:, where previously most artists, for example, Veronese, had not attempted to represent a specifically Egyptian setting. An exception is NiccolincludesAbbate, whose broadly painted cityscape include several prominent triangular elements, although some might be gable-ends. Palm trees are also sometimes seen; European artists, even in the north, had been used to depicting these from painting the "Miracle of the Palm" on the
2320:
751:. By the late 19th century, exotic decor was often dominant, and several depictions concentrated on the ladies of the court, naked but for carefully researched jewellery. The reed beds in the Bible are often given prominence. The extensive history of the scene in the cinema began in 1905, the year after Sir
875:, datable to around 244, a unique large-scale survival of what may have been a large body of figurative Jewish religious art in the Hellenized Roman imperial period. This part of a composite image shows several episodes from the childhood of Moses (only the left end illustrated here). It displays both
950:
translation of the Bible. In these "she ... sent her female slave" is changed to "she stretched out her arm." Though the context is
Christian, many of the images here are of Old Testament subjects, and very likely reflect models adopted from an initially Jewish visual tradition, perhaps painted by
168:
The biblical account allows for a variety of compositions. There are different moments in the story, which are quite often compressed or combined in depictions, and the moment shown, and even the identity of the figures, is often unclear. In particular, Miriam and Moses's mother, traditionally given
363:
has a naked female swimmer in the water, holding the empty ark with one hand, while a clothed female with her feet in the water holds out the baby to the princess, who reclines on a bed or litter. This is part of some 11 scenes of the life of Moses. This may relate to the Jewish visual traditions
158:
A certain member of the house of Levi went and took a woman of Levi. The woman conceived and bore a son; and when she saw how beautiful he was, she hid him for three months. When she could hide him no longer, she got a wicker basket for him and caulked it with bitumen and pitch. She put the child
612:
of 1545 was perhaps the first large and elaborate treatment of the subject to concentrate on a larger courtly group, entirely using carefully depicted contemporary costumes; he painted at least one smaller similar version of the subject. Bonifazio painted a number of biblical subjects as "modern
209:
The less common preceding scene of Moses being left in the reeds is formally called""' The
Exposition of Moses'"". In some depictions, this is shown in the distance as a subsidiary scene, and some books show both scenes. In some cases, it may be hard to distinguish between the two; usually, the
994:, who was read by Poussin and influenced his treatment of this and other biblical scenes. His account of the finding has the princess "playing by the river bank" and spotting Moses being "borne down the stream". She "sent off some swimmers" to fetch him. Thus in Poussin's 1638 "Finding" in the
1080:
The queen is in the river with an attendant, both at least clothed in undergarments (more clothes seem to be hanging from a tree branch), and an older servant, or Moses' mother, on the bank. The ark appears enclosed and solid; it looks like an elongated coffin, perhaps because the artist was
485:
Independent pictures of the subject became increasingly popular in the
Renaissance and Baroque periods, when the combination of several elegantly dressed and graceful ladies with a waterside landscape or classical architectural background made it attractive to artists and patrons. For
653:
Veronese's costumes, contemporary when he painted them in the 1570s and 580s, became established as a sort of standard, and wseveraland repeated in new compositions by a umber of
Venetian painters in the 18th century, during a "Veronese revival." The famous painting by
613:
aristocratic reality", which was already an established pictorial mode in Venice. This is essentially a large aristocratic picnic, complete with musicians, dwarves, many dogs and a monkey, and strolling lovers, where the baby represents an object of polite curiosity. A
879:
details in the narrative and visual borrowings from the iconography of classical paganism. Six of the 26 frescos in the synagogue have Moses as their main subject. There are a few illustrations in mainly medieval Jewish illuminated manuscripts, mostly of the
641:
The paintings of
Veronese and others, especially Venetians, offered some of the attractions of subjects from pagan mythology but with a subject with a Christian context. Veronese had been called before the Inquisition in 1573 for the improper depiction of the
379:: "The cameo of the birth of Moses does not fit the reality of the Nile, where crocodiles would make it dangerous to send a babe in a basket onto the water or even to bathe by the shore: even if the poor were forced to take the risk, no princess would."
66:, dating to around 244. The motif of a "naked princess" bathing in the river has been related to much later art. A contrasting tradition, beginning in the Renaissance, gave great attention to the rich costumes of the princess and her entourage.
596:
subject was considered unobjectionable, orphanages were run by boards of "regents" drawn from the local wealthy, and the story of Moses was also given contemporary political significance. A painting of the subject shown on the wall behind
946:, Rome. Four figures are on the bank, with Moses still in the water; the largest is the princess, who stretches out her arms, which the baby also does. This gesture may derive from a textual variation found in Midrashic sources and the
907:
Jewish textual traditions elaborate on the Book of Exodus in various ways, and it has been argued that some details can be detected in
Christian art as well. One Jewish tradition was that Pharaoh's daughter was identified as Bithiah, a
427:
970:
The motif of the naked princess standing in the water, sometimes accompanied by naked maids, reappears in Jewish manuscript illuminations from
Spanish workshops in the late Middle Ages, along with some other details of
691:
was attracted both to subjects from the life of Moses and history subjects with an
Egyptian setting. His figures wore the 17th-century idea of ancient dress, and the cityscapes in the distant background include
731:
in 1688, the painting was criticised for two breaches of artistic decorum: the princess' skin was too dark, and the pagan god was inappropriate in a biblical subject. Both details were corrected in a version in
2151:
Mann, Vivian B., "Observations on the
Biblical Miniatures in Spanish Haggadot", in "Exodus in the Jewish Experience: Echoes and Reverberations", Editors, Pamela Barmash, W. David Nelson, 2015, Lexington Books,
2179:", March 1999, "Van Eyck's Washington 'Annunciation': narrative time and metaphoric tradition", Vol. 81, No. 1 (Mar., 1999), pp. 117–125. Page references are to online version, no longer available (was
617:
from c. 1570, now in the Louvre, represents a more classical treatment, with the same "classical" costumes and atmosphere as his mythological subjects. This is closely followed by several compositions by
1743:" Tapestry in the Baroque: New Aspects of Production and Patronage", Metropolitan Museum of Art symposia, Editors Thomas Patrick Campbell, Elizabeth A. H. Cleland, 96, 2010, Metropolitan Museum of Art,
1002:'s painting of 1650, with two male swimmers. Italian paintings more often show female swimmers or at least women who have landed and are drying themselves after handing the baby to the princess, as in
400:
2099:
188:. In all traditions, most depictions show a stretch of open river with few reeds. The vessel is sometimes seen drifting in many 19th-century depictions, and some in late medieval manuscripts of the
916:, Jewish depictions often include her, and sometimes other women, standing naked in the river. According to Rabbinic tradition, she was healed as soon as she touched the ark carrying Moses.
836:
415:
2091:
Gutmann, Joseph, "The Dura Europos Synagogue Paintings and Their Influence on Later Christian and Jewish Art", "Artibus et Historiae", Vol. 9, No. 17 (1988), pp. 25–29,
2166:
Natif, Mikah, "Rashid al-Din's Alter Ego: The Seven Paintings of Moses in the Jami al-Tawarikh", in "Rashid al-Din. Agent and Mediator of Cultural Exchanges in Ilkhanid Iran
1783:
Tollerton, David, ed., "Biblical Reception, 4: A New Hollywood Moses: On the Spectacle and Reception of Exodus: Gods and Kings", 75–77, 2016, Bloomsbury Publishing, 2016,
2350:
1723:
Jaffé, David, "Two Bronzes in Poussin's "Studies of Antiquities"," in "The J. Paul Getty Museum Journal": Volume 17, 1989, 45–46, note 18, 1990, Getty Publications,
1869:"Alcestis and Hercules in the Catacomb of via Latina", Beverly Berg, "Vigiliae Christianae", Vol. 48, No. 3 (Sep., 1994), pp. 219–234, Brill, DOI: 10.2307/1584095,
1077:
who rescues the baby, not his daughter. Here, the baby Moses remains in his ark, which is carried along a river with curling Chinese-style waves towards the women.
1093:
1247:
Wine, 370–371, on the Lo disagreeeh, 61, on the Prado Veronese, and both disagree with other art historians on who figures represent in particular depictions.
2096:
92:
in that it requires a number of female figures, but apart from the baby, no male figures are necessary. Many painters took the opportunity to depict female
31:
The"' Finding of Moses'", sometimes called "'Moses in the Bulrushes'", "'Moses Saved from the Waters'", or other variants, is the story in chapter 2 of the
185:
313:
Cycles with the life of Moses were not common, but where they exist, they may be with this subject if they have more than four scenes. The fourth century
58:
are much less frequent, but some Christian depictions show details derived from extra-biblical Jewish texts. The earliest surviving depiction in art is a
490:
the story had a particular resonance with the early history of the city. These paintings were for homes and palaces, sometimes for foundling hospitals.
558:
painting it at least three times, as well as several versions of "The Exposition of Moses". It has been suggested that the birth in 1638 of the future
1088:
This manuscript has seven miniatures of the life of Moses, an unprecedented number perhaps suggesting a unique identification with Moses by the author
2169:
1401:
Barmash, Pamela, 2, in "Exodus in the Jewish Experience: Echoes and Reverberations", Editors, Pamela Barmash, W. David Nelson, 2015, Lexington Books,
176:
The Hebrew word usually translated as "basket" in verse 3 can also mean ar or small boat. The basket, usually with a rounded shape, is more common in
1362:
984:
337:, where the scheme of paired cycles was intended to evoke the oldest Christian art. There are several short cycles in luxury manuscripts of the
2274:
Wine, Humphrey, National Gallery Catalogues (new series): "The Seventeenth Century French Paintings", 2001, National Gallery Publications Ltd,
2205:
Schiller, Gertrude "Iconography of Christian Art, Vol. I",1971 (English trans from German), Lund Humphries, London, pp 33–52 & figs 66–124,
800:
2215:"Sistine": Pietrangeli, Carlo, et al., "The Sistine Chapel: The Art, the History, and the Restoration", 1986, Harmony Books/Nippon Television,
728:
317:
includes it among its 4 or 5 relief scenes from the Life of Moses, and there is thought to have been a depiction (now lost) in the mosaics of
1763:
Thompson, Jason, "Wonderful Things: A History of Egyptology 1: From Antiquity to 1881", 255, 2015, The American University in Cairo Press,
987:. By contrast, the 18th-century Venice Haggadah has been influenced by local Christian depictions, and shows a clothed princess on land.
736:, though the sphinx survived. Poussin's treatments show awareness of much of the scholarly interest in Moses in terms of what we now call
1165:
824:
2366:
1129:
1125:
959:, Moses recounts his finding, saying of the princess: "And straightway seeing me, she took me up", which may be reflected both in the
743:
After that, attempts at an authentic Egyptian setting were irregular until the start of the 19th century, with the advent of modern
650:." Since the "Finding" indeed called for a party of lavishly dressed court ladies and their attendants, it avoided such objections.
983:
sits on the bank watching them. Other works include the so-called "Sister of the Golden Haggadah" manuscript, and the (Christian)
2371:
2264:
119:
2225:
Ulmer, Rivka, "Egyptian Cultural Icons in Midrash", Chapter 10, "The Finding of Moses in Art and Text", 2009, Walter de Gruyter,
2108:
Hand, J.O., & Wolff, M., "Early Netherlandish Painting" (catalogue), National Gallery of Art, Washington/Cambridge UP, 1986,
1994:
998:
a burly male emerges from the water with the child and basket, a detail sometimes copied by other painters. This is followed in
1654:
719:, which follows a specific classical statue in the Vatican. His 1647 version for the banker Pointel (now Louvre) includes a
69:
Moses was a central figure in Jewish tradition and was given various significances in Christian thought. He was regarded as a
770:
278:, and sometimes paired with it. This probably accounts for it being represented as a faded fresco on the rear wall in the
286:, Washington. It might also be regarded as prefiguring "the reception of Christ by the community of the faithful," the
279:
818:
385:
1611:
1116:
479:
2015:
Bowers, Toni, "The Politics of Motherhood: British Writing and Culture, 1680–1760", 1996, Cambridge University Press,
2324:
2257:
2220:
2210:
2113:
2001:
1453:
562:, whose parents had been childless for 23 years, may have been a factor in the interest of French artists. The poet
912:
who was bathing in the river to cleanse herself, seen as a ritual purification for which she would be naked. As at
471:
443:
1221:
755:
finished his painting, with the "Finding" the opening scene in a 5-minute biographical film by the French company
1154:
662:
dates from the 1730s or 1740s, but avoids the fashion of that period and bases its costumes on a Veronese now in
519:
specifically for abandoned children, a common focus of charitable activity by the rich. The seal of the London
2297:
2279:
2230:
2157:
2142:
2128:
2054:
2038:
2020:
1788:
1768:
1748:
1728:
1406:
647:
48:
1085:, this may be all but unique in Islamic miniatures. The composition may be derived from Byzantine depictions.
573:
2244:
563:
1081:
unfamiliar with the subject. There are few comparable Islamic world histories, and like other scenes in the
1482:
1052:
1011:
681:
667:
659:
1667:
1201:
1904:
551:"; possibly the idea was to encourage those winning bets on the game to give their winnings to charity.
150:
ordered: "Every Hebrew boy that is born you must throw into the Nile, but let every girl live." Chapter
99:
2249:
1830:
Mann, 169–172, 183; Ulner, 297 and throughout. For a skeptical view of the links, see Guttmann, 25–26
724:
677:
655:
589:
531:'s painting of a slightly later episode of the young Moses and the princess. We know a depiction by
407:
367:
The artist of a French Romanesque capital has enjoyed himself showing the infant Moses threatened by
291:
614:
497:
2078:
598:
195:
127:
88:
or abandoned child, a significant social issue in modern times. The subject is unusual in standard
2180:
470:
began the Moses sequence on the altar wall until it was destroyed in the 1530s to make space for "
2195:
2060:
2043:
1525:
1274:
609:
605:
may represent knowledge and science, as Moses was "learned in all the wisdom of the Egyptians."
577:
392:
326:
283:
1089:
872:
860:
267:
63:
24:
2234:
2161:
1772:
1494:
1443:
1030:'s studio shows several naked women who have just come out of the water, bringing the basket.
2305:
2146:
1792:
1752:
1732:
956:
330:
287:
81:
representation of things as diverse as the pope, Venice, the Dutch Republic, or Louis XIV.
2024:
1995:
Leick, Gwendolyn. "A Dictionary of Ancient Near Eastern Mythology". Routledge. 1998. p. 142.
1410:
2268:
1965:
1575:
1169:
1109:
1057:
1043:
752:
737:
540:
318:
210:"Exposition" includes Moses' mother and sister and sometimes his father and other figures.
785:
8:
1858:
581:
532:
298:. The princess was often seen allegorically as representing the Church, or earlier, the
271:
70:
625:
463:
1576:"The finding of Moses: Moses brought before Pharoah's daughter by Bonifazio de' Pitati"
1478:
1121:
856:
520:
512:
376:
177:
103:
19:
1026:
from the 1630s, and Poussin's 1651 composition. The only painting of the subject from
338:
189:
2293:
2275:
2253:
2226:
2216:
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2153:
2138:
2124:
2109:
2085:
2050:
2034:
2016:
1997:
1784:
1764:
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1724:
1607:
1449:
1445:
Nuns and Reform Art in Early Modern Venice: The Architecture of Santi Cosma e Damiano
1402:
999:
776:
708:
701:
508:
372:
295:
250:
85:
51:. The story became a common subject in art, especially from the Renaissance onwards.
1558:
Acts 7:22; Welu, James. "Vermeer's Astronomer: Observations on an Open Book," 266, "
2245:
Age of spirituality: late antique and early Christian art, third to seventh century
2176:
1559:
1186:
1147:
1003:
433:
The casting-off in the foreground, combined with the finding at rear, 15th-century.
353:
89:
493:
344:
2301:
2267:, 2008 "Art Bulletin of Victoria", No. 48, National Gallery of Victoria (by 2017
2103:
1900:
1266:
1139:
976:
896:
688:
528:
467:
447:
360:
255:
203:
1626:
Willis, note 7, lists 4, plus 3 from his workshop; Yavneh, 51–53; Robertson, 100
919:
673:
44:
2239:
1604:
The Art of Renaissance Venice: Architecture, Sculpture, and Painting, 1460–1590
1380:
1158:
1023:
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843:
630:
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524:
459:
334:
314:
202:, as his mother casts him off. The princess's party is further down the bank.
139:
32:
1238:
Yavneh, 53–56, analyses the passage and later interpretations of it at length.
1172:, 1904, sold at auction in 2010 for nearly US$ 36 million. Private collection.
967::20, and in artistic depictions where the princess is first to grasp the ark.
707:
For good measure the main three versions by Poussin all include a Roman-style
135:
2360:
1521:
1270:
1007:
960:
593:
322:
181:
151:
1961:
913:
891:
806:
720:
475:
275:
36:
2260:; full text available online from The Metropolitan Museum of Art Libraries
1269:
painted both scenes more than once, and his compositions are described in
16:
The finding in the River Nile of Moses as a baby by the daughter of Pharao
1687:
Altogether he painted about 19 works set in Egypt, some 10% of his output
1015:
972:
951:
artisans with sets of models for all religious requirements. In the play
748:
643:
303:
214:
55:
884:, some of which seem to share an iconographical tradition going back to
2184:
2092:
1870:
1563:
1019:
943:
791:
744:
712:
588:
As well as the Catholic countries, there were also several versions in
349:
259:
123:
93:
2265:"The Melbourne "Finding of Moses": Steps towards a New Attribution"
2200:
2064:
1529:
1278:
646:
as an extravagant festivity mainly in modern dress, which he renamed "
466:
of the lives of Christ and Moses in large frescos, and a "Finding" by
1265:
Again, a rare title in English, but standard in the Latin languages.
1070:
1062:
1027:
900:
567:
559:
536:
516:
368:
341:
and related types, some of which give the story more than one image.
1812:
Weitzmann, 366–369, 374; Ulmer, 298–304; Mann, 169–170; Langston, 47
1038:
554:
The 17th century saw the height of popularity for the subject, with
535:
was one of a pair of biblical subjects commissioned in 1701 for the
421:
Moses being "exposed," very much in an "ark," 15th-century miniature
2341:
templates on this page, but the references will not show without a
1204:, a poem by the Irish street poet Zozimus (b. circa 1794 – d. 1846)
991:
931:
881:
846:, before 1857, was much reproduced in prints and book illustrations
733:
170:
78:
1161:, various compositions, in the Prado, Dresden, Dijon and elsewhere
756:
173:, may be thought to be included in the group around the princess.
2031:
Italian and Spanish Paintings in the National Gallery of Scotland
947:
923:
876:
810:
697:
693:
663:
602:
555:
548:
544:
329:
which includes it. Cycles are most often paired with one of the "
299:
147:
1181:
Zalpuwa is the setting for an ancient legend about the Queen of
2319:
1962:"The infant Musa (Moses) found by women of Pharaoh's household"
1655:"The Finding of Moses", after 1740, Probably by Francesco Zugno
1182:
1143:
995:
980:
964:
939:
927:
868:
716:
501:
487:
451:
307:
59:
1074:
909:
634:
527:
gave them his painting of the subject, where it hung next to
143:
107:
74:
723:
hunt on the river in the background, adapted from the Roman
1066:
711:, the god or personification of the Nile, reclining with a
40:
2343:{{reflist|group=lower-alpha}}
975:
found in the Dura-Europos synagogue. In the 14th-century
1495:"Web Gallery of Art, searchable fine arts image database"
77:. He could also, at times, be regarded as a precursor or
511:
remained a significant social issue in the period, with
2292:, 2016, Eds. Naomi J. Miller, Naomi Yavneh, Routledge,
666:, but in Venice until 1747; another Tiepolo now in the
1524:, "Poussin Studies IV: Two Rediscovered Late Works", "
1273:, "Poussin Studies IV: Two Rediscovered Late Works," "
1185:, which was either composed in or translated into the
1890:
Mann, 169–172, 183; Ulmer, 303 has a list in note 26.
1343:
Sistine, 43; Hall, 213–216 lists 13 potential scenes.
1142:; there are three different compositions, two in the
1112:, in Edinburgh; a different composition in Melbourne.
867:
The earliest visual depiction of the "Finding" is a
670:uses the style of Veronese even more thoroughly.
163:
2290:Gender and Early Modern Constructions of Childhood
302:Church. Alternatively, Moses might be a type for
2033:, 2nd Edn, 1993, National Galleries of Scotland,
233:What role, if any, is assigned to the River Nile?
213:Rivka Ulmer identifies recurrent "issues" in the
2358:
2121:Hall's Dictionary of Subjects and Symbols in Art
2063:", vol. 141, no. 1158, 1999, pp. 537–541.,
1520:Poussin's various compositions are described in
1352:Sistine, 40–41, 50–75 analyze the paired cycles.
938:The earliest surviving Christian depiction is a
270:and other media. The incident was regarded as a
2077:, Arthur K. Wheelock Jr., Ed., New York, 2017,
1602:Huse, Norbert; Wolters, Wolfgang (1993-10-30).
478:, along with a "Nativity of Jesus". Perugino's
224:The type of hand gesture of Pharaoh's daughter;
154:begins with the birth of Moses, and continues:
1477:Bowers, 7–10; both still belong to the London
236:The presence or absence of Egyptian artifacts.
1256:Natif, 18, for Byzantine and Islamic examples
570:, "Moyse sauvé" between about 1638 and 1653.
375:. This sporadic treatment anticipates modern
230:The number and the gender of the "handmaids";
2199:, vol. 91, no. 553, 1949, pp. 99–101.,
2189:Robertson, Giles. "Tiepolo's and Veronese's
2059:Bull, Malcolm. "Notes on Poussin's Egypt", "
1606:. University of Chicago Press. p. 270.
1096:who became chief minister of the Ilkhanate.
1073:and Islamic tradition, it is Pharaoh's wife
1061:, an ambitious world history written in the
934:, and a personification of the Nile at left.
851:
408:classical tradition of the Nilotic landscape
2284:Yavneh, Naomi, "Lost and Found; Veronese's
1601:
1069:, at the start of the 14th century. In the
729:Académie royale de peinture et de sculpture
266:Medieval depictions are sometimes found in
373:classical depictions of the Nile landscape
359:The depiction in the 12th-century English
84:The subject also represented a case of a
1037:
990:A different tradition is first found in
918:
890:
855:
672:
624:
572:
492:
442:
406:French Romanesque capital, aware of the
343:
249:
194:
118:
98:
18:
2269:this painting was attributed to Tiepolo
1562:", vol. 68, no. 2, 1986, pp. 263–267.,
1528:", vol. 92, no. 563, 1950, pp. 39–52.,
1307:Schiller, 50 quoted; Wine, 374, note 31
1277:", vol. 92, no. 563, 1950, pp. 39–52.,
254:Detail of multi-scene miniature in the
2359:
2335:<ref group=lower-alpha>
2308:– ebook, with different pages viewable
942:of the 4th century in the Catacomb of
438:
371:and perhaps hippos, as often shown in
1915:Mann, 170; Ulmer's list, 303, note 26
1099:
1051:There is an unusual depiction in the
979:there are three, while Moses' sister
622:, using the modern dress of his day.
454:. Men hunt hippos from a boat behind.
142:recounts how during the captivity in
1705:Wine, 369, 374–375, notes 32, 37, 39
1629:
1441:
1413:; for Poussin's hippo-hunt see below
1379:One of the single sheets now in the
180:, and the ark more so in Jewish and
2332:
1653:Willis, quoted; Robertson, 99–100;
1448:. Ashgate Publishing. p. 244.
715:, in two of them in company with a
321:. There is a 12th-century cycle in
227:Who enters the Nile to fetch Moses?
114:
13:
684:, probably 1730s, now 202 Ă— 342 cm
306:, and so by extension the Pope or
14:
2383:
2367:Paintings of the Finding of Moses
2312:
1666:Brigstocke, 160; Robertson, 100;
747:, and in art, the development of
2347:{{notelist}}
2318:
2123:, 1996 (2nd edn.), John Murray,
2116:. Entry pp. 75–86, by Hand.
835:
817:
799:
784:
769:
450:, 1647 (the "Pointel" version),
426:
414:
399:
384:
240:
164:Visualizing the biblical account
2137:, 2013, John Wiley & Sons,
2075:The Leiden Collection Catalogue
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1298:Hand p.80; Purtle, 1999, pp 5–6
1014:, as well as a painting in the
930:, with the male "swimmer" from
280:" Annunciation" by Jan van Eyck
1367:iconographic.warburg.sas.ac.uk
1301:
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1176:
1033:
648:The Feast in the House of Levi
1:
2009:
1202:"The Finding of Moses" (poem)
629:One of several treatments by
564:Antoine Girard de Saint-Amant
523:showed the sce. Thehe artist
221:Is Moses in an ark or basket?
2135:Exodus Through the Centuries
2047:Painting in Italy, 1500–1600
1053:Edinburgh University Library
1012:Giovanni Francesco Romanelli
682:National Gallery of Scotland
668:National Gallery of Victoria
660:National Gallery of Scotland
39:of the finding in the River
7:
2372:Pharaoh's daughter (Exodus)
2339:{{efn}}
1195:
245:
110:, 1633, one of two versions
10:
2388:
2250:Metropolitan Museum of Art
1431:Yavneh, 51; Robertson, 100
727:. In a discussion at the
480:" Moses Leaving for Egypt"
290:, and the escape from the
146:of the Jewish people, the
2170:online text, academia.edu
1580:www.artgallery.nsw.gov.au
1334:Hall, 213; Sistine, 52–56
852:Jewish art and traditions
725:Nile mosaic of Palestrina
678:Giovanni Battista Tiepolo
656:Giovanni Battista Tiepolo
590:Dutch Golden Age painting
292:Massacre of the Innocents
54:Depictions in Jewish and
1208:
128:Cornelis Hendriksz Vroom
2196:The Burlington Magazine
2061:The Burlington Magazine
2049:, 3rd edn. 1993, Yale,
1951:DeWitt, fig. 2 and text
1526:The Burlington Magazine
1442:Paul, Benjamin (2012).
1325:Yavneh, 60; Sistine, 51
1275:The Burlington Magazine
327:Basilica of Saint-Denis
284:National Gallery of Art
268:illuminated manuscripts
200:The Exposition of Moses
2333:Cite error: There are
1422:Sistine, 43, 46–47, 51
1090:Rashid-al-Din Hamadani
1048:
935:
904:
873:Dura-Europos synagogue
864:
861:Dura-Europos synagogue
763:Orientalist depictions
685:
638:
585:
504:
482:now begins the cycle.
455:
356:
263:
206:
161:
131:
111:
64:Dura-Europos synagogue
28:
25:Dura-Europos synagogue
1592:Fsizeableerg, 535–536
1041:
957:Ezekiel the Tragedian
922:
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859:
676:
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496:
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347:
288:Resurrection of Jesus
253:
198:
184:; it is also used in
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122:
102:
22:
2327:at Wikimedia Commons
2133:Langston, Scott M.,
2044:Freedberg, Sydney J.
1966:Edinburgh University
1668:the Dresden Veronese
1363:"WI-ID Subject Tree"
1316:Hall, 213; Wine, 369
1170:Lawrence Alma-Tadema
1166:The Finding of Moses
1155:The Finding of Moses
1136:The Finding of Moses
1117:The Finding of Moses
1110:Gianbattista Tiepolo
1106:The Finding of Moses
1094:convert from Judaism
1047:, c. 1310, Edinburgh
826:The Finding of Moses
753:Lawrence Alma-Tadema
738:comparative religion
610:Bonifazio de' Pitati
578:Bonifazio de' Pitati
541:Palace of Versailles
464:facing paired cycles
391:12th-century glass,
319:Santa Maria Maggiore
1899:Ulmer, 307; f. 9r,
1146:, Paris, the other
615:Niccolò dell'Abbate
533:Charles de La Fosse
513:foundling hospitals
498:Niccolò dell'Abbate
439:Renaissance onwards
333:", as later in the
49:daughter of Pharaoh
2349:template (see the
2175:Purtle, Carol J, "
2102:2018-08-27 at the
2029:Brigstocke, Hugh;
1540:Wine, 374, note 29
1479:Foundling Hospital
1124:, versions in the
1122:Orazio Gentileschi
1100:Leading depictions
1055:manuscript of the
1049:
936:
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639:
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521:Foundling Hospital
505:
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377:Biblical criticism
357:
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207:
186:Islamic miniatures
178:Latin Christianity
132:
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104:Orazio Gentileschi
29:
2345:template or
2323:Media related to
2300:, 9781351934848,
2248:, no. 149, 1979,
2233:, 9783110223927,
2160:, 9781498502931,
2145:, 9781118713778,
2086:Pieter de Grebber
2023:, 9780521551748,
1903:, MS add. 27210,
1791:, 9780567672339,
1771:, 9789774165993,
1751:, 9780300155143,
1731:, 9780892361571,
1483:the Hogarth image
1468:Yavneh, 53, 58–59
1409:, 9781498502931,
1083:Jami' al-tawarikh
1058:Jami' al-tawarikh
1044:Jami' al-tawarikh
1000:Sebastian Bourdon
777:Frederick Goodall
702:Flight into Egypt
509:child abandonment
472:The Last Judgment
458:The walls of the
296:Flight into Egypt
274:precursor of the
47:as a baby by the
2379:
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2325:Finding of Moses
2322:
2288:", Chapter 3 in
2286:Finding of Moses
2191:Finding of Moses
2177:The Art Bulletin
2081:Finding of Moses
2073:, (PG-100)", in
2071:Finding of Moses
2069:DeWitt, Lloyd. "
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977:Golden Haggadah
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468:Pietro Perugino
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1554:
1545:
1536:
1516:
1507:
1498:
1489:
1473:
1464:
1444:
1436:
1427:
1418:
1411:google books
1397:
1388:
1375:
1366:
1357:
1348:
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1330:
1321:
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1216:
1191:
1180:
1135:
1115:
1105:
1087:
1082:
1079:
1056:
1050:
1042:
989:
969:
952:
937:
914:Dura-Europos
906:
866:
825:
807:James Tissot
742:
721:hippopotamus
706:
687:
652:
640:
607:
592:, where the
587:
582:Brera, Milan
553:
539:room at the
506:
484:
476:Michelangelo
457:
366:
358:
312:
276:Annunciation
265:
212:
208:
199:
175:
167:
157:
133:
83:
68:
53:
37:Hebrew Bible
30:
2097:Free online
1177:Comparative
1034:Islamic art
1016:Rijksmuseum
973:iconography
749:Orientalism
644:Last Supper
500:, c. 1570,
393:Saint-Denis
304:Saint Peter
215:iconography
79:allegorical
71:typological
56:Islamic art
2361:Categories
2298:1351934848
2280:185709283X
2231:3110223929
2158:1498502938
2143:111871377X
2129:0719541476
2079:web page:
2055:0300055870
2039:0903598221
2021:0521551749
2010:References
1942:Ulmer, 215
1924:Ulner, 322
1859:AGK Images
1848:Ulner, 311
1839:Ulmer, 305
1821:Ulmer, 299
1789:0567672336
1769:9774165993
1749:030015514X
1729:0892361573
1644:Yavneh, 51
1499:www.wga.hu
1407:1498502938
1289:Ulmer, 297
1020:Paulus Bor
944:Via Latina
792:Edwin Long
745:Egyptology
713:cornucopia
517:orphanages
369:crocodiles
350:misericord
272:ypological
260:Canterbury
124:Paulus Bor
2351:help page
1985:Natif, 15
1635:Hall, 213
1063:Ilkhanate
1028:Rembrandt
903:, c. 1320
901:Catalonia
895:From the
877:Midrashic
633:, 1580s,
568:epic poem
566:wrote an
560:Louis XIV
537:billiards
169:the name
86:foundling
2168:, 2013,
2100:Archived
2088:, Leiden
1196:See also
1150:, London
1132:, London
992:Josephus
932:Josephus
926:, 1638,
882:Haggadah
863:, c. 244
734:tapestry
698:obelisks
694:pyramids
631:Veronese
620:Veronese
580:, 1545,
246:Medieval
171:Jochabed
134:Chapter
2242:, ed.,
953:ExagĹŤge
948:Aramaic
924:Poussin
871:in the
811:gouache
664:Dresden
658:in the
603:Vermeer
556:Poussin
549:Rebecca
545:Eliezer
348:Gothic
325:in the
300:Gentile
294:by the
282:in the
262:, 1150s
148:Pharaoh
138:of the
136:1:15–22
130:, 1630s
62:in the
35:in the
2296:
2278:
2256:
2229:
2219:
2209:
2156:
2141:
2127:
2112:
2053:
2037:
2019:
2000:
1787:
1767:
1747:
1727:
1678:Willis
1610:
1549:DeWitt
1452:
1405:
1183:Kanesh
1144:Louvre
1071:Qur'an
1065:, now
996:Louvre
981:Miriam
965:Acts 7
940:fresco
928:Louvre
869:fresco
830:, 1904
794:, 1886
779:, 1885
717:sphinx
502:Louvre
488:Venice
452:Louvre
308:Papacy
192:type.
60:fresco
2201:JSTOR
2185:JSTOR
2095:, or
2093:JSTOR
2084:, by
2065:JSTOR
1905:image
1871:JSTOR
1564:JSTOR
1530:JSTOR
1279:JSTOR
1209:Notes
1168:" by
1157:" by
1075:Asiya
910:leper
757:Pathé
709:Nilus
635:Dijon
601:" by
474:" by
144:Egypt
108:Prado
94:nudes
75:Jesus
45:Moses
2304:and
2294:ISBN
2276:ISBN
2254:ISBN
2227:ISBN
2217:ISBN
2207:ISBN
2181:here
2154:ISBN
2139:ISBN
2125:ISBN
2110:ISBN
2051:ISBN
2035:ISBN
2017:ISBN
1998:ISBN
1785:ISBN
1765:ISBN
1745:ISBN
1725:ISBN
1608:ISBN
1450:ISBN
1403:ISBN
1128:and
1092:, a
1067:Iran
1022:and
696:and
547:and
462:had
126:and
41:Nile
2193:",
2183:),
1138:by
1120:by
1108:by
1018:by
963:in
955:by
43:of
2363::
2353:).
1964:,
1578:.
1497:.
1481:;
1440:'
1365:.
1224:.
1189::
1010:,
1006:,
899:,
888:.
759:.
740:.
680:,
515:,
352:,
310:.
258:,
106:,
96:.
2271:)
1616:.
1582:.
1501:.
1458:.
1369:.
1228:.
1164:"
1153:"
637:.
597:"
152:2
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