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127:
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20:
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1247:" 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."
745:, where previously most artists, for example, Veronese, had not attempted to represent a specifically Egyptian setting. An exception is Niccolò dell'Abbate, 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
835:
945:
1100:
2482:
796:. 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
928:, 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) and displays both
165:
When she saw that he was a fine child, she hid him for three months. 3 But when she could hide him no longer, she got a papyrus basket for him and coated it with tar and pitch. Then she placed the child in it and put it among the reeds along the bank of the Nile. 4 His sister stood at a distance to
1137:
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 rather like an elongated coffin, perhaps because the artist was
1008:
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
382:
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
196:
preferred in recent religious traditions. The basket, usually with a rounded shape, is more common in
Christian art (at least in the Western Church), and the ark more so in Jewish and Byzantine art; it is also used in the Islamic miniature described below. In all traditions most depictions show a
169:
5 Then
Pharaoh’s daughter went down to the Nile to bathe, and her attendants were walking along the riverbank. She saw the basket among the reeds and sent her female slave to get it. 6 She opened it and saw the baby. He was crying, and she felt sorry for him. "This is one of the Hebrew babies", she
173:
8 "Yes, go," she answered. So the girl went and got the baby’s mother. 9 Pharaoh’s daughter said to her, "Take this baby and nurse him for me, and I will pay you." So the woman took the baby and nursed him. 10 When the child grew older, she took him to
Pharaoh’s daughter and he became her son. She
651:
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
183:
The biblical account allows for a variety of compositions. There are several 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,
512:
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
1051:, 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
698:
Veronese's costumes, contemporary when he painted them in the 1570s and 1580s, became established as a sort of standard, and were copied and repeated in new compositions by a number of
Venetian painters in the 18th century, during a "Veronese revival". The famous painting by
652:
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
932:
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 much later medieval Jewish illuminated manuscripts, mostly of the
680:
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 his indecorous depiction of the
442:
394:: "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".
81:, datable to around 244 AD, whose 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 retinue.
633:
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
1004:, 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
415:
1027:
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
191:
The Hebrew word usually translated as "basket" in verse 3 can also mean "ark", or small boat. Both vessels appear in art, the ark in fact represented as though made of stiff sheets like solid wood, rather than the
776:
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
736:
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
224:. In some depictions this is shown in the distance as a subsidiary scene, and some cycles, mostly illustrating books, show both scenes. In some cases it may be hard to distinguish between the two; usually the
656:
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 a number of compositions by
2317:, 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
1063:'s painting of 1650, with two male swimmers. Italian paintings more often show female swimmers, or at least females who have landed and are drying themselves after handing the baby to the princess, as in
430:
974:, Jewish depictions often include her, and sometimes other women, standing naked in the river. According to Rabbinic tradition, as soon as the princess touched the ark carrying Moses she was healed.
2227:
885:
966:
in various ways, and it has been argued that some of these details can be detected in
Christian as well as Jewish art. One Jewish tradition was that Pharaoh's daughter, identified as Bithiah, was a
197:
stretch of open river with few reeds, and the vessel is sometimes seen drifting along in the flow. Exceptions are many 19th-century depictions, and some in late medieval manuscripts of the
1134:, 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.
849:
1300:
Wine, 370–371, on the London Poussin; Yavneh, 61, on the Prado Veronese, both disagreeing with other art historians on who figures represent in particular depictions.
126:
773:
330:
Cycles with the life of Moses were not common, but where they exist they may begin with this subject if they have more than about four scenes. The 4th-century
2224:
1219:
873:
73:
are much less frequent, but some Christian depictions show details derived from extra-biblical Jewish texts. The earliest surviving depiction in art is a
2502:
1182:
1178:
1145:
This manuscript has seven miniatures of the life of Moses, an unprecedented number perhaps suggesting a special identification with Moses by the author
2306:
517:
the story had a special resonance with the early history of the city. These paintings were for homes and palaces, sometimes for foundling hospitals.
1017:(3rd century BC), Moses recounts his finding, saying of the princess "And straightway seeing me, she took me up", which may be reflected both in the
1438:
2507:
356:, where the scheme of paired cycles was intended to evoke the oldest Christian art. There are several short cycles in luxury manuscripts of the
319:. The princess was often seen allegorically as representing the Church, or earlier the Gentile Church. Alternatively, Moses might be a type for
819:
458:
84:
Moses was a central figure in Jewish tradition, and was given a variety of different significances in Christian thought. He was regarded as a
334:
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
781:, though the sphinx survived. Poussin's treatments show awareness of much of the scholarly interest in Moses in terms of what we now call
1044:. By contrast, the 18th-century Venice Haggadah has been influenced by local Christian depictions, and shows a clothed princess on land.
103:
that it requires a number of female figures, but apart from the baby no male figures are necessary. The opportunity of depicting female
610:
400:
297:
1832:, Metropolitan Museum of Art symposia, Editors Thomas Patrick Campbell, Elizabeth A. H. Cleland, 96, 2010, Metropolitan Museum of Art,
1695:
1169:
504:
390:
and perhaps hippos, as often shown in classical depictions of the Nile landscape. This very rare treatment in fact anticipates modern
867:
2407:
2366:
2352:
2245:
2115:
1533:
788:
Thereafter attempts at an authentic Egyptian setting were spasmodic, until the start of the 19th century, with the advent of modern
1040:
sits on the bank watching them. Other works include the so-called "Sister of the Golden Haggadah" manuscript, and the (Christian)
2414:
2104:
1059:
a burly male emerges from the water with the child and basket, a detail sometimes copied by other painters. This is followed in
491:
1729:
19:
1207:
764:, which follows a specific classical statue in the Vatican. His 1647 version for the banker Pointel (now Louvre) includes a
2459:
2441:
2380:
2292:
2274:
2260:
2172:
2156:
2138:
1894:
1870:
1837:
1814:
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687:
63:
170:
said. 7 Then his sister asked Pharaoh’s daughter, "Shall I go and get one of the Hebrew women to nurse the baby for you?"
596:
296:, and sometimes paired with it. This probably accounts for it being represented as a faded fresco on the rear wall in the
204:
307:, Washington. It might also be regarded as prefiguring "the reception of Christ by the community of the faithful", the
1562:
1113:
1072:
726:
712:
704:
1745:
1256:
970:, who was bathing in the river to cleanse herself, seen as a ritual purification for which she would be naked. As at
2486:
595:, whose parents had been childless for 23 years, may have been a factor in the interest of French artists. The poet
2399:
769:
722:
707:
dates from the 1730s or 1740s, but avoids the fashion of that period and bases its costumes on a Veronese now in
700:
626:
422:
312:
695:
certainly called for a party of lavishly dressed court ladies and their attendants, it avoided such objections.
653:
546:
specifically for abandoned children, a common focus of charitable activity by the rich. The seal of the London
524:
1142:, this may be all but unique in Islamic miniatures. The composition may be derived from Byzantine depictions.
1084:
636:
134:
2394:
1138:
unfamiliar with the subject. There are few comparable Islamic world histories, and like other scenes in the
2333:
2179:
2161:
1606:
1349:
648:
614:
407:
343:
304:
110:
664:
1146:
925:
909:
905:
285:
78:
1091:'s studio shows several naked women who have apparently just come out of the water, bringing the basket.
157:
ordered: "Every Hebrew boy that is born you must throw into the Nile, but let every girl live." Chapter
2014:
1288:
1014:
348:
308:
580:; possibly the idea was to encourage those winning bets on the game to give their winnings to charity.
268:
1936:
Mann, 169–172, 183; Ulner, 297 and throughout. For a sceptical view of the links, see Guttmann, 25–26
1887:
Biblical Reception, 4: A New Hollywood Moses: On the Spectacle and Reception of Exodus: Gods and Kings
99:
or abandoned child, a significant social issue into modern times. The subject is unusual in standard
2075:
1224:
1162:
1118:
1104:
1021:
834:
797:
782:
567:
558:'s painting of a slightly later episode of the young Moses and the princess. We know a depiction by
386:
The artist of a French Romanesque capital has enjoyed himself showing the infant Moses threatened by
335:
2301:
Natif, Mikah, "Rashid al-Din’s Alter Ego: The Seven Paintings of Moses in the Jami al-Tawarikh", in
1041:
2198:
618:
559:
520:
363:
289:
85:
2318:
1558:
1174:
547:
539:
489:
began the Moses sequence on the altar wall until it was destroyed in the 1530s to make space for
391:
23:
977:
718:
644:
may represent knowledge and science, as Moses was "learned in all the wisdom of the Egyptians".
357:
198:
2455:
2437:
2403:
2384:
2376:
2362:
2348:
2296:
2288:
2270:
2256:
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2205:
2168:
2152:
2134:
2111:
1890:
1874:
1866:
1833:
1810:
1691:
1574:
1529:
1523:
1482:
1060:
825:
753:
746:
535:
316:
96:
2467:
2278:
1898:
1841:
1818:
92:
representation of things as diverse as the pope, Venice, the Dutch Republic, or Louis XIV.
2313:
2142:
1642:
1490:
1241:
1200:
1064:
372:
193:
100:
2426:
1659:
2231:
2213:
The Dura Europos Synagogue Paintings and Their Influence on Later Christian and Jewish Art
2010:
1340:
1192:
1033:
1024:
7:20, and in artistic depictions where the princess is apparently first to grasp the ark.
949:
944:
733:
555:
486:
462:
379:
273:
212:
114:
1964:
2389:
2347:,1971 (English trans from German), Lund Humphries, London, pp 33–52 & figs 66–124,
1660:"The finding of Moses: Moses brought before Pharoah's daughter by Bonifazio de' Pitati"
1456:
1212:
1087:
from the 1630s, and Poussin's 1651 composition. The only painting of the subject from
962:
938:
892:
669:
658:
551:
478:
474:
353:
331:
146:
47:
66:. The story became a common subject in art, especially from the Renaissance onwards.
2496:
1601:
1525:
Nuns and Reform Art in Early Modern Venice: The Architecture of Santi Cosma e Damiano
1344:
1068:
1018:
630:
339:
218:
The less common preceding scene of Moses being left in the reeds is formally called
2395:
Age of spirituality: late antique and early Christian art, third to seventh century
2283:
Mann, Vivian B., "Observations on the Biblical Miniatures in Spanish Haggadot", in
1640:
Acts 7:22; Welu, James. "Vermeer's Astronomer: Observations on an Open Book", 266,
971:
855:
765:
496:
448:
The casting-off in the foreground, combined with the finding at rear, 15th-century.
293:
51:
2463:
1710:
Willis, note 7, lists 4, plus 3 from his workshop; Yavneh, 51–53; Robertson, 100
1291:; Yavneh, 53–56, analyses the passage and later interpretations of it at length.
1099:
1076:
1029:
793:
682:
320:
232:
70:
2375:, Chapter 10, "The Finding of Moses in Art and Text", 2009, Walter de Gruyter,
1688:
The Art of Renaissance Venice: Architecture, Sculpture, and Painting, 1460–1590
228:
includes Moses' mother and sister, and sometimes his father and other figures.
211:, as his mother casts him off. The princess's party is further down the bank.
1227:, 1904, sold at auction in 2010 for nearly US$ 36 million. Private collection.
1080:
1001:
840:
789:
757:
752:
For good measure the main three versions by Poussin all include a Roman-style
368:
277:
142:
130:
104:
158:
2071:
1088:
953:
600:
592:
563:
543:
387:
1127:
625:
As well as the Catholic countries, there were also a number of versions in
88:
precursor of Christ, but could at times also be regarded as a precursor or
2481:
2410:; full text available online from The Metropolitan Museum of Art Libraries
1343:
painted both scenes more than once, and his compositions are described in
1009:
artisans with sets of models for all religious requirements. In the play
16:
The finding in the River Nile of Moses as a baby by the daughter of Pharao
1979:, Vol. 48, No. 3 (Sep., 1994), pp. 219–234, Brill, DOI: 10.2307/1584095,
1765:
Altogether he painted about 19 works set in Egypt, some 10% of his output
1048:
989:
934:
805:
778:
185:
89:
2303:
Rashid al-Din. Agent and Mediator of Cultural Exchanges in Ilkhanid Iran
1275:
This is rarely used in English, but standard in the Latin languages, eg
937:, some of which seem to share an iconographical tradition going back to
804:
the opening scene in a 5-minute biographical film by the French company
2322:
2220:
1980:
1647:
1005:
981:
929:
859:
742:
738:
708:
685:
as an extravagant festivity mainly in modern dress, in what he renamed
641:
584:
576:
572:
154:
2338:
2184:
1611:
1354:
2240:(catalogue), National Gallery of Art, Washington/Cambridge UP, 1986,
1975:"Alcestis and Hercules in the Catacomb of via Latina", Beverly Berg,
1237:
1196:
1123:
1056:
1037:
997:
985:
921:
761:
587:
painting it at least three times, as well as a number of versions of
528:
514:
466:
360:
and related types, some of which give the story more than one image.
324:
74:
1918:
Weitzmann, 366–369, 374; Ulmer, 298–304; Mann, 169–170; Langston, 47
1339:
Again, a rare title in English, but normal in the Latin languages.
583:
The 17th century saw the height of popularity for the subject, with
562:
was one of a pair of biblical subjects commissioned in 1701 for the
436:
Moses being "exposed", very much in an "ark", 15th-century miniature
2287:, Editors, Pamela Barmash, W. David Nelson, 2015, Lexington Books,
1863:
Wonderful Things: A History of Egyptology 1: From Antiquity to 1881
1481:, Editors, Pamela Barmash, W. David Nelson, 2015, Lexington Books,
1259:, a poem by the Irish street poet Zozimus (b. circa 1794 – d. 1846)
895:, before 1857, was much reproduced in prints and book illustrations
2131:
The Politics of Motherhood: British Writing and Culture, 1680–1760
1215:, various compositions, in the Prado, Dresden, Dijon and elsewhere
1131:
1098:
976:
967:
943:
904:
717:
673:
663:
609:
519:
457:
362:
267:
203:
188:, may be thought to be included in the group around the princess.
150:
125:
59:
27:
18:
2149:
Italian and Spanish Paintings in the National Gallery of Scotland
346:
which includes it. Cycles are most often paired with one of the
1830:
Tapestry in the Baroque: New Aspects of Production and Patronage
1236:
Zalpuwa is the setting for an ancient legend about the Queen of
55:
2072:"The infant Musa (Moses) found by women of Pharaoh's household"
1149:, a convert from Judaism who became chief minister of Persia.
591:. It has been suggested that the birth in 1638 of the future
2359:
The Sistine Chapel: The Art, the History, and the Restoration
1809:: Volume 17, 1989, 45–46, note 18, 1990, Getty Publications,
554:
gave them his painting of the subject, where it hung next to
768:
hunt on the river in the background, adapted from the Roman
2432:
Wine, Humphrey, National Gallery Catalogues (new series):
756:, the god or personification of the Nile, reclining with a
2285:
Exodus in the Jewish Experience: Echoes and Reverberations
1479:
Exodus in the Jewish Experience: Echoes and Reverberations
1032:
found in the Dura-Europos synagogue. In the 14th-century
1575:"Web Gallery of Art, searchable fine arts image database"
481:
of the lives of Christ and Moses in large frescos, and a
538:
remained a significant social issue in the period, with
2454:, 2016, Eds. Naomi J. Miller, Naomi Yavneh, Routledge,
711:, but in Venice until 1747; another Tiepolo now in the
174:
named him Moses, saying, "I drew him out of the water."
1240:, which was either composed in or translated into the
46:, or other variants, is the story in chapter 2 of the
2000:
Mann, 169–172, 183; Ulmer, 303 has a list in note 26.
1865:, 255, 2015, The American University in Cairo Press,
1604:, "Poussin Studies IV: Two Rediscovered Late Works",
1419:
Sistine, 43; Hall, 213–216 lists 13 potential scenes.
1347:, "Poussin Studies IV: Two Rediscovered Late Works",
1195:; there are three different compositions, two in the
1165:, in Edinburgh; a different composition in Melbourne.
960:Jewish textual traditions elaborate on the text in
715:uses the style of Veronese even more thoroughly.
2452:Gender and Early Modern Constructions of Childhood
2151:, 2nd Edn, 1993, National Galleries of Scotland,
288:and other media. The incident was regarded as a
251:What role, if any, is assigned to the River Nile?
231:Rivka Ulmer identifies recurrent "issues" in the
2425:, No. 48, National Gallery of Victoria (by 2017
2253:Hall's Dictionary of Subjects and Symbols in Art
1600:Poussin's various compositions are described in
1428:Sistine, 40–41, 50–75 analyze the paired cycles.
996:The earliest surviving Christian depiction is a
2197:, Arthur K. Wheelock Jr., Ed., New York, 2017,
2183:, vol. 141, no. 1158, 1999, pp. 537–541.,
1686:Huse, Norbert; Wolters, Wolfgang (1993-10-30).
242:The type of hand gesture of Pharaoh's daughter;
161:begins with the birth of Moses, and continues:
2107:A Dictionary of Ancient Near Eastern Mythology
1557:Bowers, 7–10; both still belong to the London
254:The presence or absence of Egyptian artifacts.
1330:Natif, 18, for Byzantine and Islamic examples
1130:and Islamic tradition, it is Pharaoh's wife,
248:The number and the gender of the "handmaids";
8:
2337:, vol. 91, no. 553, 1949, pp. 99–101.,
2327:Robertson, Giles. "Tiepolo's and Veronese's
1889:, 75–77, 2016, Bloomsbury Publishing, 2016,
1690:. University of Chicago Press. p. 270.
992:, and a personification of the Nile at left.
423:classical tradition of the Nilotic landscape
2446:Yavneh, Naomi, "Lost and Found; Veronese's
2436:, 2001, National Gallery Publications Ltd,
2177:Bull, Malcolm. "Notes on Poussin's Egypt",
774:Académie royale de peinture et de sculpture
284:Medieval depictions are sometimes found in
1126:at the start of the 14th century. In the
378:The depiction in the 12th-century English
2434:The Seventeenth Century French Paintings
2361:, 1986, Harmony Books/Nippon Television,
2219:, Vol. 9, No. 17 (1988), pp. 25–29,
1733:, after 1740, Probably by Francesco Zugno
1289:Exodus 2, New International Version (NIV)
95:The subject also represented a case of a
1801:Jaffé, David, "Two Bronzes in Poussin's
1122:, an ambitious world history written in
1047:A different tradition is first found in
421:French Romanesque capital, aware of the
109:
2427:this painting was attributed to Tiepolo
2357:"Sistine": Pietrangeli, Carlo, et al.,
1383:Schiller, 50 quoted; Wine, 374, note 31
1268:
815:
396:
272:Detail of multi-scene miniature in the
2470:– ebook, with different pages viewable
1646:, vol. 68, no. 2, 1986, pp. 263–267.,
1610:, vol. 92, no. 563, 1950, pp. 39–52.,
1353:, vol. 92, no. 563, 1950, pp. 39–52.,
1317:
1315:
1000:of the 4th century in the Catacomb of
2419:: Steps towards a New Attribution"
2025:Mann, 170; Ulmer's list, 303, note 26
1112:There is an unusual depiction in the
1036:there are three, while Moses' sister
916:The earliest visual depiction of the
661:, using the modern dress of his day.
469:. Men hunt hippos from a boat behind.
149:recounts how during the captivity in
7:
2345:Iconography of Christian Art, Vol. I
2133:, 1996, Cambridge University Press,
1783:Wine, 369, 374–375, notes 32, 37, 39
1493:; for Poussin's hippo-hunt see below
1455:One of the single sheets now in the
338:. There is a 12th-century cycle in
1728:Willis, quoted; Robertson, 99–100;
1528:. Ashgate Publishing. p. 244.
760:, in two of them in company with a
245:Who enters the Nile to fetch Moses?
2373:Egyptian Cultural Icons in Midrash
729:, probably 1730s, now 202 Ă— 342 cm
323:, and so by extension the Pope or
14:
2503:Paintings of the Finding of Moses
1744:Brigstocke, 160; Robertson, 100;
550:showed the scene, and the artist
2480:
2255:, 1996 (2nd edn.), John Murray,
2248:. Entry pp. 75–86, by Hand.
1807:The J. Paul Getty Museum Journal
884:
866:
848:
833:
818:
800:finished his painting, with the
792:, and in art the development of
465:, 1647 (the "Pointel" version),
441:
429:
414:
399:
179:Visualizing the biblical account
2269:, 2013, John Wiley & Sons,
2195:The Leiden Collection Catalogue
1374:Hand p.80; Purtle, 1999, pp 5–6
1075:, as well as a painting in the
988:, with the male "swimmer" from
1443:iconographic.warburg.sas.ac.uk
1279:is the normal title in French.
688:The Feast in the House of Levi
166:see what would happen to him.
1:
2236:Hand, J.O., & Wolff, M.,
1257:"The Finding of Moses" (poem)
668:One of several treatments by
607:between about 1638 and 1653.
597:Antoine Girard de Saint-Amant
239:Is Moses in an ark or basket?
184:traditionally given the name
2267:Exodus Through the Centuries
2238:Early Netherlandish Painting
2165:Painting in Italy, 1500–1600
1309:Note to text as quoted above
1114:Edinburgh University Library
1073:Giovanni Francesco Romanelli
727:National Gallery of Scotland
713:National Gallery of Victoria
705:National Gallery of Scotland
107:was taken by many painters.
54:of the finding in the River
2508:Pharaoh's daughter (Exodus)
1852:Bull, throughout; Wine, 369
44:Moses Saved from the Waters
30:, 1633, one of two versions
2524:
2400:Metropolitan Museum of Art
2109:. Routledge. 1998. p. 142.
1511:Yavneh, 51; Robertson, 100
772:. In a discussion at the
311:, and the escape from the
153:of the Jewish people, the
2307:online text, academia.edu
1664:www.artgallery.nsw.gov.au
1410:Hall, 213; Sistine, 52–56
901:Jewish art and traditions
770:Nile mosaic of Palestrina
723:Giovanni Battista Tiepolo
701:Giovanni Battista Tiepolo
627:Dutch Golden Age painting
313:Massacre of the Innocents
69:Depictions in Jewish and
2423:Art Bulletin of Victoria
1085:Cornelis Hendriksz Vroom
135:Cornelis Hendriksz Vroom
2334:The Burlington Magazine
2180:The Burlington Magazine
2167:, 3rd edn. 1993, Yale,
2061:DeWitt, fig. 2 and text
1885:Tollerton, David, ed.,
1607:The Burlington Magazine
1522:Paul, Benjamin (2012).
1477:Barmash, Pamela, 2, in
1401:Yavneh, 60; Sistine, 51
1350:The Burlington Magazine
589:The Exposition of Moses
506:Moses Leaving for Egypt
344:Basilica of Saint-Denis
305:National Gallery of Art
286:illuminated manuscripts
221:The Exposition of Moses
209:The Exposition of Moses
1803:Studies of Antiquities
1502:Sistine, 43, 46–47, 51
1147:Rashid-al-Din Hamadani
1109:
993:
957:
926:Dura-Europos synagogue
913:
910:Dura-Europos synagogue
812:Orientalist depictions
730:
677:
622:
531:
509:now begins the cycle.
470:
375:
281:
215:
176:
138:
118:
79:Dura-Europos synagogue
40:Moses in the Bulrushes
31:
1102:
1015:Ezekiel the Tragedian
980:
947:
908:
721:
667:
613:
523:
461:
366:
309:Resurrection of Jesus
271:
207:
163:
129:
113:
22:
2489:at Wikimedia Commons
2265:Langston, Scott M.,
2217:Artibus et Historiae
2162:Freedberg, Sydney J.
2076:Edinburgh University
1977:Vigiliae Christianae
1746:the Dresden Veronese
1731:The Finding of Moses
1439:"WI-ID Subject Tree"
1392:Hall, 213; Wine, 369
1277:Moïse sauvé des eaux
1225:Lawrence Alma-Tadema
1220:The Finding of Moses
1208:The Finding of Moses
1189:The Finding of Moses
1170:The Finding of Moses
1163:Gianbattista Tiepolo
1159:The Finding of Moses
1108:, c. 1310, Edinburgh
875:The Finding of Moses
798:Lawrence Alma-Tadema
783:comparative religion
649:Bonifazio de' Pitati
615:Bonifazio de' Pitati
568:Palace of Versailles
479:facing paired cycles
406:12th-century glass,
336:Santa Maria Maggiore
2343:Schiller, Gertrude
2009:Ulmer, 307; f. 9r,
1199:, Paris, the other
654:Niccolò dell'Abbate
560:Charles de La Fosse
540:foundling hospitals
525:Niccolò dell'Abbate
454:Renaissance onwards
64:daughter of Pharaoh
38:, sometimes called
2230:2018-08-27 at the
2147:Brigstocke, Hugh;
2105:Leick, Gwendolyn.
1676:Freedberg, 535–536
1622:Wine, 374, note 29
1559:Foundling Hospital
1177:, versions in the
1175:Orazio Gentileschi
1153:Leading depictions
1116:manuscript of the
1110:
994:
958:
914:
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678:
623:
548:Foundling Hospital
532:
471:
392:Biblical criticism
376:
352:, as later in the
282:
216:
139:
119:
32:
24:Orazio Gentileschi
2485:Media related to
2462:, 9781351934848,
2398:, no. 149, 1979,
2383:, 9783110223927,
2311:Purtle, Carol J,
2295:, 9781498502931,
2277:, 9781118713778,
2211:Gutmann, Joseph,
2206:Pieter de Grebber
2141:, 9780521551748,
2013:, MS add. 27210,
1897:, 9780567672339,
1873:, 9789774165993,
1861:Thompson, Jason,
1840:, 9780300155143,
1817:, 9780892361571,
1563:the Hogarth image
1548:Yavneh, 53, 58–59
1489:, 9781498502931,
1140:Jami' al-tawarikh
1119:Jami' al-tawarikh
1105:Jami' al-tawarikh
1061:Sebastian Bourdon
826:Frederick Goodall
747:Flight into Egypt
536:child abandonment
501:Nativity of Jesus
492:The Last Judgment
473:The walls of the
317:Flight into Egypt
292:precursor of the
62:as a baby by the
2515:
2487:Finding of Moses
2484:
2450:", Chapter 3 in
2448:Finding of Moses
2417:Finding of Moses
2329:Finding of Moses
2314:The Art Bulletin
2201:Finding of Moses
2193:, (PG-100)", in
2191:Finding of Moses
2189:DeWitt, Lloyd. "
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98:
93:
91:
87:
82:
80:
76:
72:
67:
65:
61:
57:
53:
49:
45:
41:
37:
29:
25:
21:
2468:google books
2464:google books
2451:
2447:
2433:
2422:
2416:
2402:, New York,
2393:
2385:google books
2372:
2358:
2344:
2332:
2328:
2312:
2302:
2297:google books
2284:
2279:google books
2266:
2252:
2237:
2216:
2212:
2200:
2194:
2190:
2178:
2164:
2148:
2143:google books
2130:
2106:
2100:
2091:
2086:Natif, 17–18
2082:
2066:
2057:
2048:
2039:
2030:
2021:
2005:
1996:
1987:
1976:
1971:
1963:Ulmer, 305;
1959:
1950:
1941:
1932:
1923:
1914:
1909:Langston, 47
1905:
1899:google books
1886:
1881:
1875:google books
1862:
1857:
1848:
1842:google books
1829:
1825:
1819:google books
1806:
1802:
1797:
1788:
1779:
1770:
1761:
1752:
1740:
1730:
1724:
1715:
1706:
1687:
1681:
1672:
1663:
1654:
1641:
1636:
1627:
1618:
1605:
1596:
1587:
1578:
1569:
1553:
1544:
1524:
1516:
1507:
1498:
1491:google books
1478:
1473:
1464:
1451:
1442:
1433:
1424:
1415:
1406:
1397:
1388:
1379:
1370:
1361:
1348:
1335:
1326:
1305:
1296:
1284:
1276:
1271:
1246:
1235:
1218:
1206:
1188:
1168:
1158:
1144:
1139:
1136:
1117:
1111:
1103:
1052:
1046:
1026:
1010:
995:
972:Dura-Europos
961:
959:
917:
915:
874:
856:James Tissot
801:
787:
766:hippopotamus
751:
732:
697:
692:
686:
679:
646:
635:
629:, where the
624:
619:Brera, Milan
604:
588:
582:
571:
566:room at the
533:
511:
505:
500:
497:Michelangelo
490:
482:
472:
385:
377:
347:
329:
299:Annunciation
298:
294:Annunciation
283:
230:
225:
220:
219:
217:
208:
190:
182:
172:
168:
164:
140:
94:
83:
68:
52:Hebrew Bible
43:
39:
35:
33:
2225:Free online
1232:Comparative
1095:Islamic art
1077:Rijksmuseum
1030:iconography
794:Orientalism
683:Last Supper
605:Moyse sauvé
527:, c. 1570,
408:Saint-Denis
321:Saint Peter
290:typological
233:iconography
90:allegorical
86:typological
71:Islamic art
2497:Categories
2460:1351934848
2442:185709283X
2381:3110223929
2293:1498502938
2275:111871377X
2261:0719541476
2199:web page:
2173:0300055870
2157:0903598221
2139:0521551749
2124:References
2052:Ulmer, 215
2034:Ulner, 322
1965:AGK Images
1954:Ulner, 311
1945:Ulmer, 305
1927:Ulmer, 299
1895:0567672336
1871:9774165993
1838:030015514X
1815:0892361573
1719:Yavneh, 51
1579:www.wga.hu
1487:1498502938
1365:Ulmer, 297
1081:Paulus Bor
1002:Via Latina
841:Edwin Long
790:Egyptology
758:cornucopia
544:orphanages
388:crocodiles
369:misericord
278:Canterbury
226:Exposition
131:Paulus Bor
2095:Natif, 15
1321:Hall, 213
1089:Rembrandt
956:, c. 1320
954:Catalonia
948:From the
930:Midrashic
672:, 1580s,
601:epic poem
599:wrote an
593:Louis XIV
564:billiards
117:, c. 1633
97:foundling
2305:, 2013,
2228:Archived
2208:, Leiden
1251:See also
1203:, London
1185:, London
1049:Josephus
990:Josephus
984:, 1638,
935:Haggadah
912:, c. 244
779:tapestry
743:obelisks
739:pyramids
670:Veronese
659:Veronese
617:, 1545,
264:Medieval
186:Jochabed
141:Chapter
2421:, 2008
2392:, ed.,
1055:in the
1053:Finding
1011:Exagōgē
1006:Aramaic
982:Poussin
924:in the
918:Finding
860:gouache
802:Finding
709:Dresden
703:in the
693:Finding
642:Vermeer
585:Poussin
577:Rebecca
573:Eliezer
483:Finding
367:Gothic
342:in the
315:by the
303:in the
280:, 1150s
155:Pharaoh
145:of the
143:1:15–22
137:, 1630s
77:in the
50:in the
2458:
2440:
2406:
2379:
2365:
2351:
2291:
2273:
2259:
2244:
2171:
2155:
2137:
2114:
1893:
1869:
1836:
1813:
1805:", in
1756:Willis
1694:
1631:DeWitt
1532:
1485:
1238:Kanesh
1197:Louvre
1128:Qur'an
1124:Persia
1057:Louvre
1038:Miriam
998:fresco
986:Louvre
963:Exodus
922:fresco
879:, 1904
843:, 1886
828:, 1885
762:sphinx
529:Louvre
515:Venice
467:Louvre
325:Papacy
201:type.
75:fresco
2339:JSTOR
2323:JSTOR
2223:, or
2221:JSTOR
2204:, by
2185:JSTOR
2015:image
1981:JSTOR
1648:JSTOR
1612:JSTOR
1355:JSTOR
1264:Notes
1132:Asiya
968:leper
920:is a
806:Pathé
754:Nilus
674:Dijon
151:Egypt
105:nudes
60:Moses
28:Prado
2466:and
2456:ISBN
2438:ISBN
2404:ISBN
2377:ISBN
2363:ISBN
2349:ISBN
2319:here
2289:ISBN
2271:ISBN
2257:ISBN
2242:ISBN
2169:ISBN
2153:ISBN
2135:ISBN
2112:ISBN
1891:ISBN
1867:ISBN
1834:ISBN
1811:ISBN
1692:ISBN
1530:ISBN
1483:ISBN
1181:and
1083:and
1022:Acts
741:and
575:and
477:had
133:and
56:Nile
34:The
2331:",
2321:),
1223:by
1211:by
1191:by
1173:by
1161:by
1079:by
1013:by
640:by
495:by
485:by
58:of
2499::
2215:,
2074:,
1662:.
1577:.
1561:;
1441:.
1314:^
1244::
1071:,
1067:,
952:,
941:.
808:.
785:.
725:,
603:,
542:,
371:,
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276:,
42:,
26:,
2429:)
1700:.
1666:.
1581:.
1538:.
1520:'
1445:.
676:.
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