Embroideries, etchings by Gaya and Canal, prints by Durer and Holbein, a 3000-year old censer from Iraq and an antiphonary from Italy, partially represent the scope of an exhibition first opened at the Fogg Art Museum to display recent accessions.

Last summer the Directors of the Museum discovered in France a set of embroideries hitherto unknown and unpublished, probably done near Valencia in Spain around 1400, a period from which very few embroideries are in existence today. The large cross-shaped orphrey from the back of the chasuble represents the cruicified Christ; at the foot are the emblems of the Passion and a beautifully unified group composed of the Vigin, Saint John and Mary Magdalene. The wood of the cross is carried out in stitches following the grain, and the background is worked in threads of pure gold couched in a diaper pattern. The design of the figures is admirably worked out in a limited range of colors.

An important gift from Philip Hofer '21 of Cleveland includes rare and beautiful etchings of Gaya, his "Caprichos", "Proverbios", and "Tauromaquia" in early editions, which well show the artist's skill in satire, delightfully portrayed by a combination of etchings and aquatint. There are also two works of Antonio Canal which are characteristic of his brilliant handling of sunlight and atmospheric effect.

The great "Triumphal Car" by Durer, dated 1522, was one of the woodcuts planned by the Emperor Maximilian to glorify his family and achievements. Closely allied to it are the twelve proofs of subjects from Hans Holbein's "Dance of Death", which make the set in the Fogg Museum one of the few full ones in the world. The "Dance of Death" was a favorite subject in the north of Europe during the Middle Ages, and Holbein's series of woodcuts, his most important work in this style, in one of the finest representations.

A canser, yielded from Harvard excavations in 1927 and 1928, comes from the ruins of Nuzi, Iraq, 200 miles north of Bagdad. The city of Nuzi was destroyed by fire about 1500 B. C. and apparently was never rebuilt. The censer was found in a building which had probably been a temple or sanctuary on the principal mound of the ancient city and was used for the burning of incense before the gods. The city may have suffered destruction with the rise of Assyria in 1500 B. C.

Of particular interest to students of Italian painting is the antiphonary, the bequest of W. V. R. Berry '81. It is a sumptuous book of 346 vellum pages, each covered with liturgical text and musical notations. At the beginning of each phrase is traced a large initial, within which are illuminations by Lippo Vanni, active between 1334 and 1375.