All the Beauty in the World

In the context of the book, this refers to a phase in ancient Greek art and culture, approximately spanning from 800 to 480 BCE. Bringley describes it as a transitional age, about 150 years after Homer and 150 years before Socrates. This period is characterized by significant developments in Greek sculpture, including the creation of freestanding statues like the kouros.

Benin was a powerful West African kingdom, now part of modern-day Nigeria, renowned for its sophisticated artistic traditions. Bringley examines Benin artworks in the Metropolitan Museum’s collection, with a particular focus on a mask depicting Queen Mother Idia. He also contemplates the complex history of these artifacts, many of which were acquired through colonial conquest, and considers the potential for their future repatriation.

The bubonic plague is a deadly infectious disease that devastated Europe in the 14th century, killing approximately one-third of the population. In the book, Bringley mentions that the Florentine painter Bernardo Daddi succumbed to this plague. This reference contextualizes the artist’s work within the harsh realities of medieval life and death.

Literally, a cloister refers to the open-air center of a monastery, as described in the author’s visit to The Cloisters Museum. Metaphorically, Bringley extends this concept to various spaces in his life, such as Tara’s apartment and Tom’s hospital room. The cloister serves as a powerful symbol throughout the book, representing spaces of contemplation, connection, and transformation.

These are written tributes or commentaries appended to Chinese hand scrolls by scholars and collectors over centuries. Bringley describes how these additions provide insight into how artworks have been appreciated and interpreted over time. He notes how colophons add historical context and literally extend the physical length of the artwork, sometimes making scrolls several times longer than their original size.

In the context of the book, a copyist refers to an artist, often an art student, who creates a reproduction of an original artwork displayed in the museum. Bringley observes copyists at work in the galleries, noting their careful attempts to replicate masterpieces. The author uses the presence of copyists to reflect on the nature of artistic genius and the challenges of reproducing great works of art.

Crucifixion is a method of execution in which a person is nailed or tied to a cross, most famously associated with the death of Jesus Christ. In the book, Bringley frequently encounters and reflects on paintings depicting Christ’s crucifixion. He uses these artworks as a lens to explore themes of suffering, mortality, and human endurance.

In the context of the book, a dervish is described as a member of a 16th-century Sufi order, an ascetic figure somewhat analogous to a monk in Western traditions. Bringley encounters a painting of a dervish in the Islamic Wing of the Metropolitan Museum of Art. He uses it as a focal point for his reflections on spirituality and human suffering.

This phrase refers to the ancient Egyptian concept of time, which differs significantly from modern linear perceptions. Bringley describes Egyptian time as cyclical and eternal, based on recurring natural phenomena such as the daily rising and setting of the sun and the annual flooding of the Nile River. The author explains that the Egyptians saw time as consisting of two main aspects: circular time (neheh) and linear time (djet).

Glazing is a painting technique used by old masters, particularly mentioned in relation to Titian’s work. It involves applying thin, semi-transparent layers of paint to create depth, luminosity, and subtle color effects. Bringley describes how this technique contributes to the lifelike quality and timeless appeal of certain paintings.

Bringley describes this as a faint blue cloud on a white wall in the museum, created by hundreds of foot-sore security guards leaning against it while wearing cheap polyester suits. This detail serves as a physical reminder of the human presence in the museum’s history and the often-overlooked role of security personnel.

These are a traditional format of East Asian painting and calligraphy, designed to be viewed by unrolling from right to left. In the book, Bringley examines and describes a thousand-year-old hand scroll in the museum’s collection. He reflects on the unique viewing experience this format provides, allowing for an intimate and sequential revelation of the artwork.

This term refers to artists or artworks associated with the 19th-century art movement Impressionism. Bringley describes his evolving appreciation for Impressionist paintings, particularly those by Claude Monet, as he spends time guarding galleries featuring these works. Initially skeptical of their popularity, Bringley comes to appreciate the Impressionists’ ability to capture fleeting moments of light and atmosphere.

A kouros is a type of ancient Greek statue depicting a nude young male, typically used as a grave marker or votive offering. In the book, Bringley focuses particularly on the New York Kouros. He uses it to explore themes of mortality, beauty, and the development of Greek art.

In All the Beauty in the World, a mihrab is described as a prayer niche in Islamic architecture that orients worshippers toward Mecca. Bringley encounters an ornate mihrab in the Islamic Wing of the museum. He uses it as a starting point for reflections on faith, orientation, and the intersection of art and spirituality.

A nkisi is a type of power figure from Central Africa; they often are wooden sculptures believed to house spiritual forces. Bringley provides a detailed description and analysis of one such figure in the museum’s African art collection. He reflects on its cultural significance, the process of its creation, and its role in Songye society.

This term refers to highly skilled European painters who worked before the 19th century, particularly those from the Renaissance to the Baroque period. In All the Beauty in the World, Bringley’s job as a security guard in the Metropolitan Museum of Art’s old master wing brings him into daily contact with works by artists such as Rembrandt, Botticelli, Vermeer, and Titian, among others.

This term refers to a type of religious artwork, typically a sculpture or painting, depicting the Virgin Mary holding the dead body of Jesus Christ. In the context of Bringley’s book, he describes a Pietà painting that his mother views in the Philadelphia Museum of Art. The author uses this image as a powerful metaphor for grief and maternal love, drawing parallels between the artwork and his mother’s experience of losing her son, Tom.

Also referred to as “checkpoints,” this term describes the guard assignment of ticket-taking at the museum entrances. Guards working points are responsible for ensuring visitors have proper admission pins. They often engage in conversation with each other and visitors during these assignments.

Bringley introduces this term when discussing Tom’s explanation of biological systems. A Rube Goldberg device is typically an overly complex machine that performs a simple task through a chain reaction of interconnected parts. In the book, Tom uses this concept to describe the intricate and often redundant nature of biological processes, contrasting them with the more straightforward principles of pure mathematics.

Sufism is presented in the book as a mystical branch of Islam. Bringley explores Sufi concepts, particularly through the writings of Ibn ‘Arabi, as a way to understand different modes of perception and spiritual experience. Sufism is portrayed as emphasizing direct experience of the divine and providing a framework for understanding the relationship between immediate spiritual awareness and intellectual comprehension.

This is a journal of art, prose, and poetry produced and edited by guards at the Metropolitan Museum of Art. It serves as a creative outlet for the museum’s security staff, showcasing their artistic and literary talents beyond their primary roles as guards.

This term refers to the bag inspection stations at the museum entrances. Guards assigned to “tables” are responsible for checking visitors’ bags for contraband items, including food, luggage, and other prohibited objects.

The box is the guards’ colloquial term for the coat check areas in the museum. There are two coat checks, known as the north box and the south box, which are large spaces equipped with motorized carousels for storing visitors’ belongings.