This scene\u2014the archangel Gabriel\u2019s announcement to Mary that she will give birth to Jesus, the son of God\u2014may appear to be complete, but it is actually a fragment of a larger altarpiece. X-radiography and infrared reflectography indicate that a figure originally stood along the left edge. At some point before 1906, this figure was scraped out and painted over.<\/p>\n
The painting served as the right wing of an altarpiece; scholars have identified the left wing as a painting depicting the meeting of Mary\u2019s parents (about 1491\u201394; National Gallery, London). Not only do both panels have figures painted with the precious pigment ultramarine along one of their edges, but they are united in theme: The London panel represents the moment in which Mary is conceived, while the Chicago panel illustrates the moment of Jesus\u2019s conception.<\/p>\n
Jean Hey, court painter to Pierre II, Duke of Bourbon, and his wife, Anne of France, may have made this altarpiece to celebrate the birth of their only child. The sumptuous palette and crisp definition of form echo Franco-Flemish manuscript painting, while the barrel vault and marble column\u2014reflecting a blossoming interest in antiquity in the late 1400s\u2014imbue this scene with a timeless quality.<\/p>\n","short_description":"Jean Hey, known as the Master of Moulins, was a leading painter in 15th-century France. Here, he captured the moment the archangel Gabriel announced to Mary that she would give birth to a son. The painting once formed the right side of an altarpiece, with the left side depicting Mary\u2019s own Immaculate Conception and a central section, now lost, featuring the enthroned Virgin and Child.","dimensions":"72.5 \u00d7 50.1 cm (28 1\/2 \u00d7 19 11\/16 in.); Framed: 86.3 \u00d7 65.4 cm (34 \u00d7 25 3\/4 in.)","dimensions_detail":[{"depth":null,"width":50,"height":72,"diameter":null,"clarification":null},{"depth":null,"width":65,"height":86,"diameter":null,"clarification":"Framed"}],"medium_display":"Oil on panel","inscriptions":null,"credit_line":"Mr. and Mrs. Martin A. Ryerson Collection","catalogue_display":null,"publication_history":"Roger E. Fry, \u201cThe Ma\u00eetre de Moulins,\u201d Burlington Magazine 9 (1906), pp. 330\u201331 (ill.). \n\nFran\u00e7ois Monod, \u201cL\u2019Exposition nationale de ma\u00eetres anciens \u00e0 Londres,\u201d Gazette des Beaux-Arts, 4th ser., 3 (1910), pp. 243\u201345 (ill.). \n\nMarcel Nicolle, \u201cExposition nationale de ma\u00eetres anciens \u00e0 Londres,\u201d\nLa Revue de l\u2019art ancien et moderne 27 (1910), p. 54 (ill.). \n\nJeanGuiffrey and Pierre Marcel, La Peinture fran\u00e7aise: Les Primitifs,\nvol. 1, Paris, 1913, pp. 18\u201319, pls. 53\u201354. \n\nSalomon Reinach, R\u00e9pertoire de peintures du moyen \u00e2ge et de la renaissance (1280\u20131580),vol. 4, Paris, 1918, p. 54 (ill.) \n\nThe Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings, vol. 2, August 1920, p. 62. \n\nMartin Conway, The Van Eycks and Their Followers, London, 1921, p. 187.\n\nThe Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings, May 1922, p. 72. \n\nMaurice W. Brockwell, review of Conway 1921, in Connoisseur 62 (1922), p. 206. \n\nThe Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1925, p. 160, no. 2054. \n\nMax J. Friedl\u00e4nder, \u201cA Painting by the Ma\u00eetre de Moulins in the National\nGallery,\u201d Burlington Magazine 47 (1925), pp. 187\u201388, pl. B. \n\nRose Mary Fischkin, \u201cMartin A. Ryerson Collection of Paintings and Sculpture, XIII to XVII Century, Loaned to The Art Institute of Chicago,\u201d unpub. MS, 1926, Ryerson Library, The Art Institute of Chicago, pp. 134\u201335.\n\nFrank Jewett Mather, Jr., \u201cAn Exhibition of French Primitives,\u201d Arts 12 (1927), p. 248 (ill. opp. p. 241).\n\nWalter Heil, \u201cKunstwerke der franz\u00f6sischen Gotik: Leiausstellung\nim Museum zu Detroit,\u201d Pantheon 3 (1929), p. 76. \n\nAlbert C. Barnes and Violette de Mazia, The French Primitives and Their\nForms, Merion, Pa., 1931, pp. 431\u201332, 437 (ill.). \n\nThe Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1932, p. 181, no. 670.14. \n\nF[riedrich] Winkler, \u201cDer Meister von Moulins und Hugo van der Goes,\u201d Pantheon 10 (1932), p. 241. \n\n\u201cThe Century of Progress Exhibition of the Fine Arts,\u201d Bulletin of the Art Institute of Chicago 27 (1933), p. 62 (ill.). \n\nDaniel Catton Rich, \u201cThe Paintings of Martin A. Ryerson,\u201d Bulletin of the Art Institute of Chicago 27 (1933), pp. 8 (ill.), 12. \n\nF[riedrich] Winkler, \u201cPerr\u00e9al,Jean,\u201d in Ulrich Thieme and Felix Becker, Allgemeines Lexikon der bildenden K\u00fcnstler von der Antike bis zur Gegenwart,, vol. 26, 1933, p. 434. \n\nThe Art Institute of Chicago, A Brief Illustrated Guide to the Collections, 1935, pp. 22\u201323 (ill.). \n\nCharles Sterling, La Peinture fran\u00e7aise: Les Primitifs, Paris, 1938, fig. 159. \n\nThe Art Institute of Chicago, A Brief Illustrated Guide to the Collections, 1941, pp. 28\u201329 (ill.). \n\nCharles Sterling [Charles Jacques, pseud.], La Peinture fran\u00e7aise: Les Peintres du\nmoyen \u00e2ge, Paris, 1941, pp. 22\u201323, no. 30, pl. 72. \n\nLucien Rudrauf,L\u2019Annonciation: \u00c9tude d\u2019un th\u00e8me plastique et de ses variations\nen peinture et en sculpture, Paris, 1943, p. 39 (ill.). \n\nThe Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago, 1945, pp. 30\u201331 (ill.). \n\nThe Art Institute of Chicago, A Picture Book: Masterpieces of Painting, XV and XVI Centuries in the Collections of The Art Institute of Chicago, 1946, pp. 14\u201316 (ill.). \n\nMartin Davies, French School, National Gallery Catalogues, London, 1946, pp. 67\u201368; 2nd ed., 1957, pp. 153\u201354. \n\nJacques Dupont, in \u201cS\u00e9ance du 19 Mars,\u201dBulletin de la Soci\u00e9t\u00e9 nationale des antiquaires de France (1945\u201347), p. 226. \n\nThe Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago, 1948, pp. 27\u201328 (ill.). \n\nMaurice H. Goldblatt, \u201cThe \u2018Master of Moulins\u2019 Identified\u2014Part II,\u201d Connoisseur 122 (1948), pp. 4\u20135, no. 15 (ill.). \n\nGrete Ring, A Century of French Painting, 1400\u20131500, London, 1949, p. 238, no. 297, pl. 165. \n\nL[ouis] R\u00e9au, \u201cLes \u00c9nigmes du Ma\u00eetre de Moulins,\u201d in \u201cS\u00e9ance du 11 Juin 1949,\u201d\nBulletin de la Soci\u00e9t\u00e9 de l\u2019histoire de l\u2019art fran\u00e7ais (1949 [1950]),\np. 59. \n\n\u201cMeister von Moulins,\u201d in Ulrich Thieme and Felix Becker, Allgemeines Lexikon der bildenden K\u00fcnstler von der Antike bis zur Gegenwart, Leipzig, vol. 37, 1950, p. 236. \n\nJacques Dupont, \u201cL\u2019\u00c9nigme des primitifs, le Ma\u00eetre de Moulins,\u201d Bulletin de la Soci\u00e9t\u00e9 des amis du Mus\u00e9e de Dijon (1949\u201351), p. 22. \n\nJean-Paul Rey-Coquais, S.J., Le Ma\u00eetre de Moulins, Lyon, 1951, pp. 4 (ill.), 5, 14. \n\nThe Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago, 1956, pp. 27\u201328 (ill.). \n\nJacques Feydy,\u201cLe Portrait du Cardinal de Bourbon et le probl\u00e8me du \u2018Ma\u00eetre de\nMoulins,\u2019\u201d L\u2019Information d\u2019histoire de l\u2019art 2 (1957), p. 168. \n\nNicole Reynaud, \u201cLe Probl\u00e8me du Ma\u00eetre de Moulins: \u00c9tat de la question,\u201d\nL\u2019Information d\u2019histoire de l\u2019art 2 (1957), p. 176. \n\nThe Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, 1961, pp. 140 (ill.), 301\u201302. \n\nMadeleine Huillet d\u2019Istria, Le Ma\u00eetre de Moulins, Paris, 1961, pp. 16\u201318, 31\u201335, 89, 100, 107, figs. 39, 41, pl. 4. \n\nJacqueline Marette, La Connaissance des primitives par l\u2019\u00e9tude du bois, du XIIe au XVIe si\u00e8cle, Paris, 1961, p. 184, no. 165. \n\nAlbert Ch\u00e2telet, \u201cA Plea for the Master of Moulins,\u201d Burlington Magazine 104 (1962), pp. 517\u201321, fig. 5. \n\nAlbert Ch\u00e2telet and Jacques 9uillier, French Painting, from Fouquet to Poussin, trans. Stuart Gilbert, Geneva, 1963, p. 85.\n\nJacques Dupont, \u201cJean Pr\u00e9vost, peintre de la cour de Moulins,\u201d L\u2019Art de France 3 (1963), pp. 78\u201381, 86, fig. 9. \n\nNicole Reynaud, \u201cLes Portraits des Bourbons au Louvre: Reconstitution d\u2019un panneau du Ma\u00eetre de Moulins,\u201d Revue du Louvre 13 (1963), p. 166.\n\nCharles Sterling, \u201cDu nouveau sur le Ma\u00eetre de Moulins,\u201d L\u2019Oeil, no. 107 (1963), pp. 2, 5, 7, 11, 13\u201315, 66\u201367, fig. 17. \n\nMadeleine Huillet d\u2019Istria, \u201cThe Problem of the Master of Moulins,\u201d Burlington Magazine 106 (1964), pp. 43\u201344. \n\nCharles Sterling, \u201c\u00c0 propos du \u2018Ma\u00eetre de Moulins,\u2019\u201d L\u2019Oeil, no. 109 (1964), p. xxiii. \n\nSixten Ringbom, Icon to Narrative: The Rise of the Dramatic Close-up in Fifteenth-Century Devotional Painting, \u00c5bo, 1965 (repr., Doornspijk, 1984), p. 38, fig. 6 (detail). \n\nMichel Laclotte, Primitifs fran\u00e7ais, Paris, 1966, p. 36 (ill.). \n\nHenri Zerner and Sharon Katic, Il Maestro di Moulins,Maestri del colore 213, Milan, 1966, n.pag., pl. 8.\n\nCharles D. Cuttler, Northern Painting from Pucelle to Bruegel, New York, 1968,\np. 227, fig. 284. \n\nA[lain] Erlande-Brandenburg, review of Zerner and Katic 1961, in Bulletin monumental 126 (1968), p. 223. \n\nCharles Sterling, \u201cJean Hey le Ma\u00eetre de Moulins,\u201d Revue de l\u2019art, no. 1\u20132\n(1968), pp. 30\u201331. \n\nJohn Maxon, The Art Institute of Chicago, London, 1970, pp. 34\u201335 (ill.). \n\nNational Gallery, Illustrated General Catalogue, ed. Cecil Gould, London, 1973, p. 440. AIC 1978, pp. 46\u201347 (ill.). \n\nAlbert Ch\u00e2telet, Les Primitifs septentrionaux: La Peinture dans l\u2019Europe septentrionale et la p\u00e9ninsule Ib\u00e9rique au XVe si\u00e8cle, Geneva, 1979, p. 223, fig. 34. \n\nPaul Dupieux, Peuples et princes en Bourbonnais, Moulins, 1980, pp. 287, 289, 291 (ill.). \n\nWilliam Wells, \u201cAbbot Nicaise Delorme and Jean Perr\u00e9al: Glasgow\u2019s Master of Moulins Reconsidered,\u201d Apollo 114 (1981), p. 154, fig. 15. \n\nAlbert Ch\u00e2telet, \u201cAu temps des Jean: L\u2019\u00c9nigme du ma\u00eetre de Moulins,\u201d in Acad\u00e9mie de Villefranche-en-Beaujolais, Anne de Beaujeu et ses \u00e9nigmes (Actes du colloque national, 28 May 1983), Villefranche-sur-Sa\u00f4ne, 1984, pp. 115 (ill.), 116, 118, 123. \n\nNicole Reynaud, \u201cUn Retable perdu du Ma\u00eetre de Moulins?\u201d \u201cIl se rendit en Italie\u201d: \u00c9tudes offertes \u00e0 Andr\u00e9 Chastel, Rome and Paris, 1987, p. 123. \n\nThe Art Institute of Chicago, Master Paintings in The Art Institute of Chicago, 1988, p. 19 (ill.). \n\nAlbert Ch\u00e2telet and Roland Recht, Automne et renouveau, 1380\u20131500, Le\nMonde gothique 35, Paris, 1988, fig. 320. \n\nAngelica D\u00fclberg, Privatportr\u00e4ts: Geschichte und Ikonologie einer Gattung im 15. und 16. Jahrhundert, Berlin, 1990, p. 62, fig. 716. \n\nPhilippe Lorentz and Annie Regond, Jean Hey: Le Ma\u00eetre de Moulins, exposition documentaire, Moulins, 1990, pp. 39\u201340, 49 (ill.), no. 6. \n\nJill Dunkerton et al., Giotto to Du_rer: Early Renaissance Painting in the National Gallery, New Haven and London, 1991, pp. 105, 358, fig. 139. \n\nArt Institute of Chicago, Glad Tidings of Great Joy, Chicago, 1993, pp. 9 (ill.), 39. \n\nDominique Thi\u00e9baut, Le Christ \u00e0 la colonned\u2019Antonello de Messine, exh. cat. Paris, Mus\u00e9e du Louvre, 1993, p.64, fig. 44 (detail). \n\nCharles McCorquodale, The Renaissance: European Painting, 1400\u20131600, London, 1994, p. 159, fig. 157.\n\n Andr\u00e9 Chastel, French Art: The Renaissance, 1430\u20131620, Paris and New\nYork, 1995, p. 101. \n\nNational Gallery, Complete Illustrated Catalogue, compiled by Christopher Baker and Tom Henry, London, 1995, p. 434. \n\nCatherine Reynolds, \u201cMaster of Moulins,\u201d in Dictionary of Art, vol. 20, 1996, p. 733. \n\nAlbert Ch\u00e2telet, \u201cLes Bourbons et les peintres,\u201d in Le Duch\u00e9 de Bourbon: Des origines au connetable;Actes du colloque des 5 et 6 octobre 2000, Saint-Pour\u00e7ain-sur-Sioule, 2001, p. 147. \n\nAlbert Ch\u00e2telet, Jean Pr\u00e9vost, le Ma\u00eetre de Moulins, Paris, 2001, pp. 72\u201377, 173\u201375, figs. 39, 105. \n\nLorne Campbell, review of Ch\u00e2telet 2001, in Burlington Magazine 144 (2002), p. 357. \n\nFr\u00e9d\u00e9ric Elsig, Le Peinture en France au XVe si\u00e8cle, Milan, 2004, p. 48, pl.\n43. \n\nMartha Wolff, \u201cReconstitution d\u2019une sc\u00e8ne de la Passion peint par le Ma\u00eetre de Moulins,\u201d Revue de l\u2019art, no. 147 (2005), pp. 58, 63, 66, fig. 13.\n\nMartha Wolff in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago, 2008, pp. 15-23, ill.\n\nMartha Wolff, \u201cAnne de France et les artistes: princesse et commanditaire\u201d in Anne de France: Art et pouvoir en 1500 (Actes du colloque organize par Moulins, Ville d\u2019art et d\u2019histoire, les 30 et 31 Mars 2012), ed. Thi\u00e9rry Cr\u00e9pin-Leblond and Monique Chatenet, Paris, 2014, pp. 133-144, figs. 2 and 3.\n\nLorne Campbell, National Gallery Catalogues. The Sixteenth Century Netherlandish Paintings with French Paintings before 1600, London, 2014, pp. 752-67, figs. 3, 4, 11, and 12.\n\nJames Rondeau, ed., Paintings at the Art Institute of Chicago: Highlights of the collection (New Haven and London: Yale University Press, 2025). 22 (ill.).\n\nSophie Caron, \"Jean Hey: Un Flamand en Bourbonnais,\" Dossiers de l'Art, no. 334 (Dec. 2025\u2013Jan. 2026): 20\u201321, 24 (ill.).\n\nJames Rondeau, ed., Highlights of the Art Institute of Chicago (New Haven and London: Yale University Press, 2026), 60, 258, no. 35, (ill.).","exhibition_history":"London, Grafton Galleries, National Loan Exhibition, 1909\u201310, no. 76. \n\nNew York, Kleinberger, Loan Exhibition of French Primitives and Objects of Art, 1927, no. 35. \n\nDetroit Institute of Arts, Seventh Loan Exhibition: French Gothic Art of the Thirteenth to Fifteenth Century, 1928, no. 9. \n\nLondon, Royal Academy of Arts, French Art, 1200\u20131900, 1932, no. 28. \n\nArt Institute of Chicago, A Century of Progress, 1933, no. 28. \n\nArt Institute of Chicago, A Century of Progress, 1934, no. 17. \n\nArt Institute of Chicago, Masterpieces of Religious Art, 1954, pp. 14\u201315. \n\nArt Institute of Chicago, Glad Tidings of Great Joy, 1993\u201394 (no cat.).\n\nThe Art Institute of Chicago, New Light on Old Masters: Research on Northern European and Spanish Paintings before 1600 in the Art Institute, 26 June\u201414 September 2008, no cat. \n\nParis, Galeries nationales, Grand Palais, France 1500: entre Moyen Age et Renaissance, 2010\u201311, no. 67.\n\nArt Institute of Chicago, Kings, Queens, and Courtiers: Art in Early Renaissance France, 2011, no. 60.","provenance_text":"Private collection, Paris, 1906 [according to Friedl\u00e4nder 1925]. Dowdeswell and Dowdeswell, London, 1906\u201314; sold to Martin A. Ryerson (d. 1932), Chicago, 1914 [invoice dated June 1914, Art Institute Archives.]; on loan to the AIC from 1914; bequeathed to the AIC, 1933.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":14,"fiscal_year":1933,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":true,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":27.4712,"color":{"h":41,"l":42,"s":50,"percentage":0.03309086053653637,"population":342},"latitude":41.8795026146439,"longitude":-87.6234162971377,"latlon":"41.879502614644,-87.623416297138","is_on_view":true,"on_loan_display":null,"gallery_title":"Gallery 202","gallery_id":2147483640,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Painting and Sculpture of Europe","department_id":"PC-10","artist_id":11482,"artist_title":"Jean Hey, (the Master of Moulins)","alt_artist_ids":[],"artist_ids":[11482],"artist_titles":["Jean Hey, (the Master of Moulins)"],"category_ids":["PC-10","PC-360","PC-831"],"category_titles":["Painting and Sculpture of Europe","Kings, Queens, and Courtiers: Art in Early Renaiss","Essentials"],"term_titles":["oil on panel","painting (image making)","oil paint (paint)","The Annunciation","Renaissance","french","oil paintings (visual works)","paint","organic material","paint","painting","plant material","wood (plant material)","oil painting","painting","painting techniques","panel painting","15th century","architecture","bed","bedrooms","blue (color)","green (color)","interior","red (color)","religious figures","religious scenes","Tile","Virgin Mary","painting","european painting","panel (wood)","religion","Century of Progress","world's fairs","Chicago World's Fairs","women","angels","bibles","biblical","birds","Christian subjects","Christianity","doves","holy spirit"],"style_id":"TM-5891","style_title":"Renaissance","alt_style_ids":["TM-14074"],"style_ids":["TM-5891","TM-14074"],"style_titles":["Renaissance","15th century"],"classification_id":"TM-80","classification_title":"oil on panel","alt_classification_ids":["TM-14976","TM-78","TM-10387","TM-9","TM-54"],"classification_ids":["TM-80","TM-14976","TM-78","TM-10387","TM-9","TM-54"],"classification_titles":["oil on panel","french","oil paintings (visual works)","paint","painting","european painting"],"subject_id":"TM-12844","alt_subject_ids":["TM-12085","TM-13207","TM-12850","TM-11843","TM-11849","TM-14037","TM-11851","TM-12554","TM-10125","TM-15458","TM-8808","TM-11421","TM-12169","TM-11299","TM-12176","TM-8735","TM-12268","TM-12845","TM-12337","TM-11211","TM-8767","TM-12372","TM-12843","TM-12846"],"subject_ids":["TM-12844","TM-12085","TM-13207","TM-12850","TM-11843","TM-11849","TM-14037","TM-11851","TM-12554","TM-10125","TM-15458","TM-8808","TM-11421","TM-12169","TM-11299","TM-12176","TM-8735","TM-12268","TM-12845","TM-12337","TM-11211","TM-8767","TM-12372","TM-12843","TM-12846"],"subject_titles":["The Annunciation","architecture","bed","bedrooms","blue (color)","green (color)","interior","red (color)","religious figures","religious scenes","Tile","Virgin Mary","religion","Century of Progress","world's fairs","Chicago World's Fairs","women","angels","bibles","biblical","birds","Christian subjects","Christianity","doves","holy spirit"],"material_id":"TM-2451","alt_material_ids":["TM-2601","TM-2577","TM-13502","TM-3478","TM-2431","TM-3644"],"material_ids":["TM-2451","TM-2601","TM-2577","TM-13502","TM-3478","TM-2431","TM-3644"],"material_titles":["oil paint (paint)","organic material","paint","painting","plant material","wood (plant material)","panel (wood)"],"technique_id":"TM-3891","alt_technique_ids":["TM-4273","TM-14210","TM-3971","TM-3975"],"technique_ids":["TM-3891","TM-4273","TM-14210","TM-3971","TM-3975"],"technique_titles":["painting (image making)","oil painting","painting","painting techniques","panel painting"],"theme_titles":["Essentials"],"image_id":"77951d0c-d781-eac6-f4ff-f13cc5cfc0cf","alt_image_ids":[],"document_ids":["c11d54e6-60cb-f251-6313-591e67788e45"],"sound_ids":["c11d54e6-60cb-f251-6313-591e67788e45"],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_boosted":"The Annunciation","suggest_autocomplete_all":[{"input":["1933.1062"],"contexts":{"groupings":["accession"]}},{"input":["The Annunciation"],"weight":12417,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-04-08T14:44:48-05:00","updated_at":"2026-08-06T12:09:15-05:00","timestamp":"2026-09-06T05:52:59-05:00"},"info":{"license_text":"The `description` field in this response is licensed under a Creative Commons Attribution 4.0 Generic License (CC-By) and the Terms and Conditions of artic.edu. All other data in this response is licensed under a Creative Commons Zero (CC0) 1.0 designation and the Terms and Conditions of artic.edu.","license_links":["https:\/\/creativecommons.org\/publicdomain\/zero\/1.0\/","https:\/\/www.artic.edu\/terms"],"version":"1.15"},"config":{"iiif_url":"https:\/\/www.artic.edu\/iiif\/2","website_url":"http:\/\/www.artic.edu"}}