LaurieAnnie's photos with the keyword: iron

Helmet 14th–17th century probably Mongolian Object Details Title: Helmet Date: 14th–17th century Culture: probably Mongolian Medium: Iron, gold, silver, turquoise Dimensions: H. 7 1/2 inches (19.1 cm); W. 8 3/4 in. (22.2 cm); D. 9 3/4 in. (24.8 cm); Wt. 1 lb. 11.7 oz. (785.3 g) Classification: Helmets Credit Line: Purchase, Arthur Ochs Sulzberger Gift, 2002 Accession Number: 2002.389 This extremely rare type of helmet is damascened in gold with a design known as the Three Jewels, a popular Buddhist motif representing Buddha, Dharma (Buddha's teachings), and Sangha (the community of believers). The solid construction of the helmet combined with the gold decoration indicate that this was a practical battle helmet, but made for someone of relatively high rank, who was probably a Mongolian follower of Tibetan Buddhism. Text from: www.metmuseum.org/collection/the-collection-online/search/26531

Helmet (Spangenhelm) Date: 6th century Culture: Ostrogothic Medium: Gilt bronze, iron Dimensions: Gr. H. 8 9/16 in. (21.79 cm) Gr. W. 7 13/16 in. (19.89 cm) 2 lb. 0 oz. (907 gm) Classification: Helmets Credit Line: Gift of Stephen V. Grancsay, 1942 Accession Number: 42.50.1 Description: This is one of a group of twenty-seven very similar Spangenhelme (literally, strap helmets), all of which date from the sixth century. These helmets are thought to have been made in or around Ravenna, the capital of the Ostrogothic kingdom in Italy, as diplomatic gifts for foreign rulers, and have been found at sites ranging from Sweden and Germany to Yugoslavia and Libya. The Metropolitan Museum's helmet was discovered in the Saône River near Trévoux, France. It has also been suggested that these helmets were made in one of the court workshops of the Byzantine Empire. The helmets of this group are nearly identical in construction: four or six straps radiate from a central disk and connect to a brow band all of gilt bronze. The space between each strap is filled by an iron plate riveted in place. The decoration typically consists of patterns punched into the radiating straps and of birds amid an undulating grapevine embossed on the brow band. Crosses and other Christian symbols are occasionally included. Some of the helmets retain traces of silver foil on the iron plates between the straps. The richness of the decoration indicates that these helmets were intended for recipients of high rank. All the helmets originally had a pair of metal cheekpieces, a neck defense made of plate or mail, and a narrow plate extending down from the browpiece to protect the nose. Of these features, only the cheekpieces remain on a few examples. Text from: www.metmuseum.org/Collections/search-the-collections/4000...

Scepter in the shape of a bull's head Period: Sasanian Date: ca. 3rd–7th century A.D. Geography: Iran Culture: Sasanian Medium: Bronze, iron Dimensions: 1.16 x 0.89 in. (2.95 x 2.26 cm) Classification: Metalwork-Implement Credit Line: Gift of Alastair Bradley Martin, 1977 Accession Number: 1977.48 Text from: www.metmuseum.org/Collections/search-the-collections/3000...

Pin in the form of a lion Period: Iron Age II Date: ca. 9th century B.C. Geography: Iran, Hasanlu Medium: Bronze, iron Dimensions: 2.28 x 5 in. (5.79 x 12.7 cm) Classification: Metalwork-Ornament Credit Line: Purchase, Mrs. Constantine Sidamon-Eristoff Gift, 1961 Accession Number: 61.100.10 Text from: www.metmuseum.org/Collections/search-the-collections/3000...

Silver-gilt and iron pectoral Greek, 4th century BC Accession # 1996.248 This pectoral formed part of a cuirass (body armor). The vertical neck guard is embellished with metopes decorated alternately with rosettes and confronted lions. The area below, which spread across the upper chest, has concentric decorative bands. Pectorals of this distinctive shape have been found in tombs at Vergina in northern Greece and in Thrace (present-day Bulgaria). Text from the Metropolitan Museum of Art label.

Bronze and iron fittings from a cart or chariot Etruscan, ca. 500-480 BC Accession Numbers: 29.131.3a-u This large collection of bronze fittings, many of with their iron or bronze nails still preserved, once belonged to a wheeled wooden cart or chariot. Because all of the larger elements have a flat back, we can assume that they came from a vehicle that was basically rectilinear rather than curved like the Monteleone Chariot displayed in this gallery. In a number of instances, the same Etruscan tomb contained both a chariot and a light cart that perhaps served as a hearse to carry the deceased into the cemetery. The precise function of the vehicle represented here is unknown. Text from the Metropolitan Museum of Art label

Iron Razor or Folding Knife with Ivory Handle 2nd-4th centuries AD Ivory with corroded iron blade Accession # 26.7.1300 The ivory handle has a tiger or panther carved three dimensionally on the outer edge. On its face is Herakles with his club, resting after cleaning the Augean stables. On the lower right is is the container he used to capture the river water, which according to the myth he diverted for that purpose. Notched decoration occurs at the lower edge, and notched and crossed decoration is visible on the back. An iron blade extends almost two-thirds of the way into the handle, although the blade and details of its fitting are obscured by heavy corrosion. A closely related group of iron knives or razors is known whose decorated handles draw on a common repertoire. A number of these are known from Italy, although the place of manufacture has not been located. Text from the Metropolitan Museum of Art label.

Key with a Horse Head Handle Roman, 100-200 AD Bronze and iron Inventory # 96.AC.197 Roman craftsmen turned everyday implements into decorative objects. The handle of this key is fashioned as a horse's head. The flattened ears and swept-back mane indicate that the steed is racing at a gallop. Such an elaborate key adorned with a horse, a symbol of wealth and privilege, suggests the owners' affluence, or his position in the Roman cavalry. Text from the Getty Villa museum label.

Reliquary Case Leather and iron France or Switzerland, about 1350-1400 Accession # 47.101.65 Text from the Cloisters label.

Reliquary Case Leather and iron France or Switzerland, about 1350-1400 Accession # 47.101.65 Text from the Cloisters label.

Japanese Lantern Artist: Unknown Location: Boston Public Garden, near footbridge Neighborhood: Back Bay Type: Sculpture Year: 1587 / 1904 Medium: Iron Description: In 1904, Japanese art dealer Bunkio Matsuki gave this lantern as a gift to the City of Boston. Lanterns have a long association with Buddhist temples and shrines, where they have been used as votive lights since the 7th century. They were later used to decorate and light secular sites as well, especially gardens. Japanese lanterns are typically made from stone, wood, or metal, and some feature elaborate designs. This lantern is believed to date to the 16th century, but little else is known about it. Bunkio Matsuki was born into a family of artists and temple builders in Japan. He originally trained to be a Buddhist monk but immigrated to the US in 1888, where he chose a very different profession: promoting Japanese art and culture to the American public. Matsuki managed a store in Boston specializing in Japanese art and antiques. He also worked for governments and museums to appraise and inspect art objects and published a journal called Lotus. During the early 20th century, oriental designs were considered exotic and fashionable among well-to-do Americans, and Matsuki’s Boston store certainly contributed to the trend. Text from: www.publicartboston.com/content/japanese-lantern

Japanese Lantern Artist: Unknown Location: Boston Public Garden, near footbridge Neighborhood: Back Bay Type: Sculpture Year: 1587 / 1904 Medium: Iron Description: In 1904, Japanese art dealer Bunkio Matsuki gave this lantern as a gift to the City of Boston. Lanterns have a long association with Buddhist temples and shrines, where they have been used as votive lights since the 7th century. They were later used to decorate and light secular sites as well, especially gardens. Japanese lanterns are typically made from stone, wood, or metal, and some feature elaborate designs. This lantern is believed to date to the 16th century, but little else is known about it. Bunkio Matsuki was born into a family of artists and temple builders in Japan. He originally trained to be a Buddhist monk but immigrated to the US in 1888, where he chose a very different profession: promoting Japanese art and culture to the American public. Matsuki managed a store in Boston specializing in Japanese art and antiques. He also worked for governments and museums to appraise and inspect art objects and published a journal called Lotus. During the early 20th century, oriental designs were considered exotic and fashionable among well-to-do Americans, and Matsuki’s Boston store certainly contributed to the trend. Text from: www.publicartboston.com/content/japanese-lantern

Round Swamp Road Old Bethpage, NY 11804 Old Bethpage Village Restoration provides visitors with a unique and wonderful opportunity to step back in time and experience life in a recreated mid-19th-century American village. The 209-acre village includes an assortment of homes, farms and businesses. Each October, the village hosts the Long Island Fair, a traditional county agricultural fair that draws tens of thousands of visitors, and through most of the year has a steady series of family-friendly events and exhibits, including old-time baseball tournaments. Old Bethpage Village Restoration came into existence in 1963, when Nassau County acquired the Powell property, a 165-acre farm located on the Nassau-Suffolk border. The acquisition of the land and the plan to develop a historic restoration were timely, as development on Long Island had taken its toll on the area's landmarks. In 1963, Plainview's historic Manetto Hill Methodist Church was the first structure to be saved and moved to the Powell property. Today, there are 51 historic buildings and seven reconstructions and the site encompasses 209 acres. Buildings are selected based on their architectural detail and historic significance. The goal is to establish a representative sampling of 19th-century structures. After buildings have been moved to the village, they are carefully restored to a specific point in their history, and the lives of the former occupants are thoroughly researched. Each structure is scrutinized for clues to its role in community life, and authentic hardware, shingles and glass sought - with the help of wills, deeds, and inventory lists - so the structures can beauthentically furnished ( in some cases with pieces original to the building). But the roots of Old Bethpage Village date back even further than the 19th century to the Dutch and English settlement of Long Island. During the 1640s, the colonial settlers in this area founded town "spots" that functioned as commercial and social centers where taverns, general stores and meeting houses were built. In addition to a centrally located town lot, each townsman received outlying fields to use for grazing livestock, growing crops, or harvesting firewood. By 1700, when the English had gained control of Long Island, townships controlled whatever land had not already been distributed, and the economy had expanded to include trades dependent on the sea as well as the land. Life remained quiet, unhurried and closely tied to nature. These patterns, evident well well into the 19th century, can be seen at Old Bethpage Restoration. Text from: www.nassaucountyny.gov/agencies/parks/WhereToGo/museums/c...