LaurieAnnie's photos with the keyword: urn

Marble Urn ca. 400 Byzantine An openwork grapevine decorates this massive urn. Such vases are often depicted in both secular and religious works of art of the period, including mosaics, textiles, gold jewelry, and silver book covers. Object Details Title: Marble Urn Date: ca. 400 Culture: Byzantine Medium: Marble Dimensions: 21 3/4 × 20 5/8 in. (55.2 × 52.4 cm) Other (diameter at base): 6 in. (15.2 cm) Classification: Sculpture-Vessels Credit Line: Fletcher Fund, 1952 Accession Number: 52.88 Text from: www.metmuseum.org/art/collection/search/468422

Marble Urn ca. 400 Byzantine An openwork grapevine decorates this massive urn. Such vases are often depicted in both secular and religious works of art of the period, including mosaics, textiles, gold jewelry, and silver book covers. Object Details Title: Marble Urn Date: ca. 400 Culture: Byzantine Medium: Marble Dimensions: 21 3/4 × 20 5/8 in. (55.2 × 52.4 cm) Other (diameter at base): 6 in. (15.2 cm) Classification: Sculpture-Vessels Credit Line: Fletcher Fund, 1952 Accession Number: 52.88 Text from: www.metmuseum.org/art/collection/search/468422

Funerary Urn with Seated Figure Mexico; Monte Alban 4th-5th century Ceramic On loan to the Metropolitan Museum of Art from a private collector. Accession # L.2007.58 Text from the Metropolitan Museum of Art label.

Marble Urn ca. 400 Byzantine An openwork grapevine decorates this massive urn. Such vases are often depicted in both secular and religious works of art of the period, including mosaics, textiles, gold jewelry, and silver book covers. Object Details Title: Marble Urn Date: ca. 400 Culture: Byzantine Medium: Marble Dimensions: 21 3/4 × 20 5/8 in. (55.2 × 52.4 cm) Other (diameter at base): 6 in. (15.2 cm) Classification: Sculpture-Vessels Credit Line: Fletcher Fund, 1952 Accession Number: 52.88 Text from: www.metmuseum.org/art/collection/search/468422

Marble cinerary urn with lid Roman, ca. 10BC- 10 AD Accession # 37.129 a,b Marble imitations of wicker baskets that served as cinerary urns were popular in Rome in the Early Imperial period. They were often associated with female burials, and it is attractive to see this example as representing the weaving basket the deceased may have used in life. Weaving was regarded as one of the activities that a virtuous Roman matron should pursue. Text from the Metropolitan Museum of Art label.

Cinerary urn with arms and war trophies Roman, Julio-Claudian, 1st half of the 1st century A.D. Marble; height: 14 1/4 (36.2 cm) The Metropolitan Museum of Art, New York, Purchase, Philodoroi Gifts, 2002 (2002.297) and Gift of Ariel Herrmann, 2002 (2002.568) A recently acquired marble cinerary urn, or container for the ashes of a cremated body (Roman, Julio-Claudian, first half of the first century A.D.), is a singular example of Roman funerary art. The back and side panels are covered with trophies, weapons, and armor – subject matter more usually found on imperial monuments – carved in exquisite detail. Both the imagery and the quality of the carving suggest that it was a special commission, possibly for a high- ranking imperial officer. The work is missing the front and the lid. After the urn's acquisition, a separate joining fragment was donated to the Museum, and this piece has now been restored to the urn, completing the right rear corner. Text from: www.metmuseum.org/special/greek_roman/viewone.asp?item=23 and www.metmuseum.org/press_room/full_release.asp?prid= {1BE9346C-DE1D-4184-8863-7BFB264E8656}

Cinerary urn with arms and war trophies Roman, Julio-Claudian, 1st half of the 1st century A.D. Marble; height: 14 1/4 (36.2 cm) The Metropolitan Museum of Art, New York, Purchase, Philodoroi Gifts, 2002 (2002.297) and Gift of Ariel Herrmann, 2002 (2002.568) A recently acquired marble cinerary urn, or container for the ashes of a cremated body (Roman, Julio-Claudian, first half of the first century A.D.), is a singular example of Roman funerary art. The back and side panels are covered with trophies, weapons, and armor – subject matter more usually found on imperial monuments – carved in exquisite detail. Both the imagery and the quality of the carving suggest that it was a special commission, possibly for a high- ranking imperial officer. The work is missing the front and the lid. After the urn's acquisition, a separate joining fragment was donated to the Museum, and this piece has now been restored to the urn, completing the right rear corner. Text from: www.metmuseum.org/special/greek_roman/viewone.asp?item=23 and www.metmuseum.org/press_room/full_release.asp?prid= {1BE9346C-DE1D-4184-8863-7BFB264E8656}

Prospect Park is a 585 acre (2.1 km²) public park in the New York City borough of Brooklyn located between Park Slope, Kensington, Windsor Terrace and Flatbush Avenue, Grand Army Plaza and the Brooklyn Botanic Garden and seven blocks north east of Green-Wood Cemetery. It is run and operated by the New York City Department of Parks and Recreation. The park was designed by Frederick Law Olmsted and Calvert Vaux after they completed Manhattan's Central Park. Attractions include the Long Meadow, a ninety acre (36 ha) meadow thought to be the largest meadow in any U.S. park; the Picnic House which houses offices and a hall that can accommodate parties with up to 175 guests; Litchfield Villa, the historic home of the previous owners of the southern part of Park; Prospect Park Zoo; a large nature conservancy; the only urban Audubon Center & Visitor Center at the Boathouse; Brooklyn's only lake, covering 60 acres (24 ha); the Prospect Park Bandshell that hosts free outdoor concerts in summertime; and various sports and fitness activities including seven baseball fields. There is also a private Quaker cemetery on the grounds of the Park in an area known as Quaker Hill. (Actor Montgomery Clift is interred there.) Originally the terminal moraine and outwash plain of the receding glaciers of the ice age, the area around the Park was the site of the Battle of Long Island during the U.S. Revolutionary War and became known as Battle Pass where the highest point known as Prospect Hill jutted up approximately 200 feet (60 m) from sea level. In the nineteenth century the Park was mostly farm land; the cost of acquiring the Park land by the City of Brooklyn was upwards of $4 million. The actual cost of construction of the Park amounted to more than $5 million. Originally the Park was to straddle Flatbush Avenue and go past the later built Eastern Parkway. Planning of the Park was originally begun before the American Civil War in 1860 but stopped during the war. After the war in 1865 Olmsted and Vaux were hired and Vaux convinced the city that more lands to the east and nearer to Green-Wood Cemetery should be purchased including the area of the park known as Nethermead and the farm land where Prospect Lake was built. Text from: en.wikipedia.org/wiki/Prospect_Park_(Brooklyn)

Old Westbury Gardens, listed on the National Register of Historic Places, is the former home of John S. Phipps, his wife, Margarita Grace Phipps and their four children. Completed in 1906 by the English designer, George A. Crawley, the magnificent Charles II-style mansion is nestled amid 200 acres of formal gardens, landscaped grounds, woodlands, ponds and lakes. Westbury House is furnished with fine English antiques and decorative arts from the more than fifty years of the family's residence. Text from: www.oldwestburygardens.org/