LaurieAnnie's photos with the keyword: lid

Two-handled jar (amphora) depicting the harnessing of a chariot Exekias Greek Archaic Period about 540 B.C. Place of Manufacture: Greece, Attica, Athens Medium/Technique Ceramic, black-figure technique Dimensions Height: 52.5 cm (20 11/16 in.); diameter 37.3 cm (14 11/16 in.) Credit Line Museum purchase with funds donated by contribution Accession Number: 89.273a-b Collections: Ancient Greece and Rome Classifications: Vessels Catalogue Raisonné CVA Boston 1, pl. 29-32. Description: On the obverse, a nude attendant struggles to harness a rearing horse, grasping and pulling down on his bridle. The horse in the foreground is already harnessed, calmed by another attendant who strokes his mane and nose. A man in a long himation holds the reins of the harnessed horse and stands behind the chariot. Women observe the harnessing scene from either side. On the reverse, an attendant holds the bridle of another horse. At right, an armed warrior followed by a woman carrying his spear walks beside a bridled horse, who approaches a man with his hand raised. The horses and warrior on the reverse may be approaching the chariot on the obverse to be united in preparation for battle. Above the primary scenes on the belly is a continuous frieze showing cock fights observed by young men and flanked by lions and tripods. Below, in the predella, alternating lions and boars circle the vase. Provenance: By 1889: with Pio Marinangeli, Rome (said to have been found at Corneto); March 1889: purchased by R. Lanciani from Pio Marinangeli; purchased by MFA from R. Lanciani, 1889 Text from: collections.mfa.org/objects/153390/twohandled-jar-amphora-depicting-the-harnessing-of-a-char

Two-handled jar (amphora) depicting the harnessing of a chariot Exekias Greek Archaic Period about 540 B.C. Place of Manufacture: Greece, Attica, Athens Medium/Technique Ceramic, black-figure technique Dimensions Height: 52.5 cm (20 11/16 in.); diameter 37.3 cm (14 11/16 in.) Credit Line Museum purchase with funds donated by contribution Accession Number: 89.273a-b Collections: Ancient Greece and Rome Classifications: Vessels Catalogue Raisonné CVA Boston 1, pl. 29-32. Description: On the obverse, a nude attendant struggles to harness a rearing horse, grasping and pulling down on his bridle. The horse in the foreground is already harnessed, calmed by another attendant who strokes his mane and nose. A man in a long himation holds the reins of the harnessed horse and stands behind the chariot. Women observe the harnessing scene from either side. On the reverse, an attendant holds the bridle of another horse. At right, an armed warrior followed by a woman carrying his spear walks beside a bridled horse, who approaches a man with his hand raised. The horses and warrior on the reverse may be approaching the chariot on the obverse to be united in preparation for battle. Above the primary scenes on the belly is a continuous frieze showing cock fights observed by young men and flanked by lions and tripods. Below, in the predella, alternating lions and boars circle the vase. Provenance: By 1889: with Pio Marinangeli, Rome (said to have been found at Corneto); March 1889: purchased by R. Lanciani from Pio Marinangeli; purchased by MFA from R. Lanciani, 1889 Text from: collections.mfa.org/objects/153390/twohandled-jar-amphora-depicting-the-harnessing-of-a-char

Bronze lid and upper part of an oil flask Period:Late Classical Date:4th century B.C. Culture:Praenestine Medium:Bronze Dimensions:diameter 3 5/8in. (9.2cm) Classification:Bronzes Credit Line:Rogers Fund, 1910 Accession Number:10.230.1 The relief on this elegantly worked roundel depicts a nude youth being attacked by a griffin. It relates to legends, first mentioned by the ancient Greek writer Herodotus, of the people called Arimasps who lived east of the Black Sea.Their land was rich in gold, but the gold was guarded by fierce griffins. The subject became popular during the Hellenistic period, especially for terracottas produced in Tarentum. It is likely that these South Italian models inspired the Central Italian adaptation on this bronze. Text from: www.metmuseum.org/art/collection/search/248464

Bronze lid and upper part of an oil flask Period:Late Classical Date:4th century B.C. Culture:Praenestine Medium:Bronze Dimensions:diameter 3 5/8in. (9.2cm) Classification:Bronzes Credit Line:Rogers Fund, 1910 Accession Number:10.230.1 The relief on this elegantly worked roundel depicts a nude youth being attacked by a griffin. It relates to legends, first mentioned by the ancient Greek writer Herodotus, of the people called Arimasps who lived east of the Black Sea.Their land was rich in gold, but the gold was guarded by fierce griffins. The subject became popular during the Hellenistic period, especially for terracottas produced in Tarentum. It is likely that these South Italian models inspired the Central Italian adaptation on this bronze. Text from: www.metmuseum.org/art/collection/search/248464

Terracotta stamnos (jar) Attributed to the Altamura Painter Period: Classical Date: ca. 470 B.C. Culture: Greek, Attic Medium: Terracotta; red-figure Dimensions: H. 15 3/16 in. (38.5 cm); diameter mouth 9 7/16 in. (24 cm); diameter foot 7 1/4 in. (18.5 cm) Classification: Vases Credit Line: Fletcher Fund, 1956 Accession Number: 56.171.51 Description: Obverse, Peleus wrestles with the sea nymph Thetis while her two companions flee Reverse, two sea nymphs approach their father, Nereus Both Zeus and Poseidon desired Thetis; but, after they learned that she was fated to bear a son who would be stronger than his father, she was married off to Peleus, a mortal. As Peleus tried to catch her, she evaded him by changing into many different forms. Here, however, he has finally secured his bride, the future mother of the great hero Achilles. Text from: www.metmuseum.org/collection/the-collection-online/search/254909

Medallion with a griffin fighting an Arimaspian, 4th century b.c. Italic; Praeneste Bronze Diam. 3 5/8 in. (9.19 cm) Rogers Fund, 1910 (10.230.1) This bronze "medallion" portrays a naked youth being bitten on the right shoulder by a griffin. It was found at Praeneste and was originally part of the Barberini collection. The Barberini princes undertook extensive excavations in their estate near Praeneste, and their collection is the largest and most complete assemblage of Praenestine fourth century B.C. material. The high quality of this relief and its skillful manufacture recall objects of Greek craftsmanship. The beautiful modeling is clearly inspired by fourth century B.C. classical ideals—the musculature of the young warrior's body is softly rendered and his wavy hair is raised to suggest movement. The tense muscles and tendons of the griffin's paws transmit the animal's strength and power. This "medallion" is shaped like a knob with a flat top. The underpart consists of three nested metal layers, not soldered to the top surface, thus suggesting they were originally two separate pieces. It is likely to be the lid of a vaso a gabbia—a container made of a conical bronze cagelike structure enclosing a leather bag, a local Praenestine fourth century B.C. production. The shape, the size, as well as a little hole that originally would have been attached to a chain with a strigil, all support such an identification. The scene depicted is the myth of the Arimaspians, who were believed to have been one-eyed horsemen inhabiting a land beyond the Black Sea. The Arimaspians were involved in a perpetual struggle against griffins over gold, guarded by these fantastic animals. In the mid-seventh century B.C., Aristeas of Proconnesos wrote the Arimaspeia, a poem narrating his travels in eastern Europe. Later ancient writers, like Aeschylus and Herodotus, drew their knowledge of the Arimaspian myth from this poem. Text from: www.metmuseum.org/toah/works-of-art/10.230.1

Lid of a ceremonial box, late 1st century b.c.–early 1st century a.d.; Augustan Roman Gilt silver H. 1 in. (2.5 cm), W. 3 1/4 in. (8.3 cm), D. 2 5/8 in. (6.7 cm) Purchase, Marguerite and Frank A. Cosgrove Jr. Fund and Mr. and Mrs. Christos G. Bastis Gift, 2000 (2000.26) The exquisite craftsmanship of this lid only adds to the curiosity about its subject matter and function. It is decorated in high relief with sacrificial animals and religious objects, packed tightly on a stippled background within the rectangular frame. Featured prominently are the heads of three domestic animals—a ram, a bull, and a goat—that were commonly used as offerings at major public ceremonies. Below them are two more sacrificial animals, a rooster and a kid with its legs bound, together with a sheathed knife, a libation bowl, a burning torch, a pomegranate, a floral garland, and a bundle of wooden staves. Such elaborate and symbolic decoration strongly suggests that the box to which the lid belonged had some religious function. The decoration is unusual but not unique; another lid in the Staatliche Museen zu Berlin (attached to an ancient but alien silver box) has a very similar design, though there the projecting horn of the bull's head serves as the only handle to the lid. Text from: www.metmuseum.org/toah/works-of-art/2000.26

Marble sarcophagus lid with reclining couple Roman, Severan period, ca. 220 Accession # 1993.11.1 The couple are shown as semidivine personifications of water and earth. Like Hellenistic and Roman images of river gods, the bare-chested man holds a long reed, and a lizard-like creature crouches beside him. The woman holds a garland and two sheaves of what, attributes of Tellus, goddess of the earth. At her feet is a furry-tailed mammal with a small Eros on its back. While the man's head is carefully portrayed, his wife's head has been left unfinished, suggesting that he predeceased her, and no one added her portrait after she died. Text from the Metropolitan Museum of Art label.

Marble sarcophagus lid with reclining couple Roman, Severan period, ca. 220 Accession # 1993.11.1 The couple are shown as semidivine personifications of water and earth. Like Hellenistic and Roman images of river gods, the bare-chested man holds a long reed, and a lizard-like creature crouches beside him. The woman holds a garland and two sheaves of what, attributes of Tellus, goddess of the earth. At her feet is a furry-tailed mammal with a small Eros on its back. While the man's head is carefully portrayed, his wife's head has been left unfinished, suggesting that he predeceased her, and no one added her portrait after she died. Text from the Metropolitan Museum of Art label.

Marble sarcophagus lid with reclining couple Roman, Severan period, ca. 220 Accession # 1993.11.1 The couple are shown as semidivine personifications of water and earth. Like Hellenistic and Roman images of river gods, the bare-chested man holds a long reed, and a lizard-like creature crouches beside him. The woman holds a garland and two sheaves of what, attributes of Tellus, goddess of the earth. At her feet is a furry-tailed mammal with a small Eros on its back. While the man's head is carefully portrayed, his wife's head has been left unfinished, suggesting that he predeceased her, and no one added her portrait after she died. Text from the Metropolitan Museum of Art label.

Marble sarcophagus lid with reclining couple Roman, Severan period, ca. 220 Accession # 1993.11.1 The couple are shown as semidivine personifications of water and earth. Like Hellenistic and Roman images of river gods, the bare-chested man holds a long reed, and a lizard-like creature crouches beside him. The woman holds a garland and two sheaves of what, attributes of Tellus, goddess of the earth. At her feet is a furry-tailed mammal with a small Eros on its back. While the man's head is carefully portrayed, his wife's head has been left unfinished, suggesting that he predeceased her, and no one added her portrait after she died. Text from the Metropolitan Museum of Art label.