LaurieAnnie's photos with the keyword: metalwork

Silver plaque with Saint Peter Made 550-600 Accession # 50.5.1 The typical image of Saint Peter- with a round face, short hair, and a beard- was established during the first centuries of the Christian church. Here, Peter stands holding a cross and gesturing as if preaching. At his waist are the keys to the kingdom of heaven, given to him by Christ (Matthew 16:19). The arch flanked by peacocks under which Peter stands is often considered an early representation of paradise. Text from the Metropolitan Museum of Art label.

Silver Plaque with St. Paul Made 550-600 Accession #50.5.2 The typical image of Saint Paul- with a long face, receding hairline, and pointed beard- was established during the first centuries of the Christian church. Here, Paul holds a book, an appropriate symbol for the author of many of the texts of the New Testament. This plaque and the one showing Saint Peter under a similar arch may have flanked a lost central panel depicting Christ, as parts of an icon, or religious devotional image. Text from the Metropolitan Museum of Art label.

Buckle, 2nd century b.c.; European Iron Age Celto-Iberian; Spain Leaded bronze, silver, iron a: L. 3 3/8 in. (8.6 cm), W. 2 5/8 in. (6.6 cm); b: L. 2 7/8 in. (7.3 cm), W. 2 9/16 in. (6.5 cm) Rogers Fund, 1990 (1990.62 ab) This bronze and silver buckle is unusual in that both its top and bottom plaque are preserved, along with remains of the iron rivets used to attach it to a leather belt. Small figurines show warriors wearing similar clasps, suggesting this was designed for use by a soldier. It is typical of a type of buckle produced in the central plain region of the Iberian Peninsula, where silver is found in the Sierra Morena mountains. In design it is closely related to engraved examples of artwork in Andalusia in the southwest of Spain, a province that strongly influenced the artistic development of the rest of Iberia. Opposing spirals were a popular motif in Celtic art and were often combined with concentric circles on buckles such as this one. The design was created by carving out a pattern on a bronze panel, and then hammering a thin sheet of silver into the indentations. Text from: www.metmuseum.org/toah/works-of-art/1990.62ab

Sword with Three Mounts, mid-1st century B.C.; Late Iron Age (La Tène) Celtic Iron blade, copper alloy hilt and scabbard; L. 19 3/4 in. (50 cm) Rogers Fund, 1999 (1999.94a-d) This magnificent anthropomorphic Celtic sword is also one of the best preserved. The beautifully modeled head that terminates the hilt is one of the finest surviving images of a Celtic warrior. The human form of the hilt—appearing as a geometric reduction of a classical warrior—must have been intended to enhance the power of the owner and to bear a talismanic significance. The face is emphatically articulated with large almond eyes, and the head with omega-shaped and finely drawn hair. Although the scabbard has become amalgamated to the iron blade, affecting parts of the surface, its ornamentation and the exquisitely worked hilt make the whole an evocative statement about the technical ability of the Celts, the powerful conquerors of ancient Europe. The sword is of a type associated with the La Tène culture, named after the important Celtic site on Lake Neuchâtel in present-day Switzerland and eastern France. Other related anthropomorphic swords from diverse finds in France, Ireland, and the British Isles demonstrate the expansion of the Celts across Europe. As the first such example in the Museum's collection, the sword is a superb and singular example that richly adds to a select group of Celtic works of art. Text from: www.metmuseum.org/Works_of_Art/viewOne.asp?dep=17&vie...

Bronze statuette of Cybele on a cart drawn by lions Roman, 2nd half of the 2nd century BC Accession # 97.22.24 The cult of the Anatolian mother goddess Cybele was introduced into Rome during the Second Punic War in the late 3rd century BC and remained popular until early Christian times. The goddess is shown with her usual attributes, a patera (libation bowl) in her right hand and a large tympanum (drum) in her left. But instead of flanking her throne as they normally do, here the two oversized lions pull a chariot. This elaborate group comes from a fountain, in which spouts projected from the open mouths of the lions. The original cart, harness, and throne no longer survive; the rear left wheel is a 19th century restoration. Text from the Metropolitan Museum of Art label.

Bronze statuette of Cybele on a cart drawn by lions Roman, 2nd half of the 2nd century BC Accession # 97.22.24 The cult of the Anatolian mother goddess Cybele was introduced into Rome during the Second Punic War in the late 3rd century BC and remained popular until early Christian times. The goddess is shown with her usual attributes, a patera (libation bowl) in her right hand and a large tympanum (drum) in her left. But instead of flanking her throne as they normally do, here the two oversized lions pull a chariot. This elaborate group comes from a fountain, in which spouts projected from the open mouths of the lions. The original cart, harness, and throne no longer survive; the rear left wheel is a 19th century restoration. Text from the Metropolitan Museum of Art label.

Pair of armbands, Hellenistic, ca. 200 B.C. Greek Gold Rogers Fund, 1956 (56.11.5–.6) These imposing serpentine armbands represent two tritons, male and female, each holding a small winged Eros. The hoops behind the tritons' heads were used to attach the armbands to the sleeves of a garment, for otherwise their weight (each over 6 1/2 ounces) would have caused them to slip down the arms. Text from: www.metmuseum.org/TOAH/ho/04/eusb/hod_56.11.5-.6.htm

Pair of armbands, Hellenistic, ca. 200 B.C. Greek Gold Rogers Fund, 1956 (56.11.5–.6) These imposing serpentine armbands represent two tritons, male and female, each holding a small winged Eros. The hoops behind the tritons' heads were used to attach the armbands to the sleeves of a garment, for otherwise their weight (each over 6 1/2 ounces) would have caused them to slip down the arms. Text from: www.metmuseum.org/TOAH/ho/04/eusb/hod_56.11.5-.6.htm

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.

Gold ornament with Herakles knot Greek, 1st half of the 3rd century BC Accession # 13.234.6 The Herakles knot, which was thought to have the power to cure wounds, was a popular motif, especially on Hellenistic jewelry. Here it is combined with small satyrs' heads and chains ending in bell-shaped floral pendants. The ornament may have formed part of an elaborate diadem. Text from the Metropolitan Museum of Art label.

Pair of armbands, Hellenistic, ca. 200 B.C. Greek Gold Rogers Fund, 1956 (56.11.5–.6) These imposing serpentine armbands represent two tritons, male and female, each holding a small winged Eros. The hoops behind the tritons' heads were used to attach the armbands to the sleeves of a garment, for otherwise their weight (each over 6 1/2 ounces) would have caused them to slip down the arms. Text from: www.metmuseum.org/TOAH/ho/04/eusb/hod_56.11.5-.6.htm

Sheet-gold decoration for a sword scabbard Greek, 340-320 BC Said to have been found near Chaian in the Crimea on the northern shore of the Black Sea Accession # 30.11.12 In the main frieze is a battle between Greeks and barbarians; at the left end stand two griffins. The irregular field above the frieze shows deer being killed, one by a lion, the other by a griffiin. The scabbard from which this gold decoration came would have been of another material, possibly bronze or iron. Such an elaborately embellished scabbard would have formed part of a ceremonial set of Scythian weapons. Text from the Metropolitan Museum of Art label.

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