LaurieAnnie's photos

Lion-Shaped Spouted Horn Unknown Parthian, 100 - 1 B.C. Silver, gold, and garnet 12 x 7 5/16 x 14 in. 86.AM.754.1 A lion's head and torso, with inlaid garnet eyes, open roaring mouth, and bulging veins, leaps out from the curved body of this large Parthian silver rhyton. Gilding accentuates elements like the mane and the veins in the legs. The quality of workmanship and materials and the subject of this rhyton--a lion--communicate the original owner's wealth and status. The lion had royal associations in Near Eastern art and was a symbol of nobility and courage. The term rhyton comes from the Greek verb meaning "to run through," and depictions of rhyta on Greek vases show that they were used to aerate wine. Wine poured into the top of the vessel comes out of the spout between the animal's legs. Stylistic features suggest that this rhyton was made in northwest Iran in the first century B.C. Iran had been part of the Achaemenid Persian Empire until Alexander the Great conquered it. After his death in 323 B.C., the Hellenistic Greek Seleucid dynasty, whose kingdom stretched from Turkey to Afghanistan, ruled the area. As Seleucid authority began to weaken in the later 200s B.C., a group of semi-nomadic people from the steppes of south central Asia called the Parthians challenged the dynasty; by the mid-100s B.C., they had firm control of this area of Iran. This complicated political history left its legacy in the art of the area. The floral motifs on the rhyton are drawn from Seleucid art, while rhyta of this form had a long history in earlier art of Iran. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=14969

Wine Cup with Floral Decoration Parthian, 100-1 BC Silver, gold, semiprecious stones, and glass Inventory # 86.AM.754.4 Text from the Getty Villa museum label.

www.johnspizzerianyc.com/

Our Lady of The Assumption 1634 Manhattan Avenue Bronx, NY

Our Lady of The Assumption 1634 Manhattan Avenue Bronx, NY

Our Lady of The Assumption 1634 Manhattan Avenue Bronx, NY

Our Lady of The Assumption 1634 Manhattan Avenue Bronx, NY

The Pelham Country Club had its origins as a small tennis club and five hole golf course carved out of a cow pasture in 1908. In the summer of 1921 an influential member named Mont Rogers formed a company to buy the land and hired noted golf architect, Devereux Emmet, to create a championship golf course. Cut from virgin woodland, stretching around and over rolling, low-lying hills, Pelham's golf course opens up varying vistas of great beauty. The natural beauty of its setting is comparable only to an old English park, and it is difficult to believe its proximity to New York City. Text from: www.pelhamcc.com/

The Pelham Country Club had its origins as a small tennis club and five hole golf course carved out of a cow pasture in 1908. In the summer of 1921 an influential member named Mont Rogers formed a company to buy the land and hired noted golf architect, Devereux Emmet, to create a championship golf course. Cut from virgin woodland, stretching around and over rolling, low-lying hills, Pelham's golf course opens up varying vistas of great beauty. The natural beauty of its setting is comparable only to an old English park, and it is difficult to believe its proximity to New York City. Text from: www.pelhamcc.com/

The Pelham Country Club had its origins as a small tennis club and five hole golf course carved out of a cow pasture in 1908. In the summer of 1921 an influential member named Mont Rogers formed a company to buy the land and hired noted golf architect, Devereux Emmet, to create a championship golf course. Cut from virgin woodland, stretching around and over rolling, low-lying hills, Pelham's golf course opens up varying vistas of great beauty. The natural beauty of its setting is comparable only to an old English park, and it is difficult to believe its proximity to New York City. Text from: www.pelhamcc.com/

Statuette of Mars Cobannus Unknown Gallo-Roman, A.D. 125 - 175 Bronze 29 15/16 in. 96.AB.54 A youthful figure wears a typical costume for the northern Roman provinces: a long-sleeved tunic, leggings, and a cloak fastened with a round brooch. On his head he wears a contemporary Roman helmet, rather than the classicizing headgear found on most Roman sculpture. The whites of his eyes are silvered and the irises drilled. The figure's pose looks odd now, but he originally held a spear in his upraised right hand and rested his left hand on a shield. The Latin inscription on the base reads, "Sacred to the venerable god Cobannus, Lucius Maccius Aeternus, duumvir , [dedicated this] in accordance with a vow." The statue probably represents Cobannus, a local deity who was equivalent to Mars, the Roman god of war. The family of Lucius Maccius Aeternus is known from other inscriptions in Gaul and must have been important, for a duumvir was one of the two chief magistrates of a Roman colony. This statuette is said to have been found in France, in the Roman province of Gaul, along with the Pair of Portrait Busts and the Offering Box. These pieces were probably all displayed together in a local shrine of the Iuventus, a Roman youth organization. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=35424