View allAll Photos Tagged Repousse
Gilded silver repousse plaque of the great goddess of Samothrace enthroned in a temple, with riders as attendants, a large sculptured pediment and palm leaves. Roman Imperial, 3rd Century AD. Roman-Germanic Museum (Römisch-Germanisches Museum), Köln, Germany. Copyright 2016, James A. Glazier.
Cumdach (book shrine) of the Cathach, 1062–94 and late 14th century with later additions and repairs, bronze, gilt silver, wood, crystal, and glass, 19 x 25 x 5.25 cm (National Museum of Ireland)
1909
Eric Otto Woldemar Ehrström
Repoussé copper door panel
Main doors
National Museum of Finland (1916)
Eric Otto Woldemar Ehrström ( February 5, 1881, Helsinki - October 11, 1934, Helsinki) was a Finnish art collector and ornamental artist specializing in metal enamelling . He also designed jewelry and glassware and practiced printmaking.
Ehrströn left high school and went on to study at the Finnish Art Association's drawing school in 1899. He was a student of Akseli Gallen-Kallela in Ruovesi, Kalela, between 1899-1900 and studied forging and metal repoussé and chasing in Paris from 1901 to 1902 and 1908. In Paris, he became acquainted with his wife Olga Gummer . She also had her own exhibition show at the Salon d'Automne in Paris.
Ehrström designed and manufactured a variety of small metal objects such as ashtrays, jars, cups, vases and various boxes using copper, brass, bronze or tin.
He worked on metalwork in several buildings, such as the Hvitträski artist's villa and the Suur-Merijoki mansion in Kannas Karelia.
Ehrström also designed jewelery, and in 1918 he designed the crown of the King of Finland, as well as the Finnish coat of arms and the seals of the authorities. In 1927 Ehrström lost his right hand in an accident, after which his wife Olga Gummerus-Ehrström, who himself was a versatile and talented artist, helped her husband in this work.
Ehrström was a teacher of metal sculpture and interior design at the Art Institute's Industrial School 1904-1905 and 1912-1919. In 1924 he wrote a handbook for the arts industry Konsthantverk: Teknisk rådgivare (published in Finnish as Art: Technical Guide ) as a textbook for students and craftsmen in craft schools.
In 1919 Ehrström, together with sculptor Emil Wikström , Gösta Serlachius, and Paavo Tynelli, together with Taidetakomo Taito, later founded Oy Taito Ab, with Ehrström as the head of the Department of Art and Design.
The Vines, 81 Lime Street, Liverpool, 1907.
By Walter William Thomas (1849-1912).
Walkers Ales of Warrington.
Grade ll* listed.
See also:-
pubheritage.camra.org.uk/pubs/112
breweryhistory.com/wiki/index.php?title=Vines,_Liverpool
www.govserv.org/GB/Liverpool/236929139665303/The-Vines-%2...
m.facebook.com/The-Vines-the-Big-House-236929139665303/
ymliverpool.com/historic-lime-street-pub-vines-plans-attr...
www.theguardian.com/artanddesign/2020/feb/07/liverpool-pu...
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The Vines public house
Statutory Address: 79-87 Lime Street, Liverpool, L1 1JQ
Grade II* Listed
List Entry Number: 1084210
National Grid Reference: SJ3505890334
Summary
Public house, 1907, by Walter Thomas for Robert Cain & Sons. Neo-Baroque style.
Reasons for Designation
The Vines, constructed in 1907 to the designs of Walter W Thomas for Robert Cain & Sons, is listed at Grade II* for the following principal reasons:
Architectural interest:
* it has an impressive neo-Baroque design with flamboyant principal elevations that maximise its prominent corner location;
* its imposing composition and highly ornate interior reflect the status, wealth and ambition of Robert Cain who sought to create public houses of great beauty;
* the interior decoration is of a superior quality and includes plasterwork by the Bromsgrove Guild and H Gustave Hiller, carved mahogany woodwork throughout, repousse copper panels, and a stained-glass dome in the former billiards room;
* the interior retains high-quality original fixtures and fittings, including elaborate fireplaces, carved baffles with Art Nouveau stained glass, ornate wall panelling, arcaded screens, a striking wave-shaped beaten-copper bar counter in the lounge, and Art Nouveau fireplaces in the upper-floor accommodation.
Group value:
* it has strong group value with its sister building, the nearby Grade I-listed Philharmonic Dining Rooms, which was also designed by Walter W Thomas for Robert Cain & Sons, as well as other listed buildings on Lime Street and Ranelagh Place, including the Grade II-listed Crown Hotel, Adelphi Hotel and former Lewis's department store.
History
The Vines was constructed in 1907 to the designs of Walter W Thomas for the Liverpool brewery Robert Cain & Sons and replaced an early-C19 pub operated by Albert B Vines from 1867; hence the current pub's name. The interior decoration includes works by the Bromsgrove Guild and H Gustave Hiller.
Walter W Thomas (1849-1912) was a Liverpool architect who is best known for his public house designs, but who also produced designs for Owen Owen's department store known as Audley House, and houses around Sefton Park. As well as The Vines, Thomas also designed The Philharmonic Dining Rooms (1898-1900, Grade I) on Hope Street for Robert Cain & Sons, and rebuilt The Crown (1905, Grade II) for Walkers Brewery of Warrington, which is also on Lime Street.
Robert Cain (1826-1907) was born in Ireland but grew up in Liverpool. As a teenager he became an apprentice to a cooper on board a ship carrying palm oil from West Africa and after returning to Liverpool in 1844 he established himself first as a cooper, and then subsequently as a brewer in 1848. Cain began brewing at a pub on Limekiln Lane, but soon moved to larger premises on Wilton Street, and finally to the Mersey Brewery on Stanhope Street in 1858, which Cain extended in the late C19 and early C20. As well as brewing Cain also invested in property, built pubs, and ran a hotel adjacent to the Mersey Brewery. As his brewery business grew (known as Robert Cain & Sons from 1896) it bought out smaller brewers and took control of their pubs, evolving into a company that owned over 200 pubs in Liverpool by the late 1880s. In 1921 Robert Cain & Sons merged with Walkers Brewery to become Walker Cains and the Liverpool brewery at Stanhope Street was sold to Higsons in 1923. After a succession of owners from the 1980s onwards the brewery is being converted for mixed use.
The Bromsgrove Guild of Fine Arts was established in 1898 by Walter Gilbert as a means of promoting high-qualify craftsmanship in metal casting, woodcarving and embroidery in the style of a medieval guild, and included the creation of apprenticeships. The Guild subsequently expanded into other areas of art and design, including jewellery, enamelling, and decorative plasterwork, and recruited the best craftsmen. In 1900 the Guild was showcased at the British Pavilion at the Exposition Universelle in Paris and in 1908 it received a royal warrant. Famous works included the gates at Buckingham Palace, interior decoration on RMS Lusitania and RMS Queen Mary, and the Liver bird statues on the Royal Liver Building in Liverpool. Although the Guild survived the loss of key craftsmen and the Great Depression of the late 1920s it was finally wound up in the 1960s.
Henry Gustave Hiller (1864-1946) was a Liverpool-based designer and manufacturer of stained glass who trained at the Manchester School of Art under Walter Crane. He established a studio in Liverpool in around 1904 and retired in 1940. Although primarily known for his stained glass he worked in a wide variety of mediums, including plasterwork.
Details
Public house, 1907, by Walter W Thomas for Robert Cain & Sons. Neo-Baroque style.
MATERIALS: sandstone ashlar with a pink-granite ground floor, slate roof coverings.
PLAN: The Vines has a V-shaped plan with a north corner in-filled at ground-floor level by a former billiards room. It occupies a corner plot at the junction of Copperas Hill and Lime Street with principal elevations onto both streets. It is bounded by Copperas Hill to the south-east, Lime Street to the south-west, and adjoining buildings to the north-east and north-west.
EXTERIOR: The Vines is of three-storeys plus attic and basement with a nine-bay elevation onto Lime Street, a canted south corner bay, and a six-bay return on Copperas Hill, and entrances on each elevation. The pub has a steep slate roof set behind ornate Dutch gables and a balustraded parapet, and the ground floor has banded rustication to the pink-granite facings. The ground floor is lit by large bow windows containing original patterned brilliant-cut glass and replaced etched glass, whilst the upper-floors have casement windows set within carved surrounds. A cornice projects out from the main face of the building above the ground floor and stood atop it to both the Lime Street and Copperas Hill elevations are later gold letters that read 'WALKERS WARRINGTON ALES', with additional letters to Lime Street that read 'THE VINES'. Above the first floor is a stringcourse interrupted by segmental floating cornices over some of the windows, and in between the windows are floriated drops attached to corbelled pedestals that support Ionic engaged columns between the second-floor windows. The Lime Street elevation has two large Dutch gables with scroll detailing, elaborate finials, paired casement windows with elaborate surrounds, and oculi to the gable apexes, whilst the Copperas Hill elevation has a single gable in the same style. Projecting out from the right gable on Lime Street is a large bracketed clock.
SOUTH CORNER The south corner has a tall doorway to the ground floor accessing the public bar with a decorative wrought-iron and gilded-copper gate with a vestibule behind containing a patterned mosaic floor incorporating the lettering 'RCS' (Robert Cain & Sons) and two partly-glazed and panelled doors; that to the right is no longer in use. The entrance doorway itself is flanked by engaged Ionic columns with copper capitals and drops, and above are large triple keystones and a segmental open pediment, all exaggerated in size. Inscribed to the central keystone is 'The Vines' in gilded lettering. To the south corner's first floor is a glazed oculi with a festoon above incorporating a figurative head keystone, whilst the second-floor window mirrors that of the other elevations. Rising from the top of the corner bay behind the parapet and sandwiched by the Dutch gables on Lime Street and Copperas Hill is a tall round tower topped by a dome with a squat obelisk finial.
LIME STREET The Lime Street elevation incorporates a further entrance to the centre of the ground floor, which is identically styled to that to the south corner, but the lower section of the original gate has been removed and replaced by late-C20 concertina gates. The vestibule behind is lined with pink granite and has a decorative plasterwork ceiling and a small bow-shaped window (possibly an off-sales opening originally and in 2019 now covered with an advertising sign) directly opposite the doorway with a multipaned segmental overlight above. Partly-glazed panelled doors to each side lead into the lounge and public bar to the left and right respectively; both doors are multipaned to their upper halves with panes of brilliant-cut glass. To the left of the main building on Lime Street is an additional lower, rendered single-bay that comprises 79 Lime Street; part of an earlier (now demolished) building that was partly raised, altered and re-used in the early C20 to house The Vines' main accommodation stair. It has a tall doorway to the ground floor flanked by Corinthian columns with two panelled doors with overlights; that to the left previously served a now-demolished part of the building to the left whilst that to the right accesses the stair for The Vines. Single plate-glass sash windows exist to the right on two floors above; that to the second floor has been altered and made smaller, presumably when the stair was inserted internally. Corresponding windows to the left have been blocked up, but are partly visible internally.
COPPERAS HILL The ground floor of the pub's Copperas Hill elevation also has a number of entrances, including one with a doorway incorporating a scrolled floating cornice and prominent keystone that leads into the public bar and originally also a former snug (now altered into a kitchenette). A plainer doorway to the right leads to a stair accessing the upper floors at this end of the building. A single-storey flat-roofed section to the far right of the elevation with a plain recessed doorway is a later addition and provides external access to the former billiards room.
REAR ELEVATIONS The rear (north-east and north-west) elevations are plainer and of brick with large casement windows, some of which incorporate Art Nouveau stained glass. The entire rear yard area is occupied by a flat-roofed billiards room with a large lantern roof over a stained-glass dome visible internally. A cast-iron fire escape provides access down onto the roof of the billiards room.
INTERIOR: internally the pub has a linear sequence of rooms from south-east to north-west formed by a public bar, lounge and smoke room, with a large former billiards room at the rear. There are high ceilings and carved mahogany woodwork throughout the ground floor, and plasterwork by the Bromsgrove Guild and H Gustave Hiller.
PUBLIC BAR The south corner entrance leads into a large public bar with a richly moulded plasterwork ceiling and a panelled mahogany bar counter to the north corner that originally ran down the north-east side of the room, but was shortened in 1989. Rising from the bar counter are short mirror-panelled piers supporting a pot shelf surmounted by three twin-armed brass lamps, and in front of the counter is a brass foot rail. The bar-back behind forms part of a carved, arcaded and panelled screen that runs down the north-east side of the public bar and incorporates stained, leaded, and cut glass, and two openings; the opening to the right has lost its original panelled infill, which would have been in similar style to the bar-back, whilst that to the left is an original open doorway with a broken segmental pediment above containing a clock face that gives the appearance of an outsized grandfather clock with the doorway through the pendulum case. The screen separates the public bar from a rear corridor cum drinking lobby that accesses toilets and leads through to the lounge and smoke room at the opposite end of the pub. Bench seating and a mahogany and tiled fireplace with a carved overmantel exist to the public bar's south-west wall, and a small late-C20 stage has been inserted at the south-east end of the room. At the north-west end of the room adjacent to the Lime Street entrance is a panelled and stained-glass arcaded screen with an integral drinking shelf that conceals the bar service area, possible off-sales and basement access from view. In the eastern corner of the bar adjacent to a lobby off the Copperas Hill entrance is an altered glazed screen covered with modern signage chalkboards that probably originally led through to another small room/snug, which is now a kitchenette.
Behind the public bar the corridor/drinking lobby's north-east wall is panelled and incorporates a wide arched opening to the centre with early-C20 signage plaques with incised and gilded lettering and arrows pointing towards the ladies and gents lavatories, which are accessed through an inner screen with Art Nouveau stained glass and a vestibule with panelled doors. Off to the right is a doorway through to the altered snug and access to a stair leading up to the first floor.
LOUNGE The lounge is accessed from the Lime Street entrance and shares a bar servery with the public bar, although the bar counter in the lounge is set within a wide arched opening and is more elaborate and wave-shaped with a decorative beaten-copper front. Above the counter are brass lighting rails with paired globe lights. Ornate carved and fluted Corinthian columns stood atop panelled pedestals support the room's ceiling, which continues the same richly decorated plasterwork as the public bar. Similarly detailed pilasters also exist to the walls, which are panelled. To the room's north-west wall is a tall mahogany and marble fireplace with a decorative beaten-copper panel depicting torches and swags, and a beaten-copper Art Nouveau fire hood, and large caryatids to each side supporting an entablature and segmental pediment above. Two doorways either side of the fireplace with their doors removed (one of the doors with an etched-glass upper panel that reads 'SMOKE ROOM' survives on the second floor in the Lime Street range) lead through into the smoke room, which has a back-to-back fireplace with the lounge.
SMOKE ROOM The smoke room has booth seating set around three walls separated by baffles with Art Nouveau stained-glass panels and fluted octagonal uprights surmounted by paired lamps. The walls above the seating have highly decorative mahogany panelling with fluted pilasters, carved mouldings, marquetry detailing and built-in bell pushes set within decorative plates. To the top of the walls, and set below a coffered ceiling that incorporates a large plasterwork oval to the centre depicting the signs of the zodiac, is a deep plasterwork frieze depicting putti in various Arcadian scenes. The room's elaborate fireplace is also of mahogany, marble and beaten copper, with a semi-circular panel depicting Viking ships in relief and flanking fluted octagonal columns with Art Nouveau floriate capitals supporting an entablature.
FORMER BILLIARDS ROOM At the rear (north-east side) of the ground floor, and accessed from the lounge and rear corridor, is a vast room (probably a billiards room originally and now known as the Heritage Suite) with an exposed floorboard floor, wall panelling incorporating doorcases with shaped heads, giant Corinthian pilasters, carved festoons and cartouches, and a coffered ceiling with a massive, oval, stained-glass domed skylight to the centre with a plasterwork frieze at its base depicting apples, foliage and lion's heads. To the south-west wall is an elaborate carved mahogany and marble fireplace with a large mirror built into the panelling above and surviving to the south-east wall is original built-in bench seating. At the north-west end of the room is a later panelled bar counter with a substantial bar-back behind incorporating Roman Doric columns supporting a deep entablature and flanked by later shelving. A doorway in the east corner leads through to an altered entrance foyer off Copperas Hill.
UPPER FLOORS A steep, narrow stair off Copperas Hill leads up to the first floor and rooms in the south corner and south-east end of the building. The stair has modern tread coverings and has lost its balusters, but an original newel post and handrail survive. The main accommodation stair serving the upper floors in the Lime Street range is contained within the neighbouring single-bay property of 79 Lime Street and rises from a ground-floor foyer with later inserted partitioning. The stair is a wide dog-leg stair with substantial carved newel posts and balusters, pendant drops, a closed string, and a glazed-tiled dado.
The upper floor rooms at the south-east end of the building have been modernised to accommodate en-suite bathrooms and toilets, but the floor plan largely survives with only minor alteration, including boxing-in on the second-floor landing. The rooms and landings retain plain moulded cornicing and door architraves, and a mixture of original four-panel and modern doors. Chimneybreasts also survive, and most rooms retain Art Nouveau cast-iron and tiled fireplaces. A stair flight up to the second floor survives with closed strings and turned balusters and newel posts. On each of the first and second floor landings is a doorway through to the upper-floor rooms facing onto Lime Street, which are no longer in use. These spaces, except for the main stair at the north-west end, have been altered and modernised, along with the attic rooms.
The attic at the south-east end of the building and the basement were not inspected.
Legacy
The contents of this record have been generated from a legacy data system.
Legacy System number: 359023
Legacy System: LBS
Sources
Books and journals
Brandwood, G, Davison, A, Slaughter, M, Licensed to Sell. The HIstory and Heritage of the Public House, (2004), 77, 78, 115, 147, 150
Brandwood, G, Britain's Best Real Heritage Pubs. Pub Interiors of Outstanding Historic Interest, (2013), 118
Pye, K, Liverpool Pubs, (2015), 68-72
Sharples, J, Pevsner Architectural Guides: Liverpool, (2004), 184
Websites
The Bromsgrove Guild, accessed 7 November 2019 from www.architectural-heritage.co.uk/garden-ornament-history
Liberty Enlightening the World (French: La liberté éclairant le monde), commonly known as the Statue of Liberty (French: Statue de la Liberté), has stood on Liberty Island in New York Harbor, welcoming visitors, immigrants, and returning Americans, since it was presented to the United States by the people of France. Dedicated on October 28, 1886, the gift commemorated the centennial of the signing of the United States Declaration of Independence and has since become one of the most recognizable national icons--a symbol of democracy and freedom.
The 151-foot (46-meter) tall statue was sculpted by Frédéric Auguste Bartholdi and stands atop Richard Morris Hunt's 154-foot (93-meter) rectangular stonework pedestal with a foundation in the shape of an irregular eleven-pointed star. Maurice Koechlin, chief engineer of Gustave Eiffel's engineering company and designer of the Eiffel Tower, engineered the internal structure. Eugène Viollet-le-Duc was responsible for the choice of copper and adoption of the repoussé technique, where a malleable metal is hammered on the reverse side. The Statue of Liberty depicts a woman clad in Roman Stola and holding a torch and tablet, and is made of a sheeting of pure copper, hung on a framework of steel with the exception of the flame of the torch, which is coated in gold leaf.
Affectionately known as Lady Liberty, the figure is derived from Libertas, ancient Rome's goddess of freedom from slavery, oppression, and tyranny. Her left foot, fitted in Roman sandals, tramples broken shackles, symbolizing freedom from opression and tyranny, while her raised right foot symbolizes Liberty and Freedom refusing to stand still. Her torch signifies enlightenment. The tablet in her hand represents knowledge and shows the date of the Declaration of Independence--July 4, 1776. The seven spikes on the crown represent the Seven Seas and seven continents. Visually the the Statue of Liberty draws inspiration from the ancient Colossus of Rhodes of the Greek Sun-god Zeus or Helios, and is referred to in the 1883 sonnet The New Colossus by Emma Lazarus, which was later engraved inside.
The Statue of Liberty National Monument was designated a landmark by the New York City Landmarks Preservation Commission in 1976.
Statue of Liberty National Monument New Jersey State Register (1971)
Statue of Liberty National Monument National Register #66000058 (1966)
Sometimes life gets in the way and your ideas have to wait.
Sometimes up to 3 years.
This is such a piece I started three years ago (like the bakery shelf I showed you recently). I bought the counter, painted it in chocolate and blaaah didn't like it...
And a few weeks ago, I took it out again and started to decorate that chocolate brown counter. Adding tiny pink dots, tiny pastries and taadaaaaaaa! Here it is :)
Parfois la vie ne se déroule pas comme prévu et on repousse certaines idées.
Parfois on les repousse pendant 3 ans.
J'ai commencé cette pièce il y a trois ans (comme l'étagère pour boulangerie dont j'ai parlé peu de temps avant). J'ai acheté le meuble, je l'ai peint en brun chocolat et j'ai trouvé ça immonde...
Il y a quelques semaines j'ai ressorti ce meuble et je l'ai décoré avec des pâtisseries et des petits pois roses. Et voilàààà!
xx
Stéphanie
Deep red velveteen box with a fitted repoussé top set on the ground at arm's length from the ropes around the perimeter of the Medicine Wheel, perhaps with a memento or symbolic treasure within.
The Wyoming "Medicine Wheel" comprises an 80-foot diameter circle outlined in white stones (from the local area) with 28 white rock "spokes" and a white rock cairn in the center. Its precise age as a sacred site discovered by indigenous people has not been established but it has certainly been in continuous use for at least 3 millennia. It is still used for ceremonies and similar events by area Natives as well as non-natives today. The precise history of this Medicine Wheel is not known, but there are other, similarly constructed sites throughout the North American west, including in the U.S. and Canada.
The cognizant agency, by agreement with indigenous stakeholders, grants entry into the inner circle only for legitimate use by indigenous groups.
If you visit, please resist the temptation to enter the sacred space, and if you are there when the inner circle is in use, please observe from a respectful distance, and leave promptly if asked to as activities conducted therein may not be open to outsiders. Do not disturb objects left around or inside the wheel, or photograph the celebrants without their explicit permission.
The site is on a high promontory of Medicine Mountain, a little over 30 miles from the town of Lovell, Wyoming.
When not being used for traditional purposes by modern Indian tribal groups, it's open for public visitation year 'round. A designated Historic Landmark, it is under the protection of the US Forest Service, which from June 1- September 30 staffs a small informational kiosk at the trail head to the Wheel.
Anyone can leave offerings around the outside of the wheel, which is bounded by ropes hung along wood stanchions, at any time. At this elevation - nearly 10,000 feet - any object imbued with prayers will be that much closer to The Maker, and just might be carried aloft by the strong winds.
Most people make the lovely and not-difficult 1-1/2 mile walk from the parking area to the Wheel. Visitors with handicapped designation may drive to the top. Hunters can use powered vehicles – typically ATVs – to bypass the sacred site on the way to designated hunting areas in the Bighorn National Forest.
Sterling silver band, enamel, faceted Carnelian. Techniques: chasing and repousse, riveting, roller printing, torch enameling. This is my first journey into enameling in over 8 years. Generally, I hate enameling but, I wanted a bit of color and enameling was a good place to find it. Ring size is adjustable and is about an 8.5. Check out my new videos on "How To Make a Ring" at nancylthamilton.com or Nancy Hamilton on You Tube.
The Seaweed Necklace. The inspiration for the Seaweed Necklace was a piece of seaweed, found (obviously) at the beach. The seaweed had dried into a perfect necklace shape and I knew that I needed to make one in metal. After months of trying to figure out how to replicate the look of dried salt and how to get it to stay, I eventually settled on layering liquid polymer clay, embedding the powdered glass, firing, applying another layer of the clay and more glass. Materials used were: sterling silver, for the Herkimer Diamond settings and the "branches" and tube clasp and copper for the pods. To achieve the right color, I painted, in layers - mixed with gel medium - acrylic paint. The flowers, which are set with the Herkimer Diamonds are made from copper mesh. The "branches" have little broken stems that were done by carving, forging and sanding the metal to shape. The pods were first created with the hydraulic press and were then fleshed out and shaped using chasing and repousse´. The mesh flowers were run through a tube ringer and gathered, soldered and melted at the edges - then the settings for the Herkimer's were soldered on.
Backlit crucifix. Repousse Copper Cross - as described in 'The Free Church (Baptist) Hillside Road Chorleywood and a history of its architecture' W. Heap 1976, copy in Chorleywood Public Library.
Stylized gold papyrus ornaments in repoussé.
Part of the so-called "Aidonia Treasure," looted from the Mycenaean necropolis of Aidonia, west of Nemea.
15th c. BCE
Archaeological Museum of Nemea, Greece. MN 1014 α-ζ.
Amee, Ituri, RDC – Alertés le 4 mai dernier sur une attaque de miliciens Codeco contre le camp des FARDC à Kambala, dans le territoire de Djugu, les casques bleus bangladais de la MONUSCO basés à Amee se sont déployés afin de protéger les civils. Ils ont ouvert le feu sur les assaillants et les ont repoussés. Au moins deux présumés miliciens ont été tués. Photo MONUSCO/Force
Amee, Ituri, DRC - Alerted to an attack by Codeco militiamen on the FARDC camp in Kambala, Djugu territory, on May 4, MONUSCO Bangladeshi peacekeepers deployed from their base in Aimee in order to protect civilians. They opened fire on the attackers. At least two suspected militiamen were killed. Photo MONUSCO/Force
La laine repousse, bientôt on aura de nouveau notre Praline toute bouclée
Wool is growing, soon we'll have again our curly Praline
Sheet bronze hut cinerary urn with repousse decoration and bird ridge poles. The sun boat is a bird-protome boat carrying the image of the sun. From the Osteria Necropolis, Vulci. Villanovan, 800 BC - 750 BC. Museo Nazionale Etrusco di Villa Giulia, Roma, Lazio, Italy. Copyright 2016, James A. Glazier. The Villa Giulia was my favorite museum as a child. Some of the new displays are real improvements, others not so much. The famous Orientalizing gold jewlery is in the new separate wing, which is now permamently closed due to lack of funds. As a result, some of the most important pieces are unviewable.
Height: 24.200 cm
Circumference: 58.500 cm
Gift of the Port of London Authority.Room 50: Britain and Europe
Horned helmet Celtic Iron Age, 150-50 BC
From the River Thames at Waterloo Bridge, London, England
A helmet for a chieftain or votive object for the Thames, Celtic, river goddess?
Tamesis :A Brythonic Goddess, also known as Temesia, Temesis: Dark Flow
Tamesis is a hypothetical Brythonic Celtic goddess derived from the name of the river Thames, several Welsh rivers and the river Scheldt (originally Tamise) of Antwerp. the Netherlands. In Celtic times, all rivers had patron deities and the Thames would be no different. The name of the goddess can be re-constructed as 'Tamesis'; goddess of flooding rivers.
Tamesis is a hypothetical goddess based on the assumption that the Thames once had a patron goddess. Based on the English and Cymric names of the river (Thames and Tafwys, respectively) an attempt has been made to derive the original Brythonic form which is though to be something like Tamesis or Temesis which might make the deity of the river Temesia/Tamesia. This is a name that is also preserved in the French name for the Scheldt river of Antwerp (the Tamise).
Tamesis' name is etymologically related to the name of the flood-plain god Temavus and can be derived from the reconstructed proto-Celtic lexical elements: *temeno- (dark) and *si-l-e/o- (drip, flow). Thus Tamesis is the 'Dark Flow'. The dark flow being the waters that would burst the banks of the Thames in winter to inundate the flood plains beyond.
The same etymology also lies behind the names of the rivers Taf, Teifi, Tywi (which are derived from the same Cymric root as Tafwys) and the Teme. These all being large waterways liable to frequent flooding. A similar etymology also lies behind the name of the goddess Temusio.
This 'helmet' was dredged from the River Thames at Waterloo Bridge in the early 1860s. It is the only Iron Age helmet to have ever been found in southern England, and it is the only Iron Age helmet with horns ever to have been found anywhere in Europe. Horns were often a symbol of the gods in different parts of the ancient world. This might suggest the person who wore this was a special person, or that the helmet was made for a god to wear. Like the Deal Crown, this was more of a symbolic head-dress than actual protection for the head in battle. The person who wore the helmet would need a modern hat size of 7.
Like many other objects, especially weapons, this helmet was found in the River Thames. These include the Battersea Shield, which was also made for conspicuous display rather than use in war.
The helmet is made from sheet bronze pieces held together with many carefully placed bronze rivets. It is decorated with the later Celtic La Tène style art used in Britain between 250 and 50 BC. The repoussé decoration is repeated on the back and the front. Originally, the bronze helmet would have been a shining polished bronze colour, not the dull green colour it is today. It was also once decorated with studs of bright red glass. The decoration is similar to that on the Snettisham Great Torc.
S. James and V. Rigby, Britain and the Celtic Iron Age (London, The British Museum Press, 1997)
I.M. Stead, Celtic art in Britain before the romans (London, The British Museum Press, 1987, revised edition 1997)
en.wikipedia.org/wiki/Celtic_warfare
"The whole race is madly fond of war, high spirited and quick to battle, but otherwise straightforward and not of evil character." - Strabo on the Celts
Gold chain necklace with repousse medallion of Medusa. Roman Imperial jewelry, 3rd Century AD - 4th Century AD. Roman-Germanic Museum (Römisch-Germanisches Museum), Köln, Germany. Copyright 2016, James A. Glazier.
Star Ocean 5 : la date de sortie repoussée C'est par le biais d'un communiqué officiel que Square Enix annonce que la date de sortie japonaise de Star Ocean 5 Integrity and Faithlessness a été repoussée à une date ulté... via on.fb.me/1osNI0h
Bronze chariot inlaid with ivory
Period: Archaic
Date: 2nd quarter of the 6th century B.C.
Culture: Etruscan
Scenes from the life of the Greek hero Achilles
The Acquisition
In 1902, a landowner working on his property accidentally discovered a subterranean built tomb covered by a tumulus (mound). His investigations revealed the remains of a parade chariot as well as bronze, ceramic, and iron utensils together with other grave goods. Following the discovery, the finds passed through the hands of several Italian owners and dealers who were responsible for the appearance of the chariot and related material on the Paris art market. There they were purchased in 1903 by General Luigi Palma di Cesnola, the first director of The Metropolitan Museum of Art.
The Monteleone chariot is the best preserved example of its kind from ancient Italy before the Roman period. The relatively good condition of its major parts--the panels of the car, the pole, and the wheels--has made it possible to undertake a new reconstruction based on the most recent scholarship. Moreover, some of the surviving ivory fragments can now be placed with reasonable certitude.
The other tomb furnishings acquired with the chariot are exhibited in two cases on the south wall of this gallery.
The Form and Function of the Chariot
Chariots originated in the Ancient Near East during the early second millennium B.C. and spread westward through Egypt, Cyprus, and the Greek world. In the predominant early type, the car consisted essentially of a platform with a light barrier at the front.
On the Italian peninsula, the largest number of chariots come from Etruria and the surrounding regions. They are datable between the second half of the eighth and the fifth centuries B.C. and represent several varieties. None seems to have been used for fighting in battle. Most came to light in tombs; after serving in life, they were buried with their owners, male and also female.
The Monteleone chariot belongs to a group of parade chariots, so called because they were used by significant individuals on special occasions. They have two wheels and were drawn by two horses standing about forty-nine inches (122 centimeters) apart at the point where the yoke rests on their necks. The car would have accommodated the driver and the distinguished passenger.
The shape of the car, with a tall panel in front and a lower one at each side, provided expansive surfaces for decoration, executed in repoussé. The frieze at the axle, the attachment of the pole to the car, and the ends of the pole and yoke all have additional figural embellishment.
The Materials of the Chariot
Although none of the substructure of the original chariot survives, except in one wheel, much information can be gleaned from details on the bronze pieces, other preserved chariots, and ancient depictions of chariots. Note that a chariot is represented on the proper left panel of the car.
The preserved bronze elements of the car were originally mounted on a wooden substructure. The rails supporting the three main figural panels were made from a tree such as a yew or wild fig. The floor consisted of wooden slats. The wooden wheels were revetted with bronze, an exceptional practice probably reserved only for the most elaborate chariots. A bit of the preserved core has been identified as oak. The tires are of iron. The sections of the pole were mounted on straight branches.
A major component of the original vehicle was leather applied to the wooden substructure. The connection of the pole to the car would have been reinforced by rawhide straps gathered beneath the boar's head, and the yoke would have been lashed to the pole. The upper end of the pole shows traces of the leather bands. In addition, all of the horses' harness was of leather. Moreover, rings of pigskin with the fat attached helped reduce friction between the moving parts of the wheels.
The Monteleone chariot is distinguished not only by the extraordinary execution of the bronze panels but also by the inclusion of ivory inlays. The ivories, from both elephant and hippopotamus, are so fragmentary that only the tusks of the boar and the finials at the back of the car have been placed in their original positions. The remaining pieces are exhibited in a case on the south wall. A series of long narrow strips served as edging, perhaps around the panels of the car or on the underside of the pole. It is possible that other fragments filled the spaces between the figures in the central panel of the car. A major question concerning these adjuncts is the method of their attachment, requiring the use of an adhesive. Another question is whether the ivories were painted.
The Figures on the Chariot
The iconography represents a carefully thought-out program. The three major panels of the car depict episodes from the life of Achilles, the Greek hero of the Trojan War. In the magnificent central scene, Achilles, on the right, receives from his mother, Thetis, on the left, a shield and helmet to replace the armor that Achilles had given his friend Patroklos, for combat against the Trojan Hektor. Patroklos was killed, allowing Hektor to take Achilles' armor. The subject was widely known thanks to the account in Homer's Iliad and many representations in Greek art. The panel on the left shows a combat between two warriors, usually identified as the Greek Achilles and the Trojan Memnon. In the panel on the right, the apotheosis of Achilles shows him ascending in a chariot drawn by winged horses.
The subsidiary reliefs partly covered by the wheels are interpreted as showing Achilles as a youth in the care of the centaur Chiron and Achilles as a lion felling his foes, in this case a stag and a bull.
The central axis of the chariot is reinforced by the head and forelegs of the boar at the join of the pole to the car. The deer below Achilles' shield appears slung over the boar's back. The eagle's head at the front of the pole repeats the two attacking eagles at the top of the central panel, and the lion heads on the yoke relate to the numerous savage felines on the car.
While the meaning of the human and animal figures allows for various interpretations, there is a thematic unity and a Homeric quality emphasizing the glory of the hero.
The Artistic Origin of the Chariot
The three panels of the car represent the main artistic achievement. Scholarly opinion agrees that the style of the decoration is strongly influenced by Greek art, particularly that of Ionia and adjacent islands such as Rhodes. The choice of subjects, moreover, reflects close knowledge of the epics recounting the Trojan War. In the extent of Greek influence, the chariot resembles works of virtually all media from Archaic Etruria. Contemporary carved ambers reflect a similar situation.
The typically Etruscan features of the object begin with its function, for chariots were not significant in Greek life of the sixth century B.C. except in athletic contests. Furthermore, iconographical motifs such as the winged horses in Achilles' apotheosis and the plethora of birds of prey reflect Etruscan predilections. The repoussé panels may have been produced in one of the important metal-working centers such as Vulci by a local craftsman well familiar with Greek art or possibly by an immigrant bronze-worker. The chariot could well have been made for an important individual living in southern Etruria or Latium. Its burial in Monteleone may have to do with the fact that this town controlled a major route through the Appenine Mountains. The vehicle could have been a gift to win favor with a powerful local authority or to reward his services.
Beyond discussion is the superlative skill of the artist. His control of the height of the relief, from very high to subtly shallow, is extraordinary. Equally remarkable are the richness and variety of the decoration lavished on all of the figures, especially those of the central panel. In its original state, with the gleaming bronze and painted ivory as well as all of the accessory paraphernalia, the chariot must have been dazzling.
The Reconstruction
After the parts of the chariot arrived in the Museum in 1903, they were assembled in a presentation that remained on view for almost a century. During the new reconstruction, which took three years' work, the chariot was entirely dismantled. A new support was made according to the same structural principles as the ancient one would have been. The reexamination of many pieces has allowed them to be placed in their correct positions. Moreover, the bronze sheathing of the pole, which had been considered only partially preserved, has been recognized as substantially complete.
The main element that has not been reconstructed is the yoke. Although the length is correct, the wooden bar simply connects the two bronze pieces.
Bronze chariot inlaid with ivory
Period: Archaic
Date: 2nd quarter of the 6th century B.C.
Culture: Etruscan
Scenes from the life of the Greek hero Achilles
The Acquisition
In 1902, a landowner working on his property accidentally discovered a subterranean built tomb covered by a tumulus (mound). His investigations revealed the remains of a parade chariot as well as bronze, ceramic, and iron utensils together with other grave goods. Following the discovery, the finds passed through the hands of several Italian owners and dealers who were responsible for the appearance of the chariot and related material on the Paris art market. There they were purchased in 1903 by General Luigi Palma di Cesnola, the first director of The Metropolitan Museum of Art.
The Monteleone chariot is the best preserved example of its kind from ancient Italy before the Roman period. The relatively good condition of its major parts--the panels of the car, the pole, and the wheels--has made it possible to undertake a new reconstruction based on the most recent scholarship. Moreover, some of the surviving ivory fragments can now be placed with reasonable certitude.
The other tomb furnishings acquired with the chariot are exhibited in two cases on the south wall of this gallery.
The Form and Function of the Chariot
Chariots originated in the Ancient Near East during the early second millennium B.C. and spread westward through Egypt, Cyprus, and the Greek world. In the predominant early type, the car consisted essentially of a platform with a light barrier at the front.
On the Italian peninsula, the largest number of chariots come from Etruria and the surrounding regions. They are datable between the second half of the eighth and the fifth centuries B.C. and represent several varieties. None seems to have been used for fighting in battle. Most came to light in tombs; after serving in life, they were buried with their owners, male and also female.
The Monteleone chariot belongs to a group of parade chariots, so called because they were used by significant individuals on special occasions. They have two wheels and were drawn by two horses standing about forty-nine inches (122 centimeters) apart at the point where the yoke rests on their necks. The car would have accommodated the driver and the distinguished passenger.
The shape of the car, with a tall panel in front and a lower one at each side, provided expansive surfaces for decoration, executed in repoussé. The frieze at the axle, the attachment of the pole to the car, and the ends of the pole and yoke all have additional figural embellishment.
The Materials of the Chariot
Although none of the substructure of the original chariot survives, except in one wheel, much information can be gleaned from details on the bronze pieces, other preserved chariots, and ancient depictions of chariots. Note that a chariot is represented on the proper left panel of the car.
The preserved bronze elements of the car were originally mounted on a wooden substructure. The rails supporting the three main figural panels were made from a tree such as a yew or wild fig. The floor consisted of wooden slats. The wooden wheels were revetted with bronze, an exceptional practice probably reserved only for the most elaborate chariots. A bit of the preserved core has been identified as oak. The tires are of iron. The sections of the pole were mounted on straight branches.
A major component of the original vehicle was leather applied to the wooden substructure. The connection of the pole to the car would have been reinforced by rawhide straps gathered beneath the boar's head, and the yoke would have been lashed to the pole. The upper end of the pole shows traces of the leather bands. In addition, all of the horses' harness was of leather. Moreover, rings of pigskin with the fat attached helped reduce friction between the moving parts of the wheels.
The Monteleone chariot is distinguished not only by the extraordinary execution of the bronze panels but also by the inclusion of ivory inlays. The ivories, from both elephant and hippopotamus, are so fragmentary that only the tusks of the boar and the finials at the back of the car have been placed in their original positions. The remaining pieces are exhibited in a case on the south wall. A series of long narrow strips served as edging, perhaps around the panels of the car or on the underside of the pole. It is possible that other fragments filled the spaces between the figures in the central panel of the car. A major question concerning these adjuncts is the method of their attachment, requiring the use of an adhesive. Another question is whether the ivories were painted.
The Figures on the Chariot
The iconography represents a carefully thought-out program. The three major panels of the car depict episodes from the life of Achilles, the Greek hero of the Trojan War. In the magnificent central scene, Achilles, on the right, receives from his mother, Thetis, on the left, a shield and helmet to replace the armor that Achilles had given his friend Patroklos, for combat against the Trojan Hektor. Patroklos was killed, allowing Hektor to take Achilles' armor. The subject was widely known thanks to the account in Homer's Iliad and many representations in Greek art. The panel on the left shows a combat between two warriors, usually identified as the Greek Achilles and the Trojan Memnon. In the panel on the right, the apotheosis of Achilles shows him ascending in a chariot drawn by winged horses.
The subsidiary reliefs partly covered by the wheels are interpreted as showing Achilles as a youth in the care of the centaur Chiron and Achilles as a lion felling his foes, in this case a stag and a bull.
The central axis of the chariot is reinforced by the head and forelegs of the boar at the join of the pole to the car. The deer below Achilles' shield appears slung over the boar's back. The eagle's head at the front of the pole repeats the two attacking eagles at the top of the central panel, and the lion heads on the yoke relate to the numerous savage felines on the car.
While the meaning of the human and animal figures allows for various interpretations, there is a thematic unity and a Homeric quality emphasizing the glory of the hero.
The Artistic Origin of the Chariot
The three panels of the car represent the main artistic achievement. Scholarly opinion agrees that the style of the decoration is strongly influenced by Greek art, particularly that of Ionia and adjacent islands such as Rhodes. The choice of subjects, moreover, reflects close knowledge of the epics recounting the Trojan War. In the extent of Greek influence, the chariot resembles works of virtually all media from Archaic Etruria. Contemporary carved ambers reflect a similar situation.
The typically Etruscan features of the object begin with its function, for chariots were not significant in Greek life of the sixth century B.C. except in athletic contests. Furthermore, iconographical motifs such as the winged horses in Achilles' apotheosis and the plethora of birds of prey reflect Etruscan predilections. The repoussé panels may have been produced in one of the important metal-working centers such as Vulci by a local craftsman well familiar with Greek art or possibly by an immigrant bronze-worker. The chariot could well have been made for an important individual living in southern Etruria or Latium. Its burial in Monteleone may have to do with the fact that this town controlled a major route through the Appenine Mountains. The vehicle could have been a gift to win favor with a powerful local authority or to reward his services.
Beyond discussion is the superlative skill of the artist. His control of the height of the relief, from very high to subtly shallow, is extraordinary. Equally remarkable are the richness and variety of the decoration lavished on all of the figures, especially those of the central panel. In its original state, with the gleaming bronze and painted ivory as well as all of the accessory paraphernalia, the chariot must have been dazzling.
The Reconstruction
After the parts of the chariot arrived in the Museum in 1903, they were assembled in a presentation that remained on view for almost a century. During the new reconstruction, which took three years' work, the chariot was entirely dismantled. A new support was made according to the same structural principles as the ancient one would have been. The reexamination of many pieces has allowed them to be placed in their correct positions. Moreover, the bronze sheathing of the pole, which had been considered only partially preserved, has been recognized as substantially complete.
The main element that has not been reconstructed is the yoke. Although the length is correct, the wooden bar simply connects the two bronze pieces.
Les accords de Matignon sont des accords conclus à l'hôtel Matignon à Paris le 26 juin 1988 par une délégation anti-indépendantiste dirigée par le député Jacques Lafleur et une délégation indépendantiste menée par Jean-Marie Tjibaou .
Un second accord (accord de Nouméa) a été signé le 5 mai 1998 sous l'égide de Lionel Jospin : il repousse l'autodétermination jusqu'à une période située entre 2014 et 2018, et prévoit un transfert progressif jusqu'en 2014 de compétences dans tous les domaines sauf la défense, la sécurité intérieure, la justice et la monnaie qui resteraient des compétences de la République Française .
The Matignon Agreements were agreements signed in the Hotel Matignon by Jacques Lafleur and Jean-Marie Tjibaou, on 26 June 1988 between loyalists who wanted to keep New Caledonia as a part of the French Republic, and separatists, who did not.
On 5 May 1998 the Nouméa Accord was signed under the aegis of Lionel Jospin.
The territory will be self-governing, except the fields of defence, security, the judiciary, and finance, which will be competencies of France.
Nouméa
Nouvelle-Calédonie
Bronze chariot inlaid with ivory
Period: Archaic
Date: 2nd quarter of the 6th century B.C.
Culture: Etruscan
Scenes from the life of the Greek hero Achilles
The Acquisition
In 1902, a landowner working on his property accidentally discovered a subterranean built tomb covered by a tumulus (mound). His investigations revealed the remains of a parade chariot as well as bronze, ceramic, and iron utensils together with other grave goods. Following the discovery, the finds passed through the hands of several Italian owners and dealers who were responsible for the appearance of the chariot and related material on the Paris art market. There they were purchased in 1903 by General Luigi Palma di Cesnola, the first director of The Metropolitan Museum of Art.
The Monteleone chariot is the best preserved example of its kind from ancient Italy before the Roman period. The relatively good condition of its major parts--the panels of the car, the pole, and the wheels--has made it possible to undertake a new reconstruction based on the most recent scholarship. Moreover, some of the surviving ivory fragments can now be placed with reasonable certitude.
The other tomb furnishings acquired with the chariot are exhibited in two cases on the south wall of this gallery.
The Form and Function of the Chariot
Chariots originated in the Ancient Near East during the early second millennium B.C. and spread westward through Egypt, Cyprus, and the Greek world. In the predominant early type, the car consisted essentially of a platform with a light barrier at the front.
On the Italian peninsula, the largest number of chariots come from Etruria and the surrounding regions. They are datable between the second half of the eighth and the fifth centuries B.C. and represent several varieties. None seems to have been used for fighting in battle. Most came to light in tombs; after serving in life, they were buried with their owners, male and also female.
The Monteleone chariot belongs to a group of parade chariots, so called because they were used by significant individuals on special occasions. They have two wheels and were drawn by two horses standing about forty-nine inches (122 centimeters) apart at the point where the yoke rests on their necks. The car would have accommodated the driver and the distinguished passenger.
The shape of the car, with a tall panel in front and a lower one at each side, provided expansive surfaces for decoration, executed in repoussé. The frieze at the axle, the attachment of the pole to the car, and the ends of the pole and yoke all have additional figural embellishment.
The Materials of the Chariot
Although none of the substructure of the original chariot survives, except in one wheel, much information can be gleaned from details on the bronze pieces, other preserved chariots, and ancient depictions of chariots. Note that a chariot is represented on the proper left panel of the car.
The preserved bronze elements of the car were originally mounted on a wooden substructure. The rails supporting the three main figural panels were made from a tree such as a yew or wild fig. The floor consisted of wooden slats. The wooden wheels were revetted with bronze, an exceptional practice probably reserved only for the most elaborate chariots. A bit of the preserved core has been identified as oak. The tires are of iron. The sections of the pole were mounted on straight branches.
A major component of the original vehicle was leather applied to the wooden substructure. The connection of the pole to the car would have been reinforced by rawhide straps gathered beneath the boar's head, and the yoke would have been lashed to the pole. The upper end of the pole shows traces of the leather bands. In addition, all of the horses' harness was of leather. Moreover, rings of pigskin with the fat attached helped reduce friction between the moving parts of the wheels.
The Monteleone chariot is distinguished not only by the extraordinary execution of the bronze panels but also by the inclusion of ivory inlays. The ivories, from both elephant and hippopotamus, are so fragmentary that only the tusks of the boar and the finials at the back of the car have been placed in their original positions. The remaining pieces are exhibited in a case on the south wall. A series of long narrow strips served as edging, perhaps around the panels of the car or on the underside of the pole. It is possible that other fragments filled the spaces between the figures in the central panel of the car. A major question concerning these adjuncts is the method of their attachment, requiring the use of an adhesive. Another question is whether the ivories were painted.
The Figures on the Chariot
The iconography represents a carefully thought-out program. The three major panels of the car depict episodes from the life of Achilles, the Greek hero of the Trojan War. In the magnificent central scene, Achilles, on the right, receives from his mother, Thetis, on the left, a shield and helmet to replace the armor that Achilles had given his friend Patroklos, for combat against the Trojan Hektor. Patroklos was killed, allowing Hektor to take Achilles' armor. The subject was widely known thanks to the account in Homer's Iliad and many representations in Greek art. The panel on the left shows a combat between two warriors, usually identified as the Greek Achilles and the Trojan Memnon. In the panel on the right, the apotheosis of Achilles shows him ascending in a chariot drawn by winged horses.
The subsidiary reliefs partly covered by the wheels are interpreted as showing Achilles as a youth in the care of the centaur Chiron and Achilles as a lion felling his foes, in this case a stag and a bull.
The central axis of the chariot is reinforced by the head and forelegs of the boar at the join of the pole to the car. The deer below Achilles' shield appears slung over the boar's back. The eagle's head at the front of the pole repeats the two attacking eagles at the top of the central panel, and the lion heads on the yoke relate to the numerous savage felines on the car.
While the meaning of the human and animal figures allows for various interpretations, there is a thematic unity and a Homeric quality emphasizing the glory of the hero.
The Artistic Origin of the Chariot
The three panels of the car represent the main artistic achievement. Scholarly opinion agrees that the style of the decoration is strongly influenced by Greek art, particularly that of Ionia and adjacent islands such as Rhodes. The choice of subjects, moreover, reflects close knowledge of the epics recounting the Trojan War. In the extent of Greek influence, the chariot resembles works of virtually all media from Archaic Etruria. Contemporary carved ambers reflect a similar situation.
The typically Etruscan features of the object begin with its function, for chariots were not significant in Greek life of the sixth century B.C. except in athletic contests. Furthermore, iconographical motifs such as the winged horses in Achilles' apotheosis and the plethora of birds of prey reflect Etruscan predilections. The repoussé panels may have been produced in one of the important metal-working centers such as Vulci by a local craftsman well familiar with Greek art or possibly by an immigrant bronze-worker. The chariot could well have been made for an important individual living in southern Etruria or Latium. Its burial in Monteleone may have to do with the fact that this town controlled a major route through the Appenine Mountains. The vehicle could have been a gift to win favor with a powerful local authority or to reward his services.
Beyond discussion is the superlative skill of the artist. His control of the height of the relief, from very high to subtly shallow, is extraordinary. Equally remarkable are the richness and variety of the decoration lavished on all of the figures, especially those of the central panel. In its original state, with the gleaming bronze and painted ivory as well as all of the accessory paraphernalia, the chariot must have been dazzling.
The Reconstruction
After the parts of the chariot arrived in the Museum in 1903, they were assembled in a presentation that remained on view for almost a century. During the new reconstruction, which took three years' work, the chariot was entirely dismantled. A new support was made according to the same structural principles as the ancient one would have been. The reexamination of many pieces has allowed them to be placed in their correct positions. Moreover, the bronze sheathing of the pole, which had been considered only partially preserved, has been recognized as substantially complete.
The main element that has not been reconstructed is the yoke. Although the length is correct, the wooden bar simply connects the two bronze pieces.
Fibula (rear chamber, Regolini-Galassi Tomb, Cerveteri), 670–650 B.C.E., gold, 29.2 cm long Museo Gregoriano Etrusco, Musei Vaticani)
Sto. Niño or Holy Child
In the posture of the Salvador del Mundo or Savior of the World
18th Century
FILIPINO. Vigan, Ilocos Sur.
Ivory head and hands joined to a wooden body. Glass eyes. Fiber wig. The whole mounted on an elaborate Rococo inspired base.
Dimensions: With base: 43 cm H x 23 cm L x 11 cm W or 17” x 9” x 4 1/2”
Without base: 30 cm x 13 cm x 9 cm or 12” x 5” x 3 1/2”
Provenance: Property of a distinguished Manila gentleman.
Purchased in Vigan, Ilocos Sur.
A charming and highly sophisticated image of the Sto. Niño or Holy Child categorized as a Salvador del Mundo or Savior of the World. The earliest prototypes of these images came from Flanders (the Netherlands); and the earliest extant example of this type in the Philippines is that of the Sto. Niño of Cebu believed to have been brought to the islands by Ferdinand Magellan in 1521.
The figure of the child Jesus stands with his weight on his right leg and his right foot thrust slightly forward. The left leg is relaxed and the left foot thrust back for balance. The body leans to the right with exceptionally naturalistic pose. The image exhibits much movement as can be detected by the gesticulating hands and the undulating feet with the right foot slightly elevated to suggest arrested motion.
The Salvador wears a Tabard giving the whole a slightly medieval air. A tabard is a sleeveless jerkin consisting only of front and back pieces with a hole for the head The tabard is made of silver worked in repoussé of interlocking, rhomboid shapes. The round collar is particularly noteworthy as it is beautifully chased in foliate shapes. Underneath, the child wears unbleached cotton undergarments consisting of pantaloons and a shirt with long sleeves that covers his arms. The tabard is seamed and closed at the back. The Christ child is shod in boots.
The head is exceptionally well carved with the face beautifully rendered. The face is slightly elongated. The forehead is broad and the eyebrows are arched and painted brown almost the color of coffee. Inset glass eyes. The nose is long and straight. The lips are thin and slightly pursed with the edges tilting upward in a slight intimation of a smile. Dimples appear on his cheeks. The lips are outlined in an orange-red tinge typical of most ivory images made in the Philippines. Navarro de Pintado (1986, p. 107) describes the color as “crimson” but a closer analysis reveals that Gatbonton’s assessment of the “orangish” hue are more on point (1983, p. 27 ).
The Christ child wears a wig of fiber hair. On top of his head, he wears an imperial crown (Corona Imperial) made of repoussé silver fire-gilded in gold in the technique which has come to be known as dorado de fuego (or dorado al fuego). The orb is similarly gilded.
Dorado de fuego or fire gilding is a time honored process by which an amalgam of gold is applied to metallic surfaces. The technique is highly dangerous and volatile because it involves the use of Mercury which, when melted, gives off toxic fumes. If absorbed (which is easily done by inhalation), the fumes can cause neurological and other bodily disorders and even death. The dorado de fuego technique have subsequently been supplanted by electroplating gold over nickel which is more economical and less dangerous.
The Salvador is mounted on an elaborate, rococo inspired base or peana. The base is original to the image which helps to date the piece to the 18th century. The Rococo is an artistic style that blossomed in the middle part of the 18th century as a reaction against the excessive regulation and symmetry of the baroque. The style derives its name from a combination of the French words rocaille (stone) and coquilles (shell). And the style manifested in curvilineal and asymmetrical shapes, light colors and a fondness for gold and gilding. The shape and form of this base, in fact, recalls the fanciful limestone grottoes so popular during the period.
The image of the Sto. Niño or the Holy Child has been popular since the earliest days of the Spanish colonial period. This is evident in the writings of Manila’s first Archbishop, Domingo de Salazar, writing of Filipino craftsmen who
“… are so skillful and clever that, as soon as they see any object made by a Spanish workman, they reproduce it with exactness.... they have produced marvelous work with both the brush and the chisel, and I think that nothing more perfect could be produced than some of their [ ] statues of the Child Jesus which I have seen.” 1
___________________________________
1 Text taken from the Gutenberg Project. The Gutenberg text says “Marble images of the Christ child” but I heavily suspect that Salazar probably was referring to ivory images.
List of Works Consulted:
Blair, E. H. and J. A. Robertson. The Philippine Islands, 1493–1898. www.gutenberg.org/files/13701/13701-h/13701-h.htm. October 11, 2004. Accessed January 15, 2016. www.gutenberg.org/files/13701/13701-h/13701-h.htm.
Finishing Techniques in Metalwork. 2016. Accessed January 14, 2016. www.philamuseum.org/booklets/7_42_77_1.html.
Jose, R. T. 1990. Images of Faith: Religious ivory carvings from the Philippines. Pasadena: Pacific Asia Museum.
Gatbonton, E. B. 1979. A Heritage of saints: Colonial santos in the Philippines. Hong Kong: Editorial Associates.
Gatbonton, E. B. 1983. Philippine religious carvings in ivory. Illus. by R. Figueroa. Manila: Intramurous Administration.
Navarro de Pintado, B. 1985. Marfiles cristianos del Oriente en Mexico [Christian oriental ivories in Mexico]. Mexico City: Fomento Cultural Banamex.
King hunting a leopard with bow riding a male royal sphinx. Gold flask with reposse decoration. Sassanian, 5th Century AD. Vienna, Austria. Copyright 2016, James A. Glazier.
Sto. Niño or Holy Child
In the posture of the Salvador del Mundo or Savior of the World
18th Century
FILIPINO. Vigan, Ilocos Sur.
Ivory head and hands joined to a wooden body. Glass eyes. Fiber wig. The whole mounted on an elaborate Rococo inspired base.
Dimensions: With base: 43 cm H x 23 cm L x 11 cm W or 17” x 9” x 4 1/2”
Without base: 30 cm x 13 cm x 9 cm or 12” x 5” x 3 1/2”
Provenance: Property of a distinguished Manila gentleman.
Purchased in Vigan, Ilocos Sur.
A charming and highly sophisticated image of the Sto. Niño or Holy Child categorized as a Salvador del Mundo or Savior of the World. The earliest prototypes of these images came from Flanders (the Netherlands); and the earliest extant example of this type in the Philippines is that of the Sto. Niño of Cebu believed to have been brought to the islands by Ferdinand Magellan in 1521.
The figure of the child Jesus stands with his weight on his right leg and his right foot thrust slightly forward. The left leg is relaxed and the left foot thrust back for balance. The body leans to the right with exceptionally naturalistic pose. The image exhibits much movement as can be detected by the gesticulating hands and the undulating feet with the right foot slightly elevated to suggest arrested motion.
The Salvador wears a Tabard giving the whole a slightly medieval air. A tabard is a sleeveless jerkin consisting only of front and back pieces with a hole for the head The tabard is made of silver worked in repoussé of interlocking, rhomboid shapes. The round collar is particularly noteworthy as it is beautifully chased in foliate shapes. Underneath, the child wears unbleached cotton undergarments consisting of pantaloons and a shirt with long sleeves that covers his arms. The tabard is seamed and closed at the back. The Christ child is shod in boots.
The head is exceptionally well carved with the face beautifully rendered. The face is slightly elongated. The forehead is broad and the eyebrows are arched and painted brown almost the color of coffee. Inset glass eyes. The nose is long and straight. The lips are thin and slightly pursed with the edges tilting upward in a slight intimation of a smile. Dimples appear on his cheeks. The lips are outlined in an orange-red tinge typical of most ivory images made in the Philippines. Navarro de Pintado (1986, p. 107) describes the color as “crimson” but a closer analysis reveals that Gatbonton’s assessment of the “orangish” hue are more on point (1983, p. 27 ).
The Christ child wears a wig of fiber hair. On top of his head, he wears an imperial crown (Corona Imperial) made of repoussé silver fire-gilded in gold in the technique which has come to be known as dorado de fuego (or dorado al fuego). The orb is similarly gilded.
Dorado de fuego or fire gilding is a time honored process by which an amalgam of gold is applied to metallic surfaces. The technique is highly dangerous and volatile because it involves the use of Mercury which, when melted, gives off toxic fumes. If absorbed (which is easily done by inhalation), the fumes can cause neurological and other bodily disorders and even death. The dorado de fuego technique have subsequently been supplanted by electroplating gold over nickel which is more economical and less dangerous.
The Salvador is mounted on an elaborate, rococo inspired base or peana. The base is original to the image which helps to date the piece to the 18th century. The Rococo is an artistic style that blossomed in the middle part of the 18th century as a reaction against the excessive regulation and symmetry of the baroque. The style derives its name from a combination of the French words rocaille (stone) and coquilles (shell). And the style manifested in curvilineal and asymmetrical shapes, light colors and a fondness for gold and gilding. The shape and form of this base, in fact, recalls the fanciful limestone grottoes so popular during the period.
The image of the Sto. Niño or the Holy Child has been popular since the earliest days of the Spanish colonial period. This is evident in the writings of Manila’s first Archbishop, Domingo de Salazar, writing of Filipino craftsmen who
“… are so skillful and clever that, as soon as they see any object made by a Spanish workman, they reproduce it with exactness.... they have produced marvelous work with both the brush and the chisel, and I think that nothing more perfect could be produced than some of their [ ] statues of the Child Jesus which I have seen.” 1
___________________________________
1 Text taken from the Gutenberg Project. The Gutenberg text says “Marble images of the Christ child” but I heavily suspect that Salazar probably was referring to ivory images.
List of Works Consulted:
Blair, E. H. and J. A. Robertson. The Philippine Islands, 1493–1898. www.gutenberg.org/files/13701/13701-h/13701-h.htm. October 11, 2004. Accessed January 15, 2016. www.gutenberg.org/files/13701/13701-h/13701-h.htm.
Finishing Techniques in Metalwork. 2016. Accessed January 14, 2016. www.philamuseum.org/booklets/7_42_77_1.html.
Jose, R. T. 1990. Images of Faith: Religious ivory carvings from the Philippines. Pasadena: Pacific Asia Museum.
Gatbonton, E. B. 1979. A Heritage of saints: Colonial santos in the Philippines. Hong Kong: Editorial Associates.
Gatbonton, E. B. 1983. Philippine religious carvings in ivory. Illus. by R. Figueroa. Manila: Intramurous Administration.
Navarro de Pintado, B. 1985. Marfiles cristianos del Oriente en Mexico [Christian oriental ivories in Mexico]. Mexico City: Fomento Cultural Banamex.
Bronze chariot inlaid with ivory
Period: Archaic
Date: 2nd quarter of the 6th century B.C.
Culture: Etruscan
Scenes from the life of the Greek hero Achilles
The Acquisition
In 1902, a landowner working on his property accidentally discovered a subterranean built tomb covered by a tumulus (mound). His investigations revealed the remains of a parade chariot as well as bronze, ceramic, and iron utensils together with other grave goods. Following the discovery, the finds passed through the hands of several Italian owners and dealers who were responsible for the appearance of the chariot and related material on the Paris art market. There they were purchased in 1903 by General Luigi Palma di Cesnola, the first director of The Metropolitan Museum of Art.
The Monteleone chariot is the best preserved example of its kind from ancient Italy before the Roman period. The relatively good condition of its major parts--the panels of the car, the pole, and the wheels--has made it possible to undertake a new reconstruction based on the most recent scholarship. Moreover, some of the surviving ivory fragments can now be placed with reasonable certitude.
The other tomb furnishings acquired with the chariot are exhibited in two cases on the south wall of this gallery.
The Form and Function of the Chariot
Chariots originated in the Ancient Near East during the early second millennium B.C. and spread westward through Egypt, Cyprus, and the Greek world. In the predominant early type, the car consisted essentially of a platform with a light barrier at the front.
On the Italian peninsula, the largest number of chariots come from Etruria and the surrounding regions. They are datable between the second half of the eighth and the fifth centuries B.C. and represent several varieties. None seems to have been used for fighting in battle. Most came to light in tombs; after serving in life, they were buried with their owners, male and also female.
The Monteleone chariot belongs to a group of parade chariots, so called because they were used by significant individuals on special occasions. They have two wheels and were drawn by two horses standing about forty-nine inches (122 centimeters) apart at the point where the yoke rests on their necks. The car would have accommodated the driver and the distinguished passenger.
The shape of the car, with a tall panel in front and a lower one at each side, provided expansive surfaces for decoration, executed in repoussé. The frieze at the axle, the attachment of the pole to the car, and the ends of the pole and yoke all have additional figural embellishment.
The Materials of the Chariot
Although none of the substructure of the original chariot survives, except in one wheel, much information can be gleaned from details on the bronze pieces, other preserved chariots, and ancient depictions of chariots. Note that a chariot is represented on the proper left panel of the car.
The preserved bronze elements of the car were originally mounted on a wooden substructure. The rails supporting the three main figural panels were made from a tree such as a yew or wild fig. The floor consisted of wooden slats. The wooden wheels were revetted with bronze, an exceptional practice probably reserved only for the most elaborate chariots. A bit of the preserved core has been identified as oak. The tires are of iron. The sections of the pole were mounted on straight branches.
A major component of the original vehicle was leather applied to the wooden substructure. The connection of the pole to the car would have been reinforced by rawhide straps gathered beneath the boar's head, and the yoke would have been lashed to the pole. The upper end of the pole shows traces of the leather bands. In addition, all of the horses' harness was of leather. Moreover, rings of pigskin with the fat attached helped reduce friction between the moving parts of the wheels.
The Monteleone chariot is distinguished not only by the extraordinary execution of the bronze panels but also by the inclusion of ivory inlays. The ivories, from both elephant and hippopotamus, are so fragmentary that only the tusks of the boar and the finials at the back of the car have been placed in their original positions. The remaining pieces are exhibited in a case on the south wall. A series of long narrow strips served as edging, perhaps around the panels of the car or on the underside of the pole. It is possible that other fragments filled the spaces between the figures in the central panel of the car. A major question concerning these adjuncts is the method of their attachment, requiring the use of an adhesive. Another question is whether the ivories were painted.
The Figures on the Chariot
The iconography represents a carefully thought-out program. The three major panels of the car depict episodes from the life of Achilles, the Greek hero of the Trojan War. In the magnificent central scene, Achilles, on the right, receives from his mother, Thetis, on the left, a shield and helmet to replace the armor that Achilles had given his friend Patroklos, for combat against the Trojan Hektor. Patroklos was killed, allowing Hektor to take Achilles' armor. The subject was widely known thanks to the account in Homer's Iliad and many representations in Greek art. The panel on the left shows a combat between two warriors, usually identified as the Greek Achilles and the Trojan Memnon. In the panel on the right, the apotheosis of Achilles shows him ascending in a chariot drawn by winged horses.
The subsidiary reliefs partly covered by the wheels are interpreted as showing Achilles as a youth in the care of the centaur Chiron and Achilles as a lion felling his foes, in this case a stag and a bull.
The central axis of the chariot is reinforced by the head and forelegs of the boar at the join of the pole to the car. The deer below Achilles' shield appears slung over the boar's back. The eagle's head at the front of the pole repeats the two attacking eagles at the top of the central panel, and the lion heads on the yoke relate to the numerous savage felines on the car.
While the meaning of the human and animal figures allows for various interpretations, there is a thematic unity and a Homeric quality emphasizing the glory of the hero.
The Artistic Origin of the Chariot
The three panels of the car represent the main artistic achievement. Scholarly opinion agrees that the style of the decoration is strongly influenced by Greek art, particularly that of Ionia and adjacent islands such as Rhodes. The choice of subjects, moreover, reflects close knowledge of the epics recounting the Trojan War. In the extent of Greek influence, the chariot resembles works of virtually all media from Archaic Etruria. Contemporary carved ambers reflect a similar situation.
The typically Etruscan features of the object begin with its function, for chariots were not significant in Greek life of the sixth century B.C. except in athletic contests. Furthermore, iconographical motifs such as the winged horses in Achilles' apotheosis and the plethora of birds of prey reflect Etruscan predilections. The repoussé panels may have been produced in one of the important metal-working centers such as Vulci by a local craftsman well familiar with Greek art or possibly by an immigrant bronze-worker. The chariot could well have been made for an important individual living in southern Etruria or Latium. Its burial in Monteleone may have to do with the fact that this town controlled a major route through the Appenine Mountains. The vehicle could have been a gift to win favor with a powerful local authority or to reward his services.
Beyond discussion is the superlative skill of the artist. His control of the height of the relief, from very high to subtly shallow, is extraordinary. Equally remarkable are the richness and variety of the decoration lavished on all of the figures, especially those of the central panel. In its original state, with the gleaming bronze and painted ivory as well as all of the accessory paraphernalia, the chariot must have been dazzling.
The Reconstruction
After the parts of the chariot arrived in the Museum in 1903, they were assembled in a presentation that remained on view for almost a century. During the new reconstruction, which took three years' work, the chariot was entirely dismantled. A new support was made according to the same structural principles as the ancient one would have been. The reexamination of many pieces has allowed them to be placed in their correct positions. Moreover, the bronze sheathing of the pole, which had been considered only partially preserved, has been recognized as substantially complete.
The main element that has not been reconstructed is the yoke. Although the length is correct, the wooden bar simply connects the two bronze pieces.
The Battersea shield is not in fact a complete shield, but only the facing, a metal cover that was attached to the front of wooden shield. It is made from different parts of sheet bronze (4 sheets and 3 decorated panels), held together with bronze rivets and enclosed in a binding strip. All the rivets are hidden by overlaps between different components where the panels and roundels were originally attached to the organic backing.
The decoration is concentrated in the three roundels. A high domed boss in the middle of the central roundel (shown here) is over where the handle was located. The La Tène-style decoration is made using the repoussé technique, emphasized with engraving and stippling. The overall design is highlighted with twenty-seven framed studs of red glass 'enamel' (opaque red glass) in four different sizes, the largest set at the centre of the boss. The dominant repoussé forms on the shield are the palmette and interlocking S-motifs.
Stylistically, the La Tène-style decoration is not closely related to any other object. Because of this, closely dating this object is difficult. The shield was almost certainly made in Britain because of the use of a specifically British form of central circular shield boss.
British, bronze and enamel, ca. 350 - 50 BCE (Iron Age). Found in the Thames River at Battersea, London.
British Museum, London (1857,0715.1)
I teach art literacy at my son's school. One month of art lit each year is dedicated to creating a class auction project. I planned and executed the project. Each student made a tile, and every tile is a different plant of the northwest. This was a very time consuming project on my end, as I had to build the mirror from scratch, antique the tiles, attach them, and do the finish work. I estimate that I put in 60 hours of labor. 24 kids spent an hour making their tiles. The mirror contains approximately $100 worth in materials, and brought in $1100 at our school auction.
Candelero or candle holder, with ramillete-type repousse metalwork. Originally from a Visayan church. 24" x 9 1/2" x 7" total area. Sold.
© Hughes Léglise-Bataille/Wostok Press
France, Nanterre
19.01.2010
Plusieurs centaines de jeunes ont affronte les forces de l'ordre pres du lycee Joliot Curie a Nanterre le 19/10/2010 pour la deuxieme journee consecutive. Plusieurs voitures ont ete brulees, du mobilier urbain detruit, avant que les casseurs soient repousses dans la cite Pablo Picasso.
Hundreds of youth fought the police near the college Joliot Curie in Nanterre, in the suburbs of Paris, on October 19, 2010 for the second day in a row. A couple of cars were burned and bus stops smashed before they were pushed back in the Pablo Picasso complex.
Statue of Liberty, Liberty Island, New York City. I took this photo of the magnificent Statue of Liberty on my first trip to Liberty Island and New York City in October 2004. She is of utmost beauty and I was totally blown away by her magnifigance.
THE STATUE OF LIBERTY
Liberty Enlightening the World (French: La liberté éclairant le monde), known more commonly as the Statue of Liberty (Statue de la Liberté), is a large statue that was presented to the United States by France in 1886. It stands at Liberty Island, New York in New York Harbor as a welcome to all visitors, immigrants, and returning Americans. The copper-clad statue, dedicated on October 28, 1886, commemorates the centennial of the United States and is a gesture of friendship from France to America. Frédéric Auguste Bartholdi sculpted the statue, and Alexandre Gustave Eiffel (designer of the Eiffel Tower) engineered the internal structure. Eugène Viollet-le-Duc was responsible for the choice of copper in the statue's construction and adoption of the repoussé technique.
The statue is of a female figure standing upright, dressed in a robe and a seven point spiked rays representing a nimbus (halo), holding a stone tablet close to her body in her left hand and a flaming torch high in her right hand. The tablet bears the words "JULY IV MDCCLXXVI" (July 4, 1776), commemorating the date of the United States Declaration of Independence.
The statue is made of a sheeting of pure copper, hung on a framework of steel (originally puddled iron) with the exception of the flame of the torch, which is coated in gold leaf. It stands atop a rectangular stonework pedestal with a foundation in the shape of an irregular eleven-pointed star. The statue is 151' 1" (46.5 m) tall, with the pedestal and foundation adding another 154 feet (46.9 m).
Worldwide, the Statue of Liberty is one of the most recognizable icons of the United States, and, more generally, represents liberty and escape from oppression. The Statue of Liberty was, from 1886 until the jet age, often one of the first glimpses of the United States for millions of immigrants after ocean voyages from Europe. The Statue of Liberty's obviously classical appearance (Roman stola, sandals, facial expression) derives from Libertas, ancient Rome's goddess of freedom from slavery, oppression, and tyranny. Broken shackles lie at her feet. The seven spikes in the crown represent the Seven Seas and seven continents. Her torch signifies enlightenment. The tablet in her hand shows the date of the nation's birth, July 4, 1776.
Since 1903, the statue, also known as "Lady Liberty," has been associated with Emma Lazarus's poem “The New Colossus” and has been a symbol of welcome to arriving immigrants. The interior of the pedestal contains a bronze plaque inscribed with the poem, which reads:
“Not like the brazen giant of Greek fame,
With conquering limbs astride from land to land;
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.
"Keep ancient lands, your storied pomp!" cries she
With silent lips. "Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tost to me,
I lift my lamp beside the golden door!"
There are 354 steps inside the statue and its pedestal. There are 25 windows in the crown which comprise the jewels beneath the seven rays of the diadem. The tablet which the Statue holds in her left hand reads, in Roman numerals, "July 4, 1776" the day of America's independence from Britain. The Statue of Liberty was engineered to withstand heavy winds. Winds of 50 miles per hour cause the Statue to sway 3 inches (7.62 cm) and the torch to sway 5 inches (12.7 cm). This allows the Statue to move rather than break in high [wind load] conditions.
Source: Wikipedia
A 19th-Century Silver Tabernacle
Binondo, Manila
second quarter of the nineteenth century (1825–50)
solid silver (Mexican silver, 80%)
48" x 36" x 21 1/4" (122 cm x 91 cm x 54 cm)
Opening bid: PHP 900,000
Provenance: Private Collection, Manila
ABOUT THE WORK
In the Roman Catholic religion, a tabernacle is used for the proper storage of the Eucharist (consecrated hosts), which Catholics believe contain the real presence of Jesus Christ. This wooden tabernacle is covered in worked sheets of Mexican silver 80% and is from the second quarter of the nineteenth century. The door of the tabernacle features a repousse reliquary with the IHS (“Iesolus”) Christogram standing on Chinese clouds. The door is flanked by 2 Doric colonettes on both sides, the outer ones recessive. Above the door are lambrequins of flowers and leaves. Over the door is an entablature with a frieze of single flowers. Atop the entablature is a cupola with three sections. The central section features a repousse and chased “Agnus Dei” (“Lamb of God”) of a particular late eighteenth/ early nineteenth century type --- a lamb crouched on a Bible speared by a banner with the JHS (“Jesolus”) Christogram (the same type found on silver “guidons” processional banners of that period). The left and the right sections feature repousse and chasework of stylized acanthus leaves and native “catmon” flowers. The door and the columns are supported by thick plinth bases with suitable moldings. The base below the door is adorned with an applique of a chased festoon with flowers and leaves. The bases below the columns are embellished with appliquees of chased beribboned shields with flowers and leaves. This tabernacle came from a rich church, most probably from the Augustinian churches in Pampanga or the Ilocos, or the Franciscan churches in Bicol. A storied Neo–Gothic silver tabernacle is conserved at the Santo Domingo church in Quezon city. It was the tabernacle at the altar of the lady chapel of “Nuestra Senora del Santisimo Rosario”/Our Lady of the Most Holy Rosary known as “La Naval de Manila” at the Santo Domingo church in Intramuros from 1875–1941 when the church complex was bombed by the Japanese. It was most probably the work of a prominent Santa Cruz silversmith like Zamora or de Jesus, as the architect Don Felix Roxas y Arroyo was predisposed to collaborating with only the best artists in the city. The two best surviving ensembles of silver altars and tabernacles are to found at the Arzobispado de Nueva Segovia in Vigan, Ilocos Sur and at the Arzobispado in Manila. The magnificent “Monumento” ensemble in Vigan is in eighteenth century full–blown rococo style with altar frontals, a tabernacle, small sanctuary lamps, and includes myriad pieces like two small “baldaquinos” (shrines), “sacras” (prayer cards), candlesticks, “ramilletes” (silver bouquets), vases, “relicarios” (reliquaries), silver and gold chalices, trays, oil and water containers, etc. It once even included an opulent silver bed complete with miniature ivory angels and enameled bells for an ivory “Nino Dormido” accessorized in exquisitely worked gold. The splendid ensemble in Manila, originally intended for the private services of the Archbishop, is in the more restrained neoclassical style and has altar frontals, a tabernacle, an “urna” (shrine), a statuette of “La Inmaculada Concepcion” with ivory face and hands and the body wrapped in engraved silver, as well as myriad pieces like “sacras” (prayer cards), candlesticks, “ramilletes” (silver bouquets), “relicarios” (reliquaries), etc. The collections of antique Filipino silver in Manila are always a spectacle, specially since the proud collectors make it a point for their silver to always be clean and polished. There are trained household staff dedicated to maintaining the silver. Silver polishes are sourced abroad. Some have collections of Filipino church silver and some of Filipino household silver. Some have both. There are very private collection rooms in Manila containing a range of Filipino church silver: altar frontals, tabernacles, candleholders, “ramilletes” (silver bouquets), “sacras” prayer card frames, processional banners, “relicarios” reliquaries, oil and water vessels, silver appliquees for vestments, etc. The stimmung is certainly hieratic (otherworldly) and visions of the opulent ceremonies in the Intramuros churches during the 1800s come to mind. One of the things showcased in these wunderkammers is a Filipino silver tabernacle like this one. It was crafted from Mexican silver coins (solid silver 80% ) sometime in the mid–1800s, probably in Binondo, where most of the expert Chinese and Filipino silversmiths worked. That was about 200 years ago. The fashionable style then was late neoclassicism (Louis XVIII, Charles X, Louis–Philippe), a French royal style loosely based on an amalgam of the previous neoclassical styles Directoire, Consulat, and Empire with their classical Greek and Roman motifs and Egyptian symbology. Those are the motifs albeit simplified in this tabernacle. It is composed of several parts --- the cabinet, colonettes, entablature, cupola, and plinth base. Two metalworking techniques that were used to decorate it are the conjunctive repousse (hammering to relief from the reverse side) and chasing (hammering to sink the front side). This tabernacle was made to be placed on the first “gradilla” level of an altar, the old kind where the priest faced the wall and not the people. It was usually flanked by six candlesticks and six “ramilletes.” The models varied in size and decoration to suit the customer’s budget. If it was Quiapo church or Antipolo church (superrich churches during those times, and even now) ordering this, it would have been larger, more elaborate, and brimming with exquisite details. This particular tabernacle came from a rich church in Pampanga, the Ilocos, or Bicol and was acquired in the early 1960s during the Antique Craze. The Augustinian churches of Pampanga and the Ilocos as well as the Franciscan churches of Bicol all had loads of beautiful antique silver during the Spanish time all the way to the American time, World War II, postwar, at least until unscrupulous and corrupt Filipino secular parish priests entered the story and sold them off secretly to antique collectors. All the antique silver are gone from the churches now. They are all with collectors in the t o n y Makati villages --- Forbes Park, Dasmarinas village, Urdaneta village, San Lorenzo village. Sic transit gloria mundi. A rich church like the seven churches of Intramuros --- San Agustin, Recoletos, San Francisco, Venerable Orden Tercera, Santo Domingo, San Ignacio, Lourdes --- and rich parishes like those of Binondo, Santa Cruz, Tondo, Quiapo, Antipolo, Binan (Laguna), Majayjay (Laguna), et al meant that all of the altar frontals, tabernacles, sanctuary lamps, candleholders (small and large), and “ramilletes” (silver bouquets) were all crafted out of exquisitely worked Mexican silver 80%, usually post–1764 (post–British Occupation 1762–64). Such was the staggering wealth of Spanish Catholic Filipinas. This tabernacle of Mexican silver 80% of Filipino workmanship is a rare survivor of a confused culture that has allowed many of its greatest masterpieces in silver and other metals to be destroyed and melted down in the crucibles of Meycauayan, Bulacan. As mentioned beforehand, it once adorned a magnificent altar in a great church. --- Augusto Marcelino Reyes Gonzalez III
Lot 114 of the Leon Gallery auction on September 10, 2022. Please see leon-gallery.com for more information.
Fibula (rear chamber, Regolini-Galassi Tomb, Cerveteri), 670–650 B.C.E., gold, 29.2 cm long Museo Gregoriano Etrusco, Musei Vaticani)
Fibula (rear chamber, Regolini-Galassi Tomb, Cerveteri), 670–650 B.C.E., gold, 29.2 cm long Museo Gregoriano Etrusco, Musei Vaticani)
fr: La Vieille Église Saint-Vincent, village de Eus, Conflent, Pyrénées Orientales, France
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More of the set Pittoresques Villages de France | More of the Set Pyrénées
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History: Eus smells of the aromas of orchards, ancient olive groves and guarrigue. Built in a terrace shape, sheltered from the wind, its name comes from the green oaks (yeuses) that border the village.
Conceived for defence, Eus successfully repelled the French in 1598 and the Spaniards in 1793. St Vincent’s church (18th century) stands where a Roman camp used to be. The roman-style chapel is dedicated to the saint patron of wine-makers. It opens onto a 13th marble porch. (source: www.cometofrance.com)
Histoire: Entre la vallée du Conflent et le mont Canigou coiffé de neiges éternelles, cette magnifique petite cité fut construite dans un but défensif sur un mamelon jadis dominé par le château des comtes de Cerdagne.
Conçu pour la défense, Eus a repoussé en 1598 les français et en 1793 l'armée espagnole qui dominait alors le Conflent. L'église St Vincent du XVIIIe siècle se dresse à l'emplacement du camp romain qui surveillait la voie allant de Terrenera à la Cerdagne, et de Notre Dame de la Volta, ancienne chapelle du château bâtie au XIIIe siècle. A l'entrée d'Eus, la chapelle romane est dédiée au patron des vignerons et à St Gaudérique. Elle s'ouvre sur un porche du XIIIe siècle en marbre rose de Villefranche de Conflent. (source: Villages de France)
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Aigisthos lies dead on the ground; a gorgon in the panel to the right.
Perhaps an applique for furniture or a belt.
South Italian Greek, ca. 540-530 BCE
Hammered silver and gold
The Getty Villa, Malibu/Pacific Palisades, California (Official site; Wikipedia), 83.AM.343.1
The marriage of the two figures on the gold pendant is blessed by Christ who holds wreaths over their heads, a Christian variation of a pagan motif. The hematite pendant with its pagan solar deity was probably attached for its healing qualities.
This work was part of a hoard found at the base of the Capitoline Hill, the center of commercial activity in Rome even after the transfer of the imperial capital to Constantinople. The jewelry was probably hidden during the sack of Rome by the Visigoths in 410 or the Vandals in 455.
Byzantine, from Rome. Medallion made 400-450 CE; amulet made 100-200 CE. Gold wrought and worked in repoussé.
Met Museum, New York (58.12)
This is a small version of our regular line of color on metal pod brooches. It measures about 2.25 inches H (60mm)
Jeweled covers of the Lindau Gospels, front cover (Court School of Charles the Bald, Abbey of St. Gall), c. 880; back cover (Salzburg or vicinity), 750-800, 350 x 275 mm (Morgan Library)
Bronze chariot inlaid with ivory
2nd quarter of the 6th century B.C.
Scenes from the life of the Greek hero Achilles
In 1902, a landowner working on his property accidentally discovered a subterranean built tomb covered by a tumulus (mound). His investigations revealed the remains of a parade chariot as well as bronze, ceramic, and iron utensils together with other grave goods. Following the discovery, the finds passed through the hands of several Italian owners and dealers who were responsible for the appearance of the chariot and related material on the Paris art market. There they were purchased in 1903 by General Luigi Palma di Cesnola, the first director of The Metropolitan Museum of Art. The Monteleone chariot is the best preserved example of its kind from ancient Italy before the Roman period. The relatively good condition of its major parts--the panels of the car, the pole, and the wheels--has made it possible to undertake a new reconstruction based on the most recent scholarship. Moreover, some of the surviving ivory fragments can now be placed with reasonable certitude. The other tomb furnishings acquired with the chariot are exhibited in two cases on the south wall of this gallery.
...On the Italian peninsula, the largest number of chariots come from Etruria and the surrounding regions. They are datable between the second half of the eighth and the fifth centuries B.C. and represent several varieties. None seems to have been used for fighting in battle. Most came to light in tombs; after serving in life, they were buried with their owners, male and also female. The Monteleone chariot belongs to a group of parade chariots, so called because they were used by significant individuals on special occasions. They have two wheels and were drawn by two horses standing about forty-nine inches (122 centimeters) apart at the point where the yoke rests on their necks. The car would have accommodated the driver and the distinguished passenger. The shape of the car, with a tall panel in front and a lower one at each side, provided expansive surfaces for decoration, executed in repoussé. The frieze at the axle, the attachment of the pole to the car, and the ends of the pole and yoke all have additional figural embellishment.
...The iconography represents a carefully thought-out program. The three major panels of the car depict episodes from the life of Achilles, the Greek hero of the Trojan War. In the magnificent central scene, Achilles, on the right, receives from his mother, Thetis, on the left, a shield and helmet to replace the armor that Achilles had given his friend Patroklos, for combat against the Trojan Hektor. Patroklos was killed, allowing Hektor to take Achilles' armor. The subject was widely known thanks to the account in Homer's Iliad and many representations in Greek art. The panel on the left shows a combat between two warriors, usually identified as the Greek Achilles and the Trojan Memnon. In the panel on the right, the apotheosis of Achilles shows him ascending in a chariot drawn by winged horses. The subsidiary reliefs partly covered by the wheels are interpreted as showing Achilles as a youth in the care of the centaur Chiron and Achilles as a lion felling his foes, in this case a stag and a bull. The central axis of the chariot is reinforced by the head and forelegs of the boar at the join of the pole to the car. The deer below Achilles' shield appears slung over the boar's back. The eagle's head at the front of the pole repeats the two attacking eagles at the top of the central panel, and the lion heads on the yoke relate to the numerous savage felines on the car. While the meaning of the human and animal figures allows for various interpretations, there is a thematic unity and a Homeric quality emphasizing the glory of the hero.
The three panels of the car represent the main artistic achievement. Scholarly opinion agrees that the style of the decoration is strongly influenced by Greek art, particularly that of Ionia and adjacent islands such as Rhodes. The choice of subjects, moreover, reflects close knowledge of the epics recounting the Trojan War. In the extent of Greek influence, the chariot resembles works of virtually all media from Archaic Etruria. Contemporary carved ambers reflect a similar situation. The typically Etruscan features of the object begin with its function, for chariots were not significant in Greek life of the sixth century B.C. except in athletic contests. Furthermore, iconographical motifs such as the winged horses in Achilles' apotheosis and the plethora of birds of prey reflect Etruscan predilections. The repoussé panels may have been produced in one of the important metal-working centers such as Vulci by a local craftsman well familiar with Greek art or possibly by an immigrant bronze-worker. The chariot could well have been made for an important individual living in southern Etruria or Latium. Its burial in Monteleone may have to do with the fact that this town controlled a major route through the Appenine Mountains. The vehicle could have been a gift to win favor with a powerful local authority or to reward his services. Beyond discussion is the superlative skill of the artist. His control of the height of the relief, from very high to subtly shallow, is extraordinary. Equally remarkable are the richness and variety of the decoration lavished on all of the figures, especially those of the central panel. In its original state, with the gleaming bronze and painted ivory as well as all of the accessory paraphernalia, the chariot must have been dazzling.
After the parts of the chariot arrived in the Museum in 1903, they were assembled in a presentation that remained on view for almost a century. During the new reconstruction, which took three years' work, the chariot was entirely dismantled. A new support was made according to the same structural principles as the ancient one would have been. The reexamination of many pieces has allowed them to be placed in their correct positions. Moreover, the bronze sheathing of the pole, which had been considered only partially preserved, has been recognized as substantially complete. The main element that has not been reconstructed is the yoke. Although the length is correct, the wooden bar simply connects the two bronze pieces.
[Met Museum]
In the Metropolitan Museum of Art, 5th Avenue, New York
Okay, you understand, this is a picture taken during the «Great War» 14/18. (which is not without recalling: www.flickr.com/photos/anaglyphepeppin/49168901392/in/albu... )
How many of these young men will see their continents again?
But where Realistic Travels Stereoview is characterized by to port a all the stereo editors is their very bad staging!
Self-censorship or censorship imposed .
Without ammunition, you would have given the order to proceed to attack this culminating point .
Possible, some French generals have done much worse...
In addition, some soldiers are even forced to climb over poor wooden barriers that have not been removed!
Not being a military strategist, I would have personally repulsed or advanced this attack to avoid that all soldiers do not have the sun in full face making their visibility zero!
One at the very least!
And Realistic Travels Stereoview has done a lot like that! An air combat... Whose foreground is an airplane with the propellers standing still!
The recovery of dozens of corpses of which not one has a scratch, a tear on his uniform...
Smoking a small cigarette at night in the trenches, in full light is exposed, the snapeur opposite must surely sleep!
I’ll pass you the attacks through the lethal gases poorly or not equipped to! Well if it reassured parents, it served at least, but I do not understand that today people do not report the «farce» side of these stereos! ( ??? )
Corpses in bulk and in pieces, stereoscopic there are thousands, either taken by the army or by anonymous. Do not take these bad scenes for historical snapshots!
Yet the difference is obvious (!).
"Realistic Travel" is the trade name of the photographs taken by the English company H.D.Girdwood, which sent their stereo photographers to the combat zones of the First World War to record the war as it occurred.
S: merchant site
The Battle of the Dardanelles, also known as the Battle of Gallipoli (or the Dardanelles campaign, or the Gallipoli campaign), is a First World War confrontation between the Ottoman Empire and British and French troops in the Gallipoli Peninsula in present-day Turkey from March 18, 1915 to January 9, 1916.
(...)
The battle was a serious setback for the Allies and one of the greatest Ottoman successes during the conflict. In Turkey, the clash remained famous because it marked the beginning of the rise of Mustafa Kemal who later became one of the main actors of the war of independence and the first president of the country. The campaign was also a founding element of Turkish national identity.
Commemorated as ANZAC Day, the April 25 landing date is the largest military celebration in Australia and New Zealand, surpassing Remembrance Day on November 11.
S:Wiki
Realistic Travels Stereoview of H.R.H. Printed vertically on the right side: By Royal Command to their Imperial Majesties - King George V and Queen Mary." Caption printed horizontally on the lower left.
According to William Darrah, the Realistic Travels company funded by H. D. Girdwood was “the most successful British stereo publisher in the twentieth century.” The company did not however live long, by comparison with many of the American publishers, being active in the period between 1908 and 1916 [Darrah 1997, p. 109].
S:https://ptstereo.wordpress.com/category/realistic-travels/
Ok, vous l'avez compris c'est bien une photo prise pendant la « Grande guerre » 14/18.
( qui n'est pas sans rappeler : www.flickr.com/photos/anaglyphepeppin/49168901392/in/albu... )
Combien parmi tous ces jeunes hommes reverront leurs continents ?
Mais là où Realistic Travels Stereoview se caractérise par à port a tous les éditeurs de stéréo c'est leur très mauvais mise en scène !
Auto censure ou censure imposée .
Sans munitions, vous auriez donné l'ordre de passer à l'attaque de ce point culminant .
Possibles, certains généraux français ont fait bien pire...
De plus certains soldats sont même obligés d'enjamber de pauvres barrières en bois non écartées !
N’étant pas fin stratège militaire, j'aurai personnellement repoussé ou avancer cette attaque pour éviter que tous les soldats n'aient pas le soleil en pleine face rendant leur visibilité nul !
Un au minimum !
Et Realistic Travels Stereoview en a fait beaucoup comme cela !
Un combat aérien... Dont le premier plan est un avion avec les hélices à l’arrêt !
La récupération de dizaines de cadavres dont pas un a une écorchure, une déchirure sur son uniforme....
Fumer une petite clope la nuit dans les tranchées, en pleine lumière et exposé, les snapeur en face devant sûrement dormir !
Je vous passe les attaques à travers les gaz mortels mal ou pas équipé pour !Bon si cela a rassuré des parents, cela a servi au moins, mais je ne comprends pas qu’aujourd’hui personnes ne signalent le côté « farce » de ces stéréos !( ??? )
Des cadavres en vrac et en morceaux, stéréoscopiques il en existe des milliers, soit pris par l'armée ou par des anonymes.
Ne pas prendre ces mauvaises mises en scène pour des instantanés historiques !
Pourtant la différence saute (!) aux yeux.
À court de munitions, ils continuent, la véritable ruée vers le bull-dog de nos troupes à Gallipoli
Realistic Travels Stereoview of H.R.H. Printed vertically on the right side: By Royal Command to their Imperial Majesties - King George V and Queen Mary." Caption printed horizontally on the lower left.
According to William Darrah, the Realistic Travels company funded by H. D. Girdwood was “the most successful British stereo publisher in the twentieth century.” The company did not however live long, by comparison with many of the American publishers, being active in the period between 1908 and 1916 [Darrah 1997, p. 109].
S:https://ptstereo.wordpress.com/category/realistic-travels/
"Voyages réalistes" est le nom commercial des photographies prises par la société anglaise H.D.Girdwood, qui a envoyé leurs photographes stéréo dans les zones de combat de la Première Guerre mondiale pour enregistrer la guerre telle qu’elle s’est produite.
S: site marchand
La bataille des Dardanelles, également appelée bataille de Gallipoli (ou campagne des Dardanelles, ou campagne de Gallipoli), est un affrontement de la Première Guerre mondiale qui opposa l'Empire ottoman aux troupes britanniques et françaises dans la péninsule de Gallipoli dans l'actuelle Turquie du 18 mars 1915 au 9 janvier 1916.
(...)
La bataille fut un sérieux revers pour les Alliés et l'un des plus grands succès ottomans durant le conflit. En Turquie, l'affrontement est resté célèbre car il marqua le début de l'ascension de Mustafa Kemal qui devint par la suite un des principaux acteurs de la guerre d'indépendance et le premier président du pays. La campagne fut également un élément fondateur de l'identité nationale turque. Commémorée sous le nom de journée de l'ANZAC, la date du débarquement du 25 avril est la plus importante célébration militaire en Australie et en Nouvelle-Zélande, où elle surpasse le jour du Souvenir du 11 novembre.
S:Wiki
Crown of the Virgin of the Immaculate Conception (Crown of the Andes, Columbia) c. 1660 (diadem), c. 1770 (arches), gold and emeralds, 34.3 cm (The Metropolitan Museum of Art)
Liberty Enlightening the World (French: La liberté éclairant le monde), commonly known as the Statue of Liberty (French: Statue de la Liberté), has stood on Liberty Island in New York Harbor, welcoming visitors, immigrants, and returning Americans, since it was presented to the United States by the people of France. Dedicated on October 28, 1886, the gift commemorated the centennial of the signing of the United States Declaration of Independence and has since become one of the most recognizable national icons--a symbol of democracy and freedom.
The 151-foot (46-meter) tall statue was sculpted by Frédéric Auguste Bartholdi and stands atop Richard Morris Hunt's 154-foot (93-meter) rectangular stonework pedestal with a foundation in the shape of an irregular eleven-pointed star. Maurice Koechlin, chief engineer of Gustave Eiffel's engineering company and designer of the Eiffel Tower, engineered the internal structure. Eugène Viollet-le-Duc was responsible for the choice of copper and adoption of the repoussé technique, where a malleable metal is hammered on the reverse side. The Statue of Liberty depicts a woman clad in Roman Stola and holding a torch and tablet, and is made of a sheeting of pure copper, hung on a framework of steel with the exception of the flame of the torch, which is coated in gold leaf.
Affectionately known as Lady Liberty, the figure is derived from Libertas, ancient Rome's goddess of freedom from slavery, oppression, and tyranny. Her left foot, fitted in Roman sandals, tramples broken shackles, symbolizing freedom from opression and tyranny, while her raised right foot symbolizes Liberty and Freedom refusing to stand still. Her torch signifies enlightenment. The tablet in her hand represents knowledge and shows the date of the Declaration of Independence--July 4, 1776. The seven spikes on the crown represent the Seven Seas and seven continents. Visually the the Statue of Liberty draws inspiration from the ancient Colossus of Rhodes of the Greek Sun-god Zeus or Helios, and is referred to in the 1883 sonnet The New Colossus by Emma Lazarus, which was later engraved inside.
The Statue of Liberty National Monument was designated a landmark by the New York City Landmarks Preservation Commission in 1976.
Statue of Liberty National Monument New Jersey State Register (1971)
Statue of Liberty National Monument National Register #66000058 (1966)