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DECORATIVE METAL LEGS - METAL LEGS


Decorative metal legs - Easter egg decorated - Buy outdoor christmas decorations.



Decorative Metal Legs





decorative metal legs






    decorative
  • Serving to make something look more attractive; ornamental

  • Relating to decoration

  • (decoratively) in a decorative manner; "used decoratively at Christmas"

  • (decorativeness) an appearance that serves to decorate and make something more attractive

  • cosmetic: serving an esthetic rather than a useful purpose; "cosmetic fenders on cars"; "the buildings were utilitarian rather than decorative"





    metal
  • Gold and silver (as tinctures in blazoning)

  • Broken stone for use in making roads

  • metallic element: any of several chemical elements that are usually shiny solids that conduct heat or electricity and can be formed into sheets etc.

  • cover with metal

  • A solid material that is typically hard, shiny, malleable, fusible, and ductile, with good electrical and thermal conductivity (e.g., iron, gold, silver, copper, and aluminum, and alloys such as brass and steel)

  • metallic: containing or made of or resembling or characteristic of a metal; "a metallic compound"; "metallic luster"; "the strange metallic note of the meadow lark, suggesting the clash of vibrant blades"- Ambrose Bierce





    legs
  • (leg) a human limb; commonly used to refer to a whole limb but technically only the part of the limb between the knee and ankle

  • Travel by foot; walk

  • Run away

  • staying power; "that old Broadway play really has legs"

  • (leg) a structure in animals that is similar to a human leg and used for locomotion

  • Propel (a boat) through a tunnel on a canal by pushing with one's legs against the tunnel roof or sides











Tiberius Depicted on Relief




Tiberius Depicted on Relief





Billed as the biggest highlight of the sale is a rare Roman marble relief from the Julio-Claudian period, circa early 1st century A.D. It depicts the Emperor Tiberius standing before a seated Genius (a manifestation of his divine side) with the goddess Concordia between them as intermediary. From news. Private sale.An Imperial commission, perhaps from an altar or other civic monument, superbly sculpted in high relief with the emperor Tiberius standing before a seated Genius with the goddess Concordia between them as an intermediary, Tiberius to the left facing right, wearing sandals and a traditional toga over a tunic, standing with his weight on his left leg, the right bent at the knee and projecting back, a scroll in his lowered left hand, his right extending towards the Genius, their hands clasped, a thick wreath in his wavy locks, his features youthful, the Genius (either the Genius Augusti or the Genius Populi Romani) seated on a fringed pillow on an elaborate throne, his feet on a foot stool, the leg of the throne in the form of adorsed palmettes, the back with scrolling, topped by a rosette framed by fronds, the god wearing a himation that exposes his muscular torso, extending his right arm to Tiberius, holding a cornucopia in his left hand, its surface with volutes and rosettes in low relief, the goddess with her body frontal, her head turned toward the Genius, her left arm extended toward him with her hand resting on his shoulder, wearing a chiton and himation, a crescentic diadem in her wavy center-parted hair, a two-line Latin inscription partially preserved above, reading: AD [C...], [...]S TI AVGVUST [C...], a projecting plinth below - 35 in. (88.9 cm.) high. Estimation on request.

Provenance: Said to be from southern Spain.
D. Arturo Moya Moreno, Seville, Spain, acquired in the 1950s.
Spanish export license, from the Ministry of Culture no. 237/2008.

Notes: An exceedingly rare sculpture and masterwork from the Julio-Claudian period, this profoundly important historical relief adds significantly to the known corpus of Roman imperial sculpture and contributes to our understanding of Roman state religion. This relief is purported to be from Southern Spain in the western provinces of the Roman Empire, which increases the its rarity and historical interest. Among the wealthiest provinces, the area was known for its exports of olive oil and metals from the port of Hispalis on the Guadalquivir River. Several Roman building complexes have been discovered in the vicinity.

The lower row of the inscription can be interpreted as S[ALUS] TI[BERIUS] AVGUST[US] C[AESAR], a reference to the adopted son of Augustus, the Emperor Tiberius Claudius Nero (14-37 A.D.), governing as Tiberius Caesar Augustus. The epithet "Augustus" was added to the name Tiberius Caesar after his adoption by Augustus in 4 A.D.

The standing male figure to the left undoubtedly depicts Tiberius, recognizable from his many surviving portraits. For the pose and rich drapery compare the figure, likely of Tiberius, from the Suovetaurilia relief in Paris, no. 117 in Kleiner, Roman Sculpture. See also the figure of Tiberius from the south frieze of the Ara Pacis Augustae, no. 75 in Kleiner, op. cit.

The solemnity of the scene is striking and the relief's strongly narrative iconography alludes to a particular event in which historical and mythological figures are intermingled. Such subject matter is so rare that it gives the relief a prominent place in imperial iconography and the history of Roman art. It may commemorate an offering from the emperor Tiberius Augustus Caesar to the Genius Augusti or the Genius Populi Romani with Concordia as intermediary.

The relief dates either to the period after the adoption of Tiberius by Augustus on 26 January 4 A.D. or sometime after the accession of Tiberius as emperor in 14 A.D. Tiberius became emperor at age fifty-six and on this relief he is still represented within the classical ideal, eternally youthful like his predecessor Augustus. In his left hand he holds an object that appears to be a scroll, perhaps a document referring to a law, act, or treaty, which would benefit from the intervention of the goddess Concordia.

The goddess Concordia was the Roman incarnation of the Greek goddess Harmonia, daughter of Aphrodite and Ares. She wears a crescentic diadem upon a classical hairstyle, and is dressed in Greek attire. As goddess of harmony, agreement, truce, and peace, Concordia personified the good relationship among members of a family or inhabitants of a country. The Roman Senate often appealed for her intervention to solve civil unrest. The festival of Caristia (from caritas, love, affection) was celebrated in her honor. On this occasion family members reconciled with each other over any discord. In Rome the first temple to Concordia was built on the lower slopes of the Capitoline Hill overlooking the Forum in 367 B.C. by Marcus Furius Camillus at the request of the Senate. The











The Hero Overpowering a Lion




The Hero Overpowering a Lion





"Lion-taming spirits (often identified with the hero Gilgamesh) were part of a complex architectural and decorative system governed by artistic and religious criteria. They symbolized divine and royal power, and the calm strength that emanated from them protected the palace and ensured the continuity of the ruler's power.


Description


A complex architectural system

This figure is a partial reconstruction of a monumental complex, which we know about from the drawings executed by Eugene Flandin in 1844 during the excavation of the entrance of the throne room of the palace of Sargon II. The outside facade of the throne room - facade N - was composed of a frieze, showing a procession of figures, and passageways guarded by colossal spirits: a pair of winged bulls with human heads and a pair of benevolent genies. The central passageway doubled this arrangement: in addition to the bulls in the passageway, there were four others along the wall, their heads turned towards the visitor. Between each pair was a lion-taming spirit: one of these figures was sent to the Louvre by Paul-Emile Botta.


A colossal figure

Measuring over five meters high, the sculpture depicts a figure choking a lion. The spirit or hero overpowering the lion is in a frontal position, which is rare in Assyrian art and used only for creatures playing a magical role. In his right hand he holds a ceremonial weapon with a curved blade, known as a "harpe," which is a royal weapon. He is wearing a short tunic with a large fringed shawl over it, hiding one leg and revealing the other. The eye contact with the visitor has a magical impact. His head is sculpted almost in the round; the eyes, once brightly colored, were meant to mesmerize the visitor. His hair and beard are styled like those of Assyrian dignitaries and the king. The hero is wearing a bracelet with a rosette in the center. Excavations of the tombs of the queens at Nimrud yielded similar bracelets, which were made of gold and inlaid with precious stones to look like petals.
The lion is lifting its head and baring its teeth. Its muzzle is stylized with a series of radiating folds, which are also found on metal sculptures.


A symbolic representation of royal power

This spirit, often identified with the hero Gilgamesh, who was a legendary figure but also a historical king of Uruk, probably incarnates the omnipotence of kingship: he is effortlessly overpowering a ferocious lion. The contrast between the roaring lion and the hero's imperturbable strength highlights his magical power.
The set of ten bulls and two heroes, a royal heraldic emblem, was specially created for the facade of the throne room in the palace of Sargon II. All these facades, built on the high terrace of the palace overlooking the city, were clearly visible from afar and bore witness to the king's grandeur."









decorative metal legs







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