READY MADE ROMAN SHADES - WHITE DRUM SHADE PENDANT - WROUGHT IRON DRAPERY ROD.
Ready Made Roman Shades
- (Roman shade) A flat fabric shade that folds into neat horizontal pleats when raised.
- (Roman Shade) This window treatment style consists of a fabric shade with wooden slats inserted horizontally at intervals down its entire length. It is raised and lowered via pull cord as with other blinds, but gathers soft folds as it does so.
- (Roman Shade) A single sheet shade that rises up by lift cord in a tear drop or flat style that looks like an accordion folding up back and forth on itself. Reminds me of an opera house window treatment swag. Part of our Melhanna Shade collection.
- cliched: repeated regularly without thought or originality; "ready-made phrases"
- (esp. of products such as clothes and curtains) Made to a standard size or specification rather than to order
- a manufactured artifact (as a garment or piece of furniture) that is made in advance and available for purchase; "their apartment was furnished with ready-mades"
- Available straight away; not needing to be specially created or devised
- (of food) Ready to be served without further preparation
- made for purchase and immediate use
ready made roman shades - Ready Made
Ready Made Bride (Whirlwind Weddings) (Harlequin Romance)
His second wife?
Andrew Fielding wants a mom and his daddy could use a wife. He thinks he's found the perfect woman for both of them: Megan Sanders—which is fine with Megan. The Fielding men have their attractions: one's as cute as a button, the other as sexy as they come! Together, they're the family Megan's always wanted! But convincing brooding widower Kane Fielding is less easy….
He's determined to keep his distance and ensure his dark secret stays hidden. But to keep his son, Kane is prepared to do anything. Even the one thing he's promised he'll never do again…marry!
Who says you can't hurry love?
"Wonderful…will stir the heart as easily as it coaxes a smile."
A Unique and Important Roman Silver Antoninianus of Elagabalus (218-222 C.E.), Depiciting the Stone of Emesa on the Reverse, Possibly the First Frontal Depiction of a Chariot in Roman Imperial Art
Elagabalus, 218-222 d=21 mm Antoninianus or double-denarius late 219-early 220, AR 5.66 g. IMP ANTONINVS PIVS AVG Radiate, draped and cuirassed bust r. Rev. CON – SERVA – TOR AVG Elagabalus standing facing, head l., sacrificing out of patera over lighted altar and holding cypress (?); behind him, quadriga facing on which is the conical stone of Emesa surmounted by eagle facing with spread wings. On either side, umbrella. C –. BMC –. RIC –. Apparently unique and unpublished. An historically important and fascinating issue with an innovative reverse design. Extremely fine / about extremely fine This sensational, and previously unknown, coin is important in three respects. First, its reverse is a famous historical type rendered in a previously unknown composition; second, its obverse inscription is seemingly unknown for this emperor’s double-denarii; third, and perhaps most important of all, it could be the earliest representation of the frontal chariot motif in Imperial art. The reverse depicts 15-year-old Elagabalus, dressed in tunic and boots, sacrificing at a thin altar before a facing quadriga that bears shade-umbrellas and the eagle-emblazoned Emesan black stone that was the object of his Oriental idolatry. This scene is rendered in three planes: the emperor, the horses, and the stone and umbrellas. This presentation improves immeasurably over the known stone-in-quadriga issues, which depict the quadriga in profile and omit Elagabalus altogether. The inscription CONSERVATOR AVG describes the Emesan sun-god as the preserver or defender of the young emperor. When the conical black stone was conducted within Rome, Elagabalus walked backward before the chariot that bore it, unwilling to divert his eyes from his god. If the ancient sources can be trusted, the young emperor was not dressed in the Roman tunic we see here, but in sacerdotal robes of purple silk, ornamented with gold and precious stones. We are told he wore a tiara, bracelets and necklaces and painted his cheeks and the area above his eyes. This must have transfixed spectators, who also experienced the smell of incense, the crash of cymbals, the sound of flutes, and the cryptic chants of Syrian priests and priestesses. Gnecchi and Tonybee had considered the facing quadriga to have debuted in Imperial art on the medallions of Severus Alexander’s fourth tribunician, dateable to 225. Since this facing-quadriga predates that by five years, it represents the most advanced iconographic imagination of the day. For these reasons we might presume it was struck to commemorate an actual event, and was not merely a generic continuation of the stone-in-quadriga issues of 218-219. The obverse inscription IMP ANTONINVS PIVS AVG, while commonplace on aurei and denarii, is seemingly undocumented for Elagabalus’ double-denarii. It has chronological importance, for it might extend the terminus ante quem for his double-denarii from 219 to 220. Further, it provides a chronological framework to help us define the historical context of the coin. Scholars have thus far concluded that Elagabalus stopped striking double-denarii by the end of 219, as the known obverse inscriptions and portrait types would not allow later attributions. The obverse inscription of this piece is used at Rome for dated aurei and denarii of 219 (TR P II COS II) and 220 (TR P III COS III), and at Antioch for dated issues of 221 (TR P IIII COS IIII) and 222 (TR P V COS IIII). At both mints it was also used for undated issues. Though the presence of this obverse inscription on a double-denarius does not prove this denomination was struck into 220, it at least allows for the possibility. Carson, in his Coins of the Roman Empire, demonstrates that there were four successive stages of Elagabalus’ precious metal coinages in 219, and that the present obverse inscription belongs to the last of these, which was introduced near the end of 219. Mattingly, Carson and Hill, in BMCRE V, state that this inscription "…belongs mainly to A.D. 220-222, but it certainly had just begun in A.D. 219…" Carson also notes that at some point in 220 the portraits associated with this inscription had evolved such that Elagabalus had a ‘side-whisker’ that is absent on this portrait. Thus, we should date this piece to the end of 219 or the beginning of 220. There were three likely occasions for a commemorative of this type: the entry of Elagabalus into Rome in the summer of 219; the deposition/dedication of the stone in a temple on the Palatine sometime in 220 or 221; or the annual transference of the stone at midsummer from the Palatine temple to a new temple on the eastern edge of the suburbs of Rome beginning in the summer of 221 or 222. Clearly, the last of these is not a possibility. Historians disagree as to when Elagabalus arrived in Rome, with estimates ranging from spring through to September of 219. The entourage sailed to Nicomedia, where they wintered, presumably awaiting the arrival of the stone. The
A Prayer To Tellus
The dew on the leaves hint the coming of dawn Father Sol on his perch, morning birds sing their songs He peeks o'er the hills, Sol's warmth clears the Glade As the dawns dewey clouds willingly fade Th crickets, a chorus, a shimmering refrain Their chirping this day says its summer again This chorus, the flowers, trees in this Glen The easy breeze welcomes, a new day begins A trail, lightly trodden, covered with leaves Shows travelers the way as it wanders and weaves Past streams and vast stones filled with sweet summer shade Yet there are no feet trodding softly this day Some hefty wild gobbling turkeys, and deer The denizens all are beginning to appear Yet one species sadly has yet to entreat No human shuffling of curious feet In this Glen at Leatherstocking, my home in this time I have wandered its paths and explored every vine Both predator and prey know me as friend Never fearing my presence, I'm alone in this Glen. I've prayed many times for an angel to share As I've wandered these trails, inhaled this fresh air That sings to my senses in glorious scents Arouses my passions, my prayer has been sent This Garden's sweet harvest, the fruit from the trees All honor my lonely enchanted retreat Oh, where are the two extra hands, kind and sweet To share in my Eden and make me complete. For so many years have I searched on this trail Sat with wild bunnies, small birds, hawks and quail Asked them to tell Father Sol what I seek Heard Mother Gaia's mysterious breeze speak All of the denizens have mates, every one Excepting Father Sol's most dutiful son Please Mother Gaia, you know how I yearn I call out my prayer as each year slowly turns. Twilight falls as I make my bed My dream is made ready, pillow to head Goodnight loving Father, rest well Mother dear Perhaps tomorrow my mate will appear. NOTE: Tellus is an ancient Roman goddess of the earth, marriage, and fertility, identified with the Greek goddess Gaea (my spelling is Gaia), who is the ancient Greek goddess of the earth, mother of the Titans.)