*Ceinture

in the form of a yoke. The main theme, expressed here by a dense and detailed iconography, is that of human sacrifice and fertility, a theme taken up on other sculpted yokes from Veracruz. A face, that of a deity or a man, occupies the front and curved part of the work while the rest of the body is represented, symmetrically, on each lateral branch. The appearance of this face reveals that the figure is dead and that it may be wearing a mask. In this case, it would be a man personifying a deity. His forehead is short, his eyebrows are thick and his eyes are closed. The upper lip is unusually shaped, descending towards the lower lip and then splitting in two to spiral up the cheeks, hiding the lower jaw. Teeth are absent from the mouth cavities, but inlays of shell or other material may have existed in the past. Large pierced ear coils frame the face. Three long-stemmed leaves, pointing downward, pass through the holes in these ornaments. As is often the case with yokes, the headdress is visible on the top, on the horizontal plane. It is simple here, consisting of a large knot covering the entire head, holding three leaves similar to those found on the front. This large knot confirms that this is a sacrifice, a symbol used to identify captives destined for death. The rest of the body (actually only the shoulders and arms) is represented symmetrically on each of the yoke's branches. These limbs appear short and stocky, an adaptation made necessary by the limited space of the support. The shoulders are each adorned with large beads, as are the wrists. The arms are bent upwards and the palms of the hands are turned outwards. The deity is holding a sceptre-like accessory, a characteristic that is found on other yokes from the Classical Age of Veracruz. This particular sceptre is reminiscent of the floral staff called ostopilli, which was later found in central Mexico in the hands of deities or in those of the men charged with representing them during personification rituals. A zoomorphic head can be seen at the end of the yoke's branches (on each side). The identification of the animal is delicate because it combines various attributes reminiscent of saurians. What is certain is that it wears a beautifully crafted feather headdress, carved on the top, which appears slightly inclined suggesting that the animal is in motion. We also find on this yoke, the use of scrolls and foliage, which is considered the signature of the lapidary artists of Veracruz. Grey-green diorite with brown patina Veracruz - Mexico, 450 - 750 AD 11.2 x 41.3 x 35.8 cm Provenance: - Former Yvon Collet collection since 1966 - Mermoz Gallery, 2002 This exceptional yoke illustrates the iconographic and symbolic richness of the classical art of Veracruz as well as the technical mastery achieved by the sculptors of the time, capable of "making the stone speak" like no one else, making it the bearer of a message, often very complex, by adapting with admirable dexterity to the particular and constraining shape of their support. Much of the iconography visible on this remarkable sculpture suggests that the entity represented is tlaloc himself or personified by a man wearing his attributes and intended to be sacrificed. The presence of plants and an important ritual object similar to a lightning bolt or a floral stick, frequently associated with the god of rain, are among the clues given by the sculptor. Moreover, ball fields were often the site of human sacrifice, so it is not surprising that this yoke refers to them. Small fillings at the level of the two volutes in relief on the cheeks *This lot is presented in temporary importation