Roman Republic Coin with Banker’s Mark

Object: C034.08.06
JIAAW, Harkness Collection

RRC 448/3, ROME, 48 BCE,  3.99g
On the front, or obverse, of the coin you will notice a small “T” which has been pressed into the face of the woman. This symbol was not a part of the design, but an ancient mark made by a banker to demonstrate that the coin had been tested for purity (or silver content). These “banker’s marks” served simultaneously to test the coin for silver purity and to identify the banker who had tested the silver, providing future users of the coin with some measure of confidence in its value.

– Jacob Weber ‘15, student in ARCH 1575 Lost and Found: Coinage and Culture in the Roman Empire

Learn more about coin C034.08.06 and see other examples of coins with banker’s marks:

Joukowsky Institute for Archaeology

On one side of the coin, an unkempt female head is shown in profile, with a Gallic wind instrument known as a carnyx in the background. The carnyx and unkempt hair of the woman would have made clear to the Roman audience that she was not only meant to represent a foreigner, but also a Gallic prisoner of war.

Coin – Denarius, Mark Anthony, Legion VI, Ancient Roman Republic, 32 BC

Denarius, issued by Mark Anthony, 32 BCImperatorial PeriodMinted by Moving with Mark Anthony, perhaps at Antony’s winter headquarters in Patrae (Greece) A ship being rowed to the right; above (off flan) [ANT AVG] (abbreviating: Antonius augurus); below, III VIR R P C (abbreviating: Triumvir rei publicae constituendae; translation: One of Three Men for the Restoration of the Republic) A Roman military eagle (aquila) between two standards; below, LEG VI Plain This coin was part of a very large issue by Mark Anthony before his final confrontation with Octavian at the Battle of Actium in 32 BC.

coin | British Museum

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Unguentarium

Object: LC042
JIAAW, Lewis Collection

The handle-less unguentarium is a form of pottery that was commonly found in burial sites. Typically, it is a very thin, cylindrical container with either a bulge in the middle or at the bottom. Used as packaging of market products and in funerals, the unguentarium usually held oils, powders, and other substances and were either made out of glass or clay. Those used in commerce sometimes had a type of brand with information about who produced it or the product it contained. In the past, the pottery shape was also call “lacrimarium” (lacrimae = tears) because scholars used to believe that the container was used to hold the tears of mourners during the funeral.

-Elaina Kim ‘21, JIAAW Records and Collections Assistant 2017/18

Fusiform unguentarium.

To safeguard against the spread of COVID-19, the Yale University Art Gallery will remain closed until further notice. Learn More

Unguentarium

Unguentarium (perfume bottle) of thick green glass, piriform body with long cylindrical neck: Ancient Roman, found in Egypt, 1st to 3rd century AD A.1936.517 World Culture Unguentarium Roman Empire 1st – 3rd century Roman Glass, green, thick ANCIENT EGYPT

Iridescent Glass Jug

Object: JI1733
JIAAW, Cornelia St. J. Lewis Collection

Object JI1733 features a striking iridescent quality that is often found in ancient glassware. Unlike the process of achieving iridescence in modern pieces, the iridescence of this object and others like it was not an intentional design choice made by artisans in ancient times. Rather, iridescent qualities in ancient glassware are caused by weathering on the surface. This weathering process depends on several factors, including the levels of heat and humidity within the burial site, as well as the type of soil that the glass was buried in. Also at play is the chemical composition of the glass itself. All of these conditions determine to what extent alkalis, or soluble salts, in the glass are absorbed by slightly acidic water in the soil, thus, eroding the glass material. 

Once weathered to thin layers, some of which delaminate or even flake off, ancient glassware begins to refract light in ways that resemble a prism. If held at different angles and observed in different lighting, object JI1733 produces a rainbow-like effect, emblematic of the interplay of luminous colors created by its weathered surface.

-Jinette Jimenez ‘21, JIAAW Records and Collections Assistant

Corning Museum of Glass

Glass is found at archaeological excavations in a variety of conditions. The glass condition can range from pristine, where no deterioration is visible, to so heavily degraded that practically all the glass has been transformed into corrosion products. The deterioration of the glass surface is generally known as and the deteriorated area as a weathering crust.

Glass flask | Roman | Mid or Late Imperial | The Met

Cesnola, Luigi Palma di. 1903. A Descriptive Atlas of the Cesnola Collection of Cypriote Antiquities in the Metropolitan Museum of Art, New York, Vol. 3. pl. XCVIII, 6, Boston: James R. Osgood and Company. Myres, John L. 1914. Handbook of the Cesnola Collection of Antiquities from Cyprus. no. 5356, p.

WHAT IS THE IRIDESCENCE ON ANCIENT GLASS ?

What is iridescence on ancient glass? The iridescence on ancient glass was unintentional unlike what is found on modern Tiffany, Loetz, and Steuben glass. Caused by weathering on the surface, the iridescence, and the interplay of lustrous, changing colors, is due to the refraction of light by thin layers of weathered glass.

Glass perfume bottle | Roman | Early Imperial | The Met

Myres, John L. 1914. Handbook of the Cesnola Collection of Antiquities from Cyprus. no. 5176, p. 509, New York: The Metropolitan Museum of Art. Lightfoot, Christopher S. 2017. The Cesnola Collection of Cypriot Art : Ancient Glass. no. 305, p. 219, Online Publication, New York: The Metropolitan Museum of Art.

The Mystery of Iridescence in Glass

By Anna Pokorska, on 20 May 2019 If you’ve ever wandered through a museum displaying ancient artefacts, chances are you were amazed at the quality and artistry displayed in glass objects of that time. The has some incredible pieces shining with iridescent colours: However, despite the undeniable talents of ancient glassmakers, this particular effect was not intentional or even achieved during production.

Jug

Gustavus A. Eisen, Glass: Its Origin, History, Chronology, Technic and Classification to the Sixteenth Century, 2 vols. (New York: William Edwin Rudge, 1927), vol. 1, p. 369, pl. 94. Susan B. Matheson, Ancient Glass in the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 1980), 74-5, no.

Figure of Nefertum

Object 171
JIAAW, Old Department Collection

Object 171 is a faience figurine of the god Nefertum. Based on comparanda, this is likely a piece from the Late – Ptolemaic Periods (ca. 664-30 BCE). He is shown striding with his left leg forward, though his feet are broken off, and with his arms hanging by his sides. He has a beard and wears a kilt and a headdress of a lotus blossom, his main symbol. The plumes emerging from the lotus have also broken off, but the base remains visible. Hanging from both sides of his head are menats, protective symbols often associated with powerful goddesses. 

Nefertum rarely appeared in earlier periods of Egyptian history. In Coffin Texts from the Middle Kingdom, he was referred to as the son of Sekhmet. He thus became part of the divine triad, assuming the child’s role, with Ptah and Sekhmet as parents. Nefertum grew in prominence during the New Kingdom and subsequent periods. He was thought to be the personification of the primordial water lily that opened during sunrise, thus giving him a significant role in one of the ancient Egyptian creation stories. Because of the lotus’ pleasant aroma, he was also known as the god of perfumes and ointments. Additionally, his connection with Sekhmet lent him violent attributes that made him suitable as one of the guardians of Egypt, and He Who Protects the Two Lands was one of his most common epithets. This protective attribute possibly explains the high numbers of discovered Nefertum amulets and statuettes, such as this one. 

-Luiza Silva, B.A. in Archaeology and the Ancient World and Egyptology, Brown University ‘18
Candy Rui, B.A. in Egyptology, Brown University ‘18

See other examples of Nefertum figurines:

Brooklyn Museum

MUSEUM LOCATION This item is not on view CREDIT LINE Charles Edwin Wilbour Fund RIGHTS STATEMENT Creative Commons-BY You may download and use Brooklyn Museum images of this three-dimensional work in accordance with a Creative Commons license. Fair use, as understood under the United States Copyright Act, may also apply.

Nefertum | Late Period-Ptolemaic Period | The Met

The god Nefertum was born out of a lotus flower on the mound of creation; thus he was closely connected with the sun, creation, and with the lotus, but also, more broadly, sweet-smelling, pleasant things. Nefertum was the son of Ptah and of the lion-goddess Sakhmet, and is sometimes envisioned as the son of Bastet or certain other great female lion goddesses.

Fragment of an Amulet of Nefertum – Museum of Fine Arts, Budapest

Back to results Date first half of Ist millennium B.C. Object type sculpture Medium, technique Egyptian faience Dimensions height: 9.2 cm Inventory number 69.17-E Collection Egyptian Art On view This artwork can be displayed at the permanent exhibition Further artworks from this collection Recommended exhibitions

Tanagra Figurine

Object: 247
JIAAW, Wagner Collection

Object 247 is an example of a Tanagra type figurine, named after the cemeteries in the Tanagra region of Greece in which figures like these were discovered in the 19th century. Figures such as this are representations of a long history of statuette production in and around Tanagra, which underwent several stages of cultural significance and symbolism. Dating back to the Hellenistic period, these figurines are believed to have been largely made and used as votive offerings, though by the end of the 4th century BCE had ceased to be objects of reverence and were manufactured simply as representations of women and girls in everyday life.  

While object 247 is probably not ancient, it reflects the form and fashion of Tanagra figurines found in ancient sites in Greece. This object is a standing woman draped in intricately folded garments, supported by a rectangular base. It is an example of the fine details that are emblematic of Tanagra figurines, particularly the representation of intricate folding, draping, and stretching of garments. As was typical, this figurine was constructed out of terracotta, a dark red clay and coated in a white slip.

-Jinette Jimenez ‘21, JIAAW Records and Collections Assistant

Learn more about Tangara figurines and see other examples:

Tanagra

The name ‘Tanagra’ has come to be synonymous with one of the commonest types of Greek terracotta, the elegant draped, female figures produced in vast quantities throughout the ancient Greek world between about 300 and 50 BC. But Tanagra is also the name of the ancient city where many of them were made and found.

Tanagra figurine | Museum of Cycladic Art

The Museum of Cycladic Art is dedicated to the study and promotion of ancient cultures of the Aegean and Cyprus, with special emphasis on Cycladic Art of the 3rd millennium BC

Terracotta draped woman | Greek, Boeotian | Hellenistic | The Met

Richter, Gisela M. A. 1908. “Greek and Roman Terracottas in The Metropolitan Museum of Art.” The International Studio, 36: pp. 69-70, fig. 9. Uhlenbrock, Jaimee. 1990. The Coroplast’s Art: Greek Terracottas of the Hellenistic World p. 50, fig. 37, New Rochelle, N.Y.: College Art Gallery, State University College New Paltz.

Lekythos

In celebration of National Olive Day (June 1), we’re taking a closer look at an object associated with olive oil storage – the lekythos!

Object: JI1724
JIAAW Collection

With a narrow neck and a single handle, the lekythos is a small vessel that stores perfumed olive oils or other balms. Associated with death and funerals in the Greek world, lekythoi were typically left near the burials sites of unmarried women, allowing women to partake in the common wedding practice of smearing themselves with oil as they prepared for marriage in the afterlife. Lekythoi commonly depicted images of either daily activities and rituals or funerary art like parting scenes, moments of loss, or burial practices.

-Elaina Kim ‘21, JIAAW Records and Collections Assistant 2017/18

See other examples of lekythoi:

Attributed to the Amasis Painter | Terracotta lekythos (oil flask) | Greek, Attic | Archaic | The Met

Redmond, Roland L. and Dudley T. Easby Jr. 1956. “Report of the Trustees for the Fiscal Year 1955-1956.” Bulletin of the Metropolitan Museum of Art, 15(2): p. 54. Richter, Gisela M. A. 1970. “The Department of Greek and Roman Art: Triumphs and Tribulations.” Metropolitan Museum Journal, 3: pp. 84, 86-87, fig.

Lekythos

Penn Museum Object MS5463 – Lekythos

From the Harvard Art Museums’ collections Lekythos (oil flask): Visit to the Grave

Identification and Creation Object Number 1925.30.54 People Attributed to The Bird Painter Title Lekythos (oil flask): Visit to the Grave Classification Vessels Work Type vessel Date c. 430 BCE Places Creation Place: Ancient & Byzantine World, Europe, Attica Period Classical period, High Culture Greek Persistent Link https://hvrd.art/o/291597 Physical Descriptions Medium Terracotta with polychrome decoration Technique White-ground Dimensions H.

Poppy and Vine Capital Fragment

Object: Petra 12
JIAAW, Loan from the Ministry of Tourism and Antiquities of the Hashemite Kingdom of Jordan

This is a fragment of a Nabataean Corinthian column found in the Great Temple at Petra. Like many of the Great Temple pieces, this limestone piece features floral imagery in relief, this time depicting poppies and vines. Nabataeans used Hellenistic and Roman styles, like Corinthian columns, alongside local styles to create their own unique architecture. The poppies and vines in this fragment represent the local flora found in Petra’s cultivated landscape. Other column decorations include elements from faraway civilizations, like elephants, alluding to the vast reaches of Nabataen trade, or traditional Greek and Roman decoration like acanthus leaves. 

This is one of the many artifacts from Brown’s excavations from 1993 to 2008, directed by Martha Sharp Joukowsky, of a series of structures known as the “Great Temple Complex” of Petra. The Joukowsky Institute for Archaeology began its work at Petra with the excavation of the Great Temple, however its involvement has continued with further research on the hinterlands of Petra. The Brown University Petra Archaeological Project (BUPAP) was an archaeological survey of the Petra hinterlands conducted from 2009 to 2013. The Brown University Petra Terraces Archaeological Project (BUPTAP) is currently underway, and is carrying out further research on the terraces examined in BUPAP’s initial research.  

-Jinette Jimenez ’21, JIAAW Records and Collections Assistant

Read more about Nabataean culture and and the motifs used at Petra here:

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Meaningful Motifs | AMNH

Today Petra’s spectacular 2,000-year-old architecture serves as an ancient archive of Nabataean culture. Much of the decoration had a purpose or meaning. Delicately crafted motifs decorate Petra’s tombs and temples, adding beauty while serving a symbolic and often protective function for the monuments they adorned.

Petra at the Joukowsky

The elephant capital outside Rhode Island HallPhoto taken by Rainey Zimmermann Welcome to the Joukowsky Institute for Archaeology and the Ancient World, housed in Rhode Island Hall at Brown University. This building contains a large number of materials from the site of Petra, located in the Southern half of Jordan.

Lusterware Bowl

Object: D46
JIAAW, Day Collection

This partial ceramic bowl and the six fragments associated with it are made of relatively thin clay with a green and brown design coated in an iridescent glaze. The center of the bowl features an abstract geometric design with large brown dots and swirls in negative space. The wall of the bowl and the accompanying fragments reveal that the sides are delineated by green and brown colored bands. An epigraphic band marks the upper portion of the bowl’s inside wall, with a swirl pattern that matches the central design in negative space. Here, the word Allah is visible in bubble writing. Though not clearly pictured here, the largest fragment suggests that the exterior of the bowl is glazed with an equally intricate design as the inside.

-Jinette Jimenez ’21, JIAAW Records and Collections Assistant

See other examples of Islamic epigraphic ceramics and learn more about ceramics in the Ancient Islamic World:

Bowl with Leopard | The Met

Bowl The profile of this fine bowl, with its straight, low, hollow foot; a transitional section between the foot and the body that splays outward; and straight, flaring sides, makes it typical of the ceramic objects decorated with luster paint by Kashan workshops in the early thirteenth century

Bowl with Arabic Inscription,

Bowl This bowl exemplifies the distinctive group of Samanid-era ceramics, known as epigraphic wares, which have calligraphy as their major form of decoration.

Ceramic Arts of the Islamic World

The evolution of techniques and design of early Islamic ceramics Islamic Art and Architectural Historian, SOAS Alumna Photo by Bilal Randeree. This article sheds light on the evolution of techniques and the design of these early Islamic ceramics and how during a series of migrations to new geographical locations, Islamic potters adapted the ceramic tradition to these new lands.

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Saucer-shaped Oil Lamp

Object: D67
JIAAW, Day Collection

This ceramic oil lamp has a bowl-like shape with a raised center and a rim that has been folded over and pinched to form a place for the wick to rest. Both the interior and exterior of this lamp were glazed with a blue-turquoise color. Today, the lamp’s pigment appears iridescent, evidence of oxidation over time. The chip in the rim and the excess clay on the edge of the central fill hole allude to a missing handle that has been broken off of the lamp. The wick hole appears to have been filled in with clay, raising questions of its functionality. Perhaps this particular lamp was converted into a candlestick at some point.

-Jinette Jimenez ’21, JIAAW Records and Collections Assistant

Learn more about ancient oil lamps and see other examples of saucer-shaped lamps:

Description and History of Oil Lamps

Roman Oil Lamps Defined A lamp is a device that holds and burns fuel, typically oil, as a means of producing light. Although oil lamps have taken on a variety of shapes and sizes throughout history, the basic required components are a wick, fuel, a reservoir for fuel, and an air supply to maintain a flame.

oil-lamp | British Museum

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oil-lamp | British Museum

Description Glazed pottery oil lamp; wheel-made; light-brown clay fabric, covered inside with strips of yellow and light-brown glaze, including splashes of the same glaze on the exterior; open saucer form with a flate base, loop handle and pinched wick-hole. Curator’s comments Cf. W. S.

Pine Cone Capital Fragment

Object: Petra 9
JIAAW, Loan from the Ministry of Tourism and Antiquities of the Hashemite Kingdom of Jordan

This carved pine cone is a fragment of a Nabataean Corinthian column found in the Great Temple at Petra. Carved out of white limestone, the pine cones on this column were likely intended to depict an Aleppo pine cone. Such natural imagery is believed to be related to Dionysus, the Greek god of vegetation and wine, whose influence in the ancient world spread throughout the Mediterranean. The link between Dionysus and the pine cones featured on this column lies in the resin that is naturally produced by pine cones, which was commonly used to seal amphorae containing wine.

This is one of the many artifacts from Brown’s excavations from 1993 to 2008, directed by Martha Sharp Joukowsky, of a series of structures known as the “Great Temple Complex” of Petra. The Joukowsky Institute for Archaeology began its work at Petra with the excavation of the Great Temple, however its involvement has continued with further research on the hinterlands of Petra. The Brown University Petra Archaeological Project (BUPAP) was an archaeological survey of the Petra hinterlands conducted from 2009 to 2013. The Brown University Petra Terraces Archaeological Project (BUPTAP) is currently underway, and is carrying out further research on the terraces examined in BUPAP’s initial research.

-Jinette Jimenez ’21, JIAAW Records and Collections Assistant

Learn more about pine cone capital fragments and Dionysus:

Pinecone Capital Fragments

One of the pinecone column capital fragmentsA second fragment Like many of the other objects on this tour, these carved pine cones are fragments of column capitals. These would have come from Nabataean Corinthian columns, and are made of white limestone. Pine cone resin also had many uses in the ancient world, particularly in wine…

Dionysus | Powers, Personality, Symbols, & Facts

Dionysus, also called Bacchus, in Greco-Roman religion, a nature god of fruitfulness and vegetation, especially known as a god of wine and ecstasy. In early Greek art he was represented as a bearded man, but later he was portrayed as youthful and effeminate. Learn more about Dionysus in this article.