A Group of Bronze Vessels from Arykanda in Lycia /Arykanda'dan Bir Grup Bronz Kap

KUBABA - Arkeoloji - Sanat Tarihi - Tarih Dergisi

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COLLOQVIA ANATOLICA ET AEGAEACongressus Internationales Smyrnenses IV

Abstracts Of The XVIIth International Congress Of

Ancient BronzesMay 21 – 25, 2011 / Izmir, TURKEY

Editorial Note to the Abstracts

Doç. Dr. Ergün LAFLI

Previous Bronze Congresses and the Izmir Congress: An Introduction

The International Bronze Congressis recognized as the leading forum for scholars whose research en-hances our knowledge of the art, culture, and technology of bronzes in the classical world. Since 1970, there have been 16 successful Congresses, most recently in Bucharest (2003) and Udine (2001), attract-ing hundreds of participants from Europe, the United States, and even Asia1. The presentations have covered a broad range of topics in the fields of archaeology, ancient technology, history of art, and conservation, and have introduced many new discoveries and ideas. Izmir Congress is the first one after 2003. The XVIIth Congress was first announced to be held in Athens; but was rescheduled for May 21-25, 2011 in Izmir. The Izmir Congress encourages dialogue among scholars of ancient bronzes on the topic of the East-ern Mediterranean and proposes to offer a basis for future research on bronzes in Turkey. One goal of this congress is to present the less well-known bronze materials from Anatolia and other neighboring countries in the east. Presentations from the entire classical world are welcomed. We address questions of production, subject matter, function, chronology, trade, and conservation. Of particular interest are reports from current excavations in Asia Minor and the Eastern Mediterranean yielding Greek and Ro-man bronzes along with other stratified finds that will help to build a more precise chronology for the bronzes.

Abstracts hereby was arranged according to the alphabetical row of each authors.

Doç. Dr. Ergün LAFLI, Dokuz Eylül Üniversitesi, Edebiyat Fakültesi,Arkeoloji Bölümü, Tınaztepe/Kaynaklar Yerleşkesi, Buca, TR-35160 Izmir, TURKEY. <[email protected]>.

1 We would like to thank to Prof. Carol C. MATTUSCH and to Dr Alessan-

dra R. GIUMLIA-MAIR for providing us this valuable list as well as most notable knowledge concerning the past Bronze Congresses. We also would like to thank to Dr Chris LIGHTFOOT for his helps.


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List of Previous Bronze Congresses and their Proceedings

1- Nijmegen, 1970.“Tagung über römische Bronzegefäße im Rijksmuseum G. M. Kam in Nijmegen von 20. bis einschließlich 23. April 1970”. Hektogr. Niederschrift 1970. 2- Mainz, 1972.“Bericht über die Tagung ‘Römische Toreutik,’ vom 23. - 26. Mai 1972 in Mainz.” Ed. Heinz Menzel, Jb. RGZM 20 (1973), 258-282.

3- Brussels-Mariemont, 1974.Actes des IIIes journées internationales consacrées à l’étude des bronzes romains Bruxelles-Mariemont 27. - 29. mai 1974. Bulletin des Musées Royaux d’Art et d’Histoire 46, 1974 (1977), 5-217.

4- Lyon, 1976.Actes du IVe Colloque international sur les bronzes antiques (17. - 21. mai 1976). Annales de l’Université Jean Moulin, Lyon 1977, 5-236.

5- Lausanne, 1978.Bronzes Hellénistiques et romains. Tradition et renouveau. Actes du Ve Colloque international sur les bronzes antiques Lausanne, 8. - 13. mai 1978. Cahiers d’archéologie romande 17 (1979).

6- Berlin, 1980.Toreutik und figürliche Bronzen. Akten der 6. Tagung über Antike Bronzen 13. - 17. Mai 1980 in Berlin. Berlin, Antikenmuseum, 1984.

7- Székesfehérvár, 1982.Bronzes romains figurés et appliqués et leur problème techniques. Actes du VIIe Colloque international sur les bronzes antiques, Székesfehérvár, 1982. Alba Regia 21, 1984, 5-136.

8- Stara Zagora, 1984.Unpublished. Exhibition catalog: Ancient Bronzes, Stara Zagora: District Historical Museum, 1984.

9- Vienna, 1986.Griechische und römische Statuetten und Großbronzen. Akten der 9. Tagung über antike Bronzen in Wien, 21. - 25. April 1986. Ed. Kurt Gschwantler und Alfred Bernhard-Walcher. Vienna: Kunsthistorisches Museum, 1988. Exhibition catalogue: Guß + Form: Bronzen aus der Antikensammlung, ed. Kurt Gschwantler et al., Vienna: Kunsthistorisches Museum, 1986.

10- Freiburg, 1988.Akten der 10. Internationalen Tagung über antike Bronzen. Forschungen und Berichte zur Vor- und Frühgeschichte in Baden-Württemberg, 45 (1994). Exhibition catalogue: Hans Ulrich Nuber, Antike Bronzen aus Baden-Württemberg, Schriften des Limesmuseums Aalen 40, 1988.

11- Madrid, 1990.Bronces y Religion Romana. Actas del XI. Congreso Internacional de Bronces Antiquos, ed. J. Arce and F. Burkhalter. Madrid: Consejo Superior de Investigaciones Científicas, 1993.Exhibition catalogue: Los Bronces Romanos en España, Madrid: Ministerio de Cultura 1990.

12- Nijmegen, 1992.S. T. A. M. Mols, A. M. Gerhartl-Witteveen, H. Kars, A. Koster, W. J. Th. Peters, and W. J. H. Willems (eds.), Acta of the 12th International Congress on Ancient Bronzes, Nijmegen, 1-4 June 1992, Nederlandse Archeologische Rapporten 18 (Nijmegen 1995).

13- Cambridge Mass., 1996.From the Parts to the Whole: Acta of the 13th International Congress on Ancient Bronzes, ed. C. Mattusch, A. Brauer, and S. Knudsen, JRA supplement, 1999.Exhibition catalogue: The Fire of Hephaistos: Large Classical Bronzes from North American Collections, ed. C. Mattusch, Cambridge, Mass.: Harvard University Art Museums, 1996.

14- Cologne, 1999.Antike Bronzen, Werkstattkreise: Figuren und Geräte, ed. R. Thomas, Kölner Jahrbuch, Band 33., Cologne, 2000.


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15- Udine, 2001.Bronzi Antichi: Produzione e tecnologia, ed. A. Giumlia-Mair. Monographies Instrumentum 21, Montagnac, Éditions Monique Mergoil, Montagnac 2002.

16- Bucharest, 2003.The Antique Bronzes: Typology, Chronology, Authenticity, ed. C. Museteanu, Bucharest 2004. 17- Izmir, 2011.The Archaeology of Bronzes in the Eastern Mediterranean from Archaic to Early Byzantine Periods (7th century B.C. to 7th century A.D.). Proceedings of the XVIIth International Congress of Ancient Bronzes, May 20-26, 2011 / Izmir, ed. E. Laflı (for 2013).

Bronze Age, New Immigrants and Distribution of the Sites at Lake Urmai Basin and Zagros, NW Iran

Akbar ABEDI, Behrooz OMRANI, Nasir ESKANDARI

Mr Akbar ABEDI (Tehran)Department of Archaeology, Faculty of Humanities, Tarbiat Modares University, Tehran, IRAN.<[email protected]>; <[email protected]>.Mr Behrooz OMRANI (Tabriz)ICHHTO- Tabriz, IRAN.Mr Nasir ESKANDARI (Tehran)University of Tehran, Tehran, IRAN.

Iranian Azerbaijan covers an area of more than 100,000 square kilometers in the northwest of the Iranian plateau at the crossing point of high mountains. Among early sedentary societies, it played an important role as a secure place providing passage for the cultures in the region.This trend is noticeable in the chronological table of the region. Based on archaeological surveys, more than 200 Bronze Age sites have been reported at Lake Urmia Basin and Zagros region. Research hypothesis is mostly based on the range of immigration and social movements during the last centuries of the 4th millennium

B.C. from north of the plateau especially southern Caucasus.

Analysis of Early Bronze Age settlements and cultural remains like pottery and metal works considers a range of changes in the social structure and settlement centers of Bronze Age societies and confirm the first example of a township in the Azerbaijan region.

Our current study demonstrates the following outcomes:NW Iran was occupied by new migrants from the north at the beginning of the EBA, around 3250/3200 B.C.

Overpopulation, opportunity, sufficient economic resources, and the search for the main trade routes were the main causes and stimulus for the influx of migrants to NW Iran and East Central Zagros.

With fundamental changes in the EBA settlement patterns, population density at Azerbaijan, NW Iran experienced a type of township in this period.

The route utilized by newcomers for reaching East Central Zagros involved west and south of Urmia Lake, such as Salmas, Urmia, Naqadeh, Bukan, Shahin Dezh, Takab and then into Bijar and East Central Zagros.

The eastern part of Urmia Lake was not influenced completely by the EBA ETC culture; hence, a type of indigenous-local culture dominated the region.

Fig. 1: General map of NW Iran.


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Fig. 2: EBA Sites distribution at NW Iran.

Bronzes from Ionia: New Finds from the Theatre of Ephesus, Clarus and Agora of Smyrna

Duygu Sevil AKAR TANRIVER

Dr Duygu Sevil AKAR TANRIVER (Izmir)Dokuz Eylül Üniversitesi, Edebiyat Fakültesi, Arkeoloji Bölümü,Tınaztepe/Kaynaklar Yerleşkesi, Buca, TR-35160 Izmir, TURKEY.<[email protected]>; <[email protected]>.

Newly excavated bronzes from both secular and religious contexts in Ionia will be presented. Relevant information concerning the latest and mostly unpublished archaeological finds in western Asia Minor will be discussed.

Digital Connoisseurship: Using Imaging Software as a Tool for Identifying the Artists of Ancient Bronze Sculptures

Lisa M. ANDERSON

Dr Lisa M. ANDERSON (Cambridge, MA)Harvard Art Museums, Division of Asian and Mediterranean Art, 32 Quincy St., Cambridge, MA 02138, U.S.A.<[email protected]>.It has been recognized that some sculptures,

such as the Riace bronzes, share a common original model. Because they share the same model but are of different subjects, they are quite similar in many ways, particularly with respect to their measurements, but still appear to be distinct individuals (Mattusch 1996). A simple way to identify facial features and body parts that may originate from the same source is by overlapping and manipulating photos digitally. In this paper I will explore the use of Adobe Photoshop to make fast, accurate comparisons between the proportions and physiognomy of large-scale bronze and some marble statues. By using Photoshop to overlay photographs of statues that are taken from the same angle (regardless of the relative scales of the statues, which can be easily modified), one can benefit from Photoshops layers function, modifying the relative transparency/opaqueness of the layers, to clarify the similarities and differences between sculptures, particularly in their proportions or with respect to the placement or shape of the eyes and ears. Close similarities or even exact matches between statues may be an indication that the statues originate from a single workshop or artist, or that they may be based on the same original model.

I will use this method on bronze statues that have been attributed to the fourth-century B.C.E. sculptor Praxiteles, such as the Marathon Boy, Dancing Satyr, and Apollo Sauroktonos. By comparing these statues with each other, as well as with marble statues/copies attributed to Praxiteles, I will explore whether their attribution to the artist can be supported through this method.

C. Mattusch, Classical Bronzes: The Art and Craft of Greek and Roman Statuary. Cornell University Press (1996).


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Bronze Finds from the Necropolis of Iuliopolis in Bithynia

Melih ARSLAN, Candemir ZOROĞLU Dr Melih ARSLAN (Ankara)Ankara Anadolu Medeniyetleri Müzesi Müdürlüğü, Gözcü Sok. No: 2, Ulus, TR-06240 Ankara, TURKEY.<[email protected]>.

Iuliopolis in ancient Bithynia was flooded by the Sarıyar Dam built in Ankara’s Nallıhan district in 1956 after rescue excavations conducted by the Museum of Anatolian Civilizations uncovered a necropolis along the dam. Even though the site is below water level, finds from the north necropolis provide information about Juliopolis from the 1st Century A.D. to late antiquity. There are different types of graves, and there are bronze artifacts such as libation cups, jewels, surgical tools, and strigils, as well as gold, silver and iron jewellery, and pottery and glass. The finds from Juliopolis are an important source in understanding the city, Bithynia,and neighboring Central Anatolia.

Bronze Surgery Instrumenta at the Necropolis of Iuliopolis in Bithynia

Melih ARSLAN, Mustafa METİN

Dr Melih ARSLAN (Ankara)Ankara Anadolu Medeniyetleri Müzesi Müdürlüğü, Gözcü Sok. No: 2, Ulus,TR-06240 Ankara, TURKEY.<[email protected]>.Mr Mustafa METİN (Ankara)<[email protected]>.

The ancient city of Iuliopolis in Bithynia today lies in Gülşehri, which is in Çayırhan village, in the Nallıhan district of Ankara. Rescue excavations in 2009 and 2010 were conducted to stop many years of destruction by illicit activities in the necropolis. After two years of excavation, 209 burials were excavated. Some of the burials had been destroyed by looters, others had been robbed in ancient times, but the majority of the 209 burials were opened by us.We have identified four different types of burials in the necropolis: the chamber tomb built on limestone; the cist grave cut into limestone; the sarcophagus burial; and the simple grave covered with a stone lid. Finds from the burials like inscriptions and coins, indicate that the necropolis was used between the 4th centujry B.C. and the 4th century A.D.

Finds from the burials are related not only to

C. Mattusch, Classical Bronzes: The Art and Craft of Greek and Roman Statuary. Cornell University Press (1996).


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religious,, economic, and cultural structures, but also to the profession of the owner, such as medical instruments. . Medical and pharmaceutical goods have been found in 12 graves, suggesting that these were the graves of doctors or pharmacists. The finds from these 12 graves were made of silver, bronze, iron, bone and glass, and they include drug mixing trays, specilla, needle-drills, measuring spoons, ear spoons, spoon probes, probe spatulas, chisels, knives, and mixing bars. Although two of the burials had been robbed, 10 graves had not been looted and the finds were in situ.

Ten physicians’ burials have been excavated that had not been destroyed by smugglers. The coins on the mouths of the deceased, the medical instruments, and the other finds help us to date the tombs. These untouched physicians’ tombs at Juliopolis provide important evidence about the ancient medical history of Bithynia and Galatia.

Translated by Aslı CUMALIOĞLU.

Bronzes from Urartu

Aslı ASLAN

Ms Aslı ASLAN (Izmir)Dokuz Eylül Üniversitesi, Güzel Sanatlar Fakültesi, Heykel Bölümü,Gündoğdu sok. No. 4, Balçova, TR-35320 Izmir, TURKEY.<[email protected]>. Urartular M.Ö. 9-6.yüzyılları arasında Doğu Anadolu’da yaşamış ilkçağ ulusudur. Toprakkale, Altıntepe ve Karmir blur kazılarındaki buluntular sayesinde Urartu sanatı hakkında geniş bilgiye sahip olunmuştur. Urartular, madencilik ve buna bağlı olarak maden sanatında, mobilya yapımında ve dokumacılıkta oldukça başarılı olmuşlardır. Dönemine göre ileri düzeyde bir işlemeciliğe sahip olan Urartular, özellikle bronz malzemeyi günlük kullanım eşyalarından, takılara, insan ve hayvan figürinlerine kadar geniş bir alanda özenle işlemişlerdir.

Heykel, kabartma ve madeni levhalar üzerindeki tasvirler incelendiğinde, konu olarak tanrılar, tanrıçalar, törenler, kutsal ağaç motifleri, mitolojik varlıklar (grifon), savaşa hazırlanan ya da savaştan dönen idarecilerin işlendiği görülür. Buna karşılık günlük hayata yer verilmemiştir. İşlenen konularda, eserlerin biçim, üslûp ve bezemeleri de belli kurallara bağlanmıştır. Özellikle hayvan fıgürleri oldukça ürpertici ve saldırgan bir bi çimde yansıtılmıştır Üç ayaklı büyük tunç kazanlar, mo bilyalar için yapılmış madenî ayaklar, masklar, çeşitli çömlekler bu güne kadar gelmiş Urartu el sanatları örnekleri arasında yer alırlar.

Bronzes anatoliens à Delphes à l’époque archaïque

Hélène AURIGNY

Dr Hélène AURIGNY (Aix-en-Provence)Université de Provence, Centre Camille Jullian, 5, rue du Château de l’Horloge, F-13094 Aix-en-Provence cedex 2, FRANCE.<[email protected]>.

Les sources littéraires nous ont amenés à supposer des relations entre le sanctuaire de Delphes et la Phrygie et l’Anatolie. Parmi les objets orientaux offerts à Apollon à l’époque archaïque, on a cherché des documents anatoliens : quelques objets phrygiens ont été clairement identifiés, comme des appliques de chaudrons, des éléments de vaisselle ou des boucles de ceinture. D’autres documents sont inspirés des créations anatoliennes mais semblent être de fabrication grecque. Quant aux objets lydiens, on ne saurait aller au-delà de quelques propositions d’attribution; les offrandes lydiennes mentionnées dans les textes sont bien difficiles à repérer.

Les objets anatoliens comme les objets orientaux parvenus en Grèce ont parfois été interprétés comme les témoins des relations étroites entre les élites orientales et les membres du clergé des sanctuaires. Mais à Delphes, le nombre finalement peu élevé d’objets anatoliens, par rapport à d’autres sanctuaires grecs, n’autorise


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pas de telles hypothèses, et ce malgré les textes littéraires. Les tentatives pour faire coïncider les témoignages archéologiques et les témoignages littéraires dans le cas des offrandes phrygiennes s’avèrent infructueuses.

Ces documents prennent place dans le contexte plus général de la circulation des formes et des modèles dans le bassin méditerranéen oriental au premier millénaire : ils permettent notamment de réfléchir aux relations entre la Grèce et l’Orient aux VIIIe et VIIe siècles.

The Technique of Casting Bronze Sculpture and the Effect of Bronze on Sculpture

Derya BARAN, Hanife YÜKSEL

Ms Derya BARAN (Izmir), Ms Hanife YÜKSEL (Izmir)Dokuz Eylül Üniversitesi, Güzel Sanatlar Fakültesi, Heykel Bölümü,Gündoğdu sok. No. 4, Balçova, TR-35320 Izmir, TURKEY.<[email protected]>; <[email protected]>;<[email protected]>.

Sculptures made from stone, wood and terracotta have been leading production methods since the earliest times. Bronze, known as one of the oldest alloys, has also been used. Cast or forged , bronze is a more nonperishable metal than gold, silver, or copper.

Bronze is the most common and optimal material for sculpture casting. Bronze’s lifetime is quite long because it is structurally strong and highly resistant to oxidation. Clean bronze is a shiny golden colour and this is how it was used in ancient Greece and other civilizations of the past. Yet the black, green and brown patinas which today we see in old bronzes are a result of the corrosive effects of the atmosphere or of immersion in sea-water or burial in the ground. On the other hand, bronze can be intentionally coloured by adding chemicals to the alloys. Patina is a technique obtained by changing the proportion of density of the alloy. Using bronze

in sculpture allows the improvement of the poses which cannot be applied to and obtained by marble. First bronze sculptures rather small and few. In ancient period, using bronze in order to make a great number of oblation sculptures and public monuments created a large bronze industry.

In this congress on Archeology of Ancient Bronze, the periodical effects of bronze in sculpture plastic will be evaluated considering production methods, techniques, themes, and aesthetical cares.

Approaches to the Study of Hellenistic Metalwork

Beryl BARR-SHARRAR

Prof. Beryl BARR-SHARRAR (New York City, NY)Institute of Fine Arts, New York University, 1 East 78 Street, New York, NY 10075, U.S.A.<[email protected]>.

The consumerism that sustained Hellenistic luxury metalwork began at the mid-4th century B.C. court of Philip II of Macedonia and reached fever pitch in the kingdoms established after the conquests of Alexander the Great. There is ample literary evidence that throughout the 3rd and 2nd centuries B.C. the Ptolemaic kings, for example, lived in extravagant luxury with gold and silver vessels weighing tons.

Documentation for surviving Greek bronze, silver and gold vessels is considerably more plentiful for the 4th and 3rd centuries B.C. due to burial customs at that time in northern Greece, Thrace, southern Italy, and parts of Russia than it is for the 2nd and 1st centuries B.C. The chronology of material of the later Hellenistic centuries not discovered in controlled excavations can be based on stylistic analysis, importantly aided by the study of well-dated, frequently elaborate clay vessels imitating contemporary metal shapes. The production of derivative pottery vessels of this nature demonstrates the fascination with royal life-styles and the changed cultural environments in the cities of Greece as they lost


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their sovereignty to Rome.

The Roman Republican enthusiasm for high-end tableware developed soon after the earliest public display in Rome of Greek plunder in both bronze and silver following the capture of Syracuse in 211 B.C. The concept of Roman “luxus” is exemplified by third-style wall painting emulating the lavish interiors of Hellenistic palaces incorporating intricate metal fixtures and elegant metal vessels. Given the high receptivity of the Roman market for products evocative of Classical Greece, it is not surprising to find among those bronze vessels made by the late 2nd-early 1st century B.C. for Roman consumption imitations of metal shapes of 5th-4th century B.C. Athenian origin with telling differences in production methods.

Figural Bronzes from Brigetio and the Workshop of Romulianus

Dávid BARTUS

Dr Dávid BARTUS (Budapest)Eötvös Loránd University of Sciences, Department of Classical Archaeology, Múzeum krt. 4/B, H-1088 Budapest, HUNGARY.<[email protected]>.

Thanks to the postdoctoral grant „Magyary Zoltán” I have been able to make a catalogue of more than 400 figural bronze objects from Brigetio (now in museum collections in Budapest, Komárom, Komárno, Tata, Vienna and London), aimed to be published in a forthcoming monograph, which could be the first title in a series of publications on „Roman Bronzes from Hungary”. Among these bronzes there are different types of figurines representing deities, gladiators, barbarians, animals, etc., as well as fragments of parade armour, vessels and furniture decorations. In this paper, I try to introduce this rich material showing some interesting and/or problematic pieces. Questions of local production are also of importance. The so-called „workshop” of Romulianus artifex is well-known among scholars since it had first been published in 1932.

Recently made material analyses have some new data on the coherence of these objects, while additional finds concerning bronze-working also show the importance of Brigetio.

Restorations and Conservation of Bronzes from Nif (Olympus)

Ceren BAYKAN

Mrs Ceren BAYKAN (Edirne)Trakya Üniversitesi, E.T.B.M.Y.O., Mimari Restorasyon Programı,Sarayiçi Yerleşkesi, Edirne, TURKEY.<[email protected]>.

The Nif (Olympos) Mountain archaeological excavation in Izmir is directed by Prof. Dr. Elif Tül Tulunay. Accurate restoration and proper conservation of the ancient bronzes which deteriorated due to production techniques or environmental conditions are examined in this study. Deterioration and causes of deterioration for the excavated bronzes from Nif (Olympos) Mountain archaeological excavation are illustrated with many examples.

Archaic Bronzes from Nif (Olympus)

Daniş BAYKAN

Dr Daniş BAYKAN (Edirne)Trakya Üniversitesi, Edebiyat Fakültesi, Arkeoloji Bölümü, Balkan/Güllapoğlu Yerleşkesi, TR-22050 Edirne, TURKEY.<[email protected]>.

In this study, bronze finds dated to the Archaic period from the Nif (Olympos) Excavations, are examined. These include military equipment, accessories, and objects of daily use.Dating criteria, contexts, typologies and stylistic parallels will be studied.

Bronze Objects Belonging to the Cult of Aesculapius from Allianoi

Daniş BAYKAN


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Allianoi is located in Paşa Ilıcası near Pergamon. This outstanding Roman archaeological site will be submerged after work resumes on the controversial Yortanlı dam. Since 1998, rescue work has been pursued in the reservoir site by a team led by Dr. Ahmet Yaraş. This study produces some bronze votive objects and surgical instruments unearthed in Allianoi between 1998 and 2006 and belonging to the cult of Aesculapius.

Surgical Instrumenta from Allianoi

Daniş BAYKAN


Allianoi in Paşa Ilıcası, close to Bergama (Pergamon) is under threat by the Yortanlı Dam. In this study, surgical tools which were unearthed in Allianoi between years 1998 - 2006 are studied. They provide significant information about typology and technology of ancient surgical instruments, the history of medicine, and the relationship between settlement and health. The many medical instruments from Allianoi are classified according to function and form, and they enlighten us about the types, varieties, and origins of medical instruments used in Anatolia.

Statue iconiche bronzee a Iasos: dati archeologici ed epigrafici

Fede BERTI, Roberta FABIANI

Dr Fede BERTI (Ferrara)Museo Archeologico Nazionale, Via XX Settembre

122, I-44100 Ferrara, ITALY.<[email protected]>; <[email protected]>Mrs Roberta FABIANI (Ferrara)<[email protected]>.

Tra i non numerosi ritrovamenti di bronzi a Iasos, quelli appartenenti in origine a statue iconiche sono scarsi. Il più significativo (e recente) consiste in una grande mano che regge un rotolo.La presentazione e lo studio dei frammenti di cui sopra e la raccolta dei dati (epigrafici e strutturali) ricavabili dalle dediche onorarie e dai supporti lapidei delle medesime consentono di ottenere alcune prime indicazioni sulla frequenza nella città della statuaria bronzea, sulla sua cronologia e sulla sua distribuzione topografica così come sugli aspetti tecnici che ne contraddistinguono i resti.

Eastern Bronzes in Northern Italy

Margherita BOLLA

Dr Margherita BOLLA (Verona)Civici Musei di Verona, Museo Archeologico al Teatro romano – Regaste Redentore, 2, I-37129 Verona, ITALY.<[email protected]>.

This survey presents bronze statuettes related to eastern religions found in northern Italy, with the exception of those connected to the Egyptian cults (Isis Fortuna, Harpocrates etc.). In this paper the round bronze sculptures linked to the area between Syria and Asia Minor will be discussed. The appliques and the parts of furniture will be mentioned only if particularly meaningful. From an historical viewpoint, this survey is incomplete, because epigraphical and figural finds not made of bronze are not considered, but these documents have all collected in the corpora devoted to the cults of Sabazios and Dolichenus. It is possible to suggest several additions and some observations to the bronzes listed there.

The cult of Jupiter Sabazios is testified by five “votive” hands from different workshops; the poor information about the archaeological contexts seems to emphasise the relationship with


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Mercurius and Bacchus; at the Great St Bernard pass, the hand was connected to the temple dedicated to Jupiter (Peninus). There are also many hands, only with snake and egg or pine-cone that in some cases have been cautiously related to the cult of Jupiter Dolichenus. Other bronzes from the Aosta Valley, where many oriental pieces occur probably because of passage of troops, and from the territory of Concordia are also connected with this god. Other eastern deities, like Kybele and the Antiochian Tyche, are rarely testified.

In a few cases, the name of the devotee is written on the bronze object; the names point to eastern Mediterranean regions: these worshippers were probably Orientals linked to the religions of their homeland.

Deep Insight: X-Rays of Greek and Oriental Bronzes from Olympia/Greece

Hermann BORN

Mr Hermann BORN (Berlin)Museum für Vor- und Frühgeschichte, Staatliche Museen zu Berlin, Schloss Charlottenburg – Langhansbau, D-14059 Berlin, GERMANY.<[email protected]>.

In March 2008 conventional and digital x-rays where taken of 120 hammered or punched Greek and Oriental bronze objects (no castings) from the Greek and German excavations at the sanctuary of Zeus, now in the New Museum of Olympia/Elis. The bronzes, belonging to the Geometric, Archaic and Classical periods, are dated between the 9th and 5th centuries B.C. The x-ray project was initiated by the conservation laboratories of the Museum of Pre- and Protohistory in Berlin (State Museums of Berlin) together with the German Archaeological Institute in Athens and was basically financed by German Industries and X-ray Services. Over a period of three weeks an x-ray team investigated helmets, cuirasses, shields and greaves, griffin and lion heads, ornaments, supports and reliefs with mythological scenes. Beside the identification of various tools, toolmarks, repairs and working processes, one

of the most important questions concerns the possibility of identifying differences between Greek and Near Eastern craftsmanship. A short summary of this work and the possibilities for further investigations will be presented at the 17th International Bronze Congress in Izmir in May 2011.

A technician x-raying the oriental lion head B 4999 in Olympia (photo: H. Born).

The Use of Bronze on Roman Ships and the Shipwreck of Agia Galini

Yorgos BROKALAKIS

Mr Yorgos BROKALAKIS (Rome/Iraklio)Università degli Studi di Roma “La Sapienza”), c/o 57, Leoforos Ikarou, 713 07 Poros, Iraklio, Crete, GREECE.<[email protected]>.

What was the role of bronze on Roman ships? What were the conditions that favored the use of such a metal on board? Would it be possible to distinguish the bronze artefacts designated for commerce from those used for the necessities of the ship, the sailors and the passengers?Keeping in mind these questions, the present paper will not present the variety of the bronze objects that have been found underwater, but will introduce specific cases in order to discuss the problems related to the formation of their contexts, and the problems that concern the differentiation of the cargo from the artefacts used on board.


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In this mode it is hoped to create a framework into which the case of the shipwreck of Agia Galini can be inserted. The shipwreck that is dated to the end of the 3rd C. A.D., consists mainly of bronze objects that have been recovered in different moments from the same location south of Crete, and until now they have not been properly published.

Lucerne e candelieri in bronzo dalla Cilicia

Maurizio BUORA, Ergün LAFLI

Dr Maurizio BUORA (Udine)Via Gorizia 16, I-33100 Udine, ITALY.<[email protected]>.Dr Ergün LAFLI (Izmir)Dokuz Eylül Üniversitesi, Edebiyat Fakültesi, Arkeoloji Bölümü, Tınaztepe/Kaynaklar Yerleşkesi, Buca, TR-35160 Izmir, TURKEY.<[email protected]>.

Nei musei della Turchia sudoccidentale (Mersin, Tarso, Silifke, Alanya, Adana, Hatay) si conservano una trentina di lucerne in bronzo, di cui circa un terzo sono poste su candelabri. Esse si dispongono in un arco cronologico di più un millennio, addentrandosi anche in età islamica. La metà delle stesse lucerne appartiene al periodo bizantino e mostra da un lato la vitalità della produzione bronzistica in quell’epoca e dall’altro la grande disponibilità di olio. Alcune di queste presentano simboli cristiani e quindi erano forse adoperate in edifici ecclesiastici o in spazi particolari della casa o in tombe di notevole importanza.

Un numero molto elevato appartiene alle collezioni del museo di Mersin. Tra queste si segnalano due “saucer lamps” che riproducono una forma utilizzata per millenni, ma quasi esclusivamente in cotto. Si trova in questo museo anche una lucerna con ansa sagomata a maschera teatrale. La maschera appartiene alla variante 1.2.2 della classificazione effettuata da Helga SEDLMAYER e trova esatti paralleli per l’area europea con un esemplare del Louvre, altri da Dobrotin (in Serbia), da Romula (in

Romania), da Leon e infine da Vienne. Nell’area mediorientale sono attestate tutte e tre le varianti distinte dalla Sedlmayer. Un esemplare simile passato all’asta zurighese della Galerie Koller nel 1979, dalla collezione di Ernest Brummer, è detto proveniente da Adana.

Da Adana proviene un contenitore per riempire le lucerne (“lamp filler”). Oggetti analoghi sono noti dall’Egitto copto alla Grecia, ove ad es. ad Atene nel Museo Benaki vi sono ben quattro esemplari. La forma rimane sostanzialmente invariata anche in età islamica.

Tra le lucerne di forma particolare si segnala una che rappresenta il dio Osiride a forma di mummia. Per la sua forma allungata richiama una lucerna dell’agorà di Atene che si ispira al culto di Iside. Soprattutto la veste avvolta intorno al corpo richiama una lucerna ritenuta raffigurazione di Osiride-Attis, probabilmente egiziana, datata al II sec. d. C. Essa è stata posta in vendita come lotto 405 da Christie’s il 9 dicembre 1999.

Importante anche una lucerna a forma di pavone del museo di Silifke, che va ad arricchire la serie della ventina di lucerne di questo tipo finora note. I dettagli minuti appaiono simili a esemplari noti di provenienza orientale, come il largo occhio circolare e l’intacco trasversale alla sommità del becco. Nell’ala si riconosce la resa del piumaggio in cinque file parallele con dettagli indicati a cesello, secondo lo schema consueto (cfr. Dumbarton Oaks e Metropolitan): altri esemplari, come quello di Mainz, hanno solo quattro file di piume. Questi esemplari erano predisposti per essere appesi, ma erano generalmente dotati anche di un piede cavo, per cui potevano rimanere appoggiati anche su un tavolo o una superficie liscia o essere infilati nell’asta terminale di un candelabro. Il piede del nostro esemplare, con doppia nervatura orizzontale, trova confronto con due esemplari del British Museum che sono ritenuti di produzione egiziana, con uno della Dumbarton Oaks Collection e infine con uno del Metropolitan che è detto provenire dal Peloponneso.


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Secondo Clara Agustoni (2005), che ha distinto tre tipi di lucerne a forma di pavone, esse avrebbero avuto inizio alla fine del II sec. d. C. per continuare, in forma diversa, in Oriente in età bizantina.

Sono una decina il candelabri, formati dalle classiche tre parti (piede, fusto e disco superiore) assemblate e unite dopo una rifinitura a freddo. Il puntale quadrangolare della sommità poteva servire per l’innesto a baionetta di lucerne o candele. L’Orsi ha supposto che il largo disco a volte con bordo rialzato da cui si eleva il puntale potesse servire per raccogliere la cera o l’olio. La parte inferiore conserva anche in epoca tarda elementi propri di una tradizione molto antica che, trasferiti poi alla tradizione metallurgica islamica, durano fino al XIII – XIV nei candelieri islamici.

Candelabri d’argento di questo tipo si rinvennero in vari tesori e sono ben databili in base ai marchi. La forte somiglianza tra gli esemplari siriani che qui si pubblicano rende probabile l’ipotesi della fabbricazione di alcuni di essi in un’officina locale, in un periodo abbastanza ristretto.

E. Laflı/M. Feugère, Statues et statuettes en bronze de Cilicie avec deux annexes sur une main dolichénnienne de Commagène et les figurines en bronze du Musée de Hatay. British Archaeological Reports, International Series 1584 (Oxford 2006).

Bronze Trees

Marina CASTOLDI

Dr Marina CASTOLDI (Milan)Università degli Studi di Milano, Dipartimento di scienze dell’antichità, Sezione di archeologia, Via Festa del Perdono 7, I – 20122 Milan, ITALY; <[email protected]>.

This contribution focuses on some lamp holders from Roman times, in the shape of tree trunks. They differ from the more common candelabra with vegetable decorations - in which the rigid stem is covered with leaves - and also from the more complex lamp holders with a leaf crown. This type of phytomorphic motif is subordinated

to an architectural type of structure, rigidly axial, while in trunk-shaped light holders the naturalistic appearance of a tree dominates, i.e. while maintaining its characteristics, it acquires a new function.

The roots of the models date back to ancient Greek times, when trees in bronze and precious metals are found in worship areas as offerings and complements to sacred statues and altars.

Fibulae with Upturned Foot

Snežana ČERNAČ-RATKOVIĆ

Mrs Snežana ČERNAČ-RATKOVIČ (Belgrade)Archaeological Institute, Knez Mihailova 35/IV, RS-11000 Belgrade, SERBIA.<[email protected]>; <[email protected]>; <[email protected]>.

In this paper, the origin and spreading areas of the fibulas with upturned foot will be discussed. According to O. Almgren and A. K. Ambroz,

Attacco di una lampada in bronzo da Mersin (Ergün LAFLI, 2004).


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fibulas with upturned foot developed from the fibulas of the Middle Iron Age type during the 1st cent. A.D. along the northern coast of the Black Sea. The oldest examples of this type possess a semi-spherical bow and they are typical only for the region of south Russia. Sometimes they can be found in Romania, where they were brought by the Sarmatians. Later on, these fibulas get a somewhat rounder bow that were characteristic of the fibulas found throughout Europe and in the Roman provinces.

According to A. K. Ambroz, single-part fibulae get a rounder bow under the influence of the military and Iron Age fibulas that have their bow in the form of a frame. According to him, this process took place around the upper Dnepr valley. From this territory, they spread in the realms of old Prussian and Pszevorsk cultures. From the Pszevorsk tribes, they were accepted by the Germans living at the territories of the Czech and Slovakia and by the Sarmatians in eastern Hungary. Such single parted fibulae are not widely spread in Upper Moesia.

According to A. K. Ambroz, two-part fibulae with upturned foot came into being in the southeastern Baltic and along the lower Visla valley. At the end of the 2nd and the beginning of the 3rd century, during the big Gothic migrations, they were brought at the territory of Czernjahov- Sintana de Mures culture, i.e. at the territory of southwestern Russia and Romania. Most likely, they were spread in Upper Moesia from the east.Diaconu Gh. divided these fibulae into four variants:1- Roman type, dated from 160. to 250.2- Dacian type, dated from 210. to 270.3- Sarmathian type, dated from 210. to 250.4- Gothic type, dated from 250. to 400. The fibulas with upturned foot were spread along the Serbian Danube valley, in Bulgaria and Romania during the 6th and the beginning of the 7th century.

Bronze Statuary by Casting Methods

Arzu ÇAKIR ATIL

Dr Arzu ÇAKIR ATIL (Izmir)Dokuz Eylül Üniversitesi, Güzel Sanatlar Fakültesi, Heykel Bölümü, Gündoğdu sok. No. 4, Balçova, TR-35320 Izmir, TURKEY.<[email protected]>.

Like the first discovery of fire by human, one of the most important event in history is combination of metal and fire. Casting mining before discovery of developed moulds, had been done for the first time on clay surface or they had poured moulted mining to stone cracks. Mining casting process divided two by forming and casting. Even though in the beginning they used simple monolithic moulds, different moulding techniques had emerges according with the development of smeltery. Smeltery process is divided two by drilled and not drilled. Even today basic rules of casting techniques have not changed, they are very similar with old ones. Sculpture casting technique is similar with the other casting processes. In Ancient Bronze congress, I would like to discuss sculpture casting processes in ancient times and the results of these techniques on those sculptures.


The Bronze Statuettes of the So-called Lararium at Parco del Cavallo: A New Reading in the Light of Actual Knowledge of the Topography of the Sacred of Copia-Thurii (Southern Italy)

Alessandro D’ALESSIO

Dr Alessandro D’ALESSIO (Sibari)Ministero per i Beni e le Attività Culturali – Soprintendenza per in Beni Archeologici della Calabria, Museo Nazionale Archeologico della Sibaritide – loc. Casa Bianca, I-87011 Sibari (CS), ITALY.<[email protected]>; <[email protected]>.

Discovered in 1971 during the excavations directed by P. G. Guzzo in the site of Sybaris-Thurii-Copia and already studied by C. Sfameni


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in 1996, the so-called “lararium of Parco del Cavallo” is a group of six bronze statuettes representing an Hercules Dexioumenos, a Genius offering incense, a Minerva/Atena Promachos and another one standing - both made in Archaistic style -, and even a bull Apis and a cow-Isis suckling a calf.The dating of the pieces, based on the characters and the numerous stylistic comparisons with similar specimens known, is to be fixed around the middle or second half of I century A.C., just at the same time of the construction of the sanctuary recently discovered by E. Greco in the area of Casa Bianca, at the eastern periphery of the ancient town. This unexpected discovery, as well as put new light on the nature of cults at Copia in the early and middle imperial period and on the related topographical and spatial organization of the sphere of the sacred, lets us now propose a new reading of the group of bronze statuettes in the religious syncretism between traditional Roman Pantheon and “imported” deities from the East Mediterranean, and among the public and private manifestations of worship.

Œnochoé rhodienne

Klara DE DECKER

Dr Klara DE DECKER (Münster)Institut für Klassische Archäologie und Frühchristliche Archäologie / Archäologisches Museum der Westfälische Wilhelms-Universität Münster, Domplatz 20-22 D-48143 Münster, GERMANY.<[email protected]>; <[email protected]>; <[email protected]>.

Une large diffusion, couvrant l‘ensemble du bassin méditerranéen, caractérise la cruche en tôle de bronze, à embouchure trilobée, au col cylindrique, à la panse plus ou moins globulaire placée sur un pied tronconique et munie d‘une seule anse, appelée rhodienne à cause de son origine présumée.

L‘œnochoé rhodienne consiste en une cruche à vin, qui faisant partie du service à boire fut utilisée fréquemment à l‘occasion d‘un banquet,

ainsi que l‘attestent les ensembles funéraires. Par contre, les cruchons à petite taille appartiennent proprement au répertoire des sanctuaires. Le Musée d‘Art et d‘Histoire de Genève possède deux imitations Étrusco-italiennes du type de l‘œnochoé rhodienne, de grandeur habituelle, ainsi que douze cruchons miniatures. Les observations archéologiques sur cette série d‘objets ont permis de restituer la technique de fabrication originale de l‘œnochoé rhodienne à partir des pièces analogues datées de la période archaïques, aux VIIe-VIe siècles av. J.-C., c‘est-à-dire dès la phase initiale de fabrication dudit produit jusqu‘au milieu du Ve siècle av. J.-C. La reconstruction ainsi établie concerne le corps du vase, façonnée à la manière des bronziers, ainsi que son anse décorée richement et élaborée à la façon des orfèvres antiques, sans ignorer cependant les nuances technologiques parfois assez sensibles qui soient propres aux divers centres artisanaux grecs et étrusques. Small Roman Bronzes from the Central Part of Dardania (Present-Day Kosovo)

Exhlale DOBRUNA-SALIHU

Prof. Exhlale DOBRUNA-SALIHU (Pristina)Instituti Albanologjik, KOS-10000 Pristina, KOSOVO.<[email protected]>.

Based on the presently known pieces of small Roman bronze sculptures from present-day Kosova, in most cases discovered in the area of Ulpianum between the 1st and the 3rd cent., with only three pieces found in the areas of other ancient centres (present-day Peja and Suhareka), we shall try to review the use of this type of bronze sculpture in this part of Dardania.

The first group consists of artefacts of religious and decorative function. Almost all of those are figurines of deities, which are the most numerous of all the artefacts of this type: two depict Mercury (one belongs to a statuary group), while Mars, Minerva, Apollo and Venus are represented by one figurine each. A single figurine represents an


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animal (elephant). The second group consists of artefacts of decorative-symbolical and practical function: two appliques, one in the shape of the bust of Mercury, and the other in the shape of the head of a woman, although it is difficult to ascertain who it might be. The third group consists of objects of exclusively practical function: three lamps, one in the shape of the head of a satyr and two with a handle in the shape of a female mask and a crescent moon.

The majority of these objects point to Greek and Hellenistic models. In general, the workmanship is of high quality and they appear to have been produced in centers of craft production (Apollo, Venus, elephant and two lamps), except for the statuary group of Mercury, which in all likelihood is a local product. The other artefacts (figurines of Mars, Minerva, Mercury and two appliques) were produced locally and exhibit less skillful workmanship, in fact, two examples are excessively rustic.

These artefacts demonstrate that the demand for small bronzes – representing applied arts – whether imported or of local production, in the central part of Dardania (Kosova) was considerable. Further archaeological investigations in this area, Ulpianum in particular, will undoubtedly contribute to discovering many other artefacts of this type.

Hoard of Bronze Vessels from Colonia Iulia Pola (Pula – Croatia)

Kristina DŽIN

Mrs Kristina DŽIN (Medulin/Pula)International Research Centre for Archaeology, Brijuni – Medulin ,Centar 214, HR-52203 Medulin, CROATIA; orP.-Box 554, HR-52102 Pula, CROATIA.<[email protected]>; <[email protected]>.

During excavation works for the enlargement of the water supply network in Šijana, Pula, in 1904, on the eastern road that used to connect Colonia Pola and Municipium Nesactium, a large quantity of bronze vessels was discovered at a

depth of 24 meters below the surface of the road. Eighteen bronze vessels were found in a four-meter deep layer of fragmentary vessels, human bones, remnants of the water-well cornice, and dirt.

The most interesting vessel was a cast bronze oinochoe decorated with a representation of a sacrificial offering to Priapus. The vessel’s handle is meticulously ornamented with leaves, from which two birds arise, enfolding the spout of the vessel. The lower part of the handle forms a medallion with a representation of the ceremony of offering sacrifice to Priapus. A herm carrying the image of a divinity with all the features of Priapus with a wreathed head stands opposite to the sacrificial scene, and is divided from it by an ara.

The characteristics this vessel has in common with other vessels of different forms, but all of large dimensions, are palm tree leaves, bird’s beak, and a finger. Cylindrical cans and a bell are also associated with this find.Bearing in mind the circumstances and the contents of the find, it is not possible to determine the context with certainty, but it may be that a shrine dedicated to Priapus was situated along an exceptionally important Roman road, at the beginning of a fertile plain – the Valtura Field, not far from large Roman estates in the Ager Polensis et Nesactiensis in Roman Istria.

Hittite, Indo-Iranian, or South Arabian? The Puzzle of a Bronze Lion Forepart

Susanne EBBINGHAUS

Dr Susanne EBBINGHAUS (Cambridge, MA)Harvard Art Museums, Division of Asian and Mediterranean Art, 32 Quincy Street, Cambridge, MA 02138, U.S.A. <[email protected]>; <www.harvardartmuseums.org>.

In the early 1940s, the Fogg Art Museum at Harvard University received a high relief of bronze, depicting the forepart of a lion standing frontally on a base (H. 38 cm). The roaring lion


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with lolling tongue has stylized facial features with horns protruding from muzzle and brows, a mane composed of sloppy tufts, and chest fur rendered in S-shaped curls. The relief is hollow-cast in the lost-wax process, with a number of cast-on repairs at the back. It was heavily cleaned before it arrived at the museum and is now covered in a dull black layer over green patina, with red cuprite corrosion visible underneath in a number of spots. In its almost 70 years at the museum, the object has puzzled art historians and archaeologists alike. On the basis of its style and workmanship, it has been suggested that it might be (Neo-) Hittite, Indian with Iranian influence, Iranian with Indian influence, African, or made in Islamic Spain. Explorer and Asian Art scholar Langdon Warner, among others, doubted its authenticity; a 1950 report by Rutherford J. Gettens, the Fogg’s chemist and one of the pioneers in the scientific study of ancient bronzes, supported its antiquity. Long-time curator George M.A. Hanfmann established that it was likely acquired in Arabia, which, however, did little to end speculation. This paper looks at the lion forepart in a South Arabian context, considering metal composition and workmanship as well as addressing broader questions of artistic exchange and technology transfer along trade routes, and lion imagery and royal representation in this particular area of the ancient Near East.

An Incense-Burner from Miletos

Helga EIWANGER-DONDER

Dr Helga EIWANGER-DONDER (Bochum/Bonn)KAAK–DAI, Dürenstr. 35 – 37, D-53173 Bonn, GERMANY.<[email protected]>.

In 2004 during the excavation of the Aphrodite sanctuary situated on a hill outside of the Archaic town of Miletos, parts of an incense-burner were found. Due to the poor preservation and the lack of similar objects the identification proved to be difficult. All parts of the stem are made from hammered sheet-bronze. A wooden stick of which some fragments were found in

situ inside the stem gave stability to the object. Clear stratigraphic evidence for the dating is not available, and incense-burners from Greek, Etruscan and Iberian sites are dated to the 7th or 6th cent. B.C., whereas the incense-burner from the Aphrodite sancturary of Miletos seems to belong to the 7th cent. B.C.

Bronze Cloth Appliques from the Archaeological Museum of Karaman

Makbule EKİCİ

Ms Makbule EKİCİ (Konya)Selçuk Üniversitesi, Edebiyat Fakültesi, Arkeoloji Bölümü,Alaaddin Keykubat Kampusü, TR-42031 Konya, TURKEY.<[email protected]>.

In this paper I introduce a group of clothing appliques , donations and purchases to Karaman Archaeological Museum. These bronze appliqués, have holes on the edges for sewing them to cloth. They were used either as jewellery or as protective plates. The examples in the Karaman Museum are generally rectangular in shape. The plates are decorated with female and male figures or with geometrical designs, either engraved or in relief. Standing figures are usually depicted in profile, but there are some frontal examples.


Analysis of Copper Alloy Artifacts from New Excavations in Parsa (Persepolis)

S. Mohammadamin EMAMI, Omid OUDBASHI

Dr S. Mohammadamin EMAMI (Esfahan/Siegen)Institut für Bau- und Werkstoffchemie der Universität Siegen, Paul-Bonatz-Strasse 9-11, D-57076 Siegen-Weidenau, GERMANY.<[email protected]>.Mr Omid OUDBASHI (Esfahan)Art University of Esfahan, Faculty of Conservation and Restoration,


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Department of Material Science in Archaeology, Hakim Nezami Str. Post Box: 1744, Esfahan, IRAN.<[email protected]>.

One of the most famous historical complexes in Iran is the Persepolis World Heritage Site, the acropolis of ancient Parsa, which was the national center of the Achaemenid kings (about 550-330 B.C.). In 2009, an archaeological excavation carried out in the west region of Persepolis Terrace and in the Achaemenian city of Parsa have yielded interesting architectural remains, metals, and pottery.

Five metallic pieces discovered from the western part of the Persepolis Terrace are here analyzed and studied. Our investigations focused on alloys and manufacture. To recognize the microstructure of copper alloy pieces, analytical methods focused on optical microscopy and scanning electron microscopy. For the composition of samples, we used scanning electron microscopy - energy dispersive spectroscopy (SEM-EDS).The chemical analyses show that the copper alloys have a low amount of tin, with the exception of two samples. Three samples have a low amount of lead. Lead is important because of the similarities between lead usage in Persepolis and the use of lead in Lycia in south Anatolia. The microstructure of samples is dissimilar and varies from casting and dendritic to hammered microstructures. These investigations reveal some new aspects of technology of copper and its alloys in the historic period of Iran.

A Roman Bronze Skillet with Decorated Handle from Pompelo-Pamplona, Spain

Romana ERICE

Dr Romana ERICE (Zaragoza)Unidad de Museos, Servicio de Cultura, Ayuntamiento de Zaragoza,C/Torrenueva 25, ES-50003 Zaragoza, SPAIN<[email protected]>.

This paper deals with a well preserved bronze skillet found during excavation in the Roman city of Pompelo-Pamplona, Spain.

The skillet has an elaborate decorated handle with figures, and is of a type that was first studied by S. TASSINARI in the 1970s.

The Roman skillet from Pompelo is a revision of this type, which allows us to draw some conclusions about its geographical distribution in southern Europe, about its date, and about the workshop in which it could have been made.

Bronzes from Kosovo

Naser FERRI, Rrezarta LOXHA

Prof. Naser FERRI (Pristina), Mr Rezarta LOXHA (Pristina)Instituti Albanologjik, KOS-10000 Pristina, KOSOVO.<[email protected]>.

Bronzes from the Kosovo region include anthropomorphic and zoomorphic figurines, jewelery, armor, and utilitarian objects such as bowls and lamps. The earliest dated figurines include “Prizen Menadası” (now in the British Museum) dated to the 4th century B.C. and a statuette of Apollo from Piron village, dated to the 5th-4th centuries B.C. Another statuette represents Mercury holding a child, probably Pluto or Dionysus. There are figures of a dog and a cock next to them. Figures found in the Ulpiana region date to the 2nd and 3rd centuries. An elephant figurine from the Rahovoc region dates to the 1st ar 2nd century. At the site of Shiroka, a spiral fibula, a sun disk, and helmets were found, all of them Illyrian and dating to the 7th and 6th centuries B.C. One helmet was found in the burial of an Illyrian prince in İpek city. It was dated to the 4th century BC. Another helmet was found in a burial at the site of Deje, Tools from Romaje were dated to the 3rd and 2nd centuries B.C.

Three lamps are coming from 1st and 2nd centuries. Two of them were found in Dobratin site and one from Ulpiana.


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Two late antique lamps from the 5th century A.D. were found in Ternor village in Kosovo, both of them decorated with Christian symbols. Other finds include a medallion of the emperor Probus from Ulpiana, dated to 278, and a Roman fibula and many Roman coins from the Mitrovica region, all of them dated to 4th century.


New Approach for the Study of the Nature of Corrosion Patina on Bronze Samples Exposed to Sulfur Dioxide Corrosion Atmosphere

B. DE FILIPPO, S. NATALI, Daniela FERRO

Dr Daniela FERRO (Rome)Department of Chemistry, Università di Roma Sapienza, P. le A. Moro 5, I-00185 Rome, ITALY.<[email protected]>.

The aim of this work is to study the diseases of copper-tin alloys exposed to a controlled environment, focusing the attention on the bronze behaviour during the early stage of exposure to moist air and sulfur dioxide. In the present work an approach based on the identification of the corrosion products developed after a simulated acid rain condition, is proposed. The evolution of the SO

2 corrosion process on

bronze surfaces has been monitored, using the following instrumentations: a micro analytical balance for the monitoring of weight variation, Scanning Electron Microscopy with X-ray microanalysis (SEM-EDS) for morphological and compositional analysis of the surfaces, X-ray Diffraction (XRD) to characterise the crystals corrosion structures, Laser Induced Breakdown Spectroscopy (LIBS) to evaluate the chemical composition as a function of patina thickness. A Spectrophotometer (CIELAB) has been utilised to test the correlation between the corrosion growth and the colorimetric parameters variations. The intent is to create a new approach to evaluate the data, carried out by chemical-physical technologies, through a mathematical model, in order to forecast the corrosion process without the necessity of an extensive use of

laboratory tests. The chemical and physical data, collected during the experiments, have been used as an input data for the elaboration and the calibration of a mathematical model, which simulates the corrosion products’ growth on copper surfaces as a function of specific environmental condition. The model, developed in collaboration with the Istituto per le Applicazioni del Calcolo Mauro Picone - CNR, is focused only on copper corrosion phenomena and describes the formation of brochantite (Cu

4SO

4(OH)

6), taking into account a thin layer

of cuprous oxide (Cu2O).

The Art and Ornamentation of Bronzes from the Territory of Triballoi (Serbia): 8th to 6th century B.C.

Vojislav FILIPOVIĆ

Mr Vojislav FILIPOVIĆ (Belgrade)Archaeological Institute, Knez Mihailova 35/IV, RS-11000 Belgrade, SERBIA.<[email protected]>.

As one of the bigger Palaeo-Balkan tribes that inhabited the deep interior of the Balkan Peninsula, Triballoi was first mentioned in the writings of the ancient Greek historians such as Herodotus and Thucydides. The primary territory of this powerful tribe was the vast region between the rivers Velika Morava and Isker. On the East of the Triballoi were Thracian tribes, on the West were Illyrians, and in the South were Dardanians.

Archaeological evidence for the art and ornamentation of bronzes is still rare from the Triballoi core territories, and figurative art is quite rare. For example, only a few zoomorphic figures were found - of deers, horses and bulls, and only one human representation – a horseman. Particularly interesting is an unusual cast belt buckle, with an ox head in the middle, and birds on either end. Eyes and ornamentation of the buckle are made by impression technique punhing. Although this item can be compared with similar examples from the vicinity, its unrefined development suggests a local origin.


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On the other hand, everyday bronze objects’ ornaments are filled with geometric motifs such as many combinations of concentric circles and repeated triangles. Bronze openwork belts stand out as native Triballoi items, that is, with the production center located in this region. This type of item was exported to the surrounding tribes from the early seventh century onwards.

Decorations on bronze objects were mostly carried out with impression (by punching) and incising techniques, while grooving and techniques are less frequent. Primarily, the surfaces of objects are covered with well-ordered rows of ornamental patterns. Also, the geometric ornaments on bronze objects resemble the decorations on ceramic vessels. It appears that all the ornamental patterns were based upon only two motifs - concentric circles and triangles.

Finally, the general impression is that the triballoi preferred strictly geometric patterns, unlike their neighbors who procure items with figural decoration from nearby Greek colonies in this period from the 8th to the 6th centuries B.C.

Achaemenid Bronze Phialai from a Hoard in the Forest-Mountainous Zone of the Southern Urals

Kirill FIRSOV, Sergej KUZMINYKH, Mikhail TREISTER

Mr Kirill FIRSOV (Moscow)State Historical Museum, Department of Archaeology, 1 Red sq., RU-109012 Moscow, RUSSIA.<[email protected]>.Dr Mikhail TREISTER (Bonn/Berlin)Institut für Vorderasiatische Altertumskunde der Freie Universität Berlin, Hüttenweg 7, D-14195 Berlin; or Weißenburgstr. 59, D-53175 Bonn, GERMANY.<www.ancienttoreutics.com>; <[email protected]>.

In 1897 in a mountainous-forest zone of the South Urals (on Peschanaya Mountain near the left bank of the Nila river) there was found a hoard, which was acquired by the Russian (now:

State) Historical Museum in Moscow. Among the items were three bronze phialai (inv. nos. 40294-40296).

Varying in dimensions (ht. 4,2–5,2 cm, max. dm. 12,1–16,8 cm) and proportions, all three vessels show low hemispherical bodies with small omphaloi and the rims turned outwards. There are variations in shape: the transition from the body to the neck of phiale 40295 is accentuated with a narrow rim. The body of phiale 40296 is decorated in low relief with a 13-petal rosette and almond-shaped projections between the pointed ends of the petals. The other phiale is undecorated. Spectral analysis of the vessels in the laboratory of the Institute of Archaeology, Russian Academy of Sciences has shown that they are Bronze phialai from the hoard on Peschanaya Mt. State Historical

Museum, Moscow. Left: inv. no. 40295; center: inv. no. 40294; right: inv. no. 40296 (photos M. TREISTER).

made of bronze with tin content ranging from ca. 7 to 11%. Phiale 40295 has not only the lowest tin content (6,84 %), but also significant traces of zinc and especially of arsenic. The metal composition of phialai 40294 and 40296 is similar except for the higher tin content (9,14 and 11,06 %), and shows the same trace


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elements . The chemical composition of metal is discussed in comparison with the analytical data on Achaemenid bronzeware.

The study of the vessel shapes and decoration allows us to date the phialai to the 5th – early 4th centuries BC. These vessels are not the only known Achaemenid bronze phialai found in the Volga – Urals area. Their presence here is discussed in terms of the influx of numerous objects of Achaemenid type made of precious metals, bronze, glass and alabaster, to the early nomads of the South Urals and through their further transport to their northern neighbours (the Ananino and Itkul cultures).

Wissenschaftliche Untersuchungen an dem hellenistischen Bronzeportait aus Shipka (Bulgarien)

Edilberto FORMIGLI

Prof. Edilberto FORMIGLI (Murlo)Strada Comunale della Miniera 4, I-53016 Murlo (Siena), ITALY.<[email protected]>.

Am Bronzekopf, welcher im September 2004 in Shipka gefunden und im Europäischen Zentrum für Restaurierung (CERR) in Siena restauriert wurde, sind eine Reihe von wissenschaftlichen Untersuchungen vorgenommen worden. Diese Studien haben viele neue Informationen über die antike Herstellungstechnik, über die Geschichte des Kopfes und über die Patinabildung antiker Bronzen im Allgemeinen hervorgebracht.

Die Analysen bestätigen, daß es zwischen der Einführung geringer Prozentanteile von Blei in der Legierung und dem Gebrauch eines neuen Instruments der Kaltbearbeitung - des Meissels - eine Verbindung gibt und, daß diese Veränderung mit neuen stilistischen Merkmalen der hellenistischen Kunst einhergeht. Das Blei wurde der Legierung absichtlich zugeführt, nicht nur um die Schmelztemperatur der Legierung zu senken sondern vor allem um den Gebrauch des Meissels zu erleichtern.

Die optische und chemische Untersuchung der verschiedenen Komponenten, die bei der Herstellung der perfekt erhaltenen Augen benützt wurden, hat das grosse Können in der Bearbeitung und Färbung des Glasses in hellenistischer Zeit gezeigt.

Außerdem hat die Beobachtung der Oberfläche erlaubt drei Stadien in der Entstehung antiker Bronzepatina zu erkennen und chemisch zu untersuchen.

Zuletzt hat die Identifizierung antiker Beschädigungsspuren dazu geführt, die Geschichte des Kopfes, bevor er in die Erde kam, zu rekonstruieren.

Elementi di cingula in bronzo e smalto con inserti in vetro mosaico da Augusta Praetoria Salassorum

Patrizia FRAMARIN, Gaetano DE GATTIS

Dr Patrizia FRAMARIN (Aosta)Dipartimento Soprintendenza ai Beni Culturali, Direzione Restauro e Valorizzazione, Ufficio Beni Archeologici, Piazza Roncas, 12, I-11100 Aosta, ITALY.<[email protected]>.

Nel corso di lavori di manutenzione a fianco del Palazzo comunale di Aosta è stato organizzato uno scavo di emergenza. Le indagini hanno permesso di documentare, tra il 2008 e il 2009, la porzione nord-occidentale dell’insula 30 nel centro di Augusta Praetoria, città fondata dall’imperatore Augusto nella valle alpina omonima, posta all’estremità nord-occidentale dell’Italia, ai confini con le regioni della Gallia. All’interno di questo isolato è stata riconosciuta una sequenza di ambienti di servizio che, nonostante le trasformazioni avvenute nel corso dei secoli, sono da ritenere pertinenti ad abitazioni di tono elevato, probabilmente domus private, di cui tracce consistenti sono state rinvenute nello stesso quartiere. Sul pavimento di uno di questi ambienti di servizio, sotto lo strato di abbandono, erano appoggiate due placche rettangolari di bronzo di 13-15 cm di lunghezza, decorate


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con tecnica a champlevé con smalti e sezioni di canne di vetro mosaico. Mentre una placca è rettangolare e piana, l’altra che ha i lati brevi arcuati e assottigliati, presenta una concavità centrale, interamente campita con vetro mosaico. Il partito decorativo è piuttosto articolato, diversamente dalle decorazioni geometriche che compaiono nelle pissidi realizzate con la stessa tecnica. La placca piana è infatti attraversata da un motivo a treccia all’interno del quale si trovano pelte affrontate. La placca ombelicata, dispone intorno alla concavità centrale motivi simmetrici a vortice. In entrambe, le sezioni a scacchiera di vetro mosaico presentano abbinamenti di bianco, rosso e blu e vengono spesso inserite nello smalto di colore contrastante blu, turchese e rosso. Sulla base di uno studio preliminare, tali oggetti sono da interpretare come parti di cingula o di bardature di cavallo. Reperti prodotti con questa particolare tecnica di lavorazione sono stati rinvenuti in zone molto lontane dell’impero, sia a ovest che ad est, dalla Gran Bretagna al Mar Nero. In questo caso sono verosimilmente stati trasportati dai proprietari, e sembrano essere in stretta relazione con il mondo militare. Lo studio dei motivi dell’ornato potrà fornire ulteriori dettagli per chiarire l’ambito culturale di provenienza dei manufatti.

Ein neuer Genius des Mars ? –Beobachtungen zu einer römischen Bronzestatuette aus dem Artemision von Ephesos

Norbert FRANKEN

Dr. Norbert FRANKEN (Berlin)Antikensammlung - Staatliche Museen Berlin, Bodestr. 1-3, D-10178 Berlin, GERMANY.<[email protected]>.

Bei Ausgrabungen im Bereich der sogenannten römischen Gebäude im Nordwesten des Artemisions von Ephesos kam das nur noch 11,4 cm hohe Fragment einer römischen Bronzestatuette zutage, das zusammen mit den ganz überwiegend aus archaischer Zeit stammenden Bronzefunden des Heiligtums vor wenigen Jahren von G. Klebinder-Gauss

vorgelegt wurde. Das Fragment, das ehemals zu einer ca. 20 - 25 cm hohen Figur gehörte, erinnert an einen von H. Nehls ausführlich besprochenen Typus römischer Bronzestatuetten in Gestalt laufender Kinder, die nicht zuletzt aufgrund ihrer Ausrüstung mit Helm, Brustpanzer und Beinschienen lange Zeit zu Unrecht als Genien des Jupiter Dolichenus galten. Durch den Vergleich mit bisher weitgehend unbekannten Vergleichsbeispielen aus dem Westen des Römischen Reiches versucht der Autor, die Identifizierung des Typus als Genius des Mars zusätzlich zu begründen.

Remains of a Bronze Equestrian Statue from Vani Elene GIGOLASHVILI, Marine PIRTSKHALAVA Dr Elene GIGOLASHVILI (Tbilisi), Dr Marine PIRTSKHALAVA (Tbilisi)Otar Lordkipanidze Archaeological Centre of Georgian National Museum14, Uznadze Str., Tbilisi, GEORGIA .<[email protected]>;<[email protected]>. During the course of many years of archaeological campaigns (1978-1989) conducted by the Centre for Archaeological Studies of the Georgian Republic at the Vani city- site in Western Georgia, approximately one thousand bronze statue fragments as well as foundry remains of the Hellenistic period were discovered, providing significant evidence for the procedures used to make large-scale bronzes and revealing one more peripheral centre of Greek bronze production. Among the identifiable fragments of bronzes there are certain groups that could be attributed to definite categories. This time we have chosen a group of pieces which we regard as parts of an armoured equestrian statue. We possess the fragments of the horse - fragmentary hoofs, ears and probably a tail and the military clothing of the mounted figure: fragments of what was well-known in the classical world as “muscle” cuirass - pieces of breastplate, a part of shoulder flaps and several sections of tasselled hem; also a


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gilded piece of a garment worn with the cuirass.

Similar fragments come from Hellenistic and Roman contexts in different parts of the classical world. Insufficiency of data prevents us from being precise about the reconstruction of the cuirass, but the modelling of its details has parallels with those of late Hellenistic and Roman bronze and marble sculptures. The fact that cuirassed equestrian bronze statues have a long tradition in the Hellenistic and Roman world, and that Romans often adopted cuirasses of Hellenistic type, makes precise dating of the preserved examples difficult. Under the circumstances it is notable that all the Vani bronze fragments derive from a destruction context of the first century B.C. Based on the brief examination of the whole identifiable complex of material, the scholars assumed that they were cast during the city’s final period, somewhere in the second century B.C. The discovery of the foundry remains on the central terrace of Vani – a casting pit with mould base inside and other casting debris, as well as some unusual technical features of Vani bronzes, suggest the idea that at any rate some of the bronze statues was produced locally.

Roman Bronze Portrait: Composition and Technology in the 1st century A.D.

Alessandra R. GIUMLIA-MAIR, Sergio MERIANI

Dr Alessandra R. GIUMLIA-MAIR (Merano)AGM Archeoanalisi, Via Enrico Toti 8, I-39012 Merano (BZ), ITALY.<[email protected]>.Prof. Sergio MERIANI (Trieste)Università di Trieste, Trieste, ITALY.<[email protected]>.

This paper presents the research carried out on the portrait head of a Roman notable, found at Iulium Carnicum (modern Zuglio), an important Roman town in northern Italy, founded first as castellum by Julius Caesar, when he was proconsul of the regions Gallia Cisalpina and Illiricum.

The head now belongs to the collections of the National Museum of Cividale (UD) and has been dated to several periods, in particular to the time of Trajan, always by taking into account some stilistic details.

The analyses carried out on the head and on other finds from Zuglio have now demonstrated that the portrait has to be dated to the 1st century A.D.

This paper presents the analysis data and discusses its implications for the dating of the piece.Corinthian Bronze: catilla et paropsides et statuncula?

Alessandra R. GIUMLIA-MAIR, Zsolt MRAV

Dr Alessandra R. GIUMLIA-MAIR (Merano)AGM Archeoanalisi, Via Enrico Toti 8, I-39012 Merano (BZ), ITALY.<[email protected]>.Mr Zsolt MRAV (Budapest)Magyar Nemzeti Múzeum, Múzeum krt. 14-16, HU-1088 Budapest, HUNGARY.<[email protected]>.

Several ancient sources suggest that one of the most common classes of objects made of Corinthian bronze - the precious and very expensive artificially black-patinated alloy of copper with small amounts of gold, silver, and often arsenic and iron - was that of vessels.

Pliny mentions statuettes made of this material (Plinius, Nat. Hist., 34, 48), and at some point he even states “sunt ergo vasa tantum Corinthia”, i.e. therefore only vessels are (real) Corinthian ware (Plinius, Nat. Hist., 34, 7). This seems to mean that, even if vessels were not the only class of objects made of this material (as several analyses have demonstrated), they were at least a well known luxury article in Roman times.

Surprisingly, among the objects scientifically identified as Corinthian bronze, there were up to now no examples of vessels.


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A recent study carried out on the finds from Egyed, now in the collections of the Hungarian National Museum in Budapest, has now, for the first time, identified two examples of vessels made of aes Corinthium.

This paper presents the story of the finds and discusses the materials of which the pieces are made, and their production technology.

Roman Votive Bronze Figurines from the Region of Istria (Croatia)

Vesna GIRARDI JURKIĆ

Prof. Vesna GIRARDI JURKIĆ (Zagreb)University of Zagreb, Center for Croatian Studies, Borongajska cesta 83 d, HR-10000 Zagreb, CROATIA.<[email protected]>.

The Roman bronze figurines from the Region of Istria (Xth Italian region Venetia et Histria) have a votive character. Among the features of Roman culture were bronze figurines placed in the shrines of the deities. Very often they were used as decoration of small household shrines in private dwellings, both urban rural. They represented different Roman official deities as well as patron spirits of ancestors in the form of boys and men. Mankind always directed prayers towards the sublime powers, asking for health, happiness, love and prosperity. With the quick expansion of the Roman state, Roman religion adopted numerous other foreign cults in addition to Greek and Egyptian gods. We encounter the figurine of the Egyptian goddess Isis together with the Roman goddess Fortuna. The majority of figurines such as Jupiter, Juno, Minerva, Venus Anadyomene, Hercules, Fortuna, Dionysus, Apollo, Genius and figurines of youngsters, wrestlers, and priests come from the pagan period of the Roman Empire. Bronze figurines of deities were manufactured in large numbers, and had an easily recognisable, similar pattern that often imitates well known large statues made by classical Greek sculptors, as the Venus Anadyomene. They were sold in large

quantities throughout the Roman Empire, in this case mainly from Aquileia to the Istria Region. The selection of bronze figurines discussed here were made in the period from the 3rd century B.C. to the 3rd century A.D.

Eine bronzene Korenstatuette aus dem Artemision in Ephesos(Hogarth 1904/05, Istanbul, Ark. Müz. Inv. 2605)Kurt GSCHWANTLER

Dr Kurt GSCHWANTLER (Vienna)Kunsthistorisches Museum Wien, Antikensammlung, Burgring 5, A-1010 Vienna, AUSTRIA.<[email protected]>.

Die mit 24,5 cm ungewöhnlich große Bronzestatuette im Typus einer archaischen griechischen Kore stammt aus den englischen Grabungen 1904/05 im Artemision von Ephesos. Stilistisch und formal steht sie ostgriechischen Statuetten nahe, wie solche aus Elfenbein und Gold gleichfalls im Artemisheiligtum von Ephesos gefunden wurden. Der untere Teil der Statuette ist säulenförmig und endet ohne Angabe der Füße in einem niedrigen Sockel, weshalb man auch an die Verwendung der Statuette als mechanisches Hilfsmittel zur Herstellung von getriebenen Statuetten gedacht hat. Die Verwendung solcher Modelle aus Bronze, wie wir sie aus dem Komplex von Bronzewerkzeugen kennen, die vermutlich aus dem Grabfund eines lydischen Goldschmieds stammen und heute im Arkeoloji Müzesi in Uşak (Türkei) verwahrt werden, wurde auch für die Herstellung einer getriebenen Goldstatuette aus den österreichischen Grabungen im Artemision von Ephesos (Selçuk, Efes Müzesi, Inv. 2/59/80) in Erwägung gezogen.

A Bronze Lamp of Ionian Type in the Hermitage Museum

Nadezda GULYAEVA

Dr Nadezda GULYAEVA (St. Petersburg)34, Dvortzovaya nab., Department of the Classical Antiquities, State Hermitage Museum,


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RUS-190000 St. Petersburg, RUSSIA.<[email protected]>; <[email protected]>.

In the State Hermitage Museum there is a bronze two-nozzle Greek lamp with a round body, flat shoulders and a high handle. In the centre it has a round bush [?] with two holes in it. This lamp was bought in 1900 as a part of the collection of a merchant from Odessa named George Callo. As it was said by the seller, this collection consisted of items found at the ancient city of Olbia, near the village of Parutino in the Crimea.

The only bronze analogy to this lamp is a three-nozzle lamp found in 1876 during the archaeological discoveries at the central part of the IV Barrow of the complex of the Seven Brothers Barrows in the North Caucasus. This lamp stood on a high bronze candelabrum. The lamp and the candelabrum are among the rare examples of work of Greek masters from Magna Grecia of the early 5th c. BC.

All the other lamps of this type are made of clay and come from the excavations of the cities in the North Pontic Area and from the Greek islands. All of them were made between the last quarter of the 6th century and the first quarter of the 5th c. B.C. This suggests that this particular type of lamp was made in the narrow circle of workshops of Ionian Greece and that bronze lamps copied the form of clay lamps.

Antikythera Iason

Koichi HADA

Dr Koichi HADA (Toride)Shinmachi 5-11-5, Toride, JO-302-0024 JAPAN.<[email protected]>.

Objects from the shipwreck at Antikythera were discovered and recovered in 1900-01 and further in 1976. The shipwreck can be dated to 70-65 B.C. The fabrication of the Antikythera Youth (Athens, National Archaeological Museum, inv. 13396) is dated to 340-330 B.C. The bronze has been interpreted variously: Victor of a ball game,

Perseus showing the Gorgoneion, Alexandros-Paris holding out an apple, or Herakles taking golden apple(s) from a tree in the Garden of the Hesperides. But difficulties remain for each identification: the Youth is not represented with any characteristic attribute, such as headgear, weapon, sandals. It is here argued that the Youth is Iason taking the Golden Fleece hung upon a tree. The most important comparisons are an Apulian red-figured krater of ca. 360 B.C. and a Paestan red-figured krater of ca. 320-310 B.C. It is presumed that originally the Youth constituted a sculptural group with two other bronzes.

Reconstruction: in the center stands a tree coiled with the serpent Ladon, and on a tree branch extending toward our right hangs the Golden Fleece, probably gilt. On the right side of the tree, diagonally a little in front of it, stands Iason with a sword or a spear in his left hand, pulling the Golden Fleece with his right, and looking at Medea, who stands on the left side of the tree, offering with her left hand a phiale filled with magic sleeping potion toward the stretched head of the serpent. A female left hand from the Antikythera wreck (inv. 15095), wearing a ring on the ring finger, may have held a phiale or another object and belonged to Medea. My close investigation of the objects in the National Archaeological Museum of Athens in April 2009 , does not, at least, disprove my hypothesis.

Research on the Bronzes of Riace

Koichi HADA, Pasquale DAPOTO, Roberto CIABATTONI

Dr Koichi HADA (Toride)Shinmachi 5-11-5, Toride, JO-302-0024 JAPAN.<[email protected]>.Dr Pasquale DAPOTO (Reggio Calabria)Dr Roberto CIABATTONI (Rome)

I will speak on the fabrication technique of ancient bronzes, as a preliminary report of the research on the bronzes from Riace and Porticello, that our team of four Japanese bronze specialists , which I represent, executed in April-


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May 2010 in the Restoration Laboratory at Reggio Calabria. I shall also present the results of scientific analyses on some samples of core material, bronze, and lead.

The Bronzes of Herakleion-Thonis

Sanda HEINZ

Ms Sanda HEINZ (Oxford)St. Cross College, St. Giles, Oxford, OX1 3LZ, GREAT BRITAIN.<[email protected]>; <[email protected]>.

Herakleion-Thonis is a submerged site off the coast of Egypt that has been excavated annually for the past ten years by the Institut Européen d’Archéologie Sous Marine (IEASM). The site was active primarily from the 6th to 2nd centuries BC, corresponding to the Late and Ptolemaic Periods in Egypt. It was a dynamic, multicultural port, home to both Egyptians and Greeks and open to trade all over the Mediterranean. From Herakleion over 300 metal statuettes and amulets have been recovered, over half of which are bronze.

One of the major problems in the study of bronzes is the frequent lack of context. In Egypt, at least, most major studies have focused on bronzes in museum collections rather than those from archaeological sites. The statuettes and amulets of Herakleion are some of the first bronze figures to be studied in detail from a single site in Egypt. This paper will present the bronze statuettes from Herakleion in toto for the first time. In the first part of the paper, preliminary findings concerning the subjects of the pieces, the techniques used to manufacture them, and their context and dating will be discussed.

In the second portion of the paper, the bronze Osiris figures from the site will be used as a case study to demonstrate the types of information that can be gleaned from the figures when their social context is known. They will also be used to broach the question to what degree the multiculturalism of the city is reflected in the

bronze votives. How much can bronzes say, here and across the Mediterranean, about the people who dedicated them and the environment in which those people lived?

An Early Imperial Bronze Sphinx Support in the Metropolitan Museum of Art, New York

Sean HEMINGWAY

Dr Sean HEMINGWAY (New York City, NY)Department of Greek and Roman Art, The Metropolitan Museum of Art, 1000 Fifth Avenue, New York, New York 10028-0198 U.S.A.<[email protected]>.

A recent addition to the Metropolitan Museum’s collection is a rare bronze Egyptianizing ornament in the form of a seated sphinx (MMA accession number 2006.514.2). Attached to its back is an ornate globular shaft with a footed base and a long neck topped by a floral finial. The finial was clearly attached to something above, now missing. The paper considers the object’s provenance, state of preservation, its technique of manufacture, the iconography and its original function as a support. Egyptianizing ornaments came into vogue at different times in the Roman Imperial period, such as in the decades after Octavian’s victory over Mark Antony and Cleopatra at the Battle of Actium in 31 B.C. and during the Flavian period after the emperor Vespasian formally accepted the Egyptian goddess Isis into the Roman pantheon. It is argued that the fine craftsmanship and combination of Egyptian and Greco-Roman stylistic features of this sphinx indicate its manufacture in the Augustan period (ca. 27 B.C.-A.D. 14).

Consideration of its possible functions, including the support for a censer or part of a table leg, leads to its identification as the support for the arm of a chair, a type which has a long history in ancient Greek furniture.


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Bronze ornament in the form of a seated male sphinx, Roman, Augustan period, ca. 27 B.C. - A.D. 14, The Metropolitan Museum of Art, New York, accession number 2006.514.2, Gift of Malcolm Wiener, on the occasion of the reinstallation of the Greek and

Roman galleries, 2006.

Ein Kannenhenkel eines ostgriechischen Toreuten in Malaga?

Hilde HILLER

Dr Hilde HILLER (Freiburg)Konradstr. 28, D-79100 Freiburg, GERMANY.<[email protected]>.

Ein anthropomorpher Kannenhenkel aus dem 1. Viertel des 5. Jahrhunderts v. Chr. aus Malaga (Sammlung Bernabé Fernández Canivell, Malaga: Madrider Mitteilungen 1965, 84-90 Taf. 31-36) wurde bisher für eine etruskische oder unteritalische Arbeit gehalten. Stilistisch gut vergleichbare Henkel aus dem westlichen Anatolien aber weisen meines Erachtens eher auf einen ionischen Toreuten hin, der vielleicht nach Mainake emigriert ist. Diese massaliotisch-phokäische Stadt hat nach der antiken Überlieferung in der Gegend des heutigen

Malaga gelegen. Es soll der Frage nachgegangen werden, ob auch die ikonographischen Eigentümlichkeiten dieses Henkels - der vom Henkelepheben am Schwanz gefasste Acheloos und die antithetischen Harpyien an der Palmettenattasche - auf ostgriechische Vorbilder zurückgehen oder ob in ihnen Spezifika einer im nordwestlichen Mittelmeerraum tätigen ionischen oder ionisch beeinflussten Werkstatt zu sehen sind, wie sie auch sonst des öfteren besonders in den phokäischen Kolonien im Westen festzustellen sind. Diese Beobachtungen sind Teil einer umfassenderen Untersuchung zu ionischen oder ionisch beeinflussten Bronzen, die möglicherweise in Ateliers im nordwestlichen Mittelmeerraums hergestellt wurden.

The Aenea Mirror

Despina IGNATIADOU

Dr Despina IGNATIADOU (Thessaloniki)Archaeological Museum of Thessaloniki/Αρχαιολογικό Μουσείο Θεσσαλονίκης, 6th Manoli Andronikou Str., GR-54621 Thessaloniki, GREECE.


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<[email protected]>.

The bronze folding mirror was found 30 years ago in a tomb at Nea Michaniona (Northern Greece), a site identified with the ancient city of Aenea. The rich context of the tomb indicated that it was the burial of a rich female, dating to the second half of the 4th c. BC. The mirror consists of a polished disc (with concentric circles on the underside) with a hinged lid and a moving omega-shaped handle. The relief lid is decorated with a striding Eros shooting with his (missing now) bow to the right. His wings are open and he is standing on rough ground. A cock near his feet is also facing right.

Recent re-examination of the mirror revealed new evidence: Firstly, the small moving handle mended between the feet of the figure was found to be unrelated to the object. Secondly, incised decoration has been noticed on the underside of the lid. The presentation will focus on the interpretation of that scene.

The Aenea Mirror (Despina IGNATIADOU).

Bronze Figurines from Colchis

Darejan KACHARAVA,Guram KVIRKVELIA

Dr Darejan KACHARAVA (Tbilisi)Georgian National Museum, 3, Rustaveli Avenue, GEO-0105 Tbilisi, GEORGIA.<[email protected]>.

The site of Vani is located in western Georgia (the Colchis of ancient authors). The materials obtained as a result of multi-year excavations carried out at the site point to uninterrupted life from the 8th to the mid-1st century B.C. The site boasts many bronzes,including several small bronze figurines (as well as iron ones) that were buried deliberately in sanctuaries or close to them. Of particular interest are six odd-looking naked figurines bedecked with gold jewels, together with one of standard Hellenistic type. All are depicted in standing posture, naked, and with abnormally elongated body proportions. The figurines are dated to the 3rd century B.C. In all probability, five figurines buried in imitations of graves were designed for a cult of the dead, while for two figurines simply buried in the rocky ground face downwards a non-funerary explanation seems possible. It is worth noting that bronze figurines are also attested among grave goods of the 8th to 6th centuries B.C. in Colchis.

Minerva in Ost und West:Zu zwei laufenden Minerven aus Seleucia Pieria und Niederbieber

Annemarie KAUFMANN-HEINIMANN

Dr Annemarie KAUFMANN-HEINIMANN (Basel)

Universität Basel, Department Altertumswissenschaften, Fachbereich Klassische Archäologie, Petersgraben 51, CH-4051 Basel, SWITZERLAND.<[email protected]>.

Wichtige Untersuchungen zum Typus der laufenden Minerva verdanken wir Claude Rolley und Hélène Chew. Während C. Rolley insbesondere die aus dem Burgund stammenden Statuetten näher untersuchte, zeigte H. Chew die internationale Verbreitung des Typus auf. Hier stehen zwei schon lange bekannte Statuetten der laufenden Minerva im Zentrum, die eine wegen ihres Fundorts, Seleucia Pieria im antiken Syrien (heute Türkei), die andere – 1857 im Limeskastell von Niederbieber gefunden –, weil sie während


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langer Zeit zu heftigen Diskussionen um ihre Echtheit Anlass gab und heute in Vergessenheit geraten ist.

Bronze Workshops at Ephesos:A Contribution to the Finds from the Archaic Artemision

Gudrun KLEBINDER-GAUSS

Dr Gudrun KLEBINDER-GAUSS (Athens)Zweigstelle Athen des Österreichischen Archäologische Institut,Leoforos Alexandras 26, GR-10683 Athens, GREECE.<[email protected]>.

The sanctuary of Artemis at Ephesos was a cult place of major importance long before the foundation of the well known marble temple dedicated by the Lydian king Kroisos. The importance is also shown by an enormous amount of various bronze votive offerings that form an unique assemblage of the the 7th and early 6th centuries BC. The high number and the wide range of shapes suggest the existence of a bronze-workshop in Ephesos itself or even in the close surroundings of the sanctuary. This paper focuses on local and regional bronze-workshop traditions and discusses also the external influences upon Ionian metalworking. The Phrygian metal art with its stimulating and long-lasting influence to Ionian workshops is of major importance for this query. Ionian workshops produced not only Phrygian imitations but they also created new and independent shapes and motifs. The bronze finds from the Artemision at Ephesos stress the importance of Ionia as a transmitter of technological and formal developments between Anatolia, the Near East, the Aegean and Mainland Greece.

Metal Finds from Hadrianopolis in South-Western Paphlagonia: Seasons between 2003 and 2008

Ergün LAFLI

Dr Ergün LAFLI (Izmir)

Dokuz Eylül Üniversitesi, Edebiyat Fakültesi, Arkeoloji Bölümü, Tınaztepe/Kaynaklar Yerleşkesi, Buca, TR-35160 Izmir, TURKEY.<[email protected]>.

A bronze arm (of Mars?) and deer-eagle combination from Hadrianopolis in Paphlagonia; Early Roman (Ergün LAFLI, 2007).

Monumental Bronzes of the Hellenistic World – an International Exhibition Project

Kenneth LAPATIN, Jens DAEHNER

Dr Kenneth LAPATIN (Los Angeles, CA), Dr Jens DAEHNER (Los Angeles, CA)Department of Antiquities, The J. Paul Getty Museum, 1200 Getty Center Drive, Suite 1000V, Los Angeles, CA 90049-1745, U.S.A.<[email protected]>.<[email protected]>.

The J. Paul Getty Museum and the Museo Archeologico Nazionale di Firenze are currently planning a major international loan exhibition, Monumental Bronzes of the Hellenistic World / I grandi bronzi del mondo ellenistico, scheduled to open in 2014. The exhibition will provide a wider art-historical context for large-scale


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bronzes that are usually displayed as isolated masterpieces, thus creating an unprecedented environment that will contribute scientifically to the study of ancient sculpture and simultaneously appeal to a non-specialist audience.

Although ancient bronzes in the collections of sponsoring institutions constitute a starting point, we aim to present significant objects from throughout the Mediterranean – both historic pieces and new insights – in a holistic context that will allow for, indeed, will encourage new discoveries through comparative viewing. As currently conceived, the exhibition will examine a range of issues relating to the Hellenistic period, drawn broadly, both chronologically, from the fourth century BC to the first century AD, and geographically, including, but not limited to, the “overlapping coexistence” of Greek, Etruscan, and Roman art.

The Hellenistic is a fascinating yet problematic period, when artists simultaneously strove for

the expression of emotions, intense realism and dynamic compositions, but also employed retrospective styles and replicated works from the past. These last two aspects have made the dating of bronze sculptures particularly challenging as style alone ceases to be the distinguishing factor. Ironically, bronze is traditionally seen as the material of “originals,” but at the same time it is an ideal medium for mechanical reproductions. Thus we hope to address such questions of how, if at all, to distinguish “Greek” and “Roman” works, and what advances in our knowledge can be made through technological studies, materials analysis, and conservation.

Aus einer europäischen BronzefälscherwerkstattRobin Symes’ Alexander und seine vier New Yorker Bronzegesellen

Stefan LEHMANN

Prof. Stefan LEHMANN (Halle on the Saale River)Archäologisches Museum der Martin-Luther-Universität Universitätsplatz 12, D-06099 Halle on the Saale River, GERMANY.<[email protected]>.

Als archäologische Sensation wurde im Sommer des Jahres 2000 in der deutschen Kleinstadt Stendal unweit von Berlin das Oberteil einer angeblich antiken Bronzestatue Alexanders des Großen gezeigt. Erst im Jahr 2008 kam ans Licht, dass der Alexander dem berüchtigten englischen Antikendealer Robin Symes gehörte. Dass es sich hierbei um eine moderne Kunstfälschung handelt, zu der sich vier weitere Bronzeköpfe aus Symes’ Besitz gesellen, wurde im Jahr 2009 von mir dargelegt. Die fünf bislang völlig unbekannten Bronzeporträts sind ohne Provenienz und gehörten dem Kunsthändler Symes. Als antike Werke wurden sie durch den deutschen Archäologen Max Kunze bekanntgemacht. Wo der ‚Alexander Stendal’ sich heute befindet, ist ebenso unbekannt wie der Verbleib der in New York gezeigten Köpfe. Lediglich der Weg eines der New Yorker Bronzeporträts lässt sich bis nach Duschanbe und in das Nationalmuseum von Tadschikistan verfolgen. Dieser sog.

“Victorious Youth”; bronze; c. 300-100 B.C. H. 151.5 cm;J. Paul Getty Museum-77.AB.30.


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Herrscher (Symes-Kunze Nr. 27) wurde im Jahr 2002 in Japan im bekannten Miho-Museum bei Kyoto als antikes Meisterwerk aus dem Besitz des Nationalmuseums gezeigt.

Der aus diesen außergewöhnlichen Umständen begründete Verdacht, dass es sich um Fälschungen aus einer Werkstatt handelt, wird durch die archäologische Analyse bestätigt.

Literatur

Sog. Alexander Stendal, moderne Bronzefälschung mit unbekanntem Aufbewahrungsort (nach M. Kunze, Alexander der Grosse, Stendal 2000, 28).

St. Lehmann, Alexander der Große – einst in Stendal: Original – Kopie – Fälschung?, in: Kataloge und Schriften des Archäologischen Museums der Martin-Luther-Universität, hrsg. von A. E. Furtwängler und St. Lehmann, Band 2, Halle (Saale) 2009, s. Rezension von B. Sismondo Ridgway, Bryn Mawr College, in: Bryn Mawr Classical Review 2010.05.57 (http://bmcr.brynmawr.edu/2010/2010-05-57.html).

Matthias Schulz, Helden auf dem Prüfstand, in: Der Spiegel 1/2008 vom 14.01.2008 (http://

www.spiegel.de/spiegel/print/d-55411008.html).

Max Kunze (Hrsg.), Alexander der Grosse: König der Welt. Eine neuentdeckte Bronzestatue. Sonderausstellung der Winckelmann-Gesellschaft mit Winckelmann-Museum Stendal vom 15.7.2000 bis 3.9.2000 (Stendal 2000).

Robin Symes – Max Kunze, Royal Portraits and the Hellenistic Kingdoms. Catalogue of the exhibition presented at 2 East 79th Street, New York, November 30th – Dezember 3rd by the London dealer Robin Symes Ltd. (London 1999).

Central Anatolian Bronze: Economic Implications for Metals Technology and Consumption at Kerkenes Dağı

Joseph W. LEHNER

Mr Joseph W. LEHNER (Los Angeles, CA)Cotsen Institute of Archaeology, University of California – Los Angeles, A210 Fowler Building, Los Angeles, CA 90095, U.S.A.<[email protected]>.

The Iron Age in Central Anatolia, ca. 1200 – 350 B.C., marks significant changes in cultural practices, associated with novel political and economic systems. The structure of long distance exchange and the characteristics of sophisticated technologies within these new systems are largely unknown aspects of Central Anatolian Iron Age culture history. This paper considers the role of copper alloys in Iron Age Central Anatolia as they relate to the emergence of long distance exchange networks and consumptive contexts. Microstructural and geochemical analyses of metal artifacts excavated from the site of Kerkenes Dağ (ca. 7th-6th centuries B.C.) demonstrate how metal technologies are sensitive to changes in political economy. Results suggest that both raw material acquisition networks and technological traditions changed compared to earlier periods of political consolidation and that these changes may indicate affiliation with polities in south eastern Anatolia.


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Microstructural and geochemical analyses of metal artifacts

excavated from the site of Kerkenes Dağ (Joseph W. LEHNER)

Byzantine and Fatimid Material CultureByzantine Influence on the Consolidation of Fatimid Metalware

Ayala LESTER

Mrs Ayala LESTER (Jerusalem)Department of the Islamic Period, The Israel Antiquities AuthorityPOB 71117, IL-91710 Jerusalem, ISRAEL.<[email protected]>.

The Kutama tribes, part of the great Berber confederations of North Africa, lived in the region between the Aures Mountains and the Mediterranean Sea since Roman times and were then known as the Ucutumani. These tribes were conquered in 908 by Ubaydullah, the founder of the Shi‘it sect in North Africa and who became its first caliph. In 969, the Fatimid general, Jawhar conquered Egypt. Four years later, the fourth Fatimid caliph al-Mu‘izz decided to move from his capital in Tunisia to Egypt and al-Qahirah, the “Victorious” became the capital of the Fatimid state. For the next two centuries Egypt would remain the central province of the Fatimid realm, and North Africa, Syria, Palestine and

western Arabia shifted in and out of the realm of influence of the Fatimids. Cairo became the center of a vast commercial universe that linked the Mediterranean basin to the Indian Ocean, connecting Byzantium with the Islamic lands, tropical Africa, and India. Spices, silks, metals and ivory passed through the Egyptian bazaars and were traded for timber, furs and salves.

The Fatimid period, (909-1171 CE), is known for its splendid art and architecture. Artisans of the Fatimid period excelled in the decorative arts such as textiles, and Egypt was the center of medieval linen production. Artisans working in ivories and rock crystal, glass blowers, and potters decorated their finest wares with iridescent luster design. Jewelry, with its filigree and granulated gold and silver techniques, reached a peak in design during this period.

Metalware of the Fatimid period was largely unknown with the exception of a few vessels that were published in the 20th century. The revealing of two major hoards, a hoard in Caesarea found in 1995, and another hoard from Tiberias found in 1998 were of major importance to our understanding of Fatimid metalware. The hoard from Caesarea encompassed 130 metal vessels together with groups of glass and ceramic receptacles, probably part of a merchant’s stock. The hoard from Tiberias included 650 metal vessels and 200 kilograms of industrial waste, and it is most likely that some of the vessels were produced there.

The vessels from the Tiberias hoard also included coins dated to the second half of the 11th century. The affinity between the two caches, allows us to draw the conclusion that many of the vessels were produced in the same workshop, in Tiberias.The paper will discuss the consolidation of several groups of metal vessels under Roman-Byzantine influence. Three groups will be presented: lampstands, ladles and buckets. Roman-Byzantine lampstands have a tripod with a shaft terminating in a pricket on which a bronze lamp was inserted. This type of lampstand was adopted by the Islamic material culture; however,


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the pricket turned into a tray on which a lamp or lamps were placed. This transition probably took place during the 9th century. The morphological consolidation of the Fatimid lampstands, whether round or polygonal was also influenced by Roman-Byzantine lampstands.

Ladles made of brass with a round body and a long handle are known since the Roman period. These ladles, identified as casseroles for cooking, reappear within the Fatimid period, while retaining their original shape. The ladles appear in different sizes, for serving food and I propose that they also served as measuring vessels for the measuring of wheat.

Buckets made of hammered brass with forged handles were used in the bath house during the Roman and Byzantine periods and this practice was adopted into Islamic culture. A group of such buckets was found at Caesarea comprising nine vessels of different sizes. Four are buckets used in the bath house and are identified by their convex bases, tapering walls, and protruding rims with cast handles. This type of bucket is known from the Byzantine period. The impact of the Byzantine buckets is discernible in the decorative configuration of the vessel. This involves a horizontal division of the walls into a central band with an upper band containing an inscription and a lower band tangent to the base comprised of characteristic patterns used in marginal areas.

The paper will refer to the phenomenon of Byzantine decorative influence on the art of the Fatimid period.

Bronze Cult Objects from Vani

Nino LORDKIPANIDZE

Dr Nino LORDKIPANIDZE (Tbilisi)Georgian National Museum, 3, Rustaveli Avenue, GEO-0105 Tbilisi, GEORGIA.<[email protected]>.

This paper deals with two groups of the Hellenistic bronze cult objects decorated with

mythological images, which were discovered in Vani, the religious centre of ancient Colchis. The archaeological site of Vani is dated to the 8th -1st centuries BC. One group of these bronze objects, namely the six-nozzled lamp with anthropomorphic and elephant representations and the three-nozzled lamp with an image of Ganymede, was recently found in the so-called “hoard”. According to the archaeological context the hoard belongs to the last stage of the templar town and seems to be connected with its destruction. Thus, the hoard could be dated not later than the 1st century BC. From the stylistic viewpoint as well because of the choice of the themes, completely new for Vani, these cult instruments from the hoard could be connected with the well-known bronze ritual vessel from Vani, decorated with a statuette of Nike and appliques with representations of Dionysus, Ariadne, Satyr, Pan and Maenads, discovered in the so-called mosaic-floored temple (2nd -1st cent. BC). According to the stratigraphy, the mosaic-floored temple and the “hoard” could be related.

The iconographic study of the bronze cult objects from both the archaeological complexes of Vani, especially with regard to the function of the objects, gets a particular importance: in the absence of written sources in Vani, the images provide unique evidence for understanding the religious beliefs of ancient Vani.

Boubon Bronzes - New Perspectives

Maximilian LUBOS

Mr Maximilian LUBOS (Berlin/Halle on the Saale River)Karlsgarten Str. 13, D-12049 Berlin, GERMANY.<[email protected]>; <[email protected]>.

The bronze statuary from the Sebasteion of Boubon together with the related inscriptions and the building itself are key to understanding the Roman imperial cult not only in Lycia but also in the entire Roman East.


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Their value lies in the unique composition and preservation of the statue gallery, the inscriptions, and the building. Still the whole complex is at the core of one of the major scandals in international illicit art trade during the last decades.

In spring 1967 local security forces ended the looting of the site, which had been going on since the early 1960s. A bronze torso was confiscated, which is today in the Archaeological Museum of Burdur. Further statues of Roman emperors, mostly represented as heroic nudes, had already been smuggled abroad, mainly to the U.S.A., where most of them ended up in private and public collections. The statues were on display in several exhibitions in the U.S.A. from 1967 until 1981. The looting of the pieces caused the loss of the original contexts. Even today the original composition of the statue group is not without doubt.

A recent survey of auction catalogues reveals that until the present not only fragments but also entire bronze statues seem to be circulating on the market within the U.S.A. A stylistic survey of these fragments may help us to provide an answer to the question of the original composition of the Boubon Complex. Apart from the statues, which are generally attributed to the site of the Sebasteion so far, additional pieces which had been excluded from the complex in the past will be reconsidered in order to obtain an objective perspective of the whole. The aim is one further step in the reconstruction of this important find.

Preliminary Study on Provenance of Bronzes Excavated from Ancient Jun District

Wugan LUO, Changsui WANG, Ying QIN

Mr Wugan LUO (Beijing)The College of Humanities, Graduate University of Chinese Academy of Sciences,No. 19 (A) YuQuan Road, Shijingshan District, CN-100049 Beijing, CHINA.<[email protected]>.

From March to December of 2006, the Chinese

archaeologists explored and excavated the Qiaojiayuan tombs. The geographical location of the site corresponds to the “Yang Xue” of the ancient capital of the Jun Country, recorded in the historical literature.

According to historical records, ancient Jun had a very long history. Through the periods of the Xia, Shang, and Zhou dynasties, Jun maintained a very close relationship with each of these dynasties and they were represented in the Zhongyuan district. By the Spring-Autumn Period, ancient Jun had established a close association with the Chu state. The details of the relationship, associations and alliances remain unknown. Through the systematic examination of bronzes excavated from ancient Jun, we should be able to: 1) trace the background of relationships between ancient Jun and dynasties in the Zhongyuan district, as well as the relationship between Jun and Chu; and 2) broaden our knowledge of the ancient Jun civilisation and culture.

In this paper a copper ingot from Daye, and some bronzes from the ancient Jun district, have been analysed. The ICP-OES analyses show that some components in the copper ingot, such as Ag etc., are high, while other components, such as As and Sb, are lower. Furthermore, the results indicate that some components, such as As, Bi, Co, and Ni , are low in the bronzes excavated in the Jun district, while Te is higher. From these results it can be inferred that the bronzes excavated from the ancient Jun district are different from those excavated from the Jiuliandun tombs, Ningxia province and southern Anhui province. The ICP-OES results also indicate that the characteristic trace elements are different from those of copper ingots from the southern Anhui province, Ningxia province and west Liaoning province, while they are similar to those of the copper ingot excavated from Daye. The results also suggest that the provenance of the bronzes is the Chu state and that the owner of the bronzes is a nobleman from the Chu state.

The Kline Legs from the Vani Hoard: Technology and Analysis


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Jeffrey MAISCH, Marc WALTON, David SAUNDERS, Nini KALANDADZE

Mr Jeffrey MAISCH (Los Angeles, CA)The J. Paul Getty Museum,1200 Getty Center Drive, Suite 1000, Los Angeles, CA 90049-1687, U.S.A.<[email protected]>.Dr Marc WALTON (Los Angeles, CA)The Getty Conservation Institute, 1200 Getty Center Drive, Suite 700, Los Angeles, CA 90049-1684, U.S.A.<[email protected]>.Dr David SAUNDERS (Los Angeles, CA) The J. Paul Getty Museum, 1200 Getty Center Drive, Suite 1000, Los Angeles, CA 90049-1687, U.S.A.<[email protected]>.Dr Nino KALANDADZE (Tbilisi)Georgian National Museum, 3, Rustaveli Avenue, GEO-0105 Tbilisi, GEORGIA.<[email protected]>.

In 2007 a hoard of objects was discovered at the site of Vani in western Georgia . The hoard, dating to the Hellenistic period, was excavated by the Georgian National Museum, and revealed a rich trove of finds including bronze lamps, basins, supports and iron candelabra. The hoard also included ten bronze legs from klinai or couch beds. Klinai were often assembled for ceremonial banquets and are recorded in temple inventories. Extant bronze legs include finds from the Mahdia (Tunisia) and the Formigue C (Golfe Juan) shipwrecks as well as from other sites within Italy and the Mediterranean. The Vani kline legs are similar to these examples both in the division and profile of the individual components from which each leg is made. The parts are thin-walled lost-wax castings, and the challenges presented by the intricacies of shape and wall thickness may have led to the small scale casting of multiples of the same component. Excavations on Delos in the mid-20th century uncovered molds used in the production of kline components and the consistency of leg shape over a wide geographic area may suggest either a main production center, or perhaps copying. Analysis of the bronze was carried out using inductively coupled plasma mass spectrometry (ICP-MS)

and results indicate that the components of some legs were cast from tin bronze, while those from other legs were produced from leaded tin bronze. Yet other legs were assembled from components with a range of lead compositions. The technology and production of the Vani legs will be discussed within the broader context of kline production in the Mediterranean.

Saws in the Classical Bronze Foundry

Jeffrey MAISCH

Mr Jeffrey MAISCH (Los Angeles, CA)The J. Paul Getty Museum,1200 Getty Center Drive, Suite 1000, Los Angeles, CA 90049-1687, U.S.A.<[email protected]>.

The production of bronzes involved many tools and multiple steps, and post-cast work generally involved repairing, joining, and final surface finishing. Saws are depicted hanging from workshop walls in two Classical vase paintings and the saws’ purpose or function remains a source of speculation. The Nolan vase (Museum of Fine Arts in Boston) illustrates a bow-type of saw which may have been used in armor production while the Foundry Cup (Berlin) illustrates a large two-person saw within a context of post-cast sculpture assembly and finishing. In contrast with contemporary fine- toothed metal saws, possible ancient metal saws would have likely used an abrasive method similar to lapidary saws, and both illustrations appear to depict the tools with relatively flat cutting edges. Possible reasons for sawing following bronze casting may have included the removal of gates and unwanted/miscast portions. Sawing may also have been a more integral part of the bronze production process.

Abrasive sawing produces a clean, straight cut with little removal of metal and may have been used to open sections of a bronze for core removal. Pre-cast cutting of wax models, investment and casting of separate bronze components may also have introduced a series of small flaws and misalignments which could


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affect later joining. These misalignments may have become more problematic as the walls of bronze castings became thinner. Post-cast sawing and separation would therefore retain excellent alignment between parts. The Foundry Cup also illustrates parts of bronze figures with relative straight edges, and straight-edge joins have been observed on some extant bronzes. Test abrasive cutting of a copper pipe showed the feasibility of the method.

Why Bronze? The Tastes and Attitudes of Roman Collectors

Carol C. MATTUSCH

Prof. Carol C. MATTUSCH (Fairfax, VA)Department of History and Art History, George Mason University, Robinson Hall B, Room 373A, 4400 University Drive, 3G1, Fairfax, VA 22030, U.S.A.<[email protected]>.

The motivations driving ancient Roman collectors of bronzes is the subject of this paper. What can be learned about Roman collectors of large-scale sculptures? Why would they choose bronzes over marbles? What kinds of bronze statuary did they collect? Cicero’s antipathy toward Verres’s ill-gotten acquisitions is well known, as is his wish to build his own collection of Greek works. The 65 bronze statues, busts, and herms that survive from L. Calpurnius Piso’s private collection were all contemporary works, probably produced locally. Why were they bronze rather than marble, new rather than old? And what does Pliny the Elder mean by stating that modern bronzes lack the quality of antique bronzes? Why does Pliny the Younger offer to give away portraits of emperors from his private collection for public display? What drove these collectors? What do we learn about them from the literary testimonia, from the archaeological evidence, and from ancient technologies?

Bronze phialai in Context. New Evidence from Archaic and Classical Sanctuaries in Greece and Magna Graecia: Some Case

Studies

Valeria MEIRANO

Dr Valeria MEIRANO (Turin)Corso Interfacoltà in Conservezione e Restauro dei Beni Culturali – Università di Torino, Piazza della Repubblica, I-10078 Venaria Reale-Torino, ITALY.<[email protected]>; <[email protected]>.

The phiale has always been considered as one of the ritual metal vessels par excellence in the Greek world. In fact, both the archaeological finds and the iconography support the view of a strict relation between this vase of oriental origin and the sacred milieu. The recent, systematic study of the Archaic and Classical metal vessels coming from sanctuaries in southern Italy (ancient Greek colonies of Calabria: Epizephyrian Lokroi, Hipponion and Medma) and Greece (Delphi), has provided an opportunity to examine a considerable amount of material, mostly unpublished and never considered in a wide perspective. Aspects related to style, production and importation are involved in the analysis, due to the high number of samples examined and their great typological variety. Nevertheless, the association with other stratified finds and especially with other bronze items, has in some cases permitted the building of a more precise chronology for the phialai, and to obtain a wider knowledge of their function in sacred contexts. In some cases, it is possible to propose a reconstruction of their use in ritual practices, to document their role as offerings, and to evoke their original contexts.

Bronze Crosses from the Archaeological Museum of Karaman

İlker Mete MİMİROĞLU

Mr İlker Mete MİMİROĞLU (Konya)Selçuk Üniversitesi, Edebiyat Fakültesi, Sanat Tarihi Bölümü,Alaaddin Keykubat Kampusü, TR-42031 Konya, TURKEY.<[email protected]>.


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After being used as an instrument of torture and death, the cross became a symbol of Christianity. As a symbol of the crucifixion of Jesus Christ, the cross is believed to protect people from evil; it has been used in churches and daily life as a sacred symbol. Different cross examples like ceremonial cross, crucifix relics, amulets, necklace cross, sceptre and consecration crosses are important whether in shape or ornamentation.In this paper I shall introduce 31 bronze crosses of the Early Christian and Middle Byzantine periods, that are in the Karaman Archaeological museum. The crosses all come from Karaman, revealing that the Lyconian region, an area especially known for its Christian architecture, is also rich in its small finds.

Translated by Aslı CUMALIOĞLU

A bronze cross from the Archaeological Museum of Karaman

(İlker Mete MİMİROĞLU).

Copper Alloy Items from the Roman Military Site of Thamusida (Sidi Ali ben Ahmed, Morocco)

Niccolò MUGNAI, Leonardo BIGI, Matteo PEROTTI

Mr Niccolò MUGNAI (Siena), Dr Leonardo BIGI (Siena), Mr Matteo PEROTTI (Siena)Università degli Studi di Siena - Dipartimento di Archeologia e Storia delle Arti Via Roma, 56, I-53100 Siena, ITALY.<[email protected]>; <[email protected]>; <[email protected]>

The aim of this paper is to present the preliminary results of the study on a series of copper alloy items coming from the Roman site of Thamusida (Sidi Ali ben Ahmed, Kénitra, Morocco), which has been recently investigated through archaeological surveys and excavations (1999-2006), carried out by the Dipartimento di Archeologia e Storia delle Arti dell’Università degli Studi di Siena and the Institut National des Sciences de l’Archéologie et du Patrimoine de Rabat, represented by prof. Emanuele Papi and prof. Aomar Akerraz respectively. Thamusida was occupied by the Roman army during the mid 1st century AD, when an auxiliary fort was built and an annexed vicus began to spread around it. The presence of Roman troops in this settlement is attested until the end of the 3rd century, when the southern limes of Mauretania Tingitana was abandoned.

Due to the pre-eminent military function of the site, it is quite obvious that the main part of the copper alloy items found here can be attributed to elements of the soldiers’ equipment; moreover, the most significant items recognized (scabbard peltate chapes, belt buckles and mounts) belong to peculiar decorations, recognizable thanks to many iconographical evidences and dating from the late 2nd up to the whole 3rd century. Equally interesting is the selection of horse harness, attested through a huge variety of buckles, phalerae, and pendants. Nevertheless, civilian ornaments such as fibulae, rings and necklaces - together with components and decorations of


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domestic furniture - deserve particular attention, since so far we must face the absence of an exhaustive publication of similar items found in Tingitana. For this reason, the catalogue of the metallic finds of Thamusida can offer a glimpse of everyday life in the vicus and represents a significant contribution to the study of Roman bronzes and their diffusion even in the marginal provinces of the empire.

Iron Vessels from Napoca (Roman Dacia)

Silvia MUSTAŢĂ, Sorin COCIŞ, Valentin VOIŞIAN

Ms Silvia MUSTAŢĂ (Cluj-Napoca)“Babeş-Bolyai” University, Institutul de Arheologie şi Istoria Artei, Str. M. Kogălniceanu 12-14, RO-400084 Cluj-Napoca, ROMANIA.<[email protected]>.

Roman iron vessels are an almost unknown category of archaeological artefacts, a situation caused mainly by the scarcity of the finds. Even if the problems raised by such objects are very interesting, especially for specialists dealing with metal vessels, there is still little to be said in the present stage of the research. The poster presentation analyzes two iron toilet flasks (so called “balsamaria”) discovered in Cluj-Napoca (ancient Napoca), Cluj County, Romania, during the rescue excavations carried out on Deleu Street between 1991 and 1998, which revealed the presence in this area of two Roman civilian buildings. The main points of the presentation center upon the dating possibilities offered by the context of discovery, the technological aspects observed on the objects, and the parallels with other similar pieces from the Roman Empire.

Allure of the Amazon: A Bronze Bust in the Metropolitan Museum of Art

Esen ÖĞÜŞ

Dr Esen ÖĞÜŞ (New York City, NY)Aphrodisias Office, Institute of Fine Arts, New York University, 1 East 78 Street, New York, NY 10075, U.S.A.<[email protected]>.

This paper is concerned with a bronze Amazon bust (14.5 cm in height) in the Metropolitan Museum of Art, stylistically dated to the first century A.D. The bust depicts an Amazon wearing a Phrygian cap and holding her upper right (possibly wounded) arm. The object probably once functioned as a furniture attachment, and according to the museum records, it is “said to be from Asia Minor.”

This paper aims at an iconographic and art historical scrutiny of the bust. The bust depicts a rather extraordinary Amazon, who wears a sleeved tunic, rather than the more conventional sleeveless one, which slips off her left shoulder, an iconographic convention more suitable to Aphrodite. Her right breast, rather than being exposed, is concealed by her left forearm. Her curly locks of hair fall onto her shoulders, not in a disheveled way as expected from a barbarian, but regularly and charmingly. Upon consideration of this unusual iconography, I suggest that the figure evokes an erotically-charged allure combined with the violence of a warrior. This charming combination creates a domestic object with a rhetorical power typical of the early Roman Empire. The general trend in the early Empire was to employ figures of defeated barbarians in public and domestic contexts to refer to Imperial peace and security. The Amazon bust, however, while fitting to this trend, is far from depicting a defeated barbarian. Rather, it is an object that turns an honorable and eroticized, yet reserved, warrior from the Greek past into an aesthetically pleasing domestic object. The bust, therefore, plays on the sensitive boundary between the politics of the Early Empire and the quest for a revered Greek identity and past.


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A Group of Bronze Vessels from Arykanda

Bekir Sıtkı Alptekin ORANSAY

Dr Bekir Sıtkı Alptekin ORANSAY (Eskişehir)Anadolu Üniversitesi, Edebiyat Fakültesi, Arkeoloji Bölümü,Yunus Emre Kampüsü, TR-26470 Eskişehir, TURKEY.<[email protected]>.

Arykanda is a small city lying in Lycia region, the north-west part of Asia Minor. The excavations led by Prof. Cevdet Bayburtluoğlu from Ankara University showed us that the city hasn’t play an important part in ancient neither politic nor military history. However it has an active economic life in Arykanda in meaning of industrial and luxury trade. It also can be seen an active bronze industry since Hellenistic times. Due to the erosion activities in Arykanda (as a typical problem for a slope settlement), we can’t determine the certain place of bronze industry in the city. On the other hand the amount of bronze finds in the city is showed that Arykanda has a very lively Bronze industry since Hellenistic times.

One of the important parts of Bronze finds in Arykanda is the bronze vessels. Most of these vessels were founded in certain parts of the city such as Slope houses and Agoras. Because of this vessels belonged to the certain context we can take this examples from Hellenistic to late Roman period. In this presentation, author takes these vessels as a datable finds in the city and also a vision of the economic position of the city population.

The Luristan Bronzes in Sangtarashan: Bronze Technology in Western Iran in the First Millennium BC Omid OUDBASHI, S. Mohammadamin EMAMI, Parviz DAVAMI

Mr Omid OUDBASHI (Esfahan)Art University of Esfahan, Faculty of Conservation and Restoration,

Department of Material Science in Archaeology, Hakim Nezami Str. Post Box: 1744, Esfahan, IRAN.<[email protected]>.Dr S. Mohammadamin EMAMI (Esfahan/Siegen)Institut für Bau- und Werkstoffchemie der Universität Siegen, Paul-Bonatz-Strasse 9-11, D-57076 Siegen-Weidenau, GERMANY.<[email protected]>.Prof. Parviz DAVAMI (Tehran)Faculty of Material Science and Engineering, Sharif University of Technology, Post Box: 11155-9466Tehran, IRAN.

The Luristan Bronzes are among the best known categories of archaeological finds in Near East archaeology. These include a series of decorated bronze artefacts with a specific local style, dating back to the Iron Age, about 1300-650 BC, and coming from the Iranian plateau. There are many artefacts in different museums worldwide from this collection, which have been known through large-scale of illegal excavations carried out by local people in the late 1920s. The cultural context and provenance of these objects remained unreliable for a long time and the label of Luristan Bronzes is often used unreasonably -usually for commercial reasons- for bronze objects detected from other regions or periods.

The recent archaeological activities in the field of Luristan Bronzes are scientific excavations in Sangtarashan Iron Age site between 2006- 2009. The Sangtarashan Bronze collection includes swords and daggers, axes, arrowheads, round vessels, spouted vessels, cups, decorative and ceremonial finials, decorative plaques, some bi-metallic (bronze-iron) artefacts and more. This collection consists of a large individual group of excavated Luristan Bronzes with a great variety of manufacturing bronze artefacts. They have been manufactured in a high level of craftsmanship and artistic skill.

This investigation presents the data of chemical and microscopic analyses carried out on some bronze vessels excavated from Sangtarashan archaeological site and discusses its implications for the technological identification of the bronze vessels.


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Phialai, coppe e bacini di bronzo orientali dalle necropoli della Calabria (IX-VI sec. a.C.)

Rossella PACE Dr Rossella PACE (Arcavacata di Rende)Università della Calabria, Dipartimento di Archeologia e Storia delle Arti, Ponte P. Bucci, I-87030 Arcavacata di Rende (CS), ITALY.<[email protected]>; <[email protected]>.

Nelle necropoli calabresi di area ionica, databili tra il IX ed il VI secolo a.C., si contano circa una trentina di vasi di bronzo di produzione o di ispirazione orientale. Essi sono stati trovati generalmente nelle tombe più ricche, appartenenti a personaggi di alto rango o a persone che avevano una funzione importante all’ interno della comunità. Molto spesso si tratta di tombe femminili, tra quelle più antiche della necropoli che presentano anche altri oggetti di importazione o esotici. In particolar modo per l’area enotria, come per la Calabria centro-meridionale, il vasellame metallico importato si ritrova essenzialmente nelle sepolture dell’ Età del Ferro e testimonia i contatti precoci tra le popolazioni indigene ed i Greci o i Fenici, prima della fondazione della colonia achea di Sybaris. Pochi sono i rinvenimenti riferibili al VII ed al VI secolo a.C., al contrario di quanto invece si riscontra in Etruria, dove essi si datano soprattutto nel VII secolo.

I recipienti bronzei rinvenuti nelle necropoli della Sibaritide, confrontati con quelli della Locride, rivelano una certa varietà ed originalità: una phiale fenicia, un bacino di un tipo noto a Creta, una coppa frigia e qualche coppa emisferica di tipologia cipriota ne sono gli esempi più eloquenti.

Casting Cores of Two Bronzes from Chianciano

Alessandro PACINI

Dr Alessandro PACINI (Montepulciano)Laboratorio di archeometallurgia, Viale Calamandrei 99, I-53045 Montepulciano (SI), ITALY.<[email protected]>; <www.aliseda.it/alessandro/alessandro.htm>.

The study of the clay contained inside two bronzes (a foot and a hand belonging to a statue of Apollo dating to the 5th century B.C.), found in Sillene, Chianciano (Siena-Tuscany) reveals that the clay found in the hand is an original casting core, consisting of Pliocene sand, very similar to that found at Chianciano. An experimental reconstruction based on the use of this sand mixed with animal hair has shown its effectiveness as a bonding agent in the production of bronze statues.

Towards a final publication of the Piraeus Bronzes – the Piraeus Apollo

Olga PALAGIA

Prof. Olga PALAGIA (Athens)Department of Archaeology and Art History, National and Kapodistrian University of Athens, GR-15784 Athens, GREECE.<[email protected]>.

A rescue excavation in Piraeus, the port of Athens, in 1959 brought to light a cache of four monumental bronze statues, a bronze mask, a bronze shield, two marble herms and an under life-size marble statue. They were apparently found in a warehouse in the harbor awaiting shipment when Piraeus was burnt down as a result of Sulla’s sack in 86 B.C. These spectacular bronzes are often discussed in the literature but have remained officially unpublished to this day. A publication permit was recently obtained by this author and hopefully some of the questions arising from the styles and techniques of these fine works of art can be resolved. This paper will be an interim report on the most controversial statue of the cache, the bronze Apollo. Even though he basically appears to be an archaic kouros, he departs from the norm by extending both arms and advancing the right foot. His date has been called into question, and he has


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been interpreted as either an archaic kouros or an archaizing work of the Severe Style or of the Late Hellenistic period. A different date will be offered here based on the sherds found within the statue and not previously accessible.

Two Roman Bronze Cult Objects from the Timacum Maius (Eastern Serbia)

Vladimir P. PETROVIĆ, Vojislav FILIPOVIĆ

Dr Vladimir P. PETROVIĆ (Belgrade)Académie Serbe des Sciences et des Arts, Institut des Etudes Balkaniques, 35, rue Knez Mihailova, étage IV, RS-11000 Belgrade, SERBIA.<[email protected]>; <http://www.balkaninstitut.com/>.Mr Vojislav FILIPOVIĆ (Belgrade)Archaeological Institute, Knez Mihailova 35/IV, RS-11000 Belgrade, SERBIA.<[email protected]>.

The site of Timacum Maius is located in eastern Serbia, some 20 km northeast of the great crossroads of Balkan routes - ancient Niš (Naissus). Timacum Maius was an important station on the Roman road from Lissus to Naissus to Ratiaria, which was also the shortest connection between the Adriatic ports and the central areas of the Balkans and the Danube. Archaeological investigations of the Roman settlement, covering more than 5 acres, began relatively recently, and so far we have unearthed a number of characteristic urban Roman architectural remains,: baths, urban and main roads, drainage systems, as well as the representative structure with system of floor and wall heating.

During the season of 2010, an apparently unique bronze find was made, of cult or votive character. It is a bronze signum with the representation of two roes [??] on the hollow sleeve. Such finds are extremely rare in the Balkan provinces of the Empire, and so far we have found only a few similar examples. It is possible that the signum was the inventory of the shrine, or that it belonged to the priest of Diana’s cult. The object

originates from the second half of the second century to the third century A.D.

The second find came from the vicinity of the same building and is the right part of a circular bronze medallion, its rim decorated with a Greek meander, within which there is a temple façade, with a god or an emperor to its . left. The refined production distinguishes this medallion from athe ausual representations of temples on Roman coins. Such medallions are found throughout the empire in all periods: they were carried in order to protect the owner against evil or in reverence to a certain deity.

A Bronze Statuette of Actaeon from Slovenia

Vesna PINTARIČ

Ms Vesna PINTARIČ (Ljubljana)Institute for Mediterranean Heritage, Science and Research Centre of Koper, University of Primorska, Rimska 1, SI-1000 Ljubljana, SLOVENIA.<[email protected]>.

Among the few antique figural bronzes from Slovenia is a small image of Actaeon. It was found in the coastal town of Koper, where it is in the permanent collection of the Regional Museum.The statuette is said to have been found in the vicinity of the Palazzo de Belli in 1972, but no further information is given about any excavations or building works yielding such a special stray find.

Although the statuette is not very well preserved, it nonetheless bears the mark of supreme craftsmanship. The composition of Actaeon and his two dogs is completely symmetrical, and the figures are well proportioned. Despite the rough and corroded surface, the detailing of the dogs’ eyes and mouth, as well as the face and hair of Actaeon are all still visible. Actaeon’s cloak falls from his back and is wound around his left arm. His right arm is lifted above his head and he holds an object which could be interpreted as a hunting stick. The two dogs on each side are leaping at his hips with opened mouths in the instant of attacking.


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The statue was interpreted as a free-standing bronze statue with a cast base and was never fully researched or separately published. This paper seeks to change this notion and offer new insights about this stunning and extraordinary bronze object.

The God from Cape Artemision: Zeus or Poseidon? An Old Question, a New Approach

John POLLINI

Prof. John POLLINI (Los Angeles, CA)Department of Art History, Von Kleinsmid Center 351, University of Southern California, Los Angeles, CA 90089-0047, U.S.A.<[email protected]>.

Since its discovery around 1926 off Cape Artemision in Greece, scholars have debated whether the spectacular and famous bronze statue of a nude, bearded male god of imposing stature now in the Athens National Museum was meant to represent Zeus or Poseidon. Unfortunately, because the object that the god once held in his right hand -- either a thunderbolt or a trident -- was never recovered from the shipwreck, the identification of this figure cannot be definitively established.

Arguments have been advanced for either divinity largely on the basis of iconographical comparisons with other figures of both gods in various ancient artistic media. Although most scholars now tend to favor a Zeus identification, the question of identity still remains open.

A new look at the pose of the figure, the back-drawn right arm, and especially the position of the hand and fingers from the point of view of a spear-thrower can, in my opinion, throw new light on this contentious old problem. Classical archaeologists and art historians, who generally have no experience in throwing spears, have not considered the problem from such a practical point of view. As both an archaeologist and avid spear-thrower myself, I believe that I can offer some useful insights into this problem and

show that this famous bronze statue from Cape Artemision once held a trident and can therefore be identified as Poseidon, the mighty god of the sea.

Some Early Lydian Bronze Artifacts in Context

Andrew RAMAGE

Prof. Andrew RAMAGE (Ithaca, NY)Harvard-Cornell Sardis Expedition, c/o History of Art Department, Goldwin Smith Hall, Cornell University, Ithaca, NY 14853-3201, U.S.A.<[email protected]>.Over the course of about 15 years of excavations at Sardis, reaching back to the Early Iron Age of the Lydian strata, several small bronze artifacts came to light. Most of those in reasonable condition were described or mentioned in the preliminary reports for the years in which they were found, and a comprehensive list of objects from all periods, “Metalwork from Sardis: The finds through 1974” by Jane C. WALDBAUM was published in 1983. She listed more than 900 pieces and set out their find spots and any chronological indicators available. Compositional and metallurgical analysis and comment are emphasized with only limited attention to the stratigraphic contexts of the finds. Several finds from Early Iron Age Lydian levels can now be presented in a coherent stratigraphic context, with associated ceramic pieces, as a result of my research over many years. My chronological conclusions are different in several instances from those of Waldbaum for reasons to be explained. Several of the items are domestic instruments like straight pins, a miniature spoon, and an unusually early arc fibula. These are all anchored by several pieces of imported Geometric pottery from Corinth and East Greece.

Fibulae with Representations of Deer, Ibex and Horse

Ketino RAMISHVILI

Dr Ketino RAMISHVILI (Tbilisi)


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Georgian National Museum, 3, Rustaveli Avenue, GEO-0105 Tbilisi, GEORGIA.<[email protected]>.

This paper deals with bow-shaped pin fibulae with high-relief representations of deer, ibex and horse, made of bronze and silver and provided with a fastener on the rear side. These artifacts are characteristic of Georgia’s foothill and mountainous zone, but their greatest number comes from burial grounds of the river Aragvi valley (Nedzikhi, Badrianebi, Tsipranisdziri, Zhinvali), and are dated to the 3rd to 4th centuries A.D. solar signs are often applied, pointing to the divine features of the animal and links with religious ritual, but when these are on the front, they have the function of adornment.

Fibulae with representations of deer, ibex and horse.

Fibulae of the 3rd and 4th centuries with zoomorphic representations are related to earlier periods. The so-called “Caucasian animal style”, reaching the height of its development in the 8th-7th centuries BC, had a great impact on the further development of Georgian art. At the

same time, it is obvious that the existence of these representations over a long period of time points to the presence of a single phenomenon fed by a single system and ideology of beliefs and notions; its refinement and perfection continued through the 1st millennium B.C. in the ethno-cultural environment.

Regional Workshops for Manufacturing Bronze Objects along the Danube Limes in the Province of Upper Moesia

Deana RATKOVIĆ

Ms Deana RATKOVIĆ (Belgrade)The National Museum in Belgrade, Trg Republike 1a, RS-11000 Belgrade, SERBIA.<[email protected]>.

The production and distribution of metal objects, primarily copper alloys, played an important role in the economy of Upper Moesia. This is documented by a large number of bronze objects found at sites within the Danube Limes. Strong local traits in manufacturing objects of various groups and purposes signify a highly developed level of production.

There are few architectural remains, however, which can be identified as workshops. However, it is beyond any doubt that from the second till the fourth centuries in this area as well as in other provinces, workshops or fabricae were active in towns, civilian settlements next to fortresses, and even within the military forts. The biggest centers of bronze production were the towns of Singidunum and Viminacium, and most probably the forts of Lederata and Pontes. It should be taken as fact that at the fort of Diana at the Djerdap Limes several types of bronze objects were produced. This is testified by workshop finds such as unfinished fibulae, as well as moulds, crucibles, bronze and lead dross, ingots of pure copper, and tools. There existed diversified production lines at Diana and the manufacture of fibulae was one of them.

An Indian (?) Bronze Mirror from a 4th Century B.C. Nomad Burial in the Southern


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Urals

Irina RAVICH, Sergej SIROTIN, Mikhail TREISTER

Mrs Irina RAVICH (Moscow)Mr Sergej SIROTIN (Sterlitamak)Dr Mikhail TREISTER (Bonn/Berlin)Institut für Vorderasiatische Altertumskunde der Freie Universität Berlin, Hüttenweg 7, D-14195 Berlin; or Weißenburgstr. 59, D-53175 Bonn, GERMANY.<www.ancienttoreutics.com>; <[email protected]>.

In the course of the 2009 excavations of Barrow Yakovlevka II near the village of Yakovlevka in the south of the Republic of Bashkortostan, the expedition of the State Pedagogical Academy, Sterlitamak, led by S. Sirotin, unearthed nine graves dating from the late 5th – 4th century BC. Grave 4, with a burial of two young women, yielded a peculiar bronze mirror.

The mirror (diam. 14,5 cm) consists of a disc and a decorated plate connected with seven rivets. Two flat symmetrical projections for attaching a handle were broken in antiquity. The decorated plate with a hollow conical umbo in the center shows two faceted moldings: near the edge and around the umbo. The edge of the plate is decorated with a frieze of punched dotted circles. The flat field between the moldings, framed with ornamental bands, shows a multi-figural mythological composition, which will be discussed in detail. The find from Yakovlevka belongs to a rare group of composite bipartite mirrors characterized by the hollow space between the flat mirror disc and the decorated plate filled with pieces of metal (thus the name “rattle“ or musical” mirrors) with the two finds in South Urals and three – in Altai in South Siberia. Despite the absence of direct parallels, most scholars suppose that these mirrors were manufactured in India or in Bactria. Technological study of the mirrors from the South Urals shows that they are made of high-tin hot forged bronze. These mirrors and other

types that were produced in this way represent a technology which was spread throughout India and Central Asia already in the first half of the 1st millennia B.C. and which appeared in the South Urals no earlier than the late 5th or early 4th centuries B.C. Other finds in the burials from the South Urals which yielded these rare bipartite mirrors, included wheel-made pottery from Chorasmia and Dakhistan, as well as stone beads of allegedly Indian and Iranian manufacture. Thus we are able to suggest that the mirrors themselves and the new technology were brought to the nomads of the South Urals along the trade route from India through Hyrcania, Dakhistan and Chorasmia.

Bronze mirror from the barrow Yakovlevka II (burial 4). Sterlitamak, State pedagogical academy, Cabinet of archaeology,

temporary inv. no. 2009/4.2 (photo M. STARODUBTSEV).

Experimentations with the Casting, Mounting and Display of Greek Archaic Style Bronze Statuettes

Heather F. SHARPE

Dr Heather F. SHARPE (West Chester, PA)West Chester University of PA, Department of Art, Mitchell Hall 219, West Chester, PA 19383, U.S.A.<[email protected]>.

Greek Archaic bronze statuettes have been found in large numbers at sanctuaries and shrines, and their function as votives has been well established. Literary evidence (and to a small degree archaeological discoveries) indicates that small votives in general were commonly placed in proximity to cult images, on or near altars, on benches located along sanctuary walls, as well as


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hung on the walls and from the ceiling. Exactly how and where bronze statuettes were displayed in temples and shrines has been difficult to determine because so few have been found in situ. On the other hand, information regarding how Archaic bronze statuettes were exhibited may be gleaned from the statuettes themselves. Bronze statuettes of the Archaic period were often cast together with their bases, many of which were equipped with holes so that the statuettes could be secured to a bench or shelf. Others could be attached to a stone base or support by means of a lead solder used to encase the base or lower limbs of the figure. A significant number of Archaic statuettes exhibit damage to their lower limbs, often missing one or both feet. At first glance, their damaged condition seems to reveal little about how they were originally mounted. However, test trials consisting of casting bronze statuettes, and experimentations with mounting them, based on observations of Archaic statuettes and bases, can provide further information regarding how they were originally mounted and displayed. The evidence suggests that Archaic bronze statuettes were often firmly attached to a stone or wooden support and that subsequently, when the votives were periodically cleared out, the statuettes commonly suffered damage from being forcefully removed.

The Display and Decoration of Bronze Statuettesin the Greek and Roman World

Heather F. SHARPE

Dr Heather F. SHARPE (West Chester, PA)West Chester University of PA, Department of Art, Mitchell Hall 219, West Chester, PA 19383, U.S.A.<[email protected]>.

From the Archaic Greek period to the Roman Imperial period, the casting, mounting, decoration and display of bronze statuettes underwent a noticeable change. Archaic and Classical bronze statuettes were overwhelmingly deposited at temples and shrines as votives. In manufacture and appearance they were relatively

simply made: commonly solid cast, with little or no decorative inlay, and cast with the base or occasionally attached to a modest base with tangs. Beginning in the Hellenistic period, when there was a shift away from the use of bronze statuettes as votives towards their display in houses and villas, there is a noticeable increase in their decorative appearance. This change came about at a time when Greek houses and villas increasingly displayed mosaic and painted interiors and sculptural works. Bronze statuettes became increasingly ornate with inlaid designs, patinas and more elaborate bases. The change in venue and viewer must have played a considerable role in the growing elaboration of bronze statuettes. It is perhaps not coincidental that during this period, one of the best known Greek sculptors, Lysippos, is reputed to have made a bronze statuette of Herakles Epitrapezios for his patron, Alexander the Great.

Bronze Finds from the Archaic Sanctuary of Athena in the Phokian Antikyra

Athanasios SIDERIS

Dr Athanasios SIDERIS (Athens)History & Archaeology Department, Foundation of the Hellenic World, 38 Poulopoulou Str., GR-11851 Athens, GREECE.<[email protected]>.

In the early 1950s a small Archaic temple was excavated in Antikyra of Phokis, southeast of Delphi. The temple proved to be dedicated to Athena. The excavations and finds, now in the National Archaeological Museum of Athens, have never been published.

Among the bronzes finds there are a few Archaic pieces of jewelry, a Classical headless statuette of a kore, a statuette-base bearing a late Archaic inscription important for the city’s organization, and a large late Archaic statuette of Athena. This statuette shows Athena in the familiar type of the Promachos and its stylistic features link it with Attic production, known mostly through the Acropolis finds. The Antikyra statuette however seems to surpass them all in size, detail and


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quality of execution. Besides, it seems to be one of the earliest small-scale bronzes with silver and copper incrustation for some of the face details.

A large late Archaic bronze Athena from the sanctuary of Phokian Antikyra.

Scientific Investigation a Copper-Based Pinfrom Köhné Pāsgāh Tepesi in East Azerbaijan Province, Iran

Anise SOLTANI NEJAD, Sepideh MAZIAR, Mohammad MORTAZAVI

Ms Anise SOLTANI NEJAD (Tehran)Art University of Tehran, Applied Art Faculty, Tehran, IRAN.<[email protected]>.Ms Sepideh MAZIAR (Tehran)The Faculty of Literature and Humanities, University of Tehran, Tehran, IRAN.<[email protected]>.Mr Mohammad MORTAZAVI (Esfahan)Art University of Esfahan, Faculty of Conservation and Restoration,Department of Conservation of Cultural and Historic Properties,Hakim Nezami Str. Post Box: 1744, Esfahan, IRAN.<[email protected]>.

In this paper a copper-based pin found in Köhné Pāsgāh Tepesi excavation sites has been investigated. This archaeological site is located between the villages of Máfrüzlü and Shoja’lu, and is part of the administrative district of Káleybár district, in East Azerbaijan province, Iran. It is located on the south bank of the Araxes valley in the Khodääfarin area. The site is one of several sites that will be submerged by the Khodääfarin dam project.

The pin has been thoroughly examined in an attempt to find more about the elements used in the alloys’ composition and the manufacturing methods of this object.

The analytical methods used include ICP, SEM-EDX and metallography. According to the analytical data, an arsenic-copper alloy has been used to make this object with arsenic content about 3%. The metallographic studies showed that cold working has been done effectively. Some parts of this alloy content were antimony and lead that possibly refer to mineral used for extraction.

Bronze Dwarfs in the Hellenistic World: A Fresh Look at the New York Dwarf

Lillian Bartlett STONER

Ms Lillian Bartlett STONER (New York City, NY)Institute of Fine Arts, New York University, 1 East 78 Street, New York, NY 10075, U.S.A.<[email protected]>.

Dwarves had a unique place in the collective imagination of the ancient Mediterranean world. Having been featured in the art and myth of New Kingdom Egypt and Classical Greece over many centuries, by the Hellenistic period dwarves had acquired various associations through a complex process of appropriation (Egyptian to Greek to Roman). Small-scale bronze statuettes of dwarves, of which the New York dwarf (Metropolitan Museum of Art Inv. 97.2.9) is a well-executed example, were frequently displayed in domestic settings during this period. In contemporary scholarship, these


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statuettes of dwarves are commonly discussed as “grotesques,” with little regard to host of historical connotations which set them apart in the Hellenistic period.

Fig. 1.

Fig. 2

This paper charts the specific meanings and uses of bronze dwarves in the Hellenistic period using contemporary literary and artistic representations. The display context of the

New York dwarf will be reconstructed from analogy with similar examples with secure provenance. Using the New York dwarf as a test-case, this paper explores the crucial link between Alexandrian exoticism and Hellenistic domestic display, to better explain the presence of dwarf-inspired imagery in private settings of the Hellenistic period.

Fig. 3

Figs. 1-3: New York dwarf (Metropolitan Museum of Art Inv. 97.22.9) (Lillian Bartlett STONER).

The Bronze Statuette from Gonio-Apsaros (Georgia)

Nino SULAVA

Dr Nino SULAVA (Tbilisi)Georgian National Museum, 3, Rustaveli Avenue, GEO-0105 Tbilisi, GEORGIA.<[email protected]>.

Pontic Apsaros (the fortress of Gonio-Apsaros) – one of the most important sites of the eastern Black Sea area - is well-known in the Classical and Romano-Byzantine literary sources. At this many-layered site materials of the Roman and


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Byzantine periods are well-preserved. The last stage – the 16th century is connected with the Turkish occupation.

Among the archaeological finds, a collection of bronze sculpture is noteworthy. In 2007 a bronze arm was added to this collection, found at the baths area (Gonio-Apsaros - SW, section V). It represents a left arm (l – 62 mm, h – 35 mm), bent at the elbow, with an out-turned thumb. The arm is massive, covered with green The arm could belong to either a statuette, representing a small-scale copy of some monumental sculpture worshipped in a private situation, or to some kind of luxury item (for instance a bronze mirror, with anthropomorphic handles). Analogous examples of small-scale sculpture were widelyspread in the Roman world and are found at many sites. This arm, together with a hoard of golden items, attests to the existence of a society using sophisticated luxury items at Apsaros.

Bridle from Šljivovac in Eastern Serbia

Milica TAPAVIČKI-ILIĆ, Dragana SPASIĆ-ĐURIĆ

Dr Milica TAPAVIČKI-ILIĆ (Belgrade)Archaeological Institute, Knez Mihailova 35/IV, RS-11000 Belgrade, SERBIA.<[email protected]>; <[email protected]>.Mrs Dragana SPASIĆ-ĐURIĆ (Požarevac)National Museum of Požarevac, Vojvode Dulica 10, RS-12000 Požarevac, SERBIA.

In the late nineties, at the entrance to the village of Šljivovac, at the site of „Njive“, a hackamore made of bronze was found with a metal-detector. This find, along with other metal objects discovered in the same way, like a bronze ladle (simpulum), a bronze pot, a bronze bowl and an iron attachment was handed over to the National museum in Požarevac. The latter objects were discovered near the road from Požarevac to Žabari, some 9 km south of Požarevac.

The hackamore is made of a single bronze band. It has a slightly oval front part with two gutter-like recesses on the broadest part of it. On either

side, above and below the recess is a ball-like ornament. At each end of the oval front part, there is a rectangular ending with a rectangular hole for fastening leather straps and bits. Side-parts are rectangular and they meet the front part at a right angle. Finally, at the ends of the side-parts, there is a semicircular bent part, which went under the horse’s jawbone.

Since all the finds were discovered with a metal-detector, there are no reliable data about the archaeological context. Still, there are data about the neighbouring sites, like the near-by village of Kravlji Do, in which a mosaic was foundin what was evidently a villa rustica.. The hackamore, probably of military character, could indicate the existence of a military post (statio) or exchange (mutatio) in this area. It can be dated to the 2nd or 3rd century A.D.

The Athenian Bronze Vessels Production: Evidence from the Old Acropolis Excavations

Chiara TARDITI

Dr Chiara TARDITI (Brescia)Università Cattolica del Sacro Cuore, c/o Via Trieste 17, Brescia, ITALY.<[email protected]>.

This is the first partial presentation of the results of a study and catalogue of the bronze vessel fragments from the early excavations on the Athenian Acropolis, running from the end of the nineteenth century to the beginning of the twentieth century. The fragments do not come from stratified contexts: they were simply collected from fill on the Acropolis.

Briefly and partially described by De Ridder and by Keramopoullos, they are today in the National Archaeological Museum of Athens. In 2007, thanks to the director, Dr. N. Kaltsas, and to the curator of the Bronze Collection, Dr. R. Proskinitopoulou, I started to study and catalogue these materials. There are handles, bases, and rimsmostly from basins, to judge from the great number of preserved handles of various shapes. Dates based upon stylistic analysis alone range


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primarily between the late Archaic and the early Classical periods. The fragments are very homogeneous in style, and for many there are no true parallels in other geographical areas: we can argue that they were locally produced; the quantity and quality of the fragments indicate that Athens can be regarded as an important production center for bronze vessels in late Archaic and early Classical times, together with the better studied Sparta and Corinth. This conclusion supports the textual evidence for Athenian in craftsmanship and production and for its political, economic and artistic development during these periods.

Metals from the Museum of Akşehir (Lycaonia)

Mehmet TEKOCAK, Yasemin İNCEELGİL

Dr Mehmet TEKOCAK (Konya)Selçuk Üniversitesi, Edebiyat Fakültesi, Arkeoloji Bölümü, Kampüs, Selçuklu, TR-42031 Konya, TURKEY.<[email protected]>; <[email protected]>.

In this paper, we would like to introduce metal objects from the Akşehir Museum, many of them acquired by purchase or as gifts. These objects include weapons, jewelery, and works of art. The most important group in the collection consists of bronze fibulae, of which those from the Phrygian periods are the most remarkable. In addition to finding customers in foreign markets, these fibulae were used at home as rich religious dedications. They are commonly found in Phrygian tombs, as well as in temples. From the Roman era, in addition to fibulae, there are bracelets, earrings, rings, tweezers and lamps. There are also a few animal and human figurines from Roman times, such as a nude statuette of Apollo or Hermes and a female bust. The exhibition of these bronzes in a museum in an Anatolian town whose focal industry is the mining of metals is very meaningful for Turkish archaeology.


A bronze torso from Ahşehir (Mehmet TEKOCAK).

Roman Bronze Surgical Tools from Konya

Ahmet Adil TIRPAN, Babür Mehmet AKARSU, Seda AKARSU

Prof. Ahmet Adil TIRPAN (Konya), Mr Babür Mehmet AKARSU (Konya), Ms Seda AKARSU (Konya)Selçuk Üniversitesi, Edebiyat Fakültesi, Arkeoloji Bölümü,Alaaddin Keykubat Kampusü, TR-42031 Konya, TURKEY.<[email protected]>; <[email protected]>.

Besides describing the diagnosis and treatment


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of many illnesses, the physician Hippokrates of Kos also did important surgical works. His works contain information about fracture, dislocation, bandaging methods, as well as about items needed in an operating room, surgical methods, and even the correct standing position for a surgeon during an operation. The legendary physician Galen from Pergamon, who was a follower of Hippokrates, is one of the most important characters of ancient medicine. He advanced the knowledge of human anatomy while he was a surgeon in the gladiators’ school at Pergamon, and the practical knowledgewhich he gained there led to present methods of warfare surgery. Surgical instruments are indicators of medical knowledge during the period to which they belong.The main instruments of surgeons in ancient times were needles, probes, curettes, spatulas, catheters, spoons, drills, etching, forceps, droppers, scalpels, cautery, hooks and tool boxes for these instruments. Many of the cutting and piercing instruments were made of bronze, used for its functionality and hygienic features. In this paper we introduce ancient bronze medical instruments from various excavations that are housed in the Archaeological Museum of Selçuk University.


A Bronze Lamp in the Form of Reclining Zebu from Filippovka

Mikhail TREISTER, Leonid YABLONSKY

Dr Mikhail TREISTER (Bonn/Berlin)Institut für Vorderasiatische Altertumskunde der Freie Universität Berlin, Hüttenweg 7, D-14195 Berlin; or Weißenburgstr. 59, D-53175 Bonn, GERMANY.<www.ancienttoreutics.com>; <[email protected]>.Prof. Leonid YABLONSKY (Moscow)Institute of Archaeology, RAS, Dm.Ulianova ul. 19, RU-117036 Moscow, RUSSIA.<[email protected]>.

The recent excavations of the barrows near the village of Filippovka by the Institute of

Archaeology, Russian Academy of Sciences, led by L. YABLONSKY, have brought to light remarkable evidence for early nomadic culture oin the southern Urals. The barrows have yielded numerous objects of Achaemenid metalwork, including massive silver and gold vessels and jewellery.

Barrow 4, one of the two largest, centrally located, and most probably princely barrows, included numerous burials of horses, a sacrifice place and burial pits, four of which are dated from the late 5th to the mid-4th century B.C.

Bronze lamp from Filippovka (barrow 4, burial 5). Orenburg, Local lore museum, inv. no. 19205/1103 (photos M. TREISTER).

A bronze lamp (l. ca. 29 cm; ht. 13,8 cm; width max. 7,4 cm) or incense-burner in the form of a reclining zebu was found among other objects in a ritual complex installed directly between the wooden coffins of the central burial (no. 5). A long spout for the wick is soldered to the base of the zebu’s neck and connected by a horizontal plate to the upper part of the chest. On its back is a round hole for pouring oil in the lamp.


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We are not aware of parallels among utensils of the Achaemenid period, but images of the zebu (bos taurus indicus) are not unknown in Achaemenid art. The spout has parallels among terracotta and metal bridge-spouted vessels appearing in Iran from the late 2nd millennium to the 9th and 8th centuries B.C. The composition of the alloy with high additions of tin (19,325%) and admixtures of zinc (3,614%) and iron (7,919%) also has Near Eastern parallels. The lamp from Filippovka is likely to have come from Iran or Asia Minor, but its date remains uncertain, except for the terminus ante quem given by the burial context.

Votive Metal Zoomorphic Small Objects from the Pan-Rhodian sanctuary of Zeus Atavyrios

Pavlos TRIANTAFYLLIDIS

Dr Pavlos Triantafyllidis (Rhodes)Department of Archaeological Sites, Research and Monuments, 22nd Archaeological Ephorate of Prehistoric and Classical Antiquities, Ippoton Str., GR–85100 Rhodes, GREECE.<[email protected]>.

A significant number of metal votive zoomorphic small objects dated from the late ninth century BC to the early Hellenistic period (early 3rd c. B.C.), was found in the pan-rhodian sanctuary of Zeus Atavyrios at the top of the homonymous higher mountain of Rhodes; a small part of this group is currently exhibited in the archaeological exhibition for the “2400 Years of Rhodes’ in the Grand Master’s Palace at the medieval town of Rhodes.

The zoomorphic metal objects were found in the sacred apothetes or bothroi of the sanctuary, part of which was excavated for a short period in 1927 by the then Italian Archaeological Service. Although the excavation of the sanctuary has not yet been completed, the area has been extensively looted, until recently, due to the remoteness and to the impeded accessibility of its region.

These votives are mainly bronze zoomorphic

figurines, mostly animals in a variety of shapes (bulls, buffaloes, oxen, bison, etc.), or models of insects (grasshoppers, etc) with particular morphological features related to the nature of the cult of Zeus Atavyrios in Rhodes, which also, suggest the existence of a local metal-workshop where they were manufactured. Among those of particular interest are the bronze plates in the shape of an ox, which were worthless offerings, substitutes for most precious solid or hollow zoomorphic figurines, some of which have dedicatory inscriptions of their owners.

The current paper refers to matters of chronology and typological classification of these offerings, as well as to interpretation issues associated to the cult and the cult practice in the Zeus Atavyrios sanctuary from the early historical times until the Roman imperial period.

On Phrygian Bronzes: Artifacts from the Gordion City Mound

Maya VASSILEVA

Dr Maya VASSILEVA (Sofia) Department of Mediterranean and Eastern Studies, Office # 406, New Bulgarian University, 21, Montevideo Street, BG-1618 Sofia, BULGARIA.<[email protected]>.

Gordion, the Phrygian capital city, has yielded one of the largest collections of bronze objects in the 1st millennium B.C. Near East, rivaled only by the Iranian finds. Studying this extensive bronze assemblage aims at demonstrating more clearly the rôle of Gordion, and Phrygia in general, as a major bronze-producing center in Anatolia.

The intent of this paper is to present recent research on Phrygian bronzes discovered at the Gordion City Mound. Fibulae and belts are among the most numerous and attractive objects at Gordion. The chronological distribution of fibula types will be compared to that of the finds from the tumuli at Gordion.


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Bronze vessels were more poorly preserved at the mound than other categories of objects. However, similar lines of development to those found in the tumuli could be followed.

Figurines of animals are a special group of bronzes that could reveal a blend of different elements in the formation of the Phrygian artistic style. Anatolian, Iranian and “Animal Style” features could possibly be recognized. The statuettes also pose the question about the Phrygian contribution in transmitting Anatolian traits to the west, to the Greek world.

Recherches sur la diffusion des parures de l’âge du Fer des Balkans en Ionie et en Méditerranée

Stéphane VERGER

Prof. Stéphane VERGER (Paris)Ecole Pratique des Hautes Etudes, UMR 8546 – Ecole Normale Supérieure,45 rue d’Ulm, F-75230 Paris, FRANCE.<[email protected]>.

La diffusion des objets de parures originaires des cultures de l’âge du Fer des Balkans a fait l’objet de nombreuses études depuis les années 1970, parmi lesquelles se signalent notamment celles de K. Kilian, V. Pingel et J. Bouzek. Depuis lors, diverses nouvelles découvertes effectuées tant dans le domaine égéen qu’en Méditerranée occidentale modifient parfois sensiblement les cartes de distribution de certains types. L’examen précis des contextes de découverte permet de discuter la la datation des objets, mais aussi de préciser les itinéraires qu’ils ont suivis depuis leur région de production jusqu’à leur lieu d’enfouissement, souvent dans des sanctuaires. De nouvelles fouilles dans les nécropoles de l’âge du Fer de certaines régions des Balkans apportent des indications précieuses sur le statut social et les fonctions rituelles des utilisatrices d’origine de ces parures et, par conséquent, sur les raisons de leur large diffusion dans tout le bassin méditerranéen. Une attention particulière sera portée sur la question

de la présence d’objets originaires des Balkans dans les sanctuaires archaïques de l’Ionie, qui sera mise en perspective avec d’autres situations régionales.

Trullae from Serbia

Miroslav VUJOVIĆ

Dr Miroslav VUJOVIĆ (Belgrade)Department of Archaeology, Faculty of Philosophy, University of Belgrade,Ul. Čika-Ljubina 18-20, RS-11000 Belgrade, SERBIA.<[email protected]>.Casseroles (trullae) are the earliest and best represented Roman bronze vessels found in Serbia and can be dated from the end of the 1st century B.C. to the 3rd century A.D. Judging from the vessels signed with the names of several masters (Norbani, P.C. Polybius and A. Epaphroditus), specimens from the South Italic craft centers were imported during the Claudian era to the end of the 1st century A.D. Sites where early imperial casseroles have been found represent the oldest provincial urban centers and military camps in Serbia (Sirmium, Singidunum, Viminacium). The reason for this is certainly the multifunctional character of casseroles and their use as a part of military equipment. There are also products signed by Gallic masters (Carugenus, Cerealis, Caratus) who successfully sell their products in the Danubian provinces during the second half of the 1st century and early 2nd century A.D. Vessels from the western provinces are generally characteristic for the following epoch (2nd – 3rd century A.D ). These specimens, created in Gallic and Rhine workshops, are primarily decorated with relief or in the technique of polychrome enamel.

Bronze Crouching Lion in the Lehman Collection, Metropolitan Museum of ArtDate: ca. late 5th-early 3rd c. B.C. (late Etruscan or middle Roman Republican; Italy); long acquired by the Museum

Katherine E. WELCH


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Dr Katherine E. WELCH (New York City, NY)Institute of Fine Arts, New York University, 1 East 78 Street, New York, NY 10075, U.S.A.<[email protected]>; <http://www.nyu.edu/gsas/dept/fineart/faculty/welch.htm>.

The motif of the crouching lionis not uncommon in the art of the ancient Mediterranean, yet the Lehman lion is stylistically unique and thus a strikingly important example.

The lion incorporates varying levels of sculptural detail and quality. The forepaws are somewhat abbreviated, for example, with little differentiation between claws. The hindquarters are better articulated, with the claws and sinewy tendons of the rear legs reflecting an accurate understanding of feline anatomy and exhibiting a fair degree of artistic verisimilitude. Ribs and hipbones are subtly modelled. The mane is indicated by a pronounced, stylized ridge of fur, which frames the head and continues in a line running down the spine, terminating in a rope-like, looped tail. Tufts of fur are articulated by deep straight incisions.

The fact that the lion is cast in one piece by the direct, lost-wax method (introduced ca. the mid 6th c. B.C) provides a good terminus post quem. The body is hollow, and the extremities (paws, tail) are solid. There is no evidence of additional tooling on the lion after casting. No trace of gilding, or inlay for the eyes, survives. These technical details suggest a date relatively early in Greco-Roman bronze production.

The overall shape and form of the Lehman lion is far more naturalistic than the deep-chested, highly stylized, and physiognomically powerful examples of lions in Archaic Greek and Etruscan Art of the 7th and 6th centuries B.C. However, the Lehman lion is far less naturalistically rendered than Hellenistic examples period (mid-late 4th c. and following). Therefore, it is probable that the Lehman lion dates between the 5th century and the late 4th century B.C. It is therefore a rare survival of early Republican-period production.The small size of the Lehman lion suggests that

it was either a grave good (most likely), a votive offering, or an ornamental furniture attachment. In its ancient setting, the bronze lion could have had an apotropaic function and would also have underscored bravery and prowess (cf. Hesiod, Theogony II 168-177).

Focussing on a Special Joining Technique of Separate Cast Life-size Ancient Bronze Statues

Frank WILLER

Mr Frank WILLER (Bonn)LVR-LandesMuseum Bonn, Rheinisches LandesMuseum für Archäologie,Kunst- und Kulturgeschichte, Bachstraße 5-9, D-53115 Bonn, GERMANY.<[email protected]>. As a result of numerous investigations on ancient bronze statues in the past, many questions concerning casting technique have been answered. Moreover, the investigations allowed for a deeper understanding of the technique. As it is known, most of these bronze statues were cast by means of the indirect cast technique using beeswax moulds to replicate the mother mould, a reproduction technique which allows the production of the same statue several times. There is no doubt that the main technique for large scale statues is based on the process of casting separate parts of the statue and joining them together afterwards. The reasons why this joining technique has been applied have been published in several excellent papers over the last twenty years. Yet, the joining technique itself has always been a controversial issue. In fact, metal analyses, x-rays and computer tomography have provided a detailed insight into the principles of operation. But practical experiments have revealed that these methods were by no means trivial. Perhaps the difficulty and complexity of this joining technique in combination with changing aspects of the production process in the 1st century B.C. when popular statues had to be replicated in large numbers required a new reversible joining technique.


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On the other hand, the increase of repairs caused by external damage to the statues during their use may have led to this change in production. Nevertheless, this new technique provides easier access to the interior of a statue. In the future, this technique could be applied to support traditional archaeological dating methods.The observations I have made in the last ten years while examining original materials enable me to present this interesting work at the conference.

“Erzgießerschale” from Berlin (Frank WILLER)

Roman Bronze Statues from the UNESCO World Heritage Limes

Susanne WILLER, Frank WILLER

Dr Susanne WILLER (Bonn), Mr Frank WILLER (Bonn)LVR-LandesMuseum Bonn, Rheinisches LandesMuseum für Archäologie, Kunst- und Kulturgeschichte, Bachstraße 5-9, D-53115 Bonn, GERMANY.<[email protected]><[email protected]>.

Bronze statues are among the most important object groups from the Roman border provinces north of the Alps. Especially for the emperor and his family, portraits and statues were put up in a great number in the military camps and civil settle ments along the Limes. But also in ritual contexts, there must have been bronze statues in considerable numbers.

Therefore, it is all the more astonishing that these statues which are still preserved in

numerous fragments have never been collected systematically and, to this day, have often been archived as ”forgotten old stock” in the depositories of the museums and other collections.

Now the research project of the Archäologisches Landesmuseum Baden-Württemberg, the Institut für Archäologische Wissenschaften der Universität Frankfurt a. M. and the LVR-LandesMuseum Bonn are going to reappraise these important pieces and make them accessible for researchers as well as for the public.

Metal head of Gordian and its x-ray picture (Susanne WILLER).

In addition, the project pursues an innovative approach that combines archaeological-historical, archaeometrical and production methods. Hence, besides the interpretation of the bronze fragments, the reconstruction of the original statues, their locations and functions,


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as well as aspects of production techniques and material science are important considerations. This approach shall not only allow new statements on the complicated bronze industry of the Romans but shall also significantly advance research on of the statuary representation north of the Alps.

The research project is supported by the Volkswagenstiftung, Germany, within the initiative „Research in Museums“, and by numerous partners in museums, universities, and specialized research institutes.The lecture will give an overview of the project and present the first research results.For more information see also www.grossbronzenamlimes.de

Die Werkstatt der Athena Promachos

Gerhard ZIMMER

Prof. Gerhard ZIMMER (Eichstätt)Professur für Klassische Archäologie der Katholische Universität Eichstätt, Ostenstrasse, Ehemalige Staatsbibliothek, D-85072 Eichstätt, GERMANY.<[email protected]>.

Am Südhang der Akropolis wurde 2006 eine riesige Grube für den Guß einer Großbronze freigelegt und mit einem Glasdeckel geschützt. Dadurch werden die Einbauten aus Lehm und Lehmziegeln konserviert. Die Grube enthielt auch eine große Anzahl von Fragmenten des gebrannten Formmantels, die in den vergangenen Jahren sorgfältig gereinigt, restauriert und gefestigt worden sind.

Sie liefern uns neue Erkenntnisse zur Technik kolossaler Bronzestatuen wie z.B. die Verwendung von eisernen Bändern als Schutz gegen den Druck der einfließenden Bronze, aber auch die konkrete Anlage von Eingußtrichtern und Luftöffnungen. Einzelfunde aus der Grube oder auch die zum Ausschmelzen des Wachses angewandte Technik weisen darauf hin, daß die beiden Gruben gleichzeitig und für den Guß einer monumentalen Statue benutzt worden sind.

Hinweise auf ihr Aussehen haben Formreste am Grubenboden erbracht.

Sie lassen auf eine kolossale Frauenstatue im Peplos schließen und stammen mit größter Wahrscheinlichkeit vom Guß der großen ehernen Statue des Phidias, der sog. Athena Promachos, die aus der Beute der Perserkriege errichtet wurde und durch Jahrzehnte den einzigen Schmuck der zerstörten Akropolis bildete.

Messungen mit Georadar und Geoelektrik haben zudem Hinweise auf eine weitere riesige Grube in unmittelbarer Nähe erbracht, welche vermutlich ebenfalls zu der Werkstatt gehörte. Die Rekonstruktion der Werkstatt mit ihren technischen Anläufen und die Wiedergewinnung der dort gegossenen Statue stellen unsere Kenntnis des Geländes zwischen dem Theater des Herodes Attikus und dem Asklepieion auf eine neue Grundlage.

Physico-Chemical Characterization of Archaeometallurgical Finds from Kmpije Locality (Bor, Serbia)

Dragana ŽIVKOVIĆA, Nada ŠTRBACA, Miroslav SOKIĆB, Velibor ANDRIĆC, Igor JOVANOVIĆD, Marija JOVIČIĆD, Branka ANDJELIĆE

Prof. Dragana ŽIVKOVIĆA (Bor)University of Belgrade, Technical Faculty, VJ 12, RS-19210 Bor, SERBIA.<[email protected]>.Prof. Nada ŠTRBAC (Bor)University of Belgrade, Technical Faculty, VJ 12, RS-19210 Bor, SERBIA.<[email protected]>.Miroslav SOKIĆB (Belgrade)Institute for Technology of Nuclear and Other Mineral Raw Materials, Belgrade, SERBIA.Velibor ANDRIĆC (Belgrade)Institute for Nuclear Sciences “Vinča”, Belgrade, SERBIA.Igor JOVANOVIĆD (Bor), Marija JOVIČIĆD (Bor)Museum of Mining and Metallurgy, Bor, SERBIA.Branka ANDJELIĆE (Bor)Institute of Mining and Metallurgy, Bor, SERBIA.


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The Kmpije locality is a multilayered archaeological site located in the village of Bor Petar Kocic, on the south-eastern outskirts of the city, in the area where the Museum of Mining and Metallurgy of Bor carried out archaeological excavations in several campaigns from 2004 to 2007.

The existence of a large settlement dated to the Eneolithic period was confirmed. It consists of two phases – the older stage belongs to the early Eneolithic Bubanj - Salcuta - Krivodol cultural complex, dated to the second half of the fourth millennium B.C., while the later stages belong to the middle-eneolithic Kocofeni - Kostolac culture, between the end of the fourth millennium and the beginning of the third millennium B.C. Because of the continuous metallurgical activity in this locality, some slag findings from the Middle Ages, the Ottoman period and modern times have also been found and cannot be clearly separated in the vertical stratigraphy as a separate stratum. The results of the physico-chemical characterisation of a number of archaeometallurgical slag-finds from the Kmpije site, including chemical analysis, XRD, DTA and EDXRF, are presented in this paper. The investigations were performed in order to define the type of processes and activities used in the early period of metallurgy in this part of south-eastern Europe, which is well known as a rich archaeometallurgical region.

The Bronze Cult Objects from the Eastern part of the Province of Dalmatia

Radmila ZOTOVIĆ

Dr Radmila ZOTOVIĆ (Belgrade)Archaeological Institute, Knez Mihailova 35/IV, RS-11000 Belgrade, SERBIA.<[email protected]>.

In the eastern part of the Roman province of Dalmatia (today eastern Serbia, northen Montenegro and eastern Bosnia and Herzegowina) has yielded Roman votive altars, votive reliefs and bronze figurines.

Roman bronze cult objects are rare in eastern Dalmatia. There are only single examples of statuettes of Silvanus, Sabazios, Venus, Silenus and Mercury. The god Sabazios is represented by the bronze hand in the position of the fingers in benedictio latina, and with the snake, lizard and turtle. Silvanus is represented as a standing statue of a young man with a flower and forest fruits in the right hand and a wreath on the head. An applique of Silenusis made with his characteristic ivy wreath, ears and nose, and erect nipples. The bronze figurines of Venus and Mercury show possible influence from Pannonia.The chronological range for these bronze objects is from the late second century to the end of the third century A.D. Perhaps these bronze cult figurines represent the influence of the Pannonian workshops, or perhaps in the workshops of Salona, fact that is supported by textual references to a connection between eastern Dalmatia and Salona.

Documents

A Group of Bronze Vessels from Arykanda in Lycia /Arykanda'dan Bir Grup Bronz Kap