The Helen H. Berkeley Gallery of Ancient Art
opened 12/16/09
1
The Helen H. Berkeley Gallery of Ancient Art:
The Arts of Ancient Egypt, Greece, and Rome
The works of art produced by these powerful civilizations shaped a
cultural legacy that has influenced Western artistic traditions for
thousands of years.
These remarkable and enduring ancient cultures emerged along the Nile River
and Mediterranean coastline as early as 4,000 BCE. They developed over time
into sophisticated societies defined by their unique religions, writing systems,
architecture, and art. Over the next three millennia, conflict, colonization, and
commerce created an ebb and flow of artistic, social, and cultural exchange
throughout the region.
What do “BCE” and “CE” mean?
BCE (Before the Common Era) and CE (Common Era) refer to the same time periods as the
more traditional BC (Before Christ) and AD (“Anno Domini,” which means “The Year of our
Lord”).
In today’s global society, constant interaction between people of all religious beliefs requires
a shared, or common, way of reckoning time. Although the terms BCE and CE have their
origins in the Christian calendar, they are now widely used by people of many faiths and
cultures.
For this reason, the Memorial Art Gallery has adopted BCE and CE for use in its galleries.
The Helen H. Berkeley Gallery of Ancient Art
opened 12/16/09
2
Egypt
Preparations for the afterlife inspired the ancient Egyptians’ religious practices, social
customs, and technological innovations.
Tomb sculptures, funerary objects, personal possessions, and hieroglyphic writings tell the stories
of Egyptian kings, officials, laborers, servants, and their numerous gods. Egyptian culture and
the arts that reflect it survived 5,000 years of changing dynasties and foreign conquests. Egypt’s
cultural and artistic traditions proved stronger than any political rival or military invader until the
rise of the Roman Empire.
Gods and Goddesses
Ancient Egyptians worshipped hundreds of gods and goddesses, all integral to the
natural cycle of life, death, and rebirth.
Many gods and goddesses symbolized elements of the natural world like the sky, earth, air, sun,
or moon. Some also represented concepts such as wisdom, fertility, love, or chaos. A number of
gods offered protection and good fortune, but others inspired dread and fear. All of these deities
played important roles in the ways that Egyptians lived their lives on earth and how they
prepared for an eternal life after death.
Djed-pillar
Third Intermediate to Late Period
(1069—332 BCE)
Faience
28.168
The God Osiris as a Mummified Man
Third Intermediate to Late Period
(1069—332 BCE)
Bronze
51.116
The God Osiris Seated
Late Period (664—332 BCE)
Bronze
28.2003L
Osiris, Egyptian god of the Underworld, ruled as king of all Egyptian gods and goddesses. The
djed-pillar represents Osiris and symbolizes the strength of his backbone.
The God Khepri as a Scarab Beetle
Late Period (664—332 BCE)
Stone
16.2003L
The scarab was one of the most popular
and powerful amulets in ancient Egypt.
The Helen H. Berkeley Gallery of Ancient Art
opened 12/16/09
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Gods and Goddesses, con’t
The Goddess Wadjet
Saite Period (685—585 BCE)
Bronze
51.118
The God Thoth as an Ibis
Late Period (664—332 BCE)
Bronze
28.400
The God Thoth as a Man
with an Ibis' Head
Late Period (664—332 BCE)
Faience
28.182
The God Sokar as a Falcon
Late Period (664—332 BCE)
Wood, pigment
13.2003L
The Goddess Bastet with the
Aegis Shield
Late Period (664—332 BCE)
Bronze
T338
The Goddess Neith
Third Intermediate - Late Period,
(1069—332 BCE)
Bronze
51.117
The God Horus as a Youth
Late Period (664—332 BCE)
Bronze
51.119
The God Horus as a Falcon
Saite Period (664—525 BCE)
Bronze
53.44
The God Anubis as a Jackal
Late Period (664—332 BCE),
with later restoration
Wood, pigment
28.398
The God Anubis as a Man
with a Jackal's Head
Third Intermediate - Late Period,
1069—332 BCE
Faience
28.180
Sphinx
Ptolemaic Period (332—30 BCE)
Granite
51.307
The sphinx, a mythical creature with a human head and a lion’s body, is found
in many ancient cultures. In ancient Egypt, the sphinx, a version of the solar
god Horus, represented the dawn and the early rising sun. Egyptians
associated ruling pharaohs with Horus and his royal powers. Large stone
sphinxes frequently guarded the tombs of pharaohs and high priests.
The Helen H. Berkeley Gallery of Ancient Art
opened 12/16/09
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Protected for Eternity
Ancient Egyptians believed that funerary rituals of mummification, ceremonial
rites, and proper burial would enable them to live again in the afterlife.
To begin the deceased’s journey into the afterlife, priests preserved the body through a
complex and elaborate ritual called mummification. This process transformed the corpse
into a body that would last for eternity.
An embalmer would remove the brain and some internal organs, preserving them in
special containers. The body itself dried out for about 40 days, packed in a natural salt
called natron. Ritual prayers, thousands of yards of linen wrappings, and protective
amulets completed the body’s preservation, and allowed the deceased safe passage
through the afterlife.
Shrine Coffin of Pa-debehu-Aset
Ptolemaic Period, 332—30 BCE
Wood, polychromy
2000.11.1
Inner Coffin of Pa-debehu-Aset
Ptolemaic Period, 332—30 BCE
Wood, polychromy, gilding, with glass, stone
and shell inlay
2000.11.2
The Coffins of Pa-debehu-Aset
This pair of nesting coffins once held the mummy of Pa-debehu-Aset, an Egyptian
official from the city of Asyut, midway down the River Nile.
Pa-debehu-Aset’s mummy, now lost, would have been placed in the anthropoid, or humanshaped, coffin. The anthropoid coffin would have nested in and been protected by the
rectangular outer coffin, called a shrine coffin because it resembles the sacred shrine of a
god. Both of Pa-debehu-Aset’s coffins are decorated with images and symbols of the gods
and goddesses, as well as spells and prayers that would guide his soul into the afterlife.
Like all ancient Egyptians, Pa-debehu-Aset believed that the mummy was the eternal
dwelling place for the spirits of the deceased. The divine powers of gods and goddesses
would protect him during his life and after his death. Because of its human shape, the
anthropoid coffin could serve as a substitute body should Pa-debehu-Aset’s mummy be
destroyed.
The Helen H. Berkeley Gallery of Ancient Art
opened 12/16/09
Protected for Eternity, con’t
Sacred Protection for the Afterlife
Ancient Egyptians believed that ornamented masks and body coverings as well as
sacred texts could magically protect the mummy in the afterlife.
This mask, collar, and sandals are made of cartonnage, a material of plaster and linen
similar to papier-mâché. In ancient Egypt, these cartonnage forms, frequently
ornamented and painted with depictions of gods and goddesses, were placed on the
body after it was mummified. These images, along with hymns and texts from the
Book of the Dead, protected the mummy in the afterlife in the same way as the
decoration on anthropoid coffins.
Mummy Mask
Roman Period (30 BCE—350 CE)
Cartonnage, pigment
15.2003L
Collar
Ptolemaic Period (332 BCE—30 CE)
Cartonnage, pigment
21.2003aL
Sandals
Ptolemaic Period (332 BCE—30 CE)
Cartonnage, pigment
21.2003b&cL
Eye Inlays
New Kingdom to Late Period (1550 BCE—332 BCE)
Bronze, stone, ivory
30.2003a – b
5
The Helen H. Berkeley Gallery of Ancient Art
opened 12/16/09
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The Peabody Essex Mummy
Roman Period (30 BCE—350 CE)
Linen, cartonnage, human remains, wood, pigment, gilding
Loaned by the Peabody Essex Museum, Salem,
Massachusetts, E5817A (33.2003L)
The Peabody Essex Mummy
This is the mummy of a man who died around 50 CE, when Roman rulers controlled
Egypt. Found by George A. Peabody in Fayum, Egypt on May 9, 1901, the mummy
belongs to the collection of the Peabody Essex Museum in Salem, Massachusetts.
Priests wrapped his body in strips of linen, now discolored by the resins and ointments used
during mummification. The painted designs on his coverings show protective gods and
goddesses, including a winged sun disc and the kneeling goddess Nut. The gold of his mask
indicates his ascendancy into the realm of the gods. His hair, painted blue, is decorated with
a winged scarab.
Why are Mummies in American Museums?
During the 1800s and early 1900s, many Europeans and Americans traveled to Egypt. These
travelers, who were fascinated by ancient Egyptian life and history, frequently found or
purchased amulets, scarabs, coffins, and mummies. Some mummies were displayed as
curiosities in private homes; others were collected by museums and studied in universities.
But many were destroyed, either deliberately or through neglect. In recent years museums
have made enormous efforts to preserve and protect these deceased individuals through
careful conservation and proper environmental conditions.
Medical Technology and Mummies
X-rays and CT scans allow scientists to learn about mummies without damaging them. Xrays clearly show the condition of the skeleton, while CT scans—X-rays that are taken from
multiple angles and combined to produce a cross-wise “slice” of a body structure—provide
information about the soft tissues that surround the bones. The X-rays and CT scans of The
Peabody Essex Mummy show that his arms are crossed across his chest, emulating the god
Osiris. The images also demonstrate that almost every bone on his left side is disarticulated,
or separated at the joints. Specialists determined that this damage happened after death,
possibly because of poor burial conditions, looting, or transport from Egypt to Salem in the
early 1900s.
The Helen H. Berkeley Gallery of Ancient Art
opened 12/16/09
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Amulets
Amulets are small objects that represent gods, goddesses, and symbols of rebirth. Made of
bronze, clay, or stone, they offered the wearer sacred protection both in the world of the
living and in the afterlife. Ancient Egyptians wore amulets as jewelry during life; priests
would also place amulets within the wrappings of a mummy as they prepared it for burial.
Certain amulets were placed in specific locations on the mummy, such as over the heart,
the throat, or the incision on the abdomen.
The djed-pillar is the symbol of the god Osiris’ backbone and represents
stability and strength. Priests placed small djed-pillar amulets near the spine of
the deceased during the wrapping process.
Djed-pillar Amulet
Egyptian, Late Period (664—332 BCE); faience; Peabody Essex Museum,
Salem, Massachusetts, E26478 (26.2003L)
The two-fingers amulet represents the fingers of Osiris and symbolizes his
protective and healing powers. Priests placed this amulet near the incision used
for removing the mummy’s internal organs because it would magically heal the
wound.
Two-fingers Amulet
Egyptian, Late Period (664—332 BCE); stone; Peabody Essex Museum, Salem,
Massachusetts, E54620 (29.2003L)
The wedjat-eye represents the eye of the god Horus and is a powerful symbol of
healing, rebirth, and protection.
Wedjat-eye Amulet
Egyptian, Late Period (664—332 BCE); faience; Peabody Essex Museum,
Salem, Massachusetts, E5764 (18.2003L)
The tyet sign represents the girdle, or belt, of the goddess Isis. Amulets with tyet
signs, always included in the wrappings of mummies, were usually placed on
the neck. This amulet shows six tyet signs linked together.
Tyet Sign Amulet
Egyptian, Late Period (664—332 BCE); faience; Peabody Essex Museum,
Salem, Massachusetts, E5766 (19.2003L)
The figure of the ba-bird has a human head on a bird’s body and symbolizes the
ba, one of the human spirits that could return to the body after death. Ba-bird
amulets were usually placed on the mummy’s chest and, if necessary, could act
as a substitute for the ba of the deceased.
Ba-bird Amulet
Egyptian, Third Intermediate Period (1069—664 BCE); faience and pigment;
The C. Herbert Ocumpaugh Collection, 28.261.1
The Helen H. Berkeley Gallery of Ancient Art
opened 12/16/09
Amulets, con’t
Anubis was the god of mummification and protected the deceased’s body from
harm. Amulets of Anubis would not have been worn as jewelry by the living but
would only have been placed in the linen wrappings of the mummy.
Amulet of the God Anubis
Egyptian, Late Period (664—332 BCE); faience; The C. Herbert Ocumpaugh
Collection, 28.179
The papyrus scepter, which represents the papyrus plant and fresh vegetation,
symbolizes rebirth.
Papyrus Scepter Amulet
Egyptian, Late New Kingdom (1550—1070 BCE); faience; The C. Herbert
Ocumpaugh Collection, 28.170
Taweret, shown as a pregnant hippopotamus, was a domestic rather than
funerary goddess. Women wore amulets of Taweret to protect them during
childbirth.
Amulet of the Goddess Taweret
Egyptian, Late Period (664—332 BCE); faience; Peabody Essex Museum,
Salem, Massachusetts, E5745 (17.2003L)
Amulets of nude dwarfs probably represent Ptah, the god of craftsmen, and were
worn by many workers for protection.
Amulet of of a Nude Dwarf God, possibly Ptah
Egyptian, Late Period (664—332 BCE); faience; The C. Herbert Ocumpaugh
Collection, 28.153
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An Introduction to the Ancient World Reinstallation – Part 1
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Canopic Jars
During the process of mummification, the embalmer removed four major internal
organs—the liver, lungs, stomach and intestines. He mummified these organs separately
and placed them in special containers called canopic jars. The lid of each jar represented
one of a group of gods called “the Four Sons of Horus.”
Canopic Jars – Set of 4 (Human, Jackal, Baboon, Hawk)
Late Period (664—332 BCE)
Stone
Loaned by the Metropolitan Museum of Art; Gift of James Douglas, 1890,
MMA 90.6.31-34 (3-6.81L)
The human-headed god Imsety
guarded the liver.
The jackal-headed god Duamutef
was in charge of the stomach.
The baboon-headed god Hapi
watched over the lungs.
The falcon-headed god Qebhsenuef
protected the intestines.
.
Ibis Mummy with Jar & Lid
Late Period, 664—332 BCE
Pottery, linen, ibis remains
14.2003a-cL
Cat Mummy
Late Period, 664—332 BCE
Linen, animal remains
23.2003L
Mummy Wrapping Fragment
Linen
35.2003L
Small bowl of natron salts
Heart Scarab
Late Period, 664—332 BCE
Stone
25.2003L
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The Blessed Afterlife
Ancient Egyptians believed that death was not the end of life, but the end of one journey
and the beginning of another.
In preparation for the afterlife, Egyptians filled their tombs with prized possessions, foods,
and goods from everyday life. Decorative wall carvings and shawabti figures provided
support and comfort to the deceased.
After burial, the spirit began the dangerous journey through the underworld, facing a series
of tests and trials. A successful journey relied on spells and prayers from The Book of the
Dead, recited by priests and placed with the body in the tomb. If proven worthy, the spirit
would live on eternally with the gods.
Relief from the Tomb of Metetu, ca. 2400—2250 BCE
Old Kingdom (2686—2125 BCE)
Limestone
73.64
This fragment of carved stone was once part of the decorative walls of a tomb for an Egyptian man
called Metetu, who is pictured seated at the top left corner of the block. The hieroglyph signs in the
top row of the fragment spell out his name and his position. They tell us that Metetu worked in the
“great house,” or the king’s court, as a metalworker.
Tomb carvings from Metetu’s time used colorful scenes from daily life to illustrate the sources of the
food offerings required by the dead. The bottom row of this fragment shows two men, identified as
“guardians of the flock.” The man on the right holds the horn of a valuable long-horned cow, while
the hieroglyphs around his head tell of “bringing the fattened calf” from the farm known as “Keth.”
King Ny-user-r, ca. 2390—2360 BCE
Old Kingdom (2686—2125 BCE)
Red granite
42.54
This figure of King Ny-user-ra wears a royal striped linen headdress and carries a mace—
a symbol of power—in his right hand. His name means “the one who belongs to the god
Ra.” Ra, one of the earliest and most powerful Egyptian gods, was associated with the sun.
The sculpture was probably buried in the King’s tomb to serve as the repository for Nyuser-ra’s ka, or life force.
An Introduction to the Ancient World Reinstallation – Part 1
Standing Male Figure,
2680—2258 BCE
Old Kingdom (2686—2125 BCE)
Wood, paint
40.66
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Striding Man, ca. 1700 BCE
Middle Kingdom (2055—1650 BCE)
Bronze
79.39
Ex-Voto (Altar Offering)
Ptolemaic Period (332 BCE—30 CE)
Limestone
29.66
Black-Topped Red Ware Vessel
Predynastic Period (ca. 5300—
3000 BCE)
Terracotta
28.106
Loaf of Bread from a Tomb,
before 3400 BCE
Predynastic Period (ca. 5300—
3000 BCE)
28.122
Cylindrical Jar
Predynastic Period (ca. 5300—3000 BCE)
Terracotta, paint
51.201.1
Boat Model from a
Child's Tomb
Predynastic Period
(ca. 5300—3000 BCE)
Terracotta
28.362
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Shawabty Figures
Ancient Egyptians believed that the gods would require them to work hard in the
afterlife regardless of their wealth or status. In order to guarantee an eternity free
of labor, they placed shawabti figures—small models of human beings made of
stone, wood, or faience—in their tombs. The deceased could call upon these
figures, painted or carved with images of agricultural tools like hoes and baskets,
to serve as substitute workers. Inscriptions on the front often give the name of
the deceased and a promise to perform the necessary tasks.
Shawabti of Padi-Osiris,
Overseer of the Army
Late Period (664—332 BCE)
Faience
28.405
Shawabti of Pa-di-Khonsu
Ptolemaic Period (332—30 BCE
Faience
22.2003L
Shawabti
(unknown date)
Faience
37.52
Shawabti Overseer Figure
Third Intermediate Period
(1069—715 BCE)
Faience
28.431
Shawabti of Pa-tchaw-medi-Amun
Third Intermediate Period,
(1069—664 BCE)
Faience, pigment
32.2003L
Shawabti of Imhotep
Late Period (664—332 BCE)
Faience
38.20
Shawabti of Psamtek
Late Period (664—332 BCE)
Faience
51.123
Shawabti of Hor, Son of Mer-Neith
Late Period (664—332 BCE)
Faience
12.2003L
Shawabti Box, 700—625 BCE
Late Period (664—332 BCE)
Wood, pigment
24.2003L
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Essentials of Daily Life
Everyday items such as cosmetic vessels, jewelry, and household goods illuminate aspects
of domestic life in ancient Egypt.
Men and women from all levels of society used scented ointments, perfumed oils, and
mineral-based cosmetics to protect the skin from the harsh desert climate as well as enhance
personal appearance. Jewelry fashioned from precious metals, colored glass, and faience
served as ornamentation, displayed social status, and often protected against evil. These and
other personal items accompanied the deceased’s mummy into the tomb for continued
enjoyment and use in the afterlife.
Standing Figure of the Finance Minister Maya, ca. 1330 BCE
New Kingdom (1550—1295 BCE)
From Saqqara
Limestone
42.55
The Tomb of Maya
This drawing, made in 1843 by the German archaeologist Richard Lepsius, shows the
complete relief panel from Maya’s tomb. Maya holds his staff of office and faces his
wife Meryt, who offers a large unknown fruit, identified in the hieroglyphic
inscriptions as “The Fruit of Life of Amun.”
Above the two figures, four large columns of hieroglyphs offer prayers for continued
supplies of food and other goods to sustain their spirits in the afterlife. Each column
ends with Maya’s titles and his name:
Royal Scribe, Overseer of the Royal Household, Maya, Nobleman, true of voice.
New Year's Bottle
Saite Period (664—525 BCE)
Terracotta, glaze
51.200
The celebration of the ancient Egyptian New Year included gifts of these distinctively
shaped vessels incised with garlands, geometric designs, and inscriptions that invoke the
gods to grant the owner life, health, and happiness. Two baboons, sacred to the calendar
god Thoth, sit on each side of the papyrus-flower neck of the bottle. The bottles possibly
contained perfumes or oils used in New Year ceremonies, or perhaps water from a sacred
pool.
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Essentials of Daily Life , con’t
Wedjat-eye Amulets
Third Intermediate Period
(1069-664 BCE)
Faience
28.205
Strainer
Ptolemaic Period (332 BCE—
30 CE)
Bronze
28.337
Necklace with Symbols
and Amulets
New Kingdom (1550—1295 BCE)
Faience
52.55
Container, 1200 – 1070 BCE
New Kingdom (1550—1295 BCE)
Steatite
28.227
Bracelets (2)
Ptolemaic Period (332 BCE—30
CE)
Terracotta, faience glaze
28.233, 28.236
Jar in the Form of a Human Head
(unknown date)
Clay, paint
28.497
The Goddess Taweret
Third Intermediate to Late Period
(1069—332 BCE)
Faience
28.156
The God Bes
Roman Period (30 BCE—350 CE)
Ceramic
31.2003L
Scarab (Beer-drinkers)
New Kingdom (1550—1069 BCE)
Stone
27.2003L
Scarab (Hunter with Bow)
New Kingdom (1550—1069 BCE)
Stone
28.163
Jar for Cosmetics
Ptolemaic Period (332 BCE—30 CE)
Alabaster
28.247
Palette for Cosmetics
Predynastic Period (ca. 5300—
3000 BCE)
Green slate
82.16
Spatula
Ptolemaic Period (332 BCE—30 CE)
Carved and incised ivory
20.69
Hairpin with a Female Head
Ptolemaic Period (332 BCE—30
CE)
Ivory or bone
28.336.2
Stylus with a Crocodile Head
Ptolemaic Period (332 BCE—30
CE)
Ivory or bone
28.336.1
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Greece
Ancient Greek culture set the standard of perfection for later western civilizations in the arts,
philosophy, and literature.
Greek artists specialized in depictions of the human figure in marble and bronze as well as fine
pottery featuring scenes from myths and daily life. As these works spread via trade routes
throughout the Mediterranean region, artists from other cultures prized, collected, and copied
them. The aesthetic influence of this sophisticated culture continued for centuries after the
decline of Greek political and military power.
The Spectrum of Life in Ancient Greece
Much of what we know about ancient Greek society comes from the scenes
painted on pottery vessels, religious offerings, and tomb decoration.
Greek art often depicts scenes of the gods and goddesses, festivals, combat, and
drama that reflect the richness of this ancient culture. These artworks show the use
of a variety of objects, such as arms and armor, bronze and ceramic figures, and
vessels in ceremonial and everyday life. Many of these works also illustrate the
differences between the lives of men and women. Women's lives revolved around
their homes and children, while men engaged in athletics, politics, theatrical
performances, and intellectual gatherings.
Grave Stele, 399—300 BCE
Greek, from Salamis
Pentelic marble
36.54
This gravestone depicts the classic Greek funerary image of the dexiosis, or
handshake, between a husband and wife. This motif either refers to a final farewell
or is symbolic of a couple reunited in death. Athenian workshops probably massproduced these gravestones, which were then transported to other areas and
inscribed with the names of the deceased at the time of purchase. On this stele, the
names Kleitomache and Eumachos appear above the heads of the figures.
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20.75
Red Figure Pelike,
500—401 BCE
Terracotta
29.89
Oil Lamp
Carthaginian, Republican Period,
before 146 BCE
Terracotta
Oil Lamp
Carthaginian, Republican Period,
before 146 BCE
Terracotta
20.73
Red Figure Askos (Oil Lamp Filler)
Classical Period, 499-400 BCE
Terracotta
43.2
Baby Rattle, 400—301 BCE
Terracotta, polychromy
90.13
Jointed Doll Holding a
Tambourine, 400—301 BCE
Terracotta
28.99
Bombylios (Baby Feeder)
Carthaginian, Republican Period,
before 146 BCE
Terracotta
25.51
Battle and Warfare
Greek city-states engaged in near-constant battles for prominence and new territory.
Each relied on its noblemen, who had the means to purchase the weapons and armor
necessary to serve their king at a moment’s notice. Athletic competitions enabled these
soldiers to stay in peak physical condition. Rulers rewarded their success with a variety
of gifts, including finely-made gold wreaths and other extravagant objects.
Wreath of Oak Leaves, ca. 300 BCE
Hellenistic Period (332—30 BCE)
Gold on resin
99.57
Corinthian Helmet,
ca. 633—601 BCE
Bronze
2008.70
Strigil (Skin Scraper), 400—
301 BCE
Bronze
28.7
Black-Figure Kylix with Warriors
in Battle, 600—501 BCE
Terracotta, paint
29.91
Horse on an Openwork Stand,
750—700 BCE
Bronze
53.43
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Art and Greek Drama
During the Hellenistic Period (323-146 BCE), the Greek love for theatrical
performances spread throughout the ancient world. Greek tragedy focused on stories
from mythology and history, while comedy targeted political and social issues,
important public figures, and aspects of everyday life. Theatergoers purchased
small-scale ceramic figurines, later called Tanagra figurines after the archaeological
site where they were found, as souvenirs of performances. In Ptolemaic Egypt,
where Greek theater was very popular, these figurines took the form of small heads
made from the red clay of the Nile River. They depicted a wide variety of comic
actors, including bald men with huge noses, wide mouths, and enormous ears.
Miniature Actor's Mask,
399—100 BCE
Bronze
28.8
Grotesque Heads (3)
Ptolemaic Period, 299—200 BCE
Made in Egypt
Terracotta
28.84.7
28.84.19
28.84.21
Eros with a Torch, 323—90 BCE
Bronze
51.183
Figure of a Woman (Tanagra Type),
323—90 BCE
Terracotta, polychromy
66.14
Comic Actor (Tanagra Type),
323—90 BCE
Terracotta, polychromy
51.187
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The Art of the Vessel
Pottery vessels from the ancient world help document religion, legends, and noteworthy
events in Greek society.
Greek artisans produced a wide variety of pottery vessels with distinctive shapes. These
containers served everyday needs, such as storage, transport, cooking, eating and drinking,
and holding the ashes of the deceased after cremation.
Master potters and painters frequently created vessels with elaborate, highly decorative scenes
from mythology, history, and everyday life. Pottery of the Greek world spread through trade,
and thus served as the inspiration for potters and painters throughout the Mediterranean
region.
Miniature Lekythos (2)
Greek, 600—501 BCE
29.87.1 - 2
Corinthian-style Globular
Aryballos
Greek, 615—600 BCE
29.2009L
Storage Jar, ca. 1300 BCE
Mycenaean
2007.6
Kylix with Dionysian Revelers,
599—500 BCE
Greek
29.90
Bell Krater, 399—300 BCE
Greek
69.6
Piriform Jar,
ca. 1250—1150 BCE
Minoan, from Crete
2006.76
Cinerary Urn
Carthaginian, 799—700 BCE
25.42
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The Mycenaeans
Named for Mycenae, the largest of their fortified royal cities, this pre-Greek civilization
dominated the lands of the Aegean Sea from 1400 to 1100 BCE.
Greeks celebrated the Mycenaeans as the legendary heroes of the Trojan War, recorded by the
famous Greek poet Homer. Described in his Iliad as “rich in gold,” the city of Mycenae led a
highly organized system of city-states ruled by strong military leaders, priests, and bureaucrats.
The wealthy Mycenaeans maintained an extensive trade network throughout the eastern
Mediterranean.
Kraters with Chariot Processions, 1275—1225 BCE
Mycenaean
51.203, 51.204
The krater is a large, wide-mouthed jar, often used for mixing wine and water.
These two kraters were found on Cyprus, an important island in the trade
routes of the ancient Mediterranean and location of a significant Mycenaean
colony. They likely served a funerary function, holding wine at the funeral
feast, or containing the cremated remains of the deceased.
The similar scenes on these two kraters represent the popular Mycenaean
decorative motif of horse-drawn war-chariots. The vase painter represented
the two horses as a single body with two heads, two tails, and two pairs of
forelegs and hind legs.
The scene may refer to honors for a fallen warrior as described by Homer in
the Iliad, where, during the Trojan War, the Greek hero Achilles led a solemn
chariot procession in tribute to his dead companion Patroclus.
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The Etruscans: Italy's First Civilization
Etruscan artists combined their unique practices and styles with elements
borrowed from Greek art.
By about 700 BCE, the ancient Etruscans had founded the first urban civilization on
the Italian peninsula. In a region rich in metals, the Etruscans became master
bronzesmiths whose work was exported throughout the Mediterranean. The
Etruscans achieved prominence in overseas trade and commerce, and maintained
close contact with Greek colonies in southern Italy. They particularly prized Greek
painted vases, and adapted Greek styles and methods to create new forms of
pottery. Over the next three centuries, Etruscan culture disappeard as it was
gradually subsumed by the newly powerful Roman Republic.
Votive Head of a Woman,
300—1 BCE
Clay
47.14
The God Mars as a Warrior
499-400 BCE
Bronze
53.41
Man Clutching Serpents,
600—401 BCE
Bronze
57.30
Helmet Attachment with
Winged Silenus, 600—401 BCE
Bronze
57.31
Miniature Mask of the River God
Acheloüs, 600—401 BCE
Terracotta
T705
Hercules
(no date)
Bronze
73.18
Mirror
Bronze
37.2009L
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The Etruscans, con’t
Bucchero Ware Oinochoe,
400—301 BCE
Terracotta with black glaze
51.179
Bucchero Ware Kylix,
560—450 BCE
Terracotta with black paint
51.180
Cinerary Urn with Lid, 200—100 BCE
Terracotta with polychrome
44.49a - b
A portrait of the deceased reclining adorns the lid of this cinerary
urn, a uniquely Etruscan motif. The body of the urn features a
popular scene depicting the sons of Oedipus fighting over the
throne of Thebes. The two winged figures at the sides represent
the double presence of Vanth, the Etruscan female demon, who
carries a torch to light the way to the underworld.
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Rome
Roman artists created distinctive works of art that celebrated imperial greatness
as well as individual accomplishments and wealth.
Rome emerged from a small community, eventually developing into a city-state
ruled by Etruscan kings. In 509 BCE, Romans rebelled and established the
Republic, a new form of government controlled by a privileged class of Roman
citizens. Through conquest and diplomacy, Rome soon expanded beyond the Italian
peninsula into present-day Europe and the Middle East, becoming a vast empire
until its fall in 476 CE. Art created for both public and private society reflected the
imperial strength and wealth of this major world power.
Roman Sculpture
The public and private display of marble sculpture demonstrated the wealthy Roman’s
aristocratic tastes and good breeding. Inspired by the white marble sculpture of the Greeks,
Roman sculpture emphasized the recognizable features of the individual, sometimes to
unflattering effect. Public areas of the city displayed sculptures ranging from commemorative
statues to funerary monuments, while busts of noteworthy ancestors in domestic shrines
confirmed a family’s noble lineage and predicted future greatness.
Portrait Head of a Man with a Beard, 100—199 CE
Nervan-Antonine Period (96—192 CE)
Marble
46.39
Torso of a Young Man, 99—1 BCE
Roman, Republican to Julio-Claudian Period (509 BCE—68 CE)
Marble
36.53
This youthful male torso, nearly life size, is likely based on a Greek bronze
original. This Roman copy required iron bars and dowels to support the
weight of marble limbs. Evidence of long, wavy hair remaining on his
shoulders may identify this youth as the young Dionysus, Greek god of
wine and revelry.
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Portrait Head of a Young Man, 1—99 CE
Roman, Julio-Claudian to Nervan-Antonine Period (27 BCE—192 CE)
Marble
49.74
Sarcophagus with Portrait Medallion, Orpheus, and
Two Lion Heads, 250—274 CE
Roman, Soldier Emperors Period (235—284 CE)
Marble
R. T. Miller Fund, 49.72
This sarcophagus, a carved marble coffin, once featured a matching marble lid. The central
round frame holds a portrait of the deceased, likely a later personalization added by the
sculpture workshop. Roman sarcophagi were not buried, but displayed with other markers and
monuments along the main roads outside of the city gates.
Conspicuous Consumption
The display of statuary, expensive luxury items, and rich, colorful wall paintings
demonstrated a family's personal wealth and sophistication.
The domus, or family home, served as the center of private life and identity for well-to-do
Roman citizens. The home was primarily the woman's domain, where she raised children,
supervised household servants, and ensured that the domus reflected the family's social
status. Lavishly decorated reception rooms, dining rooms, and other public areas enabled the
family to receive important guests properly. High-quality objects made of glass, bronze, and
ceramics emphasized the importance of beauty in everyday life.
Fresco Fragment with Cupid
Holding a Mask, before 79 CE
From Pompeii
Plaster, paint
28.75
Two Keys, 100—1 BCE
Bronze, made in Palestine
28. 45 – 46
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Conspicuous Consumption, con’t
Oil Lamp in the Shape of a
Bull’s Head, 100—1 BCE
Bronze
51.124
Oil Lamp, 100—199 CE
Molded terracotta
20.77
Silenus Head Oil Lamp,
ca. 200—300 CE
Molded terracotta
T706
Ampulla, 100—299 CE
Blown glass
51.131
Unguentarium (Perfume Bottle),
200—399 CE
Blown glass
51.136
Miniature Ampulla, 1—99 CE
Blown glass
51.26
Alabastrum, 300—1 BCE
Made in the Eastern Mediterranean
Core-formed glass
28.231
Female Torso
(Roman miniature copy after
Praxiteles’ 4th century BCE
Cnidian Aphrodite)
Marble
8.68L
Mirror in a Rooster-shaped Frame,
ca. 300—699 CE
Syro-Palestinian
Terracotta with glass inlay
28.4
Fish, 300—599 CE
Blown, applied, and tooled glass
28.324
Tweezers, 1—99 CE
Bronze
28.49
Pair of Double-headed Flasks,
200—399 CE
Mold-blown glass
28.68.1 - 2
Three Bracelets, 1—100 CE
Glass; made in Palestine
28.23 – 24 – 25
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Conspicuous Consumption, con’t
Beaker, 67—199 CE
Blown glass
51.135
Lachrymatorium or Balsamarium
(Toilet Bottle), ca. 200—300 CE
Blown glass; likely made in Palestine
28.30
Vase with Acanthus Design,
1—99 CE
Roman, made in Egypt
Terracotta, glaze
51.198
Ribbed Bowl, 99 BCE–-99 CE
Cast glass; likely made in Egypt
51.241
Kylix with Hinged Handles,
1—99 CE
Bronze
51.168
Ancient Glass
The growth of the Roman Empire created an increased demand for luxury goods, including
ointments and perfumes in small glass containers. Improved techniques of casting and
glassblowing transformed such glass from rare and expensive pieces to highly affordable
everyday objects available at all levels of society. Containers for traditional grave offerings
account for most of the Roman glass objects that have survived.
Power and Politics
Monumental public statuary and coins with inscriptions and portraits celebrated
imperial power, political achievements, and military victories.
Roman sculptors produced realistic portraits to commemorate venerated ancestors as
well as prominent public figures. Large-scale public sculptures, images of the
deceased on sarcophagi, and the tiny but recognizable features of current rulers on
coins all attest to the vital importance of creating a Roman civic identity. As citizens
attained greater status and personal wealth, a flourishing trade network of goods,
including glass, marble, and agricultural commodities, dispersed Roman artistic
traditions throughout the Empire.
Lion Head edallion,
100—199 CE
Roman, from Caesarea, Palestine
Bronze;
28.10
Jar with Cover, 33—199 CE
Blown glass
28.16
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Power and Politics, con’t
Silver of the State
During the Republican Period, the Roman Senate authorized the issue of coinage featuring
Roma, the spirit of the city of Rome, on the obverse, or front side. The reverse, or back side,
depicts the twin gods Castor and Pollux, legendary defenders of Rome.
Denarius of Lucius Sempronius Pitio, 148 BCE
Republican Rome (509—27 BCE); silver; Gift of Dr. and Mrs. Ralph
Alexander, 95.34
The name of the mint official appears on both sides of his coin: PITIO on the obverse, and L SEMP on the reverse.
Economies of Empire
Roman imperial coinage commonly features a profile portrait of the current emperor on the
obverse, along with abbreviations of his numerous honors and imperial titles. The reverse
incorporates symbols that celebrate the emperor’s benevolent power, military victories, and
associations with the gods.
Dupondius of Augustus Caesar and Marcus Agrippa, 10—14 CE
Roman Empire, Julio-Claudian Period (27 BCE—68 CE); made in Nemausus, Gaul
(modern Nîmes, France); bronze; Gift of Dr. and Mrs. Ralph Alexander, 95.32
This coin celebrates the Battle of Actium (31 BCE) which brought Egypt under Roman rule. It was minted decades later
in a colony settled by veterans of that battle.
Sestertius of Emperor Nero, 54—68 CE
Roman Empire, Julio-Claudian Period (27 BCE—68 CE); bronze; Gift of Dr. and
Mrs. Ralph Alexander, 95.29
The reverse of Nero’s coin features a scene of Annona, the Roman personification of Grain. She stands before the
seated goddess of the harvest, Ceres.
Quadrans of Emperor Trajan, 98—117 CE
Roman Empire , Nervan-Antonine Period (96—192 CE); bronze; Gift of Dr. and
Mrs. Ralph Alexander, 95.30
Trajan uses this coin to associate himself with the Greek hero Hercules. The reverse shows the Nemean Boar, killed by
Hercules as one of his Twelve Labors.
Coin of Emperor Constantine the Great, 307—334 CE
Roman Empire, Constantine Period (306 -364 CE); probably minted in Nicomedia
(modern Turkey); bronze; Gift of Dr. and Mrs. Ralph Alexander, 95.25
The reverse of this coin depicts a Roman army camp gate. The inscription translates as “To the Foresight of our
Emperors” in honor of Constantine’s imperial ancestors.
Transport Amphora, 1—99 CE
Roman, Julio-Claudian to Nervan-Antonine Period (27 BCE—192 CE)
Terracotta
44.51
This large, roughly-constructed storage vessel is one of thousands produced by
pottery workshops throughout the Mediterranean region. Pointed bases enabled
amphorae to be stored upright, embedded in sand. For shipment by sea, they
packed horizontally, fitting head-to-end for stability in rough waters. The
distinctive shape of this amphora may identify it as a Spanish-made vessel for
shipping garum, a fermented fish sauce that was a staple at Roman banquets.
Togatus, 1—99 CE
Roman, Julio-Claudian to Nervan-Antonine Period (27 BCE—192 CE)
Marble
Marion Stratton Gould Fund, 73.146
This man was a significant public figure in ancient Roman society. His
toga – the traditional status garment symbolic of Roman citizenship – the
scroll in his hand, and the box of scrolls at his feet mark his high status. He
may have been one of the 300 members of the Roman Senate who
addressed important matters of civic law, religious practice, or foreign
policy, aspects of Roman life controlled by the Senate.