Tuesday, January 7, 2014

Roman Bronze Brooches Revisited: Zoomorphic Types

Roman brooch fibula
 
In a blog post dated August 20 of last year we reviewed some examples of Roman bronze fibulae (brooches), a ubiquitous find both in controlled excavations and by metal detectorists. In this post we’d like to elaborate on the topic, focusing on zoomorphic brooch types.

The example pictured above, a horse brooch dating to the 1st to 3rd Centuries AD, while not unknown, is a very uncommon type. It has been modeled in the round rather than as a flat plate with pin on the reverse. For more details, it may be viewed here: http://www.clioancientart.com/catalog/i475.html

Roman brooch fibula

 Far more typical of Roman brooches depicting mammals is the example above of a so-called “horse and rider” brooch. As is frequently the case, the schematically rendered rider has broken away but the Celtic style horse is well defined and shows a strong sense of movement. This type, dating to the 3rd or 4th Century, may have been closely associated with the Roman army. The bronze has been tinned to resemble silver. For more details on this example, go here: http://www.clioancientart.com/catalog/i474.html

Roman brooch fibula

In addition to mammals (rabbits or hares, dogs, horses, etc.), birds were a popular source of inspiration for Roman craftsmen involved in making brooches. The superb example above, depicting a duck in resting posture with wings folded back, illustrates the use of enamel decoration on Roman brooches. In this case, the wings have a piriform cell containing blue enamel surrounded by red with another stretch of blue enamel around that. In addition, the animal itself is depicted in a highly naturalistic way; even the duck’s eye has been indicated with a tiny point of incision. For more on this example, go here: http://www.clioancientart.com/catalog/i489.html

Roman bird brooch


An uncommon type of bird brooch, dating to the 2nd or 3rd Century AD, is illustrated above. This example appears to depict a dove or small water bird. Unusually for zoomorphic brooches, it’s original pin and coil are intact. Unlike many zoomorphic types that were also popular on the European continent, this specific type appears to be unique to Roman Britain. More about this example here: http://www.clioancientart.com/catalog/i476.html

For many more examples of brooches, mainly Roman, of many different types, visit the “Ancient Jewelry and Personal Adornment” section of our website at: http://www.clioancientart.com/catalog/c19_p1.html

All the brooches presented above are individual UK metal detector finds, declared not treasure and legally exported.

For further study, we recommend the following sources:

Roman Brooches in Britain, a Technological and Typological Study Based on the Richborough Collection, The Society of Antiquaries of London, 2004

AND

A Visual Catalogue of Richard Hattat’s Ancient Brooches, Oxbow Books, Oxford, 2007

Thursday, December 26, 2013

Trust for Ancient Art Facilitates Gift of Ancient Glass to Mint Museum of Art

We are pleased to announce that our Trust for Ancient Art has rounded out the year by facilitating the donation of a collection of ancient Roman glass from an anonymous Atlanta collector, acquired many years ago in Israel, to the Mint Museum of Art in Charlotte, North Carolina. The Mint had previously benefited from the Trust’s donation of a superb Medieval English encaustic glazed floor tile. A few images of the Roman glass vessels now at the Mint Museum are included here.





Sunday, December 22, 2013

Christian (and Pagan) Symbolism on Some Late Roman and Byzantine Coins

Although not all Christians celebrate Christmas Day on December 25 (some still use the Julian Calendar date corresponding to January 7), as we are, in  either case, a few days away from Christmas this seemed an appropriate time to examine a few ancient coins on our website that carry early Christian symbols, all created after the Roman Empire had adopted Christianity as the state religion.

We begin with a bronze Centenionalis of Aelia Flacilla (died AD 386), wife of the Emperor Theodosius I. The reverse of this fairly large medium value coin bears an image of the formerly Pagan personification of Victory seated and inscribing a shield with the “Chi-Rho” symbol that had been used by Constantine I, the first Emperor to adopt Christianity some 50 years earlier, as his standard at the Battle of the Milvian Bridge.

Image

Despite popular belief the Chi-Rho, formed by combining the Greek capital letters chi and rho to form the sound of the first two letters of Christ’s name,  has its roots in Paganism, having been used by much earlier Greek scribes as a means of indicating in the margins of a scroll or manuscript a key passage, abbreviating the Greek word “chreston” (good). This scarce coin is shown in its entirety below, with a link to it on our website.

Next is the reverse of a tiny bronze coin of Theodosius II, Emperor from AD 408-450, struck at Constantinople, which had long since replaced Rome itself as hub of the Empire. This is a very early instance of the cross or christogram appearing as the sole decorative device on the reverse of a coin.

Image 

There is no text to accompany the image, simply a laurel wreath surrounding it (the wreath again conveying much pre-Christian symbolism). The issuer of this coin, Theodosius II, is perhaps best known for 2 achievements: the Theodosian Code, a compilation of laws issued in the Empire since the time of Constantine I, and building the great land walls of Constantinople, which survived all siege attempts until the final Ottoman assault in 1453. Here is the coin again, showing both obverse and reverse, with a link.

Finally, we have a medieval coin of the Byzantine Empire (even at this stage, the Byzantines certainly thought of themselves as Romans), dating to AD 1185-1195, the reign of the Emperor Issac II Angelus, There is little to say about Issac II, other than he was the first of 3 consecutive incompetent rulers whose mismanagement resulted, just 20 years later, in Constantinople falling into the hands of western armies for 50 years, before liberation under dynamic new rulers who helped inspire the final flowering of Byzantine art and culture.
There is much to say about the coin. It is made from about 2.5% silver with the rest copper. These poor quality coins, usually very badly struck, were made in great numbers and are today quite affordable. Our example is fairly well struck with relatively clear images. The obverse depicts the Virgin seated and supporting the head of the infant Christ.

Image 

Unlike Roman coins of the Christian era, Byzantine coins carry the Emperor’s image on the reverse, with purely Christian images or symbols on the obverse. In this case, the emperor is depicted facing, holding an elaborate ceremonial cross and ceremonial clothing rich in Christian symbolism. Here is the coin in its entirety with link.

All of these small objects are heavy with symbolism, both Christian and Pagan, and should remind us of how the images and ideas of so long ago have shaped our world today.