Tiny, Rare and Noteworthy: A Group of Byzantine Buttons on Our Website

Overlooked by collectors and museums visiting our website to acquire higher profile antiquities, such as Greek vases, Egyptian burial items or Roman sculptures, is a group of 3 tiny buttons in various materials, dating to the middle Byzantine era. These are exceptionally rare and deserve to be highlighted here. Link: http://www.clioancientart.com/catalog/i205.html

The history of buttons is rather hazy, with button-like objects of uncertain use appearing in the archaeological record as far back as 2000 BCE. The first functional buttons, appearing in the Roman Imperial age, were limited in their use to elite members of society and were intended as much for decoration as practicality. But with the infusion of migratory cultures from the Eurasian steppe into Western Europe and the Balkans at the end of Antiquity and during the early Middle Ages, functional buttons became widespread. There is conjecture that the use of buttons in place of other fasteners (brooches and pins) resulted as much from colder climate conditions beginning around the same time as the fall of the western provinces Roman Empire, as much as from new cultural influences. In any case, Byzantine society adopted the use of buttons quickly.

The 3 buttons in our group are each made from different materials: bone, rock crystal and what appears to be steatite (soap stone). The simple steatite example is relatively common, with other examples in a variety of common stones known from excavations. By contrast, the bone example is quite elaborately worked with multiple fields of decoration involving both incision and infilling the incised decoration with a resistant material, possibly pitch. Very similar examples have been found in Byzantine layers at Corinth. This belonged to an elite individual whose clothing must certainly have reflected their status. Although its function is obvious, the small rock crystal example may be unique; we have not yet found documentation of another excavated and dated example in rock crystal, which was highly valued. Such a button would also have come from the garments of a high status individual.

Tiny as these objects are, they do offer just a glimpse into Byzantine society in its middle phase, the 9th to 13th Centuries. Their survival is, as with so many antiquities, a minor miracle.

To see more Byzantine antiquities on our website, visit these pages:
http://www.clioancientart.com/catalog/c26_p1.html   and   http://www.clioancientart.com/catalog/c21_p1.html

Every Coin Tells A Story: A Survivor from the Cilician Kingdom of Armenia

The silver coin pictured here, a “Tram” of the Cilician Armenian ruler Levon I, is a survivor from a rather remarkable episode in the Medieval history of the Eastern Mediterranean.

Our story begins far to the east, with the conquest of much of the Middle East by the Seljuk Turks. Fleeing their original homelands in what had been the ancient Kingdom of Armenia, long a pawn in the conflicts between the Roman and Persian Empires, thousands of Armenians established a principality in what today is the southernmost coastal region of Turkey and the northernmost coastal region of Syria. During the final quarter of the 11th Century, under the first King of the Rubenid Dynasty, they declared independence from the Byzantine empire. Our coin was issued by Levon I, perhaps the most successful ruler during this initial phase of the Kingdom’s history.

Although the new Kingdom prospered economically due to its geography, which included an arc of high mountains providing some degree of protection and a narrow but fertile coastal plain that featured several good ports for trade, it was always at risk and short on allies. Nearly surrounded by hostile Islamic states, at various times it allied itself with the new Mongol rulers of Iran, Mesopotamia and Syria, the Ilkhanids, who were not yet fully converted to Islam, occasionally with the Byzantine Empire to the north and especially with the European Crusader states that sprang up along the Levantine coast shortly after its own birth (see also a coin of the Crusader Principality of Antioch & County of Tripoli on our website: http://www.clioancientart.com/catalog/i280.html) .

One outcome of the Crusader alliance was extensive marriage between the new Crusader aristocracy and the 2 Armenian ruling families, the Rubenids and Hetumids. The Hetumids later formed a close marriage based alliance with the Frankish Lusignan Dynasty, who ruled the nearby Island of Cyprus. On our coin, this western influence is clearly visible, even during the Kingdom’s early years– http://www.clioancientart.com/catalog/i300.html. On the reverse is the Armenian rampant lion while the obverse includes a forward facing seated king holding a sceptre topped with the Frankish fleur-de-lis.

Conducting business in any of the Cilician ports or towns during the Kingdom’s almost 300 year history would have involved a bewildering array of currency. In addition to the silver and bronze coinage issued by the official mints of Armenian Cilicia, accepted forms of currency included Venetian, Genoese and Pisan coinage, Islamic Dirhems issued by the Mamluks, Ilkhanids and other local dynasties, and coins issued by the various Crusader principalities. While all of these had a rough, easy to understand relationship to one another based on weight of precious metal, implementing this in actual practice would have called for both good math skills and shrewd bargaining skills.

Despite intermarriage with the Lusignans, the Cillician Armenian Kingdom could not survive onslaughts from the powerful Mamluk rulers based in Egypt, who had effectively halted the Mongol advance. By the early 14th Century, the Mongol rulers of the Middle East had converted to Islam and the Crusader states along the coast of Palestine had all fallen or been abandoned, thus depriving the Armenians of key allies. The Kingdom fell in 1375, and the last King of Cilician Armenia died in exile in Paris in 1396.

This relatively minor but remarkable chapter in history serves to remind us of the religious, political and philosophical complexities of that part of the world, as we should be very much aware from recent news. The improbability of this chapter also reminds us that truth is always stranger than fiction. Of course, this is the beauty of ancient and medieval coinage; it always tells a fascinating story and sometimes provides the only clues to understanding particular events in history.

Clio's Start of Summer / 4th of July Sale

Hello Customers, Friends & Fans of Clio Ancient Art:

It’s that time of year! Time for our annual Start of Summer / 4^th of July Sale.

Between today, Sunday, June 23 and Thursday, July 4, you may take advantage of the following discounts offered on our website –

·        15% off ALL Cypriot, Egyptian, Greek, Roman, Byzantine, Etruscan, Near Eastern, Migration Period and Early Islamic antiquities, regardless of current price.

·        10% off any books, catalogs, magazines, framed or unframed artwork in our books and publications page priced at over $30.

·        10% off any ancient or medieval coins priced at over $30.

Here are links to all categories on our site–

·          Cypriot Antiquities: http://www.clioancientart.com/catalog/c1_p1.html

·         Egyptian Antiquities: http://www.clioancientart.com/catalog/c2_p1.html

·         Greek, Hellenistic & Greek South Italian Antiquities: http://www.clioancientart.com/catalog/c3_p1.html

·         Roman Antiquities (3 pages):  http://www.clioancientart.com/catalog/c15_p1.html

http://www.clioancientart.com/catalog/c16_p1.html and http://www.clioancientart.com/catalog/c17_p1.html

·         Etruscan, European, Migration, Byzantine, Islamic & Near Eastern Antiquities 2 pages): http://www.clioancientart.com/catalog/c26_p1.html and http://www.clioancientart.com/catalog/c21_p1.html

·         Ancient Glass (2 pages): http://www.clioancientart.com/catalog/c13_p1.html and http://www.clioancientart.com/catalog/c24_p1.html

·         Ancient Oil Lamps: http://www.clioancientart.com/catalog/c14_p1.html

·         Ancient Jewelry & Personal Adornment: http://www.clioancientart.com/catalog/c19_p1.html

·         Ancient Coins: http://www.clioancientart.com/catalog/c18_p1.html

·         Books & Art: http://www.clioancientart.com/catalog/c25_p1.html

Thank you for reading.

Best wishes,

Chris M. Maupin

Clio Ancient Art & Antiquities

 

Just Added to our Website - Superb Greek South Italian Red Figure Lekanis

Here's the link: http://www.clioancientart.com/catalog/i430.html

The Ubiquitous Unguentarium

No other type of ancient Roman glass vessel is so widespread and common a find as the unguentarium (plural: unguentaria). As the name suggests, it was intended as a container for precious liquids, such as scented oils for personal or funerary use, medicinal creams and herbals for culinary use.

This type of vessel’s origins rest in the Hellenistic period and earlier, when roughly spindle shaped containers in ceramic were quite common. With the introduction of glass blowing on a large scale in the first century, AD, glass unguentaria rapidly replaced ceramic containers. Unlike pottery, glass has the advantage of imparting no taste or scent to its contents.

While the basic form — a bulbous lower body, long narrow neck, usually with a constriction somewhere along its length, and a flared rim — is common to all unguentaria, the range of specific forms is tremendous. The example illustrated above (Link: http://www.clioancientart.com/catalog/i62.html) is a quite uncommon miniature example. More typical perhaps is this example: http://www.clioancientart.com/catalog/i60.html

One particularly striking variation on the basic theme is the so-called candlestick unguentarium. Here are 2 variations on that theme: http://www.clioancientart.com/catalog/i117.html and http://www.clioancientart.com/catalog/i81.html

Visitors to museums, when viewing displays of Roman glass, often ask where the lids or stoppers to these vessels are. In most cases, these were made from organic materials, including tightly wound plant fiber or wood. Examples excavated at Romano-Egyptian sites have been found with these organic materials intact, due to the extremely dry conditions.

There are many excellent sources we could recommend dealing with the ubiquitous unguentarium but here are two, in particular –
* Roman Glass in the Corning Museum of Glass, Volume One, David Whitehouse, Corning Museum of Glass, Corning, NY, 2007. This tremendous work includes 87 fully illustrated and described examples of unguentaria (author uses the term “Toilet Bottles).
* Roman Glass, Reflections of Everyday Life, Stuart J. Fleming, University of Pennsylvania Museum of Archaeology and Anthropology, 1997. This is a particularly good source for building an understanding of how these humble glass vessels were actually used in the lives of the ancient Romans.

Here are links to additional examples of ancient Roma glass unguentaria on our website –
* http://www.clioancientart.com/catalog/i397.html
* http://www.clioancientart.com/catalog/i59.html
* http://www.clioancientart.com/catalog/i415.html

For all types of ancient glass on our website, follow these links –
* http://www.clioancientart.com/catalog/c13_p1.html
and
* http://www.clioancientart.com/catalog/c24_p1.html

Byzantine Pottery Oil Lamps from the Levant

Many of the ancient lamps on our website are Byzantine, mainly from the Levant (what is now southern Turkey, Lebanon, Syria, Israel / Palestine). Unlike Roman hard fired ceramic red slip lamps of earlier centuries, Byzantine lamps tend to be made from low fired pottery and their designs reflect Christian symbolism.

In the Roman period, hard fired red slip lamps, of the types widely known from Italy and the European provinces and from North Africa — here is an example: http://www.clioancientart.com/catalog/i30.html — were never widespread in the Levantine region. Instead, a wide range of low fired pottery lamps were made for differing communities, including Samaritans, Hellenized city dwellers, strictly observant Jews, and Roman immigrants involved in trade or the local administration.

One clearly distinguishing characteristic of Byzantine Levantine lamps is their difference in shape compared to earlier Roman types. The large circular discus that served as a platform for decorative images on most Roman examples disappears during the Byzantine period, with the result that most decoration, either abstract patterns or specific Christian symbols, tend to be concentrated along the shoulders of lamps or just beneath the wick hole on the nozzle. Here is an example – http://www.clioancientart.com/catalog/i340.html

Most are remarkably simple and utilitarian: http://www.clioancientart.com/catalog/i360.html

Others are elaborately decorated with clear iconography: http://www.clioancientart.com/catalog/i404.html

When the Levantine provinces of the Byzantine Empire fell to the Islamic armies in the mid-7th Century, there was no immediate change in styles. But change did slowly come. Some transitional types still include elaborate floral or abstract decoration – http://www.clioancientart.com/catalog/i379.html
Others show a clear shift away from Byzantine style towards purely geometric decoration – http://www.clioancientart.com/catalog/i303.html

For other examples of Byzantine lamps, all with clear provenance and detailed reference information, follow these links -
* http://www.clioancientart.com/catalog/i306.html
* http://www.clioancientart.com/catalog/i310.html
* http://www.clioancientart.com/catalog/i265.html

To visit our Ancient Oil Lamps page, go to: http://www.clioancientart.com/catalog/c14_p1.html

A Byzantine St Menas Flask and Spiritual Continuity in Egypt

Political and social turmoil is still very much in evidence in Egypt today, 16 months after Mubarak’s departure and 1 year after Morsi’s election as Egypt’s President. Some of this unrest has had religious overtones, involving friction between Egypt’s ancient Coptic community, now numbering perhaps 10% of the population or 8 million persons, and some elements of the Muslim majority.

In light of the rapid pace of social and political change seen in Egypt over the past couple of years, it may be easy to forget that the Coptic community has a remarkably long history, dating to St Mark’s introduction of the new faith in the 1st Century CE, and flourishing with the founding of monasticism in the 4th Century CE Egyptian desert by St Anthony, whose monastery still stands today. There is more than ample artifactual evidence for this continuity, including a “St Menas Flask” on our website (see the image above and the link here: http://www.clioancientart.com/catalog/i386.html).

 The namesake of this mold-made pottery flask, dating to the 6th or 7th Century CE, is considered by Coptic Christians to be a miracle worker and martyr. Menas lived in the late 3rd to early 4th Century when Egypt was a province of the Roman Empire. He presumably was tortured and killed for his faith at a time shortly before Emperor Constantine’s Edict of Toleration, which ended persecution of Christians. He was buried at a spot in the Western Desert southwest of Alexandria. In the late 5th Century CE, the daughter of Emperor Zeno was said to have been cured of leprousy at Menas’ shrine, and great numbers of people began traveling to the spot seeking cures or Menas’ intercession.

The flask on our website is characteristic of a large body of related pottery vessels found not only in the Mediterranean Near East but as far away as Italy, France, Germany and even England. These were either carried back home by pilgrims returning from St Menas’ shrine or sending these objects back to their families. They were typically filled with holy oil or water from the shrine.

Even after the arrival of Islam in Egypt in 641 CE, when the shrine and cathedral was destroyed, and the region’s gradual conversion to a Muslim majority during the middle ages, the shrine continued as a place of pilgrimage. It has been completely rebuilt in the modern era is still a popular destination. It is listed as a UNESCO World Heritage Site and is on their “danger” list.

The iconography on our flask requires some explanation. Both sides show essentially the same scene, one side shown above, the other side shown here:

The figure of St Means is shown facing forward, wearing a soldier’s tunic and with arms extended in blessing. A simplified cross appears above each arm. To either side is a schematic rendering of a kneeling camel, taken from the legend that when his body was being transported into the desert at a particular spot the camels refused to go any further and this wast taken as a sign that his shrine should be erected on that spot. This imagery is enclosed by a circular border and again by another border of beads or dots.

For additional reading, we recommend:the UNESCO page for Abu Mena, including an excellent slideshow – http://whc.unesco.org/en/list/90

Here is an image we took at the Petrie Museum of Egyptology, University College, London, of several similar examples -

For more examples of Coptic antiquities from Egypt on our website -
* http://www.clioancientart.com/catalog/i284.html
* http://www.clioancientart.com/catalog/i285.html
* http://www.clioancientart.com/catalog/i176.html

Egyptian Faience Production and a Skullcap of Ptah on Our Website

One of the more extraordinary objects offered on our website is a Late Dynastic Egyptian blue skullcap detached from a statuette of the god Ptah. It may be viewed here: http://www.clioancientart.com/catalog/i11.html.

We have described this antiquity as being made of “frit” — a term sometimes but erroneously used interchangeably for faience. But why did we choose this term? What is meant by the term “fit: and is this really the same material as faience?

We will examine here some characteristics of Egyptian faience, its production techniques and the range of materials that are broadly referred to as faience in relation to our object, which may well be a rather unusual variant.

Faience, which the Egyptians called tjehnet (meaning brilliant or shining) may have been developed as an alternative to lapis, an expensive deep blue stone whose main source was distant Afghanistan. Whatever the motivation, faience production began as early as 5000 BCE and continued through the late Roman period around 350 CE. Early faience involved simple glazing of stone objects such as beads. The primary component of faience was a readily available material, quartz. This was ground to powder and mixed with calcium oxide and natron (a type of salt commonly found in the Egyptian desert) and possibly other materials, including metallic oxides to provide coloring. Faience could be used to glaze other materials, such as soapstone, and later to create finished objects by pressing the mixture into molds. Some faience was “self-glazing” in that a hard shiny surface layer of salts would form on an object’s surface through efflorescence. Faience was fired in kilns at relatively high temperatures, up to 1000 degrees Centigrade.
Egyptian artisans combined long established skills and technologies from pottery making and metallurgy to perfect their craft. In the early New Kingdom, with the probable arrival of glass artisans from Mesopotamia, a new component was added to this skill set, and a number of variants on the basic formula emerged. These included frit, also known as Egyptian Blue, which had much in common with glass making, and so-called “glassy faience”. This is where our skullcap of Ptah comes in.

Close examination of the underside of this object -

reveals several unusual aspects. In the deeply recessed and therefore protected interior underside, which would have rested atop the statuette’s head, a shiny glass-like surface is revealed. Shiny examples of glassy faience are known to exist. Also, in two spots there are small breaks along the object’s edge that have fractured in a manner very much resembling flint or volcanic glass. Finally, the chips mentioned above reveal the interior of the object to be identical to that of the exterior, with no thin outer layer of efflorescence or glaze differing from the interior composition. This gives it more in common with blue frit than ordinary faience.

In the end, only a chemical analysis of our object will provide a more complete answer. However we might classify this material, the object itself is highly unusual.

For some comparable examples, we suggest -

* Gifts of the Nile, Ancient Egyptian Faience, Florence Dunn Friedman, Editor, with four examples of wigs and crowns from composite statuettes, and inlays in the form of wigs, dating from the New Kingdom and 3rd Intermediate Periods, pages 82-83 (we highly recommend this excellent book).

*  Stern & Schlick-Nolte, Early Glass of the Ancient World, 1600 BC – AD 50, Ernesto Wolf Collection, No. 26, for a small Egyptian male head, probably 10th-7th Century BC, made of “vitreous material” remarkably similar in color and texture.

* Lacovara, Trope & D’Auria, editors, The Collector’s Eye: Masterpieces of Egyptian Art from the Thalassic Collection, Ltd., Michael C. Carlos Museum, Atlanta, 2001, #29 for a large skullcap of Ptah in bright blue faience, as an inlay, dated to the New Kingdom.
 
For other examples of Egyptian faience objects on our website in a variety of colors -

* A string of discoid beads in bright blue faience of the Ptolemaic or Roman period: http://www.clioancientart.com/catalog/i289.html

* An Eye of Horus amulet in green and black of the Late Dynastic period: http://www.clioancientart.com/catalog/i407.html

* Another Eye of Horus amulet in pale blue and black of the New Kingdom: http://www.clioancientart.com/catalog/i408.html

A few additional images of our skullcap -

Website Update - Ancient Coins & More!

Hello Customers, Friends & Fans of Clio Ancient Art:

Just a note to let you know we have updated our website’s Ancient Coins page to include some superb Roman Provincial, Elymais, early Islamic and Indian coins in bronze and silver. Along with Roman Imperial, Himyarite, Byzantine, Crusader and Armenian coins, we have a total of 16 specimens available -- http://www.clioancientart.com/catalog/c18_p1.html

Of course, we also have over 120 more examples of ancient art available, including –

·         Ancient Glass - http://www.clioancientart.com/catalog/c13_p1.html and http://www.clioancientart.com/catalog/c24_p1.html

·         Ancient Oil Lamps - http://www.clioancientart.com/catalog/c14_p1.html

·         Cypriot Ceramics - http://www.clioancientart.com/catalog/c1_p1.html

·         Egyptian Antiquities - http://www.clioancientart.com/catalog/c2_p1.html

·         Greek Antiquities - http://www.clioancientart.com/catalog/c3_p1.html

·         Roman Antiquities - http://www.clioancientart.com/catalog/c15_p1.html and  http://www.clioancientart.com/catalog/c16_p1.html and http://www.clioancientart.com/catalog/c17_p1.html

·         Byzantine, Near Eastern, early Islamic, Etruscan, Medieval and Migration Period antiquities - http://www.clioancientart.com/catalog/c26_p1.html and http://www.clioancientart.com/catalog/c21_p1.html

We’ve also added several volumes to our Art, Books & Publications page - http://www.clioancientart.com/catalog/c25_p1.html  and we’ve updated our Sold Antiquities pages - http://www.clioancientart.com/id24.html and http://www.clioancientart.com/id25.html

Lastly, we’ve added a new Travelogues entry, a stroll through Herculaneum - http://www.clioancientart.com/id22.html

Do let us know if you find anything on our website to be of interest.

As always, thanks for looking and best wishes,

Chris M. Maupin

Clio Ancient Art & Antiquities

338 S. Sharon Amity Rd #407

Charlotte, NC 28211

704-293-3411 / chris@clioancientart.com

PS: Follow us on Facebook at - https://www.facebook.com/pages/Clio-Ancient-Art-Antiquities/247378388593