The Roman Lighthouse at Dover: An Unlikely Survivor from Antiquity

Located on the grounds of Dover Castle in Kent, England, is a well preserved Roman lighthouse constructed from the orange-red tiles found throughout the Roman world, and from local flint and other stones. The original structure seems to have been erected about 50 AD with major reconstruction around130 AD, and was perfectly situated atop the high chalk cliffs of this area to help guide maritime traffic moving through the Channel between the ports of southeast Britain and what is now France, Belgium and the Netherlands. It was originally one of a pair, the other lighthouse having been situated on the cliffs about one thousand meters to the southwest. That structure did not survive the centuries and its foundation is now buried beneath 18th Century fortifications.

The lighthouse’s function is known with certainty due to its very close resemblance to other surviving lighthouses in Egypt and Spain and excavated examples in Italy, as well ancient depictions of the famous Pharos lighthouse at Alexandria, Egypt. In its original form it would have been square inside and octagonal outside, with four levels. It stands about 75 feet tall today, with the top 19 feet being Medieval reconstruction. It owes its survival mainly to having been used as a church tower in the Middle Ages and a variety of other uses over the centuries. Adjacent to it is the church of St Mary in Castro, the original fabric of which was partly constructed of material recycled from the lighthouse and other nearby Roman remains by the Saxons around 600 AD. Roman tile and worked flint are clearly visible throughout the structure. The Saxon church is a significant monument in itself, though it has seen much rebuilding. It is still in use today.

Trains from London to Dover take between one and two hours, depending on time of day. The lighthouse can be accessed today with an admission ticket to Dover Castle. The site is managed by English Heritage. Dover Museum offers excellent exhibits covering the Roman and Saxon periods and these strongly complement a visit to the lighthouse and church. Views from this location are spectacular, with the French coast visible on a clear day, the harbor of Dover directly below and the expanse of the Channel and the Dover cliffs stretching off for miles.

Links:
English Heritage page for Dover Castle – http://www.english-heritage.org.uk/daysout/properties/dover-castle/
Dover Museum – http://www.dovermuseum.co.uk/Home.aspx

 

Dover Roman Lighthouse. To the right is the Saxon period Church of St Mary in Castro. Note the use of Roman building material in the church’s fabric. In the distance at left is Dover Castle.

A close up view of Dover Roman lighthouse. The figure standing at bottom right between the lighthouse and church offers a sense of scale. Note the layers of Roman tile alternating with worked flint and stone.

View from inside the lighthouse, showing clearly the square interior plan and four levels.

Exterior detail, showing the use of Roman tile in the window arches.

Egyptian Antiquities in the Petrie Museum of Egyptology, London

Established in 1892 primarily as a teaching tool for the new Department of Egyptology, University College’s Petrie Museum of Egyptology is tucked away in a rather obscure location off Gower Street. Were it not for a few colorful banners pointing the way, it would be difficult to find. Visiting hours are quite limited. Started with the donation of a few private collections, the Petrie’s holding grew enormously in the first few decades of the 20th Century through the prolific excavation work in Egypt of Sir William Flinders Petrie. Removed from London during the Second World War for safekeeping, the collections were returned in the 1950s and housed in a former stables building, where they remain today.

The Petrie’s collections are particularly rich in Pre-Dynastic and Early Dynastic materials, especially pottery, as well as textiles and costumes, glass and faience, papyri and inscribed architectural fragments, many with string colors remaining. Unusually, much of the material has clear provenance, having been obtained through controlled excavations with find spots recorded. Also rather unusual is the fact that the Museum’s collections cover not just Dynastic Egypt but also Roman, Byzantine / Coptic and early Islamic materials.

The immediate impression one receives upon getting clear of the small admissions area and entering the Museum itself is of the stereotypical “old fashioned” dark and dusty late 19th or early 20th Century museum experience. There is nothing nostalgic about this. The fact that the Museum is housed in what was once a stables now makes its impact. The spaces are very tight. There is very little room around most of the old fashioned, academic display cases for more than one or two visitors to look at the contents. The lighting is dim (though in some instances this is to help preserve light sensitive materials), making it difficult to enjoy even the most impressive pieces. Objects are stuffed together tightly in small cases, accompanied by descriptive labels that might be less than informative to a visitor with no background in Egyptology. In most instances, obtaining good photographs is nearly impossible due to the lighting conditions and highly reflective glass of the old cases. The overall impression left is one of frustration at not being able to adequately enjoy the many wonderful pieces on display, and of puzzlement as to why such an extraordinary collection has been relegated to such an inadequate space.

Having said all this, the Petrie is still very much worth a visit for anyone with more than a passing interest in ancient Egypt and the ancient Mediterranean world in general. The images below are intended to provide only a modest sample of what awaits the visitor. Enjoy!

Ancient glass from Egypt, dating from early Roman through Byzantine & early Islamic

Display of pre-dynastic and early dynastic pottery

Egyptian and Phoenician glass inlays and small objects, mainly Late Dynastic and Ptolemaic

Coptic period St Menas Flasks and pottery

Inscription from Pyramid of Pepi II, Saqarra, circa 2250 BC

Late Dynastic shabtis of exceptional quality

Painted wood funerary stele showing the deceased adoring Horus. Dynasty XXII or later.

Painted Wooden Stela of Neskhons, Queen of Pharaoh Pinezem II, Dynasty XXI. The deceased Queen adores Osiris whose green skin suggests regeneration and rebirth.

Middle Kingdom polychromed fragmentary funerary stela.

Everyone should read this! Museum staff, not antiquities dealers, arrested for theft of artifacts!

Everyone should read this! Museum staff, not antiquities dealers, arrested for theft of artifacts! - http://www.washingtonpost.com/entertainment/museums/macedonian-police-arrest-8-for-big-museum-theft/2014/02/27/c8a13ebe-9fdc-11e3-878c-65222df220eb_story.html

Viking Exhibition Opens at The British Museum

http://www.historyextra.com/news/longest-known-viking-ship-Roskilde-6-goes-display-exhibition-british-museum

For our friends and followers in our old home town of San Francisco and beyond...

http://www.ancientartcouncil.org/program/03-22-14

Collecting Ancient Coptic / Byzantine Textiles

The colorful textile above is a fragment from a Coptic Egyptian ecclesiastical garment depicting saints and biblical figures and dating to the 7th Century AD, now in The British Museum. Thanks to exceptionally dry conditions, many types of artifacts made from perishable materials that would not survive elsewhere are common finds on Egyptian archaeological sites. Between the late 18th and early 20th Century great numbers of ancient Egyptian textile fragments from all periods were retrieved by local Egyptian treasure hunters and artifacts dealers for sale to foreign visitors, by foreigners conducting their own ad-hoc “excavations” and by archaeologists, often excavating using methods that would by today’s standards be considered little more than treasure hunting.

While textiles of all types, from the most humble garments to the most elaborate, and from every period of Egypt’s long history have been preserved in the dry environment, Coptic textiles are a class unto themselves. In common parlance, use of the term “Coptic” here refers both to the time period from which these textiles date – corresponding to the roughly 300 year period of Byzantine rule in Egypt – and the Christian culture that created them, as the Coptic Church, still very much alive today in Egypt, gives its name to both the ancient and modern Coptic culture. This uniquely Coptic textile style continued on in Egypt long after the Islamic conquest of the 7th Century AD.

Many Coptic textile fragments, and in some cases entire garments, have since found their way into museum collections. This has somewhat reduced the number of high quality examples available on the legitimate art market. But many fine examples can be acquired from the major London and New York auction houses and reputable antiquities dealers in Europe and the North America.

Our own website offers a small but quality selection of Coptic textiles:

http://www.clioancientart.com/catalog/i284.html

The example above is a large 5th-7th Century fragment featuring human, animal and geometric decorations. It has been sewn on a linen backing for mounting and custom framed. A brief description in modern Arabic from a late 19th – early 20th Century Cairo dealer enhances its value.

http://www.clioancientart.com/catalog/i285.html

This 5th – 7th Century example, from the same old collection, is also framed and features complex foliate and geometric patterns.

http://www.clioancientart.com/catalog/i176.html

Finally, this 4th – 7th Century example features a broad band of highly abstracted animal forms, including fish, birds and rabbits, with lovely deep red borders.

Some of the finest examples of Coptic weaving, which was generally made in linen and wool, were reserved for ecclesiastical garments. The 5th – 7th Century fragment pictured below, now in The British Museum, depicts a cross and bird; the bird may have been part of an allegory of the seasons, thus combining ancient pagan and the newer Christian iconography.


 
There are excellent print and online resources for the student or collector of ancient Coptic textiles.  The Coptic Tapestry Albums & The Archaeologist of Antinoe, Albert Gayet  by Nancy Arthur Hoskins, is a very accessible, lavishly color illustrated guide to the collection amassed by the controversial French psuedo-archaeologist Albert Gayet in the late 19th Century. It describes Coptic textile production techniques as well as offering insight into how collections of these objects were built in the 19th and early 20th Centuries. Two online resources that we recommend are the Rietz Collection of Coptic textiles in the California Academy of Sciences – http://researcharchive.calacademy.org/research/anthropology/coptic/Collection.htm – and the Indiana University Museum’s small but excellent online collections – http://www.iub.edu/~iuam/online_modules/coptic/cophome.html.

CONSULTING SERVICES: AUTHENTICATING AND IDENTIFYING ANTIQUITIES

 

Education, authentication and identification are the key elements in building a collection of ancient art. We at Clio Ancient Art are often contacted by private owners, art museums and estate executors wishing to identify objects and learn if the they are genuine ancient artifacts, reproductions, fakes, forgeries, or tourist trinkets. As a service to antiquities collectors, owners and the museum community, Clio Ancient Art provides authentication and identification services. Click here to learn more about this service: http://www.clioancientart.com/id23.html.

Educating oneself is the key to avoiding disappointment upon learning that an “antiquity” one may have purchased is not ancient or genuine, as well as avoiding ethical or legal complications associated with ownership of an antiquity with questionable provenance. Our own links page — http://www.clioancientart.com/id15.html — is a good starting point in building a knowledge base about antiquities and ancient art.

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.

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.

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.

http://www.clioancientart.com/catalog/i470.html

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.

 

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.

http://www.clioancientart.com/catalog/i512.html

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.

 

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.

http://www.clioancientart.com/catalog/i515.html

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.

Well, this is going to cause a stir...

http://www.dailymail.co.uk/sciencetech/article-2522067/Chinas-Terracotta-Army-inspired-ancient-GREEK-art-claims-expert.html

Vikings Coming to The British Museum

Here's the link to the much talked about Viking exhibition coming to The British Museum this Spring - http://www.britishmuseum.org/whats_on/exhibitions/vikings.aspx

Another Fine Ongoing Exhibit at the Villa

An ongoing, long term exhibition and a personal favorite. For those with an interest in ancient glass, I recommend the Getty’s publications selection on the topic, which is extensive – http://www.getty.edu/art/exhibitions/molten_color/index.html

Exhibits at The Getty Villa

As always, there are some great exhibitions ongoing at the Getty Villa in Malibu. Here’s one, running through March 3, 2013 –
http://www.getty.edu/art/exhibitions/tiberius/

Antiquity of the Week: Villanovan Pottery Vessel

Our selection for antiquity of the week is thus superb, intact Villanovan Impasto Ware Vessel


CULTURE / REGION OF ORIGIN: Villanovan Culture, Italy (Northern Lazio or Southern Etruria))
DATE:  8th – 7th Century BCE
DIMENSIONS: Maximum height with handle 11 cm (4.3 in.); maximum width 13.1 cm (5.1 in.); rim diameter 12.0 cm (4.7 in.)



Link to this Item: http://www.clioancientart.com/catalog/i41.html

http://www.clioancientart.com/catalog/i41.html

DESCRIPTION: A Villanovan brown Impasto Ware dipper. The vessel rests on a flat bottom, expands to its greatest width about half way up the bowl, narrows slightly, then continues vertically up to the lip. At three roughly equidistant points around the outside of the body, there are nipple-like projections. The handle is flat in section and divided into two loops. The entire surface is highly burnished, inside and out. There are three very small chips to the rim but the vessel is otherwise intact. A very nice example of the type.

PROVENANCE: Formerly in the collection of Lord Dayton of Corran, the collection formed between 1960 and 2000.

PUBLISHED: Ex Bonhams, ANTIQUITIES, 27 April 2006, London, Page 160, illustrated in color on Page 159.
COMPARISONS: Sestieri and De Santis, The Protohistory of the Latin Peoples, Electa, Rome, 2000, pages 36, 62 and 84 for examples of Villanovan Impasto Ware jugs or dippers of very similar form, with divided handles and projections on the body. 

SPECIAL NOTES:  The Etruscan civilization of Italy has its immediate roots in the Villanovan culture of west central Italy; an area open to influences from Greek and Carthaginian colonists and traders and northern European Celtic cultures. The Villanovan culture, centered in a broad area around the modern city of Bologna, rapidly developed from simple agricultural village life to a more socially stratified and technologically sophisticated society. The Etruscan cities of the following centuries grew directly out of Villanovan town foundations.This large, beautiful, highly polished pottery vessel offers a glimpse forward to the sophisticated Etruscan Impasto and Bucchero wares of the 7th and 6th Centuries BCE.

Our Move is Complete

We've completed our long planned move from Charlotte, NC to the historic coastal City of Wilmington, NC. We will begin posting again in just a couple of days. Meanwhile, visit us at:
http://www.clioancientart.com/

Antiquity of the Week: Roman Marble Fragmentary Eros Sculpture

Beginning this week we will post detailed information once each week about one particular antiquity from our inventory.

We begin with a Roman marble fragmentary Eros sculpture.
 


Here are the basic facts on this piece -

CULTURE / REGION OF ORIGIN: Roman Empire, possibly western Asia Minor
DATE:1st or 2nd Century CE
DIMENSIONS: 17.2 cm. (6.7 in.) long, 10.8 cm (4.2 in.) wide, 8 cm (3.1 in.) deep

DESCRIPTION:A Roman marble relief fragment of Eros, probably from an architectural relief or sarcophagus panel. the figure’s posture is such that it may be reclining, hovering in a larger scene or stepping downward or forward with the left leg. The figure is preserved from just above the navel to the ankles, with the legs parted, one leg bent at the knee more than the other. The figure has the rounded belly and chubby legs typical of Roman Erotes. The preserved surfaces are smooth, with only a few chips. The marble is medium grained with a faintly tan or beige patina, with a few small areas of darker brown and gray discoloration. The bottom section has received two drill holes in the modern period for mounting on a display stand. The flat back side, possibly the interior wall of the sarcophagus panel, has slight remains of a modern adhesive material.

PROVENANCE: Ex UK Private collection

PUBLISHED: Bonhams, ANTIQUITIES, 1 May, 2008, London, Page 206, illustrated in color on Page 207

The posture and general style of this partially preserved figure of Eros suggest it was once part of a much larger sculpted panel composition on a marble sarcophagus. The particular crystalline characteristics of the marble suggest either an Italian origin or stone from western Asia Minor. From the lateFirst Century BCE onward Roman sarcophagai were frequently adorned all around with deep relief figural sculpture. Some examples are noted in the COMPARISONS below.


COMPARISONS: For related examples of Erotes from sarcophagai, Museum of Fine Arts, Boston website (www.mfa.org/collections/search), Accession Number 76.719 for a fragment of a sarcophagus with Erotes playing with a Silenos mask, one of them having fallen on his back. Also, Museum of Fine Arts, Boston website (www.mfa.org/collections/search, Accession Number 1973.480, with 2 Erotes or Amorini in very high relief, dated 200-225 CE.

 Note that this item will likely be consigned to a one year exhibit of Mediterranean antiquities at the Mint Museum of Art in Charlotte, NC, beginning Spring of 2014.

Final Appeal: Trust for Ancient Art Crowd Funding Campaign

Just 4 days left in the Trust for Ancient Art crowd funding campaign. Now is the time to give, if you can.

We’ve achieved so much in 3 years, gifting 33 examples of Near Eastern and Egyptian bronzes, Cypriot and Greek ceramics, Roman oil lamps and glass vessels and early Byzantine art to the Crocker Art Museum in Sacramento, California in 2010, further donations to the Crocker of superb Egyptian funerary art, Greek bronze and Roman limestone sculpture in 2012, fine Greek and Roman ceramics to the University of Missouri at Kansas City, Department of Classical Studies in 2012 and the recent gift of  a fine 14th Century English ceramic floor tile to the Mint Museum of Art in Charlotte, North Carolina.

Please help us continue this work next year by giving a gift of any size today in US, Canadian or UK funds. Here is the Campaign's Indiegogo web page: http://igg.me/at/Ancient-Art-Education-for-All/x/4074220. It includes:

* Detailed descriptions of what the Trust does and why, accomplishments and plans for the future.
* A short video appeal.
* Photo gallery of every antiquity the Trust has gifted to date.
* Descriptions of "perks" we're offering to donors at various levels.

All funds will be directed toward acquiring and dispersing appropriate examples of ancient art to carefully selected public museums and university collections. The Trust is not a registered non-profit, tax exempt. Gifts are not tax deductible.

Please visit the Trust's page on Indiegogo, read through it, view the objects we've gifted, watch the short video. We hope you’ll find it worthy of a contribution. Thank you!

http://igg.me/at/Ancient-Art-Education-for-All/x/4074220

Trust for Ancient Art Crowdfunding Campaign: 12 Days Remaining…

We have 12 days remaining (ending September 24, 2013, 11:59 pm Pacific Time) in our Trust for Ancient Art funding campaign and we’ve raised $417 of our $2,000 goal. We are using the “Flexible Funding” model, meaning the campaign will receive all funds raised even if it does not reach its goal.

If you’ve been following the progress of our campaign on Indiegogo, you are aware of the work our Trust has done, gifting over 40 examples of ancient Egyptian, Greek, Roman, Cypriot and Near Eastern art to the Crocker Art Museum in Sacramento, California, the University of Missouri at Kansas City Classical Studies Program, and the Mint Museum of Art in Charlotte, North Carolina. But all the antiquities set aside in 2010 for gifting have now been disbursed, and with the demands of Clio Ancient Art and family, we can no longer fund the Trust entirely out of pocket. Hence, the phenomenon of “crowdfunding”, using the Indiegogo website ( http://igg.me/at/Ancient-Art-Education-for-All/x/4074220 ).

Here is the Campaign’s Indiegogo web page: http://igg.me/at/Ancient-Art-Education-for-All/x/4074220. It includes:
* Detailed descriptions of what the Trust does and why, what it has accomplished so far, and plans for the future.
* Periodic updates.
* Short video appeal.
* Photo gallery of every antiquity the Trust has gifted to date.
* Descriptions of “perks” we’re offering to donors at various levels.

All funds will be directed toward acquiring and dispersing appropriate examples of ancient art to carefully selected public museums and university collections. The Trust is not a registered non-profit, tax exempt. Gifts are not tax deductible. For some donors this may mean it makes more sense to give a modest gift of $30-50, rather than a large gift. We accept gifts of any amount in US, Canadian, Australian and UK currencies. Only 2 donors have so far claimed their ancient Roman coin “perks” so we have plenty of these left if you wish to donate $30 or more (31 Canadian Dollars or 19 British Pounds).

Please visit the Trust’s page on Indiegogo, read through it, view the objects we’ve gifted, watch the short video. No doubt you will find this effort worthy of a contribution.

Meanwhile, a few exciting developments to share with you –

* We are in discussions with the Mint Museum of Art in Charlotte, NC about initiating a temporary gallery of ancient Mediterranean art sometime next year. This would utilize the Mint’s existing collection of antiquities (long hidden in storage and never shared with the public), gifts from our own Clio Ancient Art, and from private owners. As the Trust has now gifted all its holdings and is working to acquire more (part of the idea behind this campaign), Clio will offer several high quality items for display in this exhibit, part of a 1-year loan.

* We have completed the process of working with the Mint Museum to properly classify and catalog the 120 or so antiquities so long hidden in their basement, allowing us to assist them in possibly purging the collection of less display-worthy items.

* We have identified a source for several quality Trust acquisitions for next year. Once this campaign has ended we will share more details on this point with donors to the campaign.

* Finally, curatorial staff at the Mint Museum continue to share their enthusiasm for the 14th Century Medieval English floor tile gifted to them by the Trust last month. They recognize it as an important addition, filling a major gap in their extensive holdings of English ceramic materials.

Thanks again to everyone who has made a gift so far. Your perks will mail out the last week of September. And please continue to share information about our campaign to all who might be interested, at http://igg.me/at/Ancient-Art-Education-for-All/x/4074220

Chris M. Maupin
Clio Ancient Art and Antiquities
Chris Maupin Trust for Ancient Art
http://www.clioancientart.com/

Roman limestone figure of a partially draped youth with pomegranate and bird, 1st-2nd Century, gifted to the Crocker Art Museum in Sacramento, CA, May, 2012

Latest News from the Trust for Ancient Art

19 days remaining in the Trust for Ancient Art's crowd funding campaign on Indiegogo. We.ve so far raised $417 of our $2,000 goal (about 21%).

We have some exciting developments to tell you about.

* We are in discussions with the Mint Museum of Art in Charlotte, NC about initiating a temporary gallery of ancient Mediterranean art sometime next year. This would utilize the Mint's existing collection of antiquities (long hidden in storage and never shared with the public), gifts from our own Clio Ancient Art, and from private owners. As the Trust has now gifted all its holdings and is working to acquire more (part of the idea behind this campaign), Clio will offer several high quality items for display in this exhibit, part of a 1-year loan.

* We have completed the process of working with the Mint Museum to properly classify and catalog the 120 or so antiquities so long hidden in their basement, allowing us to assist them in possibly purging the collection of less display-worthy items.

* We have identified a source for several quality Trust acquisitions for next year. Once this campaign has ended we will share more details on this point.

* Finally, curatorial staff at the Mint Museum continue to share their enthusiasm for the 14th Century Medieval English floor tile gifted to them by the Trust last month. They recognize it as an important addition, filling a major gap in their extensive holdings of English ceramic materials.

Thanks again to everyone who has made a gift so far. Your perks will mail out the last week of September. And please continue to share information information about our campaign to all who might be interested, at http://igg.me/at/Ancient-Art-Education-for-All/x/4074220

Follow Clio on All Sorts of Social Netowrking Sites...

Clio is on all sorts of social networking sites –

Our Facebook page: https://www.facebook.com/pages/Clio-Ancient-Art-Antiquities/247378388593?fref=ts
 
Do you Tweet? Here’s our Twitter page: https://twitter.com/Kourionis
 
LinkedIn member? follow us at: http://www.linkedin.com/pub/chris-maupin/23/400/612
 
We’re also on Tumblr: http://www.tumblr.com/blog/clioancientart
 
Join our new Yahoo Group at: clioancientart-subscribe@yahoogroups.com
 
Of course we’re also on Redditt: http://www.reddit.com/r/ANTIQUITIES/
 
We have a great Flickr photostream: http://www.flickr.com/photos/99038255@N06/
 
And last but not least, Pinterest: http://pinterest.com/clioancientart/boards/