Fotokatalog Photographic Catalogue Catalogo fotografico

Fotokatalog
Photographic Catalogue
Catalogo fotografico
Source: http://www.khi.fi.it/5201080/Fotokataloge
Stable URL: http://wwwuser.gwdg.de/~fotokat/Fotokataloge/Thompson_o_J_1_l.pdf
Published by: Photothek des Kunsthistorischen Instituts in Florenz, Max-Planck-Institut
http://www.khi.fi.it
PRICE 6D.
COPYRIGHT.
CATALOGUE OF ASERIES
OF
PHOTOGRAPHS,
(BY S. THOMPSON),
FROM THE COLLECTIONS IN THE
BRITISH MlJSEUM.
For List of other Photographic Publicatiolls
see page I I 5, et seq.
THE CATALOGUES OF THE VII. PARTS ARE BV
A. W. FRANKS, M.A., V.P.S.A., KEEPER OF TEE BRITISH AND MEDI1EYAL
ANTIQUITIES AND ETHNOGRAPHY, BRITISH MUSEUM j
S. BIRCH, LL.D., F.S.A., KEEPER OF THE DEPARTMENT OF ORIENTAL
ANTIQUITIES, BRITISH MUSEUM.
GEO. SMITHj AND WALTER DE GRAY BIRCH.
INTRODUCTION BY CHARLES HARRISON.
LONDON:
W. A. MANSELL
PHOTOGRAPHIC AND
2,
&
Co.,
FINE ART PUBLISHERS,
PERCY STREET, RATHBO~E PLACE, W.
GENERAL INDEX AND SUMMARY OF CONTENTS.
PART 1.
. PRE-HISTORIC
SERIES.
AND
ETHNOGRAPHICAL
Nos. 1-157·
CATALOGUE BY
A. W.
FRANKS.
Nos.
Commencing.
1.
PRE·HISTORIC REMAINS OF EUROPE AND ASIA.
FIRST STONE PERIOD (Pal::eolithic)
BRONZE PERIOD._.
13
28
ILLUSTRATIONS OF PRE-HISTORIC ANTIQUITIES
42
SECOND STONE PERIOD (Neolithic)
Ir.
Ur.
ETHNOGRAPHY OF AFRICA, ASIA, AND OCEANIA.
AFRICA
44
ASIA
ASIATIC ISLANDS ..
5'
55
OCEANIA
57
••
. \NTIQUITIES AND ETHNOGRAPHY OF AMERICA.
86
NORTH AMERICA.
95
ANClENT MEXICO ..
..
:\loDERN }'lEXICO ..
120
120
CENTRAL AMERICA AND NEW GRANADA
12 7
\VEST hDlES, BRAZILS, AND GUIANA
ANClENT PERU
..
1lISCELLANEOUS
..
13 1
..
154
PART II.-EGYPTIAN SERIES. Nos. 200-317.
CATALOCL'E BY
DR. BIRCH.
X os.
GENERAL VlEWS IN EGYPTIAN GALLERIJlS OF THE Y[USEUM
(a) STATUARY OR CARViNG IN STONE
..
200
.. 2°3
(b) CARVING IN WOOD ..
220
(c) PAINTING
223
(d) RELIGIO:-I
235
N os. commencing
(c) SEPULTVRE AND BURIAL-(Ie) Models for Embalming
Wood Coffins
Sarcophagi ..
SepuJchral Tablets
Sepulchral Vases-(A) of Terra Cotta
(B) of Porcelain
(6e) Mummies ..
WRI'l'ING O~ CLAY, \VOOD, PAPYRI, AND WRITING MATERIALS(1/) on Clay ..
(3/) - Papyri
(4/) - Wood..
(5/) Writing Materials
WRITING-( Ig ) Hieratic
(2g) Coptic
FROM STONE ...
GLASS
PORCELAIN AND GLAZ;D WARE
ALABASTER
TERRA COTTA ..
BRONZES ..
WEAPONS OF WAR._
CIVIL AND DOMESTlC LIFE-(in) Agricultural
(2n) Tools ..
(3") Musical Instruments
(4n) Baskets
(sn) Children's Toys
(6,,) Personal
(7") Furniture
(2&)
(y)
(<V)
(se)
(/)
(g)
( 0)
(h)
(i)
(j)
(k)
(l)
(m)
(n)
PART IH.
ASSYRIAN SERIES.
CATALOGUE BY DR. BIRCH
v
CONTENTS.
CONTENTS.
IV
237
23 8
239
245
252
256
25 7
260
261
264
260
279
Expeditions
Reign of SENNACHERIB, B.C. 705-B.C. 681.
Slabs recording his Building Palaces
Military Expeditions
Reign of ASSHURBANIPAL. B.C. 661-626.
Slabs recording his Military Expeditions
the Religion and Gods of the Period
his Hunting Scenes
his Life at Court
commencing
All from
42 9
Palaces at 43 2
Nineveh (now
Kouynnjik). 43 8
45 1
455
522b
280
282
27 2
28 3
286
29 1
293
300
52 3
TERRA COTTA TABLETS OR HECORDS
52 5
57 8
582 '
BRO:<ZEs-Early Date
Later Date
588
GLASS ..
· ·59 Ia
AI,ABASTER AND STON E
.. 594
PART IV.
GRECIAN SERIES.
Nos. 600-7 8 5.
CATALOGUE BY DH. BIRCH.
Commencing
No.
(a) GENERAL VIEWS IN THE GRECIAN AND GRfEco·RoMAN GALLERIES OF
THE MUSEUM ........ . ....................... ················:··
(b) STATUARy-MARBLF. ...... .. .......... . ...•................... . ..
& MR. GEO. S~IITH.
GENERAL VIEWS IN THE ASSYRIAN GALLE RIES
BABYLONJSH, OR CHALDEAN EMPIRE.
Page 29
Early Records (B.C. 2300 to 1500)
ASSYRIAN EMPIRE, DOWN TO RC. 909.
Pages 29 and 43
Terra Cotta Tablets (RC. lI20) •.
Page 30
Personal Ornaments
ASSYRIAN EMPIRE, 2ND PERIOD, B.C. 909-745.
{
Statuary and Slabs relating to Religion and Gods.
Reign of ASSHURNAZIRPAL, RC. 884' }
..
Slabs recording his Life at Court.. ..
..
All from Palaces
Hunting Scenes ..
at Nimrud.
..
PIcRSIAN SLABS
IVORIES
Nos. 35 0 -595.
Military Expeditions
Reign of SHALMENEZER, B.C. 850.
Statuary-recording Military Expeditions on The Black Obelisk, Rimrud
~os.
ASSYRIAN EMPIRE, 3RD PliRIOD, B.C. 745 TO 62 5.
Reign of TIGLATH PILESER-Slabs recording his Military
35 0
52 5
35 2
353
601
61 3
THE ELGIN GALLERYTHE METOPES OF THE PARTHENON ., ............... '
THE FRIEZE OF THE CELLA OF THE PARTHENON, BY PHIDIAS
6 19- 634
634--693
693-69 8
THE EASTERN PEDIMENT OF
THE WESTERN PEDIMENT OF "
. . . . . . .. ....
700
THE MAUSOLEUM GALLERY .. ................................. 7 12 •
THE FRIEZE OF THE MAUSOLEUM................ . ... . .. ...... 7 18
(c) THE GRMCO·ROMAN GALLERY ................. .............. 724
(d) ENGRAVED STONES, OR GLYPTOGRAPHY .....................•....... .
73 0
(e) BRONZES .................. ·· .................. • ........... . , .. . ....
73 6
<.I)
P AINTED AND OTHER
IST üR ARCHAIC
2ND PERIOD 440
3 RD
336
V ASESPERIOD '1'0 440 RC.. . . . . . . . . . . . . . . . . . . . . . . • . . . . .
1'0 336 ]l.C. ..............................•....
TO 100 B.C., AND LATER..... .. . . . . . . .. . • .•. .. . . .
744
753
75 8
CONTENTS.
VI
No. commencing
(g) TERRA·COTTA FIGURES ........•.•...
(h) RELIEFS ..•.•..••.••••.. . .....
......... ..... ..........
782
........... .. ............•
783
ETRUSCAN & ROMAN SERIES.
Nos. 800-896.
ETRUSCAN.
No.
Commencing.
800
.. 810
(a) CrSTS AND BRONZES
(b) GOLDSMITHS' WORK
ROMA N.
(a) GENERAL VIEWS IN ROMAN GALLERIES IN THE MUSEUM
Commencing
No.
8II
(b) STATUARY:WORKS CONSIDERED 1'0 BE COPIES OF RENOWNED ORIGINALS
REPRESENTING MYTHOLOGICAL PERSONAGES ..
81 7
828
(c) ENGRAVED STONES OR GLYPTOGRAPHY ...
833
842
861
866
(d) BRONZES
87 1
(e) IVORIES
(f) TERRA·COTTA
886
OF BEST PERIOD OF ROMAN EMPIRE
PORTRAIT BUSTS OF ROMAN E)IPIRE
.•
(g) GLASS •.
(h) BRONZE AND GLASS FROM ROMAN SETTLE~IENTS
PART VI.
889
892
893
ANTIQUITIES OF BRITAIN AND FOREIGN
MEDIiEVAL ART. Nos. 901--946.
CATALOGUE
BY
A.
W. FRANKS.
Commencing
at No.
BRITISH
9°'
9 06
ANGLO·RoMAN
9 14
922
ANGLO·SAXON
MEDIlEVAL
••
FOREIGN MEDIlEVAL ART-:
IVORY CARVINGS
••
9 28
LEADEN INSCRIPTIONS
92 9
ENAMELS
930
935
945
GLASS
•.
MISCELLANEOUS ..
SEALS OF SOVEREIGNS, CORPORATIONS,
&c. Nos. 951-1041.
CATALOGUE BY WALTER DE GRAY BIRCH.
ENGLISH SOVEREIGNS
SCOTTISH SOVEREIGNS
IRISH SOVEREIGNS
CATALOGUE BY DR. BIRCH.
BAS RELIEFS
PART VII.
785
(i) GLASS ........•......... _ .......•.•....
PART V.
Vll
CONTENTS.
34 Plates
12 Plales
I Plale
95 1-9 84.
985-99 6.
997·
FRENCH SOVEREIGNS
14 Plales
99S--- IOII •
GERMAN SOVEREIGNS
12 Plales
12 Plales
· 1012-102 3.
1024- 1035.
102 4.
1025.
1026.
102 7.
1028.
PRIVATE SEALS OF ENGLISH PERSONAGES
(a) ANTIQUE GEMS
I Plale
(b) SAXON AND EARLY MONASTIC
I Plale
(c) EARLY NOBILITY
(d) EARLY DEVICES
I
(e) EAltLY HERALDIC
I Plale
(f, g)
CORPORATIONS
I Plale
Plale
2 Plales
(h, i, k) MONASTIC
3
(I) PRELATES
1 Plale
(m) NOBLESSE
FOREIGN PRINCES AND OTHERS
Plales
1 Plale
6 Plales
• 1029-1030.
· 1°3 - 1033.
'
10341035.
1°36- 1041.
PAGE
INTRODUCTION BY CHARLES HARRISON
FORMS OF PUBLICATION AND PRICES
EXTRA SERIES
KINDRED AND ILLUSTRATIVE SERIES
ix
xlvii
lii
II5
------- -
-
-
INTRODUCTION .
•
ERRATA.
Page 11; No. 146 ;for " other side of vase in 146," read "vase in 145.
28; line 4 ; for "(B.C. 1230)," read" (E.C. 23°O-15°°)."
28; line 22; for " B.e. 667-647," 1'ead" B.e. 661 to 626."
29; No. 565; for " B.C. I230," read" B.C. 23°O-15°°.".
36; line 3 I ; for " attacked and," read " AsshurbanipaL"
39; line 12; for" B C. 668-647," read" 668-626."
44; No. 549 to be omitted..
HE British Museum occupies the most p rominent position'
of all the collections in Europe, and i'; well worthy of
the nation that has formed it. But reprcsentations of its
contents have been hitherto quite unattainable except at im moderate cost.
By the liberal sanction of the Trustees, and with the assistance of
Mr. Winter Jones, the principal Librarian, the present collection of
photographs has been made; and that they may be within the
reach of all it has been stipulated that the Publishers shall seil
each print, of the average size of 10 in. by 8 in., separately, and at
not more than 2S.
The series consists of nearly a thousand plates, and is grouped
into seven parts.
The subjects havebeen selected, in each
of the several departments as exhibited in the British Museum, by
the aid and assistance of Dr. Birch, (F.S.A., Keeper of the Department of Oriental Antiquities), Mr. Charles Newton, Mr. A.
W. Franks, (V.P.S.A., Keeper of British and Medio:eval Antiquities
and Ethnography), Mr. Murray, Mr. George Smith, (of the Oriental
Department), and Mr. Walter de Gray Birch.
Except for the invaluable advice, assistance, and friendly cooperation of these gentlemen, and particularly of Dr. Birch, Mr.
Franks, and Mr. Smith, during the progress of the work, it would
have been impossible to have obtained such a complete and typical
selection of subjects. Great value has been added to it by the fact
that Mr. Franks, Dr. Birch, Mr. Smith, and Mr. W. de Gray Birch,
have undertaken the labour of the following catalogue.
It is alm ost superfluous to allude to the important position
which national and other collections occupy, in supplying evidences
of man's advancement, (rom the lowest stage of his history, the
conditions of social life, of belief, of science, from the earliest to the
latest epoch.
Let us shortly refer to the main periods covered by such col-
INTRODUCTION
I
INTRODUCTION.
- - - - -\'
x
lections, and to the part filled by the component specimens of such
collections and particularly those of the British Museum, in following out the history of the evolution of humanity.
This realized, photography will be found the best and cheapest
means of placing such collections before the historian, scholar, art
student, and the public; particularly if the present publication
should initiate a mutual system of exchange of photographs takcn
from the National and Local Museums of Europe and America.
Commencing then with the Pre-historic period-On wh at evidence and what visible proofs does the science or present knowledge of this subject rest?
The geologist, starting out with the assumption of a crust round
this planet, traces the upheavals and depressions of the earth's
surface, from the testimony of its fossil remains, and the geological
position of various strata, and he carries down its histoI'Y to the elose
of the tertiary or modern life (Kainozoic) period. His investigations and proofs carry us through successive stages of progressive
development in vegetable and animal life, till finally he comes to
a class of strata known as the Post tertiary, or the strata always
found superimposed above the last of the tertiary series of strata.
And now for the first time, mixed with other records, are found
in the earth's crust traces of man's existence. These records lie
buried, not in the newest or most recent strata, but mixed with
fossils and extinct mammalia, in strata which geology shows to have
been subjected to glacial action. This was undoubtedly due to the
difference in the distribution of land and water, and in configuration,
producing a different climate and zoology to that now existing.
The explanation of the great change which has taken place
geologically and climatically has been recently given by Sir C.
LyelL He holds it "far from startling," that 200,000 years must
be reckoned back before we re ach the period of the greatest cold, of
the post-tertiary period when the excess of winter days over summer
days amounted to 27"7, and he thinks that such a climate would
yield zoological results similar to those which our records indicate
to have then existed. He attributes this great cold to the earth
wintering in aphelion, and to an excessive and abnormal accumulation of land round the poles, caused by the upheaval of the land
,------
I
I
I
__I
\
XI
in those parts where now depressed, and by the land now existing
round the equator being at that period depressed. This alteration
of the distribution of land above the surface of the sea would still
be conformable to the relative proportion which now exists of land
to water as I to 2t. Supposing this to have been the case, we can
well understand the immense climatic difference which would have
existed in Europe, with no gulf stream or equatorial current,
and no reservoirs of heat, and nothing but vast regions of ice
such as now cover Greenland, extending down in Europe as low as
Amiens and Prague. And, as this vast ice-field chilled the whole
air of the continent, the arctic circle, as now known to us, must have
been brought down much nearer to the equator.
Such a distribution of land Sir C. Lyell shows would produce a
glacial epoch, driving down far south animals now only found in
the existing Arctic circle. And yet mixed with the strata of
the glacial epoch, records of man's handiwork have been dug up:
and consist of flints worked into forms, bones of the mammoth cave
bear, and other extinct animals; besides various other articles more
or less worked upon by the hand of man. To the records of this
period Sir J. Lubbock has given the name of Pal<eolithic.
None of such records exceed in size wh at can be conveniently placed in a case for exhibition, and preserved from decay
by protection from the elements. No other records of this period
exist than such as these classes of specimens supply.
No traditions of man reach back to this pre-historic period. The conclusions of the pre-historic arch<eologist are based . on the
evidences such physical records as these contain; and on
these alone. And this being so, the reproduction of such records by photography is an immediate and available means
of distributing throughout Europe complete series of the evidence and materials on which the science now rests, whereby
a larger number of minds may be directed to the science, and
more true results arrived at. By the proofs thus afforded of man's
existence-by the geological deductions from the fauna and the
flora of the period-we may find ourselves able to picture the state
of climate and of man's civilization during this pre-historic or
glacial drift age.
"
Xll
INTRODUCTION.
From henceforth the gradual evolution of humanity commences.
From this point we can study the successive stages through which
the tribe has to pass on its way to the settled life of town, we can
measure the scale of the age of man, and the enormous length of
time it has taken to elevate him frolli the wilderness of barbarism
before he could reach the region of social refinement and political
power.
If Sir C. Lyell's geological data are well founded, we have
to imagine the period of time which, without the intervention of
cataclysm or sudden catastrophe, and merely by gradual subsidence and elevation, was required for the poles to sink and for the
equator to rise, for forming a configuration similar to that now existing, and for the remains of man in the neolithic age to replaee the
remains of man in the pal<eolithic or glacial drift. As Sir C. Lyell
remarks, no observed geological change in historical times entitles
us to assume that where upheaval may be in progress it proceeds
at a rapid rate. Three or four feet rather than as many yards in
a century, may probably be as much as ean be reckoned upon.
Contemplate then and realize the time oceupied in bringing
about, at this rate of three or four feet in a century, the past
geological upheavals and depressions at the poles and equator
which Sir C. Lyell asserts have occurred. Whatever be the result
will be the period during which man has existed on the planet.
When remains of man are diseovered in the more modern strata,
unmixed with extinct animals, or animals that now no longer
oeeupy their existing zoological area, then the remains are stated
to be of a "Neolithic Period." To be included in this period the
remains must be characterized by the total absence of all metals
with the oceasional exception of gold.
Later periods in whieh large areas are found strewed with records
of man's handiwork in which bronze and no iron is used, are termed
the "Bronze Age;" and that in whieh iron is found superseding
wholly or in part the bronze, is called the "Iron Age;" but as these
two ages have no geologieal proofs of superposition they may have
gone on concurrently over the globe. We find both at the present
day amongst savag~s living at the extreme ends of either continent
of America, or in islands in the Paeifie.
INTRODUCTION.
X!11
Early in the dawn of the science it was sug~ested that many of
the pre-historic records left by man, might be elucidated by examining the lowest and rudest forms of man's existence now to be
found on the earth.
.
This suggestion has been acted on, and the pre-historic arch<eologist searehes for explanations as to the mode of fashioning,
using, and applying, the materials or ilfiplements found mixec;l
in the glacial or drift epoeh, or in the later strata, by visiting
modern savages in the Paeific Islands, Australia, Afriea, North
America, and elsewhere.
These visits establish the existence of many races at the present
. moment amongst whom the use of metals is 1,lllknown, and whose
implements correspond exactly with those found mixed with the
fossil remains of extinet animals. This refiection in modern savage
life of the picture which man's pre-historic remains evidence, gives
rise to the suggestion that the earliest cultivation or civilization
whieh existed was of no higher type than that found in modern
savages, that man's history is therefore the progressive advaneement from this low stage to a higher stage, and that savage life
gene rally is not a decadence from a higher type, though in a few
loeal areas tribaI decadence m<LY be found to ex ist.
Now a museum can eolleet and take charge alike of the prehistorie materials as of the specimens brought home from modern
savage tribes by travellers and others ; and under Mr. Franks'
aetive superintendenee, and by Mr. Christy's munificent gift of
his collection, the nation has acquired a most interesting collection of specimens, not only of pre-historic remains, but of
modern savage life, from all quarters of the globe. The chief of
these subjects have been seleeted for the first part and opening of
the present series. Side by side with the rude designs of prehistorie man (see Plates 9, 10, I I), designs carved possibly tens of
thousands of years ago, on the ivory of the then existing, but now
extinct mammoth and reindeer horn then found as low down in
Europe as the southern half of Franee, we are able to place and
compare the rude carvings on the walrus-ivory (see No. 91), of the
tribes on the north-west coast of America. We may further by
means of the following photographs compa re the pre-historic flint
I
xiv
--I
INTRODUCTION
INTRODUCTION
xv
I
~~---,
implements (see Plnes I and 2) found in the glacial drift, with
those used at this day by the Arctic tribes 01' Pacific islanders (see
Plates I54-I55.) The harpoon heads made of reindeer horn of the
pal<eolithic period (see Plate 6) the needles of the same· period,
made of horses' bones (plate 8), implying that thread was in existence, mayaIso with advantage be compared with Plates (87 and
91) the products of existing tribes.
The picks from antlers of red deer (Plate 13) show the curious
uses of these horns, and are found in the chalk amidst the allcient
flint workings in which they had been used to get out the flints,
such as those shown (in Plates 14, 17, and 19), to be used, as
al ready mentioned, 01' in a still' later stage as now in the threshing
machines at Aleppo (as shown in Plates 42 and 43.)
Many of these pre-historic and savage tribaI monuments, with
the materials then at hand, were far more difficult to make than a
complicated machine in the present day. See the curious illustration in the Easter Island idol (Plates 77 and 78) fashioned and inscribed in hard granite by a people that know not meta!. These
collective records supply materials for considering the question of the
early development of man-his fetichism-and the gradual development of mind. They show us why in low and early states of existence the same forms repeat themselves, why the tatoo and ornamentation of the New Zealanders' idol is of exactly the same type
as that of the North American, with whom neither ethnologically
01' otherwise, there is the slightest connection.
They explain how
the flint 01' other implements of pre-historic man, the products, in
many instances, of years of labour on the object, are still found
existing and produced in the same manner, and we may almost say
by the same means, in various parts of the planet at the present
day.
Finally the pre-historic series devote Plates Nos. 95-II9 and
Plates Nos. 131-I53 to specimens from Ancient Mexico and Peru
respectively. These specimens afford materials for the consideration of the real state of former civilization existing in those countri es. Thcy help the solution of the question wh ether these
countries had a low state of civilization artificially excellent in
some few respects, 01' contain the decayed products of a crumbled
I
civilization of higher standard, approaching almost to that which
in historical periods surrounded the basin of the Mediterranean.
Passing from the pre-historic to the historical period, and assuming the present received not ion that man's first historical period
dates, according to philological proofs, from the Turanian and
Aryan migrations from the table lands of Asia and mountainous
districts of the Caucasus and Himalayas, no European 01' national
museum contains any record of man's handiwork in these localities.
Even if man first centred in and emerged from these areas, the so~
called history is entirely based on the philological discoveries of
MI'. Max Müller and others. However, assuming that one of the
earliest forms of a civilization existed, and that the patriarchal
system of communities first locally developed itself at the mouth
of the valley of the Euphrates, some idea of its physical features
may be realized from photographs, but beyond this no materials
ex ist in any museum. Continuing the history of man's civilization, the next marked progressive development, and the earliest
capable of being historically treated, is to be found locally in the
valley of the Nile.
The materials for forming the history of this development
consist, of the physical features of the country, which remain to
this day unchanged; the monuments themselves, buildings, inscriptions thereon; sarcophagi; paintings; and writings on papyrus,
supplemented by such notices as are found in the early books of
the Bible, of Genesis, Exodus, Kings, and Jetemiah, and by the accounts given by the Greek Herodotus, who did not, however, visit
Egypt until Greek civilization had very fully developed itself (460450 B.C.) and by the Greek accounts of Diodorus, the practical
copyist of Herodotus and Eratosthenes of Cyrene, and Apollodorus. In these we possess the entire materials the Historian
has wherewith to write the history of the civilization of the
Nile.
From such materials alone can the history of Egyptian civilization be constructed. As regards the materials showing the physical
features, the publishers have arranged to supply photographs of
the wh oIe valley of the Nile; and these can be procured from them
showing the Nile's appearancc from its Delta to the 2nd Cataract,
XVl
INTRODUCTlON
at spots situated 150,630,728,737,893, and 873 miles respectively
from its mouth at the Mediterranean.
Photographs can also be obtained of them of all buildings strewed
along this valley-the Pyramids, the Sphinx, the Tombs of the
Kings at Thebes, the earlier and later Temples at Karnak, the
great brick Pyramid of Dashoor, the Obelisk uow at Heliopolis,
the Tombs of Beni Hassan, the great Temple remains of the 18th
and 19th Dynasties at Karnak, Thebes, and Ipsamboul in Nubia.
But these mere buildings would show little beyond the architecture; the inscriptions on them little more than the king's exploits.
The real inner life of society of this, the first historical centre of
civilization is to be found in the details of the sculptures, and in th~
smaller articles capable of being shown in a museum, such as those
in the British Museum. Most of these have been removed from the
pyramids, tombs, or other sites in which they were originally
buried until brought to light in the last century.
Thus carving on stone, painting, fetich and animal worship, the
mode of sepulture, the earliest form of writing, weapons of war, and
other illustrations of civil aud domestic life, are just the kind of
evidence a museum can contain, and in these the British Museum is
particularly rich. The 2nd part of the present se ries of photographs has been selected from this collection.
If the other European museums were to adopt a similar mode of
illustration, the three classes of subjects, physical features, architectural remains with their inscriptions, and the remains now in the
different museums of Europe would give to the student of this period
of the world's civilization a very perfect picture. If the suggestion was carried out in sufficient detail, an absolutely complete collection might be made of every scrap of material which has come
down to us, wherewith to construct a history of the progressive
state of man's life in the valley of the Nile.
Let the college or school tutor attempt to teach a student the
lists or chronology of the Egyptian Dynasties, and the subject is
Rat, tarne, and uninteresting: call in aid the excellent dictionaries
edited by Dr. W. Smith, and the interest is greatly enhanced;
illustrate the tutor's lectures by the contents of the European museums, and the subject becomes one of the deepest interest.
1-
INTROD UCTION.
XVll
Let the evidences each European museum contains be accurately
compared and studied. The result mnst tend greatly to irriprove
the knowledge of the history of man, on his way onward from
savage life to astate of civilization.
It is with these objects that the present photographs (which were
originally taken for a gentleman for his own personal use), have
been now made aecessible to the student, tutor, and public.
The student of the histor)' of man's civilization can by this means
trace its gradual rise through the valley of the Nile, and follow up
Tylor's ideas of early civilization, can judge how far Froude's
notion that religion in Egypt was a complicated idolatry of the
physical forces is weil or ill founded. He can trace what was the
worship that did in fact ex ist ; how far it was fetich-how far a
worship of physical nature and subsequently of fetich animal nature
(see embalmed animals, Plate 257). He can in the papyri, by the aid
of Dr .Birch's learned work in the 5th vol. of Bunsen's "Egypt's Place
in Universal History," follow the meaning of the burial of the dead,
trace the origin whence it came, its meaning and inRuence, the object and meaning of the process of embalming in the system of the
then religion, and how man's rnind first came to realize the difference bfttween "spirit" and "matteF." By this means an enquirer
can study the religion and nature of the belief im a future state.
(See an extract from a most ~aluable papyrus, Plates 264 to 271.)
can, as a student of art, study the earliest known painting (Plates
Nos. 223 to 233) and as a student of history, examine the sociallife
the scenes of patriarchal life, and of domestic life, represented i~
thern. By such aid as we have indicated, the student of the Old
Testament cau examine and eritically test the ] ewish account of
the then existing state of Egypt's life.
The Egyptian Series has been specially selected by Dr. Bireh,
the Keeper of Egyptian Antiquities. No branch of subjects whieh
the Egyptian Department of the Museum tends to illustrate, has
been omitted from the Series of Photographs ; and they have been
arranged by hirn approximately ehronologieally, and grollped into
sllbjects.
However much the dates of the dynasties may be in dispute,
there will be no difficulty in severing the Greek and the sllbsequent
--=-/
INTROD UCTION.
INTROD UCTlON.
Roman influence on this area of civilization, from the original and
purely indigenous Egyptian civilization.
Amongst the earliest specimens in date in this series, may be
mentioned the calcareous stones (plates 243, 244, 245,) and the
wooden box (plate 260). What is the history of the period? and
over wh at length of time was it spread to account for the advancement of man from the rude pre-historic carvings made before metal
was introduced, to enable hirn to send down to the present date
such products as these, which, as regards the stone, would be
fashioned probably only by highly tempered metal tools.
Leaving the valley of the Nile, we turn to that of the great
Tigro-Euphrates Basin.
At the Euphrates mouth, the area covered by the Chald;:ean Kingdom is entirely alluvial and stone is altogether wanting. Buildings, inscriptions, records, in short, from not being composed of permanent materials, were buried in ruins by the time Greek civilization came to the front. All traces of the existence of any such
Empire had by that time practically disappeared, and were as much
hidden from the Greek as from the Modern, until the discoveries
of Layar.d disinterred them; and the sole materials the historian
had to enable hirn to sketch, or even to form a notion as to what
was the nature of the link between Eastern aud Western forms of
thought, were the accounts of the Greek Herodotus, who wrote
(450 B.C.) two hund red years after tue termination of the Assyrian
rule.
Ctesias the Greek who visited Persia, wrote about 395
B.C., nearly half a century later than Herodotus and Berosus, a
native of the country, dedicated his work, B.C. 280. These and
such materials as the Jewish records scatt~red in the earlier books
of the Old Testament afforded, formerly constituted the only
materials for the history of thc civilization of this period.
Materials such as these wereso imperfect that no true insight into
the world's history of this period could possibly be formed, and beyond preserving a few traditions, little was to bc gathercd from them.
And there is !ittle doubt the Greek knew little 01' nothing of the
civilization in the Tigro-Euphrates Valley, which had preceded
hirn, but ",hich gave and carried on to him an Indian philosophy
and belief, and exercised unseen to hirn an influence on the system
and philosophy which he subsequently produced.
At last M. Botta, the French Consul at the modern town of Mosul, on the Tigris, in I842, began explorations in the great mound
called Kouyunjik, opposite the town. Unsuccessful there he was rewarded on searching I4 miles off at a site called Khorsabad, and
the Louvre is now the place of deposit of his discoveries.
In r845, Mr. Layard, Her Majesty's present Envoy at Madrid, commenced similar excavations at the site of Nineveh.
These were renewed in r 849; and carried on at a later date by the
Trustees of the British Museum, under the superintendence of Mr.
Rassam.
The results of all these searches are now in the British Museum;
and the mention of some of the subjects will show to what very
minute particulars of Assyrian civilization the articles discovered
extend. And the complete and full materials of Assyrian History,
Religion, and Art, are none the less to be found in these records
because they descend to such minute details.
As regards the earliest kingdom, the Chald;:ean, though metals
were known, they were too scarce for general employment, as
implements of flint, arrowheads, &c., are still found. Before all
other evidence in importance must be placed the written evidence
these discoveries supply; we have first the brick stamps or cones,
giving the names of the early Chald;:ean Kings-(see an early instance, plate 565*). But above all the tablets of the Chald;:eans,
records of the people's manners, customs, religion, science, and
learning, must be regarded as the most important class of evidence
the discoveries of Layard, or others, have yet given to the world.
There are also many historical inscriptions on terra-cotta cylinders
some of them of great importance. Among the most interesting
are those of the inscriptions of the reign of Tiglath-Pileser 1. This
in the early days of deciphering the cuneiform writing was taken as
a test, and concurrently placed before Sir H. Rawlinson, Mr. Fox
Talbot, M. Oppert, and Dr. Hincks, whose separate translations,
made without communication with one another, werc found substantially to agree.
The tablets and inscriptions are of the utmost importance, and
XYlll
IN1RODUCTION.
INTRODUCTION
by Mr. George Smith's ex!,!rtions, translations of the most important of them have now been given to the public. Only
recently Mr. George Smith gave to the world "The History
of Asshurbanipal," as translated by hirn from the cuneiform
inscriptions, a work published with the original text, by the
generosity of Mr. J. W. Bosanquet, and Mr. H. Fox Talbot.
The tablets and incriptions, to ~hich we have alluded, continue
from the early Chald<ean or Babylonish Empire, through the
Assyrian Empire, covering the reigns of Sargon, Sennacherib
(7°5-681 B.e.), Esar-haddon (680-668 B.e.), Asshurbanipal (668
-640), Nebuchadnezzar (604-561), Nergalsharuzur (B.C. 557),
and elose with Nabonadius (555 B.c.), the last King of Babyion.
The records of Sennacherib are found to correspond in the most
remarkable degree with the Biblical account of Hezekiah of ) udah.
(Plates 540-546).
As a specimen of the religious records, we may cite a prayer to
God by Asshurbanipal, (884 B.C.), long before Greek thought historically developed itself, or its philosophy arose, and which is thus
given on a tablet (marked K 13 in the British Museum Series).
" May the look of pity that shines in tlüne eternal face dispel
my griefs.
" May I never feel the anger and wrat4 of the God.
" May my omissions and my sins be wiped out.
" May I find reconciliation with hirn, for I am the servant of his
power, the adorer· of the great Gods.
"May thy powerful face come to help me; may it shine like
heaven and bless me with happiness and abundance of riches.
May it bring forth in abundance, like the earth, 4appi nes s
and cvery sort of good."
A vast number of terra cotta tablets have been found, and apparently formed a library establishcd by Asshurbanipal (667 B.c.),
others apparently were placed on slabs or shelves in a room in a
record office. The room being destroyed, the dust and rubbish
falling on these elay records-records as important as those now on
paper in the existing Record Office, of Great Britain-preserved
them till recently for the days of printing to· disseminate on paper,
25 00 years subsequently, translations of this stamped-c1ay litera-
ture-records uninterpolated by the readings of scholiasts, or corrupt
xx
t(
XXI
renderings.
These records are not the mere politieal r~cords of the nation or .
the king's acts. That elass is plentiful enough; as an instance we
may refer to plates 540 et seq. page 44, which give the historieal
annals of Sennacherib, and the account of his campaign against
Jerusalem. But in addition, these records embrace the records of
the Chancery of the kingdom. They contain contracts for sale
or hire of landed property and slaves (see plates 561, 562); records
of civil and religious law ; codes as to the duties of husbands, wives,
fathers, and c11ildren, divorce, dealing with sick slaves, or compensating the master for damaging a slave; grammatical encyelop<edias
divided into treatises, and in short the entire literature of the Empire.
The Grammatical Encyelop<edia compiled by the orders of
Asshurbanipal embrace1. A lexieon of the Chald<eo-Turanian language with the
meaning of the words in Assyrian: used to interpret
some treatises on religion and science, compiled by
Chald<ean priests in their own language, to render them
unintelligible to the common people. The original text
of the fundamental Civil Laws of the Empire being that
in the Chald<ean tongue (see a tablet in plate 560).
2. A dictionary of synonyms in the Assyrian language.
3. A grammar of the same tongue with paradigms of the
conjugation of verbs.
4. A dietionary of the same signs oi the Aparian cuneiform
writing, with their ideographie meanings and phonetic
values.
5. Another dietionary of the same signs arranged according
to the primitive hieroglyphics whence they are derived
(see plate No. 560).
6. A lexicon of particular expressions, generally ideographie,
employed in the inscriptions of the primitive Chald<ean
Empire.
7. Tables of expressions illustrative of grammatical construction and of the various methods of expression in ideographs and phonetics.
XXIl
INTROD UCJ ION.
The Archives also contain a table of the eponyms extending over
several centuries (see plates 557,· 558), books on chronology, a
Manual of the History of Nineveh and Babyion arranged in parallel
columns, giving an abstract of the political and diplomatic relations
at different epochs. In other ca ses we have a collection of the
various epithets applied 'to the same god, and of his functions and
attributes. A place also is assigned to tables of the localities in
which were the god's principal temples; and finally highly important documents as to foreign gods. We have also a geographical
Dictionary enumerating the countries, towns, mountains, and' rivers
known to the Assyrians. We find also a list of proper names in
use in the country; and lastly statistical documents on the hierarchy of the functionaries of the government, and on the different
provinces of the monarchy, their productions and revenues. Tablets
also exist of tributary cities, and of the tribute in money and kind
they had to pay. A catalogue follows of the importa,nt buildings
of Babylonia and Chaldcea, classified according to their kind, tempIes, pyramids, and fortified citadels. Natural history also has
its records-lists of known plants and minerals; of timber trees fit
for building or furnishing; of metals ; or stones fit for architecture
or sculpture. Next is a list of every species of animal known to
the Assyrians, classified in families and genera. Opposite the
name of the animal is placed a scientific and ideographie name,
composed of one invariable sign, and a characteristic epithet varying with each series. There is further a scientific and methodical
system of medicine-incantations to avert maladies. Science also
has its library-Arithmetic, mathematics, and astronomy, are alike
explained. Catalogues of fixed stars and planets-the risings of
Venus, Jupiter, and Mars. Fractions also appear, with the denominat?r 60, the sole representative of the decimal and duodecimal. Algebra and square roots also appear (see plates 559, 560,
P·45·)
Such is the position amidst the materials for Assyrian history
which the terra cotta records occupy-the slabs and their inscriptions occupy an equally important place.
They were found as stated at Nimrud, believed to be the ancient
Calah of the Old Testament, about 20 miles below the modern
INTROD UCTION.
XXIll
Mosul, at Khorsabad, 10 miles N.E. of Mosul and Kouyunjik,
nearly opposite Mosul and the sl1pposed site of Nineveh.
We may mention that of the palaces at Nimrud the North West
Palace was built by Asshur-nazirpal (B.C, 884 to 850) ; the Central
Palace by his son Shalmaneser 11. (B.e. 850 to 823), and rebuilt
by Tiglath Pileser IV. (B.e. 745 to 727), who also buHt the South
East Palace. The South \,yest Palace was built by Essarhaddon
B. e. 680 to 667.
The sculptures are the connecting link between Egyptian and
the Persian art, the latter being the forerunner of the Lycian and
Grecian art, which, later, prodl1ced, (in 440 B.e.), Phidias, and his
bas-reliefs of the Parthenon.
These groups of Assyrian slabs are of three periods, B.e. 884,
B.e. 745, and B.e. 668, and afford tests of progression in the art at
these three dates.
The oldest sculptures in the N.W. Palace discovered by Mr.
Layard. were the work of Asshurnazirpal, B.e. 8114; and plates
355-400 are devoted to their illustration.
The deeds of this monarch are related at length in the inscriptions on the slabs. These lined one side of the sm aller chambers,
and were entirely devoted to this sl1bject (see plates 376 et seq.),
as was the pavement of the same room. So dominant was the idea
of making the records permanent, that on a huge paving slab at
the entrance of one of the temples, the King's exploits are again
repeated. Even the undersides of the stones are found similarly
inscribed.
The slabs recording the military expeditions (plates 876 et seq.),
record in others (plates 37I et seq.) just as minutely the exploits of
the King in hunting. From these it appears he had a park
stocked with wild animals (like the paradise of the younger Cyrus
mentioned by Xenophon), the supply of which was kept up by
tributes and presents from subject peoples.
No details are too minute or insignificant to be depicted. The
King, with the emblem of the Supreme Deity often hovering above
hirn, is represcnted riding down his enemies, bending his bow, and
shooting against their battlements, or receiving abject submission.
No detail of carnage on the field, or cruelty to prisoners is omitted.
XXIV
INTROD UCTION.
In one 01' other of the slabs the following incidents are to be found:
The mode and means of conducting a siege-the armament of
the chariots-the array of troops-and modes of attacking a town,
are all depicted, and show exactly the engines, arms, and military
implements employed. (See plates 376-378-394-397-399.)
Asshurnazirpal, whose acts and doings this first period of inscriptions record, is the only Assyrian King who has left his statue.
(See plate 423).
The inscription across his ehest is as follows :-" Asshurnazirpal,
the great king, the powerful king, King of Nations, King of
Assyria, son of Tulgulti-ninip, the great king, the great king, the
powerful king, the King of Nations, King of Assyria, son of
Vul-nirari, the great king, the powerful king, King of Nations,
King of Assyria: conqueror from the crossing of the Tigris to
Lebanon and the great sea. All countries from the rising of the
sun to the setting of the sun to his yoke he subdued."
The son of Asshurnazipal, Shalmaneser II., erected the celebrated
"Black Obelisk" (plates 4°3-427) in the centre of a new palace
which he built.
The obelisk was about seven feet high, and occupies a most important position in Assyrian history.
The bas reliefs represent the King receiving the tribute of
five nations.
Metal in various forms, goblets, drapery, and
elephant tusks, carried by attendants, and animals quite foreign
to Mesopotamia-the Bactrian camel, the elephant, and the rhinoceros are also depicted. The top row is occupied by representations of the King receiving tribute, and the ambassador of Jehu,
King of Israel (see plate 405), the first mention in Assyrian records
of a Jewish King.
Following the slabs chronologically, we come to those of Tiglath
PileseI' II (Re. 747-727) who reigned about one generation after the
first Olympic Victory, (Re. 776), upon which date all Grecian chronology is based. For the elose of the Assyrian is the birth of the
Greek civilisation.
The records of this King's reign (in Assyrian art the 2nd period)
are but few (plates 427-428) ; the palaces having been destroyed
. by Esarhaddon. In 2 Chronieles, chap. xxviii. v. 20-21, we find
lNTROD UCTION.
XXV
mention of "Tiglath PileseI' ." and we have to turn to the Jewish
rather than t~ the Assyrian l~ecords, for the history of this King's
reign.
Shalmaneser IV., mentioned in the Old Testament, and Sargon
follow, but of this date the plates contain but one illustration, that
of the earlz'est kllowlt specimen of transparent glass (plate No. 59 IA)
and which is inscribed with the name of Sargon.
Finally, we reach the reign of Sennacherib, whose works, representing the 3rd period of Assyrian art, and whose renown as a great
palace builder is recorded in plates 429-43 I. The most interesting are those (plates Nos. 632-437) recording his capture of
Lakish, and receiving the Jewish prisoners on its surrender.
Finally, the Assyrian series of plates eloses with the slabs of
Asshurbanipal (Re. 667-647) at times supposed to be the King
known to the Greeks by the 11ame " Sardanapalus."
As regards works of art, these present the most advanced
specimens. It is not the object of this introduction to criticise them
as works of art. In the hunting scenes, the spirit of the sport decays, as compared with the hunts of Asshurnazirpal 200 years
earlier. The decadence is seen in the mode of hunting. The lions
are now carried to the spot and let out of cages (see plate 474)
rather than started and hunted in the open. One and all of the
slabs show a lazier and more ostentatious mode of hunting, and
begin to show incipient signs of a decaying empire, which in less
than 50 years we find crumbles to pieces.
In the slabs of this King's reign, we find the only domestic scenes
yet known in Assyrian Art; a banquet (see plates 522B-522C) at
which the king reelines on his couch, whilst the queen sits at his
feet. This instance may be cited as one of the earliest representations in which woman is elevated from the merely humble position
which she had previously occupied, to astate even of companionship with man.
The Assyrian Series cannot be dismissed without alluding to the
Ivories, Early Bronzes, Glass and Engraved Stones, which complete
the selection, and connect the period with the rise. of Grecian
civilization.
The I vories were nearly all found ne ar one set of the slabs, on
lNTRODUCTION.
INTROD UCTION.
which thc name of Sargon was inscribed, and their Egyptian character (see Piatc 578), marks the great connection with Egyptian
feeling, even if not of Egyptian design. Possibly they might have
been se nt as tribute or presents, but all this is matter of conjecture:
their Egyptian character remains. The connection of Assyria with
Egypt is no less marked than with Phcenicia, as will be seen from
plate 580, which contains a stud with the name of the King in
Phcenician.
The bronzes partake of the same inftuence as the ivories, and are
essentially Egyptian. The link between the Egyptian and Grecian
feeling in this art is weH shown in plate 587.
Finally we have in engraved stones (plate 595), the cylinder or
signet of Darius, with its trilingual inscription of " Darius the Great
King."
Passing from the Assyrian Empire we have the Persian, but we
regret that at present hardly any materials of this period have been
produced. We have plate 523, from a Persian slab at Persepolis,
but beyond this we have no specimens. We are unaware if there
be any photographs of the Persian tombs and the site of Persepolis, but if not, we hope they may soon be produced.
Whilst such were the civilizations and empires of Asia, the tribes
along the northern basin of the Mediterranean, and in the .t'Egean
and its islands were consolidating and gradually developing on the
seaboards, a civilization radiating from Greece. In (B.e. 776)
the first Olympiad, this may be said to have passed from the
Mythical to the Historical period.
It is no part of this introduction to enter into the Ethnological
side of the question affecting the origin and migrations of these
tribes, or the Philological questions which such words as the Greek
Athene and Hephcestus suggest, as being connected with the
Egyptian Neith and Phtha.
About 460 B.e. arises Herodotus, the father of History. His
works are the oldest written text to which an authorship can be
ascribed.
Till now materials of Grecian civilization even from
the first Olympiad, rest on records which we may venture to state
were not committed to writing earlier than 500 B.e., and to which
an authorship cannot be assigned with certainty.
The books known to us under the authorship of Homer, did not
constitute the Homer of Ancient Greece. Large portions existed
. before Herodotus' time, but they were not thrown into their final
form much earlier than the time of Plato who died 100 years after
Herodotus. It is difficult therefore to draw sound conclusions as to
the state of civilization and manners the true Homer represents.
To separate the mythical from the historical, the interpolations
from an original text, even if it be assumed that the basis of
Homer was the product of any single epoch, scholars have in va in
attempted.
Hesiod's works are open to the same comment.
Though Alc~us may possibly be an historical personage, the works
which may be ascribed to him are too fragmentary wherewith to
ascertain the state of thc civilisation existing prior to Herodotus,
or to draw any accurate deductions on the subject.
Compelled to look elsewhere for materials, we search in vain for
cotemporary records in the buildings or remains of Asia Minor,
where this new civilization was coming to perfection.
Possibly the tombs near Sardis, and so me of the rock cut temples
in Phrygia and Lycia, may be said to afford so me slight indications.
The philosophy and teaching of the Vedas, involving a belief in
personal immortality, and the social system introduced subsequently by Buddha, all expressed themselves in the tomb (the
tope) and memorials of the ancestor or founder of the family.
This form of fetich worship, travelling under more or less adverse
circumstances through the Asiatic philosophy, we find repeating
itself in Asia Minor, in the erection of tombs, rather than in
the rearing of temples.
It seems also to have travelled over to Greece, for we find a
memorial of it in the so-called tomb at Mycen~, thus tending to
show the very early connection between Eastern and Western
forms of expression, and the inftuence on each other.
The absence of remains of temples might imply that the people
were yet in too primitive astate to build in stone or imperishable
materials, and that all the ·constructions of wood have disappeared ;
but if tombs remain, why not temples?
At last we obtain a trace of a new order of things, and of a progress in a development of art.
XXVI
XXVll
XXVlll
INTROD UCTION.
INTRODUCTION
-
We perceive now coming to the front a race which will not
(as M. Taine says) suffer itself to be mastered by a great religious conception, as in the case 01 the Hirtdoo and the Egyptian,
nor by a vast social organization, as in the ca se of Assyrian and
Persian; nor by great industrial and commercial practices, after the
fashion of the Phcenicians and Carthagenians. In place of a theocracy or a hierarchy of caste, and of a monarchy or a hierarchy of
functionaries, and of great trading and commercial establishments,
the men of this race had an invention of their own called the "city."
The. "city" in sending forth branches, gave birth to others of the
same description.
Foremost amongst the cities so reared we may mention Miletus,
on the coast of Asia Minor, in the bay next on the South to that
of Ephesus.· This city, the offspring of Greece itself, became a
head and centre from which radiated and were formed 300 other
towns along the coast of the Black Sea. In a short time it became the very centre of commercial prosperity, governed by Attic
families imbued with Greek feeling. Its maritime trade became
immense-its thought-its very life-its politics became controlled
by capitalists and shipowners, who it may be said held and governed
the city by meetings assembled on board their ships in the offing.
It was natural therefore that there should arise at Miletus a
revered spot. To Apollo it was dedicated. In the words of
Herodotus it was "situated in the territory of Miletus, above
the port of Panormus. There was (he says) an orade there
established in very ancient times which both the Ionians and
.i.Eolians were wont often to consult."
Hs treasures bore an equally high reputation, and we find
subsequently the orade became almost as .famous as that at
Delphi.
From the sea up to this spot, was a sacred road (similar to the
great way of the Sphinxes, which led up from the Nile to the
Temple of Karnac) bord~red on either side with statues on chairs
formelout of a single block of stone, and with figures of lions.
The statues are well shown in Plates 614, 615, 603-605, 6076I4. The oldest known portrait statue in Grcek Art is represented in Plate 6I4. The date of this may be approximately given
XXIX
--------
at 550 B.e. It is inscribed, "I am Chares the son of Kleisis, ruler
of Teichiousa, an offering to Apollo."
A comparison of these statues with (Plate 423 of the Assyrian
Series, being) the portrait of Asshurnazirpal, B.e. 884, leaves no
doubt as to the great connexion of Greek art with the Assyrian.
the folds of the dra,pery, the treatment, the feet, all betoken that
Greek Art was at this date drawing its inspiration from Assyria.
But in addition to the remarkable illustration just mentioned we
find an expression of Assyrian feeling in the early terra cotta
Archaic Greek vases in the different museums. Notably in those
now in the British Museum, of which plates 744-752 are
ex~ellent types. The drawings and designs on these vases show
the gradual emancipation from Eastern and Egyptian influence.
The rise not only of a new style as regards art appears but the development of a new mode of treatment, of a new intellectual effort,
which later on produced a new philosophy-a new idea and order of
things.
Gradually Greek civilization forms itself-the Spartan kingdom
grows up. The Athenian Republic assurnes shape and the laws of
Solon have been enacted (B.e. 594). Temples begin to be erected,
and the Mediterranean becomes encirded with agarland of flourishing cities, more or less if\ connection with the civilization of the
valley of the Nile, and occupying the gulfs and promontories of
Spain, !taly, Greece, Asia Minor, and Africa.
Necessarily, from their contact with Asiatic civilization, the cities
along the shores of Asia Minor, rather than those plan ted towards
the west, were the earliest to form themselves into confederations
after the Greek political type. Chief among these confederations was a confederacy of 23 towns or cities forming a group in
Lycia. So powerful was il that it was able to maintain itself, as
Herodotus writes in 480 B.e., against the attacks of Crcesus.
This confederation had a separate alphabet and language, and, apparently being imbued with a fetichist philosop'hy, erected tombs.
This Asiatic feeling was the real basis of their civilization, but
it had to accept a coating of Greek expression. The Greeks were
marching on in Attica to a system of high anthropomorphism, or
man worship expressed in a divine form. But before this end was
xxx
INTROD UCTION.
INTRODUCTION.
reached by the Greek in Asia Minor, before he imported the Greek
Temple, and erected the great example at Ephesus, he took up the
mythological and legendary belief then existing in Grecce, and
covered his tomb with sculptures and subjccts of mythology, rather
than with anthropomorphic subjects. A good illustration appears
in the so-called Harpy Tomb (Plates 603-605).
The Greek "city" life still lived on and retained its vitality.
Whence came it? What was this "city" life which produced all
this? Wh at was it about to develop ?
Each citizen was supported by subjects and tributaries of his
city, and was always served by slaves. A bed and a few vases were
his principal articles of furniture. How did he occupy hirnself ?
Serving neither king nor priest, he was free in the city and sovereign
as part of the community. He elected his own pontiffs and magistrates, and could hirnself be elected. Whatever his position he
judged the most important political cases in the tribunals, and decided the gravest affairs of State in the assemblies: his occupations
consisted substantially of public bus'i ness-he was a politician and
a soldier. His life was passed in the public thoroughfares, discussing the best means for preserving and aggrandizing his city,
canvassing its alliances, treaties, laws, and constitution-now listening to orators, now taking personal part in the war.
The nature worship of the Asiatic, the fetich worship of the
Egyptian-thc rise of Buddhism in the sixth century, B.C., the protest against Brahminism, but ill assorted with the intelligence produced by this city life. None of these systems sufficiently elevated
man generically, which was now the type of prowess, thc necessary
product of this city life. Nor did they do enough for the physical
personification of the tri bai legends and consequent glorifying of
the founders of each city. Something yet was wanting. The
meaning and derivation of many Aryan words had by this time
been lost. Aryan words descriptive originally of thc physical
The easy transposition
effects of nature lost their meaning.
from the explicable to the mystic arose caused the attributing
man's ideal and human qualities to the gods. 'Nords at first
simply applied to outward effects or phenomena became the names
of personal gods. Man's deeds and the verballegends of each
XXXI
city were attributed to the mystic gods, and a system of mythology created. This mythology and elevation of the gods, the
counterpart of man, begat adesire to erect abodes for the preservation of the god.
Thus we find abodes or tempi es constructed, as the existing
ruins attest at Corinth;* at Athens, in the Temple of Theseus, at
Ephesus, at Pcestum, Agrigentum, and Syracuse.
But the progressive development of this "city" life necessitated
for its political existence amidst the surrounding tribes a breed of
man of a superior physical type, much in the same sense as we now
speak of horses. Sparta takes the lead in Greece, and undertakes
the effort of producing it. The Spartan code first sounds this keynote, the gymnasia, wrestling and boxing, are to be the chief means
to be resorted to-what is now wanted is the most beautiful, the
most strong, the most robust.
Physical man was to be no whit of lower standard than the
mythological ideal god man, and the religious ceremonies were to
be employed equally to develop the system.
On this· account the feeling and the ceremonies were to be expressed before the gods on sole mn occasions. A formal system of
attitudes and actions, called orchestral, which regulated the sacred
dances, and at the same time taught beautiful postures, was now
the order of life. The perfection of human form was to attest to
the Greek mind "divinity."
In Homer, which \Vas the Greek Bible, and in the Indian Vedas,
the gods throughout possess human forms, flesh which lances can
pierce, flowing blcod, instincts, passions, and pleasures similar
to those of man. To such an extent was this carried, that heroes •
became thc lovers of goddesses, and gods beget children of mortal
mothers. So thoroughly \\'rought out was the conception of the
beautiful human animal as to make an idol of it. In order to
glorify it on earth it was made a divinity in heaven, the highest
form of anthropomorphism.
City life is now triumphant; and individual man has to be
honoured with a building to his glory. The building is now to bJe
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• Photogs. of all these Temples can be had of the publishers.
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IN7~ROD UCTION
INI1WDUCllON
used not simply for religious ends, but for the glorification of
physical man, who henceforth is to playa still more important part.
Something more than mere mystical mythology, the product of
linguistic mysteries, is now to be represented in the scul]?ture. Man
hirnself, and man's physical power, his animal qualitics as opposed
to his mental reasoning attributes, in a permanent form, are to be
physically put forth for perpetuation.
The same feeling which in the 13th eentury produced the
sculptures of Chartres,. and other Cathedrals, and proclaimed the
elevation of Christ as God upon earth, was at work in Greeee directing its efforts from the first, to express the elevation of physicalman, of man, the highest type of anima!. It was for eve~ trying to
enhance his importance, and thereby elevate and associate man
with the then known mythology of a god-like nature. This feeling
is found uttering itself in the tempI es now no longer mere mythological modes of expression, but tem.ples to glorify the Man-God,
and to be adorned with subjects relating to this Anthropomorphic
glorification. It was thu5 that the temple.'> of Theseus, at Athens,
of lEgina and Selinus, in' Sicily, came to be e,ected and adorned.
In these temples the passage of this feelir~g to its highest point is
to be found. But it was not produeed except gradl,lally and after
several attempts. As regards Selinus, the sculptures of which
are now at Palermo, and those of lEgina, wh ich are now at
Munich, easts are in the British Museum, and a specimen of this
latter is given in the following Se ries. (See plate No. 602.)
In Selinu$, the sculptures are the illustration of Man:s elevation,
shown by such subjects as Hereules punishing the Cercopes or
two Ephesian thieves for attempting to rob hirn, his conquest over
them, his earrying them awayattaehed to his bow, with their heads
hanging downwards ; Perseus decapitating Medusa in the presenee
of Minerva, and other similar subjects. Other similar subjects were
representc:;d Oll temples in Cyprus, specimens of which are now in
the Louvrc.
In the lEgina sculptures, we have a higher development, and
separate statues for the first time are introduced. Contests betwecn
the Greeks and Trojans, and the prowess of the Greek as physical
:nen are now the sole objects sufficiently worthy to supply the
subject for representation in so important a plaee as atempie.
It was under a spirit such as produeed these sculptures, that the
Greek was reared and enabled to meet the Asiatic, first at Marathon, 490 RC., when he encountered hirn, and forced hirn back to
his own continent; and ten years later at Thermopylce, when he
practically repeated the same success. For, though the Asiatic
attained the victory, it was but a nominal one. Though it enabled
hirn to reach Athens, and destroy the first Parthenon, it was but
a barren vietory; the naval victory of Salamis, and the battle of
Platcea the following year, restored the Greek repute, and COffipelled the Asiatic to fall back on to his own eontinent.
In effect it was only to eause Sparta to surrender the lead of
Greece to Athens, and give fresh vigour to this " City Life."
Under Pericles Athens has to restore its temple, and this time to
make the temple apart of the political system, in so far as it
was to be the plaee of safe custody of the State Treasury. He
had to make it also apart of the anthropomorphic system of
belief, to express the exaltation of the physical power of man, and
to raise hirn to the level of his prototype the human god.
All that had preceded was imperfect.
The Panathenaic festivals had gradually been rising in importanee, and for the glorifying of physical-man. Sculptured expression
had in consequence to keep pace with his higher elevation, and now
more than ever to be expressed as the assertion of Greek physical
power wh ich had saved the world from being drowned by Asiatic
barbarism.
Ietinus takes the architectural part of the building for the
treasures, and Phidias the sculptured expression of man's physical
glorification, and together they rear the great Temple of the
Parthenon-the expression of both feelings.
Around the body of trus Temple, therefore, are carried sculptures
for permanent preservation-memorials of the great Panathenaic
Festival, the highest symbolical representations of the glory of
physical man. (See plates 635-676).
In the pediments are subjects dictated by the idea of the incarnation of the human ideal, deities of human beauty, the ideal of
XXXIl
I
,I
i I
I
XXXIlI
I xxxiv
xxxv
INTROD UCTION.
INTROD UCTION.
Physical perfection. At the Western Pediment is represented the
contest between Athen~ and Poseidon for the honour of giving a
name to the City of Athens. The Eastern Pediment is dev0ted
to Helios or Hyperion rising from the sea; a mythological subject
treated more as the result of human actions, the power of man
rising above and calling into existence the daily phenomena of
nature.
Nothing surpassing the beauty of these sculptures exists. They
represent the period from which dates the passing of the Sophist's
talk of certain phrases of "the good," "the beautiful," "the holy,"
to the philosophy of Socrates and Plato, when the history of social
philosophy mal' be said to begin.
We must refer to the paragraphs in the body of the catalogue,
(pages 53 and 55), for the further description of the Metopes and
Frieze of the Parthenon. The sculptures are so precious, (particularly as no other contemporary Greek work has been preserved to us), that none of those in the British Museum have
been omitted from the present series of subjects :-(see plates 619634 for the Metopes, and plates 635 to 683 for the Frieze).
There will be found also all the remains of both the Eastern and
Western Pediment in plates 684-692, and 693-700.
Their historical and relative position will be best understood by
a elose examination, assisted by the descriptive notes given in the
Catalogue, pages 53, 55·
The physical man's development, and the mythological development had reached their final stage in the Parthenon-Social Philosophy appeared. With it the physical training of the Greek
ceases; the mental takes its place. "That the proper study of
mankind was man," Socrates was the first to proelaim. The belief
that the gods had the same nature as man, which Herodotus speaks
of in the following passage, as existing in his day, and but fifty
years before the Partllenon is erected, is gradually being undermined, and the Persian Asiatic feeling, which he complains of, is
arising.
"The customs which I know the Persians to folIoware the following: Thcy have no images of the gods, no temples nor altars,
and consider the use of them the sign of folly. This comes, I think,
from their not believing the gods to have the same nature with
men as the Greeks imagine."
Subjected to Eastern inspirations of spirit we have the Pythagorean school of monotheism growing up, the Eleatic school carrying
it on.
We have Protagoras, one of the Sophists, (circa B.e. 450) saying,
"Man is the measure of all things. Of the gods I know nothing
neither whether they be nor whether they be not, for there is much
that stands in the way of knowledge here, as weil the obscurity
of the matter as the shortness of human life."
We have Socrates (born 469 fl. 439) entertaining not the slightest
belief in Pantheism, but saying-" All the divinities lavish on us
goods without making themselves visible. But the supreme GodHe who directs and sustains the universe-He in whom are united
all good things and all beauty-He who for our use maintains it
entire in a vigour and youth ever anew, who forces it to obey Hi ~
orders freer than thought, without ever varying-this god is visibly
occupied in great matters, but we do not see hirn govern."
This was the man who at the age of 70 was brought to trial at
Athens on acharge of impiety, and for corrupting the youth of thc
city.
We have Plato following (ob. 347 B.e.), and promulgating His
God not as a creator but only an intelligent artificer.
Aristotle following (ob. 342), leaves us as his god the god of
Thought, with a system of duality. As animal life is one of sensation, so Aristotle's divine life is now one of intelligence.
With such systems of philosophy developing-with the materia I
and physical force of Greece decaying, for as its divinity is destroyed so now it can have no divine honour as force or individua!
strength-is there not sufficient to account for the decadence of all
sculpture and of the buildings which it adorned? Temples are
now no longer erected to man's glorification. Physical-man formerly glorified by and in the temple and ,its sculptures, is now
changed for intellectual man, and temples to the reason are out of
place and have no meaning.
The climax had been reached with the Parthenon and the gods
of l'hidias.
XXXVI
INTRODUCTION.
Man's present wants eease to be the pre-oeeupying matter. Honor
to the memory of the spirit of the individual is now the feeling
to be satisfied. On the other side of thc lEge an, in the Carian
town of Haliearnassus-the birthplaee of Herodotus, the Satrapy
of Persia-but Greek in origin and feeling, wc find Artemisia (in
352) erecting a tomb to the remains of her husband, Mausolus, a
Prinee of Caria.
The individual intelleetual man is here honoured. The representation of the exeellencies of the mass of men as a whole physieally,
as in the frieze of the Parthenon, has now disappeared, never
to be again revived.
The individual intelleetual man is so mueh the objeet to be eared
for, thatArtemisia induees the most eminentGreek rhetorieians to sing
her husband's praises, whilst she erowns the edifiee with a pyramid
and a chariot group, in whieh probably stood Mausolus hirnself
rcpresented after his translation to the world of demi-gods and
heroes (see plates 7 I 2-717), to be aeeounted and held as one of
the seven wonders of the world.
Man drops out of the seulptures, qua man on earth; and thc
entire frieze (see plates 7I8-723) is devoted simply to mythologieal
subjects-the hollow nominal state utteranee, wh ich priesteraft was
eompelled to keep up, but whieh no one believed in, and whieh
philosophy has not yet erushed out, though it had sueeeeded in
extinguishing anthropomorphism.
But whilst alluding to the buildings and seulptures, we must not
omit referenee to the vases, found in every part where a Greek
eivilization had existed. Apart from the mythologie al subjeets
painted on many of the va ses, we find subjects relating to the
publie games, the ehase, indoor oceupation of women, and representation of the aetual life of the Greeks, and evidenee of
their manners, and eustoms. Unless Museums had preserveu
these objeets, how imperfeet would have been our knowledge of
Greeian Soeial Life.
vVe learn from the vases many eurious partieulars in referenee to
the Hellenie ritual games, festivities, and domestie life; representations also are found of many products, instruments, and teehnieal
proeesses of the mecllanieal arts.
INTROD UCTION.
XXXVJl
Into the technical detail of these works it is not our intention to
enter: as they are all to be found in Mr. Newton's learned deseripttve guide books to the vase rooms, whieh are sold in the Museum
for a few pence.
The plates of the vases are numbered on the following pages,
753-785·
From the extreme rarity of bromes of the Archaie or really
Greek period of art, it is impossible to demonstrate any distinction
of styles, or attribute any partieular date; unless many more be
fou:l.d we eannot hope to make a more perfeet picture.
We ean do no more than eall attention to those selected from the
entire series, whieh are given in plates 736-743, followed up as
tl'rey are by bronzes from Etruria, and numbered 802-8°9, and
whieh deserve a most attenHve examination.
Eut within a short spaee of time the world's eivilization represented by the Greek intelleet, is to leave the present loeality, the
Northern side of the basin of the Mediterranean, to reappear, and
take up its progressive eontinuity under a new phase, in a new
loeality on the Southern side of the basin, at the Delta of the Nile.
The few Greeks previously settled and living in Egypt as
foreigners, suddenly find themselves raised to the position of Masters, after Alexander's invasion ofEgypt, followlng his eonquest of
Persia.
And following his subsequent eonquests in India, the whole of
Grecian eivilization immediately after his death ehanges.
lt fades away from Maeedon, and the progressive development
of human nature is tak;en up at the new town of .Alexandria, in
Egypt, the foundation of whieh was the eommereial end of Athens.
And now eommences the reigns of the Ptolemies in Egypt, (3 2 3
B.C.), and the Museum or College of Philosophy whieh the Ist
PtolemyestaWished.
In thirteen years after the appearance of Ptolemy, (3 IO B.C.), the
plea-sure of travel in Eg)'pt set in among the Greeks, and the desire
to see what Herodotus in his visit one hundred years earlier had
written about, was now the highest wish of: the philosophers. In
eonsequence the Greeks were brought through the A1exandpian
Museum here, into eontaet with the
of Asia. __
Ancien~ ~ilization
r
I
I'
J
XXXVln
.INIROD UCTION.
Philosophers, Painters, and Sculptors, alike flocked to Ptolemy, at
Alexandria. Atheists banished from Athens, devotees from the
Ganges, Monotheistic J ews, an alike were welcomed. The toleration and liberality was such that we find the seventy Jews employed
in translating and collecting the text from the Bible, and reducing
it to that form which we now know as the Septuagint.
All Philosophers flourished co-ordinately; Hebrew as weil as
Greek ; Greek as weil as Asiatic; an were welcome to this Ptolemaic
Museum of Philosophers. Science also had its representatives there.
Euclid, and at a later date, Archirnedes, Diodorus, the Rhetorician,
who denied motion; Stil po, who had been banished from Athens for
saying the Colossal Minerva of the Parthenon was not a God, but the
work of Phidias. Theopompus of Chios, the chronicler of the wars
between Egypt and Persia. Manetho, the Egyptian Historian,
Berosus, the Historian of the Babylonish Empire flourished at this
time. Besides those we have mentioned, Physicians also came to
this Alexandrian Schoo!. Erasistratus (according to Pliny the grandson of Aristotle), founder of Anatomy as a science, attends there.
To hirn, and to Herophilus, the world owed an it knew of anatomy
down to the 15th century. Hegesias was there and lectured on
philosophy, but for asserting that on quitting life we left behind us
more pains than pleasures, was silenced by Ptolemy, for such a
philosophy tended to reduce population. Philostephanus, of Cyrene,
the naturalist, came, Plato, who studied Mathematics under Theodorus, Aristippus, the pupil of Socrates, Apelles, the great
painter, the author of the celebrated picture of Calumny. These
were they who congregated at Alexandria. Such were some of
the names of Ptolemy's Alexandrian Colleg~ of Philosophy.
Could this new civilization be any longer contented with the old
form of expression of Temple and Sculpture? It was impossible!
The two forms had ceased now to mean what they did formerly.
Templcs cease therefore to be built.
Painting arises to satisfy the ideal, the abstract not to represent,
and the drawing of the painter encourages a vast improvement in
the drawing on gems or gern engraving, which attains at this date
a high standard; of which, plates 730-735 contain several admirable specimens.
INTROD UCT.lON.
XXXIX
Sculpture however did not absolutely die out of a sudden, it took
some liUle time before it could wholly disappear, and in the group
of the Laocoon~' and Farnese Hercules, some of its latest efforts
may be traced.
But it was evident the subjects were not produced by the same
feeling which had given us the productions of Phidias. It wanted
but little to let that spirit pass away altogether, and for portraiture
now to take its place. Soon we find this change in the bronze
head at Naples, of Berenice,t the wife of Ptolemy, (died 284 B.c.),
and which an undoubted cotemporary portrait substituted for the
divine human man of Phidias.
But notwithstanding the brilliancy of the Alexandrian School,
Europe could not be civilized from Alexandria.
There was arising a military polity out of the tribai races in Italy,
and in a few years later, (275 B.c.), Rome after having been sacked
by the Gauls, in 279 B.C., was to triumph over Pyrrhus, when
Greece attempted again to take up the tide of civilization, and
carry it on direct from Greece into Italy.
Such was the strength of this new power that Ptolemy Philadelphus sent an embassy to congratulate the incipient Roman
Empire on its victory, and seal a treaty with it.
But the Romans did nothing for themselves in the way of refinement. Deriving their philosophy from Alexandria, rather than from
Greece, and with Greek Anthropomorphism dying out, mythology
remained as a system of tri bai legends, rather than as matter of
religion, or as the account of physical man's doings.
The later Ptolemies built their Temples at Philce,t and along the
Nile, for whatever the philcsophy of Alexandria was, they dared not
touch the native priestcraft; but Temples in Rome appear not at
this date.
The philosophy of the Greek, travelling on through Alexandria,
acted on the Roman. No longer could the concrete and corporeal
• Photographs of these subjocts can be obtained of the Publishers.
t A Photograph of this can be supplied by the Publishers.
t Photographs of the beautiful series of Temples on the Island of Phil"" near the first
cataract on the Nile, can oe had of the Publishers.
I-
xl
INTRODUCTION
INTROD UCTION.
shape-the highest form of anthropomorphism, the feeling culminating in Phidias-find reflection in the mi nd of man advancing in
civilization and philosophy. What was now corning forward was
"the abstract." The gods could no longer marry and beget children; like those of the Hellenes, they wandered among giens; and
now no longer personification in visible presence was the idea, but
performance of certain great offices in the cause of nature and the
life of man.
To continue the allegory previously used, the breed of man as
an individual animal was no longer the ultimate object; each
individual's abstract idea was now to be the standard. Polytheism
had to be raised to the standard of the new philosophy. The god
to assist the individual Roman was the object to be worshipped.
Of all worships, that which had the deepest hold was the worship
of the tutelary spirits that presided in and over the household and
store chambers. In publie this was the worship of Vesta and thc
Penates; in private, the gods of the forest and field, Silvan deities
and the Lares. Nature worship, the very opposite of man worship, is
now the Religion of the period. The system is far too large to be
contained in Temples-Temples have no place in such a worship;
and if such was not the religion of the day, how came Cato, B.e.
195, to write, after his return from Egypt, to instruct the woodman
how to gain indemnity for thinning a holy grove, by offering a
hog in sacrifice with this prayer :-" Be thou god or goddess to
whom this grove is sacred, permit me, by the expiation of this
pig, and in order to restrain the overgrowth of this wood, &c."
The former mythological and religious system elevating man
ceases. It oceupies a plaee in Roman feeling solely as a myth; its
utterance is no longer to personify feeling, but to be a formal
expression of Art. Mythological subjeets and Greek gods and
heroes are so taken up.
The triumph of Paulus Emilius, in B.e. 168, has now to be
ado;ned with works of art.
Statuary takes its form of expression; and the Roman produces a mythological ideal mueh
in the same way that the modern res orts to the same class of
subject-without feeling, without an intention to use it except as
a false nominal description for this particülar product.
It is with such feelings that the subjeets in Nos. 828 to 832 are
produced by the Roman-or rather Helleno-Roman. "Horner,"
"Baeehus," "Hercules," have here to figure a3 man; the abstract
thought they represent is attempted tQ have realistic feeling given
to mere intellect amd the senses, an allegorical result only is the
product.
No priestcraft ean graw up. for no temples for religious purposes
are at this time produced. The temple of the late Roman Empire
is produced for another purpose, and grows up under a totally
different set of conditions.
The Roman religioß had no image. Varro laughs at the desire
of the multitude for puppets and effigies.
The triumph of Metellus in 146 B.e., led to the display for
the first time of works of Greek art. Carthage perishes and
Greece disappears, but its works, the products of its feelings. are
to adorn the conqueror's military triumphs as works of art.
The Greek works perish, but their Roman replicas survive; and
in the subjects of Plates 817 to 827 we have Roman reproductions
of Greek designs. In the Catalogue is given the supposed work
from which each of the particular subjects is supposed to be taken,
and we need not enter into them he re sedatim.
At last the Great Augustan Empire comes into being. The conquest' of Egypt; the death of Anthony and Cleopatra; the productions of Horaee, Virgil, and Livy have their influence.
At first some fair works of sculptured art are produced (see plates
833-841); but subsequently portrait busts are required by each
Emperor to perpetuate his glory. Personal aggrandizement of the
Emperor is the first and prominent idea.
The British Museum amongst all museums is singularly rich in
these portrait-statues. As it is no part of this introduction to
point out the great art excellence of each specirnen. we refer collectively to the series given in the plates 842 to 860, which range fr€lm
Julius C;esar to Caracalla, A.D. 2r7.
It was during this period that we find the development by the
Romans of the gladiatorial games, which became of such magnitude, and played such an important part that (by A.D. 72) in the
I
_ _ _ _I
\---xlii
INTROD UClION.
-I
l~e OfVepaSian~ we find
I
a building such as the Coliseum, capablc
of holding 87,000 persons devoted to the show.
The co mb at of the individual had passed now into the combats
of nations and armies. Each Emperor had his triumphal military
arch the reward of his victories-the arch of the Augustan Emper;rs takes the place of the Assyrian slabs, which recorded the
King's exploits. Most of these arches are standing to this day :
thus those of Septimius Severus, Titus, Constantine, and Drusus,
remain to us as monuments of Roman Militarism; and now grew
up the replica of the Greek Temple, a building representative of the
centre of commerce. The very columns of the Greek Temples, as
of that of Zeus at Athens, were carried off to construct and embellish Temples in Rome, as the Temple of Sylla (B.e. 9 I ) some
columns of which, or of its re-erection by Vespasian, after its destruction by fire, remain to this day on the Forum.
It would occupy too much space to review here the various other
tempi es erected under the Roman Empire, or the causes which led
to their erection. Many of these temples, as at Nismes, and in
Rome exist to this day, and photographs can be obtained of them.
The smaller articles in the Museum occupy our present attention.
We must therefore note the bas-reliefs (plates 86I-865), and the
gems; the three most notable of which, now respectively in the
collection of the Duke of Madborough (who permitted a cast of the
gern to be copied on plate 868), in the Bibliotheque Imperiale at
Paris, and at Vienna, are exquisitely given in plates 866, 867, 868.
The collection of Roman bronzes is weil represented by the
series selected and given in plates 871-886, as also the Roman
glass. They form an important and useful adjunct to the smaller
articles found in Pompeii, as illustrative of the state of the arts and
social life.
At last Roman civilization fEckers and finally collapses, and we
have only the late Roman Empire ivories wherewith to form, as it
were, a connecting link between elassical and European tim es. But
although we are gradually passing away from the history of civilization as carried on by the Roman Empire, we have yet another area
to search before we finally leave the subject, and we have to con-
INTROD UCTION.
_
xliii
sider the remains left by the Roman in the various settlements of
Europe to wh ich his military power extended.
These remains are localized in the museums of each of the present Continental powers in whose territorial area they have been
found. It would be far beyond the scope of these pages to enter
into the subject their evidences supply, and trace how important are
the materials towards the history of man's gradual advancement
collected in them.
We must, however, give up the idea of any survey over Europe,
and draw attention to those found in Great Britain, now shown in
the British Museum, and which are there arranged next the native
English specimens.
Mr. Franks in compiling the catalogue of these (see part VI., p.
86 et seq.), has throughout given not only such a full description,
but such ample re fe ren ces to such of the subjects selected, that any
additional observations here would be quite out of pI ace.
The old popular antiquarian view about these articles is fast
dying away; the great use that historians now make of such artieles
is each day increasing. Much detail of the Roman soldiers' equipment, the bronzes, the glass, the earthenware, and enamels, which
evidence Roman life in the settlements, are by the specimens in the
British Museum most fully detailed, and selections illustrative of
them are to be found in plates 906-914. Among the pottery will
be found, (plate 9I I,) four specimens from the Roman Potteries
carried on at Caistor, Northamptonshire, which are valuable of their
elass.
These specimens elose the illustrations of records connected with
the Roman period.
It is to be hoped that each local museum will have its objects
photographed, and that a system of mutual exchange of copies will
be established between these museums and our great national collection; and that the plates may be made accessible to the public
at a fixed moderate cost.
By thus collecting aUf materials, especially if the plan extended
to the Continental collections, we may acquire at a glance some
idea of Roman civil and military life. There is abundance of materials at hand. We have the remains of Roman villas, with their
I
xliv
,
\
-
INTROD [fCTION.
- -
pavements, baths, mural paintings or frescoes; the remains of artides used in agrielllture; manufacturing of pottery, glass, metal,
artides of dress, and implements of war; bronzes; seulpture and
art; articles eonnected with religious worship, and gods of thc altar,
mode of sepulture ; all bearing on the question of religion. We
have also inscriptions, articks deposited with the dead, coins, and
legionary stones.
The present selection of subjects from the National Collection
has now led the way. If the several loeal Museums take up and
develop the plan, it will be found that Photography when so applied,
wirr occupy the same plaee as regards ci"rculating information of the
past, that the newspapers of the day now fill in diffusing the daily
records of the period we live in.
To the Roman Remains in Britain a very interesting selection
(see Plates 914-921) has been added of Anglo-Saxon sllbjects;
and in the Catalogue itself will be found the necessary references
to the authorities that have treated them.
Chiefly they are taken from the ancient cemeteries, and the
eurious Runic inseriptions and forms give rise to the most suggestive enquiries.
They illustrate the particular forms universally
alike which in different countries and epochs are found to be
adopted in the passage of man from the earLiest stages of rude
existence to a higher stage of development.
Practically at this point, selections of plates to illustrate the speeimens collected in the British Museum break off. The specimens
in the Museum are so numerous, that only a few special ohjects
could be selected for the present series, without unduly exceeding
all reasonable bounds. In consequence, only one Plate, 928, eould
be devoted to the Ivory Carvings, and only one, 929, to the Leaden
Inscriptions of Northern Italy; and but five Plates, Nos. 930 to
934, could be appropriated to Mediceval Enamels.
We hope that these may only form a. nudeus to be increased
by a further issue.
The Venetian Glass, the magnificellt gift of Mr. Slade, has
fortunat.ely had mOre Plates, 935-944, appropriated to illustrate
it, than the Ivory. Better and finer specimens of work could not
possibly be imagined than the glasses in Plates numbered 938
INTROD [fCTION.
xlv
and 939. These take up that feeling which had in painting cll1minated in Raffaelle's death in 1520, whilst engaged on his great
work "The Transfiguration," and has since seized on Music as its
form of art utteranee.
The last part of the present plates is devoted, Nos. 95 1 - I04 r ,
to the Seals of the Sovereigns, Corporations, &c.
The English series opens with the Seal of Offa, King of the
Mercians, A.D. 790, and each Seal of eaeh reign . down to the
present date is given.
The Scottish series opens with Duncan 11. AD. 1094-1098, and
doses with the last use of the Scottish Seal in 2 George 11. AD.
The Seals of Ireland are those of CharIes II, and that used during
the protectorate.
.
The Great Seals of the French Kings, open with Dagobert I.
(7th century), and terminate with that of Louis Philippe, and indude
the rare specimen of the Seal of Napoleon during the hundred days.
The German Series is not less interesting, and opens with
Charlemagne, A.D. 768-800, and terminates with the dose of the
"Holy Roman Empire.
The admirable catalogue, (see part VII, by Mr. W. De G. Birch)
distinguishes the golden from the leaden Bulla.
The :,rivate.Seals of English personages, plate I024, containing
34 speclmens, 15 of the highest interest. .
The Early and Monastic Seals.-Those of the early Eno-!ish Nobility, early English devices, and early English Heraldic S:als, cannot fail to be of interest alike to the Historian, as weIl as to the
Antiquarian, and to the Art Student, who will find in them a picture
of the state of art dllring the periods they represent.
The Seals of the Corporation, Plate I029 et seq. have to be
noticed.
FinaIly, the seleetion doses with the Seals of Foreian Princes
and others.
b
,
We have now rapidly passed in review the various features in the
history of the world's advancement, illustrated by the National
Collection, and the British Museum in particular. We have attempted to show how photography may be usefllIly applieu 111
xlvi
INTROD UCTION.
illustrating them; but this sketch ought not to conclude without
notice of Mr. Stephen Thompson's technical and artistic skill in
arranging and completing the present se ries of photographs, under
conditions of light and circumstances of the greatest difficulty in a
photographic sense, and to express our appreciation of his preservation and reproduction in the plates of the texture of every
object he has photographed, and the great excellence of every
plate he has produced.
CHARLES HARRISON.
FORMS
OF
PUBLICATION.
- - -XiVlll
.\'!X
1
FORMS OF PUBLICATION AND PRICES UNMOUNTED,
MOUNTED, AND IN PORTFOLIOS.
T~E Photogral?hs in. this collection are taken on 12 by 10 plates. and
the Slze of the pnnt vanes from 12 by 10 to 10 by 8 inches.
PRICE UN~lOUNTED.-Two Shillings per copy.
PRICE MOUNTED.
r.-On thick plate paper-size 18 by 14 inches .... . 2S. 6d. each.
2.-0n plain buff,white, or blue boardS-I8 by 14 ..... . 2S. 6d.
3·-0n
"
""
24 by 18 ..... . 3 S• od.
4·-0n
"
with black line
24 by 18 ..... . 3 S. 3 d .
In
5·cut mounts, buff, white, or blue,
with gilt edged opening
23 by 18 ..... . 3 s . 9d .
PORTFOLIOS.
. Portfolios in half hard roan, cloth sides, with flaps to keep out the dust,
'füt lettered on slde, to hold from 50 to 100 photographs-size, 19 hy 15,
0S., and 24 by 18, lOS.
. Ditto, ditto bound in half morocco, with inside jointed and outside flaps;ze, 19 by 15, 9s., 24 by 18, I8s.
Portfolios to hold a larger quantity made to order.
IMPORTANT ADVANTAGES-TO PURCHASERS OF A SET, A COllfPLETE
SECTION OF A SET, A COMPLETE SET.
Each purchaser of a set, a complete section, or a?y 100 selected photograp?s from the senes mounted on plate paper slze, 18 by 14, will be
proVlded free of cost wlth portfolio or portfolios bound in half morocco
cloth. sides, with inside and outside flaps, and gilt Iines and lettering t~
contam the same. Thus• Any 100 photographs in portfolio (gratis) as described and
;(, s. <I.
mounted on thick plate paper, at 2S. 6d. each...
. ..
12 {O
o
Part L-Ethnographical, &c., in 2 portfolios (gratis) compnsmg 157 mounted photos . at 2S. 6d. each ...
19 1Z 6
Part II.-Egyptian, &c., in 2 portfolios (gratis) comprising
118 mOI\nted photos. at 2S 6d. each
o
Part III.-Assyrian, &c., in 3 portfolios (gratis) comprising
245 mounted photos. at 2S. 6d. each...
...
3 0 12 6
Part IV.-Grecian, &c., in 2 portfolios (gratis) comprising
.. .
175 mounted photos. at 2S. 6d. each '..
ZI 17 6
Part V.-Etruscan. and Roman, &c., in I portfolio (gratis)
compnsmg 97 mounted photos. at 2S. 6d. each
12 2 6
Part VI.-Medireval, &c., in one portfolio (gratis) comprising
...
. ..
46 mounted photos. at 2S. 6d. each
5 15 o
Part VII.-Seals, &c., in I portfolio (gratis) comprising 9 1
mounted photos. at 2S. 6d. each
...
.'.
Ir
6
Complete Set, &c., in 12 portfolios (gratis) comprising 9 29
...
mounted photos. at 2S. 6d. each
116 2 6
- - - - -- - - - - - - - -
FORMS OF PUBLICA TION AND PRICES.
BINDING.
STYLES
OF
BINDING.
No. r.-Photographs mountecl on goocl buff boar~s, abont 17 by 13
inches, each photograph on separate Imen Jom~, pnnted title page, gilt
edges, lines, and lettering- Half 1110roCCO, cloth. s~des.
No. 2.-Ditto, ditto, whole 1110rocco, neatly fi?IShed.
No. 3.-Ditto, ditto,
ditto
extra fll1lShecl.
PRICES.
Any fifty photographs selected from the
series .................................
I
;:,
s.
7 10
d.
0
STYLES.
2
;/; s. d.
8 15 0
3
;/; s. e1.
9
0
Tllc followill o selcctio/ls fr01/l /wl/dsolllc 1Jobl17zes ver)' slIz"table
b
0
for gIft 000kS, O'c.
Fifty selected photographs, Grecian anel
8 15 0
Roman Statuary .........
7 10 0
9 0
Fifty selected photographs of Statuary
of all ages .......................... 7 10 0
8 15 0
9 0
Fifty seIected photographs of Pottery
. and glass of all ages ............
10 0
8 15 0
9 0
Fifty selected photographs of Assyrian
10 0
Bas-reliefs ..........................
8 15 0
9 0
The Eigin marbles photegraphed,
12 17 6
Eighty-three plates . .............. 11 12 6
13 2
Larg·cr tj!t(mtitics, 01' special tjllalltities,
(n'
0
0
0
0
0
6
styles of Bi7ldillg to order.
PRICES OF COMPLETE SECnONS AND SET.
1
Part I. -Ethnographical, Prchistoric, ;(,
&c., 157 photos in Z vols. 21
Part II.-Egyptian, 11 8 ·photographs
111 2 vols .................. 16
Part III.-Assyrian, 245 photographs
in 3 vols ....... ....... ...... 3 2
Part IV.-Grecian, 175 photographs
in 2 "ols ....... ,. ........... 23
Part V.-Etruscan and Roman, 97
photographs m I vol ... 12
Part VI.-Meclireval, 46 photographs
in I vol ....... .. ............ 6
Part VII.-Seals, of 91 photographs
m I vo!. .................... TZ
Complete set of 929 photographs m
12 vols ....•••..•••..••..... I 25
s. cl .
2 6
STYLES.
2
;/; s. cl.
23 r2 6
f.:
3
2-J.
s. d.
2 6
5
0
18 15
0
19
5 0
17
6
3 6 12
6
37
7
7
6
25 17
6
26
17
6
14
2
6
1..1
7
6
10
0
7 15
0
8
0
0
2
6
13
13 12
6
0
0
140
0
0
6
0
0
143
6
6
It will be seen that a considerable advantage is given to each purchaser
of a complete section, and a further advantage is given to a purchaser of a
complete set.
------
1----
... _-.---.
I
LIST OF AUTHORIZED AGENTS.
I
IMPORTANT TO PURCHASERS.
At the following Addresses Complete Sets of P/lOtographs, Specimens
o[ Mounting, Bin ding, Porifolios, eile., may be seen:
BELFAST-Messrs. W. RODMAN & CO., Printsellers, 4 1 ,
Donegall Place.
BIRMINGHAM-Mr. R. W. THRUPP, Printseller, 66, New
Street.
SPECIMENS of Binding, Mounting, Portfolios, &c., may be seen
I
at either of the Agents enumerated on page li, or at the
I
BRISTOL-Mr. J. FROST, Printseller,
19, Triangle, Clifton.
For the convenience of Purchasers, parcels of unmounted Pho-
Ij
CAMBRIDGE-Mr. THOMAS DIXON, Bookseller, Market
Street.
tographs, either from this collection, or from the kindred series
\ I
DERBY-Messrs. BEMROSE & SONS, Booksellers, Irongate.
Publishers.
advertised on pages r 15 et scq., will be sent, on receipt of reference,
12,
Clare Street, and
to any distance, on approbation and for selection, on application
DUBLIN-Mr. THOMAS H. REILLY, Printseller, 24, Grafton
Street.
to the Agents or Publishers.
EDINBURGH-Mr. A. ELLIOT, Bookseller, 17, Princes Street.
Publishers; or to any Bookseller, Station.;:r, Printseller, or Carver
Orders can be given by Post to either of the Agents, or the
GLASGOW-Messrs. KERR & RICHARDSON, Stationers,
89, Queen Street.
All such Orders should be accompanied by a re-
LIVERPOOL-Mr. E. HOWELL, Bookseller, 26, Church Street.
and Gilder.
l\IANCHESTER-Messrs. THOMAS AGNEW & SON, Printsellers, Exchange Street.
mittance for the amount of Order.
Should any Photograph sent, not please, it will be exchanged.
Thc Photographs are Copyright.
NEWCASTLE-ON-TYNE-Messrs. MAWSON
Booksellers, 24, Grey Street.
&
SWAN,
OXFORD-Mr. JAMES RYMAN, Printseller, 24, and 25, High
Street.
PLYMOUTH--Messrs. BRENDON & SON, Stationers, 26,
George Street.
_ _ _ _ _ _ _ _ _ •• 1!
-------------------------------------------1
- - --- - - -,
lii
CATALOGUE OF ASERIES
OF
EXTRA SERIES.
PHOTOGRAP HS,
FROM THE COLLECTIOXS
Size 75 by 72 inches.
THE
1.
2.
3.
4.
5.
6.
Marble slab.
O~·
Price 5s. unmounted; 6s. mounted.
About B.C. 884·
N.W. Palace of Nimruc1.
:\1arble lion, inscribed with dedication of Asshurnazirpal. About B.C.
884.
N.W. Palace of Nimrud.
Marble slab. Winged man-headed buH, and wingec1 deity with cone
pine and basket with inscriptions of Sargon. RC. 720.
Khorsabad.
Pcntelic marble. Herakles, or so-called Theseus in the eastern pediment
of the Parthenon, by Phidias. About B.C. 440.
Athens.
Pentelic marble. Demeter, Persephone, and Iris, of the eastern pediment
by Phidias, about RC. 440.
Athens.
?Ifarble. Supposec1 bust of Esculapius. About B.C. 300.
Blacas Collection.
BRITISH
MUSEUM.
Winged man-headed lion.
(PHOTOGRAPHED BY
s.
THOMPSON.)
PA RT I.
BV
A. W. FRANKS, M.A., V.P.S.A., KEEPER OF BRITISH AND MEDIiEYAL
7. iVhrble statue of Ven us, commonly known as the Townley Venus.
Baths of Claudius at Ostia.
ANTIQUITIES AND ETHNOGRAPHY, _ BRITISH MUSEUM.
8. nlarble statue of a discobolus, or disc hurler, supposed copy of the celebrated bronze statue of the Greek sculptor, M yran.
9. Marble statue of a satyr playing cymbals, or the so-called Rondini Faun,
a work of the Ist century.
10. Marble.
Bust of Apollo.
Pourtales Collection.
Ir. Marble statue of Thalia, muse of comedy, holding the pedrum.
About AD. 100.
Baths of Claudius at Ostia.
12. ~arble statue of ~..rercury.
From the Farnese Collection.
PRE-HISTORIC AND ETHNOGRAPHICAL SERIES IN
THE BRITISH MUSEUM AND CHRISTY COLLECTlON,
W. A. MA NSELL
&
Co.,
PHOTOG RAPHIC AND FI~E ART PUBLlSllERS, 2, PERCY STREET, LO!\DON,
W.
-I
•
PRE-HISTORIC AND ETHNOGRAPHICAL SERIES.
I.-PRE-HISTORIC REMAINS OF EUROPE
SUMMARY
OF
CONTENTS.
AND ASIA.
NOS.
COMlItt!:iCIXe,
1.
PRE·HISTORIC REMAINS OF EUROPE AND ASIA.
FIRST STONE PERIOD (PAL.tEOLlTHIC).
FIRST STONE PERIOD (Palreolilhic)
SECOND STONE PERIOD (Neolilhic)
BRONZE PERIOD
ILLUSTRATIONS OF PRE·HISTORIC ANTIQ U ITIES
I!.
ETHNOGRAPHY OF AFRICA, ASIA,
.•
42
Al'(D OCF.ANIA.
AFRICA
IH.
13
I.
••
2.
3.
44
AsIA
51
ASIATIC ISLANDS
55
OCEANIA
57
s·
86
6.
4·
ANTIQUITIES AND ETHNOGRAPHY OF AMERICA.
NORTII AMERICA
ANCIEJ;lT MEXICO
MODERN
MEXICO
95
7·
120
CENTRAL AMERICA ANQ NEW GRAN.\D"-
121
'VEST INDIEs, BRAZILS, Al\D GUIANA
12 7
ANCIE)'IT PERU
13 1
J.[rSCELLAN EOUS
154
8.
9·
10.
Ir.
12.
Five implements from the Drift. Hoxne, Herne Bay, Gray's Inn Lane,
and AbbevIlle.
Twenty.four flint implements, of drift type, from the pbteaux of Poitou.
-Christy Co!!.
View of a Cave on the right bank of the Aveyron, ne ar Ilruniquel, (Tarn
et Garonne) France, in which early remains have been fcund.-See
OUlen, "Philosophical Transactions, 1869,"
Thirty-seven flint implements of various types, all showing marks of lise.
Cave near Bruniqllel, France.
Seventeen Harpoon Heads, made of reindeer horn, barbed on both
sidesj probably used in fishing. Cave near Bruniquel, France.
Twenty·nine Harpoon Heads, made of reindeer horn, barbed on one
side only. Cave near Brllniquel, France.
Twelve portions of pierced implements, of unknown use, made of reindeer horn. Cave near Bruniquel, France.
N eedles and other instruments, chiefly made of horse's bone j and portions of bone from which they have been cut. Cave near Bruniquel,
France.
Bones with engraved figures, and pierced breast bone of bird. Cave
ne ar Bruniquel, France.
Three handles of poignards: two, in mammoth ivory, represent reindeer;
the third, in reindeer horn, is a figure of a mammoth. Discovered
by M. Peccadeall de l'lsle, at Montastruc, near Bruniqllel, on the
left bank of the Aveyron, France. (From Casts.)-C//l'isty Co!!.
Carvings on reindeer horn, from caves and rock·shelters on the banks of
the Vezere, Dordogne, France. Excavatecl by Messrs. Christyand
Lartet. See" Reliqllire Aqllitanicre."-Christy Co/I.
Three skulls, found in a cave at Cro-Magnon, near Les Eyzies, Dordogne,
France. (From Casts.)-Christy Colf.
4
SECOND STONE PERIOD (NEOLITHIC).
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23·
24.
25.
26.
27.
Pre-Historic lind Ethllographica! Series.
Pre-Historic and Etllllograpilica! Series.
Two Picks, made from an tiers of red deer, found in the ancient flint
workings known as "Grünes' Graves," in the parish of Weeting,
Norfolk, dunng researches made by the Rev. Canon Greenwell.Christy Co!!.
Flint implements found in pits (probably ancient flint workings) within
a hi11-fort at Cissbury, Sussex. Excavated by Col. A. H. Lane Fox.
. See" Archreologia," Vol. XLII.-Chrisry Co!!.
Long Celt found at Pendle, in Lancashire, and two Celts and a flint
Dagger found in the Thames.
Three Pierced Hammersj (r, 2) Irelandj (3) Thames; and three Axes'
(4,6) Thamesj (5) Stanwick, Yorkshire.
'
Flint and stone implements found in France.~Chrisry Co!L
Series of flint and stone implements found in Ireland, including some
spindle-whorls of somewhat later date.-Christy Co!!.
Flint knives, arrow-heads, &c., found in Denmark.-Chrisry Co!!.
Crescent-shaped scrapers, and knives or daggers, of flint, from Denmark.
-CllI'isry Co!!.
Cores, rough implements, and daggers of flint, from Denmark.-Chris~)'
Co!!.
Stone implements, chiefly pierced axes, from Germany.- Chrisry Coll.
Bone and stone implements, carbonized grain, &c., found on the sites of
Pile Dwellings in the. Lakes of Switzerland.-Chrzsry Co!!.
Pottery, stone implements, bronze fish-hook, and other objects, found
by Captain Brome, in the Genista Caves, Gibraltar. See" Transactions of Pre-Historic Congress at Norwich," 8vo., London, 1869.Chrisry Co!!.
Two Etruscan gold necklaces, with pendants formed of flint arro",.headsj
no doubt employed as charms.
Obsidian core and flakes, and stone celts found in Greece and the Greek
Archipelago. One is engraved ",ith Gnostic inscriptions. See
"Archreological Journal," XXV. p. 103.-Chrisry Co!!.
Stone celts, knives, and arrow-heads, from Japan.-ChrzSry Coll.
-I
5
------
32. Six socketed celts, found in England and Ireland.
33 . Ten bronze implements, of various forms, from Englal1d and Ireland.
34. Seven bronze spear-heads, frcm England and Ireland.
35. Five knives or daggers, of bronze, from England and Ireland.
36. Shield, and six other objects of bronze, chiefly found in the Thames.
37. Bronze caldron, found in the Thames.
38. Trumpet, part of another, and object of unknown use, all of bronze;
found in Ireland .
39. Bronze heimet, found at Beitsch, ne ar Pfordten, Brandenburg, and two
daggers from Neuellheiligen, near Langensalza, Saxony.
40. Four terra-cotta vases, found in North Germany.
41. Three specimens of brownish-black pottery; primitive ware of Italj'.
(2) A hut-shaped cinerary urn, found under volcanic deposits neer
Albano, Italy. See Archreologia, vols. xxxviii. and xlii.
ILLUSTRATIONS OF PRE-HISTORIC ANTIQUITIES.
42.
43.
Threshing machine, set with flint flak es, from Aleppo, Turkey in Asi.!;
and one set with lava, from Madeira.-Cllristy Co!!.
Threshing machine, set with lava, from Teneriffe.-CllrzSty Co!!.
II.-ETHNOGRAPHY OF AFRICA, ASIA,
AND OCEANIA.
AFRICA.
44.
BRONZE PERIOD.
28.
29.
30.
3 I.
Four terra-cotta urns, from England and Wales, some of which may be
of the Stone Periodj (r, 3) Mynydd Cam Gocb, near Swansea;
(2) Lambourne Down, Berks.; (4) Porth Dafarch, Anglesea.
Three terra-cotta urns, from Scotland and Ireland. The tall one from
Aberdeenshire, the other two Irish.
Five bronze cclts, of wedge type, found in England and Ireland.
Six bronze celts, with stop ridges, found in England and Ireland.
45·
Group of weapons, &c., used by the Fans, and other tribes on the
Gaboon River.-Christy Co!!.
Three lamps of pottery, made by the Nupe people, on the Niger.Christy Co!L
Seven specimens of pottery from Central Africa.-Chrisry Co!!.
Tobacco pipes from Central Africa - Christy Co!!.
Covered Ivorv Cup, and Horn, ofWest African manufacture, probably
carved under Portuguese influence, date, 16th century; and part
of an elepnant's tusk, recently carved by the natives of Loango.Chrisry Co!!.
I
L
_ _ _ __
II
._------_.1
~6
__
~- _ Pre~Hislori~
tTlld -
EIIl1logrnpltical Sc;'ics.---
----=1
49·
Specim~ns of painted pottery, made by the natives of the Riff Coast,
50.
Afnca.-Chrij·ty Coll.
Four va ses of varnished pottery, made by the Kabyles of Algeria.Chrz'sty Coll.
PnJJistoric
I
67·
68.
ASIA.
5 r.
52.
Six ancient terra-cotta heads, fro"m Peshawur, Punjab.
State Seal of the Emperor o~ China. carved in jade, together with a stamp
of the Il1SCnptlOn upon It j two slahs of jade (part of a set of seven),
on WlllCh IS engraved.a poem of the Emperor Kien-Iung, and a
wo oden case to contam them_ These specimens were probably
obtamed from the Summer Palace at Pekin. --Cltristy Coll.
53· Four Chinese figures ; (I~ bronze, man; (2) wood, mendicant; (3) ivory,
the Goddl'sS Kwanymj (4) wood, man and toad.
54· Dresses aud omaments worn by the Aborigines of Formosa.-Chrirty
Coll.
72 .
73-
74·
75·
76.
ASIATIC ISLANDS.
55·
56.
SI':or ~s, and bamboo quivers for poisoned arrows, used by the Dyaks of
Born eo.-Chrzsty Coil.
Swords. principally from Timor, ROtli, and the neighbouring islands.Christy Coil.
79·
OCEANIA.
57·
58.
59.
60.
6r.
62.
63·
64·
Idol and pillow, carved in wood, [rom the N.W. Coast ofNew Guinea.
Canoe ornaments, carved in wood, from the S.E. Coast of New Guinea.
Two masks of tortoiseshell, from Darnley Island, Torres Straits.
l\la3k and ornament, of wood, carved and painted; probably from New
Ireland.-Cltrlsty Coll.
Four clubs and a paddle, from New Ireland and the Island of Santa
Cruz.-Cliristy Co!l.
Five carvings in wood, inlaid with pearl shell, from the Salomon Islands.
-Christy Co!l.
Series of spears, variously ornamented. Salomon Islands. Chiefly collected by Julius L. Brenchley, Esq.-Christy Coll.
Group of wooden clubs. SalOInon Islands. Chiefly collected by Julius
L. Brenchley, Esq.-Christy Coll.
Chief's shield of wicker, ornamented with shell work, from Florida
Jsland; and two clubs from other islancls, Salomon Group. Obtained
by Julius L. Brenchley, Esq.-C/lristy Coll.
80.
8r.
82.
83·
84·
85·
i
---- ____J
I
1_-
tTlId
Et/u/Ogrnphical Series.
7
Ornaments of shell-work. Salomon Islands.-Chl-isty Coll.
Clubs and spears. Fiji Islands.-Christy Coll.
Club, wooden dish in form of human figure, and three specimens of
varnished pottery. Fiji Islands.
Objects used in the manufacture of tapa, or bark cloth, viz:-a board
for printing, from the Fiji Islands j two printing tablets, made of
embroiclered leaf, from the Fiji and Samoan Islands; two small
boards, and a mallet, used in beating the bark, from the South Seas.
-Christy Coll.
Wooden box, inlaid with shell, Pelew Islands; and head ornament of
shell and tortoiseshell, from the Marquesas.
Cuirass of plaited cocoa-nut fibre, and wooden weapons edged with
sharks' teeth. Kingsmill Islands.-Christy Coll.
Colossal figure of wood, from a marae. Sandwich Islands.
Two wooden figures and bowl. Sandwich Islands.
Figures carved in wood and ivory. Society Islands.
Two carved paddles from High Island, Austral Islands.
Two adzes, with stone blades and elaborately carved wooden handles.
Mangaia, Hervey Islands.-Chrtsty Coll.
Colossal stone figure, Hoa-haka-nana-Ia, brollght from Easter Island by
H.M.S. "Topaze." See." Proceedings of the Geographical Society,"
Vol. XIV., p. 115.
Back view of colossal stone figure, Hoa-lnka-nana-Ia brought from
Easter Island by H.M.S. "Topaze." On it are carved two rapas
and a herOOtla.
View of the stoile building called Tau-ta-re-gna, in which the colossal
figure Hoa-haka-nana-Ia was found. Easter Island. From a sketch
by Lieut. M. J. Harrison, H.M.S . "Topaze."
Four carved WO oden figures : Easter Island.
Carved wo oden head, and axe of rare form. N ew Zealand.
Carved wooden box of Te-Rangihaiata, a chief of N ew Zealand.
Two carved wooden boxes, for holding feathers. New Zealand.
Carving in wood, probably from a canoe. New Zealand.
Group of objects from New Zealand, incluciing a jade meri, two noseflutes, adze-handle, jade tiki, or breast ornament, &C.-C/lrtsty Colf.
_____ J
8
Pre-Historic alld Ethllo,irrapllical Series_
III.-ANTIQUITIES AND ETHNOGRAPHY
OF AMERICA.
NORTH AMERICA
86.
Series of stone implements, pipes, &c., found in various parts of North
Amenca.-C/lrisry Co!1.
Imp~ements
88.
91
93 ·
94·
0:
stone, copper, iron, and ivory, used for various purposes
y the EsqUlmaux. Three scrapers of jasper, in their original
. handles, lliustratmg the rema1l1S of the Stone Period.-C/lrisry Coll.
Dnll bows and arrow-straighteners of walrus-tusk, with engraved figures'
made by the EsqUlmaux .
)
Hat from Oonalaska, l~Jeutian lslands, made of birch bark, and elegantly
pall1ted.-Chnsry Coll.
Implements of stone, from the North-West Coast of America.-Christll
Col!.
Cl'
Carvü;gs in walrus-ivory, horn, and wopd. Nortll-West Coast of America.
C/msty Coll.
Two masks, three rattles, and a figure, all carved in wood. North-West
Coast of Amenca -C/lristy Coll.
Three carvings in wood, from Nootka Sound, Vancouver's Island.
Series of pipes in slate, wood, and other materials, principally used by
the Indians of the North-West Coast of America.-Christy Co!l.
Pre-Historic ami
95·
97·
Obsidian arrow-heads, scrapers, flak es, and the cores from which the
latter have been struck j a variety of hatchets of divers stones j a fine
klllfe:blade of brown chert j another of white chalcedony, still
showmg marks of the handle j and a most remarkable axe-head in
the. form o.f ~ Illl~an figure, made of a green avanturine-quartz, and
whlch exhIbits httle of the Aztec physiognomy' a curious series of
"spindle-,vhorls" made of terra-cotta. Mexico ..:.....C/lristy Coll.
Objects in stone, including a " sacrificial collar" various sculptures and
stone implements, the latter found in the provinces of Guana~uato
Zacatecas, &c., Mexico.-C/lrisry Coll.
'
Front view of a mask, sculptured in lava. Mexico. Height, 9 inches.
-C/tristy Coll.
Back view of a mask, sculptured in lava. Mexico.-Chris~y Coll.
-----9-l
99·
(I) Mask formed of part of a human skull, coated with a mosaic of turquoise and obsidian, the eye-balls of iron pyrites, highly polished
and encircled with white shell: the mouth is made to open, and the
inside is lined with red leather. The mask is furnished with straps
to admit of its being worn, or perhaps to suspend it to astatue. (2)
A knife with flint blade and wooden handle, the latter in the form of
a crouchin~ divinity, encrusted with precious materials, among which
may be dlstinguished turquoise, malachite, and cora!. (3) An
animal's head in wood, also encrusted with turquoise, malachite, &c.
These specimens of mosaic were probably used in the Aztec religious
ceremonies, and no doubt were brought to Europe soon after the
conquest of Mexico.-Chrisry Coll.
Two wo oden masks, encrusted with turquoise-mosaic: one is composed
100.
of two rattlesnakes, and is 7 in. high; the other 6!- in. l\Iexico.Chrisry Coll.
IPr. Mask-like object in stone, and head sculptured in trachyte, with teeth
made of shell. Mexico.-Christy Coll.
Statue in volcanic stone, representing a squatting figure-perhaps a
102.
priestess. Mexico. Height, 141- in. Engraved in IzulIlboldt, "Vue
des Cordilleres," PI. I, 2.-Christy Coll.
Statue, in volcanic stone, of a female figure. Mexico. Height, 2 I in.
10 3.
-Christy Coll.
Statue of a seated male figure, resting his hands on his knees j in Crown
10 4.
volcanic stone. Mexico. Height, 22 in. From Bullock's Muscum.
105 ·
106.
10 7.
ANCIENT MEXICO.
EOll-;;;;;;;;;;;;;;;·-;'eric~.---
108.
10 9.
Iro.
I I 1.
I 12.
II3·
1 14.
I I
5.
Statue of a male divinity, seated, with folded arms. Mexico. Height,
2 ft.
From the Wetherell Collection.
Back of statue of male divinity, seated, showing Mexican hieroglyphs.
Height, 2 ft. From the Wetherell Collection.
Figure of an eagle-the emblem of Mexico-sculptured in volcanic
stone j the head lost. Mexico. Height, 18 in. From Bullock's
Museum.
Block of black volcanic stone, with dragon or serpent in relief j
probably palt of some edifice. Mexico. Height, 30 in. From
Bullock's Museum.
Series of figures in terra-cotta, representing various Mexican divinities.
-Christy Colt.
Terra-cotta vase, from Mexico, in the form of a seated divinity. From
the Wetherell Collection.
Terra-cotta vase, in form of a tortoise, painted with black and red
designs. Mcxico. From the Wetherell Collection.
Four figures in jade, from' Mexico, and piece of woven stuff from Peru.
Wooden drum (tepollaztli), three terra-cotta whistles, and two terracotta flutes. Mexico.
Series of terra-cotta vases, chiefly deep red. Mexico.-Christy Col:.
Three terra-cotta vases, from Mexico.-Cllristy Co!!.
II
I
- - - - - - - - - - ----------- - - ,
P1'I!-Historic and E!/lIIographical Series.
Ir 6.
I I
7.
118.
119·
Two vases in alabaster, in the forin of deities. Island of Sacrificios,
Mexico.
Two shallow bowls and a cylindrical Cup of painted pottery. Island
of Sachficios, Mexico.
Two specimens of pottery, with painted designs. Island of Sacrificios,
Mexico.
Three specimens of pottery, with engraved designs. Island of Sacrificios, Mexico.
MODERN MEXICO.
120.
Model reptesenting a woman making tortillas on a stone trough, like
the ancient metatl of the Mexicans.-Clmsry Colf.
CENTRAL AMERICA AND NEW GRAN ADA.
12 I.
12Z.
123.
124.
125.
126.
Vase in the form of a human figure j probably from Honduras.
Three specimens of pottery, from tombs in Nicaraguaj excavated by
Messrs. F . Boyle and J ebb. See Boyle, "A Ride across a Continent." London, 1868.
1'wo tripods and three other vases, of terra-cotta, from tombs in
Nicaraguaj exca\'ated b} l\Iessrs. F. Boyie and Jebb.
Specimens of terra-cotta. A vase, tripod bowl, and stand resting on
human fig'lres. Chiriqui.
1'wo seated terra-cotta figures of females, one of which has a gold nosering. (I) Bogota, N ew Granada.
Terra-cotta vase, in the form of a human figure. Bogota, N ew Granada.
Pre·.fIistlric all" Ethll(!grapltical Söries.
ANCIENT PERU.
I3I.
13 Z •
133·
I
I
134·
I
135·
I
136.
I
137·
I
I
I
I
13 8.
139·
14°·
141.
14 z.
J43·
144·
145·
146.
WEST INDIES, BRAZILS, AND GUIANA.
IZj.
Iz8.
129.
130.
1'hree wooden figures, presumed to be idols, found in a cave in
Jamaica.
Double e:uthenware bottle, for water, two cases of plaited Iturite reed,
and bamboo flute, made by the Indians of Guianaj and a quiver for
poisoned arrows for the blow-pipe, used in Venezuela.-Chrisry Col!.
ShrCmk htiman head, prepared by the Jivaro Indians of Ecuador, the
bones being removed j and lwo human heads, preserved as trophies
by the Mundurucu Indians, on the Rio 1'apajos, Brazils.-Christy
Coll.
Painted !inen, from a tomb in South Americaj vase in the form of a
hunnn hearl, perhaps from Central America, and two painted terracotta bottles from Guiana.
II
147·
148.
149·
IS°·
151.
5Z.
C
Stone seat, [rom the top of the mountain of Hoja, Ecuador. Height,
ZI in.
Bronze buckler, found near Ipijapa, Ecuador, anrl terra-cotta vase, in
form of a human figure, from Peru.-Christy CJfl.
Paddle and staff, carved in wood and painted, from a tomb at Yca,
Peru.
Two stone corbels, from the ancient city of Huamanchuco, Peru.Christy Coll.
Two terra-cotta vases, Peruj one in form of a captive, from Chocope,
the other a royal head, Truxillo.
Three moulded terra-cotta vases, Peru. (I) Cuzco j (z) Chocope.
Three painted terra-cotta vases, Peru. (I, 3) Island of 1'iticacaj (z)
Tiaquanaco, La Paz.
Two painted terra-cotta vases, from Truxillo, Peru.
Three terra-cotta vases, from Peru, in the shape of human figures. (I)
Santiago de Caoj (z) Truxilloj (3) Manecche.
Vase of painted terra-cotta, in form of a seated figure, with busts on
each side. Truxillo, Peru.Double bottle of terra-cotta, with animals \~ relief: one portion is surmounted by a canopy with two human figures. Peru.
Terra-cotta vase in form of a foot, and painted vase with two spouts, in
the shape of a human head. Peru.
Three terra-cotta vases, from Peruj (z) in the form of a human head
wearing a lip ornament, ancl (3) are from an island in Lake Titicaca.
Two terra·cotta vases in the form of animals. Truxillo, Peru.
Two bottles, of cream-coloured ware, painted in red and black: (I)
Truxillo j (z) painted with a flying deity, er warrior j from Berue,
near Truxillo.
Two bottles, of cream-coloured ware, painted in red: (r) with step
ornaments j Truxillo: (z) painted with a flyin g divinity, being the
other side of vase in No. 146 j from Berue, near Tn) illo.
T\\"o bottles, of cream-coloured ware, painted ' in red: () le has on it a
singular divinity, ancl other figmes, the rC3t of which ..re shown in a
diagram above. Peru.-Chrisry Coll.
Four black terra-cotta vases, from , Peru. One with a strainer, from
CuZco.-Cllrisry Coll.
Three black terra-cotta vases. Peru. (z) In form of aboat, from
Manecche.
Three black terra-cotta vases. Peru. (3) From Moche.
Three black terra-cotta vases. Peru.
Two ancient axes and disc of bronze, found in the province of
Catamarca, Argentine Conferleration. Deposited in the Christy
Collection by S. A. Lafone, Esq.
-----
-
. _ - - - - - - - - - - - -- - - - - '
12
153.
---I
Pre-Historic alld Ethllographical Scrits.
Two ancient stone vessels found in the province of Catamarca,
Argentine Confederation. Deposited in the Cbristy Collection by
S. A. Lafone, Esq.
CATALOGUE OF ASERIES
OF
MISCELLANEOUS.
154.
155.
156.
157.
Series of stone implements, hafted in wood, and illustrating the mode
in which stone implements may have been mounted. From the
Pacific, and North and South America.-Cltristy Co!!.
Group of stone implements, mounted in wood, principally adzes, with
highly carved handles, from the Island of ~fangaia, Hervey Islands;
others from the Society Islands, the Samoan and Friendly Groups,
and New Caledonia.-Chrisry Co!!.
Series of tobacco pipes, from North America, South Africa, the South
Seas, and Paraguay.-C.'zristy Co!!.
Bust of the late Henry Christy, Esq., by",hom the Christy Collection
was formed. Sculptured in white marble, by Woolner.-Cltrisry
Co!!.
PHOTOGRAPHS,
FROM THE
COLLECTIO~S
THE BRITISH
(PHOTOGRAPHED
BY
OF
MUSEUM.
S. THOMPSON.)
PART
11.
BY
. S. BIRCH, LL.D., F.S.A., KEEPER OF THE DEPARTMENT OF
ORIENTAL ANTIQUITlES, BRITISH MUSEUM.
EGYPTIAN.
t
i
I
L-
,
I
.--_ .~
I
W. A. MANSELL & CO.,
PHOTOGRAPHI: A~D FINE ART PUBLISIIERS, 2, PERCY STREET, LONDON. W.
._- - - - --
1
I
EGYPTIAN SERIES. •
~I
SUMMARY OF CONTENTS.
200
General View cf N orthern Egyptian Gallery in British
Museum. At the left side, black granite statue of Pasht
and column with names of Amenophis III., Menephtah
Setnetcht ; just be fore this column is a breccia head of
Amenophis IH., in the distance the red granite one of
Thothmes III. from the Sanctuary at Karnak, and a case
holding small objects.
View of Egyptian Room looking South. In the foreground
are the black granite statue of Amenophis IH. and the
red granite lions of the same monarch; in the distance
head of Ramesis 11. and Southern Gallery.
Interior of the N orthern and Southern Egyptian Galleries,
looking N orth.
I
Nos.
(a)
(6)
(c)
(d)
G.:NRRAL VIRWS IN EGYPTIAN GALLERIES 01' THR MUSEUM
STATUARY OR CARYING IN STONE
CARVING IN Wooo .
PAINTI!'<G
RELIGION
(c) SEPULTURE ANO BURIAL-(re) Models for Embalming
(u) Wood Coffins
200
220
237
238
(3') Sarcophagi ..
239
245
(5l) Sepulchral Vases-(A) of Terra Colla
252
25 6
(1/) on Clay .•
(3/) - Papyri
(4/) - Wood ..
(5/) Writing Materials
(g) WRITING-(Ig) Hieratic
(2g) Coptic
(0) FRO~ STO!'< . ..
(h) GLASS
(i) PORCELAIN ANO GLAZED WARE
(j) ALAllASTER
I
223
235
(4") Sepulchral Tablds
(B) of Porcelain
(6e) Mummies . .
(f) \VRITI NG ON CLAY, WOOO, PAPYRI, ANO \VRITING MATERIALS-
201
2°3
257
202
I (a)
Approximate
Date.
I/
2°3
260
2°4
261
264
260
279
280
205
282
27 2
206
28 3
286
291
(k) TERRA COTTA ..
20 7
293
(l) BRONZES . .
(m) WEAPONS OF WAR_
1
(n) CIVIL AND DOMESTIC LIFE-(In) Agricultural
I
(2tl) Tools ..
(3")
(4n)
(5tl)
(6,,)
Musical Instruments
Baskets .
Children's Toys
Personal
1
(7/l) Furniture
~----_
208
1
_I
20 9
I1210
I
STATUARY OR CARVING IN STONE.
NORTHERN
AND
SOUTHERN
EGYPTIAN
GALLERIES.
XvIII DYllasty.
Red granite head of Thothmes III., 18th Dynasty, about
XVIII
DYNASTY.
B.C. 1450. From the granite Sanctuary of Karnak.
Circa 1450 RC .
Circa 1450 B.C. Red granite Lion, dedicated to Amenophis IIr., his successors, and Amenasro an .lEthiopian King.
Mount ;
BarkaI. The dedication being cut in hieroglyphs on the
mane of the lion.
RC. 1400.
Black granite statue of Pasht, sitting, dedicated by Amenophis III. 18th dynasty, about B.C. 1400. From Karnak .
Circa Re. 1400. ! Black granite statute of Pasht, standing holding a papyrus
sceptre and symbol of life. From Karnak.
Circa RC. 1380. Red granite Lion, dedicated by Amenopliis III., 18th
dynasty, about Re. 1380, and Ameuasro, an .lEthiopian
King. Mount BarkaI.
Black
granite ~tatue of Mutemua, mother of Amenophis III.,
RC. 1380.
in a boat with ends in shape of the goddess Athor.
Karnak.
Breccia head of astatue of .\menophis IH., 18th clynasty,
B.e. 1380.
about RC. 1380. From behind the Vocal Memnon,
Gourneh, Thebes.
Limestone head of astatue of Amenophis IH., 18th clynasty,
about B.C. 1380. From Thel>es.
I,~
• A Catalogue of Photographs of the principal ruins a.nu sites in
. Egypt can be had on applicatioll.
.Egyptian Series.
16
Eg)'ptian Series.
Approxima~
No.
2II
212
21 3
21 4
21 5
2J6
21 7
218
2I9
Date.
XIX Dynasty.
Gray granite seated figure of Rui, high priest of Amen Ra,
DYNASTY.
in the reign of Menephthah, about B.C. 1300. From
B.C.1300.
Karnak.
Red granite, upper part of a colossal statue of Rameses II.,
B.C.1300.
of the 19th dynasty, about B.C. 1300. From the Memnoniulll, Thebes.
B.C. 1300.
Calcareous stone group of an officer of high rank seated by
the side of his wife or sister. About B.C. 13 00.
B.C.1300.
Calcareous stone, upper part of the statue of a Queen,
probably Tua, of the 19th dynasty, B.e. 1300. From
Karnak.
Circa B.C. 1300. Black granite colossal searab<eus, emblem of the god Kheper,
one of the types of the Sun. From Constantinople.
Breccia statue of Shaaemuab, 2nd son of Rameses Ir., 19th
B.C. 13°0.
dynasty, about B.e. 1300. From Siout.
XIX
XX
DYNASTY.
B.C. 1280.
XXTI
DYNASTY.
B.C·9 60 .
XXVI
DYNAST,..
RC·53°·
XX Dynasty.
Sandstone statue of Seti Ir., 20th dynasty, about B.e. 1280,
holding on his lap the head of a ram or Chnumis. From
Thebes.
XXII Dynasty.
Sandstone statue of Rapi or the Nile, dedicated by Shiskak
1., about B.C. 960. From Karnak.
XX VI Dynasty.
Basalt statue of Uahhatpra (the Rophra of seripture), a
priest and functionary, holding a shrine of Osiris, of the
age of the 26th dynasty, about B.C. 530. From the
Natron Lakes.
(b)
220
No.
Approximate
Date.
XVIII
DYNASTY.
B.C. 1450.
CARVING IN WOOD.
XVIII Dynasty,
Wooden figure of a seribe; two wooden figures of females ;
ivory figure of a female ; about B.e. 145 0.
XVIII or XIX Dynasty.
22J X:VIII & XIX Wooden figures of a seribe or offieer of high rank in the
DYNASTY.
18th dynasty, and of two females in the 18th and 19th
Circa 1450-1320.
dynasties.
XXII DYllasty.
Wooden figures of a king, female carrying an animal, and
XXII
DYNASTY.
two others, about B.C. 960.
B.C·9 60 .
(cl
PAINTING.
NORTHERN
EGYPTIAN
GALLERY.
XIX Dynasty.
223
XVIII
Mural pamtmg in tempera. An Egyptian of high rank,
DYNASTY.
superintendent of public granaries, seated j about B.C.
B.C. 1500-14co.
1500-1400. From a tomb at Thebes.
224 B.C. 1500 -. 1400. Mural painting in tempera. Egyptian of high rank, attended
by his" :fe, fowling in the marshes; about B.C. 15001400. From a tomb at Thebes.
::25 B.C. 1500 - 14°°. Mural painting in tempera. Entertainment of ladies, with
slaves in attendanee; about B.C. 1500-1400.
tomb at Thebes.
From a
226 B.C. 1500 - 14°0. Mural painting in tempera. Entertainment-guests, dancing
girls, and musicians playing on flute; about B.C. 15001400. From a tomb at Thebes.
227 B.C. 1500- 14°0. Mural painting in tempera.
AgricuItural occupationschariots of horses and mules-eornfield and land mark ;
about B.C. J500-1400. }'rom a tornb at Thebes.
228 B.C. 1500-1400 . Mural painting in ternpera. Gardens with palms and other
trees-pond with fish-the goddess Nu in a sycarnorc;
about B.C. 1500-1400. From a tomb at Thebes.
229 B.C. 15°0-14°0. Mural painting in tempera. Slaves bringing zebus and
oxen; about 1500-1400.
From a tomb at Thebes.
230 B.C. 1500-1400. Mural painting. Men bringing hares an<! corn and gazelle j
about B.e. 1500-1400. From a tomb at Thebes.
231 B.C. 15°0-14°:>. Mural painting in tempera.
about B.C. 1500-1.1-00.
lIIen bringing birds and food
From a tomb at Thebes.
j
232 B.C. 15°0-14°°. Mural painting in ternpera. Slaves bringing geese, with a
seribe entering the account j about B.e. 1500-1400.
From a tomb at Thebes.
233 B.C. 1500- 1400. Mural painting in ternpera. Stand, with food and viands,
wine and water vases, &e.; about B.e. 1500-1400.
From a tomb at Thebes.
234
B.C. 1300.
?fural painting in tempera. Tribute of Asiaties: the Rutel111U or Kefa bringing vases of gold, silver, and other
substanees; about B.C. 1300. From a tomb at Thebes.
c
Egyptian Series.
Egyptia1l Series.
18
Approximate
No.
Date.
(d)
FIRST
235
n.e. 300.
AND
No.
RELIGION.
SECOND
EGYPTIAN
({')
ROOMS.
Porcelain figures of the Deities, Thoth, Athor, Amen Ra,
Mentu, Menhi, Osiris, Amset, Horns, Hapi, Tuautmutef,
Kabhsenuf, Anebu, Ptah, group of Isis, Horns, and
N ephthys, and feet of Horns.
Calcareous stone. Altar of libations in shape of a tank or
reservoir. From the Temple of Bercnice.
Sandstone. Altar, having carved upon it the sacred cow
and flowers of the Papyrus.
(t)
SEPULTURE AND BURIAL.
(Ie) MODELS
FOR EMBALMING AND
COFFINS.
(u) WOOD
COFFINS.
Wood upper part of the coffin of Har, a priest, the hand
and eyes inlaid with porcelain and glass.
(y)
239
24 0
B.C. 700.
XXVI
DYNASTY.
B.C. 500.
24 1
XXX
DYNASTY.
B.C·378.
24 2
B.e. 400.
245
TABLETS.
Calcareous stone. Sepulchral tablet of Pepisetheb, dedicated to Osiris, 6th dynasty, about B.C. 2000.
VI
DYNASTY.
B.C.2ooo.
XII Dynasty.
24 6
XII
DYNASTY.
B.e. 1800.
Calcareous stone. Sepulchral tablet of N esu, an officer in
the 12th dynasty, about B.C. 1800.
247 Circa B.e. 1800. Calcareous stone.
i
24 8
B.C. 1800.
Sepulchral tablet of Ab
domestic life j early date.
j
on it scenes of
Calcareous stone. End of sepulchral tablet of Antef, son
of Sent, officer of the court of Usertesen 1., 12th dynasty,
l about B.C. 1800 j part of an address or prayer.
I
XVIII &> XXVI DYllasty.
XVIII &
Red brick sepulchral cones from tombs, with the names of
XXVT
249
DYNASTY.
the fol1owing ten::mts of the sepulchres:-(I) Amenemha,
n.c. 1800-600.
superintendent of cattle, (2) Petamennebkata, a priest,
(3) Neferhebf, a priest of Amenophis 11., (4) Rurn, (5)
Ra, superintendent of granaries of North and South, (6)
Abu, a functionary of the Court, 26th dynasty, about
TI.c. 600.
SARCOPHAGI.
Basalt sarcophagus of Sebaksi, a priest, about B.C. 700Red granite sarcophagus of Naskatu, a Memphian priest,
about B.C. 500. From Gizeh.
Breccia sarcophagus of the monarch Nektherhebi or Nectabes, of the 30th dynasty. The scenes represented are
the passage of the sun through the hours of the night.
Mummy of Ataineb, a functionary, in bandages, with part
of a cartonage and net-work of blue porcelain bugles.
SEPULCHRAL
VI Dynasty.
FOR
Stone, wo oden, and terra-cotta models of cqjJins, used as
models by the embalmers, of different shapes and periods.
(I) Rectangular, of late period, (2) another of late period,
(3) cover.
237
Approximate
Date.
RC·5°°·
Wooden sepulchral tablet of Nasui, on steps surmounted by
the emblems of the Soul. The deceased and his soul in
the Sun's Boat, offering to the Gods j about B.C. 500.
B.e. 525.
Black marble sarcophagus, Ankhsenraneferhat, Queen of
Amasis 11., 26th dynasty, about B.C. 525. Figures of
the Queen, deities, and inscriptions. From Luxor.
TOMBS.
243
IV
DYNASTY.
B.C.2200.
244
RC.2200.
IV DYllas,",v.
Calcareous stone. False door of the tomb of Teta, architect
of the Pyramid of Chefren, or the 2nd Pyramid j about
B.C. 2200. From Gizeh. On the top are sepulchral vases_
Calcareous stone. False door of the tomb of Teta, architect of the Pyramid of Chefren, or the 2nd Pyramid j
about B.C. 2200. From Gizeh. On the top are two
sepulchral vases .
_--'----- - - - -
.
(5')
SEPULCHRAL VASES.
XXVI Dynasty.
(A)
0./ Terra Co/ta.
25 2 Circa 600-500. Terra-cotta sepulchral vase for Netktmutf, in shape of the
genius Alnset_
253 1 Circa600-5co. Terra-cotta sepulchral vase for Netktmutf, in shape of the
genius Hapi.
I
.-----------20
No.
No.
Date.
XIX
DYNASTY.
B.C. 135°·
XXVI Dynasty.
26 5
B.C.
135°·
1350.
Adorations to the Sun, Osiris, Isis, Nephthys.
266
B.C.
135°·
Judgment scene.
26 7
B.C.
135°·
Funereal procession, vignette, and part of text of chapter
of ritual.
268
B.C. 135°·
26 9
B.C.
135°·
Vignettes and part of text of chapter 17 of ritual.
27°
B.C.
1350.
Part of vignettes and text of chapter 17 of ritual.
27 1
B.C.
1350.
Part of vignettes and text of chapter 17 of ritual, another
MUMMIES.- A llimals.
Animal mummies enwrapped in linen bandages. (1) Head
of a dog, (2) Ram, (3) Ibis.
WRITING
ON
1445.
Wooden brick stamps (1) with name of Amenhetp or Amenophis, (2) of the granaries of Ptah, (3) Smoother of a
pIasterer.
FROM
STONE.
Frieze of the passage of atempIe. The conquests of
Rameses H., of the 19th dynasty, who is represented
seated on his throne receiving the tribute of the JEthiopians, and investiture of the Prince Amenemapt, about
RC. 1300. Beitoually, or Bayt el Wellee-H The House
of a Saint," near Kalabshe, Nubia.
273
B.C.
1300.
Frieze of the passage of atempIe. Rameses Ir. in his
chariot, attended by his sons, routing the JEthiopians,
about RC. 1300. Beitoually, Nubia.
274
B.C.
1)0.
Frieze ot atempIe. Rameses II. seated on his throne receiving the address of the principal officers, who bring
into his presence Asiatic captives. The Monarch slaying
the Tahennll or Libyans, the same in his chariot attacking the ReLu, about Re. 1300. Beitoually, Nubia.
275
B.C.
1300.
Frieze of atempIe. Rameses 11., attended by his sons,
attacking the Sharu, or Ruten, Rameses trampling on
fallen Asiatics, while his sons bring prisoners before hirn,
about B.C. 1300. Beitoually, Nubia.
(if) ON CLAY.
261 XIX&XVIII Clay unbaked bricks, with (1) Name of Rameses II., 19 th
DYNASTIE S.
dynasty, Re. 1320, (2) Makers' mark from the Pyramid
B.C. 1320.
of Illahoun, (3) Name of Thothmes IH., 18th dynasty,
B.C. 1445. Thebes.
The Mummy at the Sepulchre, vignettes and part of the
texts of chapter of 1 and 17 of ritual.
XIX
DYNASTY.
B.C. 1300.
WOOD.
XIX &> XVIII Dynasty.
I
XIX Dynasty.
VI DYllasty.
Wooden boxes, (1) with name of King Pepi or Phiops, 6th
dynasty, RC. 2000, (2) Painted, with hieroglyphs, (3)
hory hox, (4) Ebony box inlaid with ivory and porcelain.
Vignette of chapter 125 of ritual.
(0)
WRITING ON WOOD, CLA Y, PAPYRI,
STONE, AND WRITING MATERIALS.
(4/)
Adorations to Thoth and Osiris.
portion.
Animal mummies enwrapped in linen bandages. (I) Jackal,
(2) Cat, (3) Wooden case of a cat mummy.
Ibis religiosa, from nature.
B.C.
Papyrus hieroglyphical ritual of Hunnefer, superintendent of
the cattle of Seti I., 19th dynasty, about B.C. 1350, with
vignettes and chapter of the ritual, viz.:
B.C.
(f)
262
PAPER.*
264
(6e)
VI
DYNASTY.
B.C.2000.
PAPYRI, OR WRITING ON
SEPULCHRAL FIGURES.
(B) Gf Porcelaill.
256 XXI XXII & Porcelain sepnlchral lignres of Sethos r., King of 19 th
XXVI
dynasty, about B.C. 1350 j Panehsi, a scribe, Pasheti, an
DYNASTIES.
B.C. 1350.
officer, Muti of the same period j Patshas of the 26th
B.C.600.
dynasty, about B.e. 600 j and Taharta, Osorchon of the
B.C. ')00.
22lld dynasty, about B.e. 900.
259
(:\1)
XIX DYllasty.
255 Circa 6c0-5 00. Terra-cotta sepulchral vase for Netkhtmutf, in shape of the
genius Kabhsenuf.
257
21
.Egyptiall Series.
Approximate
A pproximale
Date.
254 Circa 600- 500. Terra-cotta sepulchral vase for Netkhtmutf, in shape of the
genius Tuautmutf.
260
---
Egyptiall Series.
K epl
1lI
table C.lSC m second E;n puan Room.
22
No.
277
Approximate
Date.
XX VI-XXX Dynasty.
XXVI-XXX Basalt slab from between the columns of aTempie. PsammeDYNASTIE:;.
B.C.650.
tichus I. adoring Tum and other gods, about B.e. 650'
B.C. 358.
Basalt slab from between two columns of aTempie, Nec-
B.C. 196.
tanebo, king of the 30th dynasty, B.e. 358, offering a cake.
Dark basalt. Rosetta stone, or decree of the synod of
Priests at Memphis in honour of Ptolemy Epiphanes V.
in hieroglyphic demotic and Greek character. RC. 19 6.
(5/)
WRITING
WRITING.
(Ig)
XII
DYNASTY.
B.C. 1800.
Wood board with Hieratic inscription. Treatise on grammar and rhetoric for the use of a school, written about
Re. 1800.
Reverse of same board.
(2g)
Approximate
Date.
28 5
B.C·5°O·
Group of glass bottles used for holding oils or perfumes,
the darker ones of green color, the one to the left of blue,
and two light on es of white glass; about B.C. 5°0.
(i)
I
286
lI-XXVI
DYNASTIES.
B.C.25°O·
28 7
B.C. 1450.
B.C·S9S·
. Porcelain and glazed ware.
(I) Ynguent vase with name of
Thothmes IH., 18th dynast)', Re. 1450, (2) Bowl with
name of Rameses H., 19th dynasty, B.e. 1320, (3) Cup
in shape of lotus f1ower.
B.C.13 2O•
Porcelain vases.
(I & 2) Fragments from the Sarabout
El-Khadem, (3) Patera or bowl, (4) Cup.
288
28 9
B.C.5 00•
Porcelain perfume or oil botdes given as N ew Year's gifts.
The one in the centre shows the names of Ptah, Pasht,
and Tum·nefer; about B.C. 500. From Memphis.
Porcelain objects. (I) Five cylinders for eye paint, (2)
Beard from a coflin, (3) Toe from a coflin, (4 & 5)
painters' pallets.
29°
COPTIC.
Christian Period, III-IV Cmt. Ä.D.
(j)
GLASS.
XVIII to XIX Dynasties.
28 3 ?HrJ~S;1ilf Glass perfume bottle with name of Thothmes In. 18th
dynasty, about RC. 1450; a remarkable instance of a
B.C.145 0 .
dated glass vessel.
Glass vases. (1) Light blue Amphora, (2) Alabastros, (3)
Diota, (4) Bottle, (5) Alabastros, (6) Amphora, (7)
Lecythi; chiefly from Memphis.
GLAZED WARE.
Porcelain tiles for inlaying. (I) Amenapt, a priest, adoring
Osiris, (2) Spider, (3 & 4) Tiles from the inlaid door of
the Pyramid of Sakhara, 2nd dynasty, about B.C. 25°°,
(6 & 7) Circular tiles from Oneia of the Roman period,
(8) Tile with name of Psammetichus H., 26th dynasty,
B.C. 595.
282 IH-IV Century. Ca1careous stone inscribed fragments. (I) Coptic letter of
A.D.
a person named Seth, (2) Christian inscription in Greek.
(h)
PORCELAIN &
11 to XX VI Dynasties.
HIERATIC.
XII Dynasty.
280
No.
MATERIALS.
XVIII-XIX D)'nasties, and later.
279 XVIII-XIX Writing materials. (I) Woodcn paUet, (2) Porcelain pallet
DYNASTIE:;.
And later.
with name of Meri, (3) Wooden pallet, dedicated to
Thoth and Osiris, (4) Another with name of Ptahmes a
scribe, (5) Another with name of Pameraua, scribe in t~e
reign of Amenophis IH., (6) Ivory pallet, (7) Bronze inkstand and chair, (8) Blank roU of papyrus.
{g I
23
Egyptiall Series.
Egyptiatt Series.
B.C.1400•
Arragonite vases. (1) Vase inscribed with its liquid capacity, (2) Two-handled vase for holding balsams, (3)
Calathos for same uses, (4) Unguent vase with painted
foot, (5) Cup, (6) Jar with head of Athor, (7) Cover of
vase inscribed with name of Amenophis H., 18th dynasty,
B.C. 1400, (8) Cup.
Alabaster or arragonite group of vases. (1) Cup, (2)
Unguent vase, (3) Spoon or feeding vase, (4) Calathos
i with name and tide of Nepherkares, 6th dynasty, about
B.C. 1900, (5) Spoon, (6) Unguent vase, (7 & 8) Same.
,
I
B.C.1900.
ALABASTER.
!
.
No.
E.fJjJtia1l Series.
Approximate
(k)
293
294
B.C.2000.
295
297
299
3°1
3°2
Date.
TERRA COTTA.
Terra-cotta vases. (I) Bucket with four handles, (2) Amphora for wine, with hieroglyph "Tribute," (3) Part of
painted bottle, with name of its possessor N ekhtamen.
(I) Basket shaped, (2) J ug, (3) AmTerra-cotta vases.
phora, (4) Sack, (5) Alabastros, (6, 7, 8,9) Small cups,
age of 4th dynasty, B.e. 2000, from Memphis, (9 & 10)
Jugs.
Terra-cotta vases.
Bottles and amphora in shape of the
god Bes or Besa, a form of Typhon.
Terra-cotta group of painted vases. (I) A jug, (2) Jar, (3)
Unguent vase, (4) Basket with four handles.
Red polished terra-cotta. (I) An unguent vase, (2) A plate,
(3) TaU bottle.
Red polished terra-cotta group of vases. (I) A jar, (2) A
fish-shaped jar, (3) Bottle on stand, (4) Strainer in shape
of basket.
Polished terra-cotta vases. (I) Double vases, (2, 3, 4) Vases
resembling early Creek or Phcenician style.
(I)
3°0
25
Rgyptian Serzes.
Approximate
Date.
(n)
(111)
I
I
(m)
Wooden agr:ic~ltural implements. (I) Pickaxe, (2) Hoe, (3)
Step of a rope lad der, (4) Rope of same from weU of
tomb of Seti I.. 19th dynasty, about B.C. 1340, (5)
Wooden pulley, (6) Palm rope tasseIs for abulI, (7)
W ooden hand plough.
B.C. 1450.
Wood and metal tools. (I) Drill bow, (2 & 3) Saws with
name of Thothmes III., 18th dynasty, B.C. 1450, (4 & 5)
Bronze nails, (6) Drill socket, (7) Bronze bradawl with
wo oden handle, (8) Bronze knife with WO oden handle, (9)
Wooden drill holder, (Ie) Bronze plane with wooden
handle, (10) Wooden mallet.
TOOLS.
(2")
I
(3 n ) MUSICAL
I
INSTRUMENTS.
Musical instruments. (I) Bronze sistrum with head of
Athor, (2) Another of the Roman period, with 3 bars,
head of Athor and god Besa, (3) Bronze handles of
sistrum, (4) Porcelain model of sistrum, (5) Part of
I wooden harp, (6) Small wooden harp, (7) Bronze cymbals,
(8 & 9) Wood and reed pipes. (10 Öl: 1I) Bronze bells.
BRONZES.
I
I
(4")
BASKETS.
Palm-Ieaf-fibre baskets. (I) Flat and square, (2) Circular,
with cover, (3) Oval, with cover, (4) Circular, (5) Drumshaped, with cover.
(sn)
Toys.
Toys. (I) Wooden fish, (2 & 3) Flat wooden dolls, one
with hair of day beads, (4) Wo oden doll, (5) Bronze doll,
(6 to 10) Draughtsmen, one with name of Necho 1., 26th
dynasty, B.e. 670, (Il to 14) PorceJain ball and models
of fruit, (15) Leather ball stuffed with chaff, (16) Ball of
palm leaves.
WEAPONS OF WAR.
' - - - - ' - - - - - - '' - - - _ . _ -- -- - - - -._--------~
DOMESTIC LIFE.
AGRICULTURAL.
B.C.I34°.
Bronze figure of Horus, of the late Roman period, about
A.D. 3so-and a case for holding the mummy of an
eel-another for mummied cat-and silver figure of
Amen Ra.
Bronze situlre, or buckets; the larger one is of Pasharenkhons, priest of Amen Ra and of the living apes of the
Temple of Chons-the smaller ones have adorations to
deities; another vase is an oil jar.
Bronze situlre, or buckets for carrying holy water; the larger
one is inscribed and dedicated to Osiris for Petamennebkata, a priest,-the smaller ones have adorations to deities.
Stone and metal weapons. (I) Flint dagger with wooden
handle and leather sheath, (2) Stone knife of Ptahmes,
(3) Arrow head, (4) Bronze dagger with ivory handle, (5)
Bronze hatchet blade with horseman, (5) Bronze dagger
with ivory and silver handle, (6) Bronze war axe with
silver handle.
CIVIL &
(6n)
XVIII
DYNASTY.
B.C. 1400.
PERSONAL.
(I) Wig for a female, style of 18th dynasty, about B.C. 1400,
(2) Wig box made of kash or writing reeds.
tomb at Thebes.
From a
Egyptiall Serits.
No.
310
Approximate
Date.
XVIII
DYNASTY.
CATALOGUE OF ASERIES
, Stone and wo oden objects ofthe toilet. (I) Wooden comb
in shape of cow, (2) Wooden comb, (3 & 4) Bronze
tweezers, (5) Steatite vase for the stibium, a metallic color
(antimony) for the eyelids, (5) Alabaster vase on four legs,
for the stibium, (6) Obsidian cylinders for same, with
god Bes, (7) Glazed vase with paints and feathers, (8)
Wo oden cylinders for same with names of Amenophis IH.
and Taia, 18th dynasty, (9) Wo oden cylinders with pin,
in shape of a hawk, (ro) White porcelain with name of
Queen Amenanksen, (II) A glass cylinder for same in
shape of papyrus sceptre.
OF
I
PHOTOGRAPHS,
FROM THE COLLECTIONS
THE
Bronze mirrors. (r) With glazed handle shape of papyrus
sceptre, (2) Ehony handle in shape of standard, (3) Bes
or Typhon, (4) Hawks, (5) Lunated ebony handle and
gold stud, (6) Read of Athor.
3 12
Gold and stone necklaces. (I) Of carnelian, amethyst,
jasper, and other beads, (2) Of gold lizards and lapis
lazuli beads, (3) Gold and silver birds and various objects,
one with name of Thothmes IH., 18th dynasty, (4) Of
carnelian and jasper beads, (5) Of electrum beads, locks
of hair, and fish.
Linen cloth of various textures, the dark piece to the left
dyed with the carthamus tinctorius-and two spindies.
(7 n )
FURNITURE.
BY
S. THOMPSON.)
PART
I
MUSEUM.
BRITISH
(PHOTOGRAPHED
O~·
I I I ..
I'
1,
!
I
BY
S. BIRCH, LL.D., F.S.A., KEEPER OF THE DEPARTMENT OF
ORIENTAL ANTIQUlTIES, BRITISH MUSEUM.
AND
Wooden furnlture. (1) Ebony seat inlaid with ivory, (2)
Folding stool with leather seato
Wo oden furniture. (1) High-backed chair, (2) High-backed
chair, inlaid with ivory, 2nd seat of plaited cord.
Wooden furniture. (1) Workman's stool, (2) Stand for a
vase, (3) Head rest or pillow, (4) Stool, (5) Vase on a
stand.
Spoons, &c. (1) Ivory, horn, and shell, (2) Wo oden oval
spoon, handle in shape of Besa-ducks and flowers,
(3 & 4) With cover and handle in shape of flowers, (5)
Shovel-shaped, (6) Handle with twisted flower sterns.
GEORGE SMITH, ESQ., OF THE ORIENTAL DEPARTMENT,
BRITISH MUSEUM.
ASSYRIAN
W. A. MANSELL
&
CO.,
PHOTOGRAPHIC AND FINE ART PUBLISHERS, 2, PERCY STERET, LOlmoN,
_ _ _ _ _ _ _1
'V.
_
I
_I
ASSYRIAN SERIES.
SUMMARY OF CONTENTS.
G E;\fERAL VIEWS IN THE ASSYRIAN GALLERIES
BABYLONTSH, OR CHALDEAN EMPIRE.
Early Records (B.C. 1230)
ASSYRIAN EMPIRE, DOWN TO RC. 909.
Terra Cotta Tablets (B.C. II20) _
Personal Ornaments .'
Nos.
commencing
No.
35°
Page 29
General View of the Kouyunjik Gallery, looking North.
On the walls are the slabs of the reigns of Sennacherib
and Asshurbanipal.
35°
The table cases contain miscel-
laneous objects.
General View of the Central Gallery.
35 1
Black marble obelisk
of Shalmaneser H., and limestone statue ofNebo, winged
bull of Asshurnazirpal. For details of the Obelisk see
Pages 29 and 43
Page 30
Nos. 403 et seq.
ASSYRIAN EMPIRE, 2ND PERIOD, RC. 909-745.
Statuary and Slabs rclating to Religion and Gods.
353
Reign of ASSHURNAZIRPAL, RC. 884All from Palaces {' .
Slabs recording his Life at Court.. ..
..
at Nimrod.
}
H unting Scenes ..
Military Expeditions
Reign of SHALMENEZER, RC. 850.
Statuary- recording Military Expeditions on The Black Obelisk, Nimrod
403
ASSYRIAN EMPIRE, 3RD PER IOD, B.C. 745 TO 625.
Reign of TIGLATH PILESER-Slabs recording his Military
Expeditions
Reign of SENNACHERIB, RC. 705-Re. 681.
Allfrom
Slabs recording his Bl1i1ding Palace.
Military Expeditions
Palaces at 43 2
Reign of ASSHURBANIPAL. Re. 667-647.
Nineveh (now\
Slabs recording his Military Expeditions
Kouyunjik). 43 8
the Religion and Gods of the Period
45 1
his Hunting Scenes
455
his Life at Court
5226
PERSIAN SLABS
Approximate
Date.
TERRA COTTA TABLETS OR RECORDS
52 3
52 5
IVORIES
578
BRONzES-Early Date
Later Date
588
BABYLONISH OR CHALDlEAN EMPIRE.
TERRA COTTA TABLETS OR RECORDS.-
The following are arranged in Chronologieal order.
Translations in full of the following Inscriptions will be supplied in a
larger Catalogue.
B.C. 1230.
Terra cotta bricks, inscribed with the names of Chald::ean
RC.
alluvial plains of Chald::ea).
Dark stone bOlmdary stOlle, with figure of Merodachadanakhi,
Kings, B.C. 1230.
1110.
53 X*
53 2 *
533*
Re. IlIO.
534*
535'::'
53 6*
537'"
··59 Ia
ALABASTER AND STONE
.. 594
(Stone was entirely wanting in the
King of Babyion, about B.C.
Ditto
ditto
53 0 *
RC. IIOO.
1 X 10.
Babyion.
2nd side.
Ditto
ditto
3rd side.
Ditto
ditto
4th side.
Dark stone boullilary stolle of i"Ierodachadanakhi, about
Re. 11 XO
Ditto
ditto
Babyion.
2nd siele.
Ditto
ditto
3rd side.
Ditto
ditto
4th side.
Terra cotta cones (Phalli) with inscriptions relating to
early Chald::ean Kings.
Warka.
ASSYRIAN EMPIRE-PERIOD DOWN
TO 909 B.C.
582
GLASS ..
The dates are the
commencement of reigns.
TERRA COTTA TABLETS OR RE CORDS.
B.C.
II 20.
Terra cotta prism, with historical inscriptions of TiglathPileser, King of Assyria, about RC. IT 20.
Ditto
Ditto
ditto
ditto
Ditto
ditto
*For entire Series of Terra Cotta Tablets of all periods, sec Page 43·
2nd side.
3rd side.
4th side.
._--Assyrirm Series.
No.
Approximäte
Date.
I
PERSONAL ORNAMENTS.
(1) Mother-of-Pearl studs, (2) Silverring, (3) Part ofbracelet
35 2
and ring, (4) Porcelain pendant, (5) Gold and pearl earring (6) Glass bead, (7) Sardonyx eye, with name of
Durigalzu a Chaldrean King, about B.C. 1100, (8) Shell
B.C. 1100 to B.e.
engraved with chariot, (9) Shell bosses with bronze pins.
7°5·
Various dates down to B.C. 70S, From Kouyunjik, Tel
Sifr, all.d other places.
Shell and stone necklaces from Mugeyer; unknown date.
2ND
PERlOn OF ASSYRIAN EMPIRE,
B.C. 909- 745 B.C;
Assyrian Series.
\ ;'";
I
35 8
Approxim.ate
Date.
B.e. 884.
B.e. 884.
I
scenes of the King and of his campaigns.
Marble slab (I) Deity with lilies, (2) Winged deity with
flowers, (3) Inscriptions; about B.e. 884·
N.W. Palace of Nimrud.
B.C.884·
B.C. 884.
RC. 884.
b
STATUARY AND SLABS RELATING TO
RELIGION AND GODS OF ASSYRIA,
THE
B.C. 884.
(Temp. Reign of Asshzmzazirpal, B. C. 884; all from the N. West
Palace of Nimmd.)
(Sec Rawlinson's Allcient lJEollarclzies, Vol. II., p. 228, 3rd edition.)
353
B.C.884.
354
B.e. 824.
1
!
Marble altar, and tablet of Asshurnazirpal. About B.C.
N.W. Palace of Nimrud.
884.
Marble tablet of Samsivul, son of Shalmaneser. About
B.C. 824.
S.E. Palace of Nimrud.
B.C. 884.
B.C.884·
B.C. 884.
Marble slab. Eagle-headed winged deity Asshur (the chief
of all the Gods), holding cone and basket, (supposed to
represent the receptacle in which the divine gifts are
stored,) and standard inscriptions. This deity is generally
found in attendance on the king; about B.C. 884.
Marble slab. Deity with pine cone and basket, and officer
of the court, standard inscriptions; about B.C. 884.
N.W. PalaceofNimrud.
Marble slab. Eagle-headed winged deities, with cone and
basket, and sacred tree, generally founel in connection
with symbol of Asshur; about B.C. 884·
N.W. Palace of Nimrud.
Marble slab. Assyrian deity Belor Ninip, represented with
horneel cap, hurling thunderbolts at a Gryphon or demon,
N.W. Palace of Nimrud.
about B.C. 884.
Marble slab. Winged deities, with horned cap, kneeling at
sacred tree, about B. C. 884.
N. W. Palace of Nimruel.
:Nlarble slab. The goddess Belfis, "The Great Mother,"
the feminine of "Bel," and sacred tree, about B. C. 884·
N.W. Palace of Nimrud.
Marble slab. The goddess Beltis winged, holding chaplet,
with standard inscriptions, about B.e. 884·
N.W. Palace of Nimrud.
Marble slab. Winged man-headed lion, about B.C. 884·
N.W. Palace ofNimrud.
SLABS
(IN NIMRUD GALLERY OF MUSEUM, EASTERN SlDE.)
, 355
Marble slab. Deity holding goat and ear of corn, with
N.W. Palace of Nimrud.
standard inscription.
Marble slab. Deity holding stag and branch of a tree, with
standard inscriptions; about B.C. 884·
N.W. Palace of Nimrud.
Marble slab. Tributary or Prince submitting to Asshurnazirpal, followed by man leading monkeys, about B.C. 884·
N.W. Palace of Nimrud.
35 8a
Covering Reigns of Asshllrnazirpal, 884, and ShalmalUser II., 850 B.C.
The Chronolog)' of this pe6?d is exact; NiInrud became the capital,
and the pa.laces there, .now dlsmter~ed, were erected during this period.
The Assynan and JeWlsh records altke supply materials for the history of
this period. Asshurnazirpal was the chiefkingofthis period-" Asshur"
the arbiter of the Gods, whence Assbur-nazirpal (Asshur protects bis
So~). This Kin~ decorated the Palace at Nim!ud with sculptures, from
whlch the followmg are selectlOns. The Assynans had a special Magistrate, who gave hiS name to the year, as dld the Archons at Athens and
the Consuls at Rome. There exists in the Museum a nearly complete
hst of these Eponyms, Wlth the names of the Kings with whose reign
thel,' correspond, the Chronology is therefore reduced to a certainy.
1 he sculptures represent the mythology and religion of the Assyriansrecords of the King's mode of life at court-records of the !Treat hunting
31
..
RECORDING ASSHURNAZIRPAL'S
LIFE AT COURT.
Marble slab. The monarch Asslturnazirpal seated on a
bronze stool, attended by an officer of the Court. .The
embroideries of the king's garments distributed by commerce, supplieJ. the Greeks later with models for decoration of the earliest painted Greek vases, about B.C. 884.
N.W. Palace of Nimrud.
Marble slab. Asslturnazirpal, wearing earrings, jewellery,
and bracelets, receiving wine offered by an officer of his
Court holding a fly flap of feathers; with standard inscription, about B.C. 884.
N.W. Palace of Nimrud .
I
I
, - -- - - - No.
368
------
Assyriall Series.
32
Assyriall Series.
Approximate
Date.
B.e. 884B.C.884·
37°
No.
Marble slab. Asshumazirpal holding a wand; with standard
inscription, about B.C. 884.
N.W. Palace of Nimrud.
I Marble slab.
King Asshumazirpal and the god Ninip;
with standard inscription, about B.C. 884·
N.W. Palace ofNimrud.
Marble slab. Officer of the Court holding wine cup and
fly-flap, and Assyrian Deity j with standard inscription,
about B.C. 884.
N.W. Palace of Nimrud.
(IN NIMRUD GALLERY OF MUSEUM, WESTERN SIDE).
SLABS
RECORDING
KING'S
CHIEF
HUNTING
SCENES
37 2
B.C. 884.
B.C. 884-
373
B.C. 884.
37,4
B.e. 884-
375
B.C.884.
Marble slab.
B.C.884·
Marble slab_
884·
Marble slab_
about B.C
Marble slab.
884·
Marble slab_
about B.C.
SLABS
377
379
B.C.884.
~
884.)
Assltztmazirpal in chariot hunting lions, about
N.W. Palace of Nimrud.
Assltltrnazirpal hunting bulls, about B.C.
N.W. Palace of Nimrud.
Return of Asshumazirpal from buH hunt,
884.
N.W. Palace ofNimrud.
Asshumazirpal hunting lions, about B.C.
N.W. Palace of Nimrud.
Assltztrllazirpal returning from a lion hunt,
884.
N.W. Palace of Nimrud.
RECORDING THE
OPERATIONS.
B.C.884.
THE
(IN NIMRUD GALLERY OF MUSEUM, WESTERN
KING'S
Marble slab. Catnpaigns of Asshumazirpal-Asshurnazirpal
in chariot discharging arrows.
N.W. Palace of Nimrud.
38 3
B.C. 884-
Marble slab. Catnpaigtzs oj Asshumazirpal-Assyrian army
crossing a river.
N.W. Palace of Nimrud.
38 4
B.C. 884-
Marble slab.
Campaiglls of Asshumazirpal-Warriors in
N.W. Palace ofNimrud.
chariots discharging arrows.
38 5
B.e. 884-
Marble slab.
ing a river.
386
B.C. 884.
Marble slab. Campaigns of Asshumazirpal-Warriors in
N.W. Palace of Nimrud.
battle with the enemy.
B.C. 884-
Marble slab. Campaigns of Asshumazirpal-Asshurnazirpal
crossing a river.
N.W. Palace of Nimrud.
l
Campaigns of Asshumazirpal-Horses crossN.W. Palace of Nimrud.
·Marble slab. Call1paigns of Asshumazirpal-Warriors in
batde with the enemy.
N.W. Palace of Nimrud.
11
Marble slab. Call1paigns of Assltztmazirpal-Chariots passing a fortress.
N. W. Palace of Nimrud.
Marble slab.
camp.
MILITARY
39 2
Marble slab. Catnpaigns of Asshumazirpal-Asshurnazirpal
alighted from his cbariot receiving an officer.
N.W. Palace of Nimrud.
B.C. 884.
Marble slab. Call1paiglls of Asslltlmazirpal-Return of
warriors from battle.
N.W. Pal~e of Nimrud.
Marble slab. Campaigns of Asshumazirpal-Conducting
prisoners to Asshurnazirpal.
N.W. Palace of Nimrud.
393
394
Catnpaigns of Asshumazirpal-Assyrian
N .W. Palace of Nimrud.
B.C. 884.
(Temp: Asshurllazirpal, B.C. 884.)
Marble slab_ Call1paigns 0/ Asshurnazirpal. Asshurnazirpal
and army coming before a besieged town j showing the
battering ram resting on 6 wheels, with ram-like
blunderbuss, infantry dress, &c., about B.C. 884.
N. W. Palace of Nimrud.
Marble slab. Campaiglls of AssllUmazirpal-Asshurnazirpal
alighted from his chariot receiving the submission of the
enemy, about B.e. 884.
N.W. Palace of Nimrud.
Marble slab.
Call1paig7lS 0/ Asshumazirpal-Fugitives
swinuning to a fortress on inflated skins, about B.e. 884.
N.W. Palace of Nimrud.
Marble slab. Campaiglls of Asshumazirpal-Tribute and
captives.
N.W. Palace of Nimrud.
sIDE-cuntinued.)
B.C. 884-
EXPEDITIONS.
(Temp: Asshumazirpal, B. C.
371
IN
33
Approximate
Date_
B.e. 884.
Marble slab. Campaigns ofAsshumazirpal-Assburnazirpal
returning from battle, showing the driving whips in use,
tbe mode in which the horses' tails were tied j also, the
favorite emblem of Assbur, tbe circle expressing Eternity,
the Wings, Omnipresence, and the human figure Wisdom
and InteHigence.
N.W. Palace of Nimrud.
D
Assyriall Series.
34
Approximate
Date.
B.C. 884.
No.
395
Ass)'rian Series.
No.
Marble slab. Campaiglls o.f Asshllnzazirpal-Female prisoners and oxen (part of spoil) and assault on a city.
N.W. Palace of Nimrud.
Marble slab. Campaigns o.f Asshurnazirpal-Warriors in
chariots discharging arrows.
N.W. Palace of Nimrud.
B.C.884
397
Marble slab.
Campaigns o.f Asshumazirpal: Siege of a
city-showing battering ram-chains to destroy action of
ram-fire-water-soldiers mining ramparts-infantry
bows and shields, about B.C. 884.
N.W. Palace of Nimrud.
Marble slab. Campaiglls of Asshumazirpal-Siege of a
city, showing war chariots-fittings and hamess--execution of prisoners-emblem of Asshur shooting his bow,
and assisting be siegers, about B.C. 884.
N.W. Palace ofNimrud.
4°°
B.C. 884.
4°4
B.e. 850.
4°5
B.C. 850.
B.C. 850.
B.e. 850.
40 6
B.C. 850.
B.C. 850.
B.C. 850.
B.C. 850.
Marble slab. Asshumazirpal in his chariot, passing a
mountainous country, showing chariots- trapping of
horses, &c., about B.C. 884.
N.W. Palace of Nimrud.
41 0
B.C. 850.
4 II
B.C. 850.
4 12
B.C. 850.
(rN N1MRUD GALLERY OF MU S E U ~I, CENTRAL SALOON.)
Marble lion, inscribed with dedication of Asshumazirpal,
Smal! Temple, Nimrud.
about B.e. 884.
BLACK OBELISK OF SHALMANESER H.
B.C. 850.
B.C. 850.
Black marble obelisk o.f S/lalmamser II. with name of Hazael
king of Syria, and tribute of J ehu king of J udah, and
annals of Shalmaneser; about B.G. 850.
. Central Palace of Nimrud.
- - - - - ---
Ipt side 0/ Obelisk :Al. Shalmaneser receiving the ambassador and tribute of
Shua, King of Gozan, about B.C. 850.
Nimrud.
A2. Shalmaneser receiving the tribute and ambassador of
Jehu, King of Israel, about B.C. 850'
A3. Tribute of the E. Musr or India, Bactrian camels.
A4· Lions and deer, tribute of Merodachbaluzur, ofShahu,
about B.C. 850.
Nimrucl.
AS· Tribute of Garparunda, of Patani, on the Orontes.
Tribute bearers with shawls, vessels, and staves;
inscription about B.C. 850.
Nimrud.
side 0/ Obelisk : B6. Tribute bearers of Shua, King of Gozan, bringing a
Nimrud.
horse, about B.C. 850.
B7· Tribute bearers of J ehu, King of Israel, bringing
bags of jewels.
B8. Tributary animals of the eastem Musr : bul!, rhinoceros, and goat.
B9.· Tribute of Merodachbaluzur, King of Shahu, tribut~
bearers bringing shawls and bags, about B.e. 850.
Nimrud.
BIO. Tribute of Garparuncla, King of Patani, tribute
bearers with shawls and bags; inscription, about B.C.
Nimrud.
85°'
fIflut
B.C. 850.
STATUARY. (Temp. R eig1t OJ Asshltr1Zazirpal, B.C. 884.)
4°1
35
- - - - - - - - - - - - -1
Details of black marble OBELISK, with step-shaped apex
and inscriptions containing the annals and 3 I campaigns
of Shalmaneser II., B.C. 850.
Marble slab. Campaigns o.f Asshumazirpal-Portion of
slab, representing attack of a city, showing chariotswith quiver holders-rest for spear-foot archer with
attendant-convex shield with teeth-pointed heimets,
with curtain of scales- vultures feeding on corpses, about
B.C. 884.
N.W. Palace of Nimrud.
399
-- -
Approximate
Date.
B.C. 850.
I
IIIrd side o.f Obelisk : CI1. Tribute of Shua, King of Gozan, tribute bearers
Nimrud.
with two-humpeel camels, about B.e. 850.
CI2. Tribute of J ehu, King of Israel, tribute bearers with
vessels and slaves.
c13. Tribute of the Eastem Musr: Elephant and apes.
CI4. Tribute of Meroclachbaluzur, King of Shahu, tribute
bearers with tusks of ivory anel staves of wood, about
Nimruel.
B.C. 850.
CIS. Tribute of Garparunela, of Patani, tribute bearers
with vcssels anel jars; inscription, about B.C. 850.
Assyria1l Series.
A ssyria1l Series.
No.
Approximate
Date.
4 16
B.C. 850.
B.C. 850.
420
4 21
4 22
B.C. 850.
B.e.
859.
B.C. 8Il.
B.C. 884.
B.C. 884.
B.C. 720.
Approximate
Date.
B.C. 745.
(IVI" side of Obelisk:I
Tribute of Shua, King of Gozan, tribute bearers
with vessels, staves, and fruits, about B.e. 850 .
Nimrud.
D 1 7. Tribute of Jehu, King of Israel, tribute bearers with
vessels, staves, and fruits.
DI8. Tribute of Eastem Musr, tribute bearers with large
apes.
D19. Tribute of Merodachbaluzur, tribute bearers with
tusks of ivory and staves, about B.C. 850.
Nimrud.
D20. Tribute of Garplrunda, King of Patani, tribute
bearers with vessels and sacks, about B.C. 850.
Nimrud.
Limestone tablet of Shalmaneser 11. j about B.C. 859.
From Kirk.
Limestone statue of Nebo, a planetary god who presided
over knowledge and leaming, dedicated by Vulnirari IH.
and Semiramis; about B.C. 8I1.
S.W. Palace of Nimrud.
Siliceous stone statue of Asshurnazirpal, with inscriptions j
about B.e. 884.
S.W. Palace of Nimrud.
Marble head of winged buH of Asshurnazirpal; about B.C.
884.
S.W. Palace of Nimrud.
Marble winged and man headed lion; about B.C. 884.
N.W. Palace of Nimrud.
Marble pier of an arch deity, with cone pine and basket and
sphinx; inscriptions of Sargon, B.C. 720.
Khorsabad.
D16.
3RD
PERlOn OF ASSYRIAN EMPIRE,
B.C. 745-625.
During this period Tiglath·Pileser II. revived Ihe empire; attacked and
reduced Egypt and Susiana; crossed the Taurus in Asia Minor; invaded
Cappadocia ; eSlablished relations with Gyges, of Lydia: The kings
of this period came m contact wlth the Jews.. Fmally, thls empire was
overrun by the Scythlans, and su<:cumb~d to ItS nval Media.
The chief capital was KouyunJlk-Nmeveh.
Marble slab. Removal of cattle and spoil from a captured
city. Reign of Tiglath-Pileser 11. ; about B.C. 745.
S. W. Palace of Nimrud.
Marble slab. Siege of a city by battering rams and archers j
impaled prisoners and shield. Reign 'of Tiglath-Pileser
H. j B.C. 745.
S.W. Palace of Nimrud.
(KOUVUNJIK
GALLERV.)
REIGN OF SENNACHERIB.
B.C. 705-681.
SLABS RECORDING HIS BUILDING PALACES.
B.C. 705.
43°
B.C. 705.
43 1
B.C. 705.
Marble slab. Sennacherib buildi1lg his palace. Sennacherib
in chariot on top of mound, snperintending removal of a
colossal buH. Marshes with wild sow, pigs, and deer;
about B.C. 70S.
Kouyunjik.
MarbJe slab. Semzacherib building his palace. Boats on the
Tigris; about B.C. 70S.
Kouyunjik.
Marble slab. Sennacherib building his palace. Showing
transport of a colossal buH; river Tigris and boats;
about B.C. 70S.
Kouyunjik.
(IN CENT RE OF ASSVRIAN BASEMENT OF MUSEUM.)
SLABS
RECORDING
CAMPAIGNS
OF
SENNACHERIB.
43 2
B.C. 705.
433
B.C. 705.
434
B.C. 705.
435
REIGN OF TlGLATH-PILESER H.
SLABS RECORDING THE KING'S MILITARY
OPERATIONS.
B.C. 745.
37
437
Marble slab. Campaigns 0/ Sennacherib. Assault of the
city; B.C. 70S.
Kouyunjik Palace.
Marble slab. Campaigns of Sennacherib. Capture ofLakish:
the regal te nt ; about B.C. 70S.
Kouyunjik.
Marble slab. C ampaigns 0/ Sennacherib. Capture of Lakish :
the submission of the Jews j about B.C. 70S.
Kouyunjik.
Marble slab. Campaigns of Sennacherib. Heads of enemies
brought into camp; about B.e. 705.
Kouyunjik.
Campaigns of Sennacherib.
Sennacherib
Marble slab.
receiving Jewish prisoners at the surrender of Lakish j
about B.C. 70S.
Kouyunjik.
Marble slab. Portion of attack of a city with 4tke and
palms-three archers and shield; about B.C. 70S.
(GaHery of) Kouyunjik.
•
Assyriatt Series.
..4 ssyriart Stries.
Ko.
Approximate
Date.
REIGN OF ASSHURBANIPAL.
B.C. 667-647.
No.
Approximate
Date.
447
B.C.668.
Re. 668.
MILITARY EXPEDITIONS.
39
Marble slab. Tyrian galley going to the sea; about B.C.
668.
M arble slab. Assyrian cavalry leading horses through a
mountainous country. Reign of Asshurbanipal; about
B.C.668.
Kouyunjik.
(IN KOUYUNJIK GALLERY OF MUSEUM).
Re. 650.
439
44°
44 1
44 2
B.C. 650.
Re. 650.
B.C.668.
B.e. 668.
443
Re. 668.
444
B.C.668.
445
B.C.668.
B.C.668.
(IN ASSYRIAN BASEMENT OF MUSEUM, EAST SIDE.)
Marble slab. Part of the battle scene of Asshurbanipal and
Teummen, king of Susa. The taking of the captives and
transport of the Teummen's head in a chariot; about
B.C. 650.
Kouyunjik.
M arble slab. Part of the battle scene of Asshurbanipal and
Teummen, king of the Susians. The carrying away of
the decapitated king; about B.C. 650'
Kouyunjik.
Marble slab. Part of battle of Asshurbanipal and Teummen, king of Susa. Teummen shot with an arrow anti
defended by his son. Teummen decapitated, the Susian
army thrown into the river, and the prisoners taken by
Kouyunjik.
the Assyrians ; about B.C. 650.
Marble slab. Part of the war of Asshurbanipal against
Teummen, king of Susa. Flaying and torturing of prisoners; about B.C. 668.
Kouyunjik.
Marble slab. Campaign of Asshurbanipal against Teummen, king of Susa. Councillors of the king, the king's
generals, captives and torture of captives; about B. C.
668.
Kouyunjik.
Marble slab. Campaign of Asshurbanipal against Teummen, king of Susa. Reception of ambassadors of Rusa,
king of Armenia; about B.C. 668.
Kouyunjik.
Marble slab. Campaign of Asshurbanipal against Teummen, king of Susa. March of the -army; about B.C.
668.
Kouyunjik.
Marble slab. Campaign of Asshurbanipal and Teummen,
king of Susa. Submission of the Susians, captives and
damsels playing on timbrils; about B.C. 668.
Kouyunjik.
Marble slab. Campaign of Asshurbanipal against Teummen, king of Susa. City of Susa and river Ulreus;
damsels and children, with musical instruments; ab out
RC. 668.
Kouyunjik.
------
449
\ 45°
RC. 668.
B.C. 668.
Marble slab. Warriors and Elamite captives. Kouyunjik.
Marble slab. The sacking of the city of Hamann.
Kouyunjik.
(IN ASSYRIAN BASEMENT OF MUSEUM, WEST SIDE.)
SLABS RELATING TO GODS AND RELIGION.
(Temp. Asshurbanipal.
45 I
Re. 668.
45 2
RC.668.
453
lI.C.668.
454
RC.668.
B.C.,668-647.)
Marble slab.
Gods and sphinx; about B.C. 668.
Kouyunjik.
Marble slab. Deities, one Bel or Ninip; about B.c. 668.
Kouyunjik.
Marble slab. Bel, Ninip, and another deity; about B.C. 668.
Kouyunjik.
Marble slab. Demons or deities; about B.C. 668.
Kouyunjik.
SLABS RECORDING KING'S LIFE-(I) HIS
HUNTING EXPEDITIONS.
(Temp. Asshurbanipal.
B.C. 66;-647.)
(IN KOUYUNJIK GALLERY).
455
RC.668.
Marble slab.
B.C.668.
B.e. 668.
Marble slab. Hunt of Asshurbanipal.
about B.C. 668.
Marble slab. Hunt of Asshurbanipal.
and others bringing hares and young
668.
Marble slab. Hunt of Asshurbanipal.
birds and lions; about B.C. 668.
Marble slab. Hunt of Asshurbanipal.
lions; about B.C. 668.
Marble slab. Hunt of Asshurbanipal.
dead lion; about B.C. 668.
Horses of the stahle of Asshurbanipal; about
Kouyunjik.
(IN ASSYRIAN BASEMENT, WEST SIDE-COtltim,ed.)
457
B.C.668.
B.C.668.
Re. 668.
B.C.668.
Armed
att~ndants;
Kouyunjik.
Armed attendants,
birds; about B.C.
Kouyunjik.
Attendants bringing
Kouyunjik.
Attendants bringing
K~uyunjik.
Attendants carrying
Kouyunjik.
I~
No. 1
461
Assyrian Serit!s.
Assyrian Series.
Approximate
Date.
B.C.668.
B.C.668.
B.C.668.
B.C.668.
B.C.668.
B.C.668.
B.C. 668.
B.C.668.
B.C.668.
47°
B.C.668.
47 1
B.C.668.
, Marble slab. Hunt of Asshurbanipal. Attendants carrying
Kouyunjik.
dead lion; about B.C. 668.
1Marble slab. Hunt of Asshurbanipal. Attendants with
Kouyunjik.
nets and dogs j about B.C. 668.
1
:vIarble slab. Hunt of Asshurbanipal. Attendants carrying
nets for the hunt; about B.C. 668.
KOUYUlljik.
Marble slab. Hunt of Asshurbanipal. Attendants and
rnule bearing nets for the hunt; about B.C. 668.
Kouyunjik.
Marble slab.
Hunt of Asshurbanipal. Attelldants and
rnules bearing nets for the hunt j about B.C. 668.
Kouyunjik.
Marble slab. Hunt of Asshurbanipal. Attendants and rnule
I with nets for the hunt j about B.e. 668.
Kouyunjik.
Marble slab. Hunt of Asshurbanipal. Mule driver, and
I attendants carrying nets for the hunt j about B.C. 668.
Kouyunjik.
Marble slab. Hunt of Asshurbanipal. Attendants carrying
Kouyunjik.
nets for the hunt j about B.C. 668.
Marble slab. Paradeisos or park j foreign and other
Kouyunjik.
rnusicians and tarne lion j about B.C. 668.
Marble slab. Paradeis os or park; lion and lioness j about
B.C. 668.
Kouyunjik.
Marble slab. Paradeisos or park j attendants with dogs j
about B.C. 668.
Kouyunjik.
Approximate
Date.
B.C.668.
B.C. 668.
B.e. 668.
B.C.668.
B.C.668.
B.C.668.
B.C.668.
B.C.668.
B.C.668.
B.C.668.
B.C.668.
I
I
B.C. 668.
49 1
49 2
493
494
495
(IN ASSYRIAN
47 2
B.C.668.
B.C.668.
B.C.668.
B.C.668.
B.C.668.
B.C.668.
B.e. 668.
I
B.C.668.
B.C.668.
B.C.668.
B.C.668.
B.e. 668.
BASEMENT OF MUSEUM, EAST SIDE).
Marble slab. Asshurbanipal stabbing lion, attendants following.
Kouyunjik.
Marble slab. Asshurbanipal drawing bow, attendants with
Kouyunjik.
shield and arrows.
Marble slab. Lions let out 01 cage.
Kouyunjik.
Marble slab. King drawing bow, attendants with shields
and arrows, captives prostrating themselves.
Kouyunjik.
Marble slab. Royal attelldants on horseback. Kouyunjik.
Marble slab. Asshurbanipal on horseback spearing lion,
and lion attacking horse.
Kouyunjik.
Marble slab. Asshurbanipal dismounted, attendant holding
horses.
Kouyunjik.
B.C.668.
Marble slab.
Marble slab.
Kouyunjik.
Attendants with dead lions.
Three Assyrian warriors with spears.
Kouyunjik.
Wild goats hunted.
Kouyunjik.
Wild goats and young.
Kouyunjik.
Attendant with horses.
Kouyunjik.
Asshurbanipal on horseback drawing bow,
Kouyunjik.
on horseback.
Kouyunjik.
Hunting wild asses with dogs.
Marble slab.
Marble slab.
Marble slab.
M<!rble slab.
attendants
Marble slab.
Kouyunjik.
Marble slab. Wild asses wounded.
Marble slab. Attendants and dogs hunting wild asses.
Kouyunjik.
Marble slab. Wild ass pulled down by hunting dogs.
Kouyunjik.
Marble slab. Attendants lassoing wild ass.
Marble slab. Asshurbanipal on horseback spearing lion' ~
Kouyunjik ~
Kouyunjik. ~
Marble slab. Asshurbanipal disrnounted.
Marble slab. Asshurbanipal on horseback drawing a bow'f j
Kouyunjik. 5
l
Marble slab. Hunting scene 01 Asshurbanipal in two
divisions, (I) Attendants lashing lion, (2) Asshurbanipal
sacrificing.
Marble slab. Asshurbanipal offering libation over dead
lions. (On larger scale).
Kouyunjik.
Marble slab. Attendants of Asshurbanipal carrying a dead
lion, about B.C. 668.
Kouyunjik.
Marble slab. Attendants with nets trapp~ng deer on borKouyunjik.
ders of forest, about B.C. 668.
(IN ASSYRIAN BASEMENT OF MUSEUM, EAST SIDE.
497
B.C.668.
B.C. 668.
RC.668.
5°0
S°l
B.C. 668.
B.e. 668.
41
LARGE SLABS.)
Marble slab. Musicians and attendants of Asshurbanipal.
Kouyunjik.
Kouyunjik.
Marble slab. Asshurbanipal stabbing lion.
Marble slab. Portion of horse in chariot riding over dead
Kouyunjik.
lion.
Kouyunjik.
Marble slab. Lion transfixed with arrows.
Marble slab. Horses and driver of chariot of Asshurbanipal, dead lions, about B.C. 668.
Kouyunjik.
1. 2- 4
i No. I
5°2
50
J
B.C.668.
5°5
I
5°7
1
Marble slab. Attendants of Asshurbanipal holding horses
of his chariot, about B.e. 668.
Kouyunjik.
B.C. 668.
Marble slab. Attendants of Asshurbanipal bringing horses,
and troops preparing for the hunt, about Re. 668.
Kouyunjik.
Marble slab. Attendants of Asshurbanipal bringing pines,
and troops preparing for the hunt, about B.C. 668.
Kouyunjik.
Marble slab. Triumphal slab and mound of Asshurbanipal,
attendants and troops drawn up to repulse lions, about
B.C. 668.
Kouyunjik.
Marble slab. Troops drawn up, attendants with dogs, and
hunters of Asshurbanipal, about RC. 668.
Kouyunjik.
'1
B.C. 668.
5II
B.C. 668.
5 12
B.C. 668.
B.C. 668.
B.C. 668.
51 4
Marble slab. Horsemen, one with whip, and lion transfixed'
with arrows, about RC. 668.
B.C.668.
5091 B.C.668.
I
Marble slab. Asshurbanipal in his chariot, with attendant,
killing a lion, about B.C. 668.
Kouyunjik.
Marble slab. Lions transfixed by arrows, about B.C. 668.
Kouyunjik.
Marble slab. Dead lion and dying lioness transfixed by
arrows, horseman, about B.C. 668.
Kouyunjik.
Marble slab. Asshurbanipal in his chariot, and attendant
preparing for the hunt, about B.C. 668.
Kouyunjik.
I
510
Assyrian Series.
B.C. 668.
1
I
508
B.C.668.
B.e. 668.
5°4
506
Approximate
Date.
B.C.668.
1
B.C. 668.
B.e. 668.
B.C.668.
B.C.668.
B.C.668.
Marble: slab. Lions and lioness transfixed with arrows,
about B.C. 668.
Kouyunjik.
Marble slab. Lions transfixed with arrows, ab out B.C. 668.
Kouyunjik.
Marble slab. Lions transfixed with arrows, about Re. 668.
Kouyunjik.
Marble slab. Horses of the chariot of Asshurbanipal;
about B.C. 668.
Kouyunjik.
Marble slab.
Asshurbanipal and officers in a chariot
spearing lions, about B.C. 668.
Kouyunjik.
Marble slab. Lions transfixed with arrows.
Kouyunjik:
Marble slab. Horsemen, and lion let out of cage.
Kouyunjik.
Marble slab. Lion's cage and horseman and troops in line.
Kouyunjik.
Assyrian Series.
No.
520
43
A pprOlumate
520a
Date.
B.C. 668.
B.C.65°·
5 21
B.C·70 5·
522
B.e. 668.
Marble slab. Asshurbanipal spearing lion. Kouyuniik.} ~
Marble slab. Head of a horse. From the chariot of ~
Asshurbanipal. About B.C. 650.
~
N. W. Palace, Kouyunjik. j
(IN CENT RE OF ASSYRIAN BASEMENT OF MUSEUM.)
I
Marble pavement slab, Babylonian carpet pattern; about
B.C. 705.
Kouyunjik.
Stone model of a basket held in the hand of deities. From
Kouyunjik.
astatue j about B.e. 668.
(IN ASSYRIAN BASEMENT OF MUSEUM, EAST SIDE.)
(2) REPRESENTATIONS
OF KING'S
COURT.
LIFE AT
Temp. Asshurbanipal B.C. 667-647.
522b
B.e. 668.
522C
B.C. 668.
Marble slab. Muscians and attendants in garden of
Asshurbanipal, about RC. 668.
Kouyunjik.
Marble slab. Repose of Asshurbanipal, Queen in bower,
attendants, musicians and garden, ab out B.C. 668.
Kouyunjik.
PERSIAN SLABS.
RC. 500.
A.D.4OO.
Marble slab. Men bringing chariots, rings, and wreaths,
about B.C. 500.
Persepolis.
Dark stone. Monolith of a royal personage, Sassanian
period, probably about 4 cent. A.D.
Bir.
TERRA COTTA TABLETS OR RECORDS.
The following are arranged in chronological order. The dates are the
commencement of reigns.
Translations in full of the following Inscriptions will be supplied in a
larger Catalogue.
EARLY ASSYRIAN MONARCHY.
52 5
B.e.
Il20.
5 26
5 27
528
5 z9
B.C.
IIlO.
53°
53 1
53 2
Terra-cotta prism, with historical inscriptions of TiglathPiles er ; about R C. J 120.
Ditto
ditto
2nd siele
ditto
Ditto
3rd side
Ditto
ditto
4th side
Dark stone bozmdary stolle with figure of Merodachadanakhi j
about B.C. I I 10.
Babyion
Ditto
• ditto
2nd side
Ditto
ditto
3rd side
Ditto
ditto
4th side
44
Assyriall Series.
Assyrian Stries.
Approximate
Date.
B.C. 1110.
534
535
53 6
537
B.C. 1100.
No.
Dark stone boulldary stOlle of Merodachadanakhi; about
B.C. I l 10
Babyion
Ditto·
ditto
2nd side
Ditto
ditto
3rd side
Ditto
ditto
4th side
Terra-cotta cones (Phalli) with inscriptions relating to early
Chaldaean Kings
Warka
PERIOD-ASSYRIAN MONARCHYTABLETS OR RECORDS. B.C. 745-625.
3RD
B.C. 745.
539
540
B.C. 705.
54 1
54 2
543
544
545
54 6
B.C. 680.
547
54 8
549
55°
B.C.
55 1
55 2
B.C. 664-
553
554
555
55 6
1
668.
Terra-cotta tablet, with historical inscription of TiglathPiles er 11. ; B.C. 745.
Nimroud
Ditto
ditto
2nd side
Terra-cotta prism with historical inscription.
Annals of
Sennacherib, containing an account of the campaign
against Jerusalem; about B.e. 705
Kouyunjik
Ditto
ditto
2nd side
Ditto
ditto
3rd side
Ditto
ditto
4th side
Ditto
ditto
5th side
Ditto
ditto
6th siqe
Terra-cotta prism inscribed with annals of Essarhaddon;
about B.C. 680
Kouyunjik
Ditto
ditto
2nd side
Ditto
ditto
3rd side
Ditto
ditto
4th side
Terra-cotta tablets, with historical inscriptions of the reign
of Asshurbanipal; about B.e. 668
Kouyunjik Palace, Nineveh
Ditto
ditto
2nd side
Terra-cotta prism, with historical annals of Asshurbanipal,
containing mention of Gyges, king of Lydia, and Psammetichus 1., king of Egypt; about B.e. 664.
Kouyunjik Palace, Nineveh
Ditto
ditto
2nd side
Ditto
ditto
3rd side
Ditto
ditto
4th side
Ditto
ditto
5th side
557
Approximate
Date.
B.C. 686.
ITerra-cotta tablets.
45
~(ers
Epynoms canons, or ttsts of
in
whose names the year dated from B.C. 9II-650, about
B.e. 668
Kouyunjik Palace, Nineveh
Ditto
ditto
2nd side
Terra-cotta tablets with bilingual inscriptions in Assyrian
l and Accadian: one a mathematical tablet and calcula, tions of square roots; about B.e. 664
I
Kouyunjik Palace, Nineveh
Terra-cotta tablet, with inscription. (I) Bilingual tablet of
laws, (2) Tablet with pictures of early alphabet; about
B.e. 664
From Sinkarah
I
55 8
559
B.C. 664-
560
B.C. 664.
I
II LATER
ITerra-cotta
ASSYRIAN EMPIRE-TABLETS
OR RECORDS. .
tablet, with inscriptions relatmg to sales of
property.
Dated in the reigns of Nebuchadnezzar,
N abonidus, and Persian monarchs ; ab out B. C. 5°°. Warka
Ditto
ditto
2nd side
B.C. 300-200. I Terra-cotta tablets, dated in reign of the Seleucidae, relating
I to sales, from B.C. 300-200.
Warka
I'
Terra-cotta
tablets,
with
inscriptions
relating
to
sales.
B.C.
300-200.
564
I Reign of the Seleucidae. Reverse of No. 563; about
\ B.C. 300-200
Reverse side
B.e. 1230.
Terra cotta bricks, inscribed with the names of Chaldaean
6
5 5
Kings, B.C. 1230. (Stone was entirely wanting in the
alluvial plains of Chaldaea).
Glazed terra-cotta. C offin and cover of the Parthian period
B.C. 200.
566
about B.C. 200
\Varka
Terra-cotta. (I) Models of dogs found behind the slabs of
B.C. 668.
6
5 7
the lion hunts of Asshurbanipal at Kouyunjik Palace,
Nineveh, (2) Weight in shape of a duck, (3) Arm from a
statue
568 n.e. 664anrl later. Terra-cotta figures. (I) Assyrian king, Kouyunjik Palace,
Nineveh, (2) Musicians from Susa, (3) Fore part of a
dog, (4) Dog from Kouyunjik Palace, Nineveh. About
B.C. 664 and later.
Porcelain vases and lamps, from N.W. Palace of Nimrud.
The basket-shaped vase from Hillah, in Babylonia.
Terra-cotta group of vases. (I) Jug, (2) Cup, (3) Jar,
57°
(4) Bowl, (5) Cup, (6) Jug, (7) Cup, (8) Amphora, (9)
Jar, (10) Cup.
From Assyria and Babylonia.
561
B C.
500.
I
I
46
No.
571
57 I a
57 2
573
574
575
57 6
577
Assyrian
S~ries.
Approximate
Date.
Terra·cotta jar-shaped vases, from Nimrud and Kouyunjik.
Terra-cotta deep bucket-Assyrian bearded deity with legs
of an anima!. Unknown date.
A.D·300.
Terra-cotta vase, with six handles-rings-winged dragons ;
About A.D. 300.
Dark stone. Three stones, with inscriptions relating to the
early Chaldrean kings.
Mugeyer.
Terra-cotta bas-reliefs. (I) Entertainments, (2) Seated
figures, (3) Goddess, (4) Lion hunt, (5) Man and mastiff,
(6) Lion.
Kouyunjik, BabyIon and Warka.
Disc of unknown use, perhaps a soffit, with glazed floral
ornaments.
RC. 880-500. Terra-cotta amphora, bowl and lamp-small painted vase of
Phcenician or early Greek style; about B.C. 880-500.
Nimrud and Kouyunjik Palaces.
A.D.I45°·
Terra-cotta bowl, with Hebrew inscriptions, about A.D. 1450.
IVORIES.
57 8
I
RC.88o.
'1
579
580
B.C.880.
B.e. 750.
B.e. 745.
I
I
Ivory panel for inlaying. (1) King and lotus flower, (z and
3) Heads, (3) Cow, (4) Head, of Egyptian style, looking
out of window, (5) Sphinx, (6) Deities-name of Aubenra,
that of a god or king, in hieroglyphs; about B.C. 880.
N.W. Palace of Nimrud.
Ivory. (I) Part of chair with gryphons and lotus capitals,
inlaid with lapis lazuli and glass, (z panel) With soldier,
(3 panel) Goddess and winged deity, (4 panel) Man killing alion; about B.C. 880.
N.W. Palace of Nimrud.
Ivory. (I) Group of female deities, (z) Heads, (3) Ornaments, (4) Inlaid head, (5) Seated femi1le, (6) Cup, with
lion hunt, (7) Musicians, (8) Stud with name of the king
in Phcenician; about B.C. 750. S.W. Palace of Nirnrud.
Ivory panel. King and officers, winged deities, guilloche
and ante·fixal ornaments; about B.C. 745.
S.W. Palace of Nimrud.
RC.88o.
Assyrian Series.
Bronze. (1) Hammer, (z) Axe head, (3) Adze head, (4)
Dagger, (5) Knife, (6) Scabbard.
From. Tel Sifr, Kalah Shergat, and other places.
Bronze. Part of throne and footstool; reign of Asshurnazirpal; B.C. 880.
47
Approximate I
No.
Date.
58 4 From B. C. 600 to Bronzes.
(I) Ram, (z) Goddess, (3) Female and horses,
zoo A.D.
(4) Bull-headed god Merodach, (5) Hand holding plug,
58 5
586
Re. 884.
RC.884.
(6) Merodach and other deities, with bulls' heads. Of
various dates, 600 B.C.-zoo A.D.
From Babyion and other places.
Bronze objects. (I) Lion weight, withAssyrianand Phcenician inscription, (z) Another, (3) Part of throne, (4) Leg
of footstool, (5) Head of mace, (6) Blade of adze, (7-8)
BeIls.
N. W. Palace of Nimrud.
Bronze heImet. with iron chain armour adhering; about
B.C. 884.
N.W. Palace of Nimrud.
I Bronze bowl, with gryphons weari~g ps~hents, scarabrei and
papyrus columns, on ornaments m rehef; about B.C. 884·
N.W. Palace of Nimrud.
I
BRONZES (later date.)
588
589
RC. zoo.
59°
A.D.lOO.
A.D.lOO.
59 1
Bronze heImet. Parthian period ; about B.C. zoo.
Bronze. Miscellaneous objects: mirror--drop of ear-rings
bit of bridle-mirror case-arrow heads; about A.D.
100.
From Kalah Shergat, Mugeyer.
Bronzes. (I) Zebu with collar, (z) Men, (3) Head ofnegro,
(4) Eros, (5) Aphrodite, or Venus. Greek or Roman
period ; about A.D. 100.'
Found in Nineveh.
Bronzes. Fetters, armlets, ring, arrow-head.
Tel Sifr.
GLASS.
59 Ia
Re. 719.
59 z
A.D.I-lOO.
593
A.D. I-ZOO.
I
BRONZES (earty date.)
58z
-
Glass. Small vase, with the name of the Assyrian monarch,
Sargon, from Nineveh. A remarkable instance of a dated
glass vessel.
Glass. Small globular vase, with studs-bowl toilet vasessmall jug-fluted vases; about A.D. I-100.
N.W. Palace of Nimrud.
Amphora-jug-unguent vases-fluted vases for
Glass.
toilet; about I-ZOO. A.D.
N.W. Palace of Nimrud.
ALABASTER AND STONE.
Stone. (I) Head of de,mon, (z) Alabaster head of god
Nebo; early Chalda.:an Sen. 359, (3) Steatite head of
ram.
Kouyunjik and Babylonia..
RC.
5Z1 and 800. Hardstone, Babylonian, Assyrian, and Persian, engraved
595
stones; at right corner, cylinder, or signet of Darius; B.C.
5zI; in the centre, cylinder of Musesininip, B.C. 800.
594
CATALOGUE-OF ASERIES
01'
PHOTOGRAPHS,
FROM THE COLLECTIONS OF
THE BRITIS,H MUSEUM.
(PHOTOGRAPHED BY
s.
THOMPSON.)
PART IV.
BY
S. BIRCH, LL.D., F.S.A., KEEPER OF THE DEPARTMENT OF
ORIENTAL ANTlQUITlES, BRITlSH MUSEUM.
GRECIAN.
W. A. MANSELL & CO.,
PHOTOGRAPHIC AND :FINE ART PUBLISIIERS, 2, PERCY STREET, LONDON,
'V.
,-- - - - - - - - - - - - - - -- -- - - - - - - - - - ,
•
G RECIAN SERIES.
SUMMARY
OF
No.
Approximate
Date.
601
RC·47°.
View in Elgin Room looking West. The three Moirai or
Fates of the Eastem pediment, and part of the frieze of
the Parthenon. B.C. 470.
602
Re. 500.
View of the Phigaleian Room, looking to North and East.
The pediment of the Temple of Athene, at JEgina,
contest of Greeks and Trojans for the body of Patrodus.
On <t pedestal are seen the Diadumenos or Athlete binding round his head a fillet, copy of a work of Polydetusarchaic goddess-Etruscan cists from Chiusi, and in the
back ground part of the Frieze (E.C. 470) of the Temple
of Apollo Epi.curius at Phigaleia, built by Ictinus, the
architect of the Parthenon, and small monuments from
Greece.
<Al GENERAL VIEWS.
CONTENTS.
TO
RC·47 8.
Commencing
No.
(a) GENERAL VIEWS IN . -UE GRECIAN AND GREeo-RoMAN GALLE RIES OF
TliE MUSEUl\L . . . . . . . . . . . . . . . . . . · · · · · · · · · · · · · · · · · · · · · · · · · · • · · · · ·
601
(b) STATUARY-lI1ARBLF. .••••. ..•..••••••....•.••..•.
THE ELGIN GALLERY-
6 19- 634
634--693
.............. 693-699
................. 699
THE METOPE' OF TUE PARTUENON •. •......•.••
........••
THE FRIEZE OF TUE CELLA OF THE PARTHENON, ßY PHIDIAS
THE EASTERN PEDIMENT OF
THE WESTERN PEDIMENT OF
..
TUE FRIEZE OF THE MAUSOLEU)1................................
712
7 18
(c)
THE GRMCO-ROMAN GALLERY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
72 4
(cl)
ENGRAVED STONES, OR GLYPTOGRAPIIV •....•.•••.....•••••••••••••••
<cl
BRONZES..... • • • • • • • . • • • . • . • . • . . • . . • • • . . . . . . . . • • . . • . • . • . • • .• • .•.•••
THE MAUSOLEUM GALLERY
(j)
...................................
RC. 550.
PAINTED AND OTHER VASESIST OR ARCHAIC PERIOD TO
2ND PER IOD 440 TO
3 RD
336
336
B.C.
440
B.C ...•.•••...• , .••.•••••••••••••
Re. 550.
.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..
'1'0 100 B.C., AND LA1'ER .•..••..••..••••••• • ••• ••
(g) TERRA-COTTA FIGURES . . . . . . . . . . . . . . . . . . . . . . . _ ....
View in Lycian Room looking S.E. Stele or column of
the monument of Harpagus, about B.C. 360. Two
statues from the sacred way of Branchidre in Caria,
an avenue of sculptures leading up from the sea
shore to the once famous orade of Apollo (about B.C.
I
_ .............. .
(h) RELIEFS . . . . . . . . . . . . : ... , · · · · · · · · · · · · · · · · · · · · · · · · · · · · -- . . . . . . . . . . . . . •
(l) G L.I\.SS ........................................ ..-. . . . . . . . . . . . .•.....•.• ••-,
View in Lycian Room looking North. The Harpy Tomb
B.C. 500 (so called from the woman-headed birds sculptured on the frieze). Statues from the sacred way of
Branchidre in Caria (about B.C. 580). Dancing figures
and lion from the monument of Harpagus.
6°5
RC·5 00.
Re. 5So.
606
RC. 545.
550).
View of Lycian Room looking South West, with frieze
from Harpy Tomb on Acropolis Xanthus, not later than
B.C. 500. The seated figures and lions from the sacred
way of Branchidre in Caria (B.C. 550).
View of Lycian Room looking West.
The columlls,
pediments, and figures of the monument of Xanthus,
commemorative of a Persian victory und er Harpagus,
B.C. 545, or by some supposed to represent the suppression by Persian Satrap of Lycia, of revolt B.c. 38 7.
Grecia1l Series.
Grecialt Series.
No.
607
Approximate
Date.
B.C. 550.
No.
View of the South side of the Lycian Room, with Nereids,
seated figure from Branchidre, archaic figures, and arched
tomb of Satrap.
618
Approximate
Date.
B.C·47°.
Marble. Part of the frieze in the interior of the cella of
the temple of Apollo Epicurius, near Phigalia in Arcadia; combat of Greeks and Amazons. The central
figures are Theseus and Hippolyte. About B.C. 470,
built by Ictinus, the architect of the Parthenon and
Temple, Arcadia.
View of the Grreco-Roman Gallery, North side. Marble
statues of Mithras and Paris, reliefs of cooking, hunting,
Bacchanals, and marine deities.
608
THE ELGIN GALLERY.*
View of the South and West side of the Grreco-Roman
Gallery, with the Mercury from Farnese Collection at
Rome; torso of Venus; statue of Aegipan, and frieze
of Bacchus and Icarius.
View of the South side of the Grreco-Roman Gallery,
Thalia, from the Townley C~llection; busts of Muse,
Apollo, Atys; bas·reliefs of the Apotheosis of Homer,
Theseus and Minotour, N essus and Deijanira.
610
6u
View in Grreco-Roman Gallery, taken from the West side.
612
View of the third Grre~o-Roman Gallery, from the West
side, showing bas-relief of Apotheosis of Homer and
53
•
This Gallery contains the Bas-reliefs and Sculptures removed
from the Parthenon in the Acropolis at Athens. It contains 16 of the 92 Metopes which were round the outside
. of the Parthenon ; a considerablt; portion of the Frieze
which runs round the cella or body of the temple; and
nearlyall the figures which filled the Eastern and Western
Pediments.
The following Photographs take up (I) The Metopes, (2)
The Frieze, (3) The Sculptures m the Western and
Eastern Pediments respectively.
busts.
(ß)
61 3
STATUARY.- MARBLE.
B.C.600.
Alabaster. Archaic undraped figures, the Greek Islands.
Date unknown, probably 7th century B.C..
B.C·55°·
Marble statue of Apollo dedicated by Chares, inscribed, "I
am Chares, son of Kleisis, ruler of Teichiousa-an offering to Apollo." About B.C. 550. From the "sacred
way" of the Branchidre in Caria, an avenue of sculptures
leading up from the sea shore to the Temple of Apollo.
The oldest known portrait statue in Greek Art.
B.C.55°·
Marble. Lion, dedicated as the tenth of a spoil to Apollo,
of Branchidre; among the dedicator~ is mentioned the
name of Thales. About B.C. 580 to 520. Branchidre.
616
Marble. Statue of Apollo, resembling the style of Polycletus, of whose work it may be a copy.
617
Chair of the high priest of Dionysos, or Bacchus, from the
theatre of that God."
Athens.
• Photographs of this celebrated Theatre, recently excavated at Atl,ens,
can be supplied by the Publishers.-Sec separate Catalogue.
(1) THE METOPES OF THE PARTHENON,
BAS-RELIEFS IN THE SQUARE SPACES
INTER V ALS BETWEEN THE TRIGLYPHS
THE OUTER CORNICE.
OR
OR
ON
Note.- The Parthenon was erected under Pericles, after the destrnction of the former building by the Persians, and was completed B. C.
440. It was erected by the Masters Ictinus and Callistrates, and
adorned by the sculptures of Phidias. The Metopes in the Museum
comprise 17 out of the 92 whieh ran round the building, 14 of which
were at either end, and 32 at each side of the building. Owing to the
destrnction of many of the l\!etopes, and damage by the weather to
others, it is diflicult to decipher the entire scheme of the Metopes.
Groups of combatants form the fundamental idea of the sculptures.
In these battles of the heroes, we recognise the prototypes of the youth
of Attica fighting, with their whole strength, against the powers of rude
force opposed to moral order in the life of the state-such as the
• Photographs of the'Acropolis, at Athens, of the Parthenon, whi~h
retains 31 metopes in situ, and of such portions of the frieze, as are
in the Museum, at Athens, making with those in the British Museum
a very complete series, can be supplied by the Publishers, and a
separate C.üalogue of thern is issued.
, - - - - -- - - - - -- No.
-
- -
Greciall Series.
54
Approximate
Date.
Gredall Series.
I
Amazons, who are hostile to marriage, and the Centaurs, disturbers of
peace, and robbers of women, the foes of Theseus, the founder of order
and law-one of the most favourite subjects of Attic art. According to
Mr. Cox, the mythology of the Centaurs is originally derived (though
No.
63 2
Date.
Re. 440.
Pentelic marble.
A Centallr overpowering a Greek.
633
RC.44°.
Pentelic marble.
Combat between a Greek and a Centaur.
634
RC·44°.
Pentelic marble.
Combat between a Greek and a Centaur.
Athens.
its original derivation was lost at this date) from the same idea as is
found in the Vedic hymns, and were, perhaps, nothing more than the
Sanskrit Gandharvas, the bright e10uds in whose arms the sun reposes
as he journeys through the sky. The slaughter of the Centaurs, accord·
ing to Mr. Cox, is the couquest and dispersion of the vapours by the
sun as he
61 9
B.C·44°.
rise~
in the heaven.
Pentelic mable.
Centaur.
B.C·44°·
Pentelic marble.
621
B.C·44°.
Pentelic marble.
622
B.C.44°.
Pentelic marble.
62 3
B.C·44°.
Pentelic marble.
62 4
B.C·44°.
Pentelic marble.
62 5
B.C·44°·
Pentelic marble.
626
B.a. 440 .
Pentelic marble.
Centaur.
Greek.
About B.C. 440.
•
Athens.
Combat between a Greek and a Centaur.
Athens.
Combat between a Greek and a Centaur.
Athens.
A Greek successfully .contending with a
About B.C. 440.
Athens.
A Centaur successfully contending with a
About B.C. 440.
About B.C. 440.
Athens.
Pentelic marble.
A Centaur carrying away a female, (sup-
posed to be the attempt of the Centaur Eurytion to carry
off Hippodameia).
Louvre.
628
B.C.44°.
A cast from the orginal now in the
Aboutß.C. 440.
METOPES
FROM EASTERN
SIDE.
Pentelic marble.
B.C·44°.
Pentelic marble.
63°
B.C.44°.
Pentelic marble.
63 1
B.C. 44°.
Pentelic marble.
END
OF SOUTH
Athens.
Combat between a Greek and a Centaur.
About B.C. 440.
Athens.
Overthrow of a Greek by a Centaur.
About B.C. 440.
About B.C. 440.
Athens.
Combat between a Greek and a Centaur.
About B.C. 440.
62 9
(2)
THE FRIEZE OF THE PARTHENON.
days, the handsomest and strangest Athenians of alI ages, in chariots,
. Athens.
A Centaur sllccessfully combating with a
About B.C. 440.
B.a·44°.
Athens.
Athens.
Athens.
A Greek successfully combating with a
About B.C. 440.
Greek.
1
Combat between a Greek and a Centanr.
A Greek successfully combating with a
About R C. 440.
Centaur.
Athens.
The Frieze of the cella or body of the .Parthenon represented in basrerief the Panathenaic procession, which took place at the festival
celebrated every four years at Athens, in honour of Athene; the
slabs extend over 524 feet outside the cella. Originally the Panathem"a were merely festive games of chivalry held in honour of the
goddess; subsequently the gymnastic games were added, under the
Pisistratidre; great reforms were introduced, and the Rhapsodes and
their art adcled. Afterwards the celebration of the festival was combined with that of the anniversary of the Tyrant's Death, anel of the
memorable deed of Harmodius and Aristogiton. New festivities
were added, and linally, Pericles on founding the New Parthenon,
introduced the competitive production of musical performances. The
festival embraced six days' solemnities, that the civic body of each
e1ass might participate. Every freebom inhabitant of Attica was
entitIed to assist at the festival. The slabs represent the materials
which make up the festive procession, which took place at the
close of the festival; and in which the victors of all previous
About RC. 440.
620
62 7
55
.;\.pproxlmate
Athens.
A Centaur carrying off a young female.
Athens.
on horseback, and on foot, splendidly equipped, crowned with wreaths,
aud arranged in solemn order-the ftower of civic community, pre-
senled themselves to the divinity of the state. In this procession the
whole mass of the peopl. took part, and conveyed in solemn form the
peplus or sacred veil,. which had been previously worked in the
Acropolis, by young virgins selected from the best families in Athens,
to the temple of Atheno Polias, where it was placed probablyon the
knees of the goddess. On this peplus was embroidered the hattIe of
the Gods and the Giants, Zeus, hurling his thunderbolts against the
rebels, and Athene seated in her chariot, as the vanquisher of Typhon
or Enceladus. The strength and extent of the State's dominion was
manifested in the procession; for the citizens were followed by the
aliens reside"t in Attica under the protection of the state, who had to
undertake the performance of certain services, and bad to hear sunsbades, chairs, gorgeous vases, saueers, pitchers, &c., as reminding
them of their dependent position; while all the colonies of Athens
were represented by deputations, whose duty it was to ofTer sheep and
cattle to the goddess. The actual procession.m0unting the Acropolis
struck the South West angle, and divided itself into two streams, one
\-56- -
Grecian Series.
Grecian Series.
Approximate
No.
I
I
Date.
going round by the N orth, the other by the South, aud met at the
great eastern entranee. The slabs of the frieze take their subjeets
from the chief materials of this proeessio11. Following the one stream
of the proeession (at its breaki11g off into two at the south-west end)
round by the 11orth, the slabs represent the proeessio11 forming. Eaeh
I
Date.
B.C·44°.
WESTERN SIDE
was aseparate subjeet. Those about to join the proeession are represen ted as in different stages of preparation, same are shown mounted,
hastening on; others bridle and hold back their horses; others await
the arrival of friends; as in
I
Pentelic Marble. Part of western frieze of Parthenon;
horsemen hastening to join the procession. About B.C.
440.
Athens.
B.e. 440.
When the angle of the
NORTHERN SIDE
B.C·44°.
as the proeession aetually formed. The hnl"w; (hippeis), equites or
knights, in short the deputies of the demi or townships, are the chief
subjeets of the follm\~ng slabs :-
Pentelic Marble. Part of northern frieze of
horsemen and youths who have joined the
About B.C. 440.
Pentelic marble. Part of northern frieze 'of
horsemen who have joined the procession.
B.C·44°.
B.C. 440.
44°·
. Pentelic marble. Part of northern frieze of
horsemen who have joined the procession.
I
I
B.C·44°.
440.
Pentelic marble. Part of northern frieze of
horsemen who have joined the procession.
44°·
B.C·44°.
Pentelic marble. Part of northern frieze of
horsemen who have joined the procession.
44°·
B.C·44°.
Pentelic marble. Part of northern frieze of
horsemen who have joined the procession.
B.C.44°.
Pentelic marble. Part of northern frieze of
horsemen who have joined the procession.
440.
440.
RC·44°.
TI.e. 440.
B.C·44°.
is reaehed, a magistrate is represented superintending the proeession,
and the great Phidias now treats the subjeets on this N orthern Slde
Parthenon ;
procession.
Athens.
Parthenon ;
About B.C.
Athens.
Parthenon ;
About B.C.
Athens.
Parthenon ;
About B.C.
Athens.
Parthenon ;
About B.C.
Athens.
Parthenon;
About B.C.
Athens.
Parthenon ;
About B.C.
Athens.
! Pentelic
marble. Part of northern frieze of Parthenon ;
horsemen who have joined the procession. About B.C.
Athens.
440.
marble.
Part
of
northern
frieze
of
Parthenon
j
I Pentelic
horsemen who have joined the procession. About B.c.
440.
Athens.
I Pentelic marble. Part of northern frieze of Parthenon j
I horsemen who have joined the procession. About B.C.
440.
Athens.
Pentelic marble. Part of northern frieze of Parthenon j
horsemen who have joined the procession. About B.C.
440.
Athens.
Pentelic marble. Part of northein frieze of Parthenon j
horsemen who have joined the procession. About B.C.
440.
Athens.
Pentelic marble. Part of northern frieze of Parthenon ;
horsemen who have joined the procession. About B.C.
440.
Athens.
Pentelic marble. Part of northern frieze of Parthenon ;
horsemen who have joined the procession. About B.C.
440.
Athens.
I Pentelic rnarble.. Part of northe:n frieze of Parthenon,
from that portIOn of the processlon where the victors of
the games in chariots, with attendant drivers, head the
horsernen. About B.C. 440.
Athens.
Pentelic marble. Part of northern frieze of Parthenon',
from that portion of the procession where the victors of
the games in chariots, with attendant drivers, heat! the
horsemen. About B.C. 440.
Athens.
Pentelic rnarble. Part of northern frieze of Parthenon
from that portion of the procession where the victors o~
the games in chariots, with attendant drivers, head the
horsemen. About B.C. 440.
Athens.
I Pentelic marble.
Part of northern frieze of Parthenon
from that p~rtion ~f the . ~rocession where the victors o~
the garnes 111 charlOts, wüh attendant drivers, head the
horsernen. About B.C. 440.
Athens.
Pentelic rnarble. Part of northern frieze of Parthenon,
from that portion of the procession where the victors of
I
I
slab on the
H.C·44°.
57
Appro>..imatt!
B.C·44°.
B.C· 44°.
B.e·44°.
I
I
B.e. 440.
B.C. 440.
B.C·44°·
I
B.C·44°.
!
Grecian Series.
No.
6SS
Date.
B.C.440 .
TI.C·44°.
the games in chariots, with attendant drivers, head the
horsemen. About B.C. 440.
Athens.
Pentelic marble. Part of nortllern frieze of Parthenon,
from that portion of the procession where the victors of
the games in chariots, with atter.dant drivers, head the
horsemen. About B. a. 440.
Athens.
Pentelic marble. Part of northern frieze of Parthenon j
figures in the procession from the part representing the
aliens resident in Attica, who had to ' undertake certain
duties, and had to bear sunshades, chairs, vases, sau cers,
pitchers, &c., to remind them of their dependent condition. About B.C. 440.
Athens.
Greciau Series.
~o.
Approxil'nate
663
ApproximateDate.
[
. B.C. 440.
Pentelic
,J
I
RC·44°·
I
I
RC·44°·
666
RC·44°·
RC·44°·
Returning to the south-west angle, anel following the artist's treat ment of the subject or second stream of the procession passing
668
BY THE SOUTHERN SIDE,
the slabs represent the performers in the torch·race arranged in
different degrees of age, as youths, boys, and men. Continuing with
the story the slabs next represent the presiding magistrates, and then
the sacrificial animals brought by the deputations [rom the Colonies,
B.C·44°·
I
I
RC·44°.
and comprise :-
RC·44°.
TI.c. 440.
RC. 440.
660
RC·44°.
66r
B.C·44°.
662
RC. 440.
Pentelic marble. Part of southern frieze of
horsemen who have joined the procession.
440.
Pentelic marble. Part of southern frieze of
horsemen who have joined the procession.
Parthenon j
About B.a.
Athens.
Parthenon j
About B.C.
Athens.
44°·
Pentelic marble. Part of southern frieze of Parthenon j
horsemen who have joined the procession. About B.C.
Athens.
44 0 .
Pentelic marble. Part of southern frieze of Parthenon j
horsemen who have joined the procession. About B.e.
Athens.
440.
Pentelic marble. Part of southern frieze of Parthenon j
horsemen who have joined the procession. About B.e.
Athens.
44°·
Pentelic marble. Part of southern frieze of Parthenon j
horsemen who have joined the procession. About :&.e.
Athens.
44°·
B.C·44°.
RC·44°·
H.C. 440.
RC·44°.
B.C. 440.
S9
marble. Part of southern frieze of Parthenon j
horsemen who have joined the procession. About B.a.
440.
Athens.
Pentelic marble. Part of southern frieze of Parthenon j
horsemen who have joined the procession. About B.C.
440.
Athens.
Pentelic marble. Part of southern frieze of Parthenon j
horsemen who have joined the procession. About B.C.
440.
Athens.
Pentelic marble. Part of southern frieze of Parthenon j
horsemen who have joined the procession. About B.C.
Athens.
44°·
Pentelic marble. Part of southern frieze of Parthenon j
horsemen who have joined the procession. About Re.
440.
Athens.
Pentelic marble. Part of southern frieze of Parthenon j
horsemen who have joined the procession. About B.C.
Athens.
44°·
Pentelic marble. Part of southem frieze of Parthenon j
horsemen who have joined the procession. About B.C.
Athens.
440.
Pentelic marble. Part of southern frieze of Parthenon j
horsemen who have joined the procession. About B.C.
Athens.
44°·
Pentelic marble. Part of southern frieze of Parthenon j
horsemen who have joined the procession. About B.C.
440.
Athens.
Pentelic marble. Part of the southern frieze of Parthenon j
from that portion of the procession where the victors in
the games, In chariots, with attendant drivers, head the
horsemen. About B.e. 440.
Athens.
Pentelic marble. Part of the southern frieze of Parthenon j
from that portion of the procession where the victors in
the games, in chariots, with attendant drivers, head the
horsemen. About B.C. 440.
Athens.
Pentelic marble. Part of the southern frieze of Parthenon j
from that portion of the procession where the victors in
the games, in chariots, with attendant drivers, head the
horsemen. About B.C. 440.
Athens.
60
Grecian Series.
No.
Approximate
Date.
675
B.e·44°·
B.C. 440.
B.C.44°.
B.e·44°.
680
B.C. 440.
681
B.C. 440.
, 682
I68
3
B.C. 440.
B C. 440.
Grer;all Series.
Approximate
Date.
Pentelic marble. Part of the southern frieze of Parthenon ;
from that portion of the procession where the victors in
the games, in chariots, with attendant drivers, head the
Athens.
horsemen. About B.C. 440.
Pentelic marble. Part of the southern frieze of Parthenon ;
from that portion of the procession where the victors in
the games, in chariots, with attendant drivers, head the
Athens.
horsemen. About Re. 440.
Pentelic marble. Part of southem frieze of Parthenon ;
Athens.
presiding magistrates. About B.C. 440.
Pentelic marble. Part of southern frieze of Parthenon ;
representing cattle of the CololZies being conducted to
sacrifice at the great Panathenaic procession. About
Athens.
B.C. 440.
Pentelic marble. Part of frieze of Parthenon ; officers of
priesthood conducting to sacrifice cows sent by the
Colollies with their deputations to the great Panathenaic
Athens.
festival. About B.C. 440.
Pentelic marble. Part of southern frieze of Parthenon;
officers of priesthood conducting to sacrifice cattle sent
by the Colo1lies with their deputations to take part in the
Athens.
great Panathenaic festival. About RC. 440.
Pentelic marble. Part of southern frieze of Parthenon ;
officers of priesthood conducting cattle to sacrifice.
About B.C. 44°·
Athens.
Pentelic marble. Part of southern frieze of Parthenon ;
officers of priesthood conducting cattle to sacrifice.
Athens.
About B.C. 440.
, Pentelic marble. Part of southern frieze of the Parthenon ;
officers of the priesthood conducting to sacrifice cattle
sent by the ·Colo1lies of Athens with their deputations
to take part in the great Panathenaic festival. About
Athens.
B.C. 440.
H.C·44°.
686
H.C. 440.
B.c. 440.
H.C·44°.
688
B.e·44°
H.C·44°.
I
B.e·44°.
I
Re. 440.
I
B.C·44°.
AT THE EASTERN END,
The story of the N orthern frieze was brought on and comprised :-
Pentelic marble. Part of eastern frieze of Parthenon ; chief
magistrate marshalling the procession. About B.e. 440.
Athens.
Pentelic marble. Part of eastern frieze of Parthenon ; representing females carrying vases. About B. C. 440.
Athens.
Pentelic marble. Part of eastern frieze of Parthenon ; representing females carrying vases, and two men, probably
magistrates, at the head of the stream of the procession
which had passed round by the north side. About B.C.
440.
Athens.
Pentelic marble. Part of eastern frieze of Parthenon ; chief
Athens.
magistrates of Athens. ·About B.C. 440.
Pentelic marble. Centre-part of Eastem frieze of Parthenon ;
representing the culminating point of the great Panathenaic
procession; the gods, Hermes, Poseidon, Demeter,
and Hephaistos, seated. About RC. 440'
Athens.
Pentelic marble. Centre·part of Eastem frieze ofParthenon;
representing the culminating point of the great Panathenaic
procession. The figures are Zeus, Hera, Nike, or Hebe,
Athens.
and three maidens. About B.e. 440.
Pentelic marble. Centre-part of eastem frieze of Parthenon ;
representing the culminating point of the great Panathenaic procession; a priest or the Archon Basileus receiving
from the hands of a boy the sacred peplus and two seated
Athens.
gods. About RC. 440.
Pentelic marble. Part of eastem frieze of Parthenon ; chief
Athens.
magistrates of Athens. About B.C. 440.
Pentelic marble. Part of eastem frieze of Parthenon ; chief
Athens.
magistrates of Athens. About B.C. 440.
Part of eastem frieze of Parthenon ;
Pentelic marble.
from portion representing maidens carrying vases and gifts
at the head of the stream of the procession which had
passed round by the south side. About B.C. 440. Athens.
(3) SCULPTURES IN THE EASTERN PEDIMENT.
B.c. 440.
The Sculptor Phidias represented the procession culminating
B.C. 440.
61
B.e·44°.
Pentelic marble. N orth end of eastem pediment of the
Parthenon ; Helios or Hyperion rising from the sea by
Phidias. The figurative representation of day and night
occupied other portion of the pediment.
About B.C.
470.
Athens.
Pentelic marble. Herakles, or so·called Theseus, in the
eastern pediment, by Phidias. About B.e. 470. Athens.
62
Grecian Series.
Grecian Series.
No.
Approximate
Date.
695
B.C. 470.
69 6
B.C·44°.
Pentelic marble. Demeter, Persephone, and Iris, of the
eastern pediment, by Phi dias. About B.C. 440.
•
Athens.
t Pentelic marble.
Nike in the eastern pediment, announcing
the birth of Athene or Minerva, by Phidias. About
B. C. 440.
Athens.
Pentelic marble. Group of the Moirai, or Fates of the
eastern pediment. About B.e. 440.
Athens.
Pentelic marble. South end of eastern pediment; head of
a horse of Selene, or the Moon. About B.e. 440.
Athens.
No.
Approximate
Date.
713
B.C. 350.
I
B.e. 350.
l
B.C·35 0.
I
697
B.e. 440.
69 8
B.C·44°.
SCULPTURES OF THE WESTERN PEDIMENT.
n.e. 440.
7°0
B.C. 440.
This was filled with subjects representing the contest
between Athene and Poseidon for the honour of giving a
name to the city of Athens. This contest took place on
the Acropolis itself, which, surrounded by two streams, were
figuratively represented by Cephisus and Ilissus, the
names of the streams: the subjects' comprised (inter
alia)Pentelic marble. Part of western pediment of the Parthenon ;
Cecrops, the first king and founder of Athens and his wife
Aglaure, by Phidias. About B.C. 440.
Athens.
Pentelic marble. The river God, Ilissus or Cephisus, by
Phidias ; south end of western pediment. About B.C.
440.
Athens.
IMarble.
Seated figure of Demeter.
leum Gallery).
71 6'
B.C.400.
7 18
B.e. 350.
719
B.C.
720
B.C. 350.
~50'
B.C·35 0.
From Cnidus (Mau so-
MAUSOLEUM GALLERY.
B.C. 352.
View of the Mausoleum Gallery. In it are seen the statues
of Mausolus, his wife Artemisia, part of the horse and
chariot, from the summit of the tomb, which latter was 140
feet in height, and considered one of the seven wonders
of the world, the bas-reliefs and parts of the columns. In
the distance is the gallery containing the remains of the
Parthenon and other buildings of Athens.
Marble. Lion, supposed to be one of the lions placed round
the tomb of the Mausoleum. About B.C. 350.
Halicarnassus.
The Statue of Artemisia, "Nife of Mausolus, from the ,
Mausoleum at Halicarnassus. Designed from the antique
by MI. Storey.
Marble Slab. Warrior holding horse and another killing a
prostrate Asiatic. Xanthus. About B.C. 400.
SLABS FROM THE FRIEZE AT THE
OF THE MAUSOLEUM.
B.C. 350.
712
B.C. 350.
Marble Colossal Head of one of the Horses of the quadriga,
by the sculptor Pytheus, placed at the top of the Mausoleum, with bronze harness. Halicarnassus. About B.C.
35°·
7 21
7Il
View of the east side of the room containing the marbles
of the Mausoleum, at Halicarnassus. The object in the
foreground is part of one of the 36 columns of the edifice.
B.C·35°.
BASE
Marble. Part of the frieze of the Mausoleum; combat of
Greeks and Amazons, supposed to have run round the
base. About B.e. 350.
Halicarnassus.
Marble. Part of the frieze of the Mausoleum; combat of
Greeks and Amazons. About B.C. 350. Halicarnassus.
Marble. Part of the frieze of the Mausoleum; combat of
Greeks and Amazons. About B.e. 350. Halicarnassus. ,
Marble. Part of the fri eze of the 1-1ausoleum; combat of
Greeks and Amazons, one of whom turns round ancl
shoots an anolV while Bying. About B.C. 350.
Halicarnassus.
Marble. Part of the frieze of the Mausoleum; combat of
Greeks and Amazons. About B.e. 350. Halicarnassus.
Marble. Part of the frieze of the Mausoleum; combat of
Creeks and Amazons. About B.e. 350. Halicarnassus.
GRJECO-ROMAN GALLERY.
B.C·300.
Marble Colossal Lien from a polyandreion or mausoleum
supposed to comrr emorate victory by Athenian Admiral
Conon over Lac:etlcemonians, 394 B.C. About B.e. 300.
Cnidus.
I
--I
64
Crecian Series.
Crecian &rits.
Appro~imate
N o.
7zS
D ate.
B.C· 300.
Marble. Supposed bust of JEseulapius. Ab out B.e. 300
(temporarily in the Mausoleum gallery) Blaeas Colleetion.
7 z6
B.C. zoo.
P entelie Marble. Statue of an Athlete a eopy of the
D iadu11le?lOs or 'Crowned ' of Polycletus. About Re.
zoo.
Rome, Farnese Colleetion.
7z7
B.C. 150.
Marble Statue of a Canephoros, priestess, bearing a basket ;
used as the eolumn of an edifiee. About B.C. ISO .
Fo und in Villa Strozzi, Via Appia, R ome.
7z 8
B.C.
lGO.
Marble Monument of Anthusa, daughter of Damainetus
with objeets of the toilet, strigiles, mirror, sponge,
sandals. .
7z9
B.C. zoo.
Marble Shield ; H ead of Medusa and Amazonomaehia
in whieh is the supposed portrait of Phidias.
(Dl
E N GRAVED
STON E S' O R
No.
73 z
Engraved Stones. (I) Diana, by the engraver Apollodotus.
(z) Dionysus inventing Tragedy. (3) Achilles dragging
body of Hector. (4) Pan with name Mysus. (5) Tragic
Mask. (6) Dionysus. (7) Wounded warrior. (8) Omphale
by PiehIer. (9) Laoeoon. (10) Maenad. (I1) Medusa.
(I z) Alexander. (?)
Various dates.
733
Engraved Stones. (I) Achilles playing the lyre. (2) Cupid
riding a lion. (3) Mars. (4) Leda and Swan. (5) Pan.
(6) Hereules at rest.
(7) Minerva, by the engraver
Aulus. (8) Silenus. (9) Satyr. (10) Hereules and
Omphale. (I1) Two Emperors as Jupiter and Hereules.
(12) Female figure. (13) Vespasian. (14 & 15) J ulius
Cresar, by the engraver Dioscourides (of Asia Minor, time
of Augustus) (16) Domitian. (17) Hadrian and Sabina.
(18) Horace. (19) Ptolemy.
Various dates.
734
Engraved Stones. (I) Head of Horse, by the engraver
Euodos, (age of Titus) (2) Aurora. (3) Stag attaeked
by Hounds. (4) Tithonus ehanged into a Grasshopper.
(5) Dolon surprised by Diomedes and Ulysses. (6)
Silenus. (7) Satyrs. (8) Female figure. (9) Bear. (10)
Hereules and Snakes.
Various dates.
GL YPT OGRAPHY.
Engraved Stones. (I ) JEseulapius with nam~ of Aulus, a
gern engraver in the time of Augustus, on sard. (z )
Medusa, on earnelian.
(3) Silenus, 011 amethyst.
(4) H ereules, on bery!. (5) Vietory, on sard. (6) Ptolemy
Ale:andt>r, on onyx. (7 ) J uno, (?) on earnelian. (8)
Meausa, on sard. (9) Silenus, on earnelian . (10) Seleukos,
by the engraver Carpus, (date uneertain) on earnelian.
(lI) Jupiter, on earnelian. (IZ) Ship, on earnelian. (1 3)
Paris, on earnelian. (14) 'Minerva, on earnelian. (1 5)
Silenus, on earnelian.
Various dates.
73°
73 1
I
Engraved Stones. (I) P erseus. (z) Cupid and Psyche.
(3) Minerva. (4) Saerifiee of aBulI. (5) J upiter of
Dodona . . (6) Medusa, by Solon the engraver (time of
Augustus) . (7) Vietory, ereeting Trophy. (8) H ereules
and lole. .(9) Baeehus, by the engraver Aspasius,
(date uneertam). (10) Antinous. (Il) Satyr Comus, by
the engraver Nieomaehus (date uneertain). (I z) Soerates
(?) inseribed Agathemeros, by the engraver Pyl::emenes.
(13) B ereules and Nessus.
Various dates.
Approximate
Date .
735
Engraved Stones. (I) Amphiaraos holding head of Melanippus. (2) Aehilles wounded. (3) Ship. (4) Sacrifiee.
(5) Silenus and infant Dionysus. (6) Plato. (7) Achilles
wounded. (8) Aehilles and Penthesilea. (9) Sappho.
(10) Death of Achilles. (I1) Satyr. (12) Captive. (13)
Ulysses passing the Sirens.
Various dates.
(E l BRONZES.
Bronze Statuette of Aphrodite tying or untying her sandals.
From Athens.
737
Bronze Statuette: Castor.
73 8
Bronze Statuette: Isis.
739
Bronze Statuette: Apollo bending his bow.
mythia, in Epirus.
74 0
Bronze Statuettes : (I) Apollo of Miletus, with deer.
of the work of Canaehus. (2) Apollo.
From Paramythia.
From Paramythia.
From ParaCopy
J
66
Grecian Seria.
--------Grecian Serics.
Approxunate
No.
Date.
Bronze Statuettes; (I) Aphrodite.
Cerigo. (3) Apollo.
74 1
(2) Goddess: from
Silver Statuette of Eros, or Ganymede, and Goose.
of work of Boethus. From Alexandria.
Copy
743 RC.200-100. Bro1lze weights. (I) With Head of Hercules. (2) Inscribed.
(3) With name of Nicolaus, son of Marcus the JEdile. (4)
Another with Head of Boar. (5) With Head of Athene.
(6) With Bull's Head.
(Fl PAINTED AND OTHER VASES, &c.
(FIRST CREEK VASE ROOM.)
The nomendature of the particular dass of shape isprinted
in italies.
VASES OF THE ARCHAIC PERIOD, DOWN TO
440 B.C.
r.
THE EARLIER PERIOD.
744 B.C. 700-600. Terra cotta Glazed Vases with bro7lJJt figltres . (r) Stand
for a vase, (2) CEJlochoe, (form used for pouring wine,
&c.), with horses painted in brown on ash color, and
tripod.
Athens.
745 B.C. 7°0-600. Terra-cotta Cups and Vases glazed with browll omamtllts,
on ash color, (I) Two-handled cup, (2) Vase or Lebes
with two !ions facing one another, holding paw over a
flower. The rest of the vase eovered with geometrieal
patterns, a primitive attempt to represent a field studded
with f1owers, as a back-ground for the lions, (3) Stand for
a vase, with geometrical ornament, in imitation of wickerwork.
'ferra-cotta glazed black ornament; Chariot with four wheels
RC.600.
and two horses, probably a toy deposited in the tomb of
a ehild.
From Camirus.
747
RC. 600.
-- -
Terra-cotta glazed browlI figures, on eream colored ground,
(I) PiJlax: combat of Hector, and Menelaus over
wounded Euphorbus, with names inscribed, the earliest
vase from Camiru~, on whieh writing was introduced,
(2) A1J1ballos, (form for ointments and perfumes) in shape
of a sl11all bird, (3) Olpe (form for pouring wines) ornaFrom Camirus.
ments and herdsmen, Corinthian style.
- - - - - ' - - -- - - --
No.
Approximate
Date.
748 RC. 600-500• Terra-cotta glazed vases, eoarse figures.
From Camirus and Vulci.
749 B.C. 600-5 00. Terra-cotta glazed vases with black, white, and crimson
fignres, with ineised lines, (I) Amphora (form for holding
wine, oil, water) contest of Hercules and Hera, a frieze
of quails, a frieze of two boars meeting other animals, on
the neck, panthers, (2) CElloch(lc (form for pouring wine,
ete.), and (3) _p'yxis, or box, (4) Diota with friezes of
animals. Corinthian style.
750 RC. 600-5 00 . Terra-cotta glazed vases with bro'Ulli figures on pale ground.
(I) Olpe, (2) CEllochoe (both forms for pouring wine, ete.),
(3) Skyphos, (form for drinking cup and goblets) with
friezes of anil11als aad orname~ts.
75 1 R C. 600- 500. Terra-cotta glazed vases with black figures, (I) Siren, (2)
Pyxis (box) he:lds, (3) A1J'ballos, form for perfumes and
ointments) winged figures, (4) Sk,vPhos (form for drinking
cups and goblets) anil11als, (5) CEllochoe, form for pouring
wine, ete_)
Athenian and Corinthian style.
Terra-cotta glazed H;'dria vase, with black figures with inRC. 500.
eised lines, four horse ehariot, and men, frieze of animals.
H.
753
RC·45°·
754
RC.45°·
755
RC·45°·
Tl'IE LATER PERlOn, DOWN TO
440
B.C.
Terra-cotta glazed vases H)'dria (form for carrying liquids)
with black figllres, on red ground; flesh of women, white,
unornamented parts black varnish subject. Athe;1ian
women at the fountains of Callirhoe, (2) Amphora, (form
for holding wine, oil, or water), H~rcules subdlling Cretan
bull, (3) Olpe, (form for pouring liquids), Dionysus and
Ariadne.
Terra-eotta glazed vases with b/ack figures on red ground,
late specimens of the class, (I) Olpe, (form for pouring
liql1ids), Perseus destroying Medusa, with name of the
potter, Amasis, (2) CE/lochoe, (form for pouring liquids).
The Forge of Hephaistos at Lemnos, with name of the
From Vuici.
potter, :t\ikosthenes.
Terra-cotta black glazed vases in red, (I) Hydria, (form for
earrying liqllids), Triclinillm of Hercules and Aicmene,
Hennes, and Athene, remarkable for its drawing of the
details exeeuted by incised lines.
Grtcian Series.
6_8~AP1JrmJm~-r__________G~r~_a~a~n~Sff~u~·~·________________________1
1___
I
No.
Approximate
Date.
No.
VASES WITH RED FIGURES ON BLACK
GROUND, B.G.
(ACCESSION
761
Apl'roximate
Date.
B.C.
600-200.
440 TO B.G. 336,
OF ALEXANDER
THE
GREAT).
THE FINEST PERIOD OF ART.
B.C·400.
757
RC.35°·
Terra-cotta glazed vases with red figures, (I) Calpis, (form
for carrying water), Peitho and Muse, (2) Lecythus, (form
for ointments or perfumes), Eros, (3) Amphora, (form for
holding liquids), Discobolos and teacher, (4) (Enocho6,
form for pouring liquids), Nikil sacrificing, (5) (Enochoe,
Female sacrificing.
Alhenian Vases.
Terra-cotta glazed vases with red and white figures, (I)
~st~agalos, Bacchanals, (2) (Enochoe, form for pouring .
hqUlds), boy leaning forward to pick fmit, an exquisite
specimen of drawing, (3) Lecythus, (form for ointment
and perfumes), red figures, Toilet of Aphrodite, (4) Pyxis
(box), polychrome, red, white, and blue, on black background, Eros and Graces, (very rare).
762
B.C. 300-200.
B.e·336.
B.e·300 .
336 B.G. TO
100 B.G. AND LATER.
Terra-cotta black glaZt:d vast:S, (I) Phiale omphalotos,
OF THIRD PERIOD,
(form for drinking cups and goblets), Ares, Hercules,
Athene, Zeus in quadrigas, driven by NiH, (2) Another
with floral ornaments, (3) Kylix, (form for drinking cups
and goblets) impression of a Sicilian medallion, head of
Proserpine.
759
B.C·3 00.
B.C·3 00•
Terra-cotta vase with glazed and painted ornaments in outlines
and colors, (I) Lecythus, (form for ointments or perfumes), Electra at the tomb of Agamemnon, (2)
Lecythus, Sacrifice of Hercules, (3) Lecythus, Girl with
crown, (4) (Enochoe, (form for pouring wine and
liquids), Hercules and Athene, (5) Lecylhus, Nika
sacrificing.
Terra·cotta glazed ware (I) LecytlluS, (form for ointment
and perfumes), (2) Kylix, (form for odrinking). In
outline on white ground, Aphrodite crossing the Sea on
a Swan, (3) Kylix.
Terra-cotta glazed vases with white figures, (I) Skyphos
Hffacliotes, (form for drinking), head of Female, (2)
Calpis (form for carrying water), Men and Aphrodite,
with bird, (3) Askos (form for ointment or perfume),
Head of Aphrodite, dove and wreaths, (4) Olpe, (form
for pouring wine, etc). Vine brauches, (6) Lecythus, (form
for ointments or perfumes), Female head.
Terra-cotta glazed vase. Jug in shape of head of an
Asiatic monarch: on neck, female figure, with pyxis.
(THE SECOND GREEK VASE ROOM.)
'VASES
Terra-cotta glazed vases with red figures, (I) Ca/pis, (form
for carrying water), Judgment of Hercules, (2) Amphora,
(form for holding wine, water, etc).
Amazon and
Gryphons, (3) (Enochoe, (form for pouring wine, etc).
Eros, (4) Alabastros, (form for ointment or perfume),
Aphrodite and Swan, (5) Lecythus (form for ointment and
perfume), men and wreaths.
Terra-cotta glazed vase. Kratff (vase for mixing wine and
water). Scene from a Comedy-Parody of the Blind
Chiron healed by Apollo. A rude kind of stage with a
ladder leading~up to it, represeuting the portico of Apollo
at Dephi.
Terra-cotta glazed vase, Calpis (water vase). Female
dancer practising the Kybistema or tumbling feat.
766 B.C.
300-200.
B.C. 250.
B.C·3 OO •
B.C·3 00 .
Terra-cotta glazed vases, Calpis (water vase).
ing of Cupids-" Young Loves for sale."
The weigh-
Terra-cotta glazed vase with red figures. LecytllUS (oil
vase), with emblemata of Bacchanals in terra-cotta.
Terra-cotta glazed vase with red figures. Lecythus (oil vase
or cruet), Polyetes, Eudaimonia, Chryse, and aUegorical
figures. On the left Eudaimonia (happiness) holding a
chaplet of beads. In the centre a Youth with two spears,
with name inscribed above, restored by Polyet@s, (fuU of
years). An exquisite specimen of late work.
Terra-cotta glazed vases, (I) Rhyton (drinking cup) in shape
of a ram's head, (2) in shape of a cow's horn.
Grecian Series.
No.
77°
Approximate
Date.
B.C·3 00•
Grecian Seriu.
Terra·cotta partly glazed, Rhyton (drinking cup), (r) Head
of Youthful Pan, (~) Cantharus in shape of head of 10;
on the neck, Dionysiac Eros.
77 1
RC·3OO.
77 2
B.C·3OO.
Terra-cotta glazed vase, back of ornamental vase in shape
of pro 11' of galley; on neck, Satyr Cornos; on back, Nike
and statue of goddess.
773
B.C·3 OO.
Ditto
774
B.C·3 OO•
Terra-cotta black glazed vases, (2) Human foot, (I & S)
vases in shape of Fish, (4) vase in shape of an Elephant,
(3) vase in form of head of Silenus.
Terra-cotta glazed vase with red figures. Rhyton (drinking
cup) in shape of Head of Mule of Silenus: on nec~, a
female figure.
ditto
side view.
77S
RC·3OO.
Terra-cotta black glazed vases, (r) Lebes with ovolo ornaments rotind the lip, (2) Kyathos or Strainer. (3) ditto.
Magna Grrecia.
77 6
B.C.200.
Terra-cotta red glazed vases, (r) PoCltlulIl or Cup, Combat
of Greeks and Amazons, (2) Lanx: cock fight, athletes'
prizes, and terminus of Stadia.
777
B.C.200.
Terra-cotta black glazed vases.
reliefs. Basilicata.
77 8
B.C.2oo.
Terra-cotta black glazed ware, (I) Olpe (form for pouring
wine, ete.) measure of Hemicotylion inscribed with the
same, (2) Askos (form for ointment ot perfume), with
handle inscribed, (3) Phiale (form for drinking), with
Oscan inscription, "The Cup of Equity," and ornaments
in white.
779
B.C.2oo.
Terra-cotta large Amphora (form for holdi'ng wine, water,
etc) , with moulding. B.C. 200.
From Cnidus.
B.C.25°·
Terra-cotta glazed vase with red figures.
CEnochoe (jug for
pouring out liquids). The aclor Xanthias, incised with
name, wearing a grctesque mask, tight fitting leather
jerkin, and sm all mantle, both fringed.
RC·3 00.
Terra-cotta glazed vase. Calpis (water vase). The Danaids
in Hades.
Five Lamp feeders with
No.
A pproximate
Date.
TERRA-COTTA FIGURES.
Head of Aphrodite (2) terra-cotta draped figure of Aphrodite
782 B. C. 40<>--200.
(3) Terra-cotta figure of a goddess and child seated on
From Cyprus.
a throne.
RELIEF
Terra-cotta Reliefs, (I) Peleus and Thetis, (2) Perseus and
Medusa, (3) Heos and Memnon, (4) Theseus and
Skiron, (5) Alcreus and Sappho.
Terra-cotta, seated Sphinx.
GLAS'S.
Phcenicio-Greek glass. , (I) Amphoriskos, Rubi. (2) Beads ;
head, Cumre. (3) Alabastros. (4 & S) Same. (6 & 7)
Amphoriskos, Rubi.
CATALOGUE
OF ASERIES
Cl'
PHOTOGRAPHS
TROll THE COLLECTIONS OF
THE
MUSEUM
BRITISH
(PHOTOGRAPHED BY S. THOMPSON.)
PART
V.
IlV
s.
BIRCH, LL.D., F.S.A., KEEPER OF THE DEPARTMENT OF
ORIENTAL ANTlQUlTIES IN THE BRITISH MUSEUM.
ETRUSCAN AND ROMAN.
W. A. MANSELL & Co.,
PHOTOGRAPHIC AND FINE ART PUBLISHERS, 2, PERCY STREET, LONDON,
W.
--------- -- - - -----------
ETRUSCAN SERIES.
I
I
SUMMARY OF CONTENT&
No.
Approximate
Date.
800
Re 400.
801
Ragstone Cist with reliefs; conclamatio, flute players and
singers of dirge. From Chiusi.
I 802
Bronze statuette of Demeter m her chariot; the wheels
in shape of poppies.
8°3
Etruscan Bronze statuette-Ares or Mars.
of Falterona.
80 4
Etruscan bronze statuettes. (I) Warrior, or Apollo. (2~
Turan or Aphrodite, with recurved sandals. From Pizzi·
monte, near Prato, Tuscany.
8°5
806
Bronze statuette.
80 7
Bronze statuette of Heracles or Hercules.
of Falterona.
808
Bronze group. Heracles subduing the horses of Diomedes.
From a cist. From Palestrina or Prreneste.
8°9
Bronze statuettes.
or Memnon.
ETRUSCAN.
No.
Commencing.
(a) CISTS AND BRONZES
(b) GOLDSMITHS' WORK
800
810
<Al CISTS AND BRONZES.
Ragstone Cist*' with reliefs; hunting scene, men, dogs, and
horses. From Chiusi.
From the Lake of Falterona.
Bronze statuettes of Turan, the Etruscan Venus, two having
recurved sandals and raising the borders of their tunics.
(B)
810
Artemis.
From the Lake
From the Lake
Heos or Aurora bearing off Kephalos
GOLDSMITHS' WORK.
Etruscan. N ecklaces of gold beads in filagree work, with
flint arrow heads, suspended as charms. Vulci .
• Cist is avessei in which the Etruscan ladies deposited arlicles of
their toilet.
ROMAN SERIES.
No.
View of Grreco-Roman Gallery, looking east. Marble bust
of Hercules, Statues of Cupid, Somnus, Hercules with
apples of Hesperides, and bas relief of Hercules subduing the Mrenalian stag, which according to the legend
possessed golden horns and brazen feet, and was of ex·
traordinary swiftness; after achase of a year Hercules
overtook it at the crossing of the river Ladon.
812
View in the Grll3co-Roman Gallery. The statue is of a
Satyr playing cymbals, or the so-called Rondini Faun,
a work of about Ist. cent. A.D., in the distance are seen
a bust of Sera pis, astatue of Pluto, and part of the South
ROMA N.
(a) GENERAL VIEWS IN ROMAN GALLERIES- IN THE MUSEUM
Commencing
No.
Egyptian Gallery.
View in the Grreco-Roman Gallery. Female draped torso,
from the Isle of Claudos, near Crete, and torso of Apollo
from the Farnese Collection; bust of Apollo and Hermes,
and part of the Assyrian Galleries in the background.
SlI
-
WORKS CONSIDERED TO BE COPlEI OF RENOWNED ORIGINALS
REPRESENTING MYTHOLOGICAL PERSONAGES ._
OF BEST PERIOD OF ROMAN EMPIRE
PORTRAIT BUSTS OF ROMAN EMPIRE
BAS RELIEFS
View in the Grreco-Roman Gallery. Statue of an Emperor
or Orator, busts of Julius Cresar, Caligula, Diogenes,
••
(c) ENGRAVED STONES OR GLYPTOGRAPHY ..
(d) BRONZES
(t) IVORIES
(f) TERRA-COTTA
(gi
GLASS
.•
(n) BRONZE A!'ID GLASS FROM ROMAN'
(A) GENERAL.
8II
SUMMARY OF CONTENTS.
(b) STATUARY:-
A pproximate
Date.
child, female, and Epicurus.
81 5
~E~~EM~~TS
816
View in the Grreco-Roman Gallery.
Statue of Apollo
Citharcedus, of the nyrnph Cyrene, torso of a female, all
from Cyrene; and head of Apollo Citharcedus ; Carthage.
View in the Grreco-Roman Gallery. Statue of Actreon
devoured by his dogs, from Civita Lavinia: and terminal
statue of Hermaphroditus, from Lake N emi.
(B)
STATUARY.
WORKS CONSIDERED '1'0 BE COPIES OR RENOWNED GREEK
ORIGINALS.
817
Marble statue of Venus, commonly known as the Townley
From the Baths of Claudius, .. Ostia.
Venus.
, - - -- -
78
No.
8 r8
----Roman Series.
ROIfla11
Approximate
Date.
Marble statue of a discobolus, or disc hurler. Supposed
copy of the celebrated bronze statue of the Greek sculptor .
Myron, fellow pupil with Phidias.
The subject is
minutely described hy Lucian and Quintilian.
Marble statue, restored, as a nymph playing at astragali,
probablya dying Amazon.
Villa Verospi, Rome.
820
821
. 822
Marble statue of ö. Satyr, probably Oinos, work of M.
Cossutius Cerdo, a freedman. Civitia Lavinia. Lanuvium.
View in the Gneco-Roman Gallery. Statues of Diana.
Ceres as Isis, and Heroie figure or Mercury, copy of an
early Greek work, and bust of Minerva.
Marble terminal statue of a Satyr, Comus, or Marsyas.
Ci vita Lavinia.
Lanuvium.
The statue of a Satyr playing cymbals, or the so.called
Rondini Faun, a work of about Ist cent.
Marble statue of Cupid, supposed copy of that of Praxiteles.
Found in an amphora, at Castello di Guido, near Rome.
Marble bust of Hercules-Copy of the celebrated statue of
Glycon.
Blacas Collection.
Marble bu~t of Apollo, Pourtales Collection.
Marble Bas·Relief. The Apotheosis o(Homer. At the
base or lowest range Homer is seated: behind him
Earth (olX'JV/m'f) and Time, (Xpovo!.') in front a youth
offering a libation bearing the name of Mythus, and a bull
ready for sacrifice, with the female figures, with names inscribed, viz., History, Poelry, Tragedy, Comedy, Virtue,
Memory, Faith, and Wisdom. This lowest range of the.
deification leads up to the third range, representing Terpsichore, Urania, Polymina, \vith Apollo Musegetes, c10thed
as a female: the Delphic cortina or tripod-cover, and
a man holding a sero 11, and continuing up along the
second range are six of the Muses-Calliope, Clio, Thalia,
Euterpe, Erato, Melpomene addressing Zeus, who is
seated on the top compartmcnt listening to the Muses
supplicating divine honours for tbe poet. Beneath the
rock is written the sculptor's name, Archelaus, the son
of Apollonius, a native of Priene.
Bovilla on the Appian Way.
No.
Approximate
Date.
828
B.e.300.
79
Series.
W ORKS REPRESENT ING HEADS, &c. OF
MYTHO L O GICAL PERSONAGES.
Marble heroic bust, probably of Ajax.
. Hadrian's Villa at Tivoli,
Marble heroie bust, with restoration of nose, by Flaxman.
82 9
830
Marble terminal bust of the youthful Hercules.
83 1
Marble terminal bust of Bacchus.
B.e. 200.
Gensano.
Baire.
Marble bust of Homer.
83 2
WORKS OF ROMAN EMPIRE-THE BEST
PERlOD .
833
Marble Satyr from a group, restored as a drunken Satyr.
834
Marble Statue of Thalia, Muse of Comedy holding the
pedrum, Baths of Claudius at Ostia. About A.D. 10.0'
835
Marble statue of Me;cury, from the Farnese CollectlOll;
and torso of Venus from the Devonshire Collection.
83 6
Marble statue of the .youthful Bacchus.
.
Villa of Antonius Pius, Lanuvlllm.
837
Marble statue of the youthful Pan.
Maccarani Palace, Rome.
83 8
Marble statue of Venus.
839
Marble statue of Hercules, with the apples of the Hesperi~es.
Later Roman Penod.
840
Marble statue of the Muse Erato.
84 1
Marble bust of Niobid.
Baths of Claudius at Ostia.
The ears pierced for ear.rings.
PORTRAIT BUSTS--ROMAN
EMPIRE.
B.e. 44.
Marble bust of Julius Cresar.
843
A.D.20.
Marble bust of Antonia, sister·in·law of Tiberius, as Clytie.
844
A.D.14·
Marble bust of a Barbarian prisoner, supposed Thymelicus.
From a triumphal arch.
845
84 6
A.D·4- 37·
A.D·54- 68.
847
A.D.loo.
84 2
-
-
_.
Marble bust of Tiberius.
Marble bust of Nero.
Marble bas·relief.
Icarius.
Assassinated B.C. 44·
Killed 37 A.D.
Killed himself A.D. 68.
Athens.
Bacchus and his cortege received by
80
No.
84 8
Roman Series.
Roman Series.
Approximate
Date.
A.D. 98-1I7.
No.
854 A.D. 138-161. Marble bust of Antoninus Pius.
Cyrene.
855 A.D.161- 169·
From the Augusteum of
858 A.D. 193- 21I . Marble bust of Severus.
A.D. 200.
Marble statue of a Satyr, playing with the infant Bacchus.
BAS
I
868 A.D.360-363. Sardonyx cameo. Bust of J ulian 11. in the character of
Jupiter Ammon, and of Egypt in the character of Ceres.
Size 8in. by 6in.
Marlborough Collection.
Farnese Collection.
Palatine Hill, Rome.
859 A.D.21I-21 7· Marble bust of Caracalla.
862
Sardonyx cameo. Triumph of Tiberius. Augustus seated
at the side of Rome, crowned behind by Cybele, attended
by Neptune, and Fecundity or :Fortune j before Augustus
stands Germanicus, Tiberius descends from his triumphal
car, in which is Victory j below, soldiers, trophies, and
captives. Size 9in. by 8in. j the third largest in size.
Vienna.
Marble bust of the youthful L. Verus.
856 A.D.161-18o. Marble bust of Marcus Aurelius.
Cyrene.
2
857 A.D. 180-19 . Marble bust of Commodus.
861
86 7
From the Augusteum of
Palatine Hili, Rome.
860
youthful Caligula j behind, the younger Drusus and J ulius
Livilla, German and other captives. Size I3in. by IIin. j
the second largest in size known to exist. Brought from
Constantinople by Baldwin II., the last Frankish Emperor.
Bibliotheque. Imperiale, Paris.
Marble bust of Trajan.
849 A.D. 1I7-138. Marble bust of Hadrian.
85 0 A.D. 1I7-135. Marble statue of Hadrian, in military attire.
85 1 A.D. 1I7-138. Marble statue of Hadrian, in civil costume.
Cyrene.
A.D.
I
I
7-136.
2
Marble statue of Plotina, wife of Hadrian, as Ceres.
85
Cyrene.
853 A.D. 1I7-136. Marble bust of Hadrian, from his villa at Tivoli.
RELIEFS.
Marble Bas-relief of a Bacchanal, Cornos, and another Satyr.
Marble Bas-relief, N essus carrying off Deijanira j style of
Renaissance.
SILVER.
869 A.D·500-600. Silver marriage casket, 22in. long, with embossed figures j
on the rim is inscribed the Christian monogram and
SECVNDE ET PROIECTA VIVATIS IN CHRISTO. Found in
1793 at Rome. Blacas Coll. See Visconsi, Opere varie,
I. p. 210.
87 0 A.D·500-600. Silver vessels, found in 1793 at Rome. (I) Long-necked
flask, with arabesques, (2) Scrinium for containing five
receptacles for unguents, (3) Ewer inscribed PELEGRINA
VTERE FELIX.
Marble slabs with masks, in the centre a mosaic, to the left
a shutter.
. Marble Bas-relief.
Marble Bas-relief.
Two Gladiators attacking aBulI.
From Temple with Plutus and Tychee.
(Cl ENGRAVED STONES OR
GLYPTOGRAPHY.
866
Sardonyx Cameo. The family of the C:esars. J ulius holding the globe j Julius C:esar in heaven, attended by
Drusus, Augustus mounted, a Pegasus led to heaven by
Cupid. Tiberius and Livia seated before, Germanicus
armed, Antonia at his side, his wife Agrippina and the
81
(D)
BRONZES.
87 1
Bronze statuette of Jupiter, found in Hungary.
87 2
Bronze statuette of Mercury, with gold collar, found in a
cave, near Lyons, France.
873
Bronze statuette. Aphrodite Anadyomene, wringing her wet
tresses.
874
Bronze statuette of Bacchus.
875
A.D·9°·
Bronze statuette of Bacchus, from Pompeii.
87 6
Bronze statuette of Pomona or Flora.
877
Bronze statuettes. (I) Alexander mounted on Bucephalus.
(2) Barbarian captive. (3) Mars.
G
Roman Series.
82
No.
Approximate
Date.
87 8
879
880
'881
A.D·41-54,
882
883
884
A,D.161-16<).
No.
Bronze
Bronze
Bronze
Bronze
head of Hermes or Mercury.
head of Cupid or Genius.
statuette of Hercules. From Bavay, France,
bust of the Emperor Claudius, used as the weight of
a steelyard.
Bronze bust of Lucius Verus.
Bronze head, portrait from Cyrene.
Bronze lamp, in shape of the head of a greyhound holding
the head of a hare.
Bronze weights of Roman steelyards, with busts of (I) Mars,
(2) Amazon, (3) Mercury, (4) Venus, (5) Ammon and
Cyrene, (6) Amazon, (7) Female head, (8) Warrior.
Bronze mask of a 'female head wearing a heimet, probably
885
886
of Minerva.
(El IVORIES.
I vory (I) Pyxis, or box, in shape of distyle, naos or shrine
with two figures and lion, (2) Two figures reposing on
couches, (3) Part of doll, (4) Guilloche and geometric
ornaments, (5) Owl, (6) Aphrodite, (,) Figure of man,
(8) Head.
Ivory (I) Doll, (~) Group ofCupids, (3) Bustofa charioteer,
(4) Draped female, (5) Cupid or genius, (6) .lEsop, (7)
888
A.D·3 0 9·
A.D.6oo.
Roman .Series.
Head of Silenus.
I vory diptychs. (I) Apothoesis of Romulus, son of Maxentius, (2) Victory with glove and sceptre, (3) Events of
~e
of Christ
(Fl
TERRA COTTA.
Terra-cotta stamps from tiles, with figures of Victory, Eagle,
Mars, and names of estates, where made, and consulships
when made.
Terra-cotta. Slabs from an Impluvium, (I) Dacian prisoners in car, (2) Perseus decapitating Medusa; from
Rome.
Terra-cotta (I) mould for Samian ware: hunt: from
Mayence, (2) Black glazed cup of Caistor ware, (3)
Pinaces of red Samian ware.
Approximate
Date.
(Gl. GLASS.
Roman variegated glass.
(4-5) AmpulIre.
(Hl
(1-3) Bowls, patene.
(2) Pyxis,
BRONZES, GLASS, TERRA-COTTA, &c.
FROM ROMAN
SETTLEMENTS.
Late Ramm Glass. ()
S'II ver gobl et, with deep blue
I
glass blow~ into it. (2) Blue cantharus, or drinking cup.
From Amlens. (3) :Blue goblet, sprinkled with yellow
enamel. Slade Coll.
Roman glass, moulded. (I) AmpulIre, (2) Jug, (3) Lagena,
~4) A~phora. (5) Cup with inscription. Probably made
m Syna. Slade Col!.
Roman glass. (I) Bottle or prochoos, (2) Lagena, (3) Twohandled vase, (4) Unguent vase. From Kertch.
CATALOGUE OF ASERIES
OF
PHOTOGRAPHS.
FROM THE COLLECTION OF
THE
BRITISH
(PHOTOGRAPHED BY
s.
MUSEUM.
THOMPSON.)
PART VI.
BY
A.
w.
FRANKS, M.A., V.P.S.A., KEEPER OF BRITISH AHD MEDIiEVAL
ANTIQUITIES AND ETHNOGRAPHY, BRITISH MUSEUM.
ANTIQUITIES OF BRITAIN AND FOREIGN
MEDIJEVAL ART.
J
w. A. MANSELL & Co.,
PHOTOGRAPHIC AND FINE ART PUBLISHERS, 2, PERCY STREET, LONDON,
W.
1__- ,__
No.
~~~~-.________A_n_h_q_U_U_U_S_O_if__l?_r_t_ta_t_n_. ___________________8_7___ ,
Approximate
Date.
ANTIQUITIES OF BRITAIN.
[HISTORIe PERIOn.]
BRITISH.
British Shield of bronze, with embossed designs and roun·
dels of opaque red glass; length 2 feet 6 inches. The
ornamental plate of the handle is at the side. Bronze
Sword-sheath. Both found in the Thames.
Circular Boss of British Shield of bronze, with embossed
and engraved designs. Long Boss of Shield of similar
work. Spobn-shaped object in bronze. All found in
the Thames. Enamelled bronze plate, probably from
horse-trappings. Found in London.
British HeImet of bronze, with embossed designs and red
enamelled studs. Found in the Thames. Bronze HeImet
of early Roman work. Found at Tring, Hertfordshire.
Horse's Bit of bronze, enamelled. Found near Hull. Bronze
horse's bit, from Polden Hill, Somerset. Pair of bronze
armlets, with enamelled ornaments, found near Drummond Castle, Perthshire.
Circular bronze Disc, of unknown use, found in Ireland ;
and four spoonlike objects, of bronze, found in London
and at Crosby Ravensworth, Westmoreland. See ArchlEol.
Journal, xxvi. p. 52.
9°1
SUMMARY OF CONTENTS.
9°2
Commencing
at No.
BRITISH
ANGLO·RoMAN
ANGLO·SAXON
9 14
MEDIlEVAL
922
••
FOREIGN MEDIlEVAL ARTIVORY CARVINGS
••
928
LEADEN INSCRIPTIONS
92 9
ENAMELS
930
GLASS
••
935
MISCI!LLANEOUS ••
945
ANGLO-ROMAN.
906
A.D.275-276. Unfmished Plate of Roman samei, found in the Thames.
A.D·5 0 .
Two-handled Vase of bronze, once richly enamelled;
found with Coins of the Emperor Tacitus, in the English
ChanneI, off Ambleteuse, Normandy. Both specimens
are probabIy of English workmanship . .
Statuette of bronze, inlaid with siiver and niello; height
23 inches.
It is supposed to represent Britannicus.
Found at Barking Hall, Suffolk.
88
No.
908
9 12
Antiquities
Approximate
Date.
A.D. 117- 138.
of Britaill.
Antiquities 0/ Britain.
Ne.
Bronze Head of the Emperor Hadrian, and colossal Right
Hand; perhaps from the same statue. Found in Lond0n.
Roman Leather Shoes, and sole with iron nails. Found in
London.
Five specimens of Roman Glass, found in England. (I, 2)
Barnwell, near Cambridge; (3,4, 5) Colchester. (4) A
Cup with races in the circus, and the names of the charioteers round the rim.
Four specimens of Earthenware made in the Roman potteries at Caistor, Northamptonshire. (r) Found at
Chesterford, Essex. (2, 3) Colchester. (4) London.
Six earthen Vessels found on the site of a Roman pottery
near Fordingbridge, New Forest, Hampshire. Five of
them of a dense chocolate·colured ware, with a few
ornaments painted in white. The sixth of a dull white
ware.
Three rare earthen Vessels found in England. (I) With
vitreous glaze, EwelI, Surrey. (2) Patterns in relief and
vitreous glaze, Colchester. (3) Red ware, with white
decorations, Nuneham, Oxfordshire.
ANGLO-SAXON.
Thre<cinerary Ums of greyish brown pottery; early AngloSaxon. (I, 3) Shropham, Norfolk. (2) Frilford, Oxon.
Various Antiquities discovered in 1853, in an Anglo-Saxon
cemetery on Hamharn Hill, Salisbury. See ArchtZoloqia,
xxxv. pp. 259, 475·
Brooches, Buckles, and Brads, found in 1855, in an AngIoSaxon cemetery, on Chesell Down, Isle of Wight. See
Hilliers History of the Isle o[ Wight.
Four GI~s Vessels discovered in Anglo-Saxon cemeteries.
(I) Hoath, near Reculver, Kent. (2) Kent. (3) Bungay,
Suffolk. (4) Coombe, Kent. See Aker11lan's Pagan Saxond011l.
Embossed Anglo-Saxon Plate of bronze, with bird seizing
a fish. .Found in the Thames. Set of silver Pins with
interlaced patterns of the Irish School. Found in the
River Witham, at Lincoln.
9 19
Anglo-Saxon brooch formed of garnets and gold filigrees
and necklace consisting of glass beads with a central pendant of enamel (probably Roman) and four looped gold
coins; one of the latter is of Clothaire 11., King of
France, A.D. 615-628; see ArchtZologia Cantiana, vol.
111., p. 35. Similar brooch found near Abingdon, Berks.
See Akerlllan's Pagan Saxondom. Two silver brooches
found at Goldborough, Yorkshire, with Cufic and Saxon
coins ranging from A.D. 872 to 925. See Numismatic
Chronicle, new series, vol. 1. p. 65.
920
Antiquities of the Anglo-Saxon period. (I) Sword-knife
( scrammasaK) found in the Thames [a portion only
shown]; the blade inlaid with an inscription in AngloSaxon runes being the alphabet, and the name ·B.eognotq.
(2) Silver ornament with Anglo-Saxon runes from the
Thames. (3-4) Bone combs from Lincoln, one of them
inscribed in Scandinavian runes, "Thorfast made a good
comb." (5-8) Silver brooch and other ornaments found in
Tuscany; on one of them is a monogram.
921 A.D·700-800. Back of a Casket carved in whale's bone with Anglo-Saxon
Runes. Subject, the taking of Jerusalem. Probably made
in the ancient Kingdom of N ol'thumberland. See Stephens'
Northern Runic Monuments, p. 470.
MEDI,)EVAL.
A quadrangular iron Bell, with portions of a bronze Shrine
inlaid with silver, niello, and enamel, being the Barnan
Coulawn, said to have 'belonged to St. Culan, brother
of Cormac, King of Cashel (died A.D. 908,) The Shrine
is of the 12th Century.
9 22
923 A.D . II39- II 4 6. Two semicircular Plates of copper, enamelled, fastened
together. On the upper one is a representation of Henry
of Blois, Bishop of Winchester, brother to King Stephen.
A.D. IISO.
Chess Pieces carved in walrus-ivory. Found in the Isle
of Lewis, Hebrides. The pieces consist of King, Queen,
two Bishops, two Knights, two Warders (CastIes), and
four Pawns. 12th Century. See ArchtZologia, xxiv. p. 203.
------------------------------------ Foreign Mediawal Art.
No.
Approximate
Date.
I
9 2 5 A.D. 1327-1369. Ivory Triptych made for J ~hn. Grandison, .Bishop of E~eter,
(1327-1369). The CrucIfixlOn, CoronatlOn of the Vlrgin,
.
St. Peter, St. Paul, St. Laurence, and St. Thomas of
Canterbury.
926 A.D. 1350-1360.1 Port~on of mura~ Painting from St. Stephen's Chapel, Westmmster. SubJects from the history of Tobit. Painted
in the reign of Edward II!.
9 27
A.D. 1420.
Three Bosses of copper, gilt and enamelled; with arms of
Warden Abbey, Bedfordshire (Three pears), and devices
of an abbot. Early 15th Century.
I
Foreign Mediceval Art.
No.
MAJOLICA.
932
A.D. 1450.
933
A.D. 1520.
934
A.D. 1525·
935
A.D.1340.
93 6
A.D.15OO•
937
1500-1
93 8
A.D.152O.
939
940
A.D.152O.
A.D.1662.
GLASS.
FOREIGN MEDI.<$VAL ART.
IVORY CARVIN&S.
A.D·309.
A.D·95°·
Three leaves of ivory Diptyohs to contain wax for writing.
(I) An apotheosis, conjectured to be that of Romulus,
son of the Emperor Maxentius, who died in the year of
his consulship, A.D. 309. (2) An angel with orb and
sceptre ; Byzantine work. (3) Scenes from the N ativity and
Baptism. 10th Century.
LEADEN INSCRIPTIONS OF NORTHERN ITALY.
A.D·73 8.
A.D.857·
A.D. 1202.
Greek Inscription upon lead respecting a decree.
Latin Inscription upon a thin leaden plate-a letter of Pope
Gregory II!. to the city of Bologna, desiring them to cooperate with the Exarch to restore Ravenna to its former
state of allegiance. Dated Rome iii. id. March A.D.
73 8.
Similar inscription containing a decree of the Council of
Bologna.
Similar inscription in the Venetian dialect, conceming recovery of Pavia from the Lombards by Charlemagne in
A.D.774. Drawn up in A.D. 120Z, by Marin- Dandolo,
Procurator of St. Mark's, Venice.
94 1
94 2
ENAMELS.
93 0
A.D.II60.
93 1
A.D.12oo.
Two Plates of Limoges enamel on copper ; the Virgin and
St. John.
Marriage Casket of Limoges enamel with love scenes.
Majolica Dish, probably Sicilian. lnscription," St. Catherine preserve us." 15th Century.
Majolica Plate, with initials "I. P." on back. St. Bartholomew; arabesque border on orange ground.
Majolica Plate painted at Faenza, in 1525. Arms of
Francesco Guicciardini the Historian.
1 550-
Arab Glass, with enamel and gilt decorations. (I) Lamp
made for the Emeer Tukuz-demir, Govemor of Syria,
who died at Cairo, A.D. 1345. (2) Hunting Bottle with
arabesques and Huntsmen.
Four specimens of Venetian Glass, enamelled and gilt.
Slade Coll.
Five specimens of Venetian Glass, enamelled and gilt.
(I) A Marriage Goblet, with portraits within finger-rings.
Slade Coll.
Three elegant specimens of white Venetian Glass; (3) has
enclosed in the stern orange flowers in coloured glass.
Slade Coll.
Five specimens of Venetian Lace Glass. Slade Coll.
Three Goblets of German glass, enamelled and gilt. (I) A
procession at the christening of Maximilian Emmanuel,
son of the Elector of Bavaria, 1662. (2) Arms of Swiss
cantons and towns. (3) The Imperial Eagle, with the
arms of the subordinate states of the German Empire
on its wings. 17th Century. Slade ColL
Three Goblets of German glass, enamelled and gilt. (I)
German coats of arms. 16th Century. (2) Arms of
John George, Elector of Saxony, dated 1678; made on
the occasion of the opening of the Shooting House at
Dresden. (3) Cypher of Frederic August King of Poland
1697-1733. Slade Coll.
Four Flemish Drinking Glasses. (I) Satirical emblems
against the King of Spain. (2) Arms of Maurice and
Philip Henry William, Princes of Orange. (4) Portrait
of William H., Prince of Orange. 16th and 17th Centuries. Slade Coll.
Foreign Mediteval Art.
92
No.
943
Approximate
Date.
16 53.
Four Flemish and German Drinking Glasses of various
shades of green, with bosses to give a firmer hold. (2)
Dated 1653. Slade Coll.
944 A.D. 1000-1700. Persian:,Glass, gilt or enamelled. (1) White Bowl and Cover,
.
with gold and blue ornaments in relief. (2) Ewer of deep
blue glass, with gold designs. (3) Square Bottle with
enamelled flowers and gilding, 17th Century. Slade
Col!.
A.D.
MISCELLANEOUS.
945
Bronze Plate, with reliefs, sphinxes, palm trees, rosettes,
and Himyaritic inscriptions, dedication to Almakah.
Bronze Plate, with reliefs, dentals, and Himyaritic inscriptions, dedications to Almakah, (2) Another with tendrils,
(3) Fragments of another with relief of lion and palm
tree.
CATALOGUE OF ASERIES
OF
PHOTOGRAPHS.
FROM THE COLLECTION OF
T HEB R I T I S H MUS EU M.
(PHOTOGRAPHED BY
s.
' PART
THOMPSON.)
VII.
BY
WALTER DE GRAY BIRCH, ESQ.
SEALS OF SOVEREIGNS, CORPORATIONS, ETC.
W. A. MANSELL & Co.,
PHOTOGltAPHIC AND FINK ART PUBLISHERS, 2, PERCY STREET, LONDON, W.
SE}LS OF
No.
Approximate
Date.
95 1
8th to 11th
century.
95 2
I1th century.
953
12th century,
SUMMARY OF CONTENTS.
-_._~--
ENGLlSH SOVEREIGNS
SCOTTliH SOVEREIGNS
IRISH SOVEREIGNS
FRENCH SO,"EREIGNS
GERMAN SOVEREIGNS
PRIVATE SEALS OF ENGLlSH I"ERSONAGES
(a) ANTIQUE GEMS
(h) SAXON AND EARLY MONASTIC
(c) EARLY NOBILITY
(d) EARLY DEVICES
(e) EARLY HERALDIC
Cf. g) CORPORATlONS
(h, i, k) MONASTIC
(t) PRELATES
(m) NOBLESSE
FOREIGN PRINCES AND OTHllRS
34
12
I
14
12
12
1
I
I
I
I
2
3
I
I
6
Plates
Plates
Plate
Plates
PI.tes
Plates
Plate
Plote
Plale
Plate
Plate
Pl.tes
Plates
Plate
Plate
Plotes
•
-
-
95 1-984.
985-996.
997·
998-IOII.
1012-1023.
1024- 1035.
10241025.
1026.
102 7.
1028.
1029-1030.
103 1- 1033.
1034.
1035.
1036- 1041.
954
12th century.
SOVE~ßIGNS,
CORPOR}TIONS, TC.
GREAT SEALS OF ENGLISH
SOVEREIGNS . .
PLATE I.
Offa, King of the Mercians. A.D. 790.
Coenwulf, King oj tht Mercians, eire. A.D. 800-810.
Leaden Bulla.
4· Eadgar, King of the East Angles. A.D. 960.
5-6. Edward, The Conftssor. A.D. 1°41-1066.
7-8. Edward, The Confessor. Seeond Seal.
PLATE 11.
William 1., The Conqueror_ A.D. 1066-1087.
1
3-4. William I. Another Seal.
5-6. William H., Rufus. A_D. 1087-1100.
1-2_
PLATE III.
Henry I. A.D. 1100-1135.
3-4. Henry I. Another Seal.
5. Matilda, Queen of tlzeRomans.
6-7. Stephen. A.D. 1135-1154.
1-2.
A.D. 1I14- 1126.
PLATE IV.
Stephen. Another Seal.
3-4. Henry II. A.D. 1154-1189.
5-6. Henry H. Another Seal.
I 1-2.
PLATE
V.
Henry, son of Henry II., associated in A.D. 1170 witll
his jat/zer on the throne, ob. A.D. 1182.
2-3. Richard I. A.D. 1189-1199.
4-5. Richard I. Seeond seal.
I.
955
12th century.
95 6
13th century.
PLATE VI.
John. A.D. 1199-1216.
3-4. Henry III. A.D. 1216-12 7 2•
5-6. Henry HI. Seeond seal.
957
13th and 14th
century.
PLATE VII.
Edward I. A.D. 1272-13°7.
3-4. Edward H. A.D. 13°7-1327.
eastles addtd.
1·2.
1-2.
Same matrix with
Seals 0/ Sovereig1lS, Corporations, Ete.
No.
No.
5- 6 . Edward III.
I~
95 8
added.
14th centllry.
A.D. 1327-1377.
14th century.
PLATE
15th century.
PLATE VIII.
Seeond or B seal, usedfrom 4 Oct., A.D.
13 2 7, 10 9 JUly A.D. 1338.
3-4· Edward III. 77zird or C seal, used from 10 JUly,
A.D. 1338,1021 February, A.D. 1340.
5. 6 . Edward III. Fourth or D seal, usedfrom 8 Feb., A.D.
1340, 10 20 June, A .D. 1340.
1-2. Edward III.
PLATE
9 61
15th century.
PLATE
'5th century.
PLATE
15th century.
XII.
1-2. Henry V. I seal.
3-4. Henry VI. A.D. 1422-1461.
5-6. Henry VI. I seal.
1-2. Henry VIII.
16th century.
First seal; lion and
ßeur-de-lis at/ded to Henry Vllth's seal. MM 2.
3-4· Henry VIII. 0 or Seeond seal. Last Gothie specimen,
Zlsed fr01lZ 27 Feb., 1532, to about I54 t.
5.6. Henry VIII. P or Third seal,' used from about A.D.
1541 to the end oj the reign.
PLATE XVII.
Goldm Bulla, for Treaty ojField oj the
Cloth oj Gold, with Frallcis 1. 0/ Franee, A.D. T 52 7.
3-4· Edward VI. A.D. 1547-1553.
5-6. Mary I. A.D. 1553-1554.
1-2. Henry VIII.
PLATE
1-4. Philip and Mary. A.D. J554-1558.
2-3· Elizabeth. A.D.1558-1603. First seal.
16th and 17th
century.
1-2. Elizabeth.
PLATE
969
XVIII.
16th century.
3-4· James I.
G 4 Sial.
97°
17th century.
XIII.
1-2. Henry VI., as King 0/ Franee. K seal.
3-4· Edward IV. A.D. 1461-1483. H seal, Zlsed until
• NOTE.- The
96 7
XVI.
A.D.1509-J547.
XIX,
SeeO/ld seal.
A.D. 16°3-1625.
Seeolld state of his great
seal.
A.D.147°·
5-6. Edward IV. GG seal, used as above.
"
L sealoj
XV.
16th century.
PLATE
XI.
1-2. Henry IV. A.D. 1399-[413. G 4 seal.
3-4. Henry IV. I seal.
5-6. Henry V. A.D. 14[3-1422. G 4 seal.
PLATE
9 62
9 Apr.-25 June, A.D. 1483.
1-2. Richard III. A.D. 1483-1485. L 2 seal.
3-4· Henry VII. A.D. 1485-15°9. MM seal.
5-6. Henry VII., as King oj Franee. N seal.
ing to the presence of the King in England or Franee.
14th centllry.
5-6. Edward V.
15th and 16th
century.
5- 6 . Edward III. Seventh or G seal, used from 20 May,
A.D. 1360, to 3 June, A.D. 1369.
96o
L seal, used after A.D. 147I.
M seal, used as above.
IX.
X.
1-2. Edward III. Eighth or G z seal, Zlsed frl1m June,
A.D. 1372, to end oj reign.
3-4· Richard H. A.D. 1377-1399. G 3 seal.
5-6. Richard II. F 2 seal.
XIV.
1-2. Edward IV.
3-4. Edward IV.
Edward IV.
1-2. Edward III. Fifth or E seal (0/ absence), useti frMn
1 Dee., A.D. 1340, to 19 May, LD. 1360.
3-4· Edward III. Sixth or F seal, used alternately with the
fifthfrom 2I June, A.D. 1340, to A.D. 1374, aeeord-
PLATE
97
Approximate
Date.
Same with lions
First or A" seal.
PLATE
959
Seals of Sovereigns, Corporations, Ete.
Approximate
Date.
1-2. J ames 1.
PLATE XX.
First stak 0/ his great seal."
PLATE
97 I
17th century.
XXI.
1-2. Charles I. A.D. 1625-1649. First sealllsed 01lly
from 25 May, A.D. 1626, to 24 May, A.D. 1627.~'
3-4· Charles I. Seeond seal. Matrix showing date A.D.
162 7 .
letters refer to Professor Willis's c1assification in the
Arcl"zolo{{lcal Journal.
• See W. de G. Birch's accOlmt in British ArchtEological Jouma!, 1870.
98
No.
97 2
973
Seals 0/ Sovereigns, Corporations, Eie.
17th century.
1-2. Charles I.
3-4. Charles I.
17th century.
1-2. Commonwealth.
975
17th century.
17th century.
97 6
17th century.
977
17th century.
97 8
18th century.
979
980
981
18th century.
18th century.
18th century.
0/ Sovereigns,
Corporations, Eie.
99
No.
PLATE XXII.
Third seal. Matrix dated A.D. 16 4 0 .
Fourth seal. Matrix dated A.D. 16 43.
[i.e. 1649']
3-4. Commonwealth.
16 51.
974
Seals
----------------------
Approximate
Date.
PLATE XXIII.
First seal. Matrix dated A.D. 16 4 8
Second seal.
1-2. Charles II.
3-4. Charles II.
18th century.
9 83
19th century.
PLATE XXXIII.
1-2. George IV. A.D. 1820-1830.
3-4. William IV. A.D. 183°-1837.
98 4
19th century.
1-2. Victoria.
Matrix dated A.D.
PLATE XXIV.
1-2. Republic. Oliver Cromwell, Protector, A.D. 16 5 116 58.
3-4. Republic. Richard C,romwell, Protector, A.D. 16 581660. Same matrix re-touched.
PLATE XXV.
A.D. (1649-)~660~1685·
Seeond seal. Matrix dated A.D. 16 53.
PLATE XXVIII.
1-2. Anne. A.D. 1702-1714. First seal, used ulltil the
politieal ullion of Ellgland alld Scotland, in A.D.
17 08.
3-4. Anne. Second seal. Dated in the sixth year of her
reign.
PLATE XXIX.
1-2. George I. A.D. 1714-1727.
3-4. George II. A.D. 17 2 7-17 60 .
1-2. George III.
3-4. George IIl.
PLATE XXX.
A.D. 1760-1820.
A notlter seal. (2.)
1-2. George IIl.
3-4· George III.
PLATE XXXI.
A 110ther seal. (3·)
A1lOther seal. (4·)
IIth and 12th
century.
12th and 13th
century.
13th century.
14th century.
(I.)
14th century.
.
1-2. George IIr.
3-4· George III.
(5.)
PLATE XXXIV.
First seal.
GREAT SEALS OF SCOTTISH KINGS.
PLATE XXVI.
1-2. Charles II. T7lird seal.
3-4- James II. A.D. 1685-1688.
PLATE XXVII.
1-2. William III. and Mary 11. A.D. 1689-1694.
3-4. William III. A.D. 16 94-17°2.
PLATE XXXII.
View of Windsor Caslte.
Anolher seal. (6.)
982
I.
2.
3-4.
5-6.
7-8.
PLATE I.
Duncan H. A.D. 1°94-1°98.
Edgar. A.D. 1°98-11°7.
Alexander I. A.D. II07-JI24.
David I. A.D. 1124-1153.
Malcolm IV. A.D. 1l53-1l65.
PLATE 11.
1-2. William, the Lion. A.D.1I65-1214.
3'4. Alexander II. A.D.1214-1249.
5-6. Alexandet III. A.D. 1249-1285.
PLATE II!. .
1-2. Official Seal of the Guardians of Scotland after Death
of Alexander IH. Used A.D. 1286-1292.
3-4. Edward I. of England, for Scotland. Used A.D. 1296
-13°6.
5-6. John Balliol. A.D. 1292-1296.
PLATE IV.
John Balliol. Seal used by his Party in A.D. 13°1.
2-3. Robert Bruce. A.D. 13°6-1329.
4'5. Robert Bruce. Seeond Seal, used in A.D. 1320.
1.
PLATE V.
1-2. David II. A.D. 1329-1371.
3'4. David. Smaller Seal.
5-6. Edward Balliol. . A.D. 1332-1355.
No.
Approximate
Date.
99°
14th century.
991
99 2
Seals of Soz'enigns, Corporations, Eie.
Seals of Sovereig1zs, Corporations, Ete.
100
15th century.
15thand 16th
century.
No.
PLATE VI.
1-2. Robert 11. AD. 1371-139°.
3'4. Robert III. A.D. 1390-1406. Same matrix, en,
riched with foliage, and a piereed mullet over the erest.
5-6. Robert III. Seeond Seal.
GREAT SEAL OF IRISH KINGS.
997
PLATE VII.
Same matrix, with
1-2. James 1. A.D. 1406-1436.
heraldic dijferenees.
3-4. James 11. AD. 1436-1460. Foul' Annulets, &e.,
added on eaelz side.
5-6. James III. A.D. ~460-1488. Fleur-de-lis, near the
horse' sieg, added.
17th century.
16th and 17th
century.
PLATE I.
7th to 9th
century.
PLATE VIII.
1-2. James IV. A.D.·1488-1513' Annulet U71derhorse's
neck altered into a trifoil.
3-4. James V. A.D. 1513-1542. New matrix, imitating
, the old one.
5-6. Mary. A.D. 1542-1567.
994
16th and 17th
century.
995
17th century.
99 6 . 18th century.
PLATE XII.
1-2. George I. Rez/erse of Seal, dated A.D. 1717.
2. George H. l}everse of Seal dattd A.D. 17 2 9,
2.
3.
4.
5.
6.
7.
1-6 MEROVINGIANS.
Dagobert I. 7th Century.
Thierry IH. A.D. 670-691.
Clovis IH. A.D. 691-695.
Pepin. A.D. 687-714.
Childebert. A.D.695-7 1 1.
Chilperic. A.D. 715-720.
Carloman. A.D. 741-747. Ancientgem.
8.
9.
10.
1 I.
12.
Charlemagne. A.D. 754-814.
Charlemagne. Antique gem of Serapis.
Louis I. Le Debonnaire. A.D.814-840.
Louis I. Another Seal.
Lothaire. A.D.840-855.
1.
8-II. 4
1-2. Mary. Seal used in A.D. 1554·
3. Francis I., King of France, and Mary. A.D. 15591560. Matrix dated A.D. 1559.
4-5. Mary. After Marriage.
6-7. Mary. As Dowager of Franee, after A.D. 15 60.
PLATE X.
1-2. James VI. AD. 1567-1625.
3-4· Charles I. of England, for Scotland. A.D. 1625-1649.
PLATE XI.
1-2. Charles I. Seeol1d Seal used in A.D. 1630'
3-4· Seal in use during the Protectorate of Oliver Cromwell.
A.D. 1653-1658.
PLATE I.
1-2. Charles H. of England, for Ireland. A.D. J649-1685.
3-4. Seal in use during the Protectorate of Oliver Cromwell.
A.D. 1653-1658.
GREAT SEALS OF FRENCH KINGS.
PLATE IX.
993
101
999
9th to 12th
century.
CARLOVINGIANS.
PLATE H.
Le Chauve. A.D.84o-877.
2. Louis H. Le Begue. AD. 877-879.
3. Eudes. A.D. 898.*
4. Charles III. Le Simple.
A.D. 893-929.
r. Charles H.
5-X1I. 6.
CAPETIANS.
5. Robert.
A.D. 996-1031.
6. Henry I. A.D. 1031-1060.
7. Philip I. A.D. 1060-II08.
8. Louis VI. Le Gros. A.D. II08-II37.
9-10. Louis VII. LeJeune. A.D. II37-II80.
• See Sir Frederic Madden's Account in
1854.
Arcllt1!ololJical Joumal,
102
No.
Seals if SovereZl?ns, Corporations, Ete.
1000
12th to 13th
century.
1001
13th century.
1002 13th and 14th
century.
10°3
14th century.
10 °4 '14th century.
Seals of Sovereigns, Corporations, Ete.
1°3
-----------------------
Approximate
Date.
No.
PLATE III.
1-2. Louis VII. Another Seal.
3-4. Philip 11. "Augustus." A.D. 1180-1223.
5-6. Louis VIII. Le Lion. A.D. 1223-1226.
17th and 18th
century.
PLATEIV.
1-2. St. Louis IX. A.D. 1226--1 27°.
3-4· St. Louis. Seeond Seal Fkur-de-lis Seeded.
5-6. Philip III. Le Hardi. A.D. 1271-1285.
18th and 19th
century.
PLATE V.
1-2. Philip HI. Seeond Seal
3-4. Philip IV. Le Bel. A.D. 1285-1314.
5-6. Louis X. A.D. 1314-1316.
101 I
19th century.
PLATE VI.
1-2. Louis X . Second Seal.
3-4· Philip V. A.D. 1317-1322.
5-6. Charles IV. Le Bel. A.D. 1322-1328.
PLATE XII.
1-2. Louis XIV. A.D.1643-1715.
3-4. Louis XV. A.D. 1715-1774.
5-6. Louis XVI. A.D. 1774-1793.
PLATE XIII.
French Republic. AD. 1792-18°4.
2_ Napoleou. During the Hundred Days: A.D. 1815.
3-4. Napoleon, Emperorofthe French. A.D.1804-1814·
5-6. Louis XVIII. A.D. 1814-1824.
I.
PLATE XIV.
1-2 . Charles X. A.D. 1824-183°' Matrix if previous
Counterseal, with legend adapted.
3-4. Louis Philippe. A.D. 18Jo.
5. Louis Philippe. Counterseal altered by a Deeree if 16th
February, 183r. .
PLATE VII.
1-2. Philip VI. A,D. 1328-135°.
3-4. Jolm II. Le Bon. A.D. 135°-1364.
5-6. Charles V. Le Sage. AD. 1364-1380.
10°5 14th and 15th
century.
1-2.
3-4.
5-6.
1006
15th century.
1-2.
3-4.
5-6.
1007
16th century.
PLATE VIII.
Charles VI. A.D. 1380-1422.
Charles VII. Le Victorimx. A.D. 1422-146r.
Charles VII. Sealof Absence.
PLATE IX.
Louis XI. A.D. 1461-1483.
Charles VIII. AD. 1483-1498.
Louis XII. Le PCre du Peuple. A.D. 1498-1515.
PLATE X.
1-2. Francis I. A.D.1515-1547.
3-4. Henry H. A.D. 1547- 1559.
[For Fra71eis II. A.D. 1559-1560, see under Seotland.]
5-6. Charles IX. AD. 1560-1574.
PUTE XI.
158 9.
1-2.
Henry
III.
A.D.
1575100S 16th and 17th
century.
.3-4. Henry IV. L e Grand. A.D. 1589-1610.
5-6. Louis XIII. LeJuste. A.D. 1610-1643.
SEALS OF GE'RMAN SOVEREIGNS.
8th to I1 th
century.
PLATE I.
A.D. 768-800.
Louis 1., Le Debonnaire. AD. 814-84°'
Louis 1., as Emperor. AD. 81 3-840'
Lothaire I. A.D. 840-85 5. Antiquegem ifCaraealla,
or Alexander Severus.
Lothaire 1., as King.
Louis H. A.D. 843- 876 . Antique ge11l.
Louis IH. (?). A.D. 876-882 . Antique gem.
Charles III. " Le Gros j" E11Iperor, A.D. 881-888.
Omalllented Ilaudle of matrix.
Arnolf, as King. A.D. 888 (Imperator 896-obiit.) 899.
Louis IV. "Das kind." A.D. 9 00-9 I I .
Conrad 1., if Franeonia. A.D·9 12 -9 19·
Conrad. Smaller Seal.
Henry I. "Aueeps." A.D. 919-936.
Otho I. "Magnus," as King.
A.D. 936 (I11Ipr. 961
r. Charlemagne.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Ir.
12.
13.
14.
-ob.) 973.
15. Otho 1., as Emperor.
Seals
1°4
No
11th to 12th
century.
I.
2.
3.
4.
5.
6.
7.
8.
9.
1014
12th to 13th
century.
PLATE II.
Conrad Ir., of Franeonia; "Saliquus :" as King. A.D.
102 4- 1°39.
Henry III., as King. A.D. 1028 (Impr. I039-ob.)
1°5 6 .
Henry IIr. Smaller Seal.
Henry IV., as King. A.D. 1053 (Impr. 1056-ob.
1106.
Henry IV. Another type.
Rudolf, of Swabia. A.D. 1077-1080.
Henry IV., as Emperor. A.D. 1099 (Impr. II06-ob.)
II25·
Conrad III., of Franeonia, as King. A.D. 1138-1152.
Frederick r., o[ Swabia, "Barbarossa," as Emperor.
A.D. II52-II69-I190.
PLATE III.
Philip V., of Swabia. A.D. II97-1208.
2. Otho IV., 0/ Poitolt, as"Emperor. A.D. II97-1218.
3· Frederick II., as King of Sicily. A.D. 1196-125°.
4. Frederick 11., as Emperor and King of Jerusalem. Seal
ltsed between A.D. 1229-1239.
5-6. Frederick II. Golden Bulla.
7. Frederick 11. Obverse of smaller Golden Bulla.
8. Henry VII., of Swabia. A.D. 1222-1236.
9. Conrad IV.,
King Eled. A.D. 1237-1247; ob.
12 54.
10. William, oj Holland. A.D. 1254-1256.
I I. Richard Plantagenet, Earl of Cornwall, as
King.
A.D. 1257; ob. 1271.
13th to 14th
century.
105
--------------------------1
5. Henry VII. A.D. 13°8- 13 13.
6. Charles IV., as King. A.D.1346-1378.
7. Charles IV., as Emperor. Obverse of Sealused after
A.D.1347·
8-9. Charles IV. Golden Bulla.
PLATE
1016
1017
1018
15th century.
15th century.
15th to 16th
century.
V.
Charles IV., as King of Hungary, &Pe.
2-3. Sigismund, as Emperor, King of HUllgary, &e.
(1410-) 1 4 18-1437.
4. Sigismund, asKing. A.D. 1410-1418.
I.
PLATE VI.
Albert 11., as King; &-e. A.D. 1438-1439.
2-3. Fredcrick III., Seal of Majesty, as King, &Pe.
144°-1451; ob. 1493.
4-5. Frederick III., as Emperor. Golden Bulla.
A.D.
I.
PLATE VII.
1-2. Maximilian 1., as Emperor. Golden Bulla.
A.D
A.D.
1 493- 1 5 1 9.
I.
PLATE IV.
Alfonso,o/ Castile and Leon, as King. A.D. 1257.
2. Rudolf, of Hapsburg, as King. A.D. 1237-1291.
3-4. Rudolf. Golden Bulla.
0/ SvvereigllS, Corporations, Ete.
Approximate
Date.
Otho Ir., as Emperor. A.D. 961 (Impr. 973-ob.) 983.
Otho III., as Emperor. A.D. 983-1002.
Otho III., as King.
Henry II., as King. A.D. 1002-1024.
ras
1015
Seals
I----~--~---.-------------No.
16.
17.
18.
I9.
101 3
of .Sovereigns, Corporations, Ete.
Approximate
Date.
101 9
16th century.
1020
16th century.
102 I
17th to 18th
century.
I.
3. Maximilian, Emperor EleeI, and Charles, Archdztke
Austria. Seal used A.D. 15°8-1516,
4. Maximilian. Signet, or Judicial Seal.
5. Maximilian. Smaller Seal, as Emperor Eleet.
6. Charles V., as Emperor Eleet. A.D. 1519-1527.
7. Charles V., as Emperor. A.D. 153°-1556.
PLATE VIII.
1-2. Ferdinand I., as King, &Pe. A.D. 1556-1558.
3-4. Ferdinand I., as Emperor Eleet. Golden Bulla.
of
PLATE IX.
Rudolph II., as Emperor Eleet. A.D. 1576-1608.
2. Maximilian II.
Obverse "of the Golden Bulla.
Cire. A.D. 1564-1572.
3. Maximilian 11., as King 0/ Bohemia, &Pe. C. A.D.
1562 - 1575.
4. Maximilian II., as Emperor Elee!. C. A.D. 15631575.
PLATE X.
I. Leopold, as Emperor Eleel.
A.D. 1658-1687 (ob.
I.
17 0 5. )
106
No.
Approximate Date.
Seals
Seals of Sovereigns, Corporations. Ete.
0/ Sovereigns, Corporations, Ete.
No.
LeopoId, as Enzperor Elect, &oe.
3· CharIes V1., as Enzperor Elect, &oe.
4· CharIes V1., as Enzperor.
Approximate
Date.
PLATE
18th century.
1-2.
Francis I., as E11Iperor.
Bulla.
A.D. 171 I-1740.
XI.
A.D. 1745-1765.
3· Maria Theresia, as Dowager Em,press.
1780.
4· Maria Theresia. Sealof Arms.
102 3
18th to 19th
century.
Golden
A.D. 17 65-
PLATE XII.
Joseph 11., as Emperor Elee!. A.D. 1765-1780 (ob.
179 0.)
2. Joseph H., as Emperor Elect.
Seal 0/ Arms.
3· CharIes Theodore, Count Palatine of the Rhine, &oe.
Matrix dated A.D. 1792.
4· Ferdinand 1., Emperor of Austria. A.D. 1835-1836
(abdie. 1848.)
I.
PRIVATE SEALS OF ENGLISH
PERSONAGES.
PLATE
I.
ANTIQUE GEMS IN MEDItEVAL SETTIKGS.
102 4
12th to 14th
century.
I.
2.
3·
4·
5·
6.
7·
8.
9.
10.
11.
Henry de Bereford. Two gerns, a li01l and a bust.
MabiIIa de BonaviIIa. Arabic gern (?) captured by a
Crusader.
WaItham Abbey, in Essex. Three gems.
WiIIiam de BoneviIIa. Christian gern; an Agnus Dei.
Stephen Fitz-Harno. Three gems; the .first a youth
saerifleing abuli.
WiIIiarn de Derneford. Gern; a wyvern. A.D. 139 1.
Robert Ie F erun. Gern; a bust.
Abbot of WaIden Abbey. Gern; a winged Victory.
Gilbert de Selford.
John de NormanviIIe. Gern; a Victory. A.D. 1208
CounterseaI of Walter Giffard, Archbishop of York.
A.D. 1265. Gern; Fortune ha/ding a Victory. See
also plate 84, No. 6.
1°7
12. Ernaldus de Bosco. Gern; a Warrior protecting a
Wo/mded :fr[an.
13. Robert de Ferrers. A.D. 1272. Medireval gern.
14. Boniface, Archbishop of Canterbury.
Four gems.
A.D. 1244-127°.
15. Robert de Nottingham. A.D. 1330.
16. Counterseal of St. J ohn's Abbey, Colchester, co. Essex.
17· J ohn, Prior of Southwick.
18. Reginald Folet.
19· Thornas de Colevilla, Seottus. Cire. A.D. 1220.
Gern; Head 0/
20. Counterseal of Durharn Cathedral.
Serapis.
2r. J ohn Bosenil. Gem; an equestrian .figure.
22. W., Prior of Hereford.
Thomas Berkeley. Gern; a ram.
? Persian gern; a bull or
Eustace de Vesci.
antdope. A.D. 1160. Counterseal of No. 30.
Counterseal of Walter, Archbishop of York. A.D.
1265.
Gern; Medallion Portrait 0/ two Romans.
Richard de Erman. A.D. 1360. Medireval gern.
PhiIip de Anesty, of Edmonton. Gern: a Baeehante.
Roger de Cressy.
Margery de Drayton. A.D. 1286.
Eustace de Vesci. Antique gern; a galley sailing, and
two dolphins, impressed upon the seal after the other
part had cooled. The vetches in the centre in aUusion to his name. See No. 24·
3 I. Roger de Blakestone. A.D. 1353·
3 2 • Robert de Berkeley. C. A.D. 1250'
12 2
33· Sir John Lindsay, of Wauchopdale. A.D. 9 •
Peter
de
Brus
or
Bruce
III.
34·
2.
1022
----
PLATE
11.
SAXON AND EARLY MONASTIC SEALS.
102 5
I Ith to 12th
century.
St. Cuthbert's, Durharn.
Ethiluuald, Bishop of Dunwich.
3. St. Cuthbert's, Durharn.
4. Sherborne Minster, Co. Dorset.
I.
2.
108
Seals
Seals of Sovereigns, Corporatio1lS, Eie.
I----~A~pp~r=o~xi~m=a~te~~----------~
No.
Date.
No.
9· JElfric, Earl of Mercia. Doubiful Seal.
St. Edmund's Bury, Co. Suffolk.
1 I. St. Peter's Abbey, Bath.
J 2. St. Dunslan's, Winchester.
10.
Celltury.
15. Odo, the Cart~r "Chareter."
Seal.
IU.
EARLY ENGLISH NOBILITY.
1026
12th century.
1.
2.
3·
4.
5.
6.
7.
8.
9.
Elias de Pidele. Xllth eentury.
Ranulf, Earl of Chester.
Geoffrey de Derleia. Xllth eentury.
Avicia Fitzherbert.
Idonia de Herst.
Milo de Gloecestria. A.D. 114 I.
Lieca Fitz-Ralph, of Rouen. Xllth eentury.
Sibilla de Plugenet, or de Dinant. Xllth eenlury.
Duncan, son of Gilbert, Earl of Carrick. Cire. A.D.
22.
24.
25.
Xllltil eentury.
Giles de Gorharn, 01' Gorram. Cire. A.D. 1170.
Ralph Fitzwilliam de Dyneshall. Xllth een/ury.
Richard Fitzansis. XII/li 01' Xlllth eentury.
Helias de Albeni (D'Aubeny). Xllth eentury.
William de Vallibus (Vaux). Xllith emtury.
A lady of the Pincerna (Butler) family. A.D. II50.
William de Romare, Earl of Lincoln. A.D. I14I.
William de Aubeney. A.D. uSo.
10. Pernilla, dau. of Alfred Lütle.
26.
27.
15.
16.
17.
18.
28.
29.
30.
IV.
EARLY ENGLISH DEVICES.
102 7
12th to 13th
century.
Roger Fitz-Alan. Xllith eentury.
2. John, Chaplain of Golton.
XIII/li emtury.
3. William Berners. Xlllth emtury.
4. Thomas, son of Alexander Firt. A.D. 1230.
5. Henry, son of Swanus de Deneby. Xllltil emtury.
I.
Adam de Corseld. XIIlth eentury.
Xlilth cmtury.
William, son of Osbert de Denebi. Xillth eentury.
Geoffrey de Newhouse. XlII/li cmtury.
Roger de Berkeley. A.D. 1162.
Eustacia de Colvile, widow of Reginald Le Chien
of Scotland. "S. Eustacie c1e les Chien." A.D. 1316.
William c1e Basingstoke. XIV/h emtur)'.
Matilcla de Depe. XIVth cm/ury.
William, son of Ralph c1e Chesneduit. XlVIII cenlur)'.
PLATE
V.
EARLY ENGLISH HERALDIC SEALS.
1028
PLATE
Love
23. Hamo Brand.
1I.
J 3.
14.
Xlllth century.
16. Robert Corbet, of Scotland. XIIItII eentur)'.
17. Alexander de Chattoun. A.D. 1226.
18. Jordan, son of Henry de Deneby.
Xllltil U'ltury.
19. Cecilia, wife of Roger Creft. Xlllth emtury.
20. Walter Corbet. XlIltl1 cmtury.
2 I. Ädam, The Carpenter of Brinkelowe.
XIIItII centur)'.
II80.
12.
1°9
6. "Villiam le Falconer. Xlllth eentury.
7. Almaric le Dispenser. A.D. 1204·
8. Bertram Franc. XlIltl1 eentury.
9. Hugh le Dispenser. "Dispensator regis." A.D. 1200.
10. Eustace de Neubiging.
XlIItl1 eentury.
I l. William Bruce.
Fr01ll tlle matrix. Xlllth emtury.
J 2. Ralph Fitz-Gilbert.
X1Iltii emtury.
13. Henry de Costentin. XIIItII emtllry.
14. Henry, the Smith, "Faber," of Hogeseth.
Xlllth
5· St. Alban's Abbey, Co. Herts. From morse ivory
matrix.
6. Wilton Nunnery, Co. Wilts. St Eadgytha.
7· Sherborn"e.
8. Sherborne.
PLATE
of Sovereig1ls, Corporations, Ete.
Approximate
"Date.
Ilth 10 14th
century.
Winiam de Filgeriis. XItII cmtury.
Henry de Aucleley (Alclitheleye). XItl1 tmtury.
3. Almariclls c1e Evrellx, Earl of Gloucester. A.D. 1216.
4. Thomas Bollesdlln. XIIlth cmtury.
5. Thomas Bollesdlln. XIIIth emtur)'. Another Seal.
6-7. William de Fortibus, Earle of Albemarle. A.D. 1258.
8. Robert Fitzwalter. Front the matrix. XlIIt11 emtur)'.
9. Humphrey Bohun, Earl of Hereford. A.D. 1259.
I.
2.
--
Seals oj So'vereigns, Corporations, Eie.
11O
No.
-
Approximate
Date.
-
No.
10. Simon de Montfort, Earl of Leicester. A.D. 1206.
Ir. Reverse of No. 9.
12. Edward I., as Prince and heir apparent. A.D. 12 72.
13· Henry de Bellomonte, Earl of Buchan; . A.D. 1336.
14· Hugh de Audley, Earl of Gloucester. A.D.1344·
15. Reverse of No. 12.
Seals oj Soverezgns, Corporations, Etc.
Approximate- Date.
10. St. Mary's, Walsingham, Co. Norfolk.
Ir. St. Mary's, N etley.
12. Reverse of No. 10.
PLATE IX.
MONASTIC' SEALS,
13th and 14th
centuries.
SEALS OF CORPORATIONS.
centuries.
1-2. Carlisle City. (Common Seal.)
3· Godmanchester, Co. Hunts.
4-5· Canterbury City. (ColllmOIl Seal.)
6. Lydde, Co. Kent. (C01nmon Seal.)
7-8. Rochester City. (Common Seal.)
9. Lydde. (Bazlijf's Seal.)
PLATE VII.
1°3 0
13th and 14th
centuries.
1.
2.
3.
4.
5·
6.
7·
8.
9.
lÖ.
Sandwich, Co. Kent. ( 7bwJI ·Seal.)
Sandwich. ( Mayor's Seal.)
Reverse of No. 1.
Romney, Co. Kent.
Dover. ( Common Seal.)
Reverse of No. 5.
Corfe Castle, Co. Dorset.
Bideford, Co. Devon. (Tow1t Seal.)
Exeter. ( Staple oj Edward I.)
Barnstaple, Co. Devon.
1.
2.
3.
4·
5·
PLATE VI.
102 9 13th and 14th
6.
7·
8.
9·
10.
.
MONASTIC AND ÜTHER SEALS.
13th and 14th
centuries.
1-2. Southwick Priory, Co. Hants.
3. Friars Preachers, Bridgenorth, Co. Salop.
4-5. St. Etheldred's, Ely.
6. King's College, Cambridge.
7-8. Cottingham Priory, Co. Northt.
9. Cobham College, Co. Kent.
PLATE XI.
SEALS OF ENGLI3H PRELATES.
MONASTIC SEALS.
1.
2.
3·
4·
5·
6.
7·
8.
9·
St. Gregory's, Canterbury.
St. Mary's, Thorney, Co. Cambridge.
Abingdon, Co. Berks.
St. Radegund's, Cambridge.
St. J ohn's Hospital, Exeter.
St. Mary's, Missenden, Co. Berks.
St. Sepulchre's, Canterbury.
Ledes, Co. Kent.
St. Thomas's Hospital, London.
&c.
St. Peter's, Exeter.
Carlisle Cathedral.
St. Helen's, London.
St. Mary Magdelene's, Cumbewell, Co. Kent.
J ohn, Patriarch of J erusalem; Seal used for St. J ohn's,
Sandwich.
Reverse of No. 4.
Haghemon Abbey, Co, Salop.
St. Mary's, Merton, Co. Surr.
Chancellor of the University of Oxford.
Reverse of No. 8.
PLATE X.
PLATE VIII.
13th and 14th
1°3 1
centuries.
III
IIth to 16th
century.
I.
2.
3.
4.
5.
6.
William de Sancto Carilepho, Bishop of Durham.
A.D. 1080-1095.
Anse1m, Archbishop of Canterbury. A.D. 1°93-11°9.
Hugh Pudsey, Bishop of Durharn. A.D. I I 53-1 194.
Josceline de Welles, Bishop of Bath. A.D. 12°5-1242.
Robert Stitchell, Bishop of Durham. A.D. 126012 74.
Walter Giffard, Archbishop ofYork. A.D. 1265-1279'
Seeplate 74, No. 11.
Seals
II2
No.
0/ .Sovereigns,
Seals of .Sovereigns, Corporations, Elc.
Corporations, Etc.
Approximate Date.
I
7. Anthony de Bek, Bishop of Durham. A.D. 128313 11.
8. Reverse of No. 7.
9. Louis de Beaumont, Bishop of Durham. A.D.13 17-
I
FOREIGN PRINCES AND OTHERS.
PLATE I.
,
1°3 6
13th to 15th
century.
1333'
10. Richard Angarville, Bishop of Durham.
A.D. 13331345·
II. Henry Chicheley, Archbishop of Canterbury.
A.D.
14 14- 1443.
12. John Kite, Bishop of Carlisle. A.D. 1521-1537.
13. Thomas Cranmer, Archbishop of Canterbury.
1°37
13th centnry.
1-2. J ames 1. King of Aragon, Count of Barcelona, and
Lord of Montpelier. A.D. 1226.
1 .
J ames, King of Aragon, &c. A.D. 1258.
3
Bulla.
J ames, King of Aragon, &c. A.D. 1298.
1 4-5.
,
6-7· Henry, King of Navarre. A.D. 127 I.
1°3 8
[3th to [4th
A.D. 12 94.
Sancho IV., King of Castile and Leon.
James H., King of Aragon. A.D. 1298.
A.O.
Ferdinand IV., bifante of Castile and Leon.
1310.
Alfonso XI., King of Castile and Leon. A.D. [332.
Leadm Bulla.
Peter, King of Castile and Leon.
A. D. 1336.
LeadeIl Bulla.
PLATE XII.
14th to 16th
centnry.
I. Margaret, Lady Hungerford and Botreaux. A.D. 1476.
2. Cecilia Neviile, wife of Richard Duke of York, ob.
A.D.1495·
3. Anne Courtenay, Countess of Devon. A.D. 1418.
4. Henry Percy, Earl of Northumberland. AD. 1435.
5. Margareta Holland, Countess of Kent. AD. 1350.
6. Elizabeth de Burgo, Lady Clare. A.D. 1352.
7. Thomas de Holland, Earl of Kent. A.D. 1396.
8. Sir John Bourchier, Knt. XIVtII century.
9. Ralph Neville, Earl of Westmoreland. A.D. 140I.
10. Elizabeth, Countess of Holland. XIVtII century.
I I. George Douglas, Earl of Angus.
AD. 1459.
12. Johanna de Bohun. A.D. 1313.
13. William, Lord Hastings. AD. 1469.
14. William de Montacute, Earl of Salisbury. AD. 1338.
15. Edmund Plantagenet, Duke of Somerset. A.D. 1448.
16. Robert Dudley, Earl of Leicester. A.D. 1564.
17. Alexander Lindsey, Earl of Crawford. AD. 1446.
18. Reverse of No. 16.
1-2. Eric VI., King of Denmark. A.O. 1296.
3· J ohn, King of Denmark. A.D. 1419.
4-5· Christi an 1., King of Oenmark. A.D. 145 6 .
6. J ohn, King of Oenmark. A.D. 1499.
PLATE 11.
SEALS OF NOBLE PERSONAGES.
1°35
113
I Approximate
No.
Date.
PLATE III.
century.
1-2.
3·
4-5·
6-7.
8'9.
PLATE IV.
1°39
14th
'0 '5th
century.
Charles 11., King of Navarre. A. D. [369,
Charles. A.D. [373 ,
3. Henry II., King of Castile and I eon. A. D. 1368.
4. Reverse of ~o. 2.
5.6. lohn 1., King of Castile and Leon.
A.O. [319.
Leaden Bulla.
7-8. Henry I Il., King of Castile and Leon. A. D. 1394.
leaden Bltlla.
A.O. 1435.
9. John H. , King of Castile and Leon.
Leaden B Itlla,
10-11. Henry IV., King of Castile and Leon, A.O. 1455·
Leaden Bulla.
12. Ferdinand and Elizabeth, of Spain. A. D. 149 8 .
T.
2.
Seals of Sovereig1ls, Corpora/io/ls, Eie.
Ad"i'ertisclJlel/ts.
IIS
Ap proximatc
Date.
PL ATE
14th to '5th
cemury.
PLAn:
'3th to '4th
century.
V.
1·2. James 1., King of Majorca, &c. A.D. 12 98
James II., King ofMaj orca. A.D. 1341.
Dionysius, King of Portugal. A.D. 1318.
Rene, King of Jerusalem, &c. e. A.D. 145 2-14 80.
1-2.
3-45-6.
7-8.
9-10.
ITALIAN ART.
VI.
Henry, King of Cyprus. A.D. 1247. Bulla.
Baldwin, Emperor of Romania, &c...A.D. 1247. Bulla"
Baldwin. A.D. 1260. Goldm Bulla.
Robert, King ofSicily. A.D.1312. Bulla .
Edmund Crouchback, Titular King of Siciiy. A.D.
1255. Golden Bulla.
11-12. CharIes, King of Jerusalem and Sicily, &c. A.D.
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