DOCSLIB.ORG

The Mycenae-Vapheio Lion Group

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Mycenae-Vapheio Lion Group The Mycenae-VapheioLion Group. IOHN G. YOUNGER A bstract Fewer rings and sealstonessurr.ive than sherds. Efiorts * to .identify artistic workshops of the Late so lesshas been attempredin the u.av of artribu- Age Frg"T have generally .o.r."nt."tid on products tion. Certain scholars,horvever, have erpressed in individual media. Certain media, however, share more cor.rfidence;and Boardman and the presenr techniques;for example,chasing in metal and carv- writer have assembledgroups of stvlisticallr. ing in stone both use engraving techniques. Thus re_ lated seals it is theoreticallypossible io ,ttrilbut. woris in vari- and rings as the prod.,ci, of r-arior-r: ous media. to a single workshop. The present paper glyptic workshopsand masters.2 discusses thirty-two Mycenaean-objectsranging'from So far, scholars have attempted to identifv a bronze and niello daggers to lentoid sealsiones.On master or shop only from work in one medium. stylistic grounds, these pieces may be divided into There is, however, no reasonto assumethat an early and a late phaie of a single artistic work- arusrs -of in the Bronze shop. On the bases the proven'ience and dated Age confined themselvesto a sinsle contexts of the attributed works this rvorkshop be- medium alone. Insread,it is likely that the pie- gan production ar Mycenae in LH I for the nobles historic artist was a versatile artisan, working in buried in Shaft Grave III; the workshop,s styie a range of materialsand techniques. seemsto have run its course in LH II, as seen'in If there is any possibilityof identifying such the attributed works from the Vapheio and Rutsi an artist of tholoi. Becausethe products of the workshop have the Bronze Age, his diverse producrs mainly been identified through cerrain siylistic ought to be recognizedeasily within a large. grorrp traits in the rendering of lions, and because-these of works that all come from one place and were p-roductshave mainly come to light at Mycenae and all depositedar much Vapheio, the same time. The artifacts _they may be said to Iorm the Mycenae- Vapheio Lion Group. found in the Shaft Graves at Mycenae rhus con- stitute a natural point d'appui, for they are roughly No'"v that the efiorts of many scholars have contemporary,belonging to the formative years of helped to arricuhte the general ,rii.n, characreris- the Mycenaean period, and they differ grearly in tics of Late Minoan and Mycenaean styles in a form, function, and material. Another distinctive number of artistic media, a few are beginning to featuremakes analysis easierl though the repertory attempt to go further and identify workshops and of figured represenrarionsis large, the lion is the hands. For the ceramic material results have been animal most frequently depicted. encouraging; with some confidence we can make This paper is concernedwith thirty-two objects, attributions to a Reed Painreq to a Polyp Work- many of which carry lions rendered in a highly shop, and to a group of Pictorialists.l distinctive way. Most of these objects come from * Thc iclea for papcr this was clevelopcd indcpcndently from, Vermeule - E.T. Vermeule, "The Art of the Shaft though approximatcll, at the same time as, Professor Emily T. Graves at Mycenae," lectures in honor of Louise Vcrmeule's lecturc, "The Art of the Shaft Graves at Myccnae." Taft Semple, presenrecl3o April and r May 1973 I am grateful to Pro{essors E.T. Vermeule, G. Kopcke, and at the University of Cincinnati (Universitl, of L. Richardson for rcading this paper ancl for generously of- Oklahoma Press.r975). fering manl valuable suggestions. 1Rcspectively, M.R. Popham,"Late Minoan potter;, A Sum- In addition to the usual abbreviations, the follorving have mary," 8.1,4 6z (t967) P.P. Betancourr, ,,The pol1.p been usetl: 34r-qz Workshop: A Sqlistic Group from LM Ib," AIA 77 g97 j1 AGdS - Antifte Gennen in deutschen Sammltmpen 333-J4i B.L. I3enson,"Observations on M1'cenaeanVasc-paint- (Munich 1968- ). ers," AIA 65 (r96r) 337-47;F. Stubbings,',Some Ml.cenaean CS - V.E.G. Kenna, Cretan Seals (Oxford 196o). Arhsts," BSA 46 (r95r) t68-77. CMS - Corptrs der ntinoischen-myllcnischcn r ,,Towards Siegel (Ber- Respectivelr',GGFR j9 j-96; and J.G. younger, lin r964- ). the Chronologv of Aegean Glyptic in the Late Bronze Age,,' GGFR - J. ISoardman, Grecl1 Gems and Finger Rings unpublishedPh.D. dissertation,University of Cincinnatr r973 (London r97o). (University Microiilms 7j-za, 867) 4o5-49. Angela Tamvakis [i3ys G. - Karo, Die Sc/tac.htgriiber Lon Myftenai (Munich has collcctedfour sealstonesthat may come from a LH IIIB(l) r93o-r933). n'orkshop,AA,1 6 (t97 j) jo8-t5. 186 IOHN G. YOUNGER |AIA 82 the MycenaeShaft Graves; otherscome from the This is a powerful and statelywork; the broad Vaphero Tholos Tomb. The lions on all these planes for iowls and rnuzzle, the firm ridges for cheek muscles. objects share certain anatomicalpecuiiarities and the sharp articulations between head and mane and for nose-andeyebrows, the impressedcircles conventionsin rendering,which will be pointedout for whiskers, the short incisions for rufis, and the in the following catalogue.Additional attributrons overlapping flamelike locks of the mene, are ell de- to the group can be made on the basisof similar liberate conventions which imoart a bold but formal conventionsused in depicting animals other than quality. The face raised,mask-iike, above the rounded lions. plane of the mane is a curious feature: the oppositeis exJrected. Boardman has alreadypointed out stylisticsimi- Many of the lions on smaller works from the larities between the gold lion's head rhyton from Shaft Graves show similar characteristics: broad Mycenae Shaft Grave IV (fig. r) and lions on planes, incised ruffs that now appear on belly and severaisealstones.s This rhyton may be taken as haunches, flame locks for the mane, and the masklike our point of departure and its type of lion then face. These lions also convey, characteristically,great power and spirit. sought in other early works from Mycenae. z. (Fig. u) Karo 395. Dagger in niello. Ob- verse and reverse:three eold lions in iow relief run A. The MycenaeSubgroup in r fying grllop down ih. bl"d.. Wrvy contours in I. From Mycenae niello flow from the margins to fiIl spaces. a. Shaft GraveIV :. (Fig. 3) Karo 394. Dagger in niello. Ob- r. (Fig. r) Karo 273.GoId rhyton in the form verse: a lion attacksa small herd of five sazelles.He of a lion's head. fells one towrrd the hilt while the others flee in e flying gallop down the blade. Three gazelles are in- tent on escaping,but one worriedly turns its head re- gardant. Reverse:four men armed with shields,spears, and bows and arrows attack r pride of three lions. Two escapedown the blade in fying gallop, but the third, the fiercest, having kiiled one hunter, turns to attack his four comrades.n Besidesthe distinctive rendering of the lions, the gazellestoo exhibit interesting featurespresent in other depictions.Their heads resemble those of the horseson the gold ring No. r3 and on the sword No. r7, both below; their sleek bodies match those of the leopardson the dagger No. rJ, and on the gold pom- mei, No. J, where they appear similarly dappled. This dagger also presentsa highly sophisticated narration. On the obverse,a lion attacksgazelles, while on the reversea lion de{endshimself asainst attackers. In both scenesthe aggressorattacks from the hilt of the dagger, while the attacked is depicted toward the tip of the blade. The composition thus stands as a metaphor lor the use of the dagger itself. b. Shaft Grave III +. (Fig. .1) Karo 295b. Ivory sword pommel. Around the body of the pommel four lions run clock- wise in fying gallop; their heads,noses to center,form a tetraskelion design at the top. Though the crimped fur on the belliesand haunchesof theselions is omit- ted, the treatment of manes and heads and the bold Frc. r. No. r. Gold rhyton from Mycenae, Shaft symmetrical composition require the inclusion of this GrevelV (afterKaro) pommel here. present prefcr s 6G.FR395-96, Groups A ancl |. for them all thc same mrster. The writer woulcl J tu trblc the querti,'n rt this tinre. Vermeule n :i !!c,'mnrrC: irrf t'. )v' the style of this rlagger to that of the Silver Siege Rhyton and Stele K. r4jr, suggestrng t:, Frc. 3. No. 3. Dagger from Mycenae,Shaft Grave IV, detail (photo author) nffi loHN G. YOUNGER lAlA 82 -ll[&a .: Frc. 4. No. 4. Ivory pommel from Mycenae, Shaft Grave III, resrored drawing (after Karo) S. (Fig. 5) Karo 295a. Gold-plated sword pom- mel. Around the body of the pommel a lion atracks a leopard; both run clockwise in flying gallop. The leopard's dappling resembles that of the gazelles on No. 3 obverse and the Kerbschnitt decora- tion on the tail resembles the grooving on the lion tails of No. 6. The crimped belly fur is here presenr Ft9, No. Gold-platedpommel from Mycenae, again. 5, 5. Shaft Grave III, restoreddrawing (after Karo) On the foreiimbs of both felines a prominenr vein curves from the elbow across the leg io the top of the paw. Such a vein occurs in nature across the slope. An arrow has pierced his shoulder and he turns hindleg where on the interior it is called the grear his snarling head toward it.s saphena,and on the exterior the small saphena.These 8. (Figs. 9, ro) Karo y @MS I 9). Gold veins appear in other depictions of animals both cor- cushion-shaped seal. A lion at left rears right to bite rectly on the hindleg and incorrectly on the foreleg, the shoulder of a man who lifts his dagger to stab both interior and exterior; cf.
Load more

Recommended publications
  • METAL ENAMELING Leader Guide Pub
    Arts & Communication METAL ENAMELING Leader Guide Pub. No. CIR009 WISCONSIN 4-H PUBLICATION HEAD HEART HANDS HEALTH Contents Before Each Meeting: Checklist ..............................1 Adhesive Agents or Binders ....................................6 Facilities Tools, Materials and Equipment Safety Precautions..................................................6 Resource Materials Kiln Firing and Table-Top Units Expenses Metal Cutting and Cleaning Planning Application of Enamel Colors Youth Leaders Other Cautions Project Meeting: Checklist ......................................3 Metal Art and Jewery Terms ...................................7 Purposes of 4-H Arts and Crafts ...........................................8 Components of Good Metal Enameling Futher Leader Training Sources of Supplies How to Start Working Prepare a Project Plan Bibiography ............................................................8 Evaluation of Projects Kiln Prearation and Maintenance ...........................6 WISCONSIN 4-H Pub. No. CIR009, Pg. Welcome! Be sure all youth are familiar with 4H158, Metal Enameling As a leader in the 4-H Metal Enameling Project, you only Member Guide. The guide suggests some tools (soldering need an interest in young people and metal enameling to be irons and propane torches), materials and methods which are successful. more appropriate for older youth and more suitable for larger facilities (school art room or spacious county center), rather To get started, contact your county University of Wisconsin- than your kitchen or basement. Rearrange these recommen- Extension office for the 4-H leadership booklets 4H350, dations to best suit the ages and abilities of your group’s Getting Started in 4-H Leadership, and 4H500, I’m a 4-H membership and your own comfort level as helper. Project Leader. Now What Do I Do? (also available on the Wisconsin 4-H Web Site at http://www.uwex.edu/ces/4h/ As in any art project, a generous supply of tools and pubs/index.html).
    [Show full text]
  • Gilt Fibula with Christogram from Imperial Palace in Sirmium
    UDC 904:739.1/.2"652"(497.113) DOI: 10.2298/STA0757101P 101 IVANA POPOVI], Institute of Archaeology, Belgrade GILT FIBULA WITH CHRISTOGRAM FROM IMPERIAL PALACE IN SIRMIUM Abstract. ‡ The foot of gilt bronze fibula was discovered in 2005 during archaeological investigations of locality 85 in Sirmium, that is assumed to have been the remains of the imperial palace. Ornament on the foot enclosed within rectangular field is executed in the niello technique. End of the foot is bent at the right angle and the Christogram is engraved on it with Greek letters alpha and omega engraved above its side arm. The preserved part of fibula makes possible reconstruction of its appearance and attribution to the group of massive bronze crossbow fibulae, which were produced in the second half of the 4th century and characterized by decoration consisting of gilding, niello, Christogram motif and/or the busts of young men in medallions. Key words. ‡ Crossbow fibula, Christogram, Late Antiquity, Sirmium n the course of archaeological investigations at bent upper arm makes letter rho. Letters alpha and locality 85 in Sirmium, that could be assumed omega are engraved above the side arm of the cross with considerable certainty to be the segment of as direct allusion to Christ as the beginning and the I 1 imperial residential complex, the foot of gilt bronze end’, in accordance with His words in the Book of fibula (C-169/2005), 31 x 22 mm in size (Fig. 1), was Revelation (1:8; 21:6; 22:13). discovered in the fall of 2005. The fibula fragment The distinct ornament on the foot makes possible has been found in sector C, room 12, in the layer of relatively precise reconstruction of fibula, despite the building rubble originating from the same site and fact that its other parts are not preserved (Fig.
    [Show full text]
  • Marchi, Janel – FILIGREE Buttons-February 2009 WRBA.Pdf
    Page 36 WRBA Territorial News, Volume 7, Issue 1 WRBA Territorial News, Volume 7, Issue 1 Page 1 THE BUTTON CALENDAR PRESIDENT’S MESSAGE Oregon Spring Workshop. March 14. Tualatin Elks Lodge. Best wishes to each of you for a safe, peaceful, productive 2009 filled with Button Bazaar (presented by laughter, love, and buttons that warm your Sacramento Button Club) February heart. Make memories you can treasure in 28, Saturday. 10AM—5PM. Carmi- the years to come! The WRBA button world chael Park Community Club House, lost dear members this year and we shall 5750 Grant Avenue, Carmichael CA. Donation $2. Contact Faye treasure the memories we made with them. Wolfe (916) 489-1785 Speaking of treasure, this issue [email protected] contains our 2008 financial reports. The careful management and hard work of Colorado Button Show. April 17-19. 9am-4pm. WRBA leaders contributes to our stability. Oregon State Button Show, April 29 -May 2. “Buttons . The Stories They To best manage WRBA finances, our Tell” Keizer Renaissance Inn, Keizer OR. Exit 260B on I-5 Highway. (800) Treasurer shall open two bank CDs with funds not needed until our 2010 299-7221 www.labelcollector.com WRBA convention. California State Button Society. May 22-24. “Celebrating the Art of But- The WRBA Board recently completed action on 3 items. tons” Holiday Inn Sacramento North, East I-80. (916) 338-5800. (1) The 10-tray limit on competitive trays has been removed. Idaho State Button Show. June 4-6. “Rainbow of Shells” Best Western (2) We adopted a policy that membership information will not be shared, Hotel, Caldwell ID.
    [Show full text]
  • Niello Is a Black Mixture of Copper, Silver, and Lead Sulphides, Used As an Inlay on Engraved Or Etched Metal. It Can Be Used for Filling in Designs Cut from Metal
    Cutlery , Italy XVI th Century Coral , brass, silver , Iron , Gold 2010. 29. 1,2 G350 ( I call this the Treasury room) Key Points : Use of silverware relatively recent development in our western Society - People ate with bare hands - until the XVIth C – for instance Caterina de Medici went to France to marry Henry second son of King Francis I – in her dowry she brought her own fork and spoon enclosed in a box called a cadena - This was something new for the French but in Italy the fork arrived around XI th C – before that people were reliant on simple spoons and knifes that were both weapons and utensils. Guests would each bring their own utensils. Ancient Greeks used the fork but then the use fell out of custom. Byzantine Empire use developed during the first millennium but common use not until XVIIIth C in western world, North America XIXth….early use mainly as cooking utensil (Rome) Fun fact : Lorenzo de Medici’s estate included 18 forks… all for his private use. People would bring their own silverware if they had any to a banquet Use of fork in 1600’s regarded as unmanly Italian affectation and frowned upon by Roman Catholic Church – “ god in his wisdom has provided man with natural forks …his hands..” but mentioned in Bible… Before use of cutlery it was common to wipe own’s hands on any available material – hence no upholstery on chairs until development of silverware… This set of cutlery would have belonged to a high ranking individual such as nobleman, ambassador or Ruler.
    [Show full text]
  • Silver Jewellery
    © Republic of Turkey – Ministry of Economy, 2012 0 SILVER JEWELLERY The first major silver mines and examples of jewellery were recorded around 4000 BC, located in Anatolia. They were mostly the main source of silver for many of the growing cultures in that area of the world and others that would trade for silver. Silver has been used for thousands of years as ornaments and utensils, for trade, and as the basis for many monetary systems. However, the basic most notable use of silver is its beauty and appeal as an item of jewellery. Silver has always been known to enhance the beauty of precious stones hen set into a ring or a necklace. Since the discovery of silver, Anatolia has been a major center for silver jewellery production. Think about a land which has developed its own techniques and figures in the art of jewellery production for thousands of years. All of the civilizations which have inhabited Anatolia have produced numerous objects for both religious and artistic purposes. People worked with metals, sometimes including precious and semiprecious stones. The Hittites, Urartians, Phrygians, Ionians, Lydians, Romans, Byzantines, Seljuks and Ottomans all established their rule in Anatolia and created their own jewellery styles. The most significant style among the different types of jewellery was brought to Anatolia by the Seljuks. Their great influence on the Turkish jewellery tradition is demonstrated by Turkoman jewellery which originated in Central Asia, and is still produced and worn by Turkoman tribes. Colored gemstones and pieces of glass with symbolic meanings, as well as silver and gold, are used in this jewellery which is still produced and worn in Turkey.
    [Show full text]
  • Niello for the Modern Jeweler
    Niello for the Modern Jeweler Christopher M. Manning Owner Silver Hand Studios Ottawa, Ontario, Canada Introduction Niello was an important alloy used by metalsmiths from ancient times until the end of the Renaissance. The low-temperature metal sulfide was commonly used as a high-contrast, fusion inlay alloy. The color permeates the alloy and ranges from dark grey to deep black. It is an excellent choice when making high-wear items where patinas and other surface treatments will wear. It was regularly fused into bronze, iron, silver and gold. My first introduction to niello came from Cellini’s Treatise on Goldsmithing and Sculpture.1 Since first experimenting with niello six years ago, it has become an important material in my art. Niello was an important alloy in Renaissance Italy and commanded the first chapter in Cellini’s Treatise. While the Renaissance was the pinnacle of niello production, its use in decorative metalwork spans from the ancient Egyptians and Romans up to modern-day Russian and Thai jewelers. The Fuller Brooch, located in the British Museum, is one of the finest surviving examples of niello work (Figure 1). Manning Figure 1 Late 9th century Anglo-Saxon brooch made of silver and niello May 2018 345 In my 2017 Santa Fe Symposium® paper, “Niello: An Introduction to an Ancient selection were these three: low melting temperature, boiling temperature above Material for the Modern Jeweler,”2 I explored some of the most common historical the melting temperature of the silver/copper alloy and low toxicity. recipes for making niello. While many of the traditional recipes have withstood the test of time, there are significant toxicity and contamination issues associated with their use.
    [Show full text]
  • 02 CH02 P020-047.Qxp 6/10/09 13:56 Page 20 02 CH02 P020-047.Qxp 6/10/09 13:56 Page 21 CHAPTER 2 Ancient Near Eastern Art
    02_CH02_P020-047.qxp 6/10/09 13:56 Page 20 02_CH02_P020-047.qxp 6/10/09 13:56 Page 21 CHAPTER 2 Ancient Near Eastern Art ROWING AND STORING CROPS AND RAISING ANIMALS FOR FOOD, the signature accomplishments of Neolithic peoples, would gradually change the course of civilization. Not long before they ceased to follow Gwild animal herds and gather food to survive, people began to form permanent settlements. By the end of the Neolithic era, these settlements grew beyond the bounds of the village into urban centers. In the fourth earliest writing system, beginning around 3400–3200 bce, con- millennium bce, large-scale urban communities of as many as sisting of pictograms pressed into clay with a stylus to create 40,000 people began to emerge in Mesopotamia, the land between inventories. By around 2900 bce, the Mesopotamians had refined the Tigris and Euphrates rivers. The development of cities had the pictograms into a series of wedge-shaped signs known as tremendous ramifications for the development of human life and cuneiform (from cuneus, Latin for “wedge”). They used this sys- for works of art. tem for administrative accounts and the Sumerian Epic of Although today the region of Mesopotamia is largely an arid Gilgamesh in the late third millennium bce. Cuneiform writing plain, written, archaeological, and artistic evidence indicates that continued through much of the ancient era in the Near East and at the dawn of civilization lush vegetation covered it. By master- formed a cultural link between diverse groups who established ing irrigation techniques, populations there exploited the rivers power in the region.
    [Show full text]
  • Niello-20-C-Manning.Pdf
    Manning / Niello 2.0 / 1 Abstract Over the past 3500 years, niello has been utilized by almost every culture with a tradition of decorative metal work. However, it has been abandoned by modern western jewellers. Traditionally niello is manufactured using lead, making it unsafe, and unsuitable for use in modern jewellery. This paper will explore the historical manufacturing and use of niello to provide context, as well as present how to manufacture a lead-free version for safe use by modern jewellers. Niello 2.0 Christopher M. Manning Silver Hand Studios, Ottawa, Canada Niello was an important alloy used by metal-smiths from ancient times until the end of the Renaissance. The low-temperature metal sulphide was commonly used as a high-contrast, fusion inlay alloy. The colour permeates the alloy and ranges from dark grey to deep black. It is an excellent choice when making high-wear items where patinas and other surface treatments will wear. It was regularly fused into bronze, iron, silver and gold. My first introduction to niello came from Cellini’s Treatise on Goldsmithing and Sculpture1. Since first experimenting with niello seven years ago, it has become an important material in my art. Niello was an important alloy in Renaissance Italy and commanded the first chapter in Cellini’s Treatise. While the Renaissance was the pinnacle of niello production, its use in decorative metalwork spans from the ancient Egyptians and Romans up to modern-day Russian and Thai jewellers. The Fuller Brooch, located in the British Museum, is one of the finest surviving examples of niello work (Figure 1).
    [Show full text]
  • Catalogue 1 to 10
    Lots 1 - 10 Lot #1: SET OF SIX RUSSIAN SILVER TEASPOONS Vasily Ivanovich Ivanov, Moscow, circa 1870, each twig-modeled handle with climbing bear, the bowl with basketweave underside, fitted case; 6 1/8 in., combined approx. 9 oz. Provenance: The Estate of Cynthia Phipps; A La Vielle Russie, NY. Estimate: $ 1000.00 - $ 1500.00 Lot #2: RUSSIAN SILVER TOBACCO BOX Maker's mark M in reverse and N in rectangle, the hinged lid engraved with lakeside scene, on engine-engraved ground; 4 1/4 in. Provenance: The Estate of Cynthia Phipps. Estimate: $ 900.00 - $ 1200.00 Lot #3: RUSSIAN SILVER TOBACCO BOX Maker's mark HA in rectangle, the lid engraved with lobed troika scene, on scrollwork, the reverse with gold monogram; 4 3/8 in., 6 oz. Provenance: The Estate of Cynthia Phipps. Estimate: $ 900.00 - $ 1200.00 Lot #4: RUSSIAN PAINTED ENAMEL AND SILVER BASKET Impressed 84 to right of profile and BA in block letters; the swelling bowl painted at the front with a presentation scene, die cast anthemia rim and swing handle; 3 x 4 in., approx. 10 oz. Provenance: The Estate of Fred F. and Lois K. Rogers. Estimate: $ 700.00 - $ 1000.00 Lot #5: RUSSIAN ICON: THE MADONNA AND CHILD Oil on panel, the silver gilt rizza with inscription in Cyrillic at base and the date 1737, velvet back; 10 1/2 x 8 1/4 in. Estimate: $ 600.00 - $ 800.00 Lot #6: RUSSIAN ENAMELED BRASS ICON The front with 4 scenes from the life of Christ, beneath a wreath- enclosed tondo, the reverse with a view of the cross, the walled city and inscriptions; 7 x 3 7/8 in.
    [Show full text]
  • Copper Tooling Handout
    Copper Repousse Repousse Metal Work Copper, gold, and silver were The process or the product of ornamenting fashioned into ornaments and amulets as early metallic surfaces with designs in relief as the Neolithic period (stone age). Goldwork hammered out from the back by hand. and silverwork have since employed the talents Gold and silver are most commonly used today of leading artisans and artists in making for fine work, but copper and tin are suitable for embossed jewelry, plates, relief inlays, and the purpose, and bronze was extensively used in sculpture. The first great advance in past times. The process is of ancient origin, metalworking occurred when techniques for having been employed by most early making bronze sculpture were developed civilizations. Among the finest examples of during the Bronze Age. Methods of repousse are the famous bronze armor of shaping metals include drawing, spinning, Greece of the 4th cent. B.C., Byzantine religious hammering, and casting; various decorative works, and much of the gold and bronze work processes include chasing, damascening, of Benvenuto Cellini. embossing, enamel work, filigree, gilding, inlaying, niello, and repousse. Embossed: Embossing refers to the creation of an impression of some kind of design, decoration, lettering or pattern on another surface like paper, cloth, metal and even leather, to make a relief. Relief is a sculptural technique. The term relief is from the Latin verb relevo, to raise. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the back- ground plane. High Relief: Where more than 50% of the depth is shown and can even wrap around and undercut areas.
    [Show full text]
  • A Metalsmith's Guide to Toxicology Margery Beth Rose
    Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 1976 A Metalsmith's Guide to Toxicology Margery Beth Rose Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Rose, Margery Beth, "A Metalsmith's Guide to Toxicology" (1976). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. ROCHESTER INSTITUTE OF TECHNOLOGY A METALSMITH'S GUIDE TO TOXICOLOGY A THESIS SUBMITTED TO THE FACULTY OF THE SCHOOL FOR AMERICAN CRAFTSMEN DEPARTMENT OF METALCRAFT AND JEWELRY BY MARGERY BETH ROSE ROCHESTER, NEW YORK MAY 1976 Dedicated to Gary 'and Sharon and My Fellow Metalsmiths Everywhere ii The author gratefully acknowledges the enormous assistance provided by the works of: Dr. Jeanne M. Stellman and Dr. Susan M. Daum, Dr. Leonard J. Goldwater and Dr. Irving Sax, Dr. Bertram Carnow, Dr. E. R. Plunkett, Dr. Michael McCann, Mr. Jerome Siedlecki, and the Encyclopedia of Occupational Health and Safety. Specific references are cited in footnotes and in the bibliography. I would also like to thank Mr. Robert Barrett, Area Director of OSHA, for his assistance. 111 TABLE OF CONTENTS INTRODUCTION 1 SECTION ONE: 7 ESSENTIAL DEFINITIONS OF TERMS USED IN THE TEXT Toxicology, toxicity and poisons, modes of entry acute vs. chronic effects, threhold limit values SECTION TWO: BASIC PHYSIOLOGY AND ANATOMY OF SYSTEMS AFFECTED BY ABSORPTION OF TOXINS '-.
    [Show full text]
  • The Islamic Appropriation of a Middle Byzantine Rosette Casket*
    Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College History of Art Faculty Research and Scholarship History of Art 2008 Cross-cultural Reception in the Absence of Texts: The slI amic Appropriation of a Middle Byzantine Rosette Casket Alicia Walker Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/hart_pubs Part of the History of Art, Architecture, and Archaeology Commons Custom Citation Walker, Alicia. "Cross-cultural Reception in the Absence of Texts: The slI amic Appropriation of a Middle Byzantine Rosette Casket." Gesta 47, no. 2 (2008): 99-122. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/hart_pubs/26 For more information, please contact [email protected]. Cross-cultural Reception in the Absence of Texts: The Islamic Appropriation of a Middle Byzantine Rosette Casket* ALICIA WALKER Washington University in St. Louis Abstract over fixity and reception over provenance. The Ivrea casket is made from ivory and bone plaques affixed to a wooden core.6 The reception of art and architecture in the Middle Ages The carvings depict acrobats, dancers, musicians, and combat­ is typically studied through the verbal accounts of medieval viewers. This paper explores possibilities for interpreting ar­ ant animals framed by finely carved floral motifs (Figs. 1-5). tistic reception in the absence of texts, through the material The borders affiliate the object with the so-called rosette cas­ record of works of art themselves, specifically, a Byzantine kets, a group of approximately forty-five middle Byzantine ivory casket altered through the addition of Islamic gilded ivory- and bone-clad containers, which are typically dated from bronze fixtures.
    [Show full text]