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Textiles

by

LASZLOLÁSZLÓ TOROKTÖRÖK

«L'ERMA»<> di diBRETSCHNEIDER BRETSCHNEIDER LAszLOLászló TORUKTörök Coptic Antiquities IIII

© Copyright 1993 by L'ERMA«L'ERMA» di di BRETSCHNEIDER BRETSCHNEIDER Via Cassiodoro,Cassiodoro, 1919 -- RomaRoma

Progetto grafico:grafico: <>«L'ERMA» di di BRETSCHNEIDER BRETSCHNEIDER

Tutti i dirittidiritti riservati.riservati. EÈ vietatavietata lala riproduzioneriproduzione didi testi ee illustrazioniillustrazioni senzasenza iiil permesso permesso scritto scritto dell'editore. dell'editore.

ISBN 88-7062-805-188-7062-805-1 CONTENTS

IntroductionIntroduction...... 7 7

Abbreviations A. Abbreviations used used in in thethe descriptiondescription of of textiles textiles ...... 9 9 B. Bibliography ...... 9 9

Textiles IntroductoryIntroductorynote note ...... 13 13 TTl-T216 1-T 216 ...... 16 16

Concordance I. I. MuseumMuseum ofof FineFine ArtsArts textilestextiles byby InventoryInventory Number Number ...... 88 88 Concordance II. II. MuseumMuseum of of AppliedApplied Arts Arts textiles textiles by by Inventory Inventory Number Number ...... 89 89 Concordance III.III. Museum of Applied ArtsArts textilestextiles purchasedpurchased from Robert Forrer, Stras-Stras- bourg...... 91bourg 91

Plates...... 93Plates 93 INTRODUCTION

In thisthis secondsecond volumevolume ofof thethe Coptic Coptic Antiquities Antiquities 217217 textilestextiles areare published published from from the the collec- collec- tions ofof twotwo BudapestBudapest museums:museums: thethe MuseumMuseum ofof Fine Fine Arts Arts and and the the Museum Museum of ofApplied Applied Arts. Arts. The 61 itemsitems publishedpublished fromfrom thethe collectioncollection ofof thethe MuseumMuseum ofof Fine Fine Arts Arts representrepresent thethe entire entire Coptic textiletextile materialmaterial ofof this museum. BeyondBeyond the 156156 CopticCoptic piecespieces publishedpublished herehere fromfrom thethe collection ofof the MuseumMuseum ofof AppliedApplied Arts, that museummuseum alsoalso possessespossesses aa numbernumber of of fabrics fabrics of of late Medieval datedate from Egypt.Egypt. TheseThese latterlatter werewere notnot includedincluded intointo this this catalogue. catalogue. Over 70 pices inin thethe CopticCoptic textiletextile collectioncollection ofof thethe Museum Museum of of Applied Applied Arts Arts come come from from the excavationsexcavations of RobertRobert ForrerForrer atat thethe cemeteries cemeteries of of Akhmim-Panopolis. Akhmim-Panopolis. TheThe remainderremainder waswas purchased over the coursecourse ofof thisthis century; century; somesome pieces pieces were were donated donated by by private private collectors, collectors, among them MaximilianMaximilian HerzHerz Bey,Bey, anan Austro-HungarianAustro-Hungarian inin KhedivialKhedivial serviceservice inin thethe early early years years of the century,century, whowho isis alsoalso knownknown asas aa collector collector of of Islamic Islamic ceramics. ceramics. FurtherFurther purchases purchases were were made in thethe mid-mid-1980's 1980's fromfrom the samesame privateprivate collectioncollection fromfrom whichwhich thethe bulkbulk ofof the the textiles textiles in thethe CopticCoptic collectioncollection ofof thethe MuseumMuseum ofof Fine Fine Arts Arts was was also also acquired acquired in in 1975, 1975, 1977 1977 and and 1984. 1984. The student ofof CopticCoptic textilestextiles should certainlycertainly not underestimateunderestimate thethe importanceimportance ofof the the fact fact that therethere areare overover seventyseventy fabricsfabrics publishedpublished herehere fromfrom oneone site,site, Akhmim.Akhmim. WhileWhile theirtheir chron-chron- ological distributiondistribution provides usus with indirect,indirect, butbut perhapsperhaps notnot accidental, accidental, informationinformation about about the chronologicalchronological range ofof thethe cemeteriescemeteries exploredexplored byby Forrer,Forrer, theirtheir stylistic stylistic range range further further strengthens our impressionimpression thatthat styles» should bebe understoodunderstood lessless dogmaticallydogmatically thanthan isis usual in thethe literature.literature. TheThe artart historicalhistorical consequencesconsequences thatthat areare disperseddispersed inin thethe comments comments onon the individualindividual textiles could not be summarizedsummarized in greatergreater lengthlength here;here; II havehave attempted,attempted, how-how- ever, toto givegive a shortshort discussiondiscussion ofof thethe problemsproblems thatthat havehave emergedemerged inin connection connection withwith thethe fabrics catalogued here inin thethe Introductory Introductory Note Note below. below. I amam indebtedindebted toto Professor Professor János János Gyorgy György Szilagyi, Szilágyi, Keeper Keeper of of Classical Classical Antiquities, Antiquities, Museum Museum of Fine Arts, for countlesscountless adviceadvice during thethe writingwriting ofof thethe catalogue.catalogue. II am am similarly similarly indebted indebted to Mr.Mr. BoldizsárBoldizsár Csornay,Csornay, whose selfless helphelp during my work inin thethe MuseumMuseum ofof Fine Fine Arts Arts isis gratefully acknowledged.acknowledged. Special thanks areare duedue to to Dr. Dr. EmO'ke Emó'ke László,László, KeeperKeeper ofof Textiles Textiles inin the the Museum Museum of of Applied Applied Arts, and to thethe extremelyextremely helpfulhelpful staffstaff ofof thethe TextileTextile Collection in that Museum.Museum. Last,Last, butbut notnot least, I oweowe aa debtdebt toto Dr. Dr. Alice Alice M.M. ChoykeChoyke forfor thethe revision revision of of my my English English manuscript. manuscript.

Budapest, DecemberDecember 1988.1988. L. Török

7 ABBREVIATIONS

A. Abbreviations used in thethe descriptiondescription ofof textiles textiles Dm = diameter H = height L = length W = width S = S-spinning, i.e., i.e., fibers fibers twisted twisted so so thatthat the angle of the twisttwist inin relationrelation toto the the vertical vertical axis axis of of the the thread thread resembles the central strokestroke ofof thethe letterletter S S zZ = Z-spinning, i.e., i.e., fibers fibers twisted twisted so so that that thethe angle of the twisttwist inin relationrelation toto thethe vertical vertical axisaxis ofof the the thread thread resembles the central strokestroke ofof thethe letterletter Z Z 1I tapestry,tapestry, 2 tapestry,tapestry, 33 tapestrytapestry == anan indicationindication ofof the the number number of of warp warp threads threads around around which which the the wefts wefts are are passed passed in aa passagepassage ofof tapestry tapestry weaves weaves SzM preceding an inventory number == textiletextile inin thethe collection collection ofof the the Museum Museum of of Fine Fine Arts Arts IM preceding an inventoryinventory number == textiletextile inin the the collection collection of of the the Museum Museum of of Applied Applied Arts. Arts.

B. BibliographyBibliography

Abbreviations of periodicals accordingaccording toto ArchaologischeArchäologische BibliographieBibliographie 1979 by W. Herman (1980) X-XXKVIX-XXXVI. Age of Spirituality 19791979 K. WEITZMANNWeitzmann (ed.), (ed.), Age Age of ofSpirituality. Spirituality. Late Late Antique Antique and and Early Christian Art,Art, ThirdThird to SeventhSeventh Century.Century. Catalogue of thethe ExhibitionExhibition atat the the Metropolitan Metropolitan Museum Museum of of Art, Art, November 19,19, 1977,1977, throughthrough FebruaryFebruary 12, 12, 1978, 1978, New New York York 1979. 1979. Apostolaki 19321932 A. APOSTOLAKI,Apostolaki, Ta TaKoptika Koptika Hyphasmata Hyphasmata toutou enen AthenaisAthenais Mouseiou Mouseiou KosmetikOn Kosmetikòn Technón,TechnOn, Athens 1932.1932. Baginski-Tidhar 19801980 A. BAGINSKI-A.Baginski-A. Tidhar, TIDHAR, Textiles Textiles from from Egypt. Egypt. 4th 4th - -13th 13th CenturiesCenturies CE.,C.E., Jerusa-Jerusa- lem 1980.1980. Beckwith 19631963 J. BECKWITH,Beckwith, Coptic Coptic SculptureSculpture 300-1300,300-1300, LondonLondon 1963. 1963. Beckwith CIBACIBA 19591959 I.J. BECKWITH,Beckwith, Tissus Tissus coptes, coptes, Les Cahiers CIBACIBA 83,83, BaselBasel 1959. 1959. Benaki Guide SommaireSommaire 19811981 L. MARANGOU,Marangou, Koptika Koptika Hyphasmata. Hyphasmata. Coptic Coptic Textiles.Textiles. Guides SommairesSommaires BenakiBenaki Museum, AthensAthens 1971 1971 Beograd 19701970 G. BROKER,Bröker, Umetnost Umetnost Kopta. Kopta. Beograd Beograd NarodnyNarodny Musey (Catalogue of thethe exhibitionexhibition of Coptic art fromfrom thethe StaatlicheStaatliche MuseenMuseen BerlinBerlin atat the the National National Museum Museum Beograd), Beograd), Beograd 1970.1970. Berman CollectionCollection L. TOROK,TörOk, Coptic Coptic Textiles Textiles in in the the collectioncollection ofof thethe late EugeneEugene Berman,Berman, Rome.Rome. Un-Un- publ. ms.ms. Broker StoffeStoffe AA 19661966 G. BROKER,Bröker, Koptische Koptische Stoffe. Stoffe. Staatliche Staadiche Museen zu Berlin.Berlin. Fruhchristlich-byzantini-Frühchristlich-byzantini- sche Sammlung,Sammlung, BerlinBerlin n.d.n.d. (1966). (1966). Broker StoffeStoffe BB 19671967 G. BROKER,Bröker, Koptische Koptische Stoffe,Stoffe, Insel-BüchereiInsel-Bucherei Nr. 860,860, LeipzigLeipzig 1967. 1967. Catalogue 5000 Ans 19601960 5000 Ans d'Art Egyptien.Egyptien. PalaisPalais desdes Beaux-Arts Beaux-Arts BruxellesBruxelles Mars-JuinMars-Juin 1960, 1960, Bruxelles Bruxelles 1960. Chassinat 19111911 E. CHASSINAT,Chassinat, Fouilles Fouilles à aBaouit Baouit I,I, MIFAO 13,13, LeLe CaireCaire 1911. 1911. Chr. am NilNil 19631963 Koptische Kunst.Kunst. Christentum am Nil. 3. MaiMai bisbis 15.15. AugustAugust 19631963 imim Villa Villa Hugel Hügel Essen, EssenEssen 1963.1963.

9 Dalton 19111911 O.M.0.M. Dalton,DALTON, Byzantine Byzantine Art Art and and Archaeology,Archaeology, OxfordOxford 1911 (reprint NewNew York York 1961). 1961). Del Francia 19871987 L. DELDel FRANCIA,Francia, Tissus Tissus coptes coptes d'Antinoed'Antinoe àa Florence, Rivista degli StudiStudi OrientaliOrientali 58, 58, (1984), 55-8355-83 (pubi.(pubi. 1987).1987). Du Bourguet 19641964 P. DUdu BOTJRGTJET,Bourguet, Musée Musée National National du du Louvre Louvre Catalogue Catalogue des des ÉtoffesEtoffes Coptes I,I, ParisParis 1964. Du Bourguet ConqueteConquête 19531953 P. DUdu Bourguet,BOURGUET, La La fabrication fabrication des des tissus tissus coptes coptes aurait-elle aurait-elle largementlargement survécu àa laIa conquête arabe?arabe? BSAABSAA 40,40, (1953),(1953), 1-31. 1-31. Du Bourguet KoptenKopten 19671967 P. DUdu BOURGUET,Bourguet, Die Die Kopten, Kopten, Baden-Baden 1967.1967. Effenberger Budapest 19801980 A. EFFENBERGER,Effenberger, Kopt Kopt müvészet. müvészet. A A berlini berlini ÁllamiAllami Muzeumok korakeresztenykorakeresztény esés bizánci gyujteményénekgyüjteményének vendegkiállitasa.vendégkiállitása. SzépmuvészetiSzépmüvészeti Muzeum BudapestBudapest 19801980 (Coptic Art. Travelling exhibition of thethe EarlyEarly ChristianChristian andand Byzantine Byzantine Collections Collections from the StaatlicheStaatliche MuseenMuseen BerlinBerlin inin thethe MuseumMuseum ofof Fine Fine Arts Arts Budapest), Budapest), Buda-Buda- pest 1980.1980. Eggebrecht 19781978 E. EGGEBRECHT,Eggebrecht, Spätantike Spatantike und und koptische koptische Textilien,Textilien, Teil 1,1, CorpusCorpus AntiquitatumAntiquitatum Aegyptiacarum Lose-Blatt-Katalog ÄgyptischerAgyptischer Altertümer, Palizaeus-MuseumPälizaeus-Museum Hildes-Hildes- heim, MainzMainz 1978.1978. Egger 19671967 G.EGGER,G.Egger, Koptische Koptische Textilien. Textilien. ÖsterreichischesOsterreichisches Museum fürfür AngewandteAngewandte Kunst,Kunst, Wien 1967.1967. Errera 19151915 1.I. EiErrera, ERA, Collection Collection d'anciennesd'anciennes étoffes égyptiennes,égyptiennes, BruxellesBruxelles 1916 1916 Falke 19211921 0.O. vonvon FAUcE,Falke, Kunstgeschichte derder Seidenweberei,Seidenweberei, BerlinBerlin 1921. 1921. Forrer AlterthumerAlterthümer 18931893 R. FortPaR,Forrer, Die fruhchristlichenfrühchristlichen AlterthümerAlterthümer ausaus demdem Graberfelde Gräberfelde vonvon Achmim- Achmim- Panopolis, Strassburg,Strassburg, 1893.1893. Forrer SeidenSeiden 18911891 R. FORRER,Forrer, Römische Romische und und byzantinische Seiden-TextilienSeiden-Textilien aus demdem GraberfeldeGräberfelde von von Achmim-Panopolis, StrassburgStrassburg 1891. 1891. Forrer TextilfundeTextilfunde 18911891 R. FORRER,Forrer, Die Die Gräber- Graber- undund TextilfundeTextilfunde vonvon Achmim-Panopolis,Achmim-Panopolis, StrassburgStrassburg 1891. 1891. Gächter-Weber 19811981 M. GACHTER-WEBER,Gächter-Weber, Koptische Koptische Gewebe. Gewebe. Katalog Katalog Industrie- Industrie- und GewerbemuseumGewerbemuseum des KaufmannischenKaufmännischen DirectoriumsDirectoriums St.St. Gallen,Gallen, KunstvereinKunstverein St. St. Gallen Gallen 1981. 1981. e e Gayet Costume 19001900 A. GAYET,Gayet, Le Le costume costume en en Égypte Egypte dudu IIIIJIe au XIIIxiif siècle. Exposition UniverselleUniverselle dede 1900. Palais du Costume,Costume, ParisParis 1900. 1900. Gerspach 18901890 E. GERSPACH,Gerspach, Les Les tapisseries tapisseries coptes, coptes, Paris Paris 18901890 (reprint(reprint edition, withoutwithout the the original original text: Coptic TextileTextile Designs.Designs. NewNew YorkYork 1975). 1975). Grube 19621962 E.J.EJ. GRUBE,Grube, Studies Studies in in the SurvivalSurvival of Pre-MuslimPre-Muslim traditionstraditions inin Egyptian Egyptian Islamic Islamic Art, JARCE,Jarce, (1962), 75-86.75-86. Guerrini 19571957 L. GUERRINI.Guerrini. Le Le stoffe stoffe copte copte deldel Museo Archeologico di Firenze,Firenze, RomaRoma 1957. 1957. Kakovkin 19781978 A. YA.Ya. Kakovkin,KAKOVKIN, Koptskiye Koptskiye Tkani Tkani is isfondov fondov Ermitazha.Ermitazha. KatalogKatalog vystavkyvystavky (Coptic(Coptic tapisseries fromfrom thethe HermitageHermitage collection. collection. CatalogueCatalogue ofof exhibition), exhibition), Leningrad Leningrad 1978. 1978. Kendrick I 19201920 A.F. KENDRICK,Kendrick, Catalogue Catalogue of of Textiles Textiles from from Buiying-Grounds Burying-Grounds in in Egypt I,I, Graeco-Graeco- Roman Period,Period, LondonLondon 1920. 1920. Kendrick II 19211921 A.F. KENDRICK,Kendrick, Catalogue Catalogue of of Textiles Textiles from from Buiying-Grounds Burying-Grounds inin Egypt II;IL Period ofof Transition and ofof ChristianChristian Emblems, Emblems, London London 1921. 1921. Kendrick III 19221922 A.F. KENDRICK,Kendrick, Catalogue Catalogue of of Textiles Textiles from from Buiying-GroundsBurying-Grounds in EgyptEgypt III,III, Coptic Coptic Period, LondonLondon 1922.1922. Kesser 19601960 A. Kesser,KESSER, Coptic Coptic Textiles Textiles from from Burial Burial GroundsGrounds in Egypt,Egypt, GraphlsGraphis 16,16, (1960) (1960) July/Aug- July/Aug- ust, 336-353.336-353. Kiss 19801980 A.Á. Kiss, TheThe Late-AntiquityLate-Antiquity Textile Collection ofof the MuseumMuseum ofof Industrial Industrial Arts, Arts, Annales Universitatis Scientiarum BudapestinensisBudapestinensis dede RolandoRolando EotvosEötvös nominatae nominatae Sectio ClassicaClassica 8,8, (1980)(1980) 59-137. 59-137. Kühnel 19271927 E. KUHNEL,Kühnel, Islamische Islamische Stoffe Stoffe aus aus ägyptischen agyptischen Gräbern Gräbern inin der islamichenislamichen Kunstab-Kunstab- teilung und inin derder Stoffsammlung Stoffsammlung desdes Schlossmuseums,Schlossmuseums, StaatlicheStaatliche MuseenMuseen zuzu Ber-Ber- lin, BerlinBerlin 1927.1927. KybalovaKybalová 19671967 L. KvnovA,Kybalovä, Die Die alten alten Weber Weber am am Nil. Nil. Koptische Koptische Stoffe. Stoffe. Em Ein Beitrag zur asthetisch-ästhetisch- technologischen Problematik,Problematik, PragPrag 1967. 1967. Levi 19471947 D. LEvI,Levi, Antioch MosaicMosaic Pavements,Pavements, Princeton-LondonPrinceton-London 1947. 1947. Lewis Horseman S. LEWIS,Lewis, The The IconographyIconography of the CopticCoptic HorsemanHorseman in in Byzantine Byzantine Egypt, Egypt, JARCE Jarce 10,10, (1973), 27-63.27-63. Matthieu-Liapunova 19511951 M.M. Matthieu-K.MATTHIEU-K. Liapunova,LIAPUNOVA, Khudozhestvennye Tkani Koptskogo Egipta, Moscow-Leningrad 1951.1951.

10 Monde CopteCopte 19881988 Arts tardifs etet chrétienschrétiens d'Egypte,d'Égypte, MuséeMusée archeologiquearchéologique dede Louvain-la-Neuve, Louvain-la-Neuve, Expo-Expo- sition du 6-IX6-IX auau 23-X23-X 1988,1988, Catalogue,Catalogue, LeLe MondeMonde Copte.Copte. RevueRevue dede la la Culture Culture Copte Copte 14-15, (1988).(1988). Monneret de VillardVillard 19231923 U. MONNERETMonneret de DE Villard, VILLARD, La La scultura scultura ad ad Ahnâs,Ahnãs, MilanoMilano 1923.1923. Nauerth FrankfurtFrankfurt 19861986 C. NAUERTH,Nauerth, Koptische Koptische Stoffe, Stoffe, Liebighaus Liebighaus Monographien Monographien 9, 9, FrankfurtFrankfurt amam MainMain 1986. Nauerth TrierTrier 19781978 C. NAUERTH,Nauerth, Koptische Koptische Textilkunst Textilkunst im im spätantiken spatantiken Ägypten.Agypten. DieDie SammlungSammiung Rauten-Rauten- strauch imim StadtischenStädtischen MuseumMuseum SimeonstiftSimeonstift Trier.Trier. MitMit Beitragen Beiträgen von von D. D. Ahrens, Ahrens, U. U. Kircher und S.S. Lewis,Lewis, TrierTrier 1978. 1978. PChrEg 19411941 Pagan and ChristianChristian Egypt:Egypt: EgyptianEgyptian ArtArt fromfrom thethe FirstFirst to to the the Tenth Tenth Century Century A.D., A.D., The BrooklynBrooklyn Museum,Museum, BrooklynBrooklyn 1941. 1941, Peter 19761976 I. PETER,Peter, TextilienTextilien ausaus AgyptenÄgypten im MuseumMuseum Rietberg,Rietberg, Zurich,Zürich, Zurich Zürich 1976. 1976. Pfister-Bellinger 19451945 R. PFTSTER-L.Pfister-L. Bellinger, BELLINGER, The The Textiles. Textiles. The The Excavations Excavations at at Dura-Europos. FinalFinal Report 4,4, 2,2, NewNew HavenHaven 1945. 1945. PKG 3 19681968 W.F. VOLBACH-J.Volbach-J. Lafontaine-Dosogne LAFONTAINE-DOSOGNE (eds.), (eds.), Byzanz Byzanz und und der der christlischechristlische Osten,Osten, PropylaenPropyläen Kunstgeschichte 3,3, BerlinBerlin 1968. 1968. PKG 4 19731973 J. SOURDEL-THOMINE—B.Sourdel-Thomine-B. Spuler, SPULER, (eds.), (eds.), Die DieKunst Kunst des des Islam, Islam, PropyläenPropylaen Kunstge-Kunstge- schichte 4,4, BerlinBerlin 1973.1973. Renner DarmstadtDarmstadt 19851985 D.D, RENNER,Renner, Die Die spätantiken spatantiken und und koptischen Textilien im HessischenHessischen LandesmuseumLandesmuseum in Darmstadt,Darmstadt, WiesbadenWiesbaden 1985. 1985. Renner Johann GeorgGeorg 19821982 D. RENNER,Renner, Die Die Textilien Textilien in in der der SammlungSammlung des Prinzen JohannJohann Georg Georg von von Sachsen, Sachsen, Wiesbaden 1982.1982. Renner D. RENNER,Renner, Eine Eine MotivkombinationMotivkombination aus Antinoe,Antinoe, JbAChrJbAChr 27/28, 27/28, (1984/85), (1984/85), 138-145. 138-145. Motivkombination 1984/851984/85 Renner PurpurwirkereienPurpurwirkereien 19811981 D. RENNER,Renner, SpätantikeSpatantike figurlichefigürliche Purpurwirkereien, Purpurwirkereien, in: in;M. FLURY-LEMBERG-K.M. Flury-Lemberg-K. STOL- Stol- LETSleis (eds.), (eds.), Documenta Documenta Textilia.Textilia. FsFs Sigrid Muller-Christensen,Müller-Christensen, MunchenMünchen 1981, 1981, 82-84. 82-84. Renner Vatikan 19821982 D.D, RENNER,Renner, Die Die koptischen koptischen Textilien Textilien inin den Vatikanischen Museen,Museen, PinacotecaPinacoteca Vati- Vati- cana KatalogeKataloge BandBand 2,2, WiesbadenWiesbaden 1982. 1982. Renner WurzburgWürzburg 19741974 D. RENNER,Renner, Die Die koptischen koptischen StoffeStoffe imim Martin von WagnerWagner MuseumMuseum derder Universitat Universität Würzburg,Wurzburg, WiesbadenWiesbaden 1974.1974. Rutschowscaya 19861986 M.H. RUTSCHOWSCAYA,Rutschowscaya, Catalogue Catalogue des des bois bois de de l'Égypte l'Egypte copte, copte, MuséeMusée du Louvre,Louvre, ParisParis 1986. Rutschowscaya Ensemble 19841984 M.H. RUTSCHOWSCAYA,Rutschowscaya, Une Une ensemble ensemble de detapisseries tapisseries coptes coptes à a decordécor mythologique,mythologique, La Revue de LouvreLouvre etet desdes Musées Musées dede France France Décembre Décembre 1984, 1984, No. No. 5-6, 5-6, 319-325. 319-325. Seagroatt n.d. M. SEAGROATT,Seagroatt, Coptic Coptic Weaves. Weaves. Notes Notes on on the the CollectionCollection ofof Coptic TextilesTextiles inin thethe Merseyside County Museums,Museums, LiverpoolLiverpool n.d.n.d. Shurinova 19671967 R. SHURINOVA,Shurinova, Coptic Coptic Textiles. Textiles. Collection Collection of of Coptic Coptic Textiles, Textiles, StateState Pushkin MuseumMuseum of Fine ArtsArts Moscow,Moscow, LeningradLeningrad 1967. 1967. Simon 19701970 E. SIMoN,Simon, Meleager undund Atalante. Atalante. Em Ein spätantikerspatantiker Wandbehang,Wandbehang, MonographienMonographien derder Abegg-Stiftung Bern 4, BernBern 1970.1970. Stojanovic 19801980 D. STOJANOVIC,Stojanovic, Les Les tissus tissus coptes, coptes, MuséeMusée des ArtsArts DécoratifsDécoratifs Belgrade,Belgrade, Belgrade Belgrade 1980. Szilágyi 19881988 J.Gy. SZTLAGYT,Szilágyi, Antik Antik müvészet. müvészet. A ASzépmüvészeti Szépmuvészeti Muzeum Muzeum kiállitása kiállitasa (Ancient(Ancient art inin the MuseumMuseum ofof FineFine Arts), Arts), BudapestBudapest 1988. 1988. Thompson 19711971 D. THOMPSON,Thompson, Coptic Coptic Textiles Textiles in in thethe Brooklyn Museum,Museum, BrooklynBrooklyn 1971. 1971. Török Art AntiqueAntique 19781978 L. TOROK,Török, Art Art antique antique au au Musée Musée Déri Den dede DebrecenDebrecen etet dans d'autres collectionscollections hon- groises V. Art égyptien dede laIa basse antiquité et artart copte,copte, BulletinBulletin dudu MuséeMusée Hon-Hon- grois desdes Beaux-ArtsBeaux-Arts 51,51, (1978),(1978), 3-39.3-39. TörökTörok Ikonographie 19711971 L. TOROK,Török, Zur Zur Ikonographie Ikonographie der der koptischen koptischen KunstKunst imim 6. bisbis 7.7. Jahrhundert,Jahrhundert, Wiss. Wiss. Zeitschr. der Humboldt-UniversitatHumboldt-Universität zu Berlin, Ges.Ges. undund Sprachwiss.Sprachwiss. R.R. 20, 20, (1971), (1971), 295-306. Wessel 19631963 K. WESSEL,Wessel, Koptische Koptische Kunst. Kunst. DieDie SpätantikeSpatantike inin Agypten,Ägypten, RecklinghausenRecklinghausen 1963. 1963. Wilson 19331933 L.M. Wilson,WILSON, Ancient Ancient Textiles Textiles from from Egypt Egypt inin the UniversityUniversity ofof MichiganMichigan Collection, Collection, Ann ArborArbor 1933.1933. Wulff-Volbach 19261926 0.O. WuLFF-W.F.Wulff-W.F. Volbach,VOLBACH, Spätantike Spatantike und und koptische koptische StoffeStoffe aus agyptischenägyptischen Grab-Grab- funden inin denden StaatlichenStaatlichen Museen, Museen, Berlin Berlin 1926. 1926. Zaloscer 19621962 H. ZALOSCER,Zaloscer, Ägyptische Agyptische Wirkereien, Wirkereien, Orbis Orbis Pictus Pictus Band Band 37, Bern 1962.1962.

11 Zelinka 19631963 D. Zelinka,ZELINKA, Koptske tkanine v NarodnemNarodnem MuzejuMuzeju vv Ljubljani.Ljubljani. LesLes tissustissus coptes coptes du du Musée National dede Ljubljana.Ljubljana. LjubljanaLjubljana 1963. 1963. Zijderveld 19821982 C.E. ZIJDERVELD-A.C.Zuderveld-A.C. LopesLOPES Cardozo,CAIwozo, Koptische Weefsels.Weefsels. HaagsHaags Gemeentemu-Gemeentemu- seum, DenDen HaagHaag 1982. 1982.

12 TEXTILES

T l-T1-T 216216

Introductory NoteNote

Textiles buriedburied with mummified dead ofof thethe RomanRoman periodperiod oror discovered discovered in in Coptic Coptic burials burials dating from the 5th5th toto 12th12th centuriescenturies A.D. A.D. foundfound theirtheir wayway intointo EuropeanEuropean collections collections by by the the 17th 17th and 18th18th centuries.centuries. TheirTheir historicalhistorical andand art art historical historical significance significance was, was, however, however, realizedrealized only only by by the savantssavants ofof thethe NapoleonicNapoleonic expeditionexpedition whowho recoveredrecovered aa numbernumber of of textiles textiles fromfrom a acemetery cemetery near Sakkara.Sakkara. TheseThese textilestextiles (which(which werewere distributeddistributed betweenbetween thethe Torino Torino Museum, Museum, the the Louvre, Louvre, and the BritishBritish Museum)Museum) werewere believedbelieved toto havehave beenbeen woven woven aroundaround 1000 1000 B.C. B.C. andand it it was was primarily primarily because of their allegedalleged greatgreat antiquityantiquity thatthat thethe interest interest of of collectors collectors towards towards Egyptian Egyptian textiles textiles increased continuously. InIn 18811881 GastonGaston MasperoMaspero begunbegun toto excavate excavate ChristianChristian sites. sites. His His finds finds and and the discoveries made in thethe coursecourse ofof subsequentsubsequent diggingsdiggings resultedresulted inin thethe formationformation of of large large col- col- lections of Egyptian decorated woven textilestextiles inin thethe great museums ofof EuropeEurope asas wellwell asas in in the the scholarly appreciation ofof the artisticartistic productionproduction of of the the Coptic Coptic period. period. The The Egypt Egypt Exploration Exploration Fund Fund began excavations in 18861886 atat Akhmim,Akhmim, inin 18881888 atat Armant,Armant, inin 1889 1889 at at Hawara, Hawara, in in 1902/3 1902/3 at at Karara, Karara, in 19041904 at BehnasaBehnasa andand Almas;Ahnas; thethe VienneseViennese merchantmerchant Theodor Theodor Graf Graf worked worked at at Sakkara Sakkara in in 1882; 1882; Franz BockBock excavated at sitessites inin UpperUpper Egypt Egypt in in 1885/6; 1885/6; WladimirWladimir de de Bock Bock worked worked at at Akhmim, Akhmim, Aswan and the FayumFayum inin 1889;1889; RobertRobert ForrerForrer was was active active at at Akhmim Akhmim in in 1885; 1885; Alexandre Alexandre Gayet Gayet excavated betweenbetween 18961896 andand 1907 atat Antinoe andand in 1898/91898/9 at SheikhSheikh ShataShata inin thethe Delta. Delta. - -The The first great collections formed at thethe turnturn ofof the the centurycentury were were inin the the Museum Museum of of South South Kensington, Kensington, later Victoria and AlbertAlbert Museum:Museum: 1886-1904;1886-1904; thethe Berlin Staatliche MuseenMuseen startedstarted theirtheir collec- collec- tion with purchases inin 19001900 andand 1902;1902; inin 19031903 partpart ofof Forrer'sForrer's findsfinds waswas acquiredacquired byby thethe Kaiser Kaiser Friedrich Museum; the LouvreLouvre received its firstfirst importantimportant donationdonation of of Coptic Coptic textiles textiles in in 1884; 1884; the firstfirst acquisitionsacquisitions ofof thethe BrusselsBrussels MuséesMusées RoyauxRoyaux d'Artd'Art etet d'Histoired'Histoire gogo backback toto 18871887 andand con- con- siderable part ofof Gayet'sGayet's finds wentwent toto BrusselsBrussels inin 1901;1901; thethe St.St. PetersbourgPetersbourg HermitageHermitage andand the the Moscow (from 1920 Pushkin Museum)Museum) CopticCoptic textiletextile collectionscollections werewere foundedfounded by by purchases purchases from from W. de Bock in 18891889 andand fromfrom W. W. de de Bock Bock and and W. W. Golenischev Golenischev in in 1911, 1911, respectively. respectively. It was fromfrom thethe StrasbourgStrasbourg collectioncollection ofof RobertRobert ForrerForrer that that the the Budapest Budapest Museum Museum of of Applied Applied Arts acquired over 70 pieces in 1899,1899, three years after itsits buildingbuilding waswas inauguratedinaugurated (for(for the the list list of textiles boughtbought from Forrer see Concordance III). ThereThere cancan be no doubt thatthat notnot onlyonly hishis ownown publications but alsoalso Forrer'sForrer's salessales ofof bothboth largelarge andand small small groupsgroups ot ot textiles, textiles, composedcomposed with with cer- cer- tain didacticaldidactical and historicalhistorical considerationsconsiderations in mind,mind, havehave greatlygreatly contributedcontributed toto thethe constantconstant rise of professional and public interest towards the art ofof post-pharaonic Egypt,Egypt, and, moremore precise-precise- lyly,, towards thethe achievmentsachievments ofof thethe Copts.Copts. (For(For Forrer'sForrer's salessales toto the the Museum Museum of of Wurzburg Würzburg Univer- Univer- sity in 18941894 andand 18951895 seesee RennerRenner WurzburgWürzburg 1974,1974, 1ff.;Iff.; to thethe MuseumsMuseums inin BrusselsBrussels seesee ErreraErrera 1916, 207207 s.v.s.v. NécropoleNécropole d'Akhmyn; andand for Berlin seesee Wulif-VolbachWulff-Volbach 1926,1926, 159.159. It isis worthworth noting noting that thethe BudapestBudapest MuseumMuseum ofof AppliedApplied ArtsArts alsoalso purchasedpurchased fromfrom ForrerForrer inin 1898 1898 a acollection collection of of Chinese and JapaneseJapanese woven woven textiles, textiles, which which has has a <>a «didactic» character similarlysimilarly toto the the Coptic Coptic material acquired fromfrom him.)him.) RefutingRefuting thethe erroneouserroneous early,early, 1st1st millenium millenium B.C., B.C., datedate ofof decorated decorated Egyptian woven textiles (so. F. Fischbach, DieDie OrnamenteOrnamente derder Gewebe, Gewebe, BerlinBerlin 1874), 1874), ForrerForrer (Tex- (Tex- tilfunde 1891,1891, 26)26) dateddated his his earliest earliest finds finds in in<> «Hellenistic» stylestyle toto the 1st1st centurycentury A.D.; A.D.; similarsimilar

13 textiles were dated laterlater byby GayetGayet (Costume(Costume 1900,1900, 14)14) toto thethe 2nd2nd century century A.D., A.D., butbut Flinders Flinders Petrie Petrie was the first whowho triedtried toto datedate RomanRoman textilestextiles onon thethe basis basis of of textile textile representations representations inin mummy mummy portraits andand throughthrough thethe interpretation interpretation of of find find circumstances circumstances (cp. (cp. W.M.F. W.M.F. Petrie,Petrie, Hawara,Hawara, Biah-Biah- mu andand Arsinoe,Arsinoe, LondonLondon 1889).1889). OnOn thethe basisbasis ofof stylistic stylistic considerationsconsiderations and,and, apparently,apparently, also also in in the possessionpossession ofof archaeologicalarchaeological observations,observations, GayetGayet proposedproposed aa chronologychronology consistingconsisting ofof four four main periods:periods: TheThe 1st1st periodperiod dateddated between between 140 140 A.D. A.D. (the(the foundationfoundation of of Antinuopolis Antinuopolis and,and, as as Gayet believed, thethe beginning of textile production there) andand thethe ascensionascension ofof Costantine Costantine the the Great; the 2nd periodperiod fellfell betweenbetween 320320 A.D.A.D. and the ArabArab Conquest;Conquest; the 3rd3rd periodperiod betweenbetween thethe Arab Conquest andand the First CrusadeCrusade inin 1096:1096: finally,finally, the 4th4th periodperiod dateddated toto the the beginning beginning of of the reignreign ofof MichaelMichael PaleologosPaleologos (Gayet Costume 1900, 6).6). Some years later, 0.O. vonvon FalkeFalke sug-sug- gested a 5th-6th5th-6th c.c. A.D.A.D. generalgeneral datedate forfor Coptic Coptic figuralfigurai textilestextiles relatedrelated toto Byzantine Byzantine models models (Kunstgeschichte der Seidenweberei,Seidenweberei, BerlinBerlin 1913),1913), thusthus reinforcingreinforcing the the earlier earlier research research of of A. A. Riegi Riegl (Die ägyptischenagyptischen Textilfunde imim K. u.u. K.K. OsterreichischenÖsterreichischen Museum,Museum, WienWien 1889),1889), O.M.O.M. DaltonDalton (Catalogue of Early Christian Antiquities...Antiquities... BritishBritish Museum,Museum, LondonLondon 1901; 1901; ByzantineByzantine Art Art and and Ar- Ar- chaeology, Oxford 1911),1911), J.J. StrzygowskiStrzygowski (Seidenstoffe(Seidenstoffe aus aus Agypten, Ägypten, Prussia Prussia Jb. Jb. XXIV, XXIV, Berlin Berlin 1903), 1903), and othersothers (primaly(primaly includingincluding ForrerForrer SeidenSeiden 1891).1891). TheThe cataloguescatalogues ofof Kendrick Kendrick and and Wulif-Vol- Wulff-Vol- bach further clarifiedclarified thethe chronologychronology andand stylisticstylistic historyhistory ofof EgyptianEgyptian decorateddecorated textilestextiles andand recon-recon- structed aa developmentdevelopment beginningbeginning underunder the the influence influence of of 2nd-3rd 2nd-3rd century century A.D. A.D. Roman-Egyptian Roman-Egyptian art, continuingcontinuing itsits vivid vivid <>, «hellenistic», as as they they termed termed it, it, iconographicaliconographical and stylisticstylistic traditionstraditions and comingcoming to anan endend inin the the 7th-8th 7th-8th century century A.D. A.D. FurthermoreFurthermore theythey tried tried to to explain explain develop- develop- ments in thethe stylestyle ofof figuralfigurai textilestextiles asas aa consequenceconsequence ofof moremore generalgeneral changeschanges inin thethe artsarts of of the the Mediterranean inin LateLate AntiquityAntiquity andand thethe earlyearly MiddleMiddle Ages.Ages. The picture thus presentedpresented waswas refinedrefined and correctedcorrected at manymany pointspoints byby laterlater researches researches includingincluding thethe publication publication of of textile textile finds finds from from Palmyra (R. Pfister, Textiles dede Palmyre [I], II, III,III, ParisParis 1934,1934, 1937,1937, 1940)1940) andand Dura-Europos Dura-Europos (R. Pfister-L. Bellinger, TheThe Textiles. TheThe Excavations at Dura-Europos.Dura-Europos. FinalFinal ReportReport 4,4, 2, 2, New New Haven 1945) asas wellwell asas by a seriesseries ofof museummuseum catalogues,catalogues, art historicalhistorical andand iconographicaliconographical ar-ar- ticles. These works will be repeatedlyrepeatedly referred toto inin thethe present present Catalogue. Catalogue. The The importance importance and and use of the workwork carriedcarried outout thusthus farfar in in connection connection with with the the interpretation interpretation of of Egyptian Egyptian Late Late An- An- tique and CopticCoptic textilestextiles lieslies primarilyprimarily inin thethe increasingly increasingly detailed detailed picture picture they they present, present, however however indirectly, of the stylisticstylistic connections betweenbetween thethe individualindividual groupsgroups ofof textiles, textiles, asas wellwell asas of of the the importance, presumable duration, andand originsorigins ofof individualindividual stylestyle trendstrends etc.etc. Still,Still, thethe whole whole of of the literatureliterature published in thethe lastlast fewfew decadesdecades stillstill lackslacks aa trulytruly solidsolid structure,structure, asas toto the the ab- ab- solute and relativerelative chronologychronology ofof thethe textiles.textiles. ThisThis cancan bebe explainedexplained in in two two ways. ways. The The first first is is that that so far not aa singlesingle textiletextile findfind hashas beenbeen publishedpublished asas part part of of a amore-or-less more-or-less positively positively datable datable ar- ar- chaeological context. TheThe late 19th19th andand earlyearly 20th20th centurycentury excavators excavators failed,failed, withoutwithout exception, exception, to recordrecord andand publishpublish thethe findfind circumstances circumstances ofof the the textiles, textiles, althoughalthough they they never never failed failed toto stress stress that aa greatgreat partpart of of Late Late Antique Antique textiles textiles came came from from undisturbed undisturbed burials. burials. In Inthese these burials burials <> (Gayet (Gayet Costume Costume 1900, 1900, 33 33 as as paraphrased paraphrased by Kendrick 11920,I 1920, 15).15). FurthermoreFurthermore it it was noted by themthem thatthat thethe dead dead of of the the Coptic Coptic period period were were frequently frequently laid laid to to rest rest wearing wearing two two tunics andand outerouter mantle(s)mantle(s) andand were were wrappedwrapped in in a a larger larger decorated decorated cloth; cloth; decorated decorated pillows pillows were were placed under theirtheir heads.heads. EvenEven moremore lamentably,lamentably, notnot only only did did the the composition composition of of the the textile textile en- en- sembles remained unrecorded, but otherother itemsitems fromfrom the the grave grave inventories inventories were were also also published published in suchsuch aa wayway thatthat theythey werewere torntorn from from their their original original context. context. A A handful handful of of information information about about the coincidence inin gravesgraves ofof MenasMenas flasksflasks andand decorated decorated textiles textiles would, would, for for example, example, help help resolve resolve the dating ofof thousandsthousands ofof textiles.textiles. NotNot aa singlesingle piecepiece ofof informationinformation of of this this kind, kind, however, however, may may be found inin thethe reportsreports ofof Forrer Forrer (Alterthumer (Alterthümer 1893)1893) andand hishis contemporaries.contemporaries. InIn thethe coursecourse of of this century,century, anan enormousenormous quantityquantity ofof Coptic Coptic wovenwoven textilestextiles hashas beenbeen unearthed unearthed by by clandestine clandestine diggers. Although they have contributed toto thethe knowledgeknowledge ofof CopticCoptic art,art, thesethese unprovenanced unprovenanced tex- tex- tiles come fromfrom destroyeddestroyed archaeologicalarchaeological contextscontexts andand thethe increaseincrease ofof interest interest in in Coptic Coptic textiles textiles

14 after the 19631963 ChristentumChristentum amam NilNil exhibitionexhibition broughtbrought aboutabout the the destruction destruction of of further further sources sources of archaeological information. AlthoughAlthough illegal excavations have been rendered almostalmost totallytotally im-im- possible by present dayday antiquitiesantiquities policy,policy, nono scientificscientific explorationexploration hashas yetyet beenbeen conductedconducted atat a a Coptic cemetery.cemetery. ThisThis isis despitedespite thethe factfact thatthat there is little doubt thatthat notnot onlyonly thethe datingdating problem problem could be resolved on thethe basisbasis ofof archaeologicalarchaeological observations,observations, butbut also also the the second, second, more more theoreti- theoreti- cal, idiosyncrasy thatthat blurs ourour picturepicture ofof the the history history of of Coptic Coptic textile textile weaving weaving could, could, thus, thus, be be eliminated. For CopticCoptic textiletextile studies,studies, similarlysimilarly toto CopticCoptic artart history history in in general, general, suffer suffer from from a asig- sig- nificant uncertainty concerningconcerning thethe relationshiprelationship betweenbetween style, style, subject,subject, quality,quality, andand time. time. The The at- at- tention ofof thethe early early scholars scholars was was focussed focussed mainly mainly on on textiles textiles in ina good a good <> «classical» style and,and, notnot independently from the aspectaspect ofof style,style, onon thethe outstandingoutstanding technical technical quality quality of of the the textiles textiles with with <>«Hellenistic» decoration. decoration. From From the the turn turn of of the the century, century, accentaccent ofof interest shiftedshifted moremore and and more more towards textilestextiles that werewere consideredconsidered typicallytypically EarlyEarly ChristianChristian Egyptian,Egyptian, thethe aesthetic aesthetic apprecia- apprecia- tion ofof which waswas thenthen determineddetermined first first by by the the norms norms of of Art Art Nouveau Nouveau (which (which obviously obviously brought brought about aa devaluationdevaluation of of textiles textiles decorated decorated in in<> Hellenistic» style) andand subsequentlysubsequently by by the the fashion ofof AfricanAfrican primitiveprimitive art. art. A A preference preference for for the the <> Coptic» style ledled toto an an inter- inter- pretation as Volkskunst of a certain part ofof CopticCoptic art. ThisThis interpretationinterpretation would would be be hardly hardly tenable, tenable, however, ifif thethe periods and the individualindividual products ofof CopticCoptic art couldcould bebe dateddated inin a a reasonable reasonable manner. The notion of Volkskunst is not unjustified in itself,itself, yet in this casecase itit isis usedused erroneous-erroneous- ly in twotwo ways.ways. Firstly, it isis meantmeant toto describedescribe thethe artistic artistic production production of of the the Monophysite Monophysite Copts Copts as opposedopposed toto thethe artart of of the the Diophysite Diophysite Greeks; Greeks; secondly,secondly, itit postulatespostulates notnot only only that that Coptic Coptic art art cannot be describeddescribed in thethe termsterms ofof greatgreat artart but but also also assumes assumes that that primitive primitive style style and and execu- execu- tion, that is,is, simplifiedsimplified or misunderstoodmisunderstood iconographyiconography are as a rulerule later developments. AlthoughAlthough the notion ofof thethe disintegrationdisintegration ofof stylisticstylistic andand iconographicaliconographical traditiontradition asas a a chronological chronological prin- prin- ciple is not confinedconfined to Coptic art history - and neitherneither isis itit wrongwrong inin andand of of itself itself -, -, itit is is still still misleading in the casecase ofof CopticCoptic textiles.textiles. StatementsStatements mademade onon thisthis theoretical theoretical basis basis cannot cannot be be controlled with archaeological data. Thus, itit seemsseems reasonablereasonable toto operate, operate, when when dating dating Coptic Coptic textiles, withwith the fewfew historicalhistorical fixedfixed pointspoints ofof style,style, insteadinstead ofof locating locating textiles textiles at at points points along along a a hypothetically reconstructedreconstructed and greatlygreatly biasedbiased development.development. Clearly,Clearly, fixed points ofof thisthis sort sort reflect, inin fact, both long and shorter periodsperiods ofof timetime asas wellwell asas traditionstraditions thatthat survived survived eveneven sub-sub- sequent stylestyle periodsperiods (as, (as, for for example, example, the the case case of ofthe the <> workshop» stylestyle demonstrates),demonstrates), on the oneone hand,hand, andand a a wide wide range range of of quality quality differences differences and and distances distances from from prototypes, prototypes, on on the the other. The life span ofof aa stylestyle cancan bebe veryvery long.long. TheThe bestbest exampleexample forfor thisthis isis presentedpresented byby the the large group ofof textilestextiles costitutedcostituted byby monochromemonochrome (purple)(purple) insetsinsets andand chiefly chiefly decorated decorated with with geometric, or classicizing leaf and tendriltendril patterns.patterns. TheThe earliestearliest appearanceappearance of of this this style style can can be be dated - togethertogether withwith aa number number of of high high quality quality figural figurai woven woven textiles textiles (cp. (cp. M.-H. M.-H. Rutschowscaya, Rutschowscaya, Une ensemble de tapisseriestapisseries coptescoptes aà decor decor mythologique, mythologique, La La Revue Revue du du Louvre Louvre et et des des Musées Musées de de France 1984/5-6,1984/5-6, 319-325, LouvreLouvre EE 20294)20294) -- toto thethe second half ofof thethe 3rd3rd century century A.D., A.D., asas indi- indi- cated by representationsrepresentations (e.g.,(e.g., in thethe wallwall paintingspaintings ofof the the tetrarchic tetrarchie legionary legionary sanctuary sanctuary built built into thethe LuxorLuxor Temple,Temple, J.J. G.G. Deckers,Deckers, DieDie WandmalereiWandmalerei imim KaiserkultraumKaiserkultraum vonvon Luxor. Luxor. JdIJdl 94, 94, [1979], 600-652, figsfigs 14f., 22f.,22f., 24-26)24-26) and and aa fewfew fortunatelyfortunately preserved contexts suchsuch asas twotwo roun-roun- dels sewn on aa paintedpainted mummymummy cloth cloth in in the the Vatican Vatican collection collection (Renner (Renner Vatikan Vatikan 1982, 1982, Nos Nos 1, 1, 37), together with the helphelp ofof findsfinds mademade outside outside Egypt Egypt (Palmyra (Palmyra and and Dura-Europos). Dura-Europos). T T 1-4 1-4 are are close in date toto thethe VaticanVatican roundels,roundels, butbut TT 5-275-27 demonstratedemonstrate thatthat textiles textiles inin the the seemingly seemingly un-un- changed, yet in factfact constantlyconstantly modifiedmodified monochrome stylestyle remained inin fashionfashion throughoutthroughout the the course of the 4th andand earlyearly (?)(?) 5th5th centuriescenturies A.D.A.D. and laidlaid thethe basisbasis ofof a a stylistic stylistic andand iconographic iconographie tradition thatthat survivedsurvived anan astonishinglyastonishingly longlong periodperiod ofof timetime untiluntil it it again again became became predominant predominant for a timetime inin thethe 10th 10th century century A.D. A.D. (cp.(cp. TT 168ff.). 168ff.). HighHigh quality quality figural figurai textiles textiles cancan be be connected connected to absoluteabsolute dates,dates, inin howeverhowever a broadbroad sense,sense, inin thethe 4th4th and and 5th 5th centuries centuries (cp., (cp., e.g., e.g., E. E. Simon, Simon, Meleager undund Atalante. EinEm spätantikerspatantiker Wandbehang, BernBern 1970; onon 5th c. purple andand goldgold tex-tex- tiles see D. Renner, Spätantike figurlichefigürliche Purpurwirkereien.Purpurwirkereien. DocumentaDocumenta Textilia, Textilia, FsFs Sigrid Sigrid Muller- Müller- Christensen, MünchenMUnchen 1981,1981, 82-94) 82-94) but but the the datingdating of their cheapercheaper variantsvariants is,is, asas follows follows fromfrom

15 the nature ofof thethe relationshiprelationship betweenbetween higherhigher and and lower lower quality quality textiles, textiles, ratherrather problematic. problematic. Espe- Espe- cially uncertainuncertain is,is, however, thethe dating of the stagesstages of thethe processprocess inin whichwhich thethe traditiontradition of of purple insets withwith geometricalgeometrical decorationdecoration executedexecuted withwith thethe flyingflying shuttleshuttle survivessurvives fromfrom thethe 3rd 3rd century A.D. toto thethe early Fatimid period. The problem ofof thethe polichromepolichrome textilestextiles isis notnot less less com-com- plicated; dates can be establishedestablished withwith somesome certaintycertainty for for high high quality quality exemplars exemplars (e.g., (e.g., ThompsonThompson 1971, NosNos 4, 5, 9, 10)10) and ofof lessless exquisitelyexquisitely executedexecuted onesones mademade underunder their their influence influence (cp., (cp., e.g., e.g., in thisthis cataloguecatalogue TT 46,46, 48,48, 49).49). TextilesTextiles fromfrom thethe 6th6th and and 7th 7th centuries centuries A.D. A.D. reflected reflected the the decisive decisive influence of Byzantine silks and, increasingly,increasingly, of CopticCoptic wall painting andand manuscriptmanuscript illumina- illumina- tion. They constitute a fixedfixed pointpoint inin thethe chronology chronology ofof the the Coptic Coptic textiles. textiles. Yet,Yet, asas shown shown by by Grube 1962,1962, 76ff.,76£f., thethe productsproducts of of the the <> «original» Zacharias Zacharias workshop workshop (which(which isis probably aa fic-fic- tion because,because, inin fact,fact, thethe xZacharias «Zacharias silks>> silks» werewere producedproduced in severalseveral ateliers)ateliers) werewere imitatedimitated overover a long period ofof time.time. LateLate wovenwoven textilestextiles designed in their traditiontradition werewere dateddated byby himhim to to the the late 10th10th centurycentury A.D.A.D. (however, thisthis date appearsappears tootoo late).late). ProductsProducts ofof the the early early phases phases of of the the > are are also also represented represented in in thisthis Catalogue (T 55 and TT 5656 [?])[?]) whilewhile thethe impact impact and and long life of the style of the ZachariasZacharias circlecircle isis illustratedillustrated byby aa numbernumber of of other other fabrics fabrics as as well well (T (T 54, T 57-62). Similarly toto this latterlatter style,style, thethe above-mentionedabove-mentioned textilestextiles mademade underunder the the influence influence of 6th andand 7th7th centurycentury A.D. A.D. ByzantineByzantine silkssilks alsoalso presentpresent aa quite quite clearly clearly distinguishable distinguishable style. style. ItIt is obvious, too, that theirtheir style,style, iconographicaliconographical themes,themes, andand subsidiarysubsidiary decorativedecorative patternspatterns deter-deter- mined thethe mainstreammainstream ofof Coptic Coptic weaving weaving for for centuries centuries (see (see T T69-96). 69-96). Meanwhile, Meanwhile, however, however, the the continued existence of other stylisticstylistic traditionstraditions createdcreated aa remarkable remarkable style style poliphony. poliphony. The The Late Late Antique tradition of mythologicalmythological scenes and figuresfigures was stillstill vigorousvigorous inin thethe 6th6th century century (cp. (cp. T T 20, 21, 23; and,and, on the otherother hand,hand, TT 35-37)35-37) andand waswas toto becomebecome important,important, butbut not not independent- independent- ly from thethe declinedecline ofof thethe trendtrend basedbased onon Byzantine Byzantine silks,silks, againagain aroundaround thethe beginning beginning ofof the the Umayyad periodperiod (cp. Thompson 1971,1971, Nos 30, 3333 andand herehere TT 98-106; 98-106; forfor thethe continuity continuity of of the the style see T 109 etc.). The formal sorts of figuralfigurai fabrics in the periodperiod ofof thethe TulunidsTulunids andand thethe early Fatimids appearappear toto bebe easily easily identifiable identifiable (cp. (cp. Thompson Thompson 1971, 1971, Nos Nos 33-37, 33-37, in in this this Catalogue Catalogue see T 109-111),109-111), as are thethe figuralfigurai textilestextiles ofof thethe late late 10th-early lOth-early 11th 11th century century A.D. A.D. whichwhich can can be be identified with somesome certaintycertainty (cp.(cp. TT 123-148). 123-148). ThanksThanks toto Du Du Bourguet's Bourguet's analysis analysis of of the the stylistic stylistic connections between textilestextiles andand otherother branchesbranches of art, a part ofof thethe productionproduction ofof thethe 11th11th and and 12th centuries A.D. seemsseems again to be wellwell dateddated (Du(Du BourguetBourguet ConqueteConquête 1953;1953; cp.cp. herehere TT 168- 168- 198). ItIt is these laterlater FatimidFatimid textilestextiles thatthat demonstratedemonstrate thethe astonishing astonishing survivalsurvival forfor moremore than than five centuries, of style and motifs from thethe LateLate AntiqueAntique purplepurple insetsinsets withwith geometricalgeometrical decora-decora- tion. Yet,Yet, thethe differencesdifferences betweenbetween prototypesprototypes andand 11th-i 11th-12th 2th century century A.D. A.D. survival survival illustrate illustrate the the basic changes that Coptic art underwent at thethe samesame timetime andand demonstratedemonstrate thethe impact impact of of Islamic Islamic non-figural decorationdecoration asas well. well. Although itit was alwaysalways assumed thatthat technicaltechnical analysesanalyses ofof CopticCoptic textilestextiles couldcould bebe highly highly relevant from thethe pointpoint of of view view of of chronology chronology and and provenance provenance (cp. (cp. L. L.Bellinger, Bellinger, Textile Textile Analysis: Analysis: Early Techniques in EgyptEgypt andand thethe NearNear East. East. Textile Textile MuseumMuseum WorkshopWorkshop Notes,Notes, PaperPaper No. No. 2,2, Washington 1950;1950; Thompson 1971,1971, passim), the researchesresearches carried out soso farfar dodo notnot seem seem to to support thisthis assumptionassumption (cp.(cp. recentlyrecently M. M. Baerlocher, Baerlocher, GrundlagenGrundlagen zur zur systematischen systematischen Erfassung Erfassung koptischer Textilien, Diss.Diss. BaselBasel 1983). OnOn thethe other hand,hand, however,however, thethe disregarddisregard of of technical technical data (cp.(cp. NauerthNauerth FrankfurtFrankfurt 1986; 1986; RennerRenner Darmstadt Darmstadt 1985; 1985; Vatikan Vatikan 1982; 1982; Wurzburg Würzburg 1974) 1974) may may deprive future research ofof importantimportant pointspoints of of orientation. orientation. Consequently, Consequently, in in the the following following those those basic technical features will be indicated which are relevantrelevant from the aspectaspect ofof artart historicalhistorical clas-clas- sification (cp.(cp. ThompsonThompson 19711971 andand Peter Peter 1976). 1976).

T 1-3.1-3. Plain linenlinen clothcloth with with three three purple purple insets. insets. P1. Pl. XVI. XVI. IMTM 7474. Probably from Akhmim. Purchased in 18991899 fromfrom RobertRobert Foner.Forrer. Ground textile: 28 x 15.215.2 cm; insets:insets; T 1:1: 7.37.3 x 88 cm;cm; TT 2:2: 5.55.5 xx 6.56.5 cm;cm; TT 3: 3: 77 x x 8 8cm. cm. T 1:1 : eight-pointed star with inscribed circular medaillon.médaillon. Between the contour ofof thethe starstar andand the the

16 medaillonmédaillon a geometrical ornament; the round medafflonmédaillon encloses a leaf. T 2 is round andand contains contains a a geometrical ornamentornament encircling a leaf. TT 3 is star-shaped and has anan identicalidentical structurestructure toto TT 1, 1, withwith the difference,difference, however, that thethe centrecentre isis filledfilled withwith a a smaller smaller star-shaped star-shaped pattern. pattern. Worn, Worn, faded. faded. Ground textile: plain undyedundyed linenlinen fabric;fabric; 1818 warps/cm,warps/cm, 3030 wefts/cm. wefts/cm. InsetsInsets woven woven perpen- perpen- dicularly to ground textile.textile. Warp:Warp: SS (medium)(medium) undyedundyed linen,linen, wefts:wefts: SS (medium)(medium) undyedundyed linen, linen, S S (medium) purple wool,wool, SS (loose)(loose) undyed wool used forfor flyingflying shuttle. 11 tapestrytapestry interwoveninterwoven withinwithin original cloth,cloth, 1818 warps/cm,warps/cm, 2626 wefts/cm. wefts/cm. From the samesame textiletextile asas TT 4 4 below. below. They They are are stylistically stylistically related related to to the the mid-3rd mid-3rd century century A.D. A.D. insets sewn on the paintedpainted mummymummy clothcloth RennerRenner Vatikan,Vatikan, No. 1;1; but aa laterlater datedate cannotcannot be be ex- ex- cluded, either. Cp.Cp. furtherfurther KendrickKendrick 11920,I 1920, No. No. 277; 277; Thompson Thompson 1971, 1971, No. No. 1. 1. Bibliography: KissKiss 1980,1980, No.No. 9. 9.

T 4.4. Star-shaped purplepurple inset. inset. P1. Pl. XVI. XVL IM 7475.7475. Probably from Akhmim.Akhmim. Purchased inin 18991899 fromfrom R. R. Forrer. Forrer. 88x7 x 7 cm.cm. Eight-pointed star-shapedstar-shaped insetinset cut outout fromfrom thethe ground ground textile. textile. Geometrical Geometrical decoration decoration encloses a smaller star-shapedstar-shaped motifmotif inin roundround medaillon. médaillon. Faded. Faded. Warp: S (medium) undyedundyed linen;linen; wefts:wefts: SS (medium)(medium) purplepurple wool, wool, SS (loose) (loose) undyedundyed wool wool used used for flyingflying shuttle.shuttle. 1818 warps/cm,warps/cm, 26 26 wefts/cm. wefts/cm. Cp. Renner Johann GeorgGeorg 1982,1982, No.No. 9,9, saidsaid similarlysimilarly toto have have been been discovered discovered at at Akhmim. Akhmim. Belongs to TT 1-31-3 above.above. Bibliography: KissKiss 1980,1980, No.No. 10. 10.

T 5.5. Star-shaped monochromemonochrome inset. inset. P1. Pl. XVII. XVII. TMIM 7473. Probably from Akhmim. Purchased fromfrom R.R. ForrerForrer in in 1899. 1899. 31 xX 2828 cm.cm. Eight-pointed star-shaped frame encloses a roundround medaillonmédaillon withwith four four leafy leafy stems stems converg- converg- ing towards the centrecentre ofof thethe circle.circle. FromFrom thethe round round medaillon médaillon frame frame issue issue eight eight leaves. leaves. Ground Ground textile worn; insetinset isis fairly fairly well well preserved. preserved. Ground textile: plain undyedundyed linenlinen weave,weave, S-spunS-spun (medium)(medium) threads,threads, 1616 warps/cm,warps/cm, 3232 wefts/cm. Inset:Inset: warp: S (medium)(medium) undyedundyed linen;linen; wefts:wefts: SS (medium)(medium) mixedmixed purplepurple (now (now black) black) and undyedundyed wools,wools, SS (loose)(loose) undyedundyed linenlinen usedused for for flying flying shuttle. shuttle. 1 1tapestry tapestry weave, weave, curved curved wefts, wefts, details executedexecuted withwith flying flying needle. needle. Cp. Du Bourguet 1964, NosNos AA 13, 14;14: apparentlyapparently fromfrom the same workshop as TT 5.5. ForFor thethe idiosyncratic leafleaf designdesign cp.cp. ApostolakiApostolaki 1932,1932, NosNos 680680 (fig. (fig. 33),33), 676 676 (fig. (fig. 63); 63); Du Du Bourguet Bourguet 1964, 1964, Nos A 5, 6; D 23 (placed(placed by DuDu BourguetBourguet withinwithin anan incorrect incorrect chronological chronological class); class); ErreraErrera 1916, 1916, No 181181 (from(from Akhmim);Akhmim); Kendrick 11920,I 1920, No.No. 1313 (from(from Akhmim); Akhmim); KybalováKybalová 1967,1967, No.No. 79;79; Ren-Ren- ner WurzburgWürzburg 1974,1974, NosNos 5,5, 7,7, 88 (all(all from from Akhmim); Akhmim); Wulff-VolbachWulff-Volbach 1926,1926, No.No. 4633/b4633/b (p. 33). ItIt appears that thethe pinecone-likepinecone-like leaf belonged to thethe repertoirerepertoire ofof aa workshop workshop inin Akhmim. Akhmim. ItIt is is obscure, however,however, whether whether or or notnot it waswas alsoalso imitatedimitated elsewhere.elsewhere. T 55 andand TT 6, 6, below, below, are are chronologically close toto each other,other, asas indicatedindicated by by Gayet Gayet Costume Costume 1900, 1900, No. No. 285; 285; their their absolute absolute chronological positionposition isis determined, although only in aa broadbroad sense,sense, byby the the 5th 5th century century A.D. A.D. textile T 12, for the pinecone-shaped leaves alsoalso occuroccur inin textiles related to thisthis latter,latter, as,as, forfor ex-ex- ample, Egger 1967,1967, Nos 7 andand 12.12. EggerEgger 1967,1967, No.No. 1212 belongs,belongs, byby wayway ofof its its polichrome polichrome centre centre medaillonmédaillon withwith a naturalisticnaturalistic face,face, toto thethe circlecircle ofof thethe fine fine fabrics fabrics with with personifications personifications datingdating from the secondsecond halfhalf of of the the 5th 5th century century A.D. A.D. (Du (Du Bourguet Bourguet 184f, 184f, Nos Nos B B 20, 20, 21; 21; Kendrick Kendrick I 1920,I 1920, Nos 58, 58; Matthieu-Liapunova 1951,1951, frontis., p. 41 fig. 6 [= Shurinova 1967,1967, No. 3]; Shurinova 1967, No.No. 2,2, etc.).etc.). ThusThus it probably indicates a latelate phasephase inin thethe fashion fashion of of this this leaf leaf type. type. Bibliography: Kiss 1980,1980, No.No. 18.18.

17 T 6.6. Large monochrome squaresquare panel. panel. P1. Pl. XVII. XVII. IM 7463.7463. Probably from Akhmim.Akhmim. Purchased inin 18991899 fromfrom R. R. Forrer. Forrer. 39 Xx 35 cm;cm; panel:panel: 3232 xx 29.5 29.5 cm. cm. Within a narrow border cotisistingconsisting, .oftf twotwo interlacedinterlaced bands andand edgededged withwith aa rowrow ofof vine- vine- leaves, a close interlaced pattern. SeveralSeveral holes,holes, borderborder badlybadly damageddamaged inin two two places. places. Ground textile:textile; plain undyed linen fabric,fabric,] S-spun S-spun (medium)(medium) threads, threads, 12 12 warps/cm, warps/cm, 20 20 wefts/cm. wefts/cm. Inset: warp: SS (medium)(medium) undyedundyed linen,linen, wefts:wefts: SS (medium)(medium) purplepurple (now (now dark dark brownish brownish violet) violet) wool, S (loose) undyed wool for flyingflying shuttle. 11 tapestrytapestry interwoveninterwoven withinwithin aa plain plain linen linen weave. weave. 12 warps/cm, 4040 wefts/cm.wefts/cm. Cp. Apostolaki 1932, No. 678 (fig. 56); Berman Collection,Collection, No.No. 14;14; DuDu BourguetBourguet 1964, 1964, Nos Nos B B 7, C 47,47, 51;51; GuerriniGuerrini 1957,1957, No. 74187418 (pi.(p1. 30); Egger 1967,1967, No. 11;11; ErreraErrera 1916,1916, No.No. 51;51; GayetGayet Costume 1900, No. 285285 (from(from Akhmim);Akhmim); KendrickKendrick 11920,I 1920, No.No. 198 198 (from (from Akhmim); Akhmim); Kybalova Kybalová 1967, No. 69; Renner DarmstadtDarmstadt 1985,1985, No.No. 7; 7; Zelinka Zelinka 1963, 1963, No. No. 30 30 (P1. (Pl. XIV); XIV); Zijderveld Zijderveld 1982, 1982, No. 8 (from(from Akhmim);Akhmim); Wulif-VolbachWulff-Volbach 1926, No. 9131. For connectionsconnections andand dates dates cp. cp. T T 5 5above. above. For the probableprobable AkhmimAkhmim origin of KendrickKendrick 11920,I 1920, No.No. 277,277, thethe closestclosest analogyanalogy toto TT 6,6, andand the relatedrelated RennerRenner WurzburgWürzburg 1974,1974, No.No. 6,6, cp.: cp.: Renner Renner Wurzburg Würzburg 1974, 1974, 8. 8. Bibliography: TörökTorök Art Antique 1978,1978, 4, No.No. 1,1, fig.fig. 1;1; KissKiss 1980,1980, No.No. 3.3.

T 7.7. Monochrome roundel.roundel. P1. Pl. XVIII. XVIII. IMTM 7471. Probably from Akhmim.Akhmim. Purchased inin 18991899 fromfrom R. R. Forrer. Forrer. Dm: 1313 cm.cm. A close interlaced motifmotif borderedbordered byby a friezefrieze of largelarge discsdiscs connectedconnected to eacheach otherother inin the the manner ofof aa guilloche.guilloche. CutCut fromfrom thethe ground ground textile; textile; smaller smaller damages. damages. The The details details executed executed with with the flyingflying shuttleshuttle areare only only partly partly preserved. preserved. Warp: S (medium)(medium) undyed linen;linen; wefts:wefts: S (medium)(medium) purplepurple wool,wool, SS (medium)(medium) undyedundyed wool wool used forfor interiorinterior detailsdetails executedexecuted withwith thethe flying flying shuttle. shuttle. 1 1tapestry tapestry weave, weave, flying flying needle. needle. 14 14 warps/cm, 3636 wefts/cm.wefts/cm. Cp. Beograd 1970, No. 132; Du Bourguet 1964,1964, Nos A 16, B 14;14; for thethe borderborder Du Du Bourguet Bourguet 1964, No. 8; SeagroattSeagroatt n.d.,n.d., P1.PI. 11 (=(= LiverpoolLiverpool Mus.Mus. 56.21.950, 56.21.950, fromfrom Akhmim); Akhmim); Zijderveld Zijderveld 1982, 1982, No. 8 (from(from Akhmim).Akhmim). The analogous piece Wilson 1933, No.No. 79 was dated withwith coinscoins toto thethe period between A.D.A.D. 335 and thethe 5th5th century. century. Bibliography: Török Art Antique 1978,1978, 5, No.No. 2,2, fig.fig. 2;2; KissKiss 1980,1980, No.No. 2.2.

T 8.8. Square purplepurple inset. inset. P1. Pl. XVIII. XVIII. IMTM 7478. Probably from Akhmim.Akhmim. Purchased inin 18991899 fromfrom R. R. Forrer. Forrer. 12.3 x 11.811.8 cm.cm. Two interlaced bands, edged by arcades,arcades, surround a centralcentral square.square. InIn thethe latterlatter a a star-shaped star-shaped centre rosette is surroundedsurrounded byby fourfour T-shapedT-shaped interlacedinterlaced bandsbands startingstarting from from the the corners corners of of the the square. One cornercorner slightlyslightly damaged.damaged. SewnSewn onon aa piece piece of of modern modern textile. textile. Warp: undyed S-spunS-spun (medium)(medium) linen,linen, wefts:wefts: purplepurple (indigo)(indigo) S-spunS-spun (medium) (medium) wool, wool, for for the the flying shuttle S (medium)(medium) bleachedbleached linenlinen andand SS (medium) (medium) yellow yellow wool.wool. 11 tapestrytapestry weave weave and and flying needle. 1414 warps/cm,warps/cm, 4040 wefts/cm. wefts/cm. Cp. Du Bourguet 1964,1964, No.No. CC 4;4; EggerEgger 1967, 1967, No.No. 4; 4; Kybalová Kybalová 1967, 1967, No. No. 77; 77; Shurinova Shurinova 1967, 1967, Nos 22, 33,33, 52,52, 54,54, 60,60, 112;112; seesee alsoalso ApostolakiApostolaki 1932,1932, No.No. 1278/b1278/b (fig.(fig. 58).58). The remarkajlyremarkably fine fine appearance of the piece is duedue toto thethe employmentemployment ofof two two sortssorts of of threads: threads: a athinner thinner yellow yellow and and a thicker whitewhite forfor thethe interiorinterior design design executed executed with with flying flying shuttle. shuttle. Bibliography: Török Art AntiqueAntique Sf.,5f., No.No. 3,3, fig.fig. 3;3; KissKiss 1980, 1980, No. No. 8. 8.

18 T 9.9. Fragment ofof monochromemonochrome sleeve sleeve band. band. P1. Pl. XIX. XIX. TMIM 7477. Probably from Akhmim.Akhmim. PurchasedPurchased inin 18991899 fromfrom R. R. Forrer. Forrer. 15.6 Xx 8.2 cm, WW ofof stripe:stripe: 55 cm.cm. Interwoven withinwithin an undyedundyed linenlinen fabricfabric -- thethe original'original tunk:tunic."A 'A narrownarrow stripestripe composed composed of of small square medaillonsmédaillons framed byby interlaceinterlace patterns;patterns; thethe stripestripe isis bordered bordered by by two two rows rows of of large large discs (perhaps a simplifiedsimplified imitationimitation ofof thethe vine-leafvine-leaf borderborder asas e.g.e.g. inin Kendrick Kendrick 1193; I 193; for for round round vine-leaves seesee e.g. T 18,18, 2020 below).below). Worn,Worn, faded.faded. I / Warp: S (medium)(medium) undyed linen;linen; wefts:wefts: S (medium)(medium) purplepurple (indigo)(indigo) wool,wool, SS (medium)(medium) un-un- dyed wool. 11 tapestrytapestry weave,weave, detailsdetails ofof patternpattern with with flying flying needle. needle. 28 28 warps/cm, warps/cm, 32 32 wefts/cm. wefts/cm. Cp. Du Bourguet 1964,1964, No. B 12;12; KesserKesser 1960,1960, No.No. 2222 (Museum(Museum Krefeld,Krefeld, mv.inv. no.no. notnot avail- avail- able); Shurinova 1967,1967, No.No. 44.44. Bibliography: KissKiss 1980,1980, No.No. 6. 6.

T 10.10. Fragment ofof squaresquare inset inset (?). (?). P1. Pl. XIX. XIX. TMIM 7476. Probably from Akhmim.Akhmim. PurchasedPurchased fromfrom R.R. ForrerForrer in in 1899. 1899. 7 xX 6.26.2 cm.cm. Fragment of an interlacedinterlaced friezefrieze border edgededged with aa vine-leafvine-leaf tendril (or(or borderedbordered onon bothboth sides withwith vine-leafvine-leaf friezes?). friezes?). Warp: S (medium)(medium) undyed linen;linen; wefts:wefts: SS (medium)(medium) purplepurple (now(now darkdark brown) brown) and and undyed undyed wools. 11 tapestrytapestry weave,weave, flyingflying shuttle.shuttle. 1010 warps/cm, warps/cm, 32 32 wefts/cm. wefts/cm. Cp. Errera 1916,1916, No.No. 52;52; KendrickKendrick 11920,I 1920, No.No. 8383 (= (= Renner Renner Purpurwirkereien Purpurwirkereien 1981, 1981, fig. fig. 14); 14); Peter 1967,1967, No. 3;3; ShurinovaShurinova 1967,1967, No.No. 26;26; ThompsonThompson 1971,1971, No.No. 1.1. The The fashion fashion of of interlaced interlaced bands withwith finefine interiorinterior design design - which- which are are composed composed of ofa <> a «beaded» band accompaniedaccompanied byby two two plain bands -- hashas beenbeen approximatelyapproximately dateddated byby KendrickKendrick 11920,I 1920, No.No. 83:83: thisthis piece piece is is related related to to textiles dating from the laterlater partpart ofof thethe 5th5th century century A.D. A.D. (cp.(cp. herehere TT 12);12); althoughalthough thethe manufac-manufac- ture ofof textilestextiles in thisthis stylestyle maymay havehave beganbegan earlierearlier (cp.(cp. ThompsonThompson 19711971 No.No. 1)1) andand survived survived intointo the 5th5th centurycentury A.D. A.D. Bibliography: KissKiss 1980,1980, No.No. 7. 7.

TTil. 11. Fragment ofof aa sleeve sleeve decoration. decoration. P1. Pl. XIX. XIX. IMTM 9014. Provenance unknown.unknown. 21x1321 x 13 cm,cm, WW ofof bands:bands: 4.54.5 cm.cm. Fragment of tunictunic sleevesleeve withwith twotwo monochromemonochrome stripesstripes withwith identical identical decoration: decoration: rowrow of of rhomboid compartments containingcontaining leavesleaves andand rosettesrosettes (?),(?), edgededged byby beadedbeaded borders.borders. Preserva-Preserva- tion veryvery poor.poor. Inwoven withinwithin an undyedundyed linenlinen tapestrytapestry fabricfabric fromfrom S-spunS-spun (medium)(medium) threads.threads. Warp:Warp: SS (medium) undyed linen, wefts:wefts: SS (medium)(medium) purplepurple (black)(black) andand undyed undyed wools. wools. 1 1tapestry tapestry weave, weave, flying shuttle. 77 warps/cm,warps/cm, 3232 wefts/cm. wefts/cm.

T 12.12. Square panel.panel. P1. Pl. XX.XX. TMIM 7462. Problably from Akhmim. Purchased inin 18991899 fromfrom R. R. Forrer. Forrer. 15 xx 13.5 cm, sewn on aa piecepiece ofof plainplain textile textile measuring measuring 18 18 x x 17.5cm. 17.5cm. Small central medaillonmédaillon enclosing four rosettes encircled by an interlaced bandband isis surroundedsurrounded by four L-shapedL-shaped fields that areare filledfilled withwith twotwo sortssorts ofof diaperdiaper patterns. patterns. The The square square is is bordered bordered outside by a running-waverunning-wave pattern. SewnSewn inin modernmodern timestimes ontoonto a a piece piece of of ancient ancient plain plain tapestry tapestry weave. Preservation fairlyfairly good.good.

19 The ground textile,textile, which may alsoalso bebe aa fragmentfragment fromfrom another another tunic, tunic, is is tapestry-woven tapestry-woven from from S (medium)(medium) undyedundyed linen,linen, 1010 warps/cm,warps/cm, 1616 wefts/cm.wefts/cm. Panel:Panel: warp:warp: SS (medium)(medium) undyedundyed linen, linen, wefts: mixedmixed SS (medium) undyedunded andand purple purple (now (now dark dark brown) brown) wools, wools, forfor the the interior interior details details S S (medium) undyed wool.wool. 11 tapestrytapestry weave, weave, flyingflying shuttle.shuttle. 14 14 warps/cm, warps/cm, 32 32 wefts/cm. wefts/cm. Cp. Du Bourguet 1964,1964, NosNos DD 1-3,1-3, 13;13; KendrickKendrick 11920,I 1920, No. No. 74; 74; Renner Renner Vatikan Vatikan 1982, 1982, No. No. 60, Wuiff-VolbachWulff-Volbach 1926, Nos 9132-9134, pp.SOff.,pp.50ff., 9018 p.51. These highly characteristic andand fine fine textiles are stylistically closely relatedrelated toto another group ofof fabrics,fabrics, whichwhich areare distinguisheddistinguished by by the the use ofof goldgold threadthread (e.g.,(e.g., BostonBoston MFAMFA 46.401,46.401, 46.40246.402 == RennerRenner PurpurwirkereienPurpurwirkereien 1981,1981, figsfigs 6,6, 5; 5; formerly OrléansOrleans Musée Historique et ArcheologiqueArchéologique inv.mv. no.no. not availableavailable == RennerRenner Purpur-Purpur- wirkereien 1981, fig. 4; Riggisberg AheggAbegg StiftungStiftung Inv.mv. 650, 651 == ibid.ibid. figsfigs 1,1, 2).2). TheseThese latter latter were dated by Renner to the 4th-5th4th-5th century,century, but thisthis somewhatsomewhat tootoo broadbroad datingdating cancan bebe nar-nar- rowed down on the basisbasis ofof thethe connectionsconnections betweenbetween thethe firstfirst groupgroup - -to to which which T T 12 12 also also belongs belongs - and thethe patternspatterns ofof some some soundlysoundly dated dated mosaics mosaics to to the the second second half half of of the the 5th 5th century century A.D. A.D. The The characteristic arrangement ofof alternatingalternating fieldsfields withwith differentdifferent diaperdiaper patternspatterns withinwithin large large squares squares occurs, for example, in the MosaicMosaic ofof Ananeosis,Ananeosis, c. 450-475 A.D., Levi II111947, 1947, P1.Pl. LXXIII and II pp. 476ff., 626;626; inin thethe mosaics inin Rooms 1 and 33 inin thethe HouseHouse ofof GeGe andand the the Seasons Seasons dating dating from the samesame period,period, LeviLevi 111947,II 1947, PisPis LXXXI/b,LXXXI/b, LXXXII/a andand I p. 626;626; inin thethe mosaicmosaic of of Room Room 2 of the HouseHouse ofof the the Bird-Rinceau, Bird-Rinceau, Upper Upper Level, Level, produced produced after after 500 500 A.D., A.D., Levi Levi 111947, II 1947, P1. Pl. XCII/b, XCII/b, I p 626, all found in Antioch.Antioch. - The forerunner ofof thethe stylestyle maymay alreadyalready bebe foundfound by by around around the the middle of the 4th4th century,century, A.D.,A.D., but withoutwithout thethe characteristiccharacteristic larger larger subdivisions subdivisions ofof the the mosaic mosaic field and without thethe smallsmall diaperdiaper pattern:pattern: Antioch,Antioch, BathBath EE RoomRoom 10,10, c. between 325-350325-350 A.D., A.D., Levi II111947, 1947, Pl.P1. CIX,CIX, I I pp.pp. 625f.62Sf. -- The late 5th5th centurycentury A.D.A.D. datingdating ofof T12T12 isis further further supported supported by a relatedrelated fabricfabric inin St. St. Gallen, Gallen, Gachter-Weber Gächter-Weber 1981,1981, No.No. 1818 (from(from Gayet'sGayet's excavationexcavation atat DeirDeir el-Dyk, i.e.,i.e., oneone ofof the cemeteries of late antiqueantique Antinoe)Antinoe) containingcontaining thethe figurefigure ofof aa horseman horseman in thethe stylestyle ofof KendrickKendrick I,I, No.No. 74.74. Bibliography: KissKiss 1980,1980, No.12.No.12.

T 13.13. MonochromeMonochrome roundel.roundel. P1. Pl. XX. XX. IM 7480.7480. Problably from Akhmim. Purchased inin 18991899 fromfrom R.R. Forrer.Forrer. Dm: 2828 cm.cm. Bordered by a running-waverunning-wave frieze, interlaced circlescircles enclosingenclosing an arrangementarrangement ofof circles circles andand points and, inin theirtheir centre,centre, aa crosscross withinwithin a a rhombus-shaped rhombus-shaped interlacedinterlaced frame.frame. PartPart ofof the the bor- bor- der missing.missing. Warp: S (medium)(medium) undyed linen, wefts:wefts: S (medium)(medium) purplepurple andand bleachedbleached wools,wools, thethe latterlatter used for thethe borderborder andand interior interior design design executed executed with with a aflying flying shuttle. shuttle. 1 1tapestry tapestry weave, weave, flying flying needle. 99 warps/cm,warps/cm, 1818 wefts/cm. wefts/cm. Cp. Du Bourguet 1964,1964, No.No. AA 18;18; KendrickKendrick II 1920,1920, No.No. 199199 (from(from Akhmim); Akhmim); Kesser Kesser 1960, 1960, No. No. 41 (= Kanegafuchi Spinning CompanyCompany mv.inv. no. notnot available);available); forfor thethe motifmotif of of the the interlaced interlaced circles circles cp. Antioch, House of Menander,Menander, UpperUpper Level,Level, Room 19,19, betweenbetween c. 235-312233-312 A.D.,A.D., LeviLevi 111947,II 1947, P1.Pl. XLV/d,XLV/d, II pp. 203, 625; House ofof thethe Evil Evil Eye Eye Lower Lower Level, Level, before before 115 115 A.D., A.D., Levi Levi 111947, II 1947, P1. Pl. XCIII/d, I pp. 28ff.,28ff., 625;625; HouseHouse ofof thethe Rams' Rams' Heads Heads around around 500 500 A.D., A.D., Levi Levi 111947, II 1947, P1. Pl. CXXXIII/d, CXXXIII/d, I pp. 350, 626. ThereThere cancan be no doubtdoubt thatthat TT 1313 datesdates from from a a late late period period of of this this long-enduring long-enduring fashion of this motif.motif. ThisThis isis alsoalso suggestedsuggested byby itsits relationrelation toto KendrickKendrick 11920,I 1920, No.No. 199199 which which has a polichromepolichrome jewelled border which occurs on aa numbernumber ofof textilestextiles databledatable onon thethe basis basis of of their -- partlypartly figuralfigurai -- patternspatterns toto the the second second half half (?) (?) of of the the 5th 5th century century A.D. A.D. (cp., (cp., e.g., e.g., Shurinova Shurinova 1967, Nos 16f.,16f., 92;92; Wulff-VolbachWulff-Volbach 1926,1926, NosNos 11444,11444, P1.Pl. 16,16, 92529252 p.p. 29).29). Bibliography: KissKiss 1980,1980, No.1.No.l.

20 T 14.14. Monochrome roundel.roundel. P1. Pl. XXI. XXI. TMIM 62.1295.1. Purchased inin Egypt.Egypt. ExEx Coil. Coll. A. A. Dobrovits. Dobrovits. 17.5 xX 1717 cm.cm. A cross-shaped designdesign formedformed of interlaced bands enclosedenclosed by aa broadbroad borderborder including including a a vine-leaf frieze, between thethe <> «arms» of of the the cross cross acanthus acanthus leaves in squaresquare frames.frames. Preservation Preservation fairly poor,poor, the details of thethe internalinternal designdesign areare lostlost inin part.part. Warp;Warp: S (medium)(medium) undyedundyed linen,linen, wefts:wefts: SS (medium)(medium) purplepurple (black) (black) andand undyed undyed wools. wools. 1 1 tapestry weave, details ofof designdesign executedexecuted withwith aa flying flying shuttle.shuttle. 12 12 warps/cm, warps/cm, 22 22 wefts/cm. wefts/cm. For thethe cross-shapedcross-shaped patternpattern cp.cp. Gächter-Weber Gächter-Weber 1981,1981, NosNos 42,42, 43.43. The The conspicuous conspicuous white white dots forming a circlecircle in thethe centrecentre ofof thethe roundelroundel andarid occuring occuring inin the the knots knots of of the the interlaced interlaced bands (now(now nono longerlonger visible)visible) are aa characteristiccharacteristic featurefeature ofof thethe purplepurple fabrics fabrics withwith gold gold thread thread referred to inin thethe commentcomment to to T T 12 12 aboveabove asas well well asas ofof a a group group of of related related textiles textiles such such as as Kendrick Kendrick I11920, 1920, NosNos 1212 (from(from Akhmim), Akhmim), 187187 (from (from Akhmim); Akhmim); ShurinovaShurinova 1967, 1967, Nos Nos 40-41; 40-41; Wilson Wilson 1933, 1933, No. 79 (dated byby coinscoins toto the the period period 335-5th 335-5th c. c. A.D.); A.D.); Wulif-Volbach Wulff-Volbach 1926,1926, NosNos 69956995 p. 38, 96949694 p. 55, 9634 p. 37, 9129 p. 38. It appearsappears thatthat thisthis idiosyncraticidiosyncratic detaildetail distinguishesdistinguishes aa stylistical- stylistical- ly homogeneous group of textilestextiles ofof remarkablyremarkably finefine executionexecution whichwhich cancan perhapsperhaps be be regarded regarded as products ofof thethe samesame workshopworkshop andand whichwhich datedate from from a a relatively relatively short short period period of of time time within within the 5th5th centurycentury A.D.A.D. (probably(probably inin thethe secondsecond halfhalf of of the the century). century). Bibliography: KissKiss 1980,1980, No.11.No.ll.

T 15.15. Star-shaped panel.panel. P1. Pl. XXI.XXI. TMIM 7472. Probably from Akhmim.Akhmim. Purchased fromfrom R.R. ForrerForrer in in 1899. 1899. 30 xX 3636 cm.cm. Square field filled with a GreekGreek keykey patternpattern andand borderedbordered by by two two interlaced interlaced bands, bands, "covers" "covers" another square turnedturned byby 4545 degrees.degrees. ItsIts "visible""visible" cornerscorners areare filledfilled withwith vinevine leaves.leaves. FromFrom thethe top andand bottombottom cornerscorners ofof the the "lower" "lower" squaresquare issue issue narrow narrow stems stems containing containing small small vine vine leaves leaves and dots;dots; onlyonly smallsmall sectionssections areare preserved.preserved. Worn,Worn, thethe Greek Greek key key pattern pattern barely barely visible. visible. Warp: S (medium)(medium) undyed linen,linen, wefts:wefts: SS (medium)(medium) purplepurple andand bleached bleached wools. wools. 33 tapestry tapestry weave, flying needle. 8x38x3 warps/cm,warps/cm, 3232 wefts/cm. wefts/cm. Cp. Du Bourguet 1964,1964, Nos A 12,12, B 31,31, CC 43,43, 54;54; KendrickKendrick 11920,I 1920, NosNos 193, 193, 209; 209; ShurinovaShurinova 1967, Nos 22, 31, 32, 54;54; Wulif-VolbachWulff-Volbach 1926,1926, without inv.noinv.no.,., 33, P1.Pi. 69.69. TheThe decoration ofof larger larger surfaces with - usually obliquely running -- GreekGreek keykey pattern isis notnot uncommon uncommon in in Egyptian Egyptian Late Late Antique and Coptic architecture, as,as, forfor example,example, onon mid-4thmid-4th centurycentury A.D. A.D. (?)(?) carvingscarvings foundfound atat Hermopolis (A.J.B.(A.J.B. Wace et al.,ah, HermopolisHermopolis Magna, Magna, Ashmunein, Ashmunein, Alexandria Alexandria 1959, 1959, P1. Pi. 25/2: 25/2: niche niche pediment, 26/7: cornice frieze [?]) and onon friezesfriezes andand engagedengaged columnscolumns fromfrom the the so-called so-called South South Church at BawitBawit (Chassinat(Chassinat 1911,1911, PlsPis LXXI, LXXI, LXXVI).LXXVI). TheThe carvingscarvings ofof the the engaged engaged columns columns referred to herehere werewere soundlysoundly dateddated byby H.-G.H.-G. Severin,Severin, as reusedreused partsparts ofof anan earlierearlier building, building, toto the 4th4th centurycentury A.D. A.D. (Zur(Zur SUd-Kirche Süd-Kirche von von Bawit, Bawit, MDAIK MDAIK 33, 33, [1977], [1977], 113-124, 113-124, 121f. 121f. [<>]). Thus, it is ratherrather likelylikely thatthat TT 1515 andand relatedrelated rextilesrextiles datedate fromfrom thethe second second half half of the 4th,4th, and/orand/or thethe earlyearly partpart of of the the 5th 5th century century A.D. A.D. Bibliography: KissKiss 1980,1980, No.5.No.5.

T 16.16. Fragment ofof aa bandband from from a atunic. tunic. P1. Pl. XXII. XXII. IM 7459.7459. Probably from Akhmim.Akhmim. Purchased fromfrom R.R. ForrerForrer in in 1899. 1899. 7.8 xX 15.515.5 cm.cm. A row ofof pointedpointed ovaloval compartmentscompartments containingcontaining rosettesrosettes and and vine-leaves vine-leaves andand separated separated by by pointed leaves; aa dotted frieze forms a borderborder onon eacheach side.side. Worn.Worn.

21 Warp: undyed S-spun linen; wefts:wefts: S (medium)(medium) purplepurple (dark(dark violet)violet) andand bleached bleached wools. wools. 1 1 tapestry weave,weave, flyingflying needle.needle. 88 warps/cm,warps/cm, 2424 wefts/cm. wefts/cm. Cp. Berman Collection,Collection, No.14;No.14; Du Bourguet 1964,1964, Nos A 24, D 4;4: GayetGayet CostumeCostume 1900,1900, No.No. 333 (from Akhmim); Kendrick 11920,I 1920, No.No. 229229 (from(from Akhmim); Akhmim); PeterPeter 1976, 1976, No. No. 5; 5; Renner Renner Vatikan Vatikan 1982, No. 41; ShurinovaShurinova 1967,1967, No.No. 66. 66. Bibliography: KissKiss 1980,1980, No.No. 13.13.

T 17.17. Monochrome roundel. P1.Pl. XXII. TMIM 7479. Probably from Akhmim. PurchasedPurchased inin 18991899 from R. Forrer. 17.5 xX 1818 cm.cm. A centrecentre médaillonmedaillon containing fourfour vine-leavesvine-leaves and fourfour circularcircular leavesleaves arrangedarranged in in cross cross form form is surrounded byby anan elegant elegant vine vine tendril. tendril. Fairly Fairly well well preserved. preserved. Warp: S (medium)(medium) undyedundyed linen,linen, wefts:wefts: SS (medium)(medium) purplepurple (black) (black) andand undyed undyed wools. wools. 1 1 tapestry weave, some details of thethe stemsstems fromfrom thethe vinevine tendriltendril executed executed with with the the flying flying shuttle. shuttle. 12 warps/cm, 3232 wefts/cm.wefts/cm. Cp. for the pattern ErreraErrera 1916,1916, No.No. 95;95; ZijderveldZijderveld 1982,1982, No. 7; for the leafleaf formform Du Bour- guet 1964,1964, Nos CC 48,48, 49,49, 54,54, 56;56; ShurinovaShurinova 1967, 1967, No.No. 28;28; Wulif-Volbach Wulff-Volbach 1926,1926, No.No. 90059005 p. 33. Zijderveld 1982,1982, No. No. 77 probablyprobably comescomes fromfrom the same workshop,workshop, but isis ofof a a finer finer quality quality (12 (12 warps andand 4848 weftswefts perper cm). cm). Bibliography:Bibliography; KissKiss 1980,1980, No.14.No.14.

T 18.18. Leaf-shaped panel.panel. P1. Pl. XXIII.XXIII. TMIM 7405. Said to be fromfrom thethe Fayoum.Fayoum. DonatedDonated byby Dr. F. BeckerBecker inin 1899.1899. Ground textile: 23 xx 28.5;28.5; panelpanel fragment:fragment: 2020 xx 23. 23. Portion of plain undyedundyed linen tabbytabby withwith inwoveninwoven decorationdecoration in thethe formform ofof aa vine vine branch branch with a loopedlooped stemstem andand bunchesbunches ofof grapes. grapes. BadlyBadly damaged,damaged, mostmost ofof the the purple purple wool wool weft weft miss- miss- ing. Warp: undyed S-spun (medium)(medium) linen;linen; wefts:wefts: SS (medium)(medium) purplepurple (dark (dark brown) brown) and and bleached bleached wools (the latter preservedpreserved onlyonly inin thethe stem).stem). 11 tapestrytapestry weave, weave, interiorinterior design design (almost (almost totally totally lost) executed with thethe flyingflying shuttle.shuttle. GroundGround fabric:fabric: 1212 warpswarps andand 20 20 wefts/cm; wefts/cm; panel: panel: 12 12 warps/cm, 4040 wefts/cm.wefts/cm. Cp. Kendrick 11920,I 1920, No.No. 216216 (from (from Akhmim); Akhmim); Kybalova Kybalová 1967, 1967, No. No. 75; 75; Wulif-Volbach Wulff-Volbach 1925, 1925, No. 9253 p. 33. Because of the closeclose similaritysimilarity ofof theirtheir finelyfinely executedexecuted naturalisticnaturalistic details,details, TT 1818 and Kendrick I 1920,1920, No. 216 seem to havehave beenbeen producedproduced inin thethe same same workshop. workshop. The The outstand- outstand- ing quality of T 18 is obvious even inin its present badlybadly damageddamaged condition.condition. AA similarlysimilarly naturalis-naturalis- tic rendering ofof thethe floralfloral detailsdetails distinguishesdistinguishes aa number number of of polichrome polichrome textiles textiles with with representa- representa- tion ofof foliagefoliage friezes, fruitfruit baskets etc. propably dating from the latelate 4th4th andand the the first first half half of of the 5th centurycentury A.D. (see, e.g., Shurinova 1967, Nos 8-9, but not recognizedrecognized byby herher asas belonging belonging together; 14-15;14-15; 20; Thompson 1971,1971, No.No. 2;2; cp.cp. furtherfurther Kendrick Kendrick 11920, I 1920, No No 21; 21; Wulif-Volbach Wulff-Volbach 1925, No.No. 9067 p. 9). Bibliography: KissKiss 1980,1980, No.No. 17.17.

T 19.19. Tapestry-woven band.band. P1. Pl. XXIV. XXIV. IMTM 9013. Probably from Akhmim. PurchasedPurchased inin 1899 from R. Forrer. 52.1 x 8.58.5 cm.cm. Band from aa linenlinen cloth,cloth, perhapsperhaps aa hanging: hanging: aa wavy wavy vine-stem vine-stem withleaveswith leaves and and tendrils. tendrils. Warp: undyed S-spun (medium)(medium) linen,linen, wefts:wefts: SS (medium)(medium) purplepurple (black) (black) andand undyed undyed wools. wools. 3 tapestry weave,weave, detailsdetails ofof thethe leavesleaves executedexecuted withwith the the flying flying shuttle. shuttle. 3x8 3x8 warps/cm, warps/cm, 32 32 wefts/cm. wefts/cm.

22 Cp. Du Bourguet 1963,1963, NosNos AA 20-22,20-22, CC 56; see also A 5, 6; Kendrick 11920,I 1920, NosNos 21 21 (polichrome),(polichrome), 221 (from Akhmim);Akhmim); Shurinova 1967,1967, No.No. 71;71; Wulif-VolbachWulff-Volbach 1925,1925, No. 90679067 p.P. 9 (polichrome);(polichrome); Zijderveld 1982, No.No. 14 (from Akhmim). For itsits chronologicalchronological positionposition seesee commentcomment to to T T18. 18. Bibliography: KissKiss 1980,1980, No.No. 15. 15.

T 20.20. Tapestry-woven band.band. P1. Pl. XXIV. XXIV. TMIM 7455. Probably from Akhmim.Akhmim. Purchased fromfrom R.R. ForrerForrer in in 1899. 1899. 29.5 Xx 9.5 cm, WW ofof decorateddecorated band:band: 8.58.5 cm. cm. Inwoven intointo a linenlinen tabby.tabby. AA bandband containingcontaining aa wavy wavy vine vine stemstem with with leaves leaves and and bordered bordered by arcades and aa rowrow ofof acanthi acanthi on on each each side. side. Worn. Worn. Band: warp: undyed S-spunS-spun (medium)(medium) linen,linen, wefts:wefts: SS (medium)(medium) purplepurple (brown) (brown) and and undyed undyed wools. 11 tapestrytapestry weave,weave, 1818 warps/cm,warps/cm, 40 40 wefts/cm. wefts/cm. Cp. Du Bourguet 1964,1964, No. D 14; Gayet Costume 1900, No. 334 (from Akhmim); for the acan-acan- thi cp.cp. ErreraErrera 1916, 1916, NosNos 36 36 (from (from Akhmim, Akhmim, cp. cp. Wulif-Volbach Wulff-Volbach 1926, 1926, No.No. 9067 9067 p.9). p.9). The The wavy wavy vine-stem waswas a frequently employed decoration on monochrome bandsbands and,and, asas clearly clearly indicated indicated by the acanthus bordersborders ofof TT 2020 oror the the acanthus acanthus scroll scroll in in Kybalova Kybalova 1967, 1967, No.No. 37,37, thethe motif motif was was inspired inin allall probabilityprobability byby thethe peopled peopled vine-and-acanthus vine-and-acanthus scrollsscrolls framedframed by by rows rows of of acanthi, acanthi, carved in stone oror executedexecuted inin mosaicsmosaics whichwhich werewere aa widelywidely distributeddistributed architectural architectural decoration decoration of Hellenistic origin. Vine-scrolls peopledpeopled with scenes from thethe DionysiacDionysiac vintagevintage werewere popularpopular in 3rd-4th3rd-4th centurycentury A.D.A.D. architectural decoration everywhereeverywhere inin the RomanRoman worldworld asas well well as as in in Egypt (e.g., the porphyry sarcophagus of ConstantiaConstantia nownow inin thethe Vatican Vatican Museum;Museum; fragmentfragment ofof the sarcophagussarcophagus ofof ConstantineConstantine thethe Great, Great, Istanbul, Istanbul, Archaeological Archaeological Museum, Museum, Beckwith Beckwith 1963, 1963, No. No. 1 etc.). It was associatedassociated in ChristianChristian interpretation with the vintage of the LordLord andand itit is,is, atat least partly, this interpretationinterpretation thatthat explainsexplains thethe frequentfrequent appearanceappearance ofof thethe vine-scroll vine-scroll withwith oror without vintage scenes in CopticCoptic stone andand woodwood carving,carving, inin ivoryivory andand metal-work,metal-work, andand primari-primari- lyly,, in fabricsfabrics (for(for examplesexamples and forfor thethe discussiondiscussion ofof thethe historyhistory ofof the the motif motif see see J. J. C. C. M. M. Toyn- Toyn- bee-J.bee-!. B. Ward Perkins, PeopledPeopled Scrolls:Scrolls: AA Hellenistic Motif in ImperialImperial Art,Art, PBSRPBSR 18,18, [1950],[1950], 1-1- 43, esp.esp. 35ff.).35ff.). Bibliography:Bibliography; Török Art Antique 1978,1978, 6,6, No.No. 4,4, fig.fig. 4;4; KissKiss 1980,1980, No.No. 16. 16.

T 21.21. Monochrome band.band. P1. Pl. XXIV. XXIV. TMIM 7460. Probably from Akhmim.Akhmim. PurchasedPurchased inin 18991899 fromfrom R. R. Forrer. Forrer. 20 Xx 8.3 cm, WW ofof band:band: 77 cm. cm. A narrownarrow band decorated with GreekGreek key pattern bordered byby anan arcadedarcaded friezefrieze onon eacheach side side inwoven intointo an undyed linenlinen tabby.tabby. Faded.Faded. TheThe detailsdetails executedexecuted with thethe flyingflying shuttleshuttle areare al-al- most entirelyentirely missing.missing. Warp: S (medium) undyedundyed linen,linen, wefts:wefts; SS purplepurple andand undyed undyed wools. wools. 1 1tapestry tapestry weave, weave, Greek Greek key design was executedexecuted withwith thethe flyingflying shuttle.shuttle. 99 warps/cm, warps/cm, 36 36 wefts/cm. wefts/cm. Cp. Egger 1967,1967, No. 10;10; Errera 1916,1916, No.No. 68;68; GuerriniGuerrini 1957,1957, No.No. 31;31; KendrickKendrick 11920, I 1920, No. No. 193 (from Akhmim); Wulif-VolbachWulff-Volbach 1926,1926, Nos 92549254 p. 28, 6964 p. 32, 9828 p. 37; WilsonWilson 1933,1933, No. 145 etc. These examples, asas wellwell asas thosethose referredreferred toto in the commentcomment onon TT 1515 indicateindicate aa late late 4th (?) and earlyearly 5th5th centurycentury A.D.A.D. date forfor thethe fashionfashion ofof the the Greek Greek key key pattern.pattern. It It is is associated, associated, as a rule,rule, withwith naturalisticallynaturalistically renderedrendered vine-leavesvine-leaves and alsoalso occursoccurs asas subsidiarysubsidiary patternworkpatternwork in in polichrome textiles in the naturalisticnaturalistic stylestyle ofof thethe earlyearly 5th5th century century as as e.g. e.g. Shurinova Shurinova 1967, 1967, No. No. 38 (a textile related toto KendrickKendrick 11920,I 1920, No.No. 21,21, and and Wulff-Volbach Wulff-Volbach 1926,1926, NoNo 9078,9078, p. 9). Bibliography: Kiss 1980,1980, No.No. 4.4.

23