Bowl
Ennion (probably active in Sidon, modern-day Lebanon)
mid - 1st century C.E.
Mold-blown glass
71.6779
Bowl of mold-blown transparent bluish-green glass. Blown into a four-part mold. Dome bottom with concentric rings. Bottom half has "hairpin" like ribbing, and then a band of cross hatching with a "tabula ansata" field containing maker's inscription. Arranged in two rows, with a top band of additional "hairpin" ribbing and then a plain straight rim. Some weathering and iridescence present.
The Greek inscription in the rectangular cartouche on upper side reads ENNION/ENOIEI which translates to "Ennion made (it)." Approximately twenty relatively intact vessels survive from the Ennion workshop, which produced the finest and most well-known of the early Roman mold-blown glasses.
Black-Figure Vessel (Lekythos)
Phanyllis Group (Greek (Athens), 520 BCE - 510 BCE)
520 - 510 B.C.E.
Terracotta
Greco-Roman
92.51
This Attic Black-Figure-style lekythos (olive-oil jar) was made during the last quarter of the 6th century B.C. (ca. 520-510 B.C.). It is made from clay. Before firing, the technique involves painting the object with a black organic slip (refined from the clay) which was incised, allowing the orange color of the fabric of the vessel to show through and provide detail for the figures.
As the technique developed, touches of decorative white and dark red were occasionally added before firing. By alternately firing the vessels in a high oxygen environment and a low oxygen environment, the organic matter in the painted slip turned a glossy black, while the iron in the clay of the vessel itself combined with the oxygen to yield a rich orange coloration.
This lekythos depicts a scene of a female chariot driver, she is wearing a long white gown and holding a whip. The chariot is drawn by four horses, and a bird in flight appears above the horses' backs. A male warrior-figure, wearing armor and holding a shield and staff, stands behind the chariot; another similarly dressed male figure stands in front of the horses. The shoulder of the vase has been decorated with a common abstract design of "palmettes on oes." The mouth, handle, and foot of this object are black, as is the lower third of the body.
Funerary Portrait Statue
50-1 B.C.E.
Clastic limestone
Greco-Roman
78.429
Hellenistic period. Of clastic limestone, head & body of different types.
Her idealized pose and drapery belie her function as she marked a tomb and commemorated the life of its occupant with a mournful and reflective gesture.
Mosaic With Greek Inscription
4th century C.E.-5th century C.E.
Stone
Early Byzantine
71.2262D
Translated, the Greek inscription says: "Berrullos, son of Dominus of Siantha, living made vows with his wife and children, made this mosaic in secret up to this point in time.";
Mosaic With Peacock
4th century C.E.- 5th century C.E.
Stone
Early Byzantine
71.2262A
Sarcophagus
250-300 C.E.
Greco-Roman
Marble
77.1276
The lid of the sarcophagus was carved in Greece except for the face of the deceased. There was probably a recumbent male figure which was chiseled off in antiquity and replaced by the box. At some point, the lid was joined to the chest, which was not made at the same time.
They were first recorded together in the early nineteenth century. The scene on the chest represents children enacting the contests of adult athletes in the Roman circus. On the front at the left is an umpire who hands the palm of victory to a boxer who just knocked down his adversary; in the center another victor receives his palm; to the right is another pair of contestants.
Standing Figure In Military Dress
1st century C.E
Greco-Roman
Marble
78.419
Roman marble standing figure in military dress (cuirass). Possibly posthumous image of Augustus. Flavian period or later. Large standing heroic figure with staff and orb. Traces of a figural relief on breastplate.
Torso of a Man with Chlamys
ca. 100 C.E.
Greco-Roman
Marble
77.388
Even without its head, legs, and arm, this muscled torso seems to lunge forward and twist. Sculptors from the Hellenistic Period (about 323–146 B.C.E.) used expressive gestures to give physical form to interior emotions. Their attention to individualized features and heightened feelings especially appealed to the Romans, who made this copy after a Greek original.
Komentarai