Deborah Schorsch
The Metropolitan Museum of Art, Objects Conservation, Department Member
One of the greatest pleasures of working in The Metropolitan Museum of Art, with its rich history of archaeological exploration in the early part of the 20th century, is the opportunity to study antiquities retrieved from known contexts.... more
One of the greatest pleasures of working in The Metropolitan Museum of Art, with its rich history of archaeological exploration in the early part of the 20th century, is the opportunity to study antiquities retrieved from known contexts. Early reports and photographs have generally been supplemented through the efforts of curators, conservators, and scientists over the intervening years, but despite the time and effort earlier scholars dedicated to examining and contextualizing these artifacts, most antiquities continue to present unsolved mysteries and all warrant our periodic attention. Conservation-based research using techniques such as informed visual examination, X-ray radiography, and elemental analysis provides new parameters for contextualizing ancient artifacts.
https://oi.uchicago.edu/research/individual-scholarship/individual-scholarship-christine-lilyquist
this essay is can be found under specific studies on technology
https://oi.uchicago.edu/research/individual-scholarship/individual-scholarship-christine-lilyquist
this essay is can be found under specific studies on technology
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More than 1400 turquoise stones associated with 98 archaeological artifacts from Egypt, the Near East, and Central Asia were analyzed using non-invasive point and scanning XRF. Geological specimens of turquoise from mines in the Sinai and... more
More than 1400 turquoise stones associated with 98 archaeological artifacts from Egypt, the Near East, and Central Asia were analyzed using non-invasive point and scanning XRF. Geological specimens of turquoise from mines in the Sinai and Iran were also included in this study. The relative intensities of characteristic X-rays of Fe, Cu, Zn, and As were used to categorize the stones, which are discussed here in terms of their geographical contexts and assigned dates. The results indicate strong correlations between turquoise composition and archaeological attribution. Although these relationships likely reflect differences in turquoise sources that changed over the course of several millennia, it is not possible to associate the chemical signatures with specific mines solely using non-invasive XRF data.
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An illustrated history of conservation practice at The Metropolitan Museum of Art written for the Museum's 150 year anniversary in 2020... more
An illustrated history of conservation practice at The Metropolitan Museum of Art written for the Museum's 150 year anniversary in 2020
https://www.metmuseum.org/about-the-met/conservation-and-scientific-research/conservation-stories/history-of-conservation
https://www.metmuseum.org/about-the-met/conservation-and-scientific-research/conservation-stories/history-of-conservation
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Little archaeological evidence of metal recycling in ancient Egypt survives, and virtually none suggesting that temple ritual statuary was dispersed through official channels to be melted down and reused for ritual or profane purposes.... more
Little archaeological evidence of metal recycling in ancient Egypt survives, and virtually none suggesting that temple ritual statuary was dispersed through official channels to be melted down and reused for ritual or profane purposes. Instead, there is ample evidence indicating that these cupreous and precious-metal figures, varying widely in size and ranging from basic to lavish in manufacture and embellishment, were retained in the temples over long periods, were occasionally altered to suit shifting political–religious ideologies and were respectfully buried within temple precincts upon retirement. Along with archaeological context, physical indications of alterations and reuse are extremely important for recognising extended lives and evolving functions, and thereby contribute to our understanding of ritual practices and the procurement and dispersal of sacred images. Technical investigations using typical museum laboratory techniques including visual examination, radiography and compositional analyses allow us to clarify function and characterise transformation. Examples discussed here include: Kushite royal figures that were defaced and reused by their Saite successors; statues of deities transformed through alteration of their regalia or later embellishment with precious materials; a small representation of Osiris slated for repair after it was damaged beyond recognition; and statues of royal and presumably high status non-royal personages that were altered for reasons that for now remain obscure.
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Scholarship has focused on the Gupta age (ca. 320–550) as the quintessential expression of classical Indian art, and on the key role of metal icons in the dissemination and development of Buddhist and Hindu practice during that period and... more
Scholarship has focused on the Gupta age (ca. 320–550) as the quintessential expression of classical Indian art, and on the key role of metal icons in the dissemination and development of Buddhist and Hindu practice during that period and its aftermath into the eighth century. In fact, although well attested in contemporary texts, few bronze figures, and none in gold or silver, survived the decline of Buddhism and the destruction of monasteries during the Muslim invasions, and for those still extant, little attention has been devoted to their manufacture. Close examination of a group of hollow-cast bronze Gupta-style Buddha images from North India has revealed a unique technological style developed to meet the particular challenges of producing three-dimensional, but relatively shallow, figures with expansive garments. Unlike most figural metal statuary, the Gupta-style images were cast in a horizontal orientation, with internal gates that directed the molten metal sideways into the billowing draperies. These and other conclusions regarding their manufacture are based on visual examination, computed radiography, volumetric X-ray imaging, and X-ray fluorescence spot and line scans analyses. The spread of this technology to South India and Southeast Asia parallels the wide ranging propogation of the Gupta style, but the specialized knowledge necessary to produce such images points to the movement of experienced craftsmen between these regions and the Gupta heartland.
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This essay considers the technical examination of ancient works of art from the Near East, primarily in museum settings. The practice of studying physical aspects of these works with the aim of identifying methods of manufacture and... more
This essay considers the technical examination of ancient works of art from the Near East, primarily in museum settings. The practice of studying physical aspects of these works with the aim of identifying methods of manufacture and materials, establishing authenticity, date, or cultural attribution, characterizing paths of deterioration, and developing methods of preservation, has
a history reaching back well into the nineteenth century, when many of
the world’s largest museums were founded. Conservators and conservation
scientists with varied and overlapping expertise, in cooperation with curators,
art historians, archaeologists, and other specialists, now carry out this work
in museums throughout the world.
a history reaching back well into the nineteenth century, when many of
the world’s largest museums were founded. Conservators and conservation
scientists with varied and overlapping expertise, in cooperation with curators,
art historians, archaeologists, and other specialists, now carry out this work
in museums throughout the world.
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Supplement by Deborah Schorsch to a catalogue entry by Diana Patch on the Middle Kingdom Egyptian gold cloisonné inlay pectoral of Sithathoryunet.
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Appendix to "Cypriot Bronzework and Images of Power: The Cesnola Amphoroid Crater and Tripod," by Joan Aruz
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During the Late Bronze Age, Cyprus witnessed a dramatic increase in bronze production and a new dedication of the material in the service of cult and conspicuous display. Yet, despite the increased importance of bronze and the... more
During the Late Bronze Age, Cyprus witnessed a dramatic increase in bronze production and a new dedication of the material in the service of cult and conspicuous display. Yet, despite the increased importance of bronze and the introduction of a range of sophisticated manufacturing techniques, the execution of the work can be judged as unrefined. Based on new evidence provided by X-ray radiography and other analytical methods applied to the study of tripods, four-sided stands, and amphorae, this opinion is contrary to most scholarly assessments of Cypriot artisanship. The tripods have been described by Catling as ". .. very remarkable technical achievements, showing their makers as master craftsmen in the skills of bronze-working. " 1 The incongruous combination of ambition and innovation with technical mediocrity and scant attention to detail, typifies these luxury goods, and is of particular interest when they are considered in relation to contemporary works from the Aegean. For a land so richly endowed with mineral resources and so well known in antiquity as a source of copper, Cyprus produced, at least during the Early and much of the Middle Bronze Age, a limited array of metal artifacts. During the Late Bronze Age, the number of bronze objects made on Cyprus increased dramatically, with this radical change occurring , according to Catling, in the LC IIC and LC IIIA periods (ca. 1330–1150 B.C.). 2 In addition to the weapons, tools, and personal ornaments already produced since the Early Bronze Age, new types of bronze objects are in evidence. Most prevalent among these are vessels, although Kalottenschalen, simple bowls known since the Early Bronze Age, account for the vast majority. As a rule, these Late Bronze Age vessels were formed by hammering, but some have handles or other elements that were cast. Helmets, shield fittings, and greaves were also hammered from sheet. Various Late Bronze Age sites have yielded examples of cast bronze figures of humans and animals, and several, including a male figure found in the eponymous " ingot god sanctuary " at Enkomi, surmount ox-hide ingots. 3 In manufacture, these figures reflect the use of the lost-wax casting method, previously rarely seen in Cyprus; they also signal the introduction of metal as a material appropriate for cult objects and for figurative representations, functions previously served by stone and especially terracotta.
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During the second half of the first millennium BC, thousands of hollow cast bronzes were produced in Egypt. Among them are animal figures that were used as votive offerings to the deities to whom the animals represented were sacred. The... more
During the second half of the first millennium BC, thousands of hollow cast bronzes were produced in Egypt. Among them are animal figures that were used as votive offerings to the deities to whom the animals represented were sacred. The author discusses the examination of a variety of hollow cast ibis and cat bronzes in the Metropolitan Museum of Art and several other institutions. The function of these bronzes in ancient Egypt and general observations about their manufacture and decoration are presented. Conventional x-radiography proved to be the most useful tool in assessing technical features such as core supports, the quality of the castings, the shape of the internal cavities, the presence of core or mummies in the bronzes, locations and methods of joins, etc., that are useful in the characterization of ancient Egyptian hollow cast bronzes of this period. Alloy composition and surface condition are also considered.
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Copper ewers of the Old Kingdom in Egypt originally became a subject of study in the department of objects conservation of the Metropolitan Museum because of certain similarities between them and the three silver libation vessels from the... more
Copper ewers of the Old Kingdom in Egypt originally became a subject of study in the department of objects conservation of the Metropolitan Museum because of certain similarities between them and the three silver libation vessels from the so-called Three Princesses' Treasure, a large and varied group of objects dating to the Eighteenth Dynasty, which is presently undergoing stylistic and technical reevaluation by the departments of Egyptian art and objects conservation. The study of the ewers was carried out primarily through visual examination, radiography, and replication experiments. These ewers, which had separate applied spouts, were raised from copper sheet and evolved from an open form common in the Early Dynastic period, to an exceedingly closed late Old Kingdom form that placed increasing demands on the skill and ingenuity of the smiths who produced them. Most importantly, it would have been quite difficult, as it still is for contemporary smiths, to force the metal walls to compress sufficiently to terminate in the very small opening on the top of the ewer. Some ewers were raised in spite of these difficulties, leaving evidence of such in the form of cracking or overlapped metal on the rim. For a number of the most extreme examples, separate bottoms were inserted, and in the case of an archaicizing New Kingdom example, the bottom was cast in. Secondly, the problem of the manufacture and attachment of the spout prompted a number of solutions. The spouts themselves were either made from hammered sheets that were riveted or crimped together, and represent fairly early examples of hollow casting. The attachment is often clearly mechanical, involving the use of rivets. The other joins, where no mechanical means are visible, have been described in earlier literature as being soldered, but this is unlikely. Rather the spouts appear to have been cast with an extra flange that would facilitate attachment by crimping.
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A rectangular faience “plaque” with incurved sides and relief imagery on both faces, now in The Metropolitan Museum of Art, New York, is said to have come from the “temple-palace” of Ramesses III in Tell el-Yahudiyeh and on that basis it... more
A rectangular faience “plaque” with incurved sides and relief imagery on both faces, now in The Metropolitan Museum of Art, New York, is said to have come from the “temple-palace” of Ramesses III in Tell el-Yahudiyeh and on that basis it has been described as a tile and dated to the Twentieth Dynasty. A modest corpus of related monuments that provide representational parallels and textual evidence, however, strongly supports the identification of the work as a model tambourine, and suggest a Third Intermediate Period date and Tell Basta as its source.
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The richly inlaid bronze torso of Pedubaste (ca. 818-793 BC) is one of the great monuments of the Egyptian Third Intermediate Period, a politically decentralized and obscure era marked, nonetheless, by a high level of inventiveness and... more
The richly inlaid bronze torso of Pedubaste (ca. 818-793 BC) is one of the great monuments of the Egyptian Third Intermediate Period, a politically decentralized and obscure era marked, nonetheless, by a high level of inventiveness and artistry.
Close visual and technical examination laid the groundwork for this study, in which several points of historical, technical and artistic interest have been pursued in depth. Investigation of the modern history of the object is suggestive with regard to its origin, which in turn has further implications for the much-discussed power base of the historical King Pedubaste. Technical description of the figure, incorporating insights from elemental, radiographic, metallographic and petrographic analyses contributes to a growing body of scientific studies of ancient Egyptian metal statuary. It also provides evidence regarding casting technology and finishing processes, as well as sophisticated alloying practices and artificial patinations. The combined results of the technical and art historical investigations permit at least partial reconstruction of the original and its figural decoration, along with an appraisal of the remarkable visual impact of the statue, both confirming and extending the findings of other recent studies of large Third Intermediate Period bronze statuary.
Close visual and technical examination laid the groundwork for this study, in which several points of historical, technical and artistic interest have been pursued in depth. Investigation of the modern history of the object is suggestive with regard to its origin, which in turn has further implications for the much-discussed power base of the historical King Pedubaste. Technical description of the figure, incorporating insights from elemental, radiographic, metallographic and petrographic analyses contributes to a growing body of scientific studies of ancient Egyptian metal statuary. It also provides evidence regarding casting technology and finishing processes, as well as sophisticated alloying practices and artificial patinations. The combined results of the technical and art historical investigations permit at least partial reconstruction of the original and its figural decoration, along with an appraisal of the remarkable visual impact of the statue, both confirming and extending the findings of other recent studies of large Third Intermediate Period bronze statuary.
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This ancient Egyptian figure of a kneeling king dates to the 15th century BCE. The figure is a solid cast black bronze with gold inlay. The article includes contributions by Egyptologist Hill and research conservator Schorsch. The first... more
This ancient Egyptian figure of a kneeling king dates to the 15th century BCE. The figure is a solid cast black bronze with gold inlay. The article includes contributions by Egyptologist Hill and research conservator Schorsch. The first contribution deals with stylistic questions and considers the function of the figure, which represents an early step in the development of Egyptian bronze statuary. The notes include references to other bronze figures, including technical studies. The technical contribution considers basic issues of manufacture, as well as an investigation of the figure's unusual silvery surface, which is due to the presence of chalcocite (CuS).
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Red surface colorations frequently found on ancient Egyptian gold objects have been examined by X-ray diffraction, energy-dispersive X-ray spectroscopy, and other methods. The results indicate that these colorations are most often... more
Red surface colorations frequently found on ancient Egyptian gold objects have been examined by X-ray diffraction, energy-dispersive X-ray spectroscopy, and other methods. The results indicate that these colorations are most often associated with tarnish films in which the predominant species is a silver gold sulfide, AgAuS, occurring on a substrate silver gold alloy. Another silver gold sulfide, Ag3AuS2, may also be associated with these alloys and especially with Red surface colorations frequently found on ancient Egyptian gold objects have
been examined by X-ray diffraction, energy-dispersive X-ray spectroscopy, and other methods.
The results indicate that these colorations are most often associated with tarnish films in which
the predominant species is a silver gold sulfide, AgAuS, occurring on a substrate silver gold alloy.
Another silver gold sulfide, Ag3AuS2, may also be associated with these alloys and especially with
those of higher silver content. These results have been corroborated by the synthesis of visually similar tarnishes on gold silver alloy coupons that have yielded analytical results identical to those obtained for the archaeological material.
those of higher silver content. These results have been corroborated by the synthesis of visually similar tarnishes on gold silver alloy coupons that have yielded analytical results identical to those obtained for the archaeological material.
been examined by X-ray diffraction, energy-dispersive X-ray spectroscopy, and other methods.
The results indicate that these colorations are most often associated with tarnish films in which
the predominant species is a silver gold sulfide, AgAuS, occurring on a substrate silver gold alloy.
Another silver gold sulfide, Ag3AuS2, may also be associated with these alloys and especially with
those of higher silver content. These results have been corroborated by the synthesis of visually similar tarnishes on gold silver alloy coupons that have yielded analytical results identical to those obtained for the archaeological material.
those of higher silver content. These results have been corroborated by the synthesis of visually similar tarnishes on gold silver alloy coupons that have yielded analytical results identical to those obtained for the archaeological material.
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A technical study of an ancient Egyptian hollow-cast bronze cat sarcophagus dating to the 1st millennium B.C. and of a "similar" work, shown to be a modern forgery.
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The Vermand Treasure is a group of grave goods, dated to the second half of the 4th century, recovered from a military burial in northern France. This paper considers the possibility that they belonged to a solder in the Roman army of... more
The Vermand Treasure is a group of grave goods, dated to the second half of the 4th century, recovered from a military burial in northern France. This paper considers the possibility that they belonged to a solder in the Roman army of Sarmatian origins. Appendix 2 includes technical observations concerning the manufacture and preservation of six objects from the treasure, four of partially gilded cast silver with niello decoration and two of forged iron with precious metal cladding, are presented in this appendix. The techniques of Kerbschnitt, niello, and mercury gilding are considered briefly.
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Describes the results of the technical examination and cleaning of an Egyptian silver statuette dated to the reign of Necho II of the Twenty-sixth Dynasty. The figure is probably the finest known example of Egyptian statuary in silver. It... more
Describes the results of the technical examination and cleaning of an Egyptian silver statuette dated to the reign of Necho II of the Twenty-sixth Dynasty. The figure is probably the finest known example of Egyptian statuary in silver. It is also a unique representation in silver of an almost unknown subject in ancient Egyptian art: an unclothed woman of high status. The examination clarified questions concerning the statuette's original appearance and manufacture, and helped in the restatement of as yet unanswered questions about the function of the figure in antiquity and the identity of the woman represented. The technical investigation included visual examination under magnification, x-ray radiography, elemental analysis, and x-ray diffraction. The method of casting the figure, the application of separately manufactured components, and the finishing of the surface are described, as is the composition of the metal. The use and sources of silver in ancient Egypt are considered. A variety of accretions and corrosion products are identified. The philosophical approach to cleaning and the treatment that was actually undertaken are discussed.
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Gold and silver appear in Egypt at least as early as the Predynastic Period and remain thereafter in use for the manufacture of ritual and funerary objects and personal possessions. On occasion, the ancient metalworker or his patron would... more
Gold and silver appear in Egypt at least as early as the Predynastic Period and remain thereafter in use for the manufacture of ritual and funerary objects and personal possessions. On occasion, the ancient metalworker or his patron would choose to combine them in the manufacture of an objet de vertu: a jewel, a vessel, a royal coffin. The earliest uses of gold, silver, and electrum together can be described as random, as the juxtapositions appear to have no meaning in terms of relative monetary value or visual design, and to have no coloristic or symbolic associations. During the Old Kingdom there appear the first objects that use precious metals systematically for their contrasting colors, a practice that becomes more widespread in the Middle Kingdom. The greatest sophistication in the use of precious metals can be documented during the second half of the Eighteenth Dynasty, particularly in the time of Tutankhamun, when gold-including alloys that are reddish or that have been intentionally colored red-silver were used together with electrum to exploit their inherent colors and to evoke symbolic meaning.
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The Moche, who inhabited the north coast of Peru in the Early Intermediate Period, had a rich metallurgical tradition that employed, for the most part, hammered sheet of various metals joined by mechanical means. The artisans who produced... more
The Moche, who inhabited the north coast of Peru in the Early Intermediate Period, had a rich metallurgical tradition that employed, for the most part, hammered sheet of various metals joined by mechanical means. The artisans who produced the metal grave goods deposited in Moche burials at Loma Negra used an electrochemical replacement plating process to apply precious metal layers to copper substrates, a method that was unique to the Piura Valley, where the site is located, far from the Moche heartland on the other side of the Sechura Desert. Considered here are two types of objects from the Loma Negra corpus--disk ornaments and fox-head headdress ornaments--assembled from copper sheet plated using this method, which allowed the deposition of extremely thin layers of gold and silver of any composition. In addition to construction and surface treatment, this report considers how these colorful, animated three-dimensional ornaments might have been perceived by the ancient observer.
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Given the importance of conservation to the mission of The Metropolitan Museum of Art, it is of interest to trace and document the beginning and evolution of conservation practices, philosophical approaches to collections care, and... more
Given the importance of conservation to the mission of The Metropolitan Museum of Art, it is of interest to trace and document the beginning and evolution of conservation practices, philosophical approaches to collections care, and specific methodologies employed for treatment and study. The development of conservation practice at the Museum owes much to the scholarly interests of the earliest directors, three
of whom were archaeologists at a time when large numbers of excavated objects requiring stabilization and restoration were entering the collection. Building upon the efforts of a diverse
assemblage of craftsmen and artisans, restorers, scientists, directors, and curators, the field of conservation gradually attained professional stature in the Museum, culminating in the
establishment of a Sub-Department of Conservation and Technical Research in 1942. Integral to this transition was an increased knowledge of artists’ materials and their aging properties, together with an expanded repertoire of investigative techniques. Perhaps of even greater
significance has been the development of a philosophical
framework that asserts the primacy of an artist’s intent and the importance of a thorough understanding of the context, history, and material nature of works of art.
of whom were archaeologists at a time when large numbers of excavated objects requiring stabilization and restoration were entering the collection. Building upon the efforts of a diverse
assemblage of craftsmen and artisans, restorers, scientists, directors, and curators, the field of conservation gradually attained professional stature in the Museum, culminating in the
establishment of a Sub-Department of Conservation and Technical Research in 1942. Integral to this transition was an increased knowledge of artists’ materials and their aging properties, together with an expanded repertoire of investigative techniques. Perhaps of even greater
significance has been the development of a philosophical
framework that asserts the primacy of an artist’s intent and the importance of a thorough understanding of the context, history, and material nature of works of art.
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Archaeologists have long expressed conflicting opinions concerning the authenticity of thirty-seven statues known as Lebanese Mountain Figures. Collected over a period of 250 years, these unalloyed copper figures are unprovenienced but... more
Archaeologists have long expressed conflicting opinions concerning the authenticity of thirty-seven statues known as Lebanese Mountain Figures. Collected over a period of 250 years, these unalloyed copper figures are unprovenienced but have long been attributed to the mountains of southwest Lebanon. The investigation described here is based on visual and metallurgical examinations, radiography, and / or
elemental analysis of twenty-seven statues. Thirteen have been studied in section, and all demonstrate a degree of intergranular corrosion consistent with great age and extended burial. In fact, in general appearance, unusual composition,
highly porous internal structure, and absence of internal oxidation, these thirteen statues constitute a coherent corpus; by extension, it can be concluded that thirteen additional figures examined but not sampled for metallurgical study are also of ancient manufacture. One last figure is probably ancient but may not belong to the Lebanese Mountain Group. Forgeries of the so-called 1908 Group were in part responsible for the unsavory reputation of the originals, and their study in tandem provides insight into evolving perceptions of authentic and not-authentic based on stylistic and technological criteria.
elemental analysis of twenty-seven statues. Thirteen have been studied in section, and all demonstrate a degree of intergranular corrosion consistent with great age and extended burial. In fact, in general appearance, unusual composition,
highly porous internal structure, and absence of internal oxidation, these thirteen statues constitute a coherent corpus; by extension, it can be concluded that thirteen additional figures examined but not sampled for metallurgical study are also of ancient manufacture. One last figure is probably ancient but may not belong to the Lebanese Mountain Group. Forgeries of the so-called 1908 Group were in part responsible for the unsavory reputation of the originals, and their study in tandem provides insight into evolving perceptions of authentic and not-authentic based on stylistic and technological criteria.
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The imposing copper figure of the god Seth in the Ny Carlsberg Glyptotek (Copenhagen) was discovered in the late nineteenth century near Saqqara, in the company of statuary considerably later in date. Retaining the characteristic snout of... more
The imposing copper figure of the god Seth in the Ny Carlsberg Glyptotek (Copenhagen) was discovered in the late nineteenth century near Saqqara, in the company of statuary considerably later in date. Retaining the characteristic snout of the Seth-animal, the statue was altered in antiquity by the removal of its upright ears and the addition of ram’s horns. Seth’s transformation to the god Amun relates to changing political conditions: traditionally associated with foreign gods and foreign lands, Seth was favored during the Second Intermediate Period by kings descended from the Hyksos. The Glyptotek figure dates most assuredly to late New Kingdom, when Seth attained great prominence under the Ramessides.
During the Third Intermediate Period, the god and his foreign relatives gradually fell from grace and many existing images of Seth were altered or destroyed.
Technical study of the statue was carried out using visual examination, gamma radiography, and elemental analysis, focusing on the manufacture of the figure, which is solid
cast and with several separately produced elements in addition to the horns. The statue is of great interest because of its size, atypical alloy composition, unusual subject, burial context, elaborate decoration, and relatively early date in the production of Egyptian cupreous statuary. Furthermore, exploration of the figure’s history in antiquity in view of
physical alterations it has undergone and the unequivocal terminus post quem for its final deposition, contributes significantly to an understanding of temple ritual and political
history of the late New Kingdom and Third Intermediate Period in Egypt.
During the Third Intermediate Period, the god and his foreign relatives gradually fell from grace and many existing images of Seth were altered or destroyed.
Technical study of the statue was carried out using visual examination, gamma radiography, and elemental analysis, focusing on the manufacture of the figure, which is solid
cast and with several separately produced elements in addition to the horns. The statue is of great interest because of its size, atypical alloy composition, unusual subject, burial context, elaborate decoration, and relatively early date in the production of Egyptian cupreous statuary. Furthermore, exploration of the figure’s history in antiquity in view of
physical alterations it has undergone and the unequivocal terminus post quem for its final deposition, contributes significantly to an understanding of temple ritual and political
history of the late New Kingdom and Third Intermediate Period in Egypt.
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French edition of Gifts for the Gods: Images from Egyptian Temples. Contributions by Laurent Coulon, Sue Davies, Élisabeth Delange, Richard Fazzini, Florence Gombert, Adela Oppenheim, Diana Craig Patch, Maarten Raven, Edna R. Russmann,... more
French edition of Gifts for the Gods: Images from Egyptian Temples.
Contributions by Laurent Coulon, Sue Davies, Élisabeth Delange, Richard Fazzini, Florence Gombert, Adela Oppenheim, Diana Craig Patch, Maarten Raven, Edna R. Russmann, John H. Taylor, Eleni Tourna, Maria Viglaki-Sofianou, Michel Wuttmann.
Translated by François Boisivon.
Contributions by Laurent Coulon, Sue Davies, Élisabeth Delange, Richard Fazzini, Florence Gombert, Adela Oppenheim, Diana Craig Patch, Maarten Raven, Edna R. Russmann, John H. Taylor, Eleni Tourna, Maria Viglaki-Sofianou, Michel Wuttmann.
Translated by François Boisivon.
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Throughout their long history, the ancient Egyptians crafted luminous statues of bronze, copper, silver, and gold for use in interactions with their gods—from ritual dramas enacted in the inner sanctuaries of temples to festival... more
Throughout their long history, the ancient Egyptians crafted luminous statues of bronze, copper, silver, and gold for use in interactions with their gods—from ritual dramas enacted in the inner sanctuaries of temples to festival processions and celebrations attended by the multitudes. This volume, which accompanies an exhibition at The Metropolitan Museum of Art, is the first to focus on the art and significance of Egyptian metal statuary. Marshaling fresh insights to present a new appreciation of this lustrous work, the authors trace continuities in the development of the statuary, illuminate how its production was integrated within artistic and social structures, and examine its potential role in ritual practice.
Metal statuary offers a surprising view of Egyptian art because the cultural, social, and manufacturing networks from which it emerged were often different from those that produced stone statuary, the more familiar artistic expression of ancient Egypt. In the presence of these extraordinary images of gods and pious individuals, the temples, in particular, emerge as crucibles in which diverse influences came together to replenish the art and beliefs of Egyptian society. The superb statues and statuettes illustrated in this volume were made in a variety of precious metals and copper alloys over a span of some two millennia. Especially dramatic are those from the Third Intermediate Period (ca. 1070–664 B.C.), an era whose conventional name belies its great artistic accomplishment. The splendid statuary from this period, the apogee of the Egyptian metalworking tradition, is perhaps best represented by the sumptuous figure of a priestess and noblewoman named "Takushit," whose entire body surface is covered with texts and depictions of god intricately inlaid with thin strips of precious metal.
Also included in this volume are two essays on recent archaeological discoveries that shed light on poorly understood aspects of Egyptian metal statuary. These reports on excavations at the Sacred Animal Necropolis in North Saqqara and at the village of 'Ayn Manâwir in the Kharga Oasis yield insight into the practices surrounding temple statuary, notably that these works were provided by donors for actual use in the temple and, after many years of service, reverently decommissioned and buried in large caches. The final essay explores and explains the intricate technological aspects of Egyptian metal statuary as an integral part of its unique appeal. The technical descriptions provided for each work are thus as precise, detailed and consistent in terminology as possible—crucial considerations for a field of sculptural studies in which accurate information about manufacture and material is inextricably linked to an appreciation of the artistry and history of the medium.
Contributions by Laurent Coulon, Sue Davies, Élisabeth Delange, Richard Fazzini, Florence Gombert, Adela Oppenheim, Diana Craig Patch, Maarten Raven, Edna R. Russmann, John H. Taylor, Eleni Tourna, Maria Viglaki-Sofianou, Michel Wuttmann.
Metal statuary offers a surprising view of Egyptian art because the cultural, social, and manufacturing networks from which it emerged were often different from those that produced stone statuary, the more familiar artistic expression of ancient Egypt. In the presence of these extraordinary images of gods and pious individuals, the temples, in particular, emerge as crucibles in which diverse influences came together to replenish the art and beliefs of Egyptian society. The superb statues and statuettes illustrated in this volume were made in a variety of precious metals and copper alloys over a span of some two millennia. Especially dramatic are those from the Third Intermediate Period (ca. 1070–664 B.C.), an era whose conventional name belies its great artistic accomplishment. The splendid statuary from this period, the apogee of the Egyptian metalworking tradition, is perhaps best represented by the sumptuous figure of a priestess and noblewoman named "Takushit," whose entire body surface is covered with texts and depictions of god intricately inlaid with thin strips of precious metal.
Also included in this volume are two essays on recent archaeological discoveries that shed light on poorly understood aspects of Egyptian metal statuary. These reports on excavations at the Sacred Animal Necropolis in North Saqqara and at the village of 'Ayn Manâwir in the Kharga Oasis yield insight into the practices surrounding temple statuary, notably that these works were provided by donors for actual use in the temple and, after many years of service, reverently decommissioned and buried in large caches. The final essay explores and explains the intricate technological aspects of Egyptian metal statuary as an integral part of its unique appeal. The technical descriptions provided for each work are thus as precise, detailed and consistent in terminology as possible—crucial considerations for a field of sculptural studies in which accurate information about manufacture and material is inextricably linked to an appreciation of the artistry and history of the medium.
Contributions by Laurent Coulon, Sue Davies, Élisabeth Delange, Richard Fazzini, Florence Gombert, Adela Oppenheim, Diana Craig Patch, Maarten Raven, Edna R. Russmann, John H. Taylor, Eleni Tourna, Maria Viglaki-Sofianou, Michel Wuttmann.
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The Miho statue depicts a seated falcon-headed god wearing a tripartite wig and a kilt, height 41.9 cm, created in solid silver with partly preserved gold sheet overlay and semi-precious stone hair and eyes. A circular fitting atop the... more
The Miho statue depicts a seated falcon-headed god wearing a tripartite wig and a kilt, height 41.9 cm, created in solid silver with partly preserved gold sheet overlay and semi-precious stone hair and eyes. A circular fitting atop the head suggests the god did or could wear a crown with a base that fitted over it. Fisted hands rest on his thighs, the right one upright and the left with the folded fingers downward. The feet are misshapen by damage.
In its public appearances while in the Benzion Collection at the 1949 Égypte-France exhibition in Paris and a 1953 Drouot sale, the statuette was dated to the Saite Period. In a brief mention with illustration after it had reemerged, largely cleaned, on the art market, it was suggested to date to the Third Intermediate Period or Late Period. When exhibited at the Metropolitan Museum as part of the Shumei Collection in 1996, a Dynasty 19 date was proposed. Since that exhibition, it has been on view at the Miho Museum with that date. In the current paper, the authors reexamine the remarkable statue from several perspectives to establish a dating, possible provenance, and more complex understanding of the meanings of materials.
In its public appearances while in the Benzion Collection at the 1949 Égypte-France exhibition in Paris and a 1953 Drouot sale, the statuette was dated to the Saite Period. In a brief mention with illustration after it had reemerged, largely cleaned, on the art market, it was suggested to date to the Third Intermediate Period or Late Period. When exhibited at the Metropolitan Museum as part of the Shumei Collection in 1996, a Dynasty 19 date was proposed. Since that exhibition, it has been on view at the Miho Museum with that date. In the current paper, the authors reexamine the remarkable statue from several perspectives to establish a dating, possible provenance, and more complex understanding of the meanings of materials.
Research Interests:
Conservators are professionals dedicated to the physical preservation of cultural heritage in varied contexts. In museums they work closely with curators and conservation scientists to maintain or improve the structural or chemical... more
Conservators are professionals dedicated to the physical preservation of cultural heritage in varied contexts. In museums they work closely with curators and conservation scientists to maintain or improve the structural or chemical stability of works in their care. Prior to undertaking a treatment, conservators visually examine each artefact and use instrumental analytical methods to establish and document its manufacture and materials, the causes and extent of deterioration, and previous interventions, all of which can affect its physical condition and appearance. In addition to undertaking technical examinations and carrying out active treatment protocols, conservators institute preventive measures and best practice guidelines to control the museum environment and minimize damage during display, travel, and storage. Conservators of Egyptian antiquities face special challenges predicated by unique aspects of ancient Egypt’s physical and cultural landscape.
Research Interests:
Research Interests:
Investigations from both Egyptological and technical directions point to a date for the Metropolitan Museum of Art Ptah statuette in the late New Kingdom or possibly Dynasty 21. This very fine statuette exhibits a style that is... more
Investigations from both Egyptological and technical directions point to a date for the Metropolitan Museum of Art Ptah statuette in the late New Kingdom or possibly Dynasty 21. This very fine statuette exhibits a style that is attributable to that era and a figure that conforms to the earlier model for representation of the figure of the god Ptah, a god whose representational details, moreover, can be understood in relationship to particular emphases that evolved over the New Kingdom through the Kushite Period. At the same time, the statuette demonstrates a cluster of features that seem to identify at least one group of productions that belong to an early stage in the sustained production of cupreous statuary.
The interest of the Late Ramesside period as a transitional era leading to the arts and technologies that characterize the Third Intermediate Period is often noted. The significance of the era is confirmed in the case of this remarkable statuette.
The interest of the Late Ramesside period as a transitional era leading to the arts and technologies that characterize the Third Intermediate Period is often noted. The significance of the era is confirmed in the case of this remarkable statuette.
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The article reports on a gilded silver "temple pendant" of Nephthys inscribed for Mereskhonsu, suggesting it belonged to the Mereskhonsu who was a "great follower of the God's Wife"" Shepenwepet II and the mother of the Chief Steward... more
The article reports on a gilded silver "temple pendant" of Nephthys inscribed for Mereskhonsu, suggesting it belonged to the Mereskhonsu who was a "great follower of the God's Wife"" Shepenwepet II and the mother of the Chief Steward Akhamenru.
The appendix details features of construction, techniques of decoration, and the condition of the small gilded silver statuette of Nephthys.
The appendix details features of construction, techniques of decoration, and the condition of the small gilded silver statuette of Nephthys.
