AIC: Ancient and Byzantine Art (Bot)

Gift of Henry H. Getty, Charles L. Hutchinson, and Norman W. Harris

Amulet of the God Anubis https://www.artic.edu/artworks/140933/

The front (obverse) of this coin portrays the emperor Gordianus, facing right and wearing a crown of laurels.On the back (reverse), the emperor is shown wearing armor and holding an orb and a sceptre. Gift of William F. Dunham

Sestertius (Coin) Portraying Emperor Gordianus https://www.artic.edu/artworks/141764/

Gift of Theodore W. and Frances S. Robinson

Sprinkler or Dropper Bottle https://www.artic.edu/artworks/132084/

On the front of this coin the goddess Athena faces right, wearing a helmet. On the back a lion is depicted. Gift of Mrs. William Nelson Pelouze

Coin Depicting the Goddess Athena https://www.artic.edu/artworks/9827/

Gift of Henry H. Getty, Charles L. Hutchinson, and Robert H. Fleming

Kohl Jar with Lid https://www.artic.edu/artworks/136342/

Gift of Theodore W. and Frances S. Robinson

Bottle https://www.artic.edu/artworks/49049/

George F. Harding Collection

Relief Showing the Head of a Winged Genius https://www.artic.edu/artworks/64936/

Initially affordable only among the wealthy, glass was used in ancient Rome as containers for oils, perfume, and tablewares. The variety of glass-making techniques reveals the changing tastes and fashions over the centuries. During the 1st century CE, cast glass was a novel form that was a luxury for the Roman household, but by the end of the century, the innovation of blown glass allowed for less labor-intensive and less expensive production, which meant people of lesser means could afford it. Blown glass became so popular it nearly supplanted ceramic and even bronze wares in the home. Gift of Theodore W. and Frances S. Robinson

Bottle https://www.artic.edu/artworks/61944/

The front (obverse) of this coin portrays the bust of Emperor Gallienus, radiate and facing right. The back (reverse) depicts Gallienus in military garb and holding a spear in his left hand. He stands facing front with his head turned left to regard a tiny kneeling figure. Gift of William F. Dunham

Antoninianus (Coin) Portraying Emperor Gallienus https://www.artic.edu/artworks/141652/

In ancient Rome, there was a high demand for colorful glass that could dazzle banquet guests alongside the expensive silver and gold serving wares meant to impress. Fragments like this one would have once been a part of larger mosaic dishes. The mosaic pattern was made by sagging molten glass into bowl-shaped molds, a technique used on many of these fragments is similar to millefiori, “thousand flowers” in Italian, a modern glass-making method in which tiny rods of colored glass are bundled together, wrapped in a sheet of glass, fused, and then thinly sliced to reveal swirls of a flower-like patterns. They were arranged side by side, sometimes together with bits of colored glass, and fused together with heat. Gift of Theodore W. and Frances S. Robinson

Fragment of a Revetment https://www.artic.edu/artworks/67842/

In ancient Rome, there was a high demand for colorful glass that could dazzle banquet guests alongside the expensive silver and gold serving wares meant to impress. Fragments like this one would have once been a part of larger mosaic dishes. The mosaic pattern was made by sagging molten glass into bowl-shaped molds, a technique used on many of these fragments is similar to millefiori, “thousand flowers” in Italian, a modern glass-making method in which tiny rods of colored glass are bundled together, wrapped in a sheet of glass, fused, and then thinly sliced to reveal swirls of a flower-like patterns. They were arranged side by side, sometimes together with bits of colored glass, and fused together with heat. Gift of Theodore W. and Frances S. Robinson

Fragment of a Plate https://www.artic.edu/artworks/67788/

This lamp was meant to be suspended from polykandela, or chandeliers, which hung from the ceiling. The early Byzantines, like the Romans before them, typically burned olive oil for light. Lamps made from glass such as this were more expensive than the numerous surviving terracotta examples, and they were likely used to light the most important part of a church, such as, the altar or the nave. Keeping the lamps lit was costly, and generous donors gave endowments to churches to literally keep the lights on. Emperor Constantine, for example, donated the revenue from seven large estates specifically for the maintenance of 174 lamps, polykandela, and candlesticks in the Basilica of Saint John Lateran in Rome. Small lamps like this example held oil and a string wick that was pulled through a floating piece of wood or cork. Lamps were suspended, individually or in groups, in elaborate metal chandeliers. Gift of Theodore W. and Frances S. Robinson

Lamp https://www.artic.edu/artworks/67385/

Gift of Henry H. Getty, Robert H. Fleming, Norman W. Harris, and Charles L. Hutchinson

Canopic Jar with Human Head Lid https://www.artic.edu/artworks/136997/

These precious bronzes objects are votives, or devotional gifts, made for gods. They come in many forms. Some are miniature sculptures of animals, mostly depicting horses, deer, and birds. Others are items of personal adornment, including beads and brooches. Quite a few seem once to have been attached to something else. This assemblage is characteristic of the thousands of votives that were hung from sacred trees or placed in sanctuaries around Greece. Once a shrine was full, the votives were gathered together and ceremonially buried to make room for more offerings. This comes from Thessaly in north-eastern Greece. Gift of Mr. and Mrs. Walter Alexander

Hawk Head https://www.artic.edu/artworks/196485/

Museum Purchase Fund

Statuette of a Man, possibly Herakles https://www.artic.edu/artworks/436/

Initially affordable only among the wealthy, glass was used in ancient Rome as containers for oils, perfume, and tablewares. The variety of glass-making techniques reveals the changing tastes and fashions over the centuries. During the 1st century A.D., cast glass was a novel form that was a luxury for the Roman household, but by the end of the century, the innovation of blown glass allowed for less labor-intensive and less expensive production, which meant people of lesser means could afford it. Blown glass became so popular it nearly supplanted ceramic and even bronze wares in the home. Gift of Theodore W. and Frances S. Robinson

Bottle https://www.artic.edu/artworks/49063/

Gift of Henry H. Getty and Charles L. Hutchinson

Amulets of Hearts (2) https://www.artic.edu/artworks/140832/

The front (obverse) of this coin depicts the hero Hercules, facing right, wearing his signature lion skin cloak tied around his neck. The back (reverse) shows a bow case, club, and caduceus. Herakles was the consummate hero. Temples across Greece and South Italy were dedicated to him, the son of Zeus, and Romans, who knew him as Hercules, celebrated him as a role model. With brute force, determination, and just enough cleverness, Herakles completed his famous Twelve Labors to become immortal. Herakles is readily identifiable by his knobby club and lion’s skin. The latter refers to his First Labor, in which he killed a magical beast who was ravaging the town of Nemea. The lion’s invincible hide made him immune to weapons, so Herakles strangled him and took his pelt. Gift of William F. Dunham

Coin Depicting the Hero Herakles https://www.artic.edu/artworks/142737/

This precious bronze object is a votive, or devotional gift, made as an offering to the gods. They come in many forms, such as animals, beads and brooches. Many seem once to have been attached to something else. Votives were hung from sacred trees or placed in sanctuaries around Greece. Once a shrine was full, the votives were ceremonially buried to make room for more offerings. Gift of Mr. and Mrs. Walter Alexander

Bow Fibula (wire) https://www.artic.edu/artworks/196463/

The front (obverse) of this coin depicts the bearded satyr Silenus, facing right and crowned with a laurel wreath. On the back (reverse) a bearded figure faces left. Gift of William F. Dunham

Denarius (Coin) Depicting the Satyr Silenus https://www.artic.edu/artworks/141640/

Gift of Charles L. Hutchinson, Henry H. Getty, and Norman W. Harris

Amulet of a Serpent https://www.artic.edu/artworks/135978/

Gift of William F. Dunham

Coin Depicting the Hero Herakles https://www.artic.edu/artworks/142957/

Museum Purchase Fund

Head of a Woman https://www.artic.edu/artworks/423/

Gift of William F. Dunham

Coin weight https://www.artic.edu/artworks/142654/

Gift of Theodore W. and Frances S. Robinson

Fragments of Inlays Depicting Lotus Buds (?) https://www.artic.edu/artworks/67882/

This terracotta sculpture was fashioned from locally abundant clay in Boeotia, situated to the northwest of Athens. The standing female wears a tall headdress and a painted necklace with a pomegranate pendant, which suggests that she depicts either Demeter or Persephone, goddesses of the harvest and agricultural fertility, respectively. Statuettes like this one were created in great numbers, probably as gifts to the gods or to be placed in graves. George W. Sheldon Fund

Statuette of a Goddess https://www.artic.edu/artworks/13981/

This small statuette was created in Greece around the time of the first Olympic games. It was made as a devotional gift for a god and was probably deposited at a religious site. Devotional gifts took many forms, but statuettes of horses were especially popular because the creatures were symbols of affluence. Following the stylistic preference of the time, the sculptor used a few simple shapes to capture the essence of his subject. Katherine K. Adler, Costa A. Pandaleon Greek Memorial, and Mr. and Mrs. Walter Alexander Classical Endowment, James H. Allan and Christopher D. Allan funds

Statuette of a Horse https://www.artic.edu/artworks/237363/

Portraits of important people appear on local currency all around the world. The same was true in ancient Rome, which began producing its first coinage in the late 4th century BC. Early coins depicted the heads of gods and goddesses on the front side, often in profile, while the back depicted animals, natural resources, symbols, and references to historical events. It was not until 44 BC that the portrait of a living person—Julius Caesar—appeared on coins. Thereafter, profile portraits of rulers or other members of the imperial family became the standard subject on coins throughout the Roman Empire. Inscriptions on coins help identify the ruler. While the front side depicted the sovereign’s portrait, the back was often used to communicate the ruler’s accomplishments or aspirations. Until Late Antiquity, portraits usually appeared in profile. The tiny images were carved by engravers into bronze dies, with one for the front and another for the back. The coins were then struck, one by one, in a process similar to how coins are created today. Roman emperor Nero killed himself in 68, bringing an end to his chaotic reign. What followed was an equally chaotic struggle over who would succeed him. The year 69 saw one general after another rule and die in quick succession: Galba (reigned June 68–Jan. 69), Otho (reigned Jan.–Apr. 69), Vitellius (reigned Apr.–Dec. 69), and finally Vespasian (reigned 69–79), who founded the Flavian dynasty that ruled until 96. The harsh character of these four emperors is emphasized by the realistic features of their coin portraits—the hooked nose of Galba, the double chin and vain curls of Otho (seen in this coin), the plump features of the gluttonous Vitellius, and the lined complexion of battle-hardened Vespasian. The front (obverse) of this coin portrays the head of Emperor Otho to the right, bare. On the back (reverse) is Securitas standing to the left, with a wreath in right hand, scepter in left. Gift of Martin A. Ryerson

Aureus (Coin) Portraying Emperor Otho https://www.artic.edu/artworks/5616/

The front (obverse) of this coin portrays the emperor Constantius.On the back (reverse) a Genius stands, facing left. Gift of Mr. Roger Trienens

Coin Portraying Emperor Constantius I https://www.artic.edu/artworks/145233/

The Art Institute of Chicago

Amulet of the Goddess Tawaret (Thoeris) https://www.artic.edu/artworks/141159/