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Identification and Creation

Object Number
1960.477
Title
Matrix with Double Intaglio Design
Classification
Tools and Equipment
Work Type
mold
Date
first half 3rd century BCE
Places
Creation Place: Ancient & Byzantine World, Europe, Thessaly
Period
Hellenistic period, Early
Culture
Greek
Persistent Link
https://hvrd.art/o/287282

Physical Descriptions

Medium
Bronze
Technique
Cast, lost-wax process
Dimensions
4.7 x 1 cm (1 7/8 x 3/8 in.)
Technical Details

Chemical Composition: ICP-MS/AAA data from sample, Bronze:
Cu, 88.08; Sn, 11.6; Pb, less than 0.025; Zn, 0.003; Fe, 0.06; Ni, 0.03; Ag, 0.02; Sb, 0.02; As, 0.18; Bi, less than 0.025; Co, 0.007; Au, less than 0.01; Cd, less than 0.001
J. Riederer

Chemical Composition: XRF data from Tracer
Alloy: Bronze
Alloying Elements: copper, tin
Other Elements: lead, iron, silver, arsenic
K. Eremin, January 2014

Technical Observations: The solid, round object has been stripped chemically of mineralized corrosion products to expose its metallic surface. The stripping has etched into the metal and emphasized the dendritic structure that is characteristic of a cast metal. This is clearly visible on most of the surface of both faces of the thick disc. The intaglio figures were probably molded, as they too display this dendritic texture, although in a few areas the dendrites have been flattened, and it is not clear whether that was due to wear or if it was part of the chasing process. Some areas were certainly reworked in the metal at the time of the object’s manufacture: for instance, the decorative pattern that surrounds the figures includes round punch marks. The Λ-shaped character inscribed on the edge of the side with Thetis on a hippocampus also displays dendrites, which makes it difficult to ascertain whether the marks were made by punching or engraving. There may be another similar incision to the right of this figure, but so much of it is obscured by the darker patches of metallic inclusions or corrosion products that speckle parts of the surface that it is hard to decipher. Traces of a white material in the interstices are no doubt remnants of the plaster used to cast an impression of the image published by D. M. Robinson in 1934 (1).

The surface of the outer rim is metallic and abrasive marks run lengthwise in the direction of rim. These are modern and look as though they were produced by holding the disc against a grinding wheel to remove the mineralized surface. The rim was subsequently drilled with two slightly offset rows of holes (c. 2.5 mm in diameter) for most of its length, except for c. 2.5 cm of more closely spaced single holes to one side of a modern brass rod (c. 2.35 mm in diameter) that was threaded into one of the holes. The small lip of displaced metal along the edges of the holes protrudes from the ground surface and is devoid of abrasion marks, which is a sure indication that the drill holes post-date the grinding. The photograph published by Robinson does not show these holes, so they must have been made after 1934 (2).

NOTES:

1. D. M. Robinson, “The Bonze State Seal of Larissa Kremaste,” American Journal of Archaeology 38 (1934): 219-22, esp. 220, fig. 3.

2. Ibid., 219, fig. 2.


Francesca G. Bewer (submitted 2012)

Provenance

Recorded Ownership History
David M. Robinson, Baltimore, MD, (by 1934), bequest; to Fogg Art Museum, 1960.

Acquisition and Rights

Credit Line
Harvard Art Museums/Arthur M. Sackler Museum, Bequest of David M. Robinson
Accession Year
1960
Object Number
1960.477
Division
Asian and Mediterranean Art
Contact
am_asianmediterranean@harvard.edu
Permissions

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Descriptions

Published Catalogue Text: Ancient Mediterranean and Near Eastern Bronzes at the Harvard Art Museums
This disc-shaped bronze matrix has intaglio representations on each side. The straight rim bears a large number of drilled holes, which may be modern. A cylindrical, brass pin currently projecting from one of them was probably a device for mounting. One side is bounded by a guilloche pattern. The other is circumscribed by a raised ridge. The central intaglio design represents Skylla (1). She raises her right arm backward, brandishing a trident. Dog heads project from beneath her waist, where her human torso joins her lower body. Scales are represented on the body, and her tail is forked at the end. Spiky fins surmount the upper part of her body. The other side has a smaller circular intaglio motif, also circumscribed by a guilloche motif, but badly corroded. Represented in the intaglio form is a Nereid mounted sideways on a hippocampus, carrying a Corinthian helmet in her right hand and a shield, with central gorgoneion, over her left shoulder. The shield appears in three-quarter view. This must be Thetis, mother of Achilles, bringing two items of the new armor that Hephaistos had made for him back to her son (2). This is part of the “Marine Thiasos,” an enormously popular subject in many media during the fourth century BCE. This may have been one intaglio in a series, each one of which would produce a relief of another Nereid bringing other pieces of the armor to Achilles. It is unclear what kind of objects would have been produced from the intaglio impressions on both sides of this object, whether they would have been relief medallions in sheet gold or silver for the interiors of dishes in precious metal or decorations for armor. Another possibility is that this object was set into a shallow circular depression in an anvil and used in combination with a punch die to strike coin-like metal objects, such as tokens or medallions.

This enigmatic matrix has attracted extensive scholarship since its first publication by D. M. Robinson decades ago. Further studies of matrices and punches for producing repoussé objects in sheet metal will undoubtedly shed further light on this important object, its functions, and its date.

NOTES:

1. Compare E. Walter-Karyde, “Dangerous is Beautiful: The Elemental Quality of a Hellenistic Scylla,” in Regional schools in Hellenistic Sculpture: Proceedings of an International Conference Held at Athens, March 15-17, 1996, eds. O. Palagia and W. Coulson (Oxford, 1998) 271-79.

2. As described at Iliad 19.1-39.


David G. Mitten

Publication History

  • Waldemar Gang, "Nereiden auf Seetieren" (1907), (Ph.D. diss.), p. 26, no. 8.
  • David Moore Robinson, "A Bronze State Seal of Larissa Kremaste", American Journal of Archaeology (1934), Vol. 38, No. 2, 219-222, figs. 1-2.
  • David M. Robinson, "A State Seal-Matrix from Panticapaeum", Classical Studies Presented to Edward Capps on his Seventieth Birthday, Princeton University Press (Princeton, NJ, 1936), 306-313, p. 307.
  • Katharine Shepard, The Fish-Tailed Monster in Greek and Etruscan Art, George Banta Publishing Co. (Menasha, WI, 1940), p. 57, 59, fig. 75.
  • Kazimierz Bulas, "New Illustrations to the Iliad", American Journal of Archaeology (1950), Vol. 54, No. 2, 112-118, p. 117.
  • Fogg Art Museum, The David Moore Robinson Bequest of Classical Art and Antiquities, A Special Exhibition, exh. cat., Harvard University (Cambridge, MA, 1961), p. 29, no. 235
  • Stella G. Miller, Two Groups of Thessalian Gold, University of California Press (Berkeley, CA, 1979), p. 19.
  • Ellen Reeder Williams, "A Bronze Matrix in the Walters Art Gallery", Journal of the Walters Art Gallery (1984-1985), Vol. 42/43, 24-31, p. 26-28, figs. 12-14.b.
  • Mark Stanley Deka, "Images of Scylla and Riding Nereids in Tondo Reliefs of the Hellenistic Period" (1992), Case Western Reserve University, (Ph.D. diss.), p. 226-31.
  • Michail Yu Treister, "The Circular Matrix from the Robinson Collection", Oxford Art Journal of Archaeology (1994), Vol. 13, No. 1, 85-92, figs. 1-2 (as 60477).
  • Judith M. Barringer, Divine Escorts: Nereids in Archaic and Classical Greek Art, University of Michigan Press (Ann Arbor, MI, 1995), p. 240, no. 419.
  • Michail Yu Treister, Hammering Techniques in Greek and Roman Jewellery and Toreutics, ed. James Hargrave (Leiden; Boston, 2001), p.174; 222-23, no. 54 (as 60477); 230-35; 385; 443, figs. 84.1-2.

Exhibition History

  • The David Moore Robinson Bequest of Classical Art and Antiquities: A Special Exhibition, Fogg Art Museum, 05/01/1961 - 09/20/1961

Subjects and Contexts

  • Ancient Bronzes

Verification Level

This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of Asian and Mediterranean Art at am_asianmediterranean@harvard.edu