Alison Fisk

@alisonfisk.bsky.social

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Recent Masters degree in Archaeological Practice at Birkbeck, University of London. Volunteer at Ham House, Richmond. Here to share my love of archaeology.

The Met Museum photo shows a byff-coloured limestone plaque with two carved quail chicks and a sketch of a third quail chick in black ink. It is displayed against a grey background. Traces of ink occur on both carved chicks suggesting the limestone plaque shows three stages of an ancient Egyptian artisan’s work; the ink sketch at top left, the finished chick at upper right, and the almost finished chick at bottom left. Limestone plaque dimensions: H. 15 x W. 13.8 x D. 0.9 cm Likely representing the quail chick hieroglyph for the sound ‘w’
My photo shows an ornately carved wooden head of a beast-like animal with a long wooden neck. Excavated from the Viking Age Oseberg ship burial of two women. The creature has a rounded snout with flared nostrils, a wide open mouth, and large, bulging eyes that give it a fierce expression. The surface of the head is covered with exceptionally fine carvings. The back of the head is covered with interlaced ribbons and animals, and the top of the snout is ornamented with a cross-hatched pattern.The decoration is so dense that almost every visible part of the head is textured. The features are stylized rather than natural, creating a powerful guardian-like figure that reflects a high level of Viking craftsmanship. The long neck is smooth wood except for a geometric band around the bottom, not seen in my photo. The Oseberg Viking ship burial of two women contained five of these unique carved animal heads, the exact function of which is unclear. Each head was found with an iron rattle attached to a rope, and some of the ropes ran through the mouth of the beasts. I saw this artefact in 2018 at the former Viking Ship Museum in Oslo which has now closed. It is being redeveloped and will open late 2027 as the Museum of the Viking Age
My photo shows a close-up of the neck of an ancient Greek pottery drinking cup decorated with two red-figure owls on a black slip background. The owls stand with their bodies in profile facing each other, heads turned full-face towards the viewer. The owl details are painted black. Each owl has two large round eyes consisting of a black dot inside a thick black circle. The folded wings are painted in outline, and black dots represent feathers on their wings and bodies. Below this red-figure decoration on the neck of the drinking cup, the main body of the cup (not seen) is moulded in the shape of an owl! Total cup height: 27.5 cm. Diameter 11.7 cm. Dated c. 460-450 BC.
My photo shows a remarkable helmet of a Celtic warrior chieftain dated c. 250-175 BC. The helmet body is made of iron, now brown in colour, with some fragments missing. On top of the helmet perches a large bronze bird of prey, now greenish-grey in colour, with outstretched wings made of sheet bronze. The wings are attached to the bird’s body by hinges, allowing them to flap up and down when the wearer moved, likely suggesting flight. There are coral-red and white enamel inserts in the eyes. There is a modern blue support frame beneath the wings and a modern blue replica beak for display purposes. It was found in a warrior’s grave at Ciumești in Romania, in 1961. Other military equipment amongst the grave goods of the Celtic warrior’s tomb included an iron coat of chainmail and two of its bronze appliques, two bronze greaves and an iron spearhead, as well as clothing accessories (an iron fibula and iron belt buckle) and two pottery vessels (a biconical vase and a bowl).
My photo shows an ancient Egyptian ‘roaring’ hippo statuette made of Egyptian blue faience, a ceramic material made of ground quartz. The hippo is seated with head at left, and turned to front. The hippo’s original tusks (the top incisors and lower canine teeth are known as tusks), are missing, so it looks as if the hippo is smiling. The blue body is decorated in black with stylised images of Nile river plants such as water weed and lotus flowers. This decoration depicts the hippo’s marsh habitat as well as having layers of symbolism associated with regeneration e.g. lotus flowers open with the sun in the morning and close at night symbolising rebirth. Height 7.5 cm, length 12.5 cm. On display Ny Carlsberg Glyptotek, Copenhagen.
My photo shows a Roman-era rounded glass cup, which shape-wise looks like half an egg! It has gently curving sides that narrow slightly toward a rounded base. The rim is straight. The museum record says the blown glass is colourless with a slight greenish tint. In my photo it is looks colourless with a frosted white appearance. Around the body are scattered raised dots of glass in rich turquoise and deep cobalt blue, giving it a simple but striking spotted decoration. Near the rim there are four incised concentric circles. Height 8 cm. The cup is displayed on a glass museum display shelf. In the background the slim neck of a glass vase can be seen.
My photo shows a freestanding glass display cabinet at the National Archaeological Museum in Naples with three shelves filled with Roman silverware excavated from the House of Menander in Pompeii
My photo shows a two-handled silver drinking cup on display at the National Archaeological Museum in Naples. The body of the cup is densely decorated in high relief with olive branches laden with olives and leaves. This cup forms part of the famous Roman silverware collection found in a wooden chest in the cellar of the House of Menander at Pompeii during excavations in 1930. It’s thought the silverware was hidden in a chest in the basement of the house during restoration works following the earthquake of AD 62.
My photo taken in 2023 shows a black and white mosaic depicting a chained black dog in the entrance passage of the House of Paquius Proculus in Pompeii. The dog is lying down facing right with its front legs stretched forward and its hindquarters tucked beneath it. Its head is raised, with a long muzzle and an open mouth showing a red tongue and white teeth. Its ears are pointed and erect, giving the dog an alert, watchful expression. It has a long tail which curves upwards. The dog is composed of black tesserae (small mosaic stones) against a white tesserae background and wears a red studded collar. The dog is chained to a circular hoop on the left side of a double door. The left side of the door is decorated with a spear and a shield (looks abit like a satellite dish 📡 ) and the righthand side is ajar, and decorated with a double axe head. A partial view of the atrium of the House of Paquius Proculus can be seen from the entrance passage.
The museum photo shows a close-up view of the front view of the so-called ‘Lady de Brassempouy’ (Dame de Brassempouy) also known as the ‘Lady with the Hood’ (Dame à la capuche). It is a small sculpted portrait head measuring 3.6 cm in height, carved from mammoth tusk some 28,000 years ago during the Upper Paleolithic period. The ivory is a rich cream colour with a polished sheen, against a black background. She has a delicately carved heart-shaped face, with broad eyebrows, nose, and chin carved in relief. Her eyes have small holes representing her pupils. Her long hair falls to either side of her face and is incised with horizontal and vertical lines like a chequerboard. It’s suggested this may represent braiding. When first found, it was thought the chequerboard pattern represented a decorative hood which gave rise to the name ‘Lady of the Hood’. The neck is elongated with a diagonal break at the bottom. The portrait head was excavated in 1894 by Edouard Piette at the cave ‘Grotte du Pape’, Brassempouy, Landes, France. Here’s the museum description: The “Lady with the Hood” or “Dame de Brassempouy” is the most famous and most moving of prehistoric works of art, as she brings us the most real and lifelike image of Palaeolithic woman.   The techniques used to make this statuette are very complex and achieve great visual qualities: incisions for the chequerboard pattern and the facial features, perforation for the pupil of the eyes, scraping and polishing to model the face.   This “first human face”, sculpted from the ivory core of a mammoth tusk, is very striking. It is sub-triangular in shape and well balanced. The forehead, eyebrows, nose and chin are in relief. The only visible part of the eyes is the pupil, particularly the one on the right.
My photo shows a small ivory figurine representing a male bull-leaper about to execute a mid-air somersault over a bull’s back. The figurine is balancing on straight arms above which a slim body forms a graceful arch, and legs (one missing), thrust up high into the air, slightly bent at the knees. The pose is somewhat reminiscent of that of a diver, except for the head which is raised and faces forwards rather than tucked between the arms. The figurine measures 28.7 cm. The ivory is now a warm creamy yellow, mottled with brown staining and fine cracks. It is displayed on a modern metal support structure in Heraklion Archaeological Museum, Crete. According to the museum ‘It is part of the only three-dimensional depiction of bull-leaping from the Palace of Knossos known to date. It was found together with at least two other ivory figurines and a faience bull’s head. The composition obviously depicts the moment when the athlete leaps over the bull, a scene familiar from Minoan frescoes and seals’ It goes on to say ‘the examination of the group under the microscope showed that the figures preserve traces of red paint, meaning that some features were painted on. They also had long hair made of copper gilt wires attached to the head, while thin pieces of gold foil found together with the statuettes may have been part of their clothing’
My photo collage shows a Roman gold body chain from the Hoxne Hoard. Left photo: close up of the jewelled mount at the front of the body chain; a roughly oval gold setting for nine gems. The centre oval cell contains a cabochon amethyst surrounded by four almond-shaped garnets (one damaged) which alternate with four empty circular cells still containing some sulphur. These may have contained pearls. The chain terminals are decorated with lion heads. Top right photo: view of the front of the body chain displayed on a mannequin at the British Museum. The body chain is composed of four chains which are joined to form an upper-body decoration which passes over the shoulders and under the arms of the wearer, crossing at the front and back. Bottom right photo: view of the back of the body chain which has a clasp with octagonal mount set with a gold coin of Gratian. Discovered in 1992, the Hoxne Hoard was buried some time after AD407/8 when Roman rule was breaking down in Britain. Made up of gold jewellery, silver tableware and more than 15,000 gold and silver coins.
My photo shows a Museum of London display featuring three Roman face pots, ceramic vessels decorated with stylized human faces. There are two larger pots with a smaller pot placed in front. They have rounded bodies with horizontal concentric ridges around the lower half of the body. The upper body of each pot has a face with prominent brows, almond-shaped eyes, a broad nose coming down from between the brows, and a small mouth. All have loop handles near the rim. The large pot on the left has visible restoration cracks. The pots are displayed in a glass case on a dark gravel-like surface alongside other Roman artefacts, including fragments of metal objects, a small bell, and fragments of face pot. Note: The Museum of London Wall has closed due to relocation. The new London Museum opens later this year. I hope these face pots will make an appearance!
My photo shows a small, rounded, red polished pottery vessel shaped like a hedgehog. It has a globular body, resting on four short, stubby feet. The clay is a warm reddish-brown with a smooth surface with dark painted details. The hedgehog’s face projects from the front of the vessel with a pointed snout. The almond shaped eyes, and large round ears are painted dark brown/black. Around the face there are short, dark, painted lines suggesting spines. The face is framed on either side of the vessel by curving moulded lines painted dark brown perhaps suggesting the animal’s spines or foliage habitat. A short, cylindrical spout rises from the top of the vessel above the head, serving as an opening for pouring. There is a small handle at the back of the spout not seen in my photo. Dimensions: 8.8 x 7.1 x 7.4 cm (length x width x depth). The vessel is on a glass display shelf at the Ashmolean Museum in Oxford. It was excavated at a cemetery at Abydos and was allocated to the Ashmolean Museum by the Egypt Exploration Fund in 1900. Hedgehogs had protective associations in ancient Egypt. Because they curl into a spiny ball and prey on snakes and scorpions, they were regarded as apotropaic (protective) animals. Hedgehog-shaped vessels are thought to have held liquids such as oils, perfumes, milk, or water and are frequently found in funerary contexts, suggesting they also had a symbolic role in burials.
The image shows detail from a Roman ‘unswept floor’ mosaic depicting a small brown mouse in profile facing left. It has a rounded body, crouching low to the ground, with a front and a back paw showing tucked beneath its body. It has a glossy black eye and two pinkish pointed ears. The mosaicist has used a mix of light and dark brown tiles for the mouse’s body to hint at fur. It has a long, thin, dark tail which stretches out behind. Its pointed nose is almost touching half a walnut in its shell. The walnut is created with warmer light and dark brown tiles. The mouse and walnut are set against a pale-cream tile background, with slightly darker background tiles beneath the mouse and walnut to create subtle shadows. The Greek mosaicist Heraclitus was inspired by an ancient Greek decorative theme known as ‘unswept floor’ (asàrotos òikos). He created this floor mosaic, seemingly covered with scraps of food from a banquet, for a villa on the Aventine Hill in Rome which dates to the time of Emperor Hadrian. The mosaic is now part of the collections at the Vatican Museums
The museum image shows a display of ancient Egyptian linen clothing and a small painted wooden storage chest from the tomb of the ancient Egyptian architect Kha. Two large, rectangular linen tunics with keyhole-shaped neck openings are both shown hanging from display mounts. The tunic on the left is plain woven cream linen with a fringed hem. The tunic on the right has multi-coloured bands around the neckline and down the sides. Dimensions: circa 115 cm x 123.5 cm Between them is a painted wooden chest, shown open and filled with folded linen garments. The chest lid rests on the floor in front of the box and is painted with repeating geometric rosette motifs. At the lower right is a pile of folded linen textiles. The objects date to Egypt’s 18th Dynasty (1425–1353 BC) and come from the intact tomb of Kha and his wife Merit, now in the Egyptian Museum of Turin.
The photo shows a Lower Paleolithic Acheulean biface handaxe knapped from dark grey flint with a creamy-white cortical layer, shown against a black background. The handaxe is roughly tear-drop shaped with a pointed tip and rounded bottom. There is a fossil shell centrally displayed on one face, identified as the Cretaceous bivalve mollusc Spondylus spinosus. Above the shell to the right is a small rectangular museum label. Likely made by an early neanderthal (Homo neanderthalensis) population or an alternative Middle Pleistocene hominin species (H. heidelbergensis s.l.). The toolmaker has knapped the flint in such a way as to seemingly retain the shell in a central position. The shell’s central display has often been described as an example of aesthetic intention by the toolmaker. A recent study (“The West Tofts handaxe: A remarkably average, structurally flawed, utilitarian biface” by Emily Flanders and Alastair Key) concluded it was likely ‘an average utilitarian tool’ in the eyes of its Acheulean maker, and that the aesthetic intent is assumed by the present-day beholder, and not supported by objective evidence. Measurements 79mm x 35mm x 132mm. Weight 0.375kg. Collections of the Museum of Archaeology and Anthropology, University of Cambridge.
My photo shows a museum display of ancient bronze lurs which are long, curved musical horns from the Nordic Bronze Age. The horns hang from almost invisible wires attached to the top of the display case, creating the impression that they are floating in mid-air. They twist and loop in different directions, forming an intricate three-dimensional arrangement which transforms a collection of archaeological objects into a dramatic sculptural installation. The horns are dark greyish-brown in colour. Their tubing curves in broad arcs before ending in wide, flared bells that resemble oversized trumpet bells. Behind the suspended horns are glass display cases containing smaller Bronze Age artefacts., The gallery has white walls, bright overhead lighting, black-framed glass display cases, and a wooden parquet floor.. They are on display at the National Museum of Denmark in Copenhagen.
The Digventures image shows a dark blue glass gaming piece with white trail decoration, against a black background. It is roughly dome-shaped, with a rounded top, and a flat base. It is made of translucent dark blue glass, which allows the display lighting to pass through it. Across the top is a ring of five white glass bosses; one in the centre, the other four spaced around it, giving the appearance of a crown, indicating that it was likely manufactured to resemble a king. The blue body is decorated with swirling white trails of glass. It is thought to be a king piece for playing a uniquely northern version of 'tafl, a war game played in the British Isles before the arrival of chess in the 11th century. It was discovered during an archaeological dig on the small tidal island of Lindisfarne in Northumberland, whose wealthy early medieval monastery was raided by Vikings in AD 793, heralding the start of the Viking Age in Britain. The only other example of this type of glass gaming piece was found at the Pictish hillfort at Dundurn in Scotland.
The photo by ArchaiOptix shows the reverse of an Athenian silver decadrachm coin (a high value coin worth ten drachmas) with an image of an upright owl facing forward with outstretched wings, standing within a recessed square. The owl gazes directly at the viewer with large round eyes. At the top left corner is an olive sprig with two leaves. From the top right corner the letters A Θ E (“Athens”) run clockwise, with A in upper right corner and Θ and E above the owl’s feet. Weight 42.6g. Diameter 35mm. Dated circa 467 BC. Only some 40 (authentic) examples of the Athenian decadrachm are known. This example is housed in the Numismatic Collection of the State Museum in Berlin.
A Cleveland Museum of Art image showing a squarish-shaped Roman mosaic depicting a tigress with three playful cubs. The tigress is seen in profile facing left, bending down, reaching a paw towards a leaping cub which turns it head to look back at her. Another cub sits below the tigress looking up at her, whilst the third cub has lept onto its mother's back. All four have open mouths as if roaring, and long curling tails. The tigress has three reddish-pink rounded teets arranged in a line along her belly, indicating that she is a nursing mother. The tigers are composed of pale-orange, pale-brown, and black tesserae (small cut-stone tiles) with a black outline and black stripes. They are set against an off-white background. Measurements: 142.9cm x 135.4 cm
This close up image shows the central stag’s head in 3/4 profile facing right, which gives a clearer view of the antler tines. The stag has a triangular face and large ears. The head is flanked by eight-pointed stars or flowers.
This Met Museum photo shows an Ancient Egyptian gold headband viewed from the front against a grey background. The headband is made of hammered sheet gold, the ends of which have been tapered to a narrower width and rolled to form loops. A string would have threaded through the loops to fasten the band around the head at the back. The front of the band is decorated with a central head of an antlered stag, identified as the Persian fallow deer (Dama mesopotamica). The stag has two large antlers, large ears and a triangular-shaped head. It is flanked on each side of the headband by two gazelle heads. The gazelle heads have long ears and long curved horns which point outwards at the tip. Between the animal heads are four 8-pointed flowers or stars. Dimensions: height of central stag 8.9 cm, length of headband 49.5 cm. Dated to the Second Intermediate period (c. 1648-1540 BC) when northern Egypt was ruled by the Hyksos from the ancient Near East. Said to be part of a group of objects found in the Eastern Delta near Avaris, the Hyksos capital. The headband shows a mix of styles from ancient Egypt and the ancient Near East.
Met Museum image of an ancient Egyptian artist’s small, naturalistic painting of a standing hippopotamus on an uneven shaped flake of white limestone, dated c. 1479–1425. The hippo is painted in profile with head lowered and to the right. The body is outlined with black paint and painted brown. The belly, eyes, and ears are painted red. Although the ancient Egyptians were well aware of the danger and destructive power of hippos, this painted hippo looks rather harmless. Dimensions: Height 10.8 cm, Width 12 cm Egyptian artists made practice sketches on flakes of limestone, sometimes for use as templates when transferring an image to a tomb or temple wall. Limestone flakes were readily available because of the constant construction of temples and rock-cut tombs. Better still they cost nothing, unlike papyrus. A number of sketches on linestone were found at Deir el-Bahri during the 1922-23 MMA excavations. This painting was acquired by the museum in the division of finds.
My photo shows an ancient Egyptian beadnet dress on display at the Petrie Museum in London. The dress is constructed of cylindrical faience beads threaded into a lozenge pattern which looks like netting. It’s suggested the beadnet was originally sewn onto a linen dress or worn as a net over linen. The dress has a high waistband which falls just below the chest, and two shoulder straps which cover the chest. It has a fringed hem with 127 shells attached at the bottom of the fringe. The shells contain a small stone which would have rattled when the wearer moved. The dress was excavated by Guy Brunton at Qau, Egypt, in 1923-24. Dated Old Kingdom, Dynasty 5, c. 2400 BC. According to the Petrie Myseum information “When Janet Johnstone, an Ancient Egyptian clothing consultant, made a replica of this dress she found that the bead-net dress was too heavy to be worn when placed directly on the naked body. Janet also discovered that due to its "netting" structure it could fit women of all shapes and ages”.
My photo shows an ancient Egyptian hippo figurine in 3/4 profile facing right. It is carved from calcite. It is sandy-brown in colour. The head is oversized with bulging eyes, the body is rounded on short stubby legs giving it a modern cartoon-like look. Approximate dimensions: Length 28 cm, Height 16 cm. Dated c. 3000 BC. On display at Ny Carlsberg Glyptotek, an art museum in Copenhagen.
My photo shows a pair of ‘flip-flop’ style fibre sandals with toe-thong and foot strap made of split papyrus. The sole is made from grass and reeds. They were excavated from the near-intact tomb of Yuya and Thuya (great-grandparents of Tutankhamun) in the Valley of the Kings, at ancient Thebes. On display at the Egyptian Museum in Cairo
My photo shows a circa 2,000 year-old Roman cast glass ribbed bowl composed of translucent blue-green and opaque white mosaic glass. It has a plain rounded rim and sides which curve inwards towards the base. Below the rim, around the exterior of the bowl there are sixteen vertical, evenly-spaced ribs. The bowl sits on a textured grey surface in a museum display case which lights up the bowl so that it looks as if it contains swirling turquoise blue waters of the Mediterranean Sea. Dimensions: height 5.8 cm, diameter 11.5 cm.
My photo shows a 2,000 year-old Roman clay roof tile with two paw imprints made by a kitten walking over the upper half of the tile while it was still wet. At bottom left there is a semi-circular mark made by the tile maker dragging their finger through the wet clay of the tile
My photo shows two kitten pawprints imprinted on a Roman red clay roof tile (tegula). There are two prints, one print near the upper left corner of the tile and another below it closer to the centre. Each imprint has four toe pads arranged in a gentle arc at the top of a larger central pad. There are no visible claw marks (unlike with dogs prints) as cats usually retract their claws when walking. The imprints were made as a kitten walked across a wet clay tile which was lying out to dry before firing. The tile was found at Lullingstone Roman Villa in Kent, where it is on display at the site museum.
My photo shows a rectangular fresco panel depicting the bust of a woman looking into a large hand-held mirror framed by multiple decorative painted borders in red, green, black, and gold. The woman is finely dressed in a light, draped garment gathered at the left shoulder, a translucent veil behind her head, a gold diadem in her elaborately styled hair, and a dark beaded necklace. She is set against a dark blue background and has a pale circular nimbus or halo behind her head. It was found in a richly decorated room thought to belong to the Constantinian palace in Trier (Roman Augusta Treverorum). It is suggested it depicts Flavia Maxima Fausta, wife of emperor Constantine. Dated early 4th century.
My photo shows a large Roman silver mirror measuring 30 cm in diameter, the size of a large dinner plate. My photo shows the back of the mirror which has a handle in the shape of a Herakles knot with ornate floral decoration. There is a decorative garland-like border around the circumference of the mirror made up of leaves, berries, and flowers. The front of the mirror (not shown) is convex and would have been highly-polished to see a reflection. This luxury item of late Roman silverware was imported to Britain from the Rhineland (Germany). This type of mirror is known from a grave relief from Neumagen Grmany showing a woman with a servant or enslaved person holding up a similar mirror in front of her. There is also a fresco panel from the imperial palace at Trier, Germany, which shows a woman holding a similar mirror. On display at Shrewsbury Museum and Art Gallery
My photo shows a Roman toy sword made from oak wood. It is dark brown in colour, displayed against a cream surface. Measuring just 29 cm in length it has a child-sized grip, and is carved to look like an adult sword, with a semi-circular handle, a blade with pointed tip, and a semi-circular guard embellished with a centrally-set oval polished stone. The wood is remarkably well-preserved except for a break across the hilt. It was excavated in 2017 from the living quarters of the cavalry barracks at Vindolanda, a Roman fort on the northern frontier. Dated c. AD 120. It is on display at the Vindolanda site museum.
My photo shows a Neolithic axe on display at Moesgaard Museum, Aarhus, Denmark. The axe head is knapped from grey flint which has been ground and polished. The ash wood handle is still preserved and curved like a modern axe handle to give greater stability during use. There is a horizontal break across the shaft about halfway down. Neolithic farmers used polished stone axes to fell trees to clear woodland for farming, to work timbers for houses, palisades and fences, and to cut firewood etc. Dated c. 3,200 BC. My photo was taken at Moesgaard Museum, near Aarhus, Denmark.
My photo shows an ancient Egyptian statue of a deified individual named Pa-Maj. It is comprised of the shoulders, chest and stomach of a polished black basalt stone torso. The head, arms and legs are missing. At the back there is a dorsal pillar not seen in my photo. The entire surface of the figure is engraved with magical hieroglyphic texts and sketches of various gods. The texts are spells for incantation. When recited out loud, it was believed they would heal and/or protect a person from the poison of snakes, scorpions, and ither dangerous creatures. One of the inscriptions names Pa-Maj as the owner of the statue. The inscriptions are similar to incantation spells written on ‘Horus stelae’. The dark basalt shines under the museum display lights, making the pale engravings stand out. This statue is part of the collections of the Museo Archeologico Nazionale di Napoli, inventory number 1065. I saw it on display at a temporary exhibition at the British Museum.
My photo shows the pouncing tiger described in my first post, chasing a grey hairy wild boar with tusks
My photo shows detail of a tiger from a large Roman hunting scenes mosaic at the House of Dionysis at Nea Pafos in Cyprus. The tiger is shown in profile facing left. Its body is out-stretched with front paws slightly raised off the ground as if about to pounce on its prey, a wild boar, not shown in my photo. The tiger’s body is composed of small tesserae (mosaic tiles); pale beige, with dark brown and black irregular sized stripes laid in narrow curved bands across its shoulders, ribs, legs, and tail. It has a long thin tail trailing behind in a gentle upward curve. The head is slightly raised, with mouth open as if snarling. The tiger is set against an off-white background. Above and below there are decorative geometric borders made of dusty rose and cream tesserae.
My photo shows a partial side view of an Apulian red-figure fish plate decorated with two cuttlefish and a flat fish, which offers a view of the small circular depression in the centre ofcthe plate, perhaps used for condiments, sauce, or oil
My photo collage shows four ancient Greek ‘Red-Figure’ ceramic fish plates arranged in a 2×2 grid. Each plate is circular with a dark black glazed background decorated in red with depictions of sea creatures. This gives the impression of looking into an underwater world. Each plate has a circular central depression, perhaps a well used for oil or sauce. Top Left: Made in Apulia, various marine creatures swim around the central well. There are several stylized fish of different shapes. A flat ray with a spotted body lies near the bottom while shells and smaller sea creatures fill the spaces between the fish. Top right: Made in Apulia this pkate features two large squid or cuttlefish near the top of the plate, their long tentacles flowing outward in curling white lines. Below them is a broad, flat fish resembling a flounder or skate, covered with dots and decorative markings. Bottom left: Made in Apulia, this plate features three large fish arranged around the central depression so that their bodies form a rough triangle. Small seashells are placed between them. Bottom right: Made in Paestum this plate features a large octopus spreading its curling arms across the upper half of the dish. A large elongated squid occupies much of the lower right side. Between them swim five variously sized fishes. I saw these fish plates on display at the London Science Museum at the temporary exhibition ‘Ancient Greeks Science and Wisdom’ in 2022. All were on loan from Kunstsammlungen Antike der Ruhr-Universität Bochum.
My photo shows an artefact from the early Danish Bronze Age, known as the ‘Sun Chariot’. It is shown in profile in a museum display case and is comprised of a slender stylised bronze horse standing facing right pulling a large circular gold disc. Both the horse and disc are on wheels. The horse’s long legs attach to a frame with four thin wheels, two on either side. The wheels are open circles each with four spokes. The upper part of the rear wheel is missing. A long bronze rod connects the horse’s wheel frame to that of the circular disc which is said to represent the sun. One side of the ‘Sun Disc’ is gilded, as seen in my photo. Except for an outer bronze border, most of the disc’s surface is covered with sheet gold densely ornamented with spirals. Cast from bronze, the horse pulling the gilded sun disc is said to symbolise the motion of the sun through the sky. It measures approx. 54 cm in length, 35 cm in height, and the diameter of the sun disc is 25 cm. Part of the collections of the National Museum of Denmark, Copenhagen.
The Cleveland Museum photo shows a long, narrow, rectangular, ancient Egyptian paint box carved from boxwood with five oval wells containing original paint pigment. The paint box is viewed vertically from above. From top to bottom the colours of the preserved cake pigments are: red (red ochre), blue (Egyptian blue), green (a mixture of Egyptian blue, yellow ochre, and orpiment) and two of black (carbon black from charcoal). The paints looked used with colour pigment dried around the edge of the pigment wells. Dimensions 2.2 cm x 21 cm x 3.6 cm. At the top of the front of the box there’s an inscription inlaid in Egyptian blue with the name Amenemope. He was Vizier during the reign of Amenhotep II, Dynasty 18. It translates as ‘The overseer of the city and vizier Amenemope. Master of secrets of the west bank [of Thebes]’. A red inscription on the back reads ‘Amen-Ra, Lord of the Thrones of the Two Lands’. Dated c. 1427-1401 BC.
The image shows an ancient Egyptian sketch drawn on a limestone flake (ostracon) using black pigment. It depicts a cat and a mouse in profile imitating human behaviour. On the left is a tabby cat with pointed ears standing on its hind legs facing right. It is serving a mouse seated opposite. The cat holds a piece of cloth in its left paw. In its right paw it holds a large semicircular fan with a long handle, and a roasted duck which it is offering to the mouse. Facing the cat, a seemingly female mouse sits on a folding stool with its long tail hanging over the back of the stool. The mouse wears a long skirt and has a lotus flower on her forehead. She holds out a dish or cup in her right hand perhaps to be filled, and in her left hand she holds a flower and a cloth (often held by pharaohs). Dimensions 8.9 x 17.3 x 1.1 cm. Dated c. 1295–1075 BC. Animals imitating human behaviour are well-known in Egyptian art. Although their meaning is uncertain, it’s suggested they may illustrate a fable, or perhaps represent a satire of the royal family, or maybe they are just a sketch made for fun by the artist.
My photo shows a replica of a 3,500 year-old Minoan basket-shaped clay pot. It has straight sides with a circular base and a carry handle on either side like a modern totebag. It is yellow in colour with black hand-painted decoration depicting four bands of double-axes around the body of the vessel. The double axes consist of a central shaft with an axe head on either side of the shaft. It
My photo collage shows Bryn Celli Ddu Neolithic passage tomb on the island of Anglesey, Wales. Top photo: view of the grassy mound which covers the inner burial chamber, with east-facing stone-lined entrance, and a kerb of rocks around the mound. Bottom left: stone-lined entrance passage leading to the inner burial chamber. There is a low shelf on the northern side of the passage (on the right in my photo). Bottom right photo: inside the tomb, the central chamber is lined with large stone slabs, and a large stone pillar made of blue schist stands in the shadows to the right of the doorway.