The Oxus Treasure

Assorted small objects from the Oxus treasure

The Oxus treasure is the most important surviving collection of Achaemenid Persian metalwork. It consists of about 170 objects, dating mainly from the fifth and fourth centuries BC. This was the time of the Achaemenid empire, created by Cyrus the Great (559-530 BC), when Persian control stretched from Egypt and the Aegean to Afghanistan and the Indus Valley.

The two hollow heads, with the statuette perhaps of a king in front

The Treasure seems to have been gathered together over a long period, perhaps in a temple. It includes vessels, a gold scabbard, model chariots and figures, armlets, seals, finger-rings, miscellaneous personal objects, dedicatory plaques and coins It was found on the banks of the River Oxus, probably at the site of Takht-i Kuwad, a ferry station on the north bank of the river.

This is one of the earliest pieces in the treasure and is a scabbard for an akinakes, a short sword which is also shown on reliefs from Persepolis and on plaques within the treasure itself.

The London group includes bowls, a gold jug, and a handle from a vase or ewer in the form of a leaping ibex, which is similar to a winged Achaemenid handle in the Louvre. No rhyton drinking vessels were found, but the British Museum has two other Achaemenid examples, one ending in a griffin's head similar to that on the bracelets in the treasure.

Gold jug and two bowls

 A hollow gold fish, apparently representing a species of carp found only in the Oxus, has a hole at its mouth and a loop for suspension; it may have contained oil or perfume, or hung as one of a group of pendants.

Gold Fish Vessel

Other sculptural objects include two model chariots in gold, one incomplete. The wheels of the complete chariot would originally have turned freely, and it had received at least one repair in antiquity. It is pulled by four horses (rather small, and with only nine legs surviving between them) and carries two figures, a driver and a seated passenger, both wearing torcs. The chariot has handrails at the open rear to assist getting in and out, while the solid front carries the face of the protective Egyptian dwarf-god Bes.

Gold model chariot

In May 1880 Captain F.C. Burton, a British political officer in Afghanistan, rescued a group of merchants who had been captured by bandits while traveling between Kabul and Peshawar. They were carrying with them this rich collection of gold and silver objects. Burton bought from them a gold armlet, now in the Victoria and Albert Museum.

The two griffin-headed bracelets or armlets are the most spectacular pieces by far from the hoard and are typical of the 5th to 4th century BC court style of Achaemenid Persia. Bracelets of a similar form to ones from the treasure can be seen on reliefs from Persepolis being given as tribute, whilst Xenophon writes that armlets (among other things) were gifts of honor at the Persian court. Glass, enamel or semi-precious stone inlays within the bracelets' hollow spaces have now been lost.

One of a pair of armlets from the Oxus Treasure, which has lost its inlays of precious stones or enamel

There are a number of small figurines, some of which may have been detached from larger objects. The single male figures appear to show worshipers rather than deities. The largest is most unusual for Persian art in showing a nude youth (in silver) standing in a formal pose, with a large conical hat covered in gold foil. The statuette shows Greek influence, in the figure and the fact of being nude, but is not typical of ancient Greek art.

Other pieces from the Treasure subsequently emerged in the bazaars of Rawalpindi. Some of those now in The British Museum were acquired by Major-General Sir Alexander Cunningham (1814-93), Director General of the Archaeological Survey of India, and others were obtained by Sir Augustus Wollaston Franks, who was both a curator in the Museum and a generous benefactor. In due course Franks bought Cunningham's share of the treasure, and eventually the entire Oxus treasure was bequeathed by him to The British Museum.

Sources: The British Museum, Wikipedia

British Musuem: Viking Gold

A gold Viking pendant in the form of 'Thor's hammer'. The pendant is in the form of a double-headed hammer with an elongated pentagonal head. The head is rectangular in cross-section. From the centre of the head extends an integral tapering rectangular-sectioned shaft. The terminal of the shaftis narrowed to form a suspension loop. Both faces of the axe are decorated with punched motifs resembling quatrefoils or perhaps miniature axes.

A gold finger-ring dating to the Viking period. The ring is composed of three tapering, square-sectioned rods twisted together, which are thicker at the front, while at the back the ends are hammered flat together into a plain, narrow band. Gold rings of twisted type from the British Isles and Scandinavia are dated from the late Saxon/Viking periods into the early Middle Ages, from the late 9th century into the 12th century.

An Early Medieval (Viking) gold finger ring dating from the late 9th-10th century. It is made from a strip of gold which tapers to wire terminals which are wound around each other at the back of the hoop. The bezel of the ring is the widest part of the strip, and is an elongated lozenge.

A Viking gold ring ring which consists of a double-banded hoop made from a slightly concavo-convex strip with the ends drawn into wires at the back of the hoop, which are then tightly wound round a constricted section of the strip.

Etruscan gold fibula

A gold fibula (a clasp used with clothing) was made by the Etruscans in the 7th centuryBC. It is in the British Museum in London.

Courtesy of the trustees of the British Museum

Etruscan Gold Bracelets - British Museum Collection

Etruscan (675-650 BC). Pair of gold bracelets with granulation and embossed panels. The themes of the figured panels derive from Phoenician motifs.

Etruscan Gold Strap Necklaces - Bristish Museum Collection

Gold Etruscan strap necklaces from the Tuscan Maremma (6th century BC). The first one of plaited wire and suspended chains, beads, rosettes, acorns, lotus flowers and buds. The second necklace is hung with the heads of a river-god, sirens, flowers, buds, scarabs and settings for onix gems and amber.

Etruscan Gold Earrings - British Museum Collection

Etruscan earrings (300-200 BC). Pair of gold earrings (N3), the hollow hoops embossed with palmettes and decorated with wire rosettes. Gold earring (N4), the hoop covered  by a plate with bosses and globules; pendant female head and chains. Pair of gold earrings (N5), the discs with rosettes and a pendant vase embossed with floral designs.

Etruscan Gold: Ear-Studs - British Museum Collection

Etruscan Gold  ear-studs (6th century BC), richly decorated with filigree, granulation and inlay.

Gorgon-Medusa Anse - The British Museum

A Gorgon-Medusa anse (handle) the British Museum, similar to the massive handle of the Vix Krater in Chatillon-sur-Seine, Burgundy. 

   photo: Terry Stanfill

Although I've always thought that the Vix Krater's Gorgon-Medusa, with her snake legs split to wrap around the vessel, was melusina in her "dark" aspect. It was only recently that I was struck with the similartiy of the two names, Medusa and Melusina. If the D is removed from Medusa and L substituted we have melus--to which the suffix ina or ine is added to mean "little." From my understanding of southern Italian dialect, it occurred to that there's a consonantal shift here--from the d to the L--fairly common in the southern Italian dialects. 

i.e. Sicilia bedda,. for Sicilia Bella

 

Giuseppe di Stefano, Sicilia Bedda