01-10-2013, 02:32 PM
This is my first post in the Greek section of RAT.
I have recently become interested in the armor dies/models/molds allegedly from Memphis, Egypt. These have been discussed in passing in earlier RAT posts in the Roman section (as evidence of non-metallic armor production) but I have found no detailed treatment. I would especially be interested in the opinion of fellow RATers with actual experience in armor production.
May main sources are:
For the models in the Allard Pierson Museum, Amsterdam - GRIEKSE, ETRUSKISCHE EN ROMEINSE KUNST ALLARD PIERSON MUSEUM AMSTERDAM, TJEENK WILLINK/NOORDUIJN - CULEMBORG 1976 (available online as a pdf, just google the title)
Additional pictures can be found here: http://www.ancient-warfare.com/cms/magaz...erdam.html and by doing a google picture search.
For the other models – Schröder, Ägyptische Helmmodelle, Archäologischer Anzeiger, Beiblatt zum Jahrbuch des Dt. Archäologischen Instituts XXXV,1920, Beil. 1, pp. 3 (available online at www.archive.org, the article with pictures in on pp. 94 of the pdf).
Based on these it appears that a number of armor dies/molds/models were acquired by European museums on the art market in Cairo in the early 20th century, all or the majority of which are allegedly associated with an artisans’ quarter of metalworkers in Memphis. A catalogue is included at the end of this post.
It should be noted that except for the reference to Ptolemy on the shield die and the Hellenistic style of decoration there is no dating information on these items. The associated plaster forms for other metal implements are thought to spread over several hundred years in date. On the other hand, the helmet dies/models/molds all appear to fall into two distinctive categories: Boeotian and a peculiar variant of the Attic style (the elongated edges of the neck guard being reminiscent of certain Italo-Attic helmets in particular).
In passing references to these dies/models/molds, they are often seen as dies over which metal or leather would be hammered into form. While this appears to be entirely possible for the shield die, being a negative with the letters in mirror writing (although I am not sure that it would be possible to hammer metal into such a die in such way that the decoration would show on the outside), it appears doubtful to me whether metal sufficiently strong for protection could be successfully retrieved from the undecorated Boeotian die in view of the deep folds and recesses.
In any case, using the positive helmet models with negative decoration in this way would appear impossible with respect to metal (as the decoration would be on the inside of the helmet) and at least questionable with respect to leather. It would be interesting to know whether it is at least conceivable to press or shrink leather onto such a former and then turn it inside out in a half-rigid state so that the decoration is on the outside. However, even if use as a die for leather would be conceivable in principle, it appears to me to be ruled out at least with respect to the helmets which either have a (rather crude) central opening for attachment of a crest and/or the single helmet with the feather tubes as I would assume that it would make little technical sense to shrink leather over such features rather than attach them separately.
Schröder concluded (also based on cutting marks on some dies) that the helmet models were used to create wax models but doing this directly would again leave the decoration on the inside.
This would lead to the conclusion that the helmet models were actually master models used to create molds. It would appear fairly straightforward to use the models to create two-piece molds in clay or plaster which could then be used to cast helmets. This would also concur with the many plaster molds for other metal implements from a similar context which appear to have been similarly created.
The rather crude openings for the cresting may imply either that the molds were not directly used for casting but rather to create wax models which then could be further refined or that the crest arrangement was separately cast onto the metal helmet (I do not know the English equivalent of the German term “Überfangguss”).
However, the following arguments cast doubt on the reconstruction presented above:
The decoration would still be in the negative on the final helmet. - This is not necessarily a problem as negative decoration is quite common on helmets as it is much easier to produce.
Some models were painted which makes little sense when used as a master model. – Technically the painting does not make sense unless one assumes that they served a double function as a technical master and also a guide for the painted decoration to be applied to the final helmet. This would actually raise the interesting possibility that, when the monarch ordered new armor for his troops, the masters could be centrally produced and then distributed to different work shops to ensure the uniform appearance which our sources indicate at least some Hellenistic monarchs favored.
The negative ear on one of the helmets would not look very attractive. – This may only be a modern view. But it is also conceivable that, if the master model was used to create wax models, a positive ear would be attached in the place of the negative ear.
I would be very interested to learn from other RATers, in particular those with actual experience in armor making (which I completely lack) how they would reconstruct use of these interesting items.
And here comes the catalogue:
(A) Allard Pierson Museum, Amsterdam, NL:
(1) Negative mold of shield cover, slightly dished, inscription „PTOLEMAIOU“ in mirror writing, limestone, described in GRIEKSE, ETRUSKISCHE EN ROMEINSE KUNST ALLARD PIERSON MUSEUM as follows:
„Dit helmmodel is samen met een aantal andere modellen, nu in Parijs, Bonn, Berlijn en Hildesheim, een model voor een wangstuk en het schildmodel (afb. 54 ) gevonden in Memphis in Egypte. De stijl van de versiering is vroeg-Hellenistisch. Een globale bevestiging van deze datering wordt verschaft door het opschrift PTOLEMAIOU rond de Medusakop op het schildmodel. De bronzen versiering die met behulp van dit model vervaardigd werd, behoorde derhalve tot schilden van soldaten uit het leger van ene Ptolemaeus. De eerste van die naam was één van Alexander de Grotes meest betrouwbare generaals en kreeg na de dood van de laatste Egypte onder zijn beheer en noemt zich vanaf 304 v. Chr. koning van Egypte. Egypte krijgt hiermee een Griekse (Macedonische) elite en komt wijd open te staan voor de Griekse cultuur (afb. 31, 33 ). De concentrische cirkels van het schildmodel zijn ook typisch Macedonisch; men treft ze aan op Macedonische munten en op fresco’s en reliëfs als versiering van de schilden der Macedoniërs.”
Translation:
This helmet model along with several other models, now in Paris, Bonn, Berlin and Hildesheim, a model for a cheek piece and the shield model (Fig. 54) found in Memphis in Egypt. The style of the decoration is early Hellenistic. A global confirmation of this dating is provided by the inscription PTOLEMAIOU around the Medusahead on the shield model. The bronze decorations that were manufactured using this model, belonged therefore to shields of soldiers from the army of someone named Ptolemy. The first of that name was one of the most trusted generals of Alexander the Great who after the death of the latter received the management of Egypt and calls himself king of Egypt from 304 BC. Egypt is given a Greek (Macedonian) elite and is wide open to Greek culture (Fig. 31, 33). The concentric circles of the shield model are also typically Macedonian, one comes across them on Macedonian coins and frescoes and reliefs decorating the shields of the Macedonians.
(2) 3(?) positive helmet models with decoration in negative, at least one of them with traces of paint, described in GRIEKSE, ETRUSKISCHE EN ROMEINSE KUNST ALLARD PIERSON MUSEUM as follows:
„Het ‘model’ voor een helm (afb. 53 ) vormt een nog niet afdoend verklaard verschijnsel. Het is gemaakt van kalksteen en vertoont in diep (= negatief) reliëf een versieringsband met bloemmotieven, een vierkantje met een sireneachtig wezen rijzend uit een bloemknop, de indruk van een oor enz. Door dit negatief reliëf kan het niet een mal zijn voor een metalen helm, omdat dan de versiering naar de binnenkant toe uit zou steken. Men heeft verondersteld dat het zou dienen voor het maken van een wasafdruk voor het gieten van een helm of ornamentdelen ervan. Maar ook dan zit de versiering in hoog reliëf aan de binnenkant of heeft, met het reliëf naar buiten, een kromming tegengesteld aan die van de helm. Ook is geopperd dat de modellen zouden dienen voor het inkloppen van de versiering in zachtleren helmen, die dan vervolgens omgedraaid zouden worden. Maar naast enige technische en functionele moeilijkheden spreekt hiertegen dat op één model sporen van kleurstof zijn aangetroffen in de ingesneden versiering.”
Translation:
The 'model' for a helmet (Fig. 53) is a not conclusively explained phenomenon. It is made of limestone and shows in deep (= negative) a raised ornamental band with flower motifs, a square with a siren-like creature rising from a flower bud, the impression of an ear, etc. Due to this negative relief this can't bea a metal mold for a helmet, because then the decoration would have to be seen on the inside. It has been assumed that it would serve to create a mold for casting a helmet or ornament parts. But the decoration would still have to be in high relief on the inside or would have, with the relief outwards, a curvature opposite to that of the helmet. It has also been suggested that the models would serve to hammer the decorations into soft leather helmets, which would then be turned inside out. But apart from some technical and functional difficulties what argues against this explanation is that on one model traces of dye were found in the incised decoration.
(3) Positive model of Boeotian helmet without decoration, not described in GRIEKSE, ETRUSKISCHE EN ROMEINSE KUNST ALLARD PIERSON MUSEUM
(B) Paris (Louvre, 1484):
Positive model of Boeotian helmet with decorations in negative
© Bonn:
(1) Positive model of helmet with negative decoration, 31 cm height, with traces of red and blue paint (Schröder, Ägyptische Helmmodelle, Archäologischer Anzeiger, Beiblatt zum Jahrbuch des Dt. Archäologischen Instituts XXXV,1920, Beil. 1, pp. 3 catalogue no. 2, Akademisches Kunstmuseum Bonn)
(D) Berlin:
(1) Positive model of helmet with negative decoration, 36 cm height (Schröder, Ägyptische Helmmodelle, Archäologischer Anzeiger, Beiblatt zum Jahrbuch des Dt. Archäologischen Instituts XXXV,1920, Beil. 1, pp. 3 catalogue no. 1, Berlin Antiquarium Misc. Inv. 10578)
(E) Hildesheim (Roemer- und Pelizaeusmuseum):
(1) Positive model of helmet with negative decoration, 33.2 cm height, knife cutting marks on the lower rim from the cutting of material applied to the model (Schröder, Ägyptische Helmmodelle, Archäologischer Anzeiger, Beiblatt zum Jahrbuch des Dt. Archäologischen Instituts XXXV,1920, Beil. 1, pp. 3 catalogue no. 3, Pelizaeus-Museum 1853, III)
(2) Positive model of helmet with negative decoration, 29.8 cm height (Schröder, Ägyptische Helmmodelle, Archäologischer Anzeiger, Beiblatt zum Jahrbuch des Dt. Archäologischen Instituts XXXV,1920, Beil. 1, pp. 3 catalogue no. 4, Pelizaeus-Museum 1852, III)
(3) Positive model of helmet with negative decoration, 30.3 cm height, feather tubes over the ears (Schröder, Ägyptische Helmmodelle, Archäologischer Anzeiger, Beiblatt zum Jahrbuch des Dt. Archäologischen Instituts XXXV,1920, Beil. 1, pp. 3 catalogue no. 5, Pelizaeus-Museum 1854, III)
(4) Positive model of helmet with negative decoration, 25.8 cm height, knife cutting marks on the lower rim from the cutting of material applied to the model (Schröder, Ägyptische Helmmodelle, Archäologischer Anzeiger, Beiblatt zum Jahrbuch des Dt. Archäologischen Instituts XXXV,1920, Beil. 1, pp. 3 catalogue no. 6, Pelizaeus-Museum 1101, III)
(5) Positive model of helmet with negative decoration, 28.8 cm height (Schröder, Ägyptische Helmmodelle, Archäologischer Anzeiger, Beiblatt zum Jahrbuch des Dt. Archäologischen Instituts XXXV,1920, Beil. 1, pp. 3 catalogue no. 7, Pelizaeus-Museum 1851, III)
(6) Positive model of cheek piece with negative decoration (Schröder, Ägyptische Helmmodelle, Archäologischer Anzeiger, Beiblatt zum Jahrbuch des Dt. Archäologischen Instituts XXXV,1920, Beil. 1, pp. 3 catalogue no. 8, Pelizaeus-Museum 1808, III)
Also, ca. 60 plaster/stucco casts of metal decorated vessels etc. acquired on the art market in Cairo in two lots in 1907/10 (Published in Rubensohn, Hellenistisches Silbergerät in Gipsabgüssen, Aus dem Pelizaeus-museum zu Hildesheim. Festschrift zur Feier der Eröffnung des Museums, 29. juli 1911. Recent treatment in C. Reinsberg. : Studien zur hellenistischen. Toreutik. Die antiken. Gipsabguesse aus. Memphis. Hildesheim: Gerstenberg. 1980. XII,. 355 S. 130 Abb. (Hildesheimer ägyptologische Beiträge 9); reviewed by: R. S. Bianchi, The Journal of Egyptian Archaeology Vol. 71, Reviews Supplement1985, pp. 59/60).
Literature
The following additional literature I have not (yet) reviewed:
Pfrommer, Großgriechischer und mittelitalischer Einfluss in der Rankenornamentik frühhellenistischer Zeit, Jdl 97, l982
Waurick, Hellenistische Helme, in: Antike Helme - Sammlung Lipperheide und andere Bestände des Antikenmuseums Berlin, 1988
van Essen, BABesch 1. 1926, 18 ff.
Bissing, Eurasia septentrionalis antiqua 9, 1934, 221
Toynbee/Ward-Perkins, 'Peopled scrolls, a Hellenistic motif in imperial art', Papers of the British School at Rome 18, 1950, 2 -43
I have recently become interested in the armor dies/models/molds allegedly from Memphis, Egypt. These have been discussed in passing in earlier RAT posts in the Roman section (as evidence of non-metallic armor production) but I have found no detailed treatment. I would especially be interested in the opinion of fellow RATers with actual experience in armor production.
May main sources are:
For the models in the Allard Pierson Museum, Amsterdam - GRIEKSE, ETRUSKISCHE EN ROMEINSE KUNST ALLARD PIERSON MUSEUM AMSTERDAM, TJEENK WILLINK/NOORDUIJN - CULEMBORG 1976 (available online as a pdf, just google the title)
Additional pictures can be found here: http://www.ancient-warfare.com/cms/magaz...erdam.html and by doing a google picture search.
For the other models – Schröder, Ägyptische Helmmodelle, Archäologischer Anzeiger, Beiblatt zum Jahrbuch des Dt. Archäologischen Instituts XXXV,1920, Beil. 1, pp. 3 (available online at www.archive.org, the article with pictures in on pp. 94 of the pdf).
Based on these it appears that a number of armor dies/molds/models were acquired by European museums on the art market in Cairo in the early 20th century, all or the majority of which are allegedly associated with an artisans’ quarter of metalworkers in Memphis. A catalogue is included at the end of this post.
It should be noted that except for the reference to Ptolemy on the shield die and the Hellenistic style of decoration there is no dating information on these items. The associated plaster forms for other metal implements are thought to spread over several hundred years in date. On the other hand, the helmet dies/models/molds all appear to fall into two distinctive categories: Boeotian and a peculiar variant of the Attic style (the elongated edges of the neck guard being reminiscent of certain Italo-Attic helmets in particular).
In passing references to these dies/models/molds, they are often seen as dies over which metal or leather would be hammered into form. While this appears to be entirely possible for the shield die, being a negative with the letters in mirror writing (although I am not sure that it would be possible to hammer metal into such a die in such way that the decoration would show on the outside), it appears doubtful to me whether metal sufficiently strong for protection could be successfully retrieved from the undecorated Boeotian die in view of the deep folds and recesses.
In any case, using the positive helmet models with negative decoration in this way would appear impossible with respect to metal (as the decoration would be on the inside of the helmet) and at least questionable with respect to leather. It would be interesting to know whether it is at least conceivable to press or shrink leather onto such a former and then turn it inside out in a half-rigid state so that the decoration is on the outside. However, even if use as a die for leather would be conceivable in principle, it appears to me to be ruled out at least with respect to the helmets which either have a (rather crude) central opening for attachment of a crest and/or the single helmet with the feather tubes as I would assume that it would make little technical sense to shrink leather over such features rather than attach them separately.
Schröder concluded (also based on cutting marks on some dies) that the helmet models were used to create wax models but doing this directly would again leave the decoration on the inside.
This would lead to the conclusion that the helmet models were actually master models used to create molds. It would appear fairly straightforward to use the models to create two-piece molds in clay or plaster which could then be used to cast helmets. This would also concur with the many plaster molds for other metal implements from a similar context which appear to have been similarly created.
The rather crude openings for the cresting may imply either that the molds were not directly used for casting but rather to create wax models which then could be further refined or that the crest arrangement was separately cast onto the metal helmet (I do not know the English equivalent of the German term “Überfangguss”).
However, the following arguments cast doubt on the reconstruction presented above:
The decoration would still be in the negative on the final helmet. - This is not necessarily a problem as negative decoration is quite common on helmets as it is much easier to produce.
Some models were painted which makes little sense when used as a master model. – Technically the painting does not make sense unless one assumes that they served a double function as a technical master and also a guide for the painted decoration to be applied to the final helmet. This would actually raise the interesting possibility that, when the monarch ordered new armor for his troops, the masters could be centrally produced and then distributed to different work shops to ensure the uniform appearance which our sources indicate at least some Hellenistic monarchs favored.
The negative ear on one of the helmets would not look very attractive. – This may only be a modern view. But it is also conceivable that, if the master model was used to create wax models, a positive ear would be attached in the place of the negative ear.
I would be very interested to learn from other RATers, in particular those with actual experience in armor making (which I completely lack) how they would reconstruct use of these interesting items.
And here comes the catalogue:
(A) Allard Pierson Museum, Amsterdam, NL:
(1) Negative mold of shield cover, slightly dished, inscription „PTOLEMAIOU“ in mirror writing, limestone, described in GRIEKSE, ETRUSKISCHE EN ROMEINSE KUNST ALLARD PIERSON MUSEUM as follows:
„Dit helmmodel is samen met een aantal andere modellen, nu in Parijs, Bonn, Berlijn en Hildesheim, een model voor een wangstuk en het schildmodel (afb. 54 ) gevonden in Memphis in Egypte. De stijl van de versiering is vroeg-Hellenistisch. Een globale bevestiging van deze datering wordt verschaft door het opschrift PTOLEMAIOU rond de Medusakop op het schildmodel. De bronzen versiering die met behulp van dit model vervaardigd werd, behoorde derhalve tot schilden van soldaten uit het leger van ene Ptolemaeus. De eerste van die naam was één van Alexander de Grotes meest betrouwbare generaals en kreeg na de dood van de laatste Egypte onder zijn beheer en noemt zich vanaf 304 v. Chr. koning van Egypte. Egypte krijgt hiermee een Griekse (Macedonische) elite en komt wijd open te staan voor de Griekse cultuur (afb. 31, 33 ). De concentrische cirkels van het schildmodel zijn ook typisch Macedonisch; men treft ze aan op Macedonische munten en op fresco’s en reliëfs als versiering van de schilden der Macedoniërs.”
Translation:
This helmet model along with several other models, now in Paris, Bonn, Berlin and Hildesheim, a model for a cheek piece and the shield model (Fig. 54) found in Memphis in Egypt. The style of the decoration is early Hellenistic. A global confirmation of this dating is provided by the inscription PTOLEMAIOU around the Medusahead on the shield model. The bronze decorations that were manufactured using this model, belonged therefore to shields of soldiers from the army of someone named Ptolemy. The first of that name was one of the most trusted generals of Alexander the Great who after the death of the latter received the management of Egypt and calls himself king of Egypt from 304 BC. Egypt is given a Greek (Macedonian) elite and is wide open to Greek culture (Fig. 31, 33). The concentric circles of the shield model are also typically Macedonian, one comes across them on Macedonian coins and frescoes and reliefs decorating the shields of the Macedonians.
(2) 3(?) positive helmet models with decoration in negative, at least one of them with traces of paint, described in GRIEKSE, ETRUSKISCHE EN ROMEINSE KUNST ALLARD PIERSON MUSEUM as follows:
„Het ‘model’ voor een helm (afb. 53 ) vormt een nog niet afdoend verklaard verschijnsel. Het is gemaakt van kalksteen en vertoont in diep (= negatief) reliëf een versieringsband met bloemmotieven, een vierkantje met een sireneachtig wezen rijzend uit een bloemknop, de indruk van een oor enz. Door dit negatief reliëf kan het niet een mal zijn voor een metalen helm, omdat dan de versiering naar de binnenkant toe uit zou steken. Men heeft verondersteld dat het zou dienen voor het maken van een wasafdruk voor het gieten van een helm of ornamentdelen ervan. Maar ook dan zit de versiering in hoog reliëf aan de binnenkant of heeft, met het reliëf naar buiten, een kromming tegengesteld aan die van de helm. Ook is geopperd dat de modellen zouden dienen voor het inkloppen van de versiering in zachtleren helmen, die dan vervolgens omgedraaid zouden worden. Maar naast enige technische en functionele moeilijkheden spreekt hiertegen dat op één model sporen van kleurstof zijn aangetroffen in de ingesneden versiering.”
Translation:
The 'model' for a helmet (Fig. 53) is a not conclusively explained phenomenon. It is made of limestone and shows in deep (= negative) a raised ornamental band with flower motifs, a square with a siren-like creature rising from a flower bud, the impression of an ear, etc. Due to this negative relief this can't bea a metal mold for a helmet, because then the decoration would have to be seen on the inside. It has been assumed that it would serve to create a mold for casting a helmet or ornament parts. But the decoration would still have to be in high relief on the inside or would have, with the relief outwards, a curvature opposite to that of the helmet. It has also been suggested that the models would serve to hammer the decorations into soft leather helmets, which would then be turned inside out. But apart from some technical and functional difficulties what argues against this explanation is that on one model traces of dye were found in the incised decoration.
(3) Positive model of Boeotian helmet without decoration, not described in GRIEKSE, ETRUSKISCHE EN ROMEINSE KUNST ALLARD PIERSON MUSEUM
(B) Paris (Louvre, 1484):
Positive model of Boeotian helmet with decorations in negative
© Bonn:
(1) Positive model of helmet with negative decoration, 31 cm height, with traces of red and blue paint (Schröder, Ägyptische Helmmodelle, Archäologischer Anzeiger, Beiblatt zum Jahrbuch des Dt. Archäologischen Instituts XXXV,1920, Beil. 1, pp. 3 catalogue no. 2, Akademisches Kunstmuseum Bonn)
(D) Berlin:
(1) Positive model of helmet with negative decoration, 36 cm height (Schröder, Ägyptische Helmmodelle, Archäologischer Anzeiger, Beiblatt zum Jahrbuch des Dt. Archäologischen Instituts XXXV,1920, Beil. 1, pp. 3 catalogue no. 1, Berlin Antiquarium Misc. Inv. 10578)
(E) Hildesheim (Roemer- und Pelizaeusmuseum):
(1) Positive model of helmet with negative decoration, 33.2 cm height, knife cutting marks on the lower rim from the cutting of material applied to the model (Schröder, Ägyptische Helmmodelle, Archäologischer Anzeiger, Beiblatt zum Jahrbuch des Dt. Archäologischen Instituts XXXV,1920, Beil. 1, pp. 3 catalogue no. 3, Pelizaeus-Museum 1853, III)
(2) Positive model of helmet with negative decoration, 29.8 cm height (Schröder, Ägyptische Helmmodelle, Archäologischer Anzeiger, Beiblatt zum Jahrbuch des Dt. Archäologischen Instituts XXXV,1920, Beil. 1, pp. 3 catalogue no. 4, Pelizaeus-Museum 1852, III)
(3) Positive model of helmet with negative decoration, 30.3 cm height, feather tubes over the ears (Schröder, Ägyptische Helmmodelle, Archäologischer Anzeiger, Beiblatt zum Jahrbuch des Dt. Archäologischen Instituts XXXV,1920, Beil. 1, pp. 3 catalogue no. 5, Pelizaeus-Museum 1854, III)
(4) Positive model of helmet with negative decoration, 25.8 cm height, knife cutting marks on the lower rim from the cutting of material applied to the model (Schröder, Ägyptische Helmmodelle, Archäologischer Anzeiger, Beiblatt zum Jahrbuch des Dt. Archäologischen Instituts XXXV,1920, Beil. 1, pp. 3 catalogue no. 6, Pelizaeus-Museum 1101, III)
(5) Positive model of helmet with negative decoration, 28.8 cm height (Schröder, Ägyptische Helmmodelle, Archäologischer Anzeiger, Beiblatt zum Jahrbuch des Dt. Archäologischen Instituts XXXV,1920, Beil. 1, pp. 3 catalogue no. 7, Pelizaeus-Museum 1851, III)
(6) Positive model of cheek piece with negative decoration (Schröder, Ägyptische Helmmodelle, Archäologischer Anzeiger, Beiblatt zum Jahrbuch des Dt. Archäologischen Instituts XXXV,1920, Beil. 1, pp. 3 catalogue no. 8, Pelizaeus-Museum 1808, III)
Also, ca. 60 plaster/stucco casts of metal decorated vessels etc. acquired on the art market in Cairo in two lots in 1907/10 (Published in Rubensohn, Hellenistisches Silbergerät in Gipsabgüssen, Aus dem Pelizaeus-museum zu Hildesheim. Festschrift zur Feier der Eröffnung des Museums, 29. juli 1911. Recent treatment in C. Reinsberg. : Studien zur hellenistischen. Toreutik. Die antiken. Gipsabguesse aus. Memphis. Hildesheim: Gerstenberg. 1980. XII,. 355 S. 130 Abb. (Hildesheimer ägyptologische Beiträge 9); reviewed by: R. S. Bianchi, The Journal of Egyptian Archaeology Vol. 71, Reviews Supplement1985, pp. 59/60).
Literature
The following additional literature I have not (yet) reviewed:
Pfrommer, Großgriechischer und mittelitalischer Einfluss in der Rankenornamentik frühhellenistischer Zeit, Jdl 97, l982
Waurick, Hellenistische Helme, in: Antike Helme - Sammlung Lipperheide und andere Bestände des Antikenmuseums Berlin, 1988
van Essen, BABesch 1. 1926, 18 ff.
Bissing, Eurasia septentrionalis antiqua 9, 1934, 221
Toynbee/Ward-Perkins, 'Peopled scrolls, a Hellenistic motif in imperial art', Papers of the British School at Rome 18, 1950, 2 -43
Regards,
Jens Horstkotte
Munich, Germany
Jens Horstkotte
Munich, Germany
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