| 2007.10.2.224
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Bust of figure facing to the right wearing what appears to be a 'Phrygian Cap' or possibly a helmet. Clothing suggests that the figure might be female (possibly Athena if the head dress is in fact a helmet). Not enough of hair-style visible to conclusively decide gender.
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| 2007.10.2.236
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A powerfully built male figure kneeling with one arm (right) raised, his hand making a fist. The other arm is lowered and appears to bound (possibly) behind his back. His head is bowed. The figure appears to have a small winged figure upon his back. It is not clear if he is carrying the second figure or if there is some sort of struggle in process.
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| 2007.10.2.264
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Two figures, a half-nude female seated, with her hand outstretched toward Eros, who is half hovering in the air before her, his arms outstretched towards her hand as if reaching for her. She is possibly Aphrodite.
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| 2007.10.2.304
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A male figure wearing a skin (possibly a lion skin) struggles with a bull. The bull's head is lowered perhaps indicating that it is charging. Behind the bull, to the right of the cast, there is what appears to be a statue (possibly of female form) with two faces in profile, one facing left and the other right. The animal skin (if it is lion) perhaps identifies the male as Herakles. The scene might be a representation of one of Herakles tasks (yoking of the bulls).
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| 2007.10.2.308
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A large ox or bull is represented to the left and centre of the scene taking up most of the space within the cast. The beast's head is turned as if it is looking towards the viewer. To the right a figure (probably male) is seated beneath a tree holding a staff. At the figure's feet there appears to be a second (much smaller) creature.
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| 2007.2.91
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Faded orange glaze decorated the whole of the fragment, it is indistinguishable if there is a distinct pattern.
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| 2007.4.168
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Too worn to tell; if any
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| 2007.4.169
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Too worn to describe; if any
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| 2008.9.13
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Interior: greyish-black wash. Exterior: wide greyish-black band overpainted, taking up roughly half the exterior. Above this is a narrower parallel strip of unfinished terracotta containing 14 small dots in a horizontal line towards the top if it. And above this, half of another parallel band overpainted in greyish-black is present.
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| 22.9.9
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Large portion of the fragment is decorated with a thick stripe of brown glaze along with a series of thinner bands. Another small detailing appears underneath the large stripe, however, it is undistinguishable if this is part of a larger design.
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| 29.11.6
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The vessel is divided in three horizontal zones by lines of unequal width. There are also very thin, vertical lines at the sides of and beneath the handles.
A (above): A youth (servant?), making a gesture as if offering something (perhaps a branch, which extends from the servant's wrist) to a bearded, draped man (possibly Dionysos), at centre. He holds a large kantharos and leans against a rock. Behind him is another youth, who is perhaps supporting the rock. On either side of the scene there are palmettes that seem to have sprung from the handles.
B (above): Similar to side A, except that the man reclines on a couch, and the vessel is offered to him by a (servant?) woman in front of him. The youth behind him looks to the left. The scene is framed vertically on both sides by a series of dots as well as the same palmettes as on side A.
A-B (below): A band of palmettes, every second one inverted; two lines; a band of of tongues; reserved band. Base black, with black concentric circles on the underside.
Interior: reserved band within lip. At centre, tondo decorated with the winged horse, Pegasus, advancing to the right.
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| 38.4.2
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Reddish-brown on pale buff ground. The false neck is decorated predominantly in a black band, with a narrow and broad black circular band in the centre of the false neck. The underside appears to be reserved, with a single thick black line at the base on the false neck. The true neck has a faded broad back band around and overlapping the lp. There is a broad black band at the base of the neck, and also a black blob on the side facing the false neck. On the shoulder there are six groups of narrow black lines painted horizontally. There is one group of either side of the true neck, both have eight horizontal lines, the one on the left has two rings of black to either side of it. The groups of lines on the other side, if faced with the true neck at the top, have groups of 6, 7, 9. 8 horizontal lines, all with a small ring of black in between them. The shoulder is outlined with a broad ring of black. The body has four broad black lines, which have faded to a reddish brown. Adjacent are narrow red rings; four above the first band, two within the first band, two within the second band, two or three below the second band. The fourth band does not overlap the base, which is slightly concave in shape, and has the suggestion of a foot ring.
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| 42.9.1
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The rim (stephane) is decorated with a double horizontal bulleted strap. The neck of side A has a broad band ornamented with elleipsoid lines with lotus leaf-shaped endings. Body: Side A: Dionysos holding leafless vine branch and kantharos between 2 dancing maenads, one of whom wears a spotted skin over her drapery. The scene is surrounded (left and right) by vertical, bulleted zones in the form of antae that seem to support a horizontal band with tongues over the heads of the figures, making the scene look as if under a building. B: 3 youths (but with beards?) wrapped in himatia, with a pair of halteres hanging between the second and third youths, relief contour on A none on B, outline of hair (and beards?) reserved. The same decoration surrounds the 3.
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| 45.10.13
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(i) There is a small part of a motif (partially covered with plaster) that consists of wavy lines. Below it, there are two lines and underneath there are parts of two inverted, palmettes (voluted with petal-shaped divisions) that flank a three-pointed flower with two dots to represent pollen. ii) Between two pairs of lines there is a guilloche (fillets with teardropped terminations interwoven together) with dots among the lines. Below, there is a broad black band, which seems to be interrupted at the right side. (iii) At the left, three parts of vertical, black bands and incisions create part of an object (garment hanging from chair or couch?) In the middle, there is an object- as if it was a grave-stele with a cross-shaped ? ending above which spring two heraldic, white, voluted palmettes (now fadded away), a chiastic motif with dots and horizontal lines on top- but inverted (leg of a bed or couch?). Next to that, there are a figure's part of thighs, knees and calves, close to part of a palmette. (iv) A bearded satyr (seilinos) plays a chorded instrument (lyre), while his himation is hanging in the background. Next to him there is a draped female figure (Demeter?), holding a wreath (black circle) and branches with dots on both sides that surround her. The details on her drapery have been executed with added red and so are those for her head-dress. There are also traces of added white on her neck. On top of the fragment there is part of a motif of tongues contoured with ellipsoid lines and a line that encircles this pattern. v) On the left, there is part of the satyr's lower legs (above the knees towards the feet) and the lower end of his himation. Next to him there is the termination of the female figure's branch, close to a similar inverted grave-stele? and part of an object that resembles an animal paw (lion-shaped foot of chair or couch) . Below these, there is a line on which they seem to step on. Next, a guilloche between two pairs of lines and at the bottom part of a radial-shaped motif with a line that contours it on top. vi) A line and black, teardropped spot. vii) There is a line on whose right top side stands a rectangular object with a rectangular surface in the middle being reserved. Below, part of two lines on top of part of the guilloche. viii) Small part of shoulder and neck: there is a black spot, a thin band, a red line on top of a plastic ring (joining point of neck and shoulder) and part of a tongue-shaped pattern contoured by a line on the shoulder. There is also a part of two lines in the interior. ix) Part of the guilloche, the two lines underneath and the radial-shaped motif at the bottom. x) Tiny bit of the guilloche and the two lines below it and part of the radial-shaped motif. xi) Part of voluted palmette and tongue-shaped motif. xii) Part of the floral motif (of a three-pointed flower)? with lines that form a rhombus with a dot in the middle. xiii) Part of the shoulder and the spring of a handle. On the top there is the tongue-shaped motif, encicled by a line and below it an inverted palmette. The spring of the handle is black and next to it there are short, diagonal incisions. There is also a tiny spot of black colour in the interior. xiv) On the left, part of leaf-shaped (heart-like) motives (part of thyrsos?), close to a band of black colour, of undecipherable shape. Next to that, there is the lower part of a female draped figure, with small crosses on it. At the right side there is black and white colour that forms ovaloid shapes (?). xv) A black band and on the left part of the female drapery.
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| 45.10.22
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a: The upper surface of the rim is reserved, although glazed. However, the side surfaces (internal and external) are black (apart from a reserved area that would not have been visible if the handle was not missing). The neck is also black on the inside, however, there is a perpetual motif of palmettes on the external surface. These are double palmettes (5 narrow divisions upwards and 5 similar ones downwards) that look as if chained together by a horizontal row of small rings and each such palmette is separated from the other by a vertical line with wider endings, while thin, curved lines (above and below) frame each palmette. The sides of the handle bear a black band each and there is also a thin line underneath them that contours the end of the neck. On the carination that divides the neck from the shoulder there is a thin line with added red colour. The shoulder bears a motif of tongues, divided by vertical lines, while a line underneath contours them. The motif does not appear under the surface of the handle. At some point underneath this pattern there is the beginning of another motif (black with 3 dots of added red and scale-like incisions). The interior of the rest of the vessel is reserved, since it is an amphora. b: It bears exactly the same motif as the previous neck bit. c: From the branch of a three-peaked floral motif there emerge two curved lines that are downwards and upwards, each forming an ellipsoid-shaped frame from whose lower (in the case of the curved line that goes downwards) or upper (in the case of the other line) endings form one floral motif each. The left one is a voluted palmette with 5 petal shaped divisions and the right one is a three-pointed flower, similar to the central floral motif, but bigger. Although the upper part of this pattern is not preserved apart from the starting point of the motives, it is certain that this would have been the heraldic motif depicted. Underneath this area there is a thin, black line and below that, a pattern of guilloche ( branches with tear dropped endings interwoven together) with a row of dots, framed (above and below) by two pairs of concentric lines. Towards the end of the fragment (which is also towards the end of the vessel) there is a radial-shaped motif, two lines and the rest of the surface is black. d: It is a part of the body's area that bears the guilloche pattern and the radial-shaped motif underneath, but one third of it is not preserved. e: On the left there is the upper part of probably a palmette (two endings of petal-shaped divisions). Next to that there is the depiction of a draped lower body part. The drapery is formed by the incisions on a black surface. There are diagonal incisions and wavy endings to denote the folds of an himation, as well as the lower termination of the chiton, which is suggested by two almost horizontal incisions, a wavy line and another horizontal incision. the drawing is detailed and clear. f: The part between the surface above the knees and a bit below the calf of a male figure that wears a short chiton (incised, wavy folds are visible above the knee), as well as grieves with out curving terminations (Hermes?) of added red colour, now fadded away. On his left there is the upper part of a palmette and on his left there is a diagonal line, with rows of dots on either side (characteristic of Dionysus). Very clear drawing. g: Half of the three-peaked flower, a bit of a black line and two petal-shaped motives. On the side, there is part of the dotted branch and what appears to be part of a figure's drapery (upper right body part ?), with some incisions used to render details. h: Between the lower body part of two figures there is part of the dotted branch. What is preserved from the right figure is incised lines and circles on a black surface. The left figure's drapery (peplos and himation ?) is preserved (below the waist), consisting of incised diagonal and wavy lines to denote the folds. i: A central male figure's (Dionysus) body from shoulder to legs is visible and surrounded by a dotted branch. He is standing between two figures. The male figure (there is part of beard with added red) on the left holds part of the branch with his palm (upper body without the head is preserved). The only visible part of the draped figure on the right is part of the legs. Incisions are used to render details. j: Apollo playing his lyre (kithara). The head (in profile, facing right), right hand and part of the god's front side of the body is visible, as well as the largest part of the lyre. Part of a dotted branch exists in the background. Incisions have been used to render the chords of the lyre as well as for the eye, contour of hair, ear and contour of the god's body, while a taenia (fillet) on his head is in added black colour. k: Only part of a thin, black line is preserved. l: two broad black bands that overlap at some point. Incisions and the ending of a dotted branch (part of draped figure?). H & J on display in symposium
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| 45.8.1
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The rim (interior) bears two, concentric circles, the first at the edge and the second at the curve between the neck and the body, where traces of white colour can be found. The neck of the vessel is ornamented with a continuous floral motif (branch bearing two long leafs; laurels?) that covers the whole of the surface. A: Scene of a symposium of four, reclining, male figures; 2 men and 2 youths (in turns), in pairs looking at one another. All of them wear their himatia, loose around their waists, a fact that leaves the upper part of their bodies naked, and are crowned with identical three-pointed diadems, made of added, yellowish and white colour. They also have identical hairstyles. The youth on the left side makes a gesture, pointing left with his right hand, but facing the man on his right who touches his chest with his right hand. The third person looks as if holding a white thread with his right-hand fingers, while the man on his right is trying to put a white, spotted garland on the third figure with his right hand. They all recline on a horizontal sort of bed, supported by three feet, of equal distance between them, but of unequal width. However, the lower parts of the three feet are similar; rectangular and vertical to the stem. Under this construction, in the surface between the two gaps that are left between the feet of the bed, there are two tables, that carry food(?) (fruit and bread ?), painted with added white colour. Both of the tables bear two, broad, black, bands around their edges, the left ones being larger than the right ones. As regards the endings of the tables' feet, they give the impression of a vague rendering of animal paws.
B: A youth in the centre of the scene looks at his right, while in either of his sides, another youth is looking at him. All of them are fully-clad with himatia. The left one is holding a strigil (stleggis) with his right hand, while the one at the right side of the scene makes a gesture with his feast.
The spring of the handles bears part of a circle (it stops, leaving the surface between the beginning of the two handles undecorated), with small, semi-cercular patterns. Beneath each handle there is a large, complex palmette. A band with maeander-shaped patterns runs through the vessel under the main scenes. The base is in the form of a disk, with a high foot, separated from the disk-shaped surface by a carved, reserved circle, as well as an also circle at the lowest end of the base's foot.
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| 50.10.4
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The mouth is black inside and out with a reserved rim. The neck and underside of handle are also reserved, while the top of the handle is black. The shoulder is decorated with short lines and four palmettes (of which one is upside down) linked with tendrils. The back of the body is black and the front bears the representation of a draped woman in an unnaturalistic posture. She is facing right with her head and chest turned back to her left. She is holding a case (kiste? with drawers?) in her right hand and extends out her left (the gesture is as if holding a phiale). There is reserved line under her feet and the woman looks as if she stepps on it. Additionally, the foot's upper surface is black. There is also a small, concave section at the centre of the base.
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| 51.4.1
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The top surface of the rim is reserved (but glazed), however, the side one bears a black meander pattern. Neck: at the left side there is the front part of a horse (head and two feet) and the right leg (thigh to toe) of the horse-rider, with incisions for detail (denoting also the bridle) and added white. At the other end there are two men, one behind the other. The fragment's termination is at the level of their knees. The first one (right end) has extended his arms, as if being a charioteer. Besides, the back part of the chariot can be seen over his white chiton. The stephane on his hair is executed with red. The black, male figure at the same level behind him makes a gesture as if holding something (invisible). He is wearing a short chiton and he is probably on the chariot too. Interior: There is a red, thin band at the rim and the rest of the surface is black.
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| 83.9.32
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On one side of fragment it is mostly terracotta with a small patch of black gloss, located on the end which is squared off. In, almost, the centre of this side there is a small, black circle with a tiny, black dot in the middle. On the other side of this fragment it is glazed black with a palmette design on. The flower pattern has a circle around half of it. This circle has 'U' shapes on it and appears as if it would have continued around the pot, from which the fragment came.
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| 83.9.35
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One side has a single flower on it. If you are looking at the fragment with the flower at the bottom, then above that there is a band which has up-side-down 'U' shapes inside it. The other side seems to have alternate black and terracotta strips on it. One of the terracotta strips appears to be indented.
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| 84.8.1
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30 fragments, largely side B, small part of side A, handle and rim fragments. Side B three youths. a) The top surface of the rim is black and so is the interior, apart from a reserved area at the end of the rim that bears a thin, black line. The neck is decorated with a vague representation of a brach with laurel leaves. The joining point of neck and body that is preserved bears part of a black, thick line. b) The interior and top surface of the rim is black, with the exception of a reserved band on the end of the rim (interior) that bears a thin, black line. c) The handle is black, except for the surface that would not have been visible if it was attached on the vessel, which is reserved (but glazed). Around the spring of the handle there is a motif between two thin lines that resembles the ionic cyma (egg-and-dot). The rest of the vessel is black, both on the outside and the inside. d) The handle is black, apart from the surface that would not have been visible, where there are two dots. Around the spring of the handle there is part of the ionic-cyma motif. e) There is part of the ionic cyma motif that the handle bears around its spring and the rest of the surface is black (interior and exterior), apart from part of a small chess-shaped motif, framed by a line above and two below. f) It is black apart from an area that bears a small part of the motif that contours the springs of the handles, a small, diagonal, reserved band (exterior) and a reserved band (interior). g) The surface is black (interior and exterior) except for three thin lines that are reserved. h) The interior is black. Exterior: Above a double-meander pattern, placed on a reserved band and between two lines, there are two heraldic lion paws, even though the details have fadded away. i) The interior is black. Exterior: The lower part of the drapery and the foot of a figure, surrounded by black colour. j) Black interior. Exterior: The lower part of a vertical, reserved thin band is standing on a broad, reserved band that bears between two black lines part of a pattern that consists of a meander and a cross on its right. The cross is contoured by a reserved area (around its sides), while its is executed on a black background. k) The interior bears a thin, reserved band. Exterior: The back part of a male figure's head and shoulder, as well as part of the drapery. l) Black interior. Exterior: The male figure's shoulder and part of his draped body. On his right there is the outer part of the motif that contours the springs of the handles. m) Part of the male figure's leg, knee and tibia, which is projected, as if he is ready to take a step. On the left top side there is part of a vertical, thin, reserved band (upper part of a walking-stick). n) Black interior. Exterior: The lowest part of the figure's drapery and a vague representation of his feet ? He appears to be standing on a pattern that consists of a chess-like motif close to two, double-meander ones, framed by two lines above and one below. o) Black interior. Exterior: The lower part of the figure's walking-stick that seems to stand on the double-meander pattern. On the left of the walking-stick, there is part of the back side of another draped figure (male), with the same careless rendering of the feet. p) Black interior. Exterior: Part of the walking-stick and drapery of the second figure. q) Black interior. Exterior: Small part of the second figure's drapery. r) Black interior. Exterior: Small part of the second figure's drapery. s) Small part of the second figure's drapery. t) Black interior. Exterior: Part of the lower termination of the second figure's drapery as well as his right foot? On the left, part of his walking-stick. He seems to be standing on part of the double-meander pattern. u) Black interior. Exterior: Part of the pattern that consists of the chess-like motif, next to part of a double-meander one, on top of which there is the lowest part of a figure's foot? (clumsily rendered). v) Black interior. Exterior: The lower part of the drapery and right foot of another similar figure that satnds on the double-meander pattern. w) Black interior. Exterior: Part of the figure's drapery. x) Black interior. Exterior: Part of the figure's drapery. y) Black interior. Exterior: Part of the figure's drapery. z) Black interior. Exterior: Part of a male figure's arm and hand. aa, ab and ac) Part of the rim and neck. The exterior bears a broad black band and the interior bears a reserved area between two black bands. ad) There is a reserved line on the interior, while the exterior is black, apart from a reserved spot of unclear shape and another, similar one that bears a thin, black line.
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| E.23.2
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Funerary stele with vulture wings surrounding the solar disk, common during the time period. Below the wings is the text of the stele, surviving intact. Two men are depicted adoring the god Re-Horakhty, whose presence is indicated not only by the uraeus and sun disk but also his name inscribed in the text. It has been suggested that the dress of the figures indicates that they are Nubians; this is confirmed by the oddity of their personal names. The sky is depicted above the winged disk, each end being supported by the symbol of the west (on the left, only the top of the feather survives) and the east (on the right, more or less complete). A signature, possibly belonging to Flinders Petrie has been found above the head of the right hand figure.
There is only one viable interpretation possible, when one combines the depictions with the details found within the text. The stele depicts the man Serep and his son Tkr-Irt-Hrw, not as has been assumed Serep with his Ka. A personal Ka has no need of the title m33 khrw, which is a title of the deceased, thus two deceased are depicted. There is no question that Serep is a man as he is depicted in male dress and has the male symbol after his name.
There is enough evidence to show that the stele was once painted. Red pigment on the sun disk of the god is the most apparent, though a similar (if not the same) is found in several of the hieroglyphics and on the deceased as well as faint traces on the column to the right. A yellow stain remains in the first two columns, which could be remains of the paint used to fill in the columns. The combination of colours matches well with the red pigment found in the glyphs.
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| E.62.31
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Large red vase. Rounded body with rounded base; no neck, narrow lip and flat rim. Large lugs, on either side, are perforated to take thread. There are splashes of red all over the pot, it is unclear if this is part of the original decoration or somehow added later, since the splashes have no discernable pattern.
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| E.62.37
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Wide mouth, no neck tapering to a very slightly flat base. Very shallow rivets form concentric around the bowl, almost as if the potter has lightly brushed around the pot with his fingers during its creation. The surface is course and it is dark red in colour.
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| TEMP.2003.8.1
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(a)Part of the rim of an open jug of some sort. The inside segment of the rim is painted black, with numerous small bits having been chipped off. Moving outwards, the rim consists of the inside of the pot wall, which then splays out in a flat top rim, and then falls down again in a second wall that is left dangling from the outer rim. So, moving from the inside outwards on the underside, there is a valley of about 1.0 wide and 1.5 deep until the top of the second rim (which is peaked) is reached. The outward facing side of this downward pointed rim consists of alternating lines of black dots and thin black lines which run around the entire outer diameter of the rim. There are two rows of dots and two lines, alternating which each other, all of which are heavily worn. The top part of the rim, which would be facing upwards if the pot were complete, is about 2.2 wide and flat, marked with black raised lines that repeat about every .3 and which start at the outer edge and are 1.7 long, and painted black. These lines are heavily worn. There are also two significant chips in the top of this rim, each about 2 long.
(b)Another part of the same rim to the same vessel. The same dot and line pattern runs around the outer diameter. On top the lines which are thicker at the end pointing into the pot are repeated, a palmette decorates the larger flat area of the handle region.
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| TEMP.2007.2.66
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Black glaze; on one side the glaze appears to be banded - unknown if intentional or due to wearing
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