Antiquities Exhibits

Meroë in ancient Nubia, superseded Napata as the capital of the Kingdom of Kush under King Aspelta in about 591 BCE. Meroe's wealth was centered around a strong iron industry, as well as international trade in jewelry, pottery and textiles involving India and China. Meroitic metal workers engaged in both iron and Nubia's longstanding gold production were considered among the best in the world. The kingdom thrived until the 4th century CE and numerous kings and queens were buried in Meroë's royal cemeteries.  The remains of Meroë were rediscovered by a French mineralogist Frédéric Cailliaud who published an illustrated folio in 1821. The first formal expedition led by Giuseppe Ferlini was launched in 1834. Ferlini primarily recovered mostly jewelry items which are now in the collections of museums in Berlin and Munich.  Then in 1844, C.R. Lepsius examined the ruins and produced plans and sketches of the site. These inspired E. A. Wallis Budge to lead an expedition to Meroë i...

Sasanian silver plates were usually hammered into shape and then decorated using a variety of complex techniques.  Gilding was often used to highlight the hunter, usually the king, and sometimes extra pieces of metal were added to create high relief. The king as hunter became a standard image on silver plates during the reign of Shapur II (r. 310–379 CE). The motif symbolizes the prowess of Sasanian rulers, and these royal plates were often sent as gifts to neighboring and vassal courts.  Some plates included inscriptions with the king's name and the plate's weight.  With other plates, art historians must attempt to identify the king by his distinctive apparel or shape of the crown he wears.  Each Sasanian king wore a different personal crown, which became more and more elaborate during the four centuries of the dynasty. Fortunately, the different crowns have been identified from coins or sometimes compared with existing rock reliefs with inscriptions such as those a...

Achaemenid Lion Strangler at the Cleveland Museum of Art in Cleveland, Ohio. A hero strangling a lion was an enduring motif in the ancient Middle East. Possibly referring to the myth of Gilgamesh or Herakles, it was considered a symbol of Persian royal power. As a royal symbol it was already fully developed in the art of the Protoliterate period beginning approximately in 3500 BCE. In its earliest manifestations, the lion str angler was thought to depict the hero protecting the sacred flocks of the goddess of fertility. This concept was gradually replaced by the idea it reflected the eternal conflict between man and beast where man represented the defender of order and civilized life against the the chaotic forces of nature. Likewise, Gilgamesh in the early Sumerian epic, slew several monsters including Huwawa and the Bull of Heaven in such symbolic contests. Eventually, though, the iconography of the lion strangler simply became a symbol of power favored by kings who viewed themse...