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                <text>Mirror Case - Noble Couple on a Hunting Party </text>
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                <text>This ivory mirror case depicts a noble couple riding on horseback in a hunting party. Two servants accompany them on horseback, and a child walks in front, leading the noble lady's horse. Four beasts, likely of mythological origin, frame the edges of the mirror case. </text>
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                <text>Esther</text>
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                <text>14th century (c.1300-1350)</text>
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                <text>Dimensions: 5in x 5in x 5/8in &#13;
Materials: Ivory&#13;
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                <text>Harvard Art Museum/Fogg Museum</text>
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                <text>School of Paris, France, Europe</text>
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                <text>1952.95</text>
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                <text>Tower of Babel Illustration from the Supplementum Chronicarum</text>
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                <text>Small woodcut print, couple of inches across in both directions, illustrating the construction of a relatively small and hexagonal Tower of Babel being completed by a series of medieval workers. There is foliage behind the tower, and scaffolding surrounding the entirety of the structure. </text>
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                <text>Debbie</text>
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            <name>Date</name>
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                <text>October 1491</text>
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                <text>Materials: woodcut print</text>
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                <text>Harvard Art Museums</text>
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                <text>manuscript</text>
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                <text>Venetian</text>
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                <text>M1076</text>
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                <text>Inventory of Johannes Bonerii</text>
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                <text>This act records the inventory of the estate of the cauldron-maker Johannes Bonerii, which was compiled at the request of Poncius Chabassii, guardian for his children. Johannes's widow, Goveta, had formerly been their children's guardian, but she now intends to remarry. The preamble to the act indicates that Goveta also submitted an accounting of her administration. The estate includes an interesting list of the equipment pertaining to the forge. The register from which this act was taken is currently in the possession of Daniel Lord Smail, a gift from Giles Constable.</text>
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                <text>Emma</text>
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                <text>10 September, 1403</text>
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                <text>Materials: parchment, ink, wood, leather</text>
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                <text>Crest, France</text>
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                <text>Rectangular ivory diptych sundial</text>
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                <text>"This is an unusual ivory diptych sundial in both elongated shape and design. It has a single pin gnomon dial showing Italian hours and two magnetic compasses. &#13;
&#13;
Ia Medici coat-of-arms surmounted by a crown and supported by acanthus leaves. The rest of the space is filled with drapery, a running leaf border, and silver clasps engraved with leaves and scrollwork.&#13;
&#13;
Ib Decorated with a grotesque consisting of a man's face with leafy hair, beard, and mustache. Bordered by a running leaf pattern and twisted rope design.&#13;
&#13;
IIa Two magnetic compasses with paper inserts marked by hand in brown ink. The top compass gives the Italian names of 32 wind directions. The lower compass gives the French names of 32 points. The compass needles and retaining rings for the glass are present but the glass is missing. Between the compasses is a horizontal pin gnomon sundial for Italian hours, 12-23. &#13;
&#13;
IIb Decorated with a simple geometric pattern."</text>
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                <text>Jenny</text>
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            <name>Date</name>
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                <text>1556-1568</text>
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                <text>Dimensions: closed: 1.7 x 4.3 x 11.8 cm&#13;
Materials: lvory, paper, silver</text>
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                <text>Harvard Collection of Historical Scientific Instruments</text>
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                <text>Firenze, Italia</text>
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            <description>An unambiguous reference to the resource within a given context</description>
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                <text>Inventory Number: 7492</text>
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                <text>King John of France</text>
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                <text>A circular sculpture with inscription around perimeter: FRANCO CUM REX JOHANNES DEI GRA CIA</text>
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                <text>Andrew L.</text>
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                <text>Harvard Art Museum</text>
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                <text>14th Century</text>
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                <text>Dimensions: 10.2 x 0.6 cm (4 x 1/4 in.)&#13;
Materials: Bronze with worn gold patina</text>
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                <text>Italy, Veneto, Padua</text>
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                <text>1934.105</text>
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                <text>Three-Ounce Weight with Imperial Busts of Justin II, Sophia and Justinian(?) </text>
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                <text>Published Catalogue Text: Ancient Mediterranean and Near Eastern Bronzes at the Harvard Art Museums&#13;
This flat square weight was used for weighing coins on a balance scale. The inscription provides unusually detailed and precise information concerning the object’s date of issue: twentieth of Phamenoth, eighth indiction (16 March 575 CE). It is rare for early Byzantine weights to be dated to the year, let alone the exact day (1). Furthermore, the weight reveals its Egyptian origin through the calendar system used in the inscription; Phamenoth is the fifth month of the Egyptian calendar.&#13;
&#13;
Byzantine coin weights are often decorated with the images or names of the individual under whose authority the weight was issued. In this instance, the inscription designates one Iulianos, who possesses the relatively low-ranking title of stratelates and was likely a provincial governor or local official. Two of the three figures on the obverse represent the imperial pair Justin II (r. 565-78 CE) and Sophia. As senior emperor, Justin II holds the preeminent position at center, while the empress Sophia appears to his left. Both wear three-pronged crowns; Justin’s is decorated with pendilia (embellishments hanging from the temples). The iconography of the object is unusual; bronze weights from the reign of Justin II and Sophia typically feature only the two rulers with their monogram and an inscription providing the date (2). A third figure appears to Justin’s right and is nimbed but uncrowned. This may be the local authority, Iulianos, mentioned in the inscription (3). Alternatively it could depict Tiberios, who was appointed caesar (junior emperor) on 7 December 574 CE, just three months before this weight was issued. In this case, the lack of a crown would indicate Tiberios’ junior status (4). Tiberios was selected as co-ruler by Sophia, who increasingly assumed imperial authority when Justin II’s mental health declined sharply during the early 570s CE (5). This weight provides what would be the only known image of the imperial triad.&#13;
&#13;
NOTES:&#13;
&#13;
1. For discussion of the date, see F. Heintz, “Investigating a Unique Byzantine Weight,” The Celator 14.10 (2000): 26-28.&#13;
&#13;
2. S. Bendall, Byzantine Weights: An Introduction (London, 1996) 44-45, no. 117. In bronze coinage issued during the reign of Justin II and Sophia, the couple appears enthroned side by side. See A. Bellinger, Catalogue of the Byzantine Coins in the Dumbarton Oaks Collection and in the Whittemore Collection 1: Anastasius I to Maurice 491-602 (Washington, DC, 1966) 204-17, pls. 50-52. On the Harvard weight as well as in coinage, Sophia appears to Justin’s left. Although Justin assumes the position of greater importance, Sophia’s presence is nonetheless significant; the empress had never before been represented so prominently on the obverse of coins.&#13;
&#13;
3. I. Kalavrezou, ed., Byzantine Women and Their World, exh. cat., Sackler Museum, Harvard University Art Museums (Cambridge, MA, 2002) 57.&#13;
&#13;
4. During his joint rule with Justin II, Tiberios appeared only rarely on imperial coins, for example, in a solidus issued from Antioch in Syria. See Bellinger 1996 (supra 2) 204-17, pls. 50-52, and 263 n.2.&#13;
&#13;
5. The matter of who actually wielded power during the reign of Justin II finds its visual expression in joint representations of Justin and Sophia on imperial objects of this era. See A. Cameron, “Notes on the Sophiae, the Sophianae, and the Harbor of Sophia,” Byzantion 37 (1967): 11-20; ead., “The Empress Sophia,” Byzantion 45 (1975): 5-21; and A. McClanan, Representations of Early Byzantine Empresses: Image and Empire (New York, 2002) 149-78.</text>
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                <text>Levi</text>
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                <text>Harvard Art Museum</text>
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                <text>16 March 575 CE</text>
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                <text>Dimensions: h. 4 x w. 4 x d. 0.4 cm (1 9/16 x 1 9/16 x 3/16 in.)&#13;
78.46 g&#13;
Materials: Mixed copper alloy</text>
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                <text>Creation Place: Ancient &amp; Byzantine World, Africa, Egypt (Ancient)</text>
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                <text>1951.31.4.1872</text>
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            <description>A name given to the resource</description>
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                <text>Table of Concordance, folio from a Gospel</text>
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            <description>An account of the resource</description>
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                <text>The object is a folio from a 12th century Armenian illuminated manuscript. The folio depicts a concordance table—a chart used to track concordance between the four Gospels.</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Andrew G.</text>
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            <description>An entity responsible for making the resource available</description>
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                <text>Harvard Art Museum</text>
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            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1180 C.E.</text>
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            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>Dimensions: 33.8 x 23.1 cm&#13;
Materials: Ink and opaque watercolor on parchment</text>
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                <text>manuscript</text>
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            <description>An unambiguous reference to the resource within a given context</description>
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                <text>1960.203</text>
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                <text>The object is made up of two copper alloy pieces joined by an iron rivet at the center. Both of the pieces were cast by the lost-wax process. &#13;
&#13;
The decorative pattern of a circle with a dot at the center was created in the metal with a single punch. Uneven pressure on the punch resulted in some of the marks being deeper than others, while some marks have the appearance of crescents and dots where one side of the punch did not penetrate the metal.&#13;
&#13;
The terminals bear scrape (and possibly hammer) marks. Some of these marks appear to have been caused by post-excavation cleaning, which exposed the now-oxidized metal. There are coarse scrape marks on the inside of one piece, which contribute to the otherwise uneven surface. Coarse, worn file marks on the sides of the smaller piece seem to have been made in the wax. &#13;
&#13;
A dark blackish-green patina forms a layer over the metal, which is worn to a dark brown. Some of this seems to be a waxy build-up. This was ascertained during removal of a bit of the accretions from one of the recessed decorative areas with a bamboo tip to gauge the depth and shape of the punch mark. </text>
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                <text>Francesca</text>
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                <text>Harvard Art Museum</text>
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                <text>Dimensions: 7.2 x 1.4 x 0.7 cm (2 13/16 x 9/16 x 1/4 in.)&#13;
Materials: Mixed copper alloy or leaded bronze</text>
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                <text>Ancient &amp; Byzantine World</text>
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            <description>An unambiguous reference to the resource within a given context</description>
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                <text>1951.31.4.2299</text>
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            <description>A name given to the resource</description>
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                <text>Annunciation</text>
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            <description>An account of the resource</description>
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                <text>This object is made of polychromed and gilt alabaster from the British culture. It depicts a scene of the annunciation. </text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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                <text>1970.44</text>
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            <description>An entity responsible for making the resource available</description>
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                <text>Harvard Art Museum</text>
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            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>c. 1420-1470</text>
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                <text>Dimensions: 41 x 26.5 x 6 cm&#13;
Materials: Polychromed and Gilt alabaster</text>
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                <text>England</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>1951.31.4.2299</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Design for Illuminated Initial (Knight); verso: Gothic Pinnacle with Crockets</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>This is an initial depicting a knight framed by a gothic pinnacle with crockets.The piece further utilizes black and red watercolors to center its subject on parchment.</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Hunter</text>
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                <text>Harvard Art Museum</text>
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                <text>14th Century</text>
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                <text>Dimensions: 13.5 x 5.8 cm (5 5/16 x 2 5/16 in.)&#13;
Materials: Parchment </text>
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            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>Germany</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>1954.127.A</text>
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