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Catalog Number |
CAS 0389-2415 | |
| Category | Textiles | |
| Object Name | Coptic textile fragment | |
| Culture | Coptic Egyptian | |
| Global Region | North Africa | |
| Country | Egypt | |
| State/Prov./Dist. | ||
| County | ||
| Other Geographic Data | unknown | |
| Maker's Name | Unknown | |
| Date of Manufacture | ca. 800-1000 CE | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Wool | |
| Description | “Section cut from a banded textile. The design scheme consists of a decorated red band between two plain dark-blue ones. The red band has double borders, the outer border ornamented with tan Greek crosses, the inner border with linked tricolor ivy leaves on a tan ground. The center of the band contains a procession of quadrupeds, some with horns. Between each animal is a formal plant motif. The animals and plants are worked in dull yellow, pink, light green, and medium green. The piece is tapestry, with wool warp and weft, 9 x 32 [warp : weft per square cm]. All yarn is S-twist. Ninth or tenth century. Remarks: Processions of animals have a long history in Classical art and derive from the Near East. This example represents an early Medieval version of an ancient theme. [Regarding textiles in this group, DL Carroll # 41-72 (CAS 0389-2382, -2384, -2389, -2390, -2391, -2392, -2393, -2396, -2399, -2401, -2405, -2409, -2410, -2411, -2414, -2415, -2416, -2417, -2419, -2420, -2422, -2423, -2424, -2427, -2434, -2435, -2436, -2453, -2454, -2457, -2579, -2580, -2581, -2582, -2599):] After the Arab conquest in the mid-seventh century, Coptic textile design changed its character, moving ever more distant from its classical Roman and Greek sources. In part, this was a reaction against Byzantine culture, associated in the Coptic mind with oppression. Contributing to the change may have been Islamic prohibitions against depicting human and animal figures. Such figures when they appear in Coptic textiles of the later periods become increasingly abstract to the point of being virtually unrecognizable.†[From Looms and Textiles of the Copts by Diane Lee Carroll (San Francisco, CA: Memoirs of the California Academy of Sciences, No. 11, 1988); Catalog # 44, pp. 75, 136, 148; color plate, p. 140.] | |
| Dimensions (cm) | Width = 33.0, Length = 13.0 | |
| Catalog Number | CAS 0389-2416 |  |
| Category | Textiles | |
| Object Name | Coptic textile fragment | |
| Culture | Coptic Egyptian | |
| Global Region | North Africa | |
| Country | Egypt | |
| State/Prov./Dist. | ||
| County | ||
| Other Geographic Data | unknown | |
| Maker's Name | Unknown | |
| Date of Manufacture | ca. 600-700 CE, probably | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Wool | |
| Description | “Tunic clavus fragment. The clavus has a rounded end and a border of reverse arcade. The interior contains a three-part cartouche composed of a lozenge flanked by circles, all with foliage embellishments and a dwarf (?) (sic) enclosed in an oval frame of oak leaves and acorns. The clavus terminates in a short stem ending in an oval containing a cluster of three leaves. The design is carried out in brownish purple on a tan ground. Linen rep, 11 x 8 [warp : weft per square cm]; wool tapestry, 7 x 48 [warp : weft per square cm]. The rep foundation textile has shadow stripes made of pairs of bundled weft shots. Three shadow (sic) stripes lie under the clavus, a fourth lies directly alongside. The tapestry clavus was cut from another garment, the edges turned under and then stitched to the rep ground. All yarn is S-twist. Seventh century or later. Remarks: The decoration of the clavus is descended from the monochrome ornaments of the early period of Coptic weaving, but the quality of the design is closer to the early Medieval period. The monochrome textile ornament had a long life in Egypt. The human figure is nearly overwhelmed by the large scale of the surrounding foliage and the boldly outlined cartouches. [Regarding textiles in this group, DL Carroll # 41-72 (CAS 0389-2382, -2384, -2389, -2390, -2391, -2392, -2393, -2396, -2399, -2401, -2405, -2409, -2410, -2411, -2414, -2415, -2416, -2417, -2419, -2420, -2422, -2423, -2424, -2427, -2434, -2435, -2436, -2453, -2454, -2457, -2579, -2580, -2581, -2582, -2599):] After the Arab conquest in the mid-seventh century, Coptic textile design changed its character, moving ever more distant from its classical Roman and Greek sources. In part, this was a reaction against Byzantine culture, associated in the Coptic mind with oppression. Contributing to the change may have been Islamic prohibitions against depicting human and animal figures. Such figures when they appear in Coptic textiles of the later periods become increasingly abstract to the point of being virtually unrecognizable.†[From Looms and Textiles of the Copts by Diane Lee Carroll (San Francisco, CA: Memoirs of the California Academy of Sciences, No. 11, 1988); Catalog # 48, pp. 136, 152-153.] | |
| Dimensions (cm) | Width = 11.0, Length = 43.0 |
| Catalog Number | CAS 0389-2417 |  |
| Category | Textiles | |
| Object Name | Coptic textile fragment | |
| Culture | Coptic Egyptian | |
| Global Region | North Africa | |
| Country | Egypt | |
| State/Prov./Dist. | ||
| County | ||
| Other Geographic Data | al-Faiyūm (Al Fayoum aka Piom aka Arsinoë) | |
| Maker's Name | Unknown | |
| Date of Manufacture | ca. 800-1000 CE | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Wool | |
| Description | “Band fragment from al-Faiyūm. One edge of this dark pink band has a dark blue zigzag border. Filler motifs are of two types, cream-colored rectangles placed on diagonals slanting in opposite directions and angular, dull yellow birds with black spots and one black bird with yellow spots. The rectangles are ornamented with motifs resembling birds with pink bodies and large yellow beaks. Spaces around the principal motifs are filled with dots and eight-petaled rosettes. The material is wool, woven in tapestry on two-ply Z-twist warp, 6 x 64 [warp : weft per square cm]. A surviving portion of selvedge shows that it was formed of double-paired [S-twist] wefts. Ninth or tenth century. Related examples: Brooklyn, Brooklyn Museum of Art acc. no. 38.754 (Thompson 1971:80, no. 35); Paris, Louvre 836 (Du Bourguet 1964:286, no. I F 105). Remarks: al-Faiyūm is the modern name of Piom, more anciently, Arsinoë. In the Coptic period it was an important weaving center. This textile was anciently cut and sewn together so as to form either a gamma, a common form of tunic ornament, or a textile edging. A piece in similar style is in Brooklyn (see above). About it Thompson states, ‘Examples closely related in style to this textile are preserved with woven Arabic inscriptions datable to the ninth to tenth century’ (Thompson 1971:80). [This] piece is undoubtedly of the same date. [Regarding textiles in this group, DL Carroll # 41-72 (CAS 0389-2382, -2384, -2389, -2390, -2391, -2392, -2393, -2396, -2399, -2401, -2405, -2409, -2410, -2411, -2414, -2415, -2416, -2417, -2419, -2420, -2422, -2423, -2424, -2427, -2434, -2435, -2436, -2453, -2454, -2457, -2579, -2580, -2581, -2582, -2599):] After the Arab conquest in the mid-seventh century, Coptic textile design changed its character, moving ever more distant from its classical Roman and Greek sources. In part, this was a reaction against Byzantine culture, associated in the Coptic mind with oppression. Contributing to the change may have been Islamic prohibitions against depicting human and animal figures. Such figures when they appear in Coptic textiles of the later periods become increasingly abstract to the point of being virtually unrecognizable.†[From Looms and Textiles of the Copts by Diane Lee Carroll (San Francisco, CA: Memoirs of the California Academy of Sciences, No. 11, 1988); Catalog # 62, pp. 136, 170-171, 187.] | |
| Dimensions (cm) | Width = 19.0, Length = 35.0 |
|
Catalog Number |
CAS 0389-2418 |  |
| Category | Textiles | |
| Object Name | Coptic textile fragment | |
| Culture | Coptic Egyptian | |
| Global Region | North Africa | |
| Country | Egypt | |
| State/Prov./Dist. | ||
| County | ||
| Other Geographic Data | Antinoöpolis (Shaikh Abada aka El Sheik Abara) | |
| Maker's Name | Unknown | |
| Date of Manufacture | ca. 400-500 CE | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Wool | |
| Description | “Tunic fragment with clavus section. The clavus band is bordered with a spiral-wave pattern and filled with lozenges, solid lozenges alternating with outlined ones. At one point, the band is interrupted by a rectangle containing a motif representing a dolphin. The band terminates with a pendant leaf on a long stem. The design is entirely worked in purple. The ground is yellowish, perhaps the natural color of the wool discolored by time. This piece was woven entirely in wool. The basic weave is tabby, 13 x 13 [warp : weft per square cm]. The tapestry insert was woven on grouped warps. From the reverse side of the piece it is evident that the spiral border was woven as a series of lopsided scallops. ‘Stitches’ in the center of the upper parts of the scallops produce the effect of a spiral-wave motif. (These are not actually stitches in the true sense, but extensions of the background weave.) The dots in the ground are connected by long weft floats. Short, self-colored bands were formed in the weft by putting a weft bundle partway (sic) through the shed and then returning it in the counter-shed. About 5 cm of three of these bands are extant. All yarn is S-twist. Fifth century. Dolphins, believed by ancient and some modern peoples to save humans from drowning, are symbols of salvation in several religions. In ancient times, dolphins were thought to be fish. A depiction of a fish was frequently used to symbolize Christ because in Greek, the word for fish, ’IXΘYˊΣ,* can be read as an acrostic for a sentence that translated means ‘Jesus Christ Son of God Savior.’ The dolphin-fish motif could have been worn by both pagans and Christians for much the same purpose, protection. The textiles in this group [DL Carroll # 17-26 (CAS 0389-2379, -2381, -2383, -2387, -2395, -2408A,B, -2418, -2428, -2431, -2587)] are reportedly from Shaikh Abada, or El Sheik Abara - the Arabic name for the site is transliterated variously. The ancient city was named Antinoöpolis after a beautiful Greek youth who drowned near there. It was founded in his memory by the emperor Hadrian around A.D. 13. A major weaving center in antiquity, some of its products have a classical flavor that may derive from Hadrian’s interest in early Greek art. The archaic style of Greece was revived during his reign. Later, in the Christian period, Antinoöpolis became the site of a famous monastery founded by Saint Samuel. While it is impossible to place total reliance on antique dealers’ attributions, the textiles in this group have similarities that make a common source believable. It is assumed that Rietz purchased them as a group, perhaps from a dealer in the vicinity.†[From Looms and Textiles of the Copts by Diane Lee Carroll (San Francisco, CA: Memoirs of the California Academy of Sciences, No. 11, 1988); Catalog # 19, pp. 102, 106-107.] *Non-Roman alphabet characters are not legible in the online listing. Greek letters, such as those included here, appear as Roman letters but may be inaccurately transcribed. Other scripts, such as Japanese, appear as a series of question marks. | |
| Dimensions (cm) | Width = 16.0, Length = 38.0 | |
|
Catalog Number |
CAS 0389-2419 |  |
| Category | Textiles | |
| Object Name | Coptic textile fragment | |
| Culture | Coptic Egyptian | |
| Global Region | North Africa | |
| Country | Egypt | |
| State/Prov./Dist. | ||
| County | ||
| Other Geographic Data | unknown | |
| Maker's Name | Unknown | |
| Date of Manufacture | ca. 970-1035 CE | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Wool | |
| Description | “Fragment of a curtain with a false kufic inscription. In the center of the fragment is a polychrome insert band. It is surrounded by a dark blue area ornamented by rows of meaningless kufic letters in yellow and pink. The insert has pearl borders and contains roundels alternating with quatrefoils that may represent jeweled ornaments. The roundels contain, respectively, a bird motif, a six-pointed star, a second, different bird motif, an animal head, a building (?) (sic), a floral motif, and another star. The motifs are woven in red, medium green, yellow, light blue, pinkish white, and black. Woven entirely in wool, the ground is tabby, 12 x 12 [warp : weft per square cm], the insert band, tapestry, 12 x 42 [warp : weft per square cm]. The quality of the weaving is excellent. All yarn is S-twist. Late tenth or early eleventh century. Related examples: A wool textile with similar motifs and inscription is in New York, Metropolitan Museum of Art (Dimand 1931:89, fig. 2). Remarks: Textiles with real inscriptions were a feature of Arabic weaving from about the tenth century on. Some very fine ones were made in Egypt in the eleventh century and later. This example and a number of related pieces may represent early attempts by Coptic weavers to conform to Muslim taste (sic). [Regarding textiles in this group, DL Carroll # 41-72 (CAS 0389-2382, -2384, -2389, -2390, -2391, -2392, -2393, -2396, -2399, -2401, -2405, -2409, -2410, -2411, -2414, -2415, -2416, -2417, -2419, -2420, -2422, -2423, -2424, -2427, -2434, -2435, -2436, -2453, -2454, -2457, -2579, -2580, -2581, -2582, -2599):] After the Arab conquest in the mid-seventh century, Coptic textile design changed its character, moving ever more distant from its classical Roman and Greek sources. In part, this was a reaction against Byzantine culture, associated in the Coptic mind with oppression. Contributing to the change may have been Islamic prohibitions against depicting human and animal figures. Such figures when they appear in Coptic textiles of the later periods become increasingly abstract to the point of being virtually unrecognizable.†[From Looms and Textiles of the Copts by Diane Lee Carroll (San Francisco, CA: Memoirs of the California Academy of Sciences, No. 11, 1988); Catalog # 64, pp. 136, 172-173; color plate, p. 142.] | |
| Dimensions (cm) | Width = 41.0, Length = 18.0 | |
|
Catalog Number |
CAS 0389-2420 |  |
| Category | Textiles | |
| Object Name | Coptic textile fragment | |
| Culture | Coptic Egyptian | |
| Global Region | North Africa | |
| Country | Egypt | |
| State/Prov./Dist. | ||
| County | ||
| Other Geographic Data | unknown | |
| Maker's Name | Unknown | |
| Date of Manufacture | ca. 900-1000 CE | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Wool | |
| Description | “Tunic sleeve fragment. Originally there were two bands with similar ornamentation; now, only a ragged portion of one remains. The bands were divided by a strip of battlement meander. The outer edge of the extant band is decorated by a wave meander. The decorative motifs consist of guineafowl (sic), plants, and fish (?) (sic) worked in medium brown on a beige ground. Woven entirely in wool, the part remaining is tapestry, with some double warps, 10 x 24 [warp : weft per square cm]. The warp yarn was dyed a dark yellow. It does not show in the extant fragment because of the closely packed weft yarns characteristic of the tapestry technique, but the use of colored warp implies that the body of the textile was woven in rep or tabby in weft dyed to match. All yarn is S-twist. Tenth century. Remarks: The yellow color postulated for the missing body of the tunic may indicate that this piece was woven during the Ikhshidid dynasty [935-969 CE] when Coptic Christians were required to wear yellow garments. [Regarding textiles in this group, DL Carroll # 41-72 (CAS 0389-2382, -2384, -2389, -2390, -2391, -2392, -2393, -2396, -2399, -2401, -2405, -2409, -2410, -2411, -2414, -2415, -2416, -2417, -2419, -2420, -2422, -2423, -2424, -2427, -2434, -2435, -2436, -2453, -2454, -2457, -2579, -2580, -2581, -2582, -2599):] After the Arab conquest in the mid-seventh century, Coptic textile design changed its character, moving ever more distant from its classical Roman and Greek sources. In part, this was a reaction against Byzantine culture, associated in the Coptic mind with oppression. Contributing to the change may have been Islamic prohibitions against depicting human and animal figures. Such figures when they appear in Coptic textiles of the later periods become increasingly abstract to the point of being virtually unrecognizable.†[From Looms and Textiles of the Copts by Diane Lee Carroll (San Francisco, CA: Memoirs of the California Academy of Sciences, No. 11, 1988); Catalog # 53, pp. 136, 158-159.] | |
| Dimensions (cm) | Width = 26.0, Length = 10.0 | |
|
Catalog Number |
CAS 0389-2421 |  |
| Category | Textiles | |
| Object Name | Coptic textile fragment | |
| Culture | Coptic Egyptian | |
| Global Region | North Africa | |
| Country | Egypt | |
| State/Prov./Dist. | ||
| County | ||
| Other Geographic Data | unknown | |
| Maker's Name | Unknown | |
| Date of Manufacture | ca. 400-500 CE | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Linen; Wool | |
| Description | “Segment cut from a mantle or curtain. The plain, off-white ground is ornamented with a broad purple band and three narrow ones. The broad band has wide borders of double rinceau and a center with a knot interlace. The narrow bands are plain. The ground is linen rep, 20 x 11 [warp : weft per square cm], the broad band is tapestry, wool and linen weft, linen warp, 6 x 52 [warp : weft per square cm],with weft-float patterning. In the tapestry areas the weft has been deliberately displaced in order to follow the curves of the design. The bottom of the piece ends in warp fringe: above it is a section of bare warp. All yarn is S-twist. Fifth century. Remarks: The color of the wool yarn appears to be especially well preserved; this specimen gives a good idea of the purple and white color scheme favored for Coptic textiles of the early period. The textiles in this group [DL Carroll # 1-16 (CAS 0389-2375, -2376, -2377, -2394, -2397, -2398, -2402, -2403, -2406, -2407, -2413, -2421, -2425, -2426, -2583, -2586)] are the earliest in the collection and belong to the period dominated by Rome. A number of them represent types of garments that could have indicated social rank or would have been appropriate wear for persons with high positions in the extensive bureaucracy of the period.†[From Looms and Textiles of the Copts by Diane Lee Carroll (San Francisco, CA: Memoirs of the California Academy of Sciences, No. 11, 1988); Catalog # 12, pp. 56, 82, 98; color plate, p. 69.] | |
| Dimensions (cm) | Width = 48.0, Length = 45.0 | |
|
Catalog Number |
CAS 0389-2422 |  |
| Category | Textiles | |
| Object Name | Coptic textile fragment | |
| Culture | Coptic Egyptian | |
| Global Region | North Africa | |
| Country | Egypt | |
| State/Prov./Dist. | ||
| County | ||
| Other Geographic Data | unknown | |
| Maker's Name | Unknown | |
| Date of Manufacture | ca. 900-1000 CE | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Wool | |
| Description | “Rectangle cut from a tunic. The design motifs are contained in a roundel [from the shoulder region] and a clavus. Both roundel and clavus have spiral-wave borders and contain motifs depicting human figures in violent action [Isaac and Abraham, perhaps] and spotted [running] animals, possibly leopards. The clavus band ends in leaf-form pendants. The ornamentation is rendered in dark red-purple on a plain ground, now discolored but originally the creamy white color of undyed wool. Woven entirely of wool, the ground has a count of 9 x 18 [warp : weft per square cm], the tapestry inserts, 9 x 23 [warp : weft per square cm]. Two lines of twining, double rows on paired warps, may have helped to prepare the area in which the clavus was woven and to keep it straight. The area for the roundel was prepared by weaving the ground first, leaving an open space in the warp shaped like a slice cut from one side of a circle that was of greater diameter than the planned roundel. Next the roundel was started, filing in the space on either side with yarn that matched the rest of the ground. When the shape of the roundel was established, the weaving of both ground and roundel was carried out more or less simultaneously, areas awkward for the shuttle being filled in with needle-woven tapestry. When completed, the roundel appeared enclosed in a shadowy lentoid, barely discernable (sic), and not intended to be a decorative element. While the roundel and clavus were woven neatly enough, some details indicate carelessness on the part of the weaver; for example, one warp end was left down for nearly 10 cm before the defective heddle was noticed and corrected, and there are sections of doubled wefts that appear to be accidental, too. All yarn is S-twist. Tenth century. Remarks: Two of the figures may be enacting the story of the interrupted sacrifice of Isaac by Abraham, being observed by an angel flying overhead. The theme was a popular one in the late period, but through repetition the design became increasingly debased and nearly unrecognizable, as in the example here. [Regarding textiles in this group, DL Carroll # 41-72 (CAS 0389-2382, -2384, -2389, -2390, -2391, -2392, -2393, -2396, -2399, -2401, -2405, -2409, -2410, -2411, -2414, -2415, -2416, -2417, -2419, -2420, -2422, -2423, -2424, -2427, -2434, -2435, -2436, -2453, -2454, -2457, -2579, -2580, -2581, -2582, -2599):] After the Arab conquest in the mid-seventh century, Coptic textile design changed its character, moving ever more distant from its classical Roman and Greek sources. In part, this was a reaction against Byzantine culture, associated in the Coptic mind with oppression. Contributing to the change may have been Islamic prohibitions against depicting human and animal figures. Such figures when they appear in Coptic textiles of the later periods become increasingly abstract to the point of being virtually unrecognizable.†[From Looms and Textiles of the Copts by Diane Lee Carroll (San Francisco, CA: Memoirs of the California Academy of Sciences, No. 11, 1988); Catalog # 56, pp. 136, 162-163, 165.] | |
| Dimensions (cm) | Width = 29.0, Length = 55.0 | |
|
Catalog Number |
CAS 0389-2423 |  |
| Category | Textiles | |
| Object Name | Coptic textile fragment | |
| Culture | Coptic Egyptian | |
| Global Region | North Africa | |
| Country | Egypt | |
| State/Prov./Dist. | ||
| County | ||
| Other Geographic Data | unknown | |
| Maker's Name | Unknown | |
| Date of Manufacture | ca. 800-900 CE | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Wool | |
| Description | “Rectangle cut from the shoulder area of a tunic. Most of the piece is the natural color of undyed wool. The ornamentation, now in dark-brown (sic) yarn, may have been purple originally. Detached, linear cartouches interrupted by a rectangular panel containing the figure of a snake, light on a dark ground, compose the clavus decoration. The roundel has a spiral wave frame and contains the figure of a bird (a guineafowl? (sic)), with one leaf in its beak and another filling the space behind its head. The material is wool, woven in a near-tabby, 16-15 x 13-11 [warp : weft per square cm], with tapestry inserts, 8 x 38 [warp : weft per square cm]. The tapestry roundel is set in a lentoid, a fact not immediately obvious because the points of the figures are woven in the same color and material as the main ground, but in tapestry, not tabby. The purpose of this was not decorative, but rather a means to avoid an abrupt transition between the ground and the insert that might weaken the textile. All yarn is S-twist. Ninth century. Remarks: The use of a lentoid as a technical, not a decorative, feature occurs on several other Rietz textiles and may be an indication of a particular weaver, workshop, or region. Serpents were important symbols in several first-millenium (sic) religions, often symbolizing wisdom. They had a special place in Gnosticism, in part due to the serpent in the Garden of Eden who instructed Eve. [Regarding textiles in this group, DL Carroll # 41-72 (CAS 0389-2382, -2384, -2389, -2390, -2391, -2392, -2393, -2396, -2399, -2401, -2405, -2409, -2410, -2411, -2414, -2415, -2416, -2417, -2419, -2420, -2422, -2423, -2424, -2427, -2434, -2435, -2436, -2453, -2454, -2457, -2579, -2580, -2581, -2582, -2599):] After the Arab conquest in the mid-seventh century, Coptic textile design changed its character, moving ever more distant from its classical Roman and Greek sources. In part, this was a reaction against Byzantine culture, associated in the Coptic mind with oppression. Contributing to the change may have been Islamic prohibitions against depicting human and animal figures. Such figures when they appear in Coptic textiles of the later periods become increasingly abstract to the point of being virtually unrecognizable.†[From Looms and Textiles of the Copts by Diane Lee Carroll (San Francisco, CA: Memoirs of the California Academy of Sciences, No. 11, 1988); Catalog # 51, pp. 82, 136, 156-157.] | |
| Dimensions (cm) | Width = 22.0, Length = 9.5 | |
| Catalog Number | CAS 0389-2424 |  |
| Category | Textiles | |
| Object Name | Coptic textile fragment | |
| Culture | Coptic Egyptian | |
| Global Region | North Africa | |
| Country | Egypt | |
| State/Prov./Dist. | ||
| County | ||
| Other Geographic Data | unknown | |
| Maker's Name | Unknown | |
| Date of Manufacture | ca. 800-900 CE | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Linen; Wool | |
| Description | “Fragment of a tunic clavus. The multicolor clavus band has borders of reverse scallops, each scallop containing a trefoil. The center motifs are quatrefoils and roundels in alternation. Each quatrefoil has a dot rosette, composed of nine dots, in the center. The roundels contain, respectively, a bird with a large spoon-shaped bill, the bust of a woman, robed and wearing a wreath, and a butterfly. The design motifs are worked in brown, dull medium-red, blue-green, light green, and pink on a beige ground. The clavus is woven in tapestry, wool and linen weft on paired linen warps, 8 x 60 [warp : weft per square cm]. All yarn is S-twist. Ninth century. Remarks: The strong degree of stylization of this piece makes its subject matter difficult to recognize at first sight. The elements of the quatrefoil are particularly obscure, but from similar, more realistic examples it can be determined that the motifs are, in fact, rolled acanthus leaves. [Regarding textiles in this group, DL Carroll # 41-72 (CAS 0389-2382, -2384, -2389, -2390, -2391, -2392, -2393, -2396, -2399, -2401, -2405, -2409, -2410, -2411, -2414, -2415, -2416, -2417, -2419, -2420, -2422, -2423, -2424, -2427, -2434, -2435, -2436, -2453, -2454, -2457, -2579, -2580, -2581, -2582, -2599):] After the Arab conquest in the mid-seventh century, Coptic textile design changed its character, moving ever more distant from its classical Roman and Greek sources. In part, this was a reaction against Byzantine culture, associated in the Coptic mind with oppression. Contributing to the change may have been Islamic prohibitions against depicting human and animal figures. Such figures when they appear in Coptic textiles of the later periods become increasingly abstract to the point of being virtually unrecognizable.†[From Looms and Textiles of the Copts by Diane Lee Carroll (San Francisco, CA: Memoirs of the California Academy of Sciences, No. 11, 1988); Catalog # 61, pp. 136, 168-169.] | |
| Dimensions (cm) | Width = 7.5, Length = 26.0 |
|
Catalog Number |
CAS 0389-2425 |  |
| Category | Textiles | |
| Object Name | Coptic textile fragment | |
| Culture | Coptic Egyptian | |
| Global Region | North Africa | |
| Country | Egypt | |
| State/Prov./Dist. | ||
| County | ||
| Other Geographic Data | unknown | |
| Maker's Name | Unknown | |
| Date of Manufacture | ca. 400-500 CE | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Linen; Wool | |
| Description | “Fragment of a clavus. The clavus has a tan ground, originally white, and is decorated with an inhabited rinceau worked in light brown. The inhabitants are running animals - a hare, a lion, and an antelope. The basic weave is linen rep, 20 x 10 [warp : weft per square cm], with a wool and linen tapestry insert woven on grouped warps, 7 x 32 [warp : weft per square cm]. The tapestry wefts are curved to help define the design. All yarn is S-twist. Fifth century. Related examples: An entire tunic with similar motifs is in London, Victoria and Albert Museum (Kendrick 1920:41, pl. 2). Remarks: Scroll motifs in the form of leafy vines incorporating various zoomorphic motifs have late antique origins but continued to be popular in Early Christian and Medieval art. Running animals sometimes symbolize a hunt, the assumption being that something or someone is chasing them. The hunt, in turn, has its symbolism: the chase refers to the attempt to drive out various evils from an individual’s life and psyche. Note that the lion in this context has a very different meaning than the isolated lion in [specimen CAS 0389-2586]. The textiles in this group [DL Carroll # 1-16 (CAS 0389-2375, -2376, -2377, -2394, -2397, -2398, -2402, -2403, -2406, -2407, -2413, -2421, -2425, -2426, -2583, -2586)] are the earliest in the collection and belong to the period dominated by Rome. A number of them represent types of garments that could have indicated social rank or would have been appropriate wear for persons with high positions in the extensive bureaucracy of the period.†[From Looms and Textiles of the Copts by Diane Lee Carroll (San Francisco, CA: Memoirs of the California Academy of Sciences, No. 11, 1988); Catalog # 15, pp. 82, 100-101.] | |
| Dimensions (cm) | Width = 30.0, Length = 10.0 | |
| Catalog Number | CAS 0389-2426 |  |
| Category | Textiles | |
| Object Name | Coptic textile fragment | |
| Culture | Coptic Egyptian | |
| Global Region | North Africa | |
| Country | Egypt | |
| State/Prov./Dist. | ||
| County | ||
| Other Geographic Data | unknown | |
| Maker's Name | Unknown | |
| Date of Manufacture | ca. 400-500 CE | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Wool | |
| Description | “Tunic sleeve band fragment. The decorated area is occupied by dark, brownish purple figures and motifs on a dull yellow ground. The band has crenellated ends and reverse-arcade side borders. At each end is the figure of a man, nude except for a diagonal belt and long scarf, with one hand raised as if in a salute. Between the men are two lions, facing in opposite directions. The fragment is woven in a normal tapestry technique, 9 x 30-40 [warp : weft per square cm], entirely in wool. All yarn is S-twist. Fifth century. Remarks: This is a sophisticated version of a very common Coptic textile motif that combines nude warriors (identified as such by sword-belts) and lions. The nudity of the warriors signifies that their battle is one of the spirit, a fight with the bestial side of their natures, symbolized here by the lions. The unnatural orientation of the lions in relation to the warriors is typical of the large class of Coptic textiles to which this example belongs. This design feature is also found on some drawloom textiles of the fifth century (Trilling 1982, no. 108). On these textiles, the position of the animals could have been dictated by certain technical limitations of the drawloom. The tapestry pieces with lions or other quadrupeds placed in a vertical position may derive from designs intended for drawloom weaving or from actual textiles woven on this loom. The textiles in this group [DL Carroll # 1-16 (CAS 0389-2375, -2376, -2377, -2394, -2397, -2398, -2402, -2403, -2406, -2407, -2413, -2421, -2425, -2426, -2583, -2586)] are the earliest in the collection and belong to the period dominated by Rome. A number of them represent types of garments that could have indicated social rank or would have been appropriate wear for persons with high positions in the extensive bureaucracy of the period.†[From Looms and Textiles of the Copts by Diane Lee Carroll (San Francisco, CA: Memoirs of the California Academy of Sciences, No. 11, 1988); Catalog # 16, pp. 82, 102-103.] | |
| Dimensions (cm) | Width = 28.0, Length = 8.5 |
| Catalog Number | CAS 0389-2427 |  |
| Category | Textiles | |
| Object Name | Coptic textile fragment | |
| Culture | Coptic Egyptian | |
| Global Region | North Africa | |
| Country | Egypt | |
| State/Prov./Dist. | ||
| County | ||
| Other Geographic Data | unknown | |
| Maker's Name | Unknown | |
| Date of Manufacture | ca. 600-700 CE, probably | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Wool | |
| Description | “Mantle (?) (sic) fragment. What remains of the garment is a band with dark yellow ground and brownish purple ornamentation. It has a compound border composed of a plain solid-color band edged with an outer band of two-pronged forks alternating with triple-dot clusters. The interior motifs consist of repeated units: an amphora from which grows a double vine with long, elaborate tendrils, which form enclosures for a mythical monster and a centaur. Each amphora sits on a rounded base decorated with a pair of fish and a pair of birds. The piece is tapestry, normal in weave, but exceptionally fine. All yarn is S-twist. Seventh century or later. Remarks: The design recalls Roman architectural plaster decoration. Like the previous example [CAS 0389-2416], the figures are subordinate to the geometric and floral motifs. The figures appear to have no special significance but are completely decorative in intent. [Regarding textiles in this group, DL Carroll # 41-72 (CAS 0389-2382, -2384, -2389, -2390, -2391, -2392, -2393, -2396, -2399, -2401, -2405, -2409, -2410, -2411, -2414, -2415, -2416, -2417, -2419, -2420, -2422, -2423, -2424, -2427, -2434, -2435, -2436, -2453, -2454, -2457, -2579, -2580, -2581, -2582, -2599):] After the Arab conquest in the mid-seventh century, Coptic textile design changed its character, moving ever more distant from its classical Roman and Greek sources. In part, this was a reaction against Byzantine culture, associated in the Coptic mind with oppression. Contributing to the change may have been Islamic prohibitions against depicting human and animal figures. Such figures when they appear in Coptic textiles of the later periods become increasingly abstract to the point of being virtually unrecognizable.†[From Looms and Textiles of the Copts by Diane Lee Carroll (San Francisco, CA: Memoirs of the California Academy of Sciences, No. 11, 1988); Catalog # 49, pp. 136, 153-154.] | |
| Dimensions (cm) | Width = 12.5, Length = 27.5 |
|
Catalog Number |
CAS 0389-2428 |  |
| Category | Textiles | |
| Object Name | Coptic textile fragment | |
| Culture | Coptic Egyptian | |
| Global Region | North Africa | |
| Country | Egypt | |
| State/Prov./Dist. | ||
| County | ||
| Other Geographic Data | Antinoöpolis (Shaikh Abada aka El Sheik Abara) | |
| Maker's Name | Unknown | |
| Date of Manufacture | ca. 400-500 CE | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Linen; Wool | |
| Description | “Tunic ornament. The square design is worked in brown on a beige background. The center motif is a small dove framed by a square composed of eight circles, each with a filler motif of an equal-armed cross. Around the edge is a spiral-wave border. The foundation is linen tabby, 12 x 12 [warp : weft per square cm]. The wool and linen tapestry ornament was woven on paired warps, 9 x 60 [warp : weft per square cm]. The square ornament was either made separately or cut from another, possibly worn-out, garment. The edges are turned under and the piece neatly whip-stitched to the linen tabby foundation. All yarn is S-twist. Fifth century. Remarks: Doves, in Early Christian art, symbolize the Holy Ghost and also, because of the dove in the Noah story, deliverance from danger. This piece is a straightforward example of a Coptic textile with a Christian motif. The textiles in this group [DL Carroll # 17-26 (CAS 0389-2379, -2381, -2383, -2387, -2395, -2408A,B, -2418, -2428, -2431, -2587)] are reportedly from Shaikh Abada, or El Sheik Abara - the Arabic name for the site is transliterated variously. The ancient city was named Antinoöpolis after a beautiful Greek youth who drowned near there. It was founded in his memory by the emperor Hadrian around A.D. 13. A major weaving center in antiquity, some of its products have a classical flavor that may derive from Hadrian’s interest in early Greek art. The archaic style of Greece was revived during his reign. Later, in the Christian period, Antinoöpolis became the site of a famous monastery founded by Saint Samuel. While it is impossible to place total reliance on antique dealers’ attributions, the textiles in this group have similarities that make a common source believable. It is assumed that Rietz purchased them as a group, perhaps from a dealer in the vicinity.†[From Looms and Textiles of the Copts by Diane Lee Carroll (San Francisco, CA: Memoirs of the California Academy of Sciences, No. 11, 1988); Catalog # 18, pp. 102, 104.] | |
| Dimensions (cm) | Width = 9.5, Length = 19.5 | |
| Catalog Number | CAS 0389-2429 |  |
| Category | Textiles | |
| Object Name | Coptic textile fragment | |
| Culture | Coptic Egyptian | |
| Global Region | North Africa | |
| Country | Egypt | |
| State/Prov./Dist. | ||
| County | ||
| Other Geographic Data | unknown | |
| Maker's Name | Unknown | |
| Date of Manufacture | ca. 500-600 CE, probably | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Linen; Wool | |
| Description | “Composite textile fragment. The foundation textile is red brown (sic) and ornamented with a large roundel flanked by two smaller ones, medium red in color, one containing a Greek cross in a circle, the other an eight-petaled rosette, both worked in dark yellow. The large roundel has a yellow ground and originally may have contained the motif of a peacock with outspread tail. The circle was cut out of the center of this roundel, leaving a yellow band and the ‘eyes’ of the peacock’s tailfeathers (sic). The band encloses two figures wearing halos worked in white, black, light green, and yellow on a pink ground. The weave is linen and wool tapestry on linen warp, some of it dyed, 9 x 32 [warp : weft per square cm]. This textile is actually made up of parts from two or three textiles trimed (sic) to shape and pasted together. The warp of the figured portion runs at right angles to the warp of the foundation textile and is of a different color. All yarn is S-twist. Sixth century (?) (sic). Remarks: At first glance this pastiche appears to show a depiction of Christ and a disciple. The piece is a model example of the pitfalls that await collections who fail to inspect textile specimens through a magnifying glass, examining both sides and paying special attention to repairs that may disguise the addition of unrelated material. [Regarding textiles in this group, DL Carroll # 27-40 (CAS 0389-2378, -2380, -2385, -2386, -2388, -2400, -2404, -2412, -2429, -2430, -2433, -2451, -2452, -2539, -2584, -2585):] By the sixth century two basic types of textile ornaments were used to decorate garments. One, which was in use before the fourth century, was essentially monochrome. Designs in the monochrome class were both non-representational and figurative - the latter included a wide range of subject matter: plant, animal, human, and mythological. The second type is polychrome. Polychrome textiles had been made earlier, but not for use as garments. Extant examples are thought to have been decorative hangings, woven pictures as it were, that are commonly called tapestries. The use of what are essentially miniature tapestries for embellishing clothing is believed to have begun in the sixth century and to have lasted well into the Muslim period.†[From Looms and Textiles of the Copts by Diane Lee Carroll (San Francisco, CA: Memoirs of the California Academy of Sciences, No. 11, 1988); Catalog # 38, pp. 116, 132-133.] | |
| Dimensions (cm) | Width = 12.5, Length = 21.0 |
| Catalog Number | CAS 0389-2430 |  |
| Category | Textiles | |
| Object Name | Coptic textile fragment | |
| Culture | Coptic Egyptian | |
| Global Region | North Africa | |
| Country | Egypt | |
| State/Prov./Dist. | ||
| County | ||
| Other Geographic Data | unknown | |
| Maker's Name | Unknown | |
| Date of Manufacture | ca. 500-600 CE | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Linen; Wool | |
| Description | “Square tunic ornament. The reddish brown ornamentation has a tan ground. The design is organized as a circle contained in a square, the corners filled with simple plant motifs. In the center is a wide-eyed running warrior carrying a shield. The foundation is linen tabby, 15 x 15 [warp : weft per square cm]; the decoration is wool and linen tapestry on grouped linen warps, 10 x 52 [warp : weft per square cm]. The square ornament was cut from another garment, the edges turned under and whip-stitched to the tabby foundation. All yarn is S-twist. Sixth century. Remarks: This piece may have been cut from a larger textile ornament with a number of figures contained in a rinceau. The drawing is too sketchy to be certain, but the warrior appears to be nude, hence, a warrior of the spirit rather than of the flesh. His antagonist may have occupied an adjacent compartment in the rinceau. [Regarding textiles in this group, DL Carroll # 27-40 (CAS 0389-2378, -2380, -2385, -2386, -2388, -2400, -2404, -2412, -2429, -2430, -2433, -2451, -2452, -2539, -2584, -2585):] By the sixth century two basic types of textile ornaments were used to decorate garments. One, which was in use before the fourth century, was essentially monochrome. Designs in the monochrome class were both non-representational and figurative - the latter included a wide range of subject matter: plant, animal, human, and mythological. The second type is polychrome. Polychrome textiles had been made earlier, but not for use as garments. Extant examples are thought to have been decorative hangings, woven pictures as it were, that are commonly called tapestries. The use of what are essentially miniature tapestries for embellishing clothing is believed to have begun in the sixth century and to have lasted well into the Muslim period.†[From Looms and Textiles of the Copts by Diane Lee Carroll (San Francisco, CA: Memoirs of the California Academy of Sciences, No. 11, 1988); Catalog # 27, pp. 116-117.] | |
| Dimensions (cm) | Width = 9.0, Length = 9.0 |
| Catalog Number | CAS 0389-2431 |  |
| Category | Textiles | |
| Object Name | Coptic textile fragment | |
| Culture | Coptic Egyptian | |
| Global Region | North Africa | |
| Country | Egypt | |
| State/Prov./Dist. | ||
| County | ||
| Other Geographic Data | Antinoöpolis (Shaikh Abada aka El Sheik Abara) | |
| Maker's Name | Unknown | |
| Date of Manufacture | ca. 400-500 CE | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Linen; Wool | |
| Description | “Tunic fragment with insert roundel. The roundel has a border of triangles and contains the motif of a lion cub along with leafy-spray filler motif. The design elements were worked in purple on an ecru ground. The ground is linen in a near-tabby weave, 22 x 19 [warp : weft per square cm]. The insert is wool and linen tapestry with weft float details. All yarn is S-twist. Fifth century. Remarks: As mentioned in the remarks for Number 14 [CAS 0389-2586], single lion motifs may have a protective purpose. The textiles in this group [DL Carroll # 17-26 (CAS 0389-2379, -2381, -2383, -2387, -2395, -2408A,B, -2418, -2428, -2431, -2587)] are reportedly from Shaikh Abada, or El Sheik Abara - the Arabic name for the site is transliterated variously. The ancient city was named Antinoöpolis after a beautiful Greek youth who drowned near there. It was founded in his memory by the emperor Hadrian around A.D. 13. A major weaving center in antiquity, some of its products have a classical flavor that may derive from Hadrian’s interest in early Greek art. The archaic style of Greece was revived during his reign. Later, in the Christian period, Antinoöpolis became the site of a famous monastery founded by Saint Samuel. While it is impossible to place total reliance on antique dealers’ attributions, the textiles in this group have similarities that make a common source believable. It is assumed that Rietz purchased them as a group, perhaps from a dealer in the vicinity.†[From Looms and Textiles of the Copts by Diane Lee Carroll (San Francisco, CA: Memoirs of the California Academy of Sciences, No. 11, 1988); Catalog # 22, pp. 102, 111.] | |
| Dimensions (cm) | Width = 14.0, Length = 14.0 |
|
Catalog Number |
CAS 0389-2433A,B |  |
| Category | Textiles | |
| Object Name | Coptic textile fragments (2) | |
| Culture | Coptic Egyptian | |
| Global Region | North Africa | |
| Country | Egypt | |
| State/Prov./Dist. | ||
| County | ||
| Other Geographic Data | unknown | |
| Maker's Name | Unknown | |
| Date of Manufacture | ca. 500-635 CE | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Linen; Wool | |
| Description | “Two square garment ornaments. The ground is ecru and the design elements are purple with touches of crimson. In the center of each square is a smaller square of solid purple. This is bordered by an inhabited rinceau, the tendrils forming roundels. Each of these contains either a lion wearing a red collar or a hound with red ribbons streaming from its neck. Interstices are filled with small floral motifs. The ground is linen near-tabby, 25 x 22 [warp : weft per square cm], and the ornamentation is wool and linen tapestry woven on grouped linen warps, 10 x 80 [warp : weft per square cm]. From the reverse of the better-preserved square it can be seen that the tapestry section was woven on a limited number of the available warps, the unused ones left to float at the back of the tapestry portion. The tapestry was woven with weft that was separate from that of the tabby ground. The unwoven tabby weft was allowed to float behind the unused warp, making two layers of floats and one layer of tapestry, three layers in all. All yarn is S-twist. Sixth or early seventh century. Remarks: The streamers worn by the hounds reflect Persian influence. They are thought to indicate that the wearers possessed supernatural or other special attributes. Collars on animals - in this example, lions - have a different meaning; they represent control of the wilder aspects of animal nature. [Regarding textiles in this group, DL Carroll # 27-40 (CAS 0389-2378, -2380, -2385, -2386, -2388, -2400, -2404, -2412, -2429, -2430, -2433, -2451, -2452, -2539, -2584, -2585):] By the sixth century two basic types of textile ornaments were used to decorate garments. One, which was in use before the fourth century, was essentially monochrome. Designs in the monochrome class were both non-representational and figurative - the latter included a wide range of subject matter: plant, animal, human, and mythological. The second type is polychrome. Polychrome textiles had been made earlier, but not for use as garments. Extant examples are thought to have been decorative hangings, woven pictures as it were, that are commonly called tapestries. The use of what are essentially miniature tapestries for embellishing clothing is believed to have begun in the sixth century and to have lasted well into the Muslim period.†[From Looms and Textiles of the Copts by Diane Lee Carroll (San Francisco, CA: Memoirs of the California Academy of Sciences, No. 11, 1988); Catalog # 29, pp. 116, 118-119.] | |
| Dimensions (cm) | Width = 18.0, Length = 12.0 | |
|
Catalog Number |
CAS 0389-2434 |  |
| Category | Textiles | |
| Object Name | Coptic textile fragment | |
| Culture | Coptic Egyptian | |
| Global Region | North Africa | |
| Country | Egypt | |
| State/Prov./Dist. | ||
| County | ||
| Other Geographic Data | unknown | |
| Maker's Name | Unknown | |
| Date of Manufacture | ca. 900-1000 CE | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Wool | |
| Description | “Square tunic ornament. What little remains of the tunic has a dark yellow ground. The square ornament is dark blue with cream-colored motifs. It has a narrow, spiral-wave border and a center design of a small square containing a tiny Greek cross framed by a larger one in outline. Twelve squares fill the remainder of the space, each with a filler motif, hooked crosses alternating with a motif of a four-petaled rosette with symmetrical tendrils. The material is wool and the weave tapestry, 9 x 70 [warp : weft per square cm]. Single rows of twining accentuate some of the straight lines of the design, and the whole ornament is edged by a double row of twining. All yarn is S-twist. Tenth century. Remarks: The dark yellow ground may signify that this was made during one of the periods after the Arab Conquest when Christians were expected to wear distinctive garments. The inconspicuous cross motif and the hooked cross, a disguised form of cross, indicate that the original owner was most probably a Christian. [Regarding textiles in this group, DL Carroll # 41-72 (CAS 0389-2382, -2384, -2389, -2390, -2391, -2392, -2393, -2396, -2399, -2401, -2405, -2409, -2410, -2411, -2414, -2415, -2416, -2417, -2419, -2420, -2422, -2423, -2424, -2427, -2434, -2435, -2436, -2453, -2454, -2457, -2579, -2580, -2581, -2582, -2599):] After the Arab conquest in the mid-seventh century, Coptic textile design changed its character, moving ever more distant from its classical Roman and Greek sources. In part, this was a reaction against Byzantine culture, associated in the Coptic mind with oppression. Contributing to the change may have been Islamic prohibitions against depicting human and animal figures. Such figures when they appear in Coptic textiles of the later periods become increasingly abstract to the point of being virtually unrecognizable.†[From Looms and Textiles of the Copts by Diane Lee Carroll (San Francisco, CA: Memoirs of the California Academy of Sciences, No. 11, 1988); Catalog # 66, pp. 136, 176-177; color plate, p. 144.] | |
| Dimensions (cm) | Width = 14.0, Length = 14.0 | |
| Catalog Number | CAS 0389-2435 |  |
| Category | Textiles | |
| Object Name | Coptic textile fragment | |
| Culture | Coptic Egyptian | |
| Global Region | North Africa | |
| Country | Egypt | |
| State/Prov./Dist. | ||
| County | ||
| Other Geographic Data | Bawit (Baweet) | |
| Maker's Name | Unknown | |
| Date of Manufacture | ca. 800-1000 CE | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Wool | |
| Description | “Tunic fragment with roundel ornament. What remains of the tunic body is beige, while the ground of the ornament is dark yellow. The roundel carries a narrow border of rhomboids and a wider border with filler-motifs of paired dots. Within the inner circle is a formal arrangement of four birds, two chrysalises or locusts (cicadas), and two symmetrical floral motifs. In the center is a disk containing a stylized insect motif. The colors are blue-green, yellow, brown, and dull red. The roundel is a separate piece that was whip-stitched to the body of the tunic. The warp of the roundel lies at right angles to the warp direction of the tunic. Both parts are wool tapestry. The thread count of the body is 10 x 22 [warp : weft per square cm], of the ornament, 6 x 48 [warp : weft per square cm]. All yarn is S-twist. Ninth or tenth century. Remarks: Insects were sometimes depicted on late antique gems. A personal or a family symbol may be represented on [this] textile. The unusual life cycle of some cicadas, called seventeen-year locusts, have made them symbols of longevity or immortality, an idea expressed in the myth of Tithonos. He wished for eternal life, but forgot to wish for lasting youth. Eventually he turned into a cicada and chirped on into eternity. In Plato’s beautiful little dialogue about love, the Phaedrus, Socrates tells about cicadas, how they live without nourishment and when their time to die arrives they are able to overcome death, becoming instead messengers and informers for the Muses. Jeweled effigies of cicadas were made in the early Medieval period, perhaps in reference to one of these concepts. [Regarding textiles in this group, DL Carroll # 41-72 (CAS 0389-2382, -2384, -2389, -2390, -2391, -2392, -2393, -2396, -2399, -2401, -2405, -2409, -2410, -2411, -2414, -2415, -2416, -2417, -2419, -2420, -2422, -2423, -2424, -2427, -2434, -2435, -2436, -2453, -2454, -2457, -2579, -2580, -2581, -2582, -2599):] After the Arab conquest in the mid-seventh century, Coptic textile design changed its character, moving ever more distant from its classical Roman and Greek sources. In part, this was a reaction against Byzantine culture, associated in the Coptic mind with oppression. Contributing to the change may have been Islamic prohibitions against depicting human and animal figures. Such figures when they appear in Coptic textiles of the later periods become increasingly abstract to the point of being virtually unrecognizable.†[From Looms and Textiles of the Copts by Diane Lee Carroll (San Francisco, CA: Memoirs of the California Academy of Sciences, No. 11, 1988); Catalog # 59, pp. 136, 166-167.] | |
| Dimensions (cm) | Width = 12.5, Length = 18.0 |
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