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Catalog Number |
CAS 0389-2403 | |
| 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, probably | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Linen; Wool | |
| Description | “Tunic sleeve ornament. The ornament consists of two dark purple bands, each bearing an identical angular knot interlace. Between the bands is a row of two varieties of symmetrical cartouches, dark purple in color. The ground is tan linen rep. The linen rep ground has a count of 13 x 8 [warp : weft per square cm], and is ornamented with a ridged band made from three shots of bundled wefts. The tapestry insert was woven in wool and linen weft on linen warp, 11 x 54 [warp : weft per square cm], in a normal tapestry weave with weft-float ornamentation. All yarn is S-twist. Fifth century (?) (sic). Remarks: This sleeve ornament was reused in antiquity. At present, it is lightly glued to the plain rep textile. This latter is ancient, and may be part of the tunic to which the sleeve ornament last belonged. 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 # 10, pp. 82, 96-97.] | |
| Dimensions (cm) | Width = 22.0, Length = 33.0 | |
| Catalog Number | CAS 0389-2404 |  |
| Category | Textiles | |
| Object Name | Coptic textile fragment | |
| Culture | Coptic Egyptian | |
| Global Region | North Africa | |
| Country | Egypt | |
| State/Prov./Dist. | ||
| County | ||
| Other Geographic Data | Assyūt (Assuit) | |
| Maker's Name | Unknown | |
| Date of Manufacture | ca. 600-700 CE | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Linen; Wool | |
| Description | “Two fragments of a tunic from Assyūt [CAS 0389-2400, 0389-2404]. One fragment is from the sleeve of the tunic and is ornamented with a polychrome design organized in bands on a beige ground. The lower two bands are decorated with a pink-and-green lozenge pattern with Greek crosses as filler motifs. These have yellow and green borders of spiral-wave design (sic). The upper band [CAS 0389-2400] contains two rows of dark blue and light green flying genii wearing derbylike (sic) hats and carrying large bowls in their outstretched arms. The other fragment [CAS 0389-2404] is from the yoke. This fragment contains three figured bands separated by rows of geometric motifs resembling spearheads and hooks in shades of yellow, green, and pink. The upper two figured bands contain pink and dark blue running hounds, each in a cartouche. The lower bands contain green creatures with long snouts, crocodiles (?) (sic). The technique of both pieces is tapestry, wool and linen [S-twist] weft on two-ply Z-twist linen warps. The thread count of the sleeve piece is 5 x 54 [warp : weft per square cm], of the yoke piece, 6 x 50 [warp : weft per square cm]. Portions of both side selvedges are preserved on the sleeve fragment. Seventh century. Remarks: Assyūt, the presumed provenance of this piece, may not have been its place of manufacture. The figure style of the textile places it in a class of textiles produced in a weaving center believed to have been located farther south, in Upper Egypt. [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 # 35B, pp. 116, 128-129; color plate, p. 71.] | |
| Dimensions (cm) | Width = 20.0, Length = 22.0 |
|
Catalog Number |
CAS 0389-2405 |  |
| 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 | “Upper portion of a tunic front. The polychrome design on a dark pink ground is organized as a rectangular panel framed on three sides by plain and figured dark blue bands. Some of the figures appear to represent butterflies: the other are nude dancer. At the upper end of the panel is a rectangle containing stylized figures that could represent satyrs and maenads. Standing in the center is an imposing, robed figure. The technique is tapestry, 7 x 30 [warp : weft per square cm], woven entirely in wool and so carefully worked that the front and the back are nearly identical. All yarn is S-twist. Tenth century. Remarks: The figure in the center may be Dionysus or Orpheus. Some late antique religious cults worshipped Dionysus or Orpheus in connection with Neopythagoreanism, interpreting them as representations of sacrifice and rebirth. The figures in the border, butterflies and putti, are emblems of Eros and Psyche, mythical figures whose story was given meaning on a metaphysical level by certain pagan-influenced thinkers of the early Christian era. The form of the dot-cluster filler motifs is typical of textiles known to have been woven during the Fatimid period which helps date this piece. The dark pink ground is also a late feature. [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 # 55, pp. 136, 160-163.] | |
| Dimensions (cm) | Width = 38.0, Length = 27.0 | |
|
Catalog Number |
CAS 0389-2406 |  |
| 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. 370-435 CE | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Linen; Wool | |
| Description | “Pallium ornament. The dark purple rectangle has a wide border of two plain bands edging a third band decorated with widely spaced circles. The circles contain four-petaled rosette filler-motifs. In the center of the rectangle is an elaborate curvilinear geometric interlace. The rectangle was worked in wool and linen on grouped linen warps, 6 x 40 [warp : weft per square cm]. The weave is tapestry. The lines of the design were carried out in weft floats and embroidery done during the course of the weaving. Three techniques: tapestry, ressort, and embroidery, are skillfully combined in the decoration of [this specimen]. All yarn is S-twist. Late fourth or early fifth century. Remarks: In antiquity, this piece was cut from the garment it decorated originally and applied to another. White pallia ornamented with large purple rectangles were worn by court officials in late antique times, as evidenced by works of art; for example, the apse mosaic of the emperor Justinian and his court in San Vitale, Ravenna, Italy (Grabar 1966:158-164; Paolucci 1978:46, 47, 50, 51). [This] example is earlier, judging from the style of the interlace design. The interlace design, like that of Number 4 [CAS 0389-2377], may have been intended to avert, or divert, the evil eye, protecting the wearer of the ornament from its baleful effects. A highly placed official would need such protection, given the rough nature of the politics of the 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 # 7, pp. 82, 90-91; color plate, p. 68.] | |
| Dimensions (cm) | Width = 34.0, Length = 39.0 | |
| Catalog Number | CAS 0389-2407 |  |
| 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. 300-400 CE | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Linen; Wool | |
| Description | “Oval pallium ornament. The design is based upon a slightly distorted dark purple circle with a tan, originally white, spiral-wave border. Its center is filled with a grid design. Alternate intersections of the grid lines are decorated with four-petaled rosettes. Figure-eight motifs occupy the grid rectangles. The ground has been completely removed; it was most probably linen rep. The ornament itself is tapestry, wool and linen weft on linen warp, 8 x 28 [warp : weft per square cm]. There is an extraordinary displacement of warp threads. The fine linear details of the design were worked in weft floats, the solid areas were carried out in tapestry. Abrupt changes in the warp direction are clearly visible in the border region. All yarn is S-twist. Fourth century. Related example: Moscow, Pushkin Museum inv. #362 (Shurinova 1967:64). Remarks: The warp displacement suggests that this piece was woven on a warp-weighted loom. The warp-weighted loom was retained by the Romans for weaving the garments worn by brides and those worn by young men when they came of age. Also, special types of weaving techniques are easier to carry out on this most ancient loom, a fact which might account for its continued preservation. The handsome appearance of this roundel, with its fine linear pattern, would certainly make it an appropriate decoration for a garment worn during a serious, formal ceremony. 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 # 6, pp. 82, 88-89.] | |
| Dimensions (cm) | Width = 34.0, Length = 35.5 |
| Catalog Number | CAS 0389-2409 |  |
| 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 | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Wool | |
| Description | “Rectangle cut from the upper part of a tunic. The clavi bands have semicircular ends and borders of jewel inlay with epsilon-shaped cells. Each band is ornamented with a haloed figure wearing an elaborate robe and carrying a lyre. The space remaining is occupied by four symmetrical plant motifs. The tapestry bands are worked in dark yellow, dull red, dark blue, light green, and tan. The plain foundation textile is a brownish yellow. The weave of both the ground and the clavi is tapestry, wool warp and weft, 8-10 x 34 [warp : weft per square cm]. The clavi are whip-stitched to the plain tapestry textile. All yarn is S-twist. Seventh century. Related examples: Figures depicted in the same style appear on a piece in Washington, D.C., Textile Museum (Riefstahl 1941:257). See also Kybelova (1967:130, pl. 86). Remarks: From this point onward the human figure becomes increasingly stylized, moving farther and farther away from Greek anatomical canons. [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 # 42, pp. 136-138; color plate, p. 139.] | |
| Dimensions (cm) | Width = 34.0, Length = 43.0 |
|
Catalog Number |
CAS 0389-2410 |  |
| 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 | Linen; Wool | |
| Description | “Strip cut from a patterned tunic. The original textile of which this is a portion appears to have had an overall design organized around rows of battlement meander. The meander is dark blue and is decorated with six-petaled rosettes. The spaces delineated by the bends in the meander are filled with tau motifs, with bifurcated bases, and are flanked by large, six-petaled rosettes. The ground is tan, and the motifs are worked in black, tan, red, yellow, light blue, and pink. The weave is tapestry, wool and linen [S-twist] weft on linen two-ply Z-twist warp, 9 x 56 [warp : weft per square cm]. Tenth century. Remarks: Much of what characterizes Coptic art is absent from this colorful textile with its completely nonrepresentational decoration. [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 # 63, pp. 136, 170-171.] | |
| Dimensions (cm) | Width = 5.0, Length = 39.0 | |
|
Catalog Number |
CAS 0389-2411 |  |
| Category | Textiles | |
| Object Name | Coptic textile fragment | |
| Culture | Coptic Egyptian | |
| Global Region | North Africa | |
| Country | Egypt | |
| State/Prov./Dist. | ||
| County | ||
| Other Geographic Data | al-BahnasÄ (al-Bahnasa aka Oxyrhynchus) | |
| Maker's Name | Unknown | |
| Date of Manufacture | ca. 1000-1100 CE, probably | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Wool | |
| Description | “Tunic yoke fragment from al-BahnasÄ. The dull purple band ornament is bordered with a spiral-wave design. The interior is divided into three small bands, two plain ones framing a third containing symmetrical linear motifs representing stylized grapevines. Shortly past the point where the band turns the corner is a different motif, perhaps an amphora. These designs are worked in cream color. A small fragment of the body of the tunic remains, indicating that it was dark orange. The tunic was woven in the tapestry technique with wool warp and weft, 6 x 40 [warp : weft per square cm]. All yarn is S-twist. Eleventh century (?) (sic). Remarks: When complete, this garment must have been both colorful and elegant with its color scheme of dull purple and dark orange. The amphora and vine symbol was a common Christian motif. Al-BahnasÄ, better known as Oxyrhynchus, was one of the great weaving centers of Egypt in the Coptic period. [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 # 68, pp. 136, 178, 193.] | |
| Dimensions (cm) | Width = 9.0, Length = 41.0 | |
| Catalog Number | CAS 0389-2412 |  |
| 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, possibly | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Wool | |
| Description | “Fragments of tunic clavi. The design is worked in brownish purple on a beige ground. The band has spiral-wave edge borders enclosing motifs of warriors and lions. The warriors hold their right hands in the air. The lions are positioned at right angles to the ground lines of the warriors. The piece was woven in tapestry with wool warp and weft, 7 x 40 [warp : weft per square cm]. The details are worked in weft floats. There are some grouped wefts in the ground. All yarn is S-twist. [A] late example of a common sixth-century design. It may be ninth century in date. Remarks: The two fragments belong to the same garment but are not continuous. [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 # 32, pp. 116, 124-125.] | |
| Dimensions (cm) | Width = 7.5, Length = 27.5 |
|
Catalog Number |
CAS 0389-2413 |  |
| 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. 300-400 CE | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Linen; Wool | |
| Description | “Pair of tunic clavi sewn together to form a wide band. The clavi are dull purple bands with scalloped edges. Their decoration consists of a small, undulating ladder band down the centers with filler-motifs of circles in two sizes. The larger circles contain various ornaments: circles with dot-clusters, rings of dots, four-petaled rosettes, hooked crosses, and a motif suggesting a laurel wreath. The ground is linen rep, 28 x 20 [warp : weft per square cm]; the clavi are woven in tapestry warps, 9 x 68 [warp : weft per square cm]. The design of the bands is carried out principally in an erratic weft-float technique. All yarn is S-twist. Fourth century. Related example: Paris, Louvre X4392 (Du Bourguet 1964). Remarks: The piece is composed of two bands sewn together, possibly in antiquity. One band retains a strip of rep along one edge and a portion of the selvedge. The tunic to which the clavi belonged must have been a sober and dignified garment made in the best Roman tradition. 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 # 5, pp. 15, 82, 86-87.] | |
| Dimensions (cm) | Width = 35.0, Length = 13.0 | |
|
Catalog Number |
CAS 0389-2414 |  |
| 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 | Linen; Wool | |
| Description | “Decorated band fragment. The piece has borders ornamented with motifs of fish. In one section the fish motif is interrupted by a rectangular panel containing six ovals. The latter may depict gems in broad settings. The middle of the band is filled with an overall pattern of symmetrical floral motifs. The ground is red; the jewels are green; and the design is worked in tan, blue-green, and black. The weave is tapestry, wool and linen [S-twist] weft on two-ply Z-twist warp, 10 x 66 [warp : weft per square cm]. Tenth century. Remarks: The fish may or may not symbolize Christ; their association with jewels suggests that their meaning has religious connotations. The tight placement of the motifs and the minimum of background are in marked contrast to earlier Coptic design habits and may be the result of Arabian influence. [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 # 45, pp. 136, 149.] | |
| Dimensions (cm) | Width = 33.0, Length = 8.0 | |
|
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 | |
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