Miniature oinochoe, Pottery, Xenon ware, Greek, Apulian, 4th Century B.C, 63 mm x 60 mm

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Sadigh Gallery Ancient Artifacts

Aryballos with quatrefoil motif, Pottery, Greek, Etruscan-Corinthian, 6th Century B.C, 55 mm x 55 mm

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Relief of Medusa and Hercules knot, Limestone, Roman, 2nd - 3rd Century A.D, 465 mm x 362 mm x 103 mm (without stand)

In Roman mythology, Medusa was a Gorgon, a creature with snakes for hair whose gaze could turn anyone to stone. While the Greek mythological tradition portrayed Medusa primarily as a monstrous figure, in Roman art and culture, she often took on a more complex and varied role. The Roman interpretation of Medusa frequently blended elements of her monstrous aspect with her protective qualities, leading to a range of representations in various contexts.

One common motif in Roman art is the use of Medusa’s head as a protective symbol. The image of Medusa’s head, with its petrifying gaze, was believed to ward off evil and protect against harm. It appeared on a variety of objects, including household items like door knockers, as well as on armor and shields worn by soldiers. This protective aspect of Medusa was derived from her ability to avert danger with her gaze, turning potential threats to stone before they could harm the beholder.

In addition to her protective role, Medusa also featured prominently in Roman architectural reliefs and decorative elements. These depictions often portrayed her as a fearsome yet powerful figure, emphasizing her role as a guardian or protector. Medusa’s image adorned the facades of temples, public buildings, and private residences, serving as a symbol of strength and resilience.

The Hercules knot, also known as the “Herculean knot” or “Hercules’ knot,” symbolized strength, power, and unity. It was often depicted as a complex, interwoven knot with no clear beginning or end, representing the challenges and trials that Hercules, the legendary hero, faced and conquered throughout his life. The knot was associated with various mythological stories surrounding Hercules, particularly his Twelve Labors, which were tasks assigned to him as punishment for killing his family in a fit of madness induced by the goddess Hera.

The Hercules knot frequently appeared in Roman architectural reliefs, sculptures, and decorative elements as a symbol of protection and good fortune. It was often incorporated into designs on public buildings, temples, and monuments, serving as a visual reminder of Hercules’ legendary strength and the virtues of perseverance and determination.

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Jar with glaze, Pottery, Siegburg ware, Medieval, 15th Century A.D, 130 mm x 110 mm

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Votive foot, Terracotta, Etruscan, 4th - 3rd Century B.C, 65 mm x 50 mm

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Miniature kantharos, Pottery, Xenon ware, Greek, Apulian, 4th Century B.C, 50 mm x 80 mm

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Child shoe, Leather, Roman, Gaul, 1st - 3rd Century A.D, 190 mm x 72 mm

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Mosaic with wavy lines pattern, Tesserae, Late Roman / Byzantine, 4th - 7th Century A.D, 154 cm x 102 cm, 100-120 kg

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Guttus with Medusa, Pottery, Greek, Magna Graecia, 4th - 3rd Century B.C, 70 mm x 85 mm

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Rome, Italy, July 22 2017, Displays of ancient Christian artifacts adorn the walls of the Lateran cloister, showcasing historic treasures from Rome.

Trajan, 98 - 117 AD, Rome, Denarius, Silver, AR, 18 mm, 3,10 gr, Obv: IMP TRAIANO AVG GER DAC PM TRP COS VI P P, laureate bust right, draped far shoulder, Rev:

SPQR OPTIMO PRINCIPI, legionary eagle between two standards. RIC 295, RSC 577

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Funerary stele of figure with toga and roll, Limestone, Roman, 2nd - 4th Century A.D, 149 cm x 45 cm x 17 cm, 200 kg

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Lekythos, Pottery, Greek, Early Hellenistic, 4th Century B.C, 110 mm x 45 mm

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URNA EUCARISTICA

Año 1579

Plata cincelada y grabada

Catedral Metropolitana de Santo Domingo

EUCHARISTIC URN

Year 1579

Chased and engraved silver

Metropolitan Cathedral of Santo Domingo

Funerary diadem, Gold, Greek, 4th - 3rd Century B.C, 250 mm x 22 mm, 3,9 gr

In ancient Greek culture, the use of gold funerary diadems was a prominent practice, particularly during the Classical and Hellenistic periods. These diadems were elaborate headpieces made of gold and were often crafted with intricate designs and symbolic elements. They held a significant role in funerary customs, symbolizing the deceased’s elevated status, wealth, and connection to the divine. Gold, as a precious metal, was associated with the gods in Greek mythology, and its use in funerary diadems reflected the belief in an afterlife where the deceased would continue to enjoy divine favor.

The designs of these diadems were diverse, featuring motifs such as floral patterns, mythological scenes, and symbols associated with immortality. The intricate craftsmanship demonstrated the artistic skills of ancient Greek goldsmiths, who employed techniques such as repoussé and filigree to create these exquisite pieces. The diadems were often placed on the deceased during burial or displayed in tombs, serving both as a mark of honor for the departed and as a means to ensure a prosperous journey to the afterlife.

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Mummified hand with X-Ray, Bone and linen, Egyptian, Late Period, 664 - 332 B.C, 200 mm x 73 mm x 30 mm

In ancient Egypt’s Late Period (664–332 BCE), mummification techniques had evolved to become highly sophisticated, with an emphasis on preserving the body as a complete and eternal vessel for the afterlife. During this time, mummified bodies were carefully disassembled, treated, and reassembled to ensure preservation. Internal organs, including the liver, lungs, stomach, and intestines, were removed early in the process, as they were prone to rapid decay. These organs were usually embalmed separately and stored in canopic jars, each protected by one of the Four Sons of Horus, deities assigned to guard specific organs.

However, by the Late Period, the practice shifted slightly, and sometimes the internal organs were treated and then wrapped in linen before being returned to the body cavity. In other cases, the jars were still used, but the shift indicated a concern with keeping the mummy intact as a whole. The heart, believed to be the center of intelligence and emotion, was often left inside the body because it would be weighed in the afterlife during the judgment by Osiris. Any remnants of the brain were removed through the nose using specialized tools, a process called excerebration, although the brain itself was not seen as essential for the afterlife.

Beyond the internal organs, the entire body was carefully wrapped in layers of linen, with amulets and magical objects inserted between layers to provide protection. Each part of the body, such as the fingers, toes, arms, and legs, was individually wrapped to maintain the body’s integrity. The wrapping itself became a ritual, where priests would recite spells from the Book of the Dead and other sacred texts to ensure the deceased’s safe passage into the afterlife.

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Model of a storage chest, Pottery, Glazed, Chinese, Ming Dynasty, 14th Century - 17th Century A.D, 125 mm x 145 mm

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