York Museums Trust Research Scholar Ellie Nicklin discusses two Sculptures she has encountered working at the Yorkshire Museum.

I’m the recipient of the 2015/16 Studentship Partnership between the University of York’s History of Art Department and the Yorkshire Museum. My work within the Museum focuses around the Roman Collection, in particular the sculptural objects.

In order to understand the collection I created a database of all the figural sculpture from the collection created in the Roman period (AD 43 – 410). During this diverse research I came into contact with many exciting objects, some of which can be viewed in a new light when investigated from the perspective of the Art Historian rather than the Archaeologist.

Here are two sculptures, I have encountered as part of this research project which are particularly interesting:

An ‘Intaglio’ is the semi-precious gem setting in a Roman ring, often carved to depict Gods and mythical scenes. Although Intaglios are common, each is unique, and more valuable than simply the stone from which the scene is carved out from. It is amazing how much can be suggested from just a few carefully composed chisel marks.

This Intaglio could almost be described as abstract, but with a few chisel marks, the Sculptor has created a wolf with a lot of vitality. With an economic use of chiselling, four single indentations, they created the snout, lower jaw, head and both ears. The body of the wolf has been deeply indented with many marks to create the impression of a large animal.

 

Although we can explore the artistic result of craftsman’s skill, we should not forget how the carving serves the purpose of ring. Intaglio rings, in addition to being a status symbol, were used to create a pattern in wax seals.

Therefore the primary concern of the craftsman would be how the chiselled recess would create the best pattern in the wax, as the image would be reversed and clearly outstanding from the wax when used. The bold, uncomplicated chisel marks are effective in creating this clear impression upon the wax.

The craftsman created a deliberate contrast in textures to make the minuscule wolf easily identifiable. The Carnelian gemstone, measuring 96 by 75 mm, has been polished so light easily reflects over the whole surface, however, the indentation has been left with a rough, rusticated finish, purposefully not to reflect the light. This contrast adds a small portion of realism, perhaps recreating the animal’s fur.

Roof finials have a dual protective purpose: as a functional and decorative object. Antefixes held at Yorkshire Museum are protective in two manners; functionally they are used at the edges of tiled roofs, where they conceal gaps – as evidenced from the large blobs of terracotta attached to the rear of the antefix. The decoration also has supernaturally protective purposes. The sculpted Gorgon protects the building from evil omens or bad luck.

For aesthetic reasons, antefixes designed for one house all contain a very similar design. From the Museum’s collection of Roman antefixes, a series, seemingly from one building can be identified. These antefixes feature a Gorgon figure in the centre crowned by geometric patterning.

Although more complicated than the wolf intaglio, the Sculptor’s careful selection of material, is also impressive. Upon close inspection many of the forms appear to have been created by the Sculptor’s hands.

The deep indentations following antefix’s sides may have been created with sculpting tools, but the smooth crescent shape suggests these impressions have been made by the Sculptor’s thumb-nail. Whilst the small, careful marks framing the Gorgon’s head, perhaps representing her hair, are likely to be made by a tool of a similar size to a tooth pick.

Any mark or indentation is easily imprinted upon terracotta before it is fired in the kiln. In the Museum’s collection several examples are marked accidentally by studded boots and incautious animal.

Although it could be argued that the decoration of the antefix was not carefully considered by the Sculptor, as it would only have been seen from a distance. It must be remembered that these decorated antefixes were commissioned for the houses of the wealthiest people in Eboracum and the highest quality of work was expected from the Sculptor.

Yet, the various textures would have certainly been evident from the viewer’s perspective. Furthermore the varying depths of relief, such as the elongated high relief eyes of the Gorgon may have experienced emphasis by the angled daylight.

Here again is evidence that small marks which could be categorised as unrefined, are actually working effectively due to their careful placement and creation.

The Antefixes are on display in the Main Hall of the Yorkshire Museum whilst a selection of Roman Intaglios are featured in the Roman Galleries. Click here for more information on the Collection and Events.