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                  <text>Late Antiquity Sardis</text>
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                <text>Bronze lamp in form of lion&#13;
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                <text>Bronze lamp in form of lion, Sardis, 5th-7th century, bronze/ copper alloy, 16.4 x 8.3 x 4 cm, Manisa, Archaeological and Ethnographic Museum, 4342</text>
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                <text>DESCRIPTION&#13;
Lamp in the form of a lion, striding forward and holding a shell-shaped spout in his open mouth. A hole at the top of the mane, covered by a separately made hinged lid, allowed the lamp to be filled. A ring and loop just in front of the filling hole held a chain running back to the tail, which was used to suspend the lamp. A horizontal bar on the left side of the lion must be a means of attaching it to some kind of socket, on a lampstand or other fixture; the modeling on this side is sketchier than on the right, indicating that it was meant to be seen from the side. Patches on the sides mended flaws left when the lamp was cast. Length 0.164 m, height 0.083 m, width 0.04 m.&#13;
COMMENTS&#13;
From the “Byzantine Shops,” shop E5, the same shop that held flask No. 221. The lion was the best known attribute of the ancient Kingdom of Lydia, and remained popular throughout Roman times (Hanfmann and Ramage 1978, 20-23; Ratté 1989, 379-81). Analysis of the metal revealed that it was made of brass, an alloy of copper and zinc.</text>
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                  <text>Late Antiquity Sardis</text>
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                <text>Two bronze lions’-head-shaped handle attachments</text>
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                <text>Two bronze lions’-head-shaped handle attachments, Sardis, Fifth to seventh century, with early seventh century context suggesting sixth to seventh century, bronze/copper alloy, Manisa, Archaeological and Ethnographic Museum</text>
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Two small, nearly identical lion’s heads, with flat backs for attachments to some other object, such as a chest or piece of furniture. The heads are simply rendered, with round ears, long muzzles, and open mouths that may have held ring handles. Rather schematic incised lines and dots indicate mane, muzzle, and jowls; zigzag lines around the backplate.&#13;
COMMENTS&#13;
This pair comes from a late-occupation level immediately in front of the Synagogue, after the magnificent building had been largely abandoned and the space was being used for other activities, domestic and commercial. It is tempting to see in the lion imagery of Nos. 223-224 a recollection among Roman Sardians of the lions of their Lydian past, but the motif is far too common in the Roman world to draw such conclusions.</text>
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                <text>Socrates Menorah&#13;
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                <text>Socrates Menorah, Sardis, 1st half of 4th C. AD?, marble and stone</text>
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                <text>DESCRIPTION&#13;
This was originally a seven-branched candlestick with a central vertical stem. Each branch, oval in section, has an incised lozenge pattern (L. 0.05, W. 0.022), carefully but monotonously cut. This pattern is to suggest stylized leaves of rhomboid shape. Between the branches is acanthus scroll open-work. This rinceau design starts and ends with flowers, arranged so that the long wave or stem rolls on to the next flower while a short arm curls inward to touch one of the two petals of the flower. The tops of the branches protruded through a cross bar, with a four-petalled rosette within the border on the end. The inscription is in the tabula, on two sides.&#13;
The work is highly competent, and the virtuosity of the open-work, done principally with the chisel, is outstanding. The surface is carefully smoothed but not glossy. Both epigraphic and archaeological evidence suggest the 4th C. A.D.&#13;
CONDITION&#13;
Large-grained white marble, reddish discoloration.&#13;
Outer two branches of candlestick on one side with part of horizontal inscribed cross bar; small fragments of two other branches, and piece of central stem preserved. Cement adheres to fragment of central stem.&#13;
DIMENSIONS&#13;
H. 0.565; radius of outer branch 0.47; second branch 0.34; section of branch 0.057; distance between branches 0.085. Inscription L. 0.17; H. of letters 0.032.&#13;
INSCRIPTION TEXT&#13;
(a)	Σωκράτης [ -  -  -  -   το]ῦ οἴκου [ -  -  -  -  ]&#13;
&#13;
(b)	[ -  -  -  ]ΣΙ[ -  -  -  -  -  -  -  -  γ]λύφου.&#13;
INSCRIPTION TRANSLATION&#13;
(a) “Sokrates [ - - - ] of the house (i.e., the synagogue) [ - - - ]”&#13;
(b) “[ - - - ] of the sculptor.”</text>
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                <text>Inscribed Block from Anta of the Metroon (reused in Synagogue): Decree Honoring Heliodoros</text>
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                <text>Inscribed Block from Anta of the Metroon (reused in Synagogue): Decree Honoring Heliodoros, Sardis, first half of 2nd century BC, marble, 0.64 x 0.71 x 0.76 m</text>
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                <text>DESCRIPTION&#13;
Block of grayish-white marble, upper left corner damaged. Below the inscription there is a blank space of 0.115 m; separated by a blank space of 0.16 m, it is preceded by no. 310. For further details, see Gauthier, pl. XII (drawing of the stone).&#13;
&#13;
INSCRIPTION TYPE&#13;
Decree or Other Decision&#13;
INSCRIPTION LANGUAGE&#13;
Greek&#13;
INSCRIPTION TEXT&#13;
		Γνώμη βουλευτῶν· ἐπειδὴ Ἡλιόδωρος Διοδώρου τοῦ&#13;
		Λέοντος πολλὰς καὶ μεγάλας χρείας παρείσχηται&#13;
		τῶι δήμωι κοινῆι τε καὶ ἰδίαι ἕκαστον τῶν πολιτῶν εὐεργετῶν&#13;
	4	καὶ πρεσβεύων πολλὰ συνκατεσκεύακεν τῶν πρὸς δόξαν&#13;
		καὶ τιμὴν ἀνηκόντων, ἅμα δὲ καὶ λυσιτελῶν, οὐ μόνον παρ᾿ ἡμῖν&#13;
		ποιούμενος τὰς ἀποδείξεις τῆς αὑτοῦ καλοκαγαθίας,&#13;
		ἀλλὰ καὶ ἐν τοῖς πεμπομένοις δικαστηρίοις ὑπὸ τοῦ δήμου&#13;
	8	εἰς τὰς ἄλλας πόλεις δυνατῶς καὶ ἐπιεικῶς ἐν ἑκάστοις&#13;
		ἀναστρεφόμενος, δι᾿ ὃ καὶ τέτευχεν στεφάνων καὶ τιμῶν&#13;
		ἐνδόξων· ἵνα δὲ καὶ οἱ πολῖται φαίνωνται τιμῶντες τοὺς ἀγαθοὺς&#13;
		τῶν ἀνδρῶν, δεδόχθαι τῆι βουλῆι καὶ τῶι δήμωι· στεφανῶσαι αὐτὸν&#13;
	12	χρυσῶι στεφάνωι καὶ εἰκόνι χαλκῆι· ἀναγράψαι δὲ καὶ τὸ ψήφισμα·&#13;
		τὴν δὲ ἐπιμέλειαν τούτων ποιήσασθαι τοὺς στρατηγούς.&#13;
INSCRIPTION TRANSLATION&#13;
“Motion of the councilors: Heliodoros, son of Diodoros, the son of Leon, has done numerous and significant services jointly to the People and separately to individuals, providing benefits to each of the citizens; and as ambassador he contributed by undertaking activities that yielded glory and honor and at the same time were of benefit; not only did he deliver proofs of his own excellence amongst us, but also in the law-courts that were sent by the People to the other cities: in each (court) he showed himself to be competent and equitable; for this reason, too, he obtained wreaths and glorious accolades. Consequently, and in order to let it be seen that also our citizens honor the good ones amongst the men, be resolved by Council and People to crown him with a golden wreath and (honor him) with a bronze statue; furthermore to have the decree inscribed; and that the strategoi will take care of the decree’s implementation.”</text>
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Partly damaged mosaic inscription in a tabula ansata.&#13;
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INSCRIPTION LANGUAGE&#13;
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		Ἐκεντήθη ὁ ἔ̣[μ]βολο̣ς̣&#13;
		ἐπὶ Φλ(αβίου) Μαιονίου τοῦ&#13;
	3	μεγαλο[π]ρ(επεστάτου) κόμ(ητος) κ(αὶ) ὑπατικοῦ.&#13;
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“The portico was laid with mosaics under the magnificentissimus count and consularis Flavius Maionios.”</text>
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                <text>Mosaic Inscription in square frame (from Synagogue, Main Hall, Bay 4): Votive (Building/renovation?) Inscription by Samoes, priest&#13;
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                <text>Mosaic inscription in square frame, Sardis, mosaic, 0.9 x 0.9 m</text>
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Mosaic inscription in a square frame.&#13;
&#13;
INSCRIPTION TYPE&#13;
Religious Inscription&#13;
&#13;
INSCRIPTION LANGUAGE&#13;
Greek&#13;
&#13;
INSCRIPTION TEXT&#13;
		   Εὐχὴ&#13;
		[Σ]α̣μοῆ ἱε-&#13;
		[ρ]έω̣ς κὲ σο-&#13;
	4	φοδιδασ-&#13;
		   κάλου.&#13;
&#13;
INSCRIPTION TRANSLATION&#13;
“Vow of Samoés, Priest and Teacher of wisdom” (Kroll, who has “of Samoé”).&#13;
&#13;
COMMENTS&#13;
2 Σαμοῆ seems to be the genitive of Σαμο(υ)ῆς, a by-form of Σαμουῆλ (Ameling; see also Kroll’s commentary).&#13;
2–3 ἱε/[ρ]έω̣ς: my reading from the photograph; ἱε/ρέος, edd. The dedicant was “a descendant of the priesthood that anciently served in the Temple of Jerusalem”; they “were accorded the privileges of pronouncing certain benedictions during services and as preferred readers of the Torah” (Kroll; see Ameling, pp. 158–59).&#13;
3–5 σοφοδιδάσκαλος is a hapax legomenon: probably virtually identical with the known function of a νομοδιδάσκαλος (Ameling).&#13;
The mosaic bearing the inscription was a “late intrusion into the surrounding mosaic,” and it is generally assumed that the vow was “connected with the construction that was supported on the four stone bases that were set into the floor around the inscription” (Kroll). See Kroll’s and Ameling’s commentaries with further references.</text>
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Head broken at neck. Framing the forehead “are three separate masses of hair…one in the center made up of two separate tiers, and two at the sides.…The forehead is plastically modeled with two horizontal bony masses.…Upon the surface are incised horizontal furrows, both in the center of the forehead, and just over the eyebrows.” Eyebrows are prominent. Of the eyes, “the pupil is a drilled pendent arc, the iris incised.” Under the eyes are pouches; and at each corner incised crow’s feet. Cheek folds terminate in crisp lines that extend from outer nostrils to outer mustache. The mustache is “heavy” and “curved,…neatly trimmed to follow the edge of the overhanging upper lip. Above the center of the lip the mustache is parted, leaving a small triangular bare spot.”…There is a short growth of beard under the lower lip, and then a bare area, before the voluminous thick curls of the chin. Here the beard falls in two tiers, one on the forward chin and one from underneath the jaw. Most of the curls are short. Deep drilling is used in the hair framing the brow and in the beard; and in both places there are ‘bridges’ or ‘hair struts.’ “The ears have a large opening and are deeply drilled.” Behind the masses of hair that frame the brow, the hair surface is unfinished: over the top and back of the head it is smoothly chiseled, and two rows of curls at the back of the neck are roughly defined. Just behind the central mass of hair over the brow are three incised letters in Greek: Χ Μ Γ. (Quotations are from Ramage in Hanfmann and Ramage 1978, 100). Preserved height 0.30 m.&#13;
&#13;
COMMENTS&#13;
The head was recovered resting face down in debris, which was evidently bedding for a Byzantine road of the seventh century AD or later; it probably belongs to a full statue. Features of the face and beard suggested to E. Wueste (unpublished MA thesis, University of California at Berkeley) that the statue probably represented an intellectual rather than an administrative official. The three letters, located on the unfinished top of the head and behind the crest of the central hair mass, would not have been visible from the front of the statue; they are an acronym, which signifies Christ born of Mary, and may refer to the Christian persuasion of either the sculptor or the subject. (The letters are not cited in Hanfmann and Ramage 1978 and earlier publications; after publication, their significance was queried by Manisa Museum Director H. Dedeoğlu.)</text>
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