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                <text>Token issued probably by the Society for the Suppression of the African Slave Trade, London, 1878&#13;
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                <text>Medal produced in the British isles, 1787&#13;
Struck bronze and gold&#13;
33 mm diameter</text>
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                <text>Struck bronze medal. (whole)&#13;
Inscription. (reverse)&#13;
An enchained slave kneeling right. (obverse)&#13;
&#13;
Obverse inscription: AM I NOT A MAN AND A BROTHER&#13;
Reverse inscription: WHATSOEVER YE WOULD THAT MEN SHOULD DO TO YOU, DO YE EVEN SO TO THEM&#13;
&#13;
The Society for the Suppression of the African Slave Trade was founded in London in 1787. It seems probable that these medals were issued by this society, either at this date or at varying times until 1807. There are several minor varieties of this piece.</text>
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                <text>Stock exchange and the National Debt&#13;
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                <text>Print made by Francis Jukes, after Elizabeth Henrietta and William Phelps, published by William Phelps, 1785&#13;
Etching and aquatint and engraved writing &#13;
539x410 mm&#13;
British Museum</text>
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                <text>The title is engraved on the façade of a one-storied, flat-roofed building, decorated with pilasters. Beneath the design is engraved; 'An Historical, Emblematical, Patriotical, and Political Print, representing the English Balloon, or National Debt in the year 1782, with a full View of the Stock Exchange, and its supporters the Financiers Bulls, Bears, Brokers, Lame Ducks, and others, and a proportionate Ball of Gold, the specific size of all the Money we have to pay it with supposing that to be Twenty Millions of Pounds sterling, the Gold, and Silver Trees entwined with Serpents, &amp; upheld by Dragons, for the pleasure of Pluto &amp; all his Bosom Friends.'&#13;
On the roof of the building a large globe (the debt) is supported on the shoulders of two bears and two bulls, all with human heads, representing the bulls and bears of the Stock Exchange. A much smaller globe within it represents the £20,000,000. The globes are framed in a twisted pillar, rising from each corner of the roof and turning to form an arch over the globe. The pillar is covered with conventional foliage and flowers and entwined with two serpents with women's heads; above these are two winged dragons with men's heads wearing crowns; these dart out barbed tongues and look up at a winged man wearing Roman armour and holding a key who stands on the globe. In the clouds in the upper left corner of the print is forked lightning. Beneath it is a small winged figure of Fame blowing a trumpet and holding an olive-branch. In the distance, behind the Stock Exchange building, and seen above its roof, is a landscape with a poverty-stricken woman with two children (right), and a ruinous building (left).&#13;
This emblematical design is inset in a realistic street-scene with houses. On the pavement, in front of the Stock Exchange and of an adjacent stationer's shop (right), well-dressed citizens are walking or standing in conversation. Three have webbed feet, showing that they are 'lame ducks', see BMSat 5835, 6273; they walk off to the left. 1 July 1785&#13;
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                <text>The Benevolent Physician. &#13;
'The Benevolent Physician takes no Fee.&#13;
Of those that need him much in Poverty. To Poor distress'd, and those of small estate. He Money gives, takes only of the great, 1782&#13;
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                <text>Satirical print published by Carington Bowles in London, 1782&#13;
Hand-colored mezzotint&#13;
350x250 mm&#13;
British Museum</text>
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                <text>The interior of a room showing no trace of actual poverty. The invalid, a man, fully dressed but wearing a nightcap, sits in an upholstered arm-chair by the fire. A little girl stands at his knee; at his side on a tray or table are two bowls and a medicine bottle labelled 'as before'.&#13;
The physician, a well-dressed man wearing a bag-wig, is about to leave the room (right); he puts coins into the hand of a young woman holding an infant.&#13;
The room is papered, a half-tester bed with curtains stands against the wall. Tea-things are ranged along the chimney-piece, over which is a framed picture of a Christ healing the blind man.&#13;
Beneath the title is engraved:&#13;
&#13;
'The Benevolent Physician takes no Fee. &#13;
Of those that need him much in Poverty. &#13;
To Poor distress'd, and those of small estate &#13;
He Money gives, takes only of the great.' 1782&#13;
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                <text>Christ driving the money changers from the temple.&#13;
</text>
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                <text>Print made by Lucas van Doetecum after Gerard Groenning&#13;
1572 (c.)&#13;
Flemish&#13;
204x287 mm&#13;
British Museum</text>
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                <text>Christ driving the money changers from the temple. Interior of the Temple of Jerusalem with Christ beating a money changer with a whip made out of cords at centre, a man fallen over a table and and a tied lamb in foreground, a boy with a bird cage and another figure seen driving out animals from the Temple at right, three figures wearing caps at left, the altar decorated with two angels in background; after Gerard van Groeningen. c.1572. &#13;
Engraving and etching with contemporary colouring&#13;
&#13;
Series: Thesaurus Novi Testamenti elegantissimis iconibus expressus continens historias atque miracula do[mi] ni nostri Iesu Christi&#13;
Series: Memorabilium Novi Testamenti in templo gestorum (Events in and around the Temple)</text>
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                <text>Copper alloy weight of King Theoderic of the Ostrogoths</text>
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                <text>493-526 (early Byzantine), made in Rome, copper alloy and silver, 25.7x25.4 mm, Harvard Art Museums</text>
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                <text>Copper alloy weight of Theoderic, square with convex profile; inscribed on the face and sides; inlaid with silver, some missing; on the base a herring-bone wreath enclosing denominational mark; four-lobed motif in each corner.&#13;
&#13;
Inscriptions&#13;
Inscription type: denominational mark&#13;
Inscription position: base&#13;
Inscription language: Greek&#13;
Inscription script: Greek&#13;
Inscription note: 1 oz&#13;
Inscription type: inscription&#13;
Inscription position: face&#13;
Inscription language: Latin&#13;
Inscription content: DN Theoderici&#13;
Inscription transliteration: Dominus Noster Theoderici&#13;
Inscription type: inscription&#13;
Inscription position: side&#13;
Inscription language: Latin&#13;
Inscription content: CATV| LINVS | VC.ET | INL.PFV&#13;
Inscription transliteration: Catulinus vir clarrisimus et inlustris praefectus urbi&#13;
&#13;
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                <text>Empress Bust Weight, Steelyard, and Collar with Chains (4)</text>
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                <text>5th-7th century (early Byzantine); mixed copper alloy w/ lead and iron fill in bust, cast and hammered&#13;
&#13;
Dimensions&#13;
A. weight: 13.6 x 6 x 4.7 cm (5 3/8 x 2 3/8 x 1 7/8 in.)&#13;
1441 g&#13;
B. chains and hooks: 44 x 5.7 cm (17 5/16 x 2 1/4 in.)&#13;
C. crossbeam with hooks: 39.2 x 1 cm (15 7/16 x 3/8 in.)&#13;
&#13;
Harvard Art Museums&#13;
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                <text>Published Catalogue Text: Ancient Mediterranean and Near Eastern Bronzes at the Harvard Art Museums &#13;
This fifth- to seventh-century steelyard weight in the shape of an empress represents the most common type of weight used with early Byzantine steelyard scales (1). Earlier scholarship proposed that each weight represented a specific Byzantine empress, but that theory has been overturned in favor of an interpretation of the crowned women as a generic imperial type, perhaps linked to the symbolism of official personifications. The crude outline of the bulky crown is similar to headgear worn by early Byzantine empresses depicted on consular diptychs and marble statuary. She wears a tunic covered by a heavy cloak with deeply grooved folds. Her right hand rests on the edge of the cloak, while her left hand clutches an object variously identified as a scroll or a mappa.&#13;
&#13;
As is typical of weights from this time, the bronze is crudely modeled with no modeling on the reverse. This figure was hollow cast with its surface roughly modeled in wax, and then its interior was filled with lead. An iron pin is visible in the base. &#13;
&#13;
The steelyard still has two copper alloy chains terminating in large hooks. These hooks extend from a loop with a swiveling mechanism that slides over the steelyard’s crossbeam. The crossbeam has three incised scales and three suspension points (two of which still have hooks). The three sides would have corresponded to three distinct ranges of measurement. The scale corresponding to the innermost suspension point is subdivided into 12 sections, each between 1.8 and 2 cm long and inscribed with three dots. The middle scale is more or less regularly subdivided into 25 sections, each between 0.7 cm and 1 cm long. Most of these sections (or sometimes a larger, double section) are inscribed with three dots. The border between the eleventh and twelfth section is marked by the letter K; the border between the twenty-first and twenty-second by V or Λ (Greek upsilon or lambda). The letters represented Greek numerals. The scale corresponding to the outermost suspension point consists of irregular incisions at the border (c. 0.3 cm distance from each other), with the following Greek letters inscribed with punched dots: Λ E M E N E Χ E O E P̣ E (the epsilons are inscribed in reverse; the reading of the penultimate letter is uncertain). The punched dot style of inscription is used on weight crossbeams even in the Roman period (2). It is unusual to have a weight preserved with its crossbeam, if in fact this group belonged together in antiquity; the crossbeam’s markings are exceptionally well preserved.&#13;
&#13;
Steelyards were commonly used throughout the ancient Mediterranean. These crossbeams would have a weight, usually in the form of a person or deity, that slid along the bar of the scale to measure bulk goods (3). Not surprisingly, many of the Late Roman and Byzantine examples with known findspots have been found along a coast or in shipwrecks, reflecting their commercial utility. The standard term in English, “steelyard,” is a bit misleading, deriving from the use of similar scales in the area on the north bank of the Thames, London, where steel merchants clustered until 1597. In the Roman period, a wide range of figures was represented on the weights, reflecting the diversity of forms of Roman small bronzes in general. By the fourth to fifth century CE, this multiplicity had narrowed and almost all steelyards used weights represented a generic empress type (like this example) or the goddess Athena (Minerva) (4). Although many late examples have been dated generally to the Late Roman period, the most firmly dated example is from the seventh-century shipwreck of Yassi Ada, off the coast of modern Turkey (5). The holdings of the Harvard Art Museums represent the lively eclecticism of this category of bronze, including busts of an empress type, a Minerva, an emperor and an ambiguous nude.&#13;
&#13;
The basic shape of the bust weights was probably created from the lost-wax process, with later refinements added as the materials cooled. The hollow core was filled with lead to achieve the required weight, and a thin bronze sheet on the bottom capped the lead filling. Variations appear in the manufacture of different categories of the weights. The upper loop, with which the figure would be attached to the upper scale, was aligned in two different directions: the loop on the empress bust weights ran front-to-back, while the Minerva bust weights, in contrast, had a top loop that presents its circular face to the viewer. Furthermore, the Minerva weights possess rectangular socles, and the empress weights have oval socles.&#13;
&#13;
--&#13;
&#13;
Technical Observations: The patina of all three components is green to gray-green, with varying amounts of smaller dark green areas and small spots of brown burial accretions. The green is very compact and preserves surface detail. The empress weight is slightly grayer in tone, and this slight difference could be important in relating the three components. On the other hand, variations in the choice of alloy for the figural cast weight could easily have caused this difference. The dissimilarity between the color of the mixed copper alloy weight and the very dark brass hook connected to the single chain link at the crown stands out, and the hook could have been added at a later date or come from another object.&#13;
&#13;
Most of the weight-bearing surfaces show a similar (and significant) degree of ancient wear. The retaining pin and ring for the third hook, now missing from the crossbeam, are made of iron rather than copper alloy, as in the other two, intact hooks. Perhaps this was a replacement (using a tougher, longer-lasting metal, although one more prone to corrosion) after the original copper alloy pin and ring failed. As suggested above, the flat profile hook attached to the weight, with its different patina, could also be a replacement, although possibly an ancient one. Its flat profile and sharp bearing edge are appropriate for precise measurement, and it would have seen the most aggressive and abrasive use of all the components, explaining the need to replace it during the original period of use. The lead and corroded iron inside the empress weight are intact and appear to be antique. The weight exhibits the dents and wear that would be expected from use. &#13;
&#13;
The weight was cast, but areas of surface relief appear to have been enhanced with a file after casting. The chains were cold worked from a bronze rod, and the hooks and the crossbeam were probably cast as general shapes and then cold worked to receive their final shape and surface detail. Punches were used to make the scale markings on the crossbeam. </text>
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