Andreas Hauptmann, Sabine Klein

Golden Artifacts from the Royal Tombs of Ur, Mesopotamia

Introduction

Golden artifacts from the royal tombs of ur, mesopotamia. Explore golden artifacts from the Royal Tombs of Ur, Mesopotamia. Discover color variations from gold alloys, analyzed by non-destructive elemental methods for chemical composition.

Abstract

Visual inspection of the gold artifacts from Ur shows that there are variations of color and this should be to be expected with gold alloys: The gold objects of Ur appear yellowish, whitish and reddish with changing tints. Details of color variations must have been certainly well known already in early gold smithing, so that it is reasonable to assume that the different colors could have been produced deliberately. In order to find out the causes of this differences in coloration a first stage of the larger joint venture between the Penn Museum, the Deutsches Bergbau-Museum Bochum, the Goethe-Universität Frankfurt and the British Museum was initiated. As a result a series of non-destructive elemental analyses on selected gold and silver objects was performed in 2009 at the Penn Museum. The results are divided into four parts exploring different aspects of the analysis of the gold objects: tarnish and corrosion, chemical composition, depletion gilding and inclusions of PGE's.

Review

The paper, "Golden Artifacts from the Royal Tombs of Ur, Mesopotamia," proposes a fascinating investigation into the advanced metallurgical practices of ancient Mesopotamia. By observing distinct color variations—yellowish, whitish, and reddish—among the gold artifacts from Ur, the authors put forth the compelling hypothesis that these differences were not accidental but rather deliberately engineered by skilled goldsmiths. This premise suggests a sophisticated understanding of alloying and material properties, offering a potentially transformative perspective on the technological capabilities and artistic intentions of early Near Eastern artisans. The research thus promises to significantly enrich our understanding of ancient craftsmanship and the material culture of this pivotal historical period. To explore the causes of these hypothesized deliberate colorations, the abstract details the initiation of a substantial, collaborative project. This "first stage" involved a partnership between prominent institutions: the Penn Museum, the Deutsches Bergbau-Museum Bochum, the Goethe-Universität Frankfurt, and the British Museum. The core methodology centered on non-destructive elemental analyses, performed in 2009 at the Penn Museum on a selection of gold and silver objects. This approach is particularly commendable given the invaluable and irreplaceable nature of the artifacts. The analytical results are structured into four key areas: an examination of tarnish and corrosion, detailed chemical composition, the investigation of depletion gilding techniques, and the identification of inclusions of Platinum Group Elements (PGE's), indicating a thorough and multi-faceted inquiry. The primary strength of this work lies in its innovative premise, the commitment to non-destructive analysis, and the robust institutional collaboration, which collectively underscore the rigor and significance of the project. The focused exploration of aspects such as depletion gilding and PGE inclusions indicates a meticulous approach that could not only elucidate ancient manufacturing processes but also provide crucial data on material sourcing and potential trade networks in ancient Mesopotamia. As an abstract outlining the "first stage" of a larger venture, it effectively sets the stage for what promises to be a highly impactful contribution to both archaeological science and the history of technology. The full publication of these detailed elemental analyses and their interpretations will undoubtedly offer invaluable insights into the advanced metallurgical knowledge and artistic mastery of the goldsmiths of Ur.

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