text:
- Can you buy a house with $10000?
- How much money should you have before buying a house?
- Can I buy a house with $5000?
- Is 25000 enough for a house deposit?
- How much do I need to buy a 200k house?
- How much income do I need for a 400k mortgage?
- Is 2019 a good year to buy a house?
- How much do I need to make to buy a 250k house?
- What month is the best time to buy a house?
- How much should I put down on my first house?
- How much do you need to make to afford a 300k house?
- How much do I need to make to buy a 150k house?
- Can you buy a house with 30k?
- What is a mortgage on 500 000?
- How much is a deposit for a mortgage?
- How much can I borrow with a 700 credit score?
- How much house can I afford if I make 60000 a year?
- What kind of mortgage can I afford on my salary?
- What is the monthly payment on a $600000 mortgage?
- How much house can I afford on 120k salary?
- What is the monthly payment on a 400k mortgage?
Conventional mortgages, like the traditional 30-year fixed rate mortgage, usually require at least a 5% down payment.
If you’re buying a home for $200,000, in this case, you’ll need $10,000 to secure a home loan.
For a government-backed mortgage like an FHA mortgage, the minimum down payment is 3.5%.
Can you buy a house with $10000?
For starters, you will need to have $10,000, which you will use for your down payment and to cover the cost of your home inspection, the appraisal and a year’s worth of homeowner’s insurance. All of those other closing costs, escrows and everything else will get paid, but not by you.
How much money should you have before buying a house?
Saving 20% of your income could catapult you into purchasing a home in the next 12 to 16 months, depending on your market. For example, if you’re earning $96,000 per year, that’s $19,200 saved after one year. $28,800 saved after a year and six months, which can be plenty of funds to make home-ownership a reality.
Can I buy a house with $5000?
The premium you’ll pay will vary depending on your home’s value. For example, let’s say you buy a $100,000 home and put five percent down. Your down payment is $5,000, and the mortgage is $95,000. With FHA mortgages, however, you’re required to pay PMI for the life of the loan.
Is 25000 enough for a house deposit?
A $25,000 home deposit may be tempting, but the reality is more difficult than it seems. If you’re only putting down $25,000 for your deposit, it’s likely that you’re only paying a 5% or 10% deposit, rather than the 10% to 20% that many people prefer. If you want to put down a small deposit, budget in your LMI payment.
How much do I need to buy a 200k house?
|Down payment||10% of $200,000||$20,000|
|Prepaid expenses||2% of $180,000||$3,600|
|Cash reserves||$1,200 mortgage payment x 2||$2,400|
|Total cash required||$31,000|
1 more row
How much income do I need for a 400k mortgage?
To afford a $400,000 house, for example, you need about $55,600 in cash if you put 10% down. With a 4.25% 30-year mortgage, your monthly income should be at least $8178 and (if your income is $8178) your monthly payments on existing debt should not exceed $981.
Is 2019 a good year to buy a house?
The national median-existing home price is expected to rise 3.1 percent in 2019, according to the National Association of Realtors. Buy a home today for $200,000 and that same home may cost you $206,200 by the end of the year. $6,200 is a lot of money. Prices are expected to climb throughout the year, and into 2020.
How much do I need to make to buy a 250k house?
To afford a house that costs $250,000 with a down payment of $50,000, you’d need to earn $43,430 per year before tax. The monthly mortgage payment would be $1,013. Salary needed for 250,000 dollar mortgage.
What month is the best time to buy a house?
Generally, the best time to buy a house is in the late summer or fall. Shoppers will find plenty of homes on the market, but not as much competition for them as in the spring and early summer, when more buyers are on the prowl.
How much should I put down on my first house?
FHA loans, backed by the Federal Housing Administration, allow down payments as low as 3.5%. Conventional loans, which aren’t backed by the government, offer down payments as low as 3% to first-time home buyers with good credit.
How much do you need to make to afford a 300k house?
The oldest rule of thumb says you can typically afford a home priced two to three times your gross income. So, if you earn $100,000, you can typically afford a home between $200,000 and $300,000. But that’s not the best method because it doesn’t take into account your monthly expenses and debts.
How much do I need to make to buy a 150k house?
5. The Dave Ramsey Mortgage
|Gross Income||Monthly Take-Home||Maximum Monthly Payment|
4 more rows
Can you buy a house with 30k?
30k would be a 20% downpayment for a 150k dollar house. It would cost about 650 month plus RE taxes and insurance costs. You can go and get approved for a house loan before you buy a house. A house loan depends more on how much income you have then how big down payment you can make.
What is a mortgage on 500 000?
Monthly payments on a $500,000 mortgage
At a 4% fixed interest rate, your monthly mortgage payment on a 30-year mortgage might total $2,387.08 a month, while a 15-year might cost $3,698.44 a month.
How much is a deposit for a mortgage?
In the current market you’ll usually need a deposit of at least 5% of a property’s value to get a mortgage. A mortgage lender would then lend you the remaining 95% of the property’s value.
How much can I borrow with a 700 credit score?
Most lenders consider a credit score between 700 and 749 to be good, but the lower cutoff can be anywhere from 680 to 720.
Credit score ranges: Is 700 a good credit score?
|Excellent||750 to 850|
|Good||700 to 749|
|Fair||650 to 699|
|Poor||550 to 649|
1 more row
How much house can I afford if I make 60000 a year?
The usual rule of thumb is that you can afford a mortgage two to 2.5 times your annual income. That’s a $120,000 to $150,000 mortgage at $60,000. You also have to be able to afford the monthly mortgage payments, however.
What kind of mortgage can I afford on my salary?
This rule says that your mortgage payment (which includes property taxes and homeowners insurance) should be no more than 28% of your pre-tax income, and your total debt (including your mortgage and other debts such as car or student loan payments) should be no more than 36% of your pre-tax income.
What is the monthly payment on a $600000 mortgage?
Monthly payments on a $600,000 mortgage
At a 4% fixed interest rate, your monthly mortgage payment on a 30-year mortgage might total $2,864.49 a month, while a 15-year might cost $4,438.13 a month.
How much house can I afford on 120k salary?
Some experts suggest that you can afford a mortgage payment as high as 28% of your gross income. If true, a couple who earn a combined annual salary of $100,000 can afford a monthly payment of about $2,300/month. That could translate to a $450,000 loan, assuming a 4.5% 30-year fixed rate.
What is the monthly payment on a 400k mortgage?
Mortgage Loan of $400,000 for 30 years at 3.25%
|Month||Monthly Payment||Mortgage Balance|
93 more rows


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The publication will be released in major cities including London, Paris, New York, Milan, Tokyo, Hong Kong and, for the first time, Los Angeles.
‘La Manifesto’ features images starring face of YSL‘s S/S ’11 campaign, Arizona Muse, which has been photographed by Inez van Lamsweerde and Vinoodh Matadin.
It will be distributed to the first 2,000 passers by in each city and will include a special tote bag.
The S/S 2011 Manifesto will mark the eighth edition of this publication. Each Manifesto is a celebration of the latest collections from the Yves Saint Laurent brand.
The Yves Saint Laurent Manifesto was the brainchild of the luxury brand’s creative director, Stefano Pilati.

domain: design


It’s something we’ve been thinking of doing for a while now, but over the last few weeks we’ve given it much more thought. Finally, I can tell you that Vancity Filming officially has a Podcast.
The idea of a Podcast has been on the cards since we started this website less than a year ago. A lot has happened in that short time, but the podcast idea has always been there. Granted, it’s been on the back burner for some time now but the wait is finally over.
We decided to get a Blue Snowball microphone a few weeks back when we knew we’d be interviewing some people at the Fan Expo as part of our coverage of that event. We had five interviews lined up, but because of time constraints by the PR company, two of the people we were meant to interview were grouped together and we totally missed out on another because of their popularity. We did manage to interview the other two people on our list though, so it wasn’t all bad.
What’s awesome about the Blue Microphone is that we can plug it into the bottom of the iPad 2 and record our interviews using that. We were so impressed with the microphone that we went out and got a second one.
So, that’s our setup for the podcast. Two Blue Snowball Microphones, GarageBand on the MacBook, an iPad 2 and Skype.
I recorded a really brief podcast on Friday in order to get the ball rolling and get it onto iTunes so that we had a base to start from. Our next podcast, and the first “real” one will be released really soon with interviews from Rachel Nichols, Erik Knudsen and Robert Knepper who were all kind enough to give us a moment of their time for our show.
We already have an interview for the following episode in the can and ready to go, but we’ll keep you guessing as to who that guest will be, but I will say that we are happy with that specific interview for many reasons that we’ll go into in that podcast.
For now, you can enjoy the soothing (or not) sound of my voice by heading over to iTunes and listening to The Vancity Filming Podcast.


The police will still function. Emergency personnel will still function. The entitlement checks will still be mailed. The military will still be in action (although the Democrats seem to feel they shouldn’t be paid. What’s up with that?)
In other words, only “nonessential personnel” would be out of action. Which means that the vast majority of Americans wouldn’t even realize the government was shut down if the media didn’t tell them. A point that should be made is that this is the federal government that would be shut down. People in DC probably should be a little worried, but the rest of us will still have our trash picked up on time.
If Democrats can’t see reason when it comes to our towering debt, I’m all for a government shutdown. A couple of weeks without the nanny state will show Americans that, gee, we don’t really need an ever expanding government to survive. As long as Republicans can effectively communicate why the shutdown is happening (Democrats refusing to compromise on perfectly reasonable cuts), it will play right into the Tea Party’s hands, and help the conservative movement as a whole.
If you can communicate effectively, and stand your ground, there is no reason why you should have to capitulate. When conservatives act conservative, they win. When they compromise on their principles, they lose.
“Be sure you put your feet in the right place, then stand firm.” -Abraham Lincoln
The American people will stand behind their representatives if their representatives are principled enough to stand behind them.


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Earlier this week, I blogged on “The Year of Top Hat Plan Litigation” with a promise to follow up the recurrence of litigation by former plan participants who did receive their benefits, but not at the time or in the forms they elected, alleged damages due to adverse tax consequences. However, before I do that, I can’t help noting a recent case with an unexpected result that made me wonder whether a company can restrict top hat plan participation to those employees who actually wear a top hat.
In Wegmann v. Young Adult Inst., Inc. (YAI), the federal district court for the Southern District of New York rejected a former employee’s claim that her employer had amended its deferred compensation plan to make women ineligible.* When the plaintiff began her employment with the not-for-profit YAI in 1986, the entity had in place a “Supplemental Pension Plan for Certain Management Employees” that provided deferred compensation benefits to employees who satisfied the Plan’s eligibility requirements, specifically, “Each Management Employee who shall complete 15 years of service” at YAI. However, in 2008, YAI amended the eligibility requirements of the Plan such that only five senior employees — all of whom are male — were expressly deemed the sole participants in the Plan. When plaintiff resigned from YAI and was denied benefits under the Plan, she sued alleging that the amendment had the dual effect of (i) excluding all females from participation, and (ii) divesting her of benefits to which she was entitled.
The court dismissed plaintiff’s ERISA claim because she had failed to allege that she was in fact a management employee eligible under the Plan. Regarding the Plan amendment, the court observed that ERISA § 510 was designed to protect the employment relationship that gives rise to an individual’s pension or benefit rights. This means that a fundamental prerequisite to a § 510 action is an allegation that the employer-employee relationship, and not merely the pension plan, was changed in some discriminatory or wrongful way. “Plaintiff's allegation that the Plan was amended to deny her benefits on the basis of her sex does not set forth the sort of interference with an employment relationship typically required for claims under § 510.”

domain: law


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The Lydians and their World (2010)
by İlknur Özgen
The “Lydian Treasure” deserves to be understood as the product of a long cultural and technical development in the history of Anatolia. It comprises a selection of the most elegant and artistic belongings of local dignitaries in an area of the former Lydian kingdom in the second half of the sixth century BC. Under the new rulers of the Mermnad dynasty, beginning with Gyges, the Lydians became masters of western Anatolia. The Lydian kingdom existed for a century and a half, and reached its apogee under the last king, Croesus, who was renowned for his riches, pride, extravagance, and merciful fortunes. At the height of Croesus’s power, in 547/6 BC, his kingdom was conquered by the Persians under their king, Cyrus the Great.2 For more than two centuries thereafter, until Alexander the Great’s conquest in 334 BC, Lydia was a province of the Persian Empire, under the rulers of the Achaemenid dynasty of Persia. The citadel of Sardis became the residence of the satrap of Achaemenian Persia. The artistic and textual sources demonstrate that the 200-year Persian presence in the city had a profound impact on local needs and traditions.3
Our knowledge of “Lydian” art and material culture is derived, to a large extent, from the exploration of cemeteries. Most of the precious Lydian objects come from several Iron Age burial mounds in two regions of western Anatolia: Güre, in the province of Uşak, and Harta (Dönertaş) near Kırkağaç in the province of Manisa. These mounds were extensively looted and plundered during the 1960s; in 1965 the plundering became more organized, and interest was focused on the burial mounds known as tumuli. Many of the objects found in the tombs were recovered from at least five tumuli—four in Uşak/Güre (Top Tepe, İkiztepe, Aktepe I, and Basmacı)4 and one near Harta (Dönertaş)—and their contents were smuggled out of Turkey. A good number of these made their way into the hands of the dealers.5
Many objects from the Treasure were acquired from New York dealers by the Greek and Roman Department of The Metropolitan Museum of Art in New York from 1966 through the 1970s. The Turkish Government’s Ministry of Culture knew at the time that the material had been looted and exported illegally. The Metropolitan Museum did not mount a display until 1984. The material was exhibited and published without provenance under the misleading title “East Greek” in the summer issue of the Bulletin of The Metropolitan Museum of Art, under the title “A Greek and Roman Treasury,” by Dietrich von Bothmer.6 In 1993, the objects were returned to Turkey, to their homeland, almost 30 years after they had been illegally looted and dispersed.
It must be remembered that the repatriation of the Lydian Treasure was achieved only after a six-year battle had been waged in the courts of New York, with the Herrick Feinstein law firm acting as the legal representatives of the Turkish Republic.7
After their return to their homeland, the objects were put on display in Ankara’s Museum of Anatolian Civilizations, and later sent up to the Uşak Museum, to their original homeland, to be admired, appreciated, and studied by the present and future generations. Now the treasures, which had been sold for profit and deprived deliberately of their meaning and pedigree, have been repatriated. The objects are “visible to the public as messengers of past cultural and technical glory, but with the message also of the urgent duty of the entire world to respect all cultural heritage with the human and scholarly ‘piety’ it deserves. This piety will inspire scholars and students/people at all levels to strive for historical understanding of predecessors and remote ancestors who lived in the land of Lydia with pride and prosperity.”8
The objects that have been selected for inclusion in this article constitute a small portion of the Treasure, but they represent the range and excellence of the various categories of objects. They are integrated to offer a unified and coherent view of the burial furnishings and contents.
All these tumuli are located in the region of ancient Lydia, homeland of the Lydians, distinguished by language and cultural traditions. The Lydian tumuli in the Güre area are located in a 5-sq.-km area south of the ancient Hermos River (modern Gediz) and close to the Güre Çayı, some 25 km west of Uşak9 and approximately 100 km east of Sardis, close to the border of West Phrygia (Fig. 1). From the construction of the tombs, furniture, and burial offerings, it can be stated that they belonged to the local aristocracy and were perhaps situated to overlook the owners’ land along the Gediz and Güre Rivers. They remained largely undisturbed until the robberies of 1965.
In total, there are at least nine large tumuli, and there may yet be others which have so far escaped detection. The burials and the setting around them would no doubt repay a thorough investigation and excavation to determine and find the settlements affiliated with tumuli in the area.
The setting of the Güre tumuli is the mature stage of Eastern Lydian culture, continuing in the period after the Persian king Cyrus had defeated his rival Croesus at Sardis, where traces of the conquest/victory of 547 BC are attested.
The Uşak-Güre tumuli are part of an Anatolian burial tradition of the Early Iron Age, namely Phrygian. The tumuli in this region of inland Anatolia were traditionally receptive to outside influences, and the tomb furnishings and contents have combined Anatolian, Greek (Ionian), and Achaemenid cultural features. Certain features of the tombs might be classified as western Anatolian or Lydian “by default,” since in our present state of knowledge, they are unique either to the Uşak-Güre tumuli or to sites of Lydia.
The Lydian Treasure consists of 363 objects that fall into several groups. They can be dated to the second half of the sixth century BC. There are silver and bronze vessels, bowls, ladles; a wealth of exquisitely crafted jewelry; ancient tools (punches and formers) used to make jewelry and figurines; cosmetic “accoutrements”; and incense burners, as well as fragments of wall paintings and marble sphinxes from the kline. The full catalogue of the treasury can be found in the Lydian Treasure publication10, which reflects the inspiration of Machteld Mellink and Crawford Greenewalt. Their contributions could be felt at every stage of the book, as well as of this article.
Toptepe yielded the most splendid, stunning, and exquisite example of the silver vessels included in the Lydian Treasure: an oinochoe with the handle in the form of a youth leaning backwards (Fig. 2; No. 162).11 His arms are bent at the elbow and raised to reach over his head and grasp the tails of two lions that lie back along the rim of the vase, turning their heads towards the viewer as lateral projections placed back to back (Fig. 3). The youth’s feet rest upon two recumbent rams, standing on either side of the figure and corresponding to the lions at the rim. The youth as a handle is fully three-dimensional, and the young male’s body is fully modeled. The head of the figure is decorated with long, plaited, waving hair hanging into the vessel, concealing the join between the separately cast vase and the handle.
Handles with the same composition of a youth, the form of the body, are not uncommon in Greek bronze hydriai and oinochoai, but this is the only known example in silver.12
Around the rim is chased kymation reflecting Greek taste, but the overall exotic appearance is very Oriental. A touch of Persian taste and influence may be seen on animal themes and in their decorations.
The oinochoe is 16.3–17.3 cm high, and the diameter of the body is 9.5 cm. Considering the vessel’s size, its craftsmanship is astonishing. It is a miniature work of art of sculptural quality in the modeling of the figures; the nude youth, the rams, lions, and the palmette of the handle present an imaginative and vigorous orientalizing idiom with Greek taste to control the ornamental syntax and combine with the functional contours of the handle of the vessel. On this vessel, Greek, Lydian, Achaemenian, and Anatolian traditions are felicitously merged.13 The extraordinary preservation of the silver oinochoe allows one to appreciate its perfect design, craftsmanship, and the richness of the details as well. The beauty and the rarity of the object speak for itself.
Another silver oinochoe from the İkiztepe Tumulus with a trefoil mouth is slightly larger and less ornate (No. 163; Fig. 4).14 Its handle is decorated at the ends with two different animal finials. The open-mouthed lion’s head forms the upper terminal, with a spool-shaped projection at either side. His outstretched forelegs terminate in the form of palmette motifs edged with beading (Fig. 5). The lion’s head is in low relief, and the details of his face and mane are meticulously engraved. The lower end of the handle takes the form of the foreparts of a panther, resting its head between the outstretched paws, of which the individual digits are well defined. The vessel was made in three pieces, the body and foot hammered separately, the handle cast, all parts joined by solder.
The figural art visible in the İkiztepe oinochoe handle attachments with the lion and panther are signs of a maturity in craftsmanship and artistry that had developed well beyond the stage of Phrygian art of the Midas period.
As breathtaking as the silver oinochoe are, the deep bowls/phialai comprise an equally compelling aspect of the “Lydian Collection.” Especially noticeable is the use of gold inlay and overlay on a silver phiale from the İkiztepe Tumulus with prominent gold lobes alternating with gold reliefs of the Persian king, with spear and quiver, standing on a ring with double-eagle-heads (No. 167; Figs. 6, 7).15
These silver bowls have lobes in the form of eighteen Persian male heads evenly spaced around the upper zone of the bowl (Figs. 9, 10). Each head is identical, with slanting eyes, prominent eye brows, and noses with large nostrils. Well-formed lower lips are rendered with drooping curled-up mustaches. The beards are plain and smooth. The heads are hollow, made separately and fitted into grooves. Some of the heads contain pellets. When the bowl is moved, tiny bronze pellets inside the heads create a rattling sound.
The interaction with the Achaemenid art is demonstrated clearly by the phialai with figures of the Persian king, also from İkiztepe (Uşak 1.30.96). Most of the phialai were intended to be used for the funeral banquets, of which we have representations in Anatolian art. One particular example from the Karaburun Tomb at Elmalı, near Antalya in Northern Lycia (470 BC), has to be mentioned. The wall painting shows a Lycian, Persian, or Assyrian dignitary, reclining on a couch in a banquet scene and holding a phiale on the fingertips of his hand (Fig. 11).17 It offers a vivid illustration of the funerary ritual celebrated with silver phialai at İkiztepe and Toptepe, and may be referred to for comparative analysis.18
The large number of phialai at İkiztepe suggests that we look at the symbolic setting for a well-attended symposium, the objects for which accompanied the tomb owner in afterlife. They have deep or shallow bodies and are sometimes decorated with horizontal and vertical fluting or with protruding lobes that are often tear shaped. Their bases are articulated, sometimes flat and sometimes with an omphalos. These deep bowls with everted rims are well defined in the Lydian collection. Virtually identical examples with nine lobes alternating with nine stylized lotuses appear in Uşak 1.34.96, Uşak 1.35.96, and Uşak 1.36.96 (Figs. 12, 13).19 On the underside of the omphaloi are centering marks and lightly engraved monograms or graffiti, perhaps abbreviations of the personal name of the donor of the vessel.20
The use of graffiti by participants in the ceremonial symposium is also attested at İkiztepe. In a silver phiale with a multiple-tongue pattern21 (No. 169), radiating from an engraved circle around the omphalos are 87 lightly chased tongues, defined around the top by scalloping (Fig. 14). On the inside of the bowl, 38 tongues are chased on the floor around the omphalos. It has the name ΑΛΙΚ– and a monogram incised near the dimple on the base, a name probably Lydian by comparative evidence (Fig. 15).
Two spouted silver saucers from İkiztepe are also noticeable for their graffiti. One saucer22 (Uşak 1.47.96) has Κ Λ incised twice on the outside, near the handle (Fig. 16). Such brief graffiti can be considered abbreviations for personal names, engraved to emphasize the personal relationship of the owner-donor with the person buried with the vessel, and some of these marks were probably put on at the time of the symposium ceremony preceding the actual burial. The other, more elegant small silver dish, with a strainer-spout and a handle with swan’s-head attachments, is more elaborately engraved on its base with an inscription of several words, starting with the name Milas or Midas (No. 172, Figs. 17, 18). Many pottery and bronze examples have been recovered at Gordion, and the side-spouted sieve dish has been identified as a drinking cup for beer, because the spout suits a reference of Archilochus cited by Athenaeus to beer-drinking by Phrygians.23
An inscribed shallow bowl24 (No. 170) provides personal identification of some participants, messages deliberately sent into eternity by their signers. The word MATTVA, written retrograde, may be Lydian or Greek. According to R. Gusmani, it is a place name, and the place itself is likely to be located in East Lydia (Figs. 19, 20).
Another interesting piece represented among the items in the treasure is the jasper plate from İkiztepe (No. 171, Fig. 21). The plate has a profiled horizontal rim, a carinated body, and a flat bottom. The vivid color of the jasper is grayish cream, with veins and smears of rust red and smears of yellow brown. The sources of these stones are uncertain, but jasper may be from the workshop found at Sardis25. The many fragments of jasper working chips from Sardis come from a Lydian context of the first half of the sixth century BC. Jasper could also have been an Achaemenid introduction to Lydia. Bowls of similar form and material have been recovered from the palace Treasury at the Persian capital at Persepolis. Polished stone vessels/bowls and plates were also popular, and a great variety of inscribed and uninscribed examples were found in the Treasury at Persepolis. The stone vessels of rock crystal, jasper, serpentine, basalt, granite, and limestone may represent booty.26 Chalcedony of the same colors has been recovered at Sardis in occupation contexts of the sixth century BC.27 The jasper bowl comprises an equally compelling aspect of the Lydian Treasure. The range and function of Lydian tableware brings to mind the question of what was actually being served. Typological classifications and their beauty do not tell us what may have been served within them. Some authentic flavors may have been written in ancient sources (see Greenewalt, “Bon Appetit!”).
Also included among the treasure were several silver ladles and strainers.28 Among the eight silver ladles, no two are alike. All of them are sumptuous. The ladle with a shallow bowl29 (Uşak 1.28.96) rises in a fluted stem of octagonal section, which is capped at the upper end with a quatrefoil lotus above a grooved collar (Fig. 22). The ring handle is cast in the form of two lions, with extended front paws touching, heads turned back, and mouths open. The abstract rendering of the lions can be compared to the lion protomes of the kidney-shaped bracelets.30
The finds from the İkiztepe Tumulus do not include large containers of the kind with which one might expect ladles to be associated. The use of ladles by royal cupbearers to taste wine before offering it to the king is reported by Xenophon (Cyropedia I. 3.9).
The ladle from the Toptepe Tumulus31 (Uşak 1.81.96) also has a loop that terminates at each end with an animal whose foreparts are in the round and hindquarters in relief (Fig. 23). The figural decoration of the ladle demonstrates superb craftsmanship. The handle terminates in animal heads, and at the base of the ladle two winged sphinxes rest along the rim of the shallow bowl. Rising from the shallow bowl is a faceted stem, its lower terminal in the form of a winged hybrid creature with a lion’s foreparts.
The rich figural decoration and unusual handle stem make this by far the most ornate of the ladles from the Güre tumuli and all other known examples. The two seated/winged sphinxes are of special interest because of the comparison that can be drawn to the large marble sculptured sphinxes as couch/kline supports that were also part of the Lydian Treasure Collection from the Harta Tumulus. The question regarding the importance of the sphinx in Lydian culture is raised by the appearance of a similar motif in two different media. The facial features and faint smiles of the sphinxes should be recognized as a hallmark of Lydian and Late Archaic Greek art, too.
It is evident that elegant drinking/banquet customs were observed in Lydian life and death ritual. Some special strainer vessels directly connected with food and drink are of recognizable nature.
One silver strainer (No. 166), with a total length of 25 cm, has a hemispherical bowl and a broad concave rim (Fig. 24).32 The bowl of the strainer is hammered, while the handle is cast. Riveted to the outside of the bowl is a palmette decoration with details chased and engraved. The handle of the strainer terminates in a duck’s head (Fig. 25). Duck-head patterns are features of an elegant ornamental detail of the tableware of the Lydians and are prominent patterns among the tomb gifts.
Incense burners were included among the objects of the Treasure, and one was fashioned in bronze. Incense burners provide a festive aura for the banquet.33
A bronze, hand-held incense burner is also ingeniously put together (No. 173, Fig. 26).34 All parts of the burner are cast. The conical cover of the incense burner is composed of five tiers: the lowest slips over the rim of the cup with carrying handle, while the two uppermost tiers are pierced by arrow-shaped holes to allow the smoke from the incense to escape. A figure of a calf rests its hooves on the corner of the burner, its head is turned to face back (Figs. 27, 28).35 The handle of the incense burner ends, in typical Lydian style, in a duck head with broad and long beak and well-articulated facial details.36
The conical-shaped cover with arrow-shaped holes is also seen in two silver versions of the pedestalled type from the İkiztepe Tumulus.37 The forms of the incense burners are very similar, but there are some differences in the decoration of pedestal and cover (Fig. 29). On the top of the cover is riveted a convex floral disc, with a cast figure of a cock in the center. Featuring a cock on the top of incense burners is known from Egyptian, Punic, and Etruscan sources.38
The elegance of these incense burners is probably the product of Lydian craftsmen, whose works would have been in demand also in Persian lands. The stepped lids of the incense burners are probably an Achaemenid Persian feature, matched in relief sculptural representations at Persepolis, in the Treasury scene of Darius I and Xerxes (Fig. 30).41
The jewelry of the Treasure is remarkable for its preservation, the variety of materials, and the quality of the design and craftsmanship (Fig. 31). Although a wide variety of types and designs are included, the various bracelets, earrings, rings, necklaces, and beads are related stylistically by certain recurring motifs common to Lydian and Persian art, such as animal head finials, acorns and rosettes. The unity of artistic vision of the Lydian craftsman emphasizes the cosmopolitan and universal inspiration of the region and the period (see Meriçboyu, “Lydian Jewelry”).
A necklace with acorn pendants42 (No. 175) from the Toptepe Tumulus is composed of twenty floral beads and eighteen plain beads with acorn pendants (Fig. 32). Each floral bead is decorated with two six-petal rosettes. The petals are segmented, and the quadrangular spaces between petals contain smaller rosettes, each with four hatched petals. Of the surviving fifteen acorn nuts, ten are gold, three are opaque red glass, and two are blue glass. The remaining three caps are broken and have no nuts, but two of these caps contain a green glass substance that is the filling of the gold nuts.
Acorns were common motifs in jewelry of the ancient world. There are well-known sixth and fifth century examples from the Greek and Anatolian worlds. Gold acorn pendants were found at Gordion in Cremation Burial A, dating to the third quarter of the sixth century BC.43 Silver acorn pendants were recovered from the Tumulus B-4, at Bayındır in Elmalı/Antalya, in northern Lycia. An ivory girl figure holding the hand of a female statuette from Tumulus D at Bayındır, probably from the seventh century, is believed to be depicted wearing an acorn necklace (Fig. 33).44 A similar necklace can be seen on a kore from Sardis.45
Glass acorns are not common; one example came from the Mausoleum at Halikarnassos, dated to the fourth century BC.46
The jewelry of the Lydian Collection is mostly made of gold or electrum. There is very little silver, used only for one acorn pendant (Uşak 1.120.96), two animal figures (Uşak 1.135.96 and Uşak 1.136.96), two silver earrings/disks (Uşak 1.164.96 and 1.165.96), and two bracelets (Uşak 1.14.70 and 1.15.70).47
Another pendant48 (Uşak 1.67.96), from an unworked natural gold nugget on a looped suspension wire, is very unusual (Fig. 34). The examination of the nugget pendant under the microscope revealed that it had no inclusions. Analysis will be necessary to determine the composition of the nugget. This is primary gold/electrum, but it would be interesting to see the silver content to enable a comparison with the gold dust from the Pactolus River at Sardis. There are other places and sources of placer gold in the vicinity (Boz Dağı Mountains), although whether these were exploited in antiquity is unknown.
The nugget is almost rectangular in shape and has been perforated slightly off-center to accommodate the gold wire. A similar method of suspension is used for agate (No. 178), deep-purple argillite (1.69.96), and pyramidal stamp-seal pendants (No. 177) in the collection (Figs. 35–36).49
The two spool-shaped rattles from the Toptepe tomb are almost identical50 (No. 174). Each is formed from two disc-shaped end pieces. One has seventeen concentric rings on the die-formed faces, the other fifteen (Fig. 37). The damaged edges of the rattles must have been a result of an attempt by the robbers to open them. Such rattles were probably attached in pairs to a rod and used as a kind of sistrum.51
Animal-head finials are used on several of the bracelets.52 A pair of bracelets that cannot be assigned to any specific tumulus or tomb is affiliated with the Lydian Treasure (Fig. 38). They were sold to the Metropolitan Museum at the same time as the objects of known provenance. They may have come from tombs of the same caliber in the vicinity of Güre, of which we have no knowledge. This pair of “kidney-shaped” bracelets with lion protome terminals53 (Uşak 1.107.96 and Uşak 1.108.96) is characteristically Achaemenid in spirit. Similar bracelets are represented in stone and glaze-tile relief sculptures from Persepolis and Susa. Actual jewelry examples from Susa and the Oxus Treasure also exist. Such bracelets are worn by the dignitary in the Karaburun Tomb near Elmalı.54
Appliqués, or bracteates, thin gold plaques perforated at the four corners with holes for attachment, are common in sumptuary arts of the ancient world (Fig. 39). An assemblage of thirty-eight square appliqués55 (Uşak 1.92.96) has embossed star-like floral motifs formed from four tear-shaped rays, which are oriented to the corners from a raised central circle. The star-like motif is common in Greek art and in the architectural terracottas of Sardis and Gordion.56 The motif also occurs on a square gold plaque from Ephesus (Nos. 141, 142). They were sewn to garments, shrouds, headgears, and equipments of textile and leather. The use of gold appliqués on costume during the Achaemenid period is well documented in classical texts and from the archaeological evidence. Appliqués of Achaemenid type have been recovered at Sardis, from five graves at the city cemetery, and one at Bin Tepe (No. 133). As Elspeth Dusinberre pointed out, the appliqués are an emphatic link to the central imagery of the empire and art created for the court.57 À jour rosette appliqués have been recovered at two cremation burials at Gordion. It seems that the Scythians also adopted the custom of gold appliqués sown on garments during their incursions into the Near East during the seventh century BC. Appliqués are also depicted in representational art. Tunics with richly decorated motifs appear on an Urartian gold medallion from Toprakkale, dated to 600 BC, showing two figures wearing garments with decorated appliqués (Fig. 40). Richly decorated appliqués also appear on royal figures in Assyrian reliefs from the ninth to the seventh century BC58, and on the polychrome glaze brick. An example from Susa depicts a guard equipped with a bow, quiver, and spear, and wearing a dress decorated with star-like floral motifs (Fig. 41).59 An ivory female figurine from Ephesus holding a spindle wears a tunic decorated with a checker pattern framed by leather belts, which form squares as if the garment of the figure is decorated with appliqués.60
If we move our focus from the silver tableware and burial gifts to another aspect of the tombs, we find that wall paintings from the Aktepe and Harta Tumuli contribute to our understanding of the funerary rites and beliefs of the Lydians. The role of the wall paintings in expressing and strengthening the ideals of afterlife also are an essential part of the collection of the Lydian Treasure.
The recorded evidence for the wall paintings from two looted tumuli, Harta and Aktepe, confirms the nature of these privileged burials and provides another instance of vandalism destroying Lydian wall painting.
The tomb chamber and the antechamber of the Harta Tumulus near Kırkağaç, in the Upper Caicus River valley, dated to the late sixth or early fifth century, was decorated with a frieze of bands in the middle of the walls, on the upper wall surfaces. Both the porch and the chamber were decorated with a frieze of bands with different colors consisting of a patterned dado, with a figural frieze above. An Ionic cymation consisting of an egg-and-dart frieze is placed above a bead-and-reel decoration. Above this band, various scenes are placed. The identification and the interpretation of these paintings suffer from a long history of looting, like the wall paintings from the Aktepe Tumulus.
At Harta, gift-bearers appear to have been brought by a procession of figures compositionally reminiscent of the tribute bearers on the Apadana reliefs at Persepolis.
Virtually nothing of the frieze now remains. It showed a procession of figures and one or two wheeled vehicles. Apparently the couch and wall paintings were still intact in March 1965 when Manisa Museum officials and other authorities visited the tomb. In an unpublished report submitted to the Department of Excavations and Museums on March 8, 1965, K.Z. Polatkan described the paintings as “in convoy fashion, a funeral and war chariot and servants advanc[ing] in very orderly file, one behind the other....Particularly noteworthy is the beauty of the female and black-bearded male figures.”
The information available does not permit a secure attribution of any of the three surviving mural fragments to any specific location in the porch of chamber.61 The paintings show the two men facing right (Figs. 42, 43), most probably as part of a funerary procession. At least three attendants were painted on the left wall of the Harta tomb, perhaps in the porch. Both figures are painted on a good white ground. Both men have black hair, and one has a pointed short beard (Fig. 42, Uşak 1.3.96). Both men wear tunics (one red, one blue) with simple round neckline, over which is a mantle.
One other figure (Fig. 44, Uşak 1.5.96) is a servant wearing a white head cover and Persian attire. This is a male figure, walking to the right and overlapping the knotted tail of a white horse moving in the same direction. Knotting the tails of horses was an Achaemenid practice, illustrated, for instance, in Building G at Xanthos (BM 313) and in the wall paintings at Karaburun.62 Achaemenid iconography and ideas must have been accepted by locals, and fused with local themes of funerary processions in the Harta Tumulus.63
The Aktepe Tumulus was emptied of its portable contents by looters, but its wall paintings give a vivid illustration of the ritual beliefs and funeral rites.64 The beautifully constructed tomb chamber of Aktepe was decorated with painted figures, who formed an integral part of the burial complexes as a symbolic place of afterlife in the beliefs and ritual needs of the Lydians. Standing figures were painted directly on the smoothed surface of the limestone blocks.
On the side walls of the tomb chamber, at least three figures were painted (Figs. 45, 46, 47, 48), each holding branches and facing towards the kline and towards the deceased who once lay upon it. Their gender and what they held are difficult to determine. The figure on the left (Fig. 46, Uşak 1.10.96) holds either a flower bud or an unguent container. The other standing female figure facing left (Fig. 45, Uşak 1.9.96), which was cut out of the right wall of the tomb, has her face details redrawn and repainted by the looters. The branches may represent gifts for the deceased, like the flower bud and bird/rooster of the Gökçeler Relief, No. 12.65
The style of the Aktepe paintings, even in poorly preserved and damaged condition, gives us a view of the Lydian adaptation of figural art shared by Anatolians and Ionians. Regalia such as costume, hairstyles and equipment do not allow a stricter separation of “Greek” and “Lydian-Anatolian” costume, with clear indications of Anatolian originality.66
As a whole, these tombs and the objects they contained reflect a combination of traditions. Some are Achaemenid in style, or exhibit Achaemenid influence. Indigenous Anatolian traits are also evident, with comparisons to metal objects of an earlier date from Gordion and other Phrygian sites and cemeteries, as well as from Sardis. The cultural identity of many items is ambiguous; “Lydian or Greek” may be asked but not necessarily answered. Some characteristics may have been adopted from outside and naturalized in Lydia. There may have been local workshops associated with post-Croesus Lydia, which were partly responsible for establishing terms and styles that reflect Persian taste, style, and iconography. But it must be remembered that long before the Achaemenid period, eastern elements had entered the western Anatolian repertoire to be manifested in the “orientalizing” style. One must be cautious of attributing all elements that appear in the artwork as post-Croesus period in Anatolia to direct Achaemenid influence. Animal terminals, for instance, were also favored by the Phrygians.67
All the funerary equipment has its ancestry in the Phrygian tradition, but nearly all of it is now in precious metal—silver of excellent quality. The shapes have been refined and enriched with ornamental detail, often betraying Persian traits and motifs, providing historical reference to the period under Persian domination.
The general aspect of the prominent tomb gifts and the funerary symbolism (and festivities) of elegant drinking banquets reappears in the inventory of the tombs in the Güre and Manisa regions, to judge by the contents now reassembled in the holdings of the Manisa, Uşak, and Ankara Museums and the repatriated lot from the Metropolitan Museum in New York. The ample number of phialai attributed to the İkiztepe burial chambers is indicative of the survival of the symposium rite in Lydian life and death ritual, as are the ladles and the especially elegant oinochoai, even if the attendance at the burial ritual was far smaller than that of the Phrygian king at Gordion.68
The large array of objects represented in the Treasure also reflects some uncommon features. The contents of these burials have given us insight and respect for Lydian workmanship and expertise in their minor arts.
As we try to assemble the facts we can establish about the Lydian Treasure, there are categories of uneven documentation that call for study/attention.
The illicit, unrecorded, and plundered excavations of ancient sites and burials, and the destruction of their archaeological record, constitute an unmitigated and continuing catastrophe for the world’s, and Turkey’s, archaeological heritage.69 Its consequences are most acutely felt in the plundering of tumuli and their contents (see Luke, “Heritage Preservation in Central Lydia”). “What is to be done?” is the question asked recently. Professor Colin Renfrew, in his book Loot, Legitimacy and Ownership, reviews the illicit antiquity trade. The Lydian Treasure, returned to Turkey, plays an important part in his discussion. Renfrew argues that there are two approaches to the problem. One is to eliminate the “clandestine” excavations in the countries of origin. According to him, the task will only succeed when each nation imposes effective laws administered by sound and well-informed antiquities departments, with high-level educated employees whose ethical backgrounds are strong. Museum displays should be designed to convey responsibility and appreciation of their cultural heritage to those who must oversee the trust of their heritage and share it with the world.70
It is regrettable that this desirable infrastructure is lacking in Turkey. One of the responsibilities and goals of the Ministry of Culture and Tourism is to provide it. The role of the national and international academic community becomes important in providing support for such matters. The disappearance of the Lydian Treasure’s hippocamp underscores the fragilities of current heritage management structures.71
- 1Opening note inside the front cover of Heritage Returned: The Lydian Treasure by Özgen et al. 1996.
- 2Özgen et al. 1996, 19. For a selected bibliography on the Lydians and Sardis, see the Bibliography, below. Also, see Cahill, “The City of Sardis”.
- 3Dusinberre 2003, 1.
- 4For the Basmacı Tumulus and its contents, see Baughan, “Lydian Burial Customs”.
- 5Kaylan 1987, 66–73; Acar and Kaylan 1990, 130–137.
- 6von Bothmer 1984, esp. 24–45.
- 7see Kaye and Main 1995, 150–161; Rose and Acar 1995, 45–46.
- 8These are the words of Professor Machteld Mellink, from the introduction of Özgen et al. 1996, 15.
- 9Epigraphic and numsimatic evidence shows that Uşak itself was the site of ancient Themenouthyrai (see Drew-Bear 1979, 275–302).
- 10Özgen et al. 1996.
- 11von Bothmer 1984, 29, no. 35; Mertens 1987, 43; Özgen et al. 1996, 150, no.106.
- 12von Bothmer 1984, 29, no. 35; Hoving 1975, 119, fig. 19.
- 13Özgen et al. 1996, 35.
- 14von Bothmer 1981, 201–202, fig. 6; von Bothmer 1984, 30–31, no. 36;Özgen et al. 1996 76, no. 13.
- 15Mertens 1987, 42; Özgen et al. 1996, 87, no. 33.
- 16Özgen et al. 1996, 90–91, nos. 36–37.
- 17See the phialai depicted on the fingertips of the Assyrian kings in Paley 1976, 88, fig. 4 (Brooklyn Museum 55.155) and 90, fig. 6 (Fitzwilliam Museum, Cambridge E.45-1927)
- 18Mellink 1972, 257–269; Mellink 1973, 293–303; Özgen et al. 1996, 47, fig. 89.
- 19Özgen et al. 1996, 92–93, nos. 39–41.
- 20Özgen et al. 1996, 93. A shallow bowl known as a “phiale mesomphalos,” often decorated with lobes, was adopted in Anatolia by Urartians, Phrygians, and Lydians as either a libation vessel or a drinking cup. They are not only made of silver or gold plate, but also of glass; and ceramic varieties seem to imitate metal types.
- 21von Bothmer 1984, 26, no. 24; Özgen et al. 1996, 94, no. 42.
- 22von Bothmer 1984 39, no. 55; Özgen et al. 1996, 105, no. 59.
- 23Özgen et al. 1996, 106, no. 60; Tezcan 1976, 395; Toker 1992, 172, 223, no.150; for the inscription, Gusmani 1988; Brixhe 1989–1990; for Gordion, see Sams 1977; Sams in Young 1981, 251–254; for sieves and filters in wine drinking, Ashmead and Phillips 1971, 32–33; Moorey 1980. Also see Curtis and Tallis 2005, 119, fig. 115 and 130, fig. 146.
- 24Özgen et al. 1996, 103, no. 54.
- 25Curtis and Tallis 2005, 109.
- 27Özgen et al. 1996, 130, no. 85; for Sardis chalcedony, see Greenewalt, Rautmann and Cahill 1987, 80. For Persepolis jasper bowls, see Schmidt 1957, pl. 57, nos. 5–7, pl. 62, nos. 5, 9, 11.
- 28See Özgen et al. 1996, 83–86, nos.24–32.
- 29Özgen et al. 1996, 85, no. 30.
- 30See here, bracelets, Uşak 1.107.96 and 1.108.96.
- 31von Bothmer 1984, 42, no. 62 and references; Özgen et al. 1996, 152, no. 107.
- 32Özgen et al. 1996, 109, no. 64.
- 33For incense burners in banquet scenes, see Dentzer 1982.
- 34Özgen et al. 1996, 118, no. 73.
- 35The calves’ heads can be compared to those of the silver ladles from İkiztepe (Özgen et al. 1996, 83–84, nos. 24–26). For other closely related examples, see von Bothmer 1984, 41, no. 61; Waldbaum 1983, 146–147 no. 965 and references; Özkan 1991, 133, no. 3, and pl. XXXI.3–4; Özgen et al. 1996, 57, fig. 125. The ladle on the Munich market was auctioned (Hesperia Arts Auction, November 1990, lot 11) together with the oinochoe and the phiale (but without the mirror).
- 36The ducks’ heads can be compared in form and position to those on the silver alabastra, see Özgen et al. 1996, 123–124 and 239, nos. 76–8 and 228.
- 37Özgen et al. 1996, 115–116, nos. 71–72.
- 38See von Bothmer 1981; Özgen et al. 1996, 115.
- 39Özgen et al. 1996, 115, no.71.
- 40For the inscription, see Gusmani 1983.
- 41For the Assyrian examples, see Palace of Assurbanipal at Nineveh, room S upper chambers, BM No. 124886-7; and BM No. 124920 in Barnett 1975, pl. 125 and 169
- 42Özgen et al. 1996, 155, no. 108.
- 43Young 1951, 17, pl. VIII, fig. 3; Kohler 1980, 68; Edwards 1980, 164, fig. 4.
- 44Antalya Museum, 39, no. 42, 190.
- 45Hanfmann and Ramage 1978, 52, no. 9.
- 46Now in the British Museum (GR 1857.12–20.43); Williams and Ogden 1994, 10–11 and fig. 2; for other comparisons, see Özgen et al. 1996, 155.
- 47Özgen et al. 1996, 189, no. 142; 196, nos. 157–158; 209, no. 183; 149, no. 104.
- 48Özgen et al. 1996, 137, no. 92.
- 49Özgen et al. 1996, 138–139, nos. 93–5.
- 50Özgen et al. 1996, 168, no. 120.
- 51Two spool-shaped rattles come from the grave assemblages of Tilki Höyük, 175 km southeast of Caberkamara; Roosevelt 2009, 239, fig. c.19.
- 52A pair in gold and glass can be found in Özgen et al. 1996, 161, no. 111 (Uşak 1.85.96 and Uşak 1.86.96).
- 53Özgen et al. 1996, 179, no. 130.
- 54For comparable examples, see von Bothmer 1981, 204–205 and fig. 9; Mertens 1987, 44–45 and pl. 30; for examples in stone sculpture and glazed tile, see Schmidt 1953, pl. 32, 37; Muscarella 1992, 220, fig. 50; Caubert and Muscarella 1992, 226–227, nos. 155–156; for bracelets from Susa and the Oxus treasure, see Amandry 1958, 11; Tallon 1992, 246–247, nos. 172–3; Özgen et al. 1996, 59, figs. 133–134; for Karaburun, see Özgen et al. 1996, 47, fig. 89; for the Dağ Kızılca Köyü bracelets, see Akurgal 1961, 173, fig. 117; and for the animal protome gold finial from Sardis (?), formerly in Berlin, see Waldbaum 1983, 151, no. 996.
- 55Özgen et al. 1996, 166, no. 117.
- 56Ratté 1993, 1–12.
- 57Dusinberre 2003 160; Stronach 1978.
- 58For possible examples of appliques, see the king Tiglath-Pileser III in a slab from Nimrud, Central Palace, BM No. 118900; the king and his companion in the Palace of Asurbanipal at Nineveh, room C, BM No. 124854; in Barnett 1975, pl. 50, 116–118.
- 59Curtis and Tallis 2005, 87, no. 51.
- 60von Bothmer 1981, 206–207 and fig. 11; for the star-like floral motif in terracotta revetment plaques, see Åkerström 1966, 75–76, 92–93, 148, 150, and pls. 44, 45, 83; see also Özgen et al. 1996, 25; for Ephesus, see Marshall 1911, no. 888; for ancient Near Eastern appliqués, see Oppenheim 1949; Kantor 1957; for Scythian and South Russian grave assemblages, see, for example, Rolle, Müller-Wille and Schietzel 1991, 106–110; for Achaemenid-type appliqués, see Curtis 1925, nos. 1–5, 8, 10–11; Dusinberre 2003, 160; Stronach 1978, 93–97; for Gordion, see Young 1953, 32–33 and fig. 24; Kohler 1980, 66–7; for representations on Assyrian reliefs, see Strommenger and Hirmer 1962, pls. 224, 258, 261; for other examples in representational art, see Boehmer 1973; 152, 153, 161, 165; for the Toprakkale gold medallion, see Akurgal 1961, l61; for the ivory figurines from Ephesus, see Hogarth 1908, 156, pls. XXI.6, XXII.1a–c, 157, pl. XXIV.1a–b, 160, pls. XXI.2, XXIV.7,11; for Melian amphorai, see Charbonneaux et al. 1969, 38, fig. 40; see also 64, fig. 69 (representation of Artemis on the François Vase); Boehmer 1973, 169, fig. 30 a–b; for examples of black-figure vase painting, see Pfuhl 1923, figs. 108–109; Boehmer 1973, figs. 32–33.
- 61For a detailed account, see Özgen et al. 1996, 38–39; for the reconstruction of the Harta chamber, see fig. 60, 37.
- 62Dusinberre 2003, 87, fig. 32.
- 63See Nolle 1992; Dusinberre 2003, 86.
- 64For the computer-generated reconstructions of the figures and what they hold in their hands and for the comparanda material, see Özgen et al. 1996, 43.
- 65Roosevelt 2009, 161, fig. 6.25. For funerary relief from Gökçeler (near Şahankaya) in northern Lydia (Manisa Museum 9156): Roosevelt 2009, cat. No. 14.1C.
- 66See Özgen 1982.
- 67Young 1981.
- 68The chamber in Tumulus MM contained ninety-eight omphalos phialai (Young 1981.), while İkiztepe had only some twenty examples.
- 69Roosevelt and Luke 2006, 173–187; Roosevelt 2006, 185–198
- 70Renfrew 2000, 15.
- 71The loss of the hippocamp from the Uşak Museum had attracted the attention of the national and the international media. See the following newspaper articles: Sabah, 02.Oct.2006 “Müzede ikinci soygun!”; Zaman, 20.Nov.2008 “Karun hazineleri davası ertelendi”; Sabah, 13.Feb.2009 “Müze müdürüne 12 yıl hapis”; Star, 31.May.2008 “Kanatlı Denizatı 2 yıldır mahkeme salonlarında”; Zaman, 31.May.2006 “Dünya basını: Karun Hazineleri’nin çalınması Türkiye için utanç.”

domain: artistic


text:
King Hua Death-Obituary
Saddiq Washington, a native of Darby, was arrested in a fatal road-rage shooting in Springfield Township, according to King Hua’s obituary. On June 29, 2022, at around 9 a.m., King Hua, 54, was fatally shot while waiting with his wife at a stop sign on State Road near Meetinghouse Lane in Springfield Township.
Mr. Hua was shot through the windshield of his automobile by a suspect who has since been identified as Saddiq Washington, a 22-year-old resident of Darby.
King Hua- Cause of Death
We don’t now know what led to his passing, and it might never be known. But when information about him is made public, everyone who enjoys reading headlines will be interested!
In this trying time, we are all thinking about you. There is no emotion more agonizing than losing someone close to us in such awful circumstances, and we pray that God would grant those mourning your loss the bravery and resilience they need.
Who was King Hua?
As we grieve alongside family and friends for this significant loss, words can’t adequately express our sorrow for your loss. Accept our sympathies, and may God comfort you via our prayers. Kindly accept our sincere sympathies.
An obituary for King Hua has been published. During this trying time, his family and friends are in our thoughts and prayers. Unfortunately, we still haven’t heard anything new about the deceased’s funeral plans.
King Hua-Funeral Service
King Hua’s funeral: Funerals are a very emotional time for friends and family. They might not be able to attend the funeral, so their obituary must be posted online so that those who cared strongly about them while they were alive can view or share recollections of their loved ones.

domain: news


text:
HSBC Saudi Arabia has become the first custodian to establish an electronic link with the Saudi Arabian market through a partnership with FinTech firm DirectFN.
The connection between HSBC and Saudi Arabia’s EDAA ICM Central Depository System, based on DirectFN’s central custody system (ICMS), will enable the custodian to carry out straight-through processing (STP) depositary operations in the newly classified emerging market.
HSBC will enable direct portfolio management, as well as electronic trading and deposit account management linked to the Saudi securities depository centre.
“This will facilitate the creation and management of portfolios and the rapid exchange of information with the SDC and other useful services in the digital age,” said Ahmed AlShammari, head of service delivery, HSBC Securities Services, HSBC Saudi Arabia.
Since Saudi Arabia opened its doors for foreign investors in 2015, HSBC has emerged as the largest custodian in the country.
Investment into the Kingdom is set to increase significantly after it achieved emerging market status from MSCI last month, after it made a number of improvements to its capital markets, including passing rules easing foreign institutional investment, increasing the number of qualified foreign investors, and moving to a T+2 settlement cycle.

domain: economics


text:
Boyfriend wants to buy a house
My boyfriend has been adamant about it for a while, while I’m looking at apartments he’s looking at houses. I’m 21 and he’s 25, been dating for a year now and I am scared of the financial obligation of being a homeowner right off the bat. I love him to death but he doesn’t understand the way it makes me feel. Living in a house with a man I’m not married to...just feels backwards. Theres steps to relationships right? Cuz he doesn’t think so.
What do y’all think?

domain: psychology


Disposable food containers and other products containing styrofoam and polyfluoroalkyl substances are banned for sale and use in Sonoma County, the Sonoma County Board of Supervisors voted on Tuesday.
In line with the Climate Action and Resilience section of the county’s strategic plan, the ordinance will minimize toxic chemicals in county waste and waterways.
The ordinance will go into effect on January 1, 2022, but before that date, the county’s waste management agency, Zero Waste Sonoma, will work to provide support to businesses that may need to purchase new containers from take away environmentally friendly. Outreach and community engagement efforts will also be launched with chamber of commerce meetings, newsletters and implementation plans for those affected by the policy.
“It’s high time to get non-compostable, non-recyclable single-use polystyrene products out of our waste stream in Sonoma County,” Sonoma County Supervisor Lynda Hopkins said in a statement. “While this ordinance benefits all residents of Sonoma County, we also understand that some businesses and individuals can be significantly affected. That is why we are awaiting a strong education campaign in partnership with stakeholders to ensure that information and resources are widely shared, especially with the most needy residents. â


Once a Trump diehard fan, conservative commentator Ann Coulter said the former president is “done.”
She echoed the sentiments in her new podcast episode titled, “Trump’s Done.”
TRUMP'S DONE. I explain why.https://t.co/mmPIK2ZIwV— Ann Coulter (@AnnCoulter) August 29, 2022
“You don’t need to suck up to Trump anymore, conservative talk radio hosts, talk TV hosts, Republicans running for office,” Coulter declared. “He’s done. He’s over.”
The “In Trump We Trust” author hasn’t been a fan of Trump since he failed to deliver on border security promises.
Coulter compared Trump’s meteoric political rise to former Alaska Gov. Sarah Palin (R), who is running for Congress.
“Republicans, it’s not the party of Trump. It’s safe to come back, and it’s safe for Republicans to stand up and run without Donald Trump,” she said.
Coulter pointed to Republican Virginia Gov. Glenn Youngkin’s election that largely focused on CRT and transgenderism in schools.
WATCH PART OF HER PODCAST BELOW:


text:
Shepherd’s pie is a meat casserole covered with a mashed potato topping. This Irish dish is a hearty, satisfying meal that features meat, vegetables, and starch—all in one! Our repeat favorite version has carrot, parsnips, and creamy homemade mashed potatoes—with a sprinkle of chives for added brightness.
12 ounces Yukon Gold potatoes
4 ounces parsnips
⅛ ounce chives
1 yellow onion
1 packet unsalted butter
¼ cup heavy cream
12 ounces ground beef
1 tablespoon tomato paste
1 tablespoon flour
½ teaspoon Worcestershire sauce
8 ounces chicken stock
1 tablespoon + 1 teaspoon olive oil
8″ medium pot
potato masher (optional)
10″ medium high-sided ovenproof pan
Preheat oven to 450°F. Rinse all produce. Peel potatoes and cut into 1-inch dice. Cut carrot and parsnips into .5-inch dice. Thinly slice chives. Peel onion and mince.
Place potatoes in a medium pot and cover with cold water by 1-inch. Season generously with salt, bring to a boil over high heat, and cook until tender when pierced with a knife tip, 10-12 minutes. Drain and return to pot, off heat. Add butter and heavy cream and, using a potato masher or fork, mash until smooth. Taste and add salt and pepper as desired. Set aside.
While potatoes boil, pat beef dry with paper towel. Heat 1 teaspoon olive oil in a medium high-sided ovenproof pan over medium-high heat. When oil is shimmering, add beef. Season with .5 teaspoon salt and pepper as desired. Cook, breaking up, until browned, 3-5 minutes. Using a slotted spoon, transfer to a bowl and set aside.
Wipe pan from beef clean and add 1 tablespoon olive oil over medium-high heat. When oil is shimmering, add carrot, parsnips, and onion and sauté, stirring, until softened, about 5 minutes. Stir in tomato paste and browned beef and cook, stirring, until flavors are melded, 2-3 minutes. Season with .25 teaspoon salt and pepper as desired.
Reduce heat under pan to medium, sprinkle over flour, and cook, stirring, until flour is no longer visible, about 1 minute. Add Worcestershire sauce and chicken stock and cook, stirring, until thickened, about 3 minutes more. Remove pan from heat.
Spread mashed potatoes over beef in an even layer (see Recipe Tip). Transfer pan to oven and bake until lightly browned on top, about 5 minutes. Remove and sprinkle over chives.
Enjoy your shepherd’s pie family-style while it’s hot.

domain: food


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The celebrations continue! Robin Thicke, 39, brings girlfriend April Love Geary to celebrity hot spot after her 22nd birthday
They've been dating since 2014, but they still can't keep their hands off each other.
Robin Thicke, who turned 39 this year, brought his newly 22-year-old girlfriend out to the celebrity flypaper restaurant Catch LA on Saturday night.
They were spotted arriving hand in hand to continue the celebrations in April's honour, the singer having popped on a blazer splattered with a black and gleaming silver zebra pattern.
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What's 17 years?: Robin Thicke, who turned 39 this year, brought his newly 22-year-old girlfriend out to the celebrity flypaper restaurant Catch LA on Saturday night
His black dress shirt had got multiple buttons undone over his chest, and was tucked in, emphasising his stomach.
Charcoal slacks were cinched at the waist with a belt, and he'd accessorised with a tangle of necklaces.
The former husband of Paula Patton had primped his hair up into its signature bouffant, completing his outfit with black dress shoes.
His latest squeeze had opted for black as well, casually throwing a coat on without putting her arms in the sleeves.
Two years on: They've been dating since 2014, but they still couldn't keep their hands off each other, arriving at the venue with their fingers interlocked
April's strapless miniskirt featured black diamond patterns over a pale grey background, and its top and bottom were lined with fringe.
Black ankle-strap high heels amplified the look of her already vertiginous legs, and she'd rounded out the look with a black choker.
After dinner they kept the party going heading to 1 OAK LA nightclub, where Robin hoped on the mic to wigh his lady love a happy birthday.
Robin and April recently sparked rumours they had secretly tied the knot after she shared a photo of her bikini bottoms which were monogrammed with the initials ALT.
On Saturday April was sporting a ring on her wedding ring finger, however it did not have the appearance of an engagement sparkler or a wedding band.
Chic in black: Her strapless miniskirt featured black diamond patterns over a pale grey background
The Blurred Lines singer and Paula Patton separated in February of 2014. His public campaign to repair the marriage included an album named after her.
Songs like Get Her Back notwithstanding, the breakup proceeded apace, and Patton finally filed for divorce in October of 2014.
By the following March, the divorce was finalised.
Retro: The singer had popped on a blazer splattered with a black and gleaming silver zebra pattern
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It's nothing new for musicians to take a crack at Springsteen's songs, but through his resurgence in popularity and influence over the last few years even more artists are covering the Boss.
I guess his tunes are so damned fun to sing. And since the original versions are all so identifiable they immediately take on new life when performed by a different artist. It probably doesn't hurt either that a lot of his work can be quite dated by their production styles - especially his 80s stuff.
Anyways, here are my favorites from the last few years...
Kurt Vile - "Downbound Train"
The Hold Steady - "Atlantic City"
Tortoise and Bonnie 'Prince' Billy - "Thunder Road"
Camera Obscura - "Tougher than the Rest"
Marissa Nadler - "The River"
Vampire Weekend - "I'm Going Down"
Julian Casablancas - "Dancing in the Dark"
Tegan and Sara - "Dancing in the Dark"
Honorable mention to the National's "Mansion on the Hill" and Arcade Fire's "State Trooper". I think these newer takes definitely hold up to some of the classic Bruce covers like Johnny Cash's "I'm on Fire" or David Bowie's "It's Hard to be a Saint in the City", and of course Frankie Goes to Hollywood's "Born to Run".

domain: entertainment


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- How many gallons of gasoline can you haul without a hazmat?
- What containers are safe for gasoline?
- Is water corrosive?
- Is gasoline a hazardous material?
- How do you transport a 55 gallon drum?
- How does a auxiliary fuel tank work?
- Does gasoline corrode aluminum?
- Can you put gasoline in a diesel transfer tank?
- Can you put gasoline in a plastic container?
- Is gasoline a corrosive?
- Is it legal to fill a 55 gallon drum with gas?
- Does gasoline dissolve plastic?
- What plastic is safe for gasoline?
- Does alcohol corrode aluminum?
- Can the smell of gasoline kill you?
- What is a fuel slip tank?
- How does a transfer tank work?
How many gallons of gasoline can you haul without a hazmat?
119 gallonsNon-bulk packaging has a maximum capacity of 119 gallons or less as a receptacle for a liquid hazmat.
49 CFR 173.150 states that a flammable liquid with a flash point at or above 38 °C (100 °F) that does not meet the definition of any other hazard class may be reclassed as a combustible liquid..
What containers are safe for gasoline?
The best containers for handling gasoline are Underwriters Laboratories (UL) or Factory Mutual (FM) approved safety cans (see Figure 1). Safety cans are available in several sizes and have various mechanisms for opening the valve to pour the liquids. Funnel spouts can be added to make pouring easier and reduce spills.
Is water corrosive?
Water can be corrosive to most metals. Pure water, without dissolved gases (e.g., oxygen, carbon dioxide, and sulfur dioxide) does not cause undue corrosion attack on most metals and alloys at temperatures up to at least the boiling point of water.
Is gasoline a hazardous material?
Gasoline – The high rate of exposure associated with this flammable liquid is the primary reason it makes this list. It is highly flammable. … Diesel Fuel – Similar to the high rate of exposure associated with gasoline, diesel fuel also has a high rate of exposure.
How do you transport a 55 gallon drum?
The drums need to be placed on pallets for shipping, and it is important to choose pallets that can withstand the weight of the filled drums. When placing them on the pallets, the drums should not overhang the edges. They should fit on the surface completely.
How does a auxiliary fuel tank work?
Auxiliary Tanks are plumbed right into your stock factory tank. This is sometimes accomplished with the aid of a small 12v pump or gravity fed. Tanks almost always have a shut off valve so you can stop the flow of fuel if necessary or if wanted.
Does gasoline corrode aluminum?
Chloride, which is a chemical found in salt water, will also accelerate corrosion. … The second mechanism that can occurs with the increased use of ethanol based fuel in aluminum tanks is galvanic corrosion. Gasoline fuel is not conductive, but the presence of ethanol or ethanol and water will conduct electricity.
Can you put gasoline in a diesel transfer tank?
You need a tank made for gasoling. The vapors from gasoline are highly flammable but you can drop a match in a tank of diesel fuel and nothing will happen.
Can you put gasoline in a plastic container?
It is not safe to fill unapproved plastic bottles, old metal gas cans, other metal containers or glass containers with gasoline. It is also against the law.
Is gasoline a corrosive?
In gasoline with a water content of 80 ppm or less, the rate of corrosion on carbon steel is 0.001 mm/year; in those with a water content of 200 ppm – corrosion rate is as high as 0.4 mm/year . … Also microbial growth in fuels causes corrosion damage during the storage and transport of fuels.
Is it legal to fill a 55 gallon drum with gas?
If it’s a 55 gal drum, you will need a explosion proof pump that can pump out of the drum bung. That would include a pickup tube, grounding, and proper venting. The best way to do this is with multiple 5 gal safety cans. It’s also legal.
Does gasoline dissolve plastic?
Certain plastics dissolve in gasoline because they have similar chemical structures. … The hydrocarbons in gasoline interact freely with those in the plastic. If the interaction between gasoline and the plastic is less energetic than that of the bonds in the plastic, the plastic will dissolve.
What plastic is safe for gasoline?
yes, high density polyethylene, HDPE, is what store bought gas cans are made of.
Does alcohol corrode aluminum?
Aluminum is susceptible to rapid corrosion rates in dry ethanol blended fuels. Water concentration and temperature were found to be the principal drivers. Higher ethanol concentrations result in faster corrosion rates of aluminum alloys. Galvanic corrosion did not appear to play a factor in the corrosion mechanism.
Can the smell of gasoline kill you?
If very severe, exposure to gasoline or gasoline vapors can cause permanent organ damage, coma, or death. … Some people intentionally inhale gasoline fumes, because they like the way it makes them feel. Chronic inhalation of gasoline fumes can cause a wide range of symptoms, including sudden death.
What is a fuel slip tank?
A fuel tank is a slip tank. … A tidy tank is a brand that makes slip tanks (much like Enviroslip). return to top. Our tanks may seem to be priced higher. but they will save operators time and money!
How does a transfer tank work?
Basically the transfer tank is to hold additional fuel which can be transferred when need. They can operate in a different manner and the two most obvious are: The fuel is transferred to the main tank /tanker truck then used. The fuel is used directly from the auxiliary tank.

domain: chemistry


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Spider-Man's new squeeze Emma Stone plays a southern belle and aspiring journalist who stirs up 1960s Mississippi society when she decides to interview the black women who have spent their lives taking care of prominent southern families. The scandals and friendships that emerge from Kathryn Stockett's bestselling novel are splendidly borne out by the mostly female cast, particularly Oscar winner Octavia Spencer and Best Actress nominee Viola Davis as the doughty ladies of the title.
Bryce Dallas Howard
It's always interesting when authors heartily approve the big-screen adaptations of their work, even when the films are pale reflections of the original. The Amber Spyglass, anyone?
The Help is one such film. Based on the best-selling book by Kathryn Stockett, an intimate and affectionately written tale about grassroots civil rights has been transformed by director Tate Taylor (who was childhood friends with Stockett) into a highlight reel of caricatures and amplified emotion.
Emma Stone plays Eugenia "Skeeter" Phelan, an aspiring journalist in 1960s Mississippi, who returns home from college to find her family's long-time maid Constantine inexplicably disappeared, prompting her to question the "separate but equal" maxim that most of her Mississippi contemporaries live by and defy her conventional upper-class upbringing.
And so she sets about writing a secret book with the local black maids about what it's like working for their snooty white employers, from raising their children (who then grow up to despise them), to being forced to use separate bathrooms in case of "disease".
A good adaptation often reduces the number of plot events to make way for characterisation, or to allow the plot to breathe. But this film races along doggedly recapping the book, fearful of omitting anything that its well-read audience might remember. Taylor has kept the same number of events and just oversimplified the characters.
One significant event involving Skeeter's mother turns her into a simpering coward, a much less complex representative of the time than that of the book, a woman torn between her genuine affection for people who have worked for her for thirty years, and her deeply ingrained and very real racism.
Jessica Chastain's white trash outsider Celia Foote is similarly reduced to a giggling simpleton who is so annoying that you almost sympathise with the tyrannical Hilly Hollbrook: we wouldn't want to play bridge anywhere near Celia's laugh either.
Though it will certainly garner a few laughs and even more tears, the film has lost much of the book's humility, a quality that made it an accessible town drama first and foremost and a historical comment piece second. This feels more preachy - and yet we care less because characters don't feel quite so real.
That's not to say that there is nothing good here. Viola Davis and Ocatavia Spencer put in terrific performances as the motherly Aibileen and feisty Minny (and provide most of the laughs), while Bryce Dallas Howard makes Hilly Holbrook an even more hideous Stepford wife villain than Stockett did.
Emma Stone is rather wasted as the most thinly drawn character of them all, essentially a plot device that enables us to hear the black maids' stories.
Rather like a good trailer, the film leaves you wanting so much more. A guaranteed tear-jerker that serves as a decent reminder of America's very own Apartheid, it's fine as a slice of history.
As a story though, it's sadly underwhelming.


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Keith Sweat has held it down in new jack swing, soul and R&B for 30 years now. Learn more about the influential singer and songwriter below.
Keith Sweat will perform at the City National Grove of Anaheim on May 5. Take a look at ticket information here.
His mom inspired the title track from Make It Last Forever
Sweat released his debut album Make It Last Forever 30 years ago in 1987, and the album’s title track remains a classic slow-burning duet with Jacci McGhee. The song helped launch the R&B singer’s career, and it also held a deeper meaning for him. Speaking with Billboard, the singer said his mother inspired the song. “I wanted the best for her in this life and I was able to give her that with this song.”
He met Teddy Riley during a New York City battle of the bands contest
Influential producer Teddy Riley produced Make It Last Forever, and Sweat and Riley met through competition. At the beginning of his career, Sweat was part of a group called Jamilah while Riley was a keyboardist in a band called Total Climax. Jamilah and Total Climax competed in the Big Apple Band Contest which Total Climax won. After hearing Riley’s production for Doug E. Fresh and Classical Two, Sweat showed up on Riley’s block during a dice game, and after Sweat had won everyone’s money (except for Riley’s), the two began working together on Make It Last Forever.
He was a stockbroker before pursuing music
Not many stockbrokers make the jump from trading to making music, but Keith Sweat successfully navigated that terrain. The singer worked as a supervisor on the floor of the New York Stock Exchange and used his income to record demos.
He helped popularize the new jack swing genre in the ‘80s and ‘90s
It’s crazy to remember how big new jack swing was when it first hit the scene. A mixture of ‘80s rap production with R&B, the genre took the country by storm, with artists like Bobby Brown, Bel Biv Devoe, Al B. Sure, Boyz II Men all contributing to the fledgling movement. Along with Terry Riley--the father of new jack swing--Sweat helped usher the genre into the spotlight. Sweat’s breakout single “I Want Her” reached No. 5 on the Billboard Hot 100 and Make It Last Forever is still one of Keith Sweat’s best-selling records to date.
He hosts his own festival in Jamaica, the appropriately-titled SweatFest
And Keith Sweat has also dipped into the festival market with his SweatFest. The grown and sexy event takes place on Montego Bay and features some of Keith Sweat’s friends and contemporaries. The first one took place in 2015 and featured a black tie comedy roast, and appearances from Sisqo, 112, and Teddy Riley.
Keith Sweat is coming to the City National Grove of Anaheim on May 5. Check out ticket information here.


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Baby Milestones: Sleep Basics Expected At 6 Months; Training Baby To Adapt A Sleep Routine
A baby achieves many milestones when she reaches six months but there's more to expect from her development. One of this includes the changes in her sleeping habits as the baby learns to follow a more structured sleep routine.
A six-month baby begins sleeping longer at night and develop better nap patterns during the daytime, according to Baby Sleep Site. This period then is a good time for parents to introduce the baby to a sleep routine with a few methods of trial and error.
This process takes time as with any type of baby training. Parents should expect some resistance, fussiness and irregular patterns to crop up as the baby learns to self-soothe and adjust to the routine.
Being consistent with the baby's sleep schedule helps her develop a good sleep routine, according to Baby Center. Predictability is also important so that the baby won't fight off sleep but instead learn to relax and settle down to the schedule.
When the baby cries because she doesn't want to sleep, some experts advise parents to leave her be so she can learn to self-soothe. This is called the Ferber method. Other experts, however, advise against this technique as it can only lead to trauma, according to Parenting Science.
Parents can also try the fading method, a gentler option of the "cry it out" method, according to Romper. This technique involves parents gradually reducing their involvement as the sleep training progresses. Parents can either time their check-ins or adjust the frequency of accompanying a sleeping child until she learns to sleep in her own bed on her own.
Some babies, however, might not present signs they are ready for sleep training at six months. Don't worry about this, parents, as each child is different and some do take a while to reach their baby milestones. Consult with a pediatrician for any apprehensions regarding the baby's development.

domain: health