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T S AN D M O NO G R A H S
eatiseson sub ectsrelating
y medalsanddecorations.
N CO M M T T E
irman
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in onesenseacontinuationo
heNumismaticNotesandMono-
A rabic GlassWeightsandStamps NNM
1 94 ) a nd a rl y Ar ab ic G la ss W e i gh ts a nd
N N M N o . 1 20 N . . 1 9 51 ; i n
ginningo anewenterprise. During
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itwouldseemdesirabletobringoutin
tlogues suc hasthepresent the
h havebeenabletoe amine.
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rc ollec tionsintheUnitedStates o
oneinA thens. A parto thegreat
slamicArtinCairohasrecently
ereremainsamasso materialinthat
willeventuallybepublished.
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mpilero f thepartialC a irocata logue
tly engagedinthepublicationof
etdesM daillesinP aris. The
hil l ipsco llectionintheB rit ishMuseum
whileletushopethatM.M. J ung-
logueofhisgreatcollection
wouldhaveseriousshortcomings.1
NMNos.11 1and120 named
nNumismaticSocietyhasac uired
ss weightsandstamps andthese
ntvolume.Thenumberof pieces
monographswasappro imately
srvedthatthesenew accessionse ceed
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0areofpreviouslyunpublished
ucehithertounrecordedofficials
ghtof theTulunidK humaraw ayhb.
rdfor thefirsttimedowninto the
hcentury ( 3rdcenturyof theHi rah ,
1arecorrectlyattributed dow ntothe
. D. . A mongthepharmaceutica lmeasure
ithhithertounrecordedor un-
( n o . 12 , h o ne y ( n o . 1 3 , j u u b e
h ey ( n o .8 5 , a n d d ri e d po m eg r an a te ( n o s.
ollowsfairly closelythat
11 butthecategori a tionof
piecesissomewhatdifferent.The
chrono logica lly (nos. 1-95 .
l s c h ro n ol o gi c al l y ( n o s . 9 - 1 97
h ro n ol o gi c al l y ( n o s . 19 8 -2 0 1 .
softhese pagesI learnedwithsorrowofthe
hinCa iroonMarch12 1958. H isco llection I am
d.
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icia ls a lphabetically ( nos. 202-210 .
ghts( nos. 211-238 .
.
nidentif ieddisk -w eights( nos.
ndunidentif iedring-weights( nos.
u s ve s se l s ta m ps ( n o s. 2 2 - 28 0 .
esselstamps( nos. 281-292 .
V thepiecesofeachof f icialare
rder:coinweights disk-weights
mps.Within eachsub-divisionof
gementisindescendingorderof
o ri e s V I a n d V I I . C at e go r y V I I I
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rtheco loro f theglass fo llow edby
.
ecometotheMuseumof the
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owingthelettersANS( aftercolor
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13
ouisH. Schroeder
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w York
rdT.Newell
ananti uedea lerinNew Y ork
atafew pieceswereac uiredbefore1951butw erenot
and120.
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ssaB ey D ictionna iredesnomsdesplantesenlatin
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pensatoryof theU nitedStatesofA merica 25thed.
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a is e au C ai re V I , P a ri s 1 8 9 3 .
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d di e D e s t il l at i on e n vo n Y a q û b b . I s h q
u ng e n fu r d ie K u n d e d es M o rg e nl a nd e s X X X ,
hofandG. P . Sobhy TheA bridgedV ersionof " The
ofA hmadibnMuhammadal-Gh f i î by
g( B arhebraeus , TheEgyptianUniversity
ublicationno. 4 C a iro 1932-1940.
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n b . S h u ra y h p . 1 5 2 n o . 9 .
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l s 7
s t o o i nt m en t .
a yy n
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s I I
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t indicatedinthetranscription.
composite:no.10 isonly
. : 7 50 / 1 A. D .
i r ec t or 1 6 1 7 A . H . : 7 5 – 7 5 5 A. D .
S
- u a r te r q i st .
sorderedby
S al i h b. ' A l i ( m a y k ee p [ h i m s t ra i gh t
t he ma ki ng o i t: o ne - u ar te r
u ll m ea su re .
7 .
1 6 0 c . F o u u e t Co l le c ti o n 1 4 1
ndw itha l-amir( ? ) . Theabovetranscription
C r e a
t i v e C o m m o n s A t t r i b u t i o n - N o n C o m m e r c i a l - S h a r e A l i k e
/ h t t p : / / w w w . h a t h i t r u s t . o r g / a c c e s s_
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– 1 41 A. H .: 75 1 7 5 A .D .
1 - 7 6 A . D .
T S
k ha rr b ah .
7 . 01 .
C a i ro 2 7 2 9 . T he C o pt i c no t at i on
i s di sc us se d in E A G S up pl . p p. 3 1 3 2 c . t he
Thevarietieso theseCopticnumerals
A . Mallon sGrammaireC opte( B e irut
n d it w i ll b e n ot e d th a t th e f i g u r es f o r 3 0 a n d
andsimilarw eights.
l y be l on g t o th e s ec o nd t e rm o ‘ A s im s o f i c e b u t
cesherebecausehisf irsttermprobablybeganbe ore
a p yr u sk u nd e p . 1 01 a n d al s o V . G a rt h au s en D i e
tenundC hrono logie inA ltertumundimB y antinischen
G r i e ch i sc h e P a l ae o gr a ph i e 2 n d e d . L e i p i g 1 9 1 ) ,
theCopticderivationf romtheGreekisapparent.
“ Z umWeiterlebendergriechischenZ ahlenbuchstaben ”
1 9 27 p p . 7 – 8 1 h a s po i nt e d ou t t ha t t he C o pt s t oo k
ostwithoutchange.Seealso withrespect
ssweights J ung le isch Notationsconventionnelles
0I f i n d it d i f i c ul t t o ac c ep t t he e p l an a ti o n th a t th e
a l e c o uc h v o ul a nt d i re u n e t c. s i gn i i c an t c om p le t .
ullyunderstandthisargumentandsomeo theother
estingarticle.Seealso myremarksunder
w .
C r e a
t i v e C o m m o n s A t t r i b u t i o n - N o n C o m m e r c i a l - S h a r e A l i k e
/ h t t p : / / w w w . h a t h i t r u s t . o r g / a c c e s s_
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ci al s 4
h ar r b ah .
s u ar e :
b a . W ei gh t | o f a ls t hi rt y kh ar r b ah .
5 . 77 .
I
cursivelettersareverysimilarto
wh i ch ‘ A s im s n a me a p pe a rs i n f u l l.
tthispiecealso belongsto
4 7 7 5A .D .
S
e- ha l r at l o g r e as e.
8 .
V I
arrangemento piecesissuedby theauthorityo a l-
irst thosebearinghisnamealone then thosea lso
subordinate.
C r e a
t i v e C o m m o n s A t t r i b u t i o n - N o n C o m m e r c i a l - S h a r e A l i k e
/ h t t p : / / w w w . h a t h i t r u s t . o r g / a c c e s s_
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ci al s 45
n e- u ar te rq i s t.
edby
er va nt o A ll h ‘ A bd u-
t h e B e l ie v er s :
G i -
v e j u s t me as ur e a nd n ot b -
n g th e d e r a ud e rs ” o n e - u a r t er
u ll m ea su re .
X 3 7 .
3 4 .
I
.I I .5areuncertain.Similarto
ethea lignmentisnotentire lycorrectly
ac k c um i n.
e d th e Se rv an t o A -
‘ A b dul l [ h ,
m m an de r o t h e B e li ev er s ,
ki ng o i t m ea su r e
i n b l a -
ea su re .
I
black cumin anditsmedicinal
S up p l. p p . 16 1 7 .
C um i n an d V i n e ga r f o r H i c c u ps ” i n A rc h ae o lo g y V o l . 4
2 – 2 4.
C r e a
t i v e C o m m o n s A t t r i b u t i o n - N o n C o m m e r c i a l - S h a r e A l i k e
/ h t t p : / / w w w . h a t h i t r u s t . o r g / a c c e s s_
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su re o w he y ? ) .
ervanto
h ‘ A b du ll h
m a nd e r o t he B e l i e ve r s
i t m ea s ur e
) , f u ll
9 .
I
3 6 .
g r ee n 4 0 .
o llection 151—152. C asanovadidnot
ew ordinthene ttothe lastlineand
ineso theletters.Seethe
w h ey ” u n d er n o . 8 5 a b ov e a n d c .
o w.
lk b . Y a i d
T S
n r.
hingsorderedby
A l l h ‘ A b d-
m m an d er o t h e B e -
rs w ei gh t o d i n r
C r e a
t i v e C o m m o n s A t t r i b u t i o n - N o n C o m m e r c i a l - S h a r e A l i k e
/ h t t p : / / w w w . h a t h i t r u s t . o r g / a c c e s s_
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ci al s 47
b d a l -M a li k b . Y a i d .
verydark brow n 29 4. 22.
o pa u e a ub e rg i ne 2 9 4 . 1 .
I
. E A G 5 9 ( i n co mp l et e , w i th t h e wo r d
helasttw o lines. F orC hael( K ay l
, a bo ve a nd n os . I 2 2 1 2 , b el ow .
.
orderedby
A l l h ‘ A b d-
C om ma nd er o t he B e -
: w eight
, f u l l
e
A bd al -M al i k b . Y a i d ? ) .
V I I
6 0 a ls o ah al d in r h as a d i f e re nt
reverseappearstobe thesaneasthe
ethetranscription“ K ay l onthe
ctedtoreadasitdoesabove. B utthe
nthesepiecesasw ellasonF ou uet
C r e a
t i v e C o m m o n s A t t r i b u t i o n - N o n C o m m e r c i a l - S h a r e A l i k e
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bicMetrology
rhemwiththesamereverse legend( read
" ) t h e na m ei n t he c e nt e r is J . S .
( ? ) .
A l l h :
A ll h
A b du ll h C om ma nd er
e l i ev e rs :
w ei gh t o ( o ne -t hi rd ) ,
h t.
e
. 15 + ( a b ou t 1 /4 m i ss i ng .
ablethat theunintelligblewordon
d ed t o b e cl : f o r t he p i ec e i c o mp l et e
bourhoodo I . 4 grams. O necannot
-Malik b. Ya idw asthepre ect.
bS a i d
T S
A l l h :
t h e Co m ma n de r o t h
l ie ve rs w ei gh t
r f u ll we ig ht .
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t i v e C o m m o n s A t t r i b u t i o n - N o n C o m m e r c i a l - S h a r e A l i k e
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ci al s 5
1. 41.
T V I I
, w h er e t he s t ar o n t he r e ve r se ( i a n y
t he r s n a me a r e o f t h e f l a n .
irector 141A . H. : 75 / 9A . D.
s to . . . . .. ? ) .
en a m e o A ll h :o r d e ro ]
s b .K a [ b . ...
u a r t e r[ q i s t ]
. .. f u ll m ea su re a t [ t h e ha nd s o ]
b . S h ur a h bi l l .
u uetC o llection 14 , w herethe
4 1 1 4 A . H . : 7 5 9 7 6 0 A. D .
T
r .
A ll h :
o r de re dN aw a lb .F u r t
ne s ty : we i gh t o o n e- h al
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t i v e C o m m o n s A t t r i b u t i o n - N o n C o m m e r c i a l - S h a r e A l i k e
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ci al s 5
V I I
rrectly read.
S
n e- u ar te rq i s t.
A l l h :
dtheamirMuhamma. d
a t h th e ma k in g o i t
u ar te r q i st f u ll m ea su re
ha nd s o ‘ A bd ul l h
oE AG 75 whichwaserrone-
t. A re-e aminationo thepiece
ub , precedingthewordqist.
hitesesame-seed.
t he n am e o A l l h : or d er ed
a m ir M u ha m ma d b .
' a th t he m ak in g [ o i t ,
s ur eo j u l u l n
. . . .
T V I I
niversityCollege 15 , andF ou uet
o th o w hi c h ar e o bs c ur e i n th e f i t h l in e a nd
thepre ect arethesame. F or
e E A G S u pp l . p p . I 7 — I 9 .
C r e a
t i v e C o m m o n s A t t r i b u t i o n - N o n C o m m e r c i a l - S h a r e A l i k e
/ h t t p : / / w w w . h a t h i t r u s t . o r g / a c c e s s_
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n b . Y a i d
1 52 A . H . : 7 59 7 6 9 A. D .
T
i ya h.
m pr i nt :
e
5 + J " A t th eh an ds o ‘ A bd al -R a hm n b.
6 .2 .
I I
w hi c h we i gh s 6 .2 2 g ra m s ( 9 6 g r ai n s .
s f r a ct io ns s ee E A G p p. 1 7 1 , a nd
a lso Grohmann P apy rusk unde
. n o . 91 a b ov e f o r a t hr e e- o un c e we i gh t .
t .
A l l h :
nd s o
a hm n
o ne -h al
u ll m ea su re .
I I
ol eg e 1 7 C a ir o 3 1 9 ( . . .
11 .
C r e a
t i v e C o m m o n s A t t r i b u t i o n - N o n C o m m e r c i a l - S h a r e A l i k e
/ h t t p : / / w w w . h a t h i t r u s t . o r g / a c c e s s_
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ci al s 55
e- u ar te rq i s t.
2 7.
2 2 C a ir o 3 2 0 .
m
A . H . : 7 62 7 6 9 A. D .
T S
4 J e
C r e a
t i v e C o m m o n s A t t r i b u t i o n - N o n C o m m e r c i a l - S h a r e A l i k e
/ h t t p : / / w w w . h a t h i t r u s t . o r g / a c c e s s_
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7 ; c . B M 1 4 1 5 l ac ki ng t he c re sc en t
o g er s J R A S 1 7 , n o . 16 .
r .
5 . ..
2 . I .
C a ir o 1 9 7- 2 00 ( i n co m pl e te .
r .
4 .
. . . .[ A t th e ha nd s o M u ha mm ad b .
. Sh ur a h b il ] .
T V I I
iversityC ollege 164 w herethe
nis incomplete.On U niversity
similarreversearea thenameo the
eservedandcertainlyseemsto be
C r e a
t i v e C o m m o n s A t t r i b u t i o n - N o n C o m m e r c i a l - S h a r e A l i k e
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ci al s 57
a lthough ashere the lastgroup
itten.ThelegendA-5 inplaceo
S
s t.
-
b. H å -
m a t t he h an ds o
o ne -h al
f u ll
I I
mportantpiece f ordespite its
t ion( it ischippedatthe lowerright
rmstheassociationo Sa lamahw ith
T he a pp ro i ma te d at es o S al am ah s o f i ce
ta in. I nE A G( pp. 127-12 ) I very
ti y inghimw ithSa lamahb. R a ā ’ ,
veryshortperiodf romtheendo
162A . H. I havenow placedSa lamah
tw eenY a idb. HatimandMuhammad
hisassociationw iththesetw omen w ith
4 1 5 7 A. H .
mp.
ed t he a mi r
b .H ă t im
hk eephimstra ight.
oege 169 170( lastl inemisread .
na m es i s p r es e rv e d on t h e di s k- w ei g ht E A G 8 2 .
C r e a
t i v e C o m m o n s A t t r i b u t i o n - N o n C o m m e r c i a l - S h a r e A l i k e
/ h t t p : / / w w w . h a t h i t r u s t . o r g / a c c e s s_
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irector sometimeca. 144-157A . H. : 762 774A . D.
T S
re e k ha r r b a h.
ht
e
6 . 8 .
I I I
4 . 1 -H + , " l a la ck in g .
o llection 60.
amah seep. 57 above. Sometime
d157A.H .Salamahmusthave
_ e w it h Y a i d b . H a t im a nd w i th
andstillw ithinthesameperiodbut
F inanceD irector. I tw asinthe latter
issued theseweightsandnos.
c ur i ou s t ha t h e ne v er g i ve s h is f a t he r s
do notbeartheusuale ecutive
3 0 k h ar r b ah .
5 . 2 .
5 . 1 .
C r e a
t i v e C o m m o n s A t t r i b u t i o n - N o n C o m m e r c i a l - S h a r e A l i k e
/ h t t p : / / w w w . h a t h i t r u s t . o r g / a c c e s s_
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ci al s 59
5 . 0 .
I o o C a ir o 3 7 2- 8 0 .
o r 3 0 s ee E A G p . I I , E A G S up pl .
a rr b a h.
5 . 02 .
V I I I
oege 190( 77. 1grains= 5. 00
8 1 ( w e ig h t no t g iv e n . J u n g l e is c h
nelles p. 272 hasoneinhisco llection
Thew eighto thesepiecesf a irly
etheoreticalw eighto 26k harr bah
G p . I o . T h e Co p ti c n ot a ti o n f o r 2 0 o n th i s
lestheGreek f orm thanitdoes
evariety . Thef igurefor6 isq uite
tiono thef ormonno. 106 above.
ethathisno . 56 , mentionedonp. 271o thesame
w eightw ith I gather thesamesymbols isa lso26
orsomereasonw hichI donotunderstandheinter-
ni ying29.Asthepiece isnotillustratedonecan
ngo thesymbolsonp. 269 w hichdi f ersinno
thatf orhis26-kharrabahpieceonp. 272. F urther-
o symbolsclosely resemblehisdraw ingo thesym-
p . 2 70 p r es e nt i ng “ n u m r o s d o r dr e s a ns d o ut e
u co p te m ai s f o r te me n t d f o r m s p a r l u s ag e n u m -
r o isservi paginerlespremiersmanuscritsarabes.
underno. 106 p. 42 above.
o p . ci t un de r no . 10 6 , T a , 5 ( a M S o 8 3 5 A .D . a nd
3 9A.D . .
s t a bl e ( l o c. c i t u n de r n o. 1 0 6 .
C r e a
t i v e C o m m o n s A t t r i b u t i o n - N o n C o m m e r c i a l - S h a r e A l i k e
/ h t t p : / / w w w . h a t h i t r u s t . o r g / a c c e s s_
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2 4 k ha r r b a h.
f a ls
d t we n -
b ah .
2.
V I I I
4.
l le c ti o n 6 1 U n i v e rs i ty C ol l eg e 1 8 .
t am p .
; C a ir o 3 1 2- 1 5.
"
D i r ec t or s o me t im e c a. 1 5 2 1 5 7 ( ? ) A . H . : 7 6 9 7 7 4
T S
ha rr b ah .
s m al l c hi p m is s in g .
ro p os e d id e nt i i c at i on o ‘ U m a r w i th ‘ U m a r b . Y a h y
C r e a
t i v e C o m m o n s A t t r i b u t i o n - N o n C o m m e r c i a l - S h a r e A l i k e
/ h t t p : / / w w w . h a t h i t r u s t . o r g / a c c e s s_
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ci al s 6
3 5 " C ai ro 3 7 0 3 7 1 . F o r t he
ng 3 3 , s e e E A G S u pp l . p p . 3 1 3 2 .
6 above andthe3 closelyresembles
stableaswellastheGreek f ormina
n d se v er a l MS S o t h e 9t h c en t ur y .
3 2 k h a r r b a h .
.2 .
1 6 . 2 .
21 .
6 .1 7.
I I I
. 9 ( f r g. l ac ki ng .
2o a C ai ro 3 6 - 6 7.
h ar r i ab a h.
egh t
t hi rt y
2 .
I I I
R A S 1 7 , n o. 6 F o u u et C ol le ct io n
ty C ol l eg e 2 1 5 C ai r o 3 6 2 ( p o i n ts o m it t ed i n
veandbelowthenameand symbolsonthispiece
bed theyaree actlyashere .
o p . ci t u n de r n o. 1 0 6 , T a . 4 b a nd 5 .
C r e a
t i v e C o m m o n s A t t r i b u t i o n - N o n C o m m e r c i a l - S h a r e A l i k e
/ h t t p : / / w w w . h a t h i t r u s t . o r g / a c c e s s_
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p.
s o
I I I
. F o u u e t Co l le c ti o n 1 9 7 w i th . . . . . .
me.
i n d th e n am e o ‘ U m a r b . Y a h y
amassigninghimroughly tothe
b . Sa i d ( c a . 15 2 1 5 7 A. H . b e ca u se o
eron twounpublisheddisk-
eseenintheB enak iMuseuminA thens.
entityo ‘ U marb. Yahy w iththeman
‘ U maronthecoinw eights( nos.
ypothesisisbasedontheargumentthat
resemblancebetweentheseweights
n o s. I 4 5 1 5 2 a b ov e , w h os e d at e s
withMuhammadb.Sa idand
a h y .
? ) A .H . : 7 69 7 74 ( ? ) A . D .
T S
A l l h :
b . Sa i d
d in r .
r . M . C h at i d ak i s D i r e c t or f o r f u r ni s hi n g me w i th
ndotherglassweightsin hischarge.
C r e a
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lamah.
4. 23.
207( reversemarginef faced ;
arobverseandreverseareas buta
d U niversityC ollege 185 w ith
ameinthe reversearea which
w ithYa ldb. Hatim hashitherto
be lievethatI now havethecorrect
e ad a ^ . " b y w ei g ht " w h ic h i s
r ea d S u ey y ( ? ) ; G r o hm an n r ec o gn i e d
w hichcannotbereadherenoronmany
ensw hichI havee amined but
possibil ityonno. 1 3 be low 47
cribes( C a iro nos. 203-207 , ya3^ ,
. 193 thatthefirstgroupof letters
isclearlyimpossible.
be litt ledoubtthatthenameisanA rabic
aC opticversionof theGreek ( ult ima-
chappearsinpapy riintheforms
p ou g Z o u ai po u , S ou ^ p i , S or p i , e tc . ( i . e. S ev e-
eryw eightbearingthenamethat
edthefourthletterto beaj wronglyengraved
tyC ollege 185 .
N a me n bu c h ( H e i de l be r g 1 9 22 , c o l. 3 9 1 G u st a v
so n en n am e n de r K o p t e n ( S t ud i en z u r E p i g r ap h ik u n d
I , S ch ri ft 2 L e ip i g 1 92 9 , p . 10 3 a nd ( a s ho rt en ed
ariantA rabicformappearstobe^- . r , Saba-
f247A . H. ( A . Grohmann A rabicP apy riin
I I , C ai r o 1 93 , p p. 1 82 -1 83 .
C r e a
t i v e C o m m o n s A t t r i b u t i o n - N
o n C o m m e r c i a l - S h a r e A l i k e
/ h t t p : / / w w w . h
a t h i t r u s t . o r g / a c c e s s
_ u s e # c c - b
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scussion underno.162 above.
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