33o-i453

'\.,

Edited by Robin Cormack and Maria Vassilaki

ROYAL ACADEMY OF ARTS

 Commiuccs Catalogue plates
Catalogue enu-ie 377
Patron's Foreword 8
I
At Church
5 195
Prime Ministers' Forewords II
The Beginnings of Christian Art 45
TIIO~IAS F. MATllhWS
LIZ JAMES Endnotes 463
President's For word 12
Glossary 468
Director' Foreword

upporters' Prefaces
15

16 2 6 ROBIN CORMACK

Bibliography 470
Icons 2,19
From Constantine to Iconoclasm 65 NANO CIIATZIDAKIS
Acknowl dgements 17 Lenders to the Exhibition 489
HENRY MAGUIRE

Chronology 18 Photographic Acknowledgements 490

ROBIN CORMACK

Maps 20 3 Byzant.ium and the Vl/e t

7 275
Index 491

At Court 111 MICI-IELE BACCI

ANTMONY CUTLER

8
AtHome
4 Beyond Byzantium
ANTONY EASTMOND
307

Part 1: Ceramics of Everyday Life 141

DEMETRA PAPANIKOLA-BAKIRTZI
E says

I Part 2:
t Home:
Metalwork of Evewday Life 151 The 1'1onastery of
9
Historical Introduction 25 MARLIA t,,·JUNDELL 11,fANOO t Catherine at Sinai 357
CYRIL MANGO
l\lARIA VASSILAKI AND
ROBIN CORMACK
At Home:
Part 3:Jewellery and Adornment 163
II AIMILIA YEROULANOU

The Art of Byzantium: 330-1453 35

ROBIN CORMACK AND l\lARIA VASSILAKI
 Commiltccs
BENAK! ~ MUSEUM

First published on 1hc occ.uion or1hc cxhibuiou , ,11111n1u, < t 1t\11rn, PATRON Of 'IIIE. l~XIIIUITION IJONORAH.Y COMMrlTEt-: ORGA.1"lflSING COM~IITl'EE
'Byzamium 330 1 153' R.ob111Com1,11 \..
i\rh1.111l..ot\..1• ,\11} nip) ufdu, hook 1,"1L·dh) lhl' puhli,hc:r ,1, ,1 HRH The Prince of Wales Nlichalis Liapis Aimilia Ycroulanou (Pre.sidrnt) Adrian Locke
Roy.ii Ac.adcmy of Aru, Lo11clon ;\l.1ri.1 \',1~1l.1l..1 JM]Wlb,u k ",old ,ubJl'LI to tlw l.Ond111011 tlt,,t 11,hall john Lowden
f-1£ Vassilis Pispinis :Vlichclc Bacci
'l!j OCTOllf.R '2008 '2'2 MAllCII ':1009 not h) "•') ofu·,1d,._•01 ◄ ithL·n-i~L' be lc111,1c-,otd, htrl'd
1 :..111111110 ... 01-1.0,,1,,,110, out rn ollwn11w c:11n1l,1tetl\,ithoul the pubh,lwr\ 1\rchbishop Damiano,; Elka Bakalova E.unicc Dautcm1an-l\1aguire
Ehulx·th Hr:t} pnor <011'.!>elll m ;m\ form ofb111d111gor COHT otht'r Demetra Papanikola-Bakirt-zi Flem)' l\laguire
Cardinal Angelo Scola
·n,i, c.xhibition has been or(Pniscd by tlu· C.1)t"t.m.1C.bt1ll0 1h.111 that 111 \\l11ch 1l 1, pubh~h<:d :i.nd \,'11hou1 a sirrnl.1r
Royal Academy of Ans, London, with the J;m<' Kno\,l<"> condition mclud111g thnl' \\Ord~ bern~ impo\t·tl on HCICnc Ahrwcillcr Anna Ballian l\,farlia i\ 1[undcll i\ 1fango
collaborauon oft.he Ocnaki ~\uscum, Athens .\na .;\lanmc, a ~ub~l'qm.·111p11rch.1.M·r Charalambos BourctS Leslie Bnibaker Thomas F. Nfathews
upponcd by l'IIOT001'tAl'HIC ,\;,.'I) COl'YRIOIIT C0-01-tOl'\Al"ION All R1glm Rc:.1·nl'cl. ;\ 1o part ofth1~ publicauon Amony Bryer Gudrun Buhl Valcnt.ino Pace
lhcJ. F.Cos1opoulos Foundation, Andrrja Bruk lll:l.) be tq>roduccd or Lran~miucd in any form or
David Buckton Nano Chatzidak:is Yuri Piau1itsl...-y
the J\.G.l..c\·cnris Foundation and Robena Stamfield by any ml',UJS, dectronic or nwch,mical, including
the mvros Niarchos Foundation photocopy, recording or any other information storage Averil Cameron Dimiuis Constantios l\ilikhail Piotrovsk')'
CATAI.OGUl. and retrieval system, \1i1hout piior permission in \1riling
Nicholas Egon Robin Connack Norman Rosenthal
'fr:n"c:1pnnncr. Cox & Kings RoJal.l,a,lmryPuhhrahons from the publisher.
Lucy lknncu Judith Herrin Anthony Cutler Nancy Patterson evCenko
111c Roy.ii Academy of Ans i!igrateful to David Breuer Blitish Library Cataloguing-in-Publication D,ua
A catalogue record for tlus book 1s a\'ailable from
Angclik.i L1.iou Anastasia Drandaki Engclina Smin1ova
Mer M:Ucsty'sGovcrmncnl for agreeing Carola Knicgcr
to indemnify thi~ cxhibiL"ion unclc1 the Sophie Oliver the British Library EdmCe Leventis Jannie Durand Gojko Subocic
National Heritage Act 1980, and to Resource, Peter S,n, bridge
TI1c Council for ~foseums, Ar hives Sheila Smith 1s11s978-1-905711-27-7 {p:i.pcrback)
Cyril Mango Antony Eastmond tvlarica Suput
nnd Llbmrics, for its help in arranging Nick Tite 1sas 978-1-905711-26-0 (harclb;1ck) ViclOria Solomonidis Chris Entwistle Alice-Mary Talbot
I.he indemnity.
Translation from the French: Caroline Beamish Distributed outside the United States and Canada Euthymios Tsigaridas Helen C. Evans Yannis Tavlakis
Translation from the Ccnn:in: ~lichael Foster by Thames & 1-1 uclson Ltd, London Panayot:is Vocotopoulos Christian Fi:irstel Anastasia Tourta
Transl-ltion from the Creek: Alexandra Doumas
Translation from the Italian: Caroline Be,unish Distributed in the United States and Canada Nikolaos Zias Lizjames Paraskevi Vasilopoulou
Copy-editing and proofreading: Rosalind Neely by Harry N. Abrams, Inc., New York Joanna Koltsida-lV[akri Maria Vassilaki
Picture rcsca.rch: Sara A)'<ld
Ioli K.alavrezou Gary Vikan
Colour origination: DawkinsColour Christine Kondoleon Annemarie VVeylCarr
Bookdesign and cartography: EDITORIAL NOTE Paul Williamson
IJambard TI1omas, London All measurements arc given in centimetres, Vera Zalcsskaya
hcight before width before deplh.
Printed in haly by Craphicom
All dates given for rulers arc dates of reign.

ILLUSTRATIONS
Page 2: detail ofcat.211
Page 9: detail ofcat.225
Page 10: detail ofcat.238
Page 13: detail of cat.304
Page 14= detail ofcat.:171.,1
Page 376 and endpapcn: detail orcM.313
Pages 466-7: detail orcat.299
 CLARENCE HOUSE

The tcrn1 Byzantine has come to mean something tortuous - a rigidly hierarchic or
labyrinthine process - and these negative connotations have, unjustly, tarnished an
extraordinary culture that nourished over a thousand year period at a time of great
uncertainty and change. The continuity provided by Byzantium and its empire was
felt across a great expanse of the world through Europe, the Balkans, Anatolia and the
Middle East and its innuence in the shape of religious art and architecture has
remained constant since Constantinople, the fabled capital city of the Empire, was
founded in 330 as the New Rome. It was rightly seen as one of the great cities of
history, with its beautiful domed churches, gracious palaces and wide colonnaded
streets running through parks and cultivated gardens.

Drawing on the traditions of the ancient world, a new art developed to serve the
official state religion of Christianity making it the first great Christian Empire; wealth
accumulated through its territories and tax regimes and an active trade network led to
a nourishing of the arts as churches and monasteries were built and handsomely
decorated to advance the belief. "Byza11ti11111 330-1453" gives us the first opportunity
since I 958 to witness this great civilization in its entirety, from its foundation by the
Roman Emperor, Constantine the Great, to its ultimate demise in 1453 at the hands of
the Ottoman Sultan, Mehmet the Conqueror, when Constantinople finally fell. The
journey is a long and fascinating one which guides us over a thousand year period, but
which, remarkably, still continues to exist in the Orthodox Holy Monasteries of St
Catherine at Sinai, Mount Athas, Patmos and many others which continue to practice
as they have done for nearly two millennia and, in so doing, reveal a world that has in
many ways been lost to us.

As the Patron of the exhibition, I am delighted to commend it to you.

Prime l\llinisLcrs' Forewords
T iu.· l.1~t ~rc,1l exhibition of By1antinc art ;ind culture
to t,1kc pl.in· in Urit<LinWi.LScxdctly fifly yc~1rsdgo,
\\ hen '.\l.1 ...1crpicccs of Byzantine Art' was hc.:ldat the
1:dinhu1gh Fc·sti\,1! before being lr,111sfcrrcd to the
Victoria ,md t\lbcrt .\luscurn in 1958. Since th.11 Lime
no Briti,h exhibition li,1~clone justice to the full extent
of the cxtraordina1y innucnccs of Byzantium, so I am
delighted to -.ee the Royal Academy of Arts, in
collaboration with thl' Bcn,Lki ~lt1'-Curn in Athens,
1noun1ing a major exhibition that explores this
remarkable culture.
The impact of Byzantium extended from 1hc
lialkans into central Europe and Russia, through Anatolia
i1110 Syria, Egypt and beyond, and its influence can sti1l
be felt across Lhe Orthodox world today - particularly
in Lhc monasteries, where Lhe tradiLions of lhe church,
maintained for over 1,600 years, allow us a rare glimpse
or the past.
This exhibition contains sornc fascinating new
discoveries and, through objects brought together
from co!Jections across the world, tells the sw1y of
how Constantine the Great created the new city of
Constaminoplc in his name. Flowc1;ng under his rule,
Constantinople went on to become one of the greatest
cities of the modern world - a centre for imercontinental
communication nnd trade and a focus for religious,
political and cuhural activity.
In 1oday's new global age, "Byzantium 330-1i~53'
stands as a timely reminder of our links with the peoples
and Lhc nations of the past. I hope that you enjoy the
exhibition.
CORDON DROWN
P,imei\linistLrofthe UnitedKi.Tlgdom
efCrealBritai11and Northem/r,/and
rom 1h(' c.-.rlicst yc.irs of the modern age, Byzantium
F wac; of1cn given only a minor role, when the story
was LOlclof Europe, a,!) an hb,toric cxainplc of the risks
inherent in mixing East and \Vest. Thus, although the
European idea was acknowledged as having its roots in
classical Greece, the official view of European history
paradoxically tended to overlook the historic continuity
of Lha1civilisation.
Nowadays, the idcologica.1 reasons for this unfair
omission have mostJy disappeared. After centuries of
division and connict, Easten1 and \Vestern Europe can
look forward to a common, promising future within tJ1e
framework of the European Union and celebrate their
shared cultural roots. As Europeans seek to define what
our continent stands for, the study of Byzantium is
becoming of paramount imporrnnce. hs heritage, shared
not only by Europeans 1 but also by itizcns of nations in
the three different continents over which it once extended,
can help us foster the common values that bring us
togelher and understand the causes and the nature
of our differences.
l am convinced that th.is exhibition, organised by
the Royal Academy of Arts with the collaboration of
the Benaki ~,[useum, will ma.kc a significant contribution
to th.is effon. I have no doubt that all Greeks will welcome
initiatives such as the 'By-£antium 330- 1453' c.xhibirion,
which besides promoting discussion of Byzantium and
everything it represents, will also help this growing
knowledge to emerge as a useful tool for understanding
history and planning our European and ~Iediterranean
future.
KOSTAS KA.RAMANLIS
oftl1el·/elk11ic&public
Pn·meJ\,li11isttr
 President's Foreword

he hi,tol") of B) ✓,tntium "r,11 ,w1d111.11ih1irh .. \1 the h!'1ght ol 11, J)0\\l'l. (.01ist,mtinoplt- 1ukd
T o,rr an cmpir!' th,11 e,tl'Hckcl 1h1oughou1 111ud1ol ,outh!'lll I.mope. the B,tlk,u1,, \11,11011,1 ,llld
the .\ liddlc Ea-i. That thi, !'mp ire 1,1'l<'du, er ,I tl10u,.111clI l',11', 1, ,lll .1,1oni,hing ,ll hin cmrnt, gi, l'n
contemporar, in tabilit) and ch.mgc. But tlH'journn \\,ts JH'\l'l c.1,,. l'!'riocl, ofe,p.11is1011
and contracuon 1-e,c,tl ho,, the lo11unc, ofC:011,1.u11111oplr 1\,1,ed .md \\,llH'd, induclmg the u1, \
unexprncd occupation b) \\l',tc1n fonc, bct\\Ccn 120 I ,md 12h1, .111dthl' lolH; ,il'l(l' ll\ Ottrnn,111
force, that culmin,11cd in the t,1p1u1c ofC:011,1.1111inoplcIJ\ .\lchmt·t II. One of'the Ro),11 ,\c.idt·m) \
1110,1recent and ,uccc"ful t"<hibi1ion,, 'Tu1k,: .\Jou1nr) of,1 ·1 hou,.111clYc,u,, boo 1h00', pickl'd
up th!' ~IOI") of 0110111.111
Com1.1111i11oplc111odc111-d,1)l,1,111b11Iin 1 IS'l, ·" the ,un ,ct 011 B) ,,1ntium,
and ,o it i, filling no" to 1,1kr up the ,w,,
in :no, ,II the bq.,>inning of th,11 m,1gnificcnt ci, ih,,111on.
'By1.:an1ium 330 1-153'is one of the mo,t ambitiom ,ind complex cxhibi1iom c,n 10 h,1,e been
mounted by the Royal t\cadem) .. \hhough the exhibition 11ill onl) be ,hm,n in London, the Roy,tl
Academy ha collaborated with the lknaki .\lmeum, Athen,, in order to make it po"ihk. \\'(' \\Oulcl
like 10 acknmdedgc the impo11.1111 ,upport of it, Director, l'rofe"or Angelos Ddl\·orri,1,, ,incl the
Pre. idem of its Board ofTrnstcc~, ,\Ir, t\imili.i Yeroulanou, throughout thi, process. \\'c \\Otild ,tlso
like 10 thank Their Excdlrncics Vas,ilis Pi,pinis, Greek Amba,sador in London, and Yigit Alpogan,
Turkish Ambas,ador in London, for their cnthusia,tic backing. The exhibition ha, been curated II ith
great kill by Robin Com1,1rk, Emcritu, Professor of I lis101y or An at the Counauld lmtitlllc ol t\n,
London, and .\lari,1 Vas ilaki, 1\.<,,ociatc Prorcssor of the I listory of Byzamine i\n ,11 the ni\'er,it) of
Thessal) and cirmific /\ch isor at the lknaki i\luscum, in conjunction with Dr Adri,111 Locke,
Acting Director of Exhibit.ions ,11the Royal Academy. We acknowledge with gratitude the sage
ach~cc of members of die Organi~ing ommittee (listed on page 7), who met once a1 the Royal
Academr and again at the Bcnaki ,\luseum in the exhibition's initial st<1ges,and we arc abo 1110,1
grateful to count.less colleagues in many countries who facilitated the procc,, or drawing together th<·
loans. Despite numcrou complication , the complex logistical aspects of the exhibition have been
c,-:perdy handled by .Jane Knowles, Exhibition Organiser. The making or this catalogue, with nearly
100 contributors, h,is presented similar challenges to Peter awbridge, ,\lanaging Edit0r, and
Ro alind Neely.
The Royal Academy i extremely grateful for the generous financial support of the
J.F.Costopoulos Foundat.ion, the AG. Levcnti Foundation and the tavros Niarcho, Foundation,
without who c help L11iscxhjbition would not have been po siblc. \Ve would also like to thank our
exhibit.ion travel partner, Cox & Kings, and The Hellenic Foundation, Dean i\lencgas and the St
Catherine Foundation for additional support.

SIR NICl·IOLA GRIM IIAW CBE

Presidt11l, efA rls
Ro;•tdA cadt11!)'
Director's Foreword

ht· lkn.1k1 ,\lulic:um', ti<·, \\llh Gn.·,tt Brit,,in ,trc both old and c;;trong. Tlw Vi toria ,rnd
T 1\lht·11 :\luc;rum in London"•''• in a way, the model for 1hc lkna.ki ~-lu,<.·um al its foundation
1111q'.~o.~111ccthl'n, the lin,hip bct\HTn llu· two orgM,i'-uionc;; has been rcflrctccl in continuom
communication m·e1 ,cholarly i-;,ucs, ,L..,,,ell a,; 1,,0 acclaimed cxh1biuon, in 2006. A comp,1r.ibl
,pi1·it of ,m1it) aniin,1tc·cl 1hc lknaki :\lw,cum'<; coll,Lhoration \\1th the f-layv,-ard Gallery and thc
~c1tn«· :\lu,cum 1111976, and more recently ,,·ilh the :--;ationaJ Gallery and the British ouncil,
in (\C'1-\\iclrnin~ qclc ofculturnl c,c11ts.
.111
The lk11,1ki l\lu<;eutn and the Royal Acadcm) of Art,; first c,1mc into contact will, each other
in 1987,on the occa.;;ion of Lhc exh1biLion 'From 13yz.ant.iumto El Greco' Almost two decades later
Lhc opportunit) .iro-.c for ,1 second and more profound en ountcr bct\.,ccn Lhe two institutions,
.1 sign ofLl1c ripening a,.,drcncss of the need to pay off at least part of the debt lhat Europe owes

to Byz..uuine ci, ili.rntion. Predictc1bly, this jointly co-ordinated effort, the product of a partncnhip
that will doubtlc,;;,;;continue in l.hc future in other domains and for other reasons, has not escaped
the olbtacles that CVCI) important , emu re must confront. ~cvcrthclcss, despite the inevitable
difficulties, '13y7antium 330-1453 1 has succeeded in securing the wholehearted support of friends
from the ccckc;ias1ica\1 museum and academic worlds of Europe and America.
The Bcnaki ~luscum expresses i~ immense gr-t1.titudeto all those who ha,c shouldcr·d the
burden of resol,ing the many thcorct.ical and practical problems invol,ed in the various stages
of prcp,u-ing Lhe exhibition. Their names arc recorded wilh due credit in the previous pages, where
the clecisiu·ly important sponsorship of the J. F. Costopoulou , the A.G. Lc,enris and the . .. iarchos
roun<lations is alo;oextolled. L,stly, although neilher the omrnunity of the Holy ~lonasteries
of ~lounl r\thos nor the l lol) ~lonastCI)' of Stjohn the Theologian of Patmos is included in
the,:;cpages, this in no way diminishes the fact that the exhibition at the Royal Academy of Ans
is as much in honour of Orthodoxy as it is of Greece.

ANGLLOS DELIVORRIAS
Dtrutur, Bmala .\ lustw11,Athms
Supporters' Prefaces
111eJ. F. CostnpoulosFm111datio11, !heA.G. !.LVentis
Fo11ndatio11and the StavrosJViarchosF'o1111dntio11
are
veryproud lo su/Jportthe exhibition•Jijza11tium330-1453 '.
171tthreeFo11ndatio11s are commiltedto promoting
and prtseroi11gHellenic culture and heritageiu
Greeceand abroad.
17uJ.F. CostopouWs Foundation, a non-profit
charitable institution, was founded in 1979
on the occasion of the ccntcnat)' of Credit
Bank, in memory orits founder John F.
Costopoulos, by its then Chairman, the late
Spyros Costopoulos and his wife Eurydice.
The main purpose of cstablishmcm and
ope.ration of the Foundation is to promote
Greek culture in all aspects boLl1in Greece
and abroad through the constant support of
initiatives rusociatccl with cduc.:,tion, research,
public welfare and Lhearts. More specifically,
LheJ.F.CostopouJos Foundation supporlS
activities related to Lhe preservation and
dissemination of Lhe ancient Greek and
Byzantine cultural heritages. Furt.hennore,
iLSnolewon.hy presence in Lhe field of an.,
and more particularly of modem and
contemporary art, organising and
supporting important exhibitions, is
strongly manifested every year. In pursuit
ofiLS aims t.hcJ.F.CosLOpoulos Foundation
often coUaborates wilh 01.herprominent
foundations in projects of common interest.
1heA.G.!..fl•fllli.JFoundationwas also
established in 1979, to fulfil the wishes of
the late Anastasios Lcvcntis. Follo,\~ng his
directions, the Foundation's activities were
based on Llirec p1inciplcs: cuhurc, education,
philanthropy; a fourt.h was later added to
Lhcsc, the environment. In C)1Jrus 1 Greece
and wider south-eastern Europe, the
Foundation's main emphasis has been on
the resLOration of a number of monuments
of va1ious pe1iods and on suppon for
education and culture. Elsewhere in Europe,
and further afield, there has again been a
concentration on education, with a particular
focus on the communities of the Greek
diaspora. An international programme of
support for Greek studies has been developed
over the years in para!Jel with efforts LOsrudy
and enhance Lhe presentation ofCyp1iol
antiquities in museums around t.he world.
The Foundation has active imernational
programmes on environmemal conservation
and sustainable agriculture, with emphasis
on developing countries.
Acknowledgements
11,eStavrosJViarchosFou11datio11is an The curators of Lhe exhibition and the members of the Honorary and Organising Committees
international philanthropic organisation t.hat would like to acknowledge the assistance of the following individuals during the making of Lhis
suppons cha1itable acti,~ties in four primaiy exhibition and its catalogue:
areas: the arts and culLurc, education, health
and medicine, and social welfare. The Oriana Bacldclcy, Dimitar Blazevski, Elizabeth . Bolman, Stefano Carboni, Ashley Cooke,
Foundation's Board of Directors award grants Tatjana C'-dctiCanin,Jon Davies, Nexandra De Poortcr, Simona di Ncpi, Dimitris Dondos,
to not-for-profit organisations throughout the Kathleen Doyle, Qinar Ergin, Stephen . Flicgel, Valentina Furlan, Tamar Gcgia, Eurydice
world, and since the Foundation's inception in Gcorgantel.i, Nlilco Georgievski, Richard Gerome, Silvana Grosso, Zsanett f-ladrevi Ashcroft,
1996 have provided more than 1,560 grants to John Hodgson, Charles Horton, ~1liroslav IliC,Olga llmcn.kova, Zsuzsa Kalmar, Ismail Karamut,
organisations in 85 nations around the world. Nlartin Kauffmann, Riham KJ1alil, Thomas Krcn, Buba Kudava, Scot NicKcndrick,
Jn addition, the Foundation maintains a major Irina Nlakarova, Marielle Martiniani-Reber, Georgi ~1faystorski, Peter Meadows, Pavel Mcdvcdev,
commitrncnt to supporting programmes in Gabriele Miet.ke, Vrcj crscssian, Aleksandra NiciC, Inna Om, Bojan Popovic, Mi-rjana Ra.koCeviC,
Greece th;ough the guidance of a locally Valentina Ricetti, PhiJip Rylands, Lina Sabino, Dejan Sandie, Zaza Skhirtladzc, Fiona Soutar,
based advisory committee. The Foundation Stergios Stassinopoulos, Marica Suput, L-tjos Szelestey, Richard Temple, Cecilia Treves,
seeks to provide contributions that have the Eteri Tsuladze, Nikolas Vadis, Nlariangela Vandini, Nianon \ 1Villiarns, lvanka ZoriC.
pOlential to add value in a significant way.
VVithin each programme category, the
Foundation supports initiatives that feature
strong leadership and sound management
and that can demonstrate a tangible impact
over time. The Foundation hopes to foster
exchange and collaboration among recipient
institutions by supporting a broad range of
organisations across its target programme
areas. It places particular emphasis on
endeavours that address education, social
welfare and health i sues for underservcd
populations, with special attention given
to programmes for children and the elderly.
Selectively, the Foundation also seeks to
support programmes within and outside
Greece that promote, maintain and
preserve Greek heritage and culture.
 Chronology J.q
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'359
ROBIN CORMACK 10 Vcnt"l1,1n~for 1,oon nurk.~ T11rks ,ll w:1II~of Constaminoplc
lht,11111111" 11( rn1q1u ,1, 111 l1,1h ,md "1111) fl,H Jl,• 1

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Fil'I 1;;..umc'm,.11Chun h Co111h 11,ll 11.,h 111\,nkd 11, l.omh,11,h I 11,11w11nd 11t lh1,u11111t' 11n1iod,l\ 111 Iii] /lh IOf/(1 fJ'J lllll fit 1373
:\'icH•,1pr04.l;u,m lh<"ch,·11111,
ot Chn,t l'lio11.,,' .. ,uud p111rnl ,I\ 1'.1111.111h I 1r~, Crm.,dr l•.11,n b11pirt" ofC:om1.1,,11nople Throphancs the Creek paint, the Church
of the Tr:111-1-figur.nional Novgorod
f "1fll 71' 1201 11,10
110 Buth o1 i\loh,11n11wd.pmplwl nl l,l,1111 Ch,11ll·, i\l,11td, 111ori011, O\('r Ar,,bs ll!lb ,pi 1099
l,(·u \'I rrn1w101 brcmnc, a I .11111k111gdom
Jcru~.111·111 De'l"pot.,tr of Ep1nis
11 ~l.1,. Con,1.1111111opk
,kd1<.11cd ,II 1'1111wr, 1376
Ouornan cnpi1al c:uabli.shccl
1110 120-~1161 at A<lrianoplc
361 63 ~1.1,·,,ind .\\.11, 111\,Hkn.111.,111, rll
()I", "i() 1wn
VII
l-,nll' n1ll' ofl:111p1·101 Cc111s1,111t111c Cluuch of St l\lid1,1d ,II Kiev built Emp1rt" ofTreh1lond
Empt·ror J11h;m 1Tin,1.llt"-p-•v1n1,111 R,1H·n11,1 fall,; to Lombard,;; end
l'orph) rog1·11111•to, 1389
oftht· B}1an111wJ:,.,rchatt'
.')C'}O l>Oj 1211 1669 Serbian empm::: f.,lls to the Turks at
1118 •13
39' Gn:~or, lhc Gn·.11 lwcom,·, \'ope 111 Veneuan period m Crete thr- Oaulc of Kossovo
171r0<i(NO~I h.ms p:u.,.,.11
culh <)jj John II Komncnm build, 1hf"imperial
Ronw 751 Ru-..,1,m l'nnrr,, Olga rl'Cc1, cd ,II 1\lon,,~tcry of Christ P.mtokrator al
Council of I ht'ria dcda,c, iconoclasm 1mprn,tl co1111 Co11~t,tnlinoplc 1210 1393
402 (.600
,ts Orthodox donrinc ~fongol.!I take Kiev Turks occupy Bulgarian Empire
Ravenna dcwlopcd as ;i c.1p1ul John Khm,11.o, \t.579 650 , 1\bbot of qbt 1130
Sin.ti, 1, rue:, the J-lmu11{)Ladd", one of 762 Rt•c-onqucs1of Crt·it· from Arabs Icon of Virgin and Cluld sent from 1260 1397
.po the mo<.t popular books in B)7,rnuum, B.1ghd.1d founded b)' Caliph cl i\ hlnsur Constaminople 10 Kiev; a.1 1he icon Dccorauon ofCa1hedral ofSopoC.ani on~mntinoplc anackcd b)' Turks
Rome sacLt.'d b, . \lane tht· \'isigoth c,)>t'cl.\11}for monks ofVl.1dimir. llus l,11crbccoma the
96,
787 Fir..l 111011,lSIC')
on 1\loum Athos founded protecting icon ofl\lo~ow 1261 1399-1402
·1'.1931 602 28 Se,enth Ecumenical Council at Nic.1ea b) !::itAth.uusios a.stht· Grc:tl L....,ura Rccapturc of Consianunople by Michael l\lanucl II in the West
Vandal conquc--tof.\frica War with Pcr~ia;Greece and lhc Balkans condemns opposition to icons as heresy 1147 Vlll Palaiologos
arc in\'aded b) Avars and Sla,-s First reference to city ofl\loscow c.1400
976 IOJS
797 802 l:mpll'C extended under Basil II 1274 Da:.ilios O~,rion (see cnuz53) bom at
43'
Tiurd Ecumcnical Council at Ephc.su.s 6,o Irene empress ofBy·L;mtiurn 11,17-,19 Council ofL)OM rcunucs the churchc., Trebizond (d. Ravenna, 1,17::i);Bishop
proclamu ).lary :u ~!other of God Conversion of lhc Panlhcon at Rome Second Crusade of Nicaea in 1437; attended Fcrr.u·:i•
988
mto a church Ru~si:m conver:sion to Orthodox 1282
Florence Council from 1+38 to 1439;
Boo
Ch,istia11ity 1149 Church Union of Council of Lyoru nmdc Cardinal of church of Rome in
-132 40 Charlemagne cro,1 ned emperor of
orfu retaken by By-.:antium repealed 1439; remained in ll'aly, giving hi, library
Church of a.n1a~ laria ~ laggiorc 6,4 lhe Romans b)' Pope Leo Ill to San l\farco a1 Venice
mRomc Jerusalem captured by t.he Persians from Normans
1017
a.. Basil 11annc:-:cd Bulganan kingdom 1282 1328
1171 Andromkos n PaJaiologos ~pc::ror 14.02
45' 602 Byzantine ;mny cnishcd by Bulg.,rians Turks dcfcau:d by Timur (Tamerlane)
!018 96/97 Venetians in empire arrested
Fourth Ecumenical Council at ChaJccdon Emigration (Hegira) of~lohammecl from at Battle of Ankara
1\lichacl Psellos, philosopher, historian, and properties confiscated 1288 1326
establishes Onhodox doctrine on the Mecca to ~ledina on 16July marks
human and di\'inc natu«= of Christ beginning onluslim era
8 15-43
econd period of iconoclasm
courLicr and monk
1180
Osman, founder of Ottoman dynasty
...
,.,
Const:mtinople 11uackcd by Turk!
1037 46 Serbian empire established by 1291
455 6,6 8,o Stephen Ncmanja
Rome sacked by Vandals Cons1.antinople auackcd b)' the Avars St Sophia at Kiev Fall of Crusader kingdom based at Acre
Birth of Photfos (d.8g3); Patriarch of 43°
Constantinople, 858-67 and 877-86 1182
29 !\.larch; Ottoman Turks take
1042-55 1304 171cssalonilci
476 6,9 !..Mins massacred in Constantinople
Foundation of Nea ~ loni on Chios by Ephesus falls 10 the OuorlUI\$
Lut \Vcstem emperor, Romulus Herakleios (610-,p) recovers t.hc 8,6 Emperor Constantine IX Monomachos
Auguuulus, deposed by Odovar True CroS5 from Persia Crete folls to Arabs 1436
1185 1311-88
the Ostrogoth llic artist Angelos Akoran 10s {cats ~38,
,os; Nonnans sack Thes.\aloniki CataJan domination of Athens
63, '239) signs his will in Candia, Crete
827-78 Schism declared bc.t,,cen Orthodox
52 5 Death of Mohammed Sicily falls to Arabs Church and Roman Church 1186 1312:-14
Antioch destroyed by canhquake Second Bulgarian empire 438
Church of Holy Apostles in Thcs.,aloniki Church Council at F'err.u-.i
634-,µ 837-43 1061
5,9 Arab conquest of yria, Palestine John VII Crammatikos Oohn the Norman conquest of Sicily 1187 1316-21
Philosophy schools at Atheru closed and Egypt Grammarian) Patriarch of Constantinople Jen1salem is captured from Crusaders 1439
Decoration of the Cbora Monastc() 6July: union of Creek and Latin
Codification of Roman law by Saladin
1064 of Christ at Constantinople by Th codon:: Churchc, agreed at Council of Florence
638 San 1\1:irco in Venice rebuilt and l\.le1oc:hitcs
532-37 Jerusalem falls to Arabs under Caliph
143 decorated with Byzantine mosaics
Triumph of Orthodoxy declared and 1189-92
Fint Church of St Sophia (Holy Wisdom) Omar I Third Crusade. l4<1-8-53
iconoclasm condemned as heresy 1329 ConsLantinc Xl Palaiologos, last emperor
bum! in riots and rebuilt for Justinian I 1066 Turks capture Nicaca and take control
(527-65) by architects Lsidoros ofMile1os of B}'zantium
673-78 'l11eodorc Psalter (cat.51) produced at the 1191-1489 of t\sm Minor
and Amhcmios ofTraJlcs 843 ·47
First Arab attack on Const..."llllinoplc ~lonastcry ofStjolm Stoudios Lusignan kingdom of Cyprus
Methodios Patriarch ofConstanti11oplc
in Constantinople 453
13-18 1-16o 29 May: Fall of Consta.111..inoplcto
533-54 c.6)5-753'54 1202 04 1\.Listrabecomes seal of the Dcspou Ottoman Turks under l\lclunct 11.
Reconquest of Africa, Sicily and haJy 858 67 1067 Fourth Cnisade of the .Morea
John of Damascus, iconophile theologian Photios' first period as Pairiarch !-lodegetrin icon at Constantinople
·turks take Caesarea in Asia Minor dcsu-oyed
537 685-95 135-1
St Sophia dedicated on Christmru Day 860 1071 Turks cross m10 Europe
Gold coi1u of Justinian LIwilh 1.hcface First Russian attack on Consrnntinople
of Chris1 on the obverse eljuk Turks defeat Byzantines at Oattle
of~lanz.i.kcrt. Dan taken by Nonnans
5,µ!
Deat.hof Empress 111codora 863 and By-.:antium loses southern Italy
697/98 Victory over Arabs; Byzantine offensive
Carthage, last Byzantine stronghold
in the East begins
in Africa, falls to Arabs

CHRONOLOGY 19
18 CHRONOLOGY
 The i\ 1<-cli1nr:111c:111
;incl tlu·
extent ortheRon1;111l•:rnpirc in i\D •Ioo Hyzantiun, in c.800 Sm ofAr.011

~ht.111
Orum
At/11111/r , ,;1·1.A11
01 \'I "I IIA

Chc~n

eR,-'l'llll,I
BlarkSm

l~ '
.~ u.,,,1,.,1
"""'"' 0 (:\wr,m,
,,11,,1,,,,,,1
lllm~ ,\r(I

, ~lllnpc I 11:IJ11oml
/2
j ,"I'.
Con,1.111t1
o&Wi,
[I' •
1ta1iC )i' .
SI \IIJ

~i~
_,i' '
I
•Antioch

Rhodes

e Damascus
,\ltd11DranranSta

- Extent m 800
0 Majorcities eJerusa.lem
• Protectorates
e Other cities

Byzantium during
the reign of Justinian Sta efA,;-_oo

Atla11llrOun11 • Extent atjustinian's accession, 527

• Justinian's conqucsu, 565
O Major cities Chcrwn

Bio,kS,a
Ani

Ti
K.,n O •
•
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Rome_- Thco1osiopolis
Mrui-1.ikcnO

~anyropolis
•
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eEmesa
eTnpolis
Beirut•
e Damascus
Alc.xandria
0 eTibcrias
Cacsnrca e ~az..-u-cth
- Extent in 1050
Major cities
• Other cities
• Conquest ofJohn Tz.imiskc.<i

20
 Byzant.ium in c. 1350
- E..-.1ent.
in 1350
Scrbi~111lanW
01i,
eTrnovo 13 zantinc citiC5
e Turk-held ci1ic,;
e Soflu ltlNOUOM o, 11111.0ARIA • i\k'lcmhn,1 0 crb1:111cities
0 l'u O l'n11..in11 • 1\nd11,1lo,; e A1hcnian c,ue,

0 SkopJC lllnrASrn llcmklca

(unul 1360)

0 0) 1Th,1chium ~rilcp 0
•
0 Ohrict Strunllca hrysopoh (Scut.1ri)
1 ~la
e Nicomcdia
of Blachrrn
e ikaea
0 Adona O J(ruaorin

I
I"
Olo.mnina 0 Laris.~., Ar,::ffmSm

' AnaO Plcleon

0
ePerpmum
Ncopauas 0 SKVIWS :,..:ewPhocaca
e Boudonits., •• Old Phooeo
e Salon., esmyma
Thebes
,john
in Petra 0 Andravida
DUOll'ii' OF ATHENS • e Ephesus
CISTERN Christ e eCorint.h
OF A.SPAR
Euergetes Bosplwros Ak • aupha
Kar)'t.'lina e
Andros..,e
Modon e
Coron•
ri.loncmvasia
: Church of Lh Christ AST\'P,'1.AL\
11.IIODIU
/'"' .: Holy Apostles Pantokrator

1/ •
I.·· 1\/tditnmntan Sta
CUIOOTTO

o"- • • CRETE (VENETIAN)

;j •
Monastery
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CIST£RN OP
of Lips

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.
MOKIOS •

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St Mokios ..
.
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ARCH OF
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FORUM AND
COLUMN OF
CONSTANTINE
Monastery
ton Hodegon

SS. Scrgios
and Bae hos
Pro/;ontis
(Sea efMannara)

0 Churches
Constantinople m c. 1200 • i~w~rRJg~IflNOS
El OATES
 Byzantium:
A Historical Introduction
YRIL I GO
 l~g.1 ~ YZANTIUl\l IS SIIORT FOR TIIE UYZANTINE EMPIRE. \\ !licit 1l\;1y l>l'defined
B
?-.losaic panel wil/1
a portrait of the
as the Ch1is1.ianempire_ ruled li-0111Con~1a111inoplc.Tltcd:tll'S :tlt;'.cltnl
EmperorJtminian, 5-17 10 1hc title of1h1s exh1b111onarc those ol the ccn·111"111:il
111:111g11r,111on
S.1.11\ltalc:,R..l.\'t'rlna of Cons1an1inople as 1he New Ro111coil 11 [\ lay :no :tlld of its capture
by the Ot1oman Turks on 29 l\lay 1453. Oil this definition Byzantine hiswry
encompasses more tJ1an clcvell ccnlu1ics, including wh:ll \\T ll0\\ call Lale
Antiquity and the entire Middle Ages.
In addition 10 being Ch,istiall and bcillg governed from Cons1aminoplc,
Byzantium had one further essential feature, namely its claim to be the direct
continuation of the Roman Empire, a claim it maintained 10 the very end, long
afrer it had lost all semblance of Roman identity. By calling itself Roman it
asserted both its primacy among all other nations and its pivotal role in the divine
dispensation, for Rome's was tJ1e fourtJ1 and last kingdom revealed in the book of
Daniel, di,inely preordained IO be the last empire on eanh. The translation of the
Roman capital from Old Rome to New Rome by the first Christian emperor was
not an accident, but part of God's plan, which also determined that the eventual
Fall of Constantinople would usher in tJ1e end of the world.
His101ians wday who attach more weight to what they perceive as realities
1.han to mytJ1, no matter how potent, have some trouble in accepting an unchanged
Byzantium proceeding in a st.raight line from me first to me last Constantine.
They point out quite correctly tJ1at the period from 330 until c.640 AD, mat is
Late Antiquity, was fundamentally different from its medieval sequel. Indeed,
some historians prefer lo restrict me epitJ1et Byzantine to me medieval empire.
o matter how we label it, me Early Byzantine/Lale Roman period still
embodied tJ1e concept of a single empire, though its eastern and western parts
were administered separately after me deatJ1 of Theodosios I in 395. As me
western empire crnmbled under barbarian pressure and was eventually abolished,
the emperor at Constantinople maintained his meoretical overlordship until
Justinian I (527-65) made a determined effort to reconquer Italy, Norm Africa and
even me soumern coast of Spain (fig. 1). His success was short-lived, except in Africa,
whose coast remained in Roman hands until c.700. Meanwhile, me eastern half
was relatively secure and prosperous. On the international scene its opponents were
Persia, the traditional enemy, wim whom Constantinople waged an intermittent war,
and assorted barbarians - Goms, Huns, Slavs, Avars - who were pushing across me
Danubian frontier, but proved on me whole containable. Internally, me eastern
empire was a constellation of cities, each with its own rural belt, some going back
to Greek Antiqwty, many omers founded in me Hellenistic period. Constantinople
was rapidly growing to become me biggest oftJ1em, adorned wim pompous public
monuments and, increasingly, a multitude of churches, defended by massive
fortifications that are still extant today (fig.2). Yet, until well into the sixm century
me provincial cities - rather man Constantinople - remained me chjef carriers of
traditional culture. Indeed, among me literary figures of me time not more than two
llYZANTlUM: A HISTORICAL INTRODUCTION
nr tlin:e Wt'rc natiVC''- nr C:nn,;;1antinople.
\Vliile higher school, or phil"'"phy and
rlitloric llouri ..lil'd at cl'ntre,;; Mic-ha._
/\lcxandria and /\thens, C:on,;;1antinnplr
could boast only a preparatory school for
prospcclivc civil servant'-.
1.ong regarded as an age or
decadence, Late 1\n1iquity has more
rccemly become a fashionable subject,
even a growd1 industry among
professional historians. IL was certainly an
age of sharp contrasts which saw Lhc last
stand of pagan diversity in the face of a
triumphant Christian monotheism
imposed by a despotic govcrnn,cnt; an
age of heated theological disputes in which tJ1eemperor, at first reluc1antly, became Fig . .!
Ruin~ or lhc walls
the suprcn,c arbiter and enforcer; an age that witnessed the phenon1cnal growth of of Con,;;rnn1inoplc in
monasticisn,, which was a reject.ion of normal social life and its traditional urban p1·cscrH•day b1anbul,
values; an age of what used to be called superstition, but is now called spi1;tuality, 4 13 47
entailjng as it did a universal belief in demons and magic, the cult of Christian saints
and their bodily relics, enthusiastically championed by such eminent and, indeed,
cultivated churchmen as St Ambrose in me \Vest and Stjohn Chrysostom in the
East. The contradictory tendencies of Late Antiquity arc reflected botJ1 in its
literature and its visual arts.
The end of Late Antiquity in tJ1e East came so suddenly and so une,qJectedly
tJ1aLit defies explanation. In 602 tJ1eRoman army on me Danube frontier mutinjed.
The reigning emperor Maurice was overthrown and replaced by the brutish Phokas.
This gave an excuse to the Persian King Khusro II to invade. \ Vitlun two decades
tJ1ewhole Roman Near East, l\ilesopotamia, Syria, Palestine, Egypt was in Persian
hands. Symbolically tJ1e most painful blow was tl1c Fall ofjernsalem and me
'captivity' of tJ1e relic of tl1e Trne Cross. The transfer of me Roman army from
Europe to Asia to oppose tJ1e Persians opened the Balkans to nort11ern barbarians.
Allied to tl1e nomadic Avars, Slavs e tablished themselves all the way down to tl1e
Peloponnese. An uprising at Carthage put a new emperor, Herakleios (610-41), on
the throne. At first powerless to cope with tl1e crisis, Herakleios embarked on a bold
campaign to attack the Persians from tl1e rear by way of the Caucasus. gainst all
odds he succeeded. The forces of Khusro were cnashed in what is now Iraq (628)
and tl1e Shah himself killed in an internal plot (fig.3).
Herakleios had barely time to restore tl1e situation and bring back to Jerusalem
the True Cross, or ramer a replica tl1ereof (630), when a new and une::qJected
enemy, me Mus.lim Arabs, appeared on me scene. They quickly conquered all tl1e
provinces recovered from tl1e Persians and went on to destroy tl1e Persian kingdom
BYZANTIU?i,"l: A llISTORlCAL INTROO CTIO
 itself, which collapsed \\~th hardly any opposi1ion. \\'ithin
a single lifetime the entire map of the Near East had
been permanemly transformed.
\Vhat was now left of the Roman or Byzantine
Empire? Essemially, Asia i\ linor wesl of 1hc Ta urns
and Amitaurus ranges, the Aegean islands, a few
isolated outposts in the Balkans 0ikc Thcssaloniki).
southern Crimea, bits of Italy, icily and the North
Afiican coa t - in all, hardly a coherent talc. The
chances of its stir,rival looked pretty slim, especially
as the Arab made a determined effort to conquer
it once and for all. However, their one-year siege
ofConstaminoplc (717-18) failed, thus sa..ring eastern
Europe from i\luslim domination.
As we cmer the medieval Byzantine pe1iod, we find
ourselves in a different world, dimly illuminated by a woefully
inadequate hi to1ical record. The Balkans are now held by a medley
of barbarians, mostly lavs, bm also Turkic Bulgarians, who in 681 establish
them elves in the counuy they still inhabit. The cemre of the empire's gravity
consequently shifts to Asia Minor, itself subjected to yearly Arab incursions and
devastation. While Constantinople remains secure behind its impregnable walls,
nearly all provincial ciric eitl1er disappear altogether or, terrain allo,,~ng, shrink
to a more defensible citadel, as one can still see at sites such as Ephesus, Sardis
and Ankyra. Under these conditions a civilised life, of the kind that had existed
in Late Antiquity, becomes impossible, and that explains one characte,isric of the
meclieval Byzantine Empire, namely tl1at Con tanrinople, from being the biggest
of many cities, becomes the only true city, now called simply poli.s- not that there
was much culture at Constantinople in the second half of the seventh and the eighth
centuries. Yet, even under tl1e dire conditions of the rime, the centre was able to
maintain general taxation, a table currency and a skeleton civil sen-ice. In contrast
10 the \l\le t, uch traditions of culture as were preserved owed more to imperial
officialdom than to tl1e Church or to monasteries, as witnessed by figures like the
Patriarchs Tarasios, Nikephoros and Photios, all of them ex-members of the
central bttreaucracy.
Emperor Leo III (711 41), who saved Constantinople from the Arabs in
717-18, is unjustly remembered not for that glorious deed, but for having initiated
iconoclasm, tl1e ban on the manufacture and worship of images of Christ and the
saints. Iconoclasm simmered on for over a century (73 843) and generated on
tl1e part of its opponents a vast body of polemical literature, exceeded only by
tl1e volume of modern commentary. It started qujte simply as a reaction to the
all too-evident fact of Muslim success. Why were the goclless Arabs uruformly
,~ctorious, while the Christians were humiliated to tl1e point of losing even their
28 BYZANTJUM: A HISTORICAL INTRODUCTION
liuly city,.Jcrusalem? To Leo Ill the answer was clear: ,he Christians had sinned
hy railing into idolatry, expressly condemned by the Second Commandmenl. The
111ili1ary~uccesscs against the Arabs and Bulgars won by both Leo lll and his son,
Constantine V (74.1 75), only served to validate their theology (fig.+). Indeed, the
military situation got worse when iconoclasm had been reversed by Empress Irene
(797 802), only lo improve again when the ban on images was reimposed by Leo V
(815-20).
It is a mistake lo assume that for 100 years the Byzantine public did nothing
but squabble over the veneration of icons. Yet the phenomenon of iconoclasm,
apart from its impact on the development of religious an, had certain unintended
consequences that proved historically more importanl than the theological issues
at stake. First, it created a rift between Constantinople and the papacy, leading
the latter to seek the support of the Frankish Kingdom and culminating in
Charlemagne's imperial coronation (800), which openly challenged t.he Byzantine
exclusive claim to that title. Second, it called imo question the relaLion between State
and Church. According to Byzantine ideology the emperor was the chosen of God,
responsible both for the temporal and the spiritual welfare of his ubjects. A heretical
Vig. 3
Combat of David and
emperor constituted a scandal. \Norse, an emperor who was both a heretic and a
Goliath, largest of a persecutor of Christians, as Constantine V aliegeclly was, could only be compared
set of nine plates,
to a pagan tyrant like Diocletian, to whom no allegiance was owed. In the wake
thought to symbolise
the victory of of iconoclastic controversy some churchmen were emboldened to reject impe,ial
l-lcraklcios overt.he
authority in matters of faith and morals. A precedent was created, even if the net
Persian Empire.
Dated by stamps, result amounted to very little: the Patriarch of Constantinople, him elf appointed by
613-629/30. Silver, the emperor, had little scope for independence. If he proved mfficult, as in tl1e cases
diameter 49.4 cm
of Phorios in tl1e ninth cenrury, Nicholas Mysrikos in the tenth, Michael Keroularios
The ~lclmpolitan r-.lur.cum
or An, Nc:w York
F;g. 4 in the eleventh, or Arsenios in tl1e tlurteenth, he was simply dj n,jgsed.
The secret weapon of The iconoclastic dispute had not yet quite abated when imperial propagandists
the Byzanlinc Empire:
Greek Fire, which launched a movement of 'renovation'. Its origins are obscure. \Vas it a response to
could liquidate enemy the Carolingian renascence in the 'Nest which occurred at the same time, and had
ships. Folio 34V,
bottom, of lhe 1\1/adrid broadly similar manifestations? Or were tl1e two entirely independent? Renovation
Slrylit<.e.r,
late twelrth meant erasing tl1e effects of tl1e previous two cenruries and returning to the culture
century. Parchment,
35.5 x 27 cm of Christian Late Antiquity ,-~tl1 its traditions of education, book learnjog and its
B,bhou:cnN11ciomi.l,
M11<lrid insistence on 'correct', that is archaic, language as tl1e only velucle of polite
 literature. Such old books as could hl' found philosophical, scirntilic, hi~toriral,
Byzantine literature is impenetrable to modern readers. How far it vvas understood
literary- were re-copied in a new, more compact script, the so-rnlled minuscule.
at the time except by a narrow coterie i Jes· clear.
In the minor art , too. in piration was ·ought in Late Antique mocll'ls
It was also in the ninth century that Byzantium scored its most notable success,
a phenomenon that art hist01ians haw. so111c11
hat improperly. labellecl the
whose consequences arc still with us today, namely the conversion to Orthodox
'i\lacedonian Renai ancc'. Confined. it seem·, to Constalllinoplc. the 1110,Tmrnt
Christianity or the southern Slavs (Bulgarians and Serbs), leading eventually to that
or reno\"ation wa spread over se,Tral decades. indeed centuries, and had two
or the Russians. Conversion entailed the invention or a lavonic script (ror none had
p,incipal consequences. The first, wholly bcndicial, ll"as the preservation ora
existed earlier), first, it seems, the perversely dimcult Glagolitic, soon replaced by the
con iderable coqJtts of text , both Christian and pagan. lncleecl, our knowledge
simpler Cyrillic, modelled on the contemporary Byzantine capital .tlphabct, and the
of Ancient Greek literature is to a large extent confined to the texts that were copied
creation or a Slavonic literary language ba5ed on translations from the Greek or texts
in Byzantium in tl1e ninth and following cent lilies. What was not opiccl was lost.
essential to worship, predication and edification. Conver ion went hand in hand witl1
That is well known to cla ical philologi t ·, but perhaps not ufTiciently appreciated
the spread or Byzantine political ideology, architecture and art. Ir today the gTCatcr
by the public today. The econd consequence wa of more quc tionablc value.
part or the Orthodox world lies outside the European Union, that is ultimately clue
It wa the virtual elimination from literature or the Greek vernacular, that is the
to it Byzantinism imposed in the ninth and temh centuries.
poken language. Even uch genres a homiletics and saints' lives that were aimed
Conversion, however, ilid not always lead to amicable relations. The Bulgarians,
at a wide audience wc,:e recast into a semblance or Attic Greek and embellished with
in particular, proved hostile neighbours who repeatedly threatened the very existence
all the rheto1ical nouri he recommended in textbook . That i why much or of Constantinople while at the same time maintaining commercial links with the
empire. If the Bulgarians were at least a known quantity, the Russian Vikings, who
~ig. 5 suddenly struck at Constantinople in 860 (and again in 907, 941 and 1043), were
The Emperor Basil 11
receiving the more frightening because tl1cy were initially unknown and had the ability of invading
submi ion of his by sea ,vithout prior warning. It was widely believed that they would cause the
enemies, folio Ill, of
the PsalterefBas,/II, ultimate destruction of the city.
c.1019. Parchment, On the eastern front, however, things were going better thanks in part Lo the
39·5 x 30.5 cm fragmentation of the Abbasid Caliphate, a dynasty ruling from Baghdad. From 863
81bho1rc.1\l.un.:uu, \'emu.
cod gr L 17 =p1 onwards, in spite or many reverses, the balance of warfare swung in the empire's
favour and by 976 northern Mesopotamia and much of Syria were back in Byzantine
hands afrer more than three centuries orlVluslim domination. Crete, captured by the
Arabs in 827, had been reconquered and Cyprus reoccupied. This was the epic age
or medieval Byzantium, and it heroes were a network of interrelated Anatolian
warlords, partly of Armenian descent, two of whom, 1ikephoros Phokas and his
murderer John Tzimi kes, even ascended the throne - very briefly as it turned out.
The eleventh century proved a pivotal age. At the death or Basil II the 'Bulgar-
layer' (1025) (fig.5), the empire was once again in control or the entire Balkan
peninsula. Its economic life had developed thanks to the revival of international trade
in tl1e Mediterranean, and a number of provincial town , like Thebes and Corinth,
were becoming important manufacturing centres. t Constantinople one can iliscern
igns or a nascent bourgeoisie. Much to tl1e ilisgu t of traditionalists, tradesmen were
admitted into the ruling elite. A new law chool wa established and philosophy was
taught by the polymath :Michael Psello . One can imagine Byzantium progTessing
to the kind or rena ccnce that tl1c West was e,,-periencing at this very juncture.
That did not happen.
The crash came very ucldenJy in tl1e form of the cljuk Turks and nomailic
Turcomans. Following the Byzantine defeat at fanzikert (1071), the whole of Asia

BYZA TIUM: A 111 TORIC L INTRODUCTION

0 BYZANTIUM: A IIISTORICAL INTRODUCTION
 Nlinor was overrun by the invaders. \\"i1hi111c11)Car, a Turki,h ,·n1ir wa, <'IN'<JIH"<•d
al Nicaca (present-day lznik) and another ,ms ,itting at Sm) rn,1. h11ildi11g"llccl with
which lO attack Constantinople. The crisis rc,ultcd i11a pa Ian· l'oup, 11 hil'h brought
lo the throne Alexios I (1081 1118),a 111c111bcr
of'thc 111ilitarycla11nlthe Kolll1H'IH>i,
who were lo rule the empire for the next h1111dredyears. Up IO 1hi, poi111Byza11tiulll
had to look in two directions the cast and the 11nr1hfrolll where the tl1rca1s to its
secUJity came. It was not cul offli-olll the \\'est, but there was 110sig-11ilicanl\Vestcrn
imerfcrence in Byzantine aAairs. That changed shortly bdc>re the accession or
Alcxios I, when the Normans captured the Byzantine outpost or 13ari(1071) and
went on to lay siege Lo Dyrrachium (now Diirrcs) and penetrate deep into Greece.
To fight the Normans, Alcxios had to call in the help or Venice at the cost of'
ruinous commercial concessions (1082). The arrival or the First Crusade, in which
the Normans had a part (1096), rurtJ1cr complicated and embittered relations
between the two halves or Ch1istenclom, ecclesiastically separated by the schism
or 1054. From tJ1atpoint until the encl of Byzantium the \Vest was always present,
botJ1 hated and cm~ed, an enemy and a potential, though unreliable, helper,
an e>.'])loiter,yet a parmer in business.
Starting ,,~th a nearly desperate situation, Alcxios I strove ceaselessly both by
am1s and diplomacy to retrieve the fortunes or his empire. In Asia Minor only tJ1e
western coastJands could be recovered: tJ1e interior was written off. Alexios defeated
tJ1einvasion or the nomadic Pechenegs, successfully resisted the Normans and did
his best to manoeuvre tJ1eleaders or the First Crusade to his advantage. He did not
engage in unrealistic adventures. His policies were followed by his able uccessor
John 11(1118-43). The dashing Manuel I (1143-80), however, had loftier ambitions
and exhausted his state by repeated campaigns in Serbia, Hungary and Italy, in the
hope of regaining the patrimony of Constantine tJ1e Great. During the brief reign of
the paranoid Andronikos I (1183-85), tJ1e last of the Komnenoi, the empire began to
called, retreated from Constantinople 10 Nicaea, where they established their rival
'empire'./\ seco11dGreek sta1cle1 sprn11g up in Epirus ;md a third, created by
secession shortly before the Fall of Co11stantinople, in far-away Trebizond. The
'empire' or Nicaea provl'd tli(.' mo"t ,11cccs~ful of Lhcsc new cnLitics and ,vas able Lo
regain Constantinople in 1261 under the rule of i\lichael VIII Palaiologos (1259 82),
rounder oft he last Byzanti11edynasty. The Latin empire was now gone, but that
did not remove the Latins from a dominant role in the Levant.
For all its symbolic significance, the recovery of Constantinople was not an
unaduhcrated boon lo the Byzantine cause. The centre of gravity of impe,-ial policy
now shifted lo the \Vest, whereas the Asiatic possessions were left unguarded and
quickly succumbed lo the Turks, the area closest Lo Constantinople (Bithynia)
falling to 1he lot of Osman, founder of the Ouoman dynasty. \Nhilc
members of the dysfunctional Palaiologos family squabbled
and fought each other in a series of civil wars in the
1320s, 1340s and 1350s, the chief gainers were, in the
short run, an aggressive Serbia and, in the long
run, the unstoppable Ouomans. vVhen the
Turks had crossed into Europe (1354),
Constantinople was virtually encircled.
The end wo_uldhave come earlier but for
the disastrous defeat or Sultan Bayezid I
by Tamerlane al the Battle of Ankyra
(1402), but the Ottomans soon recovered.
Thessaloniki fell to them in 1430. Appeals
for \•Vestern help (fig.6), even tJ1e submission
of the Byzantine Church - not for the first time
- lO the papacy at the Council of Ferrara-Florence

fragment. BuJgaiia and Serbia broke away, as did Cyprus. In 1185 Thessaloniki was (1439) produced no effective response. The Lhousand-
sacked by tJ1eNormans. RelentJessly, events were moving towards the suppression year-old walls of Constantinople could not 11~tJ1stand
of the Byzantine state, repeatedly mooted by Norman kings and German emperors the Turkish cannon. Byzantium died fighting.
For all their misery, the la t two centuries of Byzantium produced
and finally attempted by the Fourth Crusade at the instigation of Venice.
a remarkable cultural effiorescencc in scholarship and tJ1e arts. It went beyond the Fig. 6
The tragic events surrounding the sacking of Constantinople by Crusaders in The Emperor John
renascence of tJ1e ninth and tenth centuries by including ilie ciences (especially vrn when he
1204, which have recently prompted belated apologies by a repentant West, did not
astronomy) and translations from Latin autJ10rs, who w1til that time had been attended the Council
spell tl1e deatJ1 of Byzantium, but certainly put an end to its role as an international of Ferrara, a portrait
haughtily ignored. Greek scholars, despairing of conditions at home, migrated to medaJ by PisanclJo,
power. The political history of the next two and a half centuries, played out on a
Italy, where tJ1eywere received witJ1 open arms, ai1d from iliere to France and c. ,438-43.
petty regional scale, is of such baffling complexity as to defy any attempt at a clear Cast bronze,
Germany. The fruits of the last Byza11tine revival thus went to feed not the diameter to.3 cm
exposition. Briefly, the Crusaders set up on feudal lines tl1ei.rown (Flemish) emperor
subjugated Greeks, but the new humanism of\Ve tern Emope. MUX'Cdu Lou\TC., ~
of Constantinople and tl1eir own (\I enetian) patriarch. Thessaloniki became a
separate kingdom tJ1at, for a while, stretched down to Athens. The Venetians, more
interested in trade than in landed possessions, claimed the Aegean islands and coastal
ports which commanded the sea route to Constantinople, while tJ1e French set up
their own principality in tl1e Pelopom1ese (Morea). The Greeks, as they can now be

DYZANTIUM'. A HISTORICAL INTRODUCTION 33

BYZANTIUM: A HISTORICAL INTRODUCTION
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The Art of Byzantium
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ROB! CORMACK AND MARIA VA SILAKI

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 Fig.7 ~
Folio 328v or the Sacra
'BYZANTIUM 330 I 1.53'1, Till, 111('1 i111crn,1tio11.d
c,itii,i1in11 i11l.011do11lill
fifty years to ,owr 1hr "hole r.111gcol'lh1.1111i11can. In l!):,B .1 grn11p nr Ro1na11 E11q,i1c1ltrough walking ,,round the C.:olisl'um? The equil'alent monument
Para/It/aof Stjohn of
Damascus, 800 ,~o. 247 works emitlcd 'i\ Ia,1c1vierc, or B) 1.a11ti11c
. \rt· "·" ,Ito" 11in .\111.\ust li,r lly1.rnlli11111
is 1hc C:hurrh of St Sophia (fig.8). 1\ medieval response to entering
Pa.int on parchment, and September at the Edi11burgh 1-'c,ti,.d ,rnd i11Ortoll!'r .111dNo\'l'111bcr tl1at grl';11 cli11rd1 hal'..co111e down to u,: travellers from Kiev in 988 were so
35.6 x 25.5 cm ovl'rwl11·l111rcl
thal thl'y said they dicl 1101know if 11teywere in heaven or on earth. 2
al the Victoria and Albert i\lu,cu111, l.011do11.That c,hihi1io11 11as rnrat,·cl Ii)
ll1hliothcqucllllllOn;1k
'l'lii<.i lells us tlial 1.,calc, rich decoratio11 cT·n·mnnial and incense all con1binccl to
de ..r.:mce,1'.,ru,Gr 913 Professor and l\lrs David Talbot Rice, .111dthe e111ph."i' 11·"· 1hey said, 011 1

appreciating 'tJ1e richness of 1hc 111atcrial,the lini,h or its nalb111:11"hip, its profound enhance a sacred builcli11g,hut it do(·<,not tell u"imore than the shared values and
sensitivi1ics of the period, ancl its love of formality in public life. This was a society
artistic quality, its deep spiritual clrnrae1cr, all l'irJually unequalled amoug the ans or
that had strong public beliefs hut whose inner though1s arc veiled in its opaciuc
Lhe past'. The concise catalogue and the subsequent, 111oredis,ursi\'l' book 'lite Art ef
litera1urc and its undersiatcd art. Predominantly its litcralure \\as in Greek (which
Byzantium(1959) by David Talbot Rice, which ht- says 11as directly i11spircclby the
was the language of government but not of all the people, and which was more
exhibition, placed great c,it.ical e111pha,is 011the aesthetic qualitic, of llyza111inc an.
artificial and formally constructed than everyday speech) and, apar1 from the Bible
The chronological range chosen lor 1he 195B cxhibi1io11 was m11,h the"'"" as lor
and practical liturgical books, the literate audience (perhaps a mere tenLh of the
'Byzantium 330 1453', with the exception that a number of icons produced after 1453
population) read lives of saints, sermons and histo1ies, very little poetry and fewer
were included. Some works that appeared then make a reappearance here: the cover
novel~. ,.['he viewers of its an were familiar with images whose con1cnL wa ....vi!-.ually
of Lhe 1958 catalogue illustrated the coloured ivo,y with the coronation of Emperor
restrained but symbolically rich. For example, there arc many ima,1;es of the I'ig. 8
Constant.inc VII Porphyrogennctos (sole rule 9•1.5 59) from the talc Pushkin Crucifixion in Byzaminc an, since the death and re,urrcction of Christ is the central St Sophi.1,
Museum of Fine Ans in Moscow (caL.68). The 1958 catalogue regreued, however, tenet of Christianity, but they express the theology rather than the physical sufTcrings Con,.t.1rninoplc,
rnotlll'1·-church
tJ1at many objects on the 01iginal wish !isl could 1101,for various reasons, come to of Ch,ist or the emotions of the spectators (cat. 244 is a rare ca;e of a Crucifixion so of B) .,,mtium
London (nothing at all came from America). Conditions have changed in 2008, but
equally some highly desirable objects proved too fragile Lo travel and others cannot
be loaned for va,ious reasons.

\-VHAT IS BYZANTJ i\l?

Readers of this book may wish again to appreciate the skill and virtuosi Lyof the
(mostly anonymous) artists of Byzantium. But Lhe notion of 'maste,vicces' is now
much more problematic when looking al olher cultures, and today we expect a
more questioning interact.ion wilh art. v\lhereas fifty years ago the responsibility of
Lhe professional an historian was seen to lie in the authentication of the date and
place of manufacture of each object, tJ1e aims of art history arc now more ambitious.
ln 1958 for an object lo be labelled 'Byzantine', a decision was based on whether
iLcould be described as of high quality and if it might have been made in
Constantinople or by an artist trained in Constantinople but perhaps working outside
tJ1ecapital city. Today Lhere is no consensus al all on whal Byzantine or Byzantium
means; indeed, a recent analysis even speaks of Byzantium as a 'myth' or a 'mirage'.'
And Byzantine art is often treated less as a collection of masterpieces than as a wide
range of objects, each wiu1 a function, often religiou , in everyday life and activities.
Byzantine an is seen as embedded in every aspect of society: it is 'evidence',
therefore, in a debate about tl1at society and its aspirations and assumptions.

AND Tl-IE ANSWER IS ...

The challenge is to find Byzantium through iLSart. This is not easy. How far can
we understand early England on u1e evidence of Stonehenge, for example? Or Lhc

TIIE ART OF DYZANTIUl'.1 330 1£~53 37

36 TIIE ART OF BYZANTIUM 330- l<f53

 emotional that it is only explicable to us as the \l'ork or a Byzantim· artist rt·sp,>11din~
to a VVcstcrn patron's instructions). The cxtrc111crcalis111or Griincll'ald's ,ixtcenth-
ccntu1y lscnhcim altarpiece is umhinkablc at any time in By,;inti11111.Yet the inncT
spirituality of Byzantine and \\lcstcrn Christians c:1nnot h;iw dilkn·d in intensity.
Although Byzamium lasted for over 1,000 years, its icons and circ11n1stanccs arc olkn
supposed to have remained static and unchanging. As 11-c turn the pages or tl1is book,
we can question these interpretations and ask holl' change can be tracked
in Byzantium.
Constantine the Great (306-37) founded the city in his name, and so Byzantium
evokes 1.hc Ron1an Ernpirc and his conversion to Christianity. His traditional in1agc
as a Ron1an en1pcror(cat.5) is intended to n1ark where power lay in a centralised
state, whose world mission was to be defined by its Christian faith. Constantine was
the leader of a community based not on ethnicity but on a shared Orthodox culture.
The art of the Early Ch,ist.ian centuries sh0\\11 here docs illuminate exactly this past
legacy and fi.1turcprogramme. The Jonah sculptures (cats ,, 2) and the Good
Shepherd (cat.3) arc in the direct traditions of Hellenistic an and arc just some of
many works that emphasise the Greco-Roman continuities of Byzantine art. Old
artistic forms are used to clothe Jewish and Chtistian stories that broadcast the new
promise of salvation and Paradise for the convert. Byzantine art employed traditional
ideas, yet t.he new religious an avoided ot.her familiar forms: the idea of a venerated
cult image, as in the pagan temple, was rejected, and several centuries were t.o pass
before t.hc now-familiar image of the bearded Christ was fonnulat.cd. 3 In 1958 t.hc
otigins of Byzantine a.rt were often sought in the East, with Byzantium seen as
antipathetic to Classical art. Today more emphasis is la.id on the Greco-Roman
sources of Chtistian art in the Mediterranean lands, but this still means that several
different regional traditions convero-ed in the i\iliddJc Ages. The influence of Egypt
as much as It.aly can be seen in t.he materials. But this does not mean that. a.II
Byzantine a.rt was homogeneous, or that Constantinople was the only producer
oft.his Byzantine art. A number of works included here were produced in other
regions of the Orthodox world, and respond to several t.raditions: the ampullae
which contained sacred oil from the Holy Land (cats 26, 27) were brought to Monza
a.round 600 and were seen by Westerners as precious relics from the East. They
a.re pa.rt of Byzantine art, but their histo1y is worked out far outside Constantinople.
The silver paten from the Hermitage Museum, St Petersburg (ca.t.286) has similar
imagery to the ampullae, but its origin is even further from Constantinople, probably
from the estorian clmrch in the East. Such works as these show that Byzantine a.rt.
served a community much wider than the city of Constantinople.
A look at these early works sets in front of us a self-consciously 'modern' society
that. recognises its roots; pagan forms combined withJewish sacred writings have
been reinterpreted in a developing Christian art which supports the new ethical and
political values, and which defines the structures of power, both human and divine.
The prevalence of images of Christ, the Virgin Mary and Child and the saints, and
THE ART OF BYZANTIUM 330- 1453
or t.he Gospel events operate 011 many lcvds: ror example, they define the best.
1nodels for humans lo imitate in their lives, they reiterate the truth or Christian
doctrine and they act as reminders oft.he importance of t.hc family unit within
so icty. But they arc much more than cliclactic objects. They can give solace in
Lime or u·ouble and they act. as a focus for prayer for good hcal1h and a prosperous
ramily. The word 'icon' is so obviously appropriate for works of art t.hat arc not
only pictures, but also representations of the ideal lire and acljuncts or prayer
and worship.
The progressive early Byzantine development or art was challenged by the
iconoclast emperors of t.hc eighth and nint.h centuries, who banned t.hc product.ion
and display of images of Christ, t.he Virgin and the saints. This pe1iod or reformat.ion
of art has inttigued histotians, who have offered many diffeting explanations and
motivations, from puritanism to a power stniggle between t.hc emperor and the
expanding hierarchies of Church and monastery. The failure or iconoclasm or, as
it was called, the 'Triumph of Ort.hodoxy' (as in cat.57) resulted in figurat.ivc an
becoming t.he essential identifying feature of Byzantium from the nimh cent.u1y.
The art. of the ninth and tenth ccntuties, produced during t.hc successrul military
expansion of the empire under the Macedonian dynasty, and specifically under t.he
scholar-emperor Constantine Vll Porphyrogennetos (cat.68), offers us new interests
in art. To this petiod belongs the development or Byzantine enamel production
and tl1e expansion of product.ion of works in ivory and other matetials. The court
in Byzantium was at tl1c centre of such luxury arts. Some works emphasise tl1e
Classical interests of t11eliterate elites who continued to read tl1e works of Greek
Antiquity, and were consumers of newly produced manuscripts of famous authors,
now wtitten in minuscule instead of the majuscule script which had been the norm
until the ninth century. The majuscule sctipt was still used in an illustrat.ed ninth-
century manuscript oft11e Sacra Para/le/aof john of Damascus, an anthology of
quotations from the Bible and Patristic texts intended to provide moral and ascetic
inspiration, including over 1,000 thumbnail sketches, among them one of an icon-
painter copying an icon to illustrate a fourt11-century text by St Basil: 'As the pa.inters
when they pa.int icons from icons, looking closely at t11emodel, a.re eaaer to transfer
the character of tl1e icon t.o their own masterpiece, so must he who strives to perfect
himself in all branches of virtue look to t11elives of saints as ifto living and moving
images and ma.kc their virtue his own by imitation' (fig.7).4The text, in which
a tl1eologia.n gives his version of how Byzantine icons were produced, helps
to document how a.rt was understood to function in Byzantium.
Other works of t11eNliddJe Byzantine period emphasise the Greek pagan
past (like the Veroli Casket [ca.t.66] or the gilt-glass cup from an Marco that
mischievously combines obscure Classical imagery wit.h fake Islamic wtiting [cat.81]).
This petiod of Byza.nti.ne thinking was distin tively ambivalent in its uses of
Antiquity. Wtiters like Michael Psellos in t11eeleventh century explored Platonic
philosophical ideas to see if t11eymight fit witJun a Chtistian framework.' Visually
THE ART OF BYZANTIUM 330- l l~53 39
 the Veroli Casket shows that, ";th a good k110\\lcclgc or P•'/-\"""') tholo1-(), or i1, 11cwculture, and so did its art. Even in the home, in objects ror special or
it was possible to produce sophisticated sa1ire ,111dl111111uur
II hid, thl' <'qu,dl) everyday URC, a mixture ofChrii;tian and secular rrfrrcnccs pervades. People wore
knowledgeable viewer would appreciate. P.1r1icularl) rl', l':ili111-(
abo111 lly1.a111iu111 p<'ctoral crosses lo ward off evil (cats 129, 199), and the passing or time was marked
and the past is the church at Skripou (,cl' c.11.183). It, pa1ro11. the pro1osp.11harios by Sunday worship, church restivals and holy days, and abow all by the anmml
Leo, was a rich impc,ial ollicial \\ ho m111ed till' l.111d,,round thl' church. Frolll B7:l commL·morntinn of Ea\tcr, which stimulated many of the works shown here, such
to 874 he built the large church ,·111ircl) Ii) ITC)cli111-(
col111n11,and lllarhil's rro111thl' '" Lhc double-sided icon from Kastoria (cat.246), which was carried in procession
nearby ancient cit) orOrchorncnos (li1-(.9).I le co111po,cd an original set or highly 011 Good Fridays. Ex-volO donations or an \\Crc made 10 churches, and the greatest
clcganL verses in a proficient Cla~~ical'it) le for inscription 011the-\\ est w,,11,\\ hcrcas bencriciaries or the patronage or the rich "ere the monas1c1ies. The wealthy rounder
the 1emplon screen inside the church h.,s ,111i111al
and ,-egctal clcsi)-\11,in utterly ora monastery (sometimes the emperor or an empress) could expect eventual buriaJ
unclassical forms. The church ,Lands 011antique ruins, but it both cclcbrntes and wilhin its precincts and pcqJelual commemorative prayers for remi-;sion orsins in the
Fig. 9 subverts the memory of' /\n1iqui1y in its decoration. The fact is that Byzantium artcrlirc. OLhcrs could donate icons or icon covers or liturgical ,·esscls so that their
The C'-tcrior west wall
or the Church of admired and imitated :\111iqui1y, but it newr ,imply reproduced it: Byzantine artistic identity would be preserved artcr deaLh.
Panagi,1, kripou, aims and resource, \\Crc ,-cry difl<.·1-cnlfrom those of' the ancient Greco-Roman t-lany works illustrated here arc the outcomes or such donations and aspirations.
built from 873 to 87.1
wilh columns and world. omc historians ha\'c !)CC!l this dS decline, and in some material ways life in From Lhc modern perspective, we have the dilemma or ho" 10 interpret the great
marbles taken from number or works or an (as we call them) or this kind. The re-run or Byzantine
Byzantium was less affincnl than in 1\ntiquity. But who can say that Pompeii was
the ncarb) ancicm
city of Orchomcnm, 'better, than onsrnntinoplc as a place to !in?? iconoclast Lhinking in the Reformat.ion and the subsequent exclusion or images
by its patron, 1hc B)·,amium mainrn.ined an ambi,·ale111 dialogue "ith AmiquiL)' throughout rrom many Protestalll churches may have triggered criticism or the prevalence
\\Calthy protos•
patharios Leo, who its entire existence, but it celebrated the fact that pagan Antiquity had been or Byzaminc images as superstition or magic. But artcr iconoclasm the Orthodox
also composed the superseded by a Christian Roman Empire. and thus a superior culture had been church itself' tried to disassociate connotations or magic from images in accepting that
elegant, Classical-style
wall inscriptions created. It is therefore clear 1ha1 lik in By,antium revolved around the religiosity they did in some way partake or the supernatural so that the holy figures rcprcsemcd
could receive the prayers and requests for intercession addressed 10 them.• The most
powcrrul images of this kind were those of the Virgin :.\lary Hodegcuia cat. 177).
It was believed that the model for all these icons was an image or the Virgin and
Child paimed from the lif'c by the Evangelist St Luke. His panel was believed 1.0ha,·e
survived in Con tantinople and was venerated in the 1-lodegetria monastery until its
destruction in 1453 (sec cat.266 for a Russian version). The icon could be venerated
in a special shrine in the monaste,y and was carried outside in a public pro ession
every Tuesday. Over the cemu,ies it was credited with many miraculous healings
and benefit , and copies were equally believed to ha,·e miraculous powers.'

AFTER 1204
For cemu,ies arter its foundation Constantinople was regarded as the most fabulous
city or the t-lidclle Ages. This all chano-ecl arter the sack in 120+ by the annies or the
Fourth Crusade, and the establishmem or tl1e Latin kingdom or Constantinople, unt.il
its recapture in 1261 by the last Byzantine dynasty of emperors or the Pala.iologan
family who had been in exile at 1icaca. Constantinople lost many or its treasures:
many wem to San t-larco in Venice, the Sainte-Chapelle in Paris and otl1er place
in western Europe (fig. IO).The works taken to the \\'est came from tl1e Great Palace
or the Byzantine emperors; rrom tJ1e I--lippodrome, including the famous four gilded-
bronze horses which, like many other antique statues, had been collected for tJ1e
emperors and brought to Constantinople for public display; and from the treasu,ies
or the hurchcs of the city where relic or the saints were kept in gold and silver

THE ART OF BYZA..1."\,"Tl M 330- 1.,1-,53

TIIE ART OF 0YZANTIUM 330 14.53
 pro11101ctlby Ilic fu1u1-rCartli11al Bessario11(cat.253), was nc,·cr accepted by the
clergy ,111tlpeople ofConsta11Linoplc. eormerly Byzantine territories lost 10 the
Crnsatlcrs, like the islands of Cyprus and Crete, never returned 10 imperial control,
but their r11ixetlpopulations of Orthodox anti Catholic sponsored a new form of the
ico11that combined traditional Byzantine forms \\'ith tlw greater naturalism of the
ltalia11 Renaissance. Th · 111os1prolific of artists in Crc1c \\'as 1\ngelos AkotanLOs
(ca1s 238, 239). His work brings out one of the most conspicuous changes in 1hc
history of1hc icon: the artist's readiness to sign his work. Up to the twelfth century,
Byzantine icons arc anonymous productions of undocumented artists, but from
that century onwards artists began 10 sign their paintings." Angelos is known from
several signed works and from the evidence of his will of r4.36, which records the
paintings in his workshop and his wish that his materials be inherited by his
(unborn) son.
This different world in which we can begin 10 identify ani LS and their interests
coincides (by chance) with the end of Byzantium. The history of an is most familiar
as a scicntiric discipline when art can be matched wid1 its artisL"as kno\.vn
personalities.• The challenge of Byzantium is LOread its an without the anecdotal
help of the lives of its artists, and with texts which delight LOtease rather than edify.
\\'hen Photios in 864. wrote a homily LOinaugurate a church, he praised the mosaic
Aoor in these words: 'The pavement, which has been fashioned into the forms of
animals and other shapes by means of variegated tesserae, exhibits the marvellous
skill of the craftsmen, so that the famous Pheidias and Parrhasios and Praxiteles and
Zeux.is are proved in truth to have been mere children in their an and makers of
figments.'' 0 lfwc stand in front of such a mosaic floor as that from Thebes (cat.8),
we might remember that a Byzantine like Photios would have used it as an
opportunity 10 show off his learning. That tell us a lot about Byzantine
intellectuals and tl1cir mindset, but less about how the artist, the patron and
the B)r,rnntine public thoucrht about their art.

Fig. 10 reliquaiies. Yet the final centuries of Byzantium produced a multitude of new works,
171c richly decorated
fo~clc of the Basilica
micromosaics and icons in particular.
of San ~larco, Venice. But one senses that, in this final period, a continual watch was being kept on
~ I odcrn copies of
surroundin«, rival cultures. Some of these ocieties accepted Orthodoxy, as in the
the four antique
gilded.bronze horses Balkans and the Russian lands, but these Loo were a potemial threat LOByzantium,
canicd off from
Constantinoplecan
for in emulating and reproducing its visual language (as in the Gospels of Ivan
be seen above 1.he Alexander [cat.287)), tl1ey were posturing as future succes ors Lo Constantinople;
ccmral ponal (the
originalsarc preserved
indeed, in clue course Moscow was Lo be claimed as a third Rome. Equally it was
from Lhepigeons impossible not Lofear the ever-closer encroachment of the Onoman Turks (whose
inside the building)
an, too, partly appropriated Byzantine ideas and techniques), and, even though tl1e
emperors went Lothe West to ask for help against Islam, the proposed union of the
churches of East and West declared at tl1e Council of Florence in 1439, much

THE ART OF BYZ.A TlUM 330-14-53 43

THE A.RT OF BYZANTIUM 330-1453
The Beginnings
of Christian Art
THOM F. MATHEWS
 orcal.8
T
Dclail ~ IIE lllsGINNII/C OF U\"/.\:-CIINI·.
mu,1 he dated.to the )L'<lr:1:1011hl'11
Con,1a111i11ci11a11g111-;11l'd
.1 11c11
capital or 1he Ro111.111
E111pirc011
1hc ancient city of B)1,a111iu111.
rcn,11ni11git
Cons1aminoplc after hi111,elf'.1 Thi, l'il).
mistress ofLl1e medic,·.d 11orkl until iL>1:111
in
'-153, has been largrl) supplanted b) 111odcrn
Istanbul. The great poq,h) ry col1111111
that
carried the emperor\ ~t.Hlll' in the Cl'lltrc
Constantinople's unprcce k111cd circular forn111
still stands, but the statue and the 1wo-,1ore)
colonnade that surrounded it \\'ith a collection
of antique sculptures arc all 111issing.Grand
colonnaded a,·enucs crossed the city, punctuated
by plazas 11;th statues that proclaimed the
d)siasty \\'hich Constaminc hoped 10 found,
including his mother Helena in the Augustaeum
and his four sons in the Philadclpheion.
figures of his son , ca,vcd in po1vhy1y, \\'ere
canied off LO\'en ice, where they stand al the
entrance of the Doge's Palace, embracing one
another and clutching their swords.
However, the n1ost extensive surviving
decorative clements in the new city are tJ1e
n1osaics of lhe Tcnnae Constantinianac,
actually erected by Constantine's son Constantios
(337-61), which were removed LOme Istanbul
Archaeological i\Iuseum from their site beneath
Istanbul's present LOwn-haU(fig.11).2 Scenes of
the hunt, the wealtJ1 of tJ1c earm and joyous
Dionysiac ima<Ye1yin rich frames testify Lo the
copious inheritance of antique art by the artists
of the new capital. But none of it is Christian.
The population of me city, newly arrived
immigrants from all over the empire, brought
wim mem meir old pre-Christian cults and
culture, including a 1ich repertoire of Classical
imagery mat formed tJ1e first nucleus of
Byzantine art.
The first beginnings of Christian art, however,
antedate tl1e founding of Constantinople.
THE BEGINNINGS OF CHRISTIAN ART
gnl\\th ol t:hri,1i,111il) "·" gradual.
,\Ill' \LT)
111l•:~'lll. th,· 1>111)
prminn· 11hnc one can ·C:h1i,1i:111,111'i, h) ddi11i11io11
rclil-(ious rat<\ virtually cC'a-;in~with /\nto11inus Pius
11.1n· !Ill' 1111111IJl'r,,
C:hri,1ia11s 111acleup less lhan in , 111,j,·, 1-111:iltrr.ind i11p11rp11se.11hrlong, (1:iB b1). By 1hc mid-third ccntu1y most 1cmples
~o pl'r (Till 01·1hl' pop11la1io11when Lhe Church dil'rrl(11t· 10 tl1t· rdil{iou~ realm and i1sri\c 11111\I had fallen into di,u,e and pries1s disappear from
\\.1..., cd in C:onsta111i11c's
lir-.1rcrog11i.... decree of lw 11,,u·d i11the n·ligi,>11>lilt· ol'the Lale 1\111iq11c docume111,. The decline of temple worship,
:P:F b) thl' 111iclclkol' the fourth cen1u1y this 1111 rld. l)e,pite tll<' pop11lar pnception that how('ver, did not entail the abandonn1cnt of
had risen to :,o per cent, and by the beginning C:hri....
1ia11ityo\'ertlircw the ancirnt cult~, a religion itself but i1s pri,·a1isa1ion. 6 In Egypt this
or the l(,llo" in~ c..T11tu1y
risen again, Lo over 8o ,h, 11p decline in the oflicially sponsored ancicm is traceable in a mul1iplici1y of domestic shrines
per cc111.' One can imagine a parallel growth religion, had already ocrnrrcd in the second ancl in the Fayum, where the tracliLion'11culls were
or in other cc111n·, or the empire, faster or slower third ccnturic,. The.Jews lost their temple in the carried out in more in1ima1c circumst'1nccs.
in clilli.·rc111regions. The Roman administration Sack nfjcru,ale111 hy Titus in AD 70 and wi1h i1 /\liars ror incense arc round and vessels for
al first regarded Christians as a troublesome their ancirnt prie'\thoocl came lo an abrupt end. puririca1ion rites tmd libations, while images
The ancient prics1hoocl of Egypt came to a or the traditional gods appear in wall pain1ings
offshoot of J udais111, "hich they suspected or
,i 111
ilar ii' less abrup1 end with the cessation or in niches or on smaller portable objects in
athci,m and conspiracy, and imcnniucmly
fu11di11p;.For thou-;ancls of years the
go\-cn1111c11t terracotta or panel painting:-, that served as votive
pcrsccULed for disloyalty. Systematic persecution
pli,tr,toh:-, had recorded their ,con-;tructionand offering5. /\t the same time, prior to ConstanLine,
was instiluted by Decius (249-51) and Vale1ian
drclication ortemples, and Roman emperors did Chri<,tian wor~hip was also carried on in
(253 60), who arrested the clergy and set up
the :-iamein Egypt, but at a rapidly declining domestic chapels or house-churches, which,
commissions requiring citizens to sacrifice to the
The traditional gods. But Gallienus (260-68) restored
Christian properties and civil rights and a truce
Fii;. II
ensued for some 40 years, during which the '.\l.1cn.,cl,from
Church experienced unparalleled growth. lL is Sara.;hanc, 337 61.
,\losaic, 110 x 110 cm
in the course of this 'Little Peace' that Christian
\),UOl\,1.\lu,c-11111
art makes its first substantial appearance in tJ1e hunlml. "" no l'j
catacomb paintings of Rome which peak in
these decades.''
Unlike the grand imperial commissions that
accompanied me founding of Constaminople,
this was a popular art that owed its existence
to the patronage of a Christian middle cla s
wealthy enough to afford the service of
professional excavators who carved the
elaborate network of galleries into the volcanic
stone, and skilled painters who developed a
repertoire of Christian image1y. Significantly,
tl1is development Look place without discussion
or debate, images being customa,y witl1 burial in
Late Antiquity. The catacombs belonged Lo the
Church and the clergy were bwied mere with
the laity, implying that there was general
acceptance of images in both lay and
The ecclesiastical ci rel es.'
TME BEGINNINGS OF CHRISTIAN ART +7
 Fi~. 12
Good Shepherd ,able
,upport. ,.100,
~l.11bk, height 110 cm
ll\1,11111m·,,rnl l hn,11.,n
'""'°""' \1hcm
judging from the Roman walled city of Dura
Europos, c.250, were also decorated with images.
Christian theologians emphasised how they
di!Tered in belief and morality from their
neighbours, whom they referred to as Gemiles
or pagans, but in fact there were many areas of
continuity in religious practice and observance.
For example, seasonal festivals such as the
celebration of the 1ising of the Nile in Egypt or
the spring planting festival in Rome, called the
Robigalia, were continued imo Christian times
on the ve1y same dates. St Shenoute was invoked
to make the ile Rood. Similarly, the practice of
'incubation', by which a ick person might spend
48 THE BEGINNINGS Of' CHRISTIAN ART
the 11igli1,II ,I liol~ ,hri11c i11l':\.ptTlatio11ora
l url'. co11ti111u-d i11\1) (:l1ri~1ia111i111c"· 'l'lic
orl,i ...
,ll ~lcnnutlii~ out,iclc 1\lcx:111clriawas a
1:1,ouritv pl.HT 1(11i11cuh.11io11:111dC:liristians
,·,,n1i111H'dth<' practice 1hcrr, ll'hl'l'e eventually
( :) ril nl' ,\ln:andria i11stallt-clthe relics of Saints
C:)r11, a11d.)ohn i11 1B.1.:\(any prncticcs
,urro1111di11gh11ri:il \\CIT aho co111inuous. In
the Creco-Ro111a11 "orkl burial was comrnonly
acc01np;111ieclhy invocation of the gods, who
"ere rcgarclccl as controlling the next world, such
;,s Dio11ysos, l lcracles a ncl Demeter. Dionysos,
besides being the god of fertility, as celebrated by
his worshippers. the mosaic satyrs and macnads
in the baths of Constantinople, was also
protector of the dead and guide of souls to a
happier life. His popularity in Roman an
cominued into the earliest ChrisLian funera1y
imagery, with vines and fruit, personifications of
seasons, and pulli harvcsling and crushing grapes
(cat. 9.1). uch imagery was regarded as equally
approp1iate in the mosaics of the grand
mausoleum of Constantine's daughter in Rome
or the painted catacomb tombs of more modest
ciLizcns. Heracles was also common in Ro,nan
mortuary iconography, for he slew the many-
headed Cerberus that guarded Lhc nethenvorld.
His figure is frequently found carrying tl1e
offering table in tombs. hristians used the same
offering tables, but, instead of Heracles, tl1e
supporting figure is tl1e Good Shepherd (cat.3).
The introduction of the Good Shepherd
marks the first step in a decisively Christian
iconography. The figure is ubiquitous, appearing
from Britain to Syria, from mural decoration to
terracoua lamps. He is a figure with many
values. Ch1ist identified himself as the Good
Shepherd who goes in search of tl1e stray and
lays clown his life for his sheep (Luke XV, 3-7;
John X, 16- 18), and P aim XXJil makes him
into a kind of psychopom/JUs like Diony os or
Heracles, guiding tl1e soul tl1rough 'the valley
1111l1c· c,rth-.itl1',1\1 llll·
-.11:HIIJ\\' ~Hill(' 1i11n· lit.'
shrine
oli1·11 J('l.1itl'- II':!('('', or Iii ....pa~;111 a11tcn·dc11tg in
dH' l>1>)i,l1I.H<' ,11HI curly hair that rc,rrnlilr
, lo,cl) dH' yrn1tlilid l)io11ysm and i11tlie fawn-
,kill c\o.1kor l,i..,IT\'t'll'ic-s, ,,,hich hc-wears in tl1c
,\tlict1, ,·,<:t1llplr (fi!\,12). Tlic C:nod Shepherd
\\'a, ..,0011 \UtTounclcd in tlie calacombs orRome
"" ,,ell as, -;omewlial lalcr, in the Lombs of
Tlic~salo11iki with an ever-expanding repertoire
0
1·subjects from the Old and New Tcstamcms
employed i11staccato, emblematic fashion to
c,·okc stories of deliverance. Jonah and the
\\'hale, Susanna and the Elders (cat.9.2), and
the miraculous cures of Christ are typical. The
images carried an in1plicd prayer for similar
deliverance of the deceased.
The product.ion of elegant marble sarcophagi
in Rome is the most copious document of the
de,·clopmcnt of Early Christian iconography.
t early 1,000 cxan1plcs survive, reaching a peak
in the late fourth century. Macie of expensive
marble from Carrara or Greece, they cost
hundreds of times tl1e expense of simple
interment, and were intended for dientele of
the highest social standing, such as the example
made in 359 for Junius Bassus, the prefect of the
city. At first produced in pagan workshops with
a mixed range of subjects both pagan and
Cliristia11, they developed in 1he period after
Constantine an exclusively biblical iconography,
carved in Christian \\'orbhops. The careers of
i\braham, i\loses,.Jonah and Daniel were
especially popular and New Testament themes
were less common. In 1he second half of the
fourth century, however, scenes of Christ's
miracles came to prevail (fig. 13).Towards the
end of the ccnLUry more an1biLiousworks were
introduced in formal architccLural fran1ings,
organised around converging con1posiLions Lhat
covered the entire front of the sarcophagus, with
twelve i\posLles nanking Christ.
The Enthroned Christ with his Apostles in
the mosaic of Santa Puclenziana, Rome, is the
earliest analogous apse composition.' A work of
the second decade of the fifth ccntu,y, it is a
landmark in the history of an (fig. 14). The apse
of a church provided the largest unified space
available to an artist (8.8 metres across at Santa
Pudenziana). To meet this challenge, a new
medium was invented, namely mural mosaic.
Fig. 13
In Greco-Roman an, mosaic had been a t\ tirades of Christ
medium of noor decoration. \ Vhcn liberated Oanking Susanna and
the Elders on Lhc
from the scuffing of feet, the mosaic could 'Trees Sarcophagus',
include a "~der range of fragile materials: c.360. ~larblc,
60 x 140 cm
coloured glass cubes of aturated red and deep
11.lm,·cdqJ:mcmc:n1alAries
blue, iridescent fragments of mother-of-pearl, anuquc, Arla,
THE OEGINNJNGS OF CIIRISTIAN ART
 \l.tlH 11111c, I Iii-. h.i11clc,I Jll.lltl<t', k11c,,,11d) 1·,~. 15
'"" or Dt 111<tl"r,
tl1t'"'"'' ullc1111gol 1111,1gc·..,,
''""' um111uu1pl,t((' lound 111 ,1 ~,I\C',
111 tlw (i11·10-R11111,111 \\01ld ,l11d \\,1.., ll'"'JlOll..,ihli· ,1•cond c1·11111n
I ,·mpcrn o,er "hue
lnr , 1 /.11.c.1p.111ul 1111' ,111i...ti< p1od11<t1011.''
g-1011ncl 011 \\OO<i
\\"licil11·1 OIH' li,,d l('(t·h('(I cl (i\i( ho110L11. cl p,111d.15 x 8 cm
,ilto1, 11111w c,o111H'"'·01 ,I< 111t·, 0111· \\c111l('d to \...-.1' h~ \I,
,, ,11 ti~ \I u llrrl,n
r,pll"'' 01H'\ ,1pp1t·<1.itio11to tht' god..,, ,111cl 1Jij.., ,11,,1111

,, , 1.., done 1111,..,t

< 0111mo11I} ll\ h,t\ ing ,lll mugt·
111.ick ol IIH' c.od to,, hom on<· \\,l.., ,tdclt<•..,..,jlll{
prn1io11oftlic .111i,1i< produ<.tion
th.111k,.. \ '111~1·
oftlH' ,11Hit·111 \\·orld ..,p,,1111.~
riom -.,urha
the t\crnpoJi..,i11,\tlie1h, for
r1101i,·,1tio11:
1 •,,unple. \\,I'!< n>"dcd ,,ith '1u11d1<'d"'
of,oti,·e
--i,,we..,.111Ro1nan time_·:,,
\\ooclc-11panel pc:.1i11tirn4"~,
th.II j.., 10 '"> icon ...in the art hi...tori,tn\ ll)(' or
the 1e1 m. c,1111c to be u...cd in thi..,rontext a-.,
11elL,is i, dornmentcd licquc,nl) in Pompei,,n
p.1i111im~,111d in the -.,ur,i\ftl ofa laigc cOtl)U5
orpre-Chri"i,111 ico11, i11l'.!.,')l'l f,c;.15. O11r
llltl",( infer that the Chri\tia11 U)(' or itOII)

wa,; continuc>11-.,"ith thi'; ancient U')C',ai., the

con..,truc1io11nncl cornpo\ition~ or Earl) Chri,:;tian
ico11i.,cc.ho their prc•Chri-,tian a11lc<.cdcnb.
\\"hen Bi,hop Eu~ebios ofCac,,11c,1 in Palestine
de;cribes seeing- icons of Chri~t, Peter and Paul,
they muM have been com111011 in pri,·atc
domestic use; but he felt that they should not
I 1g 11 2;old and sil\'er foil ,,,nch,iched in glass. This The, encration of images sprang be used in the ne11 public church buildi11gs that
Chn,t 1.mhronrcl
.:imon~ lu, ,\po-.tk.,,
introduced a radicall) Ill'\\ ,1e,1hctie. Religious!) dire<ll) from the ,·oti, e u;e of irnage, in the \\"ere appca,ing e, eri~l'l,ere in the 320, and 330s.
< JI) \p,t· lllO\,llC too it \\as a \Cl) nc" kind of image, for it wa~ Greco-Roman "oriel; in the ancient world 1-lm,e\'er, icons became ,·e,,• popular and
a grand cultic iron, tha1 i'; a non•narra1i,·c communication with divinity always involved 11ithin a centUJy they decorated churches all
painting mc;in1 for direct ,·cncration. By contra~t, irn,;ges. The explanation for the practic is seen over the ;\ lcditcrranean.
cemete,, an ll"as rarely een; one visited the in the im ription that Christ holds in his book,
tombs only on the anniversa,ies of the deceased, which reads in I ,Min, 'The Lord who preserved
and the images were i111cndcd 10 tell a ;w,y unharmed th· church of Pudenziana'. The tiLle
rather than to be objects of devotion. But pre crver, or conservalor,was used in Roman
placed at the end of the nave before the staring dcdica101y ins riptions ,hanking the gods, or
Q"l!Ze
of the faithful, the mosaic of Christ at Santa ometimes the emperor, for their protection; the
Pudenziana was offered for direct veneration, making of the Pudenziana mosaic image wa
and Christ was given the full beard and long hair ther fore an offering in thanks for deliveran e,
that had been used 10 distinguish Jupiter from vc,y probably referring to the church's safi ty
the other god . during the ack of Rome by the Visigoths under

rllE 131:.0JNNINGS 01· CHRISTIAN ART

TIIE BEGINNINGS Of IIRI Tl N ART 51
 2
}011ahCr11tl /1 .Jonah h111wtl,thl' (,mad 7 11'1'
I .1,t< Ill \11 d1t( 11,ltll .Ill, I dn, 11.1111 ,111
,1 1,111 \11

,, ond h.df ol du 1hnd c < 11111n

1 h.tll r1I t!H thud 11
,1·( (111d 11t1ir\

\l,ulil, p- 1 K Jhi,c 1B 1 1111 \l.irhk pJx1h.3x1B1111

I I ,, I \ I , I ...,
\I,
lu •1! "
l,

1111 UI Gl'\'-1'\(,'-, or l IIRl'-11 \'\ \RI

 ,)
3 ◄ l lt·.ul nl n11••-l.111111H· I.
Liblc ,uppoit "ith lu.;u1c tiH (,11·,1[
) of the ( ; 0 mi :--ihcphnd
I I 1''
\,1,1 \l11u11 ' rn11l-ln1111ht, nt111\
( ,I\I hH•ll • ·ill h, 1"h1 th Ill\
\l.uhk 11·, .. 'I" i:i,m
' ' \1 I\
I ll
"

4
(:.1111('0"ith \,,trrior
ho,..,cn1;111
111,t h.dt (II thl lt1111th t(·tlHII\
l .in ed. poh,ht d. mul11-l.1,1·1 nl
,.ud11n,, •·1" 1tJ" 1 ·11111
11
1 1 I ,, I\
(i ◄
I i.i!.!,IIH 111 nl .1
".Ill lljlli,tt',11-., fllllll
1111I, ..,, l'<'lt'I
I 1111 11 'II ,I, 1.,,1d111d
,.11111 titd111111111,

l'irtt illllll 1,111 IIL,llhl1

" ,cl\t

7
Rt'lid "1th bc,1c!-4t'd { it,
I ,ptldll111ll!U1\
\\ I (Iii

\I "
 8
Pan or a mosaic
pavement" ith
pcrsonific;uiom
or the lllOllth,
I IH"IK,, c.uh ,1,th c(·ntur,
~IOlll' ,11\CI 111,llbk, ·310 )( 66 (111

1111 11111-111◄ \111.,.tr, ol( uhmT .111tll11h,,1.11,

nl lh1.u111n<" \11110111111n.(h.dli.

g.r ~ 9.2
Tomb" i1h "·all paintings,
including S11.,a1111a
and
the l:'/dm
t·.11h l1fth c t·n1tir\
I lw-.,.1lc1111J..1,
I ,11111,,11ul d11,u h,·d lrc-.c o,
~o.!,, 'II x 107c111. 170• 1.1-71;cm
IJ,.11,U,m, \lu,,,11, .. t(uh,11, \1"""'11"!
11,, '" I h ,n II ,Li. /II \ II

IO.I 3 _,,
Three chair rir11amem,
pc.:rsonifi•ing Rome,
Comtantinoplc and
Alexandria
Rrnm· • .ilt1 1 :11I
Cddcd '>Jhc1. 1H.7x 7 <Ill
I hr / ru,rrr, ,,j1hr llnu,h \lu~um. l~m•l"n
1Ut,hu.1•1Jr .• 11,,,,u,,1JJ 1/l,1111JJII 'I

'J ht· fou1 th ch,m 01 n.1menl,

personif) 111~ Antioch, dlus1r,11cd
second from ld1. ,.., 1101 exlubitecl)

·8 THE DECINNINGS OF CJIRISTIAN ART

 II
CRI TOFORO
BU01 DELMONT!
(r.1385 ,.1430)
Col,711.\ 1,.-.
n,U,fo:;i'
Liber insulamm archipelagi
,dtt \,1:'.\•t' I ·111,l
111Ch
tt1An''tnt"'r,111cfrcr (Book or the Islands or
1!.t('<'flu•
the Archipelago),
folio 15,1.v-15y

Ink and paint on parchmcm,

36.5 x 25.5 cm
I ht" llnud, l..ibrar,·, l.nndon, Arundel 93
t,(•• (,t.;;;l ,_r,!
l~pl11d
enii., nl 1111u·ctnu•ifti~
(f tn;~luhii kndh,U'u
...~:n.tf.t

, 1:'
"'rt.! rmitt
<1UM.
"'Pre
11\ ,111iclo ill(O
ittfUft.t11huo gtt11\.I
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111,mu,l.ttrnouun

THE BEGINNING OF CHRISTIAN ART THE BEGINNING Of CHRISTIAN ART

From Constantine
to Iconoclasm
HENRY MAGUIRE

T
11E co~v1 ..Rs10N OF Cff,~T,,~:TJ:-.;rF
in 1he early founh ccn\tnY led 10 a
graclu:i.1rcpbce1nc111 orpag-.u11-.111I,~
Chri,1iani1) in 1he oflirial lilc or 1hc
Roman Empire. ·rhc emperor hcc;llllL' cut off
from 1he old pan1hcon of clci1ics. and pla,wl
instc:1d in a close rclntion,hip "ith the Christian
god. Addressing the sixtl1-cc11tu1--;,
emperor
1 the coun
.Justini::111 poet Paul the Silcnti.ir~
declared: '\\"e knm, Chri,1 is 1hc Lord."" know
ii romplc1ely ... \\'hence ,ou h.,w I lin, prescnl
as :1 colleague in your :1ctions. whether you frmnc
laws. whe1her yon found ci1ies. "hc1her you
build churches. or whe1hcr ,·ou sci arms in
motion, should that be necessary ... \\'hence
,;ctory attaches to your bbours, like a sign. ' 1
The successful ruler was always pannered by
Ch1is1. ln an. 1his association was expressed by
a shared imagc1)' dc1i,·cclfron1 imperial rituals,
Fi~. 16
Pili:;rim
\ token. as can be seen in the ndl'enlus,the venerable
"hm,in~ the Entry
ceremony which welcomed 1hc arrival of a
of Chnst into
Jerusalem, pre'crdnl dirrnitary.especially a uiumph<tnt cn1pcror into
b) an an~rl. E.a<,tcrn
.;\lcditl'mmcan. ,;i.,th
a ci1y.' A gold medallion from Cons1an1inople
ccntuf). E..1.nhcnwnrc. (ca1.29) dcpins an ndml/us of Justinian, who rides
diameter 3·-t-1cm
in full armour behind a pcrsonificaLion of Victo1y
Rm.:ll Onuno \lu~um
I Uf0111'>. IMI 1/flh 1818u holding a 1rophy. Beside 1he mou111edemperor
66 PROM CONSTANTINE TO I ONOCLASM
shine, ,I ,1.,r. an old ') ,nhol 11rIIH' :idw111 or
,t rukr. .\ccorcling tn ~l1·11:111tll'r the ;1uthor
1 olici..,,t11(l'
or a thircl-(Tlll\Jr\' m,11u1al l(H· orators con, 1105·
. · . .
aulic "pccdu·s. ;1 rl1etonna11 had to welcome an
l'lll(Jl'l"t>r .1s a :-tar fi·orn 011 high.'' Byzantine
porl rayals 01·1h,· En1ry of C:hri,1 in10 Jerusalen,
echoed 1he ar/1'1'11/11.,
of",111emperor, in spiLe of the
Gospel accounl or 1hc event, which subverted the
oflieial ceremony hy having Christ ride on an
ass. 1 Even 011a humble objcc1, such as a sixth-
ce111urypilgrim's 10ken (fig. 16), Lhe 1riumph or
Chris1 is resonanl of imperial an. The image
impressed inLo Lhe cla)' depicLs a winged angel
leading Christ's mou111,just as a "ringed VicLory
goes beforejusLinian' horse on the gold
medallion.'
In Early Byzantine art, the cn1pcror and
Ch1is1 shared no\ only 1he same ceremonials,
buL also 1he settings in which 1he rituals took
place. A good example of Lhis phenomenon is
a sixLh-cenLUI)'ivo,y now in 1he B,itish Museum,
London, which dcpicLs an angel framed by an
arch and sLancEng aL Lhe Lop of a flighL of sleps
(cat. 21). Originally, Lhis ivo1y formed Lhe right
half of a diptych, whose left panel is now missing.
The position of the angel at the lop of the stairs
has a parallel in the cal'\ongs of the base beneath
the obelisk set up by Emperor Theodosios I in
the Hippodrome of Constantinople (fig. 17). Here
1wo official can be seen standing on the steps
thaL lead up 10 Lhe impe,ial box, which was
called the kathismn.A set of inslructions for the
anendancc of Lhc emperor at Lhc chariot races,
later incorporated into the tcnth-cenrwy Bookef
Ceremonies of the Byzantine court, helps to explain
the role of these aLtcndants. 0 According to the
BookI/[ Ceremonies, before the start of the races
the emperor was to take his place on the throne
in the kathisma.An official named the /1raepositos
wa to station him elf at Lhc top of Lhe stairs
leading Lo 1he box, so that he could call upon
the patricians to mount the teps and make
tD dll' 1·11tli1011l'd 1·111peror./\ftt'r llir
p,,triri:111..,Ii.id gn11<·dow11 Ilic ~,airs ag:,i11, the
1ng
Jnm'jmlilo\ at thl' top orthe Sl<.'pl;j
\\1,1'-; lo g-ive
,lirm anntlH·r ,._j~11,,o tl1a1 tlil'y could go to tl1cir
a11dw<1trh die raccs. 7
place-; 011 the hP1tcl1e'-i
Two 01hcr passages in 1hc /Jookq/Cere111011ier
rkscrihc llw pro!llotion of a counicr to the oflicc
of mogistros.One sci of directions explains how
ihc emperor will make a sign Lo Lhc/1meposilos,
who will 1he11approach him and 1ell him the
name of 1he ca11dida1c lo be promo1ed. 8 The
second sel of ins\ ructions stipulates that 1hc
Jime/Josilos
will lead 1hc candida1e '10 the feel
of1hc emperors', who will be enthroned at the
iop of a fligh1 of porphy,,, steps? \Ve see, then,
tha1 1hc angel portrayed in 1hc ivo,y as umes
the role of a palace official whose job it is to
guide a candida1c up the steps and i1110the
presence of the ruler, who is, in Lhi asc, Ch1ist.
An inscription carved above 1.heangel make his
role more explicit. l t may be translaied: 'Receive arrival of an imperial fiancce at Con tantinople, Fig. 17
The base of
the suppliant before you, despite his sinfulness.' in which the women of the court went outside Lhcobelisk of
Thus 1he angel, like the praepositosin the earthly the city to welcome Lheir future empress. Thcodosios, lstnnbul,
showing siancling
palace, is announcing lo Christ the suppliant vVhen Lhe empress appeared in state, she was
officials on the steps of
who will climb the stair to his promotion in the surrounded by many of the same trappings of t..heimperial box, 390
palace or heaven. In the case of the ivory, we will power as her husbru1d. 10 An ivory relief of the
never know who that person was, but, as ivory sixth century (cat. 24) portrays a bejewelled
clip1ychswere associated with the elite, he must empress enthroned beneath a domed canopy
have been a man or very high statu , possibly the held up by four columns and screened by
emperor himself. In all likelihood, the individual curtains. A similar canopy is described by
mentioned in the insc1iption was depicted on the court poet Co1ippus in his account of the
Lhe missing left-hand wing of the diptych. accession of Justin II (565 78) after the death
Just as the court of Christ was perceived of Justinian; it covered the throne of the emperor
as being similar to that of the emperor, and in the Great Consisto1y, a hall of the palace used
vice versa, so also the cmpre s and the Virgin for the reception of foreign embassie . 11 Thus the
reflected each other in art. ln the Byzantine empress in 1.heivory is on display as the focal
palace, there was a court of ,von1en, con isting point of a reception in the palace, revealed
of Lhe empress and the wives and ,-,ridowsof to her vi itors in all of her splendour by the
prominem officials, just as there was a court of parting of the curtains.
men, Each ourt had its own set of ceremonies, Another reception is portrayed on a sixth-
the one parallel to the other. There was, for century ivory now in the British l\liu cum, which
example, eventually an adventus1itual for the depi ts 1.heAdoration of the fagi (cat. 22). The
FROM CONST, NTINE TO ICONOCLASM
 three i\ lagi approach the Virgin aml Child
as rorcign ambassadors. Their costurncs, short
rnantles 11'01'11
o,·er long trousers and ,oli,
pointed caps, arc Persian. Their gestures dcri,T
from impe1ial ceremonial: each use, a fold oi' his
mantle to drape his hands as he offrr, his 1ributc
10 the Virgin and Child. They arc introduced 10
the enthroned pair by an angel holding a long
staff ll'ith a jewel-sn1dded cross at i1s tip. This
angel replaces the ostiniios.a palace onicial
a11cs1cdrrom the sixth ccn1u1y. "ho, according
Lo the BookefCere111011ie.,.
imrocluced ambassadors
"ho 1s;1, comul in :i 11 (cat. l;i li·on1 l'lorencc).
The lic11n-pr,·,cr1Td k.1r of' his diptych is di · I
· v1ccc1
hori1.011t:dl) i1110t\\o um·qu:d pans. In the u
PPcr
zone ll'l' sec the ninsul, ll'ho holds in his right
which he
ha11clthe ll'hi1c ha11clkt'l'chil'f',or 111a/1J1a,
11 ill throw as a sig11al 10 start the games in the
circus i11ho11our or his accession. Below, the
charioteers race around the posts that mark the
e11dsor the course.
l11some consular diptychs we find an
aclclitional third zone added to the top or u1e
composiLion. For example, the dipt)'ch of
..,lt:Hccl ilic :-..111w"ic11scof· order, with ~imilar
hi ..,,,rchin, , .. 11i11g,a11clceremonials. With the
ad,·enl of' i,·011ocla,i11in I he eighth CClllU1)',the
,nirror "'"' ,hat 1,·1Td. Ostcmibly, rron1 730 until
g l:i, with 0111)'0lll' i>ricf'hiatus, the 13yzantincs
\\'ere forliidden to venerate religious images.
Th,· rcasu11s for this change or attitude were
c01nplcx, but undoubtedly the sudden success
orihc t\rabs had much to do with it. During
the seventh ccnllllY the Arabs steadily
advanced at the expense of the ByzanLinc
Empire, conquering yria, Egypt and orth
ordered a silversmith 10 produce a plate
engraved with 1hc name or 1he saint, rrom
which he subsequently took his meals. Arter
he had eaten, his slave washed the plate in Lhe
waler or a lake. 17 One may imagin that the bowl
from Cyprus could have been put to similarly Fig. 18
mundane uses, so that the purpose or Lhc saint's
Folio 2311 or the
KhluclQ\•Jl,;nltcr
image was not to receive veneration, but Lo (ca1.50),"ith 1J1c
815
iconoclas1council or
provide a blessing ror the owner's meals. By the awash whh blood,
seventh century oLhcr household it m , uch as nin1h ccntmy.
jewellery and clothing, were also being decorated
Tcmpcrn, cinnabar,
goldenpaiming
with depicLions or sainLS. Herc again, Lhc role and ink on vellum,

at recepLions." Like the angel in the i,·ory, the ClemcnLinus, is u cl in ConstanLinople in 5 13, 19.5x 15cm
/\rrica. They penetrated deep into Anatolia, or L11cseimages, which were ofrcn anonymous,
Th~i,1,1.1r ll111oncal i\lu.q'\lm
ostimioscarried a staff adorned \\iLh precious shows the consul in the centre, dressed in his and laid siege to ConstanLinoplc itseir three was not to be the focus or lcgiLimate wor hip, Mc.-ou, nu. 1.1q

stones." Finally, we may note that the Virgin
is 1101si11ingin a simple house, but enthroned
as an empress under an arched canopy carried
on columns.
The Virgin reappears in a palaLial setLing
on a later i\'OI)' ll'hich depicts the AnnunciaLion
(cal. 23). In this car\'ing, Lhe Virgin ha just risen
from her Ll11'one,and is standing on its jewelled
pla1rorm to receive Gabriel's messao-e. Behind
her is an elaborate building witl1 a fa~acle like
that or a Classical temple, with ornate columns
and capitals supporLing a triangular pediment.
This building probably represents Lhe Virgin's
house, which is here again portrayed as a palace.
The local.ion or LhcAnnunciation outside the
Virgin's house, and nOL,as Ll1eGospel suggests,
"~Ll1init, proves tl1e veracity or Christ's
miraculous incarnaLion. The conception takes
place out in me open view, not hidden in L11e
inner quarters or the dwelling, where it might
have been suspect.
In addition to portrayals or L11eemperor and
empress, Ll1eByzantines also made portraits of
those holding office lower clown me hierarchy,
especially the consuls. During tl,e firth and early
sixtl, centuries Lhe consuls issued ivory diptychs
to celebrate Ll1eiraccession to office. The last of
these diptychs was commissioned by Basilius,
official robes and holding the 111a/1pa
(cat. 13).
Beneath his reel two slaves in short tunics pour
out the largesse di tributcd by the consul at the
games - coins, pieces or silver plate and palm
frond for the victors. At the top two medallions
comaining busts of the reigning emperor and
empress, Anastasios and Ariadne, complete the
hierarchy. Later Byzantine portraits or tl1e saints
expressed Lhe straLificaLion of the heavenly court
in a similar way. 14 A sixth- or sevenLh-centu,y
painted icon or Saints Sergios and Bacchos
portrays the pair beneath a medallion
containing L11ebust of Christ (ca1.313). In
meir earthly lives, ergios and Bacchos had
been members or the palace guard, before their
imperial master, Maximian, martyred tl,em for
their faith. The golden torques around their
necks mark tl1em as member or an elite unit.
According to their legend, tl1e two soldiers
were stripped or L11eirtorque when Liley were
deprived or tl1eir miljtary rank. ow, in the
court of heaven, they wear them again a
se,vams or their true master, Ch,ist.
In L11eworks or art that we have been
considering, dating from the sixth and seventh
centuries, L11ecartl,ly and the heavenly courts
mirrored each otl1er. Even if the one court was
not an exact reflection or the other, they certainly
iirncs the last occasion being during the
reign or Leo Ill, the emperor responsible ror
introducing iconoclasm. The rise of me cult
or icons in Byzantium had alway caused some
unease, as it appeared Locontravene Ll1e econcl
Commandment against the worship of graven
images. 15 Because the Arabs, following their
Muslim raim, banned all representations or
living creatures from L11eirplaces or wor hip,
their victories must have raised new concerns
I'{
among the B)'zanLine about Ll1erole of images I
in their own lives and worship. Was God not \..;
punishing tl1e Byzantines for Ll1eiridolatry by
favouring me Arabs?
i
0
In adclition to L11erear generated by Arab r
0
advances, Ch1istian icon were overshadowed ,,'
by another set of anxieties, which concerned the I
T
unorthodox use or images. A eventl1-centu1y
bowl found on the island of Cyprus, which bears
the image or an unidentified saint, illustrates
some or these concerns (cat.4.5), As tJ1e man in
the dish wears a torque, he may be Sergios or
Bacchos. Originally there was probably another
bowl with the companion aint, so that the
two vessels formed a set. It is probable that
Ll1ebowl was manufactured for dome tic use. 16
A collection of miracles or L11eEgyptian aint
Menas recount how a ciLizen of Alexandria

PROM CONSTAi\'TlNI!. TO l ONOCLASM 69

68 PROM CONSTANTINE TO ICONOCLASM
 bur r.uhcr 10 pro, ick .1 kind ol 111.1~i,.il h1c,1k. 1ci1l',Llll'd tilt' h.1111111 11n.1~t·, 11,g,1H.
pro1c< tio11 IOr 1hc ll"iCL111 J he lu-1c1iL1' (OIIIHII 1, ,I pict11n nrdi ...01d('1
·rhc cli,pulC' ()\ Cl icon..; , ••i...cd \ iole111 .111clcli,111ptin11. \1 the lt·111n· i, l.111pc101l.c'o \',
pa.,.,ion ....The ,upprn 1c1..,of' i,11,tgc, < .illccl 011the lcli I" 111,,11-,rnts1>11.1t11ts,
ll.111kccl the
Leo 111'the ~.11.1ce11-111i11cled' .111cl
,·11~.1gt'cl in .111 iuHHHl.1\1 rlc,g). Io tlH' 11gl11.,111t>llil'1 group
in,·ecti\<' ,tgai11"t ico11ocl.t,t-,,,111dtheir pcrcc1,cd 111'dcr~, .itt,H k .1 rn c 11!.11
irnn 11I( ht tsl "ith
cn-con-.pir,u<n .... .\ lu-.li111,,111cl.Jc,,
,. 1' 1 I he ,,hitc\\,hl1. In tht· 1iL?,ht-h,111<I
lll,lll!,itl, four
Khluclm l\,ilte1. ,1 11111th-, e11t11n111,11111" 1ipt of"hlood
-.;tn,-;1111.., gu..,IJfrom 1hc pa_!.!,<'a11cl Cl\('adc
produced in Co11,t.111ti11oplt- during the ,dil't 111,Hh 10the lloor. \\hL'tT the ll'ci llnicl "a,hn around
of the i,011ori.1,tic cli,p111c,,ililie, th!' opponents the fn·t orthl' irn11ocl,1,ts."' TIIC' ic,ur stn·a1m or
of iton-., through ii...pai1ui11~ L.tl.jO .. \t the blood t1n· an i11,er ...ion of die four ri, l'r"' of
bottom or one pdgc an ico110<.l,,t i..,...ccn rai,ing P,u.1di"il', ,, hirh 8) /,llHi11c ctrti,h ,um,1i111cs
,l ...pongc 011 a !011~ hitC\\ .1...h a bu',{ or
pole LO \\ ,ho" ed llm, in~ liom the b,ts,· ol the Cross. On
Chri,t. \\hirh i"' enclo'icd in a cinul.ir nwcl,t!lion thi, p,tg-e the ,til',llll.., yrnbol, of cle,nli rather
111e....
like the portrait ofChri,t 011 the icon of Saint, th,m or life. ,\, in the , ""' of the ,i-xth- .111d
Sergio, ,tnd 13accho ....To llw ri~ht of the ..,an1c ",l'\l'Jllh-ccntLff) ,,01k, ofa1t th,1t \\l' examined
page die arti">t m,1kc-.,a cot11pa1i,on. _juxtapo ...ing earlier, the depittion~ of the iconoda-.,t"i in the
the dr,tro)er ofChri,t', icon \\ith the ,oldicr Kliluclc)\ P<.;,tltcrmirror im:i.t~l''I ,h"IOti,ttcd ,, ith
at the Crucih,ion "ho ll"iC~ a pole 10 press a Christ, but no" the rcflcctio11 j.., rcYc-r,cd 'lO that
,,inr.!;,lr-soakcd ,pon((r against the fare of Ch1is1. it becomes antithetical: the iconocl,t..,t emperor
.\nothcr p,1ge in the Khluclm P,altcr dcpin, no longer imitatc.., ( :hri~t ,1'l hi\ colleaquc. but
the iconoclast rourn ii or 815. "hid,. after a ,hort opposes him as hi, roe.

12
The Prnjccla Ca,kct, ft om
the E,quilinc treasure
Rom<-. b1.·I\H't:n JiO ,1.nd300
~1h n nnbo,..,nl ,ind p.1111.111\
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28.G )( j) CJ )I( ·l'J..? ( Ill
II, ln,.trf',,l1lirll,111,h\l1, mn l,11,.1 n
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70 I RO\! (.;Q~STA,'1,' I l'\J:. IO ICO'\-OCLAS.\I

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FROM COi'STANTINl!. TO I 0:-l"OCLA M 73

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FROM CONSTANTINE TO ICONOCLA M n

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from the life of Da\'id
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'-i1hn, d1.1rm·tc·1 111111, 2h R cm,
II (Ill

( 'I \I ,m '"'"' l).-1,ormum ,r

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35
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"',11\1 '· 1·, •.?]cm

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39 ►
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40 • .
A pair of gold t·arnnl{s
Co11,t,1111111opl1·
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41 -►
Chain ornament
and coin
Con\t,tnt111oplr(?J1
th 4iC\'C'rtthH'llllll"\
~~Id, kn~th 29 'm "'
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'\,rt-.u.
J HO l>,;p,1nm "'
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93
 +3 •
~ih er plate "ith
crucilc.>nllmonog-ram
( Olhl,Hlll1H1pk fiol 10

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, I), p.tnm, UI .. 1

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44. 45
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1!\q•1oii·, 1
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1!1<1'1PjJ ll

91 IO ICONOCLJ\Sr-.1
 l-7
Icon \\ id1 \ in ..,rin
.,nd Child
R Ill Ir ( 011 I ntnwpli
lo I
I' II I II Ill ll -,r J- -
\I \I

I RO\\< 0,,1 ,,11,1

 48 1-9
ilk \\ith the Cmpcl ,trcord111~ l<,
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Annunciauon
S, or P ll 11111
1.1
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t·1 ond h,111,,I nah lllllr,
~f'~r ilk m fiH· colour..,
:\!Jnu 1p1 on I 1r '11 t
n.b • b8 7 cm
31 ,c 2J l Ill

98 PROM CONSTAN"J INE ro ICONO LAS\I

50
1,,,dt<'r "itl1 (.I_"ist
. iJIO ,11HI \\ 1d1 lhl'
p1,l) -, .
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iconncl,JSL,li1lio 671
Cnn,L,1t11111,,pk.
51
Psalter with Crucifixion,
iconocla>11and ,imoniac
pric~t1, folio 871, 88r
:-+.lon,t\\r')of~tJnhn \to11d10,,
,0011 ,dtc-1 BI l Co11,1,11111noplc, rut,G

P,11( 11111(Ill, ,!I .. 17 ·1 t Ill P.i1chmun, i 1.8 )' lj) <m

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(,l\[h•,;•1,h 11.•, I

FROM CONSTANTINE TO ICONO LASM

101
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 54
The lkrr,rord
Hope Cro,s
B) 1,1nuum. ,<·<oncl h,dl
ol the 11111thH'llllll")
C:olcl c loi,onnc cu.imcl moumcd
011 '>ihn~h, R.i x 5.8 x 1.B<m

FROM CONSTANTINE. TO ICONO LASM 105

10_1 FROM CONSTANTINE TO ICONOCLASM
 2()
55· I - .
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FRO~I CONSTANTINE TO l ONOCLASM

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56 57
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108 I H.0\1 co,, I '" 11','1:. IO 1co:-,;ocLASM

At Court
ANTHO CUTLER
 BOl • TIIE YEAR I 075
a mysterious in the co1111scls of J.;.ckaumenos. Both strat .
' egies
A also rigure in the mid-tenth-century works k
individual named Kckaumcnos, . . no,vn
who rems to have been a highly as the Book qf C.r1e11101111•, isr,a(1011'if
and 011the Admi11
the E111pi1e,
compilations a11ribu1ed to Const . abso'
placed militar) go,-crnor, an tine
VII Po,vhrrogcnnctos (sole rule 9,~5 59).
counselled his peers:
In these texts it is obvious what is ofTered and
If someone revolts and proclaims himself emperor.
what is received, but in many cases where we
do not support his scheme but stand aloof from him
... Prcscn:c fealty 10 the emperor in Com,tantinoplc have only an object unaccompanied by such
and you won ·1 fail in your expectations ... I beseech specifications, it is difficult to know whether it
you ... to side with the emperor and to keep scrdng was a present from or to the emperor. If it is
him, since the emperor who has his court in
onstantinoplc must always win. 1
clear chat the so-called David Casket in the
Palazzo Venezia in Rome (fig. 19) was given to
i\ lore than a moralising plea for loyalty, this t.l1esovereign (and his spouse) - the inscription
piece of ad,~cc implie that the reader might on t.l1elid, above an image of Christ ble sing
take the opposite course and move against them and the donors saluting this event, speaks
the emperor - a possibility frequently realised of the 'couple of servants [who) adore as they
in the long hi tOt)' of Byzantine conspiracy should, the imperial couple' - it is far from
and usurpation. Both fealty and expectations certain whether a dismembered object like
characterise the nature of those objects that the leaf shm,~ng Constantine t.l1eGreat 2 and
we have, works of an that in one way or probably alluding co his tent.l1-century successor
another may be associated wit.l1the Byzantine denotes his demonstration of piety before the
court as things emanating from, or pre ented in, lo t cemral member of a triptych presented by
thi milieu. As against the long-lost physical him or a gift to him celebrating this attitude.
environmem and de oration of the Great Palace, uch problems are inherent in many
t.l1escthings still speak of the pretensions and instances of t.l1issort and telling in t.l1eambiguity
Fig. 19
~n1c 'David Caskcl', ambitions of those who made use of them. they present since t.l1eyattest to values ideally
end of ninlh century. The offe,ing and reception of gifLS(and shared by the ruler and his court. In other words,
Ivory, 16.1x 84
x 10.3 cm titles), and broad suspicion as tO the motives it is less important whet.lier a piece originated at
Palo1uo \'utnQ., Ron'H' underl0ng such gestures, play a sizeable pan t.l1eemperor's or an aristocrat's behest than t.liat
both panics to t.l1eartistic transaction partici-
pated in a common ideology. Central to this
body of thought was the ruler's well-being, for on
this depended that of the empire over whi h he
ruled. His longevity, divinely protected physical
health and ability to defeat his en ·mies were seen
as concomitanLS. These beliefs arc linked on an
ivory diptych, the two pans of which arc now
divided. On t.l1cleaf in Venice (cat. 75), as on
another in Dre den,' .John t.l1· Theologian
and Paul arc said in the epigram at t.l1ctop to
protect an emperor Constantine - almost
certainly onstantine VII - from hann, while
(J2 T COURT
n of"Ii,c Venice leaf; now in Vicnin
I 1111111
Oil Ill' ' ._
SS. , \11dn-11and Peter arc dcscrihcd as
)
(cat. 7-1•'' . . . . . .
. 1 •iiw him from his s1115.It 1s 1ntcrcsung to
., .. .
. i·c- \ndrew's pac1f1c, onuoncal stance
con1p,1 1
,, the figu1Ts arc depicted in philosophers'
11
'
1 11
ith 1hc role assigned to him in the
crarJ '
qf the Empire, in which
~ook Ou the. !d111i11iftratio11
Constantine attributes a IOCloryover the Slavs
to ihc intervention of 'the invincible and
unconquerable warrior and captain and marshal,
the triumphant and victorious first-called apostle
Andrew'. The difTercnce is explained by the
several roles that this multi-talented saint was
called upon to play in the micl-tcmh century.
A imilar omplemcntarity appears when the
iconography and inscriptions on a t1iptych, again
in the Palazzo V cnczia, are considered (fig.20).
On its left wing the legend declares t.liat, with
the help of t.l1cfour martyrs depicted, t.l1eruler
(again, most likely Constantine VII) puts his in Venice• - possibly looted by the Latins from Fig. 20
Triptych with Dcisis
enemies to flight a scntimem repeated half the Great Palace or the Church of t Sophia - and sa.ints, micl-1cnth
a century later in a poem on the page facing on the foot of whi h divine aid is invoked for an ccmury. Ivory, 20.8
x 7.6 cm Ocftwing);
the portrait of Basil II in his Psalter flanked emperor Romanos. And on the even more richly 23.6 x 1.1--2 cm (ccmral
by icons of military sainLS(fig.5), where t.l1c gem-studded cross-reliquary at Limburg an der plaque); 20.9 x 6.g cm
(righL wing)
martyrs shown arc dcsc1ibed as his 'allies'. Lahn, 7 sponsored by Basil t.l1cproedros(a high-
But the epigram on the triptych's central ranking civilian dignity), an in cription on the
frame asscrlS t.l1at,wit.l1the help of the Cross,
member relates Christ's insu1.1ction to lary
andjohn t.l1eBaptist, the intercessors for Constantine (VII) and Romanos (I or II) crush
humankind, to release onstaminc from all the barbarians as Ch,ist shaucrcd the gates of
illness, even as He subjecLSall powers to hi Hell. Appropriations of this son arc rife on works
earthly representative.• from the ninth t.l1rough t.l1etwclft.l1century and,
In t.l1eins ription on t.l1eleft wing t.l1c particularly during Constantine's ole reign,
emperor is credited wit.l1the carving of t.l1e o cur on icons in a variety of materials. He
martyrs, a familiar topo in which Lhc ponsor masquerades as t.l1efirst emperor of t.liat name,
of a work is undcrst ocl to have been iLS rowned by Christ, in t.l1cpose used to depi t
maker. onstantinc, indeed, is de cribed in a the Proclromos (I'orerunncr) as he baptised
contemporary text a an arti t in his own right Christ in thejordan,• on a well-known ivory
and as th 'corre tor of ot.l1er rafLSmen.' Yet, plaque in Moscow (cat. 68); and in the guise of
even if these skill arc myth.i al, the object as a King Abgar receiving t.l1e 1landylion on a wood
whole encapsulates Lhe way in which Christian panel at Mount inai.9 Repeatedly, as we shall
imag ry was turned to the benefit of the sec, he appears as David in t.l1cPari P alter
emperor, This is so in the case of a chalice (cat. 60). But t.l1eexploitation of analogies to
AT COURT 113
 tp
1-ig. .!I .Jucko-C:hri,tia11 i\11tiquity II as limited neither
Tnpl) ch \\ iLh to the pcr,011 nor the 1i111corC:om1a11LincVII
Cn.1r1ri,1011,llld '},lint-,.
mid-tenth Thi, ruler\ marriage to I lclena, daughter or ·
cC'nlul).
hon. 20.8 x j.6 cm hi, predecessor Romanos I (920 ,1,1),lent n w
J..·fl\\me;; ,q,6x IJ . .l
cm C<."lllr,d pl.iqtH>J;
impe111,10 1he ln11g-c,1abli,hed image or
20.9 x 6.9 cm ngln C:011s1a111i11e
the Great and his mother Hele na,
,,mg,.
( .,lunrtdM.\1.-.1.ult,-,.
"'ho were regarded as arcl1cL)']Jal defenders or
ll1l,liodu:-11ur11,1tto11.1k
clr
the faith. They stand together al the foot of the
Ir.oner l',,o,
Cross 011a rnagniricem ivory in the Cabinet des
l\lcdailles, Paris (fig.21), thus supplcmc,ning the
traditional iconography of the Crucifixion
represented by the Borradailc triptych (cat. 8).
7
If size and cxccllcncc in car.,ing arc e,~dence
Fig. 22 of imperial sponsorship, then the triptych in
The sickbed or Kmg
I-IC'✓.ckiah, folio +1Gv
Paris is just such a creation, most likely from
of the P.tri"P,;;altcr, the reign of Romanos II (959-63). 10
mid-tenth ccnUu).
Tc-mpcra and
Besides a reposito,y of ancient ideas, the
g-oldon p.1rduncn1, Palace \\'as c,~dcmly a storehouse of ancient
20.3 • 18.1 cm.
artefacts, both Christian and secular. These
(.:.,lunrt dn \ltd.ult.-.,
l\1l,l,mhrt1m·11.iuon.:U
.. trophies were brought out in their o,iginal state,
1lr lro1orr. 1'.u1,
as were the silver 'Tordanes' plate, the 'Likinios'
and mher minsouria of the fourth Losixth
centu,ics.'' Near the sickbed of King Hezekiah
in the mid-tenth-cemury Paris Psalter (fig.22)
stands a chemiboxes/011 (washing set) with a ewer
of fifth- or six1h-ccnLU1ytype. l\fore often, early
rnaLcrials were incorporated into new creations,
as in the case of the already-mentioned chalice
of Romanos, the gadrooned bowl of which is
a sardonyx vessel of Late Antique, if not Classical,
origin. New life was similarly given 10 the massive
rock rystal known a the 'Grotto of the Virgin'
which in Venice, if not earlier in Byzantium, was
mounted on a base now understood 10 be a votive
crown of Leo VI (886 912; cat.064) and iLSelfan
artefact in which the emperor is presented as
isaJ,ostolos,
the equal of the Apostles and
EvangclisLSwho surround him.
Between the ninth and the eleventh century
the re-employment of an ienl hardston s s •ems
10 have inspired Byzantine crafLSmen 10 exploit
newly mined materials of this sort. Within this
1-\T COURT
, r·, IL' fall .Ill agalt' paten in Parii.,,12 inLo
t!llll'~ 1,tll
. ,c1 ., central rou11clcldepicting 11,c
·is
\\}llC 1I\\, , .
JiJ<'r a ,,cne c,pcc1ally appropnate 10
l,;1,l S Ill . . .
.. ,cl's 1•:u<hansuc funcuon - and the much
the '"' . .
. ,,1,lnstcr example 111Venice (cat.Bo), al
hrgc1 ' ' '
' I IJ of wl,ich a hall~lcngth Christ who, in the
1hc 1L1 '
inscriptionaround bin,, 'T'akc, cat, this is my
.- gri"cs voice 10 the liturgical instruction
boC) I ,,
rcpC,lied b)' Onhodox and other priests Lo this
, often manifest in the political his101y of the era.
day. One or ,nore of these sumptuous utensils
might well have come from a church or chapel
in the Creal Palace or from l Sophia: Lhe Book
of Ceremonies (I, chapters ,, 9) dcsc,ibes how, al
Pentecost and on other feasts, tJ1e emperor laid
iwo chalices and two paLCns on the altar of the
Creal Church. The same text tells repeatedly
(e.g. al I, Chapter 15) of crowns, chains, silver
candelabra, pearl-studded and cnamelJed book
co\'ers and other objects brought in from the
treasury and neighbouring churches LO adorn the
i\lagnaura and other pans of the palace when
ambassadors from abroad were received.
To stress only unique objecLS in rare
ma1e1ialswould be to distort tJ1e picture of
gifts offered in tJ1e palace and 10 ignore tJ1e
circumstances of their circulation. More habitual
was the presentation of objects like tJ1csmall
sil\'cr crosses said in the Ceremonies book
(I, chapters 19, 22) to have been bestowed by
the emperor on a variety of dignitaiies in the
Church or the J\lfotJ1crof God of the Pharos
on the feast of St Elijah and other occasions.
Such pre ems ar probably exemplified by
a small silver ross at Dumbarton Oaks (fig.23).
On the obvc, c, around tJ1e bust of Ch,ist,
appears the plea 'Lord help Romanos the
Orthodox emperor' while on the reverse tJ1e
Virgin's aid is invok~d for '.Ba ii the Desp~l born
in the pu,vle'. These nicllocd legends make clear
that th rulers in quc tion were Romano IJ and
Basil If, his son and co-emperor between 960
and 963. \ \/hat the insc,ipLions do nol tell us is
recorded in the Ceremonier
book: the e silver
crosses were awarded during the same event
as the prefect or the treasury and other oITicials
orfcrccl 10 the emperor inlaid gold crosses. The
precious-metal symbols ,vcrc lhus clements in
a riwal of gift ex hangc, a sacred compact of
allegiances that could stay the nux of loyalties
implicit in the advice of Kckaumcnos and all 100
Readers of the BookefCeremonies might
well come away believing that without pomp
there was no circumstance, no 1itual context
surrounding and arfecting an object that may Fi~. 23
Cros., or the Emperors
reasonably be assumed to have been associated Romano-. JI and Basil
with the palace. YCl in many in ta nee it is II, 960-63. Silver,
i··Ix 5-9 cm.
cliflicull LO identify sur.~~ng vestiges of Byzantine
Dumh.,r10n O;i~. \\.uh1ni;ion
an witJ1acti,~ties of tJ1ecourt, first because this DC, 13'".t..munrCtilkcoon
text rarely enters imo detail about the objects
that it mentions; and, econd, given its deliberate
focus on 'public' evenLSin tJ1issetting, because it
ignores those things tJrnt pertain LO relationships
between imperial kinsmen and women, tokens
exchanged a markers of family solidarity -
the most important, and sometimes tJ1e most
AagrantJy withdrawn, sort of allegiance.
One example of such a 'personal' gift is a
littJe-known cross-reliquary kept in the Church
of St-Eloi at Einc in Flanders (fig.24). ILScedar
obverse, bare except for its gold and enamel
tips, represented a particle of tJ1eTn,e Cro s;
its revcr c, sheatJ1ed in gold, bears an inscription
de cribing this 'branch of Eden' as an offerina to
the Virgin of'Maria, born in the purple'. This
princess was a daughter of Alex.ios I Komnenos
and Empress lrene Doukaina, who presented a
ve,y similar silver-gilt reliquary (now in Venice)"
to the Kecha1itomene in Con tantinople, the
convent 10 which botJ1 motJ1cr ai1d daughter
retired after the emperor's deatJ1 in 1118.
Ostensibly devoid of political content, tJ1ese
richly decorated relics proclaimed the piety of
tJ1cir donors, even while the epithet 'purple-born'
AT CO RT 115
 applied 10 i\ [aria Komnene served to ome1
Ilic fact that her father was a usurper. Clearly,
Alexios I, noted for the distribution of particles
of the 'Holy Wood' to foreigners and to
mona5teries overseas, 11
did not exclude
members of his om1 clan.
The Paris Psalter (cat. Go),an exceptionally
large and lavishly decorated version of Ilic book
that served the Bywntincs as a moral and literary
primer, may fittingly conclude these remarks on
art at court. Quite possibly prepared al the order
of Constantine Vll for the edification of his son
Romanos," the body of Ilic text is surrounded
by an elaborate apparatus of patristic and oilier
commentary. But i1 is the design and content
of its fourteen full-page miniatures that best
lig. 21
Cm\'l•r<"liqu.ir)', rehearse many of ll1c themes outlined above.
lx-ginninc:of 1,\elflh
century CC"cl.u. gold
Even 1.heornament in their frames, notably ll1e
Jlll· llo .,nd c-namd, 'virtual' cabochons that stud the images attached
1+2 11 8 cm.
10 Ilic Odes of /\loses (fol. qgv) and Isaiah
Cln,nh 1,, Jh
'"ll lJian,, Llir fol.4-35v),echo or anticipate the encrustation
11(1 \I ( Ut ltl
of the precious-metal ,-cs,cls and rclinu- 11;c
. . ., ' S I1ia1
"e have considered, wlnlc those of the 0l)C •
n111g
David cycle (fols 111 7v) reflect motifs used in
mosaic decoration and enamel inlays of the
period.
Best kn0\'11 for the personifications of
Classical and Christian virtues celebrated in
various Byzantine 'l\lirrors of Princes' figures
like lschys (power in ilie scene of David's
slaughter of the lion and bear, and Prao1cs
(mildness) who atlencls his anoimment by Samuel
the images refer no less directly to relics
preserved in the palace, as in the case of ll,e rod
that i\ loses wields as he crosses ilie Red ea, an
object which was said to have been brought 1o
Constantinople during the reign of Constantine
the Great and which, togcilicr \\~lh the 'sceptres
of ll1e Romans' (manifest perhaps in the scene
of Dm~d's coronation, fol. 6v), according 10 the
Ceremonies
book (Tl, Chapter 15), was di played 10
Arab emissaries visiting ilie court. Whether or
not the final miniature of the ailing Hezekiah
(fig.22), whose life is extended by God acting
through ilie Prophet Isaiah, connotes the illness
and absolution ofConstamine Vil, to "hich
iliere seems to be an allusion in the epigrams
on ivories (cats 74, 75), there is link doubt tha1
a number of objecLs depicted in the psalter allude
to proud possessions of the Great Palace. Toda),
there arc many scholars "ho rcjcu the pie 1ure of
a society racked by conspiracy, usurp,111011,111d
suspicion, ancstccl by Kekaumcnos and 111 the
"ri1111g,;of By,anunc c hroniclcrs of life ,11t'Olll I
l"lwsc doubters may \\CII tllm for comfort 10
comcmporary wo, ks of a, 1, a body or pi och1<1iu11
from \\hirh such clysli111nional fc,11un·s ,11<·
chcli-clor comha1<·d with \"isu<1I,1r.11c14w,cl,u kl)
con«·.ilc·d \\ithin cliflinilL, cocl<-cl,di·ll·nu•,,
58
!ton of the 1\1cl1,u114d
,\lid1.1cl
Co11\1~111unuplc-, I\Hlhh u 1111111
~,h,c-r i;,lt on \HltHI, gold I loi..ollfll
1·n,1111rl, JHt'l 11111, ,111nt !4,
jbJl • [j " ~.7 on
 r.:g ◄-
T-our Go~pcls, rolio 19v
"'n.011d q11,11ll'I of lhc 1,,c1r11i
<1_1111111 • Con,1,111tinoplc
P,11chmcn1. iR.6 x 13.7cm.
l--p:; folim
ll,blw1t(., \p,1-1 .. 111,1 \,,11r;uu. \-'llt,,nC111
( .,I L dnn (,, J

60 ➔
Psalicr, rolio 1v
Con'ltantinoplc. mid-tenth C'cntu11
:\ f.mu,cnpt on parchment,
37 x 26.5 cm
11,hhoih, c1ur 11-111011,tlr de- I 1.1ric:c, 1'.:irri, CodPit
(,, 11•1

6r
L tionary
~ w1
"th cn.icifonn
6r
folio 195v-ig
l Xl, lllh ccnIUl"l
Constamm• 0 P le' hv'C cm
9
Parchment, 38.5 x 2 Add.M,.J96o'
The Bn1uh Lbnry, l..nndoo,

18 Ar COURT
120 AT OOURT AT COURT 121
 Painted and gilded
gla,; bo" I
Con,untmoplt~, temh ccntuf)
Gl.isc;,d,1rk v10IC't111 colour, gilded
and painted, c;iher gilt and glac;,
CJl>ochon".., hc1ghl 17 cm; diameter
17 rm; 101,11 bre:-idth 33 cm
R.,s:,lir~ d1 'un \l.ulo, \ r11ur TMllro, m, 111nfl!

63 .j,
Fragment of the lower
part of a dalmacie
Cons1.an11noplc,d<'\Cnth cenwn
Figured c;;imllc 4 l,w,. twill \\Cil\C'

2 he 1; <;ilk,\\hitr linc-n,c"ing
thread, .51.3x 107.5cm
\lu r ti 111'"'"'· ~'"" pmp,tu- du dup1UT
u.rh11lr.a.lr (I, ',,on

64
The Virgin's Grouo
Comt,11Hinoplc-\'<·n1ce·
ltmpl<·, fourth fihh et.:lllury ? ,
d1adrm, nmth tnllh rrntury;
<,t.1tut ttc·, 1h11tcnllh Cl·ntuf)
Roe k 01 ,1.il, ,,h n .',rih,gold
rl<u1,011nt·n1.11n<"I, pn·c iom ~tonr,
pe.1rh, Hit.ti lw1ght :won; ch.tckm
dJ,lflffltT l'i ( 111; llt'1ght 3.5 (Ill
11~ ,.,.11\~11\l111,,\,1111 lr.,,,,._111\1,.,91

122 \l'COlRI
 65 67
C:,11-vcd box with
Casket
lh1.11uium, tenth cit:-,cnth
emperors riding and
ccrnunc~, ,nth btcr ahcrat'.on, hunting
Bone on a \\Oockn core, wnh ·1n1ll1 01 ck,n1th ll'llllll")
br:15<;cla-;p<:.,16.1 x '2.f x 15.6nn C:.tn<·d ,ltld -.1,u11cd 1,oiy. ,.1id to
l'.-111l'.dJtt, \lu,..., dn B.-.,u,- \m dr L1 \ illr ,ho,, ll,t(l'' ol ~ilclin~, ,,i1h <;ilwr
dr l'an,, 0 n,n 1Ji I
rt'pl,in·nu·iu? lock, hingl', ,md
<Pl •HT rt'inforccmcnt<;,
I'{· I x 26 .•1 x I'{ cm
I,, ,, 1 <1,·t.1 ( ,uh,,h.,I,· tie l ro1,-,

66
The Veroli Casket
Constantinople, mid-tenth century
Ivory and bone on \\OOd core,
metal harcl,\iuc, 11.2 x 40.5 x 16 cm
\'ic1on.1 :an<lAlben ,\lu.St-um,Umdon, 116-1885

12.1 AT COURT
AT COURT 125
 h111\ ,,11li (.n11-.1.111111H·
\ 11 l,oi ph, I o~c1111<·to-.

l 111,, 11nl I)\ ( lu i-.1

(' I lllllt!!>]lk 'I I

""" r/1 h • I I t 11
41 \,1 \I
70
\"oti\t· pl.,c111c "ith Chri,t
bl,·"inp; Empnor Ottn II
q(i7 B:J and 1:mpn·,,
I heophano q!l2 B·i
h111\ 11.11c, 1111nl pol,, hrnnl\
Ill ·1 >' IU h, Ill

( •>thl,lllllll••l1l1

he 1,,,, II h1i11 ,111d •11.'

,, \I '- 1 ,,. ,, \I , \

hon 111 1 • 1" •

,,

\ I ( I >t k. I
-,
I,-
 71 ◄
krn, "itli \" 11~111
..
,n,d C:ltilcl
'-,n 'IIHI h.dt n\ tct11
\\rir,. ,u Ix 1 h icntu"
I', 1' I I .!. x I I ( Ill
I' I ti
\1,
I) I"
t' II, 1' \t1ql 1,\,11, f

72
1\("') pan l\\llliLI
Tl ·I ·
1eo1okm 1-1 I ie
Con,t,mt oc tgct ria
hon ,~ •:1oplt. tenth C'lllllH"\

\l11• ,,,· :JI XI !•'i XI, I (Ill

•. ,1h "I' cc m,111 l tnd,1 \ll\lt,,

128 AT CO RT
73
h·ot") 11 itlt C:ltri,t
P,111tokra1or
( 1111,1.1111111npll. r q-,o 11100

hon. H ·i • 11.H(Ill
j, ,I Ii\ 1 , .._,11,ln ,,1 tlu I ll/\\1111.1111
\I ,11111 t ,111! uk1 \l1~u,,11

0
A

If

74 75
lvo1y panel \\'ilh Ivory panel with tjohn
S. nclrew and Peter the Theologian and
Con,1,,minople, mid•t(·nth l Paul
CClllUI) or 1060, Con,taminoplc, 111id-temh
Ivory, :q.6 • 13-5en, or I 060'1
C(.'lllltr\

f-..un,1h1,1nn-.(lu \ \lu,t 11111, \ IC"llll.l, hon, 2.,.9 • 13..1 cm

f-..umtLunnwr 111Jh ,1>«1,11,1x·r 11l',unmomo 'i1onco
"-<•p11111cmlt111,1
\Hhm o c Un ,.,01ru1)(•log;1co~ per 11Polo
\lu,\,11<-ddl,1 Gitt.I th \ c111·11a ~ per 11C.:01nu111
d1ll,1 (,rond,1 1-'j..'llll,l, ~111-...·(1 \r<h<"olOb'ltO
'\,t/1(111,llt', \ CIUC(', IIH IC)

AT COURT 131
 ..
T,ipl) ch "i1h
Dci;is and Saims
Con,1anunoplc·. r 1000
h 01) ,, nh tr.1,r, of ~It.
:?j 2 x 33 x 2.9 cm open
\,mr.m \lu,,.,nn, \~111.,n(.11,
Ill\ n<) lll-fll

77
'l'hl' '1 larba\'illc' triptych
with Dt'isis and saints
C:omt,111u11oplt•, niid-tcnth century
iVOI)', \\ ith 1r,1cc, of
l·,lt·ph,1111
gilding ,ind red p,tint (not original),
2 I (m,1x. x 14.3 the rntn;) and
28 cm (open)
\lu"f"1' du l.11mu·. l\.1m. lkp,lnttrn"lll dn OIJjt'U
J.\n,0,\31 17

AT COURT 1 33
132 AT COURT
 78 79
1\011 triptych \\ith 1nm II i1h tht' Koinw\is
Crucifixion and sainb ( 1111,1.1111111,11,I•· (lfllld h.11(

'The Borradailc Ttiptych nl tht lt·nth , t 11111n

~,, .11i11·,Jl,llll~dh ~lit.
tC'nth u·mun
Con,t.rntmoplt·.
I\ x II.! ,c I j (Ill
hon. i;.1x117 cm c('ntra.J
),. 11 I Ir \lu
p.rnd; 7.8 cm kh \\In(!. 8.5 cm },.. 11 l...,111 hr fl ,
11 \ I 1"1 I

ric;ht \\ill~
1hr Jr-,:1 ,111, llm h\l,11n1m I .. 1.,n,

13 I \T COt'RT
80 81
.\l,d,.i,l<"I p,11<"11
11 i1li C:l11i,1 (:on,1.1m11u,pl,·. 1cnth or
c.nh 1·lncnd1 <1·11111r,

1c!llllt'
"-),ucl,ir1,, 1 up. ,1h1·1-~lt.
\l.1h,1,t1 qh1 .!_111.r,ul..("'1.11. g-o]fl < l111'<1111w ("ll,t11wl. JW,irk
111,111, I 101,011111 ( 11,1111•I pin lfllh ,u,111·,,llUI IOC I,.fl"\,l,11

I~·,, !.' dll 1 ,tlm< liorh mount Ji ·-i»: 1B 1 111

... ,,1 .. \, ,1,,, \I,,\"'" I,.,,"'

Book co,·crs
13)/,uHium. l.tt<· tenth
l",lrl, dcn·nth <l"lllllllt"\

Gilded .,,he, on ,,ood. ,,,th

~old do,~onm· l'.11.urn:k pt·,u I,
;incl pn.·cious \IOn<',, 29 x 21 cm
l\,l,l",1,.,., \..u1<,n,1.I, \\.ir,1,m.1. \rnur
\h l...,t ( 1 t 1uo

A I (;0L'R'I 137
 AT COURT 139
AT COURT
 AtHorne
1 CeramicsefEverydayLife
DEMETRA PAPA IKOLA-BAKIRTZI
 «- as indeed un1il
. , . . I

I
Detailof ca1.8; N THE BYZANTINE WORLD.
quite recently, in the dail)' life of' ,ich and
poor, Jayme,~ and clc,ic~, in 1he city and in
the countryside, pouery ser\'cd basic need,.
such as sto,ing and transporting good, primaril)
foodstuffs lighting, and prcpa,ing and serving
food. The poue,y prcscn1c I here belongs mainly
to the catcgo,y of tablc\\'are, and thus 1his brief
introductory essay focuses on 1hcsc vessels.
In form and technology, the clay table
vessels of the Early Byzantine period' arc the
continuation and dc,·elopmcnt of their Roman
counterparts. The mo t popular shape is the
prim,,ril,·'"""'' ,.,d ci,;.RJ,o '""""S''""'o,~
C:hmtogra111,, '" "ell as scene, from th<· Id
· apphcc to "''"
and "C" Tcs1amc111s,and figure, of saints,
1
appear as decorati,-c ,ubjects that record the
need of the faithful to invoke the presence
and protection of the cLivinein 1hcir home.'
The. hallow plate and 1hc hemispherical
bowl arc the most common shapes for table
vessels from 1hc :OdidcllcByzantine period, and
again arc generally of rather large dimcnsions.
Size and form continue to indicate that 1hcse
vessels were used as common vessels for serving
food. However, vc sels designed for use by
on I he 1· "'' l'ol)Thromc decoration was
1 ou I " ..
. 1 . c· ,inclc or" hit<· cla)' a JJraCLicc
~ · ,
associated with Con tantinoplc cal. 96). 10 The
JOlychrome ,·ase~ overtly imi1atc ,·c sels made
~rom prcciom maierial~ wi1h gem-studded 1im
and decoration in varicoloured enamels. 11
A significant ;tcp in the clcvclopmcnt of
f yzantinc tableware was the use, in the late
1
clc,·cnth century, of a whitish slip under the
glaze on vases made of red clay.•• Establishmcm
of this practice was a clec1s1vc
· · ,,actor 111
· th c
clcvclopmcnt of sg,aj/ilodecoration, the par
excellence decoration of Byzamine ceramic . 13
agains1 the dark reel clay, in a charming contra t
bct\\cen the li~lll and dark urfaces (cats 88,
94, 95).
After the 1hinccnth ccnLUry,the numb r
of glazed vc scls found in excavations increase ,
pointing to their use by a wider cction of tl1e
population. They arc mainly small shallow bowls,
suitable for individual use and for a diet rich in
liquid foods, such as broths and soup .17 The Fig. 26
wilh lid,
Sn/1-{ano
sgrajfitodecoration of Late Byzantine vases is tenth century. Glazed
cnlivcnccl usually under an overlying orange ceramic, height 12 cm
tran parent glaze (cat.97) or is variegated with ,3m rphornu· of Rp.;,,m,rw-
\noquiuc-,. Cha.lkH.
brush trokes of browni h yellow and green tm no&z6o;a,b

shallm, plate or bo" I, generally of rat.her large
dimensions, indicating u c as common vcs els for
serving dry rather than liquid food.' \ Vine and
water were drunk from small deep bowl , similar
in hape to the ancient skjjJlios.Closed vase 111
the fom1 of th wine jug (oi11ochoe) are also
associated with drinking.
The form and the size of the domestic vessels
provide valuable information about eating habits
(fig.25) and diet in Byzantium, while the way
they were decorated, as most were, reveals much
about artisti fashions, belief, and prejudices at
the time. Ceramic table ve els intended for
household u e could be de orated without the
need to ob crve religious constraints and dictate .
The decoration on the cramic table vessel is
rog.2 5 a good example of secular art aimed at a broad
This detail of a
founccnth-ccn1ury
spectrum of Byzantine society.'
wall paiming from The spread of Christianity is recorded overtly
l\lystr.is, Pcriblcptos,
in tl1c decoration of the clay domestic vessels of
shows a dinner in
progress the Early Byzantine p riocl. Chri tian symbols,
individual , such as beakers and ups, with and
without handles, also exist. 6 New shapes indicate
tl,at the e ves els had a special pu1vose. For
example, salt{miaor garariawere ,·es els that had
a heating device for keeping gravy and sauces
warm at table. The renowned gamm was a sauce
whose main ingrecliem was fish blood (fig.26).'
The practice of coating vessels with glaze
was an important development in Byzantine
tableware. The use of glaze spread gradually
from the seventh century onwards• and by the
twelfth, and e pecially the thineemh and
fourteenth ccmuries, it was commonplace
throughout the Byzantine world. In addition
to its primary role of waterproofing tl1e porous
surface of the clay, glaze also innuencecl the
way Byzantine table vessels looked, as it is shin)',
brilliant and enhances the decoration.
With the widespread use of glaze it was
possible to produce lay vessels that imitated
metal, thus satisfying, in large part, the persistent
demand among the emerging middle class for
objects made of humble materials to re emblc
those made of precious ones. In this context,
variou kinds of decoration developed, u h
a paint, relief and engraving. One variant of
paimcd decoration was po!Jclirome,• whi h was
executed in vitreous pigments, such as blue,
green, yellow, white, reel and black. Black i used
paint, prepared from oxides of iron and copper
Sgrajfilodecoration, whose name is clcrivccl from
re pc lively (cats 93, 258).•• Glazed vcs els with
1hc Italian verb sg,aflime,meaning to engrave,
consists of engraving the lip in uch a way as to slip-painted decoration are also among the finds
rc,·eal the reel colour of the clay body of tl1e vase. elating from tl1e thineentll and fourteenth
The incised red lines thus form the decorative centuries (cat. 89).
subject. Byzantine artisans cxperimemecl with It is notewortl1y that tl1e ceramic workshops,
the whole gamut of sgtaj/iloand played "~tl1 which were decentralised in tl1isperiod, began
to produ c works on a wide range of theme . 19
the presence of colour. On thefine-sgrajfito vases
they executed lacy designs (cat.85), as well as The works they created had their own ubjects
rcprcsemations of animals ( ats 84, 86, 92) and and motifs, innucncecl by local events and
human figures. The imilarities between these conditions. This is particularly evident in the
represemations and tllose on metal vessels" are regions under Latin rule, uch as Cyprus, rog.2 7
Plate, 1wclfthccmury.
remarkable not only in the affinity of the subjects whose de orative subjects on the glazed ve els ih·er and gold,
but also in the rendering of details, such as tl1e although they retained the transparent lead diameter 27.5 cm;
dcp~, 4-7 cm
dots and the imbrications in the field of tl1e glaze and tl1e sgrajfilodecoration of Byzantine
scene . On the Corintl1 vase (cat.87), an example ceramics - were influenced by tile Crusader
of Meas/asWare,tl1eji11e-sgraj/ilo decoration is world of the East (cat. 257). Coats
enlivened by clots of reel slip, while on cat.83 tl1e of arms, knights and
finely engraved decoration is accompanied by noblewomen appear
paimccl motifs in green and putl)lish brown. frequently on ypriot
Vessels clecora1 cl with the i11cised-sgrq/filo glazed vases of the
technique feature not only bird (cat.91) and fourteenth and
other animals but also s ene "~th warriors," fifteenth
who arc identified as the akritas,the guardian- cnturies,
heroes of the B zamine marchlancls, as well giving tl1eir
as mu icians and dancers. '6 owners a sense
On the va e witl1 chamjJ/oJi decoration, of luxury and
the slip is ex isccl from tl1e ground of tl1e nobility.' 0
reprc entations so that the figures remain light

AT IIOME: CERAMICS OF EVERYDAY LIPE AT HOME: CERAMICS OF EVERYDAY LLFE 143

 •
83 . 84 . ·,w,cking
Gla1.ccI hroc
, " bmd a .
1111h Plate 11·1"lh 1 10 11 r

rcprt.'\C. 'lll'llion
' of a IJ1rc
1 ~ deer
~W(01lfl Ii.ill nf tlu· t,,1 lfth (l'Htui: 11,,dlth <.t·nttir, I t I b n11:
~ 1✓1·d
'I , ,·1 .111111. lwii.;111rot m; ~hr-
Gl,11cdl t • - nn: di.111w1t'
·t i111u. lw11.!,I . , •

I• ,
(1;11 111·11·1 1.7< m: of lhr
di.11111'1(•1 I' 1t1Klt'I 1. i- J
h,ht' 108 (Ill
'~I,..-<' ,·;.5 rm ,,,. '"""'·"'
ll,1uJ..1\1""""1 \11,,," "" n,, 11,-,,, (JJh• lt,1 I,
,fl\11,111111 11
I ' \lmi-tr\ ,,I
\1111•11111HI 1'.:~~:~iIOI "" '' ,n

lf"h

85
Large bowl
I~ h century .
\licl-t"i- l . I ·ir,;:ht8.3 cm,
Gi.vrd rera1111c, _i~liamctcr of
dia111c1e12 i-5 cm,

1,,m ILf rm
lh~tfrlkuir\1m"cr,;~m"·'•m•
""'""' 7,,.
no
lplw~,:;;"'
'"1 J
lh1.mlmf \nuqu1t1!'"'1

87 ~ '
.
Plate with siren on a ,bird
. icl-n,dfth ccmul")
Conmh. m . ·i •lll ,tpprm ..
Gl,vnl ccranuc, he £ .
7 7 cm; cli;-imctcr 20.6 cm,
cliaml·ter of ba<;c6.6 cm
\nh.1 ...ifo.iti,.al \lu:M"um or ,\nc1t111 Conmh,
lll\11!) I \1-t)'j

88 ➔
Plate wn. I1 a deer and
oth r animals
,,v ~ Co1inth, Lakonia or Eastern
..... Thl•,,;,tly, I 180 120~ I .. Clll°
GI 1.1cdcc1-;imic, hc1g ll ' '
di~mctcr 22.9 cm; diameter
ofb,1sc 12.,1 cm

,\ri::li.,ro1ogical~llllCum of ,\n~llt Conmh,

,m uoe-19?9-003

AT HOME: CERA1111CS OF EVERYDAY LIFE AT HOME: CERAMICS OF EVERYDAY LIFE

 89 ◄
.Juis "i1h 1n·loil 111ou1h
\11.1 h,tnltllllh (t"t\llll"\
{,l.111d l("l,\lllll IH1gh1 ll llll

d1,1mclt 1 111h.1,c 11 l Ill

"

go •
Fi,h-,hap<:d p,rftmH' fla,k
l,L,"\J)I, hlth ,1,th 11·11111m-,
( ,1pplt .dl11\_1,1,1.1·ng-1,1,nl.
118 X H j llll

[t.nJ..1\l,,,.-u \,t,r 1,11

gr
IJ011 I "ith bird
'-ll(' l\\dfth (',Uh thirtt'('lllh
(("llllll"'\

Gl.11,·d c1·r,11t11<, lwi~ht -f.8 cm;

d1.11nt"l1-r I j Im;d1.imcter ol
b.i,c· G,;)<m
ll, llrlt!"n>< \1,,11,1" ,I ( 1ahurr ,nrd I 11l,nr.11r
,I lh1.1, 11,,, \"1"l''t" II I- l'rd1r1,11r
f Ii< ,t, "" 1, '"' ''Ill

92 ':,,
Bo" I "ith fish
.\lid-1\Hllth ( 1'111111'"\
( ,l.11ed , t·r.1011<, hnl\'ht _;. 1 c rn;
d1,1111C"H·1 11 -, cm; diameter

of h,l'>t' )11m

lh, 11,JI,,," \l'""''"''l(uhurr ~lr<llph,,r.,,,

r Ii\,,,,,.,,, '"'"I'"'"' l'r<f<'"" ..r Ii,..-,,.,..
I l«IH, "'' 110 1,1 '"' Hjj I

93 »
Gla;,~d boll'I ll'i1h a
rcprc~cnlation of a dancer
C,pru'>, P.1pho~ .an·,t, fir,,1lull
of the 1h1rtt·t·nth et'1H111)
(;l.1.1nl t n.11111<,hnght 7• 1 cm,
d1,11m·1t·115.3 cm; diameter of
b,,-.c 7.5 cm

I 16 Ar 110\IL: CLRA\IIC~ OF EVl'RYOAV LIFE

 ..
94 95
Plate 11itl1 two lovers Plate \\'ith animal
in a garden Late n1dfd1 r,11 ly
1h1rtt'{'11th ccnllll)
Corinth o,- Llkoni:-i or
Gl.11cdccrnmic, hcii.;-ht5.6 cm:
Eastern Thc~s:1h. 1200 30
diamctc1 11 cm: d1amC'lc1of
Glazed ceramic. lwi~IH
+·5 cm: diameter i5.3 cm: base 9.1 cm
diameter of ba~c 11.1 cm lh.- lkll.-mc \l1m•1r, <,I ('ul1ur.-. Jjrd I phor,,t<"
ofih1,U1llll<" \n!H'}Ullll'>, \J..r.uphm•1. l'nlrc1,,rr
\rrharokwt,c.J \lu~um(lr \noC'nl .,r l\oro11.,. 111\ no 11x-i'1}1
Conmh. 1m no C'-1C'IJl-<>Oj.!

96 .j,
Glazed small four-
lobe bo\\'I 11~tha
representation of a bird
Constantinople, eleventh ccnlUry
Glazed ceramic, height 8.7 cm;
diameter 13 cm; diameter of
base 5.7 cm
lkn.tl,,, ~lu'>C'um. \theM, m\ no. inn

97 ~
Glazed small bowl witl1
a represemauon of a
double-headed eagle
L,tc thirteenth or
fourteenth ccn1ury
Glazed ceramic, height 7 cm;
diameter 12 cm; diameter
of base 1~.8cm

AT HOME: CERAMICS OF EVERYDAY LIFE 149

148 AT HOME: ctm.;-\~IJCS OF' EVERYDAY Lll~E
 At Horne
2 Metalwork efEverydayLife
MARLIA MUr DELL 1A GO

Dernii of cat. 103 ~ OME LIFE 1:-1BYZANTIUM
Fig. 28
Situ/awilh
mythological
decoration, part
of LheConccsti
treasure, fifth century.
Silver, height 22.5 cm
The State Hermitage ~lwcum,
S1 ~tcnburg, in\'. no. :u6o/~
H
MUST
have differed greatly between u1e
wealthy and u1e poor, both in the
living space and in the decorative
possessions and practical mcnsils. As usual in
Late Amiquity and the Middle Ages, we know
far more about rhe lifestyle of the rich than the
indigent. Privileged households in Byzantium
were furnished ,,~th vessels in silver and in ivOI)'
or bone, in addition 10 those in baser me1als,
glass and ponery. While the silver in the
exhibition comes from five caches or treasures
of silver plate ranging in date from the fourth
to the elevemh or twelfth cenrurie , the two
medieval ivo1y and bone casket were preserved
on u1eir own. Each silver treasure, concealed in
the past for safekeeping and never reu-ievecl by
its owner, is composed of different types of
objects which va1y by chance of selection and
survival. The contents of u1e treasures suggest
the range of domestic objects available in silver
in the Byzantine period.
The earliest piece of silver in the exhibition
is the Projecta Casket (cat. 12) from the Esquiline
treasure of u1e fourth century, found in Rome.
This treasure has a wide assortment of silver
objects - two caskets, small plates and dishes,
two wash basins, a Aask, a ewer, two amphoras,
spoons, chair ornaments (cat. 10.1-3), horse
trappings - as well as a silver inlaid bronze
ewer shaped as a female head, but it lacks larger
serving plates of the type that appears in other
treasures. Contemporary wiu1 the Projecta
Casket is the ewer (cat. 114) that belongs to a
collection of silver found outside the Roman
Empire, at Traprain in Scotland. This find
contains more tl1an 100 pieces of Hacksilber,
namely silver cut into pieces for its bullion value,
and appears to comprise more than one set of
looted domestic silver of the late fourth and early
fifth centuries (five decorated Aasks or ewers,
large plates, at least 50 bowls and basins, goblets
•
and spoons). At the other encl of the Late
Antique period arc the Cyprus and i\lytilene
treasures, from which eight plates (cats 30, 31,
32, 42, 43, 44, 105, 106), five spoons (cats 101,
102, 107, 108, w9) and the handled wash basin
(cal. 104) are exhibited here. Both treasures
contain objects with control stamps, elating them
10 the sixth and seventh centuries.' According to
these stamps, the Cyprus treasure (nine plates
illustrating a cycle of David; six serving plates,
bowl, censer, set of spoons) was formed between
578 and 651, while the Mytilene treasure (four
sen~ng plates, two basins, ewer, lampstand,
lamp, spoons) was perhaps acquired as a
complete set some time between 610 and 630.
Complementing all this Late Antique silver
are ten plates of the eleventh or twelfth centuries
(fig.29) that form part of a treasure of unknown
provenance, which has recently come to light.'
In contrast to the numerous sets of domestic.
silver recovered from the earlier pe1iod, few
comparable finds date to medieval Byzantium.
But objects surviving from both periods suggest
a continuous tradition of production and use.
Medieval texts refer to secular silver services used
in tl1at period, from the imperial palace down.3
Viewed together, the extant silver reAects the
diversity of a refined industry and the public
demand that it served. Despite the elaborate
decoration of some domestic pieces, some
localised wear indicates that silver was not just for
display but put to use.• The plates and spoons
seen here (cats 42-44, 101, J02, rn5-rn9) were
argentumescarium,part of a dinner service. The
medieval plates mentioned above belong to a set
of ten, eight of which stack together, making
them highly portable objects suited to a military
campaign or journey.• The handled basin and the
ewer (cats 104, 114)may have been \Jsed at table
for hand washing or elsewhere in the household.
Alternatively, the ewer may have formed part of
argentum potorium,a drinking service. The
decoration of the silver casket (cal. 12)shows that
it was carried to the bath together with other
items, which include a situ/a (a bucket), a type
known elsewhere in silver (fig.28) and shown
here in brass (cat.98). The silver appearing here
i supplemented by two ivory /bone caskets
(cats 65, 66) from the l\iliclcl.leByzamine period,
whose specific use is unknown. These two casket
rwes are characterised by Aat and sloping lids
respectively, the former continuing the general
shape of the Projecta Casket.
Decorative themes can relate to function
or rcAect the taste or status of u1e owner. Personal
monograms appear on silver plates and spoons
(cats 43, 99). On all the objects - early and
medieval - we see a mix of secular and decorative,
mythological and Christian. Scenes relating to the
hunt may be mythological or contemporary.
Some argue that Classical themes reflect the
owner's traditional (pagan) education (paideia).'
Our interpretation of the owner's choice of
decoration should ideally view each object within
the broader context of its treasure. Aphrodite/
Venus and mythical aquatic figures appear on
both the Projecta Casket and tl1e Mytilene basin,
linking concepts of beauty, water and tJ1ebath.
The front of the Projecta Casketjuxtaposes
portraits of Venus and the casket's owner, while
its back shows the owner approaching a batl1
building. On the Mytilene basin, used for
washing, Aphrodite stands above the head of
Poseidon. On one of the three medieval plates
discussed here, the personification of tl1e Sea
(Thalassa) adorns the centre. Rather than a
reference to bathing, Thalassa may here allude to
the titled owner's career (perhaps a naval one?);
two matching plate within the treasure portray
cquesuian figures, one military, the other engaged
in hunting (fig.29), and tl1ese are possibly also
personal references. It is interesting to note tl1at
tl1e most developed mythological repertory seen
here is late, being on the ivory Veroli Casket of
the tenth centu1y (cat. 66), while the slighuy later
Duthuit Casket (cat.65) illustrates Heracles among
scenes of mythical animal combat. Like"~se,
animals appear on the earlier Cyprus treasure
spoons of the seventh century (cats 101, rn2). The
spoons with panther and lion, seen here, belong
10 a set which would originally have numbered
twelve, each bearing a different running animal
(ram, grifTin, hare, tiger, stag, bear, horse, boar,
bull), all of which feature elsewhere in hunting
or pastoral scenes popular in Late Antiquity, on
other silver spoons (cals 99, 1oo) and plates such
as that with the goatherd (cat.33) and the brass
bucket with hunting scenes (cat.98).
The David plates (cats 30, 31, 32) represent
the most developed use of Old Testament
iconography on silver, to convey a message that
is both Christian and political. The Christian
inlages on the Traprain ewer (cat. 114)include
the mix of Old and New Testament scenes
characteristic of numerous gold glass bowls
whose inscriptions allude to drinking, pointing
perhaps to a drinking rather than a washing
function for the ewer. The cross in the centre of
tl1e Cyprus and Mytilene plates (cats 42, 44, 105,
rn6) relates in its position and form to earlier
Fig. 29
central motifs on serving plates, particularly those
Plate with mounted
hunter, part of a set of
1-,~thmonograms whim eventually become
silver I.hat bdongcd to
cruciform (cat.43). Occasionally, mytl10logical
Constantine the Alan,
prottlros,eleventh or
and Christian in1ages are combined either on me t\vdfth century. Silver,
same object, as on the Projecta Casket, where diameter 29 cm
Venus appears not far from the Chi Rbo of the
On displayat the lkn:ild
Museum, Athens
dedicatory inscription; or within the ame
u-easure, as on the plates (1-,~tl1 cross) and
wash basin (with Aphrodite) of tl1e
Mytilene u·easure (cats 104, 105,
106) whose control stamps
indicate that they were made
and acquired together. Such
a mix of traditions is
c11aracteristic of Late
Antiquity.

AT HOME: METALWORK OF EVERYDAY LIFE AT HOME: METALWORK OF EVERYDAY LIFE

153
98
lltt<Kl'l
I .1,t('l I\ \l1 1l1t1I 1,tll( ,Ill,

,1,tl1 \ t 111111\
I l.inHllt 11 d I h,1,, d ,11111p111H lu d
hi,l""· 1,n~hl 111(lrnli11e;li,111dl1
.:i, in. d,.1111, 11·1 17 H < 111
\I

99 ◄-
Spoon "ith imcription
fh ✓<1ntium, <',lrl}
-;c,cnth crntul")
lk;itcn '>1hcr, wrncd the h,indlt
.md mrtlo<·d mono~ram ,tnd
111<:.cnpuon.. q.9 x T9 cm: bmd
cli.mwtrr 1.9 cm
(.-,IJ, u,, 11 rl,, \lw,rM rl .<n rl J t, tt>irT dr I,
\,l!.-d, (,rr,r.r "" ,,., \I) 11''11

IOO ◄-
Spoon witJ, nae handle
U, ✓ ,1nUum, ,l'th cc-ntur. ?
Sd,cr. • 1-6 x 5.3 cm
C'<,lkn,,,n ,I,, \lu,,,-..., d .,n ct d lu ,.,,n-
dr l.t
\ ,Ur dr Grnr\f "" "'' \D 1 i'.l'I

IOI, I02 ◄-

T"'o spoons decorated

with a panther and a lion
Comt,111tinoplc (?. '-ncmh cen1U1"\
:-,,hn, lcrn,;-th .tj.8 c-m p.:inliwri,
lcn~th .!j-7 nn lion
11,r In,.,,-,-, 1111h IJnu,h \lu rum. l.t,ndr,n
11'1,;,1op)!'1 lf'l'l"-*1)'8

103 -►
S\\'orc\
C011..,un1111ople
or ·1·11c-,!..1lonil1,
fourt,-c1llh or fi,....,,
l1.1lfof the
fiJu-c;-nthc-cntun
Stc.·c.·I.forgmt;, cn~ravint;.
lc.·m~-ih111 rm
\lu-c"um .. r \ppl..-d \n.
lkll(l.u.k \\ \.\ 1m 110 11~0

155
104 i 106
Bm,I tmlln 11ith Plate
.\phroditc Con\t,uuinopk, h10 ..?·,
C111ht,111tmopk. \1h n di.11rn:tl·1 .!) h nn

l\u lie"",, ll"\ ( uh r,

lh llH I Mlll( I, "ill \!.,' U,\
\d1r 11\\J ' 11'

AT IIOME: METALWORK OF EVERY01\Y LIFE

 107, 108, 10g
Thr('(' ~pO<llls
Co11-.l,111tinoplt-.hio ,
3
~1h 1·1. kn~th ii <111;
klll;lh 2j.j cm; len~th l J 1111

11 llrlt,n" \l,rn,1n 11((uhui,

1111.muu, .1ml ( lu•,u.,. 1 \lu" 111, 1
\1hrn~. 11\\1 •1rn, u,,i 9.,.l, H>;\i quit

110
Bracelet
SixLh-scvcnth centuries
Gold, diameter 5.6 cm
1llc- lldlo;onl("\lmut') ol'Cullutt, Orun1mr :.nd
Chruu,1.11~h1«,um, Athrns, l!OI 888

II I /~
Buckle
ixlh cvcmh centuries
Cold, l<'ngth 5.4 cm; ,,;dc.h of
buckle plate t.8 cm; diameter of
hoop 2.1 cm
1llf' llrUtruc ~l1NS11")of uhutt, Br~nunt and
ChrutW\ :0.hnn,.m. \thtru., U)I 881

I 12
cal
Cons1:rntinoplc 1 610-25
llron1.c, base 5.7 x 5.7 cm
I~ lltlln11C"\\uumyofCuhutt, Byununr ;om!
hruoan \lmc-um, \1hrnt., 1n1 909

I 13.1 ~

olidi
onsrnntinoplc, 602 10
Gold
Ilic: I lrUtt11C~hm.,,ry c(Culturt, Byununr and
Chn,uan MUK,.m,, ,\tl•rnt., IXM910

u3.2 ➔
olicli
Constantinople, 610 ,p
Gold
'1111:lldknk- Mmnlr"J' o(Culturc, 8y.ununi: ,md
Chrul.l.iln M1Ui:um, Alhi:ru., UJII 911

AT HOME: METALWORK OF EVERYDAY LIFE 159

AT IIOME: METALWORK OF EVERYDAY LIFE

 1q II6
J•:\ll'l \I 11hJ,il,ll<,d "''"''' ( )11!'-po1111cl
commoclit)
l{oni• , . l.iH· tour th 1, 11111n
\\('i~lll ,,itl1 1,,0 ('111pcro1"
:-,du I L\,lt --'' \ x 11,, Ill [c1..,tc1n ;\ lccli1('na11can,
I I ' "' \/ m
lat!' fo111th fifth n·111u1
' t' " I I
(,\\ 1
d ln,1,,. h ')., h.i,
IA·o1cl1 111;
\\l'lt{ht p·J j(i \:-

II I,,,,, ddrlhnl,\I", l.1 In

II5 /'/ I '•j I 11!

:-,,hn-gih "eight from th!'

I l'i!.!,11or·r11c-odo1a
( :oii,t,ill\lt1opk. lul\\ tTll 11 J,11111,II"'\
I 17 ~
One-pound commocli1)
111., .1 ,rnd p \ut.,111,t w·,h
',ihn. ~It. nKllo. d1.inwtn J 1H 11cigh111ith imperial
c 111; \\\'!gill 1.! q(l £.: figure,
111 to, , ,111 lh11"!. \1, ''" I n.!, I'/
1 1..1'(("1 II .\kditll ldllt",111. l.1(('

lolllth filth 1(·n111n

IA·,ukd hr~v,, J h x) RI m:
\\('1£.:hl ·118II~
lli 1,u ttl fln11,h \11" 11 1.,,,,t,,,
I'/,,,, I;

IIB
One-pound co111111ocli1i
11cigh111ith imperial
Ggurc~
J..1,1nn ,\kdHt I r,1111·,111 l.llt'
th fifth I l'llltll"\
fo111

Gunnu-t,d. h 7 x Li 1 (m;
\,n~ht FJ-7' ~
1hr ].,,,,,, ,t1h, lh111h\l11 , I• t.l n
l'I .. ,•«,1,1

\ I 110\11, \II r\l WOJ{a-. 01 I \LRYDAY Lil I 161

 At Horne
3 JewelleryandAdornment
AIMILIA YEROULA OU
 DEEPER tT:--'DERST1\NDIXG OF 'I I IE
A
character of Byzantine golclll'ork,
as ll'cll as sih-erll'ork, is predicated 011
seeking 1hc source of its inspiration
and its roots in Hcllcnistic art. 111such centres
as /\mioch and Alexandria, the Greek language,
Greek education and Greek an ll'Crc kept ali\'C
and cultivated assiduously, cvc11artcr Roman
clominaLion, primarily in the higher echelons
of society. Although the Roman conquerors
imposed acl111i11istraLivc
reforms, introduced new
manners and habits, and applied architectural
and technical achievements, they continued to
draw on Greek thought as the haracteristics
of Helleni tic tradition and an passed into the
Early hristian period.
During the Lhird century, certain
panicula,iLics appeared in goldwork, in
response Lo Lhc demand for luxury du,ing a
period of severe economic crisis. The opus
in/e,msi/eor pierced-work (dit11rila)technique' is
one technically and acsLhet.ically special way of
combining the necessary economy in the use of
gold wiLh Lhc desired variety and ,~tality in the
lacy surface of the jewellery. Early examples of
this technique in the third century arc mainly
mounts for coins, ciLher as necklace pendams or
pec1orals (enkolj,in),which feature pallcrns with
Greek mot.ifs, such as palmclles, spirals and
guilloches. 2 These types of medallions have
been found over a very wide area, from France
and England Lo Lhe Eastern Mediterranean,
revealing Lhc existence of these elem en Lsin
Roman goldwork.
The mcdaUions of Constant.inc the Great
(cal. 128), which are represen1ative of the new
trends in tJ1e an of Lhis period, combine the
heavy style of the late impe1ial effigies ,-,~th
tJ1e finely executed pierced-work surface of
tJ,e mounts, cmincntJy suited Lo Lhc ime1vlay
of matter and light, as a subsLiLutc for Lhe
polychromy of Roman jewellery. Finds such
164 AT IIOME: JEWELLERY AND ADORNMENT
:is the Hnxnc 1re:i1111-c
of Ro111a11gold .111d,ilvcr
pn-rcclc1icc in tl1l' clioicc:,,or dccoratio11, wl1ilc shows among other things the direct relation
coins,jell"cllery and ,ilvcr\\'are (c;11. 131) attest to
thr ,·cry wide difliision uf" the prevailing types ol'jcwcllr1y to grc,it art in the powerful presence
the ll'icksprc:1cl application of pierced-work
to all coasts or the- ivlc-ditcrrancan corroborates of"Christian symbolisms.
technique.
the attribution or inspiration to Constantinople, The Persian Wars, the destruction of hitherto
111the filih and sixth centuries there was a
a centre whose influence on the artistic currents flourishing cit.ics, the Arab conquests, the slump
notable de,-clopmrnl in the tcchniciues applied
of 1hc age radiated f~1rand wide. in trade ,ind the turmoil of iconoclasm were all
011di\'Crsc pieces of jewellery, with more The !wards,' hidden for safekeeping and contribuwry factors to the more general crisis
imaginative shapes and polychrome decoration found 1hro11ghouL the Eastern J\leditcrranean in art and the consequent recession in jewcllc,y
enriched with precious stones, a product of the scaucrcd from Co11stan1inople, J\lcrsine in production. The absence of finds wiLh traits Lhat
flourishing Lrnde with the- East. At the same Russia, /\ssiut in Egypt (cats 121, 127), Lambousa can be associated with the eighth centUiy and
time, the subjects used in gold jewellery display in Cyprus (cats 36, 40, 41, 42, 43, 45), Myt.ilenc the beginning of the ninth underlines Lhe hiatus
a wealth of inspiration and a perfection of in Greece (cats 130, 137), or Rome - provide prior to the ascent of the Macedonian dynasty.
execution, conLributing lo the remarkably useful information. They share common motifs, However, the general re~val and heyday that
mature rendering of each one of these \,·hilc accompru,ylng finds such as coins and immediately followed had its effect on jewellery
in1portant works of an. silver assay marks give chronological data, as well. Polychromy was now achieved by
Pieces such as the pair or gold bracelets from as well as projecting an exceptional sense composit.ions in enamel. At first, as can be
the Benaki Museum, Athens (cat. 139) herald the of quality and luxu1y. seen on tJ,c bracelet from Thessaloniki (cau.p),
jewcllc1y depicted in the Rm-cnna mosaics, in Towards the encl or the scvemh centu1y, the penchant for floral decoration witJ, Lhe
a faithful representation of popular types (fig.30). certain t)7Jcs of jewellery were produced on an interpolat.ion of birds continued, bm theoloe-:ical
The wide lunate necklace \\~Lh pendent stones, impressive scale. Examples include Lhe lunate subjects soon held sway almost exclusively and
worn by Theodora. recalls in its shape and earrings \vith pierced-work rcprescntaLions of jewellery took on the role of amulet (cal. 201), in
Fig. 30
coloraLion the necklace with eleven trapezoidal confronted birds Oanking a cross, a tree or a which technique and Lhemat.ic repertoire follow A si.xd1-ccntury
plaques forming a crescent (cal. 121).The mosaic showing
fountain (cats 157, 158). The presence of this the applications of enamelling in larger works,
Empress Theodora
necklace with stone cabochons worn by the hcraJclic and syn1bolic scene in all artistic genres such as Gospel-book covers (cal. 82), cross- and her retinue.
empress is a type that is repeated in necklaces - sculpture, painting and diverse minor ans rcliquaries, chalices or icons ... In parallel, amulets
such as cats 123 and 124 and others. By the
same token, the bracelet worn by a girl in the
cn1prcss's retinue is fa hioncd from a broad band
with round catch-plate, as on crtain bracelets
(cats 14.0, 142 and 143), each or which represents
a characteristic type. Finally, the fibulae that
hold in place the chi Lons of the men in the
entourage arc indispcnsabl accessories of the
uniform of high officials (cal. 13,1.).
In tJ1c period Lhat followed, and until the
reign or Hcrakleios, the trend seems 10 have
been LOwards heavier jcwelle1y, such as the gold
breast-chain in th · British Museum (cal. 126), in
,-vhich, n1orcovcr, the ubjccts nrc rcnd('rcd with
particular clarity and, although the workmanship
is less refined, there i perfect auemion Lo detail.
Mo1irs of HcllenisLic origin cont.inuc LO have
165
 with representations or Ch1ist, the Virgin and
religious scenes "ere carved in stones, sometimes
as luxurious pieces orjcll"clle,y, sometimes as
items ror everyday \\'Car (cat.200).
One exception to the strictly Christian
thematic repertoire is the crom, or Constantine
l\Jonomachos, on ,'11ich, as a typical clcmcm or
the revival of some Hellenistic memo1y, besides
tJ1c empresses Zoe and Theodora, two dancing
girls and personifications orTruth and Humility
arc rcpresemed alongside the emperor, who
ruled from , 042 Lo , 055. TogctJ,cr with tJ1e
1·0"~,, that Emperor l\ lichael VII Doukas
presented as a gift 10 King Gcza I of H umrary,
"hich features effigies or botl, monarchs with
Chri t and Archangels, these pieces highlight
the role played by jewellc,y of this calibre
in Byzantine diplomacy.
After tJ1ctenth ccntu,y, the use of pierced-
work technique 10 variegate the gold surface of
jc" cllc,y was ousted by riligree, in which the
clccontLivc molifs arc cxccuLcclin fine t"wistecl
wire. Filigree combined with granulation
(cat.272) held sway in the ensuing centuries
and continued 10 be applied in post-Byzantine
crcaLions in the minor an "i. Examplc"i of
jc" cllcry \\id, filigree clecoralion arc die earrings
ht;. 31
, \ fount'l'lllh-cC'ntlll)
(ca1.283) and the bracelets (cats 273, 274) from
fn•<,co \ho\\ 111~ thc- the ~larko\'a Varo~ hoard,\\ hid, once again
~1.i.rri,t~l' ,II (:,)11,l
bespeak their" idc cliffmion in the Eastern
"1 '\uh,.h,Orph.1111,
11,,-...Jnn,IJ '.\leditcrrancan region. Nicllo is yet another
lfJh \I 110\11 .. JI \\I I LI JP. \'-U \DOR'\\!1,1
decorative medium that \\"as employed in
Byzantine ll"Orksin the minor ans, primarily
on silver vessels, from the earliest years. It \\as
used alongside enamel to represent Christologi al
scenes on crosses and amulet,, such as the cross
rrom Pliska (cat. 53).
A!ler the Sack of Constantinople in 1204 ,
defence of the state and political ri,·aliies were
tJ1eoverriding concerns. \\'ith the regaining
of the capital in 1261, the palace, churches and
monuments were renovated and refurbished.
Paiming enjoyed a ne\\' noruit, with distinctive
characteristics. By contrast, important
Palaiologan works in the minor arts have
not survived. Due to the combination of dire
economic straits and successive pillaging,
which came in the ,vakc of L11csack, iL i~ nol
possible to trace a conscious path of de,·clopmcnt
in jcwclle,y during the final phase of the empire.
Nevertheless, in images not only of emperors
but also of ordinary people (fig.31), aesthetically
and technically exquisite pieces of jewellery
continue to appear. Finally, the fact tl1at after
the fall of the Byzantine Empire, in Greece
mainly as well as in Asia ~linor, significanl
jewellery continued 10 be produced,'' "hose
value lie in its technical and aesthetic excellence
rather than in the sumptuousness of the
materials, suggests that jc" cllery from the
Palaiologan period was nol as austere a~ il
appears from the surviving examples.
Tl9
Gold pendant
l..1.,t<·111 ~krht(Tr,111t·.111 01
-.outht 111 I.S,tluc,L11h B\/,1111111e.
,1,tll-',('\l'lltl1 Cl'llllln.
Gold loil, l.'lh roppcr•.tllo) pm-.,
d1,\Jll('ll'I 9.5 (Ill
\ UJCUUJ\lu'>C"um
ul I u...- \ru J,t,. lm,,1ml
l\mh.,...-. 11,r \d,,lph I) ,111<1
\\,!l 11,. ( \\1U,.un•
luml 1,1,;1,
120 ◄
;-,;,•,kl,t<T
\\0 ; In
('"Id.pH 11111 " ,1111u l\\1 h,

i111,,111t.:
1-' I\ I(-'-' ll, 111pl.1qw·,
! h" .• • 1111
\I, ,,, I
\ I' 1 l ,I, I
t 1.. t, \I \•I

121 ~

!'ltc Jktli11 C:oll,1r

-., 1 ,ond h.dl Pl 1lw ,1,rh 111 111,1 h.111
nt tlu ",, 111h1, 11111"
( ,old. 111111.1ltl,. ,,,pph111·,. 0111
, 1m,t1",1. 1w,11k d1.11111·t11Ji till

..., , ,11~ \t, 1 1 II ,I,, \, ~. I "' 111

122

(:mht,1nunopl1 ) ,, ,n1th 11 ntun

(,old, km:,th ·)·>"> d1.mw1t·1
ul rnnl,1ll1n11,.? ) t Ill
\I, ,, , '-• , ll 1•
0

\I 110\11: IL\\LLLLR\ ,,o \OOR"\\ll "\I 169

 123
I '25 ►
:\'ccklacc Gold necklace with
\11t111oc l~q)pl. fifth <t'llllln
sapphires and emerald~
(;old "i1h ,,1p11hirC',.,1m1·tln,h,
prob,ibl, (; 011,1,1nt111opll·, l.1te
tmc1.1Jd..,.ind p1·,11I,,
~i,th l'.UI) ,nc-111h <enlllf}
l1·11~tl1 p.U (Ill
Gold, i•mcrald. ,, 1pphin·, '-ardonyx.
ll,u,l1\lu"u111 \ihttl\.m, n,, l7i!t
pt·,uI,. lcngth 79 rm
:,,,.i.ul,d,r \lu'>l'rn ,u Jkrlm. Arn,li 11,111nnl1m11
Ill~ n<1 jtl•l'I •,oflJi

124 i
Chain necklace
B)/,llllllllll, M"-lh '('\l'lllh ((.'111111)

Gold .ind ,c-m1-rrcc1ou\ ,1011c,,

lt-ng-th-!57 tm
111t \\.1h.-r. \11 \lu.,..um. 11.,hmiou, 'ii ',I I

126 --»
Gold body-chain
Bywnunc, sixth-early
sc,cnt.h CCIIIUI"') AD
Gold, length 72 cm; diameter
of large medallions 7.j8 cm;
weight 6 l3.2 g
n...I nwca oh.he llnw.h ~luxum., London,
f'E 1q16,.7"'4I

170 .-\T IIOME: JEWELLERY AND ADOllNMl:.NT AT IIOME: JEWELLE.RY AND ADORNMENT 171
127
( ,nlcl 11\'<kl.1<,. 11 itl 1

pc1ul,111t
l'1,,h.1lih I ,111 I.ill l'lli , .111,
.., ,, 11111., 111111\
( ,,,Id d1.111111, I ,I \I l k.1 II 1 .' l -.
,m 1111 111,t )t 111.1111 11 1 1 111

I \I,

128 • 129
Gold coin-"'' p,·nd,un Gold pendant cnh, 11 ith

Lhtt 111 ~lnlih 11,111.-.111 l mid· to Chri,1. the \'ir~n. St John

l.1h founh (l'IHUr. \I) .1nd t,, 0 "i:-tint'I ·
(,old. d1,11m 111 q .! , 111
L~>'\JH hon )O
II I n, ,,1, (,11ld. H ,c )J (Ill
l'l 1, 1
II, I ,tl,k \\ Ill I\ ., 1 ,
IV

,\ I 110\11.: JI \\'LI 11 RY \"\ D \l)Ol{"\\11 "\ I ,-·

/.)
130
Chain
'i1'lh 1,r-nlh t c-ntum
{ ,oh\. \1 111;1'11,tdum CJIun. II nt;lh
ol \Wnd.mt 1 l fm; \\Hhh '\Aun
I \\,\ \\, 1",,1(.,,.J1,,.,.1·, rn ,..,,\
( n "" \lrn \•'-~"' n.wl'I +

131
Gold liody-c Ii.tin
c.,11,>-Ronun. l.11(111111th I ("flllH)
Gold, ,mu th),t, g,um 1, k11~1h nf
11H.l1\1du,llc h.11m, J7 H un;
,,c-i~ht i 19 5 g
lh, In tr ,J1l,rHnu,,li\lu.-un1 l,,.,lr,n
l'l 1,111111

17(, AT 110~11.)l Wl I l l.R\' A'iV AVOl<NM/./\ I

,32 ◄ 134
(;olcl i)('lt-buckk

l,,,it, ,1 \I, 111 I ,I,, ,n \I,," " 111 ,t \rt '\-·

\ ,, ~ I' ,, , ,1, \, h, '\\ ,II '"" ...-,,-,

r33 ~
(;old strap-end
(,11t1,t,1111i11oplc
Gold.~ x l I cr:1~(\c!ltl1 <1·111111,

AT IIQ\IL: JL\\'ELLI· RY J\ ~I) \OOR' \IL:'\ I

 135 138
Bracelet Pair of bracelets
l]ncnth t\H·lfth rcniuf') Fourth or c,1rl) fifth ccnn1f)
S1hcr, rcpom,C", cha.\Cd. Iran· .. or Gold ,\ith ,;apphircs .ind cmcraJcb
~!din~. nicllo, 2.:2 IC 5-5 cm cli.1ml"tcr8.5 11.Gcm; diam<'tc.-r '
llrn.1L ,ld,rum l\1hrn,, Ill\ '"' • 11,,A 8.7 11..1 cm
\1n,m,1 \lu ,moll1 \n R1olun~
11,r \dnlph D .inJ \\ dLn1 C \\ ,lb.um I mid. 67
il]li/l

139 ➔
Pair of bracelet
Eleventh century Cypru,; 1?;, sixth century
ih-cr, n:poll.SS(',chased, partial Gold, diameter 9 cm
g,lding, nicUo, 3.3 "' 5-5 cm 8nu1i ~fll>Cllm. \1hrru, m\ rlOI 18.c, 1811.1

137 140 '.,

Bracelets Bracelet
Sixth-,cvcnth cc-n1urin Rome 1?,, fiflh century
Gold, cliametc:r 5-5 6., cm; widlh Cold, 6.8 ic 5.9 IC 4-6 cm,
0 , 1 0 •5 5 cm; diamctc-r 5-5 6.05 st.rap 15.5 cm
cm: width 0.1 0.55 cm IJ'flt 1,,. tJw \lnmpoLWl \l_.um ,.f \rt,
'- YOB. C.,ft ofJ f'N-')iunl \lowtAn. ••111
1111tlfrllnw Ali,_ry rlC....-C, Br- and
1714)Ulf,l,8
Ch,,..,.... I--.A&--.11X.111aa.n¥lls
(Only one of 1hc ilJmlrJtrd
p.Ur i, cxhib11rdJ

180 \ r 110\IE JCWELLLRY ND .ADOR. Mf'JT

 144 .j.
Gold openwork bracelet
F..1,tcrn .\lt-cli1err.111c,1n.fourth
('('lllllf)'

C:old, di,urn:tcr Io cm
'i1.,.,1l1<hr \h,,trn ,,. lkrhn. \11111.rn<.111,rnluoi:,
m, no 101w. ·,o,,

141 .j.
Bracelet
Probably from Constanlinoplc,
nimh or tenth centuries
Gold and glass, 5.7 x 8.6 x 6.6 cm
"l11r lldlf-m( \l,msu; ofCuhun-. \l11<(°umof
Bp.-111111,r.-
Cultu1T. 1l1t,-..
...,Jom!J, ni..o 162 6.1

142
Bracelet
Comtantinoplc '? . sixlh-
~e, cnth cerltur)'
Gold, sil, er, pearls, amcthy,ts,
,;apphircs, glas,;, qu.1n.1.and
<:mcrald plasma, diameter 8.2 cm
lrnt by 1hc \lctropoliwi \lu\(Cum of \rt
'-~ York (;,ft nfj 1'1t'))(•OI \IOl'JC".l.fl.
U,i17
17 190 1b;u

143 .j.
Cold bracelet with a bust
of the Mother of Cod
E.t~tcm ,\lcd11crrancan, c.AD 600
Gold, depth of hoop 6.7 cm;
depth of medallion 4.4 cm
flu: rn.oJ1ca oftl,c Bnu.Ji ~luW"um. London .
..,, ..., 3!11

AT 1-IOME: JEWELLERY A.ND ADORN~IENT

AT HOME: JEWELLERY AND ADORNMENT
[L~5
J>crtor,tl' 10
""' Cold ring I\ itli 0/111,
i11lmari/e
I hll tc cnth ln111111 11111
( t 11tu1\ dcrora1io11
( ,ukL l.q,1, 1.111d1I )( o.7 t Ill R1J111e. dtOlllld ,
1,,0
111 i,1 111,l (:old, di,11rn·t<·1
2 <111

l l!r l rn,1,., 1,l 11" l\111,,I,\I •11111

J.1,r,,J.,r, ,r, 1,,
'rl/ ·,-1 •1H7

147
Finger ring with the
1\nnuncia1ion
!-,1,th or 'll'\l'1Hh <<'lllut}
Gold ,tnd mdlo. d1,1mctrr 1 6 c rn

Finger ring I\ ith monogram

and eagle device
",1,th or :..CH'nth n.:ntur)
Gold, di,lm(·1e1 .!._)cm
B· ,.1li \lu ,., rn \thrn ml no 181'1

149
Finger ring" ith swivel bezel
~1,th ,n,•nth C't'ntUl)
Cold, di,1mctc1 l I un
llrn.1l1 \lu-.curn, \1/,~11 m, no 110;

150 -►
Cold and niello
n1arriagc-ring
C.i,tern ;\kdi1crrancan,
..,,,th or -.c, enth ct·ntun
Gold. 1rn.:llo,d1,1ttwtcr of hoop 2 3 cm;
ch,llllt'lCt ofbc,c-11.8 cm
11,, I n .. 1,,-, ol il,r l\rm,I, \h1'><'um l.1,udnn
l'I \1111

151 ➔
Cold ,ing \\;th monogram
Constantinople '1,
lh1rtecnth f1flccnth ccntUI)
Gold, diameter 1 65 cm; length of
hod 1.13 cm
11,r I rm1rr, of1hr l!nu,h \1u.,.-um. 11,0<1011.
l'I \I i71

152
Finger ring
Fourteenth ccntur)
Gold, diameter 2 1 nn

t\T IIOi\lE: JEWELLERY AND ADORNi\11:.NT 185

 •
153 157
Earrings Earring
Fourth century SC\cnth ccn1UI)'
Gold and glass pa~tc with cmcr.1.lds Gold, height 4. 4 cm
.md cornclians. height 4.1 cm
lk,uL \lu'C'um. \then.•. Ill\ no 1(1;1

158 ~
154 ..,, Earrings
Earrings Co11stan11noplc
i!IC\Clllhor eighth ccntu')'
A.rninoc. Eg)1)1, fifth ccntuf)
Gold, 6,8 cm
Gold with ~apphires and pearls,
lu:igh19 cm

155
Earrings
Fifi..h ixth ccntUl)
,old \\ith sapphire-,, pearls and
glass, height 9.7 cm

156 ~
Gold earring with pearls
and enamel
Eastern i\lcdjtcrranean,
tenth or eleventh century
Gold, with pcarb and enamel,
height 6.6 x 3.3 cm
The Trusct,o llftlv Bnwh \lllM'Uffl, U>fldon.
P&F:1981,5-?,I

AT HOME: JEWELLERY At'IO ADORNMENT

186 .AT 1101\1~: JEWELLERY AND ADORNMENT
 159
Tapcstr) sh,l\\ I" ith ""-'"
and vine with fig,.in's
Eczyp1, fourth or hhh (Ullllf'\

Lmcn ,:met\\OOI, :111e •7·.1<m

160 ,j.

Resist-dyed panel ,ho"ing

the Nati,~t)'
Fiflh "1,1,1h ('C'IHUI)
D)"d h11tn, ~711( <>,5 on
\uron., ~•~• \Jl...-n ,1.,.,.,..,1..-
..11.t.in

161
Fr,u;rnent of a ,h,m I
I.L,'\J)l I ,1\um. 11111th tnllh in11u1"\
\\·ool \\llh t.lpnln, b.rnds ol \\OOI
.md l11wn. 71 x 91.5 cm

tflB \f 110~11: JI WLLLLl{Y J\NU Al>ORN\11 NI AT 110,rn: JEWELLERY A~O AOORNML', r 189
1:i~uri11c
I ,1[1!1lld Lt.:\Pl !.111· 11 11th 1\\l 11th
(C"Jl!\11\
B()ll!'. 1 ,II" ii ,ind hl.tl I,. ot l{,L11H

"'" \· I "" ,, "' I

Fi~uri11c
\ ,il11llid. L11,,pt. tcn1h t\\clfth
( clllllf'\
Bunc. c .ti"\ eel .tnd hl.1t k ,11 ~.irnr
tn,\l1"1 j,,J. I! .2 x 2, I l Ill

]\,
11
,~, \I" , nm \ti, n Ul\ II•• 1,,7 !1

1:ig-uri11c
pt. ninth
1'.111rmd.L!..,"\ cln cntli
(l'll[UI"'\

Bmw, c.tn1~d ,1nd bl.HI,. p1~mcn1, tb

x j(lll

II<11.d,1\lu,nun. \d,. 11, "" "'' l"il'I

165
Child's Lunic wiLh a hood
Eg-,.vt, cig;hth
\tXLh CCntlll")
\\'ool. b5 x 83 cm

166
Pair of child's sandals
fifth 'l'\L'lllh CCllltlliC'.>
EL,')l)l.
St,unpcd leather, 12.8 x 5.1 cm
• I'

I ()9
Sl!l,tll .1111phnr.1
C:01111>
\\ llh
ornl1<.1tinn, ol Ro11H'
pc1 .... I '11' 11 I 111111\

( n]1p, I 111,\ I 1111 \ Ill \\II 1

.111d( :011,1.111I
i11oplt-
1111 ,i cl .11111
pnnc lied dc trn,11111n.
\l1 ,.111dr.1 ' 1 1,111d11.111
nl tlu· 11,1 lit •2t111 uh ,,th.1,1 11·11111
,1,rh 11 nnin I l \I

It. i...,\I

168
Comb" i1h 111,11
inc dcitic,

I~ l \I 1 \• I I

lfl2 \ r IIOML. Jl\\1'1 LI I RY \'\SIJ \UOIC"~J\11 ,n

At Church
LIZ JAMES
 T
Dela.ii of cal. 175 ~ IIE CIIRISTIAN FAITII was al Lhc
centre or Byzaminc lire.' Across the
empire, OrLhodoxy uniLcd people
oLhcrwise unconnected b)' language,
elhnicity or culture. It was a shared ide11Li1y:a,1
Orthodox believer from Constalllinople could
emcr an Orlhodox church in Kiev or J\lcxandria
or Sicily and immediately reel al ho111c;a 1110,quc
or a \,Vcstcrn church were both equally alien.
As Gregory l'vfclisscnos, the conrcssor 10 Emperor
John VIH Palaiologos, put it: '\\'hen I enter a
Lalin church, I do not rever any or Lhe sainLS
who arc lhcre because I do not recognise lhcrn.''
Eve1yonc was involved in religion in some way,
whelhcr as Orthodox, heretic or unbeliever.
Religious disputes over lhe 1igh1 ways to conceive
of and wor hip God, Christ, d1e i\Iod1er of God
and lhc sainLSpunctuate Byzantine his101y,
providing a constant narrative of OrLhodox
belief versus heretical challenge. The winners
would always rake d1e tide Ord10dox and brand
lheir opponents as hereti . The fcasLSand saints'
days of the Chri tian calendar marked out the
rhythms of daily life; images of d1e divine were
everywhere in daily life, from stamps of the Cross
on loaves of bread to d1e Mod1er of God on
111cH1a,1ic
use·: others 11crc li111clccl
hy gro11ps
of'indi,·idu.il'-1,
~u11H·li111c~, ill.1gc1~. Vc1y 111any
\\l'l'l' 111u11as1,.,.i,·s.
,\lthough l,,rgc-,c,dc a11d
i111prc:..~i\'t.'
clu1rcl1c~\\t'l't' h11il1tliro11gliou1
1110,1oi'Lhl' lli1,1111i11,·
period, 111,111)'
were
s111alls1rnc111n·,,i111i111atl'
a11d crnilinccl.
l11sidc Jhl' cl111rch,archi1rc111n·, clecoratio 11
,111clsacred ol~ccls ca111ctogether i11a cclcbraLio 11
ol' the divine. i\r1 hi,1uri:111sortc11 talk or Lhc
'clecorativc scheme' of' Byzantine churches.
Church art, however, was co11siclcrably n1orc
than decorative. Because the church was
regarded as heaven on earth, each part of the
church, its decoration and fixtures and fillings,
rcAcctcd its pan in Lhis role, as wcU as their
own specific runcl.ion.
As a resulL, Lhc architecLurc of a Byzanl.inc
church was bod1 uLilitarian, relating to Lhe
forms of worship that took place \\~thin it, and
symbolic, canying a deeper spiriLual meaning.'
UnJjkc a\ Vestern medieval church, where d1e
worshjpper is directed in a linear fashion, west
to cast, d1e Byzantine church is cenLraliscd.
By perhaps the tend1 century, the most
common plan ofa Byzanl.ine church was d1e
cross-in-square church "~th a central dome
( :0 111111111111111
\\,1.., prt'p,11nl ,IIHI tlll' patc11 a11d
li.ilil
1 1· '-llinl'CI, a11d r>lll' to ll1l' soull1
;11111..,,u1nl hook". '1'111'
sa11ct11aryas a whole
\\ a<.ii11('H',1..,i1114I) IH'l1i11clIll<'icc,11rn,la!-iis
liiclch-11
(ico11 ...cnT11) nr ll'l11plo11 and IT!-ilTvccl ff,r
till' pric,tlrnml.
~lo~aic ,,c1s tli(' n1;1lcrial above all
ch(J<.il'lllo crl'atc ,1 divine ~pcctaclc. Herc art
and architecture co111bi11ecl
beau1irully, the
curved surfaces orlhc cross-in-square
intcrncLing with the tesserae (cubes of'glass)
making up a mosaic. On close inspccLion, the
rrag111enldepicting St Andrew (fig.34) shows how
each lcsscra was inserted individually into
a plaster background on site LOconstruct an
image, and thal this created an otherworldly
spectacle of moving, rcAectcd light. Paint was
the next bcsl thing to mosaic work, and the e/Tect
of paint within a church was to create a tolally
diffcrenl visual display, darker and 1norc inlcnse.
The combinal.ion of 1wosas centralised space
and sanctuary as an area sel apan related Lo the
nature or Byzantine religious services. On the
whole, the congregal.ion could listen Lo the
ptiests, but not observe their acLiviLics.Certain
a tivities - Bible reading and the delivery of
lio111ilies 100k place at the doors or the
1(,r \'l'Slllll'IIIS
iconostasis but the li111rgy(the 1cr111rcrers
10 1hr Eucharist, hut" ill be used here ror
any regular church ser\'icc) was buih <1rouncl
dramatic appearances or the clergy from the
sa11ctuary at key poi111-.in the scr\'icc
displaying the Gospels and the sacraments.
In symbolic 1cnns, the pans of the church
were clivicleclho1h vertically and horizontally
church and each part could be given a spiritual
meaning. Vertically, emphasis has traditionally
lain on the images within the church. These
have long been understood as working in three
registers. i\t the highesL levels, the cupolas and
apses arc decorated \11th Christ, the .\-!other or
Goel and angels. Below arc scenes from the lire
of Christ, often called a 'fcsl.ival cycle' because
they have been seen as ccnes rcprcscming the
Twelve Creal Feasts ofd1c Orthodox Church. 5
Finally, the lowest level is made up of saints,
usually shown as single standing figures.
In this way, the Lop level represem heaven Figs 32. 33
E,tc-rior and plan
and, indeed, the cemral dome is most often of the early clcvcnth-
occupied by Christ whose presence, though u:11tu11 monastery
church of f-lo~ios
not visible to worshippers unless iliey chose I ,oukas, near
Lo look right up, n verthele hung over lhern Oic;tomo, in Rocotia

coins. As a result, church was d1e most important
building in the life of any Byzantine, ilie place
!
where the rituals of faith were conducted, and
the setting for humanity's conununion with d1e
divine, God's dwelling place on earth.'
Thar churches mattered more than any
other type of building is apparent from the
number that still exist, the quantity of surviving
ecclesiastical objects and the sheer mass of
textual references. Anyone who could afford it
could build a church - and a surprising number
(figs 32, 33). The most popular version of this
plan placed d1e dome on four columns ,vid1in
m
a square, but varial.ions on the theme were
multiple. The congregation tended to enter
the nave, or naos,,~a a porch, caUed a nariliex,
at the west end of ilie church. The naos itself was
square or rectangular in plan, but often divided
by columns and piers. It was roofed by a dome,
and the effect of that was to create a centralised,
focused space, a vertical ax.is rather than a
horizontal one. This was d1e space for the

did, for such buildings were both a sign of one's
devotion to God and a perpetual prayer for
salvation. Churches could be very personal
foundations: many were built by individual
patrons for their own family or personal
UT
congregation, men on the right and women
on the left. At the east end of the church, the
sanctuary was divided into three, a cenLra.l area
where d1e altar was located, Aanked by two
sma!Jer side areas, one to the north, where

6 AT CHURCH AT CIIURCII 97
1

Fig. 34 throughout their time in the building. In the
The interior orthe apse, the ~!other of God, bea1ing the Child,
monastCl) church
or Hosios Loukas served to illustrate the l ncarnation, proving that
God became ~Ian, was born of a Virgin and
saved humankind. Below this, the cenes from
the Lifeof Ch1ist could be understood in several
way . A common view is that they acted as book
for the illiterate, a teaching tool for those who
came to worship but who could not read. Th.is
is a convenient interpretation of the meaning of
pictures in churches but it does not always match
the reaLity, which i that uch scenes were often
uncomfortably high above worshippers and even
198 AT BURCH
h,·\l>llcl their ,ight. R.HIH'r, th,·: 111acleChrist's
Iii,· prc,cnt and, i,il>lc .is ;111eternal \\it11r,s to
Chri,ti.111 truth, ,11,d .1 rea"111-.111n·to brliewrs.
Fi11.tlh. the ,ai11ts. both 011the wall, and as icons,
011the lo"e,t l('\·cl. closest to the worshippers,
the \'iewcrs in the 11aos.
ph: ,i,·,tll) '111Tnt11Hlccl
Th,·: g.111·dout .11 "or,hippcrs, cc111i11g
to
nll'L'I their <')T, .• 1ni11g as the first locus for
wor,hippers 011entering the church, as do the
ico11, of Theodore Tiro and Stjames. The
wor-.hippcr's Grsl act \,·as to make a circuiL
of the,c images, oilen the special saints of
cacl1 church, displayed on stands (known as
p,osf.,;wetaria),
YCnerating them through kissing
them, lighting candles in front of them and
touching them." This c01vore1tl contact with the
saints enabled the faithful to share their power,
as the likenesses were not understood by the
Byzamincs simply as pictures but as images
which comained the amho1ity of the divine
figure. At the start of tl1e Liturgy, congregation
and icons alike were ccnsed and, in this way,
both became equal participants and equal
presences in tl1e liturgy, forming a part of the
communion of saints. Russian envoys to St
ophia in tl1e tentl1 cernury were convinced that
the angels descended from the mosaics to join
!
in tl1e celebration.' So images within tl1e church
drew the spectator into contemplation of the
divine events and, beyond tlrnt, into participation
in divine worship.•
Icons filled churches. Over time the interior
of ilie Byzantine church went tl1rough a series
of significant changes, stimulated by tl1e desire
to increase tl1e sanctity of the altar and to
emphasise the power of icons. fn tl1e Early
Byzantine church tl1e laity could vi ually
participate in all the stages of the liturgy
performed by the prie ts behind a low chan el
barrier between the nave and tl1e altar. But tl1is
gradually changed, and in tl1e sixth centu1y the
Church of St Sophia at Constantinople was
re
,·id1.111<
,·d "ith a l>ip;ll!'rS<Tt-r11,th),o-ralll'd
1<·111plo11"TlTII, i11rro11t ol the altar. Tl,i, Lyp('
or"\"('\'\\'"" liu111di11ntlllT ch11rchJ, lwlim·
iro11ocla,111,1>111
it rapidly lwrame t\i!' 11or111alier
ico11ocla m. u'!ually in marble ai.;in Lhc rhurc.:hat
....
Skripou in B73/7,1 (cat, 1B3, 1B,1),By the twclrth
ce11111ry,
icons were laid o\'er the top of the
cpi,tylc (like the be;in1 on ;,.1ount /\thus with
icons of the main church lcstivals, the Raising of
Lazarus and tlie 'Transfiguration, as in cal.216).
Between the column; of the tcmplon, icons or
curtains were gradually inserted. As a result of
,hcsc structures, the priest now performed part of
the liturgy behind an opaque screen, enhancing
the idea of tl1c im·isiblc holy of holies in the
church and allowing him 10 make entrances into
the church at dramatic moments in ,he liturgy.
The tendency to separate laity from priesthood
reached its final tagc with the thirtcemh-century
dc\'elopmern of the high iconostasis, a screen
covered with icons which totaUy concealed the
ahar unless the central doors (usuaUy decora,cd
with an 1\nnunciation, as caL.281) were opened.
The iconostasis included a whole range of icons
for veneration, including the Deisis, the patronal
saint of tl1e church, tl1e major festivals of the
church, and otl1er saints and prophets, and might
be surmounted with a crucif,xion.
Each church appears to have had its own
diverse collection of saints. A saint may appear
almost anywhere on tl1e walls of a church, and
be grouped with a variety of oilier saints from
a range of elates in the liwrgical calendar.•
Although it has been suggested that saints arc
organised by rank, function and place in the
calendar of tl1c Church, this is not the ase.
Though saints within the Church certainly
form defined groups - prophets, Apostles,
uch as t Andrew, Evangelists, martyrs, bi hops,
warrior saims, healer saints - tl1e apparently
arbitrary nature of tl1e choice of inclividual saints
portrayed within each church suggests tl1at the
i11di,·icl11al
nat11re and rolr of the church ll'as
impnnant in picking the saint'!.lndrrd, it is
po;siblc· th,ll churrlw, \\Cn· personalised through
their choic!' of "'int: the iucli1·id11alpatrom, the
type of monk, the l)l)C of church 11111,1 all ha\'c
bcc-11'lignificant factors in the choices of ~aint~.
Such was the seuin(( for the li111rgy,ll'hich
was it;c·lr a performance eck-br,itcd "i1h
appropriate trappin((S \\ithin the space of the
church /fig.35). Many services 100k place early in
lhc morning or at du5k, and churches ,,ere ort 11
small and relatively dark. t\, a result, lighting was
of great importance, and church inventories and
typika (foundation documents) regularly discuss
the lighting devices in their pani ular building.
Candles and oil lamps (cats 218, 219) provided
artificial light; they might be suspended in
gliuering candelabra !cats 170, 171)and
chandeliers, or placed in candlesticks.
The importance of the liturgy meant
that liturgical vessels and books were valued
highly and made of precious materials. The
key Liturgical vessels were the chalice, paten
(cats 20, Bo) and asterisk (for the Eucharistic
wine and bread), and ilie associated vessels
for the preparation of the Communion, tl1e
OabcLlum, or fan, the censer used tl1roughout
tl1e service to cense congregation, altar and
church. Processional crosses (cats 190, 191) were
employed in the entry processions of the clergy
and went before the Gospel-book. Altar tables
too could be precious and lavishly decorated. 10
They, tl1e bread and wine, the chaLice and paten
were all covered ,,~th appropriate textiles, often
silks heavily embroidered in gold. The priests
themselves had vc tments appropriate for each
sen~ce. The epitrachelio11was an embroidered strip
of cloth worn around the neck iliat a.ll priests
were obLigeclto wear when approa hing the
anctua.ry,while 1.heepigonation was a stiff gold-
embroidered piece of clotl1 tl1at hung from tl1e
girdle to tl1e knee.
AT llURCII 199
 Books ll'ere especially holy because they
contained Lhc word or God. Co11,equc11tly, the)
ll'crc ortcn lavishly dccora1cd and ,umptuousl)
bound, showing proper respect lo God. The
liturgy is an elaborate interweaving or texts
rrom psalms, both read and sung, or pass.1gc,
from the Gospels and Epistle, or Prophet,. of a
large number or prayers, some chanted. or short
readings about the ,aints "hose da) it is. and or
h)~nn . All or these needed books. 1.iturgical texts
were not assembled into one book but in fact
spread across several volumes. The prayers said
by the p1icst in lirurgy were uniquely written on
a long scroll rolled 10 the correct place and held
Fig. 35
The imcrior of up by the deacon for Lhe priest. These scrolls
Sl Catherine•~ on
tended not 10 be heavily illuminated: the Patmos
t\lounl Sin:ii,with
a st!''lcc in progress liturgi al roll has an elaborate fronLispiccc
'.200 AT Cll RCII
sho\\ing· St Ba,il the (;real n·lchr.11i11g-the
li1urg} in,idc :,11cl.1hor,11e 111.1rlilcbuilding-,
ln11 the rest nl'ih illu,1ra1ions arc i11i1ials,both
n·ligiou, ,111d,ccular. Cmpcl texts were arra 11gcd
in .1 lcnio11ary, "here they \\Cl"C divided into sets
nr lc\So11<arranged accorcli11g 10 the day or Ilic
year mt ,, hic:h pa.;;sagc was lO be re.id. The
Gospel-hook (cat. 205) played an active pan
in the liturgy, for it was carried out into
H
church li-Oln the prothcsis, and taken though
the sanctua,y doors into the bcma, or sanctuary,
where iLwas placed on the altar. This aclion
symbolised, among other things, the cn11y or
the \ Vorel or God into the world. As a result,
Gospel-books frcqucmly had impressive covers
and less a1tc11Lionmight be paid to their internal
dccoralion. Indeed, there is a case for suggcsling
that some or Lhc most elaborately decorated
Gospel-books in .Byzantium were never actually
used buL may have simply saL on the altar as
reprcscntalions or Chris L's incarnate wisdom,
just as Lhe bread and wine or the Eucharist
were his body and blood. However, hundreds
or illustrated Gospel-books survive, showing a
varieLy or ways or illusLraLing Lhe narralivc. omc
use frontispieces wiLh Gospel scenes, some have
narraLivc trips between blocks or text; most have
Evangelist ponraits. Leclionaries (cats 61, 304)
ontaincd liLurgical readings drawn from the
Bibi for Lhe Eucharist, and from aints' lives, Lhe
Church FaLhcrs and the Councils or Lhe Church
for other service .
The psalter was perhaps Lhe most important
book in .ByzanLinc daily life, to Lhe extent Lhat
children learned to read and write from it or
even, as in Lhc bilingual psalter here, \,Vestcrn
adults might learn Greek from it ( at. 177),
In church, psalms were sung throughout the
liLUrgy. In parish churches, they were selected for
relevance Lo that clay's feast; in monasLe1ies, tJ1ey
were sung in biblic11.lorder over Lhc course or the
services . .Both monks and lay singers must have
'-"'"'" till' p,,ilt,·r I,) l"·o1rt '", p11>l,o1l,ly,
did 11111,t of tlH· c1111g1q~.11io11. /\1 11·.-1,1H~>
illu111i11,1tt·d p..,,tlll'I.., -.,11rvi\'t' a11cl 111>I\\O dll'
till'..,;11tH'. lll11,1rc1t<'d
i11 \'.trioll\ ,,·ay"i,tlil'y
ofkr 1HlllHT011.., i11tcrprC'tatirn1..,, nll'ditalio11",
and rrnu11H·111aricr., 011 tl1c p~,11111<.,.
Surpri1.ii11gly,
dc,pitc "'"Y'i11ll'hirh the psalm, w,·1T u,cd in
littir~'), the text'> are 11cvcr rcarrangl·d to reflect
this l,111alll'ays maintain their biblical order.
To help monks in the recitation of the psalms,
psaltcrs were organised into 1wc1Hy sections or
each
kat!tis111a/a, containing between one and
rive psalms. ·ro aid IncIno1y even further, each
kathismawas subdivided into three. There arc
far rcwcr Old Tcstamenl books than New, in
part rcnccting their lesser place i11the liturgy.
The Book of'Job, however, is one or the most
popular, and over twelve illustrated copies
survive.
The church was also a place where people
might make individual offerings. Some took Lhe
form of'votivc gifts left for Christ, the :\!other
or God or the saints in prayer or in thanks for
benefits received (cat. 198). Relics or saints were
precious, orfrring the fr1i1hful a clirc-ct contact
wiLh the actual, tangible holy, and every altar
supposedly contained a relic. Such remains
1
could vary from a minute splinter or wood from
the True Cross (cats 182, 188), encased as befitted
its status, or a n1orscl of bone fron, a saint to
the whole head or a hand of' a saint. Such
special relic also acted as magnets for pilgrims
to Lhc church.
The materials used Lo create the images
and objects at church renccted boll, Lhe
resources available to Lhc pau·ons and the
importance or religion, for iLwas Lhe paLrons'
duty to give or Lhcir best to G cl. There was a
hierarchy of' materials: mos11.icand paint; gold,
silver, bronze, brass, copper; and material
themselves might cany a symbolic meaning.
Gold, for example, did not Larnish and so
repnvntccl p11ri1y.1'11rplest.1i11i11g
or pages nr
huok" n-prcq•ntrd not only an increase in price
hut ,d"i<1a cmT1mt·11l011 i111peri,tl ~1atw-., purple
il<'in{(!hr imperial colour rc,er\'cd ror the
c·mperor. ~ licro-mo ....
ail' iron" \\ r1T a hig-hly
sp('( iali,cd, particularly costly form or mosaic;
tlw level and detail of,kill needed to \\ork on
thi">!-irah· using minute te,..;cral', each plnccd
individually in position, surely" ith t\\'cczcrs,
i, simply staggering. Objects might lw rurthcr
clccoratrcl with cv<:n more precious rnatl'rit1ls,
inlaid in enamel perhaps !cats 199, 24-5)or
gilded, and decorated with ornament and scenes
appropriate to their use, as" ith the Riha Paten
used for EucharisLic bread, "here the I .ast
Supper is depicted cat. 20 .. \nd ,i,c al\\'ays
ma1tcrccl. It related not only to cost, but also to
function: ;mall books were often intended to be
read in piivaLc.
\\"ithin the church, architecture, imae;cry,
the liturgy, as well as sights, sounds and smells,
includjng voices, incense, smoke and candle-\, ax,
heat and bodies, hard, poLlshcd noors, glincring
1naLe1ials, al.I con1hincd to create the effect of
translatino- Lhe worshipper into a sphere beyond
Lhc worldly, and to translate Lhe church into
heaven, in order to move being 'at church'
to being \,~th God'.
AT Cl! RCII '2.01
 170
Chandelier (rhoros)
·1 hirhTnth fourt('cnth ccnllll")
C,1',t l0Jlpl"1 .11lO). di.tlll('ILT 350
l 111: hrn.;lu ,, ithout h.in(;'ing-,

r. 1111
cm
I
'- 1·.

20"2 ,\T CH RCM AT CHURCH 203

I/ I ◄
(:,,i>I", ,,1101
pnh, .,11d,ln11
I \I, II I 111, II 111 11 , ..

( •Pl" ,ill,, I, 11••111 d 11~114 11 1111

11111! ::, 1 111 ,h.1111, (I I ,ii ,li-k ,:: ! Ill

172 •
Chun le IH·II
'u I ll,l. 2 \111.;11,t I I ; '
( ,t-1 h1111\/t, h, 1~ht ,.! I Ill,

d1.1n11 tn ·1 ; llll

I' I'

1 73 ~
Roclop\ bell
''H'l h1.,, .! \lll ..,'1.l,I I! p
( ,1,1 l11nn✓c. ;H,,: I; llll

1 74 ◄
Copper allo) plaque "·ith
the I lockget1 ia and ..,aints
B,,.,111111111. ll"lllh 111

d1.·\l 111h 1 <·mu 1,

Copp1·1 .dim. q;,,: 10.8 cm
II Im,, 111 llm \I,, um 1,.,1.,,

\ I ( Ill RC 11 .!Oj
 1 75
l l01nilie, on th(' \'irgin
;\ Lu I Ii, .]allll''
Knkkinoliaphos, folio 31·
(.01i--t.1nt1rn11>k 111,1 l1.1lrol
till' l\Hlhli (Clllltl"\

~l.11111,(
111H on \Mtchn11·1n,
! l:,,; 1h.·• ( m

I\ ,h nlotq" 1 • •n.d ii-- I I u" I' "'- (;, uo8

Pnfunw brazier in the

form of a domed building
CmM,UHmnpk or lt~ll).
t·nd ol the l\\tlfth cc-1Hury
\1l,t·1, p.l1l1,lll) ~lcl1·d, t·ml>o,;,scd
.mcl pnfor,11nl, :t(i x 'JO t m
II, I < ,m\l,,,. \rn,c~ 1•"101'01n, ,~ 110 ,
1

177 »
P,altc, "ith the
veneration ran icon of
the irgin :\ lar,
Hodcgctria, folio 39u 101 0

Comt.u1unople and C)1>rm,

,\round 1300

I cmpl"l,I .u1d gold on p,1rch11w111,

l.....
"ltlll ,incl Grc:d, b1lm(tll.ll 1',.1hcr
and other IC"Xl'i or\ ,U,OU', d,ll<''i, 29
x21 cm
'r.&.1thd,t \lw.r(11 ,u lkrhn, J,,..upknu<h~l,111f11
8 \ q 11.... ..itnn 11,1

206 AT Cll RCII

 umllu:;
rrlm mtcr tratre:· rr ai) &llrt'f" •vr m· romo
·1111'c,,; vatns me
;)
; r ,~

lo·
'"n.J..fo·
i
u

nR AT CHURCH '209
 I 1<1~ \,1th rcp1c ...t 111c111<111
orI hl' . \pmil,·, i'l'i('I ,11,d
f>,llllllc111k1ng
c1 t 10-.,

11.1•1 .11.. , 1d 11111

( 1.1, ;1 q,, :o 1: ( 111, \\1dth ol
li,11111 \ I Ill

\I

1 79 ..
(;ih-rnppC'1 pl,,qul' 1,11h
',1 I hcoclnrc
B .,,,ntnun ( ,,11 11111nopl1 •
rnul-111 \1 1!11 1, 11111n
( ,d1 111ppir I.! -, $ " -

,.I , I, \I

180
l't·,1ilc lrnngi11e;\, it h
S1 ,\lakari<h ,,ncl '">lll,lll
i11pra) er
l.1..,"pt. founh or lihh u n111r\
1,111{' 11 .uul \,ool. Hie., ,, a11, m
11 '\I

Al Clll'RC II 211
 18r
Rdiqu,11) sarcophagus
llw,mtium. fifth-,n~·nth ccmur,
'.\larbk .1g:~lomc1.1u·
.!J ><_)IM.!. I-) lnl

( 11 11 lr-1\I, ,J 11 rl !,
I, 1, \,Ile Lk'l,rt11"\T 1" r " 1"1

Reliquary crucifix
COll',lJ.nt1noplc, fir-.t h<tlror
lhc t<"rHh n·ntul)·, \Jon,1,tc')
of St ~fichad. Damokr.rn{"ia
now GU✓<"lcc1
P,1rti.11lygilded ..,ilvC'rnucifix
holder, 36.4 x 23.7 cm
CollNH•m d.-• \lu.fn d'.1n .-1t.1·J11w,1rr
rJr I• \'lllr di" G("ntv, Ill\ At) 1nl,i

fl he crncilix [,1bmeJ ,111d

the ,.,1rcophagu\ fleflJ .arc
for illu\lrativc purvoH·I! onl)
ancl Jr<' not cxhihitc·cl

ZLl \I < IIt R< II

183 A
I 185 ◄-
Epi,tylc from tit, Church Ooublc-siclccl closure
01·th, Koirncsis at panel
Skripou 'J hdw,, 11111th
century
i\l.1rhlt·, 88,:1 x 10~ 1.8 x 10.5 cm
:\l,lck 011 ,ill·, ,ll Skripou, 8i3l7,1
:\l.trhlc, 18.:, )( n1 X 33.5 cm ll,c-11,11,nn \l1ni'1f\ ofC11h11rr. ~in.I I phnr.11("
nflh1.tntmr \r11u1u11u-.,, 111, rm \Jl'l

llu· 11,llnm \11111,11;ol Cuhun·, .qui I phnr,,w

,,1 lh,.imnK \,,uq111UC",Ch.111..i,.HI\ 11<>111

186 ~
Double- iclccl closure
184 ◄- panel
Closure panel \\~th two
Tlwl)l'~ :> , 871 / 73
peacocks .\l.1rbk, 97.5 x 73.8 • 9.5 cm
Thebes, t\\dfth ccnllll"') ! It(' I kllcmr \luH\11"\ of CuhuN", l'jl11 Lphor.ur
of B,·l,mnn.- \11uq11111c,(,hall,~, m, nn.AJ 16
Alarhlc, 57 x 60 x 9.5 cm
lln." 11(,11,...mc
\lnmt!) o(Cuhun·, 131d t.pho,,,tl'
of lk1..mt111C" \nu11u111l">,
Ch,111..1',HI\ 110x311

AT CHURCH
9
 187
Silver chalice
S) ria, E.irl) B\/,)lltllll'.
'!l'\.th(Cllllll"',

Sih er "1th mdlo and l{lldm(!.

18)( ~6.6 .. 16cm
\\u)("umofl111<' \n,,lk-,.tun l~l"mlJ
~"d \bl)..., llnlnl("'; I urnt. lll71 hH

(O
AT CHURCH
 189 ◄
P1ou·-.,,io11..ill n>""
( n11,1,111t111opl, 111,t h.ill nl
, I, \t"lllh 11 llltlr\

( ,,1 1 opp1 1 .dim. h.imnu ll d.

t'IH~r.1,,·d ,uid pu1u lu-d, ~h x \O Ix
(Ii llll

190

Jh,-.illlllllll,
p111li.d>h t\,dllh <n1111n
B111111t· t llt.,'l,1\nl .uul t n1l111,,1·cl
f1H-,,; (h l x 2 h I rn

\II I'

188 ◄
Rrliquar) of the
l'ruc C:10-.,..,

ttlllHn ill I l.!00

'-i1l\l 1 .)t, c loi--nmw op.tquc

rn,1m,+, 1,n .1,1ht·1 !!,lit,11p1>111l,
\\Olld i.:1,h, p.1,i-· .!J XII 7 XI ·1 till

\I II , \ I} t, , ,

\I C'lll RCII 2.?l

 19I l~):2
Procc,,ional cro% ( '" ( ., "" "' \d, 1,lll()pk
Comt.:mtmoplc- or nortlH,t''-tt·m
I ti, h Ill I! I II II\

\n,Hoh.1. I.He de\ cnth or earl) ......

h, I h11 I \\llll 111 :1.i, llll•
l\,clrth ccnuir, p.11n.t! ld1111.111d1111 II,1
~1h er, ,;ih c-r gilt, mdln. iron <Or<' dct 111.1110n 11,111 d ,nnund , 1n
and bron,c ,haft. n x 3q cm L1Pll {Ill( ,H ·1 X p x I) I 1111
\llhtt dr (Jurn \I,.,,..- '\.,,11,,,ul du \l,,.TTI \.:,-
1'.m, 111, M (\ ll')')

:..!12 .\1 CIIURCII

 1 93 ◄
Ci11ldl 10,, "1th
11idlcwdIll"< 11puo11
J 1,11111 \I, !111 I
1
i 11~hd1 , cllllll \
(,, i,I u,,11, 1 1 h1 1111hul111

11"1' ),11 fl I, 1,p I ( 11 \\11hh

I ,m \\IJ~hl !.? IU
I t I Ii I\[

MAROTEAKKCY
Pn trn .d I cliquttn ( 1o~"
J I \I 1tl I 111111\

"',11\ • 1 ,hlTl. 1111llo, , , >I" ~ ) 1 Ill

"

\ I Clll lU.,11
 \ 0 111
,. li,111cl
liolclin~
.l ( llh\

...,\11.1 P.dt 11111 '-t,1h

II ·hll, 11 11111\

lh111111 'I• 101111 110 ,.

llll 1111111

" II
1,11 I

195 196
Pectoral rdiquar, cro" Pc total rdiquai1 cro"
Con\t,rntmoplr or \n.uoh.1. Com1.1ntmopk or ,\n,itoh.l,
t'lc\(·nth<C.·ntun dn rmh n.'ntun
Cop1wr .dlo,, 7<lx I \ c-m Copp<'r ,1ll0} 8 • I 5 cm
fl.-nlll \I n \, ._ Inv 11n \ ,\h

197 ...
Pectoral rcliqua11 cro;,
Con,1.u11moplror \n,Holi.i, l.11r
lfnth or dnrnth cc-ntu11
Copp,r •llo), 9 5 • 55 <m

199
Pectoral cross with
Four Evangelists
Com1,101inopl<"
?},,rcond h,1lf
of thr eleventh century
Gold, f1ligrrt\ cloimnnt- and
champlr-\l' rn,1mel, rmrra1d ,
tounnaJine, pearl , 9 ,c 6 x I c-m
l-llf' l\iJ,lm t.1,-,,,n ofl1rM".\n•, \I,..,..,
-~161

UlJ Al ClllRCII
 )
,,. )
\I,
,t\ \II{ 1

'20 I
Rcl1qt1,ll\ I 11/,11//1/11/1
\lid- to l.ih 1 111111, 11 Ht\
( ,nlcl. qlu 1 , 1!t , 1nd I l111,01111t

,·11.1111! L In" '.! x n tit 111

\ K
" \I I I
eteese
seteeseter

\ I GIIUR II 229
 '.20]
202
l'e11d.111tII ith
Cameo with
(, 'hrist 1'.1111okr
it
Cluist Pan1okra101 ' 01
( 011,t.1Uli11(1pl1 l. t· .
Con,L.,ntinopk. t",111\ th111rc-nth
n1 ''" 11thl t .111111"\ Ill hI\n1th
C't'n:u~ C,lnlt'O Scrb1,1,Pet.
,i,111 111h-t n1tui '
~r I rurcn, l',111\ ''-'H'lllr<·nth H.111 k I I\ ,t,d, gn;d lll0\1111
tcntul') ,cumc; 1lc,111-, 1110111\l h ; ~ll(:·11011 !.lo11ri,
Ja....
pa ~n.·n, nmm~ ,,hn,
, int ludmg mouiu, )( J :.! ( m
h.1mnwnng
d ' gi I(Illltf, l'll,lllld
un ~t'C'll ; c-amd1an, mothcr-of-
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 Icons
ANO CHATZIDAKI

rro111lhe
B
YZA1'TINE ICONS ORIGINAT1'
Late Alltique tradition or painted
portraits, such as the runerary
mummy portraits found at Fayum
in Roman Egypt (caq.6). The \\'Ord icon (eiko11)
itsclr is dc1ivcd rrom the Greek verb co,,a,1d1icl1
means to resemble. Early Christians gm-c this
name to portraits or holy figures. In ll)",antium,
the term icon \\'as used to dcsnibe images in
such diverse media as painted 11oodcn p,!l1cls,
wall paintings or the minor arts. Herc ll'e shall
consider the most prevalent use or the term: an
image painted on a portable ll'Oodcn panel.
According to tradition, one or the first
painters or icons was the Evangelist St Luke,
who portrayed the Virgill i\la,y from the life.'
The nse of icons is more explicitly described
in the scventh-ccntu1)' l.ife qf St Pa11kmtios,
and in the texts of the Church Fathers,
who considered icons LObe a medium of
com111unicalionwith the divine; in the
words of Basil the Great, 'The honour shown
to the image is conveyed to its prototype.'
After the iconoclastic edict or Leo 111(727),
the cult of icons was forbiclclcn and any
representations of holy figures or scenes from
their lives were banned. Icon and church
decoration were destroyed. The iconophiles
were persecuted and a cused of idolauy. Under
such circumstances, the Church Fathers and
high-ranking monks formulated the Orthodox
dogma for the cult of icons. Among them,John
of Damascus (c.675 c.753/54.; fig.7) commented:
'An image is not always like its prototype in
eve,y way. For the image is one thing, and the
thing depicted is another: one can always notice
differences between them.'' This long period
of dispute came to an encl with the victory
of the iconophiles, the so-called Triumph
of Orthodoxy, in 843, under the reign of
Empre s Theodora and her son i\i[ichael III
(cat.57).
ICO S
...
Today. Byz,11ni1H'icom arc be lound in
10
importa111 lllO!lasteries, such'" St Cathninc's
on i\ loullt Sillai (figs 3(i, '.l7 a11d those oil
Patn10, and i\l,>11ntAt hos (lig.,10), iu lorn!
rnlkctious aud ill the lll011asteries or Cyprus.
Public collcctiolls of icons exist in thr Byzantine
llltlscums ol'Athens, Thcssalolliki. Kastoria and
\'croia, alld ill the museums or Oh rid, Belgrade,
ofia, .\ loscow and St Petersburg, while many
icons cau be seen in the museums of Italy,
Gcrn1any) France, Great Britain and America.
Icons from the period before iconoclasm
ha,·e been presen·ed in the i\ lonastc1y of
St Catherine on i\ lounl Sinai, which was
outside the area or the imperial iconoclastic
edicts (some of these icons were brought LOJ<jev
in 1845 and 1850, as gifts from the rnonastc,y to
the archimandrite PoqJhyrij Uspcnskij [cats 47,
313, 314]). Other icons arc preserved in churches
in Rome, such as the scventh-centul)' Virgin
at Santa i\laria ad Manyres-Pantheon, Rome
(cat.47). Most - and the best of them - arc
painted in the encaustic technique, using hot
wax to bind the pigments, a technique adopted
from the funeral)' portraits of Late Amiquity.
Others were painted with the egg tempera,
which, after iconoclasm, became the standard
technique for icon paiming.
The use of icons after the Triumph of
Orthodoxy in 843 and in the following centtllies
was gradually expanded in public and private.
Outstanding works using precious mate,ials, gold
and enamel from Constantinople, uch as the
two icons of Archangel i\1Lichacl in bust and in
full length (cat. 58) that were taken to Venice by
the Crusaders after the Sack of Constancinople
in 1204, are now preserved in the Treasury
of San Marco, Venice. Other examples were
made of costly tcsserae, imitating the art of mural
mosaic, such as the early twelfth-cemury icons of
the Virgin Pammakarislos and of StJ hn the
Baptist in the Patriarchate at Istanbul, and the
irolls or C:hri,t l'alltokralor fi'om the !lode
.\lust'lllll ill llcrlill alld 1i1l'.\111,co Na,iollale
ck! Bargl'llo i11l'lo1-c11t'l'(rat.225). Particularly
prized \\'l'l'l' 111itT0111o~aicicons, !-illcha" 1he
clrvc11th-ccn1ury St ichnla, fro111Patmos, the
twellih-cc11t111ySt Sll'phen from Kiev (cat.268),
the Trnnsfiguratioll from the Louvre, Paris
(ca1.2 2G), 1he early fourteenth-ccntu,y diptych
from Florence with the Dodekaorton (cat. 227),
the 1\nnullciation at the Victoria and Albert
.\luscum, London, and the St Theodore from
the Stale I lermitagc .\luscum, St Petersburg
(cat.224). i\lajor examples of1he same period
arc kept in the monasterie~ of i\lount Athas,
such as St Anne and the Crucifixion al Vatopedi
and Stjohn the Theologian at the Lavra.
Another way or enhancing icons was to acid
gilded-silver revetments, such as those on the
clc,·cnth-ccntu1y mosa_ic icon of St Nicholas from
Patmos, and the fourteenth-centu,y examples at
Oh,id (cats 229. 1-.2, 230-232),' decorated in
rcpoussc technique with a great variety of motifs,
sometimes interlaced with sacred figures and
scenes of the life of Christ and of the Virgin.
Such costly adornments commissioned by
high-ranking believers were all irnportan1
demonstration or devotion and in some cases
they were designed as an in1egral part or an
icon rrom the beginning.
Icons or the Vir~in held an important place
in devotion. In the Triumph or Orthodoxy
(second hair of the fourteenth ccntu,y; cat.57),
the icon of the Virgin runctions as the perfect
image, whose veneration had been re tared in
843, thanks to the imperial support of Empress
Theodora, who is depicted with her son i\ lichacl
III and flanked by famous iconophilcs. Icons
of the Virgin in various iconographic types
abounded in the imperial palace and in the
monasteries of Con tantinople.' Among the
most famous is tJ1e icon of the Virgin Hoclegeuia
from the Monastery or the Hodegon, regarded
as the 'palladium' of Constantinople, which
was considered to provide the protection of the
Virgin to the city whenever under attack. The
Hamilton Psalter (cat. 177)sholl'S this icon on
a specially constructed prosk)'netarion(stand)
beneath a large balclachin witl1 protective
Fig. 36
Christ. Sinai. sixth
century. \ Vood panel,
cncausLic lcchniquc,
8,1 X<-15·-l,Cnl
The Holy ~lon»tcl) of
Si ~thennr. Sm;u
Fig. 37
The ~ tirade of the
Ard1angcl ~lichacl
at Chonac, twclflh
century. \Vood
panel, egg tempera,
37.7 x 314 cm
Tlic Hol}' ~loiwtcry of
St Cithtnnt, Sm:u
ICONS
Fi~. 38
Thl' \'ir~n
I lodcgl·tri,1.1hc
1,,elflh
'.\r;iJ...iou~"a',
ccnnn), \\'ood p.1nd.
l'g~ lt'lllJX'r,l,
103.5x ;3.5 cm
[h1.,nt1nr \lmr,1111 ol 1h1
\rcl,lmhnp \1.,1....mo-.111
I ound.,oon '\1lt..,1.1
railings; aL either side, in smaller scale, devotees
in lavish red garments kneel in prayer before
it. The icon of the Virgin Blachernitissa, which
was venerated in the apartments of the imperial
palace of Blachcrnai, is known fron1 wrincn
sources, while the icons of the Virgin
Psychososuia (She who saves souls; cal. 232)
and of Ch1ist Psychosostes, most probably
from the monastery of the same name in
the Byzantine capital, were sent as a gift to
Ohrid in the early fourteenth century.
Processions of the icon of the Virgin are
depicted in wall paintings, such as those in the
thirteenth-century Vlacherna church in Arta and
in the Markov monastery (1376-81), where the
icon is carried by 'he who bears the holy icon
in litanies and official feasts'.' Panels painted on
both sides were intended for processions of this
kind, and examples are known from the late
twelfth century, such as the double-sided icon
ICONS
ortlll' \'irgi11 llod"gctri.1 ,111dorChri,t, i\l;i 11
orSorro11, li·o111K:"toria (cat.~ 1(i). The 1111n,bcr
or ,11ch II orks i11crca"·cl d11ri11gthe lourtec11th
,-c11t111y.
:i11ds11n·i, i11g,·xa111plc, i11rludc the
doubk-sidcd iro11s or the \'irgin a11d the
.\nn1111ciatio11(cat.1:10), of Christ and the
Crucifixio11 fi-0111Ohrid, and of the Crucirixion
aml the Virgi11 l lodeg-ctria from Thcssaloniki,
110\\'i11the Byzanti1w and Christian :\luseum,
1\them (fig-.39)."
The ,-cncration of icons increased from
the clevc11th century, due to the transformation
or the tcmplon from a simple. low banier
,eparating the sa11ctuary from the nave to a
higher screen adorned with successive registers
of icons, tl1e iconostasis. In tl1e lowest register,
between the columns, large icons (de5potic icons)
were placed, usually depicting the Virgin,
Christ and t.he patronal saint of the church
in a composition of the Dcisis that finds its
most appropriate place here.
Higher up, on the epistyle or architrave of
the iconostasis, smaller icons depicting Apostles,
saims and festival scenes were placed. Preserved
in the Sinai monastery are early examples of
epistyles on a single long beam, from L11etwelfth
and thirteenth centuries (cat.317).' Other twelfth-
century examples are also known from Athos,
such as the Transriguration, now in the State
Hermitage Museum, St Petersburg (cat.216),
and the Raising of Lazaru , now in L11eByzantine
and Christian Museum, Athens (cat.215), boL11
painted on a reel ground from L11esame tcmplon
icons of the Monaste1y ofVatopedi. From L11e
early fourteemh century epistylc icons with
scenes of tl1e Nativity, the Baptism, L11e
Resurrection (Anastasis) and the Doubting
of Thomas survive in Ohricl and Belgrade
(cats 233-235).
Inside the church other icons of various
dimensions were eiLl1erplaced on proslgnelaria,
in some ases on the feast clay of Ll,e depicted
,aillt, or hu11g "" the walls. The berna doors
to !Ill' ;;uict11:uy ,IIT usu:illy clcc-oratccl with the
t\illHIIJCia1io11. ,l.., we know from a lwclflh-ccnlu111
cxamplc i11Cyprus," which displays rn11sidcrnble
aflinity to till' two icons of the same subject
fro111Ohricl (mt, 229.1, 229.2).
S11mllcr icons, diptychs, triptychs and
polypt ychs were made for travellers or
pilgrims for private devotion. One precious
work of this kind, undoubtedly commissioned
by a 11oblcma11,is the early fourteenth-century
mosaic diptych with the Doclekaonon from
the i\l11seo clell'Opera di Sama i\laria clel Fiore,
Florence (cat. 227).
The style of icons followed, in general terms,
the same artistic trends as mural painling and
manuscript illuminaLion, and the individual
painter's skill in the treatment of the materials
can be seen in the result. The early encaustic
icons of Christ (fig.36), of the Virgin and of
St Peter in Sinai and in the icons of the Virgin
and SS. Sergios and Bacchos, now in Kiev
(cats 313, 314) bear witness to the high standards
of the Constaminopolitan workshops in the sixth
and scvcnt.h centuries.
After iconoclasm, durin the i\'licldle
Byzantine period, the workshops of
Constantinople produced icons of exquisite
quality. JIlany uc preserved in the Monastery
of St Catherine, Sinai, such as the miniarure-like,
twclfth-ccmu,y icon of the Heavenly Ladder of
Stjohn Klimakos (cat.323) and L110seof flawless
classical character, such as the i\{iraclc of
the Archangel Jllichael al Chonae (fig.37),9
as well as the late twelfth-cemu1y Annunciation
(cat. 322) on a highly burnished gold ground, an
outstanding example of the so-cal.led manneristic
trends of tl1e Komnenian pe,iod. ln other cases,
during this pe1iod, the style of the icons is
associated more closely 11~thwall-painting
workshops, such as the late twelfth-century
despotic icons of the Virgin and of Christ from
St Neophytos and from the Panagia tou Arakos
at IA~goudera, Cyprus (rig. 38). 10
After the capture of Constantinople by
the Crmadcrs in 1204, important workshops,
so-called Crusader workshops, emerged in the
Eastern Nlcditcrrnnc;in, in Sinai, Cyprus and
Palestine, with distinctive technical and stylistic
features presenting an original combination of
the Byzantine tradition with practices of Western
art." In the same period, traits distinctive of
other local workshops appear in i ons of Kastoria
and Veroia, painted with earth colours on a
silver background and on roughly worked wood,
such as the Prophet Elijah within the cave from
Kastoria (cat. 242).12
With the recapture of Constantinople
by Michael VTII Palaiologos in 1261, and
throughout the last period of Byzamium, t'ig. 39
Cnicifixion,
alongside the remarkable nourishing of wall- Thc5•.:t.loniki, wiLl1
paiming workshops, which left exceptional on 1he reverse the
Virgin l-lodcgcuia,
examples of their art in churches in the capital, fourtccmh century.
Thessaloniki, JIloulll ALl10s,Oh rid and Ll1cwider \ Voocl panel, egg
tcmpcrn, 103 x R1.cm
region of JIfaccdonia, icon paiming also thrived.
:md Chnm.u,
1\yz~n1111~
The icon with the imposing figure of Stjames ~ hu,eum. A1!1<:.ns,
T. 169
ICONS
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l l:l: h111p11,t in the l.ue fc.n11 tee111h-n·nnir) ..,c, ie, "1th the the lc,,dl'I or the C:n•t,111S, holll. "hi, h flou, i,hed
llt1>(Ctl Ull
.\pn,tlc, fiom ,t Dci,i"' ,11C:liiL1nc1'u1111d p,11ti, ula, I\ cl111 in!( the ,ero11d h,df or the
\I
\I \',ttopcdi lil!,. 10. ' fiftcc·11tl1tt11cl..,i,H·cnth u·111urie-.,,

22,J.
;\Ii<.1omo..,,1i( icon
"itl1 St 'J'heoclo, <'
(:011,t,111u1u,pk ~·.11h
10111lcnllh <t·n111r,
\\'oocl, tt·,,11,1t· of m.uhk. 1,1,p1·1.
l,tp1, l.1✓ 1111, ,to11t· .uul 14ildl·d
1 oppn, n,I',. 1n111, (j x 7 I {Ill
 :;a

'2'2'.)
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( 'In i,1 l'd11lok1,11n1
( 111hl 1n111opli .•
11 0
_
71
\I, UI flll \\11ud 11" Ii 'Ill
,, ,,,,11•, •\I
\I ' ,1 1111

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I 1d11,lic;111dtion
( 011,1.111111111pl1 .11111111<1l.'1111

I 1·,,n.u of -:delid, npll4 r

111.111111 l.1p" l.i.1ula.i.nd t.:,l.i,,
\\.t,.
fltl!.\111,lll\ 1111 ,,ood.

11,llbh111 d to ,l.111 111 181i1,ind

d limn p.111 nl ( hn,t\

,, ,1011
both. 11c.h1h.uul ,1el1 of 111,l,1tc
i11pu11, .ind,111110,_·,ix ricm
\I, I,,,
\11 \IJ

227 --»
J\ I icromo,aic dipl)'Ch
"ith restival scene,
Con":>t,mrinoplc-, c.itl) fou11cu11h
century
.\lo<i.1iC'on \\OOd p:ind \\ilh
sihcr-t;"ilt and cn.m,rl fiamc,
c,1ch p:md 27 • 17.7cm
:..1u~ <irllOp<"radi ~um, ~l.m;i de-II,,,,..
l1orrt1<C', '"•<N1130011-11
 228
tllicromosaic "i1h 1hc
.\Ian of"Sorro"s
Con\1.1111111opk,,iround 1·300
,\lo,.11r tc,,1·1,u- 011 ,,ood,
13 x 19 cm \\ 11hout fr,tme,
.qx 28<m \\1th frame:
98.i x 97.1 cm <.1,1• open
11.,.,lu.1d, ',.mu ( rn,.- 111 Lcn,,.,l~mm, Rrun,
111\ 110 Sq l·o11do Ld,liio d, C:uh,\. ,,mrrn111,11,1to
d.U \l1m,11'ro tit 111111111111.
IJ1rumm· C,,1tr,1,lc p('r
I \mn11111,1,.u1on.- drJ I on.Jo Ldili£o ,h ( uho
 229.1, 229.2
Pair oficom 11i1h
1hr 1\nnu11ciatio11
Co11-.1.111t1nople. clc,t·nth
l.ttl' durtr('nth n·n1un
c~~ tcmpc-r.1. ~old ,111df'll.lllld 011
,,oocl. ,,ith ,1ht·r l,"lltrt·\ctnll'tll,
hmh p.rnc-1-.
111 x 67.5 rm

l«•n (,.Ulrn Ot.ml ,m '" ·'l .1ml u

ICONS ICON

l
 232
230 231 Icon \\~th the \·irgin
Two-sided icon with Icon with hrist Psychosostria
the Virgin Psychosostria Thc\~aloniki or Ohricl, middle The-<-Sa1oniki
or Ohrid. midcllc
(front) and the orfourtc<·ntl1 century of fourteenth ccntuI")
Annunciation (back) Egg tempera and gold on \\OOd, Egg tempera and gold on ,,ood,
\\ith silver gilt revetment, 157.5 x wit.Itsih er gill rc\Ctmcnl, 158 x
Const,1nl1noplc,
125 cm
c.uly fourllTIHh ccntul) 12.z x 4 cm

Lgg tempera and gold on \\Oocl, Icon Gal1c:I) Ohm.I, 111\ no. 83 kon G.illc:r,. OlmJ., ,m nlJ. 8i
\\ 1th sihcr-gih re, ctmcnt ,, ith
('ll,llllcl, 93 X 68 cm
lum C..llkl), Ohno.J, 1m no 1o

ICONS 265
2 33 .. , 236 t /~
Two-sided icon with the
Icon with the Baptism
Virgin Hodcgctria and
or Christ
the Annunciation
Ohrid, early fourtccnlh ccntu,y
Thc.:;saloniki (?), third quanc1· of
Egg Lcmpcrn and gold on wood,
the fourteenth ct·ntul)
44.5 x 36 cm
Tcmpcr,1 on \\OOcl (c;invas},
1,on {;,iJkr,, Uhnd, 111v no fi
gilding, sih er-gilt re\ cuncnt, 99·5
x73x5cm

234 t
Icon with the Anastasis
Ohricl, early fourtct·nth century
2 37 ➔
Egg tcmpcr.1 and gold on wood,
4,~ ><36.5 cm ARTIST FROM MORAVIA

koo G,,llny, OlmJ, 1111 no 'i Icon with St Demetrios

End of the fourteenth century, or
beginning of the firlccnth century,
2 35 ~ Hilandar (?)
Tempera on board, 34.3 x 26.5 cm
Icon with the Doubting
~l~um or Apphcd Art, l.lclgr;,dc, 11" 110. 1351
of Thomas
Ohrid, early fourteenth ccn1ury
Egg tempera and gold on wood,
•~4x 36 cm
lwn Ga.llcl), Ohnd, m\ no.?

ICONS
 .\X(; I· LOS AKO l"ANTos
II , 1 1.r, -,o
Icon II i I h , 1 Theodore
1·11,l h.1lf'ol tlw flitl'<•ntl1
_. Cc..·ntu1)
I .gg lt'lllj)('l ,t 011 \\00<1, lll.8 I( 70
Ull

, I

tiKLf
A-IOliCLl
2 39 -►
AXGELOS AKOTANTO
fl.(. 1115 50

Icon \\"ith the Virgin

Karcljo1issa and Child
Fir,t h.,lr of fiHC'C"nth
C'.('llllll)'

E~g tempera 011 \\Oocl, 12 1 )( g6.

5
(Ill

llir lldkm(' ill1rm1n of(ultur<", ll17.1num:~nd

Chnsn,m \lu,<"um. \thtn\, IJ'\~[ l~SJ T •Yh

268 ICONS ICONS 269

2,10
ill<'
1<011of :--1.)11\111
·1·11col11p,i,111
( c1ll'•l,1111111011h ,11 I hi, .,lnnlkl,

I I\?\ 1l1•
l,gc, (I 1111'' I ,1 111d \,!!!ld It ,11H!I
\\iltl(I. p,11111 d \\11111 loth .111d
1!1 ,,<l 10/ X liq -1 t 111

t,.I ,I,, [\d ,.1 " \I

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241
\,on of'C:h1i,t
Pa11lok1.11or
( nn,t,t11U11opk 01 I h\ ,,.liornhl

I ! litl Ht1
Li.:~ 1, r11p1,., ,uid ~11lcl 11.d o11
,,1>tl(I pi 1\llld "ilh t \oll1 .ind
~,,,o 107•h())illl

ICONS 271
 I I 1t· p ,11plw1 1·1 '.2•13
" • ;,·.,1,
I ,HI I 'IHI
!lnll \\i1l1 tlJI' l,oirlll'"i..,
"111,d. l.! I "II.• -,)< I )(Ill "'i1"•\11g111
' ,, ' I II
1f1 l

I
(,c ,,111111 Ht1nd. 1.,:11ldt, .ti t:i..:

I< 111p;·l,I ·11 " \'I I 111

I l'"I J\ ,,, i...,

I
\I " \I

272 l(;ONS

ICON 2 73

t,
Byzantium and the West
MICHELE BACCI

Detail of c.1L?bJ~ ONTACTS BET\\'1:.1'.N BY/.A-X-rn·~, AND
C
Lhe mcdic,·al \\'cs! occurred in all
sons of11:1ys and :11se,-cral icl'(:ls.
They arc juq one p:in or a II icier
web of cros"S-cultural
con,·crgc11cc~ in llw
medieval :\lrdi1crrancan. These included the
d)mamics ofinLerac1ion ll'ithin lhl' cultur.1lly
mixed societies of 1hc I .c1·an1.1he expansion
ofar1is1ic knmliedge through the mo1-cmen1
of drawings and iLincram anisls, 1he circubtion
of works of an along sea routes. the role played
by ports and uni,·crsally shared cult-places in the
dissemination of f'ormsa11clin1agc:s,as ,,TII as the
direct or indirect appropriaLion. imitaLion and
refashioning of oLher people's artistic models for
political, religious and economic pu1voses.
A major trend in this process was represented
by the competiLion of Rome and ConstanLinoplc
in Lheir role as Lhe imponam ccmres of ChrisLian
worship. As the apostolic and pauiarchal sec of
L'lLin Cl11istianity, Rome soon started working
out its autonomous web of holy places associated
11~ththe worship or sites, relics and holy icons
which aimed to evoke and refashion the aura
of the most famous locasane/aor Palestine. The
painted taurot.heke of the Vatican l\iluseums,
made in Byzantium in the tenth century and
preserved at least from the twelfth ccntu1y
onwards in the Lateran Sancta Sanctorum,
is a good witness to this phenomenon (cat. 24•4).
In many re pects, papal strategies for the
promotion of Rome as the New Jerusalem were
analogous and even alternative to those enacted
in Constantinople, where the most famous
collection of Christological and Marian relics
were established, especially between the tenth
and twelfth centuries; such a competition was
strengthened after the emergence of the juridical
and theological dissensions which lead to the
schism of 1054 and the Fourth Crusade of
1202-04. In those centuries, the astounding
amount of holy treasures preserved in the
BYZANTIUM AND TIIE WEST
ll11,.1111in<'
capi1.tl ,1,,,11gl) nllt11ih111,·dto
the ,h.tping ,,rits ,llll',I .11111
:tl'l>lN'CIpublic
:tdn1iralion ,·,en i11th<' 111',11·nnnos1lands:
C:,m,1.n11inoph· thl'11 hec:n1w thl' goal fur pilgrinis
i'rolll throughout Europe. and ~onw authors even
,lated I hat it had hc<'11founded lo prevent
Sar.icc11s li·on1 dcsC'crating the 1nost precious
relic< or ,\,ia and /\li-ica. 1 In the wake of the
Cru:,,adcs n1a11yEastern reliquaries were either
bought or luulccl and entered irno the treasures
of \\'cslcrn cathedrals and monasteries: some
of thclll ll'ere contclllpora,y or slightly earlier
works of an, such as the lale founccn1h-ccrnury
staurotheke preserned in 1463 to the Venetian
Scuola della Carita by !he famous humani t
13essarion (1399/1400-72; sec cat.253), whereas
others were already vc,y old objects, such as il1c
early nirnh-centu1y nielloed reliquary of the True
Cross (cat.52) which is deemed to have been
owned by Pope Innocent IV (1253 54). In
Lhcir new settings, such precious containers ,verc
usually left unaltered, though often convenienily
cnframed within Gothic monstrances.'
The desire for Byzantine reliquaries
was enhanced by their male1;a1 preciousness.
Luxu,y goods of bOLhprofane and religious use,
including manuscripts with sumptuous bindings,
Islamic and Byzantine silks, Syrian and Egyptian
glass and metalwork, as well as I tali an, Greek,
Arab and Chinese ceramics, were shared by
international aristocratic milieux, regardless
of their provenance; they were also included
wiil1in church treasures, as shown by the
cxtraordina1y collection of precious objects in
San Marco, Venice (cats 58, 62, 64, Bo, 81, 176).'
Westerners were also eager to appropriate more
monumental church furnishings, such as bra s
doors (cat. 265).
Icons were deemed to be il1c artistic genre
more peculiar to Byzantine u·adition: from the
eleventh centu1y onwards, W'estcrners started
telling the stories of the mo t sacred images of
..
C:hri,t .,nd till' \'i1g-i11"""hipp('(I in
(:on-.tcuiti11upk. ,111d IHTilllH' an.'U"ilo111c·d to
,ing iron,,,..,, i'-.11;dt ot111t1"rpart~ to i11diviclwil
11
dn·otioi1. 'l'IH:i, \1igli rl'pt11.11irn1 w,1, i,;tim11l;1lecl
1101only by thl'ir idrnl ,1,11us;1s more or less
di, l'Cl copies nf' li11nous archetypes '110!painted
by hu1na11hand,' or made from life· by such
,aints a, the Evangelist Luke, h111also by
the co111po,itional and iconographic features
ll'hich made 1hem eOicacious portraits enabling
ron 11mmicatio11 between the devotees and their
holy benefactors. One of the most recognisable
characteristics of 1hi, kind of image was a half-
figure presentation, as stated in the early twelfth
century by the French theologian 1-1 ugh or
St Victor.' One accurate in,itation of this model
is the early 1hirtccn1h-ccntu1y Madonna signed
by a certain ' ... ncllus', now in the Museo
NazionaJe di San i\ lattco, Pisa (cat. 252).
The wave of Byzanlinising painting in
1hirtcenth-ccn1L11yItaly (the so-called maniera
greca)was largely promoted by the involvement of
icons in the religious practice of both individuals
and groups, including the new mendicant orders.
Eastern panels arc thought to have been widely
introduced into Italy in il1is pc1;od, although vc1y
few original icons ( uch as the Pisan J\lfado1111a
di so/togli organi;fig.41) are still extant. Italian
LOwnswhich had direct connections ""th the
Eastern Mediterranean, such as Pisa, Venice
and Genoa, probably played a major role in il1e
dissemination of this new type of religious image,
which was rapidly adapted for new settings and
functions: the small dossaJ made for a location
on the altar table of the Pisan church of an
Silvestro (cal. 2,18) and including a Dcisi at
its centre was an abridged version of iJ1c
iconographic programme associated with
the horizontal icon decoraLing the cpistyles
of Byzantine sanctua1y screens.•
New devotional trends, nourished by il1c
mendicant orders in the Late ]V1iddleAges, laid
emphasis on the Passion a, the precondition
of h11man salvation and favoured the making
of image, enco11raging their beholders to feel
rcmon-,<·for their "-ins.Giunta Pisano, a painter
known 10 have worked for both 1hc Franciscan
and Dominican orders, revi1alisecl the Byzamine
scheme or Christ cle;tclon the Cross hy visually
strei.;singitci painful aspects.J\ special i1nagc, 1httt
of the Akra /(I/Jei11om, 11hich showed the Saviour's
dead body unnaturally lifted upwards and often
associated with a sorrowful representation of the
Virgin, was frcquenLly repeated in the \\'est and
Lransfonned into one of the most popular themes
telling of indi~dual and Eucharistic devotion,
that later known as the Imagopielotis, l'ir dolomm
or i\lan of Sorrows (cats 2+6, 2+7.1 2).6
13esidcsiconographic schemes and functional
models, Western artists also happened to imitate
some technical and styli tic dc~ces of their
Byzantine colleagues. This proves to be especially
trnc for painting, which was prized as the most
distinctive 'Greek' art: for example, according to
the twelfth-century Trealiseon everalArts by il1e
German monk Theophilus, the Byzantines
ex elled in the use and combination of colours. 7
The impact of painting in its different media
(book illuminations, mural . icons and mosaics)
Fig. 41
1\/ado,wa d, sollogli
orgam(icon of Lhc
Virgin Dc..'<iokratousa)
c.1200. Tempera and
gold leaf on wood,
93 x55cm
C,uhnfr.a.lo(Somta Mima
\aumn, l'u.i
BYZ.AN'TIUM ANO THE WEST 277
 011the arts or the mcclic,·al\\'c,t ,,,1, much
greater than that or architecture, ,rnlpt111-c
or rnctahrnrk . .'tyli-,tir anal) ,i, shm" that.
c pccially in the t\\clfih and thirteenth
centuries, Latin painters made me or t'.trlicr
and contemporary Byz,1111inc for111,1l
cln·ircs i11
their quest for a 111orenaturalistic rrnckring or
the human bod): i111plicitl),thi~ practice show~
that they looked at Byza11tiu111 a~ the heir to
a long anistic tradition rooted in Ro111anand
Early Christian .\ntiquit~ ."
But ho" did the~ beco111cacquainted "ith
Byzantine art? Be~ide, the ~tudr or works of art
prcser\'cd in the \\'est, they could make u e
of collections ordr,l\\ in~, such as the rather
puzzling :\lagda.lcn College ;\lustcrbuch of the
late twelfth to earl) thirteenth ccnwry (cat. 264),
ore tabli h direct contact with Greek painters,
some of whom arc known to have "·orkcd for
Latin patron either in the \ \'e L(a Hclia
pilcotc , a book illuminator working in Colormc
in 1021,did19 or in their homeland ( cc the
bilingual Go pcl-book of c.1300, cat.261, made
in Con tantinople for a We tern reader). The
invol\'ement of Byzantine ma ters was especially
Vii;. 12
DrrtasrdIIomn11 prized by tho e powers which, like Venice and
Ill1hrPr,m,r, eflht Korman icily, had traditional connection ,,~th
Ei1tJ1ro11,dI11gw011d
C/11/d(fr,.u;mrnt,, Con tantinople and aimed LOappropriate the
c.1453.\\',,II p,1inling, appararu and symbolic role of the Ea tern
131 x 170 un
empire, best conveyed by the splendour of
Chnr.1~lon.:utf'I)
"'-in)r Camu l,Limbul mo aic decoration.' 0
juxtapo ed or integrated or even mingled
indigenous populations. Glazed pollery from
late medieval Cyprus (cats 257, 258) uggeslS
the blending of forms of different origins t.hal
i so typical of multicultural societies.
BYZANTIUM AND TIIE WEST
It i, 1101,u ('.I\) ll> f111dn,1111pl1·,orw.
•
( '1[(•111
i11flt11'1H
c rn1 lh 1,1111i11c,11t. :\rnH·tlwle,\
i1Hcn·,1in!.!,r;1,c, of li.·11
ilc i11t1·1
,11 t ion Mc the
.1doptio11orp,1i111cdi11iti.d,in ,ornc Creek
llldl\ll',Cl'iph or the ninth lTn[UI'), and the
IN' orcloi,01111i·('11;\lll('b,probably borrowed
pranice. 11 I11 the Pahiolo
li·om C:;1l'oli11gia11
· ' gan
period, the art or the lllelropolitan centres
occa~ionally 111aclcuse of Gotl1ic ornamental
katurcs in monumental paiming and sculpture
and appropriated translucicl enamels for the '
decoration of liturgical vessels;12 an Italianate
mural made . hortly before 1433 in the nanhex of
the :hora t\ Iona tcry Church in Constaminoplc
i an isolated le timony Lothe fascination with
Early Renaissance tylc (fig.42).13
In earlier times, there had been much more
interaction in the \ Vestcrn borderlands of the
OrtJ10dox world, such a in South Italy (whose
lcrritoric were largely included in tJ1eByzantine
Empire before the Norman conquest in the
eleventh ccnlury) 1'1 and the Balkan (especially
tJ1e erbian kingdom), 15 where cli!Terent tyles
were mixed together, such as Byzantine-type
paintings "~tJ1Romanesque and Gothic
architectural pallerns. In the wake of the
ru adc , and e pecially after 1204, ,~~tJ1
the e tabli hmcnt of everal Latin-ruled
territo1ies along the ea routes of the Eastern
Mediterranean, cross-cultural connections
16
were inten ificd. In the mixed societies of Acre,
Lebanon, 17 Cyprus, 18 RJ1odes,19 ALl1cn,2°
Euboea,2 1 Crete 22 and Con tantinople itself
(which was ruled by Latin emperor from
1204 to 1261),23 \ esterner imported their own
habit and traditions, which were either imply
and synthe ised with L11earl and style of the
procl11ri11g
icon-like panel~. mo\t of l hem elating Fig. 13
from the mid- to the scroncl half of 1he thirteenth
The metropolitan
church of St George
<<·ntury:thou~h prc~crvcd for the mmt part in of the Greek.,,
F,tn1a~5.tn, ~ccond
... the-.\lona<,1cryof St Catherine on ;\ lount Sinai, half of the fourteenth
th<'re i, no general t1greemcnl as to their original
~~f ~ If'
C'Clltlll")'
I plat c of proclurtion, whether in Arre or on Sinai
it\elf, even if it is plausible that many of them
w('rc brought by pilgrims as cx-voLOs10 the holy
site. Be thi\ as it may, the irom often display
formal characteristics which point to the
interaction \~ith the artistic traditions of the
\\'hereas arti,tic ~ynthcsis, re ulting from different religious groups senled in the "icier area
Fig. H
a long process of formal selection, was more of the Eastern ~Jccliterranean. Eventuall) icon St Crow 0111/orubad,
nawral for luxu1)' goods and everyday objects, painting, represented by the mid-thirteenth from Cn"adcr
P.,lr,1inc, mid-
other con~idcrat.ions often prevailed in the field century icon \\ith St George on horseback 1hi1 ll't'nlhC'Cllllll).
l•:gg tempera and gold
of religiou art. \\'ith some exception (among (fig.44, consisted of an original mixture of
leaf on pine p,rncl,
them the fourteenth-century Italian murals Byzantine, French, Italian, ;\rmenian, Arab 26.8 x 18.8 cm
in Rhode and Famagu ta),21 the Greeks Chri Lianand Islamic elements. 10 Dncu;h,\lum1m, lnndon
under Frankish rule tended lo remain loyal
to Byzantine traclition in the rcprc entation of
saints and sacred event , as shown here by L11e
detached frc co (cal. 255) with l Catherine in
imperial garb from a chapel on !\fount Penteli,
dating back to 1233 34, when Attica was under
Lat.inrule; thi loyalty did not prevent them from
adopting \Ve tern ornaments or architectural
de~ces if the e proved u cful to enhance a
church' sumptuou ne , as i made clear by
the founccnth-centu1y Gothic church of l
George of the Greeks in Famagu ta (fig.43).25
Latin ettler , tJ1ough making frequent
use of\Ve tern model , e pecially in architecture,
sculpture and book illumination; 6 also hared
an interest in Byzantine pictorial tradition and
often palroni ed Greek painte1 LOdecorate
their churchc , uch as at bu Ghosh and
Bethlehem in twelfth-centu1y Palestine 27 or
in the fourteenth-century murals of the A.rap
Camii in Pera 28 and Our Lady of Carmel
in Famagu ta. 29 Al the ame time, they soon
appropriated the Eastern Christian devotional
u e of icons and started sponsoring and
BYZAN'Tl M ANO T\11!. \VF. T
2 79
1~.-l1q11,11\
,I ti,,
I I Ill ( Ill'

( II ifllll I
1,11 111111\
C ,11 I Ii di . th•
,.,11rl
1111'' 1,1 .111( 'I, OIi

,, W I! I" I' Ill

\I,

2+5
Rcliqtt,tn 011hr I 111,·

(.10, ...
l ,1.u 11, nl, , 1 ,, 11th 1, 111111,

'1,11.11 pl,,, Rl11111 \I, I ( 11h

1111,,nlhtitlllll\ lllllllll 11\11,,

ml lid .,n, ,\ 111e 111th11 111111\

, ,1 1 111 ~1,, , 1h,, ~1h 1h 1 1

"Pl'' I I l1,1111pl,\I I 11.11111

I l ti

1,n, •"' dent, ,,h,1 lnn,,11

,.,,11bh 11,11,1 t11t.tlh1ql11 I' 111
lht.lll!IIH pl,111 Ii If Ill I 11\

I',
I\ II\

H\/.\'-IIL'\I \XO 1111 \\"l-..1

 I 110-,ickd iron 11iil11he
\'ir~in I loclcgcLri~t.tnd
ilw :\ l.111or Son 1111,
"-..1,11111.1\.1,1 q11.1rtn ol t\\dhh
,,mun
1.i.:;i.:tnnp1·1.1 nn \\urn\
11->x---)x ,- 1 ,111

lh •• \I, ..-1 1 ", "lJ

B'l/\'\IIL\I \'\O JIil \\'I\\

OY/ANTIU'-1 AND I Ill:. WLSr

l"\IDRL\S .\R"I 1, r
D1/1{rch ,..;,1,
the I 11gi11
and
(.hild and the.\ Ian efSonowi
1 1r 1o ho
I.~~ t< mp1 r,1 .ind t:"tlldon p.tnd.
kit ,nng p 2 x 12.Rcm; n~ht \\111~
P-1 x nH,m

UVZANTIUM ;\ND 'I !IE. WEST

llYZ/\ ~1 IU\I A. D THE Wl!.S r
 FR...:\."\'CESCO 0.\ PI A ?
11.1 i9R 1101

Dcisis with L Ca1huinc

of Alexandria and
ykcs1cr
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llVZANTIUi\l AND Tl-IE WEST 289

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298 BYZANTIUM ANO TIIE WEST

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Beyond Byzantium
ANTONY EASTMOND
 •
mosaics showing g-rea1 mili1a1)' victories -

I
N TIIE ~IIDDLE OF TIIE TENTH CENTURY,
call be ..,Cl'tl ell it, "ilro11gc:-.1. lkt\\t't'IJ 9.)0 a11d "'''"· Th" Rthsian primary chronicle records
the B),zantinc emperor Constantine VI I ac1cd as arcl1el)'pcs for 1hc display of power
10y 1 till' horckt'I of tlH· e111pirl' grew in all tl1a1 rlie deri,;,ivc factor in the drci,ion to co11,•crt
Porphyrogennctos compiled a handbook. for other rulers 10 i111i1a1e.Byzantine religious din.:rtio11,: to the ea,t, af'Ler LIH.'army of.John emba~\Y ~cnl to C:on~tantinoplc
\Vrl\ ar1: an
the DeAd111i11istra11do
lmperio(011thr art paintc I and mosaic churches, icons, T1.i111i,kc,(969 ?(>)h,,d recaptured pam of wa, deeply impressed by 1hr enormil) and
eftheEmpire),LOguide his son
Admi11slratio11 nrnnuseripls and me1alwork similarly provided .\le~opola111i,1. Basil II forced Georgia Lo ccclc ,plcndour nf St Sophia, which demonsira1rcl the
and heir, Romanos 11Diogenes, through the ways 10 visualise the comp! x theological and its south-western province, of'Tao-Kla,jcLi LO ovcrwliclming and all-encornpa\)ing power of'
complexities or diplomac · "ith the many small spiritual ideas of Chris1ianity. Looking from the empire in campaigns in 1001 and 1021, and Ch1ist, as well as 1ha1 of 1he By1.aminc emperor,
1
states that surrounded the empire. Through a Conslantinople to the world beyond Byzantium in bc1ween he fought on 1he western frontier of God's vice-regent on earih. 3 Over the following
succession or haptcrs which variously outline the emphasises 1hc shared characteristics of tl1e his empire Lo reconquer Bulgaria, which had ccnLury emperors ;cm gifL~of artisLs and
hist01y, people and rule or ca h or tl1csc slates, an produced by Christians in the Eastern nourished in 1hc ninth and tenth ccmuries as ma1erials LOKiev 10 help desi(\'n and clecoraLc
their wcaknc'scs and their potential threat to i\Icditcrrancan, based on a common Byzantine an independcnl empire. \ Vi1hin a generation the city's new churches. Kiev had been laid
Byzantium, Constantine presented the empire Lo iconography for the life of Christ. But it does so of Basil's death, the Armenian kingdoms of out in imita1ion of Constantinople "ith its
his son as the superpower or the i\ lediterranean al the expense of looking only through Byzamine Vaspurakan, Kars and Ani had been annexed own Golden Gate, and emperor; provided the
and beyond; an empire at the hub of a network eye . The view from within those ncighboming 10 1hc empire, its kini:,-skilled or pensioned off Lo mosaicists Lo decorate L11ecity's O\rn ,·crsion of
or client states, all of which could be controlled cultures was often very diffcrenl: for them esiates in Cappadocia. AL that point Byzamium S1 Sophia in the 1030s. The mosaics in the
from onstantinople by playing each state off Byzantium was just one cultural model, albeit covered its greatest territorial cxLcnLsince the Church of the Archangel .\[ichacl (c.1 !OB 13
against tl1e otl1ers, by exacerbating tl1eir internal an important one politically, ecclesiastically reign of Justinian. show the tradition continuing into Ll1eL\\'elfih
weaknesses and by supporting their external and historically. They could also look The evidence from the Balkans in thi century (cat. 268). As a region which had nc\'cr
foes. While tl1e candidly manipulative picture or elsewhere to tl1e otl1er major powers of the period supports tl1is picture of Byzamine come within the Roman Empire, it showed the Fi~ 15
Ponr.:utor Gat;1k-Ab:t..,
cheming and omctimes convoluted politics in Eastern Mediterranean, notably the Islamic dominance, both military and cultural. The case witl1 which ByzanLinc artistic traditions of Kars. \\Ith Im ,\ire:
the text ecm LO define the modern tereot)1)c of dynasties of rran, the Levant and 1orLl1 Africa, Bulgars had been convened to Christianity in could be accepted. .incl d.uu~htc-r.r.1050.
~l.1nu:-.cript.
the word 'Byzantine', tl1e DeAdmi11islra11do
Imperio which offered rival means Lo display power and the 870s thanks Lo the work of 1he missiona,ies Among the Christians of the Caucasus. Egypt Stj.uncs
Jc11.1:-..d(.'rn,
also pro,~des a characteri ation of the empire wealth, and gave acces to different cultural Constantine QJcllcrknown by his religious name and the Near East, Byzantium could not play so '2556, fol.135b1s

tl1at Constantine himself would have been happy
Lo support: that of the centrality and dominance
of Byzantium in all that happened in the
oikumene,the word the Byzantines gave to the
known, civilised world tl,at surrounded them.
Byzantine art has often been seen al the
heart of a similar cultural hub, dominating the
art produced by its eastern Christian neighbours,
from the Balkans in the we l to tJ1e Caucasus
in the ca.st, from Russia in the north LO Egypt,
and even Nubia and Etluopia, in the soutl1.
There is much e,~dence LO support tlus view
of the centrality of By-~antine an in the Ea tern
Mediterranean. Developments witJ1in the empire
influenced tl1e style, the iconography and even
the functions of tl1e arl ubsequently produced
in all tl1ese regions. The magnificent splendour
of impe,ial art - silk robes flecked "~t11 gold,
palaces with silver mechartical automata and
and visual traditions tl,an the Greco-Roman
inheritance of Byzantium. These stales also had
their own indigenous traditions, and many had
Christian histories as long and illusuious as those
of Byzantium itself, which continued LO influence
the a.rt that they produced. The view from
outside Byzantium presents a different picture
of tl1e empire from that produced by looking
out from within. It is possible to discern a va,icty
of responses to By-,:antine cul LUre: imitation,
emulation, adaptation on the one hand, but also
transformation and even reje Lion on the other.
The changing value and talus of Byz, ntine arl
abroad is, of course, linked Lo tl1e empire's
political and military su·ength, but not always in
as direct or obvious a way a might be assumed.
Con tantine Vll compiled his handbook
a time of expansion in the empire, and in its
aftermath the influence of Byzantine art abroad
of Cyril) and Methodios, who had devised a new
alphabet, Glagolitic (a precursor of Cyrillic), for
their Sla,ric translation of the liturgy. This was
not only pan of the general evangelising mission
of Christianity, but also a ploy of foreign policy,
Lo draw Bulgaria imo the Byzantine sphere of
influence, and away from that of Rome or
Gcnnany. As well as foUowing Byzantine
liturgy, the Bulgars also adopted Byzantine art
to accompany it. Little survives from this early
pe,iod, bul L11eexcavations of tl1e round church
in the new Bulgarian capital of Great Preslav, for
example, sugge L that it had been modelled on
the Church of the Prophet Elijah, one of the
imperial chapels built within the Creal Palace
in Constantinople by Ba ii I (867-86).'
The people ofK.ievan Rus' too were
at
converted Lo Ch,istianity at this time, and there
as well the role of art as a diplomatic tool can be

0EYOND UYZANTIUM BEYOND 0Y2ANT1UM

 decisive a role. /\II these regions had indigenous
Chri tian traditions going back to the fourth
century and earlier; indeed, Armenians claimed
10 have a Clnistian state that predated the
conversion of Constantine the G real.' These
1a1eswere also much closer 10 the Iranian world,
whi h had its own visual tradiLions, particularly
for Lhc display of power, 1ha1could be tra ed
back 10 the fifth century BC. The aucasus, in
panicular, lay on the fault line between Lhc
Greco-Roman and Iranian worlds, and Lhc
people there looked cast as often as west for their
visual language. \\11en the Anncnian monarchy
was revived in 88+, iLSfirst king, Ashot I
Bagratuni (884. 90), turned 10 the Abbasid
i\ luslim Caliphate for his crom1 and investiture
robes before seeking the same recognition from
Constantinople.' A fragmentary manuscript
of the last ruler of the Armenian city of Kars,
Gasik-Abas (1029-6-1-), shows him seated cross-
legged on a carpeted dais with his wife and
daughter, all wearing elaborate ilk robes woven
Fig. 46
Pre.altar cross in will, lions and elephanLS (fig.45). ILi an image
the church orSS.
that owes eve1ything to L11ei\luslim world,6 and
Kvirikc and hfoa at
Lagurka1 Sv,,ncti, was perhaps a deliberate riposte LOByzamium,
Georgia, 1IJ I and l.ucr
which was on the verge of annexing his kingdom.
AL L11esame time, L11epauiarch-caLholicos
of neighbouring Georgia, :\Ielkisedek (1010-29),
travelled twice to Constantinople to seek gifts
from Ba il II and Constantine VITI (1025-28),
receiving 'silver, church omarnents, icons,
crosses, and vesL111enLSfor prelates and priesLS'.7
His access to Ll1ecapital built on a fonnidable
new network of links between Georgia and
Byzantium which had been spurred by L11e
Byzantine takeover of Georgia's south-western
prmrinces and by the creation of a Georgian
monasteiy, lviron, on Mount ALl1os(founded in
980). 8 This became a centre for translations from
Greek imo Georgian of major Greek L11eological
and liturgical 1exLS,which led the Georgian
Church to adopt Byzantine liturgical practices,
310 Of.YONO DYZANTIUM
rather than the olckrjcrusakm rites, on
,narkcd 111ostclcMly by the gradual loss of of 11,cir attempt 10 capture C:omtantinoplc,
which i1 had relied in the past. However, this
thr ,\11,uolia11platl'au to arrivi11g Scljuq a11d llulgaria\ rulers continued 10 proclaim
13yzantinising tendency was tempered by a
Turcornan tribe"',and tlirn, in 12ol1,by 1lie th(·m,tlw, ;,s 11nivC'rsalemperors in their
continued interest in particular local artistic
Fall ofC:om1,111tinoplc itsclf"to the forces of"thc an /ca1.2B7J.
forms, notably Georgians' delight in rcpousse
Fourth Crusade. This attempt li·om ll'l'Stern Alongside Bulgaria, 'crbia also rose to
metalwork, whether on icons or pre-altar crosses, prominence in the thirteenth cc111uiy. The
Europe to recapture Jerusalem had been diverted
which have no counterpart in Byzantine an or
away fro111its original goal by the \lenetiam in founder of its ruling dynasty, Stefan
liturgy (fig.,r6). control of the nect on which they sailed, and led Ncmanja, had been paraded in chains through
This difference in attitude towards Constantinople after a defeat by Emperor
to 57 yea.rs of Greek exile from their capital. It
B zantium between the countries of L11c allowed rulers, who in previous centuries would .'vla11ucl[ Komncnos in 1172, but was able to
Caucasus parLly reflects their geographical have accepted inferior court titles which placed return 10 Serbia to establish it a.s a viable and
locations, partly the religious divide between 1hc111
within the Byzantine world hierarchy, now powerful state. 11
He was even able to retire as a
them. Georgia was in communion wiL11the 10 adopt the full panoply of imperial titles and monk 10 the monastciy of Hilandar, which he
13yzantine Church, but Armenia was 1101.It, regalia for themselves. had founded on 1'dou111,\1hos, Laking the name
like L11e y1iac and Coptic churches in Syria 1\ second empire rising in Bulgaria under Simeon. His son, Stefan the first Cro"ned, had
and Egypt, had never approved the canons Peter and Ivan Asen in the 1180s soon set its himself acknowledged as king, and translated his
of the fourth ecumenical council of 451, and sights upon Constantinople itself, and the father's body back lo crbian soil to be buried as
so belonged to a distinct religious world. This brothers rallied support by using B)0,aminc an a saint in the monastery of S1udenica. This then
meant that these churches had Jes imerest against the empire. They proclaimed that a became the centre of a dynastic cult, to "hich all
in looking to Constantinople for liturgical or miraculous icon of St Demetrios found at their later Serbian rulers could turn for legitimacy.
theological innovations. Despite L11is,many new capital, Vcliko Trno,·o, demonstrated L11e The cycles that "ere de,·eloped to sho11 Ll1c Fi~. Ii
Annenians worked within the empire, often By.rn11tincsaint's change or allegiance to life and death of St Stefan-Simeon adopted a n,t Death of.111110
/Jandolo,c.1260. \\/all
attaining high ranks al court, and in 989 it Bulgaria from his main cult site, Thcssaloniki, By,antinc style. but their interest in the u,c of N.mhcx
p:un1ini:,;-.
a hol) body as a focus for a 11e11state ideology
was an Armenian builder, Trdat, best known Byzantium's second city.'° Even after the failure ol SopoC,mi, Scrbi:1
for building the cathedral in the Armenian
capital of Ani, who rebuilt the earthquake-
damaged dome of St Sophia, after 'many skilful
workers among the Greeks Q1ad] tried repeatedly
to reconstruct it'. 9
The example of Armenia, in which the
general iconographi influence of Byzantine
art is balanced by Iranian and local stylistic
developments, reveals clearly the ambivalent
light in which 13yzantium was regarded by iLS
neighbours. In the cemuries that followed,
Byzantium's 0L11erneighbour were also to adopt
a more nuanced acceptance of the Byzantine
core that linked L11emall, as their local religious
traditions and regional political statuses grew
stronger. This was accentuated by L11egradual
decline of Byzantine mili1a1y and diplomatic
power in Ll1elater elevemh and twelfth enluries,
BE.YONO BYZANTIUM 31 l
 ...
1his 1irnc, ,uch ;is Ti11101csubani, probably built
by 1hc lcadn of"the Ccorgian ;irmy that helped
cs1ablish Trcbizoncl a, a separate Greek empire
alter I'l0-1, ro1H,1inn1a11yByzantine clcmc11Ls,
bn1 i1s l'ision or 1hc m-crall order of the cosmos,
as rcprcscllled by the hierarchy or saints and
prophets in i1s pain1ings, places 1he ascension
of 1he Cross al its summit, rather than Chris1."
This was a rcntntl tl1en1c in Georgia since Lhc
com·ersion of the country in the founh centu1y,
ll'hich had been marked by the erect.ion of three
n101H1111cntalcrosses.
Nevertheless, the groll'ing power ofi\luslim
Fi~ jO
Slates in the region is increasingly reflected in an. I he , \nnunciation
The Innsbruck dish, made for the /\nuqid ruler ,rnd ,t polo m.1tch.
on .i b:1,;inmade for
Rukn ad-Daula abu Sulayman Da'ud in the early Sult,111,1\-~l.ilik ,11-
L\\'clflh cenLury (fig.48), and sometimes linked LO ~alih :--.:ajm
:11-Din
.\nuh,r.1217 19·
Georgia, reveals the complex web of Byzantine, Bra~..,
111l.11d
"i1h
eastern Anatolian and [slan,ic n1otifs thaLwere 50 cm
<,11\ c-r. cli,tmt·tn

lrrnr..ill.-n ol \n
combined lO appeal lO this ruler in south-eastern \\L,luni.,'1011 IX' \',IO

Turkey." J\ similar intermixing of motifs is

l'ig. 48
Dish wilh tJ1e
Ascension of
AJcxandcr the Great,
made for I.heArluqicl
ruler Rukn ad-Daula
abu ulayman Oa'ud,
1114-44~ Copper gill
with enamel, diamclcr
26.5cm
Timk:rLan<lcsmWC\lm
F'erduwula,m, lnrabruck.
••=
Fig. <f9
Headpiece from I.he
Reading for the Feast
of the Annunciation
shO\vingChrist
Emmanuel, from the
Lcctiona.ryof Hctum
II, 1286.
M11.1c:nadar;an,
f'llio19y
Annc:ni1.,MS 979,
eviclcnl in Armenian an fron, Lhjspoint as
owes much more to \Vestem, especially
Venetian, art. 12 The painLings al SopoCani
(c.1260) demonstrate the presumption of the new
dynasty. In one image, which is directly modelled
on images of l11eKoi.mesis (the falling asleep of
l11eVirgin), Anna Dandolo, the Venetian wife of
Stefan the First Crowned, takes l11eplace of l11e
Mol11er of God, and her son, King Stefan Uros
(the patron of l11emonastery) that of Christ
(fig.47).
The fracturing of Byzantine hegemony
in l11eBalkans was repeated in l11eeast, where
Byzantine power was gradually replaced by that
of the Seijuq Turks. At the end of l11etwelfl11
century, Georgia enjoyed a brief period when
it ex-ploited the decline of Byzantine power and
a short hjarus among l11eSeljuqs lo expand it
territory, taking over much of Armenia. The
erie of great churches that were constructed at
well. Arn1cnian craflsmcn were in\'olvccl in the
building of many Scljuq buildings, inclucling
mosques and medrescs, and their work is e\'idc111
in both their cons1ruc1.ion techniques and the
decorative motifs that 1hey employ. At the same
time Armenian religious architecture began to
ac\op1 much of the decorative vocabulary of
Scljuq buildings, notably their emphasis on
portals wil.11gcome1ric imerlace designs. 15 This
evidence of cultural exchange contradicts the
piclurc of religious war and intolerance that n1ost
chronicles portray; but it can be supported by
our knowledge of the extensive trade links across
Ana1olia. The movement of goods along the Silk
Road did much more to unite the peoples cast
of Byzantium than wars did 10 divide them.
In iii ia, al the n rth-caslcrn corner of Lhc
-3:f'--/7,,J/.lf:,,,1,.J,: ' ' Mediterranean, a new Armenian kingdom
-,er-,,.
s"""1-.1,•:::r1...:,,.
...,,.:1,._,..,..c.1T-:,1r'tJ!:""t•-r'!J./!J. grew in the l11inccnth ccntu1y which came to
-·-',..::1,
L.'a.(J,,..,-~.:_,; . syncrctise an even broader range of cullurcs inlo
'
1
M''IIIB1tl"l-1.!.I' ils art. Armenian Cilician arl is now be t known
for its mctnuscripts, many of which nan1c their
artists, such as T'oros Roslin n.1256 681. These
works show ho\\' they synthesised not only
Byzanlinc and Islamic clcn1c11Lsinto their an.
but also \ Vestern ideas introduced through l11e
neighbouring Crusader slates. uch a the
Franciscan i\ ladonna of i\ use1icordia on the
Fcron-Stoclet leaf from the i\larshal Oshin
Gospels of 1274 (cats 297. 298), and eYen
Chinese eleme111s,such as l11edragons and
lions in a lecl.iona,y manuscript of 1286 (fig.,f9).
These motifs had travelled west \\ith the
Mongols, and were cncounLcred by the
f\rn,cnians who, with the Franciscans,
tried unsuccessfully to convert l11ei\longols
to Christianity. 16
For the Syriacs and Copts, who lived
pemrnnently under i\luslim rule. it is perhap
nol so suqJ1;sing lo find strong Islamic influences
in the figure style of the an l11at L11e)'produced.
However, a less expected result is the inclusion

BEYOND BYZA rlUM 313

312 01..YOND DYZANTIUM

 or Christian image,y in art made !'or lo al 11ork('{I in :-.lmgo1od ,111d,\lmu 111 t I
. . ,I I l(• l'lld
i\luslim rulers, such as the scenes from the ol the lourtl'l'lllh n·11111r1 lio. -it) 11111
, ,-, ' ' l )l'l\\1)1 ~
life or Chri t that appear on a basin (fig.50) the IIH'lltor ol'.\11d1ei l{11hln, 1he 111 • c
-, . . . . (hi 1,t111ou~
commissioned by the Ayyubid Sultan al-:--lalik l,rn,1:111 ,co11 p,1111tn ol the lilic('Jllh ('l'
lllt11y11
al-Salih ;\lajm al-Din Ayyub (1239 49). \\'hik hi, 11ork rn11ti11ued the lh1.a,ni 11e ·
The re\'ived empire in Constantinople :Jlicr tr,1ditio11, it c.111equ,ill) h(' ,('1·n '" the
1261 ne,·cr had die same political or military 01·,l cli"ti11c1
bl'gi1111ing~ 11e,, Rt1'i\ia11icliu111
.
power as it> predecessors, and ii, emperors could Ho11e,Tr, the li11wtions l<>rII hicl, thi, .trl
no longer use the Church as an instrument or was used 11-crc c111irel) born of' Byzanti 11e
foreign poli yin the same 11ay th,ll the) had origin,: the late fifteenth-century c111broidcr)
before. This, paradoxically, allo11cd churches sho11 ing a proces,ional icon i11clucle, idrntioable
outside the empire to rene11 their interest in ,\ I usco\'itcs, but the ce11tral figure holdin~
Byzantine :1r1,which no longer had the the icon is re-enacting a11 clc1-e11th-cc11tury
diplomatic, almost colonial connotation, of ,onsta11tinopolit,m pracLicc (cat. 2661. 1
"

pre\'ious cennuies. In the fourteenth century. In the fi11aldecades before the Fall of
a time when an) Byzantine aspirations for Constantinople in 1,153. the empire was
international po11er 11crc linlc more than politically just a fai111shadow f' what it had
fantasies, Byzanrinc art itself was resurgent. been 400 years earlier, yet it, artistic presence
The doors fi·om the al-:--tu·allaqa church in be)'Olld Byza11tium remai11cd for111idablc.
Cairo (cat.307) show a rene11-cd interest in It was no longer in a position to export its art
ByzanLinciconography, con1bining them \\ith wholesale as it had in the tc11th century, and
i\ lamluk element . The angular style that there 11·asless homogeneity hctll'ec11 the art of
predominated under the Palaiologan emperors all the neighbouring states, which now had
was widely disseminated and imitated, especially well-established indigenous artistic traditions.
in d1e Balkans and Georgia. Once more Nevenheless, their deep debt to B)'L<tlllinc art
Byzamine artist were in demand abroad. For remains evident.
instance, Theophanes tl1e Greek (Feofan Grek)

t'ig. 51
Fcofon Grck, St
.I /aAanos,1378. \\'all
panning. Church of
the Tr.msfigurmion,
Novgorod

Embroidered icon with the

miracle of the Hoclcgetria
Moscow(?), , 19H'?)
Taffeta and d.1m,1sk,c-mbroidc1rd
\\ith gold :-ind<,1hcr tl11c:1ch,
95.1 x 98 cm
51,nr I h,1orn.iJ~lll'IC'urn.l!.lo•.{f>'•
l!>I"•~~hd1/ R U ·'.;

314 BEYOND HYZANTIU~I

'l. (>7 ◄
\ ,11il>1n1<h t('d 1111,l!.!,1

t d ~I ( .t·t)l!_!,('

\I d.n 1.1 1· 11111

(, ..Id 1h11 ,11ul tlk d,H.,d

11d,1H, 11.111-1t11,d1 11d,,h,1 11

\ lo,,1i, p.111clol
:-i1 :-i1cpl1<·11
, 110/1 I)
\ l1,,,111 ._:old i:,I.,,, .u1d
-.1ro111 11 ,,, 1.11 on pl,1,1, 1

.!)'.\" I )I,. 11 1111

' '
II
I

269
fresco copy from the
King's Church, Srudenica
mona tery, "~LI,
patrons
and saints
1314(copied by Svetislav ~landiC,
20January 196.i)
Tempera on canvas, 218 x 180 cm
Nauom1.I~l~um, l\clgnck, 1m no. 704

270
fresco copy from
Sopo 'ani monastery with
King tefan Uros I and
Prince Dragutin, the
Virgin and Child
Third quarter of lhc thirteenth
century (copied by Caslav Colit,
20 December 1987)
Tempera on canvas, 138 )( 350 cm

318 BEYOND BYZANTIUM

BEYOND BYZA.NTIUM 319
 2/ I. I ..J..
l'.namd pl.,quc, "tth
Stjohn Lill' B,qni,L and
1hc .\nh.,n~el, :\lirh.1cl
ancl C.1h1icl
C11n,1.uu111nplr
' ,n mul h.1\1
ol 1h1· d< H 111h11 111111,
( 'loi--omlt' n\,11111'1
,rnd l:_11ld
)I)• )")llll. ·)R" .l {Ill\,

) H• j \ I Ill. ·1 '" ) l t 111

320 DCYO:'lriD DYZA"'lTJU\I

 -2n
B1,H clt-t
..,_1 111.1111 1 Ii II• 11 1111
j,.n
..._,I\,
11111

,dt,,
I I 1111\

hi \\tn11...,l1I !iii
276
1,111111.11 111 111 111 I (Ill (,Lw·1·n I lwodor,t \, nil!!,
d,.11111 lo I h ,, 1111 -..,, It.I l>1j,111 I)}.'

( ,nld. 111,Un h1 u~hl ..?q I tll:

" \\Uhh ..! { I Ill

\J I , I

2 71
ll1a1,·k1
...,td11.1. 111,1Ii.ill
ln11111n1th 11111111,
ol du 2 77
Rin~
"id, t I i._'11l.( .,,1 \\ 1011d11, 11111~1
t l"
'lrrb1.1. hr,.1 h.1II nl tlw
i.:1.11111l.1111111. lu 1~ht ..! I I Ill.
fnu!ln 111h u·n11u-,
di.urn 1n hHtm
"i1h1 r 1.ht, t\\1 11 d. u;r.1n11l.11111n.
\I "" II,
' I
hlu,,, 1 lw1'..{hli, m. ,, 1cilh ..!.) 1 111
I \I Ill U., llT I "" I l II

2 75 ...
llr,lll'i!'t
278
Burkk of Prince
"nh1.1. 111,1 h.111ol
Pctar or 11um
tl11

liHllhTllth lt lltlll\

...,ht I {,hi. \\IOll:..:_ht. l\\1,l(d {iold,muh·, \\11d,,h11p 111",plit. 1.z..!ih

~1.11111l.1t1on. lil1~1n lu·u:::ht .z - 1 m: (,old. } 1 x; It m

,1ulth H q ( m J \I, "11..lcr.ulr m
1\1 II,

BLY0,nn,1,,1n" ·~.:!3
 2 79
Du,an\ mp
"ii rb1,1. 1 Hl -)-1
;")1hc1c,1l1lnl.1.1,1 ,·nc,1,t\t"d. lwu.:ht
ih 1 111.d1.111l111·11Hl,tm.\iuhh
\I
Hh h.1ndk 111 111 m
\1

32 I UCYOND BYlANI IUM

2H1
1{11,.11,111111,,11!11 tlw
\111111111 l,lllt Ill

ti 111111,

Ii 111I" I 111 ,, f! II J cl

I I .i~ment or ,I I diqu,1n
...,,1h1.1.111-.1h.,11nl tlu· lo 11111 nth
ttlllll"
( .1nnl ,,ood. ch,1,, d ,d,, t I \ 11: ii
11:tl()Ull

E,1rring')
..,t1h1.1 !11,1 h.111ol 1lw lomh t·nth
tt llltll"\

'-t1h11•1..,'lh ~tlll'•IUIH . ,.,,,. I.Hthd,

h.1mm1·1nL hlu::;H1· h q >< 7 1, m
,1llln~ I 11:j I cm l1.1i,:nu111

\I (\.

I lead ornament

I I \UUf\

",1htt•~lt. ~1·m,111m·,. l>t,1h·n.

hl11.~1n ,,nu-p11111111,,1,1m,. l1n~th
.!\tlll,\\Hhh2tm

'1,u I \I, "' 11I I

~J·' 285 ◄

l1.. :
~ ~
~1011,·kli.11,lik.11 "I
. \pul,I\ Ii
'\01 .1d 1/
l .1!-.1"
I 111.1

11,, 11 1,,
1

",c ,.111.
'-111111
l 1·111111'1 \

11111th, 111
1 1 ~,

l\11[
x
Ill

1110

\IH
'11 \\ .lll,

\rnH·n1.1. r.u-l
x

11
{I I Ill

J,
llt'dl

u[,,. I\\[
... ) , 1

~'
,, 286 ►
Paten cli,ko, "ith ,ccnc,
ortl,c!\",ion or C:hri,1
( t nu.ii \,1.1. 11111111OJ lt lllh <t'tllun
C.ildcd. t ,t..,l, 1 h.1,nl ,tnd 1111ht'd
,11\1 I di,lll1( lt't 2·,( Ill
 287 ◄
Gospel' "i1l1 T,ar lva11
,\lcxanrlrr, liilio 2721•

[111110,n, l'{Y> ~,11

UN~ fi!Cil,JOyJJll,or li~U '~t'l"fl'fII

I r111p1••• ,111d~nld nn p,11<linwrll,

nllWflJ A~'ll{llff r l · AIJllN''! •:•<6~

fragments of the robe of

Tsar Ivan ;\Jexander
BF-anUum, 1331 71
Silk-based lcxliJe embroidered \\;Lh
silHr-gtlt, silver and silk Lhreads.
8.5 x 19 cm: 8.5 x +Bcm; 8 x 46.5
cm

BEYOND BYZANTIUM 331

 289 t
The Vani Gospels, folio 3v
ComLantinoplc, c. 1200
28.5 19.5 cm;
l\Januscnpt., l(

247 folios

290 ~
Covers of Lhe Tsqaros1avi 291
Gospels Covns of the
Tao-K.Jarjcti (soulh-wcst Georgia), Tbcti Co;pcls
1195
Sh,t,..,l1cti 1 -,outh•\\('',l C:corg1,1,,
l\ lanuscript with silver-gilt co, c~,
IJH' t\\l·lfth n·1Hur,·
24.5 x 16.5 cm
J\l,1nu.,c npt ,,1th <.,1l,t·rgilt cmcr,;,
Nauorw Ct:rittT or Ma.nlil("np1.t.,lbdlll. Q-907
26.7 x 19.5 cm
'\.,11,111.11
Cr111rr nf \l.111u,nip1, llul"'· Q-••l'/

332 Ul!.YOND DYZA TIUM

 ►

•1:1,l'.;"iMlll'"'llll·ll'I· II
111'.ll:J 0

1-11-.,;,.,..,,,.,;~k

292 ◄- 293 t
Four Gospels with hrist, The Armenian Psalter of
donor and ribc, King Levon Ill, folio 3u---4r
folio 13 verso is, the capital of the Am1cnian
Kingdom ofCilicia, 1283.
Proclucccl in 13.12.n the ~lonas1ery
Illuminated by Sargis Pie.Isak
of DraL,irk in iliciri during the
Vellum; written in bolorg,rscript, 24 x
prelacy ofTcr ~,lkhitar, and Tcr
Basilios, at the request of the priest
17.5cm; 259 folios
Tiratsu, and illuminated by ll1r llotuli Ubrar'), l..ondo,1.Or •,SO~

Sargis Pidsak
Parchment, written in regular bo/org,r
script in black ink, 20.5 x 14.5 cmj
350 folios

On loan fro111the Tnmrc, of'lhr honrr lkan)'

l,.1boary,Dublm, Ann 1.u61-4

334 BEYOND BYZANTIUM

BEYOND IlYZ.AN'l'1,,-.
 ,11p'\'\(),
l'l'.l" '(i
,·,111,,,..,,
Br"' i,11) ol K i11g I.,·,on II I
-I, ~C::::::;,F~r
ol"C:ilici,tn .\nnrni.1. fiJlio
L.',f.111~£L 1.r (Pu
IOI
✓Ulrn-L • £../2/61"£
,:,,,,. 1lu ( ,1p11.1l t 11\ ol tht \1 HH 111,111
k111c,dom ol ( 'd111,1 '. l.?hlJ Hq
('.11pwd 1'11 l,111)!.l.1,on Ill 1.ih() f.l- 1111111 rt-~t:7-C!~
Bq. vm ol I lc-t'um 1nb (H)

P.1u hnwnt. ,, 11th 11 111 ,u 1p1.

lio/,,1!!_11 #11111,_,.;:/;= 4.,111,-,r
1h ·, x Ii 1111. 1q11 lnl11h

I rllr lil,lu.tr, l,,11,l,,u l)r ;1•11

i,.£-17L£-~<,111u.n~=

u,1Q:£-bi_
1;p,,ne11 "#-/,lf,,/1..
2 95
L
z,,.. ~N9rJi.111n-111
-F r.--w-g, ~\,,,--1,.
4~rk,,,w, "'--,4n~~- Four Go,pcls "itlt a
,erpcnl curled around a
trunk. folio '1181
\,J~,,-t5111i..-i, /;-u=
AH~N71.11J~,u,N1n"[__a1'hjJ
"f_ ...," Ill th(' Km~dom or ,\rnl('fll;\ll
11u,kl/i, f- 6i!fu.g" _.
Cillo~,. 1.?17
01 It 111.1!J>,IJlt'I",.!_·,
CJ X I<) CIll; 1Hb
£-Grt_~~/IH~xj_~pJH7 J C;Jf-_A,w:--&-01;11
11,r ,,,,.lu,, I< .,ril,rnl.;, I ,.,,,1.,1\ IJl>1.11'\ \h

f,?J!r,~"1,8,~>,, u,"/ibz_4i/i11Jppw), £.F,iuL\, = 1,_,1;r .:,k~uLeu,'9-Z. =

nflllll~ ~),k~1.11', ,,w'k~u;. ~-'r~i, k 6lf:u,../kL'q=f.L~111~

6UIU6Sb-· IU1117UI.U3~~17~,._;..
Ull,IP'J,4n-i,;j,,t;,1u1.z1,
•H.f), J;;,~ •
. ►
'--- ✓~IU 17L1;r~111eY11i..., ll9"L._
,,,.
. . Jt: f-LLL,,~~ 6it."-lfr66ff
k1'3k- ~u>..
'
nr11~n .f-•mji,,.~X-,uJ; •/,lf
1 /;-'lf-= '-u~~ t'!_,'91, =

336 BEYOND UY LANTIU'1

29()
1'oRO"" RO~l I"\ II ,r,f, hH
pn,,ihh \\Ith , 1 1oll.d111r.1t11t OI
,1,,1,1,,111

(;o,pcl-book ol"I '01 °' the

p1 i,·,1. folio f(H)I'

1.1hi. \iith ..,n, utt, ntlH t nUII\

h1111h11g
Ink p,11111 .,nd ~old 1111 p,Hl hrlH 111,
J()j"ll(lll .!OX q6<111, !10
lolH" + l lh II',\\(',, <HH" <ll thc-
hn.,'ltlllllL~ ,11ul01H' ,11 tlu ,-,ul c.·.1ch

11nm e,ulu r 111.lllth( 11pt"

1Ll" \\.,hn \11 \I '' II• ,n ,u- \\ 11'1

2 97
\ la11mcrir1 "i1h donor
before the 1'ladonna dell a
\focricordia

11 1'1,1p,,u1\I., .u,J~hr.,r,, ''"'"'l

l'urdo.,.1 d 111 1•1qH"1th tl,r hdp of thl" It 11""'
\,,1u111><1,J ""'' th,. ln,11w1c d1 Rr,hr11lu· ,m It,
\In .,1urf'• \n11n,,, IIH.1m,nn. 11,r \l.,m,.,111,m
\,.,. ,,, I ouro,J,,11'>n.th, I \\ I 11,hli1h ( h,,nt.,hlr
I••••• ,n nun .. ,n. ol 1 \\ I mhh1h ,rn<I llu,m," I<
l\~m• lfl ll"(Ol(lllll•m ,,t th .. ,r ,m.-rr1L Ill .111<1
{<,nmlt"t" '" to thr .111, ,,f chf "nuru ""rel th<'
ll ,tc"f' l,.n.,rl,.1,1n I uu<i l,..11011,tI' .tnd I.mm.,
"•· ,.,1.,n \ntr,,m1t,md \ ·""' ,,.,,. "•rl,~••.111 ,md .m
.trr I\Uu,,n dun,,r, m r'n('mnr. vi ,,r.,rp,r \)rr
''" 1.01 \tt '"' ll\ \I 1111

298 ~
illarshal Oshin's Gospels,
folio ,w y
Si~, Cihci.i, 127 I
Par(hmcnt, 29 x 21.2 rm: 320 folios
1,11" Pi('rpon1\IQ'11:;1n
l~br.11), \C'\, Yori.
1 urch"-"'d In tcp8. 11cc110 \I~~• 710

BEYOND BY lANTIU~I 339

 BEYOND BYZANTlUM

34.0 BEYOND BYZANTIUM

 299 t 300
Four Gospels "ith Lhe }.Jinialurc wiLh St l.uke
Virgin and Child and a11d Thcopltilos, folio 3,
donor and }. fary ,\ 1011.1.,tl'ry of(;,
nrr ? , /\.1111n1J,lll
~ lagclalcne, folio 257 kingdom of"C1lu 1,1, 111111<·111111
\'11lagc or Shikbak in thc region of (l'lllll')

Ta) k, 111 the Church of St Sargis, P.trchnH·nt, A> x 17 cm

8 cptcmbcr 1313 /.rut 1,) 1/ir \)ml., 1 ,,1 ,t,,.I 1u.-,1J,.. ,n \lu..-u!JI.
( ,unlJrul..:I', \11( 1,.m M\ Jnl iA
Paper, \\nll<~n in lar~c- bolorg,1script,
32 x 23 cm; 259 folios
lllc-John Jl\ Lmd., l..1W"V),l m,Tn.JI) or
\IUM;hnin. m, no \rm 10
3or ~
four Gospels will! ChrisL
Blessing, folio 69u--7or
Cilicia1 1239
Papc1 1 23 x 12 cmj
111+230+111, folio,;
111t B,blt ~11'1) .md tht' 5) ndl<'I or
L'nl\('NI) L1br.tl), B~\I', n

342 llEYONO BYZANTIUM

 302
A Miracle olSL Menas, 3°3
folio 1ov--11, The Four Go,pcls II ith
Nubia, 1053
1itlc p,1gc-of St.\ la1the1,.-s
Parchment, 15.5 11 10 cm; 18 folio~ Go,pcl. folio 1161· 1171
Ill(" llmnh l..1hr.ll), 1.,:mdon, Or i>lk>\

-t w
H filt1N11V/\1\0EJN
,~ crn!nYNA.Jt»ll
rt'
N"- ft) HNIT~JJNJ
r~nyN"-.NJJ i ~iJO
'™
U).~OY..\n[J-",~J"-
~yr_
IOCtJ\.'31ft-.'J·
,n,F·nynJ N"-··o~"JA.
JtP."1)'HC~
· oytl\7}~l~tl
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Crf'ryMlC Cl\~\1111\f\.);
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""""-' TT"-nlM
DN!"M
l
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· JUMDr:1uA.Dn~n·
UUCN DEMI 1Nf1'~U,1
l\O:J..MtrNwnyPhnpoc
r<n(rt~'J(!N~ovr<.f(!N
11
JtrrfM J
..

346 UBYOND UYZANTIUM BEYOND BYZANTIUM 347

 o- ►

\ i,~,k orhomilic,, folio II'

·lh11t il-(,h,11lm,1, 1.i,ur 11, ,nutl1 ol

C.u10, qHq
1',tr{htllclll,
q~'-7' -> <Ill, 28 lolio,
~Ix

11,n,,I, l.1lu.," 1,,,,d,,' <h ti;Hi

IJEYOND BYZANTIU~I 3-19

 306
Frngmcn1s of n di,h
">)n.,. rnd of 1h1rtr<'n1h h.-..i h,111of
founcemh (C'llllll)
Yrllo,\1\h pa-.1f', \\hllf" ,hp, p.1in1rd
,,uh bluC', bl.id., 1urquo1,r .md
brown unc!C'r1..-.1l',pMrn1grcc.-111\h
m,L~1ml11nlcng1h 31 c-m
.c;l.1.11:",

BE\'OND BYZANTIUM 351

 3°7
I)"'" p,11wl,lior11 lllf'
C:11111< I, ol till' \'in(ill,
;,l-\l11',1ll"'I", Olcl C:,,i,o

( 1d,1n\<1<1d ,1111111,x11n.111 I>

p,, q I; J ·1 1111

It, In 1o ,!ti, llm, I, \I J, t \II\

353
352 6
 308 ◄- '.) I :2
C:a,kct l .11,11,·-p.1i111('(Jh"" I II itlt
"iu d, l\\(11111p'llllll\ l ttp-lH·.111·1
;\,11111,lll l I. I •'Ill 't1pp11
hon, p,n111t·cl,1nd t.!1Ill . ...., l.L',pl , lnn11l11 • 111111,
h1111.!n, q x 11.2 x; ~ ,111 l ..111h11t\\.111· p,111\hd II\ 111,11,
n ,L, \I I, 1l,111t, I I\ I I .I ~I.I/I", tli,11111·1q .,!fl{!I\
11, ,L,\I ""' \,I

3o9.
C;indk,1irl.
hnm,L h.dt
,1·1,,1111
,11 thllll't'll1h t t'IIIUI\

B1,1v,. t,l,t. 1·11~1.nnl

,llltl111l.ll(l,,11h,ih1·1 .
.'01 l< t<}) till

11 ,L,\\,,

310 ►
Lw,tre pai111cd boll'I
,, ilh giraffe
Et,•Ypt. liltl' ll'lllh
l',llh dl'\l'lllh CClllUI"\
E.1nhcn\\,11t.· p,untl'd m lu,tn.·
colours; o,·<•r ,t ~bn:,
di,unetcr 21 cm
lkn.,J.., \lu..,.um \dull

3 I I "
Bowl with leopard
and trainer
Egypt, elc\'cnth cc111u'.")
E:trthcnwan_• painted Ill lustre
colours o,cr .t glaze, cli.imetcr 'J. !•3
cm
lkl\,UJ ~!....,um, _\then-', 1m IKl 11119

354 BEYOND BVZA'IJTIUM

 The Monastery of
St Catherine at Sinai
D ROBI 1 CORMACK
MARIA VA ILAKI
 .,......

Detail orcat.315 ~ 'The Glo,y of the Lord settled Oil ;\loullt Sinai'. ,\lllOIH\ th,·111thl' 111m,1il'ol th,· Tran,figuration I \('1w1.11io11 ol St Catl1ni11<'
,di•1c•11cc·1111 H . . . to th!' popularity of Sin;ii 1n \ \'cslf'rn or I .at in
EXODUS XXJV, 16 ill the ronrh ol'the "IN', tlw 1111odcn rnrvccl ,. · j.., 10 IH ln1111d 111ll1t·typ1kon, wl11c Ii
·1I S111,II piltiri1m. ThC' llm, of pil!:!;ri,ns10 Sinai is "ell
doo" th,H lc;id lirnn the 11,ll thl'" to the main ' \l,\,01 ol ~i11,1i,clll'\I' up i11 1~1,1:tll<'
S)'IJll'OII, I • • • do( lllll('lll('d in the {''(1(11\l lltlllll>f'r orpilgrim
ll,ll'l' th<' 11oodcn rool' IH'at11s. i\ sulllllie t'

T
JJE CROUP OF ICONS SJJO\\'N IJJ,.RJ• :111d 'orlll'I 1clu, a11d lhC' 011 llllnl(LIIOu\ly
a 1011 prr1.oc11< l ~uidc, t111dpilgrim nc11T..iti\'C'"'-'' Tl1i..,"'""
focuse5 on a major Orthodox 10 thl' E1llpernr.Jt1,tit1iall alld 10 the mcmo,y or
It .<I li·oJJl
c:,:.uc
ii"'"' ;ire clor11111cJJt('(Ii111wdlth- lf'mpornrily intC'rrupt<'d after the l',tll of' t\cre
monastic centre 1;1unckd in the his" ii,-. thl' Emprc" Thcodor,1, in the fon 11 of c•1llllr)' ",Olllll'"i. I in 1~91 but wa" to hr< on1in11cd,l few decade~
Byzalllinc pc,iod and ,till actin· a c;1r1Td imcriptioll in one of th,·se beams allows r Thr J ,alill practice of' pilgrima,e;,· to Sinai, later on a ...,mallcr..,,,de. In the thirteenth century
to this day: t.he i\ lonastcry of St Catherine oil t1s to date the building ol~t~1cmonastery precisely "hid, had ,tai trcl i113B I witl1 Egnia and wa, VC'nice ,c, un·d lhf' drpendf'JJCif', of Sinai in
the peninsula of inai (fig.52). Sillai is bct"eell 5.18 (the year of I hcodora's death) and coJJtiJJucd liy the v,-ralled Piacenza pilgrim h, f ,.,11akia
C:r('1<·,C:ypru"i1 J\11ti<1c 1
.Jen1"ialcmand
associated wit.h wcll-knm, n Old Testament 565 (the year of Justinian's death). Another roof \\'ho ..il-.,o"rote rt diary, and oLhrrs, cl,c\dwrC'. r,atin pil({rim, could no\\' 11\c·Venice
~~· . 1
even LS. According to the Ilook of Exodus (111, beam bear, the carved supplications of the "',t"-lO bcco1nc ,, idcsprcacl over thr ccntuncs.' at, a lran\it \tation and travc-1\\ith Vrnctian
1-5), it was on i\lount Horeb and at the foot of architect of the mollas1e1y, the Greek Stephanos It reached its climax in the thirteenth century, \hip"i10 .Jaffa or 1\lc-xanclrit1.I.atin pil({rima~f'
Mount Sinai that i\ loses, while tending t.hc flock from nearby Eilat, and his family. ' a,. from 1099, Sinai had become pan of the to Sinai increa,cd in the fourteenth and fifteenth
of his father-in-law, saw the Burnin<T Ilush and The Arab conquest of Egypt (640 4.2) l,,tin kingdom of Jerusalem. This and the ri,e ccrlluric\, as i) doc umentecl hy numcrou~ Fi~.~,~
Cc11c1-;1I\ It'\\ oi
heard t.hc voice of God asking him to remove his brought the monastery into the Egyptian of \he cult of St Catherine in the \Vc,1 arc the accounL, of pilgri,m, while Orthodox pikirimage the ~ lon.1'-lcT) oi
sandals. Later in the same book . 'XIV, 16) political orbit, in which it remains today. iwo main factors Lhat appear to have conLributcd was sparse.(· St C:,11lwrnw, !,in.ii

God appeared to i\ loses at inai, again on
i\ lount Horeb, and delivered to him t.he Ten
Commandments. The Prophet Elijah is also
associated \\~Lh inai, as he took refuge in a
cave on i\lount Horeb.
It is perhaps not su,vrising t.hat such a holy
place att.ractcd hennit.s, who inhabited t.hc area
as early as the second or 1.hird centuries AD.
Pilgrims arrived in the following centuries and
the well-known account of tJ1e panish nun
Egeria, who visited inai in 383 and 384, is far
from unique. 1 According to tradition, in Ule first
decades of tl,e fourtl, century Helena, motJ1er
of tJ1e Emperor Constantine, erected a small
church close to tJ1e site of Ule Burning Bush, and
a pilgrims' shelter, from whjch a tower remains
to tJ1isday. The growing importance of tJ1e site
is clearly reflected in me decision of the Emperor
Justinian to erect a fortified monastery at Ule foot
of Mount Sinai on Ule site of tJ1e Burning Bush
in me mid-sixth century.' This monastery was
dedicated to me Virgin of the Bush, and its
main church, the so-called katlwlikon,in t.he
form of a Ulree-aisled basilica, seems to have
been dedicated to Christ. The katlwlikonhas
preserved many of it.s sixth-century features,
This reduced pilgrimages and caused a certain
amount of decline, at least until the tenth
century. The Muslims respected the 111onastc1y,
and the Prophet i\ lohammed himself appears to
have issued a deed for it.s protection in the form
of an 'achtiname'. Moses is always recognised
by the Muslims as a prophet and many pilgrims
used to visit Sinai on tl1eir return from Mecca.
The construction of a mosque "~thin t.he
monaste1y's walls, which was completed by
1106, clearly testifies to tJ1e popularity of the
place among Muslims, which persist.s today.
The monastery was already atu·active for
pilgrims as an Old Testament locussane/us.The
fact Ulat it was the repository of the body of
St Catherine added to tlus. We cannot be certain
when the body of the saint was discovered on the
top of Ule mountain which bears her name and
when it was brought inside the monastery. The
translation of St CatJ1erine's relics from Sinai
to Rouen in ormandy in rn63 gives us a
terminusad quern.The relics of tJ1e saint that the
monastery possessed were placed in a marble
sarcophagus to the nortJ1 of the diakonikon, to
the south of me main sanctuary, where tl1ey
started to exude oil miraculously. The earliest

THE MONASTERY Of ST CATHERINE AT SINAI

THE MONASTERY OF ST CATHERINE AT SINAI 359

TIIF ICONS
The i'donastcry of 't Catherine tocla) home\
a most imprcs~i\'Cnumber of'ic01h. Thr
collection represent, all prriocl, or B) zantiu111
and later. In 1938the eminent Greek scholars
George and ~!aria Sotc1iou 11crei11\'itcdb) the
monastery to compile a li,t or its irons. i\hnnst
twcnt) ycm - later thC) published their pioneering
book on the icons of inai, in t\l"0rnlumrs. 7
Between 1956and 1965an expedition to 'inai
,rn organi eel by the 11i\'C1'3itics of Princeton,
~ fichigan and Alexandria and headed by Kurt
\Vcitzmann. Thi· !!il\'Can i11\'cntoryof2,o--18
icons and an imprcs i"c fo'3t,·olumc on the
early icon of inai.8
omc of the icon at inai date from a
early a the mid-·ixth century and may ha\'C
been donated by tJ1cEmpcrorjustinian him elf:
it was under Eg)1)tian rule during iconocla m
(730-8+3), tJ1cmonastery experienced no acts of
violation again t it holy icon . Four of tJ1eearly
icon were taken by the Rus ian Archimand1ite
Porphyrij Uspen kij from Sinai co Kiev in the
mid-nineteentJ1cemmy.9 Today iliey belong to
the Bohdan and arvara Khanenko t-.Iuseum
of rt. 10 Two of the e, the Virgin and Child
(cat.314)and . ergios and Bacchos (cat.313),
are exhibited here. till in tJ1emonastery are
the three larger encaustic icons of Christ, of the
Virgin and Child enthroned between archangels
and aincs,and of St Peter; a number of scholars
have proposed tJ1atthese were gifts to tJ1e
monastery from the Emperor Justinian. 11
Thomas F. Matllews has recently argued
that tJ1eKiev icon of . Sergios and Bacchos
was also a gift fromjustinian in ilie mid-sixtl1
century.12Attractive though ilie e suggestions are
for giving a possible reconstruction of the nature
of tJ1edecoration of the Sinai monaste1y at ilie
time of its construction, tJ1eyremain speculative
and depend on stylisticdatings (witll little
comparative evidence)and on the idea tJ1at
TllE MONASTERY OF ST CATHERINE AT SINAI
Co11st,111ti11ople
had .drr,td) IJl'rn111cthe lllain
('('Ill!(' ot'prod11rti011orhigh-quality painting
' )
,1nd that ir011\,uch .t\ thrsc 11ere not produced
in the rrgiuns. This re111,1i11,
problematic, for it
i, po,sible that Syria, one of' the cult centres of
SS. Scrgios and Bacd10s, ,rn, producing high-
quality art i11this period (sec the Antioch
Chalice, cat. 19), as were other regions in the
By1.a11tinrEmpire.
The 111,~orityof' icons show11 here date from
the late twelfth and the thirteenth ccntu1ie .
Some arc closely associated with Sinai, such as
?\lo c receiving the ·l'en Commandments with
the Burning Bush just before his feet (cat.316).
The icon with the Heavenly Ladder of Stjohn
Klimakos (cat.323) is also linked with Sinai: the
text of the l lcavenly Ladder wa written in tl1e
evcnth century by the Sinaiti monk and later
abbot of the mona tcry who c name it bears.
The icon of t George wilh scenes from his life
(cat.315) belongs to a special type of icon (a cult
image of a aint surrounded by cenes howing
his or her miracles) tJ1at is better represented
at inai than anywhere cl e. Thi icon has an
inscription giving the name of its donor - a
p1ic t-monkjohn from Georgia in the Caucasus.
Pilgrims and monks ,vho joined the community
came from near and far to Sinai. Five of the
icons from Sinai form a group (cats 318-322),
and we believe that four of these, those witJ1
tJ1eArchangels Michael and Gabriel and the
Apostles Peter and Paul, belonged to a Deisi
register in an iconostasis to which tJ1croyal dom
(cat.322) with the Annunciation also belonged.
The epistylc with scenes of the major festival of
tJ1echurch was also made to decorate the screen
of a chapel in the monastery or perhaps tJ1c
screen of the main church (katlw/ikon) of the
monastery (cat.317). The question surrounding
these l\lliddlc Byzantine icon now at Sinai is how
did works of such great quality and importance
come to be found in such a remote location?
\\'l'il' tiH'~111
,111!·i11( :!l11,t:111ti11oplt'
,iml tlil'11 Vir~in.' 1 The 11,1mc·, orthe painters Stepha nos
11,lll'Jl ()1i<'d (I\ 1·1t IH·dn,·1 t, rn dicl a, ti,h 1·omc· Pctro, <11c IC'ltrn1 icon, 11Iiich have been
,111cl
rk "'1 ,it<''. \\'li,1t i, u-rtai11 i, that Sinai
,I JI( I II () dated to the tliir t1·c·11tli
cc·nt111')'.
There is no
• t JJl-il'<'ol',111Ii ,,111ctitya11cl J'l'\'<Tl'11rc· iltat
\\''1°'' '
e to su~g;r\t that ,117) of them was il
c·vidc·1H
,on1<·ol'thr lic,t ,irl ol'tlll' period might have· 111011kat Sinai.
i>rrn ,r,·11a, c,pccially appropriate for devotion One of the icom signed by the painter
,ind 11 or~hip 11ithi11its walls. Stephano, i, exhibited hrrc (cat.'.p6), but recent
\ ·cry 1<.·11·
of' the irnns al Si11aibear ',Ludyhas rai\ecl doubt, on its thirteenth-century
inscription, with the names of their painters. dating and rnn,rq11C'ntlyon th(' interpretation of
The earlic!-.111amcof' a pai11tcrto appear on an Stephano~ a, a painter. The c,ubject of these two
icon at Sinai i, that of loan11is,a Sinai tic monk. icons is purely Sinaitic as one ofthrm shows the
The exact elate orhis activity is not given but Prophet Elijah feelby a ra,·rn and the other the
hr can be placC'd al thC"beginning of the twelfth Prophet Moses standing before the Burning
crntur) on the stylistic C\iclcncc of the work Bush and recci\·ing the Tablets oft he Law
that bears his signature, a hexaptych with (cat.316. Georgi Parpulov has argued against
,\knologion scenes, the Lastjuclgcmcnt, ccnes the thirteenth-century date prr\.iously proposed,
from the :.lirarles and the Pasion ol'Christ and and doubts that the signature on the icon,
a series of 1-rno1111ecl iconographic types of I he 11rittcn in Greek and Arabic, means that he
Fig. 53
The painter Petros,
,con "itl1 tl1c Virgin
Blachcmitissa,
Prophet i\lo;e; and
Patriarch Eul.hymio,
II of Jen1salem,
r.1223. Egg
tempera on ,,ood,
+5-+x 37.5 cm
lll(' Hnh \lon.utcr) or
t C.Uht"nnr-. !:>11u1.
CoUc·c-oon
or llom
THE ~JONA TERY OF ST CATHERINE AT INA!
 ►

is the pai11tcr.' 1 lml<',,cl he ,t.,t,·, tli:1t the styles ,,t th:it tit1H'." This vi,·11 '"" IHTII challr11!(C'd, but hear 1hr ~ig11a1urrorrenowned Crcrnn painters
of' the p.1i11ti11g:111dtlH' 1\r,d,i,· ,cript belo11f(lo \\'Ii.it slill it·111,d1t" u11<T1t.1i11 i, tlir 11:11io11aliLy
of' or the period, such as /\n~dns 1\kotantos
the ,cco11d h:dl' or tl,c "'''\('\llh (TlllUry, a11d that the p:,inll'I"' "110 r11,111;tgrcl
to l'XlTUll' icom, i11a (fi.r. 112:, c,o) and i\udrcas Rit1.os (q21 92). 1''
Stephano:-. ";1" d.1i111ingto he only the donor. thornul.(ld) \\'<'st1·111,tyil' (fig-.:,;J/·Syria, Palestine, Cretan iron" from later cenlurics arc for more
This corn:lusio1111t·ecl:-.rurther discussion, as the C:)prus and 1\n <' l1a\'l' been proposed as possible nu1ncro11, but thry fall outside the scope or this
inscriptions in both languages i11the !\loses icon pl,tccs where tl1cy 111:iy have \\Orkcd. 111 book. Thc imp,1rt that Sinai had on Cretan
rckr to 'Stcpli;111os who paimecl your likeness' Tilt' dose co1111cctio11hrtwcc11 Sinai and the painters is clcarly rcrlcctcd in the two views or
(i11Greek) a11cl'Stepha nos who pai11tecl your Si 11aitic 111etochio11(dependency) of St Catherine, J\lount Sinai which Dome11ikos Thcotokopoulos,
virtue,' (in ,\rabic). /\II co111111cntators have in C:a11clia(lllodern I lcraklcion), Crete, which brtt<'r k1Jow11loday a ... El Greco, painted between
assrnncd th:11these two large icons were n1aclc was under Venetian control from 1210 to 16G9, r. 156,'iand 1:>70:one- for the Modena triptych
:1t the Sinai 111011astc1yitsclC is reflected in the icons still surviving in the and a \CCond for the panel now in the l-listorical
The painter Petros is better clocumented, monastery to this day. The earliest of these date 1\lu"icurn ofCrclc in Hcraklcion.' 0

as he left his name on four icons al Sinai. 15 ln from the first half of the fifteenth century and
all four the type of his signature appears in the
form or 'Prayer of Petros the painter', and thus
it is obvious that he was their donor too. A firm
date of his presence at Sinai is given by one of Vig. 55
Cnisndcr nrt.isl,
these icons (fig.53), on which the Patriarch of tritpych with the
Virgin nnd Child
Jerusalem. Euthymios II, is depicted togetl1er Enthroned ,llld !>Ccncs
with the Virgin Blachernitissa and the Prophet from lhc Life of
Chri-.1 nnd the Virgin,
J\ loses. The patriarch is called 'blessed' in tl1e mid-thirteenth
inscription above his head, sig11ifying that he centu1y. Egg tempera
on \\OOd, central
was already dead when the panel was painted. pand 56.8 x 47.7 cm;
Euthymios died during his visit lo Sinai and his left wing 53.7 x
21.7 cm; 1;gh1 wing
tombstone survives in the north-cast corner of
53.8 x 21 cm
the katholikon,bearing the date 13 December ~\on,1>tcl) of!:lt CJ1hcnnr,
~111.u,Coikcuon ol Icons
1223. It follows that the icon depicting Patriarch
Eutl1ymio must have been painted shortly after
his death.
The diversity of tlie collection at Sinai is
clearly illustrated by an altar panel depicting
St Catherine (fig.54). An inscription in Old
Catalan gives the date 1387 and the name
of tJ1e donor, the Catalan consul in Damascus,
Bernardo Maresa, who commissioned tlie
work in Barcelona. The name of the painter,
Marlinus de Vilanova, is wrillen on the back. ' 6
An impressive number of i ons dating from
Ule thirteenth centu1y have adopted Western
clements to such a degree that Kurt Weitzmann
was led to assume that they were painted at Sinai
by Crusader artists who settled in the monastc1y

Fig. 5'1
Maninus de Vilanova,
altar panel wilh
St Catherine, 1387.
Egg tempera on
wood, 127.3 x 56.5 cm
!\lo=iy ofSl CuhcnllC',
Sm;u, CCIUcct,011
or lcon.s

362 'rllE MONASTERY OP ST CATHERINE AT SINAI

THE. MONASTERY OF ST CATHERINE. AT SINAI 363

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316
Icon orthe Prophet .\ lo,c,
bclr,rc the Burnin~ Bu,h
,11lCI
rccci, in~ the Tablet,
orthe La"
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pnm(·<I ,, 1th< loth ,l!ld gc·"o.
IJ.! ·, IC 6q C) (Ill

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1111!. \IONASTERV OF Sf CATIIERINL AT SINAI
 317
Tconostasis beam with the
Great Feasts and Deisis
inai .), around 1200
Egg rcmpcm and gold leaf
on wood. primed with doth
Jnd gcsso, 1y2.3x 38.7 cm;
25.8 x 38.5 cm (Koimcsi of
Lhe Virgin)

111.E, \'IONASTERY OF ST CATIIERIJ fE AT SINAI

1

THE MONASTERY OF T CATIIERINE AT SINAI

369
 318, 319
Deisis 11·ithSt Peter and
Archangel ;'..lichacl
Sinai ·?, 1hinecn1h ccn111n
Tempera on \,ood,
105.7 x 71 1 cm 1Pctcr:
10j.5 x 75.5 rm .\ lich.1cl

370 TllE MONAST~RY OF ST CATHERINE AT SINAI

THE MONASTERY OF ST CATHERh EAT SlNAl 371
 320, 321
l),·i,i, with /\rclrnngcl
Cabrirl and St Paul
~111.,1 '. 1l1111t·c111h (Tntlll)
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'572 Tl-IE MONASTERY OJ~ ST CATHERINE AT SINAI THE l\lONASTERY OF ST CATHERINE AT SINAI 373
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Tl!£ \IONAS'I t..RY OF ST CATI!~ EIUNE AT SINAI 375

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Catalogue entries

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 I 3
The Beginnings of Christian Art
]0110/1 GilliUp
E.u1cm ~fcd11crr.rnc.111,
second half of th<' tlurd rent HI')
Marble, .p.5 x 36 • 185 rm
Ck.Tl.a.nil\ltnn1m of,\n,John 1-~Tr~nc,. I und, 1!)t,)~II
2 ~landing, wearing a short, slce\'clcss chiton and
Jona/, bmtnJ/1lhe Gn11rd
Tree
E.·1.ucmZ..lcditC'rrnncan, sttond half of tht' th,rd «111ury
Marble, 32.3• 46.3 • 18cm
~ M..wn of An.John L!W-o1:nncTI und, 190).~
u:u.~ u,u.1...'tCU \\'Wlffl 1?6r, ton \\'(W1h-,,r-191
These two marble sculptures belong to a group
of eleven small sculptur~ acquired in New York
in 1965,said to have been found in sout.h-,,cst
Asia ~linor in one huge jar v·Lxom 1967).171c
collection was of three pairs of male and female
bust portraits and five S)rtnbolicpieces ,\ith
Christian subjects. E.1;chof the portraits seem
to rcprcscm the same figures, presumably a
husband and wife,and probably aristocr.u:ic
Romans converted to Christianity "ith a taste for
high-classsculpture. One of the symbolic pieces is
a youthful Good hcphcrd, • subject used in Early
Chrislian an to represent ChrisL The other four
pieces arc a praying figure, probably Jonah;
Jonah swallowed by a great fish;Jonah cast up
from tJ,c fish; and Jonah beneath tJ,c gourd tree.
According to tJ,c biblical Book of Jonah, God
told Jonah to preach at Nineveh, but instead he
fled by boat 1owards Tanhish. God sent a tempest
and when the sailors discovered Jonah was the
cause of the stonn they threw him overboard.
I-le was swallowed by a fish and repented inside its
belly; afier three da)~ he was disgorged unharmed
and rested under the gourd tree. Christ made a
reference lau ..hew xu, 40) to the story of Jonah
as an Old Testament prefiguration of his own
death and resurrection.
It has been proposed that this group was
intended to ornament a house, fountain or a
tomb, but rJ1ec..xceUcntstate of the sculptures and
the struts may mean that they were never finished
for clisplay.Jonal, is shown bearded, and tltis is
unusual. The style of his face is reminiscent of
Greco-Roman traditions - it has been compared
tO the Laocoon, and this underlines Lhe fact rJiat
the earliest Christian and Byzantine sculpture
and painting develops directly out of the Classical
tr.:Ldition.The artist was especially imaginative
in rJ1evisualising of the great ftsh.
RODIN COIUIACK
378 CATALOGUE ENTIUES I 5
Table "upport with figure
of1hc Good Shcphc"I
A,1:1i\l1nor 1'), nud-lou1th rr111,1r,
i\forhll',95 )('21 • 18nn
1111'I ldlt1l1<\t,m,,I'\ ,,t('uhurT \111.-un1of 11\-r.rnlln<l 'uhm1', '™"''"'~~111.1,
Ml!lf<JI
r•o''"'" 1 llw-,,~U,.,n,1.i,"'T>trm,TnWtn), ',\,1<•\
UIH 11n un•1,, 11 un11Uhl,\hnl
This ~uppo1t \\,\\ for r111cxtrav.,g-ant table. 11lli\s
1hc ima~ of the Good Shepherd on its main face,
boots. I le 11.tsshort, curly hair and expressive
eyes. His he.tel is turned sliglnly to the right In hi~
lcfi h.md, no" broken, he once held a shepherd's
crook, and an animal sat at his feel.
The marble plaque, which was suppo11ed
by this uprighl, has not survived. The roughly
finished reverse side shows that the table was
positioned a~nst a wall. IL was found broken
in the cntmnce of a tomb complex dating from
350-{00 • lakropoulou 1990, p.337); vessels and
food, required for funerary rituals, would have
been placed upon it by relatives of the dead.
Three such table supports ,\~th the Good
Shepherd have been discovered in ThessaJoniki
( tefanidou•Tivcriou 1985, 110.27, pp.122 5),
this being the only one found in a cemetery.
The piece probably comes from one of the
marble tables made in workshops in Asia Nlinor
in lhe rJ1ird to fourth centuries. They were used
in borJ1private and public spaces (Stefanidou-
Tivcriou 1990, p. 205), though recent excavation
finds show Lhat they were also employed in
Christian cemeteries.
The image of rJ1e young shepherd had its
origins in the ~1loschophoros (calf-bearer) of
Antiquity, later evolving into an allusion to the
peaceful, pasloral life; in Lhe third century it seems
LO have acquired a new meaning, symbolising
Christ himself.
The Good Shepherd occurs in third- to
fourth-century sarcophagus sculptures (Paderbom
2001 1 no. 1.11 p.78), and also as freestandfog pieces.
At Thessaloniki the subject is found in four third-
to fourth•century tombs painted with Old and
cw Testament Lhemes (Marki 2006, nos 15,49 1
52, 89, figs3a, 7a-c, 6a).
4 wears the imperial diadem, which appears on
Cameo with warrior horseman
1-irsthalf orthe fourth century
Carved, polWled, mulu-laycrcd sardonyx, 15 )( 19 )(2.5 cm
Naoon&!Minnim,l:lclgndt-,116/iv
r,.ovu.uc~ aicadcnuJ rind M Mbdcno:M,c.KIIQcbli:local11y
nnvonoo/~)
uucrw aur•uicu 8dv,tor 1!)87,no "i33tJ~ .,.,1h qUOllnSbtuanut,
RimwTOOS,no•8.t.p116;Tna~,CD 1733
Only part of this large cameo, which was probably
originally circular in shape, has been preserved.
It depicts a warrior horseman riding triumphantly
m<·1 hi, dl',1d, <,q>1t111·drn limmd l'll<·inic:~.
D.11\..t't ,h,,cl,·, nl tlw 1·,qui,itdy, ,u'v4,_.d
,uicl
poli,lwd ,1u1w :'"' n,l'd liu 1~mti ,1) ing the figur
then .1runtu,11111gthl'w ,1g,1111,1 tht· niilk)•·blllc Cl,
ba<\..gro1111cl.,:11dw lu~ur~·,,lit' "el 011the same
pl,u1c, tlw11th"" 11,ul,i)n 1, ·,,pplicd' to the
b,1w ,1011t·. '11:t· (l'l~tt,d po~itio11 bl'longs to the
tomh,"1111\k,
astrtdc 111,lu:,..11no11sly
llOr'-Clll,111 C(lllippecl Slccd
who proudly tramples his enemies. 'T'hc warno/
hold" the reins in hi-s lcfi hand, and he hurls
a spear with hi') right. I le is dressed in a tunic
and at mour, and a cloak billows Olll from his
shoulders. His feet arc clad in boots. Thick curls
fall around his forehead and on top of these is
a diadem indicating his royal rank.
In terms of style, the cameo belongs to Lhc
middle of the fourth centu1y. Everything Lhatis
represented can also be seen in the batrJc scenes
depicted on the po1vhyry sarcophab'US in the
Vatican Museum of Helena (the mother of
Constantine the Great) that dates from the
second quaner of the fourth century. It follows
Lhat the most likely identification of the rider is
Constantine the Great (306-37). This dating is
supported by the gold coins of 325/326 1 in which
Constantine is also shown wearing a band round
his head - perhaps an allusion to Alexander.
Jl!.LENA KOND16
5 purple codex from Sinope (cat.49). The image on
Head of Constantine I, the Great
32 5 30
Cast bronze, gilt, hcighc 36 cm
N,1llOIWMwor11m,Belgrade,79-1v
,aoVUl.vtO& aa:idc:ntalfind ., Nil
u.ucnn u,.g•&11cu lldgndt 1967, no ~33 0 Kon(lit), Rmum !1'0o,. no.9,
11,;13,
TnttW07, CD I 8.3
This famous bronze head is part of Lhe
monumental gilded bronze statue of
Constantine l (Caius Flavius Valerius Aurelius
Constantinus), son of tetrarch Constant.ius 1 and
Helena, who was born in Ni§ (Serbia), rJ1cfamed
ancient town of Naissus. This unique portrait
illustrates some of Constantine's characteristics:
the square angular jaw, the long curved nose1
the hair worn like a cap, always ,\~th the son,
thick curls framing his face, and the complete
absence of movemcnl. The eyebrows are arched
and set above large, almond•shapcd eyes with
pronounced eyelids. On his head Cons1antinc
coins from 324 on.
In this portrait sculpture, the style chosen .
is highly traditional, and the reason for tltis cl~o.icc
is to emphasise that Constantine is in the u-adiuon
of the great rulers of the past, such as Ne.xa 11dcr
rJ1e Great, Augustus or Trajan. There are no
indications in the face that he was uJtimatcly
to be celebrated as the first Christian
Roman emperor.
JELl!..NA KONDIC
fhi~ i,; the right ,idc of ,l broken marhll' panel
\durh \\,l~ 111 ,tck ,1~ .t ._,u-cophagm front; _the back
ofthr p,incl h,i~ ,\ flared Creek eras~ rcs1ingon .a
e;lobcand stepped b,tSl'. On the b•~~,,._ofthe design
.1ndmcasurcmciit~ oftl~c cross, this side ha~ been
rcconstructcd .i.scon,;isL1ng of two symmctncal
crossc'-around a central motif, suggesting the
original size of the pa1~cl ~vas eight. Roman feet
( cm) in length. Tlus gives the size of the
233
composition on the front face. . ,
On the right is t Pcler carrying a large Laun
cross with flared ends on his shoulders and raising
his right hand in a gesture of astonishment. He
,,cars the typical gannents of the Apostles - a
tunic and a paJlium - and sandals. The nose, now
Jost, was attached separately. A man walks to Lhe
left of Peter, stooping and with his head lowered.
He is dressed in a shorl, girdled tunic and short
boots. His arms have broken off, but the joins
show that they were extended slighrJy.
The lost depiction may perhaps be
reconstructed with t.hc aid ofa miniature in the
fol. 29 represents the healing of the two blind men
of Jericho (Matthew xx, 30-4). The bem walking
figure in t.hc relief would rJ1en be one of the blind
men who begged Jesus to heal them.Jesus himself
must have appeared towards the centre of the
image. More Apostles would certainly have stood
behind him on Lhe lefi, witnessing, like Peter,
a miracle that revealed Christ's divinity.
The relief was found in 1889 near the town of
Alai;am, Lhe B},zantine Leontopolis, on the Black
Sea coast. This indicates that sarcophagus fronts
were exported from Constanlinoplc to Lhe
provinces of rJ1e Byzantine Empire.
ARNE l!Pl'l!.NBl!.ROER
Relief wiLh besieged city
Egypt, lifih century
Wood, 45 )(22 cm
~~~~: ~m, Skulp1un:1u.unmluJ11und /IIUKUm fl.Ir 8)U11Umid!c
:-
0
'"ll<ANu 11Cqu1T'ffl
rrvm ec,-.,..
1')00
~:~~r!~ :';"ao'°orl 1979,no 69, f1P81 1 (R.Bnllw11J;
Thi enigmatic carved relief has its upper and
lower frames intact, and may be one section of a
sequence of scenes. To the left oflhe city gate the
Byzantine anny arrives at the city with a soldier
canying the labarum - the army standard
adopted first by Constantine and displaying the
first two letters of Christ's name in Greek, XP,
·1ht' ._,,1111· ,._cl1,pl,1ynl III thr ,1,th
1110111,~r,1111
rc111uryWI lhe ,;lndcl ofnnC' oftlw v,ldwr-111 !11t•
1110,;,1i1 wi1h.Jmtm1,111 ,H ~r1n V1t,1lc.R,1,1·111'1.1
(ti~. 1). ·1111'l'llt'rny 011 IH,r\l·h,1rk I\ lw111g dn\t'n
ofl or k11lrd;their l1·,11kr,;, ..irint.:"ch,1d1·111,
,...., li,111~
011 for kl'cl,;;t,1kr1; ou1,;;1ck rlu-nty w,111 on !lw right
Tiu.· troop, dt·fr·mlinJ,!;tlu· < 11y ~t,mcl ,dong 1hr
\\,111~ ,md ,1how thC'n1,tn• the hudd1n~, HI llw r11y.
At 1he top 011lill' 1(-ft.irt· mcu111mt·n1,tl fi'{lirc,,
po~~iblysainL, prott'<.ting 1lu· rity Hnll1,1111, m "cr1ir-,d .1rr,111gt·nw111IOrrning- ,t rh.1in, whil(' on
Ne" York 1979).
The dimculty in interpreting th1, vic1ory
scene is to decide whtthcr it record, some
hi,;1orical even1, perhap, in the h1"11ory of Ch'YI''
from where the relief come,, or whether it i,
biblical, but portrayed through Byzantine eye<,.
Similttr rcali.stic imagery of b,mlc is found in the
tenth•ccntury Byzantine manu,.cript known as the
Joshua Rotulu"i (Vatican Library, co<.l.pal.gr.431J,
which is aJso derived from Roman triumphal art
such as the Column of Trajan or Marcus Aurelius
in Rome or the Column of the emperor Ark.d.dios
creeled in 400 at Constantinople. The tenth-
century manuscript shows the many batrJcs of
Joshua in the Holy Land. BritlianJ (New York
1979)points to the rescue ofGibcon Qoshua x),
who defeated the five kings of the Amorites and
hung Lheir bodies on trees, as a possible
identification.
8
Pan of a mosaic pavement with
personifications of the months
Thebes, early sixth ce111ury
Stone and marble, 340 ,. 66 cm
11w Htllcmc: 1'f,rmoyofc..l1un:, 7SfdEphon,~ olB)~nt Anuqu,oo..Owb
HOVU,u,ICL aa,111cd 111Tbtbo
n:ucn:o Un.llL'ICU Alllnakopoulou-MZ&b 19't7, no.¢. 1.)1 9, pll 1~
lhcron)'fflt'lf~ pp s7~8. r'«":,1 40
...AAc:arhcrb;til101f11phr,
This is a part of a larger mosaic pavement found
in fragmentary condition in Thebes. It probably
comes from a rich private house (Lazaridi.s 1965,
p.253, pis 310-14).
On three sides east, west and north - is a
rare type of frame, consisting of one wavy band
Lhrough which pass two straight bands. On the
east side the frame is internipted by an inscription
in a tahulna,isata, in a fragment.a.ry state:
... / ATOMOP<l>HN/ ... MONON OYAArE rHPAC/
... XNH nANTA TEAECCEN ATIEPNOOC
EN0ETOXEIPI/
Because of lhc fragmentary state of rJ1e
inscription, it cannot be completed securely.
Only line 3 could be rendered freely as 'he
executed all with his hand, as his mind dictated'.
The main subjcc1 onsists of two panels, c.,ch
with a different rcprcscmatiou. In the north panel
arc four squares surrow1ded by a three-su..tnd
guillochc, each enclosing a personification of a
month, identified by inscription and characterised
h> li\d} 11111,•1·nu·111, F1·hn1.1ryhole!...., pair of
rluc\..,, ,\pril ,1 ,lwcp,.Jul) ,hl',l\'t''- ofwhc,11, while
1IH· rorn·,poncli11~ol)jtct hdcl by l\l;iy h,1" been
clt',ltO)t·(I. 1111h1· ,outh p,rnd i, ,l hunting '-Ctnc
111 ,t 10<k) l.111cl,t.qu-,\\ith ,1 hunh·r .md hi,
h1>11ndpur,11111,e; prey. "hill- a 111.111 with clC'fornlt'd
fr,tltirt·, nam1·d Akkolo, i, •dw,\n with hi, h.1ck
111rnccl 10 !111,,n·nt·. Thi~ .-.0111h panel i~ fr.imed on
tlw c,1,1,111d\,c·,t ,idn hy clo,t·•p.1ckccl ,qu,lrts in
1hc north ,;;1clc, in pl.ire oftlu ..· fr.,mc...·,i, ,\fl
1n,cnp1i011.
61 IMI ITPIOC Erll•J)ANI JCTETO MOYCJON rJOEI
l\HMf-lTPIOC MEN FNNOI IC,\CTI IN rPAil>I IN
TAYTHC6 YrlOYPrO Enl•~ANIJC
EYNOYCTAT(OC)
rJAYAOC 6E nA TO J\JTJOCTQN EYrJPEnQ(C)
JEPEYCTE KAI 0EJQN AOrON 616ACKAAO
Dcmctrio'i and Epiphancs made the mosaic,
Dcmetrios designed it, Epiphancs C\'.ccu1cd i1 with
great care. Rc'lpomiblc for 1.hcwhole work afar!
was Pavlo<,, priest and tcnchcr of the divine word.)
The similarities between the Thebes mosaic
and mosaics in the b,L"lilicaat Delphi and the
basilica of St Nicholas Hypa1c have led to the
idcncificalion of a \\Ork.shop of mm,aicisL'i in
Central Greece ( odini 1970, p.715; piro 1978 1
pp.209 11,232 --3,305). The activities of this
\,orkshop, or at least its influence, extended to
areas fun.her afield, as is attested by Lhe rare
frame type with it.Sundulating band passing
rJuough two straight lines, and the frame wilh
the dense, vertically placed squares fonning
a chain paucm which arc encounlcrcd in
a building in Mcgalopoli, in 1hc central
Peloponnese (Asimakopoulou-ALZaka 1980,
p.240; Asimakopoulou-Atzaka 1987, p.74., no.17).
The sryfutic relationship between rJ1e mosaics in
the building at ~ [egalopoli, the basilica at Delphi
~
and the building at Thebes is significant too, in
the treatment of animals and, primarily, human
figures. Outlines are emphasised and the dclails
of the faces are rendered in the same manner:
small mouths, boldly outlined eyes, noses ,viLh two
lines. The personifications of the months and the
hunting scenes \\Cre popular in early llY".tant.ium
and :1.ppearfrequenrJy on tcsscUatcd pavements
1 ew York 1979, p.271).
The importaucc ofl11c Tlu.:Ucs mosaic, which
can be dated to rJ1cearly si.'Cthcentury, lies in the
considerable artistic merit of the workshop to
which it is attributed, and to the fact that it
records the names of two mosaicists, Demctrios
a.nd Epiphanes. urcly leaders of a large team
employed in various regions, rJ1ey arc among
the very few named mosaicists known from t.he
Early B)'Zantine period.
l!.UCE..•UA OllROUS5HU~NDERMAClll!.R
CATALOGUE ENTRIES 6-8 379

9.1, 9.2
Tomb ,d1h ,\all paiming.,. including
Su.sammand1l1tElders
Thc.~omJ..1, earl} fiflh ccnlUI)
Tomb and dc1.1c.hf'dfrMCO.~oi,. • 11 "107 C'm;170" 1l7-.'>cm
Thr lldlcnoc: \hnOJt,y,.lc.Jn,..-, \lu,nun
~,io. ■r,7•••
,ao\ ('IIA._,I.L 11-uoruU, U.lttm lnt"IC"l(I")
llllM'COHnu,n,; 1-,t.,,~.l-m1,1)81
fig11-11I ph:q ...,trJ,
This frc:,cocomes from a chamber Lombon \\ ho!!C
WCSlCrnwall was ponraycd the sto11 of 11Sanna
and the Elders. The tomb walls arc cli,idcd
into two areas, the lower dccorntcd with
representations of slabs, ahcma1cly scale- ;ind
rhomboicl-pattcmcd, and columns at the come~,
which 1cn11inatcin pine cones and arc rcndert"d
half on one wall and half on tl1cother. 1llc ,_Jab
on the eastern wall features a lattice of rhombi,
while on part of what sunivcs of1hc nonhcm
wall1 above a scale-pancmed slab, rwo r.recsarc
depi ted. On Lhewestern, narro,, side of U1e
tomb, which hosb the main theme, abO\'C U1e
sea.le-patterned slab and the columns, two \\ide
bands, in green and orange, rcpreseni the ground
and give depth to the pai111.ing.
The central scene is bordered lefi and right
by two trees that lean slightly towards the centre,
foUowing U1eslope of tl1c ceiling. In the middle
of the picture, a female figure is depicted, upright,
full face, her hair carefuUy arranged, her legs
relaxed, \\Oth one of them extending beyond the
border of the painting, resting on the slab. Her
hands arc raised in prayer. he wears a reddish-
brown chiton and a dark-coloured dalmatic, and
is framed left and right by two men shown in
profile, dressed in chitons and himatia, turned
towards her and regarding her harshly.
11,e painting depicts the Old Testament story
of usanna, whom two judges accused of adultery
when she resisted their improper advances,
demanding that she be put to death. usanna
threw up her hands and prayed 10 God for help;
God sent Daniel to question the Elders, the
sl..i.ndcrwas discovered and usanna's good name
was restored. The story of usanna is an aUcgory
for the Church's triumpb against heresy.
C\'A.";'OUJA ANOf:UtOU
Three chair ornaments personifying Rome,
Constantinople and Alexandria
Rome, ..Iler 324
Ctlded stlv-cr,18.7i,: 7 cm
l1,,-Tru11tnolthc-&....ti\l..,._l..ondon,18&61U921,
18t.J.._U:.l<J'l,.lliyg.l1:,l<f2~
nu,n.,,.ui, ..- it--.kiu,,dm1maapanofllirr.q..,,.-1~
RLICTPD un.au,., U o..11"" l')OI, row Sf1 S, London1'117, no r,r, ',c-,,o )"o,l
1919,nn1u.\.....,,01~•.-10 J,c.mmin1~pp140
,..sh ....,L(,nd(m,'19•--•]14
These chair ornaments arc each composed of
a hollo,\ casl female figure auachcd to a socket
having a roldcring plate u1 tl1c shape of d pendant
CATALOGU~ ENTRIES 9· I
lc.1f;one fi~irc retain\ the mounun~ or the..·pin
and 'iafct) clrnin. ~ll1cthree..·,c.1tccl f1~1ll't', ,lrt'
iclc11tilicda,; pc1"'ionificatio1hof the lilll''- of Rome,
Comtantinoplc .md Aln,mclri.1:. \ntiorh ~not
cxlubitcd) i~ the fou1th. ~Ihe lour form tHO p,1i1""
ofiight- and lcll-hancl figure~. IT\J)Clll\l~I),
olllru.nunf C'11hul'f",
Rome and Cons1antinoplc \\car crc,1cd hdmc..·h,
\l~rl1tooh.j'91R~ t, ,d1ilc the other 1,,·o,,cJr mur.11
rm\\ 111;,a l) Jll'
of ga1l.md :twardccl to the fil"'itRom,\11 -.oldicr to
scale 1hc ,,~II:,,of., bc:-.icgccltown. 'l'hc 01 namcnt..; 1
incliddual :1111ibu1csv;11y.Rome hold-, an upiight
'italfin on lrnncl "hilc the 01hcr rests on a shield;
Co1l\l,111tinoplccanies a patcra and a comucopia;
•\Jc"andria hold-. shc:wcs of grain and rests her
foot on ,l ship's prow; and Antioch, based on a
famous ,,ork (of296 oc) b) the Greek sculptor
Eut) chides, holds fmits and sheaves of grain
"hilc a personification of the River Oromcs
emerges from beneath her. The foundation
of the city of Constantinople in 324 provides
a tmmnus postqunn for the creation
of th~e ornaments.
171e grouping of personifications or tyches
,,< associated with the emperor and L.1tc Antique
bureaucracy, and these ornaments may have been
insignia of a civil or military office that has not
been identified. The people who owned the
Esquiline treasure, Turcius ecundus and Proiecta
Turcii, belonged to a family whose members held
various high positions in Rome. The four
ornaments are thought to have been mounted
on a sedan chair.
II
CRJSTOFORO DUONDELMONTI (c.1385-c.1430)
lwer insularumarchiptlagi
(Book of the Islands of the Archipelago)
Ghent., 1482-85
Ink and paint on parchmcm, 36.5 i,: 25.5 cm
Tbe IJnwh ubnty, London,Arundel 93
,ao,-a..oUV«:&.Raphael di: M11TC1.1di1J (1437 -15olll,abboco(Sc lbvun, ChCtlt,
poo,ibly l"horn.u H-~ 11.)8, 16.f6l,2nd Eatl o( Arundd, 4th Carl of Surrey
and1•f.artol"orfnli;.ano:,11cctor2ridpokic;wl.lknryll~nl(16J8 ~),
6thO-.-o/',odoll;pracnccd10lhe~Sootiy1111667,lheRoyalSoocly,
1.-x,n. purdta.,,d b)- lhe Bnwh Muxum. London. 18j1
u.u:.cno RUUL'ICD H..tudt 190S-o6; Bcrtm 1g8g,no 14 D, p 8s5
Y Rauac,c:randA..xhnuck-Surkhvdl, J...ondon30050.no n7, p 0-1 (S a..,a,
The first cbird's-eye view' map of Constantinople
was produced by an Italian visitor, Cristofaro
Buondelmonti, in the early fifieenth century.
Buondelmonti was a Florentine priest who
travelled through Greece recording his
observations in descriptions and maps (Jigurala).
He dedicated the resulting work, the J.iber
insu/arumarchip,lagi (The Book of tJ,e [slands of
the Archipelago), to Cardinal Giordano Orsini in
1420. 171is date and the dedication were embedded
1.\lil&n1990,
in an acrostic created by the first letter of each
haptcr: 'Cri.rUJforu.s
Bondtlmoldt FwrmciaPrtsbiter
mmcmlSltcardinal,lordanode UrsimsJ\1/CCCCXX'
( ristoforo Buondelmonti of Florence, priest,
now sends to Cardinal Giordano Orsini 1420).
12
The 1lh1,11,11nllt'\I p1mc•d t'\tlt'tndy
,md 11u111t·1m1,
n1nhc,.il tnpit·, ,11ni,t•, T,,
rnm in the Bti1i,h l,ilu,111, l.011<1011, .iit• ,ho,,
,dtt·1n,lll'I) i11 tht' r-.,liihition: ,1 ,111,dllt,ilian
top), .111cl,1 11101t· l.1,...,hmu· 111,1dl'i11Gl,l'IH for
R.1ph.1d de ~k1<.11cllis (1.1137 15oll),abbot of
St 8,t\Oll. ,lll illcgi1im.1tl' child orPhilip lhc COOd
duke of Burgundy. \I ho ,11,emhlecltlw fiN great '
hu111.1ni,;ticlibrary in 1'1.111dcrs.
Despite its title, the L,brr 111.mlarum
also
includes a dc~crip1ion of Constantinople, perhaps
because the cny was the crntrc of shipping in the
region. Buondclmo111i's mi'lp corresponds dirccLI,
lo his description of the city. For example, he )
notes that Consrnntinople is 'tiiangular' and
omments on its strong surrounding
emphasises the great height of the dome of the
Church of St Sophia, which is clearly ,~sible as
the largest building in the city in both copies of
the map. Other importam sites, such as the
Hippodrome (directly to 1he south of St ophia),
are also clearly visible and labelled. These maps
are remarkable survivals of an cyc,,~tness view
of Constantinople before its capture by the
Ouoman Turks in 1453.
2 and two days of t.hcatrica.1 perfonnanccs
From Constantine to Iconoclasm
12
The Projecm Casket, from the Esquiline treasure
Rome, between 330 and 380
Silver embossed and partially gilt, 28.6 ,c 55.9 i,:
The TNWca of the BnlWI "-hncum, London, JUa1.A 1866 1729 1
au.,:cn.o ..._,UJU,(;U StKhon 19fh, no 1, pp 71 5, £.b,,a 2007, pp 200 v~
The Projecta Casket is iconographically perhaps
the richest surviving object of Late Antique
siJvcnvare. Made in the form of two truncalecl
rectangular pyramids, joined at their bases, every
one of its nine exposed faces is decorated in the
repou.SSCtechnique. Only on the back is gilding
not used. The casket was probably employed for
the toilet of the lady ofa grand house. Its base
depicts servants canying a outrcments of 1hc
toilet in an arcade of alternately pointed and
curved arches. At U1ccentre and in the front sits
the lady of the house pinning her hair with her
right hand, while the maid to her left holds up a
mirror. This gesture is emulated by the nude
Venus in the mythologi al scene on the lid above,
before whom a centaurotriton also holds up a
mirror. On the lOp, in a wreath held by two
cupids, the man and woman of the house appear
in their finery. At the back of the lid is a domestic
scene tl1at has been interpreted as a pro ession 10
the baths or the procession of the bride to her
wedding. An inscription, possibly cont mporar)'
with the object's making and certainly Late
.........-
I
POptil,ti
1 i11]7'l. i11tht· Chun h of St A(f,llh,tin Rome
0
11
-
13
Dipt)'Ch\vith Cll'mcnti11u"
walls. He
Evrryyear on I J.mual)', the city of
Com,iantiuoplc appointed a consul to serve for
one year (as did Rome). This was an honorary
>0s1,and the principal duty was to arrange
1 Olo-·,door, 100),111 tll
a week of entertainments for the people of
Constantinople, including a day of chariot-racing,
t\\·O claysof animal combats in the Hippodrome
(C.1istit11tio,,s
ef]usti11ia11:
Scott 1932, p.17).
This diptych commemorates Clcmcntinus,
consul for 513.The two leaves, which duplicate
their imagery, arc full of messages about hierarchy,
wealth and power. Clemcntinus sits enthroned on
his lion-headed consular throne, with the attributes
43.2 cm and dress unique to hi position. His name and
tit! arc spelled out in L.1.tin(sti.Uthe official
language of the empire) in the lahulaa,,sataat the
top of each leaf: FL{AVIVS) TAVRVS CLEMENTINVS
ARMONIVSCLEMENTINVS, v(m) ILL{VSTRIS) cor,t(ES)
SACR(ARVM)LARo(rnoNVM) ll..XCONs(VLE) PA1"R1c(rvs)
(F!avius Taurus
ET CONs{VL) OROtN(ARIVS)
Clemcntinus Am1onius Clcmcntinus Illustrious
Man,Master of the Sacred Largesse 'former
? nSul, Patrician and Consul
0
15
Ordin~ry; his name
alsospeUcclout in Creek in 1he monogram
above his head). Mc watches over boys pouring
f~nh coins and ingots from sacks to dcmonstrale
hISabundant gen rosiry. As Theodcric,
OSt rogothic king of Italy, wrote to FclL'-,consul
of Rome in 511: 'This is an occasion where
~xtravabrancccams prai e ... where one gains
111
goodopinion all that one loses in wealtl1'
(Cassiodorus, Var. rn.2; cited in Cameron
nd
a Schauer 1982, p.139). To either side of
Clcrncntinus stand personifications of Rome
nd
~ Constantinople. I-tis apparent dominance
is_tempered only by his acknowledgement of two
higher a LI ..
C . u 1onues, shown at L11etop of the leaves:
hrist, represented by the Cross and Ll1cimperial
couple, Anastasios and Ariadne.'
The diply< h i;urviwd hn,1mc it w,1.srcu,ecl
10 rc..-cord Grc-rkpr,1ycf1.rommcmor,11ing 1hr
Hcte'isiu11of Pope 11.tclri,inI (n'J. 95). ThC'~t'\\t'rr
inrii;,·d oi1 1111·r<'V<'r'il'. Sp,1n·-. at the houom oftlw
insc..rip1io11 w<-rt·left for irn<1gt•t; 10 be glued lo thr
•mrfacc: or1 tht /(·ft w,tS ,111 im,1gc of john 'th<' lca.-.1
priest of1he churrh r.fSt Agatha' before the
Motlier of God, on the right Pope I ladrian I
before St Agatha (M;cskell1875 , pp. 38 9).
The fine marquclry fr,unc probably dates 10
the eighteenth century, when the panel~ were
mounted in reverse.
ANTONY t'.ASTMONO
Ivory diptych leaf with a vmatW
Rome:-or nonhc:-rn Italy, early fifth cc:-mury
Ivory, 29-4 I( 12,co 6 cm
N.ouonalMt-1K111ml~ World 1..,.~M....,.,._,. Ul6.j:1
raOVf"IAN<:L firs m-onkd1n 18o1 rnthc~IOllr,fPG dr Rllllpa:X
MM0<1,1hrln,(11~dyJW,>ed1hmug:h1~h.ondio/V~llt"""....t
GaOOffrjoi,yladottmlinalo,,·nn,J....-phMa,...,-/18o-] 116\.ihtl~
gc:,khnutll,pdln- ..nd rolkrl<ll, g;o,..-
111.tcn.u .rrnuttJ
1110z_,,.,.,puolm 186]
l'tikdy 11½6,no 16, Inn.don 192:J.no.25- Dcl\irut:dt
l!)'l<J,no5'J, l.ondoo 19.>j,nO n; Vollud11')76,no.!,9, t,;1t,mgn •971,W'S1 II,
pl (►9, Nt,. YOO 1979, no 8-t(~R./,.un);Camm,n 1!>921o,pp ,:6 9, Fnnlfun
.om-Mam191],non-,, ca- 199-1,no 7, UlO<kln19'}-1-, no.43(1\..FAllrnOndl;
This leaf from an ivory diptych (whose other half
is now lost) clearly establishes the intimate link
between entertainments, spectacle and power in
t.hc Late Antique empire. At the top, three
unnamed figures in senatorial robes sit in an
elaborately decorated box a1 the arena. The
central figure pours a libation to show his
responsibility for Lheevent and its ritual
importance. He presides over a lJOlalio, a stag
hunt. 1llis is shown in an overlapping narrative
below, which moves from the mmpant stag at
Ll1ebottom to U1edead animal lying at the edge
of the arena below the senators' feet. The evident
virility of the stags emphasises Lhe bravery of the
hun1.smen, who are shown emerging from doors
into the arena (one of which has a depiction ofa
victorious hunter on it) with no protection apan
from tl1eir spears.
The emphasis on the hwuing, ratl1er Ll1an
on the three prcsiffing officials, reflects both the
e.,-pcnseof these lavish entertainments, and the
degree 10 which prestige was measured by their
success and spcclacle. The entertainments were
free for the citizens to auend, and were judged
by the exoticism of the animals tha1 were
ffisplaycd, and then killed, in the arena. T~c .
letters ofQAurclius Symmachus conccmmg his
son's quaes1orian and praetorirm games_of 394
and ,101 show that diprychs and other g1.f1.s were
used lO advertise families' involvements and
consolicli'ltCalliances among the Clite of ~e .
empire: •1t is a solemn and delightful obliganon
for quncstors m11d1dati 10 present the custor~ary
gifis 10 people of consequence and close fncnds,
in which m.unbcr )'OU arc naturally included.
So I ollt-1 )Oil .in i,·ol)' diptych and a smaJI ~ilvcr
hmd ,, l'ighing- two pound-. in my -.011 's name.
,tncl I lwg )OU 10 .1CCl'pl tlii:-.tokt:n ofrespec1
\\1th pl,·,l\n1t·' (!V).7.76. circ..·clin Camcro11 1992,
p.180).
Th(' d,itc and origin of the ivory is es1ablished
hy ih do-.t· i;1yli,1icand iconographic link 10 other
ivorit-i;;,'luch a..;the l..ampadii ivory in Rrcscia,
which h,1._a sirnil.1r form l>LH"hows chariol-r.tcing
(Volh,tch 1976, 110.5.~).
15
f.caf of 1l1ccon-.ular diptych of Basilius
Rnmr(?,,s,p
f,.nry, J.•·5 • 13 c-m
lru.c-npunn on thr Mclutr.wr ,\'IIC(IUS) f',\IIST(Us) ,\I IIIN(O!I)
RAllll ll"ll V(III C(I.Alll~~uws)
'wtpnn!md.--na,,.-.~prr i, I\"'• \lu...-..it l"inrmtu...., ,\lu...., ',.won.1k
drl R.....-1,, llomorr."" no "8
,.OH~~.,..., ollrml 10 1hr Lffo, r..,llt')", 11,,n-ntr, l"t c;u.,,.,n,nn,
Ap<,Oon .............
"-'-"rftD un..,_,.ru l)c-11,rurr~ I')'"}, oo t.. I' 100, pl h, ll<Mru aml Um~rnttill
199>,"" I" r1111 Jb. \<ll!Mch "J-;t,.no )-1' 31. 111:,, N~ \ .,.l "Ii')-
0
no 17,
pp 17 II ll C. \ntknon . C-in,rr,m ~tod ',ch.,,,c-r u)lh. Olm-..lourr :ioo~ no II,
pp~ a,,07 11-plll
This ivory is lhc fron1 leaf of a dip1ych whose
rear leaf is kept a1 the Castello Sforzcsco, M'il:111
1 ew York 19;9, no.,i.6, pp ..f7 8 O.C.Anderson);
Olovsdouer 2005, pp.3ih 36, 110 1.~).Uclicved for
a long time to belong to Basilius, consul of +Bo,
the diptych has been recently assigned to Basilius,
a member of a renowned Roman aristocr.itic
family, "ho assumed the cas1cm consulship in
5-1-1,
a few monU'1safter the re-establishmenl of
the rule of the Eastem Empire in ll.aly (Cameron
and Schauer 1982). Carved in shallow relief,
the standing consul holds a sceptre, probably
recarved la1cr at ilS Lop, and tl1e mappa. The
personification of Rome embraces him by the
shoulder and holds Lhc consular fasccs. The lower
register compris ·s a scene of four chariots ra ing
around the spi11a oftl1c Circus l'vlaximus and a
man holding a codicil and pointing out 1hc upper
scene to a youth. The ground is bordered by
a Lesbi.u1 moulding; an archilrave supported
by rwo colunms runs a.long the top.
171c diptychs of Felix and Bocthius
(Volbach 19761 nos 2 and 6, dated to 4-28 and 1187,
rcspecti,·cly) may have been the models for this
\\Ork. TI1e embrace of Rome, an act of distinction
and fricndsllip, iudjcatcs the consul's close
relationship with the niling class of the old
capital. ~17,cchariot race corresponds to tl1e same
scene in tl1e L.·trnpadii ivory, c.4.00 (Rome 2000A.
no 33, pp.445-7; i\•lariotti 2007, p.255). The pair
of the JogatllS and Ll1cyouth has parallels with Ll1e
men acclaiming the consul in the Halbcrstadt
dip1ych or Rufius Probiamas in his own diptych,
both dated lO the early fifth ccntUI)' olbach
1976, nos 35 and 62). The pancl should be
assigned lo the sixth ccnlmy: the rendering of lhc
fasccs is similar lo the Ph.iloxcnus diptych of 525
1olbach 1976, no.28) and the sharp, nm and
CATALOGUE ENTRIES 13- 15
 ,1,11,111,Ul,ll)"" 1111111·1111,t~t'\.11HI l!I 22
-,chcm;,uc rendenng of the figure\ pos1d,1tc'i the .-.fter the "11hd1,l\\ .ti ol publu lu11cli111{
II0111 "Im h /111ld\111t l1l't ~ the nl~t· nl 1lw />t/,/"
1,
ti) )l)ltl'd 11)
' I1 ol 1111 ,h.q11· ol dw ,c ..\1·1 to th,11
ahovc•mcnuoncd firth.century I\Orie11. t<·mpl<',1113<)I lmmtu, 190J,1, ~,q tm,.uch ., h,1,l.t·t ol h111t-.111ho111of ht·1 ,li~htl) 1ht' l'l'~t·III)11,till 1 . ho11 ,,1th Aclor,111onofliw :'\lat;i
,.. ol !lit 1·,11h ..,r,tlH l'llllll) Sum
11,·",d It·~, uf ..,(,111(IIll~ 111111
'
c·rn1'\l,111111.. 1tlr., ·,r,,,,," I _.,.-rn \ltdllr!T,lllf',111. h1,t h ,I( nl tht' ,1,1h(rutur,
1rr.1..,l11t.· '-'t·\\ Yrn l. Hli'I• no ..., I .l. pp. (10() 7
I ht• h~u1v ~t·u·ul. ., \111,Jnt 110111tht'
I\ ,1 h,OI) ,,11
..111••1111111 hon JI ·1 • IJ \flll
nrn10J.:1,tphu t ,._ It- ol tht· 'u1,t1111<·th1m1H', \\ luch \I 1:.1'1,111·1 I, Bo)cl iqHB, PP· IC)I .Wl ',1,111cl111g
1- . tht· ll111t·Im t'I tht' ,1\t,11111du·
II .. I •a"""'"'"• h\l "'"" I, .... •u , ,,,. I ,. Ir 111 11,,, ,I, \I, I• ... r .. , •• 'I .,, •

to~1·1lw1\\llh 1hr 'D1nrl\,1,111C\dl·', dl'COl,HC',tl:c .,ppt ,I 1 011

1.1111P~
1••••~•~
,,.,,,,.,.,,..,
I \.,l.,IA.1,,.1,...,.W.,j,.,,11•1,r
"u ......, ,..,, ..~,,,1i.11,.
I \j .,....,.
,. ..1,.-uo,1
l,w•n
.,j, ''''" •• ,, .... ,. 1),1, "'''fl" ,,.11 .... 1,-1~"'"'1'' ....'''"'
' •I',\ l\."l,t
16 17 ~mup of hone pl.1qul'\ in ha•H cltt·f I h<.'\ubjcct 1{1h,1
p,,t(•fl I( ,ti lO. 01 ll.{111,ill) \\l'.h
(1~111\t'U(_'(I l'""I \,,ll,..,t,u(11, ,,.., \\1,(l,11,,n ,,,.\,d ,,, '""'"' \ \ft,,..,d
\,lo,l~,.._,,t'1',, ,1 \1t,, '"' •""I \1.-,n,,._I

Dipl)Ch with AslJcpios and Hn~ll'l,l
Romr,, 100 :ro
hol"),c-.1<hlt",1(311-.1Jq,cobcn1
,.,, MM \lt....,..m ift"Jl"(l \\twkl l""f""-.I \h..vm
,.m1•""'' lh11Wfll'l,hh..a,lw'm~fmn,,
tn 1lw L.doli C.C.,.,...,_,..
1n 11, l'fflfT (.,bl,on 1riq4
..... nn•nl (or Kin ,1,. morl..-1o1.h1ttnthttntul"I •I •ho;... 1k mnr 1hr l,»ct.b
(.1.a.-..tim.,•1dPp'rw,i
nlllhknu
\ruo1nd1!1otal C-niookiMl<l~\lil\»r,
11..,~.., 1hn\1,(,Jul~&r,1n1ll14
.,..,..,,6d
• M 18~7In,....,.. J-p,h \L,,TT lrfl II WI1hr OI'\ .. IA"1'",I
n11n1l'lunu,.,1, J'w,,,h 111,1,-J~ 6,. Drfbr,,...\,<.11"t..,..\\
J'PIIJ •I\ ,,,..,,,.,,,,• ,_, ..... ,,..,.nn,-n\\ ,r<ll"'
lra,,.U,,n, \I •• l-""''' >,,.Jrn,,b,,~,1
C,...... ,ci,,H -
ph,11 •nd\111
b.-hf .. , WTI~
AsJ..lcp1osand Im d:1ughtcr Hygici.1 \\(rt'
1hc ~at hcaJin~ figures of
t\ cordm~ to lc~rnd 1he) \\Crc ~ntcd
nnmon,Llit) b) Zeus because of their mC'd1cal
sl1lls. The m.1111
centre of their cult wa.,, Epidauros
m th<.'Peloponnese, but it spft'ad across the
Gft'co-Roman \\Orlcl1 and indudcd n major
temple on the i:,la.nd in the Ttlxr at Rome
from 291 oc.
As1Jcp10~i sho,\1l leaning on has mam
attribute, a stnlf cnt,\inr-d \\ith a single snake, \\ith
a bucranion .ox's sl.uU bclo\\. He is accompanied
b) his son Tclcsphoro:, la 5>mbol of rcco,ery: his
name means 'bnngm~ fulfilment" Hygicia leans
on a tnpod (symbol of Apollo), around "h1ch
another snake is elll\\ill~ she offers this one an
egg. At her ide stands Eros, and other symbols of
fecundi[) and healing appear on the c:ipiials that
frame the figures. The blank tabulac 31 the top of
the plaques (and the front of the plinths al the
bottom) once held mscriptions "hich prcswnably
inclicmed the commis.sioners of the diptych
(fragmentS of1ettcrs arc visible in Connor 1998,
pl. Vltl;, but thi, "ould have been supplemented by
whate, er was wnuen on the wa.x on the recessed
interior of the diptych. 1l1e subject-matter and
st) le of the diptych arc overtly classicising, and
belong to the brief, self-consciously archaising
revival of pagan fonns and images that took place
m Rome around lite year 400 lcompan, Volbach
1976, no.55).
TI1e plaquo seem to rcpr~nt
antique Stalucs compare Gibson 1994, pl. Via).
Tim is emphasi..cd b) the monumentality of the
figure and by the projection of the edges of
A,klep101' phuth and the base ofhi,
noral border, the subtle hint of perspective, and
Ilic layered depths of canfog receding back to
the floral "'"g abo,e lite head of Asklep1os).
Thr presentation of the gods as statues may have
been an ,1tternpt to reasscn the power of the cuJt
irnJgcs, in opposition 10 Christian attcmptS to
dMtW) such 'idols' or consign them to galleries.
TI1e diptychs may have been issued a., pan of an
Llppcalfor tht" main1cn.mcc of tllt" cult statues
rnh.,Jl\ ln.lnt l.t:'pt. hhh or '"'h u-111111'
h,•1'. IJ J 'fl fl till
.._,.,.,n-1,, .,111,.,11',,,. \1"1""'11, ,.,r.. ,.,o11R:.,on"'
w ••"'I ♦
,,,_~.,,.....•.,.,tlf1,hf,,,I \f,,...., , .. ,uk 1\1 lu•-~."" no., ll>RI
rt \II• \ ""'nr-1"' t,,.., ,r1l1lll\Urtkl\~I \,-.11"'-hllli\',Ol•llt',J\ltl
\\u.n
..,h,-r,,ntb\>.1\,1,,,.~, l7tis p.md is .,n
c,.unplc of l...ttc Antique
l lcllcnism ,,i1hm the Chri~tian empirt· (sec
l'f''4'1 hi!"
Bo\\c1"'0tl. 19qo. It sho,, ,\polio holding ,t l\Tt'
( l'PI\.H
.uid accomp,111icd b) a sw3n ,, uh Cro n)ing
,1bo,·e him, a~ he ..tpproaches Daphne, who h
t,,o of alrcad, tuming into a ba) tree. The image')
l~ical .\ntiquil\. celebrates m)1.hological subject-matter, including
an ancient dell), in a strikingly l lcllcnisin~
manner that insist~ on full.frontal nudity for both
figure . None of this appears to ha,e been
problematic for a Christian aurucncc, so long
perhaps as such items \\Cre kept in the domestic
sphere rand not used in church). It may be that
the only really offensive pagan•relatcd imagery
would have been scenes of ac1ifice, which arc
hardly attested at all afier the fourth century.
Our visual evidence for this kind of iconography
in L1te Antiquity - which includes textiles, small•
scale marble sculpture, silverware and mosaics as
well as h-ories extends at least into ~tidclle
Byzantium, but relatively little 'secular' work
survives from the later period.
JAi' ~,c.a
Plaque with I ercid "ith fruit-filled ba.skct
f,gypt, pos.s:1bly
Alcxandna, fifth century
AmmaJ bone, 1 8 • 14cm
lkl\,dl MUW\lm,A"'"'-,'""' no 18747C,R cl l..ouut BcNba
U.UanDlll'HL"CO M~19')6.pp-41,116,1101~pl-tl&,
la.ffdt».T~,ooo,p"JJ,no.517,pl'4
11,c right-hand side of this plaque i, broken.
It bcaM a hole for nailing it 10 a wooden casket,
similar to one int.be \Val1ers An ~ruscum,
images of Baltimore (Lovcrclou-Tsigarida 2000, pl. 14).
CaskctS ,.,.ere used for the afckeeping of jewellery,
documentS and other objects, and were buried
with their 0\\Tier in the grave. The principal
centre of their production was Egypt, and
taff over lite
particularly Alexandria (Loverdou-T igarida
2000 1 pp.57-8) 1 where the largest number
of such plaques ha., been found.
Titc decorative subject in low relier, whi h
combines incision and carving (Loverdou•
Tsigarida 2000, pp. 156 65), rcpresenlS a
recumbent female nude with uplificd torso,
leaning on her bent right ann and turning her
head backward~. he st.retches out her lefi hand,
,._l111lt·<l"11h 1lw hinh ol 1\pl11ochtl',md the
d,uu;~hu·r. ol :\t·rl·m. tlw :'\1·1t·1ch.\\ho fo1mhC'r
1t'lllllll'. I lu,.,t\pc of~t·11·ul, ,,h1C'h 1s\t'I) \\ldi·I)
di~,cmm.uccl 111 l ..111· ,\111iq11i1),1, rmou111<•1cd
bo1h in monumc111.d r111, ,11ion :-.,11roph,1gior
mosaic p,1,cmt·nts, and 111the mrnor .11111
il.o,crdou-Tsig:1ridc1 moo. pp.85, 179 So
Th,· ,p1c,1d of the· :\'crcid niotifin thi, p riod,
notw1th111,rnchngthe prc,·,ulrng of the Chn1aian
religion, i11a11ributccl to it'i propitiom symbolism,
\\ hich 1s associated "ith the joumC) to thr l~les
of the Ult·sscd, ,, here tlu· ~neicl'i ,1ccompanied
1..hemortals and\\ hich Christians h,1d hnled
,\;th Paradise.
>,,,\TIA LO\ I Rl)Ol!•TSIOARIDA
The Antioch Chalice
B)"t.'lntmc, from S) ria, pos.s1bl)'K.'tJXr Koraon or Anuoch,
first half of the su.:lhct"ntlll)
ihcr cup Kt m footed !>il,cr-g,lt .shell,height 197 cm
Un1 "'°'IK \lnropobtu, ~lwn,m of An '"" York, 'TIit' Clo.,t(n CoUNt-,
:~~~tl c,npwly JaK110 h..a\'t bttn fowodII Anl>Oth 1n 1910, aho uptd
'°t...,~bun ro..l c 19(11 111nonhrm S,n.1 and conn«tnl 10 lhc:Ch.a,,c:hcl
ScSnpoo ,n lhc:ulbll"' c/Mpn loi.onion l'f"IOffd I~ l..nin Andrt, hn1, 191s.
°"n('d b) tlw dukn Kl'ludW,JIrr<rn \11\cJ .old 10 The G.-.1m 11'11_9.)0
u:ucno un_ao_..-cu ~ 1916. \Wffl 19,s.Jc~ 1916, ,,.,, 1916.
hnl '9']1. IIOUS, p 11.), ~ anctT,tn 1911, '-1119JJ, lll'lnmn 19)+
~1971.-147.p16.,N""\'orl1?19.110s,t1.pp6o6 7 \ILrrattt
~ 19'6. - 40, ptt 183 7 \I \lllllekl \laftlO~ Bo,d 19'1. \1..-1
\la11fD1')88.\\orttMcnoo,. 11G-104, pp tt4 I) ll [,wu Tl'll"f t001, PP )lo-)
and no I II I v\ MulmA11n°llnm111AM ,u,d \j 1'brunl
Formed of a simple silver cup encased wilhin
an elaborate inhabited grape,~ne rinceaux
pattemed shell, the so-called Antioch Chalice
has been an enigmatic work since itS ruscovery
::uthe beginning of the twentieth century (Evans1
Holcomb and Hallman 2001, no. 1041 pp.214 15).
Originally, the cup wa.sargued 10 be the Holy
Grail used by Christ at the Last Supper with its
shell da1ed to the second half of the firs, century.
The t\\elvc cated figures inhabiting the shell's
grape-laden vine were identified as being two of
lite earliest ponrailS of Christ and of ten of the
Aposlle (Euen 1916, pp.426 37). The vessel was
shown a., 1he Holy Grail at the World's Fair held
in Chicago in 1933, although by the 192os scholar>
had begun questioning its date lorey 1925,
pp. 73 8o;Je'l'hanion 1926; \Vilpen 1926,
pp.110-,p; Peirce and Tyler 1932, pp.69 7i).
The vessel was exhibited in the first major
exhibition on Byzantine art in Paris in 1931
as a fifih. cntury work and acquired by the
Metropolitan Museum of Art as a work of
that date in 1950. . belongs to a group of about fourteen similarly
The vessel is now considered to be a standing
lamp of1hc early sixth century, an identification
,\nuodi. tht· "'"t'I h.i~ ,tl,o hn"n 11h·1111ht·d with the
Church of St Sci ~•o~ rn·,11 K.qx I Ko1 ,ton 111Y.,yn,1
iqRh. no. 10, PP· ifiJ 7; i\lunddl
H,1l1111101t·
~l.111go198B, Pl' ihj 77; I .onclon 1<)7~• no. I 17,
,.BU.Thl' rt•ffntl) di,C"O\t'rl·d1 l.u~t· l·..1rly
I ·1 . 1 t'\\('I' in ·rrin drcor,tH·d \\ 1111,lll UIHl\ll,d
Cu1 ..u,11 . ,
111tunic~,\ 11!1clc·.1rCl1nstolog1cal
nuinbcr of llll'II
• from By1,tntium 1 and onc: oftlw mmt
comwctmll"-out,id,· of t·~t.ihli,hcd 1C011o~mph1c
tonr<'pl~ l'lllph,,..,1,l'~thl· ch01culty rn 1c~t·ntifyin~the
un,l~Cr) of u1uqur E.irl) 8) t.llllllll' obJtC'l'-rrner
2007, pp.J8'l :°)\\1th 11lustr.111011, and 110.1.111
I,\ Kaufm, 111n•Ht·inim,t1111,1ncl i\l.i\lartmJ).
20
p,1 tcn ,,;th the Commumon of 1he t\post.Jcs
Com1.1111111opk
or~}''•'• ')b3 78
SilH'rrq>0u™'"uh gildmg .111d in..cnpuon III mcllo,
35 cm
d1.1mt"tt'r
Q...,,!M11011
O~l>. \\..,l,11,,:t,~1 IX' lhu111m, C<:.Unlwn. -., 1<11I)
.. ••••""·"Cl \I.J.lrnj ,no.IR.,1.-o, \\ooi'- Htro.,.a<qull'NI 11)11
uu.,naunu,. ,, R,.. ,1'/1no10.,.-..,, .. l1•1l"l,na).l}tol.,w
pL,tc,;,,.~hndrr 111.1 &lt,rn,w'I' 1q8b.11<1t)- I-"" \~JOCtb.no
Bt'hincl a doll1•C'O\ercd altar, the cro11s.nimbccl
figure ofCluist, sho\\n t,\;(.c, administers 1he
bread on the right and the ,,;nc on the left to two
groups of Apostles. They stand on either side of
the table bearing a chalice, a paten and I\\0 wine
s\..ins.In lh<' rxergue bclo,, ,arc more liturgical
,cs~cls. T'hc architcctur,,I setting controls and
unifies the vivid narrative created by the animated
Apostles. The t\\0 spiral columns that support an
architrave with a shell niche mark 1hc 'holy space'
the sanctuary reserved for the two figures of
hrist. Tl1is S)'lllmet1ical composi1ion rcpresc11ting
the Communion of the A.post.Jesis inscribed into
the ccmre of the paten; the inscription around the
rim reads: 'For 1he peace of the oul of Sergia,
daughter of loanncs 1 and ofTheodosiu.s, and for
the salvation of Mcgalo'ii and l onnous and of
their children.' The control stamps with imperial
portraits and monogram on the reverse of the
paten arc those of Justin II (565 78).
Patcns in differem size were used to
display and carry EucharisLic bread. Only a few
preserved plates represent the ommunion Rite
itself. A similar depiction of the ommunion of
the twelve Apostles is represented on a paten in
the Istanbul Archaeological ~luscum.
Silver vessels were gifted to fulfil a vow, or,
as in the case of this paten, to obtain salvation nnd
commemorate the memory of family members.
OUDRUN BOHL
,.~,
t • •Ir illt• I,..,~.., 1•1,1 < '•1 \ I I ( l .. • 1 'I
I h1, 1,011 pt.,qur ,._dom111.11cclh) 11' 1mpo~ing
ct·ntr,d ftcttir<'of1h1· \'iq,.'ln :'\l.11), cr.1clhn~ the
fhi, l'X(llli,11rl\'(Jry lt•,tr1if,111.ire h.m~d
Chri,t Ch1lcl on lwr l,tp, i'I much tht· l.1rA"1·,1 fi~ure;
cll'IYIOll\lf,llt.'\th(' <'xiqrnC'('or ,I ( l.1\\1(1\lll~,
,ht· ...1, on ,l h.i<kit·,\ 1h1niu· ,1.tnng: out .11tlw
natur,di,uc St)ll' in ,ixtlHl'llltlry B)t,1111111<·.irt
\.1('wrr, ,1\ dot·\ her ,on, \\ ho .Li,o 1,u,,·, hi, h.md
It i\ the: larw·\t \inglc pwcc.·of ivory to \UI'\ i\.t'
m ,\ ~<·,1un· ofhll'"III~. To t'1thl'I' ,ick, llu· three
:'\f,t~ \t1ppl<"mrn1t·d h) ,111 ,tn~d 10 m,un1.1i11the
magnifin·ntly C',11'\<:cl. ~Iht· .ire h,mgd, ,,ith ,t ldll
'iymmfll) of1hc 1m,1gt· cn1t·r m 1ht·1r Phl)~,111
,;,ccptrc or <,t,tff 111hi, ll-ft luncl. hold\ oul ,111orh
robe,, o(fonn{{ tlwir j,.,'lh\111<mt·ncl h.111tl,, hut
surmounted h) ., cros11111 hi\ righ1. Ht: ,1ppt",t,...,to
then· i, lllll(" 1ien,r nfn,urame. ,\lthou~h 1hq
loom fol'\,.trd in front of the: fluted columm on
MC nO\\ hc,l\1lv \\Orn. the ,1lmo,1 circular eyes
either ,,de, e,cn 1hou~h h<' stand~ on trps 1hat
of the\ m;in and of Chn,t unhlinlmgl) confront
rcct"dc bclund them: u 1\ ,t fint· ,,sual bal,rncr
the ,,r,,rr Thq ,u"~t',1 a direct t·n~.1<;:t'mt'nt
bet,H·en the m.ncnalH) of 1hr image and the
b<·t"crn \\Or.h1ppt·r .111dtht· ch\111<',.ilthough 1he
inco11)0r<.'alnature ofthc ,mgel. TI1c 1ma~e·~
ngid. h1cr.:itic compo.,111011prc"'l'III~ thl·m a~ figure:,
success lie in the owr,1l1 gracr of thr poSt~.md the
for ,cnerauon ra1hcr than mtrrces~ion. 'I his fits
sensitive drapery folds of the angel. as \H'II as in its
1..he~o,,in~ cult of :'\Ian, \\ho, after the 1hird
man)' fine details: the pat1t'mccl cuffs, bo,\ '>on the
ecumenical coun ii J.t Cphcsu~ in 131, \\a\
sandals and the careful delineation of fc,uhcf"\.
ackno" kd~cd a., thr :'\l0thcr of God.
These arc matched by 1hc in1nca1e carvlng of the
This ~ymbolic ima~c 1s p.urccl \\ ith a narrative
arch over his head and the 0uttering nbbons
~ccne bclO\,. ~ho,,ing the m1raclc ofS.Jome: the
extending from the \Heath .tround the cro..s.
mid"ifc "hose h,U1d \\ 1thercd "hen she denied
The archangel ,,ould ha,c orfcrcd the orb to
the \lrgm birth. ooh to ha,e It rc:,1orcd by
f1
a second figure, presumably an emperor gi\cn i~
holclin~ 11 up 10 the Chri'lt halcl tlw story i'5
imperial connotations, on the now Josi l<'ftleaf of
recordl'cl in 1.hc,1poc') phal Protoevangclium of
this dip1ych. Close compaffions in the carvfog
Jame , chapters 19 10. and appt:an 011a number
technique of this ivory and of those produced for
of other si..xth--century 1,orie : \' olbach 1976,
Justmian when he was appointed consul in 521
no:, 127. qo, 174. 199
(Cutler 19845), andjusunian's known interest in
The plaque marks .J ,;;hiftin the use of ivory
the cult of the Archangel ~ Lichacl (Cormack
from a material for luxu') funcuonal obJCCts
2000A, p.45) 1 suggest that this was produ cd for
JJrimarily dip[) chs, ppades, boxes, book covers)
thal emperor, possibly on his accession to the
to one suitable for more contcmplati, c \\ orship.
throne. It parallels the rise in pamted icons for, eneration
TI1e inscription, a line of iambic trimester,
m the: si.-xthcemury, although tllc scale of the
at the top reads: AEXOY nAPONTA / KAI
h Of) suggc ·ts that it "a.s designed for more
MA0QNTHN AmAN, but llS translation is
indi,idua.1, person.al use. I lo,,cvcr, the edges of
contested: 'Receive t.l1issuppliant, despite his
the ivo[) \\C~ subsequently all cut dO\\'n to allow
sinfulness' (Connack 2000A 1 p.47; impl);ng the plaque to be reused as the centre: of a five-part
imperial humility); 'Accept present circums1anccs,
panel .comparable: lo a dispersed group with
even understanding tl1dr essence' \'right 1977,
similar iconography: New York 1979, nos 457-61).
pp.7 9 1 a reference to Justinian's acce ion in
527); or 'Accept this gift, and ha,;ng lcamed the
cause 1 (Cust 19021 p.55). All hypotht'sise an image
of the emperor, or a second line of tC::\t,on the
missing leaf to complete the sense of the message.
On the reverse is a fragment of a sc,-cnlh- Ivor)' \\ith 1..heAnnunciation
ccntury Syrian liturgical lcxt in Creel.,\\ h.ich
~"°' ;lotcducmuu=-in, l,1tcsc:,~mhor c;irly eighth centUI)
suggestS that it was still in the eastcm pan of hol"). 19.7,. 9---4cm
the empire at that time. C...v.ht:RM..."U!Rd'.\nc-~.~SC-0. \t.laR,m, no.11
lu.&(TUl.._~.,c;.u \\nu.""""'197X,.•ithPff''°'°I~
A.,"TOS'V 8.ASTM0\/0 \t11..:~197.,no1bl fwt.n l.a,,1n,.,11)7Q,Z..U.,...197B.1i,i:n 1
This ivory is not ~Ill independent panel but must
have functioned, t0gelh<"r with a number of 01..her
pieces, as reve1..mentSon church furnishings. h
carved panels which has been dated variably from
ATALOGUE ENTRIES 2.0-23

382 C/\TALOOUE ENTRIES 16 19

 ..,
the sixth 10 1hc clcvemh century (sec \\'cit1mann
1972c). A date in Lhc kuc sc,·cmh to c,,rly eighth
century seems most likely.The Anmmci~,tion
among the plaques di,;:pb)~ng the highc"t qu:ility
l'i
impt·1ial fcmalt.· h(•,,cl.._
I lo"c,·cr,
is .,l,o 1ck11tilicd.,, Ari.uh1t·.
im.,g-t·, from thi, pc1iod .,n· dilfo uh h•
idrlllify .1SphpK,11 li\..enc.·,,"·'-~not., 1t·qui,ih· ,11
po11r:1itur<':tht· 1111,,gl'' of Aii.1rh1t•un, 011,ul.tr
A111pl1ll.1,dth i111,11.~r,
ul the ( :nu 1fi,ion,
Rt·,1111t·t1ion ,111dA,t t·miu11
11,,lt,1111r, ,...,,h ttlllllr) ,11
- 111 1111
'
<;(',ltl'd
I r,till'•I
-~
e1t1l110111
,1tulrnl,i ,1t,m
\'ii
g
1ht' ,1,111th11g
1•

rill 1 ,II I) 111~ (

f'l1t·11·j., ,1 vi,n,d pl.1y of1ht·

'
:111
.
"'' on tlU' ohvn~t•
\111 g111 ( )f,lll',
'I l,11,1· !IC'I 111 IIU' /\,11·11,1011,1111·
( •'
. I ('I .
~\ II I' ' lfl',I
Copy from
of.Jm1111i.m
,1

I (r,1.7 h-,)
<,1,;1of ,1 nm, lo~t golcl mt'cl.dlion
In 1hc plate that shows David summoned
to S.1mu('I (c,11,:Jo), heaven is represented
"ith ,;;un, moon and ~ta~. J\ messenger anivcs
to ,ummon D,tvid, son of.Jesse, to meet amucl.
above

\\Orkmanship and its carving ~l)le focuses on
clcg:mcc and fine surface details.
In from of an elaborate and complc~,-:
ar hitccturnl setting the Archangel G:1b1icl,
identified by av rtical inscription in raised Greek
letters,+ rAOPIHA, approaches the s1;111ding
Virgin. Her scat ,\~Lh a cur\'cd high ba kb bardy
visible between the columns. Gab1icl holds a long
sceptre in his left hand and addresses the Virgin
with hi~ right. The elaborate drape I) of his
garment and the awl·wardl) tumcd kfi foot
conveys his sudden nnival. ~ laf) is also idcmificd
by inscript..ion,J-1ArlA MAPIA(l-lol ~lana or
aint ~l::uia), a form of address that ceases to C'-:ist
after the ninth cenllll). It is 3bo,c her head with
letters beautifully intcn,,incd to create a
decorative openwork pattern. ln contrast to
Gabriel, the Virgin is depicted in a sc.lf~absorbcd
and contained pose. 11tc hand placed at the side
of her head with its long finger along her check
gives her a pcn.si,c and wondering expression.
he is tighdy draped in a mannered pose.
The attention paid 10 detail is unusual.
The decorative architectural features behind the
figures, the angled pediment, the lavish curls of
the archangel, the lancy folds and tassels of her
mantle all comribute to the preciousness of the
piece.
24
Diptych leaf "ith a Byzantine empress
Sooh century
kor)', u.iccs of gildmg and pamt, 26.5 • 12.7 an
.._._,__.a.c,.>,1--.,-.~a"
,,..,.,-',_..,,,,.",
-.J-_,.....,...,.
ltl.&C"l"D-.
.. 1~'9'19,-~\"oa-iitg,6,-.9.
-._pp.1
11,is panel is pan of an imperial diptycl1 and
depicts an empress in ho- majesty. She is .seated
on a jewelled and cushioned throne with a curved
back, hol<fing a glohusmu:ig,rin her left hand
\\ hile her right hand is extended sideways, palm
outwards.. he "can claboratc:jc:wdled robes and
a diadem with pendilia. On her- robes, the outline
of a UJhlionbearing another imperial figure can be
distinguished. he is located below a cupola
crowned by eagles and supponed by pillars,
around which cunains arc draped.
There is a very similar plaque in the ~lusc:o
Na7..ionaJcdcl Bargcllo, Florence, where the
cmprcu stands in the niche. In botJ1cases, she:
is mo.st commonly identified as Ariadne (before
+5,-515), cLiughtcr of Emperor Leo I and wife of
the emperors Zeno and Anastasio , on the basis of
pcrcci"cd similarities with dated consular diptychs
of lcmc.ntinus, Aoastasio.s and Areobindu.5. As
a roult, a whole series of sculpted anonymous
clipt)<.h~ .11'0u·,t·mbk tlu.1,,·on clipt)lh, oftl1t·
Emp1'C''-"- ·1·hcoclo1,1.
"ifc ofju'\tini.u1. ')'he.·1111.11.:;r
rai,c, q_m·11.tion,.,hout thl~ rolt· .u1clclq>i 1io11or
thc F...,rly By-,,m1inct·mprcssrs. l h-1clrc"-!,, pl,,dug:
.md ,Ht1iln1tt·s,uR-grM at ka,t , i~uall) Ih,\I
cmpn·. c..·,hdcl comidc1.,b\c po\,CI' in thl·ir
own light.
U7 JM,U,
lvo1, diptych
111id-s1'.\lh ccntul)
,011~tant11101>lc,
h'OI), <":tchp;u1cl'29 • 13cm
'u.&UM hr \11.-m no 8mm, ~ulptur'"n,;u,11nlun~ -1
furH,-unu11t,o;hr Kuosc. m• s'-4and~
no•"L''-''-l rmn, lhr t...~ht K1>1ntbannWT,lkrlm
•o:'-"-,iu, -.u-1.-.1.,lu \olb.o..h 19;t.o.1n137, p91, P.>1.krl-,119'.)0), oo :\1t,,
Buhl 91X»', Mumc:h ~- no. :io1. p 16-J(G Buhl)
Bot.h halves of this ecclesiast.ic.'\l diptych have
been cropped a.t the bottom: a rernnant of an
inscription - a superscripl 'C' recalls the ivOI)'
throne of Archbishop ~if.a.ximian in Ravenna.
The style oft.he images an aged Ctu;.sl on the
lefi, flanked by the Apostles, Peler and Paul, and,
on the right, Lhe Virgin holding t.hc C111;.st hilcl
in her lap and flanked by ar hangcls is likewise
very closely related tot.hat of lhe Ravenna throne,
and both objects most probably date from the
same time, the mid-sixth century.
rn1e ivory panels belong to the sa.me tradition
as the consular diptychs of the fiflh and sixtJ,
centuries. The latter presentation tablets, given
by the annually appointed consuls in botJ1 halves
of the empire to friends and senators, generally
showed the new consul enthroned in a frontal
pose on the st/lo cum/is(official chair or stool) with
I)
the insignia of his office and often nanked by
officials.The diptych with Christ and Ma,y uses
the same visual symbols - an archivolt above
columns as a mark of distinction, a curtain in the
background, a throne and members of 'court' in
auendance - while both contrasting and linking
tJ1e heavenly ruler in his perfect and mature
divinity with the mother of God, Mary, who
presents the incarnated .son of God as the
divine logos.
111c:special appeal of the carving lies in its
balance bcr·wecn severe, hard-edged lines and
vibrant softness in certain details of the faces and
drapery. The relief conveys a remarkable illusion
of dcptJ1 and tJucc-dimcnsionaJity, despite
a maximum actual depth of 0.3 cm.
rl11e reverse bears the remains of an ink
inscription that has been dated to the sixtl1
century and shows saints' names in two columns.
OUDJI.UN 110111.
I\\\ h, {k,ul .,ml Im ,11111) 1h,um h I h I i 111
The !>ixtel'nJ)C\\ tcr ,unpull,H· h 0111 llw I loly
Land now in l\lon/,1 \\t'rt'
,Uld brought ,L.,relics to the- \\Int. Thcy belong to
a cJ.,._~of Early Chri-,tian itl'ms r.tlkd rufo.i:,ntor
'ble,;;sings'. Ajcrn'i,dt·m pilg1 im of <1bout570 AD
from PiacerM,t dcsnibL"\ ho" lhl· oil in such flasks
bubbles over as it touchc"i thl· ,,oocl of the True
Cross Vilkinson 2002, p. 139). Ahhom;h mass.
produce-d and of chc,tp matcri,tl, thc~t ampull,ie
were cvidcnt.ly highly prized by 1he timt they
arrived in \Vestern Europe: the ~lonL,l b'TOupwas
\lu."""1t
given to the cathedral by t.l1c Lombard queen
Thcodolincla in about 600, "hilc a ~imilar
collection no,, in Bobbio were bu1it'd with the
body of St Columban. ·1 he rich ic nography on
1he ampullac ho1h illu,;;tratcs Christ',; life and
evokes direct.ly the specific holy places where
pilgrims acquired these tulogwe.This example,
which shows the Crucifi ..xion and R<'sm-rcction
(botl1 venerated in the Church of the Holy
epulchre) as well as tl1c Ascension, surely comes
from Jerusalem where all these sites were located.
The obverse has lhe Crucifucion \\~th Christ as a
bust above the Cross between the sun and moon
and the two tl1ieves, as well as Mary andjohn
the Evangelist and two kneeling worshippers
beneath. Below this, in a .scene inscribed 'the
Resurrection of the Lord', arc two ~ larys before
the tomb of Christ, beside which sits an angel. The
inscription round the circumference reads 'Oil of
tJ,e wood of life from the holy places of Christ'. On
the obverse i.sa rcpre.scmation of the Ascension.
AmpulJa with images of the Adoration
of the Magi and the Ascension
P.Llcstinc, 1ixll1 century AD
Pewter (lc.sd and tm alloy), diameter 7 cm
~=:.,T::~~:::;•~= 1617, 19'1\.
pp II) ·,o £lonc-r1'>')7
~,.
This ampulla shows t.he Adoration of the lagi
(inscribed 'Magi' 10 u,clefi) and the Shepherds
on the obverse, wit.h angels above the Enthroned
Virgin and sheep and goats beneath tJ1e
ins ription that forms the ground, which reads
in Greek 'Emmanuel, God is with u.s'. The
in.script.ion around the circumference says 'Oil. ,
of the wood of life from the holy places of hn 51 •
The reverse, wit.hout an in.script.ion, shows 1.he
Ascension ,\lltJ1 t.11cVirgin between tl1e 1wclve
Apost.lcs below and four angels carrying Chri st
i(ono~•••ph) of the J\,c 1·11r..11111 IJc ro11q,.1n·d
111.1y_
,\ith th,it ol 1 , 11_'..,!(
1• 11111lu·11· 1lw1c·1,;;1u, do~•t·
1,ct\\t't'l1 (:l111r..1
,incl 1\l.1ry, wh1k
(I()\\I 1
fl)'ilU.~
C:hri<.th,t, Jon~ r,ttht·1 th,111r..hort ,111~1 curly h,ur,
\,; colknion,, the i\ 10111,1.iml Bohluo a111p11ll,1c
f1lkd "ith holy oil
:\en· 1 , 11rtully tl'd (per h,1p'i fr~m one larg:~r
,1·kt
llc 1 dt<· wiclt·r..tr,111g<'of H"CJ110g-r,1phH·'i
~roup) too .
uid hen<<· relcit·iin·, to ,cnptural l'V<'lll'iand holy
' . I' il('"liiic Efkc Livl'ly lll('y bccanw lt
1
p,1(C'lll • • . _
ronlCl!lpl.itin· Jlll',tll" 10 l'VOkc the 1o~~lltty~I the
Holy Land in norLI, 11,,ly 1hrn11,~hrelics winch
h,,ct acw,,lly come from then·.
Gold pl·nd~mt with the Aclor.ition
of the ~la~ and the fucension
L.rncm Mtd1tr1r:111r,111, ,trou11cl"" Goo
Gold,d1,ulll tcr ·111( lud111g,mp<'m,1on loop) 6.8 c-m
ll>r T~t"tl, uflhc- Hou.ti \luKun,, l.nt1don,
rr 1!>537·-4 I
>11.JlUO 1to•••+"I I i..<ll"1'11r JUU~, f>I> flJ7
This gold e11Aolpio11is conMructccl of two thin sheets
of embossed gold ~l't back l0 back over a sulphur
core. The front is decorated wiLh the Adoration of
tht" ~lagi, "~th the three Ma&riapproaching from
the lefl and t.hc Viq,rin seated on the right, with
the infant Christ on her lap. Above arc a nying
angel and the star of Bet.l1lehcm. Below is a Greek
inscription: KYPIE BOH91TII ,1)QPOYCA AMHN
(Lord prolect tl1c \\ carer. Amen). On the reverse
is the Ascension, with Christ in a mandorla
supported by four angels above the Virgin, who is
nankcd by t.l1celeven disciples and St Paul. Below
lhem is a further Greek inscription: EIPH HN
TH EMHN A<t>IOMEYMIN (Our peace we leave
with you;John XIV, 27).
This pendant can be grouped with six others
of the sixth or early sevemh century, a11decorated
with scenes from the life of Christ (Entwistle 2005,
PP· 269 70). TI1e closest example to the above
pendant i.s now unfortunately lost, but is known
from a drawing in t.hc Royal ColJection at
\Vindsor (Osbome and Claridge 1998, no.284).
Although its obverse side is different - i1 depicts
1
1, pp Cot,u
tl1e Fligln into Egypt - the reverse has a very
similar depiction of the Ascension, differing only
in that four angels support Christ's mandorla and
tl1e absence of an inscription. 1he i onography of
the Ascension in particular relates the medallion
lo both reliquaries and ampullae perhaps
produced in the 1-loly Land for pilg,;ms around
Goo. As wit.h rings and marriage-belts, enkolpia
were al.so exchanged as gills at the marriage
ceremony, where they seem to have functioned
as a confirmation of contract.
CIIR.IS u,-,-WISTU
Mu11,,r<:1111\1,m,murH<".'>t-1 • 'l1R
Elrun,lypr, 1l1.un11rrX , nn
lh,- 1,,.,,,,.. ,.t,t..- It,.,,.,, \I,...,.,., 11..,,\o,u ~,., , , ,
,
Ill tirru •Jtl ■,,., •• RAl.-1,,n 11\,,I, \\ff~h lllfJII JI I',. ll.u~rf
11,,111, 117
The obv(."M<'of tlti'i med,1ll1on ,;;hem~,1 h11,1
ofjustini,111 I, thrt·t·-qu,1r1n facing, nimbatc,
wt·aring cuir,1~1i,pnl11dnmml11m, plum<'<Ihelmet
I Ir hold~ .i \f>t.•,1r
;ind cli,1cle111. ,ind lihidd.
The ino;cription read,: DNIVSTINII ANVSPPAVC.
On Liu:reVt"M<' Ju<.tini.tn I C'"MI hr ,;;cenon
horich,,ck, in the o;;irnc,Htirc ,L'i.thovc,
preceded by Victory, who carric,;; a pdlm
and trophy. The imcrip1ion readli: SALVSETCL
ORIA ROMA O RVM Vdfarc and Glory of the
Romans); in cxcrgue, CONOB.
This medallion, struck to celebrate 1hr
conquest of the Vandal kingdom, '"'cighed
16+05 g and equalled 36 gold 10/uf1. found in 1751
in the area of Cac.sarca in Cappadocia, it was la1er
acquired by the BibliothC:que nationalc de France,
from where it was stolen and melted down in 1831.
The issue of gold multiples of so/ui,such as this
JJ, f'K'
medallion was intended for distribution, mainly
to foreign rulers a.sdiplom.itic gifts.
EURYDICE S Gt:OKO/\VTf.LI
ilvcr plates with scenes from the life of Da1--id
Const.anunoplc, 613 629/30
SLlvcr,diameter14cm, 26.8 cm, 14cm
en-~tldNffl,N°"..-...w.~nmtnld,\ntWJUIOO.
... o,•1;.
...._,11:L ~ t...t.......,.lllllnnl,,
SU.LCTI'.O-.i,uu ..'f("U 0~11on 1q11, JI 10).
l..t7dn-Nn.br'l<IO+Wllh wll
These tJuce silver plates belong to the so--callcd
'second treasure ofLa.mbousa' 1 which was
discovered in 1...,.0 bat hes on to and 12 February
1902. According to oral infom1ation 1 the first
treasure consisted of golden objects and was
discovered in an can.hen pot hidden under- a floor.
TI1e second treasure consisted of nine silver plates
and was found bri ked up in a niche of a wall that
was:presumably pan of the remains oft.he
Byzantine city of L.unl>ousa, near the modem.
town ofKyrenia. At that time, the police managed
to confiscate part of the treasure, consisting of the
1.hree plates now in the Cyprus ~lu.seurn, Nicosia.
111c other six arc in t.he ~lctropolitan ~luscum of
An, New York.
The nine plates came in dillCrent sizes: a large
one showing David and Goliath {diameter 49.4
cm), three of around 28 cm, one of around 27 cm
and four of around 14 cm. The David plates show
the early Lifeof O;ivid as related in I Samuel (in
tI1 e cptuagint, 1 Kin~, xvi, 12 to xvin, 27), from
David's anointing by amucl to his fight witl1
GoliatJ1 and mnlTiagc to Saul's daughter.
D.,dd j,;; pl.,ying hi,;;lyre and minding sheep.
Bo1h h~urn h,1\l· h.,loes, which lend an air of
11,!,I, till' ,.,rrcd to the cvcn1. The scene i.s very rarely
il\u,;;1ra1rclin E,1rly ByLantinc an. In the plate that
,how!> D.ivid !>1,t)~nga hear (c.11.32), David tells
S,rnl th,11 h1· will lw :1blc-to kill Goliath,just as he
h., ...killl·cl lion,;; ,lllcl he.irs as a shepherd. Both
clt•t'fl,;,11-erq)rc~cnted on the David plates, this
om· r..howing him mastering the bear. David grabs
thl· fur hl't\\C('n the .1nirn.ll',;; e.1r., thn.ist.s his knee
into ih b.ick .md prep.arc, 10 bludgeon it with
a t,1pned, hom-,;;h.,pcd weapon. Int.he plate
dcpic1ing the ~ l.1rri.1gc of O;1\1d and l\lichal
c.at.31 ,, D.l\~d is rewarded for killing Goliath with
a dowry (in h.1~ and the basket below) and ,\11th
marriage 10. aul';; ,;;ccond daughter; the couple
'join lhcir rig-ht hand~' ,1ccordi11g to Byzantine
,...cdding ceremonial. Between them and aJso
haloed i,;;Saul on a foots1ool and in imperial dress.
Two nu1c player. .,re on each side and 1hc
marriage takes pl~tce beneath a colonnaded
fac;aclc.
The group of nine ,;;ilvcr plates arc a striking
example of t.hc continu.1tion or revival - of
ClassicaJ naturalistic traditions. But the subject-
matter i,;;of course openly Christian and not
pag-..1nlike 1he models for L11i.s.style. Each plate
has a low ring base and is executed in low rc)jc[
Before the craftsman got to work, each plate was
hallmarked in Constantinople witl-1four or five
control stamps, whi h indicate that they were
produced as a set. during the reign ofHera.klcios
.... -J w
1,0,
5,t
(610-41).
,~ in. ........Yorl 1979, p ...;;;
TI1c mystery surrounding these plates i.s how
they came to Cyprus, where it is assumed tlmt
tl1cy were hidden for .safekeeping ch1ring some
historical crisis (Arab raids?). Their qualily and
subjcct-m.mcr have led lo tJ1c interpretation that
the story of David in some way symbolises the
reign of Hcrakleios and that this emperor sent
them as a present to an imperial official on the
island for use and displny in his home. Rather
t.l1an t.rying to Jjnk each plate wit.11some episode
in the life oftl1e emperor, Leader-Newby (2004)
instead secs the David story as an allegory of the
gi-owt.11to maturity oft.he ideal monarch David
(the best model for emperors to folJow, according
to Byzantine rhetoric and writings). ln othcr-
word.s, the cycle of plates belongs to tJ1e same
t.radition as Homer's 04Yss9, in which is narrated
the growing to manhood of Telemachus, son of
Odysseus. J\ Byzantine education ensured that
Clitc consumers of high art such as these plates
knew their 1-lomcr as well as their Bible.

384- CATALOGUE Ef\'TRrns 24 27

 33
ilvcr plate ,,ith goatherd, two goats and n clog
Cons1a.nunoplc:,,530 f?
h;ucd and mcoot s:il\'tt, d1:unr1cr 23 8 cm,
d1_;unt•1t'r
offootnng 9 nn
Swcll~\l..wn,\ll'n~'""..,•717
no..,._,..._,.,,luw,,d • •lw-•~ oOJ.,.,.,.,.,_"11.L.lflJ. lnd, ,...~'"".,,
t~. ,.,,h ho'O o,un•-rbt., Imm 1hr onffl'h '""WI ~,vi "-Ill' '-•.,.•• ,.--t.
1,ucnon,1uo;tr• IM11l1')l~pp179 lo.pl•u
\lr'r1rn1N11111kll.on1l11ntl'IM,ppf8 9\ /~~"
r,1,i, u'\ /..w.L-.11 1-tn-,""byl'Jo0.1.p1r,,hii141./~lrwJ..o1•""-"''-
rPY' I.IMIWl~/.-Jr.Mya:iootlll
Thi pla1c shows a pas1oral scene, with the
goath rel deep in con1cmplarionofnmurc wi1hin
n fertile lands ape. uch scenes .lrc found in
Antiquity in the wall paintings of Pompeii and
other ampanian silcs, such as P.1ri.samong
the flocks on ~louilt Ida no,, m the :\lusro
Archcologico 'azionaJc, Naples). The theme ilii
found m Greek and Roman pocll) and continues
ullo Christian literature, such as these ,-en-a in a
homil) of the fourth-century Father Grego') of
Nazianzos:
Tonntruc:tl b) profound grx:f.)'CStmb) l '1.11.Qdl\
Alone:m II sh.11d}gro\'c:,"1Lhdr.1wnfrom ;ill hum3.n rompan)
It plc:-asnme:10 hc:a.1
m) ,,·u.rincssofsp1n1 in !has""-'),
Making qu1r1con,TNtion "ith ffl) wttping hc:Mt.
This son of literal)' continuity from Antiquity
into Byznmium is reminiscent of the use in an of
1hc image of1hc Good hcphcrd 10 C\'okc
On the base there arc five control stamps
from the time of Justinian I (527-65). One of these
includ~ a monogram which can be read as
nETPOY. TI,is man was probably Lhc state official
in onstanunople who had a supervisory role over
the useof silver, the so-calledcomessont1111m
la'K'homnn.These officials used Lhe fi"e stamps 10
authenticate the quality of the silver and pcrhap
10 signif)· Lha1Lhc necessary recs had been paid by
the producer. TI,cy held office for only a shon
period, some two or three y~. The form of the
monogram suit:.sa date early in the reign of
Justinian and it may belong to 530-32.
Vl!.R.AZAl.USUVA
34
Chalice ,-,ti, four Apostles and Lhe Cross
)Tl..l.,("075
Ch.ucd 11\"c:r \\1ll1tr.Kn of p.11rualgikLng, hci'tfu 16.8cm;
tb.unrtcr of cup •·I an. dwnc:tc:roffoot 9 5 an
n.,\\ n"'1 \I . a..-,.,lfflo yt.,6
,.,,,u ....
.,,, ....-,"11111~TI1.l,i" 10,pwdw.ard~
II- -t Jinn .t,, 11)1\.~ ..,.....,.11,-.-,
~byllmr,\\.-n,n.i-..,._ ,..,_~•dw\\Mff'IAn
(, .... ,., -\\8ni\n\l--, l'IJI
Hlll""TUIUflU,~U Dwh11,;,J'fa.p.1D7,pltn,;m,. '""
~~~.:;;:r~~~,~•1~:i11~
'l; t.~,•::~
....
IA-Dtnvr11,i1.n,l)b
1.-tif~.RUK,1-ol~col.•s,I
f 0.. UrM•W'!\fhuhm, llbcm 1'1')1.pp510 11
Hidden during t.he last B}'"Lamincwar \\~th
Pe~i:i (Effcnberger 19911 p.264), t.his chalice was
u11e;.111hcd
together with 24 other silver objecu
malumore 1986, p.25) and perhaps come from
an C\'Cn larger hoard. hs urface is noticeably
\\Om b)· use. AlJ associated pieces seem made for
a chur h: 1110,;tc.11n Grcl'k clccl1r.1t<11,
iiv.,niptiom. The one here 1e.uk 'Pt,1H1 ol
Pcl.u;io-..!.::ono~ B.,...,,i.,no,;.
S.1uL·clH',wl ol
.111uSergio, in 1he dll.,~\:'ofK.11x·r Km.mu.'
lnc,pcnh "ritten with ,1 poinh·cl 1m11tllllt.'111,
llm tc:-..tmmt h,\\X' been .,dell-cl,1lll'r 111,111ul.1uuu·
rr.... Kapc1 K.01,1011 i, proh.1l>h p1L''l'IIHl,1) K111i11
tj>./..,_.U,."~ ) 1ia, ,o the ch,1lirc h,t\'t.' lwt·n p1och1, t.·cl111
Ill.I)
J~,n,li,001
1ht.•nt.•,u-llycit, of ,\ntioLh. 11likt.·111,lll) E,11I)
Bp.1111inr prt·ciou~ ,i:s~d,;, tht• piece elm·, not
r,IIT) go,·ernmc111-eo111rol~tamp~ th.11gu,u-;:mtt·t.·
the pulit) ofi1~ 111c1.il.Still, the sil\'cr invt',tt·cl in it
rould h:l\'c bought a camel m the timL' (!'lluncldl
:,..tango 199:.1,
p.133). The donor Pclagim \\,IS
prol>.tbl) related to se,·cral per:-ons named on
other objects from the hoard. His h)1)0the1i al
g.;.·nea.logy~uggests he li\'ed shortly afier 550
(Effcnbcrger 1991, p.277).
This is one of the few pieces from Kaper
Kor.ion to include figural decoration. Typically
of Early Byzantine religious art 1 laguirc 1996,
pp.100- , the saints depicted arc unnamed.
11,rcc hold books tliat generally identify them as
Apostles, while the fourth appears to be l Peter
(LCI, "ol.8, cols 161-2). Contemporary ha/ices
(Elbem 2004) and censers (Piguet-Panayotova
19980) have Christ's image centrally placed on
hri l, one side and the Virgin's on the Olhcr. Herc, the
aviour is ymbolically represented by two crosses
(sec R.BK, vol.5, cols 30 1). 'Instead of Lhe person
or our Lord, (the holy Church] places the Cross
and the Gospel on the altar', explains a seventh-
century yriac text (Brock 2003,
0£01l01 It PAAPULOV
35
The Emcsus Vase
Co111101nunople or yria (?),end ofd1c sixlh century
ilvcr, ,.5 • 27 cm
MWC'du 1..oum,, 1'.,.ns.
Dtparuncnt oCGm:l, F.1rw,:.,n and Romiin AnllljuttiD,
llj1895
... on.H,\."U. H-•l'ormmyr..n.c-).Syn&.G1Aol'J
l&Ucno
l'f)
Uf'llL'<CU
2» 6, Mrup
pl.p 1,9
ilbon de, \"'IZld'_. 18gt,
19'6. ,..,... 1992,no 62, p 115,Romr ,oooc, no 1♦, p ,-9,
The Emcsus ase is made from a sheel of
hammered silver and is unusual because of it:.s
size: it is the largest-known example of a precious
metal container from prc-iconodastic Byzantium.
Its decoration uses the technique J...-nownru
l .. f.:: UM--, repou C; the detail , however, have been
l"arw.t-l'}JI,
engraved or incised on the c:<tcrior face of the
Yari.19?9,IIG)Jl, metal. The base of the neck and the foot arc
accentuated by a strapwork design, whi h is
r.Oll\Unand
repeated above and below the band of de oration
tha1 encircles 1.hecentral bulge of the vase.
Eig/11half-lcngtl1 figures, lightly embossed in
the same shce1 of silver, occupy eight medallions
placed at reguJar intervaJs, and arc separated by a
Cla ical motif consisting of a horn emerging from
a clump of acanthus and framed by leaves which
form volutes. Christ, bearded and "~th long hair,
hold, thl' Gmpd, ,md h." lw. h,111cl1,1i,t.•cliu
hlt·,,in~.Ilu· ,\pmtln Pl 1l·1,111clP,1111
0
,t,mcl be itl
l:u.,· 1tn,,11d, hiin. Thee
1h11·,·-c111,111t·r
l11111,_n1111t·cl
\'i1gi11 i\l,11"'\,,t·1lt.'cl, ,,. 1,l.11,•cl')llllll<'l11<,III)
oppo,11,·.11,mkt.'clh) l\\O ,11t h,111gd,. ·1 he 1,,0 la.\l
fi~u11•1,
h,l\C l.x.·t·n1dcntif1l"d.i,John tlw Baptist,
111
tht· oldn m,m. and.John thl' E, ,111~dic;t,holdmg
thl' Go-.1wk Although thi, d,·,1,i.;:11ofhu,;;1, placed
fo1m ,t Iiit.'tl' i-, found quite
111 11wd,1llio11,to
frl'qucn1ly on litu1git,1l obj<'O'i of thi, peiiocl, such
as d1aliccs, rcliquaric, ,mcl rcmrr,, tlw stylistic
trl'atmcnt of the busts 011 the E111csusVast· ii;;of
rrm:11kable quality and d1,;;pl,1)\ ,m undeniable
ly notc,\orthy i.s
m,1stcry of tccl1nique. l>c1rti<'ul,11
the individualisation of rac h fi!-,'1.•rc
and the subtle
ha11clling of facial cxprcss,ion;;
The function and originc; of1his exceptional
piece remain an enigma, ho,,cvcr. The smalJncss
of the pouring spout, which 1,;;completely out
of proportion with the \i£e of the vase, the
hypothetical presence ofa handle, of,,hich
nothing but a few traces on the neck remain,
and the vase's unusually largr dimensions - and
thus its weight - make any functional use unlikely.
Rather than a liturgical vase intended to contain
Eucharistic wine, perhaps the object should be
seen as a luxurious gifi donated by one of the
faithful to a church in the contexl of the creation
of a treasury. Nc\'erthelcss, the absence of an
ins ription that would usually commemorate such
a generous gifi is surprising, as is the lack ofa
~tamp or hallmark, which makes manufocture
46). in an imperial workshop unlikely.
ctc1u: OIROIRI
Censer
Coni1.11111inoplc:,
6o2-10
Silver, dinmctcr 10.9 cm
Tht1 rmtcn ol'lhc BritlJ1Muoc:um, London, 18')904a1,
raoVT.NAxcc lam~ C)'flN'
A Dur,chc-llo,1"91 1tu:arui unu.x,u DMlon1901,nom, Dodd 1961,nos,s.Athtm196,t,
!Wt.mo«- 19'(,, no ....
M,.,
no 491,St)bnou and&yli.anou 1969,p 61; Lnndon 19n, no 176, New Yorl 1979,
This hexagonal censer, once suspended by three
chains now lost, rests on a foot-ring \\~thin which
are five imperial control stamps of the Emperor
Phoka.s (602-10). The censer i dccora1ed on iu
six sides wilh busi portraiu of Christ, flanked by
those of t Peter and t Paul, and of the Virgin,
flanked by 1hosc of Stjohn 1he Evangclisl and
tjamcs. On other objcct:.s, the Virgin is ofien
nanked by archangels. A series of busts in
meclaJlions or single figures standing under
ar ades arc more common as decoration on
L..1lcAntique religious silver than nnrrative
ompositions.
Censers were used to perfume bot.h cult and
secular seuings. \ Vhile most 8),zanLinc censers
(botl1 Slanding and suspended) are made or
bronze, an interesting sclies in silver swvivcs
in botl1 round and polygonal form . The Iauer
37
Silver pyxis with Christ, the Virgin
and Archangd11
E..u,cm '.\led11err.mt',111!',)n,1, 1·..ul) U)1.tnlmc: J)t'ruxl,
~L,i:th <C"\'Cllth ( C'lllll,Y
S1her \,1th gild111g,7 • 9 cm
\ll.-c:Uffl ,,I I ,nr \n.1 (k.,100 ( ,1h ul ~•n•r~
ofjolmJ lifmn,mn.Jr,~m.orv,olCl.."o{.U
llUCTIU a1rtu~• I} llu,m,1, JUflO, \lu"hr,
IL<l-1.
~n,l KoiMlokuo""-'" p ,)l
This smaU spll<'rical vessel (pyxis) was made by
hammering a thm shert of sil,er in10 the desired
fonn and the11polishing while spinning on a
\,heel. a standard technique of Syrian silversmiths.
Four standing figures in relief, each acccn1cd \\ith
gilding, encircle the vessel. Flanking the Virgin
and Christ arc a pair of archangels dressed in
military costumes, in Lhc manner of court guards,
and each holding a staff and an orb marked by a
cross. Christ, long-haired and bearded, gestures in
blessing \\1th his right hand, while in his lefi he
holds the Holy Gospels. The Virgin, who is rarely
depicted on Early By£antinc silver, holds a disk-
like object \\~lh a cross in her hands, similar to
crossed disks found in sixth- and seventh-ccntul)'
paintings clecora1.ing hristian funerary chapels in
Egypt (fhomas 2000, fig.go). This unusual objecl
might symbolise the incarnation, referring to the
\irginal birth of hrist and renccting the growing
sta1us of~lary as tl1c ~lother of God.
The pyxis belongs in style and technique to
a group of silver containers produced in yria for
well-to-do hristians living in this prosperous and
stable region during the Early Byzantine period.
A lid, now lost, would have CO\'Crcd the vessel,
Protecting its sacred contents, either incense used
in tl1c liturgy or pcrhap a small piece of a saintly
relic. Such objects scived as votivcs, prayers made
in the form of precious gills to local churches and
monasleiics, entreating Christ and the Virgin to
act as intercessors between the donors and the
court of heaven. The C.'< avation of a similar
spherical silver reliquary at a silc in modem-day
Bulgaria •linchev 2003, cat.29, p.38) raises the
po,;;iuhihty1h,11pon,d>lr ( on1,1111f!" m,1cleb)
39
Syn,111cr,1fti;m('11f ,1rnrd ot.,1<
n·d rrl1cc;.1rro,i; 1hc
i\frcl11e.·rr,11u•,111. Amulr1
,,,,h '" """'111h,rn1m1
Cnld ,h.1m,1r1I '))tlll
11 II ,,,., \\,,.,.,,.,~Cuhu,r lh,...,111w.....t(hn,t1.111Mu..-um
\ll•r,., •~" 117\
..... ~.,,..,, 1,..,.,.1
t., llf,c<" \l,11,,,... lr•I,.,.
"' 1• 1111■ 111 ■1 .,, I• \ ••Ill'-'• 1•1\1.11 V7 I"' I. l1;1tI A1hrn, 1</f>.t.
M 1A8
I' 11-1 'f"" 1•ill: "'').I' <1 I,~ :Ah llw,.,.L1t1,l1 1711, ""1,t,, J• 19'), lt.Al(l,n,
''N""" ''l'rl p 111'"' '"'I t,c ., 1,~.. 11.. "l,''II'"'"' ( lullu. ""'IKnnun,ii:
Mccl.dlion \\Ith 1ht· Virg111,111<1 Cluld, 1h(' 1 ,111,,ty,
lht· /\dor,11ion ,11ultin· B,1pti,m ,111d,1 lir,1idrd rlw .,mukt 1,;in till' form of .1 -.mall disc, clcfint·d
rh.1in h) ,l thin, ,tightly r"l:c·rguc band. One face is
clc•cor,H<"CIwith., rdil'fcro,;;\, thl' unc\'en arn11oof
Comt.1111111111,lr,
J.111·
~1:ctl1
r1·111111")'
Cold, th,,ml"t<'rofnwd,11111111
7 1 tm \d11ch h,1vc·fl.11ing l'1tc". whill· the intcrsliccs arc
of ch,,m ii~ cm
d1.1mc-ter filled ,d1h inci,<·cl c;chcm.11ic aca111hus leaves. The
l»umlurt<'ln OaU \\.oJ,, 'C'•<flI)( .,,.,,.,,,,,... ( ~..a.,,.,.., a, 1•iJ~•" l•J d1\c i, ,urrounclt·d b) .1 gr.rnuk11t:cl border, at the
r•o•1~,.,,1 1,-,.,.1,...~, t.1,rnw C-n,N• l•t'-'• ~ .... r--.rr,l:"'".l, \...,.....
\\,l11r\irr,~,._.,1., l>.,m1...,1ot1(),.U 1t.....,.t1ti l,t,r~,ond(n(l,.,.t•• iop of\\ hich 1,;;at1~1clwd :-i \\ ide ring for hanging
\\.ul,,,,~,-111)( HI\)
HIICTl'OUn~,~tt, \ir ........ .1.,1,,,,.pp,;, 1111.pl• " .....it<.......... jf"j 1hr .amulet. On 1he otht·r face is a moun1
pp H t;. \m11h l').S p I, \ h 1•111p 17 \•,n,:, ... ,l;, 1,,,.., p xr, fie •r
\im~ MJ:¥J. p .,,i pl t, \lrp,,, I•(,'• pp 111 81 h~ i, 1(,,... l'r',7 ,.._. diameter 1.35cm,. clcfinl·cl by a ,cl) thin frame
\"'-h19,I.M1.A jl<,J ··•'l•ltorr1•,Y),p)f,I "1..,.,,..,.,,..,, s,.o.1111';
lltth,>tl, 1')b1 p yil lil(bt,.(,nc,_.1<,'11.pp nl + 11,,,,,hi..-., "Pl-P ,fA of lapis la7l1h, nm\ broken into small pieces. The
111»,A1t...m1•J!•I•"" l'l'J.p J/,<J 1t,,..1•i½,- f, pp 11 1,.n....,plo1JNm
u1• \ l>1unlunonO.W1'16J MIit p),,...........__........,.._,1,/,q
PPl'i ~'"'n +lrondoo.1.-,.; ..,iq,
f'P"'t- ....._,, i,r,q.....,18;
mount ob,iou,;;ly held a precious s1one or a
JIP}U I) K..,pp'91',, '-PPW )O.ftw}'l 'rul.1,,1..,.,<)f)~ppbt,.I>'}. cameo. a~ in wmc of tht.· kno,, n amulclS of the
\lrO('l"r!Qq,(lp',f>
samt' type sec pier 1987, nos 1, 2, 4, 5, 6, p.6, figs
The ob\'er,c of this medallion sho"s the \'irgin ia c, 2a h, 3, 4a b, 6a b; Baldini Lippolis 1999,
and Child enthroned bc1·\\cen ..i.ngcls,,,,th small p. 1+1, no.6b, 6b.5, '"th bibliography). In amule1-
representations of the N.1t1\1tyand the Adoration pcndants like thi~ one from the Kratcgos treasure,
I) And \l,UII'> Bc-hr,,lu 111
honour bcneath.Jus1 inside the braided frame, an lhe obverse h,L,;;a precious stone or cameo, while
\nunt, JOOj,.IOll~IOO
lO<'o'!.no JIJ,l>,S. Gr ....t>n.onn inscription reads X(PICllE O 0(EO)C MMQN I lhc reverse is clccoratccl with a cross.
BO1-101CONI IMIN (Christ, our God, help us). The
re\'ersc side narrates the Baptism of Christ.John
places his hand on Chris!' head, as the do, e of
the pirit descends and t\\0 angels approach ,-..ith
1owe/s. God's hand appears at the 1op, the iconic
counterpart to the inscription,+ OYrOC ECTIN Q A pair of gold eamn~
YEIOC MOY/ArAnlTOC EN Q EYll.OKI-ICA (This Conuanunoplc: 1> , 11x-lhor ~, cnll1 «mu')
is my bcloHd son 111 \\ hom I am \\ eU pleased; Cold. length 7 5 c-m
i\latthew 111, 17). In the water bclo,\, n,o e..xcited C.pna \I_,__ ,llou., ~to( \nt"t"•tin, In\ no J➔l'I
nou,....._-.c._ ~ K>T111,1;1 Dlou,o wcm,,t lttalUl'C.. 1902
male figures emerge from shells while a third llltc:-TUI UfllH 'I'°
.. n.lklrl IO)Ob. p 11,""" ]&, b. l"iocnrfn 1971.p »,
p&..ux-...-s
reclines with an urn and waves a recd in
amazement. These figures are personifications of To each plain gold loop are soldered four small
the lor and Lhe Dan (the two sources of the Jordan rings, each supporting a pendant consisting of a
Ri"er; Ross 1965, p.33) and tl1e ca, recalling a fine loop-i.n-loop chain tcnninaLing in a pearl.
verse in the Psalms that Christians associated ,,1th These earrings are part of 1.hcnvo Lambousa
the Baptism: 'The sea saw it, and Acd:Jordan was treasures found in 1902, which in all give a picnire
driven ba k' (PsaJm cx1v, 3). The theme of divine of a household of significant lwmry living outside
Constantinople in the sixth or early seventh
epiphany unites the two sides, God re\"ealiag
himself to the magi on the ob\'ersc, and to John centlll). It is very likely U1at the household was
the Baptist on Lhe reverse. an imperial appointment to the island and
trzygo" ki, \\ ho once owned this piece., fom1ed part of the aristocracy of Constantinople.
thought it was produced in the region of AJtcmatfrcly, lhe treasure might indicate the
Jerusalem, because the evcnt:.soccurred at possible emironment of lu.xury that a pr0\1ncial
pilgrimage si1cs in the Holy l.'Uld ( trz)'gO\,~ki family on a prosperous island could enjoy.
1915, p.96). Considering llte method of fabrication ,AVLOS 'L01.11LLVT'70S
- it was struck like a coin rather than cast - and
the Constantinopolitan origins of objcct:.s from the
same archaeological context, ~ larvin Ross 41
rcattributed it 10 the C..'lpital(Ross 1957). RoM went
Chain oma111c111and coin
on to relate the s1ylc to coins mimed by ~ laurice
Tibcrios (582 602} and even the hoicc of the Comi;i11unoplc (?), s1.-;;tl1
"-C\'Cnthcentury
Cold, lcngt.h'l9 cm
Baptism 10 the celebration of the baptism of
~l)Nt\llUnlm,:,,;-.~111oll\nuqw,a.,111, noJ 4JO
1'tauricc's son and heir apparent Thcodosios non_'""- .. CL ~(Kyn:tlY Dw.nat. .wnct llT....-C, l!)Cn
ULI..C'ILDU.n.u.,cu O.Jion19(16.fia1.~-...0Uand6'}~1g6,J.pso,
in 583 or 58~. fi&'91°w'ndr:.1911,p.S,1,plx..u,,-.u1
JOH~ IIANSO~
This gold chain is composed of loops connected to
CATALOGUE ENTRIE 37-41
each 01J1cr\\~th figure-of-eight-shaped
AL one end is a leaf-shaped finial, which \\ as
probably suspended from an omamrnt,
was not found. TI1e clasp on Lhc oLhcr end dot·'i
not belong to Lhe chain; it consists of a solidusof
Justin II and Tiberios n struck in Constantinople
in 578. This is another piece from the rich
Lambousa treasure, wl1ich was collected together
in a house in l""'·u11bousain the early sevrnth
cc111uryand subsequently (perhaps in 653 or 65.1)
buried for safekeeping; it was only recovered
in 1902.
l'A\'LOS rLou,u:.NTZOS
42
ilvcr plate with cross
Corut..-intmopk,613 Mg/30
S,h-u, di.uncccr36.8cm
(.),-.M-.i\ ,,..__1~o1~-
"°"'-"A._'IU. I~ (~,w- O..nu. tp
•1.u:no •nuucu OcdJ 1~1. l'IG,"4,flr,o.S')t.-...t~,.__
fl to.W.10
~lltis large, flat silver plate has a niello cross at
U1ecentre, surrounded by a floral wreath. Found
in 1902 air;pan of the second L'l.mbousa treasure,
it is anoU1cr piece that reveals U1crange of
maierials and luxury of this hidden rrcasurc.
·n,e study and dating of Byzantine silver
plates and their decoration was revolutionised in
Lhc course of the twentieth ccnmry, notably by the
studies of Leonid Matsulcvich in 1929 of the
holdings of the talc Hermitage ~tuscum, St
Petersburg, and by the systematic work of Erica
Cruikshank Dodd in London, "ho was greatly
helped in her ca"1iogue of silver stamps by the
presence in London in 1958of objects from Russia
for Ute exhibition of Byzantine art at the Vic1oria
and Alben Mu.scum Qtcr London doctorate was
finished in 1958 and published in 1961). This work
gave a chronology for Early Byzantine silver and
proved t.hat Lherc wa~ no gradual •decline' from
Classical s,ylcs and workmanship in the l\Udclle
Ages. On the contrary, some of the pieces \\hich
arc the most 'Classical' in style arc among the
latest produced. The sequence of date-stamped
silver comes to an end in the seventh century, but
Utis is for historical and not aesthetic reasons. The
Persian \Ya.rsof Hcraklc.ios (610 ·41) drained U1c
treasury and from 621 he was in such financi.."tl
difficulties 1ha1 he caJled in all the treasures from
every church in 1.hctapita.1 and mdtcd them down
to use for silver coiru to pay the army. After this
disruption U1cstamping system felJ into disuse,
even when churches could begin to replenish their
treasuries.
ot .ill By,.antinc silver plates a.re stamped,
.111du11st.1mpcdpieces can only now be dated by
style. 'TI1<™: that ,\ere st.unped wually had five
h.illmarks, giving the muncs of tl1e emperor and
imperial official a1 the treasury, among other
information. rnus
example is unusual in having al
linb. le,\Sl seven sl,Hlli>'i,some of,, hich .m.- \ t'I) "0111.
on t\\O 'l'f>.11,Ht·
17,i~ ,uggests that it\\,\~ M,11111><.·d
but 1hi,; occa,;,ions, pcrh.tp,;;bccau,;,c it"•" ,t·111h.u l to 1lw
"ork.,;hop for l"l'-,luthcn1ic,Hion. 110,:-.ihl)dut· tu
dt.m~c in owm·1,hip. ThC' ,q,1mp, ,ho" th.II it
belong;, in tlw rci~, of I kraklcio,;.
43
Silver plate\\ ith c11.1cifonnmonogram
Com1,1n1111oplc, bo;z 10
S,lv~r,d,.un~l('r 11 ;z <"Ill
c•n-\\114"1ffl, , ..--...1~11rnirn1d \nt"l""i,r,,,,,m, IIOJ 1n
nm,s,...._, l,aml,,-..... ...,,n-ni.a~nul,uJ"l
Ulltll.PUnu_,1.1.J l)odd 1<~11.noi,.p 1M,~Ul\nU;r,nd"i1~t..,n011 IQ(,q,
f' ♦1 .• ,,
11,is large silver plate has a cent.ml wreath of
leaves and a monogram in nicllo framed by Lwo
gilded bands. It is another piece from Lhe second
-J ,tSb L'l.mbousa treasure. Date stamps on the rrversc
~ date i1 10 tl1c reign or Phokas (602- 10). The
stamps include the name of Athanasios, who was
comu .sacrnrumlargilionumup to 605, when he was
killed by Phokas. This official, the Master or 1hc
acrcd Largesse, was in charge of the imperial
finances. He controlled all the minLS, and was
responsible for collecting taxes and customs duties,
and supervised state factories, trade and mines,
budgets for the civil service and the anny, and
supplied all uniforms. The title dates from the
sixth century and tenure of U1coffice was
(prudcnUy) kept short, to two or at most three
years. ~ntc system of silver stamps lapsed from the
middle of the seventh century, as also, apparently,
did the organisation of the treasury in this form.
One problem in interpreting silver with date
stamps from Constantinople is whether all such
plates were decorated there or whether the
stamped pieces were taken 10 workshops in 0U1cr
parts of the empire, such as the cit.ies of Asia
Minor, to be worked. Examinalion shows that in
this plate, as in others, the relief decoration was
carried out afier the stamps had been applied
(they arc in pan obliterated by Lhis dccorat.ion).
l'AVLOS 17LOUIU'.NT7.OS
44
ilvcr plate with cross
ComWltinoplc, 578 82
S11,cr wnh nidlo inlay, diameter 26.8 cm
Tlwlr-.iolUW'Bn1"'1/i.l111Clun,U'.IOOQn,111t),)~1
nio~,,.,..,.,
1~.Ctvn-
~~,-;.~nol~l('ln 1901, no.YJ1,Dodd 1g61,no.1ll. l.1J1Mlon1f117,
This plate, having a concave surface, is a /a,,x.
It has a rounded outer rim and stands on a low
foot-ring. Its enlral medallion, composed of
concentric gilded bands, encloses an ivy scroll
encircling a Latin cross, both inlaid with nicllo.
On Lhe reverse, inside the footring, arc five
impni,il t 0111ml ,1.1111p, ofTihl'I io, II Con'i, .
(57H B~). Thi, pl.lit' l(,i m,;; p,11t of lhl· 111,1tllHJ11e
11c•,L,111t·l(1uncl ,II tlu· c·11dof the· ninl·tccnLh )l>ru.5
.i t 1h,11al,o irn ludt·, ,1>0011,(< , 1,
c·1111111
1
• 101, 102)
.1~ t·mt'I (r,1t-:t6)and .i bowl (c,11.J'i).
rh.i-;_l) pl· of silvn pl.lit· \\ith a srn.tllceniral
~ ro,~ cl1fkrs from•~ chu1cl~ p.1tc·n,which h,ic;a Oat
11111er
~urfau·, slop111J.!
vc•111t·,al\,,dis and a huge
cng1,wcd central cru,,, usu,tlly ,unounded h
,ln eCTk,i.i,til,LI dt'clkatory in~ription
• llS Dllr
bclo11gs tu the l,Lrgt'!'lttatcgory of domestic silver
namely serving or dinner platt·, made in three '
genc;r.LI:.i1.c:.(l.1rgc, nwdium, as here, and :.mall)
The central orn<1mc11t 011 this type of plate vari~
,l!ld can be a monogram, a cru,s, a roscuc or ' at Kiti, Cyprus. The right IMncl of 1hr Vir~,in
other motil: The cros, moLif may be \ie"cd as a
Ch1istian clement introduced into th<' domestic
sphere where it is also seen on other objects of
everyday use (Engemann 1972). In its present
position, the cross can a.l~o be compared to the
owner's cruciform monogram, which, for
example, adorns other plates. crving plates
occur frequently in dornesti silver 1rcasurcs
within the empire and have often been found
singly outside it.
MAltLIA ,_IUNOEI.I. ~IANOO
4-5
Bowl wiLh ponrait of a saint
Tanus(?), 641-51
Silver, niello inlay, diame1cr 24.3 cm
l'hr T"°"tt1 ofUW: llniuh M,nwm, l..ondon, 1899 0~2,.2
l'aOYVIAHC&;l.:unl.ou.l,Cypnls
ff.UCTU> urt•MCU lhll<NI 1901. no sq8, Dodd 1961,rio 78,Voi,,Kh 19',1,
pfli9,Styt,.wx,uand&ytaoou 19b9,p61 1 London 1971,no IJl,&wVor~1979,
no.493, l.o.ldon 199+, no IJ
The bowl stands on a flaring foot and has an
upper horizontal rim ornamented in relief. Inside
the bowl is decorated with a half-lcngtl1 portrait
of a saint encircled by a nicllo-inlaid frieze of
overlapping circles between two wave pauerns.
Underneath the bowl, inside the foot-ring, arc five
imperial control s1amps ofCorutans ll (6.p 68),
apparently applied at Tarsus.
The nimbcd saint holds a croSl in his right
hand. He is beardless and 1,., tigh~y curled hair.
He wears a tunic and chlamys, tJ1c latter held
by a cross-bow fibula. Around hi.! neck is Lhc
maniakio'1,
Lhe torque of the palace guard. The
saint portrayed is oficn identified as ergios,
martyred with Bacchos in fourth-century Syria.
The bowl lacks any inscription cilhcr ident.ifying
Lhe saint or dedicating Lhc object itself to a
church. h has been suggested that the bowl recalls
Lhe story of two silver plates commissioned in
Alexandria by Eutropius. One, inscribed with his
own name, he offered to Lhc Church of St ~lcna.5,
The 0U1er, inscribed with the name of St J\,tcnas,
he was to use for meals al home until his death,
when it was to be presented to the same church.
In t.hc present case, the object has the ponrnit
rather U1an U1c name of a saint. As with U1esilver
pl,i1t· f111111d
~l•f\'illJ,,: ''"hii (1.11.! I)'.11_11·
1
llw 11111oclnc1u111of(
lf!)ff\l'll' .
u1101hr clonu·,IIC.-..phn1·.
1
"\Ml f\ \ll 'IH I I ~11\\,(.0
46
)tummy p,rnd \dth th«· portrait uf
~1·1
· ly
ll,11,,,r:1,r,r;7°
J.ut ,ill'•lu 011 111111p,1nel o(l11m•1111od,,10
Tt,r lf\l•!l'M',(tJ,, Hnt1•h \tu .. 11111.
l.,,1,,~"1. M7171l,
~.-.~:•,::;~:
,,to;
..::•:,•~:n\~,;:::.~,
7I 1.,,n,h, l<,'17,uo 17,Pl 1 ti
1<1•0'1,
I
II" If! II .l<OfJ,
1 scHnth .ind <"1gh1hcen1urics. One surviving
This is a poru.,it ofa woman living in Roman
Emvt and is nacurali'Jtic in St) le but that docs
not mean i1 must Ix· a 'realistic' likeness of a sillcr
rather 1h.111,1 convt.·111
ional portraic type. She
,,cars gold ball earrinb...,, ,l gold chain with a
pcnda,u crc~cnt and (originally) an ornamental
chain acros~ her hair .-t.11 jewellery familiar from
portraits of the third quarter ofli1c first century.
I fer face fills the panel and her eyes arc large
and rounded with arched eyebrows.
Traces of mummy wrappings at Ute arched
upper corners demonstrate that the panel was
designed 10 be inserted inco a mummy containing
her embalmed body. Thi'I is one of the earliest in
date of around 500 portraits excavated in pits at
cemeteries in Hawara (south-cast Fayum). They
represent the better-off among the Greek-speaking
men and \,omen who lived and died there, and
who adopted Egyptian funeral practices. 171c
panels arc painted, using either wa.x cncaustic
(as in this case) or egg tempera.
Such panels from Roman Egypt arc oficn
regarded as Ute source of the Byzantine icon, and
there arc clear connections in style between these
portraits and early icons (such as cats 47 1 313, 314).
But the evidence is that panel paintings of humans
and pagan gods were made all around the
Mediterranean, both for domestic and sacred
display, and that, in the wall paintings of the
houses of Pompeii, ponraiturc was included
among the imagery. The development of the icon
emcrg~ from the practices of Greco-Roman art
rather than simply the funerary practices or Egyp1
(lhe proouction or Fayum poriraits Slopped in tl1e
mad-th1rd Century). The evidence of icons from
th
c Monastery of St Catherine at Sinai is that
cncaustic continued in use until the eighth
ccmury, but was then aJmost entirely abandoned
(th e skills of cncausli painting were perhaps the
casualties of iconoclasm).
ROIIIN CORMACK
lm,,I
.l1n,11,111dt·mf•111,
hem \\llli Vir~111,111dCJuld Silk wi1h 1hc Annunri;11ion
l{, 111
.,. ••r <km,1,11111111,ple,
,1mund l111,
~)n,1 ),, , Huo
l',11111on rim.""',, t?r,, 111
'w-n;r "'I..111fl\(' rnlour., n l," c.n7 cm
ll,ul .. .,,1,-......_.
,,..,..,•t \1.,,,,, l'.,n,1,.,.., It,,._
;~:;;,:l~'.t~1•~:~:,.~:•;,~•.:t~•.:
..,~;;:,,~";~,~-;::'r""\• ""pl,
\ ,1...... , ............
no,~ .. "'' • '"""
\ ,1., '" ,, ... ""' "" tu,11
th~ I rr, .. uri u( 1hr \.11w::1.o tn tlr 1.cm:non,Rl'lnW°
"-'<v"tnf\1111
.,,r,nn11,,o•,~••• ,r.,\',.1\1•iA1.no1'),rf>ll1J 1 "-11:.tr.ou,r,,.,rf'lu
_..,.,i,f>I'
The iron i'i ., fr,1grnc11tuf wli,ll may origin,11ly
111•, 7,,.,, II(, C:nnmu
.1 \\oOll'l,111 'I hi,;;p1,·r1·of fabric, with a few others of 1he same
h,1vc hcen ,1 mo11umcn1,il1m,1geof 1tu· Virgin ,ind
Child, p<·rh.ips2,io 011 hi~h .,nd 85 on m widtl1. provenance, ,If<' all th,11 remain of1hc fabulous
,., 11 '2'2 ') rm gifL,;;in \ilk ,111clother luxury fabrics presented to
Examples or~uch ~1,rnclin~figure·" of the Virhrin
an· found in the R:-ihhul,1Go~pd'i (p,1in1rd in the churche~ of Rome by the series of popes who
{-'Ofll~Of~H"J'"J},
"C"UII)'
Syria in 586) or 1hc ~rventh-c(·ntury mo"aic ap~ ,.,.<"rfborn 111 Lhe Ea,tcm Mcdi1crrnncan in Lhe
fragment hear;; 1hr ick·ntical composiLion twice,
is gilded, according to a devotional prarticC'
,IllAnnunciation bct\H'C'll rotn, ,;;upcrimposccl and
which is also found in sixth-crmury mOWo al
Joined hy knots, linked together by stylised plant
S1 Drmetrios at Thessaloniki and, slightly later,
clements. \Vith its companion piece, decorated
in Durrcs (Corrn,tck 19851 p.84), as well as in
with a 1 a11vity, it prohably con~titu1cd a single
Ute Haghiosoriti~~ icon from the Monastcrium
piece of clo1h1m;; thl'y were discovered with other
lcmpuli in Rome. As a .,,.ork from the city of
similar examples in the Treasury of the ancta
Rome when the capital of thC"'Roman Empire'
Sanctorum in the l...,1eran in 1905. At Lhe t.ime of
was Constantinople, it hardly makes ~en~ to
discovery, the fabric bearing the AnnunciaLion
establish whether this icon is 'Roman' or
was covering the in~idc of the silver casket, now
'Byzanlinc\ as it is perfectly aJigncd with the
also in the Musco Cristiano, and identified with
religiosity of its times. For lack of positive
U1ereliquary containing 1hc .imulalinid e.sl
comparisons, style cannot answer the quest.ion,
cnkiammliJDomininosln ftSt1 Clmsti mentioned in
even if at least the monumentality of this icon,
as well as of the earlier sixth-century .Madonna the sources (Giovanni Diacono, De «clesinSancti
from Santa Maria Antiqua (now in Santa lawmh, m pnlaho, in Lauer 1906, pp.28-9; sec
Grisar 1907, pp.136 3, 177 9).
Francc.~ca Romana), seems a specific character
The silks show the inJlucncc of Byzantium.
of the Roman images, unchaJlcngcd in
Seated on a richly jewelled throne, covered by a
Cons1antinoplc (but sec llrenk 2003).
pearl-encrusted cu5hion, J\lary is busy spinning
More ccnain is the function of this
the purple wool from which the veil of the Temple
monumental icon. It was made for worship
will be woven. The fabric decorated with the
in the newly converted Pantheon at Rome.
Annunciation and its t\vin \\11ththe ativity have
Previously a temple bui1t by Hadrian in honour
been the subjects or heated debate regarding the
'of all the gods', the Pantheon was reconsecrated
date and the stylistic area to which U1ey belong.
around 610 as a church dedicated to Ute •evcr-
Ale:candria or Syria. or Constantinople arc most
virgin Mary and all the martyrs'. This information
often proposed, with dates Ouctuating benvcen the
comes from the life or Pope Boniface IV (608- 15)
sL,cthand the ninU1 centuries. But historical and
in the liber Pontificali.s,
which records that he asked
stylistic considerations seem to lead Lhc place of
the Emperor Phokas (602-10) for tl1e 1emplc and
manufaccurc back to Syria: eviden e in the Li.bu
that the emperor presented many gifts to the new
l'onbfi,alurelating lo the papacy of Leo Ul (795-
churcl1 (Tu Bookefthe l'ontfffs[ubtr l'ontflicalu],
816) relates how Lhis pope presented a piece of
translaLed with an inLroduction by Raymond
cloth \vit.b identical characteristics to the Basilica
Davis, Liverpool, 1989, p.64). ~11,cconversion
of ant'Apollinare in Classc in Ravenna: habmlbn
or the Pantheon is also recorded by Bede: 'After
ut malw crucmi de chnsodnhocum orbiculisll rotassiricas
Boniface had expelled every abomination from it,
Jat Natok Domini no.stri
hobentu .JlotUJ Jld11u11holto,te
he made a church of it dedicated to the Holy
Mother of God and all the martyrs of Christ, so hsu Cluuh (libtr l'ontificn/is1955, 11, pp.31-2,
no.420). The years to which Ute testimony of the
that, when the multitudes of devils had been
driven out, it might serve as a shrine for a LOU Pontificalurelates arc the same as the years of
multitude of saints' (&c/,siaJMalHiswryefthe the foundation and first formation of the Lateran
Treasury, so it is likely that tltc fabrics were woven
Englishl't9f!k, Oxford, 1994, vol.2, p.4).
It is very likely Uiat the Christianisation of the at a similar date and the various fragments were
Pantheon was scaled by the presence of the i on, placed inside Lhc reliquaries in which they were
found at the same time.
while its origins may either point to an import
OUll)O COkNINI
from Constantinople (as a gifi from the emperor)
or to Rome. It dates therefore between 608 and
610 (though for a dale in 613 sec De Blaauw 1994).
YAL.kHTINO PA &

49
Gospel according lo St t1,1latthew,
folio 10v
Syria or ralesLinc,second hair of sixth crntur,•
Manl15Cripton parchment, 30 11 '25cm
~~LIU~~1'::~:::tx1~::hoo~.
;;~'7~
Hn.JtlJIO.U" Ornont 11)111,
lll&O'ff.ll Gnl.>ilr 1918, l'an, 19_-,A,
Ntw \'otl 1979, no 44~. l'"li l!)lp, no 97, p 14]. V•ton-.
The 4.3 folios known as the 'Codex Sinopcnsis'
were acquired in the town or inop on the shores
of the Black Sea by a French officer at the end of
the nineteenth century. They contain frngmcnLS
of St Matthew's Gospel wrillcn in gold ink on
purple parchment Five of the folios bear
miniature paimings at the bouom of the page;
lhcsc arc placed in the space allotted in the non-
illwtratcd pages to the las1 line of the text and the
lower edge of the page. They depict Herod's feast,
and four miracles ofJesus, including 1..hcfirst and
second miracle of the loaves and fishes, t.hc
healing of the rwo blind men of Jericho and
t.hc miracle of t.hc \\~t.hcrcd fig tree. Each scene is
framed by two clmractcrs from the Old Testament
unfurling a scroll in front of t.hcm. On each scroll
is inscribed t.he Old Testament text relating to the
episode represented.
There is no direct evidence that would
allow us to dme the execution of this luxurious
manuscript wit.h any ccnainty, or Loguess where
it wns made. It is possible ncvcnhel to suggest
comparisons with two other illustra1cd Greek
bibli al manuscripts e.xccutcd on purple
parchment, The pla ing of the miniature
paintings in a band across the whole width or t.hc
page rccalJs the presentation of the miniatures in
the Viennn Genesis. The emphatic representation
of biblical figures can also be found in the Code.,
purpurcus Rossanensi {the Gospels of St latthcw
and St Mark) in which most or the cw
Testament scenes [tre introduced by four figures
from the Old Testament placed at a lower level.
171c palaeographic characteristics of the Codex
inopcnsis nnd of the two manuscripts quoted
above suggest t.ha1 they en.me from the same
centre, in other words the same yrian or
Palestinian scriptorium in the second half
of the sixth century,
OIIKISTIAN I 01UT£L
50
Psalter "~t.h Chri t praying and wit.h the
Crucifixion and nn iconoclast, folio 67r
Co111uu1tlnoplr,
M>On:iner 843
PJrrhmrm, 21 ~ 17.5cm
MllKO"M,OIM 86n)Khlud ,'9"(1
1hr bf.tr lllltonul M,_1111"1.
II I.H nll lltrUl.11(.U 'iu11ki11• •mi r .. Y0tk lfl9}, ftO )I, !Ip 111 6
K.Ct...-11,pnj
This mauwicript, known as 1..hcKhJudov Psalter
after 1.hcname of the Russian scholar who
brought it from Mount Athos to Moscow in 1847,
contain, the psalms in the Septuagint version; in
390 CATALOOLIE ENTRIES 49
the margins of the pages it ha~ 209 111i11iaturn
on 159 folios. The text wns 01igi11ally w1iucn in
uncials (majusculc)\\~th 23 line~ to,\ page and
with liturgic:tl hcadin~that have bct.·11idc111ifil'cl
as co1Tcct for 1hc i-cniccs of St Sophi.t at
oo ,,
1900 Constantinople; by thr twdl1h cc11tu1)' most of thl'
pp 11.) 9 text Imel faded and was m·crwrittcn in 111i1111sculcs.
An immense a111ountof attention wns
given to the ilh.1s11~Hions,
which arc like a visual
commcnt;uy on the psnlms, sometimes literal,
someti1nes highly cvocntive. A number of the
illustr.uions allude directly to iconoclasm, and
since they refer to the triumph of1..hc iconophilcs,
t.hcy arc best dated to the years immediately aficr
843. :1rious suggest.ions have been made about
possible sponsors oft.his well-used manuscript,
most favoured candidates both being Pauiarchs
Constnntinople, Met.hodios (843-47) or Photios
(858-67 and 877-86). According to a note in the
manusc1ipt, it was on the island of Ch alee, near
Constantinople, in 164.8.
folios 66v and 67r give a prime example
of the principles foUowcd by the designer of the
book. On the lefi page, verse 18 (17) of Psalm
is highlighted with a blue marker:
LXVIII (LXIX)
'Hide not your face from your servant; for I am
in distress, make haste to answer me.' This is
interpreted as a reference to Christ, who is shown
(also with a marker) praying in the Garden of
Gethsemane before his arrest (the reference is
clinched with a label in Greek (on t.hc Passion of
the Lord). On the right page the text marker is to
verse 22 (21): 'They gave me gaU and vinegar.'
This is illustrated wit.h the Cn1cifixion and Christ.'s
persecutors (the inscription says, 1 1..heymixed
vinegar and ga1J').This image is then glossed with
a second one, 'Iconoclasts mixed water and lime
on his face'. The figure whitewashing an icon of
Christ is in the portrait type of the iconoclast
patriarch John Lhc Grammarian (837-43). The
moral i that iconoclnsts arc as evil ns those who
taunted Christ on the Cross, a piece of sL.rong
visual polemic.
Psalter with Cmcifixion 1 iconoclasts and
simoniac priests, folio 87u-88r
Monastery orStJohn Stoudios, Constantinople, 1066
Parchment, 2~.8 • 25,5 cm
1llf 8ntit.h Ubn.r), London, Md. l!W'l
U.UUTW autHJofCt'.J New York 1997, no"• pp 1)8 9 0 C.Ancknon);
U..lfiu200U
This book wit.h t.hc Psalms and Odes in the order
of tJ1c Septuagint., known as t.hc Theodore
has a colophon (fol. 208,) with detailed
infonnation about its product.ion. It was wriuen
by tJ1e scribe, the priest Theodore from Caesarca
at the order of the abbot ~lichael of the famous
Monastery or Stjohn Stoudios, and finished in
February 6574-(= 1066), Lowden (in Barber 2000)
52
~1:akrs.tl1c ~as; for 'l'l1cod1>rr 1,ei,ig also the nnis
1·
of tlm luxury hook with ,nr.nti •,
I ht· a1111
. . . ~ .> IU,tture5
and lavish 11-.cof g:old w.1~to promolc the
t11011a...w1y, il'-1fomou..; in111ophilc J\hbol
Theodore the Stuclitc (7;,9 R2fi) ,1ncl its present
abbot i\lichad too. Directly, or 1hrough a copy of
it, the clcsignn ofthc p~altcr knew the mininture5
~l'th~ ~l1lt1clov P~altcr (~at.50), :tnc\ oflcn aclnpi.,
11s1m111a1l1res,wlule adchng mnny more images
of monastic saint<, and implying through his
prominence tlrnt Theodore Lhc Studite was
the prime mover agains1 iconoclasm.
The opening on folio., 87u and 88r shows
its reuse of the visual commcnta1y found in the
Khluclov Psalter at Psalm 1.xv111
(Lx1x). On the
the len, verse 22 (21), 'They gave me gall for my food
of and for my thirst they gave me vinegar to drink' '
is illustrated with the Cnicifixion. The facing pa~c
has two iconoclasts in ac1ion as the mirror image.
The text is verse 26 (27): 'because they persecuted
him whom you have smi11en; and 1hcy have
added to the grief of my wounds'. Below this
polemical picture is another one of iconoclasts,
shown as sirnoniacs (open to b1ibe1)' and
corn1ption like Simon lvlagus in the Gospels).
Their !ext is verse 27 (28): 'Let them be blotted out
of the book of the living; let them 1101be enrolled
among the righteous.'
This imagery shows that even two centuries
afier the end of iconoclasm its trauma was recalled
for t.he monks of the Stoudios monastery as a case
where Orthodoxy had t.riumphed over heresy.
The twist in the story here is that monks are given
a major role in the stn1ggle, as is also 1he case in
t.he British Museum icon with the Triumph of
Orthodoxy (cat.57).
ROIJJN CORltACK
The Fiesch_i.Morgan staurothekc
Co1utaminoplc (?), early ninth century
CloisonnC enamel, silver, silver-gilt, gold, niello, 10.3 x 7.1cm
1.cntby chcMctropolit1111 of M, New Vork.Gifl olJ.Pinpon• Morpi.
MWC"um
1 Alhctu 1!J64.pp.s9i-,(}-LC.Rc.); w-i
~~~J~:~!?"1iy :)Nll1tlon, l'opc ln110ttn1 I\/ ~lnllillklo finchl,d.1'll,ll, r,-
member orhi1 rarnlly ..,ho brought h home rrom the:Cruudo, ~tlon,
111
~;~~~~=J~::.t:~~:~i:.r~~~ ;:,~ 1 1
1~ i'~1t1/tbchl~:~
or i:;:;l 10 tl,c r1mily In rroB, whc11till:c:.hun:hbecame ■ parbh chutth,
~~~Zi d1•:i1::C~:,;~
~~~)("!:~~~·:~~~ ~:~;ytrpo!M
P1l,1!)6-so1);pll <i
Motpn (1eeDalton l!)IIA, pp.G,-9, Wtllanuon 191:1,
~~";::• :!~c
1 11
! Oahon 19t:1A.\\~1111111110111!)13,
I)('
:~.,:~~~v!r,';;~•=~
:.;~k(r
:~~~:;;~~\71-iU~;,
no 18, pp t!) • M, 'S5 (0 Mktb);
EvanJ., 1lolcamb ■nJ I lllilmlln !!00 1, P S9,
Kkln,oo..,._
From t.he time of the Byzantine emperor
Herakleios (610-41) 1 the remains of what \\las
believed to be the True Cross were housed in
Psalter,
Constantinople. Pieces of the Cross were given a~
10
the most valuable of imperial gifts, often housed
elaborate box-like containers, such as this one.
1
Elaborately worked in cloisonnC enamel, the lid of
1..hcbox displays Christ on the Cross wearing th e
fuU-lengLh garment (colobion) found in early
►
. ,, ,cc:of the ( :, 111illxio11. Tu hi~ .,jd~-~fvlary and
1111
' g I , · I' 1 )1,uid 111 llwi1 fa( c· 111a gt'',ILll"l"
John t•,1c. •i '·"",· John
, • ,
xix, ~(i 7 1-, 111
•
...rnhcd around
of n1011111111g.. . ,
,. , Twcnty-,cVl'II bu'ih of varwd sa1111,
the (.1o~'i.
·1 J,c,1r Oil tl1e licl and ..ick,; nf 1lu- l1ox. o,~
'I I s. n: of tlu· lid four scene<, of the life of
dcrs1111,1
1111 . . ..
Christ the: i\nnunc1a110111 1_hcNauv11y, thc_
Crucifixion and the /\11ast;i<,1~ arc worked
nicllo. Thl' intaior of' the b~x h~uscs a cros~- .
shaped containt"f for the relic _with the re'.naaung
,;pare possibly meant to contam other relics.
The patlcrns 011 the base resemble a book co~1er,
possibly a refcrcnrc t.o tl_1cGosp I~ 1ha1 ~0111.tm
the story of ihe Cruc1f1x1on. The whole 1sa
tcst,UllCllt10 the promise of salvation through
Christ and his sacrifice.
The rcliqua1y 1s elate and place of origin have
been extensively debated. At one time tJ10ught
to be an early work from Jerusalem (summary by
11.E.Frazcr in l cw York 1979, pp.63,~-6), the
rcliquat)' is now elated 10 the early ninth century
and argued to be from Constantinople (Kartsonis
1g86, pp.94-125; Mathews in New York 1997,
p.74; Mietke in Hildesheim 1998, pp.4g-55, 155;
Evans, Holcomb and Hallman 2001, p.39; Klein
200,1,A, p. 104). The enamel work has been
recO!,'lliscdas unusual for Byzantium at this date
and thus possibly the work or a foreigner from the
West (Buckton 1982; Kartsonis 1986, pp. 1181 123;
Buckton 1988, pp.242-4). \Vhat is certain is that
the relic, 01;ginally t.he most important aspect of
the whole, must have come from Constantinople.
As seen in other examples, such as the tent.h-
cen1U1yVatican staurothcke and the later Morgan
triptych, Tnie Cross relics were usually provided
with containers in Constantinople even if these
were elaborated elsewhere (sec New York 1997,
no.35, pp.76-7 [A.Wey! Carr] and no.301,
pp.461-3 [W. Voclkle]).
11£Ll!.N C. 1!.VANS
53
Pectoral reliquary cross
Probably Co,umntinople, second half or ninth
or tenth century
Gold, nicllo, wood, total height 7s1.cm; outcnnost cross
4.2 x 3.2 cm; intemal cros., 4 113 cm; innennost cros.s
(the relic) 3,7112,7 cm
ti• Nb'~
1i ~~.::~ anti ~l~m,
IIUUIUlC UulJan.in i\cadcmyofSckncn,
1~
P•o~c,- l'lllb,ap,tal o(thc fiN Bulgaru.n kmJdom. K'\Tnth 10 nmth
~urr, rouod In 1973dunng acav,mono in the "nttm ICClorof,11 (Mn» wall,
lluerto atnlllll'IC.U Donch~•Pttli.o\, 1979, Romt ~.
This reliquary is composed or three crosses
inserted into one another. Two are golden and
one wooden witJ1 the relic mounted on it.
1Vliniature scenes executed in nieUo dccoralc
both golden crosses. The e.xternal cross bears
seven Christological scenes: front, above, the
Annunciation; lefi, the Nativity; right, the
Presentation in tJ1c Temple; below, the Baptismj
centre, the Tn111c;figuration;reverse, .tbovc, Christ The back of the cross shows the l\rlothcr
t.·111liro11l'C.I
within ;1 rncd,,llion supported by four of Goel full-length in an aui1ude of prayer and
<rngel,; liclow, the /\na,1,1c;is:over the horizonul surrounded by the bus1s of dirfercnt saints - John
arm, the A!\ccmion wi1h the Virgrn Mary and the thr Baptist (at the top), Peter (to the left), Andrew
'.'l(' twelve Aposllc,. The imcriptinnc: rr,1d: front, (to 1hc righ1) and Paul (bclow) 1 all identified by
above, 'Ave'; left, 'N;11ivity'. inscriptions,
The internal cross feature, the Crucifixion The b:'lckgrouncls against which the figures
111 and Lhc Holy Virgin: fron11 Chri,t on the cro~s, appc:tr arc translucent green, typical of the first
with the Virgin M:iry and Stjohn the Ev.-mgcli.,t ph.ise of Bylantinc cloisonnC enamelling - from
on each side, the t.ihlct with Chri~t•s monogram, the end of iconocl.1sm in 8.~3 10 nrouncl the middle
the sun and lhc moon. The cross rises above of the ten1..hcenrury. The figure.drawing and the
Golgotha with the skull of Aclnm. On 1hc reverse enamelling arc nOl very compc1cn1, possibly
can be seen the Virgin Nicopois 0lringer of suggesting mnnufacture early on in this period.
Victory), surrounded by the holy bishops within Enamel is coloured glnss: when hented to its
medallions: Stjohn Chrysostom, St Gregory mclting-poin1, glass bonds with metal to form a
the Theologian, St Nicholas and St Basil. The laminate. In cloisonnC enamelling, the composite
inscriptions read: front, Jesus Christ; below His surface of glass and gold strip is then finished by
shoulders - Herc is thy Son, Herc is thy Mother'; grinding and polishing.
below, 'Place of the Skull'; reverse, at both sides of Made to contain a relic, nlmost certainly
Virgin Mary, 'the Holy Mother of God'; vertical a sliver oft.he Tn1e Cross, the Beresford Hope
arm, above, 'Chrysostom'; below, 'Basil'; left, Cros.! would have been worn on n chain around
'Nicholas'. All the inscriptions are in Greek. the neck...
The relic itself, perhaps coming from Golgotha, DAVrD 8UCX.TON
lies below an opening in the innermost cross.
The Pliska reliquary seems to be a product
of a workshop in Constantinople. rt probably
came to Bulgaria as a royal gift after the
Group of Byzantine coins
conversion of the Bulgarians 10 Christianity in
~ &,rbtr lniuu1c of Fine Aru. &mungb.,m_ TI,r Hm,y lbrbtr Trut1
864. Two more masterpieces associated with the c.a«,.w,
same skilful handiwork arc known: the Ficschi- ,.._ov-..'""-•CL C..uS5-t,15,-3,5l-6 11ant1ss.1:s-2Hfonn11,mol1hc:1',
O.\Vlu1nnwCoDrmnn.C.D»,.2,»-t-s and»,.o'l rnrm p,a.not1hc, G ll11U1C1
Morgan staurotheke in the Met.ropoli1an Nluscum CoUrcuoa. Cal.1S-'l!)"'""' ~ o(1hc Dupo! Cotlttuon ofl'l\wologan C()lrll.
in New York (cat.52) and the silver cross of
Vicopisano (sec Biehl 1919-32).
KATYA ME.LAMRO
S./idusof Constantine I (303-37), R3095
~lint ofNicomcdia. 335
Gold, diameter 2.1 on
54 Obm-.scConsC1ntine l with diadem
&r:mc Victory on a shidd held by Geniw.
The Beresford Hope Cross VlCTORJACONSTANllNlAVG (die Victory ofComtantine,
Byzantium, second half or the ninth century Augusf\13); SMNC
Gold cloisonnt enamel mounted on sil\'t:rgilt,
8.7 X 5.8 X 1.8Cnl
\roeiONoand Albtn Mtae11m, London.~•986
55·2
n.OVVIA.~<:.._DcbNcc ~ Colkeuoa; Bcn::sbd Hope Colecuoft.bought
Follis of Constantine I (307-37), R3079
by lhc V,c,oru :ux1Alben M~ l.ondon, 1886
Stu.aCTr.0 Ul'la&l<CU labutr 1il47, pp~ 71. Koudu.o,, 1~ pp.1}6--J,
fip..-19-so(Gcmw, rdiuon); lh.lton 1911,p..)06. ROllfflbcrg 1922,pp..9 6- Mint or Constantinople, 330-35
R"I 1930, pp.7-t, 10,-4, Hadcnbtoch 1938,.pp.16-11; Edinhurgb 1~ -.18$ Bronze, diameter 1.9 cm
1'67, no..l. Camflbd19'). p.1.),,pls,
1.ondon1984,pp.i'l.f, 1'17,fig.gAU-L E. f~ London 199+ no.41 !D &.wa.l Obcrrs.t.·
helmeted rema.tc busL VRDS ROMA (City or Rome).
Rn:-cru:she--wotrsuckling Romulus and Remus; CON SE
The Beresford Hope Cross is a silver-gilt pectoral
cross, hinged to open, with a crucifonn gold
55.3
cloisonnC enamel plaque mounted on either face.
S.li,Jusof Consrans (337-50), R3434
The front depicts Christ crucified between
half-figures of the Mother of God and Stjohn the Mint orThcssaJoniki, 337-40
Cold, diamc(er 2.2 cm
Evangelist. Above these figures are the sun and a
0/nvru.• bust orConstaru. FLIVLCON STANS PFAVG
no.~ P.14!,
crescent moon, while below them is Adam's skull, (Flaviusjuliw Constans Augustus, the Pious. die Fortunate}
Raxm.· Victory ·with spear, trophy and palm branch.
signifying Golgotha. On either side or the sk"U!lis
an empty triangular setting; there is considerable VICTORIA DDNNAVGG: TES
damage to this hal[ of the cross. Clumsy Greek
55-4
inscriptions in gold strip set on edge in the enamel
represent the conventional nbbre,-iacion for
Follis o[Constantius II (337-61), R3338
Jesus Christ' and Chtist's words from the Cross:
Mint orTrier, 350-53
'Bcl1old your son!. .. Behold your mother!'
Copper, diameter 2.3 cm
Qohn x,x, 26-7). Obvtru: bust orConstantius □. ONCONSTANTIVSPFAVG
CATALOGUE ENTRIES 53-55.4- 39 1
Ranu.· X P(Ch1-Rho) ll;mktd by A and W. rmpcror. dunng fu1l1uom to rnnmd them ol thr tr.111~1c1111·
,11 ~1/\NUll1\Al£II 1\1,1111111,
l)l,poo·f\ll I l'I I I (\Vhit1ing 197'.{:C:rier-on 1982 ,,nd 199911: 1\11clro11ikm111(1328 41) s1ruck on the reverse
SALVSAVGNOSTRl:TRS hfi·)111lu.s1cl't DIUSTINIAN USSERUCIIRISTI <>ur I.on\ I), 11u 1110• ( ;<'org,111tdi2rn,f1Jpmvidrd onr 11fthC' 1110 ...1 of their gold l!)•prr/!)-m
powerful compositions
Jw,uni,m.!)(n,1111 nl Chmtl, ;u l'lld. A ,r,,,.,11. CONOP ,\ii/trimt1fH.0111.1110" I l ,ck.1pt·11m(<rw ·!1),
pmvnfol ln('di,1 through whi<h 11npcri,LI ,md nfChri,t in 1he company of1he emperor (cats
('(H'lll))t'l"()I' VII
\\ill\ C:011\t,1111i11l'
55.5 rdigi111,.. iclt·uloJ,,yn·arhecl individ11,d11wi1l1in,incl 55.25 26). It i11on the obverse of the four1ccnth-
Poq>h) 1ogt·n1u·tm (...ok rull' 9·15 ;,g), n,iB 0111,ide!he hordtT11,,f IIH'tmpirr through
12 .rncl fiOccnth-ct·ntury silver btistllAa,stavrataand
S.lidUJofValentinian II (375-92), LR155
:-.lmt ol ( :rn,,1.1111mnplt•,l).!I '\I rn·tworb of tr,1de, pilgri1n,1ge, war .and their clcnominatiom 1ha1 Chri..;t makes his
Mint of Constantinople, 383 88 c:nld, th,,mt'lt'I .l till
i11tl·rm,m-i.tgcwith Wr11l<Tr1 and E,tlitcrn roy,11 l,t<.;lappr,11·,1nrc (cats 55.28-29). T'he style
Gold, diameter 2 cm ~11111 ofCnn,1,uu111oplc ()/,1'f1•t (:hn,t ,11th trm1loi:m 1i11nh1", ~,·.itt•driii lyrc-hackrtl
Obr:nst.·bust ofValentmian 11.DNVALENTINI ANVSPFAVG C:olcl,('1,1111i-trrl nH 11 f.11nili(',(London 2006A). ( :on111,111tinr thr Grr,11 i, cli-.1inctivcly \•\l('stt·rn .and quit(• crude in
~~~~~l~~;1~~ ~~1~r~~~;'iEi'~t1tl l1old111g tlu• C:o~pd-ho0k,
&mJc personification ofCorutanunoplc CONCORD! Oh«nt· h11,1of\.h11'1,, ro.,, l>clnml 111
,1d, n~l11l1,,11d1,tN•d 111 1 widely adwrtiscd the foundation r,f c-omp,tri-.on 10 c:1rlicr issues, reflecting the artistic
AAVCCCE:CONOB kfi holdmg 1h1·c;,."1x·l-houk DNIHSCI ISREX
bl,...,.,1111;;, Rn'f11f bml~ol Rorn,mm I to kl't ,md Chn~1ophl'r 10 right Cons!antinople by making ironographical rcfrrcnrcs of B)r,rnn1im·dic-t·ngravcrs and the
REGNAITTIUM h.tl no" lw1\\rt·11 111cm
hold111~p.1111,11·1 '
Rl'l'rrft.; Ju~llman II to lrll .md mf.mt ..on T1lxnos 10 1ight, ROMAN'ETXPISTOFO' A LIGGL'(Roma 110._ and rcfcrcnccs on hi, coim to 11,clegcnd:uy huildin~ clwincllin~ rc,ourccs of the sh nm ken By,, ..an1ine
55.6 IM'1,,«n thrm ,m..._,potent on h,"l' .ind I\\O \trps. ( :hmtoplwr, 1\111-,•u,toi) of Rome hy Romulus in the eighth ccntwy nc. Empire.
DNIUSTINIA USITTTIOERIUSPPA (Our I.A1rd,.Jmu111an
S.lidUJof Anastasio, I (491 5 18), n6 Coins from the fourth 10 the sixLh century ,truck Divine endorsement and heavenly protection
and T1l>t'rio.~,Au,gu:-.toil 55•2 5
t>.lint ofConstantmopte
55-19 iljprim•rollof~licl1.1d VIII l'ah,iologos (1259-82),
in ConstanLinople continued to convty thi, of the empire were projected on 13yzamine coins
Gold, diameter 2 cm
message by depicting traditional symbol, of al,o through the display of the ,\/amu De, (Hanel
Olromt.·bust of Anastas.ios I. DNANASTA SIVSPERPAVC
55-13 Solidusof Constantine VI I Poivhyrogennetos (sole uG151 Rome. The she-wolf suckling the twin-. (ca1.55.2) of God) crnwning the emperors, and lhc Virgin,
Rrotru:VictOI') with long,JC\\cllcdcross.VICl'ORI rule 915 59), u,i.855A M11ltofCou,1,1111mopk,i.:61 81
S.lid1,sof Leo IV (775 80), u.1584 and female personifications of Comtantinople saints and angelic powers accompanying them
AAVCCCl:CONOB Gold, d1,um·tcr 2 I rm _ .
t>.lint ofCon~tan1111opk, 945 modelled on similar Roman types (cats 55.5, 55.8) (caL11 55.20 6). The Virgin ~ lary w.1s firs1 shown
Mmt orConstaminoplc:, n6 78 nftht· V,rh'lll Or.ms, within 1h1·\\,lll~ of
0/Ju,tt h,ilffi1-,<tll'C
Gold, diameter 2 i-m
Gold, diamt'ter 2 cm Con\1.u1unopk M 0 bear witness to continual aspirations of ,;ucccssive on the gold so/1d1 of Leo VI (886 912) (cat.55. 17).
ObM"st.:bust ofChri~t with ,n.iciform nimbu~, hand raised in
55-7 ~: busrs ofLro IV to \c.fiand Comtantinc VI to right.
bk,sing, and holding: lhc Go~1>el-book.
Rn.nit Ard1,tni,:d i\hch.1d pn·~uu t>.lid1ad VIII, \\ho is rulers for their developing imperial capital (Buhl From the tenth century her image, praying,
Cross bctwttn tl1e:111, +IHSXPSREXREGNANTl'IM l..nl'dmg UCfon· E111hrm1t·dChri~t Xtn A/K: IC XC; AP/M
SolidUJ
of Justinian I (527 65), 0338 1995, pp.6 1-77). holding the infant Christ or blessing the cmpemr
LEONVSSESSONCONSTANTINOSONEO
(Leo and
RrvtTst:bust orConstallli11e VJJ, holding in right handglob1t.1
Cof\Slantine the Young) During the same period coins superbly mirror became widespread on Byzantine coins (Penna
~lint ofConnantinop1e, 5'15 65 mingn-top1x-d 1,y patri,1rcl1al eros.~. CONSTANT' AVT 'CRA
Gold, diameter 2.2 cm Rn:t:m: busts of Leo 111to lcfi and Cons1antinc V to righl.
'TR (Constantine, Emperor of the Romans)
55.26 the Christianisation of the empire by gradually 2000) (cats 55.20, 55.23 6). The Archangel
Olmmt.:bust of Jusunian I holding 1W>us
fflll1l""' and shield.
Cross bc1wttn them. LEONPAP'CONSTANTINOSPATHR
of Andronikos I I Palaiologos
/ f;·prrpyron substituting Christian for pagan imagery and Michael appears on the gold l9'/}U/!) 1ra (cat.55.24),

DNTVSTINI ANVSPPAVI (I.('() Grandfather and Constantine Father)

55.20 (1282 1328), n6189 messages. The Greco-Roman symbol of clectrum tracheaand copper lttnrtoa of Isaac LI
RII!mC angel holchng 1tobusmaga and Christogr.un-toppcd
,wT VICTORIAAVCCCS:CONOB ~11111
ofC011,ta11tinoplc, 1282 94
Nike/Victoria (Victory) was transformed into an (n85-95 and again 1203-0,~), renccting this
Histamcnon of John I (969 76), "4951·3 Gold, ch,u11ctcr2.3 cm angel (cais 55.1, 55.3, 55.6, 55.7, 55.9) and I.he cult emperor's devotion to his cult (Choniatcs, flistoria
S./,i/us of Irene (797-802), 114609 Mint of Constantinople ObtffJt l1.1lrfigurc oflhc Virgin Ornns, within the walls of ofSalus 1 which linked pubJjc welfare and I, p.442; Hendy 1999, p.368). After 1261, iVLichacl,
55.8 Gold, diameter 2.2 cm Constantinople.BM; • •
~lint ofConstantinople Ra:-tru.·J\ndronikos II prostrate before Christ, who blesses the
prosperity to the emperor's person (Marwood warrior patron saint of Lhe Palaiologoi, appears
S.Mus ofJustin II (565-78), n1132 Obvtne.·bust orChrist Pantokrator with cross nimbus, hand
Gold, diameter 2 cm
raised in blessing and lmlding Gospels. +IMSXISREXR emperor, and holds the Gospels. AN.6.P/NIKOC/1 JNXW/ 1988; \.Vinkler 1995)1 was effortlessly combined on frequently on their coins aJonc, blessing the
Obcmr bust oflrcne, holding.clobw-CTUC\(tTinright hand and I 1nO/( JCOn/AAE/ONT" (Andronikos Palaiologos, Despot
t>.lmt ofConstantmople EGNANTINM coins of the Constant.inian dynasty with the emperor or presenting him to Christ (ca1.55.25),
cross sceptrein lefi. EIRLNHBASIUSSH (Irene, Queen) 111 Christ); IC/XC
Gold, diameter 2 cm John I, holding globe, is blessed by lhe Virgin, and
Rr:vnse.·
lut;,m,..· as obverse. ·EIRINH BASILJSSH0 (Irene, Queen) Christian Chi-Rho (cat.55-4). The latter, together as a further reminder or the divine protection
Ob«rst.·bust of Justin II holding globe topped by Vactory crowned by ,Hanus/Xi(the I land or God).
and d11cld. DNIVSTI NVSPPAVI +0EOTOC'BOH8"JWc>ESP (Mother of Cod aid John ,.,rith the symbol of the Cross, first appeared on of the city of Constantinople and the empire
/la,mc St:atcd pcnonification of Constantinople, holdmg D"'1"'1) fourth-century coins, developing under Tiberios fl (Talbot 1993, pp.258 61). St George's image is
spear and 1,1.obus
rJJUVff·VICTORI AACCC.0.; CON OB 55·15 (578-82) into the cross potent on steps, a motif encountered mostly on Consrantinopolican coins,
Trachy of Andronikos U PaJaiologos (1282 1328),
S./,i/us of Michael ill (842-67), "4744 55.21 86210 that dominated the reverse of gold coins while that of St Dcmeuios, patron saint of
55.9 Mint of Constantinople, 842 43 (?) Mint orThe5Sa.loniki, 1282 94 throughout the seventh century (c..1.t.55.10).Until Thcssalonili (Connack 1989; Macrides 1990),
Gold, diameter 2.1 cm Histamenon of Basil II (976- 1025), n4969
S.6d1,sofPhokas (602-,0), n2423 Copper, diameter 2.1 cm the fifteenth century the cross, either on its own or on coins of this city in t.hc company of Lhc
Ob«ru.· bus1 of Theodora holding 1/obu.scru&iger in right hand Mint of Constantinople, 989 (?)-1001 OhMst: half-length figure or St Dcmetrios, holding sword and
and cross scqme in lcfL +SEO~ RA~ESPVNS (Theodora,
carried by the emperor, his associates or heavenly emperor (cat.55.23) or on his o, n (cat.55.27)
t>.lmt of Constantinople, 603 Gold, diameter 2.4 cm shield. OA/r; Mli/TPI (Sainl Dcmctrio:s)
Dapoina) Rn:-trse.·
powers 1 remained a very distinct clement of (Georg-.mtcli 200I; ~Iorrisson 2003) .
Gold, diameter 2.2 cm Obverst.·bust of Christ with cross nimbus, right hand raisedin Andronikos 11, holdingglobw topped by p:uriarchal
Obtvru: bl.Ht of Phokas holdmg fflll/1Pd
mrnuu, a cloth "'-a\'Cd Rmmt..·lhrce-quancr figures of Micl1aclm holding globus blessing, lcfi resting 011 the Gospel-book. cross, and ncur-<ie-lis-toppcd sccplrc. AN() KA/TIT/EA numismatic iconography across the spectrum of As for the imperial representation on coins,
mu;ip 10 lcfi and his sister Thekla to right, holding long
by the consuJ 10 sun games in circus, and a cross. ONFOCAE +IHSXISREXREGNANTl'IM (Andronikos Palaio1ogos, Despo1) metallic values and denominations. The face of Byzantine rulers continually claimed to be the
PERPAVC patriarchal cr<m. ·MlXAHLS0 ECLA(Michacl and Thella) Rmnst.· busu of Basil II to lcfi, and Constantine VIII co right,
Ra.vru.·angel holding Chris1ogram-toppcd long Jt1ff and pbtu
Christ appeared first on the gold solidi of Justinian sole legitimate rulers of the old Roman Empire
holding between them patriarchal cross cro.ulc1.
m-'1!'7".VICTORI AAVCCI; CONOB 55.28 II's first reign (685-95) as I.he 'Zeus-like' bearded (Angclov 2007} through appropriate iconography
55.16 +BASILCCONSTI\NTlBR (Basil and Constantine Emperors
and inscriptions. \Vith the exception of a short•
of the Romans)
of John
Stavra/011 VIII (1425 48), n6492 and long-haired Pantokrator (cat.55.11). During
55.10 S.lidus of Michael Ill (842-67), 04745 Justinian O's second reign (705- 11)Christ Lived explomtiou of portraiture under Phokas
55.22 ~~int orCorutaminoplc
appeared again on the obverse of gold solidi, this (602-10) (caL55.9), Leo VI (886-912) and
Mint of Constantinople, 8.t3 (?)-56 Silver, diamct<'r 2 •9 cm
S.6dus ofHcraklcios (610 41), n2881 Histamenon of Romanos IV (w68-71), u5423
Cold, diameter 2 cm ~u: bust orChrist with cross mmbu.s; pcllcu in outer time curly haired and shon bearded (cat.55.12). Constantine VU (sole rule 945-59) (cats 55.17,
Mm1 ofCorutanunoplc, 629-31 Obotnc bust of Christ with cros:sbehind head, raising hand in c1rde,ICXC
During iconoclasm emperors replaced the 55. 19), the majority of images arc sheer icons of
blessing ,md holding the Gospel-book. IHSYSX RISTO$ Mint of Constantinople Rtt'tTst.•bust ofJohn VIII.
Gold, chMncu:r 2.2 cm majesty with no reference lo the physical likeness
OcswChrisr.) Gold, diameter 2.7 cm bust of Christ with crosses and their ponraits.
Obomc bwu of Hcra.k.lcios and HerakJcios Constantine; small +l!06EnO.T.ICOnAAEOAOroo1 IXAP.ITJi.BAC
Rt:vm& buns or Mkhacl Ill to left, and TI1codora to right. Obwrst.·three brother, stand on cushions: Constantine QeA) Other members of the imperial family arc also of actual people. The u-aditional Roman profile
cross bct,~ccn.DDNNHERACUUSETHERACONSTPPAV I IPWMAIWN+ (DcspotJohn Palaiologos, EmpcroroftJic
+MIXAHLS8E OOORA (Michael and Theodora) and Andronikos (right) holdg/.obw '1UCW'and aJ.oJ.w and
(our Lords Mcrak.le10, and Hcraklcios Con.uantine, Augwtoij Rom,iru by the Grace orGod) shown (sons, faLhcrs and forefathers), the final and three-quarter bust was abandoned in 538/39
Michael Vll (ccnlrc), Jabarum and a/w.ia.K(l)N MX AN6
lltttn,: cross potent on base and 1hrcc steps. VICTORIA
Rnxrse.·Christ crowns Romanos IV to lcn and Eudokia to result being similar to family portraits (cat.55.13). under Justinian I (527-65) in favour of a facing
AVGU0; CONOB
55-17 righl, each earryingg/obus tnll"ll"· +P(l)MANS EV 6KnlM to Following the restoration of icons in l43 the one, wh.ile mo,·c complex compositions of
the Jen and righL; IC XC in field 'Zeus-like' type ofCluist was reintroduced on the emperors, their associates and heavenly powers
55· 11 Solidusof Leo VT (896-912), n4807 One eighth stavralollof Constantine XI (1448-53),
obverse of coins stmck by Empress Theodora on ~.ilicldlc and l-1.tc By-J;antinc coins advertised
Mint ofCorut.tntinople, 886-go8
4-2006
S.6du.sof Justinian II (first reign 685-95), n4381 (cat.55.16). From then onwards Christ standing, conl.inuity of the institution and the earthly and
Cold, diameter 1.9 cm
~hnt ofConst,uuinople, 1449 53 enthroned (cat.55. 18), in bust holding the Gospel- divine protection of the empire.John V (13,p-91)
Mmt or Con.swnunople, 6g2 95 Obttrsc liwt ofVirgm Orans +MARIA+ and MR 0ll Trachy of Manuel J Komnenos (1143-80)1 n5781 Silver, diameter 1.3 cm
Gold, dwncler 2 an (Mother of Cod) Ob~.u.: bust ofChrisL IC XC book (c.1.ts55.19-21), or crowning the imperial was the last emperor to issue gold coins, and the
0/Jttnc bw1 orChnst, ngln hand r.wcd in blalimg, Jen Rmtn.t· bu.\! ofl..co VI hoklmg globe surmounted by Mint ofThcssaJoniki silver sltwralor,(worth half an old gold Jv1pupyrot1)
NroaJe:busl ofConsiantine. XI KC couple (ca1.55.22}dominatt.·d the obverse of the
lookling~" Cmpcl-book. lflSCRJSTJ!REXREGNANTIUM patnmhal cro,s.LEONENCRISTOBASILE'ISROMEON Elcc1rum (alloy of gold and silver),diameter 3.3cm . .
(Leo, m Christ Empcroroflhe Rom:ms) Obonst.·the Virgin holds a medaJhon with tJ1e Christ Cluld
111 ~i(iddle Byzantine coins. Aficr 1261 .Michael VUI became, from the 1360s, the main high-value
Qesu.sChrist. Ruler of th~ who ruleJ _lna world without electronic and printed mcdiai
&u,u;. .i_-,.nchngli~rc ofJwu111an 11,holdmg crD:\.,po1e111on her lap. MP0V d (1259-82), Andr0tlikos II (1282- 1328) and currency for the last century of the empire's
RLmst,;standing figures of Manuel I to lcfi, holding oJ.aba,nn imagery and inscriptions on By;rnnt.ine oins
,tr-ps 111nght h.and, and aJ.iwa(sill. roll or dw1, held by
St Dcmcuios to right, holding between them a labarurn
CATALOGUE ENTRIES 55.24-55.29 393
 existence (Grierson 1999A,pp.50-1 1 200 1). The
last stavmtnand their denominations were struck
under t.he orders of Emperor Constantine XI
(1448-53) (Bendall 1991), days before the Fall of
Constantinople to the Ottomans on 29 ~lay 1453
(ca1.55.29). These silver coins, made from reused
church silver, represent payment for the few
\Vestem mercenaries who, together with
Byzantine soldiers, made Byzantium's last
stand on the walls of Constantinople.
The lives of princesses and empresses arc a
fascinaring pan of8yw.ntium's history, yet arc
rarely recorded in coinage (Garland 1999; Tobler
and Bmbaker 2ooo;James 2001; Herrin 2004).
Mothers and regents during their sons' minority,
daughters or wives, and only ve•)' rarely mling in
their own rigln, t.h c powerful ladies shown in
imperial robes, elaborate headdresses and
jewellery offer a rare gHmpsc of the splendour and
politics of the court. The depiction of Irene (797-
802) on the obverse and reverse of her gold solidi
(cat.55.14) proclaims her as sole ruler (&silisso,
the female Greek form of Emperor), a role that
she achieved by the blinding and mun:ler of
Constantine Vl, her own son and heir to the
throne. In 8,f3 the careful design of coins struck
during Theodora's regency announced bot.h the
arrangements made for her infant son ~lichael Ill
follo"fog the death of Emperor Thcophilos and
her role in t.he final restoration of icons (Grierson
1973, 1, pp.454-58). Theodora's prominenl
position on the obverse of~lichacl ill's firs, gold
solidiis coupled ";th her tide 'Dcspoina' (female
equivaJcnL of Lord or Emperor), while her
daughter Thekla appears also as co-ruler by being
shown wit.h ~•lichacl m on the reverse of the coins
(cac55.15). On the second series of~Iichacl ill's
gold soluiiTheodora is moved to t.he reverse,
leaving Lhe obverse to an image of Christ
(cat.55.16).
ln I.he clcvcmh century Empress Eudokia,
widow of Constantine X and regent for her sons,
advertised her marriage to Romanos IV Diogenes
(1068-71) and his elevation to the position of co-
emperor by rc,~ving the iconography of fifth-
cemu.ry marriage solidi.Her three sons and co-
emperors arc depicted on the obverse of Romanos
TV's gold J,Utamma,while t.he magnificem reverse
composition oft.he newly married couple bcing
crowned by Chris! legitimised the union and her
new husband's imperial power in the eyes of their
subjects (cat.55.22). llis last example encapsulaics
the dual function of Byzantine coins as legal
tender and miniature art, a medium with the
capacity 10 reach large and diverse audiences over
vast expanses of space and time.
£URY010£ S. 0£0ROA.VJ'£LI
394 CATALOCUE ENTRIES 56-57
Lives of saints wiLh St Euphcmi.1, folio 1-itt• 1-i·.u
Cnmun11nopl<', amu11cl 1111l)
Pardum,m, H i • 'l.,';nu
Jl,.. 8nu-.h l,hnu" ••'"'"'" \,t.l 11~;,,
ru,n" ,,u t1>1rmt •he-Rnu-h l,lr.u, htlwtt'II •llp ,ul(I 11\i\-" 1'-111
lhnlr1C .. >llr,.1'°"
011,no•tnH"' \\.i,ltt-1 "'""'
This book i!'>lhc firl)I (rmd 011\yknown volume)
ofa series of books \\ilh the li\'CSof1hc s.ti11tsin
the lt'Xt esrnblishc<l by )111COn 1\ktaphrastcs
1hc 1cnll1centt11)' and arr.mgcd in order of the
Church calcncl.u·. This has the saints for the
months of cptcmbcr (the Byzantine year began
on I eptcmbcr). The whole set would have
consisted of perhaps ten books if each volume
was as c....:tensi,·cas U1isone (273 folios). The name
given to such a tc.xt is a mcnologion. Such books
were vcl)' popular in the clevcnt.h and twclftl1
ccmurics, but of a thousand MetaphrasLi
menologia, only about fifty are illustrated and
only tCJlof t.hese contain cycles su h as this one.
It seems that L11eartist had access to other
illustrated versions, and this suggests its orbit of
production was Constantinople, perhaps even
connected with court patronage.
Each saint's life is iUustrated in the
ornamented headpieces at the beginning of t.hcir
lives, and painted on a gold ground. Among U1e
September saintsin this book are some who have
spcciaJ connections with the period of iconoclasm.
On folio 121r 1 for example, St Euphemia is shown
naked, her hands outstretched in prayer, being
bu.mt alive (she was martyred at Chalceclon in t.he
early fourth-century persecutions). Her relics were
moved to a cult church in Con tantinople, but 1..he
rdiquary was thrown into the Bosporos in anger
during iconoclasm. Her cult increased in
popularily after iconoclasm.
everal of the miniatures underline the
increase in 1..hecult of saints in Byzantium after
iconoclasm. On folio 6or is the event celebrated
annually on 6 September, the miracle at Chonai.
Archangel Michael prevents the devil from
0ooding the hut of die pious (and haloed) monk
Archippos at Chonae by diverting t.he river water.
The scene is framed by columns, which each have
the conceit of a marble knot half way up. This is
a feature found in church tcmplon columns at
this period, and so gives 1.hcimpression that the
miracle occurred in a sacred place.
ROBIN CORMACK
57
Icon with the Triumph ofOrtl10doxy
Conmmtmoplc(?),second hair of the fourteenth ccmury
Eggtt'mpcra on wood,39 • 31cm
lllC'TNHcnorlhrBntah :0.111:KVm,
London,IIIV1gM04r11
,.IIOVUI.Al<O&; lnapm,a.1rcolkct,on,S.,"fflCn,1n 19&1
Loadoo 199,4, no 140, pp 179 ·,o /R. Coml.lclr.);
11:UCTU) HRU.'ICU
~~998, p 9(1: Ne><York2004. no.78,pp 13-1:r.fA Wqi Can,;
~rlw.icon _i"l'lllitkd the T1iumph of 01thoclox,
111(,rl'ek 111rt'd lct11·" (11w...1ly now •ubbccl
thl· fig-tn'<·s\\tTt' ,,\.,o n.11111·d
in 1nl but tlw,;,;c
inscription, too ,11l' ,lhr,tded. This is the earliest
k11m~·11 t').,u111~l1·or 1_he:..ubjcct, but a later copy
of tlOC' of tlus ~ tu~1Iicon gl\'cs some more saints' names
(Chat,mlnk1s 1998). It represents the collapse of
iconoclasm. which was celebrated on 11
~•13(and ,mmmlly thnca~tcr 011 the first Sunday
111 ~nt), and th~ clcclarat1on by Church and State
in
that icons were mh:gral to the True Fait.h _
Orthodoxy. But it was painted several centuries
after Lhe event, and this time lag means that there
arc several layers of meaning (Kotoula 2oo6).
The composit.ion is focused on an icon within
the icon . the ~amous image of the Virgin Mary
Hodcgctna believed to be painted by St Luke
a story which emerged conveniently during
iconoclasm, and which was employed as clinching
evidence that icons were sanctioned in the faith.
The red veil (j,eplos)ha.s been unfurled and below
the icon is a podell,the clot.h that covers a holy
altar. This gives the display of the icon a liturgical
character in keeping "vith the character of the
festival of Orthodoxy in 1.hefourtecmh century.
Two ("~nged) guardians of the icon dressed in red
stand on each side. In t.hc upper register are 1.he
historical figures who ended iconoclasm, the
regent Empress Theodora and her infant son
Nlichael TITto the left, and Patriarch Methodios
and ot.her high clergy to the right; below is a
procession of famous iconophile champions,
some, like St Theodosia at U1e left, carrying
icons of hrist.
By the fourteenth century the Hodegeuia
icon was the most famous pilgrimage icon in
Constantinople, and councils in 13411 1347 and
1351 had updated the anicles of the True Faith
(written down in the iiJ11odiko11of Orthodoxy).
Several of the saints represented were the subject
of increasing veneration in Late Byzantium, such
as St Theodosia, whose festival day of 29 .May was
being celebrated ,vit.h a procession on the day the
Onomans entered Constantinople in 1453 - t.he
same day that they hacked to pieces the icon of
the Hodegetria.
The precise date and place of production is
still a matter of debate, but t.he Monastery of the
Hodegon, Constantinople, where t.he icon ,vas
kept, was a centre of artistic production at this
period (for example, the illuminated Akathistos
Hym11(Moscow, syn. Gr. 429]) and is a possible
provenance.
RODIN CORMACK
~ him'lcfffor hi,;:'Ion. It, stylt·, 1cono~raphy,
O J/\I (',OUt·J
0),
March
This icon of the Archangel Michael, together \\~th
a similar one also in the Treasury of St l\llark's,
\,as probably part of the booty brought back from
the Fourth Crusade in 1204; it is listed in the
invcntOI)' or 1325. Its dimension<; and the richness
' style, it must reflect a prominent painter or shop
or its decoration make it an extremely rare
sun~vi11gexample of Byzantine goldwork;
the embossed main figure is combined with
sumptuous cloisonnC enamel depicting an
idealised Paradise garden whose entrance is
guarded by the Archangel Nlichacl.
The enamelling of the hair on the archangel's
head is the single surviving example of this
technique applied to an em bossed clement, while
the cnom10us halo around the head demonslratcs
the boldness of this gificd artist's imagination.
The frame is decorated ,vith a carpet of
enamel work in which arc arranged, on tl1e upper
fascia, three circular medallions with St Peter,
Chris1 and St Menas; the saints on the lower edge
arc now lost. On the vertical edges four shield-
shaped enamels depict eight soldier saints,
protectors of the Christian forces, in pairs, each
identified by name: the two t Thcodores, St
Dcmetrios and St Nestor, St Prokopios and St
George, St Eustathios and St Mercuries. Recent
restoration has revealed Lhat during the 1834
restoration the archangel's large wings were
renewed; these arc now considered to be out
of proportion with the figure oft.he archangel.
Also during 1.hisrestoration the gems and precious
stones on the frame ,vere replaced with slivers
of coloured glass.
MAR.IA DA VILLA URBANI
59
Four Gospels, folio 19v
S«:ond quarter of the twelflh century, Consiantinoplc
Parchmcm,18.6 x 13.7cm. l-325 folios
Contents: Eu.sebios' lcucr 10 Carpianus (qr--6v), Four Gospels
2
( n--325r), with chapter lists to each Gospel, homiletic
cxccrpu, and verses on the Evangelists
!~~~:~Apo,tol,ca Vn.1,cana,Vaucan Ci1y, Cod. U.-bon r 1
:~ L~ ~u/~ by fcdc:ngo di Monicrctuu be(~ 14}t, cntc1ed 1hc
113 91, 9~ \~~~~:,;;~~ i',89lt llfl ~ 8, Siomajolo 1910.1'1'19 U, r1.g1
The portraits of John Il Komneno (1118-43) and
his son AJexios Komnenos (c.1122-42) show that
th is s111al1elegant Gospel-book was commissioned
1 notations (to help the reader to chant the words).
liy or ror the t·mperor,;:, poi;:i;:ihlyby.John
orn.unrnt and t oloun link it 10 ,1 grnup or ,11 1c.,..,
a doLcn illuminatnl hook.~which arc often c;dlcd
th<: Kokkinobaplu1-. group i;inrc it included
two copies of the Mari.111,;:rrmom ofJame,;:
Kokk.i11ob.tphos(sec:al~ rnt.'.!o,u. Several
manuscripts in the: group arc arb'UCd.t'I impcri.1I
productiom, but 1hi, manuscripl i, the only
one to have ruler portrnits. Its modest scale,
unprclcnt.ious content and t.raditional programme
of paired feast icons and Evangcli,;;Lportrait,
comrast with the big liturgical manuscripts
commissioned by earlier emperors, and thij has
led scholars 10 disparage t.he Komncnian coun
scriptorium. In fact, the Kokkinobaphos group
docs not represent. a scriptorium: united only in its
working on varied commissions wit.h differc111.
mas1cr scribes. This book presents the rulers less
as instigators t.han as consumers of contemporary
bibliophile fashion, which favoured the personal
New Testament devotional book, lu.xuriant
vinescroll omament and animal initials, genre
details and allegorical personifications.
The book was surely produced between about
1122and 1142,when both emperors were alive,
probably near t.he date of 1128 given on folio 2r.
Some later verses about Alexios I Komnenos must
have been introduced when the book was s1.iUin
a Greek-speaking environment, but the lines in a
fourteenth-century Latin hand on folio 1, and the
need on t.he pan of the scribe who gave the date
of 1128 to explain the Byzantine dating system,
suggest that it was then among Latins, if not in the
\Vest. Federico da Montefclt.ro's monogram as
count indicates that he had acquired t.he book
before he became Duke of Urbino in 1474.
ANNE&lAR.lE Wt.YL CARR
60
Psalter, folio iv
Constanunoplc, mid-tenth century
i\ lanuscripl on parchment, 37 11 26.5 on
B,bllOtMqUC"~t>ONkckfrv.«,P.i,m.,C-od. l"lr Gr 139
••O~'ltl'IA."CL .cq1,11m:linuunbuib)JonH1.1n.uh.ck~,ltcu,llc/
Fr,1,ncc,'1cnvoy 1olhc:Swun, in 1»7orUIOru')'ihnofkr, ~ ~-.
r~16n
llt.lC'fl.D aVlH.~GICI Mont&lltlln 1708. PP.••
,.,.!kw,tio
•m
But:hth.1119)8.Wt,u.m.ann 1939,Gn.Mr pp 168 7T, l'::an119)8.-.10,
G11llcr1gll.fe.pp.6'J 71,1N>O-~Lo,.,dcn19&9;Parn199:1,DO.f11,pp.»o
NcwYork1997,no.163
This book with the Psalms and Odes was written
and iUuminat.cd in Constantinople in about t.he
middle oft.he tent.h century. 1l1e text of 1.he
psalms, written in calligraphic minuscule letters,
is surrounded by ex.tracts from patristic
commentaries 1-elntingto the verses presented in
the centre of 1he page. The manuscript's fame
rests on the fourteen full-page m.iniatures placed
(with one e.-..:ception)at the beginning and end of
tlie manuscript. These illuminations arc presented
as scpnrate paintings, each with a frame decorated
with gcomc1ric or plant pa11crns or gilclccl; t.hey
f,tll into 1-woclearly distinct iconographic groups.
The seven rirst miniature paintin~, at the
hrginninq of the po;;:-1ltcr,
plm. :-111 eighth located at
llu_•beginning: of P-..11111
50, form a cycle devoted
to 1he life of D,1vicl, 1he presumed amhor of Lhe
pc;alms. The ,;ix I.1st minintures ilh1,;tra1c the odes
or canticles of 1he Old and I cw Testaments 10
he found at the end of all 13yz:rntinc psaltcrs.
The miniatures have been ext·cuted by v:1rious
di!Tcrcnt anic;ts and do not all achieve the same
high ani'ili quality, but 1hey nevertheless
constitute a cohcrc111 group designed expressly
for this psalter.
The images all dic;play a strong Classical
influence. This is m,mifcstcd particularly in the
use of a pic1.orial style reminiscent of Roman
fresco technique, and in 1.hcomniprcscn e of
personifications such as the ?"lount of Bethlehem
and Melody ne.-..:tto David playing t.he harp in the
first miniature, or Night and Aurora next to Isaiah
in prayer in the miniature introducing the fifth
ode. To these Classical references are added a
series of references 10 contemporary imperial
symbolism, for example the clements of palace
architccrure in the background and even more
the ceremonial garments worn by David in several
miniatures and by King Hezekiah in the last
miniature of the psalter, these make clear
reference to the emperor of Constantinople and
his coun. Glorifying t.he emperor as it does
through the figure of David and 1.hat of Hezekiah,
this opulent volume should perhaps be Linked witl1
the emperor ruling Constantinople in the middle
oft.he tenth century, Constantine VU
Porphyrogcnnetos (945-959).
CHJUSTl.A..X FORSTT.L
61
Lcctionary with cruciform text, folio 195v--196r
Con:st."'Ultmoplc.t,\clrtlt «ntury
Parchment, 38.5 x 29 on
Thr Bnmh 1...o21), London.Add. M1,,.3')6o,
NO\,._"A."ca luund in 1837by Rohen Cunon 111the MO<lllltn")'of XCTIOpfton
on Mowu ,\!hot, what he .. -» Ullldu w«I •o be LqMal the '""rby P:amokntor
-· m thc Unui.h lbvy
Cunon pun:.hatrd the boolr,.11""Udon.:111,,J
~-
"'1917
MUC"nO &.&ru.a1•C1t1Antlcnor, 1991, ~ pp.76 0.0, London 2007,
1ae,. PP, 1o8 I...
This large book is a lcct.ional)' and cont.ains in its
I,
196 folios die Gospel readings of the Byzantine
liturgy arranged in order of 1..hecalendar of 1.he
Church year, beginning \vit.h Easter Sunday and
ending "~th 1.he Lenten vigils. \Vhat is special is
t.hat it. is one of only four manuscript.s in which
t.he text is written in the shape of the cross, instantly
conveying visually its central Christian significance.
It has no figural miniatures, bUl each reading
begins wilh an ornate initial, and decorative
elements ornament the pages. The writing seems
to be Lhe work of jusi a single scribe, using brown
ink for U1e te..-..:land carmine for tl1e ckphonic
CATALOCUE ENTRtE 58-61 395
 No c.,1,cnsc was spared to set out thl' h..'XI over
many pages of parchment, and 1his m.iy sugge,;;t
t.ha1 1.hcprocluc1ion of such a spcciaJ lilurgic.il
book was 1.heendeavour of the pa1ri.1rcha1c or
imperial palace at Constantinople. A note wriucn
on folio I records the opinion of a bbhop of
Hcraklia named Methoclios (probably in the
second half of the eighteenth century) that the
writing was actually clone by a twelfi_h.ccntury
emperor either Alc.xios Komnenos or ~lanucl
Komncnos.
RODIN CORMACK
Pain1ed and gilded glass bo,d
Con5tantinople, ltnlh century
Gia.st., d.Jrk violr1 in colour, gilded nnd p,:un1cd, JDl\'.:rgih
:md glasscabochons. height 17an, d1amc1cr17cm;
101n.lbR'xhh 33 cm
RuilicadiSl.ilMaim,,\matt,T-. ..-.-13
m.u:naunu.~u r-.1,M6_..,,,,oa,p.101,MohlWT18Sl,pp.~
-.66,p91,0do1~,\I noj.(lf7&,l'hilii;'l)t'l'l70,JIP-IOO n_l~
1971,no.&s,ppn I G~l'.ln,1Cjll+llft..-.pp.181 J K.Rn~
0.V-1, \\'hu:bo..t-t f"iloa2'CXII
1l1is small hemispherical bowl with its flared edge,
made of very dark, almost black, ,folet-colourcd
glass, is a piece of c.xccptional workmanship. TI1e
delicate decoration of gilded arabcsqu~ covers
the whole cxtcnMJ surface and contains seven
mythological figures; the scenes appear between
medallions adorned with polychrome rosclles
and fourteen profi.Je heads, each in its own small
tondo. TI,e larger figures look like Classical
figures, bu1 ii is no1 easy to identify them as
they have no inscriptions and may be purposely
enigmatic, like t11oseon the Vcroli Casket {caL66).
TI1c smaller profi.Jcheads resemble cameos but
arc equally enigmatic.
The mount in silver-gilt recalls the mount
of tJ,e Sisinnios Chalice, also in the Treasury
of St Mark's; it consists of two hancl1es,slightly
unevenly attached, which present a four-petalled
flower in tl1e upper volute and a blue glass
cabochon in t.hc centre.
The idea that. t.he painted glass bowl is
Classical and the mount medieval is no longer
maimained; both the bowl and tl1c mount seem
Lobe have been made in Constantinople and to
dare from t.he tcntJ1 century. TI1c pscudo-Kufic
inscriptions inside the rim and on tl1c ouiside
of tl1e base arc, it seems, ornamcmaJ. TI1e
combination of Classical imagery, Byzantine
ornament and imitation of Arabic writings
suggests Lhat the bowl belongs to the
sophisticated aanospherc of the Byzantine
court at tJ1etime of Constantine Vll
Porphyrogenne10, {sole rule 945-59).
MA.I.IA DI\ VILJ.A llkBA!ifl
396 CATALOGtJE E rRIES 62-65
Co1hlJt1t111oplr, rk\1.'lllh rr1111111
l·i~11ml..,,nutr ,1 l,u,, t,,,11111•,1\1· i In·•• ,,II,, ,duw lmn1
"('WHl.f{ lhtTJd, ',I '\" 107 ~,I Ill
\lu1"' ,I "'"'••ff'
......_.., ,tu, h.11>111-.-
,.utu,1,.,lr ,I<-~Ion\
HUIT un11,,, ..... ~"'"l(',,"'"~'l.il\,WIOll"f
Jlfl,>111<11
"l~ll. ·~· ~,,, -l.
1''<'4
17lc characll'li,tic cut of thi-. 1-ilkfrabrn1cnt
indicates th.n it is the lo,,cr part of .1 priestly
gamwnt, prob.,bly ., dalmatic (a long wiclc-slccvcd
tunic used in the: liturgy). Now in the Church of
V,tlCrc, Sion, S"itzc:rlancl, where it forms part of
an impn:-ssivc collection of medieval fob1ics used
lO wrap relics, ii comes from ion Cathedral and
was discovered in 1923; it was restored in 1973.
The bold design witJ1 large medallions might
seem unsuitable for use as a garment. However,
manuscript illumi1lations show tl1:u such
pattcms were used, as a secular example, the
representation of one of the courtiers of Emperor
bo, Nikcphoros III Botaniatcs, c.1071-81 (Homiliesdt
Jta11 CJrrysoJ/omt,
BibliothCque nationa.le, Paiis,
cod. Coislin 79 1 fol. 2r), demonstrates.
The large medallions contain twisted griffins.
As in the an of Sassanid Persia, evCI)' joint of each
of these fantastic animals is marked with a rosc1tc
or some other ornament. Other circular pauerns
decorate the space above the hindquar1crs of the
griffins, as well as t.he upper pan of the medaJlion.
The use of purple might suggest that this was
a diplomatic gift (Muthesius 1995, pp. 165-72), but
it isjust as likely that it was booty from t.he Fourth
Crusade. Luxurious silk fabrics intended for coun
or diplomatic use were woven either in officiaJ
workshops in Constantinople or in strictly
controlled private workshops.
The colour scheme of the silk is dominated
by the strong violet hue of the purple dye, which
stands out against the black background. The
white weft t.hread is used only to emphasise the
stylised shape oft.he griffins' eyes. Very few fabrics
in purple have survived from Byzantium, which
gives added importance to this piece.
WAJUEI.J..E MARTINIAl'fl·RfBER
The Virgin's Grouo
Conitantinople•Vcnicc: lemple, fourth firlhcentury(?);
diadem, ninth tcmh cen1ury; 11a1uette, lhirtecnth ce111ury
Rockcrystal,rilvcr gilt, gold cloiwnnC enamel, precious
stones, pearls, 1ot.tl height 20 cm; diadem diameter 13crn;
hcigh1 3.5 cm
8uLa di Sa,, Marro_ Vcmcie,T ...u....,. oo !P
u.ucrut llV'Uu«:u p_,. 1886,no.111,p GS,Molmoer1888, p 62; no.,100,
PP·'» G;G:alo 1¢,, 111,no.18,p 778,llahnkan- 1971,no 91, pp,81 1
"'-Grat-,; Pari,, 1!,3,t,no I, pp 117 '2Jfl} Akou/k -u1 IU'r.u.cr);
~-1,pp.r.11 1 fCaluppo)
The object first mentioned as the 'Grotta dcUa
Vergine' (fhc Virgin's Grotto) by Antonio Pasini
in 1886 is composed of three parts dating from
dirfcrem periods: t.he temple in rock Cl)' ta/ is
.1,1 ~bnl "it~1 ~·1•,1,on,1!llt-
rominion to the L,te
t\nll(]U<' pl'nod, thl' d1,1de111of En1pnor I ,
0 •11·cl
,ihcr-p,111i,; B)1,1111i11c
,mcl lwlon,-:;,;to ti "-'. VJ Ill
ic nnnh
1~·111hc~·ntu1)', .ind tlw st,1h1r11c ofthl'
Virgin in
1-1lwr-~'llt ,,,.1, prob,lbly 111adt·in V<·nicc iu the
thi1 llTllth c~·:11u1)when tht' ''.a1ious pieces ,,,here
l•l'lfl. "" , ...
assembled. I he \\Ork can be 1dcntiricd a~ Lhc
rrr/rs,o/am1111nmrlf'rmt(ll/of,mutam argmtodeaurato
listed in tht' im•c11to1)'of 1325.
The vo1ivc diadem of Leo VI (886- ) is
912
a fine cx,1mpk· of Byza111incenamelling. The
fascia in silver-gilt formerly contained, between
two rows of pellets, fourteen rnedallions made
of doison11C enamel edged with pearls and
alternating with 1riangular cabochons of garnet.
The seven sur.rivi1lg mcclaJlions portray Lhc
emperor, identified by scholars as Leo VJ, 0ankcd
on his left by SL Paul and St Andrew and on his
right by St Mark, St Bartholomew, St Luke and St
James. The missing enamels arc thought to have
presented Lhe image of Christ opposite that of tJic
emperor, nankccl by the six Apostles to total the
canonical number twelve. Contra!)' to what some
scholars have suggcs1cd 1 the presence of the
emperor makes it unlikely that the coronet could
have originaJly been the upper rim of a goblet.
It is now considered that the peacocks attached to
the upper edge, two of which remain out of the
original t.hree, wit.h their tails dccoraled with
bright blue paste gems and with a ring on their
backs, prove that fonncrly Lhc diadem and also
possibly later the whole grot10 were to be hung
up. In addition, t.he sma11 rings on the birds' beaks
and on the lower rim of the coronet arc thought
to have been intended to hang strings of pearls
and precious stones in order to increase the
devotional impact oft.he piece.
Casket
Hy.tanlium, tcnlh clc\'enth ce11turies, with later altcrat>Ons
Done on a wooden core, will1bm.s.1clasps, 16.1 11 21 11 15,6 cm
!~~~~~~:
~11':'co1t:~~7t,::~~
1
~ J:~ ~~ .!11 of A, and
:,~=l=l•~u Gokllchmkk .,Ml Wc1umann 1930, uo,VO,l'iUlf lll'}'I
no. 171O Dur.and) .. ;u, r:.atllf'!'i..t:tl1op11ploy
Carved in bone on a wooden core, t.hjs box
appears to be a cheaper imitation of more luxury
ivory versions such as the Veroli Casket (c,'lt.66).
The twelve small rectangular plaques on the sides
and centre of the lid show a variety of figures,
some of whom are idc..:ntifiable:U1ose on the front
include rwo versions of Heracles fighting a lion,
with between Lhem a seated warrior (now partially
hidden by tJ1elock) whose pose resembles that of
Joshua (compare Goldschmidt and Wcitzmann
1930, no. 10). Others arc more generic: a variety
of hunters and fighters, a centaur, and griffi~s
auacking animals (the one on the right end is
a modem copy), and the slightly incongnious
i,ioll _,111olkntl~
tll ,I 111,111 111, 1ki111,.r
, 1111
h A luiLhl'• 1111n·1tT11),!.1'10111,
l,,uu I,.
10
'l l'itht'r in p,tir, 0 1
,111,1ck1111,.r
~1io,,n, I . I•' oftl1(' lid. 'l'hl' pl.lqt1t.•<;
t111·,111~kc ,;1<c,; .
,ll't'
. -roundedh)' ro\Cll(' ...111p1i, a ft.·,t1u1et.0111mo11
,ui uy,,uniiu· boxc, oftlu- tenth and dl'vcnth
10 1II
' . , T · iccs of gilding ,u1cl paint suggest
c,•11111nc,.1'
th,it tlK oiigin,d appt.•,11",1~1n·of l~lCbox woul~I
h,l\t' been grcaLly embellished wnh ~olour. 1 he
function" ofthc<;l' boxes c,umot be discerned from
tlwir clccoration, but they ~,ert.·_presumably_made
to house sm,tll precious obJeCts 111a clomcsu
~r11i11g.
It i~ pos~iblc to find precedents for each
uicli,~du,tlimage on other boxes, which
suggests liMt such boxes were mass-prod_uced
IJycombining plaques from stoc~ col.lccuons.
However, the part.icularly cclccuc m1x1urc of Old
Test,u11cn1, mytholot:,rical ,1ncl genetic scenes on
this example is pualing. The range, as well as
,.iriations in the carving of the plaques, has led to
suggestions that. the box is a montage of plaques
from diffCrent sources, combined either in the
~lidcllcAges, possibly in South 1La1y,or in the
nineteenth century to produce one complete
example.
66
17le Veroli Casket
Constantmoplc,mid-ttnt.h century
h-ory and hone on wood core, mc1al hardware-,
11.2x40.5ic16cm
\',,;:,on.aJoldAll>t>n 1'1u,c,utn, l.ornkm, ~16-188,S
••oHJ<A."IUc purch,uc•d rn.,,,,1ht C.ath«lr.J o!Vuol, l,yJohn \\'ebb Ul 1861,
wildhyl'lun to 1ht Vluon;,, ;md Albc-n tlhanun. London. ,n •~ lnr [,,po
.... U."ff.l> Urlko..,cu Go&.i.i:hmKh ·•"' I\ (OUll .. t\11 •9]0. no.11, \\(1Wl'Wln
l!r,1,pp 169 n, Ldmbmgh 19$8,I'll) 1:r1,ll«k\lo1lh 1!}&1,
1')81 ~Cudn199t,PP'!J6 ("l,117,1~ 1,n-f,'2.f0 3,f.g,61,118,Nn,-Y<Nt
19'17, 1\(1 llJ(,\ Cmln-t; ll&nion 1999, l.ontlon
.\l~.,r ~nd DJutmn:m MPp~ ~7, pp.161 6
The Veroli Caskel allows us to view an aspect
of the Byzantine world of which little material
evidence now sur.rives: the private sphere of Clile
rmcrtainmcnt and luxury, a world filled "1th
humour, satire and eroticism, balanced by
cn.idition and virtuosity. It is perhaps tl1c
fo1cst ivory carving of the 1ent.h century, albeit
cornbinccl rnther more crndely ,,rith bone rosette
strips as framing clements. The seven ivory
plaques ,,1th figural catving that adorn the sides
and lid of this box display an apparently eclectic
mixture of mythological imagery: on the left of
thc lid the rape of Europa is placed next to stone-
1.browingyouths; on the front Asklepios and
liy~eia arc ~hown viewing the sacrifice of
Iphigenia, to which they have no link. Other
figures, such as the woman having a thorn
removed from her foot by an uos on the front lefi
plaque arc impossible to identify wi1h certainty.
The most common theme is that of Oionysiac
revelry, evident in dancing maenads on the lid,
th
e naked erotcs who cavort 011 most of the
~vith pl.1quc~,111d tlil' oven l'rotiu,;rn 011 the b,1ck. On
arl'
. th,tt sitll' 100, 'K'Cm·, ,m· cd1ot'd ,111dp,1rodicd: the
dn-r, ,lro1111d
rapl's of E11rop,1,ind C,111ymc<lcc,in hath he "i<'Cn
rc-t·11,1ctcdby erot('"i,
No attempt to find ., common theme or
souru: for the imagc"i li,1syet been succ<•s.,;ful;
rather the box ,lppcars to rcpre"ient a pl,,yful
tenth-century intermingling of dclihcratdy
;unbiguou~ myths for viewers to discnt,1nglc.
The juxtaposition of solemn tragedy and erotic
comedy on the box means that the Cl.:tSSical
p,tSI is, like the carving of the ivory i1sclf1 heavily
undercut. Henry and Eunice Maguire h,tve
suggested that the inclusion of humour and
absence of identifying inscriptions were a means
of'dis..1rming' lhe pagan subjcct-mauer for its
Christian audience (Maguire and Dauterman
Maguire 2007, p. 162). Elements in the images may
also have sought to provide a Classical sanction
for the irreverent, occasionally scatological, side
of court life thal is sometimes commented on in
chronicles: t.he maenads on the lid 1 for example,
wear lhe pointed hats of theatrical mimes, so
linking 1hc contemporary world wi1h t.hat of the
mythical past.
Carved box witJ1emperors riding and hunt..i.ng
Tenth or dcvemh cen1ury
Carved and sla.incd ivory, said 10 shO\\ 1r:1ccsof gilchng, \\1th
silver (rtplacement?) lock, hmga and comer n:mforcemcnts,
13.4x 26.4 x 13cm
T-drbCa1hNtr.dedrTro,..,.
,1.0\'l;.'IAl'(CL uod 10 b( from Coiutanunopk; hmugt,t al'!(r lhc- l2'l4 &r.ck cf
Coruunlmoplt IOTn,ya byJnn l..angk,t,. chap,brn IO1hc U..JoopofTro,u,
Cr.uruadr rr~-1
Sunon 19'it. CuUtt
11,:,.l;CTLDllrnlllV<CF.S Nn,-York1997,no1.1,pp,'10.4 7(11 \l;ilt"lft~
Athmuoo1, no. ♦6, pp 118 71 (Y Viul,ous)
'XKl6.,no..103{A.F..~sunond);
This solid ivory box witl, no wooden core
represents, in its material, extraordinary lu,xury,
and in its images imperial power. Like the
equestrian stalue of Justinian on a column at the
centre of Constantinople, the riders on tl1e box
enact both ceremonial allcgol)' and heroic
narrative. On the lid, in Lheir imperial regalia,
they receive territorial power from tl1e timeless
and seasonlcss personifica.tion of" city who offers
an emperor a crown. On tl1e front, tl1e riders arc
lion-hunters galloping ,,11.houLstim1ps past
winter's leafless branches. A similar branch tops
the end panels, suggesting a change of season or
reign; a phocni.'\'.preens itself below, among
burgeoning leafy s1ems, as a sign of endless
renewal. AIJ tl1e equestrian figures have general
parallels in 8y"l.antine silks; this bird resembles
rcprcsenmtions of the propitiousfo,ghumi& bird
in Chinese gold or silver works of art.
Tiic stallions on the lid, like Justinian's well-
built hor~c in Constantinople, stand ,,11h lhrcc
legs still and long, straight tails. But on the fronl,
the hunters' cloaks stream out like their horses'
knolled tails. The hunters, probably father and
-;011 • .irr 1101, a, thry appe,1r 10 he, b,tck to b;1ck;
they 111rnfully to f.1rc 0111·.inothcr as the archer,
we.iring <1 plumt'd toujilwhelmet, again like
Ju,;t1n1,111,rc-;c-111•,;
hi,; ,word-ht:,lring compnnion
with a v,1ri,11ionoftlw h,df-111rncd 'P,mhian shot'.
The la1;tp,111cl,on tlw h.1ck1 is also a tive and
tcmpor<tl: in au1urnn, with .1corns ripe on !he tree,
.1 boar-hunll'r, prob.ibly the younger emperor
proving hi,; v,tlour, tr,tmplcs his f,dlcn clo,1k as
he 1hm'II.Shi~ ~pc,,r.
Roth riding and walking:, on the lid and the
front, one hunlcr wear.. ,Ill unusual C<1p-likc
hclmc1 with the cuirass, and boo1s "~thout grcaves
or spurs. On the lid !he emperors' cloaks arc
pulled 10 a shoulder fibula. Their crowns and the
stirrups under their feet arc post:Justiniani ;
amuletic crescent-shaped pcnclanL1>caparison their
horses. Vct t.he spect.:1.torsadded to this scene on
the lid straddle tl1c high defensive wall in
humorous mimicry of the splendid but passive
imperial riders.
l!l/'SICIE DAt/Tt:R..\l,\1\1 MAOUlRE
68
Ivory with Constantine VTI Porphyrogennetos
crowned by Christ
Consu.ntinopJ(:, 945
h-ory, 18 6 • 9.5 11 0.7 cm
n.,M
!w;;Lltl-'lahbnM,-umofF"....,A,u.,M,-.""',m'
.,.<>~c:,c: f....., .l"""mn."-'"'"""-U,.,.rovC<>lk,n..,.,olC..,.,1A.S.U""'"""'·
Moocoo, ,a,q 81. Su.le lllllO<'ICll M..,u,n, \lc.:O<\, fr,Mn ''P-4•~i-, l\wolun
\I,_..,, o/f"inc \n:t,. \WKOW, (mn, lffi
JU.J.CnD un.u.'fCD. ~ and \\Cll&flUlla '<J3.f,'-' » \;ll,lc, XIV,
ll.lJ;G..,.19'11,p.:,:;~1'7.,1.no..6],,pJ7,&nklg{tb.OOll:l.t l,
\lo.:uw 19n, ....Lt_-.:,lka, pp qt, 9, \tww..,,..,. 1970, U..nk 11)11.),no ,n; N"'
\ort.1997.-.1.fO,pp.__,, lo"4hnto:N01.no.1~,pplll l,fig.onp.~
The inscriptions read: arow1d Christ's head:
IC XC Qesus Christ); above the emperor:
KQNCTANTI OC EN 9(E)Q/ A YTO KPA I TQP
(Constantine Emperor i.n God); beneatJ1 his left
arm: BACIAEYC PQMAJQN (Emperor of the
Romans}. The dating of the piece is based on style
and the inscriptions, in which Constantine is
called 'emperor' of the Romans. Both suggest that
the ivory- was execu1ed at ConstaJ1tinoplc during
the short period between 27 January 945, when
Constantine VU became sole ruler, and 6 April,
when his son Romanos bcc-.:1.meco-ruJer w1til
Cons1antinc's deatl1 in 959. Grnbar defined th.is
scene as 'the emperor's investiture by Christ'
(Grabar 1936, p. 72). The original function of
thi ivory is unknown; it may have been a
commemorative gift, like t.he earlier consular
diptychs or perhaps the central decorative
clement on a manuscript.
The naturalistic proportions of the figures and
the detailed carving of t.hc relief of t.hc ivory arc
particularly noleworthy. The emperor is depicted
withou1 a halo, but "1th the imperial attributes of
the jewelled stoic (loros)and gem-studded crown.
There was an auernpt to render the emperor's
appearance accurately: U1e specific shape of his
hair and beard is found on gold coins of the
CATALOGUE ENTRIES 66-68 397

period or his reign (cat.55). Ch,ist is notable for
his asccLicaus1crity. The simplicity of his g71rmcnts
is reinforced by c.hcdelicate clrapc1y. The two
figures bear a great resemblance to each other,
and both arc worked in fairly high relief. Chri:it
is depicted on the same scale as the emperor,
although a number of clements elevate his figure:
Lhc pedestal and his feet arc rcnclcrccl from above,
while Lhcupper part of his body is rendered from
below, making the figure appear remote.
Constantine vn, in contrast, stancls solidly on the
soles of his feet. The two figures arc shown
wgcthcr beneath a cibo1ium.
69
Comb
Constantinople,bctwcc.n886 and 912
Ivory, 10.3 • 10 x 2 cm
Scuili(hc, Mu,c,c,n•u lkrlin, Skulpo11T-,nmlung llftd M.-um
@r Bra:anunltdw,Kww, "" 110.WOOO
••~"Cl. •non)'mo1,11pl,1~
11.U<lTll,D atrr•L-«:U Gokbchmd; and \\nonunn 19)4.
Buhl•ndJdllt
1!)0)0(: IOO'J, \hmidl mo+, no.s, G Buhl)
This unusuaJ object was until rcccm)y thought
to be a sceptre, but a new examination has given
reasons to identify it as the grip of a solid,one-row
comb (B,,hl and Jehle 2002). All that ncmains or
the teeth is a series of regular incisions a1ong the
lower edge and on the underside.
TI1cpieceis more than nviccas thick as other
ivory panels carved in relief that survive from the
~ 1riddle Byzantine period - another indication of
this object's different character and function.
A further notable characteristic is the relief
decoration on all surfaces. On each side a
different set of three half-length figures faces the
viewer beneath identical architecture. One side
shows 1lary, in the centre, turning towards the
emperor and about to place a jewel in his crown.
Contemporary tC.'<lS permit I.histo be interpreted
as symbolising the 'pearl or faith' (Amulf 1990).
On the opposite side the Apostles Peter and Paul
flank tl1e blessing ChrisL The physician saints
Kosmas and Damianos are depicted on the ends.
An inscription appears above tJ1e arches and
in the architrave: 'Leo, the emperor, shall rejoice
in thy strength, 0 Lord; and in tJ1ysalvation how
greatly hall he exult' (text based on Septuagint
Psalm xx, 2). On the otl1er side appears: 'Through
the commandments of thy disciples, guide thy
servants.' On the coronation side is another
inscription, in words based on Septuagint Psa1m
xxxx1v, 5: 'Gather all strength, go t.hy way in
good fortune and rule, lord Leo.'
The 'Leo Basileus' mentioned here has been
identified as Emperor Leo VJ (886-912), which
makes this carving the earliest dated Byzantine
ivory to have survived from the post-iconoclastic
era. \,Vhethcr tl1e comb was commissioned for a
coronation ceremony or made as a luxury object
for the emperor cannot be decided. One \•Vestern
398 CATALOGUE ENTRIES 69-72
,;;ourcc mentions an ivo1y comb u,;cd c,·cry
morning at the lc,·cr ceremony of Emperor
Alcxios I Komnenos (1081 1118).
(lUlRII~ lll 111L
70
Vo1i,·c plaque\\ ith Chri~t blc~ing Emperor 01to
II (967-983) and Empress Thcophano (982 83)
h-ol), tr.tcl·,ofrt-d polyrhroni), 18.5 • io.&rm
\lu...,.. (M' ('Junh \h11"' \.~non.\l ,tu :\lo)Tn \itt-.1'.m-, m,
n,,, 1 11)1
,,.,
no,1..-.1.,LL bc-lon~m1hr,xl11«11011of,\ !--ommc-r.mt.;r,c-qrnrNltn 1hc-~1.,11',
H11,-no1un•1,,u K.al.wru.iu1Qn,pp307 1<',l'.\rn1992.pp147
0..lkT 19"1,?,,f111"b0) 14, lb11o1t,Igo.).),Xn, \'ork 19'JJ. no H7, f'II 4Qq SOI
lnsmhtd:111 Greek on cuhcr ,i<le ofCluist's head IC XC (Jc1,u~
Chl'btl; in L'ltin :rnd Gn.·cl..abO\e the emperor OTTO
IMPIERATORJRJOJMANIORUMJ
AJYrGYCTOJC(Olio,
Emperor of the Rom;ms, Augustus•, in Creel.. ,ind L'ltin abo\'c
the head of the empress 0EOt.J)ANQ IMP[ERATRIXI
A(YfOYCTO)C071eophano, Emprrss, Augu1,tus); 111 Greek
nc.-.:t10 the body ofChns1, K[YPl)E BOH0[E]I T{Q] C[Q)
IIOY/\IQ] IQJANNHJ{MONA?JXQAMEM(Lo"I, prn1cc,
(or help) )'Our 1,cn-:un, the monk (?)John, Amen)
The ivOI)' depicts Christ, in the centre of the
p.~. no.a&, Amulf
scene, blcs.singsimultaneously the German
emperor Otto U and his wife, Thcophano. This
iconography is derived from coronation and
wedding imagery. Both Otto and Theophano
wear versions of Byzantine imperial dress and
their crowns echo Byzantine crowns. However,
they are incomplete versions: Otto, for example,
wears a mantle rather than the impciiaJ /orosand
holds an odd hean-shaped object, while
Theophano clasps a book. Beneath the emperor's
feet crouches a bearded male figure, one hand
wrapped round Christ's footstool, most probably
the donor or the plaque,John.
Otto married the Byzantine princess
Theophano, probably a niece of Emperor John lI
Tzimiskes, in 972. The inscription, however,
allows the panel to be dated precisely between t..hc
first use of the title imperatorromanumin 982 and
Otto's death in 983. The ivory is seen as
representing both \•Vestem and By-.lantine imperial
claims through the use of Latin and Greek titles.
john is believed to bcjohn Philagathos or
Calabria, Otto's Chancellor in Italy and tutor to
his son, and later the antipopcjohn XVI.
The ivory plausib)y derives from a Byzantine
model: another ivory in the Bibliot.hC:que
nationale, depicting Emperor Romanos and his
empress Eudokia (there is debate over whet.her
this is Romanos ll or Romanos IV), offers a close
iconographic parallel. However, the unusual
details in this plaque - the 'imperial' dress, the
attributes of the figures, allied to the combination
of baldachino and curtains above Christ, and tl1e
mixture of Latin and not wholly accurate Greek in
the inscriptions - make it likely that this was a
Western rather than a Byzantine production. If
the donor John was indeed john Philagathos, then
a South Italian origin is indicated.
This plaque may have served as a book cover;
..,.....
thb, tt11) would ht· unuM1,tl in a Byza •
•• in1nc con
----
tC}(t.
I \l JAMI S
Icon with Virgin and Child
s~•(o11cl h.1lfoft<"ntl1 t1·,1tury
hol),.z,L1•11.zx11cm
This large ivo1y depicts the Enthroned Virgin
with the Christ Child on her lap. The Virgin is
9.
represented under a baldachin flanked by two
roundels with the busts of Peter and Pau) at the
level of her head. None of the figures have
inscriptions to identify them, an unusual feature
for a B_yz:1mi~1eivo1y. The baldachin is of the type
found 111 1vones oft.he tenth centu1y ,\!1th some
undercutting and with round pcrforat..ions to
suggest a delicate and lightweight structure. It is
supported by twisted lhin columns with capitals
in the form of heads. This image of the Virgin
presenting tJ1e luist Child to the world is more
commonly seen in the conch of church apses.
Christ is blessing and the Virgin rests her left hand
on his shoulder while, with her right, she touches
his foot. She is seated on a large pillow and an
elaborately ca,n,cd throne, studded ,vitl1 pearls
and jewels.
The most unusual feature of the image is the
high, arched, shell-like canopy above t.hc throne,
which frames the Virgin. Large carved stars
decorate its surface. The peculiar fonn oft.he
throne and the stars can be seen as a kind of
mandorla of light or starry cloud, an attempt to
represent physically the symbolic qualities of the
Virgin. Light and stellar comparisons arc plentiful
in the hymns written for her (Eustathiades 1930).
She is referred to as the annunciating light, the
gate of light, and the rising light of t.hc cast (Lcdit
1976, p. IOI}.The icon is a visual expression of
literary language and imagery.
This ivory is very similar to one now in the
Cleveland Museum of Art (Goldschmidt and
\-Veitzmann 1934, no. 79; Athens 2000, no. 19
[I. Kalavrezou]). The Paris version has a rougher
carving style than the Cleveland piece and a close
comparison of the two suggests that the Paris
piece is probably a derivat..ive of the Cleveland
ivory, possibly a \Vestern copy made in the
Middle Ages (Koenen 1998, pp.210-12).
IOLI KALA VREZOU
Ivory panel with the Theotokos Hodcgetria
Constantinople, temh century
Ivory, 25.7 • 13.3 • 1-4cm
Jtf¥/1ts¥Ii'.
~:rttf:
1t:~':f
1hi!<,.
t.:kgant panel was
• ·~• ti)' p!C'-t'l'\'L'd,
\lll\O!llpti tr .
. . .
' , . , the central por11011of ~u11,·01y triptych.
1111 1
ot1!-. al )I •. of God holds 1h<'Christ Child in her
Th(' ]\lot 11.:1 • • •
, I (ft'-IIIIT\ 10 h11n with her nght. By
I
kft hanc ,1nc ..,
doing !!Oshe sho"~ 1hat th_c route to human
s,,h-:itjonlie,; through Chm,t (hence the. n:mc of
ihis iconographical pose: the l-lodcgctna sl_1c~vho
~ho\\'S the way'). The elegant ~Jose of1hc Virgin,
her slightly elongated proporuons: carefully
delineated folds and steady, but d,_suu~lgaze
combine to create a calmly reflective image. In
places. such as the Virgin's left slec\'C and Ch~st's
left shoulder, the i\'OI)' has been cul back to give
a greater sense of"olume. and dt~ptl1 within the
confines of this shallow piece of ivory. The
figures are set off against the cxquisitcl:' smooth,
iransluccnt background surface oft.he JVory.
The apparent simplicity of Lhe plaque belies
iis theological complexity. The icon can be read
011 many levels. It is an image of motherly Jove; a
reprcscntat..ion of the incarnation of God as man;
a symbol or Christ's dcsliny to offer himself as a
sacrifice; and ult.imately it reminds viewers of t.hc
redemptive power of his resurrection. Byzantine
\~ewers would have been able to meditate on all
these tllemes as they contemplated the image.
The ivory is associated \\~th four other similar
images (Goldschmidt and \•Veitzmann 1934, nos
47-9), bul tl1is is tile finest. 1t is also stylistically
very close to an ivory shO\\~ng E.mperor Romanos
and Empress Eudokia, now gem::rnlly thought to
be Romanos II (959-63) (Cutler 1995n, arguing
agains1 Kalavrezou 1977).The \1,~ngsthat would
have framed this central image arc lost.
ANTON\' f.\STMONO
73
Ivory with hrist Pamokrator
Christ appears on this ivo1y plaque as the
Pantokrator, the Ruler of All. The half-length
figure stares out at the viewer, his left hand
holding the Gospels, his right making a gesture of
blessing. Rather than a cross nimbus, only a
gemmed cross appears behind his head to denote
both his divinity and his sacrifice for humankind.
The image of divine authority in the ivory would
have gained additional meanings and resonances
for viewers who would have been familiar with tile
iconography from its other appearances, most
not,1bly in the dome, over the centre of Byzantine
churchr,; in this pniocl. Herc Christ wa,; clcpictccl
a,;;the culinin,11ion of ,1 whol(· clecor.uivr
progr,unme that ,1,;ccndcdfrom the hum.in to 1hc
divill{·..and cnc,tpsulmcd the Byzantine,;' view of
Ilic order or the co'imos. The popularity of 1hr
irn,1ge artcr iconoclasm w,u reinforced by n legend
recounted in the Vitaof St Stephen the Youn~cr.
This ninth-century anti-iconocla..,;;ttcx1 claimed
tliat the first image to have been destroyed by the
iconoclasts (and also the first 10 be set up again in
787 and then again in 8.13,after each of the
periods of iconoclasm) was a half-length fi~urc of
Christ set up on the Chalkc bratc, the monumental
entrance to the Great PaJace of 1he By-ant.inc
emperors in Constantinople (AuzCpy 1990).
The carving of this ivory is very close to two
otl1crs with tl1e same image (in the Louvre, Paris,
and the State Hennitage Museum, St Petersburg:
Goldschmidt and \Veitzmann 1934, nos 146-7),
and Anthony Cutler has convincingly argued that
they were all executed by one artist (Cutler 1994,
pp.163-5). This suggests both the popularity or
this iconography, and the ability of individual
artists to reproduce t11cirown work accurately to
suit that market. The ivory was probably
originally the centre or a triptych (presumably
accompanied by intercessory images of the Virgin
and john the Baptist), but the sides were later
trimmed down when it was reused for a
manuscript cover.
74
Ivory panel with SS. Andrew and Peter
Constantinople, mid-tenth century or 106os
Ivory, 24.6 • 13.5 cm
Kumthntomcha :\luwum, V'imna. Kunstbrnmcr f81J6)
11.U!CTUI111;1.l't.llMCUGoldtchm,dt and w~,ttmanrl
1934. ,U.2, no.4+p.1S;
Cutkr 1994,pp.•~ 137;N~ York •~7• no.8g, pp.1~1~
This ivory plaque depicts tl1c Apostles Andrew
and Peter, holding scrolls in their left hands and
blc ing with their right. Their names are incised:
O ArIOC ANIIPEAC.O ArIOC nETPOC.According
to Matthew IV, 18 Andrew and Peter were
brothers. They fill almost the whole height of the
plaque. They arc imposing as figures, although
tl1ey display a softness or fonn and mannered
stances, emphasised by the multiple folds or their
gam1cnts, as if softly pressed against their bodies.
This plaque has a companion piece or the same
dimensions, composition and style depicting the
Apostles Stjohn tl1c Theologian and t Paul,
now in Venice. A third plaque with iconographic
and stylistic details very close to the two Apostle
plaques represents Christ enthroned (Connerly
in tl1e Hirsh collection). Together these pieces
seem to be part of a large Ocisis composition
(Goldschmidt and \ Vciramann_ 1934, 110.44):
like the triptychs from the Vaucan and Pans
(cats 76 and 77).
The Vienna and Venice pl:i.quc have a two-
line epigram in high rrlicfin dodccasyllabic verse:
Vienn.1:
QC J\ YTJ\IIEJ\<1>01MYCTOAEKTAI HlN ANQ
NEMOITE I\ YTPON ECnOTH
KQNCTI\NTINQ
{As brothers knowlt~dgcablc of the divine mysteries
of1hr world above, may you give rdiefto the
Emperor Cons1,mtinc; or: 1\s brotherly judges of
the divine mystrrics of the world above, may you
cli<itl"lbu1t·relief 10 the Emperor Constantine).
The inscripdon on the Venice ivo11•repeats
the name of1hc Emperor Constantine, bu1 adds:
CKEYOC 0EOYPrON CYAAA/\EI TQI
nAP0ENQI
Bi\ABHCCKEnEC0AI llECnOTHN
KQNCTJ\NTINON
(The instrument or God [Paull speaks together
with the chaste [John tl1e Theologian] so tliat the
Emperor Constantine be protected from ham1.)
The one is a prayer, the other a description of
the in tel'\ cntion of the Apostles to Christ so tJ1at
the emperor named Constantine docs not suffer.
The use or the words BAABH and I\ YTPON
implies Constantine was ill. Only one emperor
Constantine was severely sick in the eleventh
century and that was Constant.inc X Doukas
(1059-67) who fell terminally ill in 1066, knew
of his imminent death to the point where he
withdrew and entrusted all his duties to his wife
Eudokia Makrembolitissa (Psellos Chron. 1928,
Il.151; Kalavrezou 1977, pp.307-25). A date for
the plaque during Constantine's reign makes
good historical as well as stylistic sense.
The ivory Oeisis therefore has a poignant
meaning - the Apostles are asked to intercede
\\1th Christ for his recovery. The work could have
been commissioned by Constantine himself as a
kind of e.x voto or by someone on his behalf ! cw
York 1997, no.go, pp. 143-4). Apostles are very
appropriate saints to speak on tl1e emperor's
behalf. Except for tl1c Virgin andjohn tl1c
Baptist, the imperial intercessors are tl1e Apostles.
Reconstructing this panel as part of a Dcisis gives
the ivory a function as one part of an imperial
pr.iye.r.
75
lvol)' panel wit.h Stjohn the Theologian
and S, Paul
Constantmople, mid-tent.h century or 106os
Ivory, 24-9 " 13-4cm
$opnrufndcm:> ~ per il l":itnmoouo Suinco ,\ruM..:o cc1::1,_,.u,:,p,1opm cc
per ii l'olo M,_. dcU,. Cini d, \lfflQU c pc.r II Comuna ddb Cff.ln(b upna..
Mwc:o,\n:hcolog,cv N~~. \Irma:, uw 19
IJ;.l..lCTUI lll.n:IIL'<CU. Cokbduru(h and Wotunann 193,t, no..-t,S. BNSKb 19lb,
no.Iv 13, O.t.lcr 1994. p.48, figs ,tll-9; Nrw York 1997, no.8gU (L K.:•Ln~
Sljohn tl1e Theologian and Sl Paul sta.nd 1 holding
their writings in bejewelled books, on a dais
decorated with an elaborate arcade along the
front (th.is is deeply carved to give an enhanced
CATALOGUE E TRIES 73-75 399
 sense of volume 10 the plaque). Their slightly
clonEf<ttedfigures and imprc~ivcl) 1rnrvccl drapc,y
give both a sense of monumen1afoy. The
inscription that has been painsiakingly carved in
relief above their heads (rather than merely
incised in10 the ivory like their names, which
appear around their ha.lacs) makes clear their
interaction and their purpose: CKEYOC
0EOYPrON CY/\/\A/\EI Hll nAP0ENQJ
B/\ABHCCKEnEC0Al IIECnOTI-IN
KQNCTANTINON(fhc instrument of God [St
Paul] speaks togct.her with the chas1e man [St
John] in order tha1 the Emperor Constantine be
protected from hann). KaJavrczou (in New York
1997, pp.141-4) has noted that plaque was once
part of a se1, of which two other plaques survive:
one shows SS. Andrew and Peter paired in an
identical fonnal (and with a similar inscription
wishing for relief for an emperor Conslantinc), t.he
other portraying Christ ent.hroncd (Goldsd1mid1
and Wci12ma.nn 1934, nos 44, 54). They were
presumably once mounted wit.h Christ in t.he
centre to act as a composite intercessory objccL
Altl1ough the plaque might be though1 to refer
10 a particular illness of the emperor Cons1anrine,
t.he ivory itself is not unique. An almost identical
version survives in Dresden, wit.h t.he same
inscnpoon cw York 1997, no.go). This suggests
Lhatthese ivories were produce.cl more widely for
members of t.hc impcriaJ family or court, and were
to remind tl1eir viewers of the need 10 pray for the
emperor at a]J times.
The daie or the plaque and identity
of the emperor Constantine arc contested,
bu1 it is most likely 10 refer to Constantine VI1
Porphyrogennctos (sole rule 945-59). The carving
of 1.hcivory is similar to lhat on a triptych in the
Palazzo Venezia in Rome, which also has an
inscription invoicing pro1ect.ion for t.hc health of an
emperor, generally agreed 10 be Conslalltine VIl
(Oikonornidcs 1995; Goldschmidt and Wci12mann
1934, no.31). I prefer this dating.
Triptych with Deisis and Saints
Cormant.inople, ,.1000
Ivory wilh I.races of gilt, 25.2 1133112.9 cm (open)
VH1CU1"1u:icwnt. VauanC'i1y,111vno~1
l'aOVUIN<ctr. acquun:I by I'~ lkncd,c1 XJV from a pm-ale oolkction
Con '7Y.l, m, pp.117 32, pb ll,KIY-lUUCv;
New YM 1997,
UU(7T1!J) ...-.n:aMCU
oo 79, pp 131 I (I Kab\TI:20\IJ; 2001, no.~ PP.9-1 ~ (C. J'antanclb)
Rin11111
This triptych bas three carved panels, which were
originally gilded; the cenu-al panel equals the sum
of tl1c otl1cr two panels fo size and is attached IO
1..hemby hinges. The internal face of the central
panel and tJ1e corresponding faces of the two side
panels arc decorated in relief wit.h figures of saints,
aligned in a horizontal band and separated by
busts in medallion-shaped frdJTlcs.The scene of
Dcisis in the upper half, echoing t.hc ceremonial of
400 /\TALOGUE ENTRIES 76 77
the impl'rial cou1i (C:luist with the 13ook,hi" h.md
raised in ble:-..-.ing,
c11thro11cdhclWl'Cll thc Virgiu
~la111and S1John the lbptist, whosl· ,mm an·
raised in a gcs1ure ofintL'rcession), is pain·d \\ith
tile Apostles in the lower half. who t',11\ bl'
identified by their 11.1111cs
on the va1iu11slig,ires
Qmncs,.John, Pc1cr, Paul and Andrew); in the
medallions ,\ilh the busts ca11 b<·M'l'II Philip,
Luke, ~l.trk, ~latthl'\\' amt Thomas.
17w !,idc wings show thl' militaq 1saints in the
upper par1 (S1 Theodore Tiro and S1 Eus1athios in
the lcfr-hand \\~ng, and St Theodore Stratclatcs
.ind St Gro1~c in the 1ight); they an: accompanied
by a row in 1hc lower p.irt which comprises a
combin.ition of local martyrs and miracle workers
(St Ar.uor and St Prokopios in the lcfi-hand wing,
St Ocmctrios .ind S1 Euslratius in the 1igh1),
interspersed \\~lh castcm saints (St Mcrcurios
and St S1cphcn in the lcH-hand medallions,
1 Pan1clcimon and St ~1cnas in the right).
Similarly, on the cxtemal face of the two
doors, 10 correspond wllh the Fatl1ers of the
Church in the upper part (St Basil and St Gregory
of azianzos on the left; S1John Cluysostom and
St Clement of Ankyra on the 1igh1), a series of
manyrs and bishops occupy the lower band
(St Gregory Thaumatourgos and St Seve1ian on
the left; St Agathon and St Nicholas of~1yra on
the right), producing a kind or 'illustrated litany'
hierarchically strucwred around tJ1e figure of
Christ. The half-length figures in the medallions
(St Kosmas and St Damianos on the left; St
Phokas and St Blasios on t.he right) also confonn
10 this logical transcendental progression: from tl1e
bishops and pat.riarchs of militant Orthodoxy,
visible on tJ1e icon when closed, the spectator is
led towards the liturgical action wit.hin, along a
way of doctrinal salvation mediated by t.he
Church and its teachings.
The style and dimensions or the triptych
assign it to tJ1e category of portable icons; it can
be compared IO two other celebrated triptychs,
t.hat in t.he Palazzo Venezia, Rome, and tl1at in
the Louvre, Paris; with t.hese it fonns t.he so-called
'Romanos-Group'. The uiplych in the Palazzo
Venezia bears an inscription dating from the reign
of Constaatine VII PorphyrogennelOs (sole rule
945-59), but the date of the three pieces, based
on stylistic considerations, may span about one
hundred years, from t.he mid-tenth century for
tJ1e triptych in Palazzo Venezia, to the turn oftl1e
tenlh and eleventh centuries for the Vatican piece,
to t.he middle of tl1e eleventh century for Lhe
triptych in Paris.
GUIDO CORNJNI
77
Till' 'I l.u h,IVillc' tripl)'l h "ith
Co11\l,111111111pk.
11ml-h·111h,1·1111111
1:lt-ph,11111\01),,11th 11.u1·"(ol g1l,lmg ,111d1rd p,
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rn1g111.1I), H'lll11·) .111cl21! nn (op<'n)
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The 'l-larba,~llc' triptych is one of the finest
surviving 13yzan1im.'ivo1ies. \¥hen the shuucrs
arc open the upper part of the central panel
displays the traditional image of the Dcisis: Christ
en1hmncd with two h.ilf-lcngih archangels beside
him; stancting at his side, the Virgin ~fa!)' and
Stjohn the Bapt.ist. Above, three small medallions
contain busts of the prophets: Elijah, in the centre,
Jeremiah and Isaiah, respectively in connection
with the BapUst and the Virgin. Below the Deisis
stand five Apostles: Peter, in tl1e ccntre,James,
John, Paul and Andrew. On the shutters, in tluec
rows, from top Lo bollom, stand four soldier saints
(Theodore Tiro, Theodore Stratclates, George,
Eustatl1ios), four half-length saints (Mcrcurios and
Thomas the Apostle, Philip the Apostle and
Pantcleimon), and four standing martyr saints
(Eustratios, Arcthas, Demctrios, Prokopios).
The backs of the shuLLcrs ctisplay, in similar
rows, four Fat.hers of the Church (Basil,
Gregory ofNazianzenos,John ChrysoslOm,
Clemen! or An~yra), four half-length saints
(Phokas, Blasios, Kosmas and Damianos) and then
two more bishop saints (Nicholas and Gregory
Thaumatourgos) and two martyrs (Severian and
James t.hc Persian). The reverse side oftl1c central
panel has the paradisiacal vision of the victorious
cross, with IC XC Nl/KA Oesus Christ is
victorious), painted against a sky dotted with
stars, witl1 two bent cypress trees (symbols of
immo11ality) inhabited by birds, one tree covered
with a vine laden wilh bunches of grapes (an
allusion to t.he Sac1ificc and the Resurrect.ion),
tl1e other witl1 ivy (a symbol ofimmorta(jty).
At tJ1e foot of the t.rccs, among clumps of shrubs,
including olive trees and wheat., lions, a hare and
some birds arc shown in peaceful coexistence.
The style and high quality or the triptych
aligns it with the 'Romanos Ivory' in tl1e . he is lying on a bier surrounded by the Apostles,
Bib(jot.hCque nationale de France, Paris, and ll
can be ascribed 10 t.hc same workshop; this ivory
depicts Christ crowning an emperor by the n~me
of Romanos, with his empress Eudoxia. Despite
recent aucmpts 10 assign it to the reign or
Romanos rv and to the cleventl1 century
(Kalavrezou 1977), the figures are generally
identified, since Peirce and Tyler 1926, as th e.
young Romanos n (95 9-63), son ofConstanune
VIT Porphyrogennetos and Bert.ha, daughter of
lkisis and saint, ---- 11t1~h
1,r11,d)- nlHJ
.
ill (:u11~1,1_111111op
I lied 111!J 10·
lt'tt'l\l'd ,_111·11,lllll' Eud~ixi,1
I, , 1ho r11,1nH"d Ro111a110<; 1119,1,1
tl 'l,·nt l' the d.itin~ of tht'
.
Theodor<· S1ra1cl,1tc<; and f',mlathio<;,along wi1h
tl1e bi,;l11JpClement of Ankyr,1; and in tlic bottom
rcgi,;tcr ;ire a furihcr two warrior <l,tin1,;in court
cc111uq1. In contrast 10 the ivory columns that
support thl' b.ilcbchins in ivories, those in stea1i1c
, 1rc ,olid am\ have the lll1USU.!l motif of the
,in< c \\illc' uiptyrh to 1hl' 1111d-tc11tl1 n·ntury.
drcs,, ~lcnac; and Prokopim, paired with St Heracles knot which 111.ikcsi1s .ippcara.nce in this
(not
11111 'l·\.'11,, I •· t ·iJll)Ch" i11Ro11u.·oftlic iiarnc date Stephen 1hc l'rotom,irtyr and Kyrion, le.icier
'l\\ool H.:I I period and i-. also found in the columns of the
oflhc For1y Marlyn ofSrba~lc {shown here with
, lc\<;rh1111c I .in
\(Jo ffrr th<' l)ci.,i,; wit Ii r.;a.
. .
111t",." 1th 1he same Iii,;martyr's crown over hi, head: \Valtcr 2003,
1c1nplon c::crcenin chur hes (Kalrtvrczou 19850).
Thu,; the ,:;ccne of the Koimcsis is placed within
hntit.,
y) 0
·nor vari.111011<; m the sclcc1cd
ostks anc11111 • pp.107 8,171 6). The theme of,acrifice imidc a <;citing that rcG1lls the position in churches
0
no 7~, l':iru
1
1<)5'1 ~I Y~
,\p
·11tsBut on)
I , the Louvre 1np1ych acids prophets,
'''.' c.:r;allyJ<;,1i,,h,
-
,\•ho ,rnnouncrd the ~Jcssmh,
. the trip1ych is balanced by the image of victory \\ here icom arc loca1ed.
and rebirth on the outside. TI1c ex1crior of the two The c::tylc·of 1hic::icon show<l that .it Lhc
c~p .. 1 resent at till' Transfigura11on and \\~ngs arc each decorated wi1h crossc!, inscribed
nd EhJa1, p beginning of s1ca1ite product.ion rnrvers adhered
~bout\\ holll Cluist wa<;quesu~nccl
.
b:'
p
eter o_n IC XC NIK.A: Jesus Christ Conquers\ with bust<; 10 the carving 1cchnique used for ivo1)'; lhcy
2<>03, "" 116 93, •10"' ("th '
rcsurrccnon, I •
• >heed in the vertical axis ofChnst
. of SS.Joachim and Anna in 1hc centres, and migh1 even be the same craHsmcn. The examples
) , , . The main theme, presented wuh SS. Basil and Barbara; and James the Persian of the later centuries show us, however, that a
;111d I l:li.:1- • •
remarkable coherence, is 1he salva~1011of and Thekla at the tenninals. different approach had 10 be 1aken in can.~ng
lnunankincl through the R_esurrcct1011~f . Many of the saints on the triptych are very '-tCati1e as this high relief proved 10 be detrimental
Christ, the lncaniation betng rc~lacccl m this obscure:James the Persian appears on just two 10 t.hc survival of these icon<::becnusc sleatite is
.1n-angcment, and the risen Chnst surrounde~ by other ivories, the Palazzo Venezia and HarbaVllle highly fragile.
:runts and 'wimcsses'; it is the image of saJvauon as triptychs (Goldschmidt and \Veitzmann '93-h IOLI KALAVRl?.ZOU
promised in the Gospel to believers. The un_iversal nos 31, 33), and Clcmem of Ankyra on just one
Church, whose perpetual prayer celebrates 1n (the Harbaville again); SS. Kyros and john, and
the liturgy the sacrifice made by Christ and his Kyrion appear on no others. These unusual 80
Resurrection, affirms salvation through t.hc choices arc generally thought 10 reflect the
AJabaster paten \\~tJ1Christ
•martyrs', bishops and theologians depicted on personal preferences of the patrons who
the shu1ters. Finally, on the reverse side, the Cross commissioned these ivories (as Goldschmid1 and Comtant.inople, tenth eleventh cemury
Alabaster, !i.lver-gih, rod: CT)'Stal,pearh, cloisonnC enamel,
proclaims Ch1is1's vic101)' over death, while the \Veitzmann proposed). However, the fact that tl1e
3.2 11 3.2 cm
plants and animals remind us of the grace granted ivories on which they do appear arc closely related
lbJwc:>ti~ ;\~, Vc:mce. Tcsmv,,n•· no.Ii?
in Psalm C[V (CUI), based on the contemplation sugges1s Lhaiit may reflect a broader court lll.aCTI.D URRL .. CU P,;wru 1886.,no..10b.p 63;:\lotm11:r1888,no.9-4, p 9l,
•'I.
Gallo 1g6;-. no1+ p.\18o; Hahnlokr 1911,pp" 7, no.Ii?,P.72 G~
orcreation. Salvation is replaced in the vision of promotion of the cults of these particularly P'.lru 1<J8.4.
pp101.•~
no.17, pp.109-70 :\I P..F=r. Monte,,'Ct'Ch•and V:um R(ltt;I 1!)88,
the whole of creation, Christ enthroned in the unusua1 saints.
Dcisisappeaiing not only as the impartial God The Treasury of St Nlark's, Ven.ice, owns a
ofjudgmcn1, but also as Pantokrator. number of chalices and patens, 1.hcvessels most
JA.-.,',IC DURAND closely associated with t.he liturgy of the Eucharist,
and as a group they represem some of tJ1e most
79 outstanding e.xamples of Byzantine workmanship;
Icon with the Koimesis the chalices oumumber the patens but the laner
Constantinople, second hair or lhe tenth century are equally e..xceptional. This paten appears in t.hc
lvo11•triptych with Crucifixion and saints Stcatitc, partially gilt, 1311 11.211q cm
inventory of 1325: Plati11amimam de alabaslrocum
(The Borradaile Triptych) Kunstl11ston1Cha; MUKUm, Vircnna, Kumtbrnmcr (8797)
,l:.U(lTll.o un:u.'<ca,:; K.:.b\'r~zou 1g8y.
Christoad smaldum U,mediouamitmn argn1to;it is
Constantinople, tenth ccntu')' certainly the largest and the most. e.xquisitely
h·ory, 27.2 x 15.7cm (ccmral panel); 7.8 cm (left wing); 8.5 cm This plaque represents tl1e best surviving example
made, and this applies both to the stone and tl1e
(rigln,,ing)
of an artistic medium first used in the tenth mount. The alabaster platter, cracked from one
century for precious small private icons. The stone side to the other, is finely carved in the shape
is sLeatite, soapstone, dense but soft enough to of a six•petalled flower and contains at its centre
pennit ease of carving. It became a popular a silver-gilt disk bearing the figure of Chrisl in
material in addition to ivory, which could be used cloisonnC enamc.l, surrounded by the words used
The centre of this portable uiptych presents for small-scale relief sculpture. Its light green for the consecration of the wafer in the Greek rite:
a incditation on Chrisl's sacrifice on tl1e Cross. colour, favoured by the Byzant.ines, with a little 'Take this and eat, tltls is my body.'
gilding on surfaces such as haloes and decorative The silver-gilt mount consists of a circular foot
~It.hough he is shown dead, his head slumped and
borders, made it attractive and more affordable connected by three strips to the richly decorated
his eyes closed, Christ's body is erect on t.he Cross,
hinting at his triumph over death. The fun-owed than ivory. rim where, between t.wo rows of pearls, now
This icon depicts the Koimesis of the Virgin. mostly missing, underlined by four rows of metal
brows of the t.wo angels and of the Virgin and St
John on either side of the Cross indicate their pellets, crystal rock cabochons are placed; the
who mourn her deatl1. Christ stands in the centre gems altemate in shape, circular and rectangular,
grief, but their gestures seem designed not so
behind the bier, holding in his arms the soul of the and in background colour, red and blue.
much to accentuate t.heir son-ow, but rather to
Virgin in the fonn of a baby in swaddling clothes. Particularly elegant is the rc.lationship
present the body ofCh1ist to tl1e vi.ewer as an
nfortunately, the head has broken off, as weU as between tl1e disk with t.he figure of Christ. and the
object of contemplation.
the angel who wns flying above in a symmetrical inscription surrounding it, between the n1edallion
The message of suffering is continued on tl1e
position 10 the one on ihe right, who is ready to and tl1e plalc shaped Like a six-petalled flower and
t,v~ wings, which show ten martyrs. In the top
receive the soul and can)' it to heaven. The scene between tl1c plate and its border decorated with
register arc busts of a pair of doctor saints, Kyros
is plnced under an undercut and part.ially pierced the c.legant rnw of cabochons.
aoctJohn; below them in Lhe cenLral register are
th bnldachin or a type found in ivories of 1.hctenth MARIA OA Vil.LA URUAN"l
rce warrior saints in military dress, George,
CATALOCUE ENTRIES 78-80
 ll2 ,.1
,\t I lonu-: ( :cr;1111ics 89
Chalil(' of the P,ttn,1rch, Hook1m11,
Pl,11t·\\llli ,irc-11on., hml \\1lh 1rdml mo111h
.J111Z"
<.:omuuunopf(',tt n!h or ('J11\ rl<"'r111h
;ftnun lh ,.1111111111.1.,,.-H 111h ,·.uh rl." ,uh 11 011111,,

~.mlon), 111p,'ll\rr-J,,rih,,1,':0ld
do1.,.mut·t II untl, lk·,irl, (,111t11t .. 1,1 I tlll \\11'.1'.I. 1111h ~t1l1I 11111'1111111111,111111' \lul•l 111llth ,, 111,11, ( 1>nu1!., 111111'"' 11th11 rlllll)' \11.1, l111111n11tl1 tf'11llll)
prt'rlllU\ ,1011<"'.incl rocL. t "'1,11 t ,ll)O( hm1, 111111ml, p1.ul, ,rnd pl\111111, 1hm1, .l\l, .111111 c,,., ,
11 1111
. 1111.. 11 1 ,111.11!.11111111 'I ,1111. (il.111dHt,mm hr,l{hl.,pp"'~ JJrm. (,t.1,t·d r,·1.111111, hr1i.:ht JJ nn, cl1,11nc1n
ofti.tS<' 11 cm
i73• 1Rrm 11 ,, \Ion....._,,_, \I\I. ll ''""
C:l.11c-dl.11l:,l' bmd \\1th ,l 1t·iut'\l·ni ,h,tHI' tfl ,,t )Ip II 11111 di.unrrrr "' f, 1 m. d,.umrrr 1,flu,r f," 1111
.i11011of ,1 bird
• ,,.,, •11,.,,.,. 11mq1,
..., 11 ,1 \t ... t .. , ,,., ... , •• , .. . I"
~:·,.,.:~·~:....·••1-+....,,...
.......
___,..
\UiMj••I .. \,,Ii 111\1 _,,"4\..,.,M(-h - l''
•di~\1_.,..,,,\r,1..-.J""'"' "I' II ,. ., •1\II I , '" ,l,.olt ••••, ,, .. . '\t1111nl lull 111 lht' l,H 11thtnltun
11111nnu,,a,,," r, 10...,.1,, 1, " ... , p61
' \. l I I )I
,1w ·., •• , ....
lbt,.l. rr l<IJI •· I" 11' ,1," \(or,.t.,.. r,m 11• 1 1 1 1 (,l.11td1n,111111 l1111.;h11t11m.ch.urn1ti J
7 tm. \I ,, \I
, ..,.,
.. ,, ..... ,,.., I
DU.i ,.__ l\lllr C,..J..w,, \
\ "' I h,, p.111nl hoo~ l l\\l'I' 1, 111.ull·lll i.:-1ldnl,1h t·1,
di.um It, nl lu,t· 10 II 1111
11 .1,,,,.,,,,
lul 11
:\ lo,t of 1111·mou1h of 1hi" jug, .111example of
'" ,\,\I ",, •.,.,. "'''" ,,,, •
,1.11ul.11d \\,1re in 1..ue U)1,111tium,has
KnO\\ll ,lSth<''ChalicC'of the P,llli,m.h..,' •1do1nt'<I\\llh l'll.111H·k l ..u.h p.u1d ,, 11·1111c·d
l.11'\,'1~
1·11.1111l·I,
o!Chn,t. 0111lw hont, "ho hold,
011 1
\I',',:,~:.,",::~•,~:,::,.'t,~ ~::1~·•~,
I•Ht' I'"'l l',I•,.1.,~•
ll li.111 I ht· ,IHur,11um of 1h1,pl,1u· r"<r<ut(·clm 1llt'
oqH·,1llecl ~l(,,...,lr..,
tt·chrnqul', dq)l(t, ,1 \lfl'll
1
<lo111r,1iC'
hcrn 1,·,10H·d, .u1cltht· body 11.1s been mended
bccamr ofit, ima~l'' of,;mou, p.111i.,Hh,ol •1he hm, 111.1,,111"' "nl 1111,tt 1, ,,ith fl,1~111~
on tht·
., lop, ol till' Go,pch .u1d 1,1i,c, l,i, 1il:,hl h,111d111 I hl' n•r,uni< f:d:11<.i, 1nl ,md r,nher hard. The ,1ppo1rt11tly \t,tnclmg on tlw l>,1(k r.f ,1 l.irgt· hircl, from IIUlllt'fOU\ ,h,11cl,. It Ii.is ,l n..11 h,lSC, a
Comiaminoplr in doi,;onnl- rn,mwl ,,ork. th,, .wd ,1 deep hocly
rim. Thl' ,,,,,. h,l', .i 1i11gh,,..,<.·
hl1·,,11u~:.111d1lw ~IOlht·1ol (;od, 011 thf• h.1d,. ,.1,1· h,1, ,1 low 1111g lx1r..r
1 ,l hl'mi,plwric-al hody
ptrh,tp'i ,111 mtrich. To tht· ,ight i, ,1 f1'h. lf!lw fu,ifonn hod), ,1 ,l10r1 c-ylindiic.tl neck and a
sumptuom ch;ilirr both m ,i,1.·.md III IX',l\11\ \\Ith ,\.111ttn~ ,,.111,tl1,1tfo1111,, ..,11,u~htrim 111the
"ho ,1,mcl,,,uh lw1 h.u1d, 1.u,1·dIII p1,\HT m tlw ,uicl ,111 eH·rtrd or out",ucll) folded iiin with a 1ro11og1,1ph)1cf('rrt'd Lo B)'1,1n111w ,on(; or tn·foil 111011th 1111·11· i, ,, ,1r.1p h.mdlc from the
of\\orlman\hip or,tu.--
1 a major <'"\,1111plt-- Lnurt uppt.·r p,111 J ht· 111,id<' i, lOrllt'd "ilh \\IHI(' slip.
1

nn of 1hr period
171c hrmisphcncal cup j1,, al"\NI from .1 block
of dark reel ~1.rdonp. ncd.<"d,,11h ,\hur, the "lutt·
flcd..sgl\1ng added lumino"ll) 10 the ,tone. 11,e
mount in i,ihcr•gih cnc1rclc\ the upprr bcu·tk1of
the cup 1 and beaN an inscrip1ion 111blue c~n.und
"hich citrs the ,,ords pronoun ed. b, the prit~,1
,, hen he co1lSC'cra1csthe hoh "inc durin~ the
f.uchari,;t.
Four 'itrip join the upper border to the
base of the cup ,ia a series of ch~ the cup is
embclli~hcd \\ith eight rocl-<1)1ilalcabochons,
one of" hich has been mi ing for M>mr) cars.
The trips meet in the centre,, here th , hold the
enamelled figure of a sa.inL A mooth lnot bclo"
the base of the cup fixes it to a tnmcatcd cone b)
means of a di,idcd ring dccor:ucd "ith brilliant I)
coloured enamd work. The cone broadens
towards the base and is d.i,idtd into four sections
with figures. trings of pearls separate and outline
the sections containing enamel worL
Four bishop arc dq>ictcd in the four
trapc,zoiclal panels of th< fooL Of these, '" o
arc patriarchs ofConsmnunoplc: t Grrgof) of
Nazianzo and tjohn Chrysostom, for both of
"horn 1he 8) 12.antinc Church nourished a spcciaJ
devotion; the other 1',o are t lgnatios of Antioch
and t Tiu~ophylactof fjcomeclia.Portrayed
in the four smaller enamelled circles arc
t Demetria , t Prol.opios, t TI1eodore
and t Akynd.inos, all highly venerated in
Constantinople and also rcprcscn1cd in t ~ lark's
Basilica, in mosaics and in the enamel \\ ark of the
Pala d·oro. n,c Ra, base of the insidr of UlC cup
bca"' a final cloisonnCenamel depicting Christ
raiYng Im hand in blessing; in his lcfi hand he
holds thr book of the Gospels, closed, in a jrwel-
m,ddcd banding.
U"RIA DA \ 11,.1,A l ........ 'lil
O1.mt pmt·. lh1·, ,HT both ,u1r()u11clt-cl b, t\\t'ht·
,m.,lkr nwd.1ll1011,of,,tillh ,mcl p1opht·h ,\11,ue
fr.11111·<1
h, ,tiim?,'-of pc.1rl, ,md pn·nou, 1.to1w,.
rht· mt·<l.lllion~of the ..,,,ims .uc 110
01i¢11.,I loc .1tio11,,but 11is pm,ibk to ,·..,tabli,h
thr1r oii~n.11 or~mis,nion ,.., the) ,\ere ck,trl)
dt·,i~wcl a,., ;:.,criesof1Mir'\: the ,\r<.h,uu~d'i
~lirh.,cl and Gabriel; ,\nna ancljoachim the
of:\IJ.T) ); E.liLabcth,Hid z.,ch,tiia\ (tht·
J),ll'('lltS
p,trent~ of John the Baptist ; '" ch c disriplcs madr
up oftht.· leading Apostlt~sPc1cr ,incl P.,ul, 1hc forn
Evangclis1s ~lauhc", ~lark, Lule ancljohn)
si, 01hcr Apostle~ (Andre,,, Philip, Thom,1s,
Jame~, Bartholomew, imon); four church fothcrs
(B~il 1hc Great, Grego!) of Naziantos,John
h11•sostom,Nicholas); a11d1,,0 prophcts,John
the Baptist and Elijah. These ,.1ints .ire depicted
throughout with the same blue halo with a reel
frame. 1\Jthough the major o;;aintsarc re ognis..i.ble
from their distinct phrsiognomies, others, such as
Phi)jp and Thomas,John and ~laahew, Anna and
Elizabeth, \\ere made 10 almmt identical designs
\\ith only the colour of the enamel changing to
differentiate them.
The high financial value of the materials and
,,orkmanship is designed to m,\lch the spiritual
value of the contents. The covers were probably
original!) designed for a Gospcl•book, and the
image of Christ may well be a visualisation of his
description in the Gospel ofS1John as the
incamatc logos Vord of God). The technique of
the enamels allows the covers to be dated to the
late tenth or early eleventh century. This book
cover is one of a group of three 1hat , ...ere reused
in the founeenth century to house a set of
li1urgical manuscripts, probably commjssioncd by
Doge Andrea Dandolo 1 for the high altar of San
~larco 1enice 1995, 23 1 cats 34 8), part of his
larger campaign 10 embellish the dogal church.
Al'O0~\ tAITM0:-.0
bC'\dlt:d edge. (~11 tlw "1111<·,;lip co,,ting the inside
drcor.1t1on. On the bottom
,., sguiffitoand p,111Ht·cl
1 mcd,tlho111onclo on up) mg ,t l.1rgc part of the
111 fim~J'!n/fil~,is .1 nwd.,111011with a bard lX'l\\ctn
longer in their -.tcms. 1 ht· bird tlll m 10 the right and pecks at an
:': hran h, ,mcl rn1,.,·a\l·cl hduncl it is a bent stem.
I hl' ccmral medallion i~ t~ncirclrd by an area of
p,1i11tcddccora1ion in 1hc fonn of a rinceau
incorporated in Lriangular panels, executed in
b10,,11ishpurplr and grrcn. /\1ouncl this is an
Cllhrravcd narrm, ba11d of ru11ni11gspiral. Painted
.,round the 1idge of the rim ate clusters of brown
1 and and green brush stroke~. /\ fine coat of colourless
glaze covers 1hc inside of 1hc vase. Vases
decorated with fine JgraJ!ito and painted motifs
have been found in various p.1rts of the Brzantine
world. Their placc-~of production have )'Ct 10 be
identified.
Plate "ith lion attacking a deer
l\l1d•l\\dfth ctntul)
Gl.vcd ctra,mc, hc1gl11◄ 6 cm, d1,1mc-ttr23 5 cm,
d1amc1cr
of base 13.5 cm
11M'llrlkruc ~l,nwryolCWtuor, 7th I phflf~1cc,l ll)u.011nc Anuqu,ur,,,
·~·'"' "°"'"'-•8•1~o6)
,.o,,.,"'"'~'l lound m 197ooffl'rl.,p1ru10:ot
Ai,Jnn.-, 1.. ool1hf
',pir,.dM> ..Linch m chr nonh,.rt! Aq1nn, m IIK' ,.,n:k o(a l"rH\h~rnrnrylhip
lram,,o,ung do1nn11c IIOllt'I) •nd 111dlt1ont1,1>1i.. al '\.ra And..alol 111IN
Mort'JOOffilol1hc ard~"'I lllr
.,,,mu a,n.ar..'IC:t:J Knu.u 1<J71,p 119 (1119, .\1hfn119'6 no,,<i,pT:J+
~.u ,m, no,,.,"•rJ
mall parts of the rim of this plate arc missing.
~n1ebase i fanned in the thickne of the bod),
\\ith a mere suggestion of a ring. TI1c body has,,
flat bottom and vertical w.,Us• a kind of traight
rim. The inner and outer urf.tce arc coated with
white slip. The decoration, excellently rendered
and carefulJy executed, com:ists of a lion with
luxuriant mane mucking a roe deer. The head
of the lion is represen1cd in frontaJ pose wi1h i1s
tongue tumed upwards and ending in a heart·
shaped finial. TI1e body is indicat d by spots1 the
mane by unifom1 imbrications and the hair on 1hc
legs by dots. Dots arc used ~,Jsoto dc1101cIhe prh
oft he roe deer. In the field arc schematic bmnchcs
with pine cones. A palc•ycllo", shin)' gla1c 1 1;lighti)
damaged, coats the plate inside and outside.
fhe c,udull) nnutl·d dcco1.111011
bottom.,, itl1111,\ hid1 ,l rinn•,1u "ith p,1lmc1tt•
fini,11i<iclt•,dopt·cl 011., g1ound of scale~. ,\round
thl' circumktt·nn· ol tlw mccl,dlion i,; 1opr
p,iuem At till' ccntrc- of the bottom 1,;;,l tiny hole,
mdic.11111iz tlw u,t· of., p,1i1 ofcomp,,o;;,<•~.
The1c
j,;;a pale., rllm, ~l.t1c·011 the insidc. Thr outside
,111 face IMSlx·t·11.dtr1 eel
Plate with lione,,
~hd-11,dfth U'IIIUI)
Cl.1zcdn•1-;11mc, hc1i,:l11:.1 1 c-m;di.tm<'lcr 23 5
d1.1m,tcrof b,1-.t' 1• 5 t m
1hr llrll,,11,.\l,n.,,,-, ,~ ( ,.1, ,n, 71hI.pt,,...,,,,.,.1 M),,.,..,,,.. "'"'l"'C'"-
\....,._, ,,.. .,., ,. , H lf••I
,,.,,,t,,.,,I b11ttl1111,1;ooffl'r1.J«unn,-;ond \l,,lftn-,,
..L..ndo111chrn.. ,1h \<N \cc<';an ,n 1hr .. ff1~ol11Nrlt1h,u11h.,.,
,r"'"P'""AII'. d, "'""" I ,nrn and mJl.i,..,n, '-no \Ji• h..io.., t,10ffn"'"" ol thf
UlhM'<>lot::t<.-lulr
1u1tnoa,r1•1,,1~ l-.nu.u1971.p181,h17, \1t.r--N1.,&t,,no.r,<).1"PJ'l) 6,
Tiont.»,,,.l,,.., '""'11,l'I\I
Part of thr bod) and about half the rim arc
missmg. The b;.,sci.sfanned in the thickness of the
bod), \\'ith a mere suggestion of a ring. ~n1cbody
has a n.11 hottom and vertical \h\lls as a kind of
••id
straight rim. The1 c is a coat of white slip on the
inner surf.ire and a thinner coat on the outer.
The intiicatc decoration, exccllen1ly rendered and
carefully c,ccutcd, comprise a central medallion
(tondo) enclo!ting an animal, possibly a lioness,
mo,ing to the left and turning its head back" ards.
At the rip of its tail is a folia1e motif. urrounding
the animaJ arc schematic stems and a heart•
hapcd leaf. The medallion 1 the field of which is
filled with a.Jc , is encircled by a narrow band
ofbcad-and•reel (astragaJ) pattern, internipted
by four medaJlions with schematic aplings in
diampltvt technique. Around this is a wider
concentric band witl1 pseudo-Kufic motifs,
schematic saplings, s1ems and seal~ in 1he field.
~t the centre of the bottom is a tiny hole,
indicming the use of a pair of compasses.
There is a particularly shiny yellowish glaze
inside and outside.
ASPASIA 0INA
n<uTatiH·,thc tr,1d1uon h,1,;not un-iHd
comish ofa
The pl,llt i, m.tdC"of, cry p..ilr•hrc.mn c lo.1.y
with bl.1ck•,u1cl•\\ hue inclmion . Whi1t· ,lip ha.,,
been thickl) .,ppliccl on·r thr intcnor ,md o, c-r
the lip ou1,idl·. fi~iral s,:mjfitr, dc ...~1 ,.,.a.s mci,;rd
1hrough the ,;;lipto rC\eal 1he bocl) clo.1.y.
design h,,s brrn highli(;htccl \,i1h n:cl d1p dots.
A p,tlc-) cllo" lead glue co, er, the mt('rior
surf,,re.
88
Plate with a dec-r and other nrnmal,;;
Connih, l ...,kom.1or l...c.1trn TI1r\.S.LI},
1180 1200
Gl,l1NI cn.mHC', ht1i,:h1I cm; d1.1mr1rr JJ 9 un,
cm; d1.1mctc-ro(b.uc 12 , cm
\n:h.i,vl,:,p.ol\l, o,m1l\nnt'n\C....,n1h.,m ..... 1~1 1~1'3
.,.o,,,,.,., 1 ~ .. ndonthrn,.n.-,.,.,c,(11, ',,,nh \l.,M1,otlwn<-.do,.1tht
lrn,p&r,O, \pi&,.( .. irw.h
.. oollM',.--i,,. ILLU~•oarna1,,11 \l"JM>•~\l~nH}l'•~"""'-"~~18
.h, 11 and!.11,k,111
deer, standin~ to t.he 1ight, is depicted
scratching 1ts nose "ith iu. left lund foot..The
badground i filled \\;th a ,inc and palmet1e
scroll populated with 1,,0 hares and t\\0 do,es.
1\JI the animals appear to be \\Caring collars.
Any significance the scene m,1y h.1, e had is no
longer obvious. The decoration and shape of the
plate is similar to plates made in precious metals.
The plate is made of rcdclish•ycllow fabric
with fine I ed•1md•\\hire in lusions. \ Vh.ite slip has
been thickly applied o,cr the interior and thinh
,,ashed o,cr the eMcrior. A figural champlai •
medallion was incised through the slip to reveal
the body cla) (this forn, of thampln.i decoration
precedes that of a1.9,f). A pale-icllo"
glaze coven the intenor surf.'lcc.
Although the plate was once thought to
be oflocaJ, orinthian m,mufacturc, recent
unpublished rcsc.,rch has identified phyllite
inclusions, suggesting thm it "•~ ~ibl made
in L'lkonia or Eastern Thessal .
m·rk to ilw m1d.bdl). Tlw p,1in1ccl decoration
111\\hllc ,lip c-omprM·, fol" l,1rgc nmning spirals
<111the hell), ,,i1h cloto;;lx·t"een tht.·m; similar
clC'cOr,tt1011 c,111Ix· found on the mouth and in
the ,mw 11<',trthe h,..,t·. On 1hc h,mdle there arc
~,he ohhquc· p.uallt'I line-.. The gb1c used is dark
)rllm,
f'OI \Xt"I DI\IITlt\h.01'011 ot A',D UAIHIAIL\ f'Af'AD0f'OUl.0
go
r:AO'P'·
filth ,,x1hu:ntum·,
Coppa .1lln.,.,cm tlllfr.l\rd, 11 8 • 8.1 nn
Rrtull \I,_, \Ihm, ,,.. nn 11~,ft
u1.1.cnuHna.t..,,o '-rnlom1•11t7,P•lt>.flUII') I-Bour»~"\,.
"" p _,l,q \l)nn.t..U.-.1dnn,11ro\p1,'1-70 \.Or.nd;aM
1.-l~-.. ,.,; p ,,., l \. lln ....bM
The t..."lilof the fish fomu a quadrilateral base on
whi h the vessel stands upright; the fish's mouth is
also the moULh of the \'CSScl. The surface
rcafatically renders the o, erlapping scales of the
fish. The loop on the upper side of the fou \\ ere
prcsumabl) used for affixing a chain by which the
vase ,.,,as hung.
nsh•shapcd v~els arc ki10\\11 from Antiquity.
,\ith many examples from Pharaonic Egypt, but
became particularly popuk,r 111Late Roman
times when zoomorphi vcsscl.s proliferated
(Ricfstalt.119r2:.pp.11 1+; Boston t967 1 no.fri:
[C.~l.A.Haufmannl; Eckard! 1999, pp.66 8).
There i.san almost idcnucal bronze nask in the
ta..1.tlichci\lu5ecn zu Berlin, and another in the
~lecropolitan i\luscum of Art, Ne" York, which
re1ains ib original hanging chain 1 IOnstcr 1983,
110.15). Comparable c..xamplc5in clay or glas.'i
lead
document tl1cir wide di~cmination in this period.
Lunps and mirron. arc also found in tJ1c shape
of fishes Ueru,.alcm 2000 1 p.123).
The fish is among the earliest and commonc l
Christi~m ,ymboh, because the Greek word for
fuh, IX0Yl: (1thtl9's),is an acrostic of the phrase
h1ooll~ QlOT~ 0coU Y16, LJ1>n10Uesus Christ on
of od av1our). Its ~ignifican e as a Chrisdan
ymbol was reinfor cd by the numerous references
to fish m the Gospels and primaril to two of
hri\t' miracles: Lhc multi.plication of Lhc loa"es
.i.nd fuhcs I latthcw xrv, 17 21) and the gn:.u
c~1tchoffo,h in L1kc G~,lilce (Lule\', 1-7J

J02 CATALOOUI:. l:'.\IRIES 81 8,1 CATAL00 [. ENTRIES 85 90 403

(Galavaris 1970, pp.57-8; Urbana-Champaign up1ight, cunccl ,im. ,\ d.1nn-1 i, ll'j)rl''l'lllnl 111 lol ,ll, Co1 i11l111.111
n1,11111L1c
H11
t·, It'( Cllt

1989, pp. 22 3). f-iiwand inu,l·cl 1gm/Jilnon the ,, hitt· ,lip< o,ui11g ~••11n•l.>li,lwll
11•,1·,1'.tl1 l1,1..,
iclt·ntilinl phyllitc
l'nl) 1 111
c,nw \\',111· , ,"C'\ ,!IT 1wrl1,1p1;thr 4..!l 99
the in.;idc. The hr.id .md hod) ,lie ,ho\\11 llnnt in Lak ,
IIH\~1,mm. ~\.tggrq111~ th,H 111<1nuf.1etuic.:
,
1110 1 11,-q,wull) di,( "'"'d c·x,1111plro;;
of Up,111ti11c At Horne: Mctalwork
Spoon \\ ith in, ription
on, wink· thr feel and ,mm ,IIT trn 11rd to the 01 l·..1,1t·1 n I he",d) 1, ,l pm,ihilit).
01
11a
tfi,unii ,. Thq \\t'lt' piod11ct'(I 111 ,,nrk..,linp<iin
(:on,;;t,uttinoplc ,tlld h,l\t' lwt·n found in _"11all Hy1,11111urn, <',ttl) ,nrnth <'l'llltlf)

---
right, in cl.UKl' po,t·, .mcl the lig111t· hold, \\ith OI \ '\"II k~
9B l\(',1tr11 ~1lvr1, mrm·d 1hr h,mdlr) :u1d 111rll0C"cl(monogram and
nunihcr, .it , ,111011, pl,u <'" 111tll('. B_>
1".111'.11u·
outstrrtchrd lune!-..,1 "ind of krolalntd,q>pl'l' or ,n""np1w,1 , .11.9"J-9 cm; 1)0"1 cli.1mc1er • ·9 cm
\\tlllcl, 111,1111\) j 11 i111port,11H ,1d111111l'tr.111vr .uul Buckt•I
c;ht,rnct, oflun.nc form. l'ht·-..1..·,m· po-..~ibl) the t~Jln.1""' ,Ir,""""" ,1 .. 11"' ,n,m,,.,,. ,k- LI\ ,Uc·d,· Gn>h.,, ,n, no AO'1394

Bowl wi1h bird loiiullfl'C'i,tl nnlll'"'· o;;uch,1,;;Corinth and ,r1,, n~• •• rru""' 1, ,_.,,,..">I' •'I•
e1 ;,1 ,qn, J} G, no 13. ll..nnr 1~1, p 19,
pltmgu,to,, hich ll,7,Hllim· tt·,h rd(-r. The d,uin-r l:,"ll'nt ~lr1li1rrr,111r,m, rrntury
~111:111 m~r II
95 Tlu'",iloniki. Ho,H'H'r, thl'y h.11\'C been noted also 11,tmmrrrd, ,md punched l,r,1~,.hr1Jthl, mrlu<lm~
rh,1'4:'d
t'arly ilunrr11th ccn1Ut)'
L,'ltc l\\dflh h.1-,.1 round l:Kc tTO\\nccl h) rm I) h.,ir, .md l.irgc h.mdlr cm, 1h,une1tr 17 fl rrn
in n-inott· area,, !-ouch.1s the mon,1stic centre on .lt I his 1;ilvcr"poon j1;in good condition and bears
Glazed ceramic, hcight 1.8 cm; ch.1mctrr "I cm, ,\idc-npl'll c,r-., Shl' the 'l'X oftlw d,111rcr i, not Pl.He with animal
diameter orbase 6 5 cm :'daunt P,ipikion 011 the :,lopl's of the Rodopi llr11.. l1 \111.,.um \,l,..n,.111\no 1•~}J the s,1mc monogram as the silver bowl decorated
111H.llh ■ t!IU"l•II ndf,,or1""il,"1•,r(I ppt;ft t).n<>1Jfr\
dc.w \\C;t1, .1 gannrnt ,,·ith .111 imb1icatcd Lue t\\l'lfth t•,111)ll11rtc<'nth<"<'ntu()
ll1M...t.11"l'"'°'
,,.. .... .,,.,.. ...
p1r,,,,.,111l \l>r ..n,f.,,i,, f)r-,.n,f.,,l,.,)(lf,1_l'fl p ·,1
\nf>
with nicllo work, nl;;:;onow in the ~•l"usCccl'an ct
111r lldlnuc 1'ihm<11)·of'Cuhu~,;r:Jnl l-fWIOD1t olllw.umnr \n1,qun....._
Gl.111·<1
n·1~11mc,lw1ght 5.6 cm; d1,1me1rr ~l cm· inount,,iu r., 111:;e i11\\CMt·rn Thrace. 1'i.011
..,,..m,11
..,,.ppJ; 70_,'1,.,.,.,.,..,.w,,,
'J'l f...i,,,...,..,..,,p,·/l ""77
Tiicba, l'n-fC'flun-ofHor()IIQ.tn•00 l"I 1a., "Hl hodirr .met pk.ut·d ,lirt, ,\hose Oare com·e):-, the A Hr,u1tlok, cl'hi1;1oirr, Geneva (inv.nO.AD 238,1; sec Lazovic ct
raon~'IA)<C:f. unLr,o..TI cli.1ml'tl'r
of b.t~l' 91 <111 ' l)l \It I It\ I'll.I' \'\'lt..01 A·8At..llt"f71
11.UCTTDH:n:1r.,rr.s t,,,oiblou 198(,.1,p211 '). pl ~ry. llw,..._.t,,n,lJl~l<l cl.111ccmmc111cn1. ln,ciiht·d in the.·ftdcl IO thl.' left al. 1977, pp.2,1 25 and 39 ,~o. 110.12). \Ve can
1'10t)8,~
ofthl' figurt· i, ,1 cro,1;-hatchcd di'ic. The d,mce ~~;,: 1 ..'!(~::::,_
~.~:•',!t,'.;;•:~~
'.;,~,r;:•\~'~;:.:•::~ llpa111111rAot"lu•ta, Thi1; brass, cylindrical bucket or 11lulnwas m.1dc
,issumc. therefore, that it is part of the same
,ao,1,~" 1 u11kno"n by h,unmcring from a single sheet of mct11Iand
This ceramic bowl has a lo" ring hasc and -.Jightl~ ,c-cm' on thi:- C)vriot vasC'is similar to '-ffll<'" of :::,•~,,~; u11 •t"I t• J,i.,,.J,kou 1<)9R.1>1'1o6 8. pl &,fi, Jh~ l99g, "ervice; the 1wo pieces were :icquircd by the
now has a green, and in some places brown,
convex walls ending in a mdimcnrnrily fonnccl cl.rnn·,..._and nn...,ici,rn1;found on ceramics at 97 pa1i11,l.Two lugs1 fixed to either side of 1hc rim,
museum at the "ame time.
rim. Thick white slip coats Lhcinside and the edge ,"a1ious sites in the Byzanlinc \\Orld. Urmu1i1;h- This ceramic plate ,,~th ting base and shallow Glued small bowl "~th a reprc:scntation The bowl is connected to the handle, which
have holes in the middle for at1aching the handle,
oftJ1c rim ou1siclc,while a thinner slip coats 1hc ) dlo,\ .mcl grcc..·nbru!)h Mrokcs acid a !Ouch of body "itl1 slanting walls and bevelled rim is of a double-he,1decl c<1glc has a lion's head a1 its end, by a circular
which is made from a •Hrong, curved, polygonal
rest of1hc cx1cm,d surfa.cc, including the base. colour to the incist·d design. A slip•p:iinted wavy coc1teclwith white slip, which is thicker on the monogrammed disk. At the bowl end or the
L.it<' thirtc<"nth or founl·Cnlh ccntlll') 10d. On the exterior arc three bands of
Inside the vase, which is CO\'crcd\\;th line nms round the out1;idc-of the rim. The inside inside than on the outside. The inside of lhc plate Gl,t1t·d rrr.11111<', h<'1ght 7 cm; <.h,1111l·tcr
•2 cm; handle, below the lion's head, an inscription is
decoration. The upper band bears the Greek
yellowish glaze, is incised sgmjfaodecoration: of the bowl has a green-tinged glaze, while the is decorated using the dwmplevi technique: at the ch;im<'t<'r ofb,1~{' 1 8 cm engraved in nidlo: q>f/\lTOYC<DIAOYC (Love
inscription: YrlENQN XPQ KYPl(E) EN nOAAOlC
a bird turned right placed frcclr in the field. outside has a yellow glaze. It is possible to sec at centre of the bottom is a large tondo enclosing your friends). The spoon stands comparison with
CE XPONOIC KE KAAOIC EYTYXQC(Usc this in
surrounded by filling motifs in radiate the bottom of the bowl scars from the use of a an equine. The animal moves to the right but and lltbm.t! 1999,
cx.:-implesadorned with a boar's head, which
11, ,("nll ar,O.f\(;I: l':lp,1mkol.a•B:W,u,. \bvnluou
good health, master, for many good years
arrangement. tripod stilt during fit;ng. turns its head behind in the opposite direction. suggests a secular use (Bara11e 1992, p.5).
no'l7tl>lj.4 happily). In the wide central band is a hunting
CIIARIS KOILAKOU Features such as the texture of the ceramic A schematic stem in the field of the tondo The ceramic fabric is red and hard. The vase However, study of the monogram has revealed
scene with five figures in groups, chasing a lioness
fab1ic and iLSshape and decoration place this vase completes the composition. A group of four has a low flaiing base, a hemispherical body and a that it refers not to a name, but to a well-known
and a leopard respectively: trees, plants and a
among the products of the Pap hos workshops in conccnttic circles, imerrupted at inte,vals by invocation: KYPIE BQ(H0H) (Saviour come to our
1im with a serrated edge. Sgr<iffiJ,IJdecoration is hunting dog complete tl1e scene. The lower band
south-,\estcm Cypms. sheaves of vertical lines, encircles the 10ndo. found on the white slip coating t.he inside and tl1c aid) (Lazovic et al. 1977, p.37), which, altl1ough not
has triangular geometric patterns.
hiny glaze enriched "~Lh copper oxides upper part of the outside of the bowl: depicted at Linking the spoon to any specifically liturgical
The bucket is similar to other vessels,
Bowl wilh fish which impart a greenish-yellow hue coats the function, connects it at least Lo a recipient cager
the bottom is a double-headed c-aglc in its familiar distinctive for their unifom1 shape, identical
~fjd.1,,dflh CCTlllll)' inside and the outside of the rim, trickling towards heraldic form, with one head facing East and the to affirm his or her Christian faith.
techniques in manufacture and ornamentation,
Gl,t2cdceramic, height 5 I cm; diameter 11.5 cm; diameter the base. At the centre of the bottom is a hole other turned to t11e\ Vest. his executed in 1

ofbasc 5-4cm 94 and common epigraphic elements in the letter

~,1~~1-.,.o1Cuk~.~£.phonc,rol8)~Anbqllloo:t,,
l'rdccrw~o/BocOI.Q, 'nltbn,im IIOIIIOA19f.1
NO•iT, .."IA.'ffa. ..,b,,c,,.u
lll.lCC'TUIHffl.L'ICU Koibb:i,u1911(i.pp.'ll
IIOl),11
Tius ceramic bowl has a low ring base and thin
slant.ing walls ending in a rudimcnta.rily formed
rim. Thick white slip coats the inside and the edge
of the rim outside, while a thinner slip coats the
indicating the use of a pair of compasses. medium-point sgrqffito, while at some points forms and in the content of tl1e inscriptions
Plate with two lovers in a garden CllAlllS KOILI.KOU clwmplevitechnique is used. It is not known
(Mundell Mango c1 al. 1989, pp.295-311; ~lundeU
l).pl,V ~1C199, Corinth or L-il;onia or E.'\Sten1111essaly, 1200-30 precisely when the cloub(e.headcd eagle motif l\ lango 1995, pp. 263-82; Drandaki 2002; Arce 100
Glazed ceramic, height •~-5cm; diameter 25.3 on; appeared, but its association witJ1 the Palaiologan
d1:u11c1cr
of base 11.1em
2005, pp.141-58). Their provenance -where Spoon with flat handle
dynasty is accepted. Representations of the known - ranges from ~ fesopotamia and Palestine
,\rcharoli,g,al Muxu,n of ;\,mcm Conrich, m, 110c-19:u-oo!H 96 double-headed eagle arc encountered not only Byzantium, si.<rthcentury . )
,ao\"L"IA<!CLpan 11raW'g(Cdump of c!N:11r.11MI gluMI p!Mltl")'found dunng the 10 East Anglia and Spain. Epigraphy and
onnuonof~Sou1h Buiha.,Conn1h Silver, 46" 5-3 an
Glazed small four-lobe bowl with on pottery bm also in sculpture, minianares and
1lU.C'TUI aVUL"ICU MQrFH 19)5. /1,lorpn 194,, ~n 11003, fig 'I] 110 decoration point 10 a date in the si."XthccntUI)' and Colc.,coora da ~ha:ad'.in a d'bworrc <k la Villcdt c~~ uw no.AO'2S99
and iabk 'l'.J.:J,M~rtc and D.it1tffll'WIMo1gu1n'.:1007,pp 1~ 6
a representation of a bird other media. A vase in the Mus,:um of Byzantine a manufacnare in tl1e Eastern ~lediterrancan. The au:cnmllUUIQCII; i...:m.--.:aal.1977,pp.11and27,no.1!)

rest of the external surface, including the base. A young man is shown on a folding seat with Comtaminople, cleventl1 ccmury Culture, Thessaloniki, is decorated witl1 a sgrajfiJo buckets' inscriptions and ornament suggest a 1'bis simple spoon has some decoration engraved
inside the vase, which is covered with a crowned young woman, who sits on his lap. Glaucl ceramic, height 8.7 cm; diameter 13 cm; double-headed eagle and is dated to tl1e fourteenth domestic use, with one exception, which is oa its handle, which depicts a naked shepherd
diameter of base 5.7 cm
colourless glaze, is fine sgrajfitodecoration: at about To Lhe left is a Lrec, bdow t.hcm an ivy vine and to century (fhcssaloniki 1999 1 110.83, p. 79). decorated witl1 crosses and bears a dedicatory
!k-1uh ~IUKUITI,i\1hcm. lfl\' 00. 13,)73 holding a lamb in his arms. The figure:, in profile
the centre of the bouom is a fish with scaly body the right a rabbit or hare mns along tl1e edge of 11:ucn.o •Hnr.-.rcu ~t.,nluou •nd 8.tl.irtxu ,m,no.n,
1'1111,1nlkob-lb~utzi, A pair of parallel lines nms around the inside inscription indicating an ecclesiastica1 use,
p 11, Thas;,Jomlu ,oo,, no m, I' 314 (D l'a11.1iukola-Babm1l
and represented in a popular manner, cannot be
and open mouth, facing left and surrounded by the frame. As the rabbit is often found as a symbol of the rim, while around the outside is another probably for holy water (Deichmann and interpreted as tJ1e Good Shepherd, a symbol or
forked motifs. for lust and fertility, tl1e couple are perhaps lovers. The ceramic fabric i off white and hard. The vase pair of parallel lines, intcrsectin_g witl1 parallel Pcschlow 1977, pp.39-40). Christ. since he is depicted completely naked.
CllARIS KOILAKOU It has been suggested that the two lovers has a low ring base, a calyx•shapccl body and oblique lines. The interior of the bowl has a These buckets were designed to ca.TI)'water The figure does, however, wear an earring, a
are tl1c fictitious hero Digcnis Akritas and fonns four lobes in the upper part. It has painted yellow glaze, characteristic of vases oft.he Late and were probably part of the iruhummlahalnei prophylactic intended to protect the first male
the Amazon Queen Maximo. His exploits are decoration and belongs to the group known as By-✓.antine period. The upper part of the e.xterior (bathing equipment). It is possible tl1at they were child and sometimes used for tJ1c Infant Jesus,
narrated in a popular By-lantine epic poem. 'Polychrome Ware'. The bottom is filled by a bowl has a green glaze. Scars from the use of part of a set with jugs, like for c.x.amplc, a copper-
93 as can be seen on a fresco in the lonastery or
It has also been suggested that tl1e composition representation of a bird, which moves to t.l1eleO tripod stilt during firing arc visilble at the bo1.tom alloy jug in Trier, whose technique, decoration Marko, in usica, near Skopje (1377-81) (Lazovic
Glazed bowl with a representation of a dancer orthc bowl. and inscription are identical (Scholl 1994, p.231,
is a satirical secular variation on t.he religious and turns its head backwards. h has a long ia Lazovic et al. 19n, p.11), or for 01.her saints in
Cyprw, P.iphos nre.1.,first half of the 1h1necntl1century portrayal of the Virgin and Child. curving neck, open raised wings and short legs. DEMETRA PAPANIKOLI.•8AK•llTZ1 pl.x1xa-b; Orandaki 2002 1 p.49). Such sets are a number of mid-Byzantine frescoes ( ophocleous
Glazed ceramic, height 7.4 cm; diameter 15.3 cm; diameter
The plate is made of reddish-brown fabric Dots on tl1e neck and scale pattern on the body also known from silver examples like those in the 199-h no.12b, pp.82 and 136)1 including the icon
of~7.5cm Sevso treasure 1lundell Mango and Benneu
with red-and-white inclusions. \ Vhile slip has been render the plumage. The inside of the bO\v'Iis of tjames the Persian in Kato Paphos, dating
IJmAb M,-um. ,\thffla, _. no 1~009
llUCTlD Urt.U"l(lU Athr:ru 1!)6.t, n11'1JJ.
8.--b •9'b.p 13.S, thickly applied over the interior and thinly washed decorated witl1 a band in a meandering pauer11, 1994, pp.319-401). from the late twclfih century. Like another spoon
l'apan,L,b-8.al.un.i 19'4, pp'-''
j, 11111~--B.&btw 1?'.)6,no Papool
AN'I\.STASlA DllAN'Dl\t,,I
\\<Jfu.hllp n, p rcn, l'aparulula,IW.inz,, Ma,TWIIUand IJ.wrtw 1999, no..333, over the exterior. A figural clinmplrotmedallion whiJe the outside has a wide band of rc-cur.~ng decorated with a victorious athlete and now in the
p 161,Thao;alonil., toen, no..277,pp :Kil I
was incised through the slip to reveal tl1e body stem. The decoration is executed in vitreous Cleveland N[useum or rt, Ohio, the shepherd
'TI1c ceramic fabric is dark red and hard. The clay (this form of c/1amplevt decoration is like that. pigments: golden yellow, greenish blue and reflects the bucolic themes or Greco-Roman
bowl has a slightly raised foot with an upward- of caL88). A pale-yellow lead glaze covers the viscous white. Both the greenish blue and t11e Antiquity (Baraue 1992 1 p. 12). lt can be assumed
turned ring base and a carinated body (one whose interior surface. while pigment arc now altered. Black-purple that this is an object for secular use, and it shows
curve i.spunctuated by a sharp angle) with an Although the plate was once thoughL Lo be of paint is used for the outlines.
CATALOGUE ENTRIES 97 100
CATALOGUE P- TRIES 91-96
 the con1in11.uion of Classical themes in \\Orb
m.1clcfor the rich.
\IAIUI 111 \I \MTl"'"l•KI OLM
101, 102
Two ,poon,;; dccor:urd \,i1h a p;rn1hcr .md
Com1.,111111nplt•
(?, \nf'n1h I rnl••I)
Sihcr, len~th J!; 8 f'm ((),llllhf'r
l1•11i;::1h
lllc-1 m"N" .,,,1.,.
nn1u./1.\1,...-um 1.--~.,.
no\, "~"ti l.unl~n,..,_ C 'fl""
111.JrTI.JI un•1..,<11 ll.1111,n1<}111."'" 11h
pL, 11h t'.,'• 1til.,1.i><I
17r I
Thc-.r '" o c;poom have a bro;1d-tip °' oid hm, I
M1;1chcd by a vcrtic,11di~ to a ~qu;1rc-cndcci
handle. TI1i,; i, compmL·d of a com-c" tuhc
between I\\O baJmteN, tlu· outer one tcn11in,11in1:?;
in a ball finial. The inner surface of the bo,, I 1,
omamcn1ccl \\ith the profilr im;1~c of ,1 n11111111(?
animal in lo,, relief, \\hilc the rc,cf'.c •.icki,
indsccl with a foli,1tt' pallem.
J.arge and hra,1 spoom are a l)l)ic.11demcnt
ofclomesLic ,ilvcr plate of the ~i'\th and ,en~nth
cent uric,, ,is nrgrn/11111tJrnnum. pan of a dimu-r
service. Such spoons ;ire al~o noted for their
elaborate clccormion, normall) arran~cd so ,,,
10 be \'i,,;ible10 ., per.on holding the spoon
hori1.ontally in the righ1 hand, as is the case here.
The "' o spoons here belong to n.~t of cle, en.
,, hich ,,ould originally have numbered the
custom:uy twelve. The oLhcr n.nimals portr.t) ed
in this set in Jude a ram, a boar, a hare, a stag,
a be.tr, a tiger, a griffin and a horse. AH cle\"Cn
beasts on the spoons fean1rc in Roman or Late
Roman hunting scenes, as human or animal prey,
with Lhe horse as the hunter's mount. TI1e ram
and bull arc often hown attacked by felines, ,, hilc
the griffin was considered an C.'-oticprey native to
India. Plates, bo\\ Is and other vessels w c:re
decorated with hunt imagery, in either mythicaJ
or co111cmporary contc."is, alluding to heroic
exploits ru1d, perhaps, game presented at table.
The spoons fonned pan of the first yprus
treasure, which also included the serving plate
(cat.44) 1 bowl (cm.45) and censer (cat.3
word
Comwnunopll' or ·111c-.-i.loniki,
founec:nth or fin.I
ha.Ifof l11t'fiAec=mhcentury
1ccl, forgmg, cngra,.;ng, length 111cm
M..--dApplitdAn, 8c:ip.it,N.Yt.1n, 11(11,:,0
Ol'..U.l.'UDat,ltUNlU l~1qll3,pp1(?
The double-edged sword has groove on both
sides. A prayer is inlaid in one side aJong the
groove interrupted by a low•relicf application
representing a bust of the Mother of God
J-lodegctria holding the Christ Child on her lefi
ann. The verse reads: ZHOEICCEEJ\nIZQNOY
AnOTIX(OI) (1'lay he flourish, who trusts in you
406 CATALOGUE ENTRIES IOI-
th,u hr "ill not f.111.Tim .111dntht·1 ,i1ml.11
;ire often ,iht·cl on hi~h-qu.iht, rnidcllr ofco1111~1u111,,;
pi<'rc('(l-\\ork tri,m~lc, ,1nd
pr,l)t~f' lll\t
B)1,11ui11e"'',1po1h ofthr p,·nod. 1h,, ,.., the 11111C'rof ropt· p,lll<'m , "l11rh ,urround ,1
• 0/11/1
c 1·n·mom,1l \H',1po11r, ;111d m11,1 h,1,1· ht·1·11 rqmm'it' 'ryt•'. On the- npprr p,1r1 ofthr pl.11c 1, ,1
-.1,1h "-,.111h•HIIUIII"' 11,1rrm,·coll,1r' \\llh r<·c11l111r,ir upper ,iclc-,rnd c·011,1,111111111plt·,
t110 11
m.1clt· Im \\t',thll\ O1thodo, p.11n111, \\ho ptH llh•IJ Cold
(,,,hi, ,h.1111•
II I·,"' Ill
1n.111g-ul.1r11111.11,
dr<or,1tcd with pirrcc-d-,\ork
1111,tm Chn,t .mcl tlw \'ir~in l lw lnl!_h-qu,,hl\ 11 '"'""' 11,I( I,,,"' \I,., n lh, lt,11-uK \I, 11,1,l(ultt,,-r.lh,"""'"'~1.J(hmtu.n/llwn1m.;\thnu,,11.u,1
lh 11<11" \I, ' g('Ufllelri< clt•,,;ignc; 1
hl.tclt·\\,1, I\Hhl h~d, 111.tdc Ill ( '1111,t.1111i11t1ple
111 ;'.: ,.1,,>'•I t,.,.,1t11, \h11k,.,.,,.t..i11,t,1'lrJ,..._11)-'•
~Ihi, 1ypt·oflm<kl,· 1,.;not ,cry ,,ell knO\\ll, a~ ,.,,,1,111111••~"'' 11'1\tQII I M1nn.1r,1no.1<'d.~1rntt111 616 11..hn
.1 lion I ht·"'·'lonil1. I ht' ""o\CI ".1, ,1 , h.1111t' line! in ;;:({:::t{,;:·;:~:!:{~i.'.:;:~:·:;::,:::;:~·,,'.:::,::'.~:::::::,;~,::·:,;·;:· It•"'''''
--
o,n, I tlll•o,,11 ,~,,..,,L,u n1U•J l,it, ll.1hn1<)81,ll.o;.w911 9.
is tlw UI\(· , ...uh the mon· \,1cltly diffu1,rdI) rc- 11,hn ,,,111 n t Ill• m.1 / lrll n1tl11 ,.. ,.. ,Lur JJ I hq fob I lalhn •oft•.
8. a:o,,
19..!i clunn~ huildm~ t''\t,l\,1tio11, fr11 tlH· Bd~r.,dc ,,,, ,, ()t!MHU<',1 .... ~,btrulhl\ lllh 11 ..111,1<)81.q..a,u...9,,,.)',0ffoo .....
~h.1pnl onc~. The clmt•q c·'-,tmplt•,,;,1rr the ~old .., ,.,,.~ 11,,ruoh,1 tut, ll.1l11111.H1.m,._u,q11 •I, Offic:m;or,.-ur:d.,,1r
1'i 71111 hon
t'lt·ttril pm,c1 pl.1111; it \\,1, hrnit'CI 111,,11HI on tlw 1,,h hJ' 11,l,n,,,111 11.~,w, 111 1fl.()t1,.m~r., .... lt"1l.o•rbu, l>'l), lbhn19'11,
The dlip1ic,d pu-rl' oljt'\\ellt'I) i,,;~0r_med~ro,~ ,1 IJuckh· in the D11111h,1r1011O,1k.c;Collection,
,R,1'1011~J• ,tt,.,,"I , ,II n~h1 h.111lof llw l),mulw 106 "
C)lindt•r of gold ,Ju·('l, the l:ollow 1111;1clc-
of ,~h1ch \V,L~hing:tonIJC {Rm~ 196:5, 110 _;, p.8, AA pl.xi,
111. 11.i,,...,
h~1J """" 1llh,1n,t ,,,t nt ~\\ \Ill•\\ ,,,I\H On the oh,er-.e .,re hu,,;t.sof 1-lcrakleios (610 41)
Pl,ltt.· , fil]ccl,\ith gr,dn, ol \,111d111 01d1-r_to keep II~ B,dclini l.ippolis 1999,p.229, 110.3i:rncl two
1 ,rncl hi, ,on I kr;1klcio,; Com1an1inc (6.p), each
,h,ipe. 1hl' midpoint of 1he upper s1dt', ,,here the hron1.t 011(.'S c,.,11:my
1916, p.261, no, 2 1, pis I,
(:rnM.1111111opk, (uo .1~• ";th .1 cro\, n -.um1oun1ecl by a cmss. /11srn'"ptiot1:
n,o cnch ol'thc ~old ,heel inc-et, i·, 111.1,ke~I h) a_ 2 ,rnd 3-3 aJ.
S1h 1·1, d1arm.-u·r .!"> 6 C'lll DD, N IIEllACLIUS ET IIERACONSTCAES. On
ringcon,;i;;tirn:~:often 1..olicl~l_obul<:s.01~c·nhcr side HIOI "" C IIAI KIA
[J., lltll,nK \lum1" ,I( ultur, lhunun, ,,I( hn-.,,, 1 \1,,,..,.,.,, thl' re, er.,e i'i .1 cross on a stepped base. bucriptiorL·
\1hrn•. R,\l&){i oftht· rin~ arc \tamped two 1clcnuc.-1Ip1crcecl-\\ork
Bm, 1 tml/n' "1th .\phrodite ,.,..,,,..,,..,,, t,...,l<l:f'\, \l111k-nr_,.l.m,lhll..-.t,. ... ''I)' VICTORIA-AVGA ,offi in.l), wiih, in the cxergue,
•; 1~: ~,:',::,~.' ~: :~~ ,~: ~•~ tTih,o ~
1 cruciform monogr,\ms. obviousl) clenotin~ 1l1e
10)-1.I' jlll I,~ 1, ,,., Dndtl ,')6,. n,, p
C'011'1,Ultlllt1plc-,blO .!j a further in,,;criplion: CO OB.
"
0 11
rr of 1hc ornament, inscrih(:d ,, i1lun .-1 double 112
,,1,1•1. hc-1~h1; \ l m; d1.llllf'IN 1h ') ,m; kngth \\1th
h.intlk \I \C-m This hammered has a low ring
plate (j1i11al.1011) dnular franw "hich is borck1cd to left and 1ight
cal
n...ll~llm• \t,,...,r'\ .,r( uhmr Rn.onm,,c-.ind Chn•u.,n \lu,..um base. On the inside, concemric circular grooves h) one mulu-lohc ,md one gra11ula1cclb.mcl.
\1tw ...... , ... &;,1
t~"''''"' ,urrouncl the edge and corresponding grooves, .\round the remaining pcriphe1)' of the br,1cclct, Cons1,rnunoplc, 6io 25
!L~
),.,.11<'1.'."",
\hhk""' ul.Hwloflr,.l,o., 1q\l
\lll<IIIIUltU'<f' \.1nw ...s111~ l"Jl◄I fri:1,nn1(! Uuddl!,ltt.p1t,1 1Jron1.c,b,t.\C5.7 "5 7 c-m
""\•>, \1h,n,~ 1◄.1t•1 J'P 1Rb S,."" ~ob. l'.lp;,mLob-lJ.>\.in11 ]O(!,no 1~1• with gilding, encircle the bo11om where there is ,ip,irt from its lo,,er ed£;:c,"hich is also thinnest
Inc- lldktuc \lmrair, uf"(;ul1ur". H.--..,nunr Mid (1,nou.u, \1.........,
a boss inscribed "ith a Greek cross witJ1 finials. point, run Lhrtc fine groovl'd bands honzontally, \1hm,,.,.wlj4)ft
Tlli, deep, hcn1i~phe1ical, h,1mmcrcd vessel 11,,si'1 no\t""~c, lv-~tr,;ot, \l1~•knr:,i,l.ando(l.nl>l>l, 1gs1 E, ...er will, biblicaJ scenes
Around the boss is a band with a wreath of ivy hrl\\l'Cll ,, hich I\\O other bands with slipplcd <11 ► fT1f>ltfnu~r,1 ''""''"''")'>t-1' w1.li.:1-no1.\th,mt,r,1)1.Pl-oS-
lo" ring b.1.scand a na1tcnccl trapc1.oiclal handle. no5J1
leaves in niello. On 1he base of the vessel arc 1he clccor,11ionarc intcqJoscd. Rome\?\, late foun.h century
On the inside, a group of concentric grooves Sllvcr-gll~ J1.3" 8.7 c:m
five official stamps made in Constantinople which The t)1Jc of bracelet (jJSe/11011)
is rare. The The seal has in reverse a relief monogram
,u1Touncls the edge of Lhc body and anoLhcr group C--.,/lhr: rn-,mof1hr'll~nflnlll\lu....,nul.>f1<,cmLtnd.o,,.1
date the piece to the reign of Heraklcios (610-41). closest cxampk·s, but with simple1- decoration, arc 1 laurikios l?LStaurakios I?)). and a ring-shaped .. nn.•>.....:Ctl ~;ov,at,:d ~• Tnopf'llm 1.-,, .. , rw>TIII)' rmln ,:;ui off~bul"Jh, 1919
cncin:::lc~its centre, forming a boss with traces of Hl.&cnD 1tUH1L.•1.u Curit 11p3, l.011dt1n IQ<H, no.~ 1)..51
-~I M1111ddl
IOAN"NIS TOURATSOGLOU a pair of gold bracelets of the sixth sevcnlh vertical handle, on whose bezel is an ea~le with , ...... fon \\nnh ~- on 7",, PP J.1:1 5
gilding. The rim is decorated with incised spiral- centuries, in a p1iva.te colic tion in New York uplifted ,,1ngs and a monogram in re, <:rsc
meander panern, and the handJe, defined by a This ilver•gilt hammered ewer, whose handle is
New York 1988 1 110.45, p.59), and Lhe likewise (possibly for Hcrakleios or an official post).
band of trii"lnglc motifs, with a repre~entation of missing, has five ~ones of repoussC relief: a band of
gold psellwn110.59.G.1in the Dumbarton Oaks Perhaps 1he eagle witJ, uplifted \\1ngs signifies
107,108,109 acanthus leaves around the upper body; a pastoral
Aphrodite, half-naked and tandjng on a pillar- Collection, \\'ashington DC (Ro 1965,no.4c, p. that Ulis was the seal of a consul. If so, the owner
shaped pedestal with vegctal ornament on the Three spoons frieze with sheep and buu.i.ng rams; a band of
7; ~cw York 1988, 110.461 p.59; Baldini Lippolis of the seal (maybe ~laurikios or Staurakios) must
grapevines; a figural frieze; and an omamental
from. In her raised hands the goddess holds a Constantinople, 610 25 1999, p. 182, no. 1b). have held this office. However, th.is argument is
base band. The figural frieze has four Christian
flower and part of the end of the ribbon in her 1her, kn&rth 22 cm; length 25 5 cm; length 2-1cm far from conclusive as the symbol used by consuls
scenes: naked figures of Adam and Eve covering
hair. ~n1e decoration of the six.Jobe projection of 'The lldlmic: ~lmi.tryofC11h11rr:, B)'LVltmr: and Chmtw1 MIIK'llm. might have been appropriated by other officials.
!)O.), RUI 906
Athrn,, n.w 901, RX.W themselves w1th fig lea, cs and between them tJ1c
the rim consists of a schematic head of Occanos, PlO\ r,i,.-,"c, Kr.t,.-go,. M)l•knr:. u.bnd .,r l..abo,, l9l' The name ~ laurikios is found on a lead bull in the
UI.J"(TI.J) lVU.IS{U \'.,.,n,..u '9>f• 1'3'9· fig3,no ,, 11,,UM"r
1!)91,n<I 1)9 Tree of Knowledge and the scrµent; to tJ1e Jell,
in frontal pose, in the middle, nankccl in pairs to JAroup,f 2 . pp 181 ♦ 'lubgrwp 8 1 , pp 'ZOO9 (Jmup 10:, pk O and ♦?"­ 111 Zakos Collection (no. 2812). However, if the
l'.11wi1Lcob-/b.l.,rw 2001, no ,er ~ loses striking water from the rock; to the right, a
right and left by busts of young girls in medallions, owner of this monogram is identified as
Buckle scene interpreted •on \Vort.h 2007) as Ll1emiracle
in three-quarter pose. In the outermost single These three spoons arc not all of the same fo11n. Staurakios, then the owner of the seal could be
Sixth loC\c1nh ccntuncs
of the quails in t.hc desert (Exodus XVl, 13); and
lobes arc roseues. The interstices bet\-vcen Lhe Some have shallow, some deeper bowls, and Lhc identified "1th the offi ial known on a lead bull in
Gold, lc11g1h5· 1 f'm; ,1.;dth ofbuekle pl:uc 1 8 cm; the Adoration of the ~,Jagi. 171e meaning of Lhis
engraved medallions and the rosettes arc fiJled handles 100 arc of cliCT"crcnL
types. The backs of Dumbarton Oaks (Martindale 1992, p. 1182).
of hoop 2.1cm
di,1111ctcr unusual combination of scenes has been suggested
with vertical wavy motifs. The bowl was most some of the bowls arc decorated wiLh engraved IOA.V"'II! TOURATSOGLOU
11v lltlknoc ~lu1111ryofCuh11rc, ll)Ull\Htc: •nd Chrau•n ~l1ua11n, as the redemption of human sin through the
probably damaged during earth-removal works at palm leaves. \tho:no,u. .. 881
..A.,ct K1111rgm.
•1tovr.. M11iknr:, l..nbos coming of hrist, wilh the water as symbol of
the site where Lhc hoard was found. On tJ1e base The eight spoons in the Kratcgos hoard from "'-'-CTI.f>•utltl><CU IIO:,<J,.
Va,TIU.U '93-h \l.J17, no 8, ~: , •. \thtnl •!)U-1,
P 3½.~Q 1997,., n<l "13, p 201 C &hopno ,- B:llduu Lippold 1999, baptism and the quails the symbol of the
Mytilcne fall into tJwce typological groups. The P 719-no +d, 1, 1 ou111toopciu and Ctwl,.a f<>nhmmdll
of the vessel are Lhc five stamps of the reign of 113.1 Eucharist (Fon \Vonh 2007).
Herakleios (610-41). first, represented by four spoons (oxM901 90,1), The buckle comprises an cllipticall loop and an
S,,l,di
The ewer was discovered during tJ1c
IOA ....SIS TOURATSOOLOU is distingujshed by the 0attened and shaJlow bo"'l, attachment plate, connected to each oLher by a e."cavation in 1919 at the hill fon between
and the fact that it is tJ1e only one marked witJl Constantinople, 602 10
hinge consisting of six globules joined 1ogether by Hadrian's \Vall and Lhe Antonine \ all, thought
Gold
the crucifonn monogram CEBOY on the outer a fine cotter•pin. The loop is cast, undecorated to be the capital of the Votadini tribe. The find
Tht lldln~ M-r'\ o(Cul°""', a,__, ...d hnolwn \I,__
105 side of tJ1c disc-shaped element. Characteri tic and has a tongue w~th a rectangular bar with a Alhm., nM q10 included more than 100 pieces of silver chopped
r•o\,....A.'(Q[~\l1-u~,..a..ndof~1◄a51
of the second group, witJ1 three examples (oxM mount for a semiprecious stone, now lost, and a nuCTtDIUft.llL"cu u..wq1011 C...t,-~19-bo:171W1dbin- into pieces for its bullion value and perhaps
Plate ll•hn19'1,9,u.wq1or4•,0f\,c,n:ol -dlwOoc:tAmllaarr ILrollta1q81.12a
905-907) of larger size, is the deep elongated solid hook decorated with a pierc1:d-work comprising more than one set of looted domcsLi
Comwnunoplc, 602 10 bowl. There is only one example of Lhc third palmeue on the back surface of its tenninal. The On the obverse is a bust of Phokru., ,,earing a silver of Lhe late fourth and early fifih centuries
Tf.lk~l~n(0 ♦,57 Siher, diameter 15-4 cm group (nxM 908), which has a panicularly conca,'C crown sum\ountcd by a c~ nnd holding a cross
plate is also ast, with a con ave back surface on (five decorated nasks or ewers, large plates, at least
11.,. llrlkruc::Mum1ry o(Culturc, Drumm,: .,,d Chmo.,.n Mm,r:mn,
and narrow bowl. which the motifs of the front arc discemecl in his tight hand. bucrip11011:
DNFOC S PERPAVG. 50 bowls and basins, goblets and spoons) (London
Athc-11.1,HM8'JJ
r•o"'"""'ll Kn.1r:..,..M)i1knr:,ubndofl~19)I embossed and Lhere arc Lluec looped strips (one at On the rcver~e b .m angel with a sceptre 1994). t.his was noL a hoard oft.he same kind as
nLllC'TllD ..:n:a~1;cu V•>TIU.U 19)4, p 319, r. !J,no,._ Dodd 1!){n, no.,1 IOA.o...,.NISTOURATSOOLOU
Gm IO~All,..,.. 1!,lfit,p Jk4.,no~•• 1._p;tmkob-0:Wn:..i200,, n°' 3311.nd 361
the lower edge and two at Lhe ends of the upper su1111ountcdb)• ,1Cl'CX\S.md a globw m1agtr. t.he contemporary Esquilinc u·casure (cat.12) or
J,umf'tio11
: VICTORIA-AVOV (officin.:1.)
1 \\1th, in the
the late 1...unbousa hoard (cats 36, 45) or Kmtcgos
This small hammered plate has a low ring base. side) for affixing to the belt. The main body of the
cxcrguc, a further imcriptiou: CO OB. treasure (cats 1071 108, 109 1 112, 113.1 1 113.2),
On the inside, concentric circular grooves plate is almond-shaped and fonncd from three
surround Lhc edge and corresponding grooves concentric bands {the outer one t,,1stcd, Lhe there has been some speculation about Lhc
encircle the bottom, where a boss is engraved ,,~th
CATALOG UC ENTRIES 110 114
109

circumstances of its bu1ial: was it the pay of a
Roman 1-oldicrliving al the northern frontier, or
was it the boo1y of biigancls?
115
ilvcr-gih weight from the reign of Theodora
Comtanunoplt•, bt·t,,t'cn uj:11111.1111055 .uul •11Auc;mt 10)h
1lvcr, gih, mcllo, ch;mwtt't 328 rm; 1,r1ght 'i'l.96 g
!'hr fm,1mof1h.- llnwh \lu"Oun, l"11ilon,1., ,,vi,\•I 1
oi.r.n1·11un11;,,cu 1n1.. l'lk ..MC<mdl1•1•Jl,1'1'(!I l phr
J.,.
\1hrn1 J()n(I, no IJ. p C' 1.m.. .,dr
The obverse is decorated with a nimbcd bu~t of
the Virgin 131achcrnitissawcaiing a tunic and
maphononand a Creek insctipti.on: OYrrtA r-.•11A
(ouyy{«µla. 1 oz.). 11,c rcvcrsc's centre, "hich is
in the form of a fi'liscd medallion, iii~,nick \\ith a
bus1 of the empress Theodora ,,caring a cro,n,
w~th cross and pcndilia, a pearl colbr, and a /om1.
In her left hand she holds n.sceptre decor.ttcd \\;th
pellets, and in her nglu a glohusml(lgrr . . \round
the edge of the \\ eight j.,_a partl} niclloed
inscription: 0KE 001 IE>El0EO QPA AVrOVTTH
nOP<l>VPI rENI-ITO (0[,ot6)xr ~oi10n 0robu>Qa
nUyoUjo]T[al n1 l'TO()q>uQl0Jyn•(v)i1ni>;
.\lot her of Cod,
pro1cct Theoclor.t Augusta Porph)Togcnncta .
~luch or the original gilding has been lost.
171c empress TI1codor.t n1lcd for n,o brief
periods in the micl-clevcnth century: the first \\ith
her sis1cr Zoe between '20 April and 11June 104'2,
the second from the death of Constantine IX on
11January 10-5 to her death on 31 August 1056.
Coin parallels suggest that the,, eight belongs to
her second reign (Grierson 1973, pp.7;;2-3, pl.
urn). The appearance of the Virgin Blachcmiti.ssa
on mid-eleventh century coins may be connected
with the scxcentcnary celebrations of the church
of the Blachemac in Constantinople, which had
been founded and built around 450. TI1e
inscripLion on the obverse of this weight is
problematic, suggesting as it does that the
deventh-ccntUI)' pound weighed approximately
396 g, a figure far in e.scess or that proposed by
Schilbach in his comprehensive study on
By-,antinc metrology (Schilbach 1970, pp. 166-8).
Possibly this is not a commodity weight at all, but
some form of imperial donative.
emus E:r,,TWISTLE
116
One-pound commodity weight \\~th two emperors
Eastern Mcdimra.nean, I.atefourth-fiftJ1 century
Wdcd bras.,, 6 9 le 6.2 cm; \,eight 323.76 g
ThrTnattt1oIWflntnhlt,luorum,Lon.bt,n1116)_1>-18t
QU.~URU..JIClJ lnJtan1901,II0.48J.p.9T.Enno.tk-'i.pp=7-,s
TI1c weight is engraved on the face with two
imperial figures standing slightly 10 right. Each
emperor is diademed and nimbate, wears a
408 CATALOGUE ENTRIES 115-118
cuira~s, pa.luclamentum fasll'HCclb} ,\ ,t) li\nl
f'ib11la ptcruge"- and open-tol·cl hoot,; .md hold,,\
1
\pca1 in hi"Ilcl1 hand and an imb1ic,1tccl :-hidd iu
his tiAhl. In the bottom 1ie;ht comrr i, thl' hgun·
ofa koparc:l ";th back\\a1-d.-n11ncd lw.td \\ith,
.,hmc u. a u-rc. the lo\\c1 br.tnchc, uf,dtid,
tcnnin.ue in bcn;c.._, the upper in rnund lh1i1. ,\t
cenm· bottom i;;;the clcnomin.ttion.1l m,ll 1-.for one
pound. P.irts of the :-hide!... u1ir,1~Sl'',
p.tlucl:m1c-nt.1,,kc,e:, .ind boot::-arc inl.ticl with
coppc-r, 1lw cmpl'ror:i 1:1rl'"·h:rnc\,, legs,
clcnomin.11ion.1Im:-irk .me\ lcop,1rd's head wiih
R
,ihc-r.
Tiu.' Bn.1111incs employed a cluoclccimal
\\t'i£;ht s,~tcm for \\l'ighing both coim .mcl
commodit\l',. The ba,ic unit of this system "a(j the
13yzantilll' pound (/,tra).dcri, eel from the L"1tc
Rom.111pound, "hich appc.:\I on wcighb as the
Grl'Ck kttcr lainbda A (or t). The /rtm was divided
imo t,\dn: ounces, the ounce into multiples of the
Jmpulum. which, at 1.13 g, was the smallest unit of
the libral system. The litrawas also divisible into
j'2 solid,:the solidus,later known as the nomisma,
"-as the standard gold coin int.roduced by
onstantine the Grem in 309, which was to reiain
its weight and fineness well into the tenth ccntu1y.
In addition to pro,~ding Lhe weight with
legitimacy, the two emperors symbolise the
political unity of the empire at a time when it was
splil between western and eastern halves for
administrative purposes.
117
One~pound commodity weight wilh
imperial figures
Eastern i\lediterranean, late fourth-firth century
Leaded brass, 5.6 le 5.8 cm; weight 318.11 g
TIIC'Tnw:f'D ohhc: Unwh ~huc,wn. u,ndon, n. 1980.6-13
n ~CR.II llU'UL.'<CU lDndon tm, no.33, p !JO(C. En1wutk:); 1:n1wi1.dc
?006,
lip2and,4
The front is engraved with a square frame
enclosing n,,,o frontal imperial busts, diademed
and wearing paludamenta. On either side of the
frame is the draped figure of a iyehe, appearing 10
support the frame with an outstretched ann;
above each tyche is a cross. The cyche on the right
has a mural crown and holds a torch in her right
hand. Ben.veen the tyches is a kneeling, half-nude,
fomale figure with arms akimbo; beneath her left
arm is a slticld and, flanking her head, is the
denominaLional mark for one pound. The crosses,
tyches' faces, anns and parts or their drapery, the
kneeling figure's face and anns, the mark and
emperors' faces are inlaid ,vith silver (four of the
faces modern restorations); the emperors' diadems
and paludamenta, the frame, torch, crown of the
left-hand cyehe, pans of the tychcs' and woman's
drapery arc inlaid with copper.
"l'hl' ,11r;111~l·nw111ol l\\O inipni:d bu"'",.
.m in)11-likl' r..111u·i, p.11,,lll'll·d 011.111 ''1thin
• OI 1lCr \\ ·
in the ~h-11il Collel 1in11, I loll\ton· lwr I eight
. . ' C', l 1ough
l\\0 pc1,0111l1cat1011",pt·1l1,11>'- nl'lh" ....1 ti
'- u 1Un ·tn
<·:irth ,tncl sc.1. n·t linl' hc1wath 1hc fi,unc (~ e~ or
r.ort 11com111p.,
·
nu.,, 1 111
•
..10). l lw,c :1rc 110kno,,'n
esb111
parallcl1; :or the ~nc<.·lmg l'cmalc figure on other
Luc 1\11~1qut·\\l'1ghh ,111clher significance in this
context 1, unclear. Profc..,,or Cyril ~lango (pcrs.
c~mm.) ha1; suggested 1h:t1 the figure may be Ge
(I cllm), although rcpn:scntations of her 011
mosaics, silver :-ind medallion" tend to show her
either as a bust or as a recumbent figure (Parrish
1984, no.13, pp.122 5; New York 19791 no. 16 ,
4
pp. 185 6). Cc wotild, however, as a symbol of
a?undancc, be an appropriate motif for a weight.
1 he two tyches presumably represent Rome and
Conslantinople.
CIIRIS E~TWISTLE
118
One-pound commodity weight with imperial
figures
!::.'\stern
i\lcditcrrancan, l,Hcroul'th fiHh century
Gunmetal, 6.7 le 6.1 cm; weight 323.71 g
111r Tn1>tcn oflhr Dnti~h !llu..:u111. l..omlun, ••~ 1980 6-1
,.,
HU<:TtO U'.l'l:H-'<CU London 1!)9i. no 32,P-19 C I.I11.,utk·, Enn.11dc1006,
The from is engraved with two imperial figures
standing slightly to the right. Each emperor is
diademed and nimbate, wears a cuirass,
paludamentum fastened by a stylised fibula,
p1eruges and calf-length boots, and holds a spear
in his left hand and an oval shield in his righ1. In
the bottom right comer is the figure ofa rearing
lion with backward-turned head witl1, above it,
a tree whose branches terminate in five-pctalJed
blossoms. In the bouom left comer, ,vithin a
square frame, is the denominational mark for one
pound; above the head of the left-hand emperor,
a cross. The cross, figures' faces, hands and legs,
shield bosses, mark and the face or the lion arc
inlaid with silver, parts of the sleeves,
paludamenta and boots with copper.
The composition of two standing emperors
attacking an animal or animals is common on
Late Antique weights (sec also cat.115). A one·
pound weight in the MeniJ Collection, Houston,
provides a particularly close parallel, although tJu:
figures there arc depicted within an elaborate
architectural framework cw York 1979, no.3'24,
p.343). The figures on the above weigh< have .
oncn been erroneously desc1;bed as military saints
(either St Demetrios or St George, or St Theodore
Stratelates and St Theodore Tiro), but cuirass,
diadem and paludamenta fastened by fibulae arc
specifically imperial atLributcs in this period.
OIIRIS l?.NTW'ISTL£
----.---
;'} l-lonll': _Jcw('lll'ry a11d 1\dornme11l
'
Goicl pc-11d,11t1
l~t•lt'III i',kthurr.uu ,111111,1111thn11ll.,hir, l:.111)H)t.111t111l'.
;\:,ti
th
foil,
-.c,'H"111h II lllllll
~•It l 11ppt 1-.,1111) \UII', d1.,1111t1·1 I) 'j ( Ill
\ •<Y;1"'·'
\h,.,.,. 1,1,,11 11.,. lh<" \,W,11,h
\11•. K1thm,,n,I l'n1, h.11.(", II .,,,.\ \\1llum
1
~ ~~•~:::•~/,':
11
1
t•""'"~'lnm
~'!._;',' u1J11.K1,l1111nn,l
1•1•,1.1'1' wfl II, no 17,
Thi"- unu1;u:d pl'nclant i,; compmed of lWOsheets of
~old foil \.tic! over., fill material (largely of calcium
carbon,1tc "i1h ,t I c-.i11binder). At the centre of
the front .;ide i, a mccl,lllion ,\11h the bust of a
,,ingcd fcmak holding up a cloth filled with fruit.
She is ~urrounclcd by ,t band of twelve medallions;
,he four mcd.illio11-.on the axes contain equal
,trnll'cl crm,..,c'i,111d 1.hcother eight con1ain busts of
an emperor in profile, echoing the conventions or
design for ob\"crscs in Roman oinagc. The back
or the pcnd,llll is chased with an eight-pointed
star, c,1ch segment of which is filled with a stylised
leaf pattern.
The pendant is rittccl with 1wo loops at the top
for suspension, but the fragility of the thin foil
suggests that this piece of jewellery was not
intended for everyday wear, but probably served
as a runerary adornment The use of imperial
busts can be traced to a Late Roman fashion for
numismatic jewellery which involved setting actual
gold coins and medallions (or imitations of them)
into the most sumptuous gold jewellery (belts,
necklaces, bracelets). The foliate decoration of
the reverse side finds its closest parallel in the
reverse of an inlaid garnet pendant from the
Olbia treasure in South Russia, now in the
Dumbarton Oaks Collection (Ross 2005,
pp.117- 191 cat. 166). The female bust ,vi.t11fruit
is close to contemporary representations of Ge,
the personification ofE.arth, found on jewellery,
textiles and mosaics of the Eastern :Mediterranean.
TI1e abundance of t11eearth, along with the
symbols of the Cross, and the imperial busts, unite
in this unique and inventive composition to evoke
many types of guardians, undoubtedly serving as
an amulet for a wealthy deceased woman who
lived, perhaps, on the north-eastern borders of
1.heempire.
CIIRISTINI?. KONDOLEON
120
c.330 350
Gold, precious stones (t"•clvemissing),12.8le 22.8 cm;
plaques 2.6 le 2.2 cm
N P Coubnd,u Ioundadon, Mw.o:urnoIC)-1:lado<An, A1hcnt. u,, no•....,S 1
~fl~auh"c:~~~~~~li~~~~
~~;J=:J!:"'~,::~~~lr~~
IIO 19'}9, 31,
Six rcctangul.ir openwork pl11que1;\\ith fine ;;;croll\
,tnd ,,,pphirc-1;in ov,111;ctting-...
,dtcrn.,te "~th p,tiN
offigurl'-(Jf-tigl11 clement,, c;ich consi(jting of
t·mrr,1ldi; ,uul g,1rnc1,;mounted in «.-ttin~
<,;('(>,ll"itted
hy p<.·,1rl1;
1hrco1dcdon gold \\1re.
1\ \Cvc111hop<.·nwork pl,,quc mo11n1cdwith ,1
rcc1angul.tr <'mcr,dd c1nclw11h,, pendant below
form\ the ct·ntrill clement.
Thi, nc<.kl,1tci'I t1 fine example of the
openwork 1cchniqt11·(I .uh1;cn-Admiraa\ 200,~,
110.692, p.316) ortc11 rnllcd opm mlmasrlr, a term
originating with Pliny (N.11.x11.94,although the
Greek term dmtritoJ('pit·rcecl') i'I more accurate
(Ogden ,md Schmid1 1990, pp.5 8, 10 12). h
cncompassc ,, clistinclive variety of jewellery
encountered in Mediterranean regiom from the
third ccniury to the seventh, characterised by thin
pierced sheelS or gold (Ogden 1982, pp.34, 43),
creatinq: a lace-like effect, oflcn combined with
precious stones. Although the production centres
remain unidentified, the distribution of types
altesLS lo innovations introduced by goldsmiths,
who continued to draw on the Hellenistic, Roman
and Near Eastern traditions for shapes and motifs
(Yeroulanou 1999, no.31, pp. 15-27, go, 191 7).
The necklace from Cyprus has been
interpreted as a diadem based on fourth-cenrury
representations (Grabar 19660, pl. '209) or as an
ornament sewT1onto a ceremonial robe [eczger
1980, pp.4 .5).This view, supponed by the absent
clasps, the presence of side holes, ,virc frames and
incised Greek letters at the back of the elements
1 Tiemeycr 1997, p.192), is corroborated by its
recovery from a tomb together with other
jewellery (Oliver 1996, p. 140) and personal items
attributed to a woman of some rank.
MARIA DHOOA-TOLI
121
The Berlin Collar
Second hair or the si.~th or first half or the se.,.cnth ccntUI)
Gold, emeralds, sapphires, one amethyst, pearls,
diameter 23 cm
Su,.allM;hc,!III.IJttllul 8cftin.Antiknuammlung_
lft\
rao\'~A?<Cr. ~Ulffdupa,io/UICIO-Qlkd"-ul-.Caaro,,1909
(bmuly ,n lhc ,,o,, Gam ~I
lf_L&CTI.O llU'r;llL'<CU Zahn 191S,Denn.. 1918. pP,46-9,
199r, N"ic~ 1gg&.Seob.--,
The Berlin Collar is the only broad collar with
pendants to have suf"\~ved from the Early
Byzantine period. The technique, the elaborate
motifs of its pierced work and its settings all
suggest that it dates from the second half of Lhe
sixtl1 or the first half of the seventh century. A
dating to this period is corroborated by the dates
of a necklace (cat. 125)and a pair of bracelets Crom
the same treasure: they were probably made as a
set together with the collar, that is in the same
workshop at around the same time 'eroulanou
1999, 110.228, p.245).
Based on the evidence gathered from images,
p ,ol; broad collars wi1h pendants like the Berlin piece
"ere reserved for Constant.inopolis and
Roma, t\•laria and Agnes (personifications of
Const,mtinople and Rome, and the Virgin and St
A~1cs) in imperial attire, and female members of
1hc impcdnl family from the early fifth century
onward,;. It is thus possible thal broad collars \\1th
pcndanLs were con idcrcd regalia at Lhc time the
Berlin Collar wa1; made.
Richly decorated with emeralds, hyacinths
(sapphires, one amethyst) and pearls, the Berlin
Collar stands out among other pieces of jewellery
from the same period. According to literary
1;mirces and images, these matedals typically
appear on regalia. Although the use of emcrakls,
hya inths and pearls on nonnal pieces of jewellery
was not forbidden, an edict from the later fifth
century states that these materials should not be
attached lo, and had to be removed from, certain
pieces of jewellery, mosl probably regalia. The
same edict also decrees that regalia and imperiaJ
jewellery should be made in the palatine
workshops.
The shape of the Berlin Collar and its
materials may therefore suggest that it functioned
as a regalium for a female member of the imperial
family and thal it was made in Constantinople.
VVO.,,..,I. 'ITOLZ
122
eek.lace
ConsCll\anople {?),scvcnd, century
Gold, length 55.s; diameter of medalhoru 2.5 cm
C)"pna \1---,l\"imua, Dcpa,vncntofJ\nt>qw'-,
--~
Ill\ 00 1ffil:,r."'911
-~ ~rrom ~ Kyttru.aD.lna,purchuoefmm
Mr~ \IOI.IIW.U
Rl.&CftD una&."fcu: Pknda 1971,P·.?, pln:EY; ~~... ,g(.,2.r '29,
This gold necklace is composed of nineteen
medallions linked to each other by loops.
The medallions arc decorated ,vith scrolls and
cross•shapcd omamcnt.s in a pierced openwork
technique. The two ends are fastened by hook
and loop. The openwork technique is found in
other precious jewellery of this period. lt is
:,cmg,)05
quite probable that the necklace ,vas buried
in Lambousa during the .Arab raids on the city
-.4,. ~
in 653 and 654.
PAVL05 P'LOUllllNTZOS
123
1 ecklace
Ant.inoc, EgypL, fifth century
Gold with sapphires, ame1.hyns, emera.lds and pcarl5,
length 42.8 cm
lknui Mw.cum, Alhc.,u., 111v no. 1n8
U.UIC'n.U llU'llU.. .. {,..... ScpJl 19.]8, no a3'), p l,tl. i,l-4:,;.Oall&a ,g,gu, p 73. pl",
Gl'Of1IO<lla
1999- 00.110, pp ,0-1 6.
The gold chain is strung with beads of sapphire,
amethyst, emerald and pearls. Between the beads
and beside each lli1k of Lhe chain are small spacer
beads of gold. The hook and the loop for fastening
ATALOCUEENTRIE.Sttg 123 409
 lhc necklace arc a11achcd to the tcnninal-, b)' pl.iin
gold discs.
Necklaces of this l}l)l' h,l\T bt'cn found in
treasures or hoard~, huril'd hy thri1 o,, 11c1-.. clu1ing
a period or inva!)ion.;;and no\\ import,1111 1·,iclrrnt'
for .;;tud)'ing.tnd for cl.iting-piect·, of je"dlrr~.
Thr closc,;t p,11,dld ror the lk11,1k1~lu,,·um
ncckl,1cc i1;in the Dumh:mon O,1b Colle( tion.
\Va'ihington I) , and rnmL''ifrom the Pi,111,ldell,,
Consolazionc trea.;;ure,cli,co,·ned 111 Roml' Ro,,
1965, no. Ill, pis 11 .111d1). lk.1d, of p1w i1)lh,tone,
and pearl:>ailernate in the ,,111w111.1111wr on tlw
chain, and thnr .in· lil...r,,i,e ,m,tll gold ,1>.1n·r
beads ,1cljacc111 to r.tch ~tone. Pit'cc, ofjt'\H·llt-r,
from the tn:,1,Lire,now di'iper-.t·din , .11101i..
collcc1io11,,,irt· d,1tl·cl10thl' c.11I) fifth rrn111n.
The 'iimilarity of the m·dbn· 10,1 compa1.1hll'
piece from a panicula1 I) ,ignilic,llll trc:hlff<'found
at Carthage, nm, in the Bmi,h '.\hN·um, London
(Inv. n0.Ml..1\Al·3~3-3~0,T.1it 198b, p.98, pl..!.:!O
confinn, thi1;d.11111g. The pl.tin hnk di,c,
connecting the hook and the loop of the fa:•,tcnin~
occur 011.1 necklace from the .\,,;;iut IIT,hllrc in
Egypt (Denni1;011 1918.110.13,pl.xxx111. imib.r
discs on l.11crcxamplc1;of the -,i,th and ,t~venth
centuries arc usuall) of filigree or picrcc<lwork.
Ncckbces stnmg \\ith ro"~ of pre iou~-stonc
beads 'iCCm10have been a b~ic item of
adornment of eve') empress or "ife of a high
official, as attested b) the depiction of Empress
Theodora and her retinue in the mosaic in an
\/iialc, Ral'cnna (fig.30),as 11cllas b) other
reprcscnta1jons on coins and ivories (sec the
consular diptych of tilicho: \'olbach 19611 pl.62.
Funhcm1orc, tJtc copious use of precious stones
in jewellery of the period bears "imess 10the
nourishing trade with the Orient, particularly
with the lndies and Ceylon.
124
Chain necklace
sixth-sc1,•cnth
B)"z...'lntium, century
Gold and K.Ull•prcciou.s11oncs, length 45-7 on
1k\\.i1mAr1M~~.l-fl-l ..
,.O\"UIA..'f"- pwc:hutd by D Kdc.b. ""llh ._ Olhcrp,«a of gold dwn
pdrry, al Qod w i..- rromrarum, 1909
UU.an.D u.rur_~ IWo,_.. 1')11o.no.,.'9, pp. 1» 1,57:1\no \'ork 19&4.
110 1o(i, p.110, \'cmubnr.,u 1999, nD"' pp.,.7, IJI, IJ9 fig.,sfl, 21,
This necklace represents a 1.radilionin early
Byzantium, rooted deeply in Hcllcnislic and
Roman Egypt, for the display of wcaJth and social
status (Brown 1981~;Urbana-Champaign 19891
pp. 1-22, 32-3, 159-61; \Valkcr in 'ew York
2000; Ross 2005, pp. 1-70). The gold-wire chain
links a varying alternation of shaped and coloured
beads between terminal cross-medallions at the
ends. Details include, a1 the clasp, tin)' convex
dots of gold wire, nattcnccl underneath to
reinforce points of contact; and links twisted to
make each segment a figure of eight stretched
straight for threading in the middle, and ben1 at
410 CATALOGUE ENTRIES 124- 127
both l'ncb into hou~, that t\\i,1 mtti oppo,nl nll,ht-
,111gfr
pl<llll'\
Pe,111-.. hi~hl) p1i7eclb) 1hl' H).1,u11i11t·,.
1hl' ,ecp1crnc .11 lhl· d.1,p nwcl.lllion,. Pt•,111,
1111)('\\tTt' ,I ....Oli,lll'cl \\ith light ii..l'lr. ,,i1h Ch11,1.
.rncl,omt·tinw, "i1h .\phn11li1c."h11 i, we ul.1ri,l'd
in popul.11lllhu11· ,:\I.HCt111ll19HU.pp.hH i1 ,111d
'Ii ~)o:Rn ......mo·). llll.l.!, pp.tH 19:T1·11, ,111d
:\l.1g,1irt·.?thl7,pp.qt) 1nl.TIH· pc,111,,Ht' U:-l'dto
, 1c.ll1',p,1u· hc'l\\t't'II ,11m·1ln,t,ol't\\O lllllt'"• like
\\,lll'tl'd ,111d11m,.11t-rt·d "inc, ,1 ,ttllll' 11.111wd
in
.m1itlw,i, to dn111~c·rn1l''!<>; in ., :-imil.11",I)
t'lllt·1.1lcl-lil...c
~l.1,:-.bt·,1Ch01'.1tolour ,1!'>,oci,llt·d
\\ith \tTduH' .md t',tl't'mc·d for il'I protec.:tionof
\,01111·11', lw.llth .,rt· pl,tl'cclin rt'pl',tll.·cl11c,1r-
lMi1i11g" ol ,h,,pl'' .mcl rolou1-..,ll ro:-, lhc ~p.111of
thl'\\l',ln.'l\nt·tl...
l'he ge,tun.· ofclo,ing the nt·ckl.1ccand the
protl·cti,c clc,ign of its lloral cross terminals links
.rnd bind, ph)°'ical M'CHringwith spi1itual sccrnity:
f.1i1hllo\\t·ring in10 t·tcmal life. They point to the
U)7,tntinc adop1ion of the Eg)l)tian lolU!,1 the
flO\\t'r lhat ri~c<;from the Nile," ith lifc-gi,ing
cli\ine as...,ociations{Ross 20051 p.11; Rudolph
1995. 110.82Aand pl.283; Urbana-Champaign
1999, no.At8, pp.3+ff,111ci61).
Gold ncck1acc with sapphires and emeralds
Prob,1bl) Conslantinoplc, l:ue SL...ihearl) scvcmh ccmury
Colcl.emerald, ~"'pph1rc, sardon)'X, 1xarls,length 79cm
!!iU.\1lorhc\lll!ftn lU lkrt,11, Anti~(IU,Ullllllung, m, no 30119, 5o8l►
tLUcn» u:n:JU,.CU Dcnn"8n 1918, 110 11, Y(rouL:11100•')99, no 3G11ndp 4S,
foi: 5r. \lumch no ...90 (C l'l;,rz.Jlonmi.Stob 'l007, pp 53,f,l,U and 5n,
?00,1,,
pl'),I
The neck1ace consists of 28 clements. The
centrepiece is a mounted sardonyx cameo ,vith
the head oft.he goddess Artemis, which is
probably contemporary ,vith the neckJace (Spier
2007, p. 14.0,cat. 768). Fourteen six-petalled
flowers in openwork lcchnique (opusi,,tmasile)
alternate wit.h near rccrnngular emeralds in bezel
settings and oval sapphires in claw settings, each
surrounded by rows of pearls. Even though
framing strings of pearls appeared from the t.hird
century unt.ilafter Byzantium, the opusintnrasile
clements clearly mark this piece as Early
Byzantine. Also lypicaJ for this period is t.he use of
sapphires and emeralds, while in lhe liddJc
By-1.antineperiod precious slones were usually
replaced by colourful enamels.
However, the precise dating is debated. The
necklace is part of the so-ca!Jed Assiut treasure (sec
cats 121,127),whose 36 pieces were apparently
collected over a long period and date from the
fourth l0 the seventh centuries. Although coins on
other pieces (such as cat.127) provide a tmni11us ad
or postquem,this necklace lacks internal clues for
dating. lt can onJy be dated lhrough stylistic and
tcclmi al comparison. In fact, very few pieces of
Ea1I) n,,:1111i11t· it'\\_dll'n l ,lll lit· tl,11t·d1di,11>1)'.
l'l.111-lltn-..ttT ,u1d \ l'1rnil.11wu"'11),U~t·,ted
lwgm ,110111ul ;ltlll, ,,11111' Stol, ll'tt'llll) pl.1tt'll it in thl'
,ll thi, ,,111w ,,rn ~~hop d.., t ,11.121,\\ hu Ii ,llt' d,nt•,
tomi1uin~I) 0111111' 1,.,,i, ol .111,dy,1·sof,t•llings
.111d...i)ll' of"lht· pit·1ted \\Oil...to tl1t· l.11t• ,i,th 10
1•,11ly,nt·n1h t 1·11111ri1·,.
Tlw mTkl.Kt' j..,unique in it-. l rnuhin.nion
of I nunrl 11/1111111trnn1,lrl'lnm·111.;;
,111d111011n11.:d
preciou, -.tom·,. Circul.ir openwork di,u were
quite ro111111011 a, 11ecklace (rn hod) ch,1in)
l'it'llll'llt, ,uHI da,p'i, but citlw, ,dtn11atc ,, ith
w11nounlL'clprecinu, Monc'i ,uclt a, ,11nclhysts
1
sapphire.., or c·11w1,dds,or comi,t entirely of
openwork di~n (for example. Gcorgoula 1999,
p.301, fig.217; London 1991h110.97).
126
Gold body-chain
sixth t•,,rlysc\'c111h ("Cllllll)' AD
Uy-1,uH1t1t',
Cold,lcnglh 71cm:di,1ml'l<'rof largemt·dalhon_.,778cm;
1n·1gl11 6.l3 2 g
11,c Tn"l~l."'I o(thc llnu:,h :\\u)('urn, London. r, 1016 7·t,
PltO\ L'"NCf found m Lir,v•
,111cn u 11rn11r,,u lkn,moo 101fl,no 1,5,,l,nndon 19n, no 1U3. l..,,,ndon
199♦, no 91, :\lumch :l'()(lf, 110493
This outstanding piece of jewellery is one of 36
objects, ranging in date from the third ccntuty AD
or earlier to the seventh, allegcdJy found in
~liddlc Egypt, either near Assiut or at ShCkh
Ab:lda (Anlinoopolis), before 1909.
The ornament consists of four chains that
passed over the shoulders and under the arms of
t.he wearer, crossing on the chest and back, where
they arc joined to large openwork gold medallions,
pierced in the goldworking technique often
referred to as opusinterrasilt.Each chnin consists
of a linked series of 23 small openwork discs,
of two patterns, namely a quatrcfoil enclosing
four cinquefoiJs, and an eight-petalled rosette
containing alternating trefoil and spcar~hend
mot.ifswithin the petals. These two designs
recur in the large medallions, each of which
incorporates one central and six surrounding discs.
The chain, unlike that from the Hoxnc
treasure (cat. 131),is large enough to have been
slipped over the head by an adult woman. Loose
body-chains of this kind and small, closely fitted
ones, arc both depicted in Roman arl.
127
Gold neckJace with pendant
Probably Egypt, late si.s1h-carly
sc,•enth cenlUI)'
Gold, diameter ofnecldacc 23.5 cm; hcigh1 of pendant
:::~~~~:::,,::,lk~~=~;~t::u;:'~,'~o:J:2~~~t~1,:
(U
~!~ ~~,r
!.•~;."v::~
'~;;: ,;:~~-~,~~~!;
,i,8;
200~, I' 286; Mumch 200., no,t.8.f (C 11•11.-lionl(r), Stoh 2007, PP.» 2 t,,
311nd592, ph 18,1-2, Stolz forthcommg
'\ Iii, ht•,I\) net hl.1tc r1 17 g) co11,...,,,_nL1 1orq11c
:i cl:uc .
1
t'li'l'llll1I(' ol 101111(•1·11 1 011" /10111thr
l1old111g ,11 .•
rc-i•ll" n(Ju,tilll,III I (r 127 flr 1) to 1\l.111/llt' {;,fk.!
~ 1 di,t \\ 11!. I lw ( :, n·k \\f>rdli 11J~x· (light)
hO'.!l,,\Ill •1 •
,uid Z,QII lilt-: ~lw_,m111tn p,_11t ..., lo~t).. 111thl'
enti ,. i, ,111 j 11111,111011 11npt·11,d ,'Ht'<l<'.ll1011.
1
n-pic,cniirn.~.1111·111pc1or, p11.,..,1l>ly C.omt,1111111t·tin·
Git',II, \\ iih ,1 pc1,011ific.1tio11of lht· < it_yof
Con,t,ullinopk 011 tlw 1-e,1·"t'. Bo1h1,iclc.;; bl'ar the
lJk,,ing j 11,crip1i1111 K Y(Pl E) IJOl 10{E)I Tl I
,i,oPOYCA Lord, help 1hr \\earcr). TIH· fl'malc.-
rncling indit,lll'' th,11thi, neckl,1u· w.1, \\Orn by a
,10111,111
. -1lw ln11.1d0Jm1 111trrmHlr frame of the
rircul,ir pend,1111,111Tou11cl,,1 mcd,dlion shO\\ing
the Annunciation ,111dtht· \\'l'Cldi11g,ll Can,1 011
the re\'l'l"::,l'.
The neckl,1cc.:i, p,irt of the <;o-calledAssiut
trc,,~urc."hich con:..i'itsof 36 high-quality pieces
ofgoldjcwclll'r)' adon1ed with pearls, sapphires
,111d emeralds, d~1ti11gfrom the fourth to the
~e,cnth ccnturie:.. Lmd probably buried in the
middle oflhc seventh century (sec cats 1211 125).
,\mong them is a counterpart for this necklace
(La" ton 1983, p. 182; Kunt:clsau 1995, no.r2),
probably forming a pair for a married couple,
most likely made on the occasion of their
,, cdding. The latest coins provide a clue for its
elatingto the late sixth to early seventh ce111ury.
A similar but smaller pendant (7.6.t,cm) has also
been identified as wedding jewclJcry, perhaps for
the marriage of a daughter of Emperor Tiberios
in 582 (~lunich 2004, 110.505),but, according to
recent research, it was most likeJy made for a non-
imperial couple (Stolz forthcoming).
The provenance of this neck.lace is uncertain:
Platz-Horster (2004, p.286) argues for courtly
circles of Constantinople, considering the quality
and value, as well as the imperial and religious
iconography. However, Stolz (2007, pp.556-7)
com~ncingly suggests production in Egypt,
especially because of the three-petalled rosettes,
which appear mostly on jeweJlery found or said LO
have been found in Egypt.
M"TJE DOSSEUIANN-RUIOKBIE
128
Cold coin-set pendant
Eastern Mediterranean (?), mid- 10Jn1e fourlh century AD
Gold, diamc1cr 9.2 cm
of1ht llr11i$hMu1CUm, Lol\don,n 1g8+5•• 1
~:, Tnutcn
pp 2i!;
0
crP.~,~:~·a,.,
Boc~,on 1983 pp •., 20, l,ondoll •99~. I'(). 2,
ln the centre of this gold hexagonaJ openwork
pendant with suspension loop is a double-solidus
of Constantine the Great (306-37) 1 with a profile
bust of him on the obverse, and the confronted
11.7cm busts of his two sons Crispus (died 326) and
Constantine IT(337-40) in imperial o tume on
the reverse. InsciipLions on the reverse indicate
1
~-ff~~r
thal the coin was struck at the mint of Sirmium
(prcc;c111-d,1y Srr1mk,1~li1rovica, in Serbia) in 321.
Surro1111di11~ the coin arc ~ixcxqui'iitclycxc-cutcd
1011dobu~,...in high rdic-f.They .trc (from top right
1 lockwi,rJ: ,1 fc-m,drwe.iring ;i ti,,ra ,rnd ,•ril; ,1
lw,11dcdm,de: ,1 fr•m,tlcwi1hcrown trc1;<;; ,, m,dc
wc•,1ri11g ,t l'hrygi,,n cap; ,mother fem.tic \,i1h
c ro\\ 11 trc·1;c;;
and, fin.illy,,1 rn,dc ,.,.r.iring,1 fillet.
Thr prnd,1111 i, one· offivr pcrhapc; from thr
'i,1rnc nccklarc: a furlllt'r lwx,1gonal,111d a circul.ir
cxarnpll' arc now in the DumhMton O;iks
Collc-ction,W,L1;hi11gton DC; a 5ccond, slightly
dnmagl'd, circular example i, in the Louvre, P..ris,
and, finally, the lnrgcst of them 11II,an octagonal
example i1;in the Clevcl,md ~luscum of J\n, Ohio
(Ocppcrt-Lippitz 1996, pp.30 60). Oc,pite the
care laken in the inclividuaJisationof the busts
noticeable in their hairstyles and physiognomy
both their identification and the reconstruction of
the iconogrnp!Ucalprogmmmc behind them ha,
proved elusive. Only one of lhc above busts, that
of Atlis with his Phrygian cap, can be identified
wiLhany degree of certainty. Daling the pendants
has proved equally problematic. A very closely
related gold mount in the British Museum,
London, was purportedly found ,vith six gold
aurei ofConstantios II (337-61), leading to a
proposaJ of the middle of the fourth century for
the pendant's manufacture (Buck.ton 1983-84, pp.
15-20). More recently, on the basis of
comparisons of the Londobusts ,vit.h~n,eodosian
metalwork, a date in lhe laler fourth century has
been suggested (Ross 2005, pp. 147-9 [Boyd]).
129
Gold pendant cross with Christ, the Virgin,
Stjohn and nvo saints
Egyptr,),600-50
Cold,8 11 5.3 cm
Dumbarton OW. \\'ashrcton DC.,e,~unc Col&.-(-. U.19J7..1.f
Kunsth.ndd., franU'un 1928, ~k:naoch. franl.fist; Mr M.:I
PltO\'EHM«:K:
Mn Robcn \\ood, Dlut,, Washinglon DC, 19JT, Oumban. Cbb ~
Ubnry and Coll«tioro,HHO
11.ucn;nu.ru..L'<CU. ROtclll:tttf 1928, f'nnxandT)k:r 1'3l,,.2.p.1'l7.-
2T,\\'um1" 19]6,p 18,:S..."UUrub 19-11,pp.r, g.Dumban,oQOab l<'l)S,IIO.IS,.
p ;I, pl p 91, Wa:wl 1g6o.pp.99-1o.t, pl.2,figs; R- 19'5.no.15,, pp.21 2,, pl
23, Durnbanon Oab 1!J67, nD f79, p.SI, '-") 19,t. p.sss; ~ Yor\ 197'),no.
6,llg ...,7,,.,,.-.dmtt19'9,-.szp.4+
301,p.S2-4,Darmdi ,g9+.pp.~
Vttlmrurf1997,pp 1:19 s1.,3♦,pl26. Kdl) andQwna 11)9Cl.pp.'7.7C1,pl14
This hollow cross was forn1ed first by beating a
sheet of gold o, er a sculpted form, and then
soldering it to a flat piece for the back. The
assigned date is derived from a technical
observation: there is a small triangular flap cut
into the rear panel in a technique known from
other Late Antique je" cllcl)' 10provide a vent to
allow gases to escape during soldering (Rosenberg
1928, pp. 151,152).The fact that the cross bean a
stylistic and iconographic resemblance to another
in Cairo Verner 1936,p. 183)has led to a
tentative attribution to Egypt.
Chris1stnnds in the centre with anns
outslrelched. revealing nail holes in his hands and
feet. The four ho!)•figures in the medallions on
the :irms of the cross arc not labelled, although the
cruciform star on the veil of the woman at 1.hetop
identifies her as the Virgin. The bearded figure at
the bo11om is probably.John the Baptist. Although
Christ may :ippcar to be crucified, given the nail
holc1;and the rectangular sign over his head
imcribcd IC XC, analysis of certain significant
de1ails has shown that the image is more
compli atcd Vessel 1960, pp.99- 104.).For
example, ahhough there arc nail holes, there arc
no nails. Christ's head is erect and his eyes open.
lie wears, not the colobion, the long, sleeveless
garment of the earliest n1cifixion images from
the fifth and sixth centuries, but the 1unic and
pallium, an ensemble relating Lo his earliest
incarnation as a young reacher or nilcr. He is,
moreover, youthful and beardless. All of this
suggests that the image portrays not Christ
crucified, nor again the living Christ, but the
eternal Christ, triumpham and bearing the marks
of his passion.
JOH~ IIA:.!SON
Chain
ixth-sevcnth centuries
Gold, length ofcham 91 cm; length ofpcndanl 2.3 cm;
width 3-1cm
Tiw Hdlnw:: \lwllryo(Cul~, D)'Z&llunt and 01ruban ~luoeum,
Athma. ■ur!li'}
"OVP"'-'fca. f.,,.11 Knl1'11"'1,M)Tiknc, l,c,,l,,,o
uucn:o u.nn.'lllll.l v~1TIW-119~.p.:327,oo.r,, rw,1,1\1hC1u
19<4.1t0.391,
pp.'64 65,~ U)9?",no.227,p 200(C. llal10,-a111nl,tlaldin.i Uppolu
1999, p..225, no..2. fic.4,11,awonw
200'1, no..~. PP-~na (I!.
Mff2ffl'~I--", Tow.w.....,..<andOlaA.,a r,,.,ttro.,ung
The chain consists of 60 circular links, 1.1~ cm
in diameter, which are cone,,1.tcnatedby
figure-eight rings. At one terminal is a hook,
while at the other is a pendant, the lower side
of which is double-arched, ,vith a pair of leaves
hanging from each of the resultant three points.
On the front of the pendant is a pierced-work
representation of confronted peacocks, on either
side ofa 'Tree ofLlfe'. This is one of the most
popular symbolic representations in Early
Byzantine art, and it occurs frequently in
jeweUery and particuJarly on lunate earrings in
the si.xth-seventh centuries (Yeroulanou 19991
oos 488-508, pp. 186, 281-3; Baldini Lippolis
19991 nos 2 1 4-8 1 12- 17,21, pp.104, 105, with
bibliography), as well as one pierced-work
necklace clasps of the same period (Y eroulanou
1999, p.132, fig.235, nos 62, 65, 66, pp.215-16).
However, this type of cha.in with large links,
pendant and the manner of securing it ,vith a
hook is rare. The only similar ex.ample known is
the other chain in the Krntegos hoard, u:01 878
avritsas 1954, p.327, no. 7, fig. 1;Athens 1964,
110.390,p.361~;Thessaloniki 1997A,no.228, p.201;
Baldini Lippolis 1999, p. 225 no. 1, fig. 14).
EU(l&,"'IIA CIIALKIA
CATALOGUE ENTRIES 128- t30 4"

Gold body-chain
Gallo-Roman, l:uc founh century
Gold, amclhyst, ~met, lcugth or individual chains, 37 8 cm;
weight 249.5 g.
Th.- Tnw<-o of1hc Um..h MUl,("U11,,l,omlo11.N l9'H-4-8,1
r•O\'L"A..'ICIL \J'Ca)Ul"C lro\"C found :u lloxnc. Sullolk, 1991
11.1.L~D urr-11.r~'ICU Johm aoo:5,Johm fonlwnmin,11
TI1e body-chain is the largest item of jewellery in
lhc Hoxne treasure. Found in 1992, the complete
hoard consists ofgoldjeweUery, silver tableware
(chiefly spoons) and around 15,000 gold and silver
coins. The two latest coins were issued in AD 407-
08, so t.hc cm.ire hoa.rd must have been buried
after l.hat date.
Four Aat multiple loop-in-loop gold chains
wilh lion-head tem1inals arc joined to fonn the
upper-body decoral.ion passing over l.he shoulders
and under the anns of lhe wearer, and crossing at
the front and back. The decoradve junction at lhe
front., pem1ane11l.ly linked to one end of each
chain, is a roughly oval gold setting for nine gems.
Only five gems survive: a cabochon amet.hyst in
the cent.re and four almond-shaped garnets
altcmat.ing "~th four empty circular cells, which
may have contained pearls. At l.hc back is another
connection, in lhe form of an octagonal open-
backed mount \\~th folialc decoration, set with a
solidusof Gratian (AD 367-83), minted at Trier.
This clasp is a re-used pendant from an older,
probably Lhird-ccnnuy,jcwcl. Two oft.he links at
the back can be unhooked, so Lhat t.hc chain
harness, which would have fined closeJy on the
torso of its wearer, could be put on and taken off
easily.
Body-chains (often known in the literature as
'breast-chains') had a long history in the Ancient
car East. and in t.he Greco-Roman world, but
relatively few e.xamples survive. In the Roman
period, they were frequently associated in an with
nymphs and with Venus and Cupid, and may well
have had symbolic values connected with love
and, possibly, marriage.
OATIIERlNE JOHNS
Gold belt-buckle
Constant.inoplc, seventh century
Gold, lcngtl1 7.3 cm
1brTruw:a oftho, Bntnh ~lwcum, London. i. •~,..S.1
H&.aCRD UPU.L"CCC Unaach l9'1ll, ooJ 10, p.20] (D Biac:bon)
TIUSgold buckle \,~th a cruciform plate is joined
by a hinge to both tongue and loop. The top of
the loop is incised with crescem shapes, each with
two reserved granules. The tongue is punched on
t.hc lop with a fret design and under the tip of its
tongue with a craftsman's mark. Tear the hinge,
the plal.e is chip-carved in an engrailed design in
the crescenl./granule motif. The rest or the plate is
embossed with a Latin cross, the head and arms
412 CATALOGUE ENTRIES 131-135
scalloped and the foot tenninating in a roundel.
On lhc back of lhc plate arc four atwchment \11g"S.
The buckle falls into a small but closely
related group, all po ibly from a
Constantinopolita.n worksl,op. ~rhc doscst
comparable example, on both stylislic and
technical grounds, is in the Dumb~mon Oaks
Collection, \Va.shington DC (Ross 2005, no.,i.F',
pp.J-8, pl.x). Although the outliuc of the plate
differs in many respects, the general shape of l.hc
tongue and loop, the construcl.ion of the hinge,
the use of the fret design on the top of the tongue
and, on the loop, of incised crescent-shapes \\~th
rcsen:cd ~mules arc all exact.I)' reproduced. The
Dumbarton Oaks buckle has been dated to the
first half of the SC\'Cnth centUI)' on the grounds
that it may have been found "~t.11two solidiof
Heraklcios (610-41) sl.ruck at Cons1anl.i11oplc
between 613 and 630.
Similar decorative motifs - generally
consisting of an arrangement of crescents,
triangles and dots and known as 'Punkt-Komma'
- can be seen on al.her sbah• or sevcnt.h-centu1y
AD buckles from, i11teralr"a,Hama in Sy1ia
(Baltimore 1947, 110.468,p.99, pi.L'<v1),Mytilc11c
in Greece (Athens 1964, nos 392-3, p.367), and on
diverse belt-fittings from Antiod1-on-the-Oromcs
oss 1952, pp.31-2, fig.4).
Cll'RIS E..-.TWISTLE
133
Gold strap-end
Constantinople, sc\'cnlh century
Gold, 3 ,c 2-4 cm
lkTnnt('OoltheBntahMu,,:um,Londoo,n.: 1g&ll.5-71
R.I.LC'TUI UIU.L'<CL Andras.-. no,, pp 74 · S, f,g I()
This gold strap-end of hollow-box construction
has rounded ends, straight sides and an opening
for the st.rap. The front is embossed and chased in
imitation of both granulation and swaged wire,
and chased "~th motifs, including a heart and
a crescent with two reserved granules. On the
reverse is an embossed trefoil-like plant motif
and funher geometric ornament.
Belts in the Late Antique period were
decorated wiLh numerous fittings, including belt-
buckles, tongues and sLrap•ends: one example
from t.l1cMersin treasure in Cilicia, for example,
consisted of nineteen individual components
Verner 19741 pl. vu). The above sl.rap-end
would have been the terminal for one of t.11e
many pendant st.raps with which such belts were
embellished. The popularity of this type, and
the ubiquity or the 'Punkt•Komma' decoration
employed on it, is attested by numerous finds from
outside the borders of the empire: both in high-
status Lombardic graves such as at Castel Trosino
and Trezza sull'Adda (Brescia 20001 p.6 8 , fig.
441
no.3,µi, P-7°, fig.49, no.39a, pp.85-6 and 88),
as well as m Avar graves of similar status at the
----
1 34
Cro:,sbow fibula
Com1.111tmopk(?). < 480
Cold. 11.9 .c 5.5 .c ,1 cm
This elaborate gold fibula is the largest of iLS
type l0 survive. 'T'he pierced goldwork decoration
slrcsses the importance of Christianity through
the face, headplatc, decorated with a tall, thin
cross 1ising from aca1nhus leaves. As often found
on liturgical crosses, the Greek lellcrs alpha and
omega extend from the cross ann wit.11the tip
transformed into a Chi Rho encircled in a
triumphal wreath. Acamhus scrolls fill the sides
of the extended rectangular face with the sides
of the triangular foot decorated with simpler
geomel.ric patterns. Gold crossbow brooches like
this were symbols of rank used to fasten the cloaks
(chlamys) of Byzantine dignitaries, as seen on 1.he
altcndants of the Emperor Justinian in the mosaic
at San Vitale in Ravenna (fig. 1).
Eight related gold fibulae sun.~ve whose
find sites extend across lhe Byzantine Empire,
including graves of border peoples given Roman
rank in exchange for peace and/ or military
service (Deppert-Lippitz 20000, pp.56-70). The
tvletropolitan fibula is similar in its l.riangular foot
to a fibula found at Apahida, Romania, in Lhe
grave of Omharus, one or lhese border figures
cw York 1999, 110.36, pp.30-1; Deppert-
Lippitz 20000, p.57). The size and weight of
the Metropolitan fibula suggest l.liaLit. \'las for
a person of great importance wil.11inLhe empire
or on its borders. \•Vhilc such gold fibulae arc
exceptional, the construction of the Metropolitan
fibula has been shown to be similar to decorated
fibula in less precious metals and thus not
necessarily a work of an imperial workshop
(Dandridge 2000, pp.82-4).
HELEN C. EVANS
1 35
Bracelet
Elevcmh-twclflh century
2 2
Silver, rcpoussC, chased, traces of gilding, niello, • "
li\.?t.:::if
\:,;:.:,;::,:·::.::,,'.'I•
''" """" I """"' """'"""'..,.,,,
Thi" l )'lindrical brat l'kl j.., ~irnil,:11to cat. 13G,
.-lthough lri;;i;; ,, idl'. Tlw cll''-ig-nI'! comprc,.'icd and
~iniplifit'd: thl' IT< t,mgul,1~·pand'i have been
oniittl'd, tht· intl'rco11ncct111groundel,; have
bcconH' mere dots and the large allnond•sliaped
motif,; arc of equal importance to t.hc central
roundcl'i.
The main feature of the brncclct is the
arabc<;quc-style ornamentation, exccu1ecl in nicllo
on a silver background and vice versa. Arabesque
scroll,;and pseudo-Kuric motifs belong to the
oiicnt:ilising repertoire of Byzantine
ornamentation and arc l.hc two most charactcrislic
features of Islamic art that spread beyond the
frontiers of the Islamic world. In Byzantine
illuminated manuscripts the various fonns of
scrollc-darabesques were used as decorative
design~ on furnilure, metal objects, articles of
everyday use and fabrics such as hems of garments
or bcclcovcrs. Sometimes also caUed vermiculaled
scrolls, they often appear in architectural
decoration and painting, especially in the twelfth
century (Pclckanidis ct al. 1973, pis 125, 139, 298-
9, 308,311); Mcgaw and Hawkins 1962, p.336-46,
figs42, 52, 53, 55). A1 their best 1hey are appLied
on metalwork, in enamel or niello ( ew York
1997, 110.300, pp.460- 1, no.333, p.497).
Similar scrolls in Islamic art are found in
jewelle1y, silverwork and pottery design (Spink
1986, p.28, 110.5;Hasson 1987, p.94 1 110.127;
Jenkins 1992; see also cat.136. Some of lhc few
preserved pieces of Islamic silver from Egypt, lran
and Northern yria clemonsl.rate the same type of
scrolled niellocd background (New York 19971
p.409; Marschak 1986, figs 131-2 1 138-41;
Edinburgh 2006 1 no. 10, p. 18, no.14, p.21). This
type of bracelet shares many of the same features
as a bracelet now in the Hermitage Museum,
St Petersburg, and originally part of the Sayram
Su hoard - including tl1e style of scrolling and
niclloed design - which was found with Islamic
coins datable to between 949 and 1040 (Allan
1986, p.12, fig.40).
ANNA UALLIAN
Bracelet
Eleventh century
Silver, rcpouSSC,chased, panial gilding, niello, 3.3 x 5.5 cm
lkn:W Mu.Kum,Athc,11,mv no U~!,7
••ov1..".,,NCL unknown
•r.ucno ._r.,uZNcu. Arhcru 1g86, pp 190-1, no 201 (l..&uru);Gcorgwb
199'}, I'll 3J,l 7, no 1,6 {A.&Jhan); ·~-.1or .. 1t1200'1, p 413, 110.!,'lO
(A.Onntl.1kiJ,Sydneyfll05, pp 136-7, no.9!, (A. IWlian); U$bon 'I007, p 191,
no 99(A.ll;ill1an)
The wide cylindrical bracelet (perikarpion)is made
up of two sections of equal size, joined by a hinge.
Each section is divided into three rectangular
panels with a medallion at the centre, framed by
5·
5 cJTI
four almond-~hapcd molifs. Smaller medallions
arc linknl to the l.trgcr ones, creating a horizontal
axis :rnd balancing the arrangement of the panels.
Each m1.·d;dlionis decorated wilh a fine niclloed
dc,ign of a cros, formed by four scrolled, hcart-
sli.1pcd palmcttcs.
The type or bracelet wilh rect,ingular
dccornlivc panel." decorated with relief roundels
and almonds seems to represent a simplified form
of Late Antique bracelets, such a., those found
on Palmyran sculpture. They arc embellished
with almond-shaped leaves in imitation or gem-
studded originals (Mackay 1949, pp.176-7, fig.6a,
pis Lv11.2,Lv111;Seyrig 1952, p.233, fig! 13-15;
Lepage 1971, p.7).
The use of scrolling design and the cylindrical
shape relate this bracelet to a group of bracelets
disl.inguishcd by their mixed Byzantinc•lslamic
decoration of real and imaginary animals,
including the Iranian mythical simurgh.They are
preserved in the Kanellopoulos Museum in
Athens, lhe Dumbarton Oaks Co11ection in
\Vashington DC, the Museum of Fine Arts in
Boston, the \<ValtersArt ,Museum in Baltimore and
the Louvre, Paris (Netzer 1991, no. 166, pp. 164-5;
Paris 1992, no.253, pp.338-9 0- Durand]). The
Louvre bracelets were part of lhe lzgirli treasure
from Bulgaria, which consisted of plates worked in
a similarly mi.xcd Byzantine-Islamic style (Ballian
and Drandaki 2003, pp.47-80). The same
features occur on one other intact bracclcl.
(cat.135) and on two sections of bracelets in the
Benaki tvluscum, ALhens, decorated with griffins
and pseudo-Arabic inscriptions in angular Kufic
script (At.hens 1986, nos 199-200 1 p. 190).
1 37
Bracelets
Sixlh-scvcnth centuries
Gold, diameter 5.5-6.1 cm; width 0.1-0.55 cm; diameter 5.5-
6.05 cm; width 0.1 0.55 cm
~ llclknM, 1-1,nmry ofCulturc, Hyun11nc and ChniGan 1-1...-um.Aihca,,, ax.w
86~, HM 883
,._ovuo...,.cL Kraiqoo, M)'nlcnc, Lcst-
SEUC'TilD lll.Pt:Hl<CU Va\'nU:U 195--1,
p 327, no 6, fig,,,\llvns 1g{4. D0.3!»,
pp.365 6; ThcMaloml11997A, no,n!,, p.199 (C. &ltoyanru); &ldant l.,ppoes
1999, p 18·1,not:8 1:p, lncssalomb 'I002, no.517, p.,111(E. Mcnrm'C:bouki);
T our.uwglou and Challua fonhronung
The bracelets (psellia)are virtually identical, with
only minor differences in their dimensions. They
comprise a solid band of elliptical shape and
varying \\~dl.h. Their cu1vaturc decreases
significanl.ly, mainly on lhe upper side of the
piece of jewellery, to such a degree tl1at it appears
almost su-aight. At the centre of this side, which
is also the lhickest point of the psellio,i,a rib is
formed, while at lhe centre of l.he lower side,
which is the ll1innest point, is an opening to
facilitate fitting the bracelet around lhe wrist.
The bracelets are of the simplest type of this
kind of ornament, which is known from Antiquity
but was widc.ly spread during l.he si.xth and
sevemh centuries (Baldini Lippolis 1999,
pp. 176-8, 182). The Kratcgos treasure includes
four other bracelets that arc exactly the same,
while similar ones arc encountered in ol.her
hoards/treasures of the sixth-scvemh century, the
best~known being the pair no.J 431 in the Cypms
Museum, Nicosia, from the L1mbousa l.reasure
(Athens 196,1.,no.401 1 p.368; Picrides 1971, no.8,
p.58; llaldini Lippolis 1999, p. 182, nos 6-7a) 1and
the bracelet no. w 100 from the Mersinc l.reasure,
in the State Hermitage Museum, St Petersburg
(Grabar 19511 rig.2.10; Bank 19851 no.102, p.288,
D; Baldini Lippolis 1999, p. 1821 nos 2-5:1).
Furthermore, there arc bracelets of comparable
type, wil.h minor deviations in the form of lhe bar,
in various museums (Baldini Lippolis 1999 1 p. 182;
Touratsoglou and Chalkia forthcoming).
Pair of bracelets
founh or early fifth century
Gold "'Hh sapphiro and emeralds, diameter 8,5-11.6 cm;
8.;-11-4cm
V~ \ILDn11T1off"onc \ru, RM,hmond. Tiic Adolph O Md \\~lkm,
C.Wil!Wmfund.67!,2.311/2
...OVL'IA.'fCL .... mown
IIU.&CTU) U~"CUI ~ 1971,p.15, llw;hrrn;,nd l!)!l.., 11016, pp.68-71;
V.-roub.-. 1999,, M 7tJ6, p.g,11
This pair of bracelets is an important e.xample of
pierced-work technique (di.atra)combined with
precious stones. Bot.h hoops arc or semicircular
cross-section, ,vit.h a movable part as tl1e fastening.
On each bracelet four mounted sapphires
alternate \vith four emeralds.
[n the zones above and below the sl.ones
are ivy scrolls and lhe central zone between the
stones has two circles \vith st.em and cent.ml
lozenge enclosing a rosette, as well as a lozenge
with scrolls around a vine leaf.
The movable part in the central zone is
decorated \vith lyre-guilloche pattern, while
small cruciform leaves fill the ends.
The pierced work is e.xquisite and these
bracelets belong to a group of di.atrita jewellery
which bas been worked witl1 a special tool t.hat
traces the design from the out:scl.(Buckton 1983-
84) so that it. is also visible on the back, as, for
c.xamplc, on the medallion of Constantine the
Great, in tl1c British ~iluseum, London (inv.no.
Ml.A 1984, 5-1, 1).These pieces of jewellery are
associated too "~th lhe common ivy scroll, as well
as with the characteristic tendrils sprouting from
the stem and coiling bad,varcls.
Bracelets of similar shape and technique, l.hat
also use precious stones, exist in the Ashmolean
Museum, Oxford (Department of Antiquities, inv.
no. 1977.272)and in the R0misch-Gcrmanisches
Zentralmuseum, Nlainz (inv.no.0.39321).
Other common elements, such as concentric
circles and lozenges, lyre-guilloche pauern,
roscucs and vine leaf, are encountered on various
CATALOCUE ENTRIES 136- 138
 pieces or jewellery or the same period. /\II these hiicl pn king ,1t ,1 lc,11,p.d111l'llt·,and rosettes
,1 'th ,cpou,,t· IHl\t ul da· Viq.~·i11 i\la,y 'l'hr Over Goo piecr" of gold jewelle111 in role in the military and polit-ical history of
11 11
suggest that the pieces were produced in one ll'mkrnl in ,li~hll) drlll'ting- tolour, in each ' ' .
\'irµ:111,\\ 11 ,w, 11, , 1 hiination, 1,d..,e,;both li,111d,;;;
I) • , .
o/111J
mlrmwlr have swvivcd. Thc-y h,1ve been Byz.intiurn, primarily as mercenaries in the
Bracelet
centre or even in the same workshop :ind were p,111d.Thi, ,.11i.11iu11i, ,H hincd with 1hc use . thl' 01 ,. 111 po.,ition, lil,u1k111gllu: bu'il are for1r tlu,roughly cat.iloguccl by Aimilia Ycroulanou. emperor's bodyguard. /\n /\lcxios Varangopoulo
Ronw U,,finh H'Hllll'\ 111
disseminated "~clcly during lhc fourth :rnd the ol \\hitt·, hhH'. ull1.1m.11inl' ,111drt'cl gl.t'is and •ttirw, lor gt'll1" or glav,; p,1sl(•,;.The hoop, 1\,loc.tof thC',17 prcc.rrvcd o/msmfrmmlr bracelets is recorded as lord of the island of Kos as early
Colcl, f) IJw '>9 11 I h no, ,11,1pIJ r,1 m ('lllPI) \( r, •
early fifth ccn1ury. proh,1hl) .d,n n itn,1111,"hich 110w ,1ppc:irs black- "hit h i, ''"'' uti·cl i,~,1 \l'C li111qu:·~11ow11"" o/m1 . croulanuu 19<)(), c.rl'i 197 23.:;)arr clo,ccl as 1258, and another member of the family
l,n11,. th, \l,1mp,~11Jn \h,.nnn"l \11. '"' \,,1l (,,ti•~ 1 l'l.11"•1111\l"'X·"'
AUIILIA \'EROULANOU 1<11717 11,n 1hl~ in dilkrcnt ,11l',t., in 1'.1ch one. /rrrnulr(liter.ill) 'p1t'1cl'd \\ o_rk.
), l'i corn?u,l'd of l,,1nglt·\ m,tdr from fl,tt or convex c.heet of
,1 is mentioned in a document of 1400 as the
r.,)\I''"' ._. .. tt"h.-Jnom 1,,.,,.., 11,11 \,.,.,1mlpt"''->:'1'' n1l,,,ou 111
.,nnn,t \m,,.,.. ,,., th<.-~" h,rnl ,J 1hr '\,lr. '"'I"''""' "' ( m,, II\ 1 l\,,,,.,.u c;iH·n tl1t· ,.tln,1hll' 11,ttlff<'of these pieces of t\,o wbc" ofguld .-,hn:tco111;1111111g a ch·•.ign ;fa gold. Nine hr.1cele1s feature a dccora1ecl disc proprietor of a bath-house opposite L11c
\t .. ,,:.m lknr,,,..,, ,,,,R. l'l''I~ 11 ('11 .~ I l'••I'""' \1,,,11'"'" ll ..
\lru-opol,1.,11 \ln..-11m,,I \11. \('" \,>ol 11111 .~nld jl'\\l'lll'I')' thl'il' ,uhtlt'l) orck-,ign and their central va..,c, li'Olll winch cmanatL' two ru1111111g serving as dt.1,p,whilr Lwo br,1cclets MC formed by Monaste1y of the Hoclegon in Constantinople.
.,,,,110111,1111"'' l),n"""''"":\n.,,.H ,1.p1••1: '"'·''~ •1.II"""'

1~::::•~;~~,:"~~~~·,1\I~,:,:•~~'!.:
\::.,•~::
1;:1,:,:·.., h-r, 1·,qui,i1c n.dhm.111,hip, the hr.tcrlct i, likely 10 .;croll, cont,Liriing-p,1i1~ofswa11'i arid p,·,icocks. intcrlCJrking clcmcn1,;:.One piece st.rncls out from
139 ::l•\~~~-;:t (:1;•:l~ll~,I
h,t\l' hdo11gcd to ;1 11ic111hnof th1· highc'it social Tlli'i biacclc1 q;i11d<;at thl' <'lld ofa long tlw rest in that it con"i"L"of two p;1111hcrsholding
Pair of bracclcts Thl' loop .,nd hoo1>or thi, lu ,1cclc1,one of .1 p,,ir ,11,lt,l or Byt.,llltium. ti.tdition of Late Antique bracelet<; with openwork a plaque. Many bracelets arc al,;:oadorned with
)'J)nlS (?), six1h ct'nl\JI') found in 1•:!,!.)1)1,
,ire cl.iborald) dt·crn~\lt'clwith hoop'i: the o/mJ111/rrrrwlr, which is much lcs,; tightly pearls and precious ,tones such a, emeralds and
Gold, di:uncttr 9 cm pirrcl'd AOkh\(ll\....d111/nl11,.1 tt·t·l111iqul'
n.·l,1tl'clto organi~cd than on third- and ~our1h-cc11tu1y sapphires. \Vhilc most openwork braecleL,;:have
lk.,...lu l\h..,.um,A1hc:m. ,m ,.._.. 1ll1\ 1U3t, dw 0/1111 111/(l(l),/f or the Rom,lll ll~tdilion. The je"cllt:J)', is ty~>icaioft.lMt dating tu .around the been passed clown as single pieces, eighteen form Cold ring \\~th opusintmasiledecoration
U:U:CTIO unu,;ru, ~111()18, no 1t,(,, pfl th<) 71,pl _s1.l..-,M!l""rq71
11•?Ju; 10, Ch.:nzw.biu 11)71,I' 17{>,f,I( 7n,\.-..) 01~ ttli(I, n,, 1<17.111'\JI l ~conwlrfr prcfi,ion oftlw p.Htnni11g h.1, hct'n rear Goo. Similar 1co111crcpre'icntat,om_ oftl1c nine pairs, which suggcsl.5 that bracelets were Rom<",around 300
lldwom.u 11)80, Pf' :ll 110<137,ll;i: 13, llno"'C'h t<)l\1. 110J 1. p r')8. l!r,,"n ujll~
p S. fig 3, 1"1c-ugn1()0)0,fl 9, l);,Jb, 19')0, I' 14 pl 'II- l>rl"'lnl"-' ~ml.' "'''I'"""" .m,i,u·d to d.\lt' 1hc \\Ork to the lil'th n·ntury Virgin an· hard to find 011 Early Byzantmc normally worn as pairs. Gold, diameter2 cm
1997, p ll), (qi f7J, (,n,...,<11., 11)•1).IM1 It]. J>fl1"' II, ,,.,,"1J.rnt~I ll'j<j•I 110 1'•!
p2,4_s
Ycroul.mou 1999. pp. 15 z(), 151. Tlw tiny lion Bracelet rl,r J'n,stcn ol'1hr nnmh MIIIKmn, London,Inv 1101917.05-1.!)87
jc"·cllcry. Apart from on the now-lost counterpart ANTJf' IIOSSEUIANN•RUICKIJIE
,aov~"""<'' f..,.,n,rond,r Rnn1ibtT, RonH"', l.ou!. Mon~ Rlcluinl 7..11thil,:;
"" Allj!lllllll \\'oll:uton Fnnb, p;!\TA In L~ llntllh 1"hun1m:U p.n ofthr
The bracelets arc fom1cd from .i hoop of lwad tcnnin.11" on tlw hin~l'•pin ...for the hoop Co1,~1.1111111opl1· ?), ,1,lh 'l'\l'tlth rl'ntu,y for Lhisexample, formerly in the collections of the Franb Brit-- 111<J1

semicircular cross-section, ,vith rcpou~c h.\\ t' been idt·ntifit·d .1,111th

cc·,uun in ..,,yk and C:nld, ,1l,c·1, JX',UI,, ,llllt'thy~L,, ,,tpplurl'~, ~I,,~\, qu,1r1,
lmlian collector and goldsmith, Alessandro ,,o,nrr, n"u,;ru Rl<"Jl1!)01,p113...ctpt,:,i;Manlwl 1go8,p.15'1-,
r,n 987 Pnd pi.UV. llo,,tto~,198G,Jf 18.t,n 10 •nd pl 6.fb,D1roliStda11dh19')2,
,rnd l'lllt-r,1ldpl.1~111.1,cluml'tl'r R i. nn p:ro8.no'l'f'•ndrit166
dccorat.ion of ,l repealing stem sprouting from ,imil.1r to 01hcr ,,ork-. ofth,ll elate from Fl•c,1111p Castellani, and Count Tyszkiewicz (Froehner 1897, 145
:~,•;1,;,;
:,1
~ ~:;~'i''l'"l,1.,n
\fu..,.mn
,,t \n, .,c:,, ,.,,l (,o(i ofJ l',u1)('1,,.!
Morg;u,,
a cornucopia. On 1hc mov:-iblc di,c, 1hr :,:till<' in France, Tl·nl·'- in Al!!c1i:-iand Rt·~o Emili:-i in 1 pp. 7-1 5, 110.108, pl. 17), 1he Virgin tended to be The ring comprises a broad hoop or gold. The
,.,w,t'"'' -.,1(11uhrfrum 1.,11111'"·11'""""'l'r•r,rrL1,•n>1,orln,rn Pectoral cross
pattern i~ executed in pierced \\Ork .1rouncl a Ital). The doH' p.mern too has been related to .nll1rn1 \n•m•>C',,., 1l1r<",l>I1,.,,,l
,,f1l,_r'\,I(-, ,ur1111rrrl on C.ur,, h, J l'ic:'llOr!• depicted either in narrative contexts on gold cemral, main clement is completely filled with
"orks found in Tl'rn\ and Reggio Emilia, as "di
""'It·'" lk ""'""' 1111!1 1'1' •17 !! , i:ih "I J l',~'1"'"' \lu1,:.u1 iu li..-
s1cllar rosette. The disc i~ surrounded b) a ro,, \lrott>jMilll111\ln\C'rnn of ,\n. i\n, , <H~ 1')17 enkol/Jin,
drawn either from the fdariological or Th1,rccnth rounccnth century
opusmtmasilt(pierced work) decoration of fine,
•11>1T11111111111"'' lk11111""ll<)t6,nmJI! •l,1'1''11 1u1,1;7 9,llr,_,"n Cold, lapi.sl.a1,uli,
4 x 0.7 cm
.is otlwr ,itc~, induding liw P,11,ttincin Rome 111;9. ,~,. )orL 1117<1,u,,Jon. Pl' }Jj I " llou,,11. JI,,,,_,, ll)')3. lt11h11umd Chri~tological cycles, or in schematic fom1 on intertwining tendrils, perhaps of acanthus.
of relief granules, a plain frnmc and grnnula1cd
''I'll, no t'j, f~• '"I ~ ',ruul.m,,., l<t<l<)t11J n!I, 1•11
wire on its circumference. Dcppt·n-Lippi11. 2000,,, pp.65 6). A sm.1IIcross ·~:•I',,
:;:i1o'.':.:;, r,.,,.,,
..
Jj~. 17}, l)rl'l"''•l~l'I'"'
(,1 J, '"!, •17, '"" ,, 1~7,
JHIMU I'·""· llnl,rnnh ~nd nmulcts, rings and pendant crosses. Bc:naL l\lwcum, ,\thnt,,""'
l'ao\,..NA'iCI'. unkno,,n
Sl'.U'CTl'.D 1tt,.l1..NCU Sc:pll
RO•~

19)8, p rn. no 777:,\I.hens 19116. no.214- p.1~

The movable di<;cwith hinge" for fi1'tening j.., a1 the centre of the loop opposite the elaborate
charncteristic ofd1is type of bracelet in the fiJd1 hoop i;; thl' onl) :,uggcstion that the doves might
and sixth ccntwies. The hoop is tM1ally fom1cd be nwant in a Christian context. \\'hilc many
f.a1 I) B~-Lantinc br.:1(clcts opt·n with hinge-pins,
from a ,,~de b,md in rcpoussl· sec the bracelet
thi,; brace-lei is unusual in that the pin wo1ks by a
from Consl~mtinoplc in the Dumbarton Oaks
,;;;ere,,mechanism, similar to ones on the brncrlets
Collcc1ion, \Vashington DC: Ro,;;;s1965, n0.'2A,
:'II T{·ni·s .-md Reggio Emili,1, <lnd icli-nrifi<'clas
pp.1~ 6), pierced work (~cc the bracelet with
a status symbol, indicative of the aspirations
rcpoussC figure of the Virgin on the circular
mov.:ihle par1 and picrcccl-"ork decoration on of the o,, ner (Brow11 1993).
1he hoop, in the British ~luscum, London: Dahon
1901, 110.279, pp.45 6) or with clcmcnL'- soldered
together to crca1c the impression ofpicrccd-"ork
dccorat.io11 (sec thr bracelet from 1..hcCyprus
treasure: tylianou and Stylianou 1969, p.55,
Bracelet
110.20, fig.43). In certain cases 1Jic hoop is covered
l'rob.1bl} from Cons1:u11111opk·,
by moun1cd precious s1ones (sec the bracclclS ninLh or tenth
Cold .md gl:~. 5.7 w 8.6 ic 6 6 cm
from Egypt in the f\lc1ropolhan ~luscum of Art,
Inc: llrllc:mr \lumtl) ofCuhutt, Mu\C'urn nfll,.,..>nunt Culmrr.11_.J,,n,k,.
New York: Dennison 1918, nos 28 and :29, ..... ,!)21,.,
11l.l-Cnu 1i,n:u '<t t, rdi:Lundi, 19.sg,Gr.11~,r 11,tn,1\1hnn 19l4, no 16),
pp. 157 g). Contcmpor::1ry representations \\olluch :aud l.,f.,n1a,1(11r u,""°Kl,,.
o!)l,11,p 1<)6,llm,..,i. ,1)8,,1• "Jll,
1')8t,,pplln 6,, ll.-lloff1990,pp jl -n,Nn, Yorl •9'J1,pp,1'.) !,
show tha1 these bracelets were widely diffused. l'hru:alon1turuo2,ppp1 ll
The dccorat.ion of the br::tcclcts is notable for
This gold bracelet is one of a pair excavated with
irs technical cxccut.ion and the rendering of the
a hoard in ThcssaJoniki. Bracclc1s were worn on
subject. The designs on th1,;picrccd-,,ork surface
the wrists to hold in place the long, almost rloor-
arc clearer than on other c.xamples, and arc also
lcngth ~lccvcs or fashionable formal garments
enriched with addilionaJ rcpoussC and carved
worn by women in the Middle Byzant.inc pc1iocl.
dccoraLion on t.he djsc and 1hc hoop. The stems
Each bracelet is made from two cqu.tlly sized,
and Lhc cornucopias thereby acquire a richness
curved trapezoid-shaped plates, linked to one
very similar to the ones on the cross of Justin II,
another by slender bars that fit through five small
in the Vat.ican ~luseum, dated to 565 78,
ribbed tubes. The bar in one of these hinges was
confinning the elating of Lhc bracelet to the sixth
fixed, while that in the second could be removed
century. The Lrcatment of the decoration is
in order to undo the bracelet. The plates arc
slightly different on each bracelet: on one, perhaps
bordered at the top and bottom by an overlaid
the later, 1.hesubjects arc less distinct.
three-strand braid. E.ach bracelet is covered with
This elaborate bracelet, one of a pair, is
decorated "ith jewels on the exterior of its hoop
and loop and clabor,1tc dmlnf(l, pierced golclwork,
decoration on iL<;inner surface (Ycroulanou 1999,
pp. 15-26, fr2 4). 'The pearls and gemstones on
the extc1·ior ha,c been as.::ociatcd with similar
bracclcb worn by the a1.1cnda11tsof the Empress
Theodora (1055 56) in the mosa.ic at San Vitale
in Ravenna (fig.30) and argued to suppon a
Constantinopolit.an origin for the work (Brown
1979, pp.57 62; Brown 1993 1 p.89 on the basis
of this bracelet's sophisticatcdly hidden clasp on
the loop). The elaborate t/i(lhita patterns on the
interior arc simil.ar to ones found as the exterior
ccuturiC)
decoration of 01hcr works. Rchucd patterns exist
on a medallion for a necklace in the Virginia
Museum of Fine Art,;;;,which has been argued
,krn,L n...... lO lmvc been produced in yria, possibly Antioch,
as a product of a high-quality provincial workshop
(Richmond 1994 1 110.351 pp.ro+-5). Part of.i
hoard discovered in Ebrypt, this bracelet represents
the wealth and ambition ofils owner to be dressed
in styles exported from, or produced in imitaLion
of, those wom in the imperial capital.
IIEI.EN C. I.VANS
143
Gold braccleL wi1h a bust or the !\lather of God
F..-.stcrnMcdi1c1r.mcan, <,AD 600
Gold, dcplh orl1oop 6.7 cm;depth ofrnl"d:illion
44
CIIRIS l ~ 1WISTU.
144
Gold openwork bracelet
E:i~1rrnr..lrrli1rrrnnc-an, fourth ccntul)'
Gold, d,amctcr 10cm
M11V<n~\l lkrhn. Anulcn .."'l.mm1ung,
S1.o,1tl1rhc- "" no 501m, .509
n, 1l.rt.o Mt 1111n,cu :,,.,c,.,c)c:r 1997,pp w, -3, Ytroubnou
The bracclc1 was found at Tartus, Syria, 1ogethcr
with a cot11lle1vart, now in St Louis (Yeroulanou
1999, 110.203). Its convex shape was created by
combining eight oblong "~th sixteen trapezoid
plaques in opusinlerrnsile with different pa11crns
and the blessing insc1iption EYTYXOCXPQll.lA
BI0Y (use i, for [your] luck throughout life). The
pair bears the words lJIYXH KA/\H Yf!ENOYCA
(!>OP! (bcaut.iful, healthy soul, wear it).
The opusinterrasile technique was widespread
in the Roman and Early Byzantine Empire from
the third to seventh centuries. The typical lace-like
effect was created by piercing sheet gold. A broad
range of flora.I, geometric and figural motives, as
well as inscriptions, appear on gold jewellery,
fibulae, belt buckles or even sword ornaments.
The same stylistic developmclll is found in other
genres of Early Byzantine art, such as on capitals
in the Church of St ophia, Constantinople
(sixth ccnttny), with their lace-like effect gained
by undercutting the marble surface.
The bracelet can be dated to the fourth
, cm ccntt11y because of its product.ion method: it was
These form S\\~rlsalternating left and right.
(LBounll,Ath.mt 1991,no8o,p ~.s,IJ(A.l>nndur,Georprb 1m,pp.:r;t ). Both borders or the hoop arc fanned or plain
no 15,fA.B;Jk11n1,S)'tlncy~R097,p 14o(A.Ballw11;t..,,bor, :a007,oo.1<n,
p 19,t(A &11,~n) gold bands, edged ";th continuous small diagonal
incisions.
The small cross is of the Resurrection type - with
This technique is first mentioned in the later
two horizontal bars - and hangs from a double
first century AD by Pliny the Elder (Natuml History,
suspension loop. Inset on the front, and projecting
xn, 94), in the context of wreaths of sacred
from il, is a cross of lapis lazuli held in place by a
cinnamon set in pierced gold crowns, dedicated
strip of gold. The weight and the thickness of the
by the Emperor Vespasian (69-79). The earliest
cross are clue 10 the lapis lazuli, which is deeply set
1999, no IIO, surviving examples of pierced-work jewellery date
in a protective case.
Lo the second century AD and the technique
The pectoral cross is reminiscent of portable
became popular from the early u,ird, especially
reliquaries containing fragn1ents of the True
for bracelets and pendants. In the follo\\~ng
Cross, which were widespread during the ~Udclle
centuries the pierced decoration was increasingly
Byzantine period. The way in which the lapis
detailed, lca\~ng less of the original gold visible
lazuli is inlaid refers to t.he cruciform openings of
(Biroli tcfanelli 1992, pp. 75 . The most ornate
reliquaries, through which the sacred relic they
Roman C.'Camplesdate to the fourt.11ccotury, and
contained could be seen.
ofien incorporate medallions or coins of emperors
Engraved on the reverse of the cro is an
such as Constantine I (306-37) and his family
inscription underlining its protective power and
(Biroli tefanclli 1992, pp. 219-00).
memioning its owner: +0flA0N rENOIO KAI
F'Lndsof Roman jewellery in this technique
<l>Y/\A'?. QCT(A Y)PE MOY I BAPA<l'A>
arc concemmted largely, L11oughnot exclwivcly,
rron0Y/\(Q)CEBACTQrEQPrm(O my Cross,
in t.he \,Ve.stem empire (Britain, France, Germany
become a weapon and guardian for Georgios
and ltaly), suggesting that 1.hetechnique
VarangopouJos Sebastos). The title ebastos,
originated in the \ Vest.
which derives from the Greek translation of the
Roman imperial title Augustus, re.'lppeared in
Byzantium in the eleventh centUI)', when, in tl,e
context of efforts to strengthen tl1e position of the
147
reigning d)•nasty, it began to be awarded mainly
to kinsmen of the Komnenos fumily as well as to Finger ring with the Annunciat.ion
foreign princes. From the Int twelfth centlll),
u.:th or Sl:'-C'nth century
however, the Lillewas demoted and began to be Cold and niello, diaml"tcr1.6 cm
granted 10 lower-ranking officials ::md to lead rs of UtnllkaMwcun1,1\thm,,.u"oo.1830
$11.1.&.cnDUn.11.L'iQU Sfs:all
the ethnic groups sculecl in the Byzantine realm. 1936,no J61,p.1~plSD, lli!UDlbkn l<M-+,-19,

1wcnty panels, which arc bordered by granulated

1
IF.U.C'TVO
:~::•r~•,.~t'.~~
~~::~:;u:::c:;
~:;1,~7,:~:t; .'r::~;'1;, 1

111
,,b !k
11.F.,n&N<:P.; 1\1h,cn1'1000,no 11,p 7!1l{C l,luwutlc) qll<'U, 11197
made by initially piercing holes into Ihe sheet gold
and then ,,~dening them with a triangular chisel The name Varangopoulos possibly declares the
p 201, D;\lW ,990,p 71. r'«,o.C«.piia 1999, no.•19, p.319

bands and decorated with cloisonnC enamel. origin of the owner from the Varangians, the The wide polygonal hoop of the ring carries
to create different pattems, which is typical for
The p;1ncls rcaturc representations or, alternately, This go~d bracelet wit.h an openwork hoop and an ellipt.ical bezel with representation of the
earlier opusi11te,rasile. candinavian people who played an important
a clasp m the forrn or a medallion is decorated

414 CATALOOUE ENTRIES 139- 14.3 CATALOGUE ENTRIES 14~1 147

Annunciation, in nicllo. Depicted on each facet
of the hoop is a saint in bust
The type of ring is characteristic of a wedding
ring, which Lhe Church Fathers pcm1ittcd 1hc
Early Christians to wear, whereas generally they
discouraged adornment with many and expensive
pieces of jewellery (Clement of Alc."Xand1ia,
PatrologiaGmtca, 8, line 633). Represented 011 the
bezel of many examples arc the b1idr and groom
being crowned by Christ or the Virgin. The facets
of the hoop arc decorated with scenes from the
Life of Christ (sec the Palermo iing found at
Syracuse: Hadziclakis 1944, 110.81, p.202; one 1ing
in the B1itish ~luseum, London: Dallon 1901,
110.129; and one other in the Dumbarton Oaks
Collection, \\lashington DC: Ross 1965, 110.691
pp.58 9). The scene of the Annunciation on thr
bezel of the Bcnaki Museum 1ing could :-1\sobe
correlated with nrnrriagc (a similar ling in 1hc
\\lahers Art 1'•1useum, Baltimore, has a
representation of the Ascension on the bezel:
sec Baltimore 1980, no.1~27).The Virgin is
shown standing and holding the spindle, \\ith
the basket of wool a1 her feet, while 1he Archangel
stands beside her ,,1th outspread ,,1ngs (the
rendering of the scene is similar to the ring in the
Dumbarton Oaks Collection: Ross 1965, 110.69,
pp.58-9, pl.xuv).
It is impossible to idcmify the figures of s.,_ints
on the facets of the hoop, as the ring is too sm:-111
10 portra.y the personal features of each.
Nevertheless, the type of rii1g and the iconography
of the subject suggests a dating in the si."Xthor
seventh century and its attribution - a.long \\;lh its
counterparts - to Constantinople. This d:-1ri11g is
reached mainly from the Palcnno ring, which was
considered to have belonged to Emperor Constans
II (641-68) and, indeed, to have been made
especially for his marriage in the Byzantine
capital, around 650. The iconographic details add
credence to this hypothesis (sec Ross 1965, p.59).
AIJJ.ILlA Y£ROUUNOU
Finger ring ,,1th monogram and eagle de"1ce
Sixt.h or seventh century
Gold, di:unc1er 2.5 cm
lknakl Muonun, A'-""u., m, no 18'19
Hl..&(:TT.I)
avui..icu. lla<Lod;u;u 1944. 110.b],p.200; D;>JLu199U,p.7>,pl.s6;
Crorp.b 1999- no.115,.1• sq
The ring comprises a solid cylindrical hoop
with circular bezel engraved \,1th a reprcsemation
of an eagle with uplified wings. Above 1.hebird's
head, which is turned to the left, is 1.hemonogram
lQANNOY (of Joannis). The type of ring and I.he
eagle device combined with monogram arc
panicularly widespread (sec Stathatos 1963, no.
227, p.288, pl.xuv; Ross 1965, no.70, pp.60-1).
Fourth-century t.hcologians discouraged
adornment with jewellery, but a11owed
CATALOGUE ENTRIES 148- 151
Christians to we:-1ra ring, which could be ('ithct
a signet ring ,,1th the name of the f.uuily hc:icl
or the wedding 1ing. For 1he former the use ol'
Christian symbols. such as the fish, anchor or
birds, was rccom111cndcd (Clc111e11t of' Alc'.':a11clri,1,
Grn«a. 8, line 633). O\'cr time, the
J>atrologia
symbol;; were replaced by monob'l":\IHS,the carlil'Sl
of which arc in the form ofa solicl rcctanglt\ with
1hc letters combim·d around the initial, while from
the reign ofjustini.m onwards, monogr:.uns ol'
crucifonn t)1)e p1-cvail(Schhm1bt.-rgcr 18B.1,
pp.8511:).
The lknaki ~ luseum 1i11gcan be considered
to be a ~ignct 1ing, t·vcn though the lcttt.·1-sof the
monogram arc not in reverse. lt is quite possible
th:u it belongl'cl to ,1consul. as this ,1ew has been
exprc~1:cl for all comparable tings with
rcpn.·scntat.ions of :\II c:1glc. which symbolisl's
the..·power and authotity associated \\ith the tit.le
{sec Ross 1965, p.60). The size of the ring and
the rombina1ion of the eagle ,,1th the masculine
monogram not only reinforce this hypothesis,
but also corroborate the dating or 1he piece of
jcwellc,y to the la1e sixth or Lhe early seventh
cc111u1)'
(Schlumberger 1884, pp.85-7).
1 49
Finger ring ,,1th s,,1vcl bezel
Si:o:tl,-sevcnth cc1miry
Gold, diameter 2.1 cm
llt:nak1 :\\u,c:\un. Athr,u, Im no 2107
u1,c:n:o 1U,u11..ic.u lhdud.,k .. 19H, Crume! 19~7.pp sn 21, N~ Yorl
t<)j'<\. nu JO), pp '.P6 "7. N:m~nh :md \\onu 1!)81,pp" 4, D~IIM 1!)90, ll 7),
rlsS,Gnirp,L:11m,no.117,pp316 17( Ma11go)
TI1e 1;ng bezel is octagonal, wi1h each of the eight
sides slightly indented. On one face is an engraved
representation of a standing archangel holding a
cross-lopped sceptre in the right hand and an
object resembling a sphere in tl1e left. Represented
on the other face is St Thekla in prayer, flanked
by rwo animals, possibly lions, and two crosses in
1.hefield. On I.he tl1ickncss of the bezel arc the
ciphers XMf and /<;P/\, engraved and picked out
\\1th nicllo, which arc legible when the face with
the archangel device is visible.
This ring has been studied by Manolis
Cha12idakis (Hadzidakis 1944)and Cyril Mango
(Georgoula 1999, 110.117,pp.316-17): the best
deciphem1ent of the cipher XMr is: Xgun6v Mao(a
yew6.(Mary gives birth to Christ) or XQLITT6<;.
M1xafih.. raf3oulA(Christ, Nlichacl, Gabriel).
More difficult 10 inte1vret is the cipher /<;PA,
which is also found on a gold casket reliquary in
the British 1\11.useum,London (Dalton 1911,p.544,
fig.332) 1 on which is also represented a cross on
stepped base, with these 1.hrcc letters as finials on
the anns. Chatzidakis interprets the letters as a
date, but Nfango, folJowing Gmmcl (Grumcl 1947,
p.520) thinks tl1c significance was 10 be apotropaic
as tl.1enumber corresponds to the numerical value
or Ihe i11srriptiu11:1111t·pu(uu1un1o(uxm U1TOOTQoq>i'1
116.vnuvrwv xux,l.lv(Tm,· salvntio11 and aversion
ofall e,·ils) \\'hid1 fra111esthe cross.
The llgurc of'St Tlwkl.1 ,lllcl the ciphers
suggest that till' ring ca111cf'ro111the caslcm part
ol'tht.: empire, possibly Syria or Cilicia. The iing is
d,llecl lo the sixth or sevc·uth ccmu,y as the
of the cross wi1h the letters first
st1.·pped b:-11,e
,1ppc:irs on coim of'Tibe1ios II (578-82) and is
for111cd011 many coins fi-0111
,\I\IILI,\ Yl.11.0lll.,\NOU
150
Gold and nic\lo maniage-ring
E.,,tcm t\h-d1h·rr.11n':111,
sixth or !>c,·cmhc-c-mu,y
Gold, mdlo, ch,1111l'trrof hoop 2.3 cm; charuc•u·rof bezel t.8
'11,.. lroM«>oflhC' ll11od1 Mu...:nn1, l,ondon,Pt
'lltC.Ull lllff~f-~C• l,>tufon l')!JI• "" 100,IJI'
This gold finger-1i11g has an octagonal hoop and
bezel. On the bezel arc the standing figures of
Christ and the .Mother of God placing wedding
crowns on the heads or a bridegroom and bride
rcspcct.ivcly. Beneath the figures is 1hc Greek word
for 'Harmony' (OMONOIA). Both t.he insc1;ption
and the figures are inlaid \\~th niello a silver
sulphide compound commonly employed as a
decorative inlay on 1·ingsof this type.
The hoop is similarly inlaid with seven scenes
from the Christological cycle, beginning from tJ1c
1ight-hand side of the bezel: 1he Annunciation to
the Virgin, the Visitation, t.he Nativity, the
Baptism, the Adoration of the 1'1lagi, the
Crucifo<lon and, finally, the Angel at the
epulchre. Most unusually the craftsman has put
two of the ccncs from the life ofChdst in the
wrong order: 1.hcAdoration of the 1'1agi should of
course precede the Baptism.
The tradition of giving rings at the marriage
ceremony was an ancient one: in the Roman
period it was referred to as the dextrmumiunctio(I.he
joining of the light hands). Marriage-rings were
worn on tl1c a,mulariu.s,
the third finger of the left-
hand, as it was believed tl1a1this contained a
sinew which connected directly to tl1c heart.
The octagonal shape of the hoop and bezel
was supposed to have had an amuletic function.
The sixth-century physician Alexander ofTralles
rccorn:11cndcd rings of this type as a prophylactic
for cohc.
CHRIS l!.NTWISTLP.
r ,cr-ri11H h;1<ta hollow llutcd hoop nml
'['hi" go<11 ini-; •.
. d .,11uctag:011:ilbl'zel. I he shoulders
~1io11lckrs, ,111 '
: re dl'rora1t·d with a hand of' rhcvrons 1 lhe bezel
1
' • ·if0rni mo11ogTan1 c:nrlo~cd by an
, 1•ith a cn•t.
octagonal border. . . .
i\ J,;itc Byz:rntinc d;,1c for tin~ nng 1s
suggestcd both by the shape of the hoop and bezel
·is well as ,lie st)'lc of monogram. A close parallel
; the Statha10~ Collection, Atlwns (Cochc de la
11
the seventh ccntuiy. FcriC1957,,, pp. 1101- 1, fig.30) was part of a group
ofje\vdlcl)', including two bracelets and eleven
other rings, said to have been found near
Thessaloniki with coins of Isaac II Angelos (1185-
95)and Alcxios Ill Angelos (1195-1204). Rings of
,his fonn, elating lO the last quarter of the
fourteenth or first half of the fifteenth century, can
also be seen in \\lcstcrn Europe, particularly on
French papal 1ings (Dalton 1912c, 110.883).
Dalton resolved the monogram as 'Manuel'
Al •V
g8 9[C..: l.nt\>1'llf) (Oahon 1901, no.171, p.27) and attributed the ring
,o ~lanucl II Palaiologos (1391-1425). Although
there is no alpha or upsilon among its constituent
lc11crs(M,N.H.J\), this suggestion is nol entirely
implausible given 1hc abbreviated nan1re of Late
Byzantine monograms. More recently a parallel
has been drawn between this ring and an example
in the Bcnaki Museum, Athens (cat.152), which is
similarly decorated with a cniciform monogram
but also encircled by the inscription: TOY
EYMOP<~OTTOY /\OY (of the Eumorphopouloi)
(New York 2004, no.15, pp.45-6). The
Eumorphopouloi were an aristocratic family from
M.istra, the capital of the Nlorea in tl1e
Peloponnese, and it has been suggested that this
ring belonged to the despot of ti.1orea, Manuel
Kantakouzenos (1349-80). Both interpretations
should be treated ,,1th caution. ti.1anuel was afier
all not tl1a1 uncommon a name in this period and
the ring, if it had an imperial connection, lacks
any reference 10 title or status, which would be
expected.
CHRIS E~l"WISTLE
152
Finger ring
Founccnth century
Gold, diameter 2. 1 cm
lknalll ~lwcum, Aiheru, Inv.no I 1839
111.10nm -.r.,u.,u,1au• At.huu1g86.no.11),p,19), 1l1aAlomki 1997,-,no"J90,
'llia.,;uoniki !!002,no.~••p W
11,136(J\. Dr.a111Lt~): Dt11.nd:d.:i)
This inscribed signet ring is made of a single piece
of gold. The hoop widens on the shoulders to end
in a circular bezel with a flat surface organised by
stippled lines in two concentric circles. At the
ccmrc is a cruciform monogram, while in 1.he
outer circle is the inscription, engraved in reverse:
+TOY EYMOP<l>OTTOY /\OY (of Eumorphopoulos).
The reverse inscription of the name, which is
repeated also on the monogram 1 confinns the
ring's use as a seal. A noble family by the name of
Eumorphopoulos is known from the area of
Mystras arter 1453(Mcy/1).~ EH11v<XiJ
Eyxux),onu(6eia, vol., 11 p.970).
This type of ring, with a Oatcircular bezel and
wide shoulders, is typical of jewellery during the
Palaiologan period. A ring in the Dumbarton
Oaks Collection, \.Vashington DC, is of the same
shape and has a similar layout on the bc-1.cl,
,\11th
a monogram in the middle, most probably of the
Palaiologos family, and inscription in the outer
circle (Ross 1965, no. 129, p.90). The same features
arc encountered on the gold ring of Paxcnos
Apclatcs in the Cabinet des MCdailles, Paris
(Paris 1992, p.338, no.252) and of Constantine
Palaiologos and Theodora in 1he Kanellopoulos
lYluseum, Athens (Athens 2001 1 p.123 1 no.48),
while examples of the same type of ring also exist
in humbler materials, such as silver and copper
alloys (Thessalonik.i 2002, p.442 1 no . .580; Munich
2004, p.332, nos 676, 678).
153
Earrings
fourth century
Gold and glass pa.sic with emerald.I and comclians,
height 4-2 cm
Benak!Mutnr.m, Ath~,u, mv.no.1&,2
noVL~ANCE:
IIIU.CffD
unkno\.'I\
ur1-.ucu, Sc-pll 19'8,no.137,pp.102-,.pls,:Dalla.
pp.68-9, fig,77;Cc:orwoul•1999, no.107,pp.296-7
The hook holds a small quadrilateral mount
of gold leaf, inlaid with glass paste and with a
soldered palmette frame. From the mount hang a
wide pierced-work and carved vine leaf, flanked
by filigree stems terminating in tiny ivy leaves;
tJuee carnelians set in mounts interlinked by gold
\\1re; three pendent emeralds, of which only the
middle one is preserved on each earring.
The palmene frames, common on coin
mounts around the third ccnnuy sc, are
sometimes e.xecuted in pierced work and
sometimes formed as carved bands soldered to
the edge of the mounts, as here. Corresponding
frames are common too on third- and fourth-
century earrings with rosette and mounted stone,
from whicl1 hang pendants strung on wire or
mounted with smaller stones (see earrings in the
Statlmtos Collection: Stat.haros 1963, no.213,
p.286, pl.xi.111[A. Orlandos]). The difference is
that on the Bcnaki Museum earrings the pendent
clements are more elaborate and the rendering
of the decoration is more naturalistic.
Although the vine leaf as Il1esymbol of
Dionysos has led some to date these earrings to
Antiquity, a later and Christian date appears more
likely. For example, there is a pair of necklace
plaques, one ofwhicl1 bears a monogram and
the other a vine leaf. The juxtaposition of a X
monogram and a vine leaf in a pair of plaques of
Il1csame necklace (sec Buckton 1983-84, figs 3, 4)
indicates perhaps that the vine leaf has also a
Christian symbolism, drawn from the Gospel text
'I am the vine' (sec Buck1on 1983-84, figs 3, 4).
On Ilic basis of the technique of the pierced-work
decoration, the plaques are dated to the fourth
century. Consequently, taking into consideration
the similarity in the treatment of the leaves, the
earrings discussed here can be dated confidently
to 1hc same period. This view is reinforced by the
presence of tiny ivy leaves, which arc encountered
on many examples, mainly from the fourth
century onwards. Given 1.ha1the decorative
subjects of most earrings in later times had
Christian symbolism (see Yeroulanou 1999,
nos 475-629, pp. 180-8), it is reasonable 10
assume: an analogous content for the vine leaves
on the Bcnaki Nfuseum canings.
AIMILIA YP.ROUI..ANOU
154
Earrings
Antinoc:, Egypt,firth century
Gold with sapphires and pearls, height 9 cm
lknw Mu,cum, i\thm,, irw no.1779
.,.,,
llucnD·lll'I.U.•CU: Scpll 19J8, II0.'»4, p.14:t, pl ..:J:~ol.:, 1!}99, DO.Ill,
Each earring comprises an arched wire for
suspension, from which hang two snakes forming
1990,
a figure of eight. A pearl is strung on the upper
circle, while a large sapphire on an arched wire
hangs from the lower. The shape and the colour
of the stones links these earrings with the necklace
from Antinoc, Egypt (caL 123).In form they have
characteristics in common with nvo pairs of
earrings from the Piazza della Consolazionc
treasure, now in the Dumbarton Oaks Collection,
Washington DC (Ross 1965, no., and G, p.2).
They also display an alliniry with the earrings
from the Carthage treasure in the British
Museum, London (Tait 1986, p.98, pl.220).
Nloreover~ analogous pendent elements strung
"1th precious stones are frequenl1y observed in
contemporary representations, such as in the
portrait of the wife of Consul Stilicho in the
consular diptych from Monza or of Empress
Theodora in t.he mosaic in San Vitale,
Ravenna (fig.30).
The early daring of the earrings is bolstered
by the presence of snakes, which in the Early
Byzantine period continued to appear as a nuptial
symbol (Segall 1938,p. 163).The important
jewellery-producing cenu-csin Antioch and Egypt
preserved a common tradition, t.he Hellenistic
elements of which were spread by craftsmen
invited from these regions to work in all reaches
oft.he empire, thus contributing to the formation
of the international character evident in Early
Byzantine jewellery.
AIM.ILIA YI.ROUI...ANOU
CATALOGUE ENTRIES 152- 154
155
Earrings
lifll1 \IXth Cl'lllUI)
Cold \,1th S."lJll>l11r~,rc-atl, ;,ml ~l.1M, hl·11.;ht 9 7 on
,■~•r'""''' I un~n""'"
trUCTTO urn.L«t.o, 'vpll !'l}II "" ,,,, ,, ·~·
fill ;i,"/ (.ro!l'...i., l')l)(l,nn Ill l't' IQ8 'I
Hanging from the hool of each (.'aninc;-i, a
triangle of granulated wire, cndo,in~ ,1 mr,h
ofshicld-11101if, (Pt//111)
\,ilh 01w pl',,rl. .\tt.ldwd
to the sides of the uianglc i, wire .:;111111~,,iLlt
beads,,, hilc from il~ b,tsc ham::;:
pcnd;inh ,,ilh
circular mount" set with i;l.b, p;1:..1c,no longc,
preserved in most. Stnmg on the Cl~ntralrod,,
a large sapphire.
These carrinS' combine early fc,llun:-, :-.ud1
::ts the pcndan1.s ,,ith the charartc1i,tir mourn~ for
inlaid stone:-, with mnov;1tl\C clc-cor.u1,1· motif,,
such ,lS the mesh of ptltm or the "ire ,tnmg "1th
stones surrounding the- triant:~k. Spccificalh. llw
prltm. a common subjrct in o/mJ11Umru1lt III the
third cntury AD, lived on :t5 an omamcm in 1.:ncr
periods. executed in wire. a,,;; for t..xamplc on a
ncckJacc from Cypm-.. 1~C'\\ York. 19;9. no. 185.
p.311) or 011a necklace pt'ndam from Cq'\1)1.llw
decoration of the latter 1~ enriched ,,id1 ,tont·:)
and pearls strnng on metal rocb. corrc:)pondin~ to
those on 1hc Bcnaki i\luscum earring-. Denni.son
1918, no.11, pl.xx ....
'\'.1).The \lT) ,,ide d1,,cmin.uion
of lhc pr/ta,motif in other a11istic genre:, too i:-i
attested by its frequent use in architcctur.tl
clccora1ivc paucn1s, such as on LIH"silver musonum
ofThcoclosios in t\ladrid. or in the mo-.aics of1he
Ro1uncla at Thcssdloniki (Grabar 1966A. pis 83
and 351).
Earrings, more than any mher kind of
jeweller,•, repeated ccn,1in cst,1blishcd types, such
as the rosette with pendent rods in the tlurd jnd
founh centuries (~cc Th1.;ssaloniki 1997A, nos 158.
159, 163-8) and the lunate earrings in the si.xth
and seventh centuries (sec c.its 157, 158). The
Bcnaki i\luseum c.:,nings arc sophisticated artisLic
creations, the workmanship of which excellently
combines opulence of materials with originali1y
of composiLion.
Gold earring \\~tl, pearls and enamel
Ea.s1cm ~lcd11crrn.ncan, tcmh or d~cnth ccnl\11)'
Cold, with pearls mid cno1111d,G 6 • 3 3 cm
Th, TnntttSoftl~ llnw.h ~IWol'Wn.London ,,., tg&)j-1.t
H.1.LCTl'.Da1.r1..au<CL IJudi.11J01r.:,nlicoinm.11;
This golden caning exemplifies the quality and
expense ofLhc hi hest-quality jewellery th,,t was
available to the Byzantine Clitc in the 1emh to
clc\'emh centuries. Its hollow teardrop shape
is finely decorated with three pearls which arc
attached by narrow gold rods, and a cloisonnt'.:
CATALOGUE. ENTRIES 155- 159
cn.rnwl. Thi, h.1, ,1 ,111,1II 1\1)1.1\ 1110111:
111 bhu·,
~n:l..n .md rl·d .. t~iml ., \\lllll' !,!;l'n\llHI. The
,·n.mwl 1, .llt,1rhcd to tlw t',\ITIII~ b, ., n1llct,
empt) co\11·1101.1 ,curn<l t.'ll,ll\H'I'1\11'\l\t''
rn C'l"'t'of lhc camn~. l'hl· p,..11,l.mth,llll?.' fro111
,I hinc;cd c;old t',11 lonp.
l'ht' h't hni<1rn·nrtht·
rl l\- n.i1,~,
I<~)<• I'~" cn.mwl 'IU~'1'..,h th,,t tht' ,·.ming-"·'' pn,h.,hh
111.1cl1·
1111lw1t·n1hnrdnt'nth 11·nt111"\.It prol>.1hh
1,Hlll' 11,,m lh ,.,munn, hut ,1~niill ,lilt pil't l'' of
~Id ,md l'll,lllld ic\\t·lk1~ h,\H' bt·cn l1Hmd in
K1l·,.rn Ru,· {fnr ,•,;imph- Ro,,. ·.mn::;.110.201).
157
~rnth 11'1\IUI)
(;11],I,hru:111 1 1 un
l\rn.Al \l,.......n \Jhrn,,,,, 11,,1!110
uu, HI> ur,u,_.,, ~->U hl\11 "" 11.\, l'I' •~, I> ( lt.11.ml..il.bl'l7I r \7h
h~ - II~ ''""'I'-:-,, hi:_.,'\ ,..,..Wll\,.,L,
u,.i,i.•~• 111 l'I' Ill ~ \ \rn,ulu10u
'"'...i...n..
....--~11'1'11
Thc:)t' tun.He pierced-\\ ork c.mings arc decor,ucd
3t the centre ,,ith ., stippkd b.md dc:,c1ibing a
c1rcle. "hich i-.<foid,·cl ho1i,on1,11l) into two
:)cmicirde.s. Represented in the- uppn semicircle
.trt... th,· confronted hc.1ill oft,,o birds and part of
1heir \\ing,. \\ hik in the lm,e1 p,lrt i:-i,m incised
clc'lign. analogou-. 10 that which is usu.d in
ckpic1jo11~of ,1mpl101<1t· .ind in jc\, l·llcry, such as
on 1he tiny amphora penclanl.;; on two necklaces
from the second C)1)n1S treasure (Brown 1984.
pb 11, q, 15). 1lo\\e\'l'f, here there h prob.,bly a
representation of a nest from \, hich the two birds
project. This h)1>othcsis is strengthened by the
cunc<l lea,cs of stippled band framing the circle
and {"ach enclosing one cinqucfoil paJmettc or the
1)1)Caho encountered frC'qucntly on je"cllcry of
this period (Brown 1984, pis 12, 14, 15).The
composition is defined by a plain band, soldered
10 the lo"er side of which, on the front and back,
is incised cord. The edge is decorated with five
globules, one of\\ hich is missing.
Lunate canin~ arc usually decorated with
the representation of two confro111cd birds, with
a srmbolic ckmcn1 bci-wccn them eroulanou
1999, nos 488-558, pp.281 91). On the Benaki
~luseum pair there is lhe tendency towards a
more n11tur.dis1icrendering of the scene. The nc~t
amidst foliage recalls the corresponding scene 011
1hc two discs of the necklace in ~lainz, on which
bin.ls nes1ing in trees arc represented (Brnw111984,
pl.,, 3).
The relation of lhc ('arrings to jewellery from
the Mytilcm: treasure, such a~ the bell encl \\1th a
representation of heraldic peacocks, as well as the
subtle way in which the cliflCrent clements arc
rendered - a feature oflatcr examples - led to the
fajrly confident conclusion that the Benaki
i\luscum earrings date from the .second quarter of
the seventh century.
.111
( '1111,1.111111,oph ' , ,, \rHth 01 ngluh
nil th,·
(:1,ltl. hi\ Ill\
llu l'u,1 11,,I \!, ,,.,.,t,.,
J,.,.uu\l 1~-n~,, \l,1..-um
,,,,, ''" UIIU" t \,11,ulu,,,,, U\•1•1. ""
The 11.ll'IUl'f:iet· or th1•,;;rlutMll'
i1~thhT /(~11t·,. '!'lw I\\O i1111c1 tlllt·<:.lrl' covered by
hu:~hl) 'i) li,L·d , 111t·-b1 ,111rhcs. the grapes of,, hich
.u-c rr11clcrl'Ci
b) 1n111cturl'ddot ... Thl' other zone
h,1, puuctutl'd .111clp1·1for,11ccl✓.ig-✓-,1g p,lllerns.
On thl' outt-r brndn nine globule~ st,mcl out.
Thl' ...iyli,.Hio11of tlw ~rape-., the prl'fcrence
for punc1un·, in,t1·.1d or gr,mu]r,; and the
1T~trictio11of the pcrfor,llion 10 only .1 sm.lll part
of tlic :.U1{u 1· 111~
with a d.111•,1rou11d700.
159
Tapestry ~ha\\'I with va~t· and vine with fib>1.lfcs
Ljr,1)1, lounh or fifll1 n·ntm)
l.111('11 ,111d \1001 • .lJ. 17.~, lll\
lk•~•l• \111.,,.um. \1hrm. "" no 7117
,ou<..TtU turtlll,,t, \po,,tol.,l1 1'l12 p 111'1\po>tol,,l,
\l,,r.u,,:u,, 19;,, p ,,,
Thi'I tapL·stry sh,nvl dccorarion has been woven
in the form of a v1nl' sproutjng from a vase. The
tape~try is mainly dark hl11t·,but a few details arc
in or,mg:l', red and green \\OOI. The vase is a
bntharos with a triangular stem, a gadroonecl
body in yellow, h,mdln "~111a volute and a scroll
motif around 1hc neck base. The plant has two
main branches opening out into thinner branches
~md forming a symmetrical pa11ern. Four red and
black grapes (one missing) hang from the stems,
which form O\c compc1rtments, four bearing an
animal and the ccmral one a figure. Beside the
main stem arc two confronted goats with short
horn,;. Two birds perch among branches. In the
middle is a pull)le "os walking to the left but with
hi,; he<.,dturned back. He has large eyes and curly
hair. I-le carries a small sickle in his raised 1ight
hand.
The vase containing a plant is a common
moLifon Egyptian tcxlilcs or the Byzantine period.
It is often repeated in a symmctric.11 arrangement
and on a small sc;dc as decoration on tunics. On
1his fragment the presence of a sickle in the hand
of the erosindicates that the scene is also related
to the vintage. The image and the cult of the
,~ne had existed since Pharaonic times and the
syncreLism between Osiris, god of the dead
all d 'maStcr of wine' 1 and Dionysos was well
established in LitePtolemaic period. Nevertheless,
th c models for th is type of textile come from the
Greco-Roman world. The vine and erotesarc often
represented on noor mosaics. Vintage scenes arc
also found on third-century ccmu1)' pagan and
fourth-century Ch ·st •
n mn sarcophagi In the pagan
world, the vine and , • . ·
vme symbolise Lhc hope of a
t t'UIUI)
-- nr,i 1ifr ,dlt'I ck.1111
ll(lllllil
• .incl 1hi, ")111holi..,111
,il~o,iclopil'd by IIH'( :hri,ti,111\\orld.
\ I (llllill'\'q
,,,1-:
\1l1tm 1111nu 111ry 11h
\Ill,, I' .t<I\ pl 1l1H
t',lrlill~f" i.;;cli,~dcd
I 1fth ,, ...,h (C"lltlll)
l),t>dluwn, Jj>t()j5ctn
lu-.("nh,·d ~lt\PI,\
The ;\lothcr of God, H·iled and lrnloed, reclines
011 a seemingly well-padded couch. On the left
side or the textile is an angd, hand extended in
~p('cch or g1Tt'ting, and between the two is a cross
or star. On the right side 1 in a damaged area,
det.tils of the ox and ass arc just visible above
a raised crib.
This iconography fits with early Eastern
1r.1cli1ions
of 1he Nativity found in several Early
Cl1ristian apocryphal texts, in which angels
attended the birth rather than just appearing lo
shepherds in the fields. The Virgin's couch and
•~!• If pose is rcminiscem of scenes of Roman matrons.
The way in which the scene is shown 1 \\~th its
rectangular picture plane and the use of a spiral
column at the far left to mark the edge of the
scene, is similar to 1hc portrayal of images of
sarcophagi, that of Junius Bassus for e.xample.
The textile is Egyptian, found in Akhmim in
Upper Egypt. The image was produced by being
block•printed with the resist (possibly wax) before
being clipped in an indigo dye. It is one of a series
of textiles from Akhmim and Antinoe crudely
printed, but vigorous and ex1>ressive.
Lll.JAMU
161
Fragment of a shawl
Eg)1>1,Fa)'Ulll, ninth-tcmh century
\Vool with tapestrybands of wool and li11en,M 1e 91.5cm
lkn~ki Mu"11m, /\th.nu. mv no l\6o8
Ul.llCTUI un•ucu Athcru 1!)86,p.13, 1111W,l'uu 1?99,no 191,pp.1'00 1
Ii\ ll.:ill..n);V,cnna1998,no.t21,pp:,o8 9 !bllwi);A1ht-ru~1,no•~.p
~6') . ll.\llW1)
This large bla k fragment of a shawl is attributed
to Fayum, an important weaving ccmre of Coptic
Christianity situated in Upper Egypt. After the
Islamic conquest, Coptic textile output did not
dramatically alter, technically or stylistically,
although iLgradually adapted to the needs and
taste of the new ruling Muslim Clitc.
Characteristic fcanires of the Fayum shawls
arc the horizontal decoradvc tapestry bands of
varied size woven of polychrome wool and linen
and decorated with inscriptions and highly stylised
figures (Cornu 1992, pp.486-99; Corm, and
Martiniani-Rcber 1993, pp.138-55). Tl,c band
above the fringes consists of a typical Fay1.uni
11scudu-K11(it.i11,;rripti1111
rornbi11.11ionor alif
wi1h vertir,d ~11,1fls
(prnl,,1l>lyrcpra1111g1hc
l,un, for the· world of All,th)
1crmin,11ing in tri,rnglc-:. The
higlily orn,1mc111edK11ficinscription ~urrounding
example of such a dr.mfog in the Israel Museum
of Ar11 Jcmsalc1111 depicts a female musician with
many similarities 10 the figurines, such as the
,;callopcd hair, the long curls, 1hc almond-shaped
the top ba11d1 ;-1hove,ind hdow in mirror imtigc, eyes, 1hc body markings and the decoration on the
i-,i11a simil,tr style. fl prob,1bly re,1cl~:1,rnd good hands and th feet. The most striking connection,
fonune, and hc,1lth, tmd entire viclory'. Other however, is the use ort"o asymmcnical signs on
common designs arc the double volutes motif the checks which appear consistcmly on the bone
and 1hc rows of pearled hexagons enclosing figurines, as well as on the clra"1ng.
quadrupeds or birds in a style reminiscent of1he The swcly of this enigmatic clra"~ng has
sumptuous silk fabrics. In the second hand Lhc produced a number of explnnations as to its
medallions show a human figure and a bird with purpose, whether as an illustration of a scientific
a ribbon floating from his neck in 1he Sasanian manuscript, a personification of a calendar month
manner. The overall stylisation, and especially (Hoffman •2000, pp.,~0-,~) 1 or a loose design of a
that of the human figure, is charactcrisLic of figure with tattoos (Rice 1958), whose use in the
Coptic fabrics rrom Upper Egypt. Near Ea.sLdates from Antiquity and continued
The area of the Fa yum is attested by early into the Islamic era with various meanings,
Muslim writers as specialising in the weaving or including prophylactic or therapeutic reasons.
woollen fabrics. One of the main towns Bahnasa
{the Hellenislic Oxyrhynchos) was particularly
famed for its cunains and waU-hangings as wdl
as for the numerous private and public tirai
workshops. The evidence or literary sources is
Figurine
confirmed by the survivaJ of severaJ inscribed
pieces, some of them bilingual - Arabic and Faurrud,Egypc..,
tcn<h-rwdfthcc:n1ury
Coptic_ One of these, recently deciphered, Bone, car,.,cd and black organic matcnal, 11.2 " 24 cm
"-----
specifics that the town ofTutun (Tcbtynis) housed lkalb'.l.l~Ad,c.,,,--.10741
an important private workshop to which several ••u.crut
u:nu:.."1:1. •puhluhcd
shawls showing similar Arabic epigraphy can be TI1e figurine is shaped out of a single piece of
attributed (Durand and Rettig 2002, pp. 167-70). bone with the basic body reaturcs formed b)'
ANN"A DALLIAN
simple horizontal incisions and the details painted
with a black organic material. 1t appears to be
nude with the breasts and U1ena d defined by
simple circles; the chest bears a heart-shaped
motif. The decoration is very schematic and
Figurine
confined to the front; the back is lell plain and
Fatimid,Egypt,late 1c111h-twclfth ccmury unrefined. Holes on the sides indicate that the
Bone,carved and black organic matcria.l,15.6• 6.2 an
figurine is missing two movable anns.
8cN.Li Muwum, Athc:ns.,,n, no. 1o,sll
PII.O-L acqmr~d ,n Ec)"J'l Details of the face, such as t..hcscalloped hair 1
H.tzcn:D •u•U.'<CU AIJ),._ii 1!)91,('( SI, ,,_lonil;,
'l'OM, no.6'Jy:;
&lwin,oi:,6,.nof,6,p.13 the long curls and the almond-shaped cycs1
ad.here to familiar characteristics of figural
This female figurine is shaped from a single piece
representation on Islamic works of art, as on
of bone with two attached pieces that form two
tc.x:til (Ballian 2006, no.12, p.117)and lustre
arms. The basic anatomical details arc achieved
ceramics (Ballian 2006 1 no.12 1 p. 29). These
b)' simple linear carvings that S)'noprieally define
features cover a broad chronological period from
the figure. The nose and cars arc carved out in
the ninth ccntuf), as in t.hc Abbasid paintings of
relief. The rest oft he details of the face and the
the city or amarra (Hertzfeld 1927, pl. 1), 10 the
body arc painted with black material, possibly ink,
twelfth century, as in Ute painted ceiling of U1e
using designs in the shape of scrolls, dots and
Cappclla Palatina in Palermo, wh.ich is c.-.cecutcd
heart.shaped and circular mot.ifs. The decoration
in the FaLimid style (Grube andjohns 2005, pl.34,
is confined to the front; the back is plain.
p. 70). These figures, however, arc rarely
Related figurin in other collections (Paris
unclothed. This bone figurine is a simplified
2000A, no.266ab, p.216) have almost identical
version of the group of such statuettes that appear
decoration and thu form a small group of such
to be nude. and their characteristics .tre dcfiucd
statuettes which arc more c.lnborate than most
by elaborate painted as opposed to can 1cd designs
of the so-called 'Coptic clolls1 frequently found in
(see caL.162).
Egypt (see eat.1(4). All appear Lobe naked and
the markings indicate jewellery or body
decorations. Although the function of tJ1csesmall-
s ale sculpwres is not certain, the painted designs
suggest a compa1ison with figural painting or the
Fatimicl period on paper or lustre pottel)'. A rare
CATALOGUE ENTRIES 160-,63
 I h,· tn h111t .ii lt-.111111·,
111tl1,.111·., lu~h I w cli·111n1, 11pr1•,t 1111-d1111 01u- otlH'r rx,1111pk,.,.1111
tlw .,,1mc-drcor,111011 pl.ice-clli)1nmrtrically on ri1!u~r"idc of a foliate
nl 1111c t 1111111
I 11,111 , ,
,1.u1Cl.11d 111\\l·,1, 111~.It 1, ,t Jll 1 kt I ,·,,1111pl1· 111 . 11 lh( fiont. ,t h,tlf-n·, 1111111~
'\<•rcid .md ,111id1·nt1<
,ii hn,,d "
111tlu· ~l,1t<· I l<"rrn11.,~r CTO"i'!.
From the lm,rr par1 han~ -;ucccssi,cly :111
l'i~lllllll' ( '.11111h
\\llh 1w1,on1f11
,111011,
of Ro111t ,llld ,Ht I
(11h1·1 O •
1h1· \\,I\ 1111111,\\t'lt' 11111111,ilh ,,,1,1·11d,11111~ lhl' S1 l'(·tr~bur~ 1',1ri,1000A, no 2f,'i
~lmt·11111, opcm\ork clMm, n cross whose horizontal arms
('.1111,1.1111111opl1 tnt·, 10 "' 1111 ·•"••' fioni , 1 lw,11d1·d I n1011 t,11 ry111~
I .,11111111,
I i.."1)11 u1111h dnrulh 11111111, lh /,lllllllt' \h'llllt! Ill I.~, Ill It 1, ,1111ph dt·t tll ,\lt'tl Ii, 1111 tlu ft',lr. , 1 )01111g I 111011liold1,tl11· !O V.O'\luri11,1IJ,,d1d(' 'i1111d,1r v<·,.,d,li,t\.r hcrn 1rrrrnn,11r111small h,mds holding candlcs1icks
llnm·, t ,11,,·d ,1111\hlu I. 1111-.1111
Ill lh • I 1111 \I,, md,1., ' ", 11mll!.111
111 tlu ,1,th 11·11tut"\ 11011
\\ 1th 11111~ 1 lo:, ,uul dn11hl1• ,lnH' h.uul, I Ii,· ;lul!h111,, '\t 11 ul
"ho ,p11·.i<I,lwr .1nm 111 orck1 id<'nlirird 111lil<' fO)',tl 10111h1o
of\J11h1,1,1ndthe ,tnd 1hr polyc;111dcl,,.Thr v,uiou, sections arc
ll.n,L1\I., .. ,,., \,1,,., ,,,. h111\ lh 1 • ·, '11111
I • .,\,._\"• I •r U ,I In I ~-I~ 1.1pn11, p,111\1111,tl1 ,1~11,d 111puq1l1 \\11111
on h,tl,,nc 1 011 i.1, L,p. 1lw rnuk \'n(·i<_I,,l,',1\t' 0111)' (Ol!t'Ctio11'\
or 1lu·rrmnn K,11\('rJ'rinlnch held 1ogrther hy single or douhlc dr.1~011-hc-aclcd
"", '"' ., ., ., , , ,,,,,,,.1~
..1, ,t 10
li~lu ~1m111d 11h,1, ,,.l\t' 11e·,1ho1d1•1, ,11111 ,1 "'" , ,i,ul \\,t,n•~ ,tlim(· 1h1·11 lll',1cl, I lit· I 111011,; ~lu,;;t•um 110\\ tht· Bode·,\lu\4:·uin in Brrlm, hooks.
Thi, lt-111.11,· lig111i1u· ",h.1p1·1I 0111 ol ,I ,111).:,lt- ,11,1,lt,nl ,11lt--,11'\\1dh111I, .1111\ ti,111·, I 111·hood ;i,\\t'.,thkll( hum, 111 t lu·,1, ,111d trif1d ri-.h t,11!'\, thc Roydl 0111.irio~lt1'i('Ulll, I urn1110,,rnd thr The s1yliscd1.oomorph1cp,1ttems recall
pin,· ol horn· \\1th 1hr I.H1,1Ik,11111n.111dhnth 1, dn111.11nl \\1th ,t hlll(.tt' ,md l\\tl 1111111cl1·I, \\1th I I,,· \\,l\t'' 1111he 1,,·,1,1rc1111clul,1tinK Louvre. Pari'! \'ulrf 1909,no. lO'H; I f,ty<-~198~. lhO'!C ora polycandclon in the ~lc'ISo,-o~luscum,
tll-1.111-.; IOI mnl h\ ,11npk ~1·011111111,1\1 ,1n m~ ,, ,1d1,1•tl h1111 I l1l1llh,11II ,t'\\ 11 l>dom~ 111mll)10 no. 195; Torok 1988. pp.107, l'j2 3, pl, 56, 67, Grrrcc, and a umcr in the Brili,h ~lu'!eum,
,·11ttf,t\l'd 11111·,.
,11\(I t·11l1.IIH1'dI)\ l1l.11l..1111:,11lh 11\.111'11,II I ht' 1 lnld 1111111,111 11111·11 01 111\\nnl. 1111,11·t t,111g11l.11 i,m) i <11111> ,..,dc·<o1,th'd \\ith ;\,·it·1<I,. tile cl,111~lllt'P•
of:\'c-rcm and Dori'\, 129.26; Btna7C'th 19921 nm E 11799,E.r 1210, I: rnndon, boLh or"hich cli-;playaffiliations with
d1•(rn.111011"t•lnhnnl In 1111'
110111. 1lw h.11I..1, l..qH 1111111· l.1111,11·,
. \ 1111111 1'.111, Ronl'll ,111dl'llgl,1\('(I
l11\\•t1·lit·l <1('((11,1111111 ot1 l>o1h,idc, . ,l(l' 1,t11icd Oil the ,111 r.u I' of the ~(',l hr wa- II 698, pp. 6 I 3). thc-dnlmdl, or thinccnth-centuf)' )<;lam,c,1rl
pl,1111 I lo\,•, nu tlw ,1d1·, ol tin• ll~llllllt' 1111h,,th' illt\J, IHI 77, p I It)'.,, \ti ,111111.11
Ill th1• llt-11.11..1 1111'1t·11t1.dlotc ,, h111d1·11·d I>) "·1,of tc·t·th, thi(k 111011,11·~ ,111clI n10111ol'l,Ho, knlun, 116c; Ovid, The abundance or comparable CXdmplcs,,tll ~lctso,o 2000, pp.90 3, no 153; London 1994,
11u"111~ t·l111w11h ,11, h .1, l\\o 111m.tl1l1·.um, 1111111 th.11 11"l11~hl) hl..t·h 1h,·) \\I'll' holl1 111.ult· ,111d'J>,H t·d ,II OIH' t'lld ,IIHI r11w,111d(lt·!l'i(' ,II th<- of Egyptian provenance, documents lh.tt tins type
,\ldomorpho1t1,2, 11 1 p; thtir rol(.' a'i saviour, p.201, no.217; Ballian 2001, p.124). Further
,tnd 1·-11 llll).."' lu·ld h, 1111' h,n hole-, .11 tlw t',11", m the ,.unt· \\01l,h11p 11lh1·1. I h,· IH'l\(tllifi(,lli1111, 1,f Romt· ,mcl or or11,1,ig.1tol"\ ,Uld \hqH\rcckcrs j., \\ell known or vessel was very popular in the period. TI1cy cx.;1mplrsor thoro1,i111ac1 or fr.1grncnrnr,1, c~111
be
,,., 1n 0111,•r1·,.1mpl1·,111n111,n1111, 0ll1•111n11, Co1hl,rntmoplt-, \t'.ttnl u11tlt•1( ihori.1. on.up) each Sopho<le,, Plulo<ftfts, 1.170 71; Euripides, / him, were most probably used for perfumes ,tnd belong found in churcha in crbia; d,ucd examples .,re
Al),.."\11,t<li 1()()1, 1Hh '\I, r,
I he hr.,cl \\,I\ ,i,lc i>l tlH· 1<111·: Ro1111· 1, 11·11dt·11·d .1, ,t hdnH:tl'd •0
11 1
87; <;('{'lc.trd-Gianolio and S,...abados 1992). to a long tradition of similar mini.iture vessels with no carhc-r than the (iecond hair of the fourteenth
, m ,., nl ,, 11h ,t hl.u I..nn.~.lllh h\11111:It 1 111d1l
,ltl' J\111,11011 hnld111g ,t "Pt',11,111d,I globe. ,mcl ~f.irit1l' ckitic", n:pre,cntcd in i.yncrclisLicand tJ1csame purpose. Ancient examples arc kno,, n CC'ntury o<loroviC1978. pp.28 36;. The Octani
h.11101 1t1 hold h11 I..,,1111•.11 h,111 P.111, .1000,, 166 ( :omt.1111111opll' li,h ,1 tu1n'lt·cl <,m, 11 011 hl'r ht·,tcl w 11ogr,1phically eclectic "ay\, ~,re widespread too, made of silver as \,ell as of humbler ma1crial'!, d1oror(largdy rc.\lOrcd in 1397)1 whi h is stilJ in its
1
~h7 .tml l10lch,1 1ou Ii ,111d.1 cm mu op1.1 Both thrones such as clay, \,hile amphorae ofgldSS and wood original location, has horizontal opcm ..ork ~trips
111mct.il ohjcch of everyday life in aris1ocra1ic
110 1

\ llllllllll'1 nl llw,c• l11..,"t11111t·,h,l\l' h1·1•11 11.t\1',t 1,tll h,tt I..••1 ( u.;;hion011the ,c.·.it,111cl ,t milieux, <;ucha'\ the silver Projccta Casket in the arc preserved from Roman and Late Roman \'lilh stylised fobulous beasl!i wedged with folia1c
11111·.11tl11·d 111 1:1.t'pt,md .lie d,th·d thhnl~houl I )t\)ll. hhh ,c-\l'Utl111"1\IUlu-, loo1,tool. British ~luscum, London (cat.12), a silver plate limes (Su-ong 1966, p.103; Von Bo,hmer 1984, ornament. as found in later, Ottoman-
~1.unprtl k.,thn, 1J II " ,, t 1111
., h,,.,ul J>l'I ind .1n nrc\111~ltl uth,·r lmtl, {1r I l1oi1gh111.id,· of i,of). 1l1t..· comb cli.,pla)s the 111tht· l.krMl..i~lu<;eum, Athens (Dclivonias and no.107; Rutschowscaya 19861 pp.37-39, nos 39 ornamented examples on Mount Athos ( ubotiC
t·,
,11c-lutc11111,,lHklll t' S<,1111011 1qhU. pp.16 17 II, ,,\.1\luv""'
UIJ• lt,. ■•n•t .... l•
\llun• "'' lld 1111,,1
l!,r ,.11-,u,1.il'-•••I I' II '"' u,•, \ l)1\IMl11.!
t)pit,d k,llun·, of\,ootlt-11 n>mp.i<'tromhs from l'otopoulo; 1997, pp.180 1, figs 307,309) and a 4$ tern 19951 nos 65-8; Stem 2001, nos 98 101; 1998, pp.79, 238, pis 79, t01; TI1essaloniki 1997c,
,,,l1M\ I'-~•\. I' 1,,, lq \ ll,,,r,,l,\.1
,11111!.11ti.-.mut·,\\,,,
WI
\ 111.:,111111,·
\\llh \t'I'\ CoptH' Eh')IH{,1·(· C.1illt-t 19B5, llll,!"JI, pp.112 13 bron1.ctnpod in the 1..ouvre, Paris (Darnttc 1976). Usbon 2007, p.107, no.50 (A. Ziva]). TI1c pp.372 3, no.9.67 (A. Ballian]1. The summary
l'\( ,I\ ,11<·d,It h1,1.11 ,111eld.,tcd In tht• 111111h
I t'llllll'\
·1 he h·.11hn ,,111(1.\1' ,lit' cl1·101.1tt·d ,,i1h ,t,llllJ)('cl ,111d\\'ulll 1909, 110.2HH.p.g I• pl, IX x). The Ncrcids and Tri tons are popula.r in bone and decorative clements or the eagle wiLhcross, detail and rough ,,orkrna.ruhip of the Munich
\:-,t.1111011 .111d Kuhul.. 1q71.pl.111· \.\ 11/ .! . I ht· l t)IHl'lllric cit1..k-,,111d cro,~n. ·nu• )1011·, ,m· \\di por11--a),d of thl' gocldc" Rom., ,md 1hc Tychc of ivor,' carvers' workshops in Egypt during Greco- tJ1efelines, the vine branch and the concentric (horosshows it to be a standardised product,
l11nc11nnnl 1111•,t· ohJt't i.. h.1~ 1101 l>tTll thorou~hh ,,0111, i11dic.1tingt·,c1)d,1) lhl', in contr.1,1 to ntlu.·r Comtantinople m,tkt· the romh unique of its l)1Je. Roman times and L,te Anliquity (Marangou circles arc motifs that appear constantJy on unlike those in the crbian churches, at lea.st
,1mll<'d .md ,, thcn·lon· u111n 1.1m l hn ,h.11T 1·,.1mplc, 111.tcl1• ofwgt·t,1I f1hr1..·, ,me! ,dth ,;,hoddicr Although the iconographic reatures of the two 1976, pp.42-3, 81-2). The Bcnaki comb displays diverse Roman objects, while they arc repeated two of which. the DeC3ni and ~larkov, were
,u111e t h,11.1t1t·ri,ut, \\hh h l<·,nl111 1lw b,·lid th,ll \\orl..111.111,h1p, pt·1h.1p, m.1clt·for rulH'1,II)' clt·itit·,dt'ri, r from tht· l,111·fourth or earl)' fiOh the typical feature, of compact combs made of unchanged on numerous products of Egyptian commissioned by royal pa1ronage.
thn "<'It' 1111111\HHI t \t'l"'\d,1, ol)Jt't i.. m.11.k111 puq>mt''I, :'\unwrou, lh'lll'I ol foot\\l',ll h,\\(' IH't'l1 {t'lllt1I)', likt· 1ht· -,ilwr -,t,tlut·ttt''i of the Esquilinc ,,ood and ivory (sec ca.t.167 and Volbach 1976, copper•work or the By-lamine period.
l.tr~t· m1mh1·1,:th1·11I',1·q111·111 O( t 111rt'IHT, tht·11 found in ~1.1,c:"m I:1-n pl, "lu·1 <' the ch1 t l11n,1tt· trt:,1,11r1·(Rome 2000A, 110.11,1 1 pp.,191 3)1 cert~dn no. 88a), and its imagery finds affinities with a
,;;11npl1• c,u'\ill~ \\Ith littlt- ,fftblH ,.tlut·, ,lllcl the u,t..· f.1,ourccl lht· prt'\t'n,1tio11 oforg.1111cm,1tc1i,lh dt·t.tih point to a date in thl' l,Her part of the sixth bone pl,1quettc in the Archaeological ~luscum,
ol'borw, .1 the.1pe1 .111dnwrr .ttt n. ..,1blt• m.11en.1l ,uth as 1n11lcs, \\Uod ,mcl lc,llhcr. Se,cral pairs c<-ntul): die c1bori,1.,re similar to those of a comb Split (~larangou 1976, pl..17b), and several bone 171
1h.1111,or, ll1r, h.,u· ll'-lt,dh bt..'l'II.L~oc1.1t1•d ofk.1tht·r ,.rnd.il~ or .1duh~h,l\C ht..Tllfound in in the Coptic ~lmeum, Cairo, and a pyxis in the plaqucttcs inlaid into wooden caskets (Marangou
\\1th thl~Chn,11.111popul.tlllHl ofl.t:'pl. co111inu111~ 1\11ti11ot..· Driti~h~IU"<'llm,London (Volbach 1976, nos 204 Copper-allo) pol)candelon
,md f,',,) um (London 1997, 110-,327 9; 1976,p.,~4 and nos 173-5, pp.81, 1181 pl.51; sec 5
,l 1ne-J..l.11111c- 1r.1cl111011or ,l.llU('llt', ,, hll h ~UIYl\ I' P.,n, 2000 ,. 110. u9 [V C.1l.1111<·11t-Dt·mt'fgt·rJ. rind 167 n.·specth<'ly).~loreovcr, the technical and .ii.soElderkin 1926). This comb may have had a At Church Wcm Mfflllttr.Ll1c:m,,550 (;so
111 ., \ ,tnt'l\ ol 111.tten.J..,; ,1 11umlw1,trt· ., .... ou.11nl ,t)li,;tic ,1ffini1it•o;;
\\Ith,, lid of.1 bone pyxis found Coppc-r-aOO),length of swpc:rwon umt 87 an;
Ro\\111,tn19BG,p.11:;, lig.68; Ru,,,o :,WOl, specinl symbolism as a marriage gifl or a burial
d1amc-1crof dw. ~aan
\\Ith 10,, .md h,l\l' bt..·cnum·.utla·d from pp. 188 97. pl,;;VI XI . l 10\H'\Cr, this l) pc or on thl' floor or ,1 houo;;<' m Alcx,tndria, dated to the o(ICringfor a distinguished lady in Alexandrian
170 llorT~ald■r ...... '\l,__l--..,._llf')+-OD,0.11
c.luldrt•n'::,tombs tRut,cl10"-,t,t),t 19ll6, p.86). ...mcl,d \\,ts 1101e:-..clu ...hc to E.f.,•ypl (Drirl-~lurray l,11crsbuh and the first half of the seventh century society. ,11.0\o..4..'fU.problhly~-na.lnatlr\lM'tnpoliCola:1 ..
q;uc,-,m ltUU.L'i'CL u.aa "J'M,-116 C. tan.Wik
1lcmcHr. 11h hl..ch th,tt cnt,1111t)pc:~ \\Cl't' .160 2001). t\n C;\.,unplcof simil.,r craftsman.ship, dated (Rocl.dcwicz 198t, pp.213 5, fig. 169; Roclzicwic-.t IOAJ',NI.S O, VARALIS Chandelier (cl,oros)
uc.t..·d111 .m hi.unit contc,t ;\3 tlw,r decoration i, from the lil1h lO lht· sc,cnth centuncs, h,tS been 1998, p.143, fig.G),<;ugg:c~t th,11the comb is a •n,irtcc1uh fourtttnt..h ccrllury TI1is coppcr-allo) polycandelon is in the form
ofirn tomp,1rabk 10 \\011...., of .,rt,,..._,.()( 1.11t·d unt·,11 tht·d du1i11~recent c,c,1v;uions in Ycni Capi product of1hc ivo1y .mcl bone \\Orkshops of the C:u1 cop~r alloy, di:tmt'IN 350 cm, he,glu (without hangings) of a pierced disk with a central openwork cross
p.1niutl,trl) ,,,tJt 1hc:-F.,umid pt·nod. "hen figural dty (V,1ralis2002). Thi, artefact or d.1ily use, (,165cm surrounded b) nine circuJ.1rp~rfor.1tionswhich
l,1.mbul .i.007,pp.2i3, 278, fig.12, no, Y41).
tq)rcsent.tlion \\,~ profu<;t•,ct· l,ll\ IL.!, 163). l\nkao6o'P'IM'~•unl-.:, \l~mch \\ ould ha, e held glass lamps. Three chains .11tach
Tht· ,1.1mpcd motif~ on the s.1nd,tlsseem to "hose orn.11ncnt.1tioni'i inspired by imperial ,ao-. ..,llu~
Small amphora. ua.ttTU) ,unu,ic-o \luruch 1q,)8.no g9, J'P 97 100 C. M R~I.
11."l' been con1111onl)u.,ed to dccora1c foot\\car insignia, nuy h.1veImel,1special symbolism in its f'Mkrl,om9001,p)'J .• T, ,c,,,
Yor~~ no,6o.,p.n) \.!WIYrl1
the disJ..to a smaller openwork one with trefoil
(O,;cJ-;\lu1r.t) -ioo1).Comp,,r.,blc moufs arc use as a marri,tgc gin or a bulial offering for a Lb,YPt,hOh century finials and a cenlral cruciform monogram
repe,llt·d 011 the sole of,\ bron,e lamp "hich distinE,'llishecl member of Alexandri.111society, CopperalloycMt 111 p,1rt.s,, ..ith inci'IC(l
and punc.hed The term chorosis used in the sources to rcsoh'lng as ANACTACIOYor IOYCTINLAlOY:
dc-corndo11,hcigh122.~ cm;1idt'of b;uc8.5('m describe Lhccir ular space bclo" the dome A.nastasios or loustinia.no~ A funhcr 11;uspension
165 n·,ili.,Lic.dlyrcproducci,, ,t lt·rt sandnllecl foot, al.soin 101\..,"IIS I) Vl\llAI 11

the lkn ..11..i~lmc.·um (Oclhorn,1s ,111dFotopoulos Omak!\\.,..um. Atl..-rtt,,In-.O<).ltbt•r and by extension the circular lighting devices of unit in the form of a cham of twb1cd shaped
Child\ tunic \\1th ,l hood :,•~-:,:~~~n~~U 11-alon.U'lWI !'f-1119 70,11116.41 l)n,od,11.i 13ywm.incchurches whi h hang from the comicc lull.!),, h1ch tcnnin.1tc~ i.n .l hook i~ attached to
1997, p. 18 I• fig.313\. In g1•11crnl, concentric circles \)dtw,,YOO~p 1(4-,Mt>6 A. ()r;11wJW
14t\vt."~th 1:11;111.1, t<"ntun of the dome (Bouras 198u, pp.480 t). 17,e
"ere .1popul.tr .uul ,, idc~prcad motif on all 168 Lhc upper part of tJ1cccmral di"k.
\\ool, 6:," 83 nn 'T'hissmall ,1mphorn "1th ,1 pointed b.tsc is set in suspension chains arc made from metal strap~.
n1.11mc1of"orks in Late Anliquity. They occur Pol) candela ,-..eremukiplc holders for g!JSS
8nu.lr., \l,_..111.
1cur-nna1.n ■1,,u
\1hnu., "" II•• ~I'-".•
\lh<-1\0il<l•t.pl J.,.....n.aL,~001 onjc,\cllcry, combs, bone c:11,~n!:,'S and metal ornb with marine deities a tripod stand decorated with punched concentric linked together by clisC-'i,
and terminate m a oil-lamps ..Most surviving examples arc made of
, c.·ssds,,tncl their popularit) i~ pcrh,tps linked with All'x,mdn;i (?1 ~isth cc-ntury circles nnd relier animal busts. The h,mdlcs arc cruciform arrangement of four di , 10 ,, hich ,trc copper•.lUO}.but. a:, the Ubn Potll!firnlumention,,
Pc1-fectl) prc~c1'\cd, thi, \\,m11 .utd ,oft tunic"·" kory, 115-. 8 25 cm in the Conn or felines, while on the lid is an c;.1glc attached the I\\ elve horizontal opc1l\\orl..strip ...
,lll ,1potropaic funcL1011 ( Urbana-Champaign 19891 precious mct.tls such as gold and silver were abo
.1 kind ofco.11 ,,om 011 top of~t l111cnturnc It 1s ~ \I,_,.,., \thrn', be,uing a cro on its head ,md srnnding on ,t They ,u· decorated with strikingl)' st)'liscd
pp.5 7). The dt·co1-;1tionoffootwe,1r wi1h Im 110 10lli6
cmplO) ed 111 their 111.muf.icturc:'\ilver example~
\\OVt"11111 one p1cct..·,the ,lee'\<'" "ith the lx>d) of
pro1ccu,c motir~ Wil'\~omctimcs reinforced by
:•~:,':.:.::..•:;.;;:,:~~.r~'~h,-n(i.11"88c,pf.8,pl
t').lkhu,nW.0•11d
highly schcm,,tic bull's hcdd, The neck or the fabulous bcruit, with their front leg roi,ed: two .uc kno\\ n from the ,evcnth•centt11)' tre~ures of
the tunic. fhc hood 1s \\O\Cll :.ep.1r;.1tcl),tnd '-C"n sphinxes, face to face, Oank ~l doubk--hc,,dcd eagle
in,criptions \\~shing the O\\ ncr good health (Russo amphora is decorated wiLh herringbone paucrn L.unp~1. u~ .md ion, rc-,pecu, cl) 111 the British
to the neck opening. After \\C,tving, the t\\O side Tl~isrect,ingular ivo1ycomb is decorated in low-
200.1. pp. 19 I 7, pl.xi; Istanbul 2007, p.2771 and the belly with incised vine branch and .t band and a quadruped, of" hich 1hc-head and pan of i\ luscum, London .• ,net the Dumb,lrton Oaks
edges of Lhcganncnt ,, ere SC\\ n together but left rdcr allcl engraved decoration on both sides. The
no.v39). or geometric motifs, "•hile the pointed base forms the body arc visible. Attached to tlu· upper p.m or ollcction, \Vashington D (Dalton 1901. no.393:
open .u the armpits. cemral core is borclercd by sets of teeth thick and
a rnultilobe calyx. the suips arc four or ,;;L,p1ickc1c.rncllt"-holders, Boyd 1992, pp.21 7, plss,5.1--.35.1).
spaced at one end and fine and dense a't the other.
CATALOGUE ENTRIES 16,f 168
CAIALOGUE ENTRIES 169 171
 Pol)l,mdd.1 l'mhr.tct'd dt·,1~11,r,IIHQ!l~llot11
the ,1rchitcrn1r.1\ 10 thl· gronu·tnr ,ind gt·111·1,tlh
ht·lcl hrl\\t'l'II tlun· ,md nmc l,1111p,,
l.1rgrr ,p1·11m1·11'
,thhou~h
.in· ~nm, n. 'I Ill\ t·,.1111pk
ol diun h

1111h1·"'''h'''
,tit l111t·1

hut .tl,n ,1·1,1•cl1t1\\,1111111

tun· .. uul
1111\!lll~ol lwl1, m,11~nl nnl nnh 1h1·,1,u1in~ lllllt''
111dut·

.,111\ "1h-11111 m1111H·n1,

,11.:11,d
tl,1111.!_1'1t\1
1oui,1• tht·

111 tl1,· 111111~,.

ltl
C:opp,·1 .1110,pl.upw "i1h 1h1· I lod1•g-1·t1i,
.ind ,,11111'
1
- 11•,p(ill'I 1)I II
1111,1])l',U 1111p1111,111t\\lllll'"
1111I)( It- 111ill11\ll.lll(111\;
1 I I d,·,1c,111111.:
'
lo tlw
du· , 11111111111111111 111,11111.1gl'111tht.·.111.111t1'111pt
1
lulln II' dq)II 1,
,II~ of
11'1114111{1\

thl' .11111'111111,1,1,11uh11~ ,It, 1111'

'I lw d1111u·,,
lO\\t'I~
1ht· roof, of tlir q11,1dr,1nli'l1l,1r
,11nltlU' nppt r \\,111, .irr
\\ itl1 p1·rl1,r,11rdpl.1111p,111,·rnc..1·111•
rmho,,..rcl
rh·u,r,111011l,111 lw ,;,1•1·110111ht•lo\\t'I'
,111 dt«,r,ttrcl

w,111, \\here,
,incl ,1 child on lhe lcn,and three
prob,1bl) 1 \\Omen: .lll ,\re drc-.sccl in reel. It is not
rk.,r ,, hrthcr 1his i1ojust one famil) 1 or ,t husband
,incl wire in fron1of a choir or group or guardians
on the right,

<uulcl h,l\l' hc•c·11rmplo)t'd 1·11ht'1,1, ,1 ,mj,!,lt· gt1nclnt'"'· 1:.11h I hun h h.ul .11l,·,,,1111w h,•11, l\\1,1111111111. I\ 111h 111 rl11111,h II 111111,
lt't'I ol :,O,t,J,ihnChi,,11\l11111 dwn k11cd111g:
,111<1 1,t~i<lethr 1\,11 "-111,dl
doon\,IY' co111,1111111g1hr or the miraculou,; icon. Thr confratcrnit)' which
( oppn ,,H.,,,
'I 1 " 11dlt111
li.do('(Ifl~u11•,;,ol ,111,1r111t'd111,1111\nclrl'i,1,
unit or ,tl11·111.u1,d),11,1)l·11dcd hom ,1 IIHtlt1plt· h,·, ,u,d 1111m.1,1t·11t·,
,, h1lr 1 ,llht'd1.,I I h1111 h,1cl llt'loit' :-,, {,tt·c,rn) 0 1 N)"·•· t\11otlw1 _c·x'.11~1ph·
of gi1,1rdc<l1l1cicon or1he I loclcgon monasLel)' at
h,111g1-r ,urh ·" tilt' n1H'111the .\n h.10\o{~Nhe \\hn\1• ,1'1\ 111lwll, up 111l\\1°1'1•1 th.It"''"' tlH',,t111t' tnt dh1,11,11cdI)\ ,I c )lit- ol 1111111,tturT ~trcni:;:th).111d ,1 ,,0111.111 poi111i11g lirr ril(III Con;;t,1n1inoplr cln..:,~cdi,11'('(1,
S1.1.1h,,11111nlu111; in ~lunu h. lro111"hu h n,c, lj ,01md,"l m ,1 ,p,·t 1th 111,111111·, ,\lh-1 , Vd till' p,unlllllt' ,1 hi( h 1, , 1 1111mti~kuti< .ii, ap,11t from. h,111d
,II lw, ro,dl(·,,cl Phruru.·c.i,, prt1clrncrJ, Thr mo,1 likcl) conclmion is that thi'i is a
pul)t.mdd,1 \\1·1c-!11111~ 1,11.170 ~l11lt1pl1•l.1mp- I 111b h,Hlllt'd tlw 11,1• ol h,·11,,11111 in Snhi,l \t'I'\ l'lw :\lotht'l or God \l,111(1', hoklin.~ tlw Christ hcirn.: 1,11 ,upn ioi III tl'l l1111qt1l',111dp1c.!.cntccl 111 the following~) mbol" Ml' ,1rr,111gcd(in Vls11alisatio11
or the Com1,1111inopolitan setting or
,n hoth ,,., 11l.11
holdt.·1" .ut· .1111·,tc-d .md 11·h~ou, "'" h,\\t' ,111'\l\t'tl: 111.1m \\t.'lt'ml'IH·d dn,,11 ltH C:hik~ l~t·.t,H'l'll thl' J\rll1<111gd~lich,1d to h<'r right .i tonH,tt th,11 i, m•,1rly t\,iet· tl1l' si~c of1his one, ,111tirlockwi,c order): ,1griflm, ,1 lion, ,1 cherub Lhc cult inside the 1-loclegon monas1cry (but not
cont<·,h i\rrull, ,l h1,hop nl C,1111 011,l ,,,i1 10 u,1• ·" ~l\11,. nu, ht'!\ llltht p11)h,1hh It'lll.lllll'd ,md St I hcodon· tu hlT ld't 011 thi, cast coppn- r,in hl' luund in ,l 111,111u,crip1no,\ iu the VaLican with his head in an upturntd h.iskct, a man ,mcl the Tucscl,1y procession outside). Buchthal, who
.Jrrn,.tll"m 111h70, <ll·,cnh<·d th<' I.imp, in tht" h,·t.ltM' 11 "·'' n·mnH·d lrnm tilt' l>dh, lwfou· till' allo) pl.iqut·. ~lid1.1d ,u1d lhl' i\lothc, of God arc \',itt<,lllll' i;::r,tcc-m11G2),"hirh may have been a wom,m, a centaur. a lion r,1mp,1111,two griffin, s1udiecl the manuscript carefully .II first hand
Church ol llu· ,\,u·n\1011 on tht' ~lount ofO\i,e, 'l'\t'lllt't'lllh Hllllll'\ .md ,1pp,m·111h hunl'Ci for 11,1111cd
in ,1hhrcvia1l·d imcription, on either side (opicd b) thl' ,,11111•
,cribc. facing one another, another two liom, two '-iren!, (19831, had no doubt 1h,111he six full-page
.1, follm,,: 'tn the u1,1otn,II) hi;::htofthr 1•1~ht ...ih- k.c-t·pm~. It hdom," no\\ to tht· trt'.1,111"1
of tht· ofth,·ir h,ilot·,; St ·1 hcodore',; name i'i wriucn out On thl' p,1gc oppm.itc the beginning orLhc a griffin and .t lion. In mcdicvaJ symbolism the,;e miniatures 111a ,cparatc quire at the beginning
1.unp-.on th(· 111~htol !lw h',l\t of tilt' i i"ln.l\ Pl·1 P.uri.11'"h.n,· in full. They arc surrounded by a raised border fiN homily, in both 1he Paris and the Vatican images represent the ,~ccs Lhat the two moral were not pan. or the origmal manmcript but w re
A-.n·n,1011 11I\ u,u,d to ,1dd 1111111111cr.1blt·
ntlwr wiLh a ,;;inuous lc.1C-~crolldecoration. The Virgin is , u,rrip1c;, a full.page miniature paint.ing depicts ,~rtucs, depicted on the doors, musl vanquish made in Constantinople, quite probably ,ll the
111111
I.imp, .• 111d under llw trrrihlc .u1d \\tmdmu, sh°'\Jl ,.,, thl' 1lodegctria, pointing- to her 'ion as ,
1
c.umptuously decorated 1Jy-t.:1111inc
chul'ch, inside in order that the 'little church', which represent., J-lodegon monastcty 1 and later inserted into lhe
t;lr.1mi11g or1hc-.1·. pounn~ 01111op1ou,h thmu~h thl' routt· to ;;ah<1tion. In n·turn, Ch1i51 raises his ,durh 1hc ,c-euc or the Ascension is ponraycd: heavenly Jerusalem, may be entered. There can book. Hi, argumenl is persuasive, but has been
the ~I.,,,,1111111·1....,
oft ht· ,,mdm", .,II ~lou111 Oh,"' tight hand in ,1 gcc;tlirr ofblc:,sing, and holds a bclo" Chtist enthroned in his mandorla carried be no doubt, thercforc 1 about the devotional challenged (Athens 2000; New York 1Z004} 1
173
'l't'tm 1101 .1lo11c10 ht' 1llumm.11,·d. Inn cHn to he- ,croll in hie. Jen.The archangel and s.1int to ciL.her b) four angcl5 51,111dthe Virgin i\l<U)' and the purpose or lhe object even before it became a aJLhough without new coclicological evidence.
on foe' ~kt'h,m 1qll\, p, hq. Rod1"'lp\ bdl
"idc- both f.1cc forwnrds, representatives of the t\po•Hks. In the lo\\cr edge, separated from Lhc reliquary; a sliglu alteration, possibly carried ou1 They argue thal the Psalter tCXIor the res! or Lhe
1h1.1 i \u~"' 111i hc,1vcnly roun th,11 ,1c om panics the holy couple. rtntral brroup by twin columns, stand Isaiah (on the later in Venice, allows Lhc removal orLhc central book was made for use at Famagus1a, and
(',t,t hn1111c,;H ~ 1 l I Ill kft and D,wid (on lhe right) unfurling before Lhcrn cupola so that a small rock•crystal bottle may conclude Lhat lhe miniature represents a
~l'hi, is cmpl1a,._i,l·d by thl·ir dress. Both wear coun
,.w~c..J,1,...-,,.
.. 11.r1
.......- ll\\ """n 1obcc., notably the chlamys, a cloak clasped over a scroll Uea1ing a verse from the Old Testament. be imerted; the bottle contains Lhe blood that Hodegetria cult in Lhat city.
r•"'', '" 1 llw lloh \ Ill'" 11,.,.,,..,,1..,, ""'"'" ~n!\ \I, 1,~111.1
\ltt, 11n•1••••"'' 1\1""~ 1<1Jh ~J ka,l")l"'" 11117•11117Jo..u,u,,,:
thl· 1ighl shoulcln. On i\lichacl's robe is a To the question posed in the Book oflsaiah, '\Vho nowcd from a crucifix shauerecl by a pagan •o•r, COil.MACK
172 1,i,,,1I\L,:<'t"'>< l<l'I'. '"' '"•l ""'I '"'i'•· I' 'I' ' (.-.,,.-.. 1
dccorntecl rcctangk·, the tab/ion,a further atlribute is this coming from Edom? (Isaiah LXHI, t}, the in Beirut in 320.
Churrh IJl'II Thi-: bdl. clo11g:.111·d
in ~h.1pc, lu!> a rcct,lllb,'lli.11' or senior courtly rank. St Theodore's court dress psalter replies: 'Goel rises to Lhe roaring or nations' ~IARIA DA Vlt.lJ\ UllBA.~I

N°dJ1,\, J \u(:ml 1 I 1J
,enion ckpirting the \'irgin Or.111;;in lo\\' relief. can be comrastcd \\~th his appearance in many (Psalm XLVl 1 6). In the upper part or the church,
( -1'1 111111111 hru:~h1 ;i, 111,d1.1mC'"IC'"r\.\ t m It i, decorated\\ ith b,tnch \\;th the donor's other im,1ges from this period, in which he is below the central cupola, Lhc Apostles are shown in
mscnption: (+prh-.rn,1 \'l.1dqrc bee ptimi i maloc a semicircle around Peter and Paul on the day of T my wiLh rcprcscmacion of Lhe Apostles Pel.er
l'n 1•~""'" •~••
.,.,,\1,,.,,, tolk 1•..,,JlJwl\,, f'llrn.."tu,,.. t,Ji,-.1,...t.J"••l'--:\...L often shown in military dress to reflect his role 177 and Paul flanking a cross
M.,•• ,, ,1,.,,.,,c,h, ''"'l:''nf ,....,,..~ ....,.t.,,.
1......,....., -1 Jo-.i--"n,,,.,.,.,..
llunl,,.., ~l' prino\\ cnjc mnogogi·c,,1Mgo raba svojt:go rodp Pentecost. The main subject of this collection or
••J•" r_,. as a wanior saint (sec, for example, ca.t.179).
\llflUll•r11••"'' k.oti,~~'"" 1 ," ti'\.,. 111 Psalter ,vith the veneration or an icon of the
') lino 6rm m-.caa .1\'guSta v dny mnago grhwnyj This image reflects a different foccl of his cult, homilies is emphasised by the initial marking the Urthagc. around ~oo
Tiu-,,, ,l t.1ll 11.lrro" bell ,,ah
top then· 1, ., c.u,t -.h:-tft\\1th'" ,iron~. fluted lmb
or ,;;quare CT(h ..,-,(·('11011 for fL'--ln~the b«·II01110 J
,l bro.,d mouth. On rdop (l-loly Lady, ~lothcr of ocl, arccpt Lhis
,m.1U offt·rini; from )Ollr ;;inrul servant Rodop).
In the )C,u 69.10. 2nd d,1y of1he momh of August.
promoting his aristocrnLic associations, his close
relationship to God and his martyrdom,
by the manyr's cross he holds in his right hand.
denoted
beginning oft.he text on the opposite page: in Lhc
letter omicronor t.he word ouranon
can be seen a
portrait ofL.he Virgin and Child sum1ounted by
Virgin Mary Hodegetria
CoMtantinoplc and Cyprus, around 1300
Tcmpc.rn and gold on parchment, Laun and Greek bilingual
Ps.."lltcrand 01hcr texts of variou.s dates. 29 x 24 cm
.....
~ .....
Cby, 37.9 x 30.8 cm; width offr.unc ·H cm
ll-.

t&UenDIUJUL'ICU:
Ga,t.i,...to-br,r\
_."----.-1140,<\
S--.,.,...pp.~
~p. ...
.... 1-4ot..13.4oq l&f]I mrndttllrom

l.hifr,;lt_,,,,..,.,'17J,lllr,
,.-g,s;.._._.p~ l<J%PP nt
\peci.,1 \\OOdt·n be.1111. nu:-
bell ,,ould ha\l' bc.·en ·nll' bdl has a ~oprano ring. The style of the figures is closest to that on the inscription 'The i\1otherofGod'.
SIMI--- \ll.llfffl lU &rl111,h.~ 7".0.9 ll---119
...... fitC-,,,..t.S-J99&,pp.rgq "31a.f•9

lum~ \\11h ,1rn11~ lwmp rope, from a be.un to
,upport iic..,ub,1.1nual ,,e1~ht-
thC' lx·II 111
Styli,;;t•d ropl' om.,mt·nt 1·11c-1rrlC''i
fi,ur 10,,-.. fht upprr p,1n 1~ de oratrd ,,11.han
1co11 of ·1 ~ichol,LS \\lthm J ,1mple. double .1nd
styli,cd frnmc. The ,.unt blcssc-i ,,i1h his rl1;:ht
h.md. holdin~ t..ht.· Go,pel-book 111hi.s left h.md
'Thc robe 1, \Chem.mcalh drawn ,,;1.h folded
omophorion \\'ith t,, o rclitf cro~\C'c;0\ er hi~ clw<..t:
Ukos .1 doublr rpmarhrl,oncan IJt..'~ccn.
undt:r Ll1c....
~n,erc .ire thrct· imc-npt.ions in Old l,l\onic:
First roit·,fromtl,r top:+XBAJlHTE lErO BK MBAJJ
U06POrJIACNHX./ X.BAnllTE IErO BK MBNJ
BCAKA IUAII IA Psalm CL, 5
rond rou·.-+ 8 CAKOilHXANIEJL.\
(Psalm I...,GJ
CHIE3BOHOCTAf0 MIKOJl if:;KE BOcfoAIIIA
/ B nETO UM. MUA ABn'CTA 8
77,ml row: Mttoro n>1N1
ronon
Church bdls ,,en· not usccl m E..trl)
By--,r.ml1um.lnstc.1d, lhc :,lunmon, to church ,,,15
sig11,lllcd by .1 ,,oodt"n gong. Lhc m11a11/ro11.and this
is :sull used i11m,111) Orlhoclo'< mon.,~tcrit's tocl.iy.
After 1conocl.tSm and in rc,;;pomt• to \ VL·stcm
crn.fl.smanship ,mcl prnct.icc, bdls ,,ere imported
and used in ByL..mt.ium. Udl to,,crs bec◄unc J part
Tiu· in;;cript.ion c.tatc!>lhe name of the donor,
Lhe noblt·m~m Rodop and die d.11r of casL.ing:2
,\ugust 1432. Hi<;toric-al(,ourccs tell us that Roclop
freed ilw ck1po1Djumdj llmnkO\ic (1427 5
from 1hr prison ;it Co1l',l,mtinoplc 1 \\here he had
bn·n held cap1ive after the Batlle of Ankyra
Bl,,gojc,;c 1997, p.191). Rodop also donated a
bcll 10 lhl' Church of St Nicholas, Drcnica.
The bell's decoration and inscript.ion reveal
the c~ircful \\Ork that went into making Lhc piece.
Tiu· bell for the Church of S1 Nikola in Drcmca
1s made in the same way, including lhc
representaLion or St Nicholas. It is probable that
Rodop ordered lhc rcprcsemaLions of the patrons
XBNJIIT fA 10 ,, hom he U'icclto pray, ;;uch .1.sS1 Nicholas (sec
c~11.172).The impression th,,t both 1l1isbell and
tlu: one from Drcnica were produced in t.hc same
\\ ork.shop and by t.hc c;amc mas1er is based on
thc-ir shape, the J'l·prc<;entations, lhe inscnpLion
,tnd the <;upport. \ Ve have no precise information
on 1hc \\Orkshop, hu1 ii is known 1hal bell.making
\,orh....\hops cxi~tccl 011 the J\chia1ic co...t.St,and Lhat
trmelling master-smelters \\'ere active in Kosovo
and l\lctohija.
,ArA1A CE.MO\ IC;
CIIRln'IA.~ 1'0RSTEL ,.O\~"IA."l{:I a.rrordincto Wio 1~·. tlw bool bd1.lf1itro ioCa,bu.tht 1-.
1nis rectangular tray bdongs 10 !l,e category of
By·t.aminc ivories of the tenth to eleventh 1.-giunqurrn ol~ltm.~pn..nd Armniuo 4)1 n and•~
otihcr~,Mnll) Late Roman IDTasigtllaia(sigtlli, c/a,,.,C, ARSI V,
centuries. A sma.11object such as this must have lkUCTU) u;n:H:"IC.U. 19l'3, pp 1)1 ,0. ~ p 158 uuo.:Jo:
Buthul ...
puhluhtdm r91V,A1hcruto00,110,.»,pp"'3 q i'li r~unko. '-ao Yar\
Fmn fltga ,561and was made using a pair of
been for personal use. It has no holes or other ~.non,P•s., \\qlC&n1 l'm1chn-;oaoob.pp109 .,,,too
me•rn,;;or attaching it 10 somelhing larger, so it moulds. The horiwnr.tl frame has an edge of
TI1is miniature is the most infom1ativc semicircular cross-section and the base, of almo~t
may well ha.vc been designed as a focus for
Perfume brazier in Lhe fonn or a domed building representation showing lhe Byzantine cull of Lhe
prayers or to be donated as an cx-voto offering. triangular cross--section. is I on high. TI1c tan clay
ANTONV u..sn1or.o Corutanunoplc or Italy, end of the twclnh cc:ntury Virgin Hodegcafa in action. It realistically records is fine-grained with \"C~ re\\
inclusion~ and lhc
S11\'cr,partially gddc:d,cmbossro and pcrfor:ncd, 36 • 30 cm how an icon believed to have been painted by the slip is of the same colour. The tray be.trs traces of
Buloc. d, &n Ma.rco, Vttlll:T, TOOl'O. x1> no.109 Evangelist I Luke and blessed by ~l:uy was lead nails and a hole from an ancient rt pair. In
1or.u.cru1u:n.a1;."llU l'luin1,816,roo1,ppt3 :it>,\lolutltr1S61,no.17.
l'P&t 8:S,Odo1967,s-m,H•hnlolet"1971.no-1og,pp.86 8 ACrab:n,I..,_ displayed for veneration, with its red veil (ptplo.s)
175 •914.11<1-Ji,pp.-,i ,13(DCa1Jon1,Chopm\J\im,1993- Polacm 19"1Q, \nu<'(' Lhc course or mending lhis object, it ,,~ noted
7000,p1!,l(A..A~h) rolled up and tied back 10 reveal u,e hol)' image. that some ,herds in Lhc coUect.ion belong to the
1-10111.ilies
on the Virgin Mary by The large icon of the Virgin l\ lat) Hoclcgeuia tray. while other fragments that had been added
TI1is singular object in sikcr-gilt is regarded
James Kokkinobaphos, folio 3v pointing to t.he Child bet"'\\een the busts of two as belonging to it come from a dill'erent tray.
as one of lhe most exquisite objects in the
angels i fixed wit.h diagonal struts to a heav)' The main reprcstncauon, c.xecutcd in lo,\
Cmu1an11noplc, first hair of1hc thdfih century Treasury or St Mark,s; it shows both B)'zanrine
stand on a stone floor. Below t.he icon is a smaller
Mamucnpt on parchmt:nt, 23 • ,6.5 cm
and \Vcstem artistic influences. cholars have relief. is framed b) a double incised line. Incised at
copy or the image, which was detachable for the ccnL.rc is a L:uin cross with the leuer 'Rho' on
:~=i.natoonakd,r I~. l•.uu,Gr 1d advanced a number or different hypoLhcscs about
1•~n.,~fil8 lo.,""°"1686•od 1688,lllhlwtl\ki'-"'ro,*,
.atu.l'r.'dlfl IJl.&nbul kissing. The icon is protected b, a canop)
its place or origin: Venice, oul11 ltaly and t.he an11. L..,~ft
of the cross is an emhroncd male
;:~~.I~•~il~~c~~r
◄
~~
•So-,_
r86J, Ill' 147 11,Ornon1 19'l'T,\\r1t1.11wm 19f1, (ciborium) on columns, and has a figure of Christ fi~re in lhe type or the seated philosopher, wit.h
1
19'i1 ½,pp
11nd
,_
c.,.." 1CJ91.Pan, ,;;;• ~~•=:•
~)
,g(i- 9.U. PP P.an, 19~. 11036, l.a(ontlllnf'-Da.ogrlt"
416 3o; A1ldn,,,m 1!)81, 1luttrr
Constaminoplc.
The model chur h is built on a square
at Lhe ape.'<, perlmps a symbolic reference to his the right hand r-dl~ed ma ~c.,turc orblessing, "hile
acceptance of prayers. A lamp ha.J\..stS on t:ach side
plan and has, riround a central cupola 1 four the left one, co, creel b) the hi mat.ion, holds a
:he ~Lxhomilies on the Virgin 1\1.lrycontained or the icon 1 ,md it is pro1cc1t'cl by a met~tl grille.
111 domed api;cs, and four towers sum1ounted b) clo..\ttl\Croll. 11,e large. li,ely eyes, tl,e thick beard
tlus manuscript "' re composed in 1.hcfirst half Ou1,ide the grille in 1he forcwc,und in front ofit and the bald forehead pennit identification of the
of Lhc twc!0h century and were based on Lhe a quadrangular cusp. II recalls Lhc reprcsen1ation
.\re '"''opraying figures, a be.u-ded man on Lhe left fibrurc ru. the Apo,tlc Paul. R.ight of Lhe cross i)
apocryphal Gospel of James and his By.tanLinc of 1.hcchurch in the Homilies of lhc monk James
111a red tunic wilh a dbtincti,c- !;.,sl1.H hi.-.\\,ilit anoLher ,e,ucd m,tlc figure, cleatly 1.heApostle
co111mcnta1ors. The author orlhe homilics,Jamcs, Kokkinobaphos (cat. 152), which is sometime.:,
lmeJn.ing unccnai11), .\nd ~\n:iled \\Om,u1 on thC' Peter Benaki 1\luscum fragme.01, inv.no~ 12425,
a •~onk of the monastery or Kokkinobaphos and identified as the Church of 1.he I lol) Apo!>d~
ris;ht. Behind them and the \.,rrillcM'f: two ouths u43o).
a kmsma.n of the imperial fomily, was also in onstnndnople.

422 CA'fALOOUE ENTRIES 172-175 CAT LOO £. Er--"TRtES 176 t78


·1 he framt·
sc,tlc. from the ,t0f)
,-cnical c;;1dcc;;
1, decorated h) sn.·ncc;;111:i.mall(·r
of Jonah. \\hilc 011 the l\\0
of1lll' tray 1, a fic;;hmotif in l.lr~c:r
!leak .md mort· n·.tli1iLic.ill)rcndcn:cl.
Represented 011 thi, tr.t) ,ire impo11,1111
hri'ill,111 '-Cl'nc,. The l\\O lc,1d111~
Apo,tlt·, 011
citla·r Mcieof tlil' Cro,'.\ rxpn·,,t''i the uruo11of the
lu·,I\ cnl) .111d tht.' t';irthl) Chun. h. \\ hilt' the
allq:~orical"ilOI)ofjo11c1h'i)mboli,t•c;;1hc F.111 of
'.\bn and ,1ha1ion.Chri'lt is\) rnhoh,ccl h) llw
li,h IX0Yl:. h-.h.l)l'ill~ an acro,1,r ro,:11·,u,
111+,,1.Oil of God the s,\\iour'),
Tra)' of1hi, l)'f>(' were madC' m the
Cartl1.1gt· fiom iho to I 10, but le·,\ .,nd ,o
pcrhaµc;;they ,,ere ran.·. ·111cir ,lupc, "Im h ulp1c,
th;u of ~ilH·r tra),, tlll'ir relief dt..cora11011 .mcl 1h
symhohr ch;u,trtcr ,uggl'"I that thc,t· ,,rr<' not
,11npl) u11li1.1r1.111
obJcCh h111lM'd m d111rd1
,,or,,hip.
179
Gilt- oppu pl,1c111l'
"1th St Tht·odo1T
lh1~11111un1 C".nm1,111111mplr> m1d-rl1'\1"nlh n-nmn
C:ilt rop1H·1, l.t •• "h71111
n ...lno,,,,..,4,1, lln•.J,\h,..-,un 1~..t....•••.,.•
-:,.,I
.,,,1111>••11•1,,,, lhh•"''"'" "''\.\I lnnd,.,,.
S1 Theodore- ,,,l.c. one of the mo,t popular wamor
o,;ainu,111 B)L,llltium. On this c:-...stcoppt·r pbquc
he .1pp<·,11in 1mht,tl) dn-ss. holdm~ a ,pc.u ,md
shidd. Ins ,;,, ord han~rn; from a ,1r.1p aero his
back. The annour of his cuirass has been can-full)
carved, ,111dhe ,,cM'S ,l sash around hi, chc,1 ,md
a clo.11,,, I 11~,11111hood
10 denote hi.s oflirer .st..11u~.
i ind1ca1cd bo1h b) his ha.lo and b) 1he small dais
on \\ hich he 1otand~.TI1c small ~le of tins pl,1quc
suggl·st.s that It was a personal object. Although
relatively fr,, ~uch objects arc kno"·n, it is hld)
that the) \\ere m.1dc in large numbt•f"li.OU1cr
comp.Lr:tblc e'Camplcs arc known w1tl1images
of other ",lillls, ,uch as a plaqut· showini:;
t Grorge in U1eKancllopoulos :\lu5t'Ulll,
J\Lhcns Bmsscls 1982. no. Br.28.
The broken projec1ion at the- base of the
pl<HJUC m,1) h.l\c allo"ed it to be sc:1up on a
s1,111clor carril'"d 111procession. It w;:LSprob.1bl)
either offcn.·cl 10 a church .as an e~,-,010 on bl·half
of its owner, "ho \\'.IS prcsum.ibl) pani ularl>
cle,otcd to 1his s~unt, or carried around 10 imokc
the ,1in1's protection for U1c\\t'otrcr at a.IItune~.
Comparison \\ ith other sma.Jl-sc.tlc cJrvin1,rs
sug.l;"CSI1h,ll 1hi, c'\o.1mplcwas prob.1bl) 111Jd<"
in the clcvc111hccutuf).
CATALOGUE ENTRIES 179- 182
180
Tc"1lr h.t111..,,,11~
,\ith St ~l.,k.uio, .111d
\\Olll,1111111)1,1\("I
I t:\lll• lomlh 111 h11h,cutm,
IJnrn .rnd \11'1111 Ill)• Ah Im
11,o,.l,\I ,,,. \,,.,.,,,,.., 'I\
r••"'''"t l"'"tu""ll"'"' '.lh.w"l ,,.,.
•t11, 11n .. ,,.,,. I• \r-"' ... "•\I 1'1,-l"°"'""h
\1<1• ,,, 1•11 llolr\,.,u, .Jl,.i•1 ..•••••,.,•
.h,o,,, ~, t • 1• .,. •""' I 1 "ilh
1 ht· t\\t\ ,t'hl'll!,:_r, .111cl
th,· \\,tq> liill!{l' 011tlw
hl)ttom ,i1lt•.1n._• 1u,·"·n'CTI,i11chL,1ti11,:i.
th~n llw
pn.·,t·nt chmt·mio11' .ir(· ori¢11.d.Thb pit·n·
:,n•,1 of lx·lon~ Ill .t gioup of loopt·d h.tnginR' hut it i~
'""1,c tht· onh pi<'t(' pn·,c1,L·d in it, rni~n.1I cli111emio11<;
.111d1, nnt<.h ,ni.tllt"r th.m 1ht' other l,,,.11m,11
pit~cc~
,, lut h 1.!t'llt'r:.tlhh.1, c thn·,· 01 four I egiqc1-....
rlu· loo1x·d ckcorauon almos1 omplt·1dy fills
thl· ,n•,1,iug: b,:nt·ath an ~lt'iliculc .ire l\\O figtll'C",
,ti\ 11M·np11011 .md pktm motifs.
fhc 1,,0 ~t.mchng figures arc ,ic\\cd front
on but "i1h feet ,cC"nfrom the side. The figure
on 1ht· ri~ht, a "0111.tn, -'Ppcar~ c;li~htly
clt·ccpll\ cl~ ~honer. Their h.mcb arc raised in
pr:t\Cr ~ orani..,, The facial dc1ail~ of the m~m
,tre gr..1p)ll(,tllydepicted. 1-lishe.tel sib on a thick
neck \\hich i~ 1he "idth of his shoulders. The
figun· \\(':II"' a rc·d I/mun with long ~lccvcs and long
ti..,,,.,.,( l.r,i., .. k
grt·t·11dn1•1.1\ blue mamlc wi1h H-shaped
ckcor:uions co, crs his left shoulder and falls on
tlw front and b.1ck of the man' body. The \\Caver
probabl) in1endcd the mamlc to follow 1hc
Cl,lSsic.,I Rom.ln manner. The \\ oman 's focial
dc1a.il~.m: i,,imilar to tho~e of the man. he too
\\ ca~ a tmura but sljghUy longer, with richer clnvr
in ,1 grct·n and yellow chequered pattem. A
(f.1clcd purple veil covers her head, loops over her
chest, and falls behind her 10 her feet. TI1c bonom
of1hc purple m:11ulc ha.sI\\O rosettrs. The red
zig-Laglines nc.xt 10 the he~td and feel rcprcsem
1he fringes of the veil.
According to Anna Apostolaki (1953), the
op1ic inscription can be read as an invocation to
SS. Kyrialos and ~lak:arios. However, the reading
of~la.'<imilicn Durant seems preferable, as chc
figures arc a m~m and a woman and not 1wo men:
'HcU1ymc the claugl1tcr or) K)•riakos (and)
Apa "Jakare'.
Thi h.u1ging follows a long Egyptian
tradition: the funerary stelac from Kom Al>ou
Billou dating from the Roman period contain
exactly the s.unc depiction of a deceased person in
.1 pr.:iying position under ;111ardrculn(Hooper 1961).
Herc 1he pag.i.n symbols of those s1clac have been
replaced by a Christian invocation. This
.1rr:rngcment 1sals:o common on Christian
funerary s1clae (Paris 2000>,, nos 1011 102,
101,105).
11.0111MIA CORTOl'AUI
181
lh 1,1111111111,hUh "\ ,·,uh l I mun·
17 , :,1 • i~ 1 l t Ill
~l.u hll· ,1i.:i.:lo1111•1.1tt•.
--
1o1•1
tql•\ 1'•\h.,1111;•,'• ~~ hie;rcliqua11. 1oarcoph_a1,'l.1"1
romi,t.; of a trough in
'"'1\1 ••••••• .. u1•
':~ht 111a1hlc,l.1ghtl) ,c111cd 1."1<.·d ,t sliding
hd. II ,,.1~
dcs.1gncd to co111,u11a "ilvn reliquary
bo., of,H·kk·d sheet silver (i11v.no. ,, 11 79 6 ), also
5
,dth n rlat lid,\\ hich is too fr,1gilc to he exhibited
T'he 1oarcophagus dirTcrs from the usual
pallt'm only in its much smallc, si,c; it,;;function
\\;L'ii to hold not a body, but a relic. In order that
the ,;ih·cr rrliqua11 1 could be placed inside it, it has
a ,liding lid an unu~ual feature in.stead of the
more 110111ml pitched lid with acroteria on top or
a n,n lid that can be filled on top.
·rhe sarcophagus can be connected with
four otl1er examples: one in the National
~luscum, V.,rna (inv.111,s~n; Ouschhausen 1971,
pp.291 2, no.C 26); one that was discovered
beneath the ahar in Lhe small church dedicated
to S . Naza1ius and Celsu in Ga..rbagnatc
(Jluschhauscn 1971, p.285 1 no.c 15);one from
Am-13e1ich in AJgc1ia (Buschhauscn 1971, pp.318-
19, no.c 72); and one from the sanctua1)' in the
basili a in Odos Tritis Scp1embriou, Thessalonilci
1 lakropoulou 1983, pp.25 46, pis 6 and 7).
Thus, although they arc un11sual, sarcophagi
with sliding lids have been found over a wide
gcof,rraphical area.
The sarcophagus and reliquary arc decorated
\\1th great restraint: large crosses arc somewhal
lumsily arved on the trough and lid of the
sarcophagus. Another cros is embossed on the lid
of the reliquary, which aJso bc:irs an engraved
inscription in irregular Greek capita.I lcuers,
'/\(qlANA (for /\El 11'ANA] ArlQN AnOCTO/\QN
KAI MAPTYPQN', (the remains of the holy
::aposllesand martyrs).
•IARIEI.U MARTl~IANHt.f.lJtM
Rcliqu.uy crucifix
Con!lantmopk, firstha.Irofthl' ll'nth «auury
~lonilltl'I)' ofSl ~Bchul, Damokrancia (now•OUzclcl')
I Ml1allyg,ldcd sih<trcrucifix holdl'r
36-4 • 23,7 cm '
~=-~l=cl'&!d~~t.v•.tc~,
1 .....no"°:,o'>I
0,WII',oeo,,..
DJuntlg8oa 1911«
8-."kr 19'o.Clq-n« •9'1,
This_rd iquary crucifix used 10 contain a bronze
crucifoc whose anns terminated in two mall silver
balls. :71e bronze croM may be older- it fits into
the reliquary crucifix wilh some diffi 'uhy.
Although Lhe reliquary crucifix is beautifully
cxc utecl in its own • 111 1. • a higher sanctuary barrier than before, known as
, • • • ng , 1.5pnmary interest lies
m t 1lc m.scnpt1on on bo I1 th
I · I I be L e back and the front
w11c1 ,a cnthes b.
·n u ~ect of numerous studies
I< text has been lran•....:bed . . the l\,o side chapels. All 1hrcc had coll•pscd b)
• ..-,, tn two way.
............
I
1114'
I Uoill ,I\, 11·,ul"':' I hie;p11rt'lr,, l,1hot11,
I ht' fu,t, ')
frtlll O g
i,iui,i,ui ,.ncldomrfl1J.m.
.
, f ,1t·,11dno11011,"••'ii cn•,11nl hy Leo,
,
roniJ1t,i1uki III c hid oftlu· ~l.1ffdo111,111-.,
of1hc \Ve~tcrn E.mp1rr,.
.
1
• L''i •• ncr ~t ~lirh,1cl, p,ttron of the arrme,
"ho .,~p •11 •
iht· .,nn) ofC:ho11,1c,\\luch ha" alrc,1dy .
n:,•pJ>carcd,so th,ll he 111.tyhcrcaflcr be given
thr nc,, 11,unc of D,1mocrnni1c.' The altcmat.ivc
rc,idinq:is by 13om1cr: 'Out of clc\'otion 10 Lhc
d"ine ~lich,1cl, chi ·f of the celestial armic , who
:1ppcarcd al 'honac \\Caring the feature of n
· 1his c~ client pie c borr~ of holy
young 111::an,
ardour, Leon had 1l made, first magis1ratc of
ihc ~ lacedonians, patrician and domt.Jtil.osof the
Westem Empire, also known as the Damocranite.'
111c question of Leo's idemity and the cx:ict
periodat which he lived i therefore still open to
question despite the studies made of the crucifix.
The donor mentioned at the beginning of the
inscription is difficult to identify. His first name,
Leo, is known, as is his military position as
commander, domt.JllAos 10,1stholon,of the \ Vcstem
Empire, which undoubtedly c.xplains his devotion
to the Archangel Michael.
According to Bouras, Leo might be Leo
Phokas, who was appointed Domcstiko of the
Occident after 959 1 and rcma.ined in post until
963, the date al which he became a kouropalales.
Cheynet also suggests convincingly that he
could be Leo Tomikios, who rose up against
the Emperor Constanline IX Nlonomacl1os
(1042-55). This Leo may have commissioned
the crucifix before 1046, the year in which he
was posted to the Iberian peninsula.
Epistyle from the Church of the Koimcsis
at Skripou
Mack on site, at Skripou, 873/7-1
~larblc, •8.5 IC 333 IC 33.5 cm
~ llclm,c MINltt') o(Cuk111'\', -,nl fphonlt ofDrunllM AlmqUM1n,
CMlka,iov-.-46
-"L'Wlca. ~'-')e/Sb1f'.IO'I Ord1offll,-.ll«Oba
IUI.Cnllat~u &rr,p~•~·PP' ,ta,s.ou,-,93,,pp,-41 I,
.. IU.1,I.... J,ORlhu-19',,ppgo ~ .. n.i.,'bflo,o -'-4 11>;\kp, •gMI.
pl 1;a,c,ll,pl•~~ 1!)91
TI1issculpture i one of the first sanctuary screens
(templon) made afler the end of iconocL\Sm 111
843 1 and ii belongs to the surviving large church
at Skripou founded by an imperial official, the
Proto patharios Leo in 873/74- TI1e exterior and
interior of the church arc profusely decorated
with ornamental string-courses, omiccs and
other feature , and with inscription recording
lhe foundation and the dedication to the Virgin,
I Peter and t Paul. l'rom the sixth century
onwards Byzantine churches were equipped with
a 1emplon. Skripou has a ccntra1 tcmplon in front
, of the sanctuary and additional ones for each of
1hr l,11t·n111rtcrn1hcr11111ry,hut mo,;1of
the broken p1rcr1oh,we been found ,md
~torc<Itod,ty.
Thi cpi,1)1lr (now broken into t,,..o)was
originally fixed :u the opening 10 1he nonh
rh,,pcl, dcdic,11cd 10 the Apo.st!<·P,,ul (~legaw
1966). It w,1 secured ::atc,1cl1end in 1hr walls and
supported hy l\'-'O colonncttc5 on c,1rh '"'cirof the
central opening into the chapel. At the crnrre of
the front face arc three decorated crm.ses, between
a sequence oflyre•~lmpcd ar,1111hmwith small
crosses. 111 · clccormion is identical 10 tl1a1on the
cornices of the church, indicating clcnrly tha1 the
templon was an organic part of the monument.
The back of the cpistylc focing the altar has a
simple spiralling Siem. The underside i decorated
al the centre by a cross, surrounded by vine stems
and rwo peacocks. Two plain surfaces indicate the
position of the colonnelles. ·n1c rest of the beam
has interlinked roundds enclosing animaJ with
anthropomorphic heads, alternating with ibexes.
This decoration is designed to be seen the correct
way up by the priest in ide the sanctuary.
The relief style of the sculpture matches an
cpistyle found in the Church of I Gregory in
Thebes, no doubt by the same workshop,
probably based a, Thebes. The relief sculp1ure
has much in common with the slightly later
Church of Con tan tine Lips at Constantinople,
indicating the "1dc dissemination of such carving
around t.he empire.
Closure panel with t\\O peacocks
Titl'bcs, rnclrth cl'mury
~ larblc, 57 IC 6o • 9.5 l'm
Tii,rll..,.\l~ofQ.INl'\' . .,rd~ltof~,_~
Qwla."""noaJ•-4
no,VIA.••U .. 'INhn
◄0.PP•'8 g..ltarnin,,,..~p.;a,
1u..-.cnoarn:U!l'C:U Orl.&ndot•9J')
'•"
This almost inrnct panel of white marble has
suffered some minor losses in the lo,,cr pan.
Rep~nted in profile arc a syrmnetrical pair of
preening peacocks with fanned tails, on either side
of a plant sprouting from a tubular vessel
decorated with a.strngal (bead-and-reel) pattcm4
Dominating the ccmre is a flo"cr, in \\hich nestles
a bird - possibly a partridge - tuming its head to
the lcfi. Two symmetrically developed .md
opposed rinceaux tenninating in half-leaves. a
common motif in ~fiddle Byzantine sculpture
( klavou-Mavrocidi 1999, no 239, 41, ,451,
sprout from the central slcm and fill the
background. In contrast to the schcm.uic
rendering of1hc pln1\t1 the peacocks arc portrayed
"1th a certain realism. The upper pans of their
bodies-arc ex uted with circl~ \\ith a central
hole, the lower parts \\ith parallel Ol \"eni ,ti, deep
incisions, and the tnils \\ith a combination of
circles and incl ions.
The theme of animaJs real or imaginary-
or birds Oanking a plant that symbolises the Tree
of Life i r11co11ntcrcdfrcqm·111lyin Byzantine
sculpture ( kl,1vou-~lavrocidi 1999, no 151, 156,
157). However, the rare detail of1hc li1Licbird in
the foliagr enclo,,c; 1his panicular compo ition
wi1h a hvcly originality.
TI1C'.'
distinctive can~ng technique is
chara terisric of works of 1he 1wclflh and
thirteenth centuries ( klavou-~lavrocidi 1999,
no, 250, 2511 252, 25-1,255, 256 1 257), and Lhe
decorative subject of spiralling stem llre clements
that ~upport a 1wclfth-cen1ury dale.
This panel was found near 1hc modem
Church of tjohn Kalok1cnes (c.1900) (Orlandos
1939 JO,p.138): he was bishop ofTI,ebcs in the
late l\,clfth century clvcnakio1ou 1970; avvidis
2000, p.581). The size of the p, nd indicates tha1
it was pan of a little I mplon screen in a mall
Byzantine church, whose identity eludes us.
A,"(OaOWACllt. KATS8Ultl
185
Double-sided closure panel
Thebes, n111t.h
ttmury
~lublc, 88.3 • 1~8 IC 10.5 cm
Thtl~).....,.olc..n-_~~oltt,-,\ni,qumn.
a.a..--.u·
~-:;:::-15 ~:s~~~~~·::.-::.·~
,,,._..__, ~",..:1r.,_.,.,........,.,..}t.M;~...i1
ThiJ clO!urc panel reuses an ancient plaque,
on the upper surface of which can be seen the
beginning of an ancient inscription, ~ibly of
an honorific decree: APETHC ENEKEN KAI
KA/\OKAfA81AC0E[OIC) ... On both faces the
subject is dC\·clopcd "1thin a rectangular frame of
rinccaux "ith ivy leaves. Represented on one face
arc three crccs:the ccncral tn::e. with foliage of ivy
leaves and trefoils~grows from a conical base
where t\"o birds sip water. ~n1c space between the
birds and the tree is filled "1th cwo roseucs. TI1c
smaller trees have leaves and fruit.; in each of the
t\,o lo\\er corners is a bird. At the cenett of the
second face arc t\\O pea ocb facing each other,
funking a ly,e•shapcd tree. In Ilic field is a
rinccau tcn:ninating in trefoils and bunches of
grapes, "h.ilc bclo" the peacock5 are t\\O small
rrccs "itl1 l\'Ylca,cs.
The closure slab is the product of a local
marblc,-caning worJ..shop thac nourished m the
second half of the ninth century in TI1ebcs, at the
chnc the aclministrati,'C centre of the "hole region.
1nis "ork5hop is documented by the architectural
sculptures oft\\O important ecclesiastical
monuments in Boeotia: the rurncd Church of
t Grego')' at Inches ,872 73) and the Church
of the Koimcsis ,II Skripou (873 74; cat. 183);
ulptures found elsewhere, su h as Euboca,
Athens, Corimh a.nd olos. arc also auributcd to
11 Grabar 1963, pp.95 9; P,,palc.'Gllldrou 1998,
pp. 220 33 imilantics m cechniquc, subjcclS and

"') le leave 110 cloub1 that this panel should be
,t,c1ibccl to 1hi!'i\\'Or~hop, even 1hough there is
no inclic.1Lionof its provenance.
Tht· ,ccnc, in low relief art· cli~tingui,Juxl by
~) rnn1l'tT). schcrna1isa1ion and a n,o.dimcno,;inn.ll
conn·pt of compo~ition. Tht'rc iii an ob\'iou-.
,lllt."mpt to lill the entire ,urfacc wi1h motil'~.
Ch,m1ctc1;SLic of the decorative subjects
Life. pt·;icocks) is their t'3chatological symboli,m,
a"" thl'Y arc linked with eternal life ,111dpar.ldi-.c
(Undt.·rwood 1950, pp.88, 99
~laguirc 1987. p.39).
DoublL •1iicledclosure panel
0
nu•bc-, ?1. B7i/71
~f.,rblt", 97.5 • 73 8 • 9.5 cm
n...lldku0< \lmNI") ,,c,.i.ur~ ,, .. 1 I phontc"ol
C~L"-""""UJ!•
r•o,,,"c' C'huhh,l"-1,rf'"t')r'\ ,t.r ~n
"''' IIP un•L'llS. ..... ,,_, uu, (,n,J...,, IQ()'\ l'l''l\ qr). rl "'UII I I
-
t..o,Llnu,'1'),11 J'l'',-1'1 101.,lr.>"''\.l:'ll l l'ly,n,f\ .,11h..-Ark1I~,
l'•p,,.lr-Y,od,°"trl',l'll'f'Uo}.) ll"'ffl11\mo•~pb7.f-«'47,tft,t..ntbl,1<1
Thi'i clo3un~ p:mc-1from a 1cmplon screen is
clccoratccl on both foecs. On one face, ,,ithin a
rectangular frame, arc two peacocks facing each
other pecking the branch of a Lrec standing
between them. In the lower part is a third
peacock, biting a snake. A smaller bird fills 1he
space be1wcen Lhem. The panel is surrounded by
a double frame of clcgcncratcd as1ragal pattern
wilh lozenges and a spiralling stem that fonns
circles in which arc inscribed roscnes. The central
subjc t on 1he 01.her face is a Greek cross with
flaring ends to the anns. From each ann sprout
stems 1.hatjoin together and split into smaJlc.r
ones, tenninat..ing in trefoils or ivy-leaf-shaped
buds, fonning a mesh around the cross. The
composition is framed by a zone of linked palm-
tree motif.s.
The Lhcmat..icrepenoire is inspired primarily
by Early By-.tantine models, such as the two
confronted peacocks flanking a tree and the
cross. Herc the composit..ions arc enriched by
a mullituclc of details, in an endeavour 10 cover
every pan of1he available space. TI1c birds and
pl::mts in low relief arc transfonned into flat and
conventional decorative motif. A disposi1ion for
Lhc ornamental is apparcm in the trealment of Lhe
peacocks' plumage, which is indicated by incised
lines and circles, as well as in the diverse rosettes.
According to the donor inscript..ion, Lhe
Church of St Gregory was founded by Lhe
imperial ktmdidalos Basileiosin 872 (S01.iriou 1924j
Koilakou 1998; Koilakou 2008). The sculpted
decoration of this church, like 1hat of kripou,
was probably 1.hcwork of a workshop based at
TI1cbcs {Grabar 1963, pp.95-9, pl.xu11.1-,~;
Papalcxandrou 1998, pp.220-33). rl71e
crafumanship ru1d the shape of tJ1c peacocks'
CATALOGUE ENTRIES 186-
bodies on thi, p;rncl arc similar to 11imh•ce11tUT)'
~culpturc~ from Con.s1.tmi11ople,\\hilc the
compo~ition. \\ith a central panel cnrlming
,c\'cral birds and l)UITOundcdby n double frnmc,
rrc,1ll1ll17a111ineivory c:i,kct, (Grabar 1963,
pp.95 71 pl.XI.IV. 1),
re,· of
10li Bour.1-. 198:m:
Silver hali<"e
1-uh ll)7 ..11Hmt' •.mah <TlllU•)
"'rn,1.
S1hYr,111hmdlo and g,ldm.g,18 • 26.6 • 16on
\l,..nm1dT.n.- \n._ Bo.con l.d\O.lJ1IJ •ndM~' ltolmro lwld. Hf}I b]J
.,,,n10 unu,'<.H l"'t~•}-"ll,f11t1, nuq,nolf"11 lloo.ton1i,1,,1i
l).,d,.\ t')l]
h.t,no.n n.-1n11m.1,~•1U ..,-.~ '""'01\.19~1•boll.no.)t3,
IW1•.-..:n 1..iit,,.pp ~b 7, -.r,. Gm,,;woun11,l.ntit, •tod t,,onJ,,k,on .!003,fl,,
17till elegant siln~r chalice, used to hold the wine
of the Euchari:,t. ser\'cd as part of a liturgical set
for ~m E.'lrly llyzamine church. The technique and
U,=nm,.. \noq~ fonn partially gilded sil\'er hammered into a
llw-1,... broad cup auachccl with a knob to a flared foot -
is ,·ct)' close to sixth•centUl)' chalices found in
Syria. Indeed, the haJice is said to have been
found in Syria (it passed through collccLions in
Lebanon and Switzerland); fuad Alouf 13cy,the
Lebanese eollcctor who once owned it, indicated
{Dodd 1973, p.25) 1hat Lhe Boston chalice was
found "1th a silver paten ,,11h stamps from 1.he
reign of Anastasios (Ao 498-518), but 1his
infonnation has never been confim1ecl (Bal1imorc
1986, p.246).
Each side of 1his cup is decorated wiLh a large
engraved and gilded Christogram (a combinat..ion
of chi and rho. the first two leuers of 1.hcname of
Chrisl in Greek); 1he letters alpha and omega (tl1e
first and last in the Greek alphabet) 1hat hang
from 1he chi refer to Christ as the beginning and
the end of all 1hings (Book of Revelation I, 8).
Around the rim of the cup is a Greek inscription
inlaid ,,1th nicllo (a dark metallic ·substance):
'Having vowed, Sara offered [this cup] to Lhe
Fir.;1~lartyr [Stephen].'
The Boston chalice, togetJ1er with many
similarly st·yled Early Byzantine Liturgical objects
found in north-western Syria, attest to the
considerable prosperity of the so-called 'dead
cities', an area characterised by fertile plains,
agricultural bounty and al least 700 documented
settlements to date. The stability of Byzantine rule
from 1he fourth to the seventh centuries in this
region allowed the pious and prosperous to
finance 1hc construction of many churches,
monasteries and to donate expensive liturgical
objects. The dedication on 1he Boston chalice, in
fact, foUows 1hc fom1 of inscriptions found on
stone door lintels with 1he names of donors and
Christograms in the 'dead cities'. In 1his case, a
woman named Sara undoub1edly gave the
valuable cl1aljcc to her local church in thanks for
her answered prayers.
CIIRISTJSr; KOJl>'DOUON
189
188
Rcliqua1)' of the ·rrnc Cro"'s
Sou1hrm lt,,1) 1, l.11t· tM·lnh IT11t1111 or ,.1200
tnhrr gilt, drnwnnf' op,,qtw l'na.1111"1\on a .silH•1gilt ~UJ>pon
\\OOtl, p,l,,qP"-"t', lj II II 7 11 1 ~, !Ill
\hnok- 1h-,It<··""· \n, ,Ir U1r10 Im ""I, l\'H
::.'t,'~~~;
,n:tuml lri I 11.a,.b it.-111,u"'r lf\11nl l1;1n,.,,p1111, 11.audoc
~~~.:~1~ ~;; •i:;~~~.
1~;k1•:; •~~;.:;,!,:~~'. :.!0 18 :,;•~:;
This large rcliqua•)' cros'i hns two horizon1al anns
supplemented by a third, shorter and oblique one
evoking Lhc suppedrmmm (foot support of hrist 011'
the Cross), at the bottom. The cross may have
been originally encased within a precious jewelled
box. The wooden core is shcalhcd "1th a silver-
gilt sheet embellished with enamel plaques at lhe
intersection of the upper arms. The naked figure
of Christ on 1he Cross in a loincloth is on one side,
topped by an ornamental quatrefoil, while Ute
empty cmcifonn cm1ty for relics, on the other
side, is crowned by a medallion ,,11.ha bust-length
figure of Christ making the gesture of blessing.
The am1s have five rectangular t.ips, only Lhrcc
of which arc original and bear an enamelled
pattem of stepped crosses. The field is further
eniichcd with oval and rectangular cabochons
of glass paste bordered \\1th twisted wire and
a series of small loops that may have supported
a string of pearls.
The enamelled Crucifixion reproduces tenth-
or elevemh-ccntury models, such as the one
found on Lhe rcliqua1y box from the Ca1hedral
of ~Ionopoli, which also has a border of stepped
crosses in enamel 1 Tew York 19971 no. 1101
pp. 162-3). However, 1he elongated proportions
of the body of Christ, 1he exclusive use of opaque
enamels and the gold scroll embedded in t.hc
enamelled background all point to a later date in
1he late twelfth or early Lhi11eenth century. The
cellwork and figure drawing or the enamels and
the physical appearance of the gilded surface, in
Lheir tum, bear similarities \\1Lh outJ1 Italian
works of this period, such as 1he Gospel-book
cover of tJ1eArchbishop Alfono in Capua
(Ravenna 1990, no.77, pp.194-5). The recurrence
of the third shon ann on a reliquary cross from
Alba fucenze in 1hc Abruzzo region, now in the
Palazzo Venezia, Rome (Frolow 196~,,fig.51,
P· 150), favours an atuibution to a muh Italian
workshop (Paris 1990, I\O,o55, pp. 310 _ 1).
8RIOllTE PITARAK15
189
Processional cross
Const:uninoplc-,first half of elc"cnth century
Ca,6t copper alloy, hammered, cngra"ed and punched
3 •301110.3cm
~=i~~,c:-,••442
1992,pp.~ l01,no , Atl)'l',,,9fit,no»o_Su,d,n1!J89.11ps6 7,~
1
AOUfOIOpou.,_1997 fl ~ r, '994, P 26]. no 8G(A Dn.ndaL. l>r.1,-~
1..ut.,-,,pp.1llo' 1,no'vJ•~--..0,ppsfio 1,no t• Dr.ond,w
. , 1 , , of 1l1i,;;1>10c(•,;;~ion,d
Lro,;;~encl i11
The II,11t:c 1 1111
• .
tnindcls llankl'cl by u11clccora1cd c1ruda~ serifs al
1
,r; ·1 lie six holes 011 the u11dcrs1dc of the
the conn: •
hoiizonml arm, wrrr fo_rpe11d,111_1s (J,e111tl~o).
1 ihc front i'i the cruc~fic_d~hnst, \\ennng
011
_cir les 011 1he
:t loincloth. lnsciibcd w11h_111
hoiizonml arms arc 1hc Virgm nnd Stjohn the
'':'•
110
•l&l.fl Theologian, bo1h turned towards Chnst. The
Crucifixion enc is completed by lhc biblical
,csis: 1t.OYO Y(l)O(C)COY (Behold your on) and
160y 1-1MH(Tl1)PCOY (Behold your Mother) Qohn
XIX, 2G 7). On the upp ·r roundel is t George.
On the back is Lhc standing figure of lhe
Vi'l,rinMary Orans, H 13/\AXEPNHTHCAN
(fhc
Blachemitissa). She is framed on the roundels, by
four healing saints: Kosmas to 1he lefi, Damiano
to 1hc right, Hcnnolaos above and Panteleimon
below (now lost but idcmifiecl by lhc surviving
inscripLion).
171e cross has Lhrec dedications: bencalh
Golgodrn: K(YPl)EBOH0H TQ CO t.OY[/\10
IQ(ANNM)(Lord, help your servant john).
It is punched and Lhc s ript is similar to the
inscripLions identifying Lhe saints.John
presumably commissioned 1hc cross (Brussels
1982, no. Br. 16).There arc two later inscripdons
on bo1h faces of the upper ann of the cross,
mentioning two more donors: Leo Boreas (on
the rront) and George Syros (on the back). The
recording of uccessive donors on processional
crosses is not uncommon, as 1hcse objects were in
use for a long period (Coisonis 1994, pp.29-32).
ParaJJcls for Lhe writing on the cross exist in
manuscripts and inscriptions dating from tl1e
second half of the temh to 1he middle of 1he
eleventh century (Spatl1arakis 1981, Il, figs 58, 64,
Bo, 88, 91; Mundell Mango 1994, p.203). 11,e
iconography recalls lhe decoration of tenth- and
clevcnth•cenll1ry reliquary crosses (Pitarakis 2006,
pp.68 ff.). A contemporary processional bronze
cross, now in Princeton, is the closest parallel in
technique and script (Princeton 1986, no. 68).
The representation of 1.hcVirgin
Blachernitissa, in the honoured central posi1ion of
the cross, indicates 1hc major monument in whjch
the cross was dedicated, the famous Church of the
Virgin at Blachemai in Constantinople. The
Virgin reproduces the type found on the marble
icon at the Blachcmai PaJacc which poured out
miracle-working holy water (sec also caL 194).
Thus, the five figures on the reverse of the cross
nil evoke healing, indicating thaL tl1e cross was
dedicated by John in thanksgiving or in petition
for good health (Athens 2000, no,41).
ANASTASIA l}R,\NOAKI
' 190
Processional cross
Byzantium, prob."bl) lwdfih a111u11
Brontt, cmgra\'ed and rmboMc-d, GO• 46.3 11 J 6 cm
Wltrnon 11.:,/llu.Wc,td•nrttfhl<lOln-dr I.\ V-,JkdtOmhT, mv nn NI ')ti
llltc.1,11•,,,.a.r.,.r,.a l..1110'\w~,dl1J11,p'Y>,oo, .. /ll,mnwu-Rrl,ufflfl1
The cro,s i, clccomtecl on the front and 1he back.
The inscription arc peppered wi1h spelling
rnis1akc,5,which might indica1c 1hat it ,vas
manufoc1urcd ouL"idcCon.stanlinople. The cros
was restored before 1975.The front shows the
Deposition from the Cross, wi1h Chris, (HCXCsic)
supported byJoseph and I icodemus, HOCH<!> and
NHKOMIMOC. Both Joseph and Nicodemus wear
long robes elaborated with engr.wcd lines, a
de orativc cffi ct which siam!J in stark contrast to
1hc simplicity or Christ' loincloth. The Archangel
Michael appears in the lower part. Hi impcriaJ
garb seems to have been misunderstood; the loros
characteristically worn by emperors is represented
by a zig-tagborder. Below him u,e Archangel
Raphael (PA<l>AHA),whose wings arc treated in
a dccorat..ive manner, wears a deacon's long
embroidered tunic (u1e dalmatic).
The lower ann of the cross shows the
Vi ita1ion (O ACITACMOC),
with Mary (MP8
and Elizabeth embracing one another. It is odd
that the letters of the name Elizabclh arc written
backwards, EAHCABET. The left ann of1hc cross
shows an abbreviated Nativiry (H rENHCHC).
Mary (MP8Y) and u,e Child lie in the same
posit.ion and their identically shaped bodies bear
a strange similarity to one another. The angel
on the right is named ANKE/\OC (sic).The
appearance 10 u,e three Marys {E [m]
MYPO<l>OPE) appear.; on the right am, or the
cross; the scene is so condensed that the angel
foretelling the Resurrection is cJided with the
figure or Chris1.
The reverse is sum1ountcd by the
Enthroned Chris, holding u,c Gospels {HCXC).
The i onography is not easy to read as the
elements arc so reduced. Below is the figure of the
Archangel Uriel {OYPHH/\), and another angel.
The lower ann shows the Baptism, buL u-cated
in a strange fashion. TI1e figures at the sides, the
angel (ANKE)anclJohn the Baptist (HOANHC),
arc strongly emphasised, whereas the figure of
Christ appears eramped.Jolm tJ1e Baptist wears
not his usual pelt, but a mantle adorned witJ1
circular decorations.
On the lefi arm of the cross is an abbreviated
Anastasis {IIANACTACMC).As he descends 10
Hades, Christ {MCXC)seeks out the Just or1he
Old Testament, reprcscmed here by Adam
(At.AM)and Eve {EBA).On the right ann the
Emombmem completes 1hc cy le.Joseph
(MOCH<!>)
and Nicodemus HKOMIMOC)carry
the body of hrist, and make their way to the
sepul hrc, which is symbolised by., door.
The lnrgc size of this ro~ and its
ico11ography, linked so closely 10 the stOl)' of
Christ and p.uticula.rly the Passion, ma) indicate
lhat its function \\as to adorn., funenU) chapel.
Pro cssional cross
Com1.1ntmoplcor nort!M,cslcm An:itolia, late clntmh
or earl)' t\,dnh «ntury
ilvcr, i1\v1:rgill,nidlo,iron COl'C.1.11d 1h.Ji, 131t 39 cm
l,n:,111.c
\lonttdeO-,. \luw..-,anrin;:&1fhlM0)1"nA,:c,r•..._.,. ,.,a_~
"O'\ ,JWlf'r
O.n.t..-', 1-.bi.
wd ro luit>t bttn round nnr r..iu thtr
'>April 19'17,kM91
III l'wkry; bou:i;tn,11
trLfCR0 ■ 1rnr'ICU
,~
Calnn19811,P•,.1!)88.no11,1•-•!l"P
111;:-.""Yot\.19')7,""'-■6,pp61 5
MRfj,Pfl-
TI1is processional cross is of Latin shape witJ1
naring arms ending with a pair of spherical
mclon~shaped serirs. One side is worked in
rcpoussC and highligh1ed with gilding, mid the
other is niellocd and gilded. The repoussc side
bears five figural medallions forming a Dcisis and
a rinceau pnttem emanating from tJ1c central
medalJion. Chri I i al the lop, the Virgin flanked
by l°\\l"O archangels in the centre and John t.hc
Bapt..ijtat the bouom. The decoration of the otJu::r
ide i inlcndcd 10 emphasise the relation hip
between [ncamation and alvmion. The
Crucifixion at the top domina1cs Lhc cenLral
composition formed by the Virgin Hodcgctria,
flanked by the scenes of the Annuncialion and tl1c
Prcscn1arion of the Virgin in 1hc Temple on 1he
side arms. The scene of the Virgin fed by an angel
at the bottom oft.he Cross creates a hon cycle
from the Childhood of the Virgin, unusual
subjects for mem.lwork (Lafontainc-Dosogne 1992,
pp. 136-67). Belo" is 1he figure of the kneeling
donor with his declicmory inscription in Greek:
'Ocisis [or uppli acionj of1hc monk Kosmas'.
The layout of the cross, ics iconography and
decorative techniques link it to a small group of
eleventh- or early t\\clfth-ccnrury proc ional
crosses, including the Adrianople cross at the
Bcna.ki~ Iuscum, At.hens, the fragmentary cro
at the Cleveland Museum of An, Ohio, u1e
fragmentary pieces belonging to tluce crosses
in the Dumbarton Oaks Collection, Washington
DC, the cro at the ~[ecropolitan Mweum of An,
Nc,\ York, the t\\O cro in the George Ortiz
CoUcccion. Gene~ and tl1c MuSCc d'a.n ct
d'histoirc, Gene,-a, respectively, and tl1c one in
Matzhl."Y.U"lchi( \'aneria} in Georgia, whicl1 is
distinguished by its enamel medallions (Paris 19921
p.329; New York 1997,nos 23-5, 27. pp.59-6-1,
66 7; Co,sonis 1994, pp.46-5+ and nos 2-3, 5,
pp.68-78, 81-3). The Cluny cross is reponed 10
have come from Eski~hir in nonh-we5tem
A.n.itolia, like the one in the MuSCcd'an ct
d'his1oirc, Geneva (Bank 1980, p.97; Mango 1988,
PP·-l' 8). This might suggest the atuibut..ion of
both pic.-ccsto a workshop located in this area,
nhhough a Con.st.mtinopolitan origin is possible.
■IUOfITl PlrAllAIUS
CATALOGUE ENTRIES 190- 191

The Cro-.;s of /\c\1i..111opk
l~Hc
lt'lllh t't'lllllr\
p.,r11.1l1,:1ld111J.!;
S1hcr ~ht·•·t\, \\llh 1·no;,"T.1n11g, ,rnd mcllo
cl1•corat1nn,n\ctrd ,11ouml ,Ill 1ro11<'Orr, 18 ">1t ii 1t o I cm
lkn.tli \lu,.-um. \1hrn• "" ""1r'll
r•m, \ "' • ln>nt \dn.mn1,Jr. "hr,.. thr oo,, ... 1111.111
1rr.i<,m· nl 1hr I ,rrr~ '""'"'""'''·
l or.11, ut l.nu.umr. nu,
1,.,.,,"1" io (,,rnr II'\ rrlucm
'lll~nUM1HKt\tl• 1~.. ,r.... ,,,.,,. \1hrn,l<N1 11nll7.p,h1 \
,11..11111<1•1·,., ..... \,,,~ 1w17 "" I\ l'I' ,,, IMI I) t-..~1\1,rb.1,
The cro,;, of Aclri,111opk (Edinw) i:-.one of the bt·,t
prt·sc1Yt·d of lux1111proce,,;ional cro,,e, to h.wc
,univcd from the ;\liddlc B)nntine
in Ll11.:
:-.h,tpe of., L..1.tin cro,,. "ith :,,mall disc~ on
1hr n.ring end°' of the ,\rm,;. From thr bouom
project~ a metal ,;lwct. med hoth for affi'-in~ the
cros,; in ,1 i.table i.ocket ,rnd for c.1n1in~ it in
pro e,:-.ion (Co1,oni;; 1991, pp.8
al the front i, .1 circul.1r r<'<"l'pt,tdc for
110" 10,1, po,;1::ibl),1 relic. HO\\ repl.let'd b~ ,l
rl·prc1;c111a1io11of tlw Rc:,,i1rrcctio11d,lling from
,tflt.-r 1.153.The central medallion i,; surroundt·d
b) four bu,b. ,H the ends or the cro~ .1mh .• \1 the
top is the P;m1okr:1.tor and at the bono,n is the
Theotoko-. in pra)cr. On thr horizon1al anns an.·
tht.· Ar hangd, ;\lichacl ,md Gab1id. B11.-,1:,, of
,.,int-. decorate llw ,m,ill cli,c.:,on the- finiah orthc
anns, the top leH one of" hich ha~ been \o,t and
rcplacC'd b) ., rmcuc-. Reprc,t'ntC'd on Lhe vc-11..ical
am1 ,ire hicrarchs: .11 the top right Stjohn
Ch1y,;o:-.tom and belo,\ S. Basil and Xicholas.
No doubt St Gregory the Theologian was
originally reprncntcd on the lost disc. completing
the ;;cquence or1he most 1mpon.mt FathcN of the
Church. The snull di;;cs on Li1t'" horizontal ann
arc occupied b) the hcalin~ s.1..im.-, Ko.-,ma:-.and
D,unianos (to the leH and the soldier saints
Sisinnios and Prokopios 10 Lhe right . On the back
, in the honoured ccntraJ position, is Stjohn the
Baptist, flanked b) SS. Constantine and Helen,
and by S . George and ·n1eodore.
The cross has t" o donor inscriptions. On
Lhe front: +K(YPl)E BOH01 TON 60AON COY
CICINION AMHN (Lord. Help thy scn--a.nt Sisinios,
Amrn). On the back: +YnEPA<l>ECEOC
AM(A)PTIONTOYt>OYAOYTOY 0(EO)Y CICINIOY
KE (QA 'OY nPECBYTEPOY AM(HN)(For the
remission of sins of the sen-ant or God isinnios
andjohn the Elder. Amen).
!lolost likely die central medallion on the front
originally contained wood from the True Cross,
as ";th other processional crosses or the period
(Cotsonis 1994, pp.28 9; Sandin 1995, pp.63 6).
'fl1e relic \\Ould h.1vc reinforced Lhe protective
pot(·ncy of the cro~ and Lhis is ,, hy the place of
honour at the centre was not occupied by Christ
or the TI1co1okos. The placing of Stjohn the
llaptis1 at Lhc cemrc on d1e back suggests that
the cross was a donation to a church dedicated
10 him (Bouras 1979, p. 25).
CATALOGUE ENTRIES 192-
Gold cros~ \,ith 11idloccl
insctiption
F..1!Mm ~lr"ch11·rr.mr,111,
ft),,\lllhttlllU•) !?)
Gold. 1111'1\o,!wight 1ndu1!111~ ,11\JX'INon loop 7..1 cm. \\ldth
1tm,,,c,~h11210g
ll1r 1 n,,,m ,M1hr lln11J1\111'"-1!11l~•nd,in n " t.\l
.. ,,1T1nu11u\11 lhh,-..1fl("l1,nu'8',,1~1• 1111,
,-.f1hr .-.d,..._u,t1t.\l
1,.1~.,,1ni:d..-
n......,Ll~, Gold cross ,dth :-.u,pcn:-iionlcx1p1 fan•lled .u-m,;
;md a C<'ntral colll't "hich \\ould have 01iginall)
con1.1inccl,\ gem or gl.,,;s p,,,tc. At tlw encl~or the
l.11cral.mn .md ,It the bottom of the \'Crtical arm
pr1iod. It i, a1't:'three loop~ from \\hirh \\Ould h,wt' been
,u~pc11dcd fu11l1cr~cm,; (or pt·rhaps the lettc1-.;;
:tlpha and omc~). On each .mn
nidlocd Grcrk inscription: EM/Ol/ /MH/ rE/
NOi IHlttop): KAYXAC(lefi); 0AIEIMH(1ight);
37). ln tilt' t·c-ntre EN/TQ/Cf I AY I PQ/TOY /KY I I-IM /QM/ IY XY
,u, objc-ct bottom) (Eµm br ~111ytvolTO xcrnx«oOcu
r1 ~111
cv TW
mat•Qu)rnu Kt,,010\u1wwvll11ooluXIQtmo]u; l\ lay
God fo1l>idth.u I should glot)', sa\'e in the cross
of our Lordjcsui. Chiist).
The te:-..tis a parLial quotation from GalaLians
v1. '·I• the missing second half of" hich continues:
'by \\ hom liw world is crucified unto me, and I
unto Llw world'. AlLhough Lhe fonn of the cross
can be compared with numerous Late Amique
t·xamplcs. the nidloed inscription ii. unparalleled.
Gold crosses of this period often depict the
crucified Cluist Hanked by buslS of the Virgin, St
John and the four Evangelists (Ross 2005, 110.15,
pp.21 2 1 pl.xxm). The substitution ofLlic figure of
Christ for an inscription, and the emphasis placed
by that inscription on Lhe redemptive powers of
the Cro~, suggesis Lhat it may belong to the
period of iconoclasm, when Lhe Cross was one
of Lhc few images sanct.ioned by iconoclaslS.
194
Pectoral reliquary cross
E.lr\cmJi CCIIIUI)
S1her shet:t, mdlo, 7.1 • 3S cm
fl<;u.l, \h..-um. A1hcn,,, uw no. 2U)92, ~•9'J3, 219!H
OL¥CTro una.r~cu All1'ro,-19'H• no S...llP 161 1 ,\..J>r.uod.u, r,,:C\OI'
H)97.no113.11p172 :!, I} K.1lQfl:I..,. ~•m,nol1).l'PS:P
\. B.ollu.o . Athr-ns ,..l(IO 00 2~, I'll :)09 10 ll l~\Mab, R.o,tnna -••
p.~,11 \ Or:&r,,W.i uooo,, 1007. oo 100. p '!P 1A.Dnndull
·n1is silver pectoral reliquary ross, decorated wiLh
nicllo inlay, comprises two outer crosses, hinged
together at Lhc top and bottom by pins, containing
an interior cross, wiLh an opening intended to
hold holy relics.
On Lhc obverse is the Crucified Christ,
wearing a long, sleeveless colobion, decorated
wiLh t" o vertical davi. On the upper part of the
cross is the abbreviated inscription JC XC, and on
eiLlicr side are the symbols of the sun and moon.
On the reverse is the figure of the Virgin Orans
standing on a pedestal, (lanked by angels holding
staffs. The hand of God appears above her. The
combination of the Cnicified Christ wiLli the
195
Virgin Oram emph,11,i-.;t..•,
the id(•,, or1ht
lnc,tnl.\tion ofCh1i,1 through tht..•Viigin for the
~~h,11irn1~fl1u_m,u1ki11cl(Co1,onis 19g,i, pp. _ ).
47 8
I hC'o,;otenolog1t,1l111t•s1,,1gc
of the iconography
,uit,; ,, di, ,md ,It the ~.unc time reinforces, the
protect in_·power; of the relics kept within the
cro,;s.
1 hii. cross bdonbr-s to a group of pectoral
rl'liqu,1ric~ tha1 \\Cre p,micularly popular in the
years .,fti:r iconoclai.m, from the ninth to the
t\\clfth ccntUI)'· The most precious examples were
made or gold, such as the famous Pliska reliquary
cross (cat.53), or silver, as is the case \\~th the
orthe cross is a Bcnaki l\luse\1111c ·ample. Ncvcnhclcss, the
impressive number of su1,~ving similar reliquaries,
produced in cheaper copper alloys and found
throughout the Byza11Lincrealm, indicates that
amulctic jcwcllcq 1 of this type was fashionable
in all regions and among all social strata or
Byzantium (Pitarakis 2006, passim).
The iconography of:\lary on this reliquary is
1hc same as Lhe apse dc-coraLion of the Church of
the Virgin Chalkeon at Thcssaloniki, elated to
t028. Apparent.ly, this iconographic type, known
earlier, such as the ninth-cemu1y apse decoration
or the Virgin ofliic Pharos at Constaminople
tango 1958, p. 182) or lhe co111cmporaq1
miniature inscned in l\ 1.sGarrett 6 1cw York
1997, pp.go-,, 110.43 [K. Corrigan]), became
increasingly popular during the eleventh century.
The Emperor ConsLantine IX Monomachos
(1042-55) issued coins with Lhisimage oft.he
Virgin bearing the epiLl1et Blachemitissa, 1.hus
relating it to 1.hemiraculous icon ofLhe Blachemai
Palace (Grierson 1973, pp. 736, 745-7). The
iconography of the Ilcnaki Museum reliquary
cross and the execution or ilS niello decoration
suggest an elevenlh-century date.
ANASTASIA OR.A."'.OAkl
195
Pectoral reliquary cross
Comtanlinople or Anatolia, de,•e111.h
Yooli
century
3 Copper alloy, 7.3 11 4, 3 cm
no 71,
lk~ M-... All1cno.low 110mv
:::=-:~,!0:7:.
~~-=~!~':.1i~~
~~ :~~ ;~
This copper-alloy pectoral reliquary cross is an
engraved version of cal. 197. The Christ on tl1e
Cross, dressed in a colobion on Lhe front side
is depicted alone, while the victorious fonnul:
l(HCOY)CX(PICTO)CNHKA Uesus hrist
conqu~rs) replaces Lhe customary Gospel
quo1auon. The reverse bears Lhc image of tl1e
ruU-length standing figure of~,e Mother of God
framed ~y three star motifs. The Virgin has bot.h
~lan~ raised in prayer, while an inscription
~nvoking her as Thcotokos (0EOTOKE) is divided
etween the side arms. ln Lhe iconographic
~.pe~to_ryof ngrnved copper-alloy crosses the
1rg111
is glorified lhrough the use or mu!Li~le
. . "hit h d1·rivt· f'Iom church
1
k~t nptHJll' , '
• h)' Nt'XI io the 11111vns,1I!\lo1hcr
h)ll\110).!l•II' ' ,
, ,l' ·uT tlu· ,1ppcll.111ons l\lnthcr
r(.o
1
(I '
•uirl 'P,ui,i~i,i', "hkh an· 1101 ~omm,on on more
' • ·uh ohjl'cl<;, The vancty of names for
pi-cc1011s c . ~k-aion da ~luxn d'•n
thl' Virgin 111,1y 11,t\lt'hce1.1forced o.n 1hc artists
hyihc Lick ofstylio,;1icvanety pcrrrnuecl hy th
roppcr•alloy surface.
The c,1tcgory of engraved copper-alloy
pc(toi,d rros~c~, con:1hi.ni11gthe Cru ifixion, on
one sick, with the Virgm Ora11s, on the other,
appears to have gradually s~1ppl.'rntcclthe crosses
";th moulded relief dccorauon
elc\·cnth century. However, a distinctive type \\~th
rdil'f decoration combining Lhc naked figure of
Chris! on the Cross in a loincloth on one side,
,,ith the I lodegetria on the other, becomes
popul,tr during Ll1etwclfLh century in Russia
and the llalkans (Pi1arakis 1996, pp.So, 23r41).
The quality of drawing and workmanship of
this example allows its atuibution to an ex-pert
craftsman from a workshop probably located
in Constantinople.
ORIOi rre l'ITARAKIS
Pectoral reliquary cross
Constantinople or Anatolia, deventh century
Copper alloy, 8 • 4.5 cm
lkn..b Miunom, ,\them, onu10 _liM6
,._o,·L~A..,.<:r boogh1 ,n luanbuZ, fonnacoll«non
PMcllon,!\1.ly19(18
lrl(CTUI RU[Rl'..'<iCU Athens 2000, no.26, p.31,;
f-s6,Njonp68
This copper-alloy pectoral reliquary cross belongs
to t.he same category as the two previous ones.
The standing Virgin Crans on one side, topped
by an inscription identifying her as Panagia
(nANArIA) is flanked by 1wo bust-length figures
identified as Peter (nETPOC) andjohn (IOANHC).
The other side is dominated by t..hestanding figure
of St Stephen (0 ArIOCCTE<I>ANOC), also praying
and nanked by two stylised censers crowned with
small crosses d1a1 emphasise his protective power.
St Stephen has a high.ranking place in the
repertory or sainis found on bronze crosses. He
is preceded by S . Georgc,John, Peter and Ll1e
Archangel ~lichacl (Pitarakis 2006, p.97 and
Table 2 1 p. 108). Even his name, meaning
'crown' and o referring to victory, enhances t..he
apotropaic message of the ro and the idea
or \~ctory against evil forces.
The ornamental pauems used on die
costumes and attributes display a taste for
triangular patterns whi h may have been inspired
by the form oft.he capita) •alpha' found in Lhe
inscriptions. The distinctive pauern of a circle
inscribed within a crosspiece and the stylised
fooi:,.vearof St tcphen recur on several crosses
of Lhis category and arc used in representations
of Christ, Lhe Virgin and various saints
(Pitarakis 2006, nos 335, 37•1-i407, 4o9, 46,~, 448,
482). The difference in c1uali1yof workmanship
of these popular objects rcncct~ the 1as1cand
• , • ,
ol Chnst diITcrcnLsocial levels or patronage in Byzantium.
I\JllOl"n-11, 1•1
rAR.AKIS
197
Pectoral rcliqu;u)' cross
Comt,mtinoplc or An:uolm, lair-1en1hor eb·tnlh ccniury
Copper ,1lloy,9.5 • 5.5 cm
lkn~ll Mu"'"om, Athena., Inv no 211)9') 91
novr.Jt,1,<;<:r I lrlrn 'i,caeMw.CoU«uon.mucrnt !kn.Ju M"'"'"', Ad1m
21JuJ11970
111 the course of the u:ucn;o a,rr.R,'lllr.t l(JSl,no n. p-46,pl.77,Athtn, '99-1•
X)-ngopouk,,,
"°
no 81, p 1.w;Athnu 1000, no.23, p ,o8, Viunl.i, ,ooG, 19, p 195
This copper-alloy pectoral reliquary cross has
flaring arms and consists of two hollow sides
forming a box.like interior for encasing relics.
The upper hinge, in a fragmc111arystate, served
for attaching a suspension loop (now lost). The
relief decoration on both sides is obtained by
casting in a mould, while the inscriptions, facial
features and costumes arc highlighted with deep
engravings. The layout of the cross is intended
to emphasise Lhe themes of Incarnation and
Salvation. The ChrisL crucified, dressed in a
colobion on the front side, is flanked by the
standing figures of the Mother of God and john
the Evangelist, who arc shown gesturing in his
direction. The customary scriptural verses 16E 0
YO(C) COY and 160Y H MHTHP COY (Behold your
son and Behold your molhcr Dohn XL'(, 26-7])
arc engraved below the ouisLretchcd arms of
of~Mdioft GIil cL
J>agn.b,i 2006, no.)96, p.311, Christ, while the word <l>(Q)C(Light), insened
bct\vecn the sun and the moon above Lhe titulu.s,
emphasises cosmic panicipation in the event. 111e
reverse bears the image of the full-length standing
figure of the ~1l0Lhcr of God in prayer. She is
framed by the medallions of the four Evangelists,
who arc identified by Lhe first letter of L11eirname
engraved oulSidc the medallion.
Recent archaeological records have shown
that rather than being Early Christian sou,'C.nirs
from tl1e Holy Land, as had long been accepted,
the hundreds of crosses of tlUStype belong to a
producLion of the late tenth or eleventh centuries
that was massively distributed in Constantinople
and Anatolia as a response to an intensification
of the cult ofLhe True Cross and an increasing
demand for diJfercnt kinds of relics at all le,'Ci.s
of society (Pitarakis 2006). Their iconography is
inspired from that of more precious models in
gold, enamel and niellocd silver. These crosses
were probably acquired at pilgrimage shrin and
monasteries that had become repositories for
collections of relics. E..xamplcs whose contents
survive contain bits of wood and bone fragmcnlS
encased in balm, pebbles and eanh.
Votive hand holding a cros
six1heighth ccmul)
Syria-P.1lcstinc,
Hronzc, 24 x 10cm; cross, 1311 10cm
fl d'hu1om: de:Li Vilk de:~,:, ,m ntt.M 2004•
11LICTHl Rrffu.Xcr Manm~m-Rfl,n- ~
The origins of 1hc v01ive hand can be traced back
10 pagan Antiquity. For example, the Phiygian
god abazio , son of Jupiter, was Lhc object of
a cult whose material ma.nifcs1a1ionconsisted
1,
of bronze hands, sometimes adorned "~Ll1pine
cones, lizards, snakes or phalluses. L.1rge
numbers of these hands have been found in
different parts of the Roman Empire. OL11c:r
hands arc linked to the cult ofjupitcr Dolichenus
(Boucher 19731 p.1+2, nos 220-1 1 Painter 1977,
pp.16-17), or to that of Jupiter Keraunios.
These cult objects are undoubtedly the
precursors of Christian votive objects (1 ew
York 1979, pp. 18,f-5 and Fran~ois 2004).
Although a good number or C.."<amplcs of
pagan votive hands have survived, only about a
dozen Christian hands a.re known, and these are
now spread between various museums in Europe
and the nited States (Ross 1964). Thi example,
with its tapering fingers and hollow palm, offers
characteristics similar to those of another votive
hand, also in the Zak.as Collection, among Lhem
its e.xtremely slim appearance, accentuated by the
e.longation of the fingers and C.."\.--aggerated
hollow
of the palm. The thumb is unusually tJ1ickand
long by comparison with the other fingers.
The hand, which is in good condition, was
evidently meant to be finnly am."<cd,as a nail can
be spotted in t.hc centre of Lhe suppon, which has
a funher three cavities for nails. It is identical to
now in die museum of the Kykko
an c."'<a.mple
monastery in Cyprus (Perdikis 1998, p. 17).
\\'here their provenance is known, all
surviving Christian votive hands seem to be
~ Liddle Eastern in origin, supporting an
attribution to workshops in yria-Palcstine which
ceased work after Lite rise of Islam. Howe,·cr,
some researchers attribute I.hem to Lhc ''"orkshops
ofConsrantinople (Paris 1992, p.120, no.67).
199
Pectoral cross with four Evangelists
Consuntioople I"'), !tCCOndlmlf of tJ1~clc-.cnlh century
Cold. fil1grce,clo1sonnCand cftam/n,rlcnamd, emeralds,
toum,almc, pe:a.rb,9 x 6 • 1c.m
St.ut iwwn ,1-norr- .\Ju.M...,..,,," 11-1&:t
,.o~U<N<CL prvt.ablyrronoi......wo ... uvan,,,-CG&i:c-.!\loom~SG..-
11--=-l Mwev,n,:,.ti,,w..,frum1~ Su,ic l'wh.wi '1WNm ofllll&"VII.
\1-.r,,..,9.»
l&UC'TMt un:R.L,GU. INanmr, lQO;i,•'lilio.no.S.JtP-18~·,. trolo,,, 1g61.
-.rn,pp..23,)- 6, r"°'°'" •~no.,n.pp.118.n,,~T- B:.n); ,Q66.-.,&o.
f,c on p.,cn: ,I'."
Darkr,,..:h '97\.P.2'70• "ilOIOO\O1971,wl..2.no"9,p.8o.lbn1.1~-•l+
'l<.d 1997,no.on. pp 171 t, r,c c.1 p.171
The anns of the cross arc decorated with round
enamelled settings representing the four
CATALOGUE ENTRIES 196- 199

Evangelists, St ~latthcw (top), Stjohn
Theologian (bonom), St Luke 0eft) and St Mark
(right). Reel enamel inscriptions in Greek can
be seen al the cdgcs of Lhcsc medallions. The
missing central medallion probably depicted
Christ blessing. The m:ljority of the surface is
adorned ,,~th nor.1\ and gcomcLrical patterns.
The Byzaminc craftsman combined the cloisonnC
and d1ampln1ienamel techniques and used a
multicolour palette of black, white, red, green,
yellow, dark- and light-blue enamels. The rolled
filigree \\~re is very fine and the miniature images
arc highly detailed. The Evangelists' fc:uurcs, their
hair, hands and ganncnts, arc varied and refined.
The high quality of the enamelling
makes it possible that this cross was made in
Constaminoplc. Boyd mentioned that the cross is
comparable \\~lh some other objects executed in
the second half of the eleventh cennuy 1ew York
1997, p.172). The original destjnatlon of this piece
is unknown. ndoubtedly the crucifonn ca,~ty on
the reverse was intended 10 house a ccnain relic
and the loops on the vertical ann were used for
hanbring it. According to Kondakov, the cross had
been adapted 10 become part of a votive crown or
some other piece of complc..xjewellery (Kondakov
1892, pp. 170- 1)1 but no precious objects of the
~ 1liddlc Byzantine period arc known to contain
similar details.
200
Lapis-lazulj icon with Chris1 and the Virgin
Const.."lnlinoplc,first half of twelfth ccmury
l..apis encrusted with gold, silver gil~ filigree, copper
(the modem ring), wax resin, preciom stones, one pearl,
height 8.3 cm (10 With the ring); l11pii:6.4 • 4-3 c:m
l'olw.te du lomff, l'al'b, Drp,:,nnncm da ot,cu d'An .... gs
r•ovutA.,11:.E· ronnnly mill(" tn:asuf) cfllK-Abl,eyo/Sam1-Dmn.,
r.,. 1hc fine umt m ,1,,. ablwc,,ulftl 1n,TnllJrYof•~
cc:mral do arn (1hc forcrunnttufdoc: I.QU,-.c),~ Dttcmbcr 1793
u:u:e,-w ao:,u.~,rcu Ulloonlc 13», no.71), Biubc1 lltJouy 1865, pL,u;
~larq~ di: v ..... o 19,..._no..791, I'll-•';1-';on, 1931, tKt..137, Mon-iuiou-
f1g"-ngc and Gabom-Oiop,11 1973-77. ,'OU , •nd a, 110.-10.,'Ol.3, pp-46-7, pl.ag.
I :uu 19'4. no~. l'an1 1991, no 39, l';un l<l9'l, no.133, N.,... York 19970 no.1S3
ll1is l\,~n-sidcd cameo is carved from lapis lazuli.
\ Vith the famous Chrisl in the Moscow Kremlin
~'luscum (New York 1997, no. 129), 1..hisis one of
the fincsl surviving Byzantine cameos in this
precious stone, seldom used by the Byzant.incs
for making cameos or intaglios. One side depicts
ChrisL blessing and the other the Virgin praying.
Titc letters of the inscription, the haloes, the
crosses on the Virgin's robe, the adornments
on the book held by Christ and the two stylised
bu.shes arc all encrusted with gold. This process,
reminiscent of the silver damasccning process used
on a group of brass doors in the eleventl1 century
(cat. 265), is very rare on hard stone. The style of
the relief carving fits a twelfth-century date, and
the stylised design of the bushes can be parallcled
in the first half of the twelfth century, notably with
the enamelled foliages of the True Cross of Maria
430 CATALOGUE ENTRlES 200-202
the Comncne in Ei11e-Audcnarde (llnisscls 1982, 0.21).
The mounl in silver gih 01iginrilly had
ahcrnating pearls, turquoises and projecting
filigree rosettes and the vanished edge metal
strips had rows ofpcrirls. The mount is hollow and
filled ,\11ha dense \\13-X resin to pro,~dc a measure
of solidity. The bezels holding the p arls and
turquoises, like those holding the filigree rosettes,
were simply fixed ,,~Lh wa.xto the resin support,
the me1al ha,~ng been cut away to accommodate
them. This techniqu appears on the fa1nous
JaucoU11 True Cross reliquary in Lhe Louvre Waris
19921 110.249)and avoids the necessity for welding
or soldering. The filigree roscues recall those that
were widespread in Byzantine marble sculpture
from the eleventh ccmu11r on, and in jewellery.
So it is vel)' likely that the mount, which docs not
resemble any sur.~,~ng Byzantine metalwork of
a la1cr period, dates from the same period as
the cameo, an exceptional ircumsrance for a
Byzantine cameo dating from before the
thirtccnlh ccmury. Otiginally furnished \\~th a
ring, whose guide lugs still survive, the icon must
have been attached to a chain which would have
allowed it 10 worn as an e11kolpio11,or to be hung
in a sanctuaI)• or a princely chapel.
201
Reliquary e11kolpio11
~ fid-
10la.le1emh ccmury (?)
Cold, silver gilt and doisonnC enamel, 3.8 a 3.2 "o.6 cm
6::::-
}~=-~~~nc:
,W. ~hmond The 1\nhur and Marp,cl
n:u:cn.P a1tna,..,rcu• Rkhmond 1994, no.~•, pp 116-19 ("11h ~,Iler
bo"bl,ognphy);Ntw York 1997, no 109, l'·'S'J
lllls small qua trefoil reliquary consists of two
enamelled plaques tha1 fonn the c.xterior surfaces
of a small container. Both sides are decorated with
mcnooncd
dqJoOMtcd m lhc M.-um figures in cloisonnC enamel. Inside the container is
an auached small cross-shaped compartment for
most likely a particle of the True Cross. On its
obverse Christ (IC XC) stands in the centre in full
height flanked by the busts of the Aposdes Paul on
the left and Peter on the right. Peter holds the
cross staff and Paul a book. On Ute reverse in a
similar composition the Virgin Mary stands in t11e
centre in an orant position flanked by the busts of
the Evangelists Luke andjohn. These two figures
were probably chosen to Hank her, since both had
a direct relationship with her: Luke supposedly
painted a portrait of the Virgin andjohn is the
Apostle chosen by Christ while on the Cross, when
he said 'this is your son' to her and 'this is your
mother' 10John, to take care of her after his death
on the Cross. It is believed that she lived witl1 him
in Ephesus until her death. This all relates very
neatly to the fact that tills reliquary most likely
contained a fragment oft.he Cross. Christ on the
obverse witl1 the two main Apostles represent., the
foundation of the Church tl1rough Peter and his
teachings through Paul. All figures arc identified
by prirlinl insciiptions placed awkwnrclly in red
infc1ior ltuering on the gold ground around Lhcm
(a number of them have lost the enamel). Overall
the craflsmanship of the enamel work is of low
quality, although the use of colour in the garments
belies this foct. Chtist and Lhc Virgin are clad in
dark purple, the Apostles in hues of light- and
dark-blue vertical ahcrnating segments.
JOLI K,\L,\VREZOU
202
Cameo with Christ Pantokrator
Const.uuinoplc, early thirteenth cclllUI)'(cameo); Serbia,
PcC or Pdzrcn, early SC\'Cntccmhccmury (setting)
Jasper green, cutti~1g;silver, hammering gilding; enamel (blue
and green); carnelian, mother-of-pearl, glass pas1c,cameo
length 4 cm; width 3.5 cm; scuing length 7.2 cm; width 6 cm
::~c;~ An, lklgr.-d.:, ilw nu <1581!
M1n~umor Ap,ph"-<i
~c~:~~:;.=•
1
~
3
:/0\'lt
1969", l'.oru 1983,no ~4,
The bust of Christ is executed on an ellipsoid
olive-green piece of stone witl1 red traces 1 in
high relief, with powerful and exact cuts. The
inscription (IC XC) is incised by plain strokes and
Christ has a cn1ciform nimbus. His expression is
peaceful, his hair long and pa11ed. His garment
Q1imation) covers the bust and its folds appear
very son. The righ1 arm is raised in a sign of
blessing. He holds a Gospel-book in his left hand;
its covers arc decorated "~th incised, simple
small circles placed crosswise. This exquisite
cameo forms a pair with the green jasper cameo
depicting the Mother of God Orans, which is kept
in the Serbian monastery of Hilandar on Mount
Athas. The identical material and manner of
execution of both cameos and a story about the
Mother of God Orans ha,~ng been 1aken to
Hilandar by St Sava, the first Serbian archbishop,
makes it likely that the cameo with Christ
discussed here has a similar history.
The fitting follows tl1e shape of the cameo;
it. is ellipsoid and has cmciform bezels for
cabochons of various colours. The front side
of the fitting is decorated with stylised chickpea
shoots whose leaves arc executed in green and
blue enamel. On the back, along the rim, runs
th e same ornamental decoration and in the oval
gilded medallion is the bust or d;e Mother or God
(Theotokos-Orant..,) in shallow relief wit11the
initials (MP EIY:IC XC). It should be noted that
here the Mother of God has a long band over
her arms representing her protecting veil.
The cameo was acquired by t.he ~ifuscum
of Applied An B I d . 205
S . . ' e gra e, Wllh the collection of
tamsla~, S1mono,~C:who bought it at PeC.
The fitung was manufactured in Kosovo and
the cameo ma h , Conslantinople or Asia Minor, arow1d 900
b . Y ave been used as a pectoral icon
Ya pnest connected 'th D
Patriarchate. \vt eCani or the PeC
DUII\N • 11LOVANov16
•
203
Pendant with Christ Pantokrator
Con\Htlltinoplc(?),clevcuth or 1wclflhcc11turyin a sixtecnlh-
ti"1g:old prcciou~ stones, pc.iris (mount),
ceiitui)'
Kockcry; •
111
1, '
. • • 1.2 cm (including mount)
61 6
lkt1,liM~::•~•~~:•\!:•1:r::~
1~~~. Dall.1.1
pp '4-5,
pl.Ii~
11011~, I) 199, 19!)0,
:: ~:~~I• rKl 79, p.,57, pl.79, Gcorgoula 1999, no 130, pp.3-t9-51,
1
Rcprcscntccl in relief at the centre of this
octagonal rock-crystal medallion is Christ
Pantokrator, in bust. The inscription IC XC 0
nANT0KPATQP frames Christ, who has a cross
nimbus and holds a closed book in Ills left hand
and blesses ,,~th his right. The elegant proportions
and face of Christ link the medallion wit.h a series
of hard-stone cameos with busts of holy figures, in
the Dumbarton Oaks Collection, \oVashington DC
(Ross 1962,no.120), Paris (Paris 1992 1 nos 186, 191,
201,202), State Historical Museum, :Moscow, and
l'o1>0•1t 1983, t.heState Hennitage Nluscum, St Petersburg
(Bank 1985, p.298, no 155, 156), which date from
the tenth to the twclfiJ1 centuries. It is a powerful
image despite the low relief and the abstract effect
of the transparent material.
Rock crystal, a stone accredited ,vith magical-
curative properties in the Byzantine world (Psellus,
Pl,i/osopl,ica,p. 118),was used widely in Islam and
the West, mainly in larger objects of sacred or
secular character, such as reliquaries and lamps
(Hahnloser and Brugger-Koch 1985; Shalem
1994). Although the surviving Byzantine artefacts
in 'cold stone', as it was named characteristically
in Byzantium, elated after the sixth century arc
very few (llfondeU Mango 2003, pp.368-9, 372),
the texts confirm their existence during the
Middle and Late Byzantine periods 100. Two
epigrams by Manuel Philes (thineenth century)
refer to ro k-crystal icons of Christ (Philes,
Can11i11a, I: pp.65-6, II: p.38), as well as one other
enkolpio11 with the image of Christ, in the same
material, which is dated to the eleventh century,
showing the wide popularity of this type of image
(London 1987A, 110.32).
Originally the medallion was intended to
adorn a larger object, such as the cover of a holy
book or a reliquary, or the frame of an icon, as
is indicated by tJ1e cylindrical protuberance on its
back. The precious material, the quality of the
craftsmanship and, very possibly, its value as an
heirloom led a sixteenth-century owner to
incorporate it into a pectoral ornament by setting
it in the intricate mount of gold, precious stones
and pearls that it has today.
VAUILIKl POSKOLOU
204
New Testament, folio 17811
Mid-twelfth century, Corutantinoplc
Parchment, -.io.5• 15.5cm, IU + 431 folios
C<Jnlmts: EuJcbios' lcuer to Carpi:mus {17r17r); Four Gospels
(21r;2221, ~cu (232r-287,),Catholic Epistles(287bi.rr-312,),
Paulmc Epmlcs (313r42¥), 1he iceno-Constantinopoti1an
Creed (425,),with liJts of Gospel pcricopcs ror immovableand
movablefcasu or the year (1,;,-160),lisu or Epistlepcricopcs
ro;1l_1cmova.blcand lmmCM1blefca.suor the year (224,Di.r-230,)
B~ndmg: 1hesilvercover, produced in Nuremberg and inscribed
wnh the name of the book's eighteenth-centuryowner
Hieronymm Wilhclm Ebner von Eschenbach, bears a 'icnth-
century Uy,:amincivory plaque wi1h1he Enthroned Chf'U1
Pantokrator
fig.,<4
Hodlci.111l.lbrary, Oxford,Aun, T Inf I 10 llfC. 13&.S ,8118)
1111391and 1110In Coruu!lulWlplcm
II the lfodrgon IJIOIUll"-ry
~aOVl\lfA.'i'Or..;
15JS,the:l.ooli:wu acqw,cd 'frorn the ~• by I lk,onymm Wilhelm F.bna V()fl
F.Khenbach(16'3-17l2l, the Suet ,\rch1'ill • NumnbclJi ,old to 1hcBoclc~n
l..ibnry, Chford, Of\ 19NO\-embcl- 1819at the ■ ucoon houtc Papic Md t'oa
1u.1.ano ar:,r:~"C';'· ,\1hc:n1•~. p.,o,, no 296,fig.296;Mcmtith ro(,6, pp
-419-24..,th urlitt bibhography.1..()111.)(m
rm pp,16'1-3, 110,78
Named after its eighteenth-century owner, the
Codex Ebnerianus is among the finest illuminated
books from twelfth-century Byzantium and the
most meticulously painted of the so-called
Kokkinobaphos group of Constantinopolitan
books (see also cat.59). Illuminated New
Testaments are rarer in Byzantium than
illuminated Gospels, and suivive above all from
the twelfth century, presumably in response to the
period's vogue for private devotional volumes with
New Testament content. The Codex Ebnerianus
is striking among them for its imaginative energy,
seen both in its effulgent ornament and in its
extension through Acts and the Episdes or the
iconographic formula used in many t:welfih-
cenrury Gospel-books, pairing a sacred author
"~th a feast icon. The manusoipt has played a key
role in scholars' understanding of the ILL'\'lJTY book
trade in both twelfth- and founeenth-century
Constantinople.
Long assigned by its sheer quality to the very
beginning or the twelfth century, the book belongs
on the basis of its script to the mid-century, thus
shattering the conception of the Kokkinobaphos
group as a coherent scriptorium slowly devolving
from initial brilliance to dry repetitiveness. The
group is no longer interpreted as a scriptorium,
but rather as an artistic manner practised by one
or more painters working "~th different scribes
and patrons and varied levels of financial
investment. At the end of the fourtecntl1 century,
the Ebnerianus was in the Hodegon monastery,
where the scribeJoasaph altered it for liturgical
use. There its illumination must have provided
a model for a late-fourteenth-cenrury book now
in Venice (Biblioteca Nlarciana l. 8), thus
clarifying what had seemed an oddly late coda
to the othenvisc entirely cwelfth-ccnrury
Kokkinobaphos group.
ANNEhlARIE Wl:':YL CARR
Lectionary with the Last Supper I folio gv
Parchment, 3'2,8x 26.5 cm
N,uonat u~ ofR\IUloa,~ l'i:1<nbwg.(od. rr 1,
■.lHRL'«iU pp.~ 10. Lri;.__
lU.J.af'lO UUil(ho,'1, 1911, 199,t
This is one of the earliest manuscripts after
iconoclasm and the text is written in uncials.
Only sixteen folios survive, and this is in pan
by chance. The leaves were found bound into
a twclfi.h-ccntury manuscript which in 1858
the Bishop ofTrebizoncl presented to Tsar
Alexander IJ. When it entered the imperial library
these folios were taken out and listed as gr. 21.
A sixteenth page with the Baptism was later
found by A. Papodopoulos-Kernmeus in
Trebizoncl, and this was purchased by tJ1e
library and files as gr. 21a.
The Last Supper is an example oftJ1e
arrangement of the book. Below t.he scene painted
within an imbricated border is tJ1e reading for
Holy Thursday, starting with Matd1ew X.,'(VI, 20.
In die painting, Christ and the Aposdes are sitting
inside a building around a sigma-shaped table,
which was the form encountered in Early
Byzantine manuscripts, such as the sixth-century
Sinope Gospels (cat.49), suggesting that the artists
had access to a manuscript t.hat had escaped
destruction during iconoclasm, or else were
influenced by the artists of tl1e nintl1- and tenth-
century wall paintings in the rock-cut churches of
Cappadocia, who aJso painted imagery which
partly reflects earlier models and partly has the
new ideas which were developed after iconoclasm.
Christ, on the extreme left, is in the position of
honour and breaks the bread. Peter reclines
opposite him, stretching out his hands like the
eleven others.Judas, dark-haired, sits upright at
the front, hi, band touching hi, mouth. The bowl
on the table contains a fish, the symbol of Christ.
The fragmentary 'Trebizond Gospels'
includes a porttait of St Mark, the Baptism, the
Marriage at Cana, the Doubting of Thomas,
Christ's Appearance to the Nlarys, and the
\Vash.ing of FecL lt may have been painted in
Constantinople, but several scholars have
preferred to see it as 'provincial' work. 1n this
respect it is important evidence for understanding
how art was revived afte.r iconoclasm and how far
Byzantine an was created in Constantinople or
was a much broader geographical development.
ROIIL~COIUL\CK.
206
Icon with the Annunciation and saints
Late 1wclfth ccnnuy
31 x 27 cm
Gih~ln:r &httt, diased and repoUS.SC,
8cnaki MUKwn. i\t.hcrv..""no.36,p
Sal.l.CTUI auu.L'IC&J.; On.nd.ik, 20(110 tlaboyann, 2003. pp.1,s-6
This Annunciation is a rare survival of an all-
metal icon, described in sources as 'UQ'YUQal
or ·o>.ox6oµrrtol 1 •
blOXQUOOl', or ·o>-.oTl;WllOTOL'
Gabriel approaches the Virgin with hi, hand
raised in blessing. The Virgin Mary confronts
him standing. Her house functions as a frame that
surrounds and emphasises her figure. A smaller
CATALOGUE ENTRIES 203-206 431
 building is depicted behind Cab1icl. From a
quadrant lillcd , ..~th stars at the lop left comer, the
hand of Cod emerge,;;, and ray~ ofligln descend.
The border has elaborate leaf-scrolb, 1 t.·nrlosing
palmcue ... The background of thi-. rirh vcgt.~1al
ornamentation is finely punched.
In the top and bottom borders, six no,, empty
roundds would originally h<Wl'held .:ilvcr or
cn.uncl mcdall1ons. In the vcnical borders the
rinccaux arc imc111.1ptcclby t\\'O rectangular silver
pl:iqueucs "~1h 1hc portraits of saints, pos..:ibly the
Apo,;;tlc-. Peter and Luke, 111 a d1ffert"nt .:eale and
'-tylc. Technical examination has verified that
Luke on the right 1,;;a later aclcli1ion.
The double scroll,;;;;urrounding the palmeucs
on the border are encountered in fim1ly dated
twelfth-early thirteenth-century manuscripts
(l...ikhachova 1977, p.35; patlrnrakis 19811 figs 220,
227, 253, 273; New York 1997, 110.46,p.93
Q.C.Anclerson] ,. The clo,;;~t parallel to the
Benaki Annuncia1ion is 10 be found in the silver-
gilt cover of a Constantinopolitan reliquary in thc:-
Louvrc, Pari,;;, dcpir1in,g the~ laf) at the Tomb,
which date, from 1hc scconcl half of the twelfth
ccnlUI)' (Paris 200111.pp.73 7. no.20 D.D11randl).
A dating in that period for the Bcnaki silver icon
is fun her sug.'scsted b) the imposing depiction of
the hand of God sending divine rays towards the
Virgin, a fca1urc- of the iconogr.1phy of the
Annunciation that became popular during that
period, inspired by the theological debates oft.he
time (l(jrzinger 198~.• pp.99- 115).
An almost identical composition is rcprated
on the border of the late 1hinecnth-centt11)'
silver revctmem of the Virgin and Child icon
from the ~lonastef)' ofZanma, Georgia
lcJmans 2002, pp.317-23), suggesting that the
two representations, despite their different date,
scale and quality, arc clearly dependent on a
common model.
207
Handle of a standing censer (ka.tvo11)
Cons1:uninople, r 1300
Bronze, casl n1th cngra\Td d«oratwe detail, 28 6,. 21 cm
1k-1ukiM--., Atlocn-. ""' no.114cn
or.u:cu.u un.kir.,oc.-.1 \/,..!cry 1909 10, pp ,11 ,&. I.lo,'"'" 1'}81, pp 68 ?
8...-k •~• - ll.r 99(L llourw, Athnu 1994- no.lg
and l"O!OJ,-k:. 1997, f,g.427: Athens '1000, pp ,&, s. no.,tJ A. OraDllaki
Voo-k2'1'.JO.i,P•IJ8,no6.tiA.~)
171e large ogee-shapcd handle depicts lhe Virgin
Hodegelri.:a holding Christ. ·n1e background is
dccoraled with incised folialc scrolls, terminating
in three- or five-lobed palmclles and scmi-
palmcllCS and enclosing engraved inscriptions
MHP0EOYM 0EPAHIITTHCA and IC XC. TI1c
representation has parallels in late t.hirtecnth-
and early founeenth-ccntury mctah,•ork
(Alhens 2000 1 no.42 [A. Dmndakil),
The handle belongs t.o a type of free-standing
censer known as ka~io11or katsio11, and mentioned
432 CATALOGUE ENTRIES 207-209
in monastic charter.; (t)1lika) from the eleventh
ccntu11• (Gautier 1981, p.91, col. 1222). Such
censers arc seen in representations of the
Donnition of the Virgin or of saints, and so hnvc
been a.ssociated with funeral rites - a kal<.1011
W,lS
indeed found inn lomb at l\listra . 'yngopoulos
1930, pp. 129-30; Dr:mdakis 1952, p.50,1, fig. 10).
Out they ,\bo appear in pron: ·ional scenes
i1wohing icons, impl)1ng a" icier 1itua.l usage
(Se,·fo,ko 1995, fig.6). The possibilit)' of other
uses for this tn>e of enscr is suggested by the
existence of similarly shaped incense bumers with
secular decoralion, pointing to a domestic rather
than ecclc~iasti al environment (Byz.antinc
~luscum 2005, p.318, no.307).
The broad handles of such censers usually
depicted the patron saint of the church where
the ,-cssd \\,'5 to be used, suggcsling this example
came from a church of the Virgin Thcrapiotissa.
A text of 1394 in the Acta Patriarchanm, mentions
the theft of silver presumably the rcveu11cnt -
from the venerable icon of the Virgin
Thcrapiotissa Liklosich and l\luller 1860 go,
p.203; Oikonomidcs 1991, p.39). This confirms the
existence of a devotional icon of that name which
is reproduced in the ka~1on.The location of this
icon can be identified with the Constantinopolitan
Church of the Virgin 11lcrapiotissa re ordcd in
134.8-49 by the Russian pilgrim Stephen of
Novgorod (Majeska 1981, pp.359-65;
~lajcska 2002, p.104).
208
Plaque with St George
J\.sja ~lmor, fourteenth ce111ury
8ro111:c,gilded, hammered and cngravt:d, silver, 10 119.5 cm
Tht 1-.u1and Ak.undn Kanicllopouloa
Mu.::um,Atlini1., Ill\ no.x ,.s&,
KL.LcnD U'.ICkL>!Cll. 0...,wd,u» and~ ,007, no 99, p 1o6(C
5,Qmp;,,~1»)
The almost square plaque has an appliquC banded
frame of silver, \\1lhout gilcling and with large
foliate ornaments. The original hook for hanging
the icon is preserved at lhe top. The condition is
good, and most of the gilcling has survived, but the
lower right comer of 1.heframe is missing. The
inscription reads: 0 A(f'I0C) /ffJ0/Ptrl/0/C II 0 I
4>/A/f/PIINN/0/C (Saini George the Phatrian).
~,.
0.-ln'OfnllO
,rw St George is on horseback with his head and
torso mface, while h.is steed trots to the right.
He wears full annour and a cloak fastened on the
right shoulder, next to the neck, cove1ing his left
shoulder and fluuering behind the right arm.
Below the chest is the cingulumtied in a knot.
The imbrications on the breastplate arc lozenge-
shapcd. In his left hand he holds the reins and in
lhc right a spear, the tip of which reaches to the
right upper comer of the plaque. His head i lal'ge
in proportion to his body. The round youthful
face has regular and refined features. On his thick
curly hair is a diadem consisting of a row of
mcdallio11,;;,The lrnlo is lightly embossed.
The relief is executed in hammered technique.
The details on the garn1cms, the horse's inane
n11dthe i11scriptio11an• incised.
:he shape ofc~rtain letters in the inscription,
parucularly the A, 1s rather archaic; however, the
rendering of the imb1icatio11s on the breastplate
indicates a d.uc in the fourteenth century. The
epithet Ph:1trian de1ivcs from a fon1ous shrine
of the saint, at Phatrc in Paphlagonia, which
was named 'the Phauynon\ after the place
(Till g, 148 and 260).
Ml 10,U,UACCI
209
Plaque \\1th St Niketas
'I lnrtt·cnth C't'llllll)'
Bron1.c,hammered, gilded, innsed, 7.3 11G-4cm
,i.., l'aul and ,\J,:uudra lv.ndlopouk,. Mu,,cum, Aihrn., 1nv no x 1091
~ ~~~~~t..n u.,cr.
1 Ch~wdalu and Sumpa1u.11007 1oo 97, 1, 10~ (C.
The greater part of the gilding is preserved and
there is li11\edamage to the surface. The border
band on the lower edge is missing. The repoussC
inscription on each side of the halo reads:
0INI'V0ICIINI/KHffNC (Saini Nike1as), On
either side of the shoulders, the incised inscription
reads: ArlE/NIKHffA B0/1·10EI /TQC/(Q)//
60Y/AQOIXJM (Saint Nikctas help thy servantO
ChM). The lcttcrsOXM,wiLh which lhe incised
inscription concludes, have not been deciphered.
The figure is framed by a narrow, slightly
raised band. The saint is portrayed to the waist
and in frontal pose, with both hands in front of
the chest. In his right hand he holds a martyr's
cross and ,\ith the lcfi he venerates, wilh the palm
outwards. His facial features arc handsome and
regular, ,\ith a thin slraight nose, large eyes and
small moul11. His luxuriant curly hair falls on his
shoulders and his beard is relatively hort and
rounded. He wears a counly cloak wilh tab/ion,
which is fastened above the right shoulder with
a round fibula and leaves the right arm free.
Visible on the pan of the shoulder not covered
by the cloak is part of the mamiikt.s(a gold-
embroidered or sometimes gold ornament of the
costume, which surrounded the neckline and
ontinucd onto the shoulders). A1a11inkt.s and tnblio11
are decorated with engraved lozenges and tiny
rou nd els, denoting the embroide11• and the
pe_arl,sth3 t embellished them. Encircling Ille
samt s head is an incised halo.
The elegant feature and modelling of the
body suggest a date in ll1e ll1irtcentJ1 century.
The o~y discorclant note is the disproportionately
small nght arm.
MIClliL£ IIACCI
---
210
Ch,1liccvl'il
1..11c1I
iirll'<'lllh r,!11) founn·uth n·11tu11•,
Silkr111h1111dt
6'15• G-15rill
• I 1, 1,h ~tl\f'r ,1ml .::1ld1cl'll,cr 11,rc-ad,
itc
fl",.:,~~::,~t',•:,
11<nib\\u,ru1n \ 1l 1 f,~ 11 \Ir• (;hitml.ilti
·~,;:::-:~f~I'~:;~~;.\~1•
n~ (,,Nr",;
Ol'k
'lflO~."" ,ll(i,
l'I' 310 II(,\ llmUIRn)
This veil clcpi t~ the J\lrtnlrpsis(part~king of wine),
\diich forms p,lrt of lhc reprcscntauon of the
Conununion of the Apostles. Christ holds in his
right hand a jewelled chalice, Aankcd by two
scmphim instead of the usual angels, and stands
behind the aJtar, which is covered by a cloth
decorated with cross-shaped gammatia (corner-
pieccs). Above is an impressive hemispherical
ciborium edged \\1th red moulding and supported
on double colonncttcs.
A similar veil must originally have depicted
the t\ftladosis(distribution of bread), as other early
su'"'1vi.ngchalice and paten veils come in pairs
with complementary representations such as tJ1ose
in 1-lalberstaclt and Castell'Arquato Qohnstone
1967,ills 85-8; i\llillct 1947, pis CLIV--CLv). On u1e
Bcnaki veil Christ is shown from the front, as in
the apse of St Sophia in Oh rid and the chalice veil
in Chilandar monastery (BogdanoviC, DjuriC and
~lcdakovic 1978, fig. 101),bu, the portrayal is
exceptionally plain and strikingly intense. The
Apostles arc not depicted and on the altar cloth
arc two crosses instead of the Communion vessels
(sec Rome 20000, no.78, pp.212-13).
Stylistically the compact, almost square figure
of Christ recalls the style of painting found in
onstantinople and Thessaloniki between 1290
and 1310. The pale colour and the calm features
of Christ recall the Pantok.rator in lhe Protaton,
depicted on the marble pros9nttarion,which, like
the ciborium on the veil, is supported on a double
colonnctte with relief ornamentation painted red
('rcteriatnikov 1999, p.103 1 fig.2). Around the veil
the non-accented lilurgical inscription latthew
1
XXV1 1 26-8) is written in distinctivc, epigraphic
majuscule'. This type of script, common in the
Middle Byzantine era, underwent a slriking
revival in some late thinccnth-century
manuscripts. Also typical of earlier manuscripts
and metalwork is lhe direction of the inscription,
which tarts at the top oflhe frame, continues on
the right side and then on the left, and tcnninatcs
at lhe bottom.
ANNA IIALLIAN
211
Gospels with the Passion of Christ, folio 8gu-gor
Con.nruurnoplc,scC'ond half of clt\'enth cr111ury
P;u"thmtnt,30 1123'l cm
!~u~-.~b~ro!,!;,m;-;: :--=~~...::~
~~~Of~, ~i~Lflli, -w,
!= ~:rr"
8;bboteo.Buoovm,Luc,ca.,~ofKarl.....,.,-C
lf\c, 18?• 81~ r..w,,.,.,~-,86)
\j;-~:::;..,~:ic~ &:lc~:•ie.:.
llll)l,pp.ritl 71fG r.-ndon"\\onn~·u)tp1°'4
Thi, luxul)' set or 1he Gospels with the use of
gold leaf in many portions of the text and a high
standard of illuminations (some now naked) can
be ascribed 10 Constantinople in 1hc eleventh
ccnlury. The lex! ofLhe Gospels j9 wriucn in a
script known as Prr/Jd,rijl,
while other passages
19~3, 3 I• pb A 11,
such as ti Liesarc in Alexandrian or in epigraphic
capi1al,, It resembles the con1cmporary but
smaller book, E.D.Clarkc M,. 10 in the Bodlcian
Libml)' (Panna 2001, p.270 [G. Fiaccadori]),
while various details of the decoration direcl us to
a well-documented area of manuscript production
whose ou1put includes, among others, Vat.
Gr,1156 (Rome 20000, p.247 (F.D'Aiu10J), with
which this shares some features, including the
layou1 inlo squares of the scenes depicted in folios
1ur-12rand 89u-9ou, and also the red and blue
fabrics in lhe full-page minia1urc depicting the
Evangelists, or indeed the decoration in
Blutmblatt.rtil
of the opening pages; t.hesc consist of
New Testamenl scenes painted inside quadrilobes.
The layout of folio go, shows the high dcnsi,y or
illuslrations on Lhc page, with I.he sequence from
the Agony in the Garden, the Betrayal by Judas
and Denial of Peter to lhc Crucifixion and talcing
Christ clown from the Cross, aJI the pictures
framed by a luxuriant decorative border.
The manuscript came to MaJta from
Constantinople between 1206-08 and 1229, as is
documented by a series of annotations (Fiaccadori,
in Eleuteri 1993), and before 1470 was transferred
to the Monastery of San Salvatore delinguaphariin
Messina, as is clearly shown by folios 1-3, now
detacl1ed and preserved wilh the earlier binding.
TI1cse pages formed part of a manuscript from
which folios 278r-281v of another manuscript
(11essan. gr. 98 (Foti 1992]) also came. Next, the
Gospels were in the Biblioteca Buonvisi in Lucca,
and then entered the collection of Karl Ludwig
ofBourbon-Panna shortly after 1824-The
manuscript has been lhe property of the
Biblioteca Palatina in Pa.nna since 1865,
when Karl Ludwig's library was acquired.
SILVIA so1r10NI
212
Epit.:aphiosof Nicholas Eudaimonoioa.nncs
Constomunople, 11H::ssaloniki or I.hePeloponnese:,14o6/07
rimson stlk wi1h s1lvt:r,sih~r•gilt, and coloured threads.
8511140cm
\'"icw,,a •nd \lbc:st M..-um, l.oadun. ~t86J
~~=;.;~~l=Mi,n~~Ui::..~::.:::.:.~
l111Ra8od.in 1863
17.2• cm
u.u.onuar.,1,at."',Ci:,: Lor,don1~-n6,pfU1t 1, llC'~T•,b\
I\c,.York-..,no.t90,,pp.,16 1,1w1 \\~
This rich embroidery was an Ephaphios (or Gra,zd
/la), tarting in the early fourteenth century, as
pan of the S)'mbolism of the Easter ceremonies
marking the death and resurrection of Christ,
the E.pitaphios was used in the Byzantine ritual of
Good Frida)' and Holy Saturday, nnd placed on
~,,
the altar table for the rest of u,e Paschal season
until Ascension Day. At Vespers on Good Friday
the Epiiaphios was taken from the altar and set
up in the centre of t.hc chur h and dccoraled
to symbolise the tomb of Christ. The faiu,ful
mourned at lhe Epi1aphios until Matins on Holy
Sniurday. It was then carried in solemn procession
outside the church, brought back in and laid on
the ahar in preparation for the joyful liturgy at
midnight.
This Epitaphios represents 1he dead Christ on
the stone of unction (a rclic kept in the monaslery
of 1he Pantokrator at Constantinople since the
twelfth century), holy angels in stoics on each side
witl1 liturgical fans, and the four E.vangclists in the
corners. The background is filled wi1J1a symbolic
decoration of a scrolling ,~nc (an unusual feature).
The evocations of the Epitaphios arc recalled in
the Greek inscriptions around Lhe border, whicl1
come from u1e !ropona (hymns) for Easter. 'The
noble Joseph, 1aking down your spotless body
from the wood and wrapping it in a clean shroud
with aromatic spices, carefully laid it in a new
tomb' and 'The ointments used for human beings
arc lying here.. but Christ after suffering death has
shown himself again in another form.' A third
inscription records the donation oft.he
embroidery: 'Prayer of the servant of God
Nicholas Eudaimonoioanncs witl1 his wife
and children in the year 69151 indicrion 15
[= 1406/07]'. This name is known as among the
ruling classes of Late Byzantine Morea, and he
may have been based at ~Conemvasia - he is
probably the man of Ill.isname who was I.he
imperial ambassador to the Venetians in 14-16and
representative at the Council of Constance from
1414to 1417.The doth ,vas presumably a gift lo
a church in the region of~ lonemvasia.
ROB.L"I' COIUIACC
213
\Vall tile with an image of tr icholas
Probably Const.1.nunople,tenth century
Coloun:d aJld ttanspucnt glazes on white-ccrairuc,
16.81116-4cm
\Vall tile with an image of St Aret.has
Probably Conslllntmoplc, le.nth ccmury
ColOUff'd;llld iransparcl'II gLucs on ,1.-hiteecr.:ume.
17 1
'111,r\\Men,\r,ll~&lumoff.-~
r..U\L....._'-'U.. diicu>,uc,d111,'-~linorc'-c•IAMbul,11~~b)
l\'ilo.A~l,haa.bunbul,f.1gst,pwdla.dbyltobcn P..11,:o;hl.Jr~ll-~W,
-~~bythr:\\ahotDAnCalkry -\\IIRni\rlM_..~ 10_}6
«u.CTU> urua..,cu ('.oJW; dr LI t"CN ~ pP·•'!I 14.Alhct. 1964,-
m 000.JIP..,o 9,•)66tD Tllhll-R.tt.:-:~,otl1997 ,11U.1,"4r◄
!&.~bplff Ccnlitlandt...Ji:~-•,-A.11>-...dA.u,pp.,17 ~~
and ~ 'll ~~ .,.. bibllosnPhY
These tiles, not necessarily unearthed together,
come from two separate sets of uniform half-
length images of saints labelled in Greek as
CATALOGUE E TRIES 210 ·214 433
 ;\;1chol.1;;,P.tr,hl..eH· ancl.J.1mc\ i11011r ca~r,
.u,d ,\n•1ha,1LCI, vol.5, oh 212 3), ll,L,il .rnd
P.mtt'll·imon in the other. Their hlittlr, thinl)
c::l.ued(cr.11111c'" not \\c;11lwr-re,i,1ant. hence
1hq mmt ori~n,tll) have been ,lllachrd to 1hr
1m1ch-\\,ti\\ or \tom: furmturr of ,t buildmg, moq
prnb.1hl) .1 church. Nei1hcr ,ct ,u1"\1,·c..,compktr
'I lit· ont· ,dth St Nilhol,h b likd) al;;o to hi1\'t'
i11duclc<lorn.imt·nted ...quarr~. 110"
,tltt•111,1tt·dwlth till· fig11r.1Iom·"· Compo..,rd of
hoth vc:11ir.tl,incl hori,ontal \trip~. tJu..,,ct ma)
h,t\'l' framt·cl .1 l.ir~cr hol) image, pe1h.1p;;
rn1dl'rrd 1ll 1110...aic or ca1Ycd in marbk
New Yod, 1997, no, 133 and 303, pp.3~5 and
16:-,). rlH· ,enc:.., that mrlude<; the mart\l' .\rctlus
cl. 523) ould h,n r lmcd an mtrrior cornice,
po ....
,ihly th.11or an alt.1r SC'TCf'll.
') he 1111,,~c,;; h<"rcarc dra,, n .md coloured in
,I IC( l1111q11c tYplt,d or ,1 r7're ,-anrt) of llv·l,\lltllll'
~l,t,ccl po11e11 · l\ve I' 111 anders 2001 th.11
,11 l h,1rolo~,t,; find 111 1e111h- or ck, cnth-ccntul)
,1rat,1. Simil.11·ules hm c Ix-en c,ca,~tcd in
hl,u\bul a1 t\\0 ehurchc,; datcd 907 and 920 -22,
rt·1.ipt·cmch 1Gcr,;1cl and L·mfl<.'nburgcr 2001,
pp. 1Bq 99), ,md at ,';lriou-. placc5 111 Prc~lav.
cap11,d of Rulgan,l from 893 to 969 (Ne" Yori...
1997, no, l!.? 3, pp.329 30; Rome 20000 1 nos
50 5, pp.136 6:1. fhc ,·e~ctal orn,1mcnt
1epc,ttecl abm e and bdo,\ the image of 1
Ai hol.~ aho o curs in 1emh-cennin Byzanunc
bool... 11luminauon p.1tharal...is 1981, nos 17 20,
41, fi~ 39 . .µ,, 16, So. The anist. probabl) trying
111~bni,;h for future ,,orl..., li~lnh sketched the
cun;c,; of ~u1other similar motif on the back of the
~, Nicholas ulc-.
Thr Raisu,g ef~anu
I\\Clrth C't'IIIUI)
4;g trmpcra on ,,ooct.21 5 • ;z t cm
...
"ll,rllt ... ,• \lw.n-o/CuhuJT,U.-aad0..-\1~
••ovuu...-c
lllll
lie .,..n:t.-,J fmm • pnuw c:,:,ln;i.,n
ttl>llft.a.L,LU \\co1,tJnan111'1al •<Jlb).ppiutn.~
1q1M,,.. 7J \I ~.,\tlw:•191(,,.-...t. !IL~
"°1 M ~d.&l.n. llMwnon-1,M.nol \I Cluwdob..\~1~
"°l"-'""'•'-•'tQl-/r,w \.\\~IC.,.. ~""'-•'1.;11.
~Inc imposing figure of Christ, who addresses
Lazarus by outstretching his hand, dominates the
composition. Behind him arc Lhe t\postles Peter
and Andre", "ho co,wcrse in front of a mountain
on 1he far lc0 of the work. On the right., Lazaro
appears, risen from the dead, in the open door of
the monument, s,\athcd in bandages, \\hich a
)Oungjew lrics 10 unwind. At the back, three
onlookers foUow Lhc scene. Lazarus's l\\O sisters,
~l.trt.ha and ~lary, kneel on l.he ground and
beseech the Lord. 'n1e red ground and t.he absence
oflandscapc make the icon particularly suiking.
hrist and Lazarus each have a blue halo. There is
considerable damage to the lo,\er pan of the icon.
434 CATALOGUE ENTRIES 215-218
Common ,;tyli,;Lict1'7'it.s,
thc same dimcmiom
ancl the vivid red oftlu- g1ouncl arc found in t\\0
other ic:om, 77,,1ra11figurat1011in the "t,\tc
I lennn.,gc:,..luscum, St Pl·tcl"\burg ( ha11icl.1kis
1961 65, pp.38ti, 388) and 77,, /mt upp,rin the
~lona,1c11 of\latopcdi on ~loutH 1\thos
[f,i~s11icl.is1996, p.362). All 1hrcc ieom arc 1he
"01 k of 11,c~,inc p.,i11tcr and come from l\ lou1\t
lost, that ,\tho,. ,iginalli 1hcy de 01, 1ed the rpisiilc ofa
trmplon ,crccn and mmt hm c formed p.u t of a
~cri<.•;;
ofthr l\\ch1.' nMin fcsli\',tl ~ccnc;; of the
church. 17,is is one of the ca1licst sun'lving
compare ex.unplc~ of such a beam, now cut into separate
pieces.
The composition is limited to 1hr csscntial
fit;11res.The monumental character of the "od,
,rnd i~ 'it le fits., dating in the t,\clfth ccnlul).
). \111or1-1•HAIDkA ).,\l.Af\TI
Episl) le fragment ";th the Transfiguration of
hri~t
~lount t\thos, first h.a.lfofthl' twdfih Ct'IUUI)
Che~tnul \\OO<I,g,.''1$0 :md tl'mpcra, 23 2 11 13 7" 2 5 cm
,,.:11, llrm111~ \lu>("llm \1 l'tc1enhur,c,Ill\ IM>1·1
PIIO\l"\"(I 1hc-«t1l\i l'rul{"Oj-Ol'"\lon;bl")'ol\,1°"'"'"
ht-,...._h,froo, \1001>1\1hoo.b<,l"'OV ~-..l,..,,..,.,
1&bo.\1""4"'""olOM M,,...,.n
'" •11hc-l1nfl""W \odnn, ol"lu~ \11. J'rttnlNflt, 1IM,1 9'1.'lu1t Mu....,,.
\l,Dnlffl 't 1'1'1n,11Uf'f,111')1 t9'J0,1hrntn.ru.km-d101hr
""'"""')ti',:\~
lllunu,urn.,.,cu '4~....,ll.ondon'll"JOG.noll-&.1,p100
fullbohl.~• \ l'u1mulai f'wNI.J.)X104.J'P~-"19'J l11.l..llnllhuf"10CI\.
nf> 11,J'f' ~ 7 llrl,,mlu 1006, no 1 1, .-i> 161 T ' l'u.011,...,
p ,o, l ~ndn ,000, p '9
171e Gospel scene or the Transfiguration is here
treated in the S.."\meway as in several other ~diddle
Orzanunc \\Orks, and is particularly close to the
mid-t,\ elfth-century mosaic version in the
appclla Palatina, PaJcnno. The composition
is calm and simple. The use of blue haloes
is found also in manuscript painting and
cloisonnC enamels.
Originally this icon was not a separate panel
but fonned part of a "~de cpistylc beam wit.h the
Great Feasts of the Ort.hodox Church which
\dv,..,u..w
no,,:'"-'-
belonged to the screen of a church on ~ lount
A1hos. It was taken to Russia in 1860. Three otl,cr
J_....,_,,~ icons from this same cpisrylc arc now found in
, , riou~ places. 1l1eRatsmg of la.{.11,w{cat.215) is in
t.he By.tantine and Christian l\luseum, AtJ1ens,
and '" o others, The last Suppu and 17te.Nahvtr,of
C/11is1,remain in tl1e ~Jonastery ofVatopedi,
~Iount Athos. AlJ four have been sawn from tl1e
same board and are of approximately the same
size. The fairly rare red background, certain
similarities in c.heportrayal of Christ and the
saints, and the consis1ent style and technique all
tcsc.ifybeyond doubt that 1hc same artist painted
these icons and thal they originally formed a
single ensemble.
AJthough this cpl.Style was c,~clenlly made on
l\.lount At.hos, as is inrucated by the use of
chestnut wood, it is tl1e pnxluct of an artist who
dearly had knowledge of the most current ideas in
omta111i11oplc.The <'pi..,tylej..,.igirccl 10 be
of the t\\t·U'th cc11t1111,and tht· St lie I le,· ·
~lml'um, St Pl'tt·r,burg, r,ll,dogue"! it.,
Jo the firs1 half.
217
lnu·mL· burner
Se1b1,1,J,111Je,·o,
(om 1r1•111h
cr11tu11
l\rou;,e, C,1Sl111g,0pt'll\\Olk, II. 12
\1u1t"UIII of \pphNl Art, llrl,tuik-. m1 I'll• 1b1
1111111011111111,,11 R.wlojl,l\,(IIJ77'1 l.111Kl,,111qlh.ooH
no 310, l'am 1<Jll1
\11~1•.otN\lf IOJII:,,, no \J. lkluoll .KWlb.
Incense burners fall into three main categories:
frcc-st,1ncling, hand-held or chai1t-111ountcd. Thi
c...:ample comi\lS of a l.ll"gc deco, atcd handle and
c111attached circular thurihle 01 eensn (to which
bell~. now lost, would 01iqinally ha,c been
attached). Its openings <lrC in the form of keyholes
or circles and it has a simple Greek cross on 1.he
top. The handle is decorated wi1h a Tree of Life
in ope1l\\ork. It has fo·e stylised lilies and two pairs
of pecking birds facing each other; in the centre
there is a heart-shaped ornament consisting of
floral shoois witJ1 a large trefoil lily which might
\10tml ,\11,oo, be interpreted as the Tree or Life.
\uw llnm,~
Incense burners were used in chur hes and
in the home. Unique to Serbia "as a ccrcmony-
,,...u,
slarn - in which frankincense was used. This type
l\11mt».)',oflUA,
of incense burner "~th a handle is documented on
1'.lount Athos and was used tl1ere during 1.hesilent
prarers of monks, during vigils and midnight
scniccs \\hen a priest or deacon \\Ould incense
the worshippers and icons and walk around the
temple almost in silence. The container could also
be shaken during festivals to enhance che joyful
atmosphere of the church \\1th bells and incense.
TI1is incense burner was probably
manufactured in one of the Serbian mining
centres where large workshops operated. It was
found injanjcvo, an important Serbian medkval
town. Two similar incense burners arc known,
one found at Prilep wi1h a Tr •c of Life in 1he
centre and with birds and dolphins next to it,
and anolhcr at Mistra decora1ed with lilies. The
decoration of the 1.hreeincense boxes symbolicall)
represent., the Eucharist, \\~tl1 birch receiving
Communion from the Tr ·c of Life.
OUiAN NILOVANOVJC
218
Brass lamp
This brass lamp contains a cen
a circular wick.hole wi t.ral filler-hole and
th a scalloped rim. The
I lamp or Egyptian pr0\<('11,lllCC late
1.., di·t 01
.itl'd 0111·itht·1 ,idc with in the Mer hands are raised before her, palms out.
l 11\ll•IIC'f 11JO() ,
' ll'CI c 1n,,
110111 1h1· .irm1iofwluch I lcrmit<1gc ~luor;cum,St Peccnburg; iL'i rcncctor Around the rim i,; an inscrip1ion invoking her help
' lllll,lge 111111101,{lotlllll I •
belon . '
1
I I 1 , 111(1 ,111 011u·g,1. I hl' h,mdlc ha, i, decorated with ;a vine ~loscmv 19771 \'Ol.1, for Emperor Nikcphoro Ill Bo1aniates. On the
11 h,111~ ,Ill ,Ip I, . •
g, g douhk-t 11,h,·d pp. I86 7, 110.395).
11111.
11 ,111cl n,11T'i lO ,1 s1x-,;;idcd rc\'erse is a roughly scratched outJinc of the bust
•' . knob, ,ll
flc,\\l'r \\ II 1I
,t,
poi11ts. The lamp h,1s two A•UOAIIA IJkA'<mAKI of the ~lothcr of Goel and the leuer ~I. The
-
•
hw, 111d ,1 b,t)Olltl-fitung for a stand roundel has bcen broken diagonally across its
qitp('ll\1011 ~ '
"ichh, ahhough the ~lothcr of God's face and
Ill II~ b,11it.'. , ,
. hf dl·<ol ,lth c czor.,r.,
on c11her side of the se,er.11 letters of the inscription ha\'e been lost;
1 220
1,od)',..,"form ofC:h11(,,tog1,11111 a monogra~matic it was repaired before i1 came in10 the ictoria
Bras I.imp wi1h griffin'~ he.id handle
ofChri~t\ n:,mc1 .ind syrnboh of
,1bh1c,1,11io11 and Alhrrl ~luscum's collection.
Christ'\ uiumph. Tiu.· presence of the alpha and lt,Lly(?), fifth 11x1h ccn1ury AD The iconography, with the frontal position
5. 3 0j rm Brall, height 159 cm; width 7.2 cm; length 11.3 cm
omega. the first ,incl l.1s1letters of the ~reek. of1.he Virgin's hands, is also unusual. In
l1IC'lrva1cao(thc Bn111h\luw-um, l..t;;ndon,,r 18t.no8,o 1
,ilph,dJct, iii a direct allusion to Rcvclauons ], 11 - ,11.oH:.'ol.\"O Mid 1oh..,t"(onwrftll'II lln'CWnrum. July,a I. Mun1
reprcsenrn1ions of tJ\e Virgin Crans, 1.he hands
r.-1)
1 •Jani the AlplM and the Omega, the first and the
Ja~i.. .'. Similar lamps arc known from Stobi in ..
Coll«oon. ginon 1. Sl.»nr Sun.Irr.
11.ucnoa,r,u~c,_.
~
,ftg?
!nlton190, no.~&.Jrr1r,1> . ..-,Q:11J,......,p7'1 and anns arc usuaJly out 10 the sides. Ho,,cver 1
this representation is comparable \\~th both
cl~enth-ccntury seals and \\~th the image
~laccdonia. the north Pontic area and Syria This brass lamp contains a filler-hole with a
B,ulq 1996, p. 79). baluster lid in the centre, and a "1ck-holc with in the north-\,est dome of the Pana~a
CURIS I' rWISTLI scalloped rim at one end. The handle is in the Kosmosote1ra in Phcrrai, Greece.
fonn of a griffin's head holding a spherical objce1 TI1c roundel can be dated by the inscription
in its beak. On top of the griffin's head is a 10 the reign of Emperor Nikephoros Bot-aniat .
monogrammed cro sunnounted by a dove. Ho,\ever, Lhe \,Ording is unusual in combining
The lamp has two suspension lugs and a bayonet- .filothnslo(Christ-loving), a common imperial tit.Jc,
Oil lamp with the v,-ord tkspott..r
(lord), "hich was not
fitting for a stand in its base.
adopted a, an imperial title umil lhc twelfth
1:sm>t, .sixth Cl"IIIIII) The lamp, whether of clay, metal or glass,
Quatcrn<n) allO\, cru1111 pan.s, CO\cred with grCt"n p."ltina,
was the scandard lighting device for houses in the century. Potentially, therefore, the roundel may
3,,,. 25.5• 193cm predate 1 ikephoros's elevation. It is, however, one
Early Byzantine period. While glass lamps tended
llc11.1.~,
Muw:um. ,\1huu, ,n\ no 11!,C)()
HO"~"A."U 1-lll)'J>I to be suspended in multiple lamp-holders known of ,,ery few hards1one c.1n~ngs Lhat an be dated
uu:cn.o 111rr11."t.u 8NMC'buJ(b. no lh 7 (1. Dounu, Dd11.'Drn&I •rid
and is thus important in relation to late clcvcmh-
,,...,
rou,pou1,or,
1997,no 314. Xanth,opoulou 1997, ml 1. p 41. ,'Ola,p 18). 111).U. as polycandela, those of meta.I were either hung
cencury By-.tanrine sculpture. It is conceivable tl1at
singly from integral suspension chains or, as
the roundel might be a slice from a serpentine
This lamp stands on a high ring base decorated with this example, placed on a lamp-stand. The
wic.hpicrced-\\ork rinceamc. There is no socket distribution pattern of find-spots for griffin lamps column. The material 1tsdf was highly valued and
for a lamp-stand nor hoops for affixing hanging suggests a place of manufacture somewhere in may have had apotropaic powers. The carving is
heavy, but lhcrc a.re similarities with rclicfpaneb
chains. The bod) is long, wic.h a ridge around the Italy, possibly Rome. Examples arc known from
from the Penbleplo monastery, perhaps founded
edge on 1.heside . The flat upper surface is there, ~laddaloni, Caltagirone and Porto, and
by Nikephoros and where he was buried. l11e
decorated in low relief wilh a vine plant gro"1ng also from yracuse and Benevento in icily (Baile)
medallion's function is unkno"11: it is too large
from a vessel. The "ick-hole is circular with l\\0 1996, p. 78). Bi contrast, only '" o c.xamplcs are
and heavy to have been worn as an amuleL It
smaU protuberances close to the lo,\ er end of the known from the eastern half of the empire: one,
may ha,-e been set above a door or inlaid into
nozzle. TI\e circular filling hole originally had a tentatively atuibuted to 'Constantinople and ics
church furnishings or perhaps have fom1cclpan.
s\\1vcl lid, of which only the double attachment vicinity', is in the Dumbarton Oaks CoUcction,
of the tomb of Nikephoros.
loops arc preserved. Washington DC (Ro ,962, no.go, pp.31-2,
All that remain of c.he reflector is the lower pl.x:xv), the other, in Berlin, is simply described UZJA»U
part, a metal strip "1th a single row of five pearls. as ha,~ng been found in Turkey ( chlunk. 1939,
Auached to the upper part is a clumsily cut piece
of meta.I, on which was nailed at a later phase a
large ross of ~laltcsc type, ,,hich no" function
no.1,~6, p.52, pl.XLvl).
Cllllll £.VI'\\ ISTU 222
~ losa.ic mth head or Christ
as tl1e reflector of the lamp. It bears the doued
inscription: OArlOCAnA rEPAN QC Ravenna. $,IS
221 DcQChedap.scrnos.uc,ratorcd m tht' mnctccnth ccntUf),
( l Apa Gcrannos) and A(rlOI) IOCYnQ(I)
535•38an
nrYCBHTE(POI) ( tJosepos the Elder). From Roundel "~th the ~lother of God
,...,...-,:1
\b:n ,1--.i--.01 .. 1¥
... on.-.l. "-o~\t..cht»•\&wwro.Ra.u..
the lower end of the cro projects a metal sheet, 1078 81 (?·, Con.wuumoplc ~T~ 199(1,
-.U,C'UJ) U:l'U-IIC."LU. ~•!tQT.~7,
which recalls proc ion al er osscs. 171is was rpcnllnl', diamc1cr 17.5cm pp1al ll,'-'-bll~IIOT,.flP-lo IR.~
possibly its original purpose .,'anthopoulou 1997, /nsmW around thl' ~ +8(00TO)K(E)(B0Wi8El ,urn~ Only a few pans of the face are original - tl1c
•IIIAOXPICTOACCOOH TO llOTANElATII1God-bc-~r, protttl
vol. 2, p. ,85). gold background ,\nd tJ1e blue tunic and mantle
(or hdpJ lht' hrut-l0\'111~ mnstt"r N"1kephoros 8owlt'i.ltn
lloth the pearls visible on th<' sunri,~ng part Rankin~ the l\lothcrorGoct M(lml)P8(EO)Y(~lothcrofCod, arc nineteenth-century restorations. On the face
of the original reflector and the decoration of the \ 1<cona
ind .\lbm \l...r-, l..ondu... ,._l•l<ffl Lhe flesh parts, in a mi.xturc of stone and glass
PIIO\l'iA.,Cll tnl.hc,t..-,-.~L•-boliw,nn,IO:flllhcn>tut'\ UI
foot of the lamp witJ1 pierced-work rinceau.x are Uor,\btqol"ll~~-\-&w,11bb1,•~by,~\""K-.aud t~rac, arc mosLly original, but the eyes and nose
\Ihm \I'"°""• London,, ltµ7
recurrent traits of Egyptian copper \\Orking in l,UIC"nO •unL,t.U ~ •q,q4, p.\l&, ,,-.....,_ •~pp.qo I,~ arc reworked and the moutl1 too is panly remade.
,·or'-1qg).r.,.r.ti 1
the fifth and sixth cenlUrics. A bowl ,\'ith a foot The hair i mostly original. As "1th other early
bearing comparable pierced-work decoration was On this serpentine mcd.1Uion, the ~lother of mo~Ucs in Ravenna, the surface or the mosaic had
found in grave 037 at Ball,ma, ,vhich has been God is "ho" n in bust form, , iled and haloed and de1eriorntcd in the nineteenth ccntUJ)', .md w-a5
dated to AD 440 50 ordk 1988, pl.8 . A similar
identifi db .\ll inscription cithrr side of her head. repaired partly by the addition of ne" 1esserne,
body with a pierced-work foot is encountered on ,,
CATALOGUE El\'TRIES '219 222 435
 Antonio Grioni, 1he Venetian widow of an Western, part 8),zanlinc in style. This ha., led 10
and p.1r1ly hy the rcu,;c of salvaK<"CI
'iixth.ccntlll') thc four Bcash and four E, angcli~ts i~rcpla t'd b) 111nhnos1 nll litcralu1e oil the subject, the
tc.,"cr.w. t\\0 d)n;unic, full-page i11mgcs,one ofn~,·el,11ion omcial at the Byzantine court of John VI the suggestion that the micromosaic was removed
I lcrmi1nge i 011i~ d,1tcd no ),Her than the first
It w.1, ,hown hy Andrrc...:cu.'fn:adgolcl (1990) a, tit(• prophets Elijah and E,ekid procl,um their Kant,,kouzeno, (1:i,1-754); in the fifieenth century from the Mona tcry or t Catherine's at inai
hnlfofthr fo11rllT111h century, but it is lllost likcJ
1h,11thi,; mm,uc i:,, Lhehead ofChri~t from the ,;~iom of God. p1~,;;c11tcd
her<' n 1hc )'Olllhful it wa, set within a silver frame decorated "~th around 1380. Coats ofanns of the family of
from the first qu,1rtcr. A group ofmicromosaic.., y
,1p,;l~ ofthr hurch ofS,m ~lichdc in Africisco, Chri~t Emmanuel, l11c'Goel with us' ofhi'i enamels. The work displays 1he 1wclvc Gospel Raimondclli Or,ini clcl Balzo, from 1386 Count
with imcripliom omposccl of mctalli plates
011 scenes corresponding 10 the most important feasts
R.1Vcnn,1, ,,hic.h \\,L~ dcchcated Oil 7 ~la) 51i 111r.,nmti011and e,;ch.,1ologic,1l rctum; Lhc ,l lapis lazuli Aro1111dand a rhccked border share of Lccce, arc on the enamels in the added silver
A \\,tlcrcolour made b) E. P.v1.11111813 other of trnn,mi ion .1 htist confronts Lhc of the Byzantine liturgical year (the J<reallccl frame. He went on pilgrimage to inai from 1380
Lhcse di"ti11c1i\'l' fe,11u1cs with the Hcnnitagc icon:
(Effcnhcr~er 1992, fig.66 shows that the ap,c four Ev,mgchsb. 17,e image imi1c the reader Dodekaorton). It betrays technical, composilional to 1381, and claimed to have given a finger of t
mnong them :-irt· the Annunciation in Lhc Victoria
contai,wd ;1 'lt,mdmg figure of a ) oung hrifit to '\C"C' thc rc,·dation of the \\'orcl as it lakes ,mclAlbert rvh1'lcum1 London, the diptych in and styfonic features hinting at an execution in the Catherine and another micromosaic to the church
with,, cro.s..'ihalo bct,\cco two Arch.mgr!,. flc'lh III thl' parchment of the book. l~orcnce (ea1.227) and the I.John the Baptist cultural atmo!phcre of early fourtccnth•century of I Catherine at Galatina. I-le probably gave 1his
On the wall above 1hc ap'-c was :m enthrom-d ~17,inl, the c.mo11 rnbk~ arc populated by icom in Venice nnd the Hcr111i1agc, St Constancinoplc. The useof miniaturised tcsserac icon 10 the church of Santa Croce in 1385 or 1386
sc.11cd C:hri'lt hct\H'Cll archangels holding the amm.,b, .1crobats £llld .Ulcgories, including the Petersburg. Tl1csc pieces were surely produced enables Lhc artist to realise an extremely accurate (i1was then Carthusian, and is now Cistcrcian),
in,;tnimr1m of 1hr Pa.,'iion and by sc,Tn angcl'i laboun of the months and pcrs nific.uions of in Constantinople in Ilic first quarter of the rendering of even small details. Each of the near the Basilica of Stjohn Lateran. It was there
of the Apoc,1ln1,;r blo,\ mg thrir trumpets. eighteen ,,11ucs. ~ll1e allcgoncs draw upon fourteenth century and Lhcir style is consistent There ,ll'C more than 50 By-.taminc micromosaics twelve scenes, included wi1hin a square of roughly cncaxd in the pre.sent frame with the inscription:
On c,1ch side of1he ap~ \\ere- .-.;tandmgftgu~ long,t.,nding traditions 111 mona.-.;ticillumi11a1ion, with monuments of Palaiologan art such as in existence. Usually small in size, they arc 9 " g on, i.sset either against an archi1ccturdl PUIT 5 OREOORI MAGNI PAPAE, implying that the
of SS. Ko!!ma..,,mcl D.1miano~. but t\\ clfih.ccntury imperial i 01101-:,rraph)
aclop1.-.; the mosaics in the Church of the Virgin disijncti,·c for 1hc technique of their manufacture; background embellished with classicising micromosaic was idcmificcl as a work of the vision
Thi~ fragment \\'71'1 purcha'lt"CI in Ital) in the ,inucs, too (M!e at.59). cvCcnko has pointed P.,mmakaristos in Const.111tir1oplc,which dates ,he)' nrc constructed from minute 1esserae (in this clements, or a natural landscape indented with of Christ by Pope Crcgory the Great (590-604),
1856,and thnught wrongly 10 have come from out the many itnpciial ,irtucs i11cluclcdin this from the first decade of the fourtecnLh century. rasr between 0.5 and I mm in breadth) made of the irreguJar rock peaks so common in mature who had found a disbeliever in his congregation
a ,;nMll church in ~lilan. ~nu: ap!o.Cmo"3ics of series, found also in the Nation:-tl Gallery of The group probably all came from Lhc same copper ( ometimcs silver or gold), glass, marble Palaiologan painting; the human figures arc and prayed for a sign from God and was rewarded
San ~ Ii lu·lc \\'CIT' 1akcn do,\11 and sold m 1844- Victoria, i\lclboumc, MS 1, and sugg~tt.·d their workshop. or s1oncsof various colours, fixed in wax on a characterised by diversified poses and animated by the appearance of the crucified Christ above
Thq "rrc .-.;uppo~dl) sent 10 lkrlm. TI1c im rntion for an imperial patron. uch an 'l'ltl A l'VA1~110i.V \\Ooclcn support - as was this example from the gestures, and a special emphasis is given to the a.Jtar. This icon in its relics display case
eons1gnmen1 t'i 110\\ 111 1hr rnathehe ~lusccn intersection of monastic and imperial imagery U)u,Tc in the eighteenth century - transferred representations in promc. Some details, such became a famous image of veneration by pilgrims
1.u Ile-rim... \..ulp1urcn.s.ammlun~ und ~luSc.'um reflects the mid•twclflh-ccntury book trade, in as the figure of Adam in the Anastasis, seem 10 Rome - to sec it tl1cy had to descend through a
01110slate in 1864.
f1ir lly7antiru~hr Kun,;t, but it consl5ts of fake \\ hich scribes and painters worked for both lay This icon is of great technical virtuosity; it to be reminiscent of the ,~gorous expressiveness dark pa.s.sage into a subterranean chapel known as
225
suh,1itu10 and 1101 the originak The only nnd monastic dignitaries, is nlsoone of few to represent a scene from the betrayed by the Passion cycle of 1312 in the the 'chapc.lJcrusalem'i whose pavement was laid
-.urvwin~ ori~n.11~ arc 1h1sJu-:ndof hrist, and Micrornosaic with Christ Pantokrator Gospels, in this case Lhe Transfiguration of Christ nanhcx of the lrolholilam
in the Monastery of on earth brought from Golb>olha. Only the Pope
the heads of the Archangels l\fichacl and Gabriel Co11.s1ammoplr, 1150 75 with i\loscs and Elijah at his side and the Apostles Vatopcdi on Mount Athos, even if its general could say Mass in this chapel.
at Torccllo ;111clof an nngcl at t Petersburg. Mos.11con \\ood, 5•1 "41 cm
Pcter,Jamcs and john below. One oflhc greatest tone is that of a more serene and balanced aoa~ COUilACIC

Clc,.irly the ,tpS<'mos.'\ic was in very poor ••,opnntt<ndrnu ,peoak ix,r ,I l'olo \1111t&klioffntmo, M1uro Nuionak
in size, it has sometimes been assumed to be from r<ndcring of bodies and spaces.
dd 11~,.uo. I lc,n,n(,r, un no 1
eo11d11ionin thc ninct~nth century. 6 ...0\l .. A'<U from l~mtO ii M..,,.,..Jt'O', lln\OUC collN:llOI',,.I.titerUI
1htUfrwC.-lkf),llorrnor an icon screen, although this is far from cenain. NICIIIU.£ 8ACCI

Originally this hcnd was probably very Icons IUI.CHO Hl'liU ..'<CU F'urbn 1979,pp.s, S, note ti (,uthu.rlotrl.nc,nllll!'T~
Knckrlbcl'J'"l'uU:191h,Pf' 'II, W, 73, H, n a. 8+, 9i, IOJ, 1o8, 110,Ill, l'l6. 1,0·
The Louvre Transfiguration is one of the
similar 10 the young Christ in Paradise in the I, Dnnw 1991, pp 34 8, ~lorr:tKC 1991, no.117, J,P.IS'l-,f, f>otKM1700).p 37
earliest micromosaics. Although we know that it
apse of an Vitale, Rnvcnna., dcdicatrd in 548. Pair of icons with the Annunciation
This is one of the earliest and best examples of was in icily in the eighteenth century, its style is
224 Const.1nonople, de,,"mth-bte thintt.nth century
micrornosaics, made of diminutive bronze, marble reminiscent of the mosaics of Daphni of around
~•licromosaic with the 1an of Sorrows Eggtcnpcra, gold:lnd cn.und on wood.with s1h'er gilt
i\ 1.icromosaic icon with t Theodore 1100 and it, too, should be attributed to a
and lapi lazuli tesserac of 0.5 to I cm. imilar- rn'Cunc:nL both p;lDCb Ill. 67.5cm
Const-antmople, around 1300
Comcanunopk, earl) fourttt.mh cc111ury sizcd tcsscrac arc found in the micromosaic of tl1e ,,orkshop of Constantinople. 111c mis•spdling
Mos;uc ,~rac on "''000.,13" 19 cm (mthout framci, --~.Olrnd.---19aad11
223 Wood, tOIC.'racofmarblc,p.ipcr, L1p1,la,uh, stoneand gilded of METAMPO<l>OCICransfiguration) with the NO¥UA..a. Clowd,oflkMuUICl'"olCod~Ohnd
Transfiguration in the Louvre cw York 1997, 23 • 28 cm (wilh framr), 98.7 • 97.1 cm (c:a.sc~n) ~tq,og.pp..ffll.
~r, wu, rcsm, 9 • 7... cm
no.77, pp.130-1 (A.Wey! Carr]), which also invcnion of1he letters 'O' and 'R' does 1101 B.uiiao diS.nu Crott III ecn-kmmc. Romt, lfl\ no.89.Fondo Edifia
"""°
AUCRDu:nAUCU;
11;--,:;~1999,pp.2
~1999,-12-t1:s;Paduaaoo1,-77and1I
70-L;u-'Ul;~l9'»,
:,.no... l'ana1999,-1'1and1,;
Four Gospels, folio 11v ~ II~ ~l\a\n,54 ~........ __,NI •99 di Cu-, ammmlllfflllodal \llflblC'l'Otld' lntcmo, D,ra:x,ne Cct11ralcpu
,-oVLIWICa ~ pll olc..r.tlMI ~ io,!i,t f'nn''- Ront, lrfon displays the same cross motifs in the omamcntnl necessarily indicate a provincial manufacture. fN!Unulateruoonr dd rondo F..d,fo d, Cultn
Comtnnunoplr, m1cJ..1wt"lnhccn1ury 1,198,M__, S-ro, VatlOIII, De I\ON:laCol«oo, l'aN, lditt •~ eolll'CIIOII ••on.NA.-«!l. -~8-il,ica...-otir1"5 16 This monumenraJ Annunciation is painted on
(l/~....._V)',hta,,afi«116«i,boupll_,.h1hen....K)'~ border. 111ough analogous, on compositional However, the expressive, almost an ..,cious faces 1ul,C'nn urur,cu lkndll 1g(it, 1'"" \'Gn-.,no.131,ppn1·n
P:ird11nt:lll, 17.5 • HI s cm, I +27.5 folios by tht ll-,i T-Ala.-d,a, 111liiwtht llllfl"\i'l lltm11. Jllnd
M.nim, 1111.t,
of Elijah and Moses, each framed in a shock (II fa-) two separate pancb, with the Archangel Gabriel
~iolhcSaltH~M...wn btl\1mbtq.January188:5 grounds, to the roughly contemporary image of
~
:i~~~
N....,_ Mamu,a, \~.~'""TI to the le.ft and the seated Virgin to the right.
~"-
...J~~l•.,,.l'n,l
c.,,.._,. udi~I
..... ~·1rt11:r1aC.,,-.-11~ff\,, ~~::::::·.~~~~,~
l'lalffllllly-~,pp.,ot.,,g."-uky,cioG.pp.111·t1
hri5t in Berlin (Demus 19911 no.5 1 pp.29-33), of shaggy hair, and the vi,;d play ofligh1 and At the centre of this Italian Renaissance case
"•~ Jiftcill,_,_...,._Rff--.'7)4 shadow on the drapery has been compared by Gabriel mov,s gently towards the Virgin, and
,u..a"""°un.•R.-u lnnd""'1,P..14S.'94,1 r.Can 1991.w.""1 ,-
it is characterised by a much more evident (dating from the late founeentl1 century with later
lls1 ~wof,,(.,ps,6c TI1is image of the holy warrior t ~n1coclorc 0110 Demus with the late twclfih•century frescoes raises his right hand in a gcsrure of greeting.
decorative approach. The meander and zig-t.ag additions) which contains the rcli of many saint!
Stratelatcs was produced using tiny tesscrac of in Hosios David in Thes.saloni.k:i,justifying a date Mary' head is ti11cd towards the Archangel, but
motifin the halo is clearly intended to simulate (wrapped in silk and labelled with their names) is a
This exemplifies the exuberantly
manli.script she looks out towards the viewer and is occupied
semi•precious stones, such as lapis lazuli and the sumptuousness associated with icons made in the second half of the twelfth century, or Byzantine micromosaic in an added silver frame.
decorated small Gospel.boob popuJar in t.hc in spinning with a distaff. This alludes to the
jasper, with marble for the fo c and gilded copper ofprcciou mcta.Js and enamels; moreover, the around 1200. The subjecl is the i\lan of Sorrows (or ,.,tmost
twelfth century, surely for private use. First, like legend of the Virgin's upbringing in the Temple
for the background and details of t.hc ganncnts multicoloured polylobc squares cnfrnming the JA."iNIO llURA~D Humiliation'). the Good Friday image developed
the nmnu rip ts of the Kok.kinobaphos group, atJcsusalem \\ here she \\-Ou.Idspin and weave U1e
and mmour. The wooden base \V::1s hoUowcd out I Hen IC XC lrnd ofien been used for golden in By-L.antiumin the t,\ clflh century for f..'lStcr
it embeds the traditionaJ pairing of Evangelist priests' vestments.
and filled with a wax coating, over which tJ1eartist appliquCSto icon revetments ince the tenth rituals (sec cat.246). Christ is dead and shows
portrait and feast icon a1 the opening of each The icons arc distinctive for U1cir rich palette
executed an under-painting and then inlaid the century (sec Wessel 1967, nos 10 and 18, pp.55 6 227 the cut in his chest and his wound«I hands (the
Gospel in an travag-.mt surround of omamcnl, and well•modcllecl figure style, but there is some
mo5.,ic. He added separate details using wa."- and 70-3). stigmata). On the cross piece abo"~ Christ' head
both archilcc111ml and vegctal. in the oclcx repainting. They aho have cxpensi,·c silver
bascd pai111.s. ~licromo aic diptych with festival scenes is written in Greek •King ofGlot)' (OBAClAEYC
Ebncrianu (cat.204), also from tl1c mid•twdfth Unlike the Louvre icon, in which the dynamic
11,c miniature technique and the refined rn-etmcnts (witl1 some losses); stamped on tlmt
alld expressive dcments of Byzantine ar1 around Com1a11onoplc, rarly roun«mh ccn1ury Tl-IC .O.O~HC), and on each side of the cross nimbus
century, feast scene and author pon.rait arc Mos.ucon \\ood JMncl with stl\'cr-gtlt and t'namcl framt", of the Vtrgin is U1cGreek inscription O KYPIOC
style of this icon place ii among ByL.antine the year 1200 can be detected, the Bargcllo mosaic the abbrcviationjesus Christ (IC XC) appears. The
iu1egrn1cd here in a single, richly fmmed r.t.c-h1>.,ncl'J7 " 17.7 cm META COY (the Lord is with you), and on
microm05.'lics of the highest nrti'itic i.s haractcrised by a strongly linear rendering of image might have been used in the Good Friday
composition that faces a l.irge ornamentaJ \IIMNI dcUOpm, dr \a,11,1 M- dd f'iorr, norrntt, 09 OOl')~>-13 enamels in quadrilobe plaques the Greek sigla,
quality. Ii is no doubt the produ t of tJ1c
headpiece, producing a fanfare of ornament
Corutantinopolitan coun \\Orbhop , as
both folds and physiognomic details, chromatic
and a hannonic construction of the body,
::;~~,~~~~'°'=~";.":9~;,
l97),p.6o,fw\an1979.ppl1 'l.~\o,\J00.4.00.U'}JIPtl,
pp.119 11. Cnbar
lO
liturgy or as a de"ocional icon (in some: Byzantine
paintings of death seen of monks, a panel with
i\ lother of God. Also in enamel, below tl1esc sigla,
tJmt sparu tJ1e full opening of tl1c book a1 the su~tlety
IJlrnbt..,., is a donor's inscription: TA CA ITPOCAffiCOI
B zant.inc ponable mo aics seem to have been this iconography is seen placed on the corpse).
beginning of each Gospel. which fits with the style ofKomncnian art in the
distinctive in ignia of imperiaJ power and to KOPH llANArIA. AEON COC OIKTPOC OIKE:rHC
Second, it di~plnys Gospd fronti.3picce . 111e sc ond half of the t\\'clnh century. According 10 an cightcenth•ccntury tmdition, the On the back of thr- micromosaic is a painting
have belonged exclusively to the empcron 9(EO)Y8YfHC('I gh,: you what belongs to you,
tr.1djtional, st,1tic l\ lajestas Domini surrounded by 1'11011BLI!,8A Cl diptych arrived in Florence in 1394 as a bequest to of t Cathe1inc (I-IArtAAIKATEPUH), part
and mcrnbcn of their families. All Holy Virgin rvlary. Leo, your pitiable servant,
the Baptistery of San Giovanni from icolctta di

CATALOGUE ENTRIES 226-229.2 437

 pric,;1of God' .. The ,;il\'cr pbtc,;; hm c noral The ,\rchangd Gab,id) a11d M(l lTI l)P 0(EO)Y out or ,t 5l"ric..,or ii rcgul.1r decorated pl,1tcs which in a blaze of light with angel, above holding the '•ltO(W
\l~um,
PI0\1'<.\"fO
~. Ill'\, oo 1116
Ch11nh 1)#'1hr\ ITJ.lnl'tnl.,._, Ohnd, coun di,pd. lkdmy,.
om.mw111a1ionand rdirf fibrurc, On the Gabriel ~lotherofGod .17,c di) st)il', th<' bul~) fo11ns and then
look all though thl~Y,,tTe 111,L,.<i-proclurccl im1rumr111jof the Crucif1JCion. Hr rc"ifllC'-Acl.1111 Rrlcnrl~. t l')]f\

p.md ,m: hgurt''i of .1rch.111gcl~ (Lhcinscnpuon or the ganncnt~ ol the •\rch.mgcl G.,biirl, the ad,1pted to fit. Bc"i1dc.•,the floral omamciuation from hi51H1rcopli,1gus,while Eve waits behind.
1u1.cnuunu.,,u
, ,mr
\l~lt19'.lfl
'\cwYork20<4.no1p,pp7,s.t)

11,1111111g:Gabnel 1, 101,q;
on the \'irgin panel, the
rt'H'lm(·nt i,;;ofthr 'i,1mc ch·coratin· 1ypc: alon.~
tlH.·top ,trc nwcl.illion-,\\ith Clui~t, thr \'irgin and
;")1_joh11 the B.qni-,1(d1c Dci.si'i and \\ith the
\'ir~n\ p.1rcn1.,,.Joachim and Anna. The
mcd.illion, .11 the.-bottom arc SS. Andre" and
H\,1,io... At the ,idc..,arc trn pl.lqur'i with 'il:mdin~
figurc'i of prophct'i. Samuel, Dadd, Daniel and
Zrchari.,h c.111be rrcogmsccl dmong them. The
nwtal halo of the \'irgin i,;of a diOcrcnt ,t) le and
probahly l.11crthan the rcvctm1..•nt,as M'C' the t\\O
1,cmi-pn·ci0l1,,tone'> on her nrnphorion.
Tht·'ie p,111cl,h:\\c been thl' ,ubjcct of much
rc,card1 ,111clcontro,·crs). \\'hen they \,ere fiN
,mcncd perspcuh·c or the architecture nnd the
mm,11urc and pla) ful ntl)atids
hchmd the \'ir~in .,~ all rc,\llll'C\ n~socintt·d "ith
the ,ln orCon,t.mtinoplr in the c.uly rourtcclllh
CClltlll)'•
Ilic front or1hc- iron rleb1, tc, 1hr Virgin
P,)chosmtria but '-he j5, rcpn:<iie11tc.·cl
in the form
or the l-lo<lcgctria. This icon is therefore a copy
or the fammi...model in onstantinopk
to I)("p:Ullll'd by t Lul,.c and "hich "as , en crated
,ban icon that could pcrfonn miracles. Copies or
this icon \,crc .il;;o bclic\'cd capable or carl)in~
out mira ulou, hcalings or the faithrul. Thl· \riq,rin
.ind Child, protected b) t" o angels, arc framed
on the pl,llc"i, therc ,trc figural rclicfi; of saints
011 the columns (George, Dcn1t·trim, S1Clement orOhrid,
.1,
"'"'n~i'.tg· ,11_1g<+;;)wdl ,Iii 'iotne fostival scenes and
the 1'.11111,1,;;1.1
(the l'111Pl) th1one ready for the Last
Judgement). Some or1hc'ic images arc repeated
.,gain incliC"atingth<.·me or ma,;')-producccl plate~.
The imniption 011 the bottom frame seems
to ha, c romc from a clirrercm icon. h reads in
bclicvl'd Gree~: YMNO Enl 'IKON 0C0(E)Q<l>EPEI
A YTOC l!.. ENYAOC K(AI) XOIKOCTYrXANQN
l!.OYKAC ICAAK(l)OCCEBACTOKPATQP
11\/\CTI-IEIKONA XPYCOY APrYPOYTE
TEXNOYPrllMEN(H ) I-INK(Al)l!.EXOIO
nAMMEl!.ON 0(EO)Y (KPATOC( .....IEIC)
and
233
Icon \,ith th(' U.iptism
Ohnd, <",tr!)fou,u·<"nth n·ntur)
,md gnlc\on \\OOd,4•l·5" 36 cm
l.{ll; tt'lllJ><"r:I
Lalk.-. Ohnd. "'' nob
::::<ull
a,fl;:,::~l:••~~:~"~1t:~r~:d~l:;~l';.:;i~~9)1.pp
In),
t'll:J, i'~f\t1•1'1<l.™' JI
The title oflhis "ork, H BAn(TH)CIC(Baptism),
orChris1
same sanctuary screen as the Baptism and the
Next behind her i.sAbel with a shepherd's crook
The Virgin I-loclcgetria is depicted on the front
(hi'i murder at the h,1ml.sof his brother Cain made
or the icon, covered by a revetment, and the
him 1he firs1 martyr). On the right drC kings David
Annunciation appears on 1hc back. There is an
and olomon and behind them St John the
integral rai,cd rrnmc on the front (the lower edge
Baptist to the right. The scene i'i c;c1against a
is mi,sing), while the back ii; flat \\~lh a gilded
rnttss orcr,tggy rock!!, remini'iCcnt of1ho-1cin 1hc
background. The pain1 layer i abraded and
llaptism icon (cat. 233). ·n,c broken ga1e, of Hell
panly missing.
arc beneath the feet of Christ whose divinity is
The style or painting, which can be
marked by the shining golden rays of Lhc
attributed 10 the t.hird quarter or the founcemh
manclorla.
century, represents a high point in tJ1c an or the
This icon was very likely made to adorn tJ1c
PaJaiologan era. Technique and s1yle indicate that
both sides or the icon were the work of the amc
Doubtjng of Thomas (cats 233 and 235).
artist. Some pans or the icon were overpain1ed
)IJLCO 0£0RGl&VSKI

"itudiccl in 1900 1hc) ,,ere fL,ecl in the irono,tasis
ortlw l.1tr tluncenth-ccntul) church of the \•irgm
Pcrihlcptm in Oluicl. 171c) "ere dated to the
de, cnth or 1,,clrth ccntul)', and the priest Leo
,,;LS idcntifil'd ,L"ian archbishop orOhrid, either
1.c·oI, Archbishop ofOhrid (1037 56. or Leo JI
:\lung (1108 20. It i,;;ccnainl) more likd)
11
that thq \\ere intended 10 be fixed, not to an
1conos1.1,;;i,;,
but on the arche" on each side or
the.·,.111c1ual)or some a'i yet unidcmified church.
This \\<L'ia common position for the placing or
the Annunciauon m Up ... 1.ntine churches, usuall)
pJ.mtl·d in fresco. This dating implies tl1at the
silver re,ctmcnlS ,,ere added later, and tl1crc arc
some indications that the painting is earlier than
the pl~11cs.Ho,,cver, Grabar, ,,ho dated the
revetments to the late tluneenth century, argued
that the panel" were all of this date. TIUS "ould
mean tl1.1tthe priest Leo is unkno"n, and
perhaps later still.
MILeO 01!.0ROll':\'liKI
Two-sided icon witl1 the Virgin Psychososuia
(front) and Lhc Annunciation (back)
Coruuuunopl<',early founccmJ1 century
Eggtempera and goJd on "ood, \.\1thW,Tr-g:1hrC'\Ttment
\\1thenamel, 9J " 68 cm
lu,.,Ci,..ry,OhnJ,.,.. '"' 10
"OVl.-"A.'"t.l' O,....,h~1l,r~lathocrlAGad~Ohnd
ltU'CTLU u.-..u; .. (.u ~ IQU9. pp 2)3 ), , ....
171is large two-sided icon was made for the
vcncraLion or Lhc Virgin Psychosostria
(She who saves soul.'I)and aJso to runcLion as a
processional icon, presumably on tl1e festival or
the Annunciation on 25 J\,larch (7 ApriJ, according
to the OrLhodox calendar}. On the silver-gilt
rcvcnLmcnt arc the inscriptions on Lhe front in the
roundcl,, M(lffH)P0(EO)Y(~folher of God) and
l(I-ICOY)CX(PICrO)CQ~u.s Christ}; in Lhe
rectangular plaques, H ll'YXOCQ(CT)PIA (Saviour
or Souls)i and on the back in red lcHcrs on the
gold ground reverse, 0 XAIPETICMOC (171c
Annunciation), 0 APX(ArrEAOC) fABPU·IA
"ithin an orn,1mc111alsil\'cr-gih rc,·ctment. This
inclucl~ c.ist plaques or Christ in the ccntrc at the
top and also bu"'b or the prophets Aaron, Gideon,
ELekicl, Daniel and 1-labakkuk,Jacob and
tjohn Chrysostom.
The st') listic clues to a production in
Constantinople, together with its current
prO\ cnance in Oh rid, fit neatly with some archival
documents about the history or the monastery or
the Virgin Psychosostria in Cons1antinople. The
Emperor Andronikos JI Palaiologos (1282- 1328)
made a girt or this monastery to Gregory l 1
Archbishop or Oh rid, who erected the
exonanhcx or the cathedra1 or St Sophia in that
city in 1313. Very probably the icon was sent on
this occasion rrom Constantinople 10 Ohrid.
l.llLeO OEOlllOIE\'~KI
Icon with Christ
Thcs.salon1kior Ohrid, middle offounecnth «nU.11")
Egg tempera and gold on h'ood, "'ith s1!vc:rgilt rcvctmcnl,
157.5" 125cm
kan G...,, Ohnd, IIW 11D'3
r•~-"-~ Orurdiolthr\lCMffolGodl'mblq-.Ohnd
n.u.cnoau.:U-'OCU ~190?,p~.,n.\'11rk-~110l)f
Christ is depicted half-leng,h. He holds an open
Gospel in his left hand while giving a bencWction
with his righL His expression is one or
conLemplation and seriousness; hi eyes arc
'oot-•· 11D99
dightly turned to 1he right. 1-fiscruciform nimbus
and the ground or the icon under the revetment is
in gold. The text on the Gospel-book in Greek
reads: 'My sheep hear my voice, and I know
t.hem, and they follow me; and I give tl1em eternal
lire, and they shall nc,•er perish, and no one shalJ
snatch them out or my hand.' This passage Qohn
XXVI, 8) was spoken by Christ al the winter fostival
or Hanukkah when he was nearly stoned by the
Jews in the Temple at the porch or olomon. In
this chapter he sets out his role as the Good
Shepherd and protector or the faithful.
Chrin i.senclosed by a silver-gilt revetment
It is surprising to find that it h~ been constructed
EI/\ACMA TQN AMAPT(l-l)MA(TO ). This Slates
th.it 1hc gold and ,_jl\'cr icon is orrered to God for
the redemption or
the sins or sebastokrator
l,;aak:ios Doukas. It has been suggested that this
man "a.s the commander or the cavalry or the
Serbian Ts.tr Dui;,1n and governor or Ohiid
in the fou11centh century.
lt!ILCO OtOROtE\SKI
Icon \\~th the Virgin Psychosostria
or Ohrid, middle offounccoth century
111cssa.lo111k1
Egg tempera and gold on wood, wit.hsilver gilt rc\'Ctmcnt,
1_;8 • 122" 4 cm
l~C~,Ohnd,m;. 008,
,aovi;."'"-"'cr Churc,h of the Mothtr of God Pa1bk-pio., Ohnd
R.L,cnoar,nD1cr.J KoncW,,o,.1909,r,,48,NcwYori:.'1004,nol"
This icon is a pendant to the icon with Christ and,
judging by their almost identical size, style and
trcaLment, they were most li.kely both made in
the same workshop, probably by the same artist.
Their scale and lavish decoration suggests they
were made to be prominent in a church, probably
as intercolumnar icons in an iconostasis, and iLhas
been suggested that this was in the hurch of t
Sophia at Ohrid, the cathedr.J or the city sin e
the eleventh century. The Virgin is inscribed in
two roundels, as M(HTH)P 0(EO)Y (Molher of
God); and in the rectangular plaque'i as
H 'l'YXOCQ(Cl)PIA. 'She who saves souls'. The
term Psychosostria is found as an appellation
or Mary on a number or icons, and there was
a monaslery or the Virgin Psychosostria ,II
onstantinople. Mary in this icon i5 turning 10
the right, presumably towards the icon of hrist.
She holds the Child, wriggling in her anns, and
looks out towards the viewer.
'fl1c Virgin and Christ have gold haJoe.s, and
arc framed "~ th in a silver-gilt revetment with ::i
geometric pattern or interlacing circles. On the
frame or the icon arc Aornl ornaments and figural
rc!ie~s. The busts or Stjohn the BapList and the
V1rgm, and the archangels Michael and Gabriel
arc on the top frame. Christ is missing a1 the
in the seventeenth ccntUl)',
is"ri1tt'll in Greek in reel letters at the top.
Stjohn the Baptist stands on the rocky bank or On Lhc rcvctmcm, ,,1th its decoration or
1hr Rh er Jordan to the leH and is inscribed 0 interlaced circles, tJ1rec mecla.llions have survived.
The frame bore busLSand figures or Christ, the
A[flOCI IO(ANNl·IC) 0 (nPOl!.POM)OC{Stjohn
the Forcnmncr). hrist has a cruciform nimbus Icon with the Doubting orThomas archangels and the Apostles, of\\ hich two busts
and is inscribed l(HCOY)CX(PICTO)CQcsus have survi,ed. Tht revetment enhanced the icon's
Ohnd, earlyfounct:nth ccntul")
Egg 1empcra and gold on wood, 44 ,c 36 on function a, an object for prayer. Its style and
Christ).
technical dcLails reveal tJ1at it dales from 1he
The standard By-.tantine clements or the scene Icon Oalkry, Ohnd. iM no.7
rao\-...""-"ft;L Chur1:h oliht,\lothtr o(God Pmbkpco.. Ohnd
arc found, though the four spectators on the right •lUCTIW Hl'l'.llDICU ~'It and Con:,.,t,.l-4Ubnlio,-II' l'))I, pp l"1 J'!,.
same period as the icon.
P.uu1999,no23
SOf"IJ.A K.AJTf.Z A.'10 Al.U1A.'ll'ORA ''ITIC
bank arc all angels: the Holy Spirit is coming
down from heaven in the form or a dove. Beside This icon is entitled tl1c Doubting of Thomas
the Baptist is a small bush and his axe (referring although only a rew remaining letters of the red
tojohn's statement that every t.ree that does not inscription arc ,~siblc in its upper part. The 2 37
bare rruit will be cut down). Christ is dressed in accounl in Lhe Gospel of Stjohn (xx, 24-9)
ARTIST f'ROM MORAVIA
a loincloth as he is baptised. In the waters of the relates that Thomas was absent when Christ
Icon with t Demetrios
Jordan, on the left there is a personification of the appeared to the other Apostles after tJ1e
river as an old man with an um, and on the right Resurrection and showed them his wounds End of lhc foun.ctnth century, or btg,nnmi;i: of the fifiecnlh
a.ntury, Hibnd:u-(?,
a dragon. from the CrucifOOon. Thomas rcfosed to believe
Tempera on boa.rd, 3+3 • ~6.5 cm
The scene is painted with great gusto ; in the Resurrection unless he had seen the wounds
the Baptist 1owcrs above Christ and the rocky for himsdf. The icon shows the subsequent
landscape climbs towards heaven. On the back appearance or Christ to Thomas. Christ stands in
or the icon is a painted cross. It was very li.kely the cent.re or two groups or five Apostles. He raises
produced as one or a set or festival icons to adorn his right ann and displays his body. Thomas on t Demctrios was a popular milit-ary saint whose
the same sancrnary screen as the Doubting or the left stretches out his right hand to touch the cull was centred from tl1e Early Byzantine period
Thomas and the Anastasis (cats 234, 235). wound in Christ's right side. The other Apostles at Th~oniki, where he became tl1c patron saint
MILeO OEOROlli,VSKI show their emotions as Thomas accepts the trutl1 of the city and protecLed it during attacks and
orChrist's return to Jerusalem after death. sieges. His restiva.lday at Thessalonilci \YaS 26
According to the Gospel the appearance or Christ October, and there was an annual fair tl1erc
took place in a house "1th the doors closed. The "hich attracted visitors from around the
2 34
reality of the architecture with its arches. columns
Mediterr.mean. By tl1e Late Byzantine period
Icon with the Anastasis and capitals is well represented in t.hc icon, with the cult of St Dcmetrios had spread broadly, and
an almost ghostly apparition or Christ to Lhe especially into the Balkans and Russia. He was
Ohnd, e3rly fourteenth «ntul")
Egg tempera nnd gold on ,\ood, 4 l • 36.5cm deven disciples Oackingjudas Iscariot). belie, ed to have been martyred in tJ1e early fourth
kon O-.Jkl')',Ohnd, Im no.) It is probable that this work was made as a centu,-,.. and a large, still surviving, Church or
••ovt )IIA)lf 1,. Ch1111:hol thr ).!Olhtf ol God ~nl.okpl111,OhnJ
1~1~0 u.,r.11.1..."fcu. lf11bl11\.M'ltand Co,o<1,t,.l~..t.nL,.1' 19)1, PP ,:n 5- festival icon for the same s.-1..nctuaryscreen as the t Dcmetrios at Thcssaloniki was by tl1e si.xtJ1
1".iru1999, non
Baptism and lhc Anastasis (c.,ts 233. 234). century filled with mosaics representing his
In the upper part of the icon there arc UILOO OLOROl&ViKI miracles or protection and healing, which were
remnants or the red letters or an inscripLion: also recorded in texts and in sennons delivered
Ii (ANACTAJCIC{thc Resurrection). The Anastasis in the famou church.
is one or the two regular representations or the This icon shows t Dcmetrios anncd to the
Resurrection in the Orthodox church. Christ is teeth. The standing figure i paintccl on a oncave
seen in glory, breaking down the gates or Hell, Two-sided icon ,,1th the Virgin Hodcgctrla and board; the ground is ochre, imitating gold and his
and then ascending to I-leaven and taldng \\~th tJ1c Annunciation name is written in Greek in red leners. He wears a
him the most famous Old Testamcn1 figures. In 1111:u.tlolliki(?), 1h1rdquaner of1he founttnth ~ntul") reel tunic, breastplate and armour, and chain-mail
this icon Christ sweeps down diagonally to I lades I tmJ>rr.ton \,OO<I'.<-.m,'35,~ldmg. \llvu~grlt '"''Trn1c111 trousers. He has a dark-blue cape over hi.s
99·.5"73 11 5cn,

OATALOCUE ENTRIES 230-232

CATALOGUE ENTRIES 233-237 439
 shoulders. He hold~ a bro\\11 lance in his right
hand, ,md a sword \\ith a gilclrd hilt in the other
hand. He i,; also equipped ,,~th a club, a quher,
a bo,,, a shield and a helmet. The painter has
represented all these instruments of war in the
same clc1ail. The s.1in1's focc is young and
handsome and hi, bro\\11 hair i°' luxuriant
and Wa\').
This i-;a small, drlic:ucly painted icon suitable
for p1ivatc clc\'Otions .111dfor kil)..,ing.It is vC'1y
likely th:it it was used in the home rather than in
a church, and il belongs to a period of deep ciisis
in thc history of Serbia \\hen enemies \\Crc all
around. h orfc·red protection in \,ar through
prayer to the famous holy ,,,mior. However, the
icon belonged to the collection of painter and
collector Ljuba kano,iC, "ho claimed 1hat it
c:imc from the Hillandar monastcl)' on .\fount
At.ho,;;,,rnd so it may have had a monastic use
at some time in its hi,;;101y.
OL'!A~ •111 0\A~O\'Ji:
ANGF..LOS AKOTA.','TQS (A.c.1425- 50)
Icon with t Theodore
Fir-t h.1lfof the fifirf'nth cclllul)
EAAlf'mpt"rn on wood, 1228 • 70 c-m
11w llclknot \l111UCf'JofCukul'f, ~'Ull(JntandCh~
A1ftfru,•uo 1.....TnJn.Co11tt,....,L\.2&,-Am
1.u.f.C'TI.1>un•u•cn
l,.or,don 1t>87-,
At~lnu-l'uumu.tlOU
oo,i \lhc-m1~1,008.A1hnu1')11&.no.)S
C. 11..alu.,-.nni Athms 199+, oo I IC.
1998. no :,o
St Theodore lira is depicted against a gold
ground in front of two mountains, standing and
sla)'ing a dragon. I-le wears a gold-embellished
military dress and has a sword, a bow and a
quiver of arrows. He is poised to strike a winged
dragon lying in the foreground. At the top left
appears the I-land of God, blessing t.he sainL
At the bottom right, in black capital lcucrs,
is the signature oft.he painter. XEJPArrEAOY
(Hand of Angelos), which was reveaJed after
cleaning. Laboratory e.,camination of a second
signature, on the left, noh1µa~u¢>tlvou
U!:QObtax6voutou ~ayxaQ6>..ou AX () (\ Vork of
hicrodeacon Stephanos Tz.agarolos 16 lJ),
was proved to be a forgery.
The representation of St 1l1eodore as
a dragon-slayer, usuaJly on horseback, is
encountered in Dy-zantine painting from the tenth
century (Achcimastou-Potamianou 1998, p.112).
TI1c saint is depicted standing and in rnilitar,•
dress, bu1 not slaying t.he dragon, in a late n,dft.h-
ccmury icon in the ~lonastery of tjohn the
1l1eologian on Patmos (Chatzidakis 1977, 110.3).
111c iconography of the standing clr-.igon-slaying
soldier-saint was elaborated in fifteenth-century
Cretan painting. Characteristic examples arc
1,,0 icons by the painter Angelos A.kotantos,
representing St Phanourios, one in Patmos
(Chatzidakis 1977, no.69, pl.27) and tJ1eotJ1er
440 CATALOGUE ENTRIES 238-240
in the Cycladic bland of Pholegandros (Vassilaki
1981, p.231, pl.57b), ,,hich show pronounced
innucnccs from \Vcslem .1n. The carlic~t d.1tcd
example of a standing drabron-slaying saint i.;;in a
wall painting of t Pha.nourios of 1426 31 in the
\'ahamoncro monastery in rctc, "~th "hich
Angelos was closely associated, according to hi1-
,1.ill(~lanousac.1s 1960 61, pp.146, 1,19,note 5).
Ho"c\'er, thr closest example 10 the present
irn.1gc, a major \,ork of the prolific painter
Angelos. i~ the icon of I George in Patmos,
"hich b also atuibutcd to him (Cha1zidakis 1977,
no. 24, pl. 26).
UI I IOPl-1'11 \IDRA t,.,\I.AfATI
2 39
A,'-:GELOS Mi.OTAi.VfOS (n.c. 1425-50)
Icon "ith the Virgin Kardiotissa and Child
half offifle(nlh cc-ntul)
fin,,1
Egg IClllJ><'r.1 on \10()(1, I'll• 96.5cm
Tlll' lldlmot \ltno,1r, o(Cuhul'f, H)uniuic •nd Ch~
Mwctun
\1ftf-. UM•~ 1' 1yh
H.uc:n.o Hru.ucu lnndon ,¢;-. no S!l!i\ Chamd.t.ku·,lull,n\On: ,g,811.
no H '\ Ch.twobl:u lbh~.&nn1 199.. 11IO!iIL no 16, AchainaMOU•
J\)(.ium.i-. •9')8. no.~
~lne Virgin is named in Greek H KAP.6.IOTHCA
1 to a well-known icon from tJ1c Pantokrator
Kardiorissa. She wears a purple maphorion, a
dark robe, and a head covering, and holds the
Christ Child affectionately in her right ann. He is
\l\.llnllft,
turned 10\vards his ~lothcr, with his head turned
C. IWu.,pnnil;
&kot-ann•~ back and both hands stretching out towards her.
Above are two angels. Towards the bottom of the
icon, in white lettering, is the signature of the
painter: XEIP AffE/\OY (Hand of A,1gelos).This
is the artist Angelos Akotantos, a documented
painter in t.he Cretan city of Candia in the second
quarter of t.hc fiftccntJ1 century assilaki 1981,
pp. 290 ff.). Three other signed icons by him arc
preserved in the Byzantine and Christian
~luseum: St Theodore (cat.238), Stjohn the
Baptist and tJ1e Presentation of the Virgin in
the Temple, aJI oftJ1em reHecting tJ1e high
standard of an in Crete in this period
( cheimastou-Potamianou 1998, nos 28, 29).
The pose oft.he Christ Child, with minor
variations, is encountered in 1wo icons, one from
the late thirteenth century, in t.he Monastery of
St Cat.herine in Sinai, and tJ1e other, from the
second half of the fourteentJ1 century, in tJ1c
collection of the Ecumenical Patriarchate in
Istanbul I Tew York 2004, 110.210,90). Several
monas1cries dedicated to the Virgin Kardiotissa
arc known on Crete in t.he fifteenth century. This
iconographic type of the Virgin is found in icons
up to tJ1e eighteenth centu1y (Baltoyanni 1994,
pp.105-11).
This is an icon of cxccptionaJ quality, and,
unlike some of the paintings by Angelos, exhibits
no \Vcstem innuencc from his contact with Italian
art on the island, but instead follows the traditions
of tJ1ean of Constantinople, which Angelos was
pl.urning to vi~i1"hen hl' drew up his willin
1436
(~la11011,ace1,1960 61, pp. "(O I[).
le.on of 1Joh11 the Theologian
Con,t,rntmoplr or nu \,..<,,,:lln111k1,
t 1J70 8o
l:R.lttt·mpcra ,rn<l gold l1·,1fon \\O<XI,pmnrd 1nth doth and
gc,$0, 107 11 69 5 cm
l.-,lc--i.l•11<~l•1wlll1~111UII('\lnM'lllll, \l)1okrl('
l'Ul\r'<\',( I mo,11,-ulcl) of1ho: l,1'1~1t h,. K~to I nlC>\,M\ukno:
:\',';,
';~•:,,·;a~';:0(::'17t:~,~;~~~~••,~•
tpp9;,!,I
~\~':~IIO
IQQ',, nn 117, I' JIM, \<lic1m,umu l'nu,nw.ou
'.l(H)
7 cut all around its edges in order to fit into the
This is the back of a bilateral icon which was
detached during conservation in 1960. The front
side, "hich is now a separate icon, shows Christ
Pantokrator (cat.2,p). The icon was cut all around
ils edges in order to fit i1110the in1crcolumnar
space of a lemplon, which was smaller than the
original, for which it was made.
tjohn the Theologian is shown half-length
slightly turned towards the left. He is holding
before his breast with both hands an open Gospel-
book, on which tJ1esiarting phrase of his Gospel
Qohn I, 1-2) is wri11en: EN APIXH HN 10 AOroc.1
KAI O AOtrOC IHINI nroc TON 0(EO)N II KAI
0(EO)C HN /0 AOrOC./OYTOC HN/EN APXJ-1/
nPOCTON 0(EO)N. nANTA t.l /\ YTOY(eyiveto)
(In tJ1e beginning was tJ1e \\ford, and tJ1e \Vord
was ,,~th God, and the \ Vord was God. The same
was in the beginning with God. All things were
made by him). This phrase from the Gospel makes
a direct allusion to the image of Christ shown on
the front side of tJ1eicon.
Stjohn the Theologian can be compared with
two icons of the same saint from a Great Deisis
composition in t.he Vatopedi (I11essaJoniki 1997c,
no.2.24, pp.go 1 (E. Tsigaridas) and Chilandari
ocotopoulos 1995, no. 120, p.218) monasteries on
l\.lount Athos, both dating from t.he third quarter
of tJ1e fourteenth century. He is even closer to the
fresco representation of Stjohn the Theologian
from Lhe wall decoration of the Pantokrator
monastery on A1hos, of around 1363 (fsigaridas
1978, pl. 7; Papamastorakis 1998, fig. 11).
TI1e faces of Christ and Stjohn the
TI1eologian on the ~fytilenc icons follows the
same sryli.sticpatterns. l11cre is a difference,
however. the pa.inter conveys tJ1e divine nature
of Christ in contrast witJ1 the earthly character of
Stjohn tl1e Tiicologian. T'his may be one of the
reasons why the side with tjohn the Theologian
was believed lo date la1er (around 1400) than the
front side with Christ Pantokrntor. This dating is
not acceptable and both sides should be treated as
th
c work of one pain1er only and of1he same elate.
MAlllA VASSILAKI
2,1I
l<0IIofChii,t P.u11okr,1101
111111Ppk 01 l hr,,,1lo1u\..1, ' I 170
~;•:::: rwr,, ,md l!nld k,tl 1111\\ON!,
11
i;:('\\O,107 .: h<)·1cm
,111d
1
1.,1c->J•l"•J ":!'.',:";~":~
~:~•~~~;,,.::::•
~:~,. Int~, \i1ulo:no:
~~:;~\:
;~~~:·
~:
~·'11~~~·:~".:,:~:·~:
11
,;::,at~
..:.~ 8
..\~~~;"'n 1
~. ~:;:\~''
:~•"' ~~:e,t~l ,. 11"' l',,1.,m,.111"' ~""7
his i~the front liide of a bilateral icon which
1
,, ._ dcuchcd during conservation
1 1
b,ickside," hich is now a separate icon, shows
Stjohn tlu.:Theologian (cat.240). The icon was
intcrcolumnar space of a tcmplon, which was
smaller than the original, for which it was made.
Cluist is shown in frontal pose and half-length
holding a closed Gospel-book in his left hand
and blessing with his 1ight. He is wearing a decp-
brO\\ 11chi ton witJ1 a wide golden stripe (clavus) on
the right shoulder and a deep-blue himation. The
face of Christ, his neck and hands are modelled
in dark Acsh \,1th an abundant use of white thin
lines, which take the shape of a net.
The d.1ting of the icon to c. 1370-80 is based
on its close similarities, iconographic and stylistic,
monastery on ~lount At.hos now in the State
Hcnnitage Museum, St Petersburg (inv.no.I-
515,St Petersburg and London 2000, no.8125 1
pp.148 50 [Y. Piatnitsky]; Papamastorakis 19981
pp.43-4). This icon is securely dated in 1363, as i1
is a dedication to the Pantokrator monastery by its
L\, o founders, namely t.he brothers Alexios, Great
Stratopcdarches and loannes, Great Primicerios,
both or whom were painted on the frame. The
representation of Christ on anot.hcr bilateral icon
still deposited in t.he Pantokrator monastery with
Christ Pantokrator on one side and St AtJ1anasios
the ALhonite on the other and dated c.13631 aJso
shows stylistic similarities with tJ1e Mytilene icon
(Papamastorakis 1998, pp.48 1 50, figs :20-21;
Acheimastou-Potamianou 1998-99, pp.309- 16,
lig.1). The face oft.he Virgin on a bilateral icon in
Rhodes with the Virgin Hodegetria on one side
and St Ticholns on the other (AtJ1cns 2000, no. 66,
pp.418-21 (A. Katsioti]) has employed ex-acdyd1e
same stylistic devices in t.he use of white tJUn lines
for lighting the face. This attests to the widespread
occurrence of a style that could have equally
originated from Constantinople or Thessaloniki.
MARIA VAHII..AKI
The Prophet Elijah
1180 1'200
Wood, 1~4,-;62 5" 4.5 cm
llrw,t111e M1J1tUm, Kaatona. om no. •"+'71
~~t!'~;::i:u~~M•).f.i'9,
171c Prophet Elijah is represented half-length
and slightly turning. I Ii~ fe.ttures arc those or
an ascetic, and his long h,1ir falls down 10 his
shoulders. His right IMnclis held in a gesture of
Bo blcs5ing, and he holds an open in5Cribccl scroll in
pnmed \\Ith cloth
the lc:O.He we.a,-.;a chi ton and .1 sheepskin tied ,tt
Lhefront 011lhc chest wi1h a tight knot. On ci1hcr
side or the prophet', shoulders i the inscription: O
l"IPO<l>HTHC HAIAC(Prophet Elijah). I-I01,ever,
the dark blue ground on which this i, wriuen is
a later restoration.
in 1960. The
The icon, which is well preserved, has been
cut down, no doubt to fit a space narrower than
its original setting. It has suffered only slight
damage - the wood has been chipped in places
on tJ1c frame, the pigments have flaked in a few
places and the right shoulder and upper ann
have been overpaintcd at a later date.
On tJ1eback is a large cross, on either side
of the horizontal arm of which are incised the
following inscriptions (Pclekanidis and Cha12idakis
1984):l(11oou,)X(QI-OTQs)
N(1)K(a)<l>(o>,) X(QIOTOU)
<l>(a(vt1)
n(am) CT(aue6v)CT(...) t.( ...) n( ...) X(QI-OTQs)
X(ae,v)X(aQCl;El)
Gesus Christ Conquers. Light of
Christ Shines Everywhere Cross ST(...) D( ... ) P( ••. )
Christ Bestows Grace).
The portrait features, the expression and
mode.mng of tJ1eface, and the linear rendering of
the hair and beard connect this icon wit.h works
elating tot.he late twelfth century, such as tJ1c wall
paintings in the Church of t Stephen at Kastoria
( iomkos 2005, fig.70) and of the Virgin of Arakos
in Cyprus(\ Vinfield2003, fig. 15,Tsigaridas rg86,
p. 110; Livieratou 1999, pp. 761 77, 11+, no.10).
£UTIUWIOS N TSIOARIDAS
2 43
Jeon ,,1th the Koimcsis of the Virgin
Cons1antinoplc1 early fifteenth CCnlUI)
CCMOon ~ood, gold leaf, egg lcmpcr:11,54 "39 cm
Thr ~ul and AJoanch, K..ndlopooloaM.-.,111, Alhc:n.., om ..o 1;1n
au.t:n1>unll.L....a.. ~andSounpa•u.a-7,pp,,4 ,a.,
ChMud,b
The icon has a wide, slightly raised integral frame.
The central subject is lhe Koimeis of the Virgin,
and has many para!Jels witJ1 the early fourteenth
cenrury mosaic in the Church oft.he Chora at
Constantinople nder."ood 19661 pl.320). The
nchly draped bed upon which t.he body of tJ1c
Virgin lies forms the horizontal a.xisof the
composition; tJ1evertical axis is provided by the
slender figure of Christ standing behind the bier
and holding her soul in tJ1efom1 of a swaddled
infant. The bier, t.he apex oft.he mandorla
surrounding Christ and t.he inclined figures of
Peter and Paul at the ends of the bcclfonn an
imaginary triangle around which all other figures
(the Aposdes and three hierarchs) are fi11ed.The
composition is rramed by t,,o-s1oriccl buildings,
united by a semicircular waU. Practical!) the ,;;;amc
, ..... __,.r-.,
iconography is to be found on the frame of the
icon of Nikolaos Rillos in Sarajc,o, pain led
around 1500(Vocotopoulos 2005, p.221, fig. 11).
On the four comers of 1hc frame arc depicted
the Embrace ofJoachim and Anne (top left), the
Nau,;,y or the Virgin (top right), the Blessing of
the Priests Q1ottom left) and the PrescntaLion of
the Virgin in lhe Temple CT)(lllom right). TI,e
scenes, painted ,,1thin elaborate archi1cc1ural
settings, arc traditional in d ign (Lafontaine-
Dosogne 1965,pp.172 81).
On the vcnical sides ttrc St Kosmas of
~ la1ouma nefl) and St John of Damascus (right)
and on the horizontal sides, the busts of Joseph
(above) and Thcophanes (below). They all have
scrolls with extracts from thl"ir hymns for the
festival of the Koimesis on 15August and we.tr
monastic gannem.s Gohn andjmeph wear
turbans). Several monumental Byzantine
decorations link 1hese liaints \\~th the Koimcsis
and their texts connect \\~th thcologic.1.Idiscussion
in this pcnod which o:plorc biblical prefigurations
of the Virgin (Baltoyanni 1991,pp.362f[).
The icon, \vith ics t.heological interests, its
careful design, Lhe naturalistic proportions of the
figures, the solid draperies, the brilliance of the
colours and the elegantly drawn outlines, can be
assigned ,,ith some certainty to the first quarter of
the fifteenth century.
7
Byzantium and the West
Reliquary of the True Cro
Constant.moplc,second half of the LCntbcc.ntury
Tcmpc-ra and gold on boan:i.'26 • 12.5• ~-5 cm
\.-M---,\~Cir, - ... 6"91
l'"ll0\'0(.0..~ '-lbtT~oftho::..CUS....0-,,•tlw~M.Offll"
.u:cn:ollUUL--CU. l:a..r'900-pp9'·T,C_,'907,ppl? .,tf""6opl~
pp.:m .o.'1;co,YOR~.-»~7fi-7
\.\\qic-r,-,~-.tt0
12)(L Li,o. pp1&t 1iia n,
This reliquary, one of the most imponant finds
in t.hc T rcasury of the anct;t anctorum in the
L'1.teran, consists of a rccmngu]ar casket ,\lith
a sliding Lid furnished with a cruciform
compartment inside with a double ann (C7UX
gtmina);this 'patriarchal' shape was common
in Jerusalcm and other pa.resof Eastern
Christendom. lt would ha,-c contained a prized
piece of the Cross used at t.he Crucifo<lon and
found in Jerusalem b) Helena in the founh
century. era.Ichurches in By,antium claimed
10 possess relics of the 'True Cross'. Becawe of the
scarcity of such rcli , the materials mo~t usually
cmployied for these caskets were metals: and
prcciow stones; ho\\evcr, '"oodcn casket.s \\Cre
not uncommon in the Christian Orient,
particu.1.:irlywhen, as m the present case, the
pictorial decorat.ion was accompanied by a
political or religious message of some sort.
CATA.LOGUE ENTRIES 241-244
 801h lhc i111eriorand exterior surfaces of lhe
cover and thr companmc111 of this reliquary are
cm·cred in paintings \\ith a gold background; the
,, hole scheme comprises a theological programme
based on the Byu,mine rile for Holy \\ 1eek. On
tl1c olllsiclc of the lid a Crucifixion depicrsJcsu
on lhc Cross and confonns to the dicrn1es of
canonical tradition: blood Aows copiously from
Christ's side, the Cross is crec1ed on lhe skull of
Adam at Golgolha and 1hc Sun and the ~loon
arc halted in 1heir course by lhe event. The only
innovations in the composilion arc the Virgin's
moumful embrace of her Son's feet and the
dcmonstrati\'c gcs1ure made by St John, who
points to his Gospel. Emotional responses to the
rucifixion are expressed also in Byzantine
homilies at this period (as in the homily for
Good Frida) delivered in c.860 by George or
Nicomedea). The figure of tjohn, Chri~ostom,
the fourth-cenmry pauiarch of Constantinople,
holds open a Gospel-book "'th john ~'V and
XVII: 'The Lord said 10 hi disciples: ''This I
command you, that you love one another."'
ll1e 1cx1is used in the church readings for
Good Friday, linking the rite, tl1e preaching of
the saint and lhc contents of tl1e casket.
The im.1gery inside lhe reliquary celebrates
lhe Resurrection: at lhe top right the Virgin at
prayer turns 10 her Son, depicted as Pantokrator
on lhe left; lower down, angels in diaconal robes
attend on them as dignitaries at a 'celestial' court;
even lower, the inclusion of Peter and Paul alludes
to the concord between the Byzantine and
\ Vestem churches. Stylistic features suggest that
a date in tJ1emid-tenth century is appropriate for
these images; schjsm between the two churches
did not occur until 1054-
omoo
COlt.''flNI
2 45
Reliquary of the True Cross
CorutMlunoplc, clC''Cnth century (antral pb.te); RJune-~lewc,
c:uiy thmec-nth century (mount, rt"Vcnc and hd) and
century (comer angles), salver gih, sil\'cr,
K'Vallttnth
copper, duimp!Lrienamcl, gem stones, wood core, vchi::1,
brown ,•anu~h (rcvtne), total hcight 30 cm (Byzantine plate:
13• 1ocm}
llwkduUluvn,,l'u-,Dqanm,mtda()bp:t,,d'An.,°"&099
,..OVDIA.•U. 'fonnn-llhbrym ~ Pa,, ck J..wr' larqu,n do, \ ..doc. 11)06>,
bmtriy~O)I Vnp"'°-.:n Gbnll.V ~larunLtRoy,l'arv.,~p\
u(V lolanM Lt Ro,, "N
UUCT&D llUu.ura.JI lolMna 18&f, -+S:r; \\Qi,: 11166,pp.90 91
~•lg& •~•d..,-p~MarquodcV~1g,o6.\'0l1,pp19
And .. 1a--.;~11P9,p,g;~,rd'AlrcrN119S1.pp,12 14,1'.,..
l'}')I.C:O.Df.lrolow1<j(11,--,8+,frolo,o l~Pflff7, 1o6, 1118,166,,,49,fis~,
\fflWT1glb,p.,~,. t6.~0c.-.gnc 1987,\'0l,,pp:,G ,,,, .. ,,
t-,cond rd,"°", 1!19). p.186, fJt-), Pano 199,, no 'Z3'To
Toulouw 1997,no i~
Klnoi-...,.,p,51. l"ant~no,o
-:n1c reliquary, known as Martin Le Roy, consists
of a flat rcci.anguJar casket with interior fittings
and a sliding lid. t.he traditional form for a
Byzantine reliquary ofLhe True Cross. However,
only 1.hcembossed silver-gilt plate inside is
8)7.antine. A small compartment at the centre
designed to house the relic is now empty; it
originally had a double-cross bar. ~1lary and t
442
John, standing at the foot of the cross, and the
two angels above it, conform to the iconography
of the Byzantine True Cross reliqua1y, though
such a composition was usually reserved for the
decoration of the lid, not the inte1ior. The
figure and drapCl)' style is ch:1racteristi of
Constantinople in the tentl1 and clcvemh
centurie , and ve1)' close to eleventh-century
painting, like the Gospels in the HibliothCque
nationalc, Paris, gr. 6.i, a masterpiece of this style,
altlibuted to the eleventh century.
The wooden core, the framework \\~th
altemaLing panels of filigree and panels of
rhamplnlfenamel on gilded copper, the reverse
decorated with foliage in brown varnish, the
lid "ith a large cross of jewelled filigree on a
background of smooth metal, are all work of a
\\' tern goldsmith working in the Rhine and
~leusc region in the early thinccmh centu1)',
in close relationship ,,~th such works as the 1~
~latthias True. Cross rcliquar, 1 in Trier, around
1220, and the famous Hugo d'Oignies' book-
binding in Namur, around 1230 (Cologne 19851
H 41, and Cologne 1972," 6/7). It is vc,y likely
that the Byzantine plaque is all that remains of
a True. Cross reliquary brought back from lhe
Fourth Crusade. 111e fact that this rc.liquary was
designed in imitation of a Byzantine True Cross
one, and the care taken 10 conserve the original
central element did gave a clear indication of
the prestigious origins of the relic in the eyes of its
new owners, and must have acted as a guarantee
of its authcmicity.
JA.'iNICOU1t.ANO
Two-sided icon "1th the Virgin Hodegetria
and the Man of SorrO\\
Kas1oria, last quancr or twclrth century
f..ggtempera on wood, 115• n.5•
3 5 cm
B)'ZMUhC' MIIK1lffl,
Ka.ton&
11.UCRD un.a.uicu. Oiawdaba 1976, pp 184 - 5, pl.XXXVII, ,o 1,
uindoli 19'7-. no II, &lW'IIOff 1981. no.9, 8clur,g 199+,pp 16-, -5, .. 16s,
'/roo-YOR1997,no.p:Ai.hna1999,no.1o;;Athma-,no.l
"n1is double-sided icon from Kastoria had a
specific liturgical use. It was a processional icon
made 10 be used during the Passion service on
Good Friday.
The front side has the Virgin and Child in
t.he Hodegetria type. She wears a deep-purple
21
maphorion with folds in a darker shade, and a
deep-blue himation, trimmed with two gold
braids. TI1c Christ Child, likewise in frontal pose,
wears an orange chiton and a greyish brown
himation. He holds in hi left hand a closed
scroll and gives a benediction ,\11thhis righ1. In
the upper part of the icon, two vc.nerat.ingangels,
in bust and in miniature, symmetrically Hank the
Theotokos. They wear a white chiton and a deep-
purple himation. The figures arc painted on an
ochre-yellow ground which imitates gold, and
they arc framed by a reel band. Silver halo
also found Ill twclflh-ccntu11• icons fr 111
. . YJ)ru,.
0 n t I1e bac k· I111st1sshown lifeless and
naked, wi~h a cros -inscsibcd halo, in front of the
ross ag:unst a blue ground. Visible above is the
inscription: (BAC)IAEYCTMCt,Q:;:Mc ingof
Glmy) and on the right of the vertical ann of the
Cross ar~ the abbrcviaLions: ICXCQcsus Christ).
hnst as the ~Ian of Sorrows or King of Clo
is a new subject, lirst found in the eleventh ccntu ry
in several media (Pallas 1965, p.201). This is the I)'
earliest example ofit in a processional icon. lt is
a startling and emotional icon for showing hrist
both dead and in glo1)', and so seen at the time
between the Crucifixion and the Resurrection.
This moment is S)'mbolically represented in the
Byzamine liturgy, and is here ponrayed for display
al lhe annual commemoration of the Crucifixion
on Good Friday (Pallas 1965, pp. 197ffand 280- 2-
Belting 1980-81, p.5). ' Byzantine repc11oire an Os 1978; Belting 19900;
ParaJlcls for the Virgin, whose face looks
fearful for the future fate of her so111 are found
in la1c twelfth-century painting, as in the icon
of the Virgin in the Hermitage (Enkleistra) or
St Neophytos (c.1183)in C)1,rus (Papagcorgiou
1991, pl.27). Similarly the linear rendering of
the hair and tl1e beard of Christ appears in laie
twelfth-century works, such as Christ from lhe
Lamentation in the Church of the SS. Anargyroi
at Kastoria (c.1180){Pelekanidis and Chatzidakis
1984, p.33, pl.12).
UMBRlAN ARTIST, c.1250-60
Dip!Jchwilh Iii, Virginand Childand theMan
of&rrows
Eggtempera and gold on panel, lefi wing 32.2 • 22.8 cmj
right "ing 32,4 • 22.8 cm
N~Oallny,l.ondoft,11065pandm16573
,.OnXAIIU ldl ..,,.. acqwml by Adolphe&ock, from lhc <knoaitda,k,r
Cnccco, •o-1';,ubKq,.,mU)'on the mllcc'--! o/~U(Wne f"t,·on.S1odn and o/1M
fnon,&odn hnn; kqllir'fd by !'liatbw Galkrr, London, 1m, nfhl"VII"
Rutf,~lunlch,19&J,kx11,~a.nint1ircnth«ntlll'(J,pm-attml«tioel,
;=!t1!':a~~~~a'.ric~
1 Mad:'A.a.s,,!.t
~ l~hmWI
~
;~'b~.';~,,(S·~~~:;:N:ir'~~~=
~,OOO,no4"'pp11t A•~-,NewYorkta0t,pp5,6 1,
fis..J441.~-6,no1c~,Londort~ DI~
This diptych is the earliest surviving llalian
example of the Man of orrows paired with the
Virgin and Child, a combination tJmt became
popular in devotional works Lhroughout \,Vestem
Europe (Panofsky 1927; Kermer 1967; Belting
1990n; Ridderbos 1998). The Man or arrows
panel, fonnerly in the Stoclcl Collect.ion was
initially anributed to Giunta Pisano Marie (Vai:
1929, p.316; Lion-Goldsclunidt 1956, p.,1) and
subsequently to Venicci ,.1300 (Garrison '94·9t
19.98:no.267). Following the discovery of the
V1rgm and Child pane I, and the reumtmg ..
di of the
plych, an association \,1th artists working in
Nonh Umbria in lhe generation after Giunta
arc " "l"oposcd
' ( l,Fl' IJO, '
1'1~,1110• · •. • di-u·llllllY Umhri,111
.. 111id-ii11rtt'l II
'1111" • I F nili,i-Rrnnagna, will soon be
I link,;'' 11 1 ., •
,ui< . ·<I Gordon for1hco111111g).
r. her c-.:po1t 1
1url
Recent Cc, 1. U1ing11.1~ confirmed
.
the high
.
l't , and con..,isicucy of technique and material
1
qu:i. > , ,els The arti,;t worked confidently,
ill ihc l\\'O p,u . . . f
\\'ilh gre.it fluency, 111ak1'.1g c~tens1ve USC0
. - , drawing incised 111the gcsso ground.
1>rchn1111,try . .
·1cc1planning may 111d1catctransfer of
Thiscctat 1 •
details from a model. The diptych probably
colllbincs clements derived from one or more
By,..1.ntinc or Byzantine-influenced works rather
than follo\,1ng a single prototype. The same
pairing appears on the late ~welfth-century
doublc•sidcd icon at Kastona (cat. 246).
The use of art to stimulate affective piety
\,·as favoured among the orders of friars, oficn
employing modified versions of images from the
Derbes and Neff 2004). The diptych was probably
produced by an artist ,,~th connections to Assisi.
the Franciscan headquarters, in a Byzantinising
s1ylcfound in many works - especially crucifixes -
made for F'ranciscan houses in Umbria, Emilia-
Romagna and tl1e Marchc (Cannon 1999;
Cannon 2002, pp.576-8; Bologna 2000, pp. 186-
203).The diptych was well suited to Franciscan
concerns: in earlier Byzantine images the forearms
of the ~lan of Sorrows arc not visible, but here
they arc shown crossed, as became common, with
hands placed unusually high on the chest, a pose
redolent of prayer gestures and the laying-out of
the dead, which made visible the wounds rccalled
in the stigmata of St Francis (although no pigment
marking the wound in Christ's side is now visible)
t 'eff 1999, pp.87-90). The Virgin's
foreknowledge of the future suffering of her child
(prolepsis)1 indicated by her sorrowful c.,-pression
and gesltlrc, is heightened by the proximity of the
dead Christ, towards whom she also gestures and
inclines her head. The devotee's close-up view of
Christ is made more disturbing by the actions of
the hovering bust-length angels, who cover their
~
=-~
19}6.pp4 eyes to avoid the terrible spectacle here openly
presented.
JOA..'ffl'A CANNON
l'RANCESCO DA Pl (P)(fl. 1298-1301)
Dcisis with t atheri.ne of A1exandria and
St Sylvester
Second hair or thirtcemh century
Tempera .tnd gold on poplar, 87
11
;:::;~=L~=~~,1~~ 1~ 1,;;~:
l..anfrtdanl 110 u. lkD,n,
18119, l'icin •r'-PP 1 1, ~q:;J:~\ ;--s
:;:::~~a:V:l~=~9r;p~::~~
~tf.\:l..:.:;:-,1,i
~uf;~;:"r'oiZ'~
1'11«and Tanukri 9006, pp.1b6..171
This panel - probably a dossal or retablc pla ed
(Cannon 1999). behind the altar, and not a 'paliouo' 10judge by
. ' •
connecuon, its cu peel form - is said to have come from the
Church of San Silvcs1ro in Pisa. Thi provenance
certainly fiu with iu iconography, presenting
ylvestcr on the lefi side and, on the opposite idc,
St Catherine, who c1~oyed particular popularity
in thi, church. 11,c gradual deterioration or the
painting forced Domenico fiJCali, working around
1900, to restore the panel, detaching the painted
surface and lrnnsfcrring it 01110a metal framework
\\1th Cotl1ic arches. early a century later, in
about 1990, the painted surface had 10 be
transferred once again to a panel, Fisca.li'smetal
support having rusted and contributed to the
flaking of the paint.
These vicissitudes mean that today lhe sides
of the panel are best prescived. Scholars arc still
debating its authorship, although a possible
candidate can be indentified "'th Francesco
da Pisa, who realised - according to AJcssio
Monciatti - the figure of Christ in the mosaic
in the ap~e of Pi!iaCathedral.
Pisan an in the second half of the thineenth
century hows considerable knowledge of
Byzantium, thanks to the presence of Pisan
merchants in many Eastc.m cities having, for
example, their own quaner in Constantinople.
There is evidence that Byzantine artists worked
in Pisa, as they also did in Genoa 1 Venice and
other parts of Italy. A similarly shaped panel with
an extended Deisis can be found in the collection
of the Holy l\ fonastery of St Catherine, Sinai; in
this case scholars think that the work was made by
a \Vestcm ('Vcneto-Byzantinc1 artisl to act as an
epistyle for a chapel in the monastery used by
l..ltins (Folda 2005).
MAalAOIUl.lA aua.aESI A.'«> LOa.£...,ZO CAIU.tlTI
2 49
OIUNTA PISANO (fl. 1236-54)
Processional cross with Crucifixion on both sides
Thinecnth century
Tempera and gold on popb.r "'ood, 113•83 cm
\lu.oni~diSan~lauro,
1u.a;CTKD aui::u....icu
~- no.2323
,·.,. \l-'r: 1923, ,d ,. p ~ lbca 192+,P..-.+
Toaca 1977,p 1017,SantlbnJ\a...U. 1<p9,pp.fr11 18, Pa.. 19»,p.!n;
lffl.PJI ~-7, !..onpi 194&,pp7-8,c.n..n
)lorm« IQ.49,-YJ;
Carl,,19,S.pp.1,7 l,Bool.o\•1971,p");p,c.,\,t97♦ pp..37-l;Twnirn'9'J'
pp 14,n, Tan...kr, 1991,pp.1l-19,4tt U. BunalaidCaiite:a 199,.p3t,
Cat11199+,pp.15-16.lwlal....tCako.1999op86;s..r-.Cartr.....i
GICXN'IUIIOO,,ppy,-s.,a..n-.:.'°°3,pp.11,t·l),...,._-,_,._._w.
Cru11&NII004,pp11
andTanufm2006,p,t.,
)Sl'"ua~ppn,1• 1,&u,,o,.-.tat.na..Paco:
TI1is is a striking C.\":ample
of Byz.,ntine
influence on \ Vestem an, with a Cn1cifixion that
dramatically emphasises the dead and sagging
body or hrist. This iconogrnphy developed first
217 c-m
in Byzantium at the beginning of the thineenth
centu1 . ,\1th a notable version in a wall painting
4,Mananii. 1MtoT&},p_p. at Studenica dating from around 1209. ln the
1 Carll 1
second half of lhc century, Cimnbue de,·eloped
1
~~~~
90'I llool;o.~ Lahnola,
this emotional imagcl) still further. The Italian
version of the ru ifL~on cliffcrcd from the
.Byzantine ones in ha,ing three nails (not four)
10 fixthe bodyto the Cro , and emphasising the
pain and ufTcringof Christ.
The double-sided processional cross is a fairly
recent discovery. It was in the Church of an
Paolo a Ripa d'Amo in the second half of the
ninc1ccnth century and a0cr several moves it was
deposited in the Musco Civico, Pi a, around 1940.
At th~t 1ime the cro s was re.~torccland only
afic1wards wa it possible 10 detect that the back
had been entirely repainted. Before lhis
restoration PCleo llac i assigned the cross to
Ciunra Pisano (or Giunrn Pisanus Capitini as he
signed himsclQ, and rhi attribution met with
broad approval (Tocsca, andbcrg, Vaval;\1
Longhi), apan- from Garrison, who ascribed it to
the Pi an hool between 1260 and 1270. ince
then, Carli has maintained the attribution to
Giunta (comparing it ,\1th the signed cross from
the Church of an Ranierino, now also in the
~Iusco di an Matteo). Giunta was one of the
most influential painters in the first half of the
thirteenth c~nnny, and he is known 1.0have signed
four painted crosses. He was patronised by the
Franciscans, and he gained an eminent po ition
among other artists, similar 10 that later enjoyed
by Cimabue and GiotLo.
Recently some. scholars have disagreed wilh
the traditional acuibution: in 1991Tanuferi
ascribed the cross to a follower of Giunta, tl1c so-
called Maestro cli an Paolo a Ripa d' Amo, and
in 2004 Testi Cristiani considered it the work of
another pupil of Giunta.
.MA&lACIULI.A ac1tius1 A.'fl) LOll.L"ft.O CAil.LETTi
250
Triptych with trgin and Child enthroned "'th
angels and saints
~l:adc in Ital), possibly :u Rome, Naples or S1cna, between'-
1315and c. 1340
Egg tempera ",th gold on ~. c:mv.u 01.ndwood, painted m
red on ,-u10.
39 7 • 27.9 cm (open)
,._,.Uff'j l"M\lt.C.....-.~ llw'~T.--..
~or\lnJ....adCrcdc-ioU.~Trwtwttb
PIIO'"'Dl,<,..-.;:a.
Puladr.UffY,")f~ .. ilolld_.,r,l~pwdlMc~ .... o...-•
MU.C'ffO~ '---Trwt1"174,p.q,no.21 SIJ Con, London
"9-t-no.~p.--.plp•1 R.~-'~1 , .....,,
This triptych is nota.ble for its combination of
Byzantine and Italian sl)•lcsand iconography. lt is
similar in this respect to the terbini diptych now
T~
at Rome, a triptych at ~ lcssina, and the 1rgin
and Child ~nt to Cambrai from Rome in 1440
(Garrison 1949, cats 65, 70-2, 120, 247; Shorr
195'1,pp.94, 103;Ja:iskinen 1971,pp. 49-75; Zeri
and Cicala 1992, pp.55-6; Ne" York 20011-,pp.
582 -4). Some features and the rcprc cntations of
SS. Kosmas and Damianos, Nlichacl, Nicholas,
Anthony Abbol, George, i\largare½ Theodosia of
Constantinople and Catherine of Alexandria point
lo a training in the Ea.stem ~ leditcrranean
( hm.idt 2005, fig.212). But other clements rc,,cal
familiarity witb ien e painting. 111c
representation of tl1e irgin and Child closel)
ATALOGUE El'ITRIE 248-250 ++3
 follows lhat of Ouccio's tvlaesta and small
tahc.-rnacles made at Siena in its wake (Stubblcbine
1979, \'Oi.2, figs 47,216,235,248, 257-60, 266).
One such niprych apparemly belonged to Peter of
Anjou n,rother or King Robert or Naples), who
lived at Siena between 1314 and 1315 1aginnis
2001, p.148; Schmidt 2005 1 pp.242-4). Peter had
another brmhcr, Philip, Prince ofTarnnto, who
married Catherine de Valois Com1cnay, titular
Empress of Constantinople. Perhaps this triptych,
,,~lh iL,;;cas1cm versions of ~Jargarct, Theodosia
and Caihcrine, was made for this couple (Lock
1995, pp.66-7, 360- 1). This might c,1,lain the
choice ofSS. Francis, Dominic and Louis of
Toulouse, the newly canonised brother of Robcn,
Peter and Philip. The same pa.inter may also have
produced the S1crbini diptych, which in ludc:s
St Lawrence, titular saint of the Franciscan
church at Naples, Philip, a popular Angc,~n
saint, and t Louis of Toulouse.
In conclu,.ion, this hybrid triptych was
probably made by a Greek painter working in
lialy for the Ange,.in nilers of the Kingdom of
l aplcs (London 1994, p.206; Kosztolnyik 1996,
pp.239-5-~; Achcimastou-Potamianou 1998,
pp.6,1-7; L'Europc 2001, pp.153-235).
Rl'.DECCA W. CORIUE
Icon \\~lh the irgin and Child, Church
Feasts and Saints
Vr:mtt (?), m1d-founecn1h century
Eggtt:mpcrn on wood, s1ucco, gold gb..ss.
.µ • 30 • 1 an
Rmal.Miatnam.Alhcn,,,,m,1..,~
nO\'L'OA...-Cl.. acquomlu,Alhmsb)i\nlh«,yJkn&bo&..a!hra,1-dnJ,cr
llK:odorr/.oun~_sM:&td>,~
KUC,-,W un:aL"ICU x~ 1<J36, pp.,
p.7:n .I V-.ilab'\"'1.IU>')..nn11994.no.:10,ploS9
4, ph I 4, AIN'nl •99+ IID.t~
4o;Albrm-,-.75,
PP--4+89(\1 \~A1hmuoo1,1'0..1,7.pp.J1I -(),I \-.,il,a,k,,Gordr,n
aocn;Kor.udi70en,M~-,,~-,...:~yan~-~
PP.)(!) 6r.,I \'-.l.,.b';~•TOU700).pp.""J l.fic.14
171e central panel shows the Virgin Eleousa
holding the Christ Child. This is crowned by
an a.rch resting on thin, spiral semi-columns.
The spandrels of the arch are covered by two
medallions of Lhe Evangelists Luke and Matthew
and acanthus leaves at the edges, all of which arc
made in t.he gold glass techn.iquc (vart iglomist).
The entire composition is surrounded by a
wide frame divided into twenty rectangular
comparlmcnts, in which ten of the Great Feasts
altcmmc wiU1 busts of Apostles.
This icon represents a unique combination of
different techniques on a single wooden surface:
egg tempera for Lhc central representation of the
Virgin and Child and the busts or the Apos~cs,
gold glass for the Evangelists on the spandrels and
relief stucco for the Great Feasts. The techniques
of gold glass and relief stucco were in use in Italy
at the time, while egg tempera is Lhc t.raditionaJ
technique for icon painting.
ln this panel iconographic and stylistic
features of Late Byzantine painting arc combined
444
witJ1 clements drawn from Italian and parti ula.rly
Vcnelian art. For example, the renderi11g oftl1c
Virgin's face with its taut skin, aJmond-shapcd
eyes, arched eyebrows, her punched halo and
some features of her drcs.s arc all to be found in
founecnth-centul)' cnclian painting, especially
in the work of Paolo Vcncz.inno 1l uraro 19701
pp. 116- 17, pis 120-1). Technicnl analysis has
shown that the priming of the panel wn.s in the
two-layer ~o tcclmiquc o grosso and gcsso
sot tile) commonly practised in central and north
Italy. By contra.st. the posture or the Child finds its
parallel in an icon of the Virgin and Child in the
Philothcou mom\Stct)' on ~lount Athos, dated to
the middle of the fourteclllh ccntUI)' rrsigaridas
1992, p.654, pl.355) and the iconography or the
Great Feasts on the frame is identical \\~th that
on the silver revetment of an icon of the Virgin
Hodcgetria in alOpcdi monastery on Moum
At.hos, dated to the first decades of the fourteenth
century (Tsigaridas and Loverdou-Tsigarida !Z006,
pp.307-17, figs 234-6, 240-7).
All these clements may suggest Lhat Lhc panel
was produced in a Venetian workshop, but by a
Byzantine painter, who was better acquainted
with Byzantine than with Venetian traditions.
Icon with Virgin and Child
~ lid-dunccnthcentury
Tcmpt:ra and gold on poplar, 8o.2 • 59-7 cm
\l11KO...:_.diSan)latuo,Pi:a_lllYl'IO..ll7'
~ u.ni;ao:.""'- )larurum 116a-6J,p-t3, Lammtan. 1118g.no.~
S..,,....1'9-t.p.3r.!klm11"inn19(1'6,p.6g;GaffllOl'l11}49,no.l09,V,gnt1~
PP-I0-1, ~ •95,S, p.8,; Ca.ti ,gs1, p..44.Cuti 1974,p s8, Calco •!J18.
I.~
~pp.78
19'16, I, p..in,. JI, PP.S.U .f. Cart, 1994, p 1.f. llunai and Cu«a 1m,
p.6:r, Ri.n-ca,Carkt11andGicwnnumcn,ppfli-30,
9-,p-,
••S:
!lum::.'IOOS,p
This panel entered lhc Musco Civico, Pisa, in
1861 from the Benedictine monastery of San
~l.atteo. It may be the panel listed by Marianini as
a 'Greco-Pisan' painting; Lanfrcdini uses the same
definition, adding lhat it is in 'very poor condition
- panel broken'. This break corresponds today
with a vertica.l gap dividing the icon in two. The
figures arc painted on a thick panel with a gilded
background; the frame projects slightly and is
carved from lhe same wood. Al lhe top arc the
abbreviations in Greek of'Molher of God'. On
t.he lower frame Lraces of lhe artist's signature
remain; this has been variously imerpreted and
corresponds more or less to: 'M[AGIST]E[R] Q.UI
VOCATUR F[ ••. ]SINELLUS ME PINXIT'. The name of
lhe painter is fragmented by the vertical split, but
no possible completion of Lhe name corresponds
LOany known artist of the time. Perhaps for this
reason scholars have sought styl.istic links in
diverse geographical locations, predominantly
around Lucca. Following Garrison, Ragghianti
identified srylistic features close to those of tl1c
Maestro deUc Oblate, active int.he first half of the
thineenth century. Carli sees similarities with Lhe
1\fodom,ndi so/logli Orga11i
(fig.,p), venerated in
Pisa Cathedral and traditionally nscribccl to
Bcrlinghicro. 'T'hcorigins of this icon arc also
diffi ult to determine because of the stron
. . g fu11r11011cc ,111.
Byzanunc content 111 the art of\.Vestcrn ~r
. . . . uscany
th111eemh century. Carli marntains that this
111 the
icon and the one in tl1e cathedral arc both Pisan
The presence of inscriptions in both Latin and ·
Greek seems to confirm these evaluations
the present work at a crossroad between
By·~:-mtiumand the \Vest.
M/\Jtl/\OIUI.IA IIURRl'.SI /\ND LORF.NZO CARLE,,.!
GENTILE BELLINI (d. 1507)
CardinalBmario11a11dTwo Mm,bm ef1/,e&uoi,,deli,,
Caritai11Pra;·erwitlttlte/Jessan'o11
Reliquary
Venice, 1472-73
Eggtempera with gold and silver on panel, 102.3• 37.2 cm
Na110nalGalJcry, l~do11, NU6sgo
~~:~~;,;11~~:7:;,a h~:~!•
~:::•1~~~ ~:•:,~~In
J;t~:;~1:
~~l.twe.: ~ ~~r:::09:
it:'~~;;:i-i:.1~n:::i~c~:7::·~.i;:
f\ol611;1111n:huttib) tht National Galin), --.i
IU..lCT1'.0U:ntaL..-CU l'laniq 1~8, p 51, fltn-n,()111957,p 78, pl.QJCU111
Sc.halln.n 19:,7,l'P 1:.3 T, Vabk,pouk!OI1970. li.g70, p 7-47;Vienna 1m,
PP 19 ,o,pl ll,Ma)"tr11.ucrCapc:1kn1g,8s.no.A76,p 141,Hnn(:rnann 1991,
r.-aoo,pp,14 1.s,\'uuoc199+,fig91,p779.andpp78S,787
f,g8o,pp.,s6-8,_Wrkh,ooo.flg6-t,pp 151 t,np«ially15S,Campbtl200t,
no S, pp 'l-4-s, Kenny~ p 1o8
The painting depicts Cardinal Bessarion in
profile, on the left, kneeling in prayer before
the Byzantine reliquary or the True Cross
(Schioppalalba 1767; Fogolari 1922-23; Frolow
1961, 110.872, pp.563-5, Venice 1994, pp.369-
78)1which he donated to one of the most ancient
Venetian confraternities, the Scuola Grande di
p Santa Maria dci Battuti della Carita. Two
Pila brothers wearing the insignia and the habits of
the Scuola pray on the right. They have been
identified as the Guardian Grande and the
Vicario of the cuola, Ulisse Aliouo and Andrea
dclla Sega, key figures for its acquisition (London
2005A, no. 6, p. 38).
After playing a key role in the Council of
Ferrara-Florence (1439) as a leader or the pro-
Unionists,Johanncs Bessarion (rrebizond,
1399/ 1400? - Ravenna, 1472),lhe eminent
Greek theologian and scholar of prodigious
literary activity, convened to Catholicism and
was appointed Cardinal of tl1c title of tJ1c Twelve
Holy Apostles. Although twice a candidate for the
papacy, he made his greatest impacr in the \>\'est
as a scholar with vast philosophkal erudition,
head of ~n 'academy' in Rome and systematic
manuscnpt collector.
The reliquary was fonnally donated to t..he
conf':1tcmity on 29 August 1463to mark t.he
Carchnal's elect.ion as a member of the cuola but
actual)~reached the Scuola in a huge ceremonial
~roccs~1ononly in July 1472, t.hc year of
essanon's death It w k
of clab V · . as cpt attached on a stand
f orat.e encl.Ian-style metalwork in the
con ratcnuty's alb ( . '
ergo mceung-room). Bellini's
• , i1i.!lioncdao, the
• 1111g,v,11, t 0111111
p:un ' hou,ed the precious giO (lwo
I 1·11Hl(' 11' I 11,11 ' Funerary cloth wi1h Othon de Grandon and
1,1, , .. still visible on the right) and
~t· •hoir~,11 c . . . . the Virgin and Christ
) . . 1. such until 17,11~ (l\losch1111Marco111
• • •
G ,. ,g2). The p1cturC,JUSl hkc the
19r.5110.21 ' 1
~ .' . Ir-length 1,ortrait or the Cardinal,
0
ngin,1 111,1
. . I to Bellini 100 which dccorntcd the
attn1)UlC( • . • 11ucn.o
:tlbrrgo but w,ts stolen in 1540 ~oschnu Marcom
pl • , _ , pp. 2oo- t), pays tnbutc _to the
, acing 1962 110347
Vcllctianrather than the Byzantme history of the
reliquaryas well as 10 the individuals associaLecl
"iih it (Cutler 1995A, PP·2 57-8).
Bellini, a master in portraiture
\\~th the legend of the True Cross and eastern
iconography, depicts Cardinal Bcssarion,
identified by his bulbous nose and long beard,
in black monastic gam1ents of the Onhodox
church and the reliquary virtually its actual size.
However, the sliding lid, a fourteenth-century
Constanlinopolitan (?) Crucifocion icon (New
York 2004, no.325, pp.540-1) with later silver
revetments, has not been depicted.
K01'0ULA
OIMl'I RA
8,Gmzburt,ooo, 2 54
Wall mosaic witl1 head of an angel
Torccllo,second half of eleventh ccn1ury
Mosaic,31.6 11 2+6 on
Mll>ttdu loum, l'aril, ~rttmcnt dd Ob}cu d'/1.n, OA6.t6o
UO\'L .. ANOII fflQUI( olthc: l..astJ..dgmrnt on 1he .. -a1 wall ol'S.nta Mana
,..._~ Torc:dlo,g\l\oCl'...·D Gcnpach.18g,
IIU:Cffl) aun1t11aa Demo, 19+4, pp tl 4,, Eknuu I~ p,SoS,,. ,Sr,
Anclorttxu19P,pp.1g8-g;Andn:acu 19]6.p.770>,..S9,Andoftaal
pp 1:, 1,0. l';im 199~. no 14,.; New York 1997,no ,gs: Rome 19979,IIO.ffT,
Andm:Kuaoo4,p1S.,~n1•Daw'I007,11063
This fragment, which has undergone almost no
repairs, comes from the west wall of Santa Maria
Assunta, Torccllo, in lhe Venetian lagoon. The
wall has a monumental composition of the Last
Judgment. This fragment belonged in the third
row from the top where, on either side of the
Deisis, angels' heads appeared behind the seated
Apostles. The two arcs of a circle surviving behind
each side of the angel's neck correspond to the
haloes of the two Apostles between whose heads
the angel emerged. Like a number of other
fragments from Torcello, the Louvre head was
removed during the restoration of the west wall
in the second half or 1.hcnineteenth century
(Andrecscu 1976, 1981, 2004). Some heads were
taken down and replaced wit.h copies; the copies
were later removed in their lUm and replaced by
the original if available. But some of the originals,
including the Louvre head, were plundered by the
mosaic workers who had no compunction in
removing some of the copies as well (Andrcescu
1972 and 1998).
Andreescu has identified various phases in
the Lastjudgment mosaics; t.hc first campaign
was carried out by a Constantinopolitan workshop
in the second half of Lhe eleventh century and Lhe
Louvre head belongs to this campaign. l....'lter
campaigns were carried out by Italian mosaicists.
door of the This powerru! piece possesses the c1uali1.icsof
the finest piece, produced by the workshops or
Constantinople in the middle and laucr hair or
the eleventh centul)I, for example the celebrated
panel or Constantine IX Monomachus
in St Sophia, or the mosaic, at Daphni (t. 1100)
and Hosios Loukas, The tcchnic1ue and the
shading ofLhc coloun arc similar to those
used on the angel of the Annunciation on the
triumphal arch in St Sophia, f{jcv, a building
begun in 1037 with mosaics by By-1,antinc
artisi.,
of the middle or second hair or u,c eleventh
fascinated ccntUl)I. The angel of f{jcv and the angel or
Torcello are almost contemporary; they illustrate
the wide geographical area covered by the
workshops or Constantinople.
J/\NNIO DURAND
Wall painting with St Catherine
1233-34
Detached fresco, 211• 97 • 7 cm
Tht Hdk:oK Mmauy o(Cuhun:, Byzanoneand Clrmuan M.-..n,
Ath(na.tXM1067
:::.:;"~":.
~~~:;~~pp~:tl;-~~
Athcru 19"6, no.,-:a,p..4.s(£. Kounoupt("l»1il•l'>Ok.ou}; ~ 1gl6. no.It,
pp.49-~(E.. ~M---.U); ~ 1gll7,pp 19:, '91',
c:t..tndwa1000,pp.,6J-9,Byiamine1'fianirnll00).p111,,..N(A.Kaudui}
The fresco of St Catherine was located on the
south side of the templon-screcn in the north side
chapel of the Cave Monastery, and identified by
the inscription H AflA (A[KA l)EPINA (Mouriki
1gll1,
1973-74, p.99, pl.xxvm). St Catherine is shown
full length and turned in supplication towards the
sanctuary. She wears a crown, earrings and
luxurious impcriaJ raiment, with a gem-studded
/mosand a thorakion as a kind or shield, as befits
her aristocratic origin.
This work, which rcrers to Lhc art of portable
icons, is appropriate to lhe votive role of the
portraitJ stressing the eschatological character
of the decoration in this funerary chapel. It
represents a conservative trend in painting,
characterised by the survival of iconographic and
stylistic clements of Komnenian tradition (tvfouriki
1973-74, pp. w6-7, 110-11, 113).The style echoes
aesthetic conceptions of the twelfth century
(Mouriki 1973-74, p. 106; Cbarzidakis 2000, p.
268), showing how artists in thinccnth-cen1ury
Greece looked back to this period for inspiration
within a world dominated by \Vestemers, who
had taken over Lhe region after the Sack or
Constantinople in 1204-A similar conception in
painting is found in the north side chapel in the
nanhex of the Church of Lhc Virgin at tudenica
and in creations of local workshops, such as in a
group or wall paintings in the Church or t Peter
at Kalyvia Komrara in Attica ( 1louriki 1973-74,
pp.107, 111; F1orcnce 19861p.50; Chntz.idnkis
2000, p. 268).
IRL"III Tllll0Ct1Mt01'0ULOU
and Zoe Cypru1,hut <1uarteror die thinccmh century
and silk, 88 • 328 cm
Embroidered 1,1(fe1a
lh•oruchn \hnnim, l1tmc
C.thcdral
nOVl'.JIAMCS.. l..au,anno::
Cm, 199y.. pp 'II'} I• rokb 19951',p 716; \\'ikkma
n:,r.u....-cu
1m,pp.279·~bd,ooca,1,p,17:1 ~.M~~.J>P,110 1,CllfTOOQS,
pp:,o, S,Grnn..1006,noilh,fll>l)J t(M 1'hningnl-ltrhtr)(U1..)
rmpropcrly labelled as an 1 antcpendium\ Lhis
embroidered silk \\f'aS originally meant as a
funerary cloth, used to embellish the canopied
tomb orthe knight Othon de Grandson (12,10-
1328) in the choir or Lausanne Cathedral.
Grandson was~ prominent local aristocrat,
who had been involved in the events connected
to the fall, in 1291,of the last Latin stronghold in
Palestine, the pon of Acre, from where he fled 10
Cyprus; he later served as a diploma, for King
Edward I or England. He is seen here kneeling
and with joined hands in the act of recommending
his soul to the mediation of the Virgin Mary, who
sits on a throne with Christ on her left ann and
is Ranked by two censing angels.
On technical grounds the silk is
characterised by an extensive use of a gilded silver
thread, whereas its stylistic, iconographic and
compositional features are essentially borrowed
from Byzantine tradition, although combined with
minor details of\Vcstem origins, such as the
representation or the kneeling donor and his coat-
of-anns. Such unusual features have encouraged
scholan to recognise this item as one or the de
luxe tc..'<tilesC.'<J)Ortcdfrom Cyprus throughout
Europe in the late Midc!Je Ages, and recorded by
cathedral inventories in \Vcstcm countries as
works of opus Cyprcnse. The only other example
of a medieval Cypriot textile that has been
recognised by scholar, is the large embroidered
antependium offered to Pisa Cathedral in 1325 by
the Latin archbishop oh ,cosia,John of Conti,
currently in the ~itusco dcll'Oper.i del Duomo in
Pisa. That tc.'<-tilc,displaying an essentially Gothic
imagery interspc.rsed with quoracions rrom
Byzantine iconography, points to the wealth of
models on which Cypriot artists were able to draw
for inspiration in order to satisfy their Latin and
Greek patrons.
2 57
Glazed bowl with a representation
ofa fish
Cyprus, l'aphos rcg;on, first half oflht: tlurtccnth ccnluf)
Clay, lead-glaze, height 9.3 an; diamr:tcr 17cm;
diameter ofbasc 6.8 an
S-ata MlllloltlfM,IM..cw-. l\K\111.1,
inv.no..&/-,,'070
WU..c;:TUIIU.IUL..-u. ~-lbLrw-..,II0.-41,p.97
The ceramic fabric lSred and rather rough and
hard. The vase has a carinntecl body and a foot
CATALOGUE ENTRIE 254-257 445
 \\1th up\\~,irc\-turnccl ring b..sc. The body ha-.
sli~h1\y cun-ing wal1' lhat fonn tlfl angle wi1h 1hc
"ilraight rim. lncisc:cl on the coat of\\hitc slip on
the in"idc ~urfacc i"ian impressi\'r large fish. lls
boclv i~ cur\'cd, in linr with tlw edge of the
bottom. and it h;1"ia forked t,til. The head," hich
follow"ion fro1111hc body, rncls in 1riangular
mouthparLS and has one largt·, wide-open eye.
A spiralling line denotes the scales on the body.
Incised in the field i" a fu~ifonn or !<ipincllc-likc
mo1if wi1h cros."i-hatching. ·n1c cra0,pcrs011 1s skill
in fiuing the fiqurc of 1hc fish into the circular
"iurfrtce of the houom of the bowl is particularly
note\\ rthy. Br0\\11ish-ycllow ,md gr rn bmsh
strokes enliven the sgm.fjilodccor.uion.
Fish arc frequently found as decorative
subjects on Uyz.1ntine vases. panicul::u ly 1hosc of
the ~liddlc Byzan1inc period. Some of1he best-
known vases with depictions of fish were those
that were pan of the c.'\rgo of a ship that sank off
the isl.1nd ofCastcllorizo in the earl, thin<"Cnth
century (Philotheou and ~licha1lidou 1986).
Around the outside of the bO\d the~ arc slip-
p ..dn1ccl wavy and spiralling lines. TI1e inside
of d1l' bowl has ., green-tinged glaze, ,, hilc
1hc outside has a yellow glaze.
Fcarurcs such as the tc.xturc of the ccr:imic
r:1bric and it.sshape and decoration indicate
that 1his \'<L"ic
is a product of the Paphos
workshops in south-\\cstcm Cyprus.
0£)1£TRA l'Al',\..'-'.IKOLA•RAKIRTZ1
Glazed bowl ,,~th a representation ofa fa1concr
Cypni~. t ..11>11..h0.1
rr:g:ion, c.1rl) rirll"cmh ttnlUJ)
Cla), lead gl:ne, hc1gh1 g.8 cm, diameter 13.8 cm; d1.une1er
ofb.L~ 7 3 cm
l.r.TI11" \lun""'pal '1--, """'--.,.. nG •laoo,Jo11
u;unu,ur,u ..ca. 1•....,.ikub-n..i..,,.-..-.7,p'57
rn1c ceramic fabric is ochre brown and rather
fine-grained. TI1c vase is of carinated shape,
having a raised foot witl1 Haring ring bas<.',and
a body with cun~ng sides forming an angle with
the high straight rim. Represented in fine sgrajfilo
on the white slip coating botJ1 the inside and the
outside is a falconer witJ1 his falcon. He rums
slightJy towards the bird and ,,cars a long cloak
down 10 his knees. 1-ljshands are not visible
but are implied bcneatJ1 his cloa.k, which is
decorated witJ1 alternating wavy and straight
lines. The figure has shon curly hair and large
eyes. Inscribed in the field behind him is a volute
guilloche. Around the inside face of the rim runs
a narrow band witJ1 a wavy line, ru1d the outside
surface is covered by a wide band with double
guilJochc and con\'olutc-cl hatching in 1.he
interstices. Alternating yellow and brrcen brush
strokes variegate the sgrq//ilodecoration. Features
of the clay and 1.hc bowl's shape and decoration
mean that the bowl can be attributed to t.he
446 CATALOGUE ENTRIES 258-260
workshops a1 Lapithos, in the foothills of the
Pc111adaktylosmount.Un range in northcm
Cwnis.
1-tunting "il11 birds of pll:)' ",lS n partlLul11rly
popubr sport in the ~Liddle Ages.From
infonnaLion gleaned mainly from the texts of
travellers, it seems th,tt in the ~lcdicval Kingdom
arci,,ni, (1191 1,f8g)kings, COlll'lien and nobles
kept ;md trained fol ons for hunting. ccncs of
huming ,,ith r.,lcons ,u·c not r:\1'('as decoration 011
Brnm1inc ceramics. One of the vc1y well-known
<"..xamplcsis n r..,lconcr on n , • '<' in the Pieridcs
ollcction, which i'i elated 10 1he thirteenth
ce11tUI)'(l'apanikoln-Brikirtzi 1989, 110.5).
J'Al'A'-'.lt,,01.J\•I\AKUllZI
OI \U.1'1'.A
2 59
17unN'mhrrntuf)
~l.1rblt", ~-4 1130.5 • 26.5 cm; d1;unc1cr ofba~
11w lltlk,w \lw.&f) ol'CU,hutt, ty,.11,tlhonlr o( Hp;llllU~ A111iqu11io
CIW~mYIOO.nA')II
"-0\"l_ .. .._'KL 0.IM"Cho/1',4~,'l°hd>o
UII.C'Tt.DHnu • .,;c., T~•!fl6.r~rlt10
On this white marble column capital (intact \\ith
one side unworkcd) arc rcprcscntccl in high relief
three full-bodied angels with outspread wings.
E.ach wears a shon, sleeved chi1011tied at the
", ist. The angel on the front holds two laurel
wreaths in raised hands, while the angels on the
two sides each hold a cross. In the spaces bet·wcen
them arc filling motifs of acanthus leaves.
The decoration of column capirn.ls witJ1
figures in bust, on three or even all four sides is
encountered in Byzantine sculptural works,
mainly from Constantinople, during the thirteenth
ru1d fourteenth cent11rics 1 rew York 200,h nos 50,
54, 55). However, on the column capital from
Thebes, the rendering of the standing figures in
,~vid co111rappos10,as if rotating, with the right leg
to the fore and the left flexed towards the back,
the luxuriant wavy hair hanging freely on both
shoulders, .:inclthe deep soft drapery of the
garments, reveal a pronounced \,Vest mising
disposition and suggest an auribution to a
,, orkshop familiar with \ Vestcm models. This
phenomenon is observed both in paintings and
in sculptures produced in the period of Latin mlc.
In analogous style arc the ciborium arches with
scenes from the Christological cycle (thirteenth
century), which were found in Athens and arc
now housed in the Byzantine and Christian
luscum (Papadopoulou 2002, figs 171, 173, 174),
and the two arches adorning the north and the
wes1 vauh of the Paregoritissa cl1Urch in Arta
(1294-96) (Papadopoulou 2002, figs 171, 173, 174).
On t.he basis of Lhc s1ylistic similarities
between 1hcsc three works, the capital can be
dated to the tl1inecnth century, the early period of
Lat.in nale in Theb . This sculpted archiLcctural
clement, a random find in tJ1c modern Church of
St George, dcconucd a ch11rd1 tha1 w,1s posslbl
n.·novalrd in thi'\ pl'riod by a Latin donor y Peter's shoulder. The scene i'i drawn in silvcrpoint
resident of1hr city, whose ac~thctic preferences
\\Cl"C adopted by the marblc-cnrvcr,
The ~lcli~cnde P<i.iltrr rovers
Jrm,,1lrm,r 1131 ,13
h-ol), n x 1,1r1 x u.5 cm, s1l,tr and silk, 21,5 x 'i-5 cm
1;;\~~~1~
11,r Un1"h t~h,11,), tnmkm, l~nun
~•~1 1,1t:;";bl:I~~:•:~•~• 1111)
•~z:::t:i
I~::;,~, ~~ot~ ~u~ iltT
~:~~:..M~~::1r:~~~
0
r ihroughout: in aclclitio11to the portraits of the four
;rl~:~•;.l:l~~:~~;::~7;~~:~f,"::!.:}?.:.::!'n":tf
1.J~..~=~-:r.,:1:~;"'
t~:~ tll◄~, h) BrnW!
IJOOI.Klkn, M,__,
pun::ha.,td
::.:;:·l~::~·.;;;;•'<IJ Kuhnd l<)Q1,lold. 199~ Pr 137 b3,pl,G8
Sun~,~ng medieval 'treasure' bindings designed
to embellish luxu1y books arc extremely rare.
These remark,,blc ivory covers and spine panel
of cmbroidc1y appear to have been made for
21 cm
a psalter intended for ~lcliscndc (1105-61),
queen of the Crusader kingdom ofjcnisa1cm,
Enuics in the psaltcr's calendar recording the
death of~lcliscndc 1s father, King Bald"~n II
(d.1131), the third king ofjcrusalcm, and her
husband, Fulk of Anjou (d. 1143), show her
connection with t.hc book and its probable date.
The delicate silk panel used to adorn the
spine is decorated "~tJ1 small patterned crosses
embroidered with silver and silk thread on a
monochrome white textile. In materials and
technique it is typical of twclfih-ccmury
Byzantine embroidery.
The ivory covers arc elaborately carved, and
include sophi ticated iconography relating to the
contents and the owner of the manuscript. The
upper cover includes sbc scenes from the life of
David, who in tl1c medicvaJ period was considered
to be the author of the Psalms. In the centre of the
panel David prepares 10 fling a stone at Goliath,
and then receives Goliath's sword from the priest
Abimclech. lntenvovcn between the six
medallions arc stn1gglcs bc1wccn personifications
of virtues and ,~ccs. For cxamplc,just below the
Goliath episode Forliludo(Fortitude) in armour,
drives hi.sspear through Avarilia(Avarice).
On the lower ivory over a king carries out
the Six Ca,,,arnl Works or Mercy listed in
Matthew xxv, 35-36, apparently the earliest
representation of these .:actsin Christian art. In the
lowest pair of medallions the king visits a sick mrm
sitting up in bed and a prisoner ,,~tJ1slacks on his
arm and legs. In each scene the king is attired in
a different type of imperial Byzantine costume
ind icativc of th e many cross-cultural curTcnts '
~resent in tltis extraordinary manuscript and
as covers,
ltATll~~'l DOVUi
261
'" I h<'1-'0111 ( ;o-..pd-..,
folio 551
1,,riiuuui.:ot 1hr fourtt"cuth Lcutury
11 111
(11U•l,t11111111P •
\1,lllll'l!lfll tlll \Mu l11111•11t, JJ
~1.~:~~!':: u~•::11-;:
I 1r
~ 11,u 1'at".
1:..'., uf( ,ntln,AI,,.,,,lo ltHluU1
~,::; :tf'° 1~IJ~(::[i,~r~IU~
r:::•::· ,';;:;:;:•~ll'!~;:'
1,,!~•::,'I, 11
:!;),'•m ,
"" 11\ I) r,•·\ ""r . miniatures in the book (angt'ls adoring 1hc busl of
Thi~"iu,nptuou"i bilingual edition of the four
Gn'-pels. produced in Co1~"iian1inoplc at the encl
of the thiriccnth ce111u1)', 1s remarkable on
more thiln one score. It is one of the few Late
Uy-,anlincversions of the Gospels to be iUuslr.ttcd
[\angcli,;;;ts, each occupying a whole page, the text
ti~
6.11, of the Gospels is illustrated with 22 miniatures and
,here ;ire a fur1her 30 minia1urcs which are either
unfinished or whose execution has been prepared
by the drawing of a frame which has never been
filled. The incompleteness of the iUustration
affords a glimpse of the various stages in the work
of the artists, from the sketching in of the outline
of the miniature to the final coat of paint, taking
in the working drawing and the application of
gold leaf. The presentation of the text is no ICM
original. It is arranged over two columns: the lefi-
hand column, the wider of the two, is reserved for
the Greek text; the right-hand column contains
the L1.1intranslation but is incomplete - the whole
orS1 Luke's Gospel and part or 1John's Gospel
arc missing. Four colours have been used for the
writing oft he text: light red for narrative, dark red
for the words of Christ, blue for quotations from
the Old Testament and tl1c words of Christ's
disciples, dark brown for the works of the
Pliarisces1 Judas and otJ1crs. This highly original
system has not, however, been applied coherently
throughout the whole text. The backward-looking
Greek writing, characteristic of the first decades of
the dynasty of the Palaiologoi, show that the
manuscript was copied in Constant1nople; ii was
undoubtedly intended for a high-ranking person
of Latin origin.
1'0Rrf&L
CIIKIJTIA'l
Missal with rucirixion, folio 191v
A<'rc,third quarter oft he thirteenthcenlUI')
l\u-chmcnt, 32 " 23 cm
dc-U..
<Aj>111lki
0
C1utf'dnk di 5,i,n l~M!J, lffllll" Mt..6
;;:r~. ~~•=:=.~ .;,,"7-.::~wi ;;ht~~i~
~1.:J!!~~:~a.
{~ t::.!~:';~':::t~l;:-.t;7:i- Pfivp~no ...
171c full-page miniature with the Crucifixion
(fol.191v) follows the Byzantine formula ofa
slumped, dead Christ which was incorpora1ed in~o
Italian art by Giunta Pisano (cat.249). However, it
diverges from Byzantium by accepting the new
Northern European iconogrnphy of tl,rcc mtJlcr
than four nails for affixing Chri st to th e Cross.
The artist has acquired a knowledge of Bywntine
art which i11now known 10 u, through the
thirtcc111h-ccntury wnll painting, of the Balkam,
such a~thocic in Mil ~cvo and Sopoc'ani; hr also
knows the work of northern Italian art or rhc same
,1r.("lfl
'J 11 ,) period, and wa, prcsum;1bly trained there before
O,n-k
"''"'"""I"
\I he lr:tvcllccl 10 lht ~(ISi. The l.ilin script or 1hc
/d 15\", lh11t"_h,'•1ur
!11
missal is written by a French hand, and other
Cluist in a clypcus, four Initials with the Nativity,
Resurrection, and two scenes of Lhe Euchari,tic
liturgy) may have been done aim by other
illuminators within the same work!ihop.
The Pcrugia Miss;J was the pivotal evidence
in Buch1hal's revi.sionis1study of'Crusadcr
in 19571 as of aJI tl1c manuscripts that he wanted to
attribute to \ Vestern artists working in the Holy
Land this was the only one with a documentary
clue: the calendar entry for 4July, DcdicaLio 1
ecclesie acconcnsis', a clear indication that the
manuscript was intended for use in a church at
Acre (Akko). The manuscript reveals the
composite nacure of art in Acre, capitaJ of the
Crusader kingdom or Jerusalem (or kingdom or
Acre), afier that city was lost in 1187and until it
too fell to the Arabs in 1291. A feature of this
manuscript and others produced in the city were
their interweaving of traditions from East and
\Vest. triking similarities between tJ1is Bible and
the St Francis frescoes in the Kalcnderhane Cami
in Constantinople ( hortly before 1261)testify
significandy 10 the broad geography or this
'language' which, on one side undoubtedly
echoes specific \ Ves1em areas, on the otl1cr
side cannot be singled out with 'attributions' to
masters active in France or in Lhc:Venetian area.
The presence of the missal in Perugia has
been plausibly credited to 1hc ti1ular Patriarch
of Jerusalem or to the Canons of the Holy
Sepulchre: in tJ1eearly fourteenth century tJ1c
Canons moved from Barlcna to Pcrugia.
GERMAN AR'nST (?),11-IIRTEE..Vll·I CE.Vl'URY
Leaf from a model book, showing Christ and
Zacchacus, and St Theodore and St George
S1h1erpo1m and sepia with red ink on ,dlum, 36 •
Aupllllll:nnlOICW'll,Suduac~~l-lrcit-i,r~im~
un no o.,,t,o
"-O\U(..ViC4. diJco,.Tre-dWl1?t2byll llam111111amuT1iopal__,.book
1· ol t1w Mh"'T< 1~ In Fmbu'l Munk:iplll
lWl!m191),\\f!WNnn1~p7II
ll91~~\~~.~;.r~r;:,
uucno1U.n.au1cu
':'tJ.a!t~r~~~'!:. ~
11.~
,.a., r,p- 1
The upper half shows Christ and Zacchaeus 1
as narrated by the Gospel of t Luke (xix, 1 10).
pan Christ's cmrance to Jericho the tax collector
Zacchaeus climbed up a sycamore tr« to get a
bcucr view. Zacclmcus is on top of a tree .:ind
Christ is talking 10 him. The Apostle Peter is
following Christ and a second Apostle nficr him,
or whomonly a finger has rcm:1incd, close to
and 1hc 1op or1he ircc has n greenish wash. Fol. 1n
clrscribes the scene as: ubi Zncclrneus in arborc
(where Zacclrncus was in n tree).
The lowrr halfof1hc lcnfshow 1wo milirnry
sai111son ho01cb:1ck.1\n inscription above the haJo
of the right s,,int rracls: Theocloms and a second
imcription above the halo of the lcn s.1.intreads:
consodalis (companion). TI1c name of this second
saint i 1101fipccificclin the index of fol. ia, in
which the scene is dc~cribecl as: TI,codorus
cquirnns cum alio (rl1eoclorc riding wi1h another).
Art'
Thi, saint has been identified as St George on
Lhc basis of hi1 physiognomy and on Lhcfi,c1
1hat St Theodore's companion saint is usually t
George. This scene i drawn in sepia with reel ink.
The drawing with Christ and Zacchaeus
probably copies a miniature, but most likely an
icon was the model for the scene on the lower
half. St George of thi.1drawing has been
compared with the same saint on the British
~luscum icon (inv.no.198,1-6-1.1), which i!i
believed to have been painted by a Crusader
artist, most possihly French (Folda in New York
199i, p.482; for the icon sec most recently
Cormack 2007A, pp.6g-83, figs 41-3, and Folda
2007). A similar representation of the two saints
is to be found in an icon at inai dated ,. n6o
I 'cw York 200-1, no.231, p.376 O,Foldal, Folcla
2007, fig.8.2).
one of the three surviving leaves (fol. 1;i)
of this manuscript contains an indc."(of 78 scenes
from tJ1c Bible and lives of saints, it can be
suggested that these leaves belong to a book of
dra,,~ngs made by an itinerant an.isL
ommentary on Genesis with drawing of Christ,
folio 155v
vrus • , c.1175 1:i25; fin~111hantury
Paml on pan:.hmnu, 33 • 54 <'.m
, .... ~ -t rdilo. ,;,I \i...,:w,." C,ulcp. ~L moGli'
~•uu.a...cm. \~>97.,lluua-1997,,'0l.s,1,ncut,pp.71 8l,
,....._~lilt'ITJ1
35r:U...,.1,m;eor-Jr-i-,pp.~"
TIUS manwcript has a long h.istory. h was
originall} produced in the first half of tl1e eleventh
!z:J cm
century to include: the Commentary of tjohn
ChrysosLom on Genesis 01omilics 31 67) .rnd l1ad
no illusu ....
.uions but simple headbands at the
beginning of each homily. ln the late twelfth and
the beginuingoftJ1c tl1irtccnth cc111ury145
drawings" ere added in the margins by several
artists (1l'l drawings arc prcscnred). In the fifteenth
century tl1e manuscript ,.va.sin the hands of a
cenain ~ lichacl Frangopoulos; it seems to have
reached Oxford by the late sixteenth century.
Hutter has suggested tlrn.1the addition oftl1c
marginal drawings tmnsfonnrd it into a 'model
book' for use by anists in n work.shop. The
+47
 clr.mings show single figures of saints, ofChris1
and of 1he Virgin, and they seem to copy C)1Jriot
wall paintings and icons. Folio 155v, which shows
the bust ofChiist in frontal pose, blessing and
holding a scroll, has been compared \\~th the
Lhirtcenth•ccmury icon ofChris1 from 1hc Church
of the Virgin at Moutoullas (Huner 1999, figs 28-
9). 171c almond•shaped, rolling eyes of hrist in
both the icon and the clr-a\\~ngarc a \Vcstcm
feature and reflect historical circumstances and
the presence of\Vestcmers - Cyprus was ruled by
the Lusignan dynasty from 1191. According 10
Huner, who has distinguished the hand of three
artists in Lhcsc dr.m~ngs, Christ on folio 155v was
produced by p:1i111crC, whom she considers
slightly later in date than painters A and B.
The drawings in the margins oft.he
manuscript certainly give evidence of painters
prnctising their skills by copying single
representations of saints. TI1is docs not mean
that it was a systematic reference set of models
for other artists, but may simply show that the
manuscript was considered handy for use as
a sketchbook.
The doors of the Church of San Salvatore
de Birccto, Auani
1087
Hras.s,333 • 18,1cm
Churdl of San Sah-al~
,au-.cnm •an.-....cu.
dt • 8moo, Alnm
l'a11J;;1
17'2-4,
,--ot.1.p.40, Came,-, 11181,
pp '-tl-+;
Gooi 1971,pp.,98-'l'OO; :.b.uhQc 1971.pp.91-,, fig, 67 Jo; fraa,,, 1973:
Angduca 1983, Polatto 19'18,la.cot-.no20a7
Today installed at the entrance of the Church
of San Salvatore de Dirccto in the small town of
Atrani, near Amalfi, these doors were originally
planned for San Sebastiano dci Mangani (an
of a number of other doors in outh Italy and
Venice. They arc 1.hcmodel for the At.rani doors,
\\ith Christ :md the interceding Virgin, plus the
patron St Andrew and t Peter. However the
Atrani doors have some slight but significant
modifications. The position or the Virgin, to the
right of Christ, is more in line \\~th traditional
iconography of the Dcisis, even if the image of
Christ has a triumphal ovc11onc, with his raised
hand. Unlike the doors in Amalfi and elsewhere,
the standing figures arc here placed agninst a plain
background, undoubtedly in imitation of the solid,
plain surfaces of gold that were largely used in
Byza.ntium. The image of St Sebastian in militaiy
garb fits his usual iconography, while the medical
saint St Pamalcon, is oddly presented as a bishop
with an omophorio11.
This suggests that the
inscriptions were added later, and that
Pa111aleononly became the patron after the
doors were made and adapted a different saint
to be his own patron saint.
Despite some roughness of design, it can
hardly be doubted that the doors were produced
in Constantinople, although this has been
questioned. For such a commission, a patron from
the Amalfi region could have easily turned to
Constantinople, where the Amalfitani had a well•
established colony, and where the Amalfi doors
were made some twenty years earlier.
VAl.£..,TINO PACE
8
Beyond Byzantium
Embroidered icon with the miracle of the
Hodegctria
The paradox of this Russian embroidc
is that the miracle seems to take place not i~
Constantinople (by this date under Ottoman
control), but in Moscow and in the presence or
members of the princely family and of the Russian
Church (Secpkina 1954). The three men in crown.
shaped caps have been identified as the Grand
Prince Ivan 111,his son Vassili and his young
grandson Dimitri. Only two of the three, Prince
Ivan and his grandson, arc depicted with a
nimbus - a sign of royal status. This detail helps
lo date the textile Lo 1498, when the coronation
of Dimitri took place (Evseeva 1999). The
iconography suggests a Muscovite performance
of the Tuesday miracle, unknown from any
other sources, maybe to support Russia's claim
10 be the successor to the Byzantine Empire
after its fall in "153 (Lidov 2006).
Perhaps the embroidery, designed 10 act as
a clot.h hanging beneath an icon (podea in Greek,
podvesnaia pclena in Russian), adorned a replica
of the Hodcgctria icon of Constantinople, and
was venerated in the Ascension Convent of tlte
Kremlin in Moscow. One attribution of the
embroidery is to the Kremlin workshop of Lhe
Grand Princess Helena Voloshanka (M.aiasova
1971). Both the Moscow attribution and the
dating arc controversial (Preobrazhenskii 2003).
AL£XEI LJDOV
Embroidered image of St George
Molda\ia, 1500
Cold, sil\'er and silk threads on red silk, tran.sfcrrcd to
red vt":h·c1,125• 97 cm
N;otlonallluuwy M111n1molRomanUI, &Klwat, mv 7)-062
FROVUIA!'ICll. pracmal 10 1hc:Mona.otuy ot& GCOfJC' IOUZogn11hou, MouM
Alhm.1)00 01; «Im-led IJ)'Frmch IOklicn under the command o(Gf:~
Maunoewnd, 1916-17:f)ffJml«I IOthe Klncdomo(Romanb, ll)IT,tkpol!INI
ai 1hc-Mlltnll AnN1c1 {now Miur\il Mihi.ar NaliOMI), !luc.h.lrui, 191,:
tnnlkrn:d 10lM M~ Naponal de I.Mont• ltomlnld, Blll;tuu.:11 0 , 1ol7
or·ikr1hle joys lsiclto people in sorrow, accept
11111
' •1lso this cntrraly of your humble servant
frolll ti~ ' , 1•
Lord.John Stephen, by Gods _grace I nncc or the.
Land of~loldavia. Preserve lmn from harm 111 this
'ti the future 1hrough the prayers of1hose
:-igcand 1
:,,ho
venerate thee, so that we m~y glorify thee
forever __., Originally, the embroidery must h~ve
been an ecclesiastic banner Qabara) or a hanging
u,odca)beneath a pain1cd icon in the main
Zo raphou church (compare IUlK, vol.5, cols 809-
12/ By 1898, the monks kept it in their pilgrim
guestroom (archondarikion) and considered it the
handiwork of Prince Stephen's daughter Helena
(compare New York 2004, 110.195, pp.322-3).
St George is usually depicted in East Christian
art either srnncling or on horseback (\Valtcr 2003,
PP·123-34). Images or him enthroned are rare
and must have originated in tl1e Late Byzantine
period (Philcs t855-57, no.266, vol.,, p.119).
Several examples of this composition arc
known from Moldavia (Sabados 2004-05).
0f0M.01K. l'ARl'ULOV
Mosaic panel of St Stephen
c.1108-13
~losaic, gold, glass and stone tcs.scrac on pl.u1cr,
233• 134" 11cm
/,um/}t{l: O A(rlOC) CTECl>/ANOC (St Stephen)
Si Soph... of Kiev, Nauooal Coosn,.-at,on Arc,.r,
,aoVT."Al<CLC,uht:dnl ofWAn::hangcl :.ll(t\x-l, KIC'\;:a.fttt1934in tli.t
C.11w:draiolStSoph~K,n,
14u.cno u.rr.u.. ...eu l..a:tam, 1966, rP-67-1+. Nrw\'ork '997, pp 'lilg-9~
S1 Stephen is shown dressed as a deacon in a
white sticharion with gold collar and hem, and
orarion over tl1e left shoulder. He holds a gold
and jewelled censer in his right hand; in his lcfi
hand, shielded by a red cloth, he holds a round
box (pyxis). The background is gold, but he stands
on a green ground with a strip of yellow above.
Apostles. The mosaic of Stephen himself was
originally locmed on the north face of the south
pier facing Lhe sanctuary. In acldilion to his role
in the liturgy, his depiction here may relate to his
importance as the first martyr and to 1hc supposed
arrival in Rus' of the relic of hij arm in the late
eleventh or early twelfth century.
The Cathedral of St Michael was founded
on 11July 1108 by the Kicvan prince Sviatopolk
lziaslavych and must have been completed hcforc
April 1113,when he was buried there. The title
'Golden Domes' suggests that no expense wa!
spared in building and decorating the cathedral.
171e exterior domes were gilded; inside the church
was liJicd with mosaic in the central apse and,
probably, the central dome, while the walls
were covered with frescoes.
LIZ JAMES
Fresco copy from the King's Church,
Studenica monastery, with patrons and saints
1314(copied by Svcti.slavMandit:,20January
T('mpcra on canvas, 218 • 180 cm
Nab(WWMUICUITI, lklg:nwk,.,,., no 70◄
allUCTQ> U.,,:Rl,'l(:IU Spalhanb, 1976; Bab 19'7;
This section of the fresco decoration of the south
wall of a chapel dedicated to SS.Joachim and
Anna, parents of the Virgin Mary, represents the
sponsorship and endowment of the church by
King Stefan Uro! U l\llilutin in honour of the
Enthroned Christ. King Stefan, who was born
in 1253 and ruled Serbia from 1282 to 13211 is
shown with his fourth wife Queen Simonida,
daughter of Andronikos U Palaiologos (,282-
1328). His marriage to this Byzantine princess
in 1299 was a diplomatic success in pacifying tl1c
Balkans and tensions between Byzantium and
Fresco copy from So1>0Canimonastciy wilh
King S1efan UroS I and Prince Dragutin, the
Virgin and Child
·n11rt1qunncr or,hc thinwnh century (copied by C:ulav
Colic,20 Dccc-mbcr 1987)
Tempera on canvas, 138,. 350 cm
~.uion.al M...:t1,n, l'rlgn,tlc, Im>1101,n
JlUcrn.n U,,,.111«:0 Spiuha.n,U. 1976;l>Juritl(tgt; RadoJt"'
199r,
Too.tit20no, r<MI.,-
1006-01
This fresco decorated the grand mid•tltineent.h·
century Monmnery of opofoni (which later
became a cathedral). It was in the narthcx on the
ca.st wall to the right oft.he main entrance door
into the church. It represents the Serbian King
Stefan UroS J presenting his eldest son Stefan
Dragutin to lhe Virgin enthroned with Christ.
On the east pan of the south wall of tl1e nanhc.'\'.
and so adjoining tl1ispanel were paintings of his
wife Queen Helena and their second son, Lhe
future Stefan UroS ITMilutin.
Stefan UroS J was the younges1 son of 1cfan
and Anna, the daughter of Enrico Dandolo, Doge
of Venice. He was King of Serbia from 1243 to
1964) 12j6. His wife was either an Angevin princess
or perhaps a daughter of a L-itin emperor of
Constantinople.
R.adoJ
I 1997'
Stefao was ousted by his son Dragutin (t276-
82), and died at opotani in 1277. Dragutin ruled
unti.1 1282, when his brotl1er ~1rilutin became king
(see cat.540). This portrail was made in happier
times for Stefan, when he was grooming his elder
son for tl1c succession. Both wear Byzantinc•stylc
imperial robes and insignia.
BOJA.."1'N)l"OVIC
Enamel plaques with tjohn lhe Baptist and the

intriguing allusion 10 a Consrantinopolitan site) in
the same town. A Latin inscription informs us that
Pantaleon, son of Pantaleon Via.recta, ordered the
doors for Lhc salvation of his soul in 1087. The
doors have four silver-inlaid panels with images
of Christ and the Virgin interceding, St Pantaleon,
protector of the donor, and St Sebastian, titular
saint of the church, for which the doors were
origina.Uy commissioned. These four panels are
cent.red within a field of foliate crosses. 171c doors
should correctly be described as brass, and not
bronze, since thcir ma.in components are copper
and zinc, with a small quantity oflead and tin
(an alloy known as auritaldmm in Latin, since it
closely resembles gold). Plates made of silver were
inserted into the faces and hands of the figures,
and niello was used to highlight the design and
tl1c drapery, and cinnabar for the shoes of the
Virgin and the inscriptions.
171e programme substanriaJJy repeats that
found on tl1e doors of tl1e Cathedral at Amalfi
of 1065, the first of this type and the forerunner
Moscow (?), 1498(?)
Taffeta and damask, embroidered with gold and silvt':rthreads,
95.1 "98 cm
Suu: HUIOnCalMUKW11,M..uw (1~" lhcltllU.-,,)
r•Q•"L'<A.'fCC from thcciolltttioNofM 7.aouaui_ lhcnofp Shchuk.n; aitrnd
1~ Su,tc HlllOllC:alMUK\lffl,M01a)OO',
in 1905
1..ucno U.FUCICCU Scq,bna 19}4, MIIIUl,l'\'ll
PP....JO ll.~,oo,-pp201 28,Udov2004,pp.791-s11,N,:wYork
~. no.195,pp.321-3(L E"1ttv.l); Ladov70<ili
V\fe sec not merely a procession but the famous
Tuesday miraculous perfonnancc of the
Hodegeuia icon, which took place in
Constantinople from the twelfth century to
1453. ln the centre, as in other depictions of this
miracle, is an icon•bearcr, stretching out his
hands and carrying the heavy panel clfonlessly.
This is the miradc of the mctamotphosis or the
icon into a weightless image, which glided around
the crowded square in front of the Hodegon
monastery every TuC5day morning (Lidov 2004).
The bearer and those around him wear the red
garments of the confraternity of the Hodegctria
icon, who alone could perform the Tuesday
miracle.
•tuoTP.Oktn.llJ.JICU Konduo,.,1902,pp•)O
,\nQn. 1917;Flian I~ no.1191!,pp Jll.t-s.
"~h loiblllJlnlphy; Nbcuncl 1!)90,
pp.12-1G;Triak 1999,no&2,J111,~-l, 1g6•ndSl9
_., no.19-t, pp,311 ., l'.iunncul, IJuc:hvt'll ,004 1 110.1),11.~
Nburd~
It was probably the Bulgarian-born metropolitan
ftgt 27-8,
1971, •:\'KC\'a
19!)9, of Suceava Thcoktistos (d. t478) who prompted
Prince Stephen the Great (1457- t504) 10 endow
the Bulgarian monastery of St George (called
Zographou) on Mount Athos. In 1466 the
Moldavian ruler granted the monastery an
annuily and subsequently furnished it with a nc,\'
hospital and refectory (Nasturel 1986, pp. 18J-93;
Marinescu an,d Merzimekis 2004). either
building stands today and many of Stephen's
smaller gifts, for example two liturgical fam (Ne"'
York 2004, no.69, pp.132-3) and an illuminalcd
Gospel-book (Vienna 200 3 , no. v1. , pp. 6 2_ 7),
5 3
arc scattered abroad.
The Slavonic inscription on this textile
suggests that it was made specially for a
found.atio~ dcdica.ted to St George: , 0 martyred
and victonous great George, quick intercessor
and kindly helper in troubles and misfortunes,
1,fraOOYlg,ol,l'O.t),P•IS,.
Deacons, whose role is to assist priests in tlte
1'.l1mc.:11},,:w''Ofk liturgy, use censers to venerate Christ, tl1e Motl1er
. hunocu~
of God and the saints depicted wilhin the church
and to expel evil spirits from the building. It has
been suggested that the box Stephen holds
contains bread for the Eucharist, as another job
of deacons was to bring this to tl1e altar. However,
this would be a very unusual receptacle for
Euchaiisti bread, and it is also plausible that
the box was an incense box used to replenish
the censer.
The fragment is one of several salvaged from
the Cathedral of St Miclmcl of the Golden Domes
in Kiev, which was deslroycd in 1934. A fc\\1
mosaic and fresco fragments were saved by
experts from t.he Mosaic Section of the Academy
of ciences in Leningrad (St Petersburg) and tl,cse
are now housed in the Cathedral of St Sophia,
Kiev, and the Trctyakov Galle!)', Moscow. O th er
survh~ng fragments include, most spectacularly,
tl1c Communion of the Apostles, where Chri I and
accompanying angels offer bread all d \,~ne 10 th e
Serbia as a result of his aggressive campaigns into
disputed territories.
The imagery shows tl1c appropriation of
Byzantine models by the Serbian rulers: the king
holds a model of the church, a fonnula often
found in Byzantine church decorations, and
both wear Byzantine-style royal vestments. An
inscription identifies Simonida as 'Simonida, by
God's mercy, queen ofKomnina Palaiologina'.
She is painted witl1 a Aat, oval face with high
arched eyebro" and a small nose and mouth.
This is a formula for conveying the idea of
elegance and royalty in painted portraits oft.he
twelfih century in Byzantium. This portrait of
King Stefan i\llilutin is one of fourteen folmd in
the Balkans and painted in his lifetime. The
inscription reads: ' tefan ?'cl, by God's mercy,
our king and autocrator of all crbian l.rncls
and seas.' St Anna holds a small figure of the
Virgin Mary.
1'01'0\116
UOJAN
Archangels l\lUchacl and Gabriel
Constantinople {?),srtond hair or 1hc d~-cnth century
Cloi.,onnC cnamd :md gold. 5.9 11 5.5 cm; .5.8 11 5.3 cm:
5.8 • S-3 cm;5-3 • S.3 cm
~M.---.~,u,,. ..,.-,w1.-,203
....,,,._....__ -..,.afC:hlbncbn,Moun1/\1h,.
iCU.aRD ...... I.L'IO.. ,,, ... _,
These enamel plaques arc known to have
decorated the sL"Xteenth•centurycover of tl1e
thineenth-cenrury manuscrip1 oflhe Four Gospels
of the Bulgarian King George Tener in the
monastery ofChilandari on l\1ount Athos. The
topmost gold sheet of each has been cut out to
make a contour of I.he figure, while tl1c lower
embossed sheet makes a receptacle, in which st.rips
form celJs for tl1e enamels. Most of the colours arc
opaque, but one green is transparent.
\Ve do not know how many pieces fom1ed the
original set of enamels. Stylistically, comparison
witl1 the crown of Constantine IX Monomachos
(to42-55l and the holy crown of Hungary (1074-
77), both now in Budapest, reveals that they
belong to the clevcntl1 century (not lmer tl1an

CATALOGUE ENTRJES 265-267 CATALOGUE ENTRIES 268-271, 1-4 449


1lw 1070, . Tlw p.1lrograph) on thr l'11;11nrl
pl.1qut·, i-.,11111l.1r1n llw imcrip11on, on 1hr
I l1111g--.1ri.1n,,"11. 11ma) bt.·a,,u111t.•tl chat tht.·
nrn.1111l·111.ilc•11,111wl
w;1, p.1n of1ht.·m,~nal
111coruplr1r ,ct.
Comt.1111i11nplt.·,,;,, the- kry plan· for 111<'
m,11111r.u corr or ,uch cn.urn·k The p1eC'{'\lll,1)
h,I\ t' n·.1chl'cl Chiland.tn a~,, &'lHfrom a
Hy,.1111111c·u1 Ser bi;,n ruler or rhurch clignit.11)'·
Altt,,,\\;1/MAI\IIII l\"lll111Jll:A
Br., drc
f,r.u11..1rof tht' founttnth «ntur')
"'H-1IJ1a,
'I c,<m,
~1hrr-gd1, ra.,1, ""ruught, f1h~. i,tranul;uinn ht-1,11;h1
,h.mu·trt h I, cm
,~1..wl.OI \l>lWU,,1\ l\c,lcnJ,r...... - ......
r••"l"\-.ft l"""•ollhl-lw'"""'"',.... ..'"'
273
Bracrlrt
N"rh,,,, fin1 1,alfor lht' rnuntTnlh C'M\IUr')
~11,·rr•l(lh, rlnl, \Hotigln, fih~. gr.mulu10n. hf18hl 11 c-m,
duunr1rr h b ('Ill
\; 11111•...J\h....,lffl. ~•Ir Ill\ ""'111
l"U>\l,,,'<11 J'-'n,ol1hrho.onjN~~..._t
2 74
1tua,fiNI h.itr of1hr fount"tnth C'TnlUI)
S,1,-rr•,:rilt. c-.;u;t,wrouitht, filu;rtt, gr:anubuon.
chamru:r (i 8 nn
'•unnal\1.--...n ~ _,,. ,_,,.
,au,,,.._.,,~pM\"l ... h<-,tof,-~k.a,1-\IM'-•\
1-,rge and embc.Ui hrcl \\1th filigree, these hing«I
bracelets are pan of the Byza.i1tinC"tradition and,
1ogcthcr ";Lt, diadems and earrings."
very e.,rl on b) lhe \\;vcs or ri h lando,\11 ~ in
Ru_•)siu a.nc-1
E.a.s1cmand outhem Europe, but
also. in n more modc,;;t fonn, by women generally
.i.s a fonn of personal adommcm. Hinged
braceleu ,u-c oficn clccor.ued with the figure of
,111im,tls,birds and plnnt . ~n,cyrecall the clo1h
braccleu ofic.n seen on tl1e secular clothing in
fresco paintings (RadojkO\ic 1966, pp.44 5\;
some C."(amplcs i::mbroidercd with gold and pearls,
"hi h "ere wom \\;th church vcsunenl.1, hm•e
also be-en prcscrYcd in crbia ( tojai10,iC 19591
pp.67 9, figs 4, 5, 16, 18, s.1).
TI1t' bracelets rrom ~ larkova Varo.5 arc
di.stingui heel b) pr cise cm.Osman hip and are
open and linked semicircular hapcs, \\ hi h offer
'• iiou clecorath·e po ibilities. ~lnis d)'namic
impression i further enhanced by triangular
g,"Oup or granules set into rows of circular
cgme111 . The fashion for bulk round cl hapes
dccoratffi \\;th little cones or granules g~s back to
vr.ry t'ar-ly examples of crbian goldsmith ' an, the
mmt famou~ being tJ1c ring of King tefan I (e~lrl)'
thineenth entu.ry) liloSeviC 1990. pp. 169 70,
171 >).
In ricldi1ion to thcSC"thn.'t' bract'lc1 , l\\O
morr orthr same t)l>C were di.scO\crrd ,H
~larlO\,I \'nro!; thC'sc h.n~ ~uffr1'l'tl,~11m~
dcgr<"Mof d;mrn.gc. Four bore ulmost icl<"nlic,11
decoration, ,\hilc the fifih (cat,J7-I) ,, 1hin11erb)
lhC'\\1dth orthC" dccor.1livt" border
1hr 01h<"1 hr.,rdcts.
11\IIKl"IOO
2 75
llracdei
!,rrln.t, flNI half of 1hr rrn1nttnth O"lllUl"I
flhttrrt, lu 1~'11i 7
~1hTI',c:bl, \\n.u1i,:l1t,l\\"'NI, RT,111ul.u1011,
rm, \n.,hh Rq rm
, __ \I __ ...,. ... ___ ,,,
,...,\'"'"'' r,andlhrh.....tclrf'lrn
1 hi lal'ltf' dhptical bracdct h.1~a n·mral p.irt
1.-w!.i \I.a •'-,&,.-""--,
com~cd of four wire~ twi,;;tcdinto ., ~pit ,ti "hose
ends meet and extend to fonn ,, tr,1pczoid ~hnpc.
171c.·c,tcndcd rnds of thi,;;open bra elct .1rc
decor:ncd with gr.mules ~pncrd at i11tcl'\,ll1ro and
c-ndrckd \\;Lh filigree "in:.
Open bra clets arc one of the earliest forms or
jc,, ellery for the h;,nd. Excavmion, lrnvc revealed
.. \lM ., .... _"'-,I cxnmplcs from the time ,, hen llll'tal "a,;; first med
(Garas.,nin 1983, p.745). In the llalkans this t)1>C
of bracelet, also called bclcnzuk, followed on from
the La.cc Greco-Roman open bracelet ,,ill, broad
ends bearing simple decoration or foshionccl into
thl' shape of a snake ( oro,~ •Ljubinko,~ 1977,p.
hnci:h1'2.-fcm.
75). f\lorcover, this type of bracelet was frequently
found on the territory ttled by the cast nncl south
....... _~ la, . 171e bclcnzuk, made or thick silver "~re
1,\is1ecl into a spiral, became popular from the first
hair or the thirteenth century onwards in Lhc
Balkans liloSCviC1990, pp.172-3). The bclcnzuk
re ad ptecl
open bra elct also passed inco c1hnic jewellery,
ex cpt tha1 the 1echniquc of twisting wire died out
aOcr the f\liddle Ages. In Lhe Balk:ms bc1wecn the
Lxtcenth and nineteenth centuries, bclenzuk
bracelets became even larger and 100k on
clements of oriental decoration (lvani 1995, pp.
101 2).
Queen 171eoclora's ring
rbta, bcfo~ 1332
Gold, mdlo, height 9 cm; widll1 2 .3 cm
'2
'l~~-~-=~I=
,-1
'-1rur..i \1--. lklgndc, "" no
=~·~~c: ~;,'7:i
This ring\\. s cast as a singl piece, will, an
engraved representation or a doubl •hendccl c::,glc
on its head and a Cyrilli inscription on iu
shoulden (He who \\Cars it may God help him).
171!' ring has several diffcrcn1 mcssnge . Th!"
rcprc.scntat.ion of the doublc~h adcd eagle,
emblem of the royal hou.sc of Nemanji , indicates
1lu.-origm and ,t.,w, ol thr nnt,t'~ O\\IH'I, th. ,,jfi
or 1hc Sri bi,111_
l111~Std:111 111D<'t'.ui,;;ki(, :,2 c
3 55
and motht·rol tl11•11111,11>tn,,·,ful':,,t·1 I'•
u,111ruler )
S1d:111 I\' D11t111 (1'.fi' ';r;.: ,, , 1Ar--u
1c.u,1AN1t·, SC:LA\0~11 t I Al n ~ 11 (Nov.:ikovi
OIi the rdgr nr P·i'1!· 'I IH'IIIOltO or1IH' 1mcriptio11 h,1 a
ll)ll,
p1oph)l,1lllt. pwpmt·. I hl' 1i11~h,md is notched
,md 1ht· 110td1c, llllt·d \\llh nidlo clh~clcclinto
i homb, 1rohowi11~ f:mt.1stic crc,nurcs and floral
dcloration in a \\'t·,1t.·111SI)ll'. Thi11 me or inotifs
p1 t·,t·111 1101 nnly in jc,,'l'llct)', but .,l,o in
miniaturn1 ~tOlll' ,culptural decoration and
architecture, reflect~., St)lc ihat \\,\lio present
,imuh.mcou,ly in ~nbi, 1 and in B)'"'i';uuium and
the \\'est.
The 1ing is prob,tbl)' the "ork or one or the
~lot \l.u •\1rolnrao, l'nk11 • erbian goldsmith's ,, ork1;hops in Koso,·o and
~letohija, \\hi h produced a great number of
1i11h~"ill, the same terhnic~d ~rnd St)listic features
Th(' shape of the ring, the rnagicaJ, prophylactic ·
;mcl symbolic character or the ornamentation, and
t~1eformula or 1~1einsciiption point 10 a group of
n11gsfrom erbia nm! neighbouring countries Lhac
can be clntecl to a period l,tsting from the encl or
the thirteenth to the mid-fourteenth ccn1u
(Raclojko,ac 1969n, pp. , 07 09 ; ~lilo!evic ~ 90 ,
nos 80-8).
Queen Theodora (cl. 1332)is buiiecl in the
church orBanjska monnstery, the foundation and
mausoleum or King Milutin (fat.her or King Stefan
Delanski), during a period marked by the
inOuencc or Byzantium on political relation
spiritua1ity and customs. ' P(:tar, son or Prince ~liroslav, who ruled over the
uus"' zcc1w16
277
Ring
$(rbm, lint halfofthc founcc111hf't'ntury
Sil\'tr, cast, l\\<is1cd,granulation, fihgttc, hdght 3 c.m; width
~.5cm
N•Uoft&IM~lk~,lri\ IIOJtl
PRO\'I.Jll"-'"CI[p.,,o(lhthoudof,,...Tlrrylou..d11Ma,~\IIIOl,11f"atl'nkp
~17,ebezel or tJ1isring i an invened £laHopped
cone. The surface i dc-corated \\;th an eight•
petalled rosette made offlligrce ,virc. Ea h petal
has a coil of filigree ,,ire t into it. ranulc stt in
the centre and at the edg of the bezel com piece
the ornamentation. 111c hoop or the ring con i ts
of two th ick wires and one filigree wire 1wi tcd
toge:chcr.
. Tilis ring reveals a sense or1he ynthcsi and
~1~myor style inherent in medieval costume.
I he twisted-,\~re tcchniqu links Lhis ring to che
bclcnzuk brae lets, while the filigree cl coraiion on
th. bezel is found on both types ofhracele;. The
~"1sted-\\~re _hoop is not common in medieval
Jcwcllcl)• liloSeviC
filigree dccoralion i 1990, p.80) ... far a the
\\ith lhince:mh an s con cmed, H I analogou
in th 8 . - • . d founcenth.ccntury jewellery
c alkan pcmnsula.
I lit' , 111111 Varos i
. fuul r10111r-.t.11krn,1 <,irtogmphcr Angelino Dulcerte. The same
1
1h ti II tOlll,iill"l ,di thl' clcmcnlS ort.hc cloublc-hc,1ded c,1glcis present on the crbian
1111111111·
111 ' '
11a1ionalfl,,g. Royal doors wi1h the Annunciation
f\\rlkl) \\OIII h) tin· It 111.ih·.111,;,torr,1<1 auc.l
, ' 1 ,1t-11·,
0111l1um ledAr of\\ hat \\~t worn Th· hcritJgc or lly,...mtinc art is rcflcc1c<l &rbt.t, .tttond half of th, foonuuth ctntury
1 UEI OH.A'rlA 1i,•11tl' (01111 ' Trmprra {? on ,..,.oo,d, rthC'.f,
inoodurvmg:,128.,62 5 •~cm
h, \,onu•n 111tin· 111h11A .,nd l,llldo,\ 11111gclasses. not only in th shape of the cup, but also in the
abund,1n1 motif, of the trndril and acanth~ ~~=\\I:--~~-~~~
1111\\t,.-' I\ \\II
I ave,. it w.lJ di,covcrcd in ,1 wall cavi1y in the ~=~u"n;t;:,~.-l~liuioit1"5.pptJ
~ut.1\1,\la,
nart.hcx of the hurch of 't 1 ikol.i, Drcnova,
These nre the central ('royal) door, from an
Dulan', cup had belonged probably 10 the church
278 treasu"J'.. Thi, by no mean, exclude, the pos ibility
unicl mificd iconostasis. They arc divided imo
Bur~lt'of l'rinu· l't·t.ir or I lum two par1 the lnrger showing the Annunciation,
' that, pnor to the being donated to the church, it
had belong cl 10 a particular person.
1he smaller conrnining caf\•cd decoration - that
,, 0,1..~hop111!',phi, 1nus
i{ll<htJ1lth\
arc framed by a panially prcSCf\'Ccl,carved,
G1~d.) I • ~ I ( Ill The heraldic figure of the double-headed
polychromauc border \\1Lhdouble interlacing
eagle and the inscript.ion with the name of the
emperor reveal, that the cup wa., made especially
over leather trip .
The fit!''"" of the Archangel Gabriel and the
~or OuJan's coun, Mention of the name Stjcpan,
11,is bu klc is hc~IV)', ircular in shape, wit.ha Virgin arc executed in bas-relief, then painced,
mstcad of tefan, indicates a possible \Ve.stem
"hilc the ~gment of heaven \\~th cross-shaped ray
rhomboid profile. Its catch is movable. On the inOuence. f-listorical sources record that Tsar
"hich comaim the do, e:of the Holy pirit is
outside rclgc or the front of the buck.Jc an tefan Dulan ordered 33 ,ilver cup, from
painted. The 1"0 figure, are elongated. Gabriel,
111
scription i cal'\ cd in t,\ o languag , hurch Veni e (Radojkovic 196ga, p. 116).
wh05Cann arc out of proportion co hi., body, i
la,onic and Latin: +ZAPO Y VELHEGAKNY2.A SATA)A cu.ov1t
XYLMSKOGAPETRA: PRETENCE COMIITI PET: the more voluminow than the figure of the 1rgin.
TI1c painted urface has been damaged.
inside edge is decorated by a row or stylised leaves.
On the inside edge or
the back of the buck.Jc there The iconography and s<ylepoint 10 a local
\\Orkshop around the middle or second half or
is an almost identical mot..iror stylised leaves, while
the founeenth century. ll1csc doors arc known
1hc outside cdg displays carved animals facing up
a, the Andrea! doors, although there i, no proof
each other: birds, dogs, dragons and OLher &rb111,fiftc,mh ccmury
that thC) belonged to the Andrea.I monastery
monsters ,,ith mils that nd in t.he shape of a gilt, Qll(. ch&Jed,pur1c.1uatcd,engnved, sokkm::I,
11,·C'.r,
56•15an (1388-Sg\.
palm. This style or embellishment was much
r,_....i M--, lldpadr, - -..'li,I SA.'JA "AJIC A.VD IOFIJA UJTU
used in Romanesque and GotJ1ic sculpture and PRO\'UIA.'IICCOobriOoi,_,.._
T..tt9'o f>t.~Y""6-p.J5os.t.u.l')I.+.
in illustrated manuscript . To judge by the ~~•JnU.'!Uj
in.script.ion,the buckle mu.st have belonged to
Thi, dcq, calottc-shaped cup "ith ir., broad
downward<uning rim, accentuated edges and
Hum region. It i presumed that Pe:car was given
Hat bottom belongs to a type mentioned in church f ragmcnt of a reliquary
this buckle upon being elected Prince of plit in
inventories. ~ 6nt ~ of tht fourtttnlh cmtwy
1222.
The decoration consists of thrtt alternating WJ'fll ""OOd,c~ ahu-, +-4 • 3-3 • 0..9cm
The excell nt quality of the craftsmanship
concentric b.'l.nds.The figure of a deer on the
'--'"_...., ___
,ri
and the skilful combination or gold and nidlo NOn.-v,.,oa._ ,.,,.1iJwlllwd-~rau.,-),tano,-.\·...&,-Ptirp
bottom, "1th its head missing, is soldered onto
plnccs thi bu kJc among the mastcq>ieccs of
a rncdn.llion \\~LI,the fight between Samson and Faith among the lairy entailed the wearing of
thirteenth• entury goldsmith ' ar1.
the lion. It alternates ,,1th a broa.der band of a miniature icons round Lhcneck_TI1c most mod t
SL0II0DAN l'IDAN0\fO;I
double row of broken arches facing each other. ofthc:sc \\Crc made: or wood. h was c.xu-cmdy
Between the arches arc ivy leaves and lilies. imponant for the ruling class to demotu:crate their
The broad rim i de orated wit.h the same mot.ifs. pier, , so the onl)' neck decoration found in this
2 79 This mbination or religious symbols of the deer, ho.1.rdwas a little pendant icon on which t.hrtt
DuSan' cup the lily and ivy "ith the Old Testament lOI)' is hol warriors are represented. h was a ";despread
a familiar feature or Byzantine an. custom in B ~tiurn to decorate: pans of the hol)
rb, .., 13-l~ ))
1hu, gikkd, 1, C'llgr.t\"~d,l1<:1gh1
3 6 cm; d1arnr1u 18 6 cm; 171c hapc of the cup, and the trcatmc.nt of cross or rt:liquan of saints in a. umptuow: wa .
"'1d1hwith handlr 20 8 cm the lily in ombination "1th the Gothic arch~ is Transformed into jcwtllCf). these rcliquaria
~auo.w
\1--. lldp-a,tk,NI\ IIO.»t influenced by Venetian craftsmanship. Artists in accompanied their owners at all times and thw
rt10,.,._'l...,•tea.
ClrourcholSdli :U, ~•
llUt"n.oun.u. ..~u '"''.°'"-.,..._'°>P-tl ll l\'Mlit,~,t,t66, the \\Orkshops ofOubro,11ik incorporated ensured them protection.
~)SJ;.
~,t lfl'9", p 116,tklfntk 1991. f' ,, \l ~ ~ ,git. l'P
\V tem and Eastern fonns in their products, It cannot be 1ablishcd \\ hether th· fragmcm
which mtt) be the prov-cn::mcc of this piece. \h the front or b.1.k of the rcliqual). There arc-
TI1is shallow up has a re cnt handle. On the
~, mplcs "ith the trgin on the front and the
c.levnicd base is a medallion with a heraldic
doublc-h ad cl eagle surrounded by a band
Thi cup, like 0Ll1crsfound in the hoard
rrom Dobri Doi, together with the pi of hol warriors on the back V. \\ ..L'\'.Om in Ne,\
jcwcll ry discovert..'Othere, helps 10 build a York 1997, p.16.j). The pn:s rv d hnlfofthis
benring Ll1cimcri1 lion: +STEPANYC(a)RYCE rccmngular rdiqua.ry depicts three inu,
profile or nn in c1bin.
XRNSTB BLA(ro)VERYNI ( tephcn, Emperor
ponra ed fro111ally: 1 Georgios E\!ll'rl(OC),
"IATAlA C.t.'ltO\ 10
fa.it.hfulin hrist). ~17,eengrav("d surface of the l Oemctrios, 0 HM(HTPIOC), and the third,
medallion resembles the te'\'.ture oflc.'\'.tile:.l1 is probabl)' one of the two saints Theodore.
po ible that the crbi,111in..-igniaon tcxtil were judgi~ b) the preserved pan or th< in,cnption
u cd ns the model. They .u rt'prc n1cd in 8(EO Q_J>()CJ. ~nl(' ~nts att preq-ntc:-din full
documents, 111 a map dated 1339 b)' the Italian milit.uy tlrc 1-\ imilar rdiquary wa~ disco, rrd.
T LOGUE £:\'TRIES 278 '18- 451
 in .ino1her late medieval hoard in Lhc village of
GomoOriz..'l.ri.
The styli eel portrayal of Lhe holy warriors as
lean, dclica1c figures of ascetic appcaran
the figures of the late thirteenth century
(Radojko,;c 1966, p. 15, no1c 15).17,c silver relief
surf.1.ce has been worn smooth and is iarnished in
pans, which proves Lhat this rcliqual')r was in use
for a long Lime. The precision and delicacy of the
crnfomrnnship is notable.
Earrings
Srrb,a. lint h,llf orthe founc-enth ct'lllul)'
S11\rr-gilt,~m.s1onc-s, cu,, faceted, hanm1cff'd,
6 9 • 7.2 cm ("«"11111&);
4 • 7-4 cm (rr.1gmem)
,.-..i\t,_,__ l\r~,'"' ... ,.,.
P.Q ..."lllA"ll.• r;,<1oflht-t.-.rdofr~'-'-\iarln,.,\JMUI._..,_,,
171ese fine canings {one of which is a fragment)
were dc,;igned 10 be affixed 10 a \\TCath or crown
by a row of pearls or strips of expensive clOLh,so
that in fact the)' were completely unattached to
the cars themselves. Some similar c.~amples even
retain an original band of filigree wire that was
worn over the head to join the earrings and make
it C:L'iierto wear heavy pieces of jewellery. Large
earrings or car decorations were an integral pan
or the jewellery worn by the wife of a ruler or
ri h landowner, a cording to both written and
art sourca ·,dojkoviC 19690, p. 140). They
differ from the delicate, small earrings, sometimes
made or gold, which were reserved for everyday
wear.
The canings from tl.la.rkova Varo! consist or
1
metal rings linked 10 the semicircular body of the
earring, in which there is a filigree wire shaped
like an eagle with outstretched wings. Around
tJii.scentral pan there arc nat-toppcd cones
whose narrow ends join onto the central pan from
wh ·re I.hey radiate outwards like the spokes ofa
wheel. The cones vary in size, and the alternative
grouping of large and small con mat hes the
alternate u.sc or filigree decornt.ion at the base
of the small cones and semi-precious coloured
s1oncs set into the base or the larger ones.Judging
by their appearance, it is clear that the head
onarncnt from the same hoard (cm. 28-1-)and the
earrings arc not part of a set.
These canings belong Lo the 'Dragilcvo' cypc,
and many have been discovered aJI over Russia,
Uulbraria, Romania, Serbia and Creccc. These
relatively frequent finds arc mirrored by a large
number of representations in church frescoes in
the same tcrriloric.1 (Radojkovif 1966, pp.,~2-3).
Current thinlcing dates the earliest appearance of
Lhi1type of earring 10 Lhe late Lhincemh ceniury
(Milolcvit 1990, pp. 159-60). Th c earring, long
continued 10 be worn :rnd aner the demi • of the
landownjng class, they became an item of
Serbian
OATALOOUE ENTRIES 283-206
fonnal jewellery in women's 11n1io11al
folk ostumc
(Radojko,;c 1966, pp. 248-9).
nRA,KA l\'A.'m!:
e recalls
I-leadomamcnt
rblj, lint halrofthc foun~nth ctntury
S1l\"tr-gdt, gtnmoncs, beaten. lihgn-t", scm1-prcc-1ous\IOnr~,
lcnglh '..l:J
cm, mdth '..Icm
Naoonal Mu~m. l~lt. on, no,316
,.."''-'-'-'(CL p.r, ,-/lhrhoantofrd"')
HIIOIII.Ul•l'"I R..d,>jl11',.'1g(,6.1,1)6
17,is head ornament,,, hich ,\as worn across the
forehead, was described in texts as a garland or
""''"" (RadojkO\;c 1966, pp.36 40), This
garland belongs to the relatively small number
m,l{fff, of head omamcnts preserved in East cm and
out hem Europe. It fonned pan of the jewdlc1y
\\Om by women of all social groups, but this very
costly example must have been ,, om by the wife
of a 11.1lcror rich landowner. As a head omament,
it make up a set ,,i,h canings (sec cat. 283), ,, hich
arc found far more often. Numerous portraits
show the garland as a f..utcning for a headscarf
(tl.liloSCvi 1990, p. 177).These ornaments can be
made of metal, with or ,\~thout preciou or semi-
precious stones, or of fine cloth embroidered \\~th
gold or silver thread and pearls {Er egoviC-
Pavlo,;c 1975, pp.279 83).
The garland consists of eight rectangular
pla1es joined together by hingc.s. The encl plates
each have a metal ring that acts as a fastener.
A multi-coloured scmi-preciou stone is set into
each plate. 171crc is filigree norat decoration
around the setting of each stone.
In style, the wreath resembles the rest of the
jewellery found at Mark.ova Varo§. As is
frequently the case with crbian medieval an, Lhe
general appearance and shape of the object., were
taken from the Oricn1 1 but they were fashioned in
the specific style of some \Vestem artwork; su ha
combination is evident in aJI the items of jewellery
found there. ·n1cre arc clear analogies between
this ornament, reminiscent in s1yle of the
thjncenth-century Hungarian crown jewel!
(MiloSCviC 1990, p. 177), and an objects fashioned
by Serbian goldsmi1hs from an earlier period
(Radojkovic 19690, pp.8g-90), whi h tcuifia to
1he const..1.ntblending of different cuhures in the
Balkan peninsula.
DllA..'"ICA IVANIC
Stone khatchkar of Aputayli
or:1du.e cc-mcccrym Sew:111,11c,1rJ.;1ke
Annt:nia, 111.15
Tura (uonc-), 175• 100 • 31 cm
fl..- ln.rnnl'1ho:- lln1.t,Muwwn. 1---..-.._
ou t:CTW •1t,.•uu..a /wonain 197), 11L,(,ai"-"'11hc,
-··
MJ~from~ l...onrbl 1'}18. no- 110, pl I!). \\'n1 li>(lcl,0 l-l,M ;/tlOI,
Kh~1tchbrs (simpl)' ,111J\nnl·11ia11 word , . 1·h 'tht" thief who'lc" ,;in~ Chris!
•, . • . .. . 111ean,ng
stone crnss) ,lie .111 1111po11;1111
feature OfLhc
/\nnrni.m laml'i<:;1pc. Tlll'y c.m be found in their
thousands 1hro11ghout the country, and in a
variety of sl'tting'l: in gr::ivcyarcl'i, incorporated
into the \\,lll'i of churches ;111dcan•cd into cliffi
They appc,tr from lht.· ninth century 011 (an s.
evolution of t.•ailicr stcll''i in both for111and
function) and served a variety of pUl"f'0Scs
• I
concerned wuh commc111oration {DonabCdian
2007; Azarian 1970). ~lost, as this example, were
k1mKl111
\laikno-a \•ml. nnr l'nkp tomb-markers that were placed facing west at the
fO
foot of lhe burial, so that the cross would be the
first thing seen by the dead person as he or she
rose at the Second Coming. Others were
commissioned to commemorate the completion
of buildings and bridges, to ccJcbratc military
,~cto1ics or to mark the fulfilment of vows.
This khatchkar was crca1ccl as a memorial.
It was designed to stand
ov Ta tomb in Noraduz
cemetery, near Lake evan in the north of
Annenia, and is dated by an inscription down its
lefi edge tO the year n25: 'In 674 of the Armenian
era. God have mercy on J\putayli. Amen.'
Aputayli is 01hcn\~Sc unattested. The khatchkar
is typicaJ of its period in terms of its design: carved
of a dark tufa stone, it is rectangular in shape with
a slight overhang at the 1op. lLSdecoration is
dominated by the central cross, in this case arising
from palmettcs (and so, perli~tps, alludh1g to the
cross as the Tree of Life). It is supplemented by
secondary crosses below and 10 the lcfi, and is
framed by a series of interlaced patterns. In the
course of the t.hinccnih century, khatchkars
\\ ere to become more intricate and cl. borate,
incorporating more figurat.ivc imagery. At tJ1e
amc time the decorative pattcms were 10 be ornc
more and more innuenced by Islamic motifs.
A.YTONY 1'.ASTMOND
Paten (diskos) with scenes of1he Passion of
~nlr.ll Alia, nimh or 1emh «ntuiy
Gildc:d,c.ur, duucd and inci1ed 11lvt:r,d1;une1er ~3 cm
~~11-.,~l-n,S.l~,a.lm now,
;::::;,c.L '-illd - dw \ ...... o((;~~.
~.c;.o,;:'~(~rani:<lbon, l'OUU.-.Ll ..wlSntlmw
A paten is a speci.il dish used in 1hc liturgy 10 hold
th e bread of th Eucharist. 'J71ree scenes fill the
~1ree entwined medallion : the ension (top),
,c 1-~oly\Vomen at the tomb Oen) and Lhc
Cru~ifi~on (right). At the bottom can be seen
Dan1~I m the Lions' Den; on Lite Jen arc two
kncclmg soldi • k
. crs, ecpers of the 1omb· to t.hc riglu
1 with 366 narrative miniatures illustrating each
,_sLle 0 eni_alof Peter. At the centre is'n cross. The
v.111,nonhem
s nes are identified I • • •
ti , >y 111scnpt1on in yriac in
1~ _cslra.ngcla'script, the fonn used for .sa red
•gn,tt 1 wntmgs (clockwise fi
lloM<hl.o1l'"'-ltt Christ'· , . rom Lhc top): 'tJ1c Ascen~ion of
' imon-Petcr d . colophon as a saint indicates that this
before th k enymg Christ three times
e coc · cro,vs'; 1the rucifixion ofCl11is1 1,
11ith oil , 1h1.:C ' . • • I n·
the rii,;:ht, the thu:f 011 Ins e ;
fi1rg,1n·,,nc1u
11
• . • • I' I
• ,,·. 0 f1h1· kft lion. Da111l' ; 011 t 1c
o,<·r1hc'1111,tnl ' •
. r1he t\\0 I loly \\ Ollll"II,
i111,1gro
\I ~d,ik11t',~ l.u)'°, mer the a11gc, t 1c ngc ,
~
1
:j 1
iu the wnib, 'the Anast,1'li~'; and tltc soldiers
11
' 1,1rding thl' tomb'.
~r\ • One f<·~itureof the iconography
~, t\sc-ru,;ionM it is shown here is distinctive: Mary
USU,u 1y
i not rcprt'il'Jllccl al th(· c(•nlre of the twelve
5
Apostle,;,as is 11._ual in Byzantine art, although
~hei~,hown at the C'mp1y Lomb. This significam
omission ha~been used 10 arb'11Cthat 1his paten
\i,i<; made for an Assyrian church of the East,
\,hich used the Nc,.torian liturgy. The Tcstorians
(,\ho follo\,ed the theology of 'estorios, which
condemned a~ heresy at the Council of
\l,I~
Chalccdon in 451)split from the Orthodox church
ofConst.intinoplc in the fifth century over the
155ucoftlic statu'i of Mary as a mother. They
rejected the idea that she was Thcotokos, and saw
her as Christotokos, believing that Christ took his
human nature from l\lal')', but that t.he divine
logos exi ted before the in amation. The
emphasis on the exaltation of the Cross might
refer to Ncstorian knowledge of the ApocryphaJ
Gospel ofS1 Peter (x, 35-4-2).
The style and treatment of the subjects have
several connections with Early Byzantine works
from the region of Syria and Palestine {such as the
ampullac from the Holy Land). But the gannenu
and manclorla of Christ in the Ascension poinl to
a production in Cemral Asia in the ninth or tenth
cenn1ry, and perhaps to the region of emircchye,
the south-eastern part of modem Kazakh tan.
Odd mist..1.kcsin the inscriptions suggest that
perhaps the Syriac language was not the native
tongue of the artist.
\'£RA ZALLSIKAVA
hrist Gospels with Tsar Ivan Alc..'Cander,folio 272v
"( UnlO\'O, l!l5~ 36
Tempera and gold on parchment, S,5-~ • 25 cm
1~ 8,..wh IJ.....,, 1.ondorl.Md ~h ,-fal"l
holJ.wnUI
lk~ "1P(lO J '•o\-UCAHC.a. by 11,eon,rntr-rNh 1C1Cnll,ry
u 1hr \IOll_,,I") of St l'aul on Mount
At'-, •q,.mt by kol.-rt C.-""°' 1111..... lfn. rkwYk'd 1<1ihc-flntllh I...,,.,
1899 ~• I~
1.AMtto.i,ln1917
~~~~ na.utt:.o l)lmWOftlw-t 'n,,)'a,._~_no..t7,pPY,
1
'l11csc four Gospels wriucn in Bulgnriscd Church
Slavoni by a scribe, imeon, arc a tour de force
of tl1 grand illuminated book. The manuscript
opens with a striking double•pagc portrait of the
Tsar Ivan Alexander with his wife, two sons, three
daughters and one son•in-law. It has 286 folios
or the Gospels in tum in frie;;e fonnat. It also has
five further rcpr en1adons of the Tsar at the
end of each or
the Gospels (folios 2720 and 134.v
are example of tl1esc image ).
The manuscript ,vas probably produced at
Turnovo, Lhecapirnl of 1hr Second Bulgarian
Empire rulcc.1by Ivan AJcxander from 1331until
his de,1lli in 1371.The manuscript declares
,
~l.1ry visu:Jly both the rivalry LhaJ Ivan Alexander
I 'I A I'
fch towards Bylantium, and also a period of
grc,Her friendship after 1355 when John VJ
Kamakouzcno, was forced Loabdicate and
of the John V P;il,,iologm bcc:une the Byt,1ntinc
emperor. TI1i co-operation was marked by the
marriage of one or lvnn'i; daughters 10 the future
emperor Andronikos IV Palaiologos. The imagery
implies that Ivan AJexanclcr's dynasty was as
powerful as the emperors ofCons1antinople (in
fact the Bulgarian empire fell to the Ouomans in
1396),and hi title emula1ed Byzantium with its
terminology- 'In Christ God faithful Emperor
and Autocrat of all Bulgarian '. TI1e manuscript
achieves his ambitions 10 be 'more By.tantine tlian
the Byzantines' tlirough its luxury, style, with a
lavish use of gold leaf, and contents. It musl have
copied an eleventh-century model produced at tJ1c
Monastery of Stjohn 1oucliosat Constantinople
in tl1e same distinctive style as Ute Theodore
Psal1er of J066 (cat.51). The artisu presumably
had a Gospel-book equivalent to this psalter
(one exists in Paris (Bibliothi:que nationale,
cod.gr. 74]). 17,cy changed the imagery of 1hcir
model so that it promoted not the abbot bu1 a
Bulgarian king. The artis1s faithfuUy rc-crea1ed
the exquisite s1yle and standards of this monastery
with its famous scriptorium for its Bulgarian
founeentl1-cc.n1ury audience.
11.0111"CORMACK
Fragments of the robe of Tsar Ivan Alc.'<andcr
Byzantium, 1331 71
Silk-based tcxulc embroidered with s1l\'C'r-gtlt,sikcr and s,lk
threads, 8,3 " 49 cm, 8.5 • 48 cm; 8 11 46 5 cm
N.u.wial \IWNm, lk.,..k. "'" no ~-I
n<l\"L"IA!'IU Churdiof&N"~&..nok,uc,1lft1l"iorot
IIU-u:n.o llUU.ll!'IU 'l"1u1:Md 1 cm,mn,,I,., 9C11J6
These fragments of gold-embroidered textile,
discovered in tomb 15 in the Church of St
icholas, taniCenje, near Pirot (1331-32), arc
preserved in the fonn of strips. On fh'Cstrip there
are repeated moti~ in tendrils: a deer, a double-
S7· headed eagle, a crane and rablets \\~th the name
and title of the Bulgarian Tsar Ivan Alc.'Callder
(1331-71). The sixth strip bears the motif of an
arcade with doublc•hcacled eagles above. The
inscriptions date tl1c robe to the reign of Ivan
AJc.xander. The nobleman buried in the tomb was
probably given the robe by Ivan Alc.'Xandcr.
The embroidery worked in silver-gilt and
silver wir is surfacc-couchecl on ochre silk. The
style of the gold embroidery shows the influence of
Italian silk. Silks from Venice were very popular
in late Byznntium. The gold-embroidel')'
programme is imperial in it.si onogrnph)' of
double-headed eagles.
"ll1e robe, probably 1.ightand kncc.Jc.ngth, was
bulloncd from Lhe neck to the thighs ,vilh ball-
shaped silver-gilt bu11ons. 17,c gold embroidery
was placed alongside the bu11oning. Tho robe
was probably made in a Byzantine workshop.
AUKSA\ORA NITIC A\D 1:f.LJKA TUU'.RI.SSKI
The Vani Gospels, folio 30
Ccm1.tn11noplr-,,noo
~lanu5("npc,'.lR5 11 19.5cm;~ 17folio,
'.-uon;;dC',c-ftlncof\bl!W<"npu.11.i,-,,.,m
1uJn,on"u.>10.1 t..ondA,,,,MdR.,,l.nd,r1"':J,n,oop.pp47 _y,
TaifA•·•'l'\.\,'i~19~ii,i401 IQ,,\mtBl\adn.li1Qb\,pp71, lo
AmtrM>.tw,b1<:,(.6pl.]" 'I, lknrlH- t1 al 1'8-4 pp 'l'• •~. 1,il
The Vani Gospel , written in the Georgian
nu.rl.hunscript, show the continuing close
relationship lxtwecn Georgia and Byzantium
around the year 1200. The creation oftl1e
manuscript i1 recorded in two brief colophons,
both written in gold, on folio 272v. One, in
Georgian, states that the text was written in the
city of Constantinople by a monk called Iovane,
who calJs himself 'the unworthy and wretched
confessor of the Saint Queen Tamar'. The
second, in Greek, states that it was iJlumina1ed
by the chrysographer Michael Korcsis. Another
colophon on folio 266Dis concerned to
demonstrate the accuracy of the translation from
Grec.k into Georgian. It says that the tc.xt was
copied from a manuscript of the Gospels held at
the Hromana monastery near Constantinople
{the main centre of Georgian monasticism in the
region), which in rum copied the autograph
tran lation made by t Giorgi the ALhonite. This
was kept at the lviron monastery on Mount Athos,
where this great Georgian translator had worked.
This interest in the historical accuracy of the text
is at odds with the images that accompany it:
these re.fie.ctthe most modem interests in
Byzantine Gospel illumination. After a prologue
showing Christ blessing the four Evanbrclist.s,
each Gospel is preceded by an autJ1or-portrait
accompanied by a scene from the Life of Christ
latthC\Y is paired with tl1e Nativity; Mark with
the Baptism; Luke with the Annunciation;John
with the Ana.stasis).TIUs follows a liturgical model
lablishcd in Constantinople at the stan of the
century [l\lcrcdith 1966). 11,e canon tables a1 the
stan of the tC.'(tare also gloriously cnJivened by
colourful headpieces, replete with figures, birds,
animals and plants, and personifications of
the months.
The scribe tells us that he was confessor to
Queen Tamar of Georgia (1184- 1210).1-1r rule
is associated with tl1e greatest effiorcsccnce of
Georgian culture and power, she \-r.\3 celebrated
in her lifetime in an and poetry, and subsequently
came Lolie at the hean of much Georgian
national folklore. The reference to her in the
CATALOOUE ENTRJE 287-289 453
 ,ancLificaLion of Lhr quern hc~n clurin~ her
lifetime 1Ea.,u11ond 1998, pp 9'l 181.
The Cn<ipds \H're oner hou,;rcl 111 a
m:H;nificcnL founeenth-ccntul) mcLah,ork ca_<,c
1
\\Inch \,as fortunately photographed before ii
",l..,
\tolcn ,md dc-,tro) rd during thc Rm,i,m
Rr\oluuon Taq ai'ih\1h 1935.pl\ p ,1t
1
I .11~Kl;u1r11\Outh•h~I (:l"Ot'}{l,I,1195
1\IJ.nuv-npl \\Ith ,ilvt'r-gih 14 \ • lh \ nn
U)'\TI'\.,
'41•1'\iJl..rmi,,,.f\t.,
..,.npb.n.i..q-q,,,7
u1,,-n11••n•,.,,1, t,.,.,..t.,1,,.11'1<111..kr..t.111,~~-•.._llf'H
hi~ PP \H 7. 0. ..,..,.......,111lol'Yl,. rr ra 1 ,,_..,_,..,.,.....
uno pl 1ft 8.ok.n,.,. - u,
,,,.n, t \I • .,._,,,
''-
Gl'orgia excelled n1 Lhl' produrtion of tTJlOU\.~
mc1.,h,ork throughout thC'~liddlc i\~ and
preserve, large number-. of1com and otJtcr ohJ«-ts
made in 1his trchniqur. Tilr covers ofth<"
T,q,iros1av1 .oospd1 :tl"t' on<' ofthr outstandtn~
cxampk· from the la1c l\\clfi.h ttntuT). TitC) \\'CIT
made by the goldsmith Bd ..1 Opiz.-ui. The front
CO\ er sho,, the Cmrifixion. ,,ith Chrut between
h,., moLhc-r .md Stjohn t.he Evan~lm. 111c b.--.ck
shows the DciSls, ,,iLh Chl'bt no" c-mhroncd,
"hilc ~ lary and tJohn the Baptist intcrccclc on
behalf of humankind The image of imcrccss1on
1\ ma1ched b) Lhc thrtt inscnptions around it,
"hich caJI for salvation for thOSC'im'Oh'ro in
lhc commL\Sionmg and creation of thc covcJ"S.
The- l\,o formal lc>-ls \\Tlllen in a.somJarrvbscript
enfrnmed above and bclo" Christ name the
commissioner Joane ~1tbl-,-ari Bishop ofTixti1;
the ont" squec.ud alon~1de the throne of Christ
names the al115t:'Christ, ha, c mercy on the
goldsmith Bcka Opizan' ,Amiranaslnih 196-1-,p.7,.
Bek.a OpiLi'lri is the most f."Unou~of Georgia's
mcdiC'\-al goldsmiths, along \\ith his contemporary
(and possibly teacher) Bohkcn Opizari, whose
coven for the Berta Gospels 1 'ational Centre of
r..lanmctipu, Thilisi, Q-906} sccm to ha,-c beien
the 1mmcdiau: model for thiJ sie1 of CO\cn. He
is also recorded as producing the CO\"cn of the
Anchi gospels (no\, lost 1 and the frame of the
Anchiskhau, Lhc miraculous icon of Christ at
Anchi "hich sulVlves m L.he t.ate 11useum of
Fine Aru, Tuilisi). Tius was commissioned by its
bishop, Ioanc RkinacH, and paid for by Q.aecn
Tamar (11&1 1210).
111e manuscript it.sdf was copied out in 1195
by two scribes, Joane Puk.arafudze and Giorgi
Sctaisdze, whose ndrnes arc recorded in a
colophon. A further colophon on folio 273,
records tJ1ccommissionmg of the coven: 'the
covers of Lhcsc gospels cont.sin .sih·er worth 200
drama, and gold and pearl and prcciow stones
worth 20 drama_ 1l1e wage of the silvenmHh
w._. 23 drama' (AbuL,dzc 1958, p.324).
454 CATALOOUE ENTRIES 290 293
Cover.i of Lhf 11X"ll Gmpd"
",h;\,,hct1 ~u,h-wn, (;ro~a btf' l\\l'lllh t.f'ntu1-.,
~lanu,;,nipl "uh ,1kIT gill \''\l\TI'- \lb 7 • II) 5 l Ill
,.,,.....icn....,,,f\l "1'"11 ~
1111,nounu.,,1,
\la .... • 1•1•\l'fl cp ',,
\htrnllh1-•••Uln•,ct.Ju•h••
\ho.L.lnN\!l. 11'1'
1,.~._,,,,,1 f•
t.\l ft I hul•1>,olml1 l•h~ l'f' \;"
1 ~\li~.r.1tt, ,.,, I''
·nu: ('0\"{'1' ol lh(' 11x·uGo~pd, ,In'
('01111111,,,nn
of the b,,hnp of llX'll. lo.me. Li~l· the
Tsq.1ro,t~\\i Goo;;pd, t,ll.:i90, ,111cl
1hc-lk1t;1
Gm.1x·h,th<"trout tO\t'f "ho\\:iothe Crucih,ion,
\\llh Ch1i,1 on the Cm, .. hein~ moumrcl I>\ ~l.u)
andJohn the 1:\,\1\~l·IM.md I\\O ,tngl·k The
Gt.'O~.m unci.11irhc,;pt1nn oH~r Ch1i.,t'-. lw,1rl
n-.ul-. :Jc th Chn,1, kin~ of LheJ1.~,\, •• Thr h,1rk
t \l•ol.la ro,~r, ho\\t'\fr, h.,,., chlkre1,1 ico1101,:.,11,1ph):
it
... •-
,ho"' Clui,t h.mdin~ the kc), of Hrawn to St
Peter and a hook to St P,\ul. The l\\ o Apmtll'"
rai,c thl·1r h.1nch to Cl11i5t10 ,l( lno" lrcl~c his
dommion. Squcezt•cl bet\\l'l'II 1ht·m is .1,ix1re11-
hnc mscnption in Georgian momfnr111l1o;cript Lh,ll
reach: -~111<" om•<,[1.e. the Apo,Llcs Peter and 1\mll
\\hom the Tc.1chcr !i.e. Ch1i!!iljordcrl'CI to be
sc.11cdal the thrones at the day of Judgement,
[ma) )OU) intercede for me, loanc ~ltbe\~,ri-
Sap,1rcli, p1Lifulof <,oul.Amen.'
De pitc it:,, poor condition, the delicacy
of the craftsmanship is evident in Lhc finel)
wrought figures, the dccora1jvc script used for the
inscriptions and the elegant , cgct,tl scroll mouf
that runs around Lhc frame. Together, the two
book covers underline the imponancc thaL
Georgians placed on the suiL1ble adommcnt
oft.he New·Testament: tl1c \Vorel of God. The
quality and style of Lhe metalwork i1 closely linked
with that. oftl1c Tsqarostavi Gospels, although
Lher<:is clis.1grecment about whetJ1cr it can be
linked with Bek.a Opizari himself.
S. Peter and Paul arc also invoked in Lhr
main colophon m the manuscript, \\ hieh had
been commissioned by an earlier bishop ofTbcti,
Pavlc. This colophon dates Lhc manuscript as it
also refers to tJ1eGeorgian capture in 1161of Ani,
the old capital of Armenia It was taken in that
}Car by the anny of King Giorgi Ill (1156-84)
from tl1e Mu.slim Shaddadid emirs that had
bought the city from its Seljuq conquerors in 1087
in return for a group of golden icons [fhom.son
1 98g, p. 1 95)-
F'our Gospels with Christ, donor and scribe,
folio 13 veno
Producnt in 13a1:i:11thr Mona.urry orDra,.ark m C1hci,1
durinlJ cht' prcla(-y orTcr MkluLJr, and Trr n,1Silio<1,1tl the
rcquNC or t.llt"pnr.st I ir-.1t1u,and illumm.ttrd by S;\rgit P1d:i.1I.
Pa.rchmt'IH 1wnurn m "'(\II.tr~, ICTlptIII blar-k ml.,
.io.5 • 1+5 cm; ~o foliot
Onboto(n-thtl,-,'IIWO.,,,.t'f8ranyl~,llulill"
H.1•CnJ1u.u......-u l)rr~~~_,,,1.~JI•
1-,,S.:ll!T~•M
Thl· lhc donor
f1011t1"ipll'l l'. '"th Chri,;;thlf'o,;o,;ing
.u1clth<' ,rrihl'. i~ ,11iling. In tht· 111,uimnipu
ol ,Ill c•,11!it·1 \)('11od Anne11i •.111 alli'it"i lrnd usually
n·p1t·,etlll'd 0111) thr donor 111 ,l prominl'nt
1>0,i1io11.But. in the fo1111cc-111h
cc11tu111 JMintcr,'
po, 11,1i1,ht'~ln to ,1ppt•,11fn~ciue111ly.Three sclr-
pni ll ,111, ol ~.lrL,risPicl,.,k 1190 1'.fi5) have
,u"hccl. The fir"it ,1ppcan in thr Gospel of
,l ",l'("Olld
\'1.·11ict· \\'l'nin· MS 97/1b, AD 1331), whcrc he
1ep1X''-l'lll'ihim.,t·II krn.:eling-,H the feet oft\lauhew.
I Inc S.1rhrisP1do;akh,,._a black thick beard and
loo~, like .l m.111in his thirties, hut in his next
J>Ol 11.1i1, p.,intt•cl in 1338, h(' gives Ilic impression
or., middk-agccl pcrson (Ercvan t\lat. Ms 2 627)
and in this m,111uscript, painted in 1342,he is
,,lrr.ld)' an t'lcll'rly 111.111\\ ith a" hitt· beard.
These ch,mgcs in hii; personal appearance
dearly indicate th,11 Sargis Picli;ak tried each
time to gh ca f,1i1hfulimage, and these
mini,11urcs are impo11a11t examples orthc
art ofpo11raiture in the fourteenth ccntu1y.
Por1raits of sc1ibcs ,llld anist.s arc rare in
8).l,mtinc m,muscripti; but occur frequently in
Armenian ones. This i1\in keeping \\ith the
Armenian practice or recording the scribes and
painters in the colophon in order that L.hcirnames
might bc rec.died and prayers said for them by all
present and future readers. Their portraits are an
addi1ional means of perpetuating 1hcir memory.
2 93
The An11cnian Psalter of King Levon III
1.s,lht' cap1t,d ortht' Annem;m Kingdom orC,hcia, 1283
lllummo1tcdl,y Sargn P1<b,tl.
Vdlum, y,nt1c11 111b,o/q,g,r.Knpt,24"' 17.5cm; 259 rohm
IN' Knu.t, l.i1,..-,&f'J,l.ondon.Or1,11o1
, .. ucnounaot,1 ll-,,nh&,,la19"11.Sutht:...,..,19n,1ot17)[\I
''°""'"',001,1111141
In this Psalter of King Levon Ill (1269 89)
the Virgin ii; seated on a throne, wiL.ht.hc Christ
Child, here ponraycd more as an aclolcsccnL,
on her lap. Both raise their hands in blessing.
Legends in white uncials on a blue background
above each figure read 'l\Jother or Cod' (MAYR
A(Sloudso(Y)and '.)esu, Christ' (Y(1S-Ou(S
K'friSlo(S).
An angel in the top lefl comer offers a kerchief.
In the lower left comer a lay figure, expensively
robed, kncel'i and cx1cnds his hanCU in prayer; lhC
legend in white unci,tl, above him reads 'l\lot.hcr
of God. Baron I-lanes, hanccllor relics on thee'.
Looking straight ahead with her right hand
extended, she blc.ssc Chancellor Hanes
(J-10\hanncs = Joanni,).
VIUtj NllUf.lSIAN
Ann n■ h11
t.JII" ,,.......,
11."
29 I
qll' \'IICI' \ \llt-.\1\I (ll'JO
lhf\l,ir, nl King 1,non 111ol (,il1l1,111/\11m·111,1,
foho 101
'ti• , ,. ,
11111 1111 1 111}i 111hr \1111c111,111k111g(lo111
,,f( 1h<1,I '' 11hl)flq
rupinllot Kml-(l.1\/mlll
lln'uin iul, u(,q
l',,r, liriu ut, \,ill!l 11 111h,,lor,:1r
\{11pt, 16 5
J, 1,1~ II\ l1>11t\.,11
()r I j'l'!I
,1
1:,:0.
1 •:~•
•~
:,~:.
1~;;,";;r~d; ~~) i~,~~::.:I:
u:;•;\:;:•,:..- ,:~r;~:~~fup the serpent
.' !-: "'' I, 1,.., l'MII HO I t'I l'P ,.,,,
~t ~cr.c'i JV Kl<t)<.'tsi,c,tllcd Slmorlial,,
i.e. 'the
Graciou.,· 1102 1173, catholicos or All Armenians
&6 1173. praying, i5 figured in the front..ispiccc,
11
before hi, pr,\)er for the t\,erlly•four hour5 1 while
the king's portrait faces ·1 Nerscs's 'In faith I
conrcs"i' profco;;1\ionof faith on Lhc Holy Trinity.
·1he pr,i)cr ends\\ ith a ,;pedal pica for the king:
·F,,thrr, Son and l loly Spi1 it, Trinity and one
indi\'1,;iblcCodlu·ad, fortify Levon, King of All
Armenian,;;, crowned by Christ, together wilh his
children, against the enemies of the cross of
Chii,1, our God.' By clepicLing the chalice wiLh Lhc
Christ Child (Creek: am11os or mthrmos),L.hcartist is
emphasising the rcaJ presence of hrist al the
mo~t sacred moment of L.heEucharisL Standing
bt·hind Lhc king and holding his crown is Baron
Vasak \\ ho held the title of coronant (t'ogopah).
The fcawres of the crown-bearer accord very
closely wiL.hthose or Baron Vasak represented on
L.hcthirteenth-century loose leaf in the Adolphe
Stoclct collection and in Lhc Gospels sponsored by
Vasak (Jerusalem, Stjames MS no.2568 1 c.1270).
The artistic licence taken in allowing the figure
ofVasak to break through the frame is
eharactcrisL.ic also of the ani.st of these latter
Gospels. The ponrait of King Levon closely
corresponds to t.hat in the Queen Kcran Gospels
,~
or 1271 73 Orru.salem, Stjames, MS no.2563;
N,irkiss 1980, figs 77 83).
\'lti,;j NE1t5U51AN
Four Gospels with a serpent curlccl around
a trunk, folio 218r
Sis 111lhc Kingdom or Armenian C1hcfa, 1217
Oncn1,1Ip.&pcr,2!)-!Ja 19 cm, 286 folios,
llw \.,~-. liYmhridat· l 'IIIYUWf I,._,,, \l.t. \dd ,WO
...........
, ..,H-,-.,11111n•1.,cu ~•mOITToe11qU1,,U2.pl1tlf,,,.,.._
TI1c four Gospels arc written in classical
Armenian in bolorgir script in 1217by the scribe
Yohannes, pupil of 1 Grigor the incomparable
scribe'. The \,Ork was done in is in tlll' catJ1edraJ
dedicated to St ~•1arine for the 'most \\Orthy and
holy vardaptlVardan'. 1l1c se,vent coiled ar~und
a trunk on fol. 224 a is an example of how Llus
manuscript illuminaLion works, with mour
related 10 the text instead of full-page miniatures:
a ciborium crowned wit.h a cross rcprc,cnL1\the
1,·mplc ofjcrn"ialcm "ho~c dro;trnclion is
prophcsi~rd (Luke x.x,, )); ,, doublr cro..s raised
()'")) •• , , ,d,ovc h,o corn11cup1,1rt•c,,lh the Cruufr,1011
LJolrn XIX, 17 20J; ;i fi~hin ,1 chalice ,1ppr.ir1
alongiiidt· the ,1lcoun1 ofChri5t·., bre,1kfa!iit"hen
lit· rcve.ilcd him'iclfto the cli~riplc~,\I the Sc,, of
Tibcri.iJ Uohnxx 1, 15).Thr reference to the
uhcJ lk11,,1111uf
serpent j5 that Yo1Mnne5 has trnmformecl into
•:Jnn, fohm
11 lfJO 11genre scene the li1eral in1crprctt1t..ionof the
.tccompanyingtext (John 111, 11): ',lj Mose, liflecJ
in the wildrrnc,s, even so must the
7, , .....
"'""' '""7, 110 17b
Son of Man be liOed up'; he h,1Jreprc~n1cd a
serpent coiled around 1he trunk of a 1rcc and
auacking the small birds in their nest. The image
recalls the Byzantine Gospels of Pari, (gr. 74),
in which Christ points to the serpent rai'ied
on a column.
VREJ NERU'SSIAN
T'OROS ROSUN (n.1256-68) possibly with
1
a collaborator or assistant
Gospel-book ofT'oros ,he Priest, folio 109•
1262, with scvcntccnth-ccnnuy binding
lnlc, pa.mt and gold on parchment, 29 ,S 11 22 cm (20"' 13.6 cm),
410 fohos + 2 0)lc,wcs, one at 1hrbt'gmnmg and one a1 the
md, each from earlier manu~npts
Tht Waltm An \ll«\lffl, BAkimon:.w ll9
,110\~ ..n ,optd M 11,omUaytJt r-Rown 11112Mfo,Ulc'pnn1 rfln'lol,
ntpbn,-ofC.thobcoi,C.0--~1 11211 6,l',pnxt11cdh,'~,,_roru.io
Nk'abgtun hc,rmn• nou6't. by •Go~,lllCITW'IUKJljll ,.-a, •1dot M~
o(UH.'Jlof)'CroM,&blu\111.,.~1tttaycduntilllle_ry,.-,,,~ffl
u, •9•~- run:luo..d by I kn,y \\'ahm r..... D,Man K~kb.&n. Pu., •9'19-
Ulc'mMUltnpl ~ to Mn~ \\.lkm lllt htt h\OINnd'1dath, aad .. -.
J1>T11byha1ollle\\.unAr1C~ _,11,t\\Ak,m,AnM
lltLl(:HO HJUlt ..CIU 0n ,~ 1ffl, J!P-)1 J(I.,E..-nil l'J'J+ pp j'2 I,
'\"'
[V ,cnraa11
VOfli 199-+, IICI II, pp 149, 1)0 H [vam l..--k,,t llOOI, 1101)9. pp :l:ll, n6
T'oros Roslin is the best-known Armenian painter
of Lhc medieval period, and was the mos1
important scribe and illuminator \\Orking at
Hromklay in Lhe third quaner of the thineenth
cen1ury. l\Jost of the ten books auributcd to him
wen: made for Lhe Catholicos himself, and this
one was made for T'oros the priest, the nephew
of Lhe Catholicos. Roslin is noted for his
expansion of pictorial narrative, wit.h miniatures
of various sizes interspersed Ulroughout the tc.xt
and the maqpns, and this is the most densely
illuminated of his works. Although Roslin is
rightly recognised as an innovative illuminator,
he \\fa5 building on earlier t.raditions; in this
manuscript his dependence on his teacher
Yovhannes, and, ultimately, on innovations made
at the scriptorium a1 Skcwray half a ccnlUT)'
earlier, can be seen in the arrangement of the
canon tables, the inclu1ion of the Evangelists'
animal symbols at t.he Gospel openings and
depictions of the Lamb of God (fols 1¥, 321,).
Crusaders and mendicant friars aniving in
Cilicia in the thinccntJ1 century brought ne"
pictonal fonns, and "hile Annenian illununnLion
continued to be closely ucd to the ByL:.mtine
tradition, \ Vestem contac1 lcfi its mark in a
number of details. In the L'lStjudgemcnt
miniature (fol. 1090), the ovcraJI appearance
or the scene, witl, thr river or fire dividing the
composition in ,,..,o, is typically Byzantine, bu1 the
depiction of the foolish ,~rgins, outside the left
frame .tnd unable to cn1cr P;1171clisc, was a popular
mo1ifin contempor.u) French painting. The
Rclllrn of1hc ~la1;1(fol. ,gr) is iconographically
umm1al in the milit,11) reLinue accompanying the
ri.lagi, but ~imil.ir mountt·d soldic~, the brightly
coloured le-gsof their horses ovcrl,1pping in
rhythmic pattcrn1\, \,trc commonly depicted in
French m~mu5cripts or the period, such as the
Morg-.tn Picture- Bible(~ !organ Library, New
York. ,is M.638).
Manwcript "i1h donor before the l\ladonna
ddla Misericordia
S", Ci11cu.127-4
n..-Plnpm,t \I,.... U,r.:,"· , .... \n,l Pun:ha-,1 m u)')I! .. ,u11hr 1v1pm111ot
l,.,_,,~Fw,d.llwl,_....d, RttlwTrhr,urln.\liNAmmi \nnmo
Byu.nun,,;W\l......,...........,_f.,._!MwN\,11"'1-1\ l'rohbihCt..nlalilr
Tna,_,mm--,~1- \\ Fn:tNKh•lldlltom,.,.R Bum,.1n'n'Ol'l•l>Oft~lhcw
~•...doo,nu,hul.,...1othram~1hrwnlKn.,oni,UIC'll"""'t,.n'Otb,."
r-., ..,__ P ..t £mm;,~- A•uran!Jand V•nrnnr ~n, NWtWI
......,_<k-lf,•-ofSiTafll"'llr!'r,nYlllan.i\tt OUMIW1111
,..ova,u.'ICa. r~•~•Br-It. r~ c..nrc,,_,purchaonl ll'f 11w
P'itTpOM\t,,,..l,,bn,y111r..,al
•un:TWU:,UL,icu 0.:,..~197«0r,',;~1')9).PP,l)i 9,
fla:b4f1,~bthn,, 199'1,.pp 1bl ;n.,. 1',. \Iman 191)8 _,.-.. t_.._ -••
pp ~SI 2. flc, I}--., Dnbn and \,tf 100.f,p.461 'tv\'rrl.\lutafgn•ndna..:,oB.
~
pp6o, HC.[._ \b,,.,.,_20trJ',""J11l,p.93
,.o-..-,
Formerly kn0\\1'11 as the Fcron-Stoclet leaf, this
folio with the donor's portrait was purchased by
the Pierpont ~!organ Library in 1998 10join u1e
.. ,..._ .. 1'}1S
~larshal Oshin"s Gospels from which it \\l'aJ taken
(caL 298). The panly preserved inscription, which
matches the data from the colophon of the latter,
enabled this attribution by Sirarpie Der
Ne~an (1970) and is generally accepted.
The leaf sbows the Enthroned Virgin wiu, the
Christ Child spreading her mantle to shelter
Oshin and his children kneeling before her.
The bishop, ,,hose dongatcd figure stands out
in the background, introduces the donor;
his nimbus and g-Mmcnt, ornamented witl1
FTCnch-borro\'..cd Hcur-de-lis, point to a royal
origin and enable him to be identified as
Archbishop John, half-brother of Hct'um I and
the uncle of King Lro [L
The composition shares some iconographic
features with the portrait of Prince VM.."UC wiLh
his children (Anncoian Pauiarchate,Jcrusalem,
~ts 2568 1 fol. 328), in which tJ1c~Ladonna dcUa
~ liscricordia leads Lhc kneeling donors Lowards
the Enthroned PanLOkrator. These two
manuscripts produced by tJ1esame workshop
at the same urne raise the question of the
introduction of the l\ladonna dclla ilisericordia
in the Christian East, as they offer the earliest
dated examples and arc among the earliest pieces
of evidence for this iconographic Lypc of the
Virgin, prccedmg even the i Ladonna of tJ1c
Franciscans painted by Duccio around 1280.
C.ATALOGUE ENTRIES 294 297 455
The r-.tadonna dclla l\liscricorclia originaLccl in
lla.Jy in 1he firs1 half of1hc thirteenth ccntUI) and
was quickly ,tppropriated by the mendicant orclcnt
who brought lhi11iconography to lhc Eastern
i\lcditerrancan, as inclic.,tcd by 1hc Cannclite's
Virgin form St Cassi:mos in C)1>rus. Rather than
,l spccilic con11ec1io11between the r-.fadonna dclla
i\liscricorclia and tJ1c Franciscans (Evrm~ 2001,
p.251), Lhis iconography sccm1110 liavc had a
significant impact among Christians or cli!Terent
confe~ion" in Cypn1" .tnd Cilicia (Carr 1995u,
p.348). The frcc1uc111representation of that
iconography of the Virgin in headpieces oflcg::d
documents, mainly in chartc~ of confratcmi11r11
1ignolc1 1999), suggests that the fonnul.1
efficiently expressed collectivc piety.
~larshal Oshin's Gospels
S1J, Ciliciil, 1271
l'archmeru, 'l9,. 'JI 2 cm, 3w fohm
Tl.,,.1\..,,...,n1 Morpr, u...,,., '"" VoA ~ 111•~'"
••0•·1:......_.,c.a 1-,.,,i;hl~ lathrrT tb.lLlnW1C'-,n,~
19:,0.f'll.-.:l-.db)J PMorpnfmm\lnJ O Rnc-U...-,Jr,•!PI
1970,.&rt- ,97',, pp ~lb gt,_Dtt
11:u.n-u, u:n;a.,_.,c.a lkr -.,.._
,tc,-n1991,,,ol1,pp9'l,IO'I l,IO'j 6,,12-+o,,:,,IJ ...
MAti-, 19')11,"'' 168 70. 1"')'&. ~ 1'}911. pp 116 •~-'- l' \lnwt
-,,:,oo.1'n.•\o,l1')f).,r,ob.t,11f>.•9l
-.~.pp6o
f.pl~ll
, II C. r.,.... :.i-.ron1r:.-,,.-..1
c.r...-- , ...
... p)ll'C. ,1 .....
Although preserved in good condition, this
manuscript has suffered losses, especially from the
initial quire of the canon tables and its portraits of
the Evangelists. It contains the letter of E~bios
(fols l\~2), a pair of canon tables (fols ,i.o- 5), the
dedicatory pages {fols 6v--7), the ponrai1 of john
dictming 10 Prochoros (fols Gu-7) and a s,,rics of
ornate lcuen introducing the readings throughout
the book. This is one of the most lavish works to
have been produced by a scriptorium related to
the coun or the Annenian kingdom of Cilicial
which developed afier the accession of King Leo
II (1270-89); unlike most of the manuscripis of
this group, ~1anhal Osh.in 's Gospel-book is dated
by the scribal colophon which states that it was
produced in the capital Sis.
Oshin, whose title rc0ects the use of Frankish
terms among Armenian aristocracy, was the uncle
of Leo's wife, Queen Kcran. Oshin's Gospels
present close connections with 1.hoseordered by
Queen Ker-,1.11 in 1272 Qerusalem, Armenian
Patriarchate, MS 2563). TI1e scribe Konstandin is
most probably the same, while the iUuminations
of both manuscripts share a taste for de luxe
gilded ornaments and brilliant enamelled-like
colours.
The dedicatory pages record, )jkc a colophon,
the prayer for the memory of the donor and his
relatives, alive and dead; the tc:<t is magnified by
it.s metrical composition as weU as by the
monumental display wiUlln symmeuical
architectural settings. uch dcclicatory pages,
displayed at U1cend of the preliminary quire
CATALOOUE E.NTRJ.ES 298-301
after the model of the canon l,tblcs arc a feature
of Cilician aristocratic manmcripL~, firn
experienced in Lhcsc1iptorium of 11iumkl.1
on the Euphratc", the Scl' of the.·Anncni.ut
Catholicos. The decor..uion ofO.lihin':. dcclir.t1011•
pages is charnctcrht.ic of the counl) dcganc-e of
the m;-inu,;;r1ipt;mclthr ,i,;u.tl ,y11cn:li;;moft he
\\Or"-shop: in addition to traditiort,ll sp,mclr,·1,,
hirch ;-ind lighting hra,t'-, thr pol) lohcd arch,
prob.1bl) ofhl.unir origin (Souo;;cl..1998), home.•,;;
,l douhlc-hodircl h.tq.>), ,dlo ma) come from
Romarn ..·,qul' ,culpturt' l(.cclt·rcq-~l.11--x19q7,
p 101.
299
---------- --
Four ,o,1xls ,dth the \~rgi11.mcl Child and
donor and ~la!) r-.lrlgdAlrnc, folio 257
\'ill,,~ ofSl11Lb;1l.ml.ht' r't'glOn of·ra)L, m 1h<"Chur-ch of
S1S.lrgi'. 8 Sc-ptemlxr 1313
J\;,.pn, wn11en m I.,~ holo,g,r)l('Tlpt,259 foho.s, j'l • 'l3 cm
Tlwjohr, R1~ l.i>nr,. l"ru,,TNf\ uf\l,o.m~rr 111,oo \rm 10
U:U.CTI.O un•l"l.U 1J•!I Rift l'}bn {11, 1)...- ,rnn,&:.or, 19n, AAIIJllrlu•,.ll•
..... ,,.,.. 1991, ucl,.,. l')f)I, ,,_ 14};. l.ondoo lQ(H,pp-111 .., 1.ondoowo7,
-.- 111,.7.., MIIO,p.1~
18oo,.,ol,lm
TI1e scribe, Yovhanncs lhc priest, states that he
4IJ.!1°'4 5,-So..
,on.-. ·~ completed the copying of his manuscript on 8
September 1313 during Lhc reign of King Oshin
(1307-20) and seeks prayers for the sponsor of
the manuscript, L..1.dyT'amam khathoun, whose
ponraiL is on folio ga, standing next to the
Enthroned Virgin Mary and accompanied by
~Lary Magdalene. The inscription above her
head contains her name and the legend next
10 her shoulder states 'she [had] this Gospel
made'.
Some time between 1313and 15171 the
manuscript was •rescued from captivity for 10
florins by the Armeno-Georgian aristocratic
family of the Vikhikaisi of ~,c Bagradit dynasty,
who at the end of the tenth century had sett.led in
Tayk (modem Erzerum). The Armenian and the
Georgian churches did not cndone the decision
ofU1c Council ofChalcedon in 451. ln 608 or 609
I.he Armenian Church broke with Ule Georgian
Church and excommunicated I.he formerly
M'iaphysite Catholico~ Koriwn I, for his adoption
of the Chalcedonian doctrine. The overwhelming
majority of Annenians entering imperial society,
primarily in tl1c tcnLh to 1wclfth centuries, when
they formed a significant portion of the ruling
class, had adopted the Chalceclonian profession
of faith. However, although they had adopted the
Greek faith, there were some among them who
retained Lhcir ethnic memory and continued to
use Armenian as their language and support
their ethnic heritage among them 'leaving aside
as self-evident the cases emperors (Leo V,
Romanos I, Lckapenos,John I Tzimiskes, or
BasiJ [) or imperial ecclesiastical figures ilichacl
11, Kourkouas Oxcitas (1143-46), and individuals
like Eu':il,HhimBui!,t':i(1059) and /lotos Oflhc
Grand l ..1\T,1Tlil'ol..1i,1m (1035) and Gregory
P.1!..ouri:1110, (10UG)' (Vr)tmis 1957),
The unique.· fi.·,1tun:"'of1hi" cxc-cplional
'.11'.lllll':iCii!ll
,lrt' th.11 '.he
c111i': lcxt orthc ospcls
'" m rl,lS'\1tal Amtc111.111,
the illuminations
ipti~11."in Gl'org-ian, and the sainLS depicted
~ll\t 1 l,irg:l'kttcr, ,irouud C.:hn,;;t'~figure spell,;, above,
m the· 1111111atu1-c11
.1rc.·tho"c rcprcsc111ing the
Church before.· tlu· :.chi"m of 451.
300
ri.tini,uure with St Luke ,md Th ophilo,
---
~1011,1~11·1) ofCrner
tl1111t'l'lllh ("('llllll)
l',trdmwnt,
(?'. Anne-man 1.mgdomof
'J6 11117 cm
,liei,t,
St Luke is seated \\~th his right hand slretchecl to
rccci"c the letter insc1ibed wilh the words 'And
behold!Jcsus commandcth'. He holds his Gospel
between the folds of his cloak and feet resting on
a stool studded with precious stones. The initial
\\Ords oflhc Gospel just visible are inscribed on
the open codex in two columns and his name
'Sourb Ghoukas' above hjs head in large capital
letters. The contrasling costumes worn by lhc two
principal figures emphasise their different social
status. St Luke is wearing a simple cloak and
sandals, while 'the most excc!Jent Theophilos'
(St Luke I, 2) wean a red mantle with hems
studded \\1th jewels, crimson shoes and swckings
and accompanied by a servant. In accordance
with the Anncnian Synaxary 'St Luke wrote t.he
Holy Gospel, which is caJled afier him, for a
Roman prince named Thcophilos'. Similar
imagery is found in t.he following Am1cnian
1r. 2563 (dated 1272);
manuscripis:Jerusalem
Ercvan, Mat. lvlss Nrs. 9422 (u1ineenu1 century)
and Nr.7742 (dated 1347).
'171c miniature is so purely Ily-.tantine in style,
that one could easily believe it LObe the work of a
Greek artist, were it not for the inscript.ion in
Armenian. The deep colours, and the way t.he
bodies arc modelled with sure brush•stroke5, show
a remarkable resemblance to Ily.tanUne court
works of the tenth ccmury• (Kur.t 1964, p.275),
although the far.reaching difltrenccs noted by
OltO Kurz render precise dating 'impossible until
a close and dated parallel can be found'. Al 1hc
moment this 'remarkable miniature remains
isolated' (Kur.t 1964, p. 275; Der Ncnessian
p.92).
VRl!J NflUUSIAN
Four Gospels with Christ Blessing, , folio 6gu,or
Cillc:1a,1239
Paper, 111+230+ 111,folio,, ~3 111l'l cm
, II ire ,ortr;iit (folio 711)ofChri1,t hh-~"ii11g
I he ,u -p.i,.., 1 . . .
~ho\\' him ~ittiiu~011 , 1 <mh1011w11~1a n·cl.book 111
hi, Jrfl h,uid. '1 IH' ") mbol'i o~ 1_hc~wan~cl.1111s_arl'
have .. ' he 111scnpuon 111
lwlo,,·. ,tlnio,t ,1, o;;uppor~('J'S
r[c\l( i\lswu,,IDS (Lord Goel) and, below,
\'li,oulS K'l•i"olS (Jesus Chrrst). Above the
cu~hion in mi,lll lc1tc.·rsarc lhe term,; ~lan~e~I (left)
.t11d~(c,;;i,,y ri~ht) jr-.lanud and Mcss1ahJ. I he
ir:.t in c1,w,ical Armenian is wriucn in regular
bolnrcinciipt.The four Gospels were copied by
thl'~rribr Panagh, son oflhc pricsl Nahapct in
folio ,
3 . Thr manuscript was renewed and rebound
1139
h) Stcp'annos, as a memorial 'to his immature son
Basiland spi1itual father and master Simeon' in
1427.
302
A r-.liracle or St Menas
Nubia, 1053
Parchmenl,15 5,. 10 cm; 18 folios
l'hc Hmuh l~h~I'), l.ondon, Or 68o5
m tlwcmo11nt•m• ofE<l(u m UPJlll:r
no,,.,,._.,l.t fo1.1nd11111,lotl("colf<'r bun~
l.g-,v<,andpun:hued h) thrTrusw:softhr Dnluh,\lwcum, 1go8
nucno 1<u,u,cu Hp-.:m,u 1888,pb.ta 16, 17,8~ 1909, D;1hon1911,
pp6o6 7,l...oodor,197&,no4-+-pl7,\\~1g,g6.no2_)9,p.t40,lwnlona
1001,no 24,. p 266, l';,ru 2000", fKla} 6, p ,to, I..Of'ldon
wo7, p.:io6
St i\lenas (fol. wa) is on horseback and wears
a tunic, belt, and cloak, parts of which are
decorated ,\1th a braided bordering, and holds
in his righ1 hand a long spear, whose tip is
turned towards the ground. It is significant to
note that the end of the spear-shaft is not in the
form of a cross, as is usually t.he case in Coptic
pictures of military saints on honcback, e.g. those
of St Theodore and St Victor (Hyvernat 1888,
pis 16 and 17).Above his head arc three 'crowns
of light incorruplible, like those of the Holy
Trinity' (Book of Acts of aints, MS Or. 689,
fol. 73b ff.), the one in the centre being
surmounted by a optic cross. To the righ1,
at the fool of the page, is the figure of a bearded
man grasping the lcfi forehoof of the saint's horse
with his tight hand. The popularity of ?\,Jcnas is
auestcd by the saint' images pre crved in stone
and ivory as well as on pilgrim n. ks, made
near the sanctuary, but found all round the
Mediterranean: from Alexandria to the pper
Nile valley, from Egypt to Greece.
The kingdom of Nubia was onvcned to
1993, Christianity between 530 and 580 through
sponsored missions from Byzantium during the
reign of Justinian I (527 65), but ,he Arab
invasions in the seventh century isolated ubia
from Byzantium, although Greek continued to be
used in inscriptions and 8y-Lantinc innuenc~ on
church art persisted. luistian 1 ubia remained
independent until 1323. The book has th c Life of
St ~'lcna, or ?\ifinas (faithful and blessed), and a
1,c-rmonon lhc Cano11111
of the Firs! Ect1mf'nical
Council of Nic.wa (325). Tht' language i11
l'onsiclcrcd to ht· one of the nativt' African di,dcc111
med by the uhian Chri111i,1n-;
of !ht nor1hern
Sud,111.'The manuscript i, in fact onr of thf' vrry
f<·wrcm,iim of1he litcr,11urc ofthr Church of
ubia 1 and linhrt1isticaJlyi, of the greate~t valu(·'
(Budge 1909, p. 1).
VRl:'J Nf'IUUSIA"
The Four Gospeb with tiue page of St Mallhcw',
Gospel, folio 116v-117r
Nilria, 1308
Paper, 26.~,. 197 cm; 166foli05
111( Hnhoh l~bnl')', l.ondon, Or -f1')
IU ..lCff.D llPUUICU (.;rum 1905,.,., n6, pp P) f. \\.nloadrn
I' 1-fO
The Gospels arc preceded by the Euscbian Canon
tables and the title pages of the Gospels are blank
rectangles coloured yellow instead of the gilded
illustrations of the earlier manuscripts. The Arab
conquest of Egypt in 642 seems a fairly innocuous
event in Christian sources but it resulted in the
gradual disappearance of Greek as a spoken and
even as a liturgical language, and the substitution
of the Bohairic clialect of Coptic as the liturgical
language during the Patriarchate of Gabrid Tl
(1132-45) finally put an end lo the Byzantine
efforts to control the Church and opened a new
era in t.l1ehistory of the Egyptian Church. By the
dcvcnth century the Copts became bilingual and
finally Arabic-speaking, retaining Bohairic for
Scriptures and service books, accompanied by
Arabic translation. In this bilingual Boha.iric-
Arabic copy of t.l1eFour Gospels, the Arabic is
presented in a paraUcl column to the right of U1e
Coptic text representing the opening page of
St Ma11hew's Gospel (folio 8).
VJI.EJ NF.JLSE!ISIAN
Gospel lectionary with t.l1eHoly \ Vomcn at the
cpulchrc and hrisl's Appearance to Mary
~lagdalcnc, folio 160
or ~ lesopot.unia. around 1220
S)'T"la
Tempera on paper; bold cstr.tngclo scnpt, ◄7 111
36 cm;
foU05
1"h(oHmu.h l,.i,bn.'l",l...or,don,Ad(( 1170
all.U(J"RDURU-\ICu Boctuhal 1940, 81M:ht~ Uld K..,.. 1~1, no. 19, pp.13
1-t,l..c,,,, 1!)6.t,p lll, l...ont.10111978,
not<}.pl II. l'P 93 31. '"" Yofl 199')',no.
'1)4,P Jl-),l...or,don-1, n.o113,p.-oo, l.ondoot-,. no.••!i
An inscription in gold letters on blue at the end
of the Easter Lcction (fol. 185) records thnt the
manuscript was copied during the prelacy of
Mar(abbot) lwannis, 'patriarch of all the univ·crsc'
(1208-!20)1 and Mar lgnatios, k::uolikos of the
East (1216-22). 1o location is indicated, but the
manuscript is almost a twin of a lcctionary in the
Vatican ( yr. 559) completed on 2 ~lay 1220 in
1he ~lonastery of Mar Mauci, near ~,losul in
northern 1'lc~opot:1mia.
This opening shows two events, Christ's
appt'arance to M;iry tvl,1gdalcncand the Holy
\Vomen's vi11it10 the 1omb, combined in a single
composition. The inscription in the picture reads
'Our f.ordjcsus Christ appears to lhc women'
a.nd 'The angel on the tomb'. According 10 Hugo
B11ch1lrnl,1hc explanation for the composite sryle
ofLhi3 manmcript is lhat, as early as 1180 1 the
Arah11in Syria appropriated the Ryzantine
style offonn, a pictorial tradition tlrnt w.1s
Mediterranean in character, though Islamic in
iu outw;:ucl appe-arancc::
'Ryzantinc illus1ralion
treated in 1hc Arab style shows the adapr;ibility
of By-Lanrincimag('ry 10 local tMIC"-;incl ~tyle11'
(Ruchthal 1910, Leroy 1964).
Viti'] "ll'Ul'OL,\'ll
wyj,. nn 1'Y)
3o5
J\ book of homilies, folio w
lhnt cl-Charb,ya, Fayum, 50uth ofC:uro, 98g-90
Parchment, 37 • 7'] 5 c:m, 28 fol.J05
l"hc 11nt.- 1.h.y. ~- Or 6;h
nucrrn .,f'"lHJtCU Dr Jl.-,..rp,:1,9"?, b)- 19"7. na.1.51,pp.17t 6;
\\inhldm IAMOII-7- p 119
19'.}6.110.270:
The manuscript comprises several distinct te.xts,
\\ hich at some time were secondarily united and
bound in their present order. All pans are by the
same scribe and written in identical style: (1) TI1e
Repose of Stjohn the Evangelist; (2) Gregory of
Nazianzos, Homily on the Devil and t Michael
Archangel; {:j) Epiphanies of Salamis, On the
Virgin ~lary; and (4)Cyril of Alexandria, On
the Virgin ~lary.
In fol. 1v, the central figures in the
hagiographical tcxlS assembled arc Stjohn and
the Virgin 11.lary.Stjohn is represented standing
holding a book, probably his Gospel, and the
Virgin is suckling the Christ Child. Although the
Virgin holds her breast with her hand, her indc.'\":
finger is c.xtcnded polllting to I.he Child, who is
seated frontally, and she i.sseated on a lhrone.
Thi imagery may be a modification of t.l1c
standard Byzantine imagery of the Virgin as
Hodegetria (one who shows tile way), in which t.hc
Virgin points to the Child as I.he Messiah, shown
as a small adult rather than an infant. Philolhcos
26.f
tl1e deacon 1 copyist and art.ist, records in the
colophon placed below the frontispiece that the
manuscript was copied in lhrit cl-Gharbiya,
Fayum, soulh of Ca.iro, between 29 August 98g
and 28 August 990.
\UJ:UUSSSIA,.'1
306
FragmcntS of a dish
Srna. end of tlUnccnt.h first ha.Jror founcenth centUI)'
Yc-llow1shp;utc, Y.hitcslip, 1>ain1ed w1tl1blue, blade. 1urquolSC"
CATALOGUE ENTRJE 302-306 457

.me\ hro,,n 111ukr 1ramp.1rr-111wrrrmh ~l.t,l', m.1xmmm
lt·m:1h JI nn
U,.,......., \l...,un. \1h<-n-. ,n, nn d71
, ... 1,,.-.,, •~r ..rnl 1n l,c,p1
111r,n1J•1nu,.n~ (4ln•••,n pl.1:rJ \11.,..,,1,,.lloM1.i7 flrl'
1,ulon t•i"'J. r.,.. 1<.,1'- nr• 1<>J 1 p 118 \ ll.J.un
11w fra~1c11ts \\err part ofa lan:;:r d1d1p.1m1l~d
,, 11hthe Dcpos1uon from lhc rofis. An addttional
fragmcn1 m Ute ~lu"rurn oflsl.irnic Art, Ca11'0
p,lrtl) ~how, the \'irgin embracing her ,on\ hod)
wilh great emotion and laymg her face a~i1hl hi'-.
Tlw; was a popular image of so1TO\\iu ll)7ant111m
The 1,,0 ~larys on the dish arc sh0\\11 ,,i1h 1hr
cmouonal gestures no1mall) a.sooc1,ucd\\ilh the
Cn1cifL-xionscene.
\ \'hilc 1hc 1conograph) is clo!tcl) associated
\\~th Byzantine models, the overall St) It'
demonstrates Lhr Islamic cultural em,ronmcnt of
E••.LStemChrisuanit). 171e faaal foaturcs ,nth thr
sl.mtint; C) t·s are found m 1hirtc-cnth-("cntrn,
~lusl11n, yriac and Copnr manuscnpts, as \\Cll ,b
on Synan undcrgla7cd pone", "hert" the-doucd
haJos and the profile of the clish arc al.so
encountered. But the chronological frame is
pro,~dcd b) the mOucnce of ll•Khamd pottcl'),
e,~dent in the raised and doncd "hi1e le;\\ es on
the background. Lhe dccoram-c lotus panclhm; of
the- c..,tcrior and the Chinese cloud scrolls
surrounding the- ho\'cring angels. It is most likely
t.h.u the strange, non.Christian dc-piction of t
John shown with dishC\·ellcd hair, resembling the
mourners on the Grca1 l\longol haJ,.Nameh, is
of the same ~ longol provenance.
Christian subjects arc depicted on tJ1irtccnth•
century inlaid metal,, ork and glass and evoke the
,itality of Christian communities in the ~fiddle
East during the Late Anubid and Early ~lamluk
periods. 171e fc" inscribed pieces sho" that tl,c)
,,ere commissioned by ~luslim patrons. In the
case of the Deposition dish a Christian patronage
1 more likely. The dish may have been either
ust'd for t.hc Eucharist, as a paten in ,, hich the
brt'ad was held, or associated with a special
ceremony of a monastery or a church.
Door panels from the Church of the 1rgin,
al-~lu'allaqa, Old Cairo
C IJOO
~rwood, apprnxunatcly 31 • 13.1 • 2.5 an
n.. r.-.."6 .... a.....~1.--1--'-, ..... ..,e.,-,,.,.
~ ll.UU.UICU lh..a 19'9; tt-
199' ao..1cn • '11,pp 1¥'
11--p.•1 ,..,_,.__-.-il+,,tt,76 7C.r...k.Zlinolcd
-..-200.pp_.v .wur.pw6o..,...,admdi.al,1,.rr...._n.:--
11-~.p,i'6 61•U•7-9,ll..a~
These ten panels can be reconstructed as the
doors formerly opening into the bapti5maJ chapel
oft.he 'Hanging' Coptic church, al•~•lu'allaqaJ in
Old Cairo, located in the southern turret of the
former Roman fonrcss of Babylon (Q.ur a).
Sham). 171csc were probably completed for the
~furbishment of the church from 1301 to 1302,
CATALOGUE ENTRIES 307-309
follmrn1g a Bpantmt· rmb,L") lo C.uro. r1,\l t''
indi ale that 1hr p.,nd, "lTt' om.,'111,111\
of ll;C'½O
gilded, and qmte 1>0..,,1bh
p.1i11trd,m,tl..i11~,l 11111..
1 •
\\1lh trmplon ,com
11\('ir pru~amme of sal, ,,tim1 t,111Ix· cl,·lh1n·d
from .-,ck,cnpuon of 1871. ·nw
p,uwl'i an· pa1rrcl
n-nif;tll) .md honzont.,11). Cro\..,panel, .11thl• lop
') mholi,c- Chn,t\ tnumph O\'rr cir.uh through the
C'mnfr,ion Bd<m, 011 tht· ri~ht, thr B.1p11,111
ht·,,cb thl' IC.·.1,t
,ccn,·,, ,1b0\c lht· .\mHlllli,uio11
and oppchitt' the N,11hit)/ Aclor.ition The Cnt1)
111tojl·111~1tcm.me! tht• .\~n~n,ion occ-up) tlw m·xt
1,:~,tt·r. 1\·ntl'<'O;)t .md thl' .\n.1,1,1,i'- I l,1nm,111~
of I ldll, the Re,u1Tt'l tion im.1~<·of E.1-..tt·1.~u,· .11
tht· bottom. Throu~h B.1pH'imtlw bd1ner
.,th1cw, ,.1h·,H1011,
.,, do Clui,t\ ,mt t·,101-.;111th<'
.\na-.1,1~1,.l'he broi..l'll cloo1"'iofllcll, tr.unpkd b)
Chri;)t, ,ll't' JU\.t,1poscd ,, ith the p1i-..11nes.1nftU,II)
~11e, of P.nnd1.!tCin thr Pcntl'co,t ,n·ur oppo~ite,
inuncdi.ltcl) bclo\\ Cluist's [n111 mtojeru,;alcm,
1hc etcm.JJ CH).
17,c interaction of different Ea.stem Chri~uan
groups, under Islamic ~ lamlul.. rule, cxpl.uns
sc, eral clements of the doors. Sumlar spil..) lc,lVt'\
appear on Sultan L'l.gin's pulpit in the mosque
oflbn Tulun of 1296. The rich narra11,r detJ.11
dcri, cs from apoc111>halsources in Coptic,
yriac and Anncnian. Certain features of the
Nati,~ty / Adoration, including the orient.ti
headgear oftl1e ~lagi, relate to the sames enc on
a templon screen at Sinai attribuiahlc 10 a yrian
:\lclkitc- (By-1.antincOrthodox) artist,\\ hile the
Anastasis relates to an icon at Sinai The book
held by the Virgrn of the Annunciation l5 \ \'estcrn
in origin, while the fur tunic of john the Baptist in
the Baptism, and the tonsure of an Apostle in the
Asccmion, are Byzantine.
308
Casket
Norm.tn S101>, t"clnh century
h-ory, pain1«l and gilded, gdt copper hinges, 9 • 112 11 7 3 cm
Bmul~l~Athcu,...,no.1°"31
~•,....,•!Pl
raou;_....._,.CL
....cTUI Url.JWtCU Call liot, ao ~ B.J1wi liU06,110 111. p 111
Th.is rectangular casket ,vitJ1a pyramidal
truncated lid decorated \\;th painted and gilded
ornamentation is constructed from thin ivory
plaques tha1 arc secured together by ivory pegs
and gih--coppcr mounts. ~ ledaUiom with an
1 r. C-;
arabesque design or peacock birds on a
background of red dots, reminiscent of metalwork
punched decoration, arc Lhemrun decorative
theme. ~n,e rest oft.he surface features pairs of
birch and small circular motifs ~,11crcd
throughout. 111c frieze of the lid bears an Arabic
inscription written in a poor cursive script. The
roment of the inscription is probably bened.J toiy,
the first \\Ord being 'glory' and Litesecond
pcrhap 'constant'. Titis confonn5 to the standard
fin1n."I 111,l11pt11m,1h,11p1n,tih·d on ,,oibof
,111ol thr pniocl. t·,p1r"i11~ gt·nc-ial \\i,he and
,,c-11-ht·m~tu ,111ni1)
111ou, O\\ nt.'ri.
rlw l ,1,~c-1bl'lom.,n;10 ., g-1oup of ,tbout
200
,uth ohjntli, ol ,.,riou" 'ii1c,, th,n arr
th,11,,ClC'n\tu ofi,Ot) pmchu tion ,lltiibutcd to
'\'01111.111 Sicil) of the t\\dfth and thi1tccnth
n·ntum·,. Thq ,lll' diqinguifilwcl by a relative
ho111o~t.·1wit)m clt.·cor,1tion ,ind ,uhjcct-n 1atter
"hich al"o inc ludc-, Clu i'itian iconography, '
,101li.unl howc\l·1 to the Fatimid s1ylr. Su h
were probabl) u1ot'clto store jewellery and
C",t.!tl..rts
other preciou, objects and .i numbr1 of these
t·ndcd up in l:uropcan church 11cmurics, along
\\ilh other ,,orks ofhlamic art that were regarded
.1, prcciom 111 thl' mrdit·val pC'riocl.
Sieil) rem a med under ~ Iuslim rule for almost
two C"l'llllllic'S from the ninth until the end of the
c-k\'enth ccntul). \\'hen 1h<·Ch1is1ians regained
pO\\er o,,er the island under the Norman kings,
cultural and artistic p1oduc1ion 1hcrc \\as an
.11nalg.1111ation of l,;lamir art ,, ith the Christian
a1tistir heritage of South lt,dy and Romanesque
France ,1.s\,ell as Byzantium. \\'orks of art
mnut·nccd by the Islamic aesthetic, and in
parti ular by Fatimid art, ontinucd to be
produet·cl throughout the t\\clfth century, as is
aucstcd by the existence of a variety of C.'\'.amplcs,
from ponable objects such as 1hi,;; 1
to such
monumcn1al \\Orks of art as the painted ceiling
of the Capella P,1latina in Palc11110..
~U,A l.lORAI IOl
Candlestick
Konya. :1ttond hair ortlunecrnh «111uf)
Br-.u.s,c,u1, tngr-a,ed and 111.l;ud\\1th iilvrr, 20 1 11 19.5cm
8m;w \IIM'Uffl, Albcm, 111\no •,OO
o:u.i;no1.r.n1.Ui'CU Rxtl9}t,Pfll 39-pl8,(.f,Alhnlt1,&o,no.•1lo
p,a;~~.p94(•100
'"n1e candlestick has a distin tivc concave body
and socket. TI1c decoration consists of severaJ
cpigraphic bands with bcncdi tory inscriptions,
wriucn in a variety of scripts, in luding an
animated cursive script on the neck and:, large
figural frieze on the body. It contain four
roundels allemating ,vith canouchcs and linked b)
eight-lobed rosettes, aJI set on a dense arabesque
background. --n1ecartouche3 enclose bird5 of prey
attacking birds, while the roundels contain
individual figures, pan of an entcrt.,inment scene:
a seated figure raising a drinking cup, two eatccl
musicians, one playing a small lute, the other a
large harp, and, finally, a standing figure dancing
and holding clappers in his hands.
The candlestick belongs to a group of more
than 50 known pieces of similar dimc115ions and
shape; they arc distinguished by their ,vidc variety
of figural decoration that draws freely from
Bywntine, Armenian, Georgian, ni ader or
\Vcstem European sources 'eni e 1993, nos 129
I{ \\,udj :-,c'\t'l,tl 1co11og1,1pliic
1I
11• l>I'' 1' I. 1111,r., of die lk11,1k1 (,Ill< II<'lolil k
I cp1g1.q>1uc <•
,,nc ti 1 , ,mclh-,11ck 111 the Victon,1 ,111d
I
\fl' .. h,111'( \\I 1'
, l.onclo11, ,111d,t1101hc11111hr J.o.,
\lhtll 7'1u,t II 111
•
· I· ( ount) ;\IU"l'\1111. hut 1hc11pl.in· of
\nJ't' <" . · · f I
• r
111,111111,1(
11111
." not !..nm,
11 I hl' 1111,mg
' •
o St) ec;
,c t)JJU,il lfil,11111r
rcprr1011c ofcourtl)
,111d 1Ill' 1110 . ,
ch,ir,tctt•nfit.''- 1hr ~1rtof the S~IJuqc;
cllll'll,IIIIIIH'lll
of Rum. •1·"0 f,rndlrfit1cko;;<,111)mg ;\lc-vlcv1
,ff"it'~,.tnd thu'- .l'-'ocic1tcd "1th K~ny;'. (the
U}L<lllllllC'(couium), mak~ th<' .111nbu11~nofat
lr,i'-tsome of the r,mclk,urks lO 1hc capual of the
Sult,in,itc pl.imi!Jlc {~ldiki,111-Chin'<mi 1987).
..-\JIc,111dlc,11cksof this group 1h.1t can be
traced ori~i1<1tcfrom Turkry and the majority
,,re
of the piece:-" ,till prc.scn·rd there. Two
cancUe...ticks in the Athonite monasteries of St Paul
and Dochcianou arc e'\'.cepuons hcssaJoniki
1997c. no.9.28, pp.322 3 IA.Ballianj). It is not
J...iio\\n,ho\,e,rr, ho,\ they ,,ere acquired. The
St Paul c.mdlcstick \enc,;; as a base for a Venetian
cross and "'LS acquired after the rcfoundation of
1hc monaslCI)' in the 1380s. There is an interesting
clue to cxpl,1in how 1hc candlestick came to be in
the ~ lonastcl)' of Oocheiariou. TI1e monks owned
,1 boat and trmelled for commerciaJ reasons to the
ports of Africa J.ncl to Constantinople, where they
ma) ha,c acquired the candle.stick.
310
Lustrc-pamted bo" I with giraffe
Lg)J>I, late tenth earl) d,:vie:nth cie:ntury
f.arthcnwatt pa.mt«t 111 lu51«: colours O\~f' a glut',
d1amc:1n 14 cm
lc:!l.tl, \luoc,11n, Aihc,rn, •n• no 7•9
PIO\L't'.'<CL •(qlllft'd Ill r~Jl4• lffl
lfUCTlO lOLI.L .. (..U Emn11ha1&M:n ''"" p 96i. I"""'°" .,... la ♦fi.t p no;
p..,,. •?(;&.11016.p 111, \lnii«kc--lk'1 •99'). pp 11-4 'A la E'!)a.... aoo6.
IIQ ~•. p b7
This ceramic bowl, which has been rcsiorcd and
repainted in areas, has a mono hrome lustre
decoration over an opaque glaze. The central
theme is a giraffe shown bct\\een its groom and
a tree, on a background filled ,vith contour panels
wilh the design known as 'peacock's eye'. The
figure of the groom is shown in motion, as if
walking out of the rim and looking bad,·ward.s
\\ hilc holding tl1e animaJ on a leash. He ,, cars
a sho11 tuni , a turban on his head and boot.5on
his feet "hilc tiraz bands decorate hi.s arm and
headdrc . The giraffe \\can a S.'lddlc decorated
,,1th a palmctte scroll and i5 portrayed follo,\;ng
tlte groom. The tree is curved and skilfully fl.lb the
space behind the animal while follo,\fog the shape
of the bo" I. The reverse displays conccnuie circles
and loosely applied strokes.
An inscribed fragmcniaiy bo,,I with the
name of the c1rtist 'the work of Muslim (tb)n al-
Dahhan' - is onscn'cd in Caho and di5plays the
same scene but in a double mirror image
~lcincckc-llcrg 1999, p.35-1, fig.,,). TI,c similarity
in the design oftlu· 1wo howl1 i'i 'ilrikint{. /c.iding regarded as rare and C\01ic creaturc-s. They \\Crc
to the .1~umpt1011th,H 1hr lkn,1ki l>0\,Iwa'i obJectsof admirauon ~tt the caliph's court and
created by the s.arne ,1rl1'it.'I ht· "amc s1gn,11ure \\C'r<'mrd in 1hr ro)·al hunt. A,;;the)' evoke an
.tppr,trs on ,t d1,h fr.1grnrnt m thr lk11.ik1 1m,1grof duthority ,md prestige I they may have
~luscum, Athrm, \\ith addujon,tl mform,1uon hcen portrnyrd onl) on luxul)' items.
,,hich indi ..1tc!I1h,11 tht· ,1rti-.tlivcd clunng the ~•~A \IORAIrot
Lime of the Fatim,cl c,,liph al-11,,k,m 996 1021
.
(Philon 1980, 110.401,p. 1981,thereby elating this
l>O\\I to the Mme period.
312
Giraffes \\-ere regarded ,L,exolic and
pre.,tigious animals and ,trc frequently
mentioned in medieval texi.,. Customarily, r.((YJ)t,d('...rnth rrntury
they werr brought ou1 to imprc!l5 either caliplu f••mhrm,.trr ~m1ed m lm1re foloun o,er a glMe,
d1.1mr1er iR cm
on festival cclcbmlions or ambassadors. On other
l',.m;w\llfW\lffl ,,, ...... _ .... ,nt)
occasions they were sent as gifts 10 neighbouring ,a,:i,r"""""-~•F-(11)11.,l'l\\
u11.M"10 un ■,~~,, f'll.l.on,.,,..., 1-. 1'•1-r no. l'•m 11)1.i,II
courts, as the giraffe and tJ1eelephant \\ere 10 \l,_.W.~t'l'l'l,ply"'
""Y rt?
Jl-n-nn1l'),p1fl1.8.\lun-,6,
1111
3(,, I',,.,
Constantine D( Monomachos by aJ-~(u5tans1r in
10;3 (Sevccnko2002, P·77). Thi fragmc-niary fcram1c bo,\ I, "hich has been
restore-cl and rq,amtcd 111areas, has monochrome
lustre decoration O\.Cran opaque glaze. It is
decorated ,vith a seated barefooted figure on a
background omamc-nted with a dense palm<':'He
311
scroll. The figure, shown in thrce-quaner view,
Bo,\! ,,1th leopard and trainer has long hair kept togc-thc-rby a headband, and
Egypt,eleventh cie:ntury holds a conical cup in one hand. He is dressed in
Eanhenwa«: panned m hmre colours O\t'r a gfau,
an elaborate 1unic decoralcd with cross motifs and
chamt'lcr 2+3 cm
large paJme11cs; the slec,cs bear schcmatised tiraz
lknab?ll.-n.im,Athm&,IR\no.11119
bands. The rC\·erse of the bowl is painted with
,.OVL>tAJOC&.
acq111m:l
III F4)Jl4,19~0
lllUCTU) lln.l.lOICI.I l'hilon 19'o, r. 467, p ttl, BM-r1!)')9. "-i.,....lkri
•9'J9,lic66.p~.r--.no-37,p112,Ww,-.oo6.no,,.pn lustre cirdC5 and strokes. Inside the foot.ring arc
faint traces oft.he- artist's signature, probably the
This fragment.ary bowl, \\ hich has been restored
namcTabib.
and repainted in areas, i5 decorated witl1 lustre
Thi5 popular theme is the subject of two lustre
painting o,'er an opaque ,¥hite glaze. The inside
dishes in the ~ IU.5Cumof Islamic An, Cairo, that
of the bo,\ I is treated as a painting surface \\~th no
displai the cup-bearer figure sitting cross-legged.
divisions. Although the central part of the bo\, I is
One is signed ,vith the artist's namc;Ja'far, and
missing, it is possible 10 suggest, from su.rvi,ing
displays a figure \,;th long bra.ids holding two cups
imagery, that it contained a leopard accompa.nic-d
and clad in a dress decorated \\"\th large palmcttes
by its trainer, probably an old man. 17,e leopard
rendered in a stylised manner (Grube and johns
is shown sitting on its back legs while the man
2005, no.14-6, p. 115).In comparison, the other
knecl5. The man appears to be bald, and \\Cars
Cairo bo,\J, which is unsigned, shows a cup-
a belled tunic ,vith tiraz bands and boots.
bearer ,\ith similar features on a 1CS5 crowded
A s,,virling palmettc tree is used cffccti\'ely to
background. TI1e treatment of the clothing is
create a background for the scene. The reverse
closer to the Bcnak.i bowl i.n that it exhlbits an
is decorated with lustre circles and strokes.
attempt to achieve a realistic representation i.n tl1c
The 1ask of reconstructing the design \\as
costume \\ hich foUows to some c.xtcnt the fonn of
made easier by basing it on other \\Orks of art
the body underneath (Paris 1998, no 35, p.111).
from the Fa.timid period ,vith which it shared
171e cup-bearer is pan of the iconography of
certain similarities. For example, it is possible to
coun figures engaged m everyday acuvitics such
relate the figure of the leopard to that carved on
as dnnki.ng, playing music, dancing and hunting
the rock--crystal e"er inscribed \\;ti, the name of
wtld animals. A rccu1TCnl theme in the fatimid
the Caliph al-Aziz (975 996) that is todai• kept in
artistic trndition, it is found not only in c~mics
the Treasury of an ~larco, Venice enice 1993.
but also m ,,ood\\orl,, i\'OI)', tc."(tilcsand painting.
no.61, p. 153).The animaJ ap1>ears to be stancling
This iconographic C)dc is particularly popular
in a similar posture and has its tail curled around
during thi5 period when artists show an interest
its hind leg. Furthermore, an image ofn man
in the human form and, akhough they arc
carrying a basket on a fragmentary di5h in lite
continuing the Abbasid painting tradition, obtain
Keir olJection (Richmond, Surrey) displays
a higher degree of na1ur.11is111 reminiscent of Late
similar facial features and clothing details to the
Antique protOt)-pcS.
trainer Vatson 19881 no. 7, pp.149-50).
\&l~A \IOltAITOU
This bowl belongs to a group of ceramic
wares representing '-CCncs of c, <':'rydaylife .u court.
During the Fatimid period, leopards "ere
CATALOOUE ENTRIES 310-312 ~59
9
The l\Ionastery of
St Catherine at Sinai
Icon with Ch1ist \\~th
Cons1am1noplc, s1~1hor SC\1:n1hc-rnlllT)
Enc:msllc :rnd gold on pmt', J8 j
lli(, l\o)l(bn and \':1n'llf1l ... lwM"nlu \IID('Wft ()( \Ju, t,,.,..... om no t 1
.,.o, r'I\" I 1.alm I" An;h,r=ndntt l'm-ph,,il l ,_.n,.L1 fmm lhir \l,"JN...,m
nf"StC...th,,nl\C', \loont ..,,.,..,, 10 Kin 1n 1ht m1d-n11'1C'lfT11!hf'M!Hlr\
1111:c-n:u u:nu,cu \\nwn.inn hj)'tl.ptt,8
'J006, no 127 T F \la1hno.,1
Scrgios and Bacchos .1rc shown as \'Cl)' )OUthful
saints each wearing a gold chi ton with a carmine
dwu~ and a white chlamys held in place \\ith .1
gold clasp. They have large ornamental gold
lorqucs (mania.kin)around their necks, signs of
their officer rank in the army. 171cy hold man)1~·
crosses because they were executed in yria in
around 300 aficr refusing as Christians 10 sacrifice
to Zeus. Both saints were \'Cl)' popular in the cast
as healers and dcfcndcrs:Justinian and Theodora
founded a monastel)' and church in their honour
at Constantinople, their cult centre was at the
pilgrimage city of Scl'b,riopolis(Rusafo) in the
dcscn nonh of Palmyra, and the treasure of
Kaper Koraon, a village in yria "ith a church
dedica1ed to St Sergios, might have included
the Antioch Chalice (cat. 19).
The medium of the painting is en caustic on
wood; the pand has cracked horizontally and the
paint surface has been retouched in several places
(the saints' names were added later). The thick
impasto style of the painting is very similar to
one of the early cncaustie icons at Sinai with the
Virgin and Child, angels and n, o military sa.ints
~Jathews, in Los Angdcs 2006). The precise
dating of this Virgin pancl is a matter of debate,
aJthough there is agreement that the style bdongs
before iconoclasm and in the sixth or seventh
century. One speculative argument is that
Justinian, as t.he founder of the present monastery
bcnvecn 550 and 565, sent a set of icons to adorn
it. This is the basis for dating several icons,
including thls one, to the sLxth cenrury and for
suggesting them to be the work of the artists of
Constantinople. Gt.hers suggest a seventh-century
date for this panel and a possible provenance in
one of the cult centres.
3 14
Jeon with the Virgin and Child
Const.antmople, sixth century
E.ncaw1.1cand gold on larch, 35.of ,. 20.6 on
Tlwllohdan...dVan'V>i~Al,_...,~An-.~
••o,--....-a. tun, 1,yAn::~ r,.wphynJ U~Jrrom~MonMttt)
Kie' ,nthc,m,d-mnt1tt1ulacm,n11rt
Q(SI ~.MouncSoNt,wi
1u..u:-ru, llU...U.t:u \\-= 1976, nous 8, Atb,:nuooo. -.., f'P-26.f s
•R."""-'I
The \'irgin {\lat)' holds Clni3t high on lwr
~houldcr, gripping his bocly lightly in lu·r cro\Sl'd
;mns. Both figures loo" to the !ell, although shl'
i~ tumcd to,\,11-cl,Ch1i-;t; he hold3 out hi,;;1ight
h.1ncl with .m open p,dm. l'hi111; ,Ill \lll\1'll,1l
j111;
composition, and nOl, for l"':\.,1111plt:\
the
l lodcgcuia l)llC th:H be-comes 30 common ann
. Scrgios and llacchos
iconocl.tsm. The ,·crtic~\I gold stroke to the light
of the \"i~n'3 h.110IMSbeen n..·.1d.,s .l fragment
111 11 8 c-m
her a'i St {\11111
of Grc\'" lettering th,ll dcscribe111;
a fonn "110\\1\ in the E.uly Byz,mtinc period.
'"· t .....,tm 1q<JQ.ln1 \'"«"~ lntcq>rct,11ion of the meaning oft he compo,itio11
is complicated by the fact 1ha1 1hc icon has at
3011wtime in its hbtot)' bet·n cut and re,;hapecl.
About 4 cm arc missing from the left ~ide, perhaps
more bdo", and the upper pat1 h.15 bt'rn aherecl
to fit a Gothic--st) le frame. One intc1vrerntion is
that the 01iginal i on was an Adoration of the
~ lagi. no\\ severely cul down, but that does not
seem la,cly. Probably it ",is originally a de, otion
panel oft.he Virgin and Child that was adap1cd
during lhe Cnisader period, pc1 haps by L..1tin
pilgrims, because of its venerable slat us in the
monastc1)'. The elaborate punched rosettes in
the gold haloes may belong to Lhis period of
veneration. There arc also some modem
restorations.
17le use of cncaustic, and the stylistic
connections with other early icons in the
monastery 1hat have been dated 10 the sixth or
seventh century, arc the basis for lhe suggested
date in the si.xth century and the attribution
to Constantinople.
JtOIIIN CORJolACK
3 15
Icon of St George and scenes of his
life and miracles
Smai {?),bcguuung or the: 1h1ncc:nth century
Egg tc:mpc:ra.and gold lcaron "ood, pnmcd with cloth
and gcuo, lll7 • Bo 6 cm
The icon has a central representation of a
standing t George dressed as a soldier and a
frame with twenty scenes from the manyrdom
and miracles of the sainL This number of scenes
is the highest known in an icon of this type. The
narrative starts on the uppcr-lcfi corner with St
George distributing his belongings to the poor and
ends on the bottom right wit.h the burial of the
saint. There is an emphasis on his martyrdom as
fiflecn of the scenes ilJustrate events of it, such as
the saint burned with torches, in the lime pit,
scratched, on the wheel and decapitated by sword.
..... -•1:;,
·n,i.s type of icon is called a vila or biographical
icon and inai has the richest and earliest
coUection of such icons with saints cspeciaUy
H'llt'1,1ll'cl in tht· 11\1111,1,tcl),
~Nc\, Yo1k 2001, 110.201, pp. 311 3
, .
li._1111~irn1 or_J~l,u('tnt•n~ of
icon ul St C,tlhenne,
•" Sl Catherine
IN.P.SevfrukoJ) ,111di\loses (i\lou1iki 19 )
95-
\\ t· L11111ot hl' u·1 t,1111 ahout the exact
tht·,t· icon~, but for the
there is evidence that
~'Itel
II s~~oc~by till' tomb of 1he saint inside lhc church
:'' S111,~1.It has been. argued that vita icons arc an
1m•cn11011 of Byzanuum in rcgiom in the East
1
, i\kclitt•~1,mt·,111~,ith. mi.:-..cdcultures venerating lhe
s,1me ~amt5 but 111 chfferent languages and literary
traditions (Sc,ccnko 1999).
The donor of the icon is shown in miniature
5cale to the left of S1 George and an inscription
above hi, hc,,d reads: ArIE TOY 0(EOJY BOH0i
TON CON t.OYAO IQ(ANNI-IN} M(ONA)X(ON)
K(AI) HEPEANTON EK 11000Y KTICANTA Tl-IN
CIN l·IKONA TON I-IBE PON ('0 saint of God
help your Sl'rvantjohn, monk and p1iest, wl:o
wi1h cicsire commissioned your image, the
Georgian').
There was a Georgian community of
monks at Sinai al least from the clcvcnlh
crntu11• and maybe this icon was commissioned
at Sinai by the Georgian monk and p1ies1john.
The back of the icon has 1he wavy black and red
stripes which may indicate a production at Sinai.
Icon of the Prophet i\Ioses before the Burning
Bush and receiving the Tablets of the Law
Sina,(?), la1c:1,\clrlh rarly thirteenth cemury
Egg 1c1111>cra and gold learon ,\ood, pnmrd ,\'llh do1h
and gcsso,132.5 x 69 9 cm
Tlwllot,, \lo,wmyof"Sc~th,-nnc-.SOMi
llU.C"nO HFf.lU.'iCU ~it-.. and 5otinou 19)6 s8, ,-ol I, fig 7s,
~~;n..:.•;,4::!;~:s.i~!~'::~·~~•no~
pp141 4(Y P'.auut~J.l...oiA11r:ln'1006.0029,p1ir.J(G l'arpu~
The Prophet Moses is receiving the tablets of
law from the hand of Cod, which appears from
a quadrant on the upper lefl comer. The Burning
Bush is painted at the bottom-left comer of the
icon. Moses is barefoot; his sandals lie on t.he
green ground. TI1is composition reflects the sixth-
cemury mosaics above lhc conch of the apse of
the monastery church, except that the artist has
chosen to show i\loscs as a young man and not
bearded. An inscription on the bottom frame of
the icon read,: OC ICTOPHCEN Q 8EOITTA CON
TYOON AITEI CTE<l>ANOCAYCI-IN
AMO~AKI-IMA(TQN)('thc person who painted
your likeness, named Stephen, requests, 0 God·
~eer, release from his eITors'). Next to it an
mseription in Arabic translates as: 'O you who
have seen God fi .
wh . ' grant orgiveness to tcphanos
0 important in his scenes than 1he archi1cc1ural
panned your virtues', Above the Burning
Bush a later inscription . G k same design is found in the hair of the Archa.ngd
~L"JH m rec reads:
('R CTITHK(YPl)ETI-JN\JIYXHNMA OY/YA
ernember, Lord, the soul of Manuel').
I
1I1r
'
It
I·
j)l·t'JI
p,q111
·
11 1
• '
I tlJllfl
,d,o
In\ Ill 1'
•t'lll'l,l 11',l(Ct
hc•·II pinpi,..,nl th, 1t Stl'ph.inm
1
,IIH
,11 ~11t
1
donrn of thi, 11011, though it has
• _
. ,,..,,\nc,l'ln ..ioo6. p. l!J'.J).I h<:
.
c h thirtt·1·111hcentury h,15 been
,
••
\,,1s
·clth II he ,,, 1.., tl1t' donor ,done
. , 11.c1cl.ttin'-!of tht· 1ro11 111 1hr 1,lll"
hotli This disp,11ity bct, ...crn i.cencs led \Vritlmt1n11
to 11ugges1th,11three paintrN ,,orkr<l for the
entire work. It i~ true th,tt c;;cencs,'iuch as the
Crucifixion and the An.a5t,11ii~
lt1ck the d,iring
appro,1ch lo the soft modrlling offigurrs and thr
use ofhright colour.., which i'Iso compicuou5 in
opens 1hc quc'>Lionof"hc1her
formrd part of a rclati, cl)• high screen (an early
iconostasis) in the A11tlto/1kon,
errctcd ,11some time
in the thinrcnth century. If this comroversial
proposal i,;;accrptcd, they ,,ould mark a tuming
point in 1hr hi'itory of the By-Lantine ~crccn, as it
these icons all
l\ldll 11,111( 1 I II , ) •
rr<clld)'di,dkne;l'cl {I,1q>ulov 1n Los Angdec;; 5Ccnes like the Rai5ing of Lazams. Perh,1pt; cleHlopcd from 1hr l(•mplon "ith an cpistyle and
therefore one can 5ug~est that the painter of intercolummtr icom into the high iconosrnsis
,ooh, P· icn1.
• It ,_ bt'lic\t·d th,11 thi5 icon was made for the the central section was the master under \'rhom currently best known in Russian churches
1
Churdi oftll{" l'iophrt ~foe;;(•~
on the ~ummit of painters of ,1 workshop opcra1cd. from thr late fourteenth ccll!UI)',
tl1t.'lloidJ rnou1tl,1i11(\'ocutopoulos 1995, p.204) Sinai has preserved an impressive number of ROIH~ (.OR\IA("K
h fonns a p,1ir with th,tt of the Prophet Elijah templon beams dating from the twelfth century
Lo~Angeles 200G, no.28. p. 191 [G.Paqmlov]), onwards (Wcitzmann 1984-B,pp.6,i-86, figs 1 17),
pn'surn,lbl) me.mt for the chapel built at the site which may have been executed in situ by
322
ofihc 1,t\l' ,11~lo111ll l lorcb 1 where the prophet accomplished pain1ers worlcing at inai but
1,.n-fm;:c. In the l,lle sixteenth ccntu•)' the two trained elsewhere. Sanctuary door with Annunciation
100
icon\,,ere pl.teed on either side of the entrance Srn,u > 1hirtccnth crntllf)
fcmprr.1 on lmcn mer ,,ood, 120 x 3~ 3 cm
from tht· m:irtlll'x imo the nave of the monastery
;md 118•12~,m
church l,o, Ang:eh·.-..'.:?006.p. 193).
~ II,,._ \1-rr, ,I ... (..o1hfftnr, ~• ,,n.~,.
( h11Jrl tlthr 1,..- \l•r1\n
The- rc~1r'iiclc of 1hc icon is decorated tl<,,.1- ..
111th,,,1,-yhl.tck and reel suipcs and this has ,,..,_.,
Ulf(ffO ■-.n•r ..,,. 'lo r~1mt.11,... ..... t1~nl'()<'WI n(>,~~-1• 11b
bccn taken as an indicator trademark for icons Deisis \\~th St Peter, Archangel .Michael,
Archangel Gabriel, St Paul These n,o leaves of a double door arc one of the
produced at Sin.ti.
earliest survivrng e."'<amplcsof By·Lantine sanc1uary
Sinai (?), tlunccnth cc:n1ury
T('mpc:ra on wood, 105.7x 71 1 cm (Pc1cr, 105.5• 75-5 cm 'heavenly' or 'hol) gates'. They have been shaved
1 l1d1ad); 105x75crn(Gabncl., 101.3x6g8cm P.iul) d0\-\111
slight!) for sccondar,' reuse at ,;;ome elate in
Tlw !lot-, MOM.Meyof ScCaihcnno:,.$OIQ1 the chapel of the fiH Marryrs, ha,~ng originally
_,,.
H.a..«m:.Dlll.FUL'iCU SI ~'I and J..ond,on toOO, no ¼-i p 1~
(Yl'u1rwk)');NC'o'York2004,no.~o,pp:,8-4 )"\N~lanrut Onno.bki~ fi11edinto a slightly wider opening, but like all
such doors lhey "ere always relathely narrow.
lconos1as1sbeam with the Great Feasts and Oeisis
These four panels of similar size and style can be Cher lhe centuries the lo,"er parts of the panels
Sm,u (? •• 1rou11d 1100
reconstructed as pan ofa set of Great Ocisis icons have been spotted by water, due LO rcgul:ir
l:gg t<'rnpcr,,,111clgold k,tf 0111\ood, pnmed ,,1th doth
,111d,:r.__.,o,
15i 3 • 38 7 cm; 25 8 ><38.5 cm (Ko1mnis of the from a sanc1uary screen from the monastery at washing of the floor of the church.
\'1rgm inai. \\'hat is lacking from the centre arc the The Annunciation (0 XAlPETICMOC)is the
n.. 11,~1 \lvn~,.-, °'°"
Dothrno~. S,n.u
111.tCTIOUIUlf'<CI~ Souoo,,,1md:X..m,01119.Yi~,-ol.1,(~1•• 16,\-oll.
three icons of tjohn the Bapt.is11 Christ and lhe standard scene for the doors of the sanctuary
PP 111 11 \\r1umann ,!)6..-, w 1) Bo,f'I;' 8 14- Moo.rib 1990, p.1o6-7, lip Virgin Mary. The main church (the kalholrkon) screen beC\,ee.n lhe congregation and the altar
11 JJ \,,.ou•poulo,199_),noi.'.M-7,pp199 -.Ncw\'ork1991.not,t8.
PPm-,i'l'""1(.Jn and other chapels inside the precinct and on t.he {syrnbolicall) the barrier bet\,ec.n heaven and
mountains around all needed icons as t.he tcmplon earth in the church building). In this c.uc Gabriel
This is 1he central part of a templon beam,
'' hich now survives in several pieces. Titis section
screen and iconostasis of t.hc Orthodox church stands firmly ITTfront of a low wall and faces the
,-ol.11,
evolved, and in the various rooms of the \'irgi.n. He "ears a green tunic and a pastel pink
painted on a single piece of wood, has the Dcisis
monastery are the scaucred component clements cloak, and his long curling hair is tied up witl1 a
at !he centre, the Transfiguration and Baptism of
of many different screens. The l..atholt!conof the band" hich has at its centre a large red mby set
Chnst on the left, the Raising of Lazarus and the
monastery toda)' has a massive screen made by in gold with four white pearls held by pins. 1l1e
Etllry into Jerusalem on the right. The entire
c.hcCretan artist Jeremias in 1612. One quest.ion .\lather of God stands spinning in front of a regal
length of 1he full iconostasis suggests that it could
is whether these panels formed a set for one of the stool wilh a red cushion on which is Ulro,vn :1
have been made for the tempi on of the central
earlier periods of adornment of this church below "hite cloth. She is dressed also in green and has
nave of the monastery church at inai. It includes
the sixth-century mosaic of the Transfiguration, a purple maphorion. Her gesture is one of
the lwelvc mc.~or church feasts (the Annunciation,
which has over the years been progressively surprise, but the expression of her face is one of
Nativity, Presentation of Christ to the Temple,
obscured as the sanctuary has become more calm acceptance of tl1e announcement of tl1e
Baptism of Christ, Transfiguration, Raising of
enclosed by icons. coming birth of the son of God.
L1z,1n1s1 Ent.ry into Jerusalem, CrucifLxion,
Each of t.hcse icons has in common the use Piamitsi.-y,"ho was the first to publish tl1esc
An,\Masis, Ascension, Pentecost and Koimeisis
of a real gold-leaf ground {many large icons in the paintings ( t Petersburg and London 2000) 1 dated
of the Virgin), two scenes from the infancy of the
monastery economised by using colourecl varnish them to the late t1"clfll1century. Ho"cver, a
Virgin (the Birth and Presentation to the Temple)
over a cheaper meta.I to 'fake" a gold ground. and slight.ly later date in t.hc tl1irtcenth century is
and the Deisis in t.he middle.
the figures share many similarities of colour possible, as is a connection with the icons from
This sect.ion is the work of a painter with a
scheme and sryle. TI1e angc.ls ha,'"Cgold (so-called a Dcisis group (cats 3181 319,320,321).
distinctive St) le. He favours bright colours such
chrysographia) in their gam1ents, as do Peter and
as orange and blue and has an unusual technique
Paul. One distinclive feature of both angels arc
of quick brush strokes. Landscape is for more
the hairbands and the large orn,1menta.l reel mby
set m gold with four" hue pearls held b) pil\S; this
background, which is kept to the minimum.
This 'innovative' style is mainly exhibited m
Gabriel in the s...-mctuarydoors from now)
this central fragment and the scenes of the
clsc,d1cre in the monastel)' (c:tt.32'.:!).
Thb
Pentecost and the Koimcsis of the Virgin.
 Endnotes The Art orll)7,mtium:
pag,s it 131
330 '·153

Icon or Lhe Heavenly Ladder

or Sljohn Klimako~ C,unrron 2006

Consununopk or Sm:11,1.nc-1,,clrth t'elllUI') 2 Corm.irk '2000A, p 125

L~ tc-mpt'ra,md gold k:if on ,,ooJ, pnmed \\Ith &1n,,1n2008. pp 139 12

doth and &t''SSO
.. p 1 w 2q t cm
I \\'rnzm,rnn 1979, 1>213
l11t lhir. \lun.u1u1 of"S1C,ullmnt. ~111.l,
u:u:cno •tn•L'•CO Mounkl 1Ql'lo,p 107, 1'11'1- Bdun~ r<1q4.Pr 171 1 lhrbc-r ,mdjenkmJ 2006
II.I 16\. :>.""\ n,l 1'11)7.no ~17 pp Ji'-' 7 1'..C',,m,'311 . I.lot \n_,-IN 100(>, no 18
Pf' llJ 7 II l'tn1thn-:1 C,,rm.,cl ron7~. pp 18 :r<>.l,c 11 ~f.1~1m· 199_y.
l't·ntchr\'tl 2006
This is L11ccarlie,;;Lsuniving icon dcpicLing the
Comlack 1997.
Heavenly Ladder,\\ hich is Lhe Lheme or a trcali~c
Brlun't 1991
wriuen by tjohn KJimakos 1or1he Ladder) in the
10 :\lango 19;2, p.186
seventh century.John (c.579-650) \\as a monk at
Sinai, \\ ho later became ah bot or the monastc11•.
His tc.,i;:tis divided into 30 chapters, as was the
I The Beginnings orChristian Art
age of Christ before his baptism. The text speaks
pages l-1 63
of the ,1ccs that a monk has 10 .:woid nnd or the
vinucs Llrnthe has 10 acquire in order to rc;1ch M.m~ 1985
God. 2 Oalgic 2008
A ladder with 30 nmgs crosses the lbgnal.l 1!)82
com posit.ion of the icon diagonally and unites •~ On the problem of d.'lung catacomb pamllng, Stt De
can.h ,,1th heaven. On top of the ladder is Stjohn Bruyne 1968, R1scont1199 h Gt1)'0ll 199+ and S:ilv:i.don
2002, Appendix 11 'Thr Chronology of Palc.ochruuan
K.Jimakos, folio" cd by Lheabbot of the monastery
Funerary Pamung in Rome'.
Antonios, \\ ho m,t)' have commissioned this icon.
On Chrun.1n aunude3 tow-,utls 1m:iges m the first
Their names arc wriucn in red majuscule letters centuno, ~cc finncy 199+
on the golden background. Christ, half-length, 6 Frankfuncr 19!)8
appears from a quadram, \\ hid1 represents 7 ~l.athe\'11 2ooj; Andaloro 2006, pp 111-21.
heaven, and is blessing Stjohn," ho is reaching 8 Schlauc.r 1989.
him. A long row of monks arc following Stjohn Rouse 1902
and Antonios, all looking up towards heaven.
Those defeated by tcmptat.ion are pulled down
by black de,11s with the help of black chains. They 2 From Constantine to Iconoclasm
will be punished in Hell. The mouth of Hell is at \P's<' 6.j ,og)
the bottom of Ll1cladder and one of the monks is
already half way inside iL Some monks at the Fnml.indc.r 1912,p.227
2 MacCormack 1981, pp.17-Bg.
bouom right arc attending the scene and arc
3 MacCormaclt 1!)81,pp.20, 45, n-8.
raising their anns in prayer. Some angels at
4 Stt ~hthews 1993, pp 41 ,1-
1..hcupper lcfi arc aJso pan of the narrative,
Urbana-Champ.ugn 198g, p. 208, no. 129.
as t.hey have a ,1tal role to play in the text of
Nllerich 1998, pp.50, 130, 146 -9
the 1-lcavcnly Ladder. 17,cir haloes resemble
7 Vogt 196;, vol. 2, p. 115
spinning ,, heels, as they are polished to
reflect light. This technique ofbumishing is 8 Vogt 196;, vol. 11 pp. 132 +
Vogt 196;, \"OI.2, pp 40 I
a characteristic of several icons produced at
10 NC\, York 1997, pp.190 1.
Sinai. The back of the icon shows crosses wilhin
11 Cameron 19]6 1 pp 66-8, 1o6-7, 188-91.
medallions, a decoration found in other twclnh-
Puou,pJ~ 112,col. 1049
ccntury icons from Sinai, with whicl1 Lhis icon
13 Vogt 1g6;, vol. 1, p.7
has been connected in style, such as t.he icon
14 Wc1tzm:um 1976, pp.24-5.
of the Annunciat.ion Tew York 1997, 110.246,
15 Kt12mgc:r 195,i
pp.374-5 [A \Veyl Carr]).
16 Buckton 1994, pp no- 1
The tJ1emc oftJ1c Heavenly Ladder is rare
17 Ode.ha.ye19to, p.129.
in icon pain Ling and was first de, eloped in
18 Urbam-Champaign 1g8g.
illuminated manuscripts witJ1this popular text
19 Theoplwlcs [1883.I, p.405.
in the late eleventh century onwards (Vat. Gr.
20 Peen 2004, pp.35-8
39•h inai cod. ,p8).

CATALOGUE ENTRIES 323

3 At Court 4.2 At Home: 2 ~lctalwork ofE\'cryclay Life G Iron~ l)rh111kol," ,111tl\'1•1111.rnnli 9 The Mon,Lsteryof
fpage:§110 139 1>agn 150 161) \',i, .. l.iki Jt)IIJ, l',,p,1cl,1ki-Or\.l,md 1992, G,nrJt11poulnu St Catherine at Sinai
JOOI. (;cn1~upn11lou J(IIJ I"• v .... ~1\.1ki2007,
(pagn356 3751
L.navrin 19;2, pp.2~8, 268. Dodd 1961. nos .18,33, 15, 37 9, 'ii, 511 G6.7lJ JC)li.J,\\,·111m.111n197II, 11,t\d 2000A,
Ch,1111tl,1l..1~ Ndl .ruu I, p
l)aht·• ,11111 1,.,1
11
In W;uhington DC. Wci1✓-1nann 1972A,no . .15. 1C)l111t\,,no, 32. 10 3, ,,n
50 (~l)'uknd. pp 7() ')IJ
JI 11,un .ruofi Wilkinson 1999, pp,108 12.
2 Ualhan and DramL1\.1
2003 l'r.iml,1111111
h) Rnbm Connacl.. S1Jol111D,unrucene,
In the Gnmcs Gn\dlhc. Cu1lcr 1991, fig.·226. Snul,1rd 20110 'l Gromruon 1990, pp 30 •I
/k ,,,,~ Umt Ill. p.1rrt!,:rnph16, l'atrologlfl,:rn«n,
91,
~lundrll Mango 1007, pp.1J6 9 ill 1.nl.irt l!Jli .rf1, Uud11h,1l 1957, 1-'old,11976; llo.1\(' 1977;
Oikonormclcs1995,fl. 75• pp.1•n7fl ,r<' .1lso /\l.111~0l<)J2, p.171); S('r too Palroli,p, Scvt:cnko'l006A; Satcnko 2oo6e, pp.118 20.
For LhiJpnm:uy M)uffcS("cCu1lc·r1991,p.278, nou· R7 -t ~lunddl ~l.mgo wo7. Pll 128 3'1· ,:,am,, ~,o, p i;16 (~tJnhn Ch1)-WSI0111),/'at,olog,ag,a«t1, Kuhnrl 199 1, l'olrl,1 199:>A;Volda 2005,
4 Scvt:cnko2oo6A; Drantbk.i 2oo6
'i ~lumlrll M.111~ '1007, p 110, rig 1,1.19. '\, P-37'1 l 1\t'udo-D1011) ~10,1; t'llango 1972, pp.137 8,
6 Hahnloscr 1971, no ,p (~I E. Fra1-cr). 17 Kuhucl 1988 Jacot,,• 2000,pp.82 9.
•6 l...:.1drr•N<"\by 2001, pp.1::,9 60 169 7.J, Connadc 1997.
~·Ccnko 199+ 1 9 \\'cstphalcn .Joo7. Jacoby wo6, pp.85-9
Cmh,1r 11)7:,,Dumml '.Juo,p1; Ne\\ Yo1k 200,1, nos 152,
New York 1997, no. 140 (I. K:tla,-rnou). 151. 151 29 U,1cci 2006, p. !ll6. Sotiriou and So111iou1956 58.
\\'('111,mann 1963; \\'c1tnnan11 196611;Wei1zmann
Wt:itzmann 1976, no 858. 4 Thl'Y an· rrprr.srntcd in a h\dfth-ccntury icon in the: 30 8 Weitzmann 1976,
4.3 At Home: 3Jewellery and Adornment ,97 ..m, r.,cf' 198 1; Corm.ick .ind Milmlarias 1984;
10 Culler 199•h p.205 and fig.2n. Sinai lllOll,L\tCl) SC,"(' c.,rr 1002, pp. 75 108, rigs1,2, 6
11).lft'O 16J 19J) ;\lounk1 1990; Fold.i 1992; P.ice 1993; Hunt 1998; !) Uspcruky1850.
.mcl Athc11, 2000, Ii~"'82, 87, 88, 90.
11 For the textual :sourcn and di~uumn, ~c Cullrr 1999, Z<'Ltlcr2000; Ccorgopoulou 200411; folda 200j, 10 These are the icons oftlK Virgin and Child, Stjohn
p.696. St-,-trnko 1991; C,1rr 2000.
Ycroul.111ou 1999 /)<UI1m the Bap1U1,SS, Sergfo1 and 8acd1m and S1 M:uon wuh
12 In the l..oU\TC,Paris NC'\\York 1997. no.29. Vocotopoulo.s 1995, p. 102, no 82. an unidcntifte.d female saint; Wcitzm211n 1976, not l.'l.,
2 V<'mm1k 1975. pp.5 32.
13 1-fnlml()S('r1971,no.25(A. frok'I\\). Vocotopoulo~ 1995. pp.58 63, no~ 33 40; "·9·, IS.II. and n.15,, pp, 15-18, ~8-30, 32-5, 33-,10, pis
Beyond Byzantium
3 Ross 1965, nm 1 ~ Gmb,,r 1951, lx11111"011 1918; Tr<'a.slirc~ 1990, fi~ 20 2, 25 7, 31-3;
S111:11 Ill, XII, xrv, xvu, XUI, u,, un, LVII .tnd LIU.
14 Froio"' 1961, p.282, no.24s; p.309, no.296. Styli,1nou am\ Styhanou 1961, Ath('lls 196.h pp 322 6. \page,, 3o6 365)
Nt·\\ York 2004, 110,235 11 Weitzmann 1976, nos 11.1., 11.3.,•·.S-,
pp. 13-15, 18 21,
15 Huchth:tl 197,i. 378 88; 171css..1lo111ki
19970, no 222, pp.222 33
Vorocopoulos 1995, p.67, 110.44; for another example, 'l3-6, ph r-11, IV-VI, vm-x, XX.XIX-XU, XUR4tLV1,
Dallas 198.h pp. 109 67 1 Constantirlt:' Po1vhyrogcn11e1os 1967. xLvm-u. Chatticblw 1967A.MOS1 rttcndy Mathew,
Sl'C p. 137, no.116.
N<'w York 1997, no. 145, p 187; Athens 2001, pp 70 1, 2 ~lango 1976, pp. 173-4 2006, pp.39-55 and the same in Lo, Angt:lcs 2006,
Voco1opoulos 1995, p.47, no 21.
4. 1 At Home: 1 Ceramics of Everyday Life 78 83 3 Kar.kl 1926, pp. 107-8; trans. CroM and She.rbowitz~ 110.1, pp.12-J-3.
10 \"ocotopoulos 1995, pp.66, 68, 69, nos '43, 45, i46. 12 See Mathews 2oo6, pp.39-55 and no.1, pp, 122-3,
(pages 1,f0 149} Dclivorrias 1999, pp.357-470 \\'ct1.0r 1953, p, 111.
11 Wtiu.ma1111 1963: Wdt,m1.u111 1966n; Carr 19959; no.3, pp. 126-7.
Vocotopoulo<i 1999. 4 for a discussion of lhe date or
Armenia's conl'crsion,
l-la}'C$ 1972. SC<'London 2001, pp. 19 24. 13 Sotiriou and Sotiriou 1956-58, \'OI. r, lip 136-43,
12 Papazotos 1996, T~igmidas 1988; Avignon 2ooit- 146-51, \'01. 2, pp. 121-3, 125-30; Culler and Spiescr
Vroom W01, pp.331 ·3. 5 At Church 1-:.-utmondandJoncs 2001, pp.146-91.
1996, pl. 310; 1\thens 2000, ph 87-88, go.
13 Vocotopoulos 1995, nos 118-22; ·n1cssalonik1 1997c,
~lagunc and Dauterman Magui~ 2007, pp 58-96. (pages 194 247) Mathews and Daskalalcis 1997, pp.-475-84-
nos 2.8-11, ,;a.8 20, pp.67 73, 82 7 (E. Tsig.aricbs). 14 LosAngeles 2006, nos28 9, pp.190-3 (C.P.upu.lov).
Hayes 1972,fip 51. 5-4-7, 78, 79. 7 Qaukhchishvili 1955,pp.282, 290; rrans. Thomson
1i4 Manoussacas 1960 61; V,issilak1 1981; Vas.silaki 199-1-
1996, pp.37-4-6.
15 ~fourild 1988; l..os Angeles 2006,110.53,pp.259-61
Urbana-Champ,"l1gn 1989, pp. 16 33. For a good 1111.J'oduclion
to Byzantine rdigion, see
(G. Pa,pulov),
Cunningham 2002 For more on tl1e m:uerinl discuSS<"<! 8 Martin-Hi.sard 1996, pp.239-4-8.
Vroom 2003, pp 238 9, 331 3, Papanikola-8ahrtt1 here, afran 1998 is recommended and i\larhews 1997 16 .Mouriki 19901 p. 123, fig.73; Cormack 2000a. p.+4,
2005, pp 119 '20, fig.5. 9 Dulauricr and ~lacier 1917, p. 132; Maranci 2003. fig.7i LosAngeles 2oo6, no.57, pp.268-9 (R.Comc).
touches on similar d1emcs Byzantium and the \.Yest
Uakimis 198g, pp.~ 65; Sanden '2000, p.165. 10 Choniatcs 1975, p,371; trans. i\lagoulias 1984, p.20.;; 17 Weitzmann 196:3;Wcittm:mn 19721; Wcittmann et al
2 Gregory's eommem came in Aorence a1 the lime of the {p.i.ges274 303)
tine 1987, pp. 10-17. 1g82, pp.201-35-
Hares 1992, p.13; Sanders '2003, p.390. Council of Ferrara in 1-438.Q)1oted in Sylvester
Syropoulos., ltTa l11J"'"'1,p.109; translation from ~tango 11 Kinnamo.s 1836, pp.28r8; trans. Brand 1976, p.280. 18 Mouriki 1985-86; Fold.'\ t99,5A;Jaooby 200.1,
9 Hayes 1992, pp.35-7; Sanden '2001. Bacci 2003, p.237.
1986. 12 Eastmond 20030. Papamas1onkis 2004, Fokb 200s; Corm.\clc2007A,
10 Hayes 1992, pp. 12-37. 2 Paris 2001s; Kr:tuse 200,~; Klein '200.JB.
3 111is phr.uc was used by 1hc <'ighth-cemury patriarch, 13 P1ivalov... 1980. pp.Gg-83.
11 N~w York 1997, no.28 1 pp.67-8 (H. C. E\':tns) and Germanos: .stt Cermanos (19t4). KaJavre:zou 1997. 19 Drandakis 1990, pp.126-8 1 figsn, 78, 79, 80, 811 82.
110.281,pp.421-2 (P. Soucek). 1i4 Compare Redford 1990, pp.119-35 and Steppan 1995
For church a.rchi1cctun:, see Mango 1978, Krautheimer l-lugh of St Victor, Ot area.Notmysflca, 1v (I'alTokp, 20 Herakleion 1990, no.4, pp 15,6-85 I. Vassila.lal,no.5,,
for arguments about place of origin.
12 Sanders 2000, p. 166; a.nden 2003, p.39+ g,Mta, 126, col. 686), pp. 186-91 1..Connantoudaki-K.itromilido);
1!)86, Ow1crhout 1998, Oustcrhout 1999.
15 Azatian 1987; Roge:n 1972, pp. n-119-
13 Thcssa.loniki1999 TI1e T\\elve Crea, Fcasu arc 1he Birth of the Mother of 5 Stubblebinc 1966; Wdtzmann 198,v.; Belting 1990Aj Constantouda.ki-Kitromilidcs 199,s;Va.uila.lci1995.
D<'rbcs 1996; Cha.std 1999; Pace 2000; Derbes and 16 The most e.,nc,ui\·e first-hand account ofd1cse
14 8:i.Jlian and Dr.uulaL.; 2003. God, the Prcscmalion of the Mother of God, the
Neff 2004; Vas.silopoulos 200,i.; Bacci wo7. encounters bct\,ccn the Franciscans and t.hc Mongols
15 TI1cualoniki 1999, no.34, p.-4.8(f. Ts.'\nan3), no.37, Annunciatio11, Lhc Nativity, Epiphany, the Prcscntalion,
ls that of\Villiam ofRwbruck 1990; Kouymjian 2oo6,
p.50 (C. Koilakou). the Baptism, die Transfiguration, lhe Emry into Panofsky 1927; lkhing 1981; Derbes 1996; Wolf 2002,
1>p.303-'l+
Jerusalem, Ascension, P<'nteeos'7 Lhe KoimcsiJ, or pp.16o-92.
16 ·n1cssaJonila 2002, no.223, pp.200-1 death, of the Mother of Cod, :md the ExaJta1ion of the 17 Vzdomov 1983.
(l,,·1.~flchaclidou). 7 111cophilus, Ot du:rrmnrtihus,J.1, ed. Dodwell 19611 p+
Cross Howe\'er, these Twelve Great Feasu do not 18 Pcntcheva 20o6, pp. 109-43.
17 111cssaloniki 1999, p.21; Vroom 2003, pp.238-9, 332- aJways match the scenes which dominate in an ancr the 8 Koehler 1941; Dcmrn 1970; Wdwn:11111 1966A;
li Pap.uti.kola-Oakinzi wo5, pp. 121-3, fig.7. eleventh C('ntury: the Annunciation, the Nativity, Kiiz.ingu 1966; Kitz.ing<'r 1970; Wixom 1997;
Epiphany, the Presentation, the Baptism, the Ch.u1d 1999.
18 111essalo1tiki 1999,nos76-110.
Transfiguration, the Raising oflazarw, tl1c F..•
m.ry into Cri\'cllo 2007.
19 Pap."lnil:.ola-Ba.lcinzi2003, pp.45, 6J 4. Jerusalem, the Crucifixion, the Amutaili or
10 See e,;pccially Venice 1974; Demui1 198,1 1enicc),
20 Papanikola-Uakinzi 200-1~pp 44-5 Rcsurrcction, Pcn1ecost, tl1e Ascension. Stt Dcmw
and Demus 1950; Kitiiogu 1990; Kitzingtr 1992-9~
1948 and Kitzingrr 1988.
Tronzo 1997; Anda.loro 1998 (Sicily).
6 For images in the church, see Mathews 1988 and
11 Urubakcr 2004.
~laguir(' 1998.
12 Durand 200,v..
Russian envoys in Cross and Sherbowi1z.Weuor 1953,
pp.110-11. 13 Cormack 2000A, Pl>·196 7.
Wenko 1998. 1,1 Pace 1982; Call> Mariani 1984; P:ice 198611;llnri 1988;
Falla C.utelfranchi 1991; Pace 1994; Pace 1997, Call>
9 In a small-.scalc survey ofth(' sainlS in 23 Middle
Mariani 2002; Pace 200 3 ,
Byza.ntine churches, 175 dilfcn:nt sainLs appeared. one
appearttl in all 23 churches. Only 75 appeared mon: 15 Zivkov 2001.
than twice; 36 appcal'ro '"'ice and 64 once. TI1is may 16 Folda 2oos;Jacoby 200+
jun be chance of suMvaJ but it may aJso f<'flcc1an 17 Dodd 2004,j HClou 2oo6; Jmmcrucl 2007.
enormous diversity in ,\hich sninu appeared in
churches: seeJ:,mcs 199i- 18 Carr 2005.
19 Kollias 1994; de Vaivre 2004-
10 For licurgical sil\'er, sec Bord 1998.
20 Chatzidakis 2000,
 Glossary Achciropoielos
Nm made b)' human hands, and so mimculousl) produccl.
cloiso1111C
Au cnamclliug technique dillCring from r/l(lmpltvl, icunocl,1'-l
A • ,m tt·r ,,I II t1111Kl,1\111,
.
,1110 cl1·111t'll
.
tl1c l10l111e,,of
narthcx
The tranwcrsc ,·cstihule ofa church, sometimes used for
rcvcLmcnt
A covering - in marble if for decorating walls and in gold
Tlic cell~ a1(' crc.itcd by soldcling 111ct11l
mips 10 1hc surrl\c 11111
baptismal or funerary icrvicc,, and the pl.ice for pt:m1cn1s. and silver if for covers - 10enhance icons.
oft he object :md lht· \'ilrcou enamel is poured into these c rth1t11111(i111af::1·•·
RODIN CORMACK
achLinamc before it ~c,~.
Ooc::umcmon \1 hich the outline of 1hc hand of i\ lohtunmcd nicllo rincc;1u
is imprimt'<I, together 1d1h th(' clau~.s ofprotcr1ion he
iconophilc(or iconodoulc) .
1\nop1M)llClllofico11nc\,1.m1, \\IIO \'CllCl'atcd images. A black mc1al alloy of sulphide copper silver and lead, used A decor.uion 00c11 in the form ofa ,~ne scroll.
gramcd. colobium as a decorati,·c Inlay, especially on 1ilver.
A long, slet',·rlc gnrmcm worn by Christ at the CruciHxion•
1
nllcr iconoclasm he is more usunll}' shown wearing a
icono"tasis sakkos
advo1l11s loincloth.
i\ highscrccn "i1h icon~ developed in Late 8ywntiu111, nimbus/nimbatc An outer liturgical \'C!tmenl ,1•om hy bishops ins1cad of the
Official ctrtmon) wdroming the anivnl and r«cption of A halo worn by Christ, saints nnd even cmpcron and 1hdr priest's phclonion, usually hctnily embroidered; i1 is dcri\'ed
an emperor or officialsimo achy. ·meEnt1)'ofChris1 imo wives. Only Chri,t has tJ1ccrou nimbus. from imperial dress.
Jcn1.s."\lcmWMS("'(llas :,n ndrnitws. confraternity
indiclion
A la}' organisation, sometimes lo help in the cult oficons. 1lit 1,1x}Car {1 September 10 3,1 Augusc), which was
nu111bcrcdin cycles of 15, starting from 312. omophorion sgrajfilo
ambo J\ long white scarf worn by a bishop. I..J!erally scratched; two succcui\'c laycn or contrasting slip
A promin<'mraisr<lplatfonu, usu:-.11)' made of marble, in the Dcisis arc applied 10 an unfired ceramic, and scratched 10 produce
n.wc of1ht"church, from which the Gospel was read in the Literal!}' a prayer or petition, the term is onen used to refer an outline dra,11ng \\1th 1hc different coloun.
kntholiko11
luurgr. h was also used in other parts of the scniccs, not to the composition of Christ with the Virgin Mary and The main church ofa monastery, usually dedicated to the opusinlnra.rile
only for n:-cit~tion~ofthc ps.,lms :rnd pmrcrs but also for St John the Bnp1is1. patron S.'lint of the foundation. Pierced-work technique in gold.
SJ)('CialCt'rtmoni:11,such as the £..xaltalionof the Cross on slip
1,f ~ptcmlxr. An aqucow suspcruion of a rnix1urc of clays and other
diakonikon Koimcsis orans/ orant mincr;i.ls such as quartz, feldspar and mic::1.
TI1c space, oOcn a chapel, 10 the right of the sanctuary that 'Ilic 'falling Asleep' of the Virgin !\lary, when her soul was A position in which a figure is depicted frontally \\ith both
Ana.stasis acted as the sacristy, taken up to hca,,en (festival day 15 August). anns upraised.
'Rcsum:-ction': the E.'Uiu::rimage of1hc Orthodox Church, staurothckc
showing Christ brcnldngdown the Gates of Hell and A reliquary preserving a fragment of the Trne Cross of1he
releasing Old Testament ligurcs who believed in him ekphrasis lccLionary orarion Crucifuaon, reputedly found by St Melena on Golgotha.
before the Incarnation. A liter.try description ofa work of art. A liturgical book containing texlS used at ,crvices, arranged A narrow white silk stoic ,vorn by a deacon while omciating.
according to the Church calendar.
sticharion
appliquc <11/rolpion paludamcntum A long runic worn by a dc.1con and 1he higher clergy.
A smaller ornament or de,~ce applied to another surfhce, Rdiquary ,,•ith a 5ac1·ed image or relic worn at the breasl. liturgy A military cloak similar in fonn to the chlamys, when worn
for example n te>aile. Sometimes called a necklace, pendant or pectoral, In B}'zant.ium, the Eucharistic rite, oOcn called the by an emperor fas1cned on the right shoulder \\ith a circular
Di,foc Liturgy. brooch (fibula). tab/ion
A ttetangufar decorated panel atmched 10 the edge of
baldachin ste ciborium epigo11ation chlamys.
A stiJTgold-embroidcrcd piece of cloth that hung from the loros Panagia
girdle 10 the knee. A long,jcwcllcd scarf worn on special occ.uions by the 'All-Holy': the usual epithet of the Virgin Mary or Mothu of
Basileus emperor and by archangels aNending ChrisL God in Byzantium. templon
Principal title of the Byz."l.ntincemperor. A screen to separate the sanctuary rrom the nave, developed
epitrad,elion after the sixth century and comprising nn cpi,tylc supported
An embroidered strip of cloth worn around the neck by mandorla Parousia on columm and panc:ls:u floor lcv~l.
bema priests, the equivalent 10 the Western stole. A poimed oval surrounding tine figure of Christ or the The Second Coming ofChrisL
111c sanctuary in an Onhodox church. Virgin, indicative of Cod's power.
Tree of Life
Etimasia patera Mentioned in the Book ofCencsis as the potential source
bezel The empty Throne prepared for the l.astjudgment. Mandy lion A broad shallow dish. of immortality to Adam and Eve, and used symbolically
Focalpoint of a ring, distinct from the hoop, oOcn engraved 111c miraculous image of the !faceof Christ on a cloth which iD 8)'UllcinC art.
with a design such as a monogram, or inlaid wilh a stone. was legendarily ,cnt to cure t<Jng Abgar or Edcua, and
fibula which ,vas taken to Constanti noplc in 9+4- pcndilia
A brooch for fastening a tunic at the shoulder. Decorative clements composed or omamemed chains or tyche
cabochon wires suspended from a crown. A pc.nonific:uion of good fonunc as protector of n city,
A gemstone cut and polished to a rounded shape, \\1thou1 maphon·on
f,cct,. gcsso A long shawl worn over the head and shouldcn and typically
Powdered fonn of calcium carbonate which, mixed with pan of the dress of the Virgin Mary. phelonion typikon
Outer liturgical gam1ent worn by priests. A monastic typikon contains the cha.nu and rulc:s and
glue, wasused a, an absorbent primer coat for egg tempera,
champlcie regulations of the community; the typikon of St Sophia
marlyrium contained the liturgical rites ofthc Church.
An enamelling technique in which cells arc carved into a
met.al object and fiUcd wi1h vitreous enamel ru1d then fired. globu,cruciger A spccinl building made to ccimmcmorate an e,-cm from the Proskyncsis
A globe 1unnountcd by a cros1, typically pan of the lire
ofChrist or the death ofa martyr. Literally "prostration'. An act or supplicaLion or ~'Cttntt,
particularly in front or Christ, icons and the emperor.
cmperor'• insignia.
chiton
The main clement of Byzantine dress, a 1unic worn by men Meno logion
and women in varying lengths and materials. himation A collection ofsa.inu' lives arranged according to tl1eir prothesis
commemoration in the Church year, which started on The space to the left ofthc sanctullf)', often a chapel, "here
A mantle or outer ganncnL
1 September.
the bread and \\int were prepared for the li1ucgy.
chlamys
A rnantle or short cloak, a main clement of coun dress. Hodegetria plerugcs
One of the commonest icon types in which the Virgin nnd
minsourion
A large sih-cr plate. A kilt of leather or metal strips worn be.low a cuirass.
Child arc reprcsc.nted wich Mary pointiug to the Child.
ciborium From 1hc period oficonoclasm, it was believed that the fint
A domed or pyramidal cano1>y,supported by columns, image of1his type was painted from the life by St Luke the
m.isso1ium pyxis
CO\'Cringa 1omb, the altar or other 1,.,.crcdspace. Evangelise.
A large plate as part of mblc service, or for display. Oox.

dm,us iconoclasm rcpousse

A vertical 11ripc,oflen pwplc or gold, dccor.1Ling a tunic. IIQOS
171c period from,. 730 to 787 and 815 to 843 during which A church or the nave ora church \1herc the A metalworking technique ii\ \\ hich the dttign is r.:usro
in
figurntlvc Images were b.·umcdfrom churches, and cxiscing rdicfby hrunmcri.ngfrom behind.
congregation stood.
works ofnn were dcs1roycd or concealed.

OLO SARY
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TIIOAIUDAJ 1996 S.Vl)'Oni.sjr, 'The Will of PrO\-incia.1
I.. T6r6k, I.Au An11J/W
J,"idno/Julct)' ofanEarlyManofSorrowsonA K. Vcclemurf, .DwBrdtlia: I.LJnvo/u,(,1on,tkll'imlfl4tl"L11,11 PP.!n-40 {Dcpanmcnt of Medieval
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MYTILU."!.
AbstracU,3, 19n, pp 6 9 ational Muse.um orHutory
Ecclcsiasucal~ lwcum
Uy·wn1.1nc VL"ICE
ZASTROW 1976
Bu1bca d1 San Marco, Tesoro
WIUOIIT 1980 O.Za.slrow, 'Soprctcnte
CA)Oll.1001: 81bliotca Naxionalc Marci-.ina
D H. Wright, 'Review of 1dcntificazio1u: di un 'opera Nt.WYOH
Bible Soocty, Un1\-cn.i1yLibra,y ~lwro Ard1cologi.co Nazionale
K..Wciwnann, The Muuahtru oflltt carolmgi.i nclb. ra.ccolta di ;wori dd Fitzwilliam Mus.cum "l11cMetropolitan Mwr-um of An
Saaa P-1/.tlt, Pannmu GrotnU!P3, Cutc.llo forzcsco: la la\'Olc.tta
Uni\'er~uy Ubrary
Morgan Lbrary and Muse.um
\'IL-A
Pnnccton, 1979', U11a,,,rS19
MwJnn.:, "btanllna" dcU'Annunzinione', K.urutlunonsches Museum, Kurutk."lmmer
9,summc.r 1980,pp7 8 ~1,Sh,i,,J,X..,,,,4, ,9)6, CU:Vl:LA."0 NICOSIA KwulhutoNChcs l\lwcum,
pp 18j 252 Cli,,::land Museum or An CyprusArchaeological Museum Anukcnsam.mlung
WROTII 1908
Lc\'c.nos Mumc1pal Museum ofNiCOS&.t.
W. Wro1.h, Coltlli,prof8J{IIMN Cow ZAJTII.OW 1978
WA$111!'iOTON OC
m IN Bn.tuJ,A IIUNRI,London, 1908 0 Zasl.roW,MMSne G,alinv d, M1kuu,.· COlllvrtl
37th F..phor.uc or Prtlt1Jtoric and Clusical 01111.10 Dumbarton Oaks Research Li.brary
M1U1J1J
d'artiappfMaf,t(fb arxm), ~·l'ilan,
WULl'P' 1909 nuqu1ues Callery or Icons and Collecuon
1978
0 Wulff, KiinwfKMMu.ua, o, &rim,
&sdr,~ da lhldu.!ffA.t de, c/rrutlul,m lllTlZR 2000 OXFOlt.D
DIJON
F.f,«/tm,3 volr, vol. 1: A/Jdrtutudtt ,md 8.l.oller, "Two lconoswi.s lk:;inu MUKCdes Bc.iu,i;-Ans Bodlci.an ubr:uy, Unh-cnityofOd"ord
rruJk/JJJurbdw"7;:,an/UUMN IUtd from Moum in.U· Object Lasom ~lagdalcn Colltg(<, Uru,'t:l'SI() of Oxford
B~
1/JJ/ir:msclu llcrhn, 1909 m CrusadcrAn',mA M. Lidov
DUBUN
XANTil0r0ut.OU 1997
(ed.), .,,,, '"""""""· On:= Chcs1er Ika1ty Libraiy PARIS
fulMJIOII- ~b.m,, MOJCOw, 2000, Il1bhothC(luc nation.t.lc de Fran«
iLXanthopoulou, Lu Lumuunru m pp 223 42
~ dfr.r awx1/J<>fua pohoduttuntl4 ti MuSCc.du Lou\'T'C
EDIN8Ull0II National du i\lO)'t:11 ~ ct de
b;Jqmlin,,IJP,l"I", t«J,,,,,,,,.,, Z.f'lll AND OICAU 1992 ational M\1.5(:unu
orScotbnd
~11,1.Stt
TI1cnnes de l'H61d de. luny
Ml!"luabon.,3 \'Ols, PhD elm., I~ Zcri and F C. Cicala, MWUUL
Mut«: du Petit Pab.i.s
Um"-crsitCde P.-.aruI Sorbonne., Afiu,. fl«u,,,ak, PJ.lenno, 1992
ft.ORE!~C"£
Paris, 1997 ~ twco
dc.ll'Opcrn da Sant.i ~ laria dcl Fiore
t.1v11.ov2001
XYNOOPOULOS 1930 2.i,M),,'\Vestem lnflu('nccs m Muxo N.u.ionalc dcl Bugdlo '""""
81bbotcc.:aPiliun.l di Pa.rm.a
A.Xyngopoulos, 'OJl>.&.VO'f' ~ lc.dacval Church Architec1urc
f)ut;a.vnv6v Ouµw.tttQwv·, m Serbia and Montencb'TO',flartMs FR.BIBURO IM Bll&SOAU
PUUGIA
A~ £/>ltmcu,
1930, pp 127 artmm m«iur-abum,7, 2001, J>P 115 27 Augusuncrmusc:um ~ lwco pitolan: lh San Lon::nzo
40
Z.0$1NUS 1982
Zosimw, /Jis1tm11N~ R. T Ridley O&N£VA
XYNOOPOULOS 1936 l'llA
(c.d. and lrnns.), Byz.anuna MUSCcsd'art cl d'hmoirc ~lusco Na.zion.llc di Manco
A.XyngopouJ011,Kard..\oy°' raw ;m
rUWvaw MovocW Mmrvdx,,, Awtr:1.hcnsia.: 2, C:mbcna, 1982
Athens, 1936 IOANNINA
llA'OL'""-'
8th Ephor.uc. of 8)7..lflUneAnuqwtics ~l\lSlt:ONu.ionalc
XYNOOPOl.'LOI 1951
AXyngopouJos,Et1.U0,,'7 Eltv,,~
IraOdrovJ1rq1yr,a,P1Xl%

LENDERS TO THE E.XHlBITION

010-UOGRAPI-IY
 All n·fr1rnt,•1 nre 10 p,1,u:rm1111l,rr1;
tl1o,r- bdh,d1unli 205,4:11 c.i11p:ulon,1 309 hgh1i11g199, 202-3, 2,t4, 4:11, ,t34-5
Gcnc"a, 0 ~lustt d'an ct d'l1i1toire / Dcuhm
Photographic All worb or an arc rcpnxluccd by kind
penni.ssion of1hc ownc~. Specific J;icot-Descombcs: cal.'!99, 100, 181, 190, 19R;
P.ui~. 0 Patrick l~rrmin / Petit Palais/
Rogcr-Viollct: rn1s65, 71 Index l11holt.l tflH' md1t111rffiU1l1-'1(11t•
1110,rlu 1111/111rpr11uhr,11r
pl,11u,und
.,,,.,y
lkil1n Cullnr 166, j(l(J
llrrlm,:l11rro 141
c;"krt, 35-1, 1•,fl
honr r.,,kr1 12,1,396 7
l11urg,cal,'niC'l.1 199
~lmm1Sm:1i 3sJl
ackno.,,,ledgcmcnts arc :u follows: Jean-Marc Ycnin: c-111, 18J
Acknowledgements Ruben de l-lttr. cat. 7'l
P,ui~.R1\IN: r::1u70,2 2 6; Amnudc1:
cmJ 77, 1100, 245; lied-Coppola: c:n. .
11l,i.1n111011J lk-il-1rm11,Canl1nal I', 176,293, 111 i
llr1l1t.-l1r111J1f/
l',11'\r1IIH'lxw11l1rmprmn. mlmg :111d
111111111111:
125. 397
..rr"'ni
symbolljm 197-8
1rxulc, 199
1!)8-9, 25?

Alhcns, courtesy ofLhc m Ephorntc of 254 flbrhrm,u ?5? OamlC:a•hl 111,11.1

Gtrard Ulot: cat. 191; Mcn•c'!Lcwnndowiki: l,unc: Ou1hmt C.1•krt 124, 151 l'Ofl\T gifis '101
Ryz.'lntinr Anllquilics: fig.26 Innsbruck, 0 limier L'\nclcsmusccn-
Bet1icb$gacllschafim,b.1-1,:fig,48
cat.35 A u..1kr1 1:1,f,')()fi 7 fi<:'Clu-~lol"lf.111
,1;1uro1hrkt' 102, C1hc1.1,manu~ripu 313,335""7, 339-41,
Athens, 0 !1008 Bcn:tki ~luscum: cats 18, 83. 1\bL,1,1dCahphntc 31,310 Durl11111 C,uk,:-1 12,t, 151 100 ' 34,i-5, ,155-7
C Did.ran Kou)'mjian: l1g,,15 _Pam1.a,su c01~c~"ione dcl ~linistcro per 1\1111 Ghosh 1179 fi1t:Un1JCJI !jO,<\Fl) '10 l'roJl'CL1C.t!.kr1 71, 11µ.15-3.18o ,, C1nmbut '1·13
90. 93, 96-gS, 123, 135,136, 139, 14.5, 1 Oen, e le At11vn:l Culturali / r,010 R.C R A, rr :q8, 279, 363, H7 Bomf.tct' IV, l'vpr J&J Clrmr1111nu!68, 72,381
1'11
i.47 149, 152-155,157,159, 161-169, 1;8. 180, Zeran Lctrn.: c,m 229.01, 229.mz, 230 235 di Rossi Lucio&C.s.a.s: cat.2 11 · · Ar1r, Fnllof{11191) 359 /Joel,ojCnnrwri.a GL 7, 68, m, 11.s,116 Vcrnli C,11kr1 12,t, I','\, 396,397 do1~nnr rnamrls
182, 189, 194 197. 203. 206,007,210,219, 1151, Ako1:111t0'1, 1\ngdrn ,f'I, ll!'J.I,36J 111.1(,klO\l'r"138-g,1(i:,,1101J,4v11 C.U-irllonm 116 lkrofonl I loix Cro,,1 10,t-,S, 391
306, 308~12 l.i\'upool, 0 Natioiml Mu5eums Liverpool Pisn, su. c~nccs~ione ~lcl ~linistcro per I Bcnl ,ron ...-,thSt TI1fO(lorr 75-1,268, 4.10 Mrhw-rKk-l'u.ltrr rr,vr" 299, ,M(i C.othmrn-,S1 2;9,286---7,295,:)511 9, rm1111rlpla'I""' ,.,1h St John tlM!
(World Museum Ll\''Crpool): cats 13, 14, 16 c le Att1v11:\Culturah, Soprintenden1.a di Pisa icon w11hthf Virgm Ki,rdiotm.1nnd ·11~11Go,J>t'h 333, IS.I 362,36,. 137, 1-11, 115• 160 lbpMt :,od 1hr 11rchn11gcbMichael
Athens, C HcUcnicMinisLI')'of Culture - Clukl 115-1, 269, ,i,io Tv1urn1;ni GC"prl, 332, 45,t C;11K"".o.1u,
309 10 :,11dGahnrl 320-1, .1,t9-50
c U\'omo/Aldo ~lcln: cats 2,lB, 219 ,
Archaeological Rcct.ipts 1-\md:cats 3, 8, 9, London, akg-images: figs 1, 30; 1-lcrvt 525 ,l,bn~NOJIJ'177 boolr..,,m dmrd1r• 199 w, go. 199. ')Sfi 7
(('11.10!:" Fi~lu-~lorgan t1,mro1hd1r 102,
Champollion: 11gs25, 3$ 1\ndrcaJcmolo: alaha!ttr paltn wuh Chml 11.s,136,401 1« al.J4I
GOJ[>C'lt.. manu,,mpu, pghrn handle of" ,1.rn1lin.1t
rrn._.r 235, 131
9.10, 39, 84-86, 8g, 91, 92, 95, 10.1-rn2, \/Jada Popo,iC: cats 10.3, 172, 2 02 , 217, 390 I
237 Crmral A~-... 11hrr 329, ,,.,, 3
113.01-09.130, 137,, 4 ,, 158,1Ss-186, we. fig. 14; Eric.h Lessin~ rigs5, 6; Ria Novosti: 1\l,u;am 379 IJorrad;ulrTnpt)'Ch 11,t,134,401 doo.un: pm1d, 214-17, ,1:15-6
0 2008 Sarah Quill: fig. to Alrx:mdcr II, Tsar 431 bcMls 1.12,143 (rramlt'.J 111 3, 27R, ,102 5 rlo1h111g
209,215, 238-J:43,2-16,~. 259: lno fi.g.51; Pironi: fig. 19
Alcx.andcr ofTralles ,i16 lxMI (rro/'4)"1th Aphrodite: 156, 4o6 bol'.I with hml 146, ,10-1 (h11d', 1umf wi1h II hood 191, -420
lo.,nnidou and Helen 8:uttioli: cats 87, 88, Ravenna, su conccssionc dcl Ministero per i Akx.1ndcr lhc Great 3,z, 378 I.Hlwl"ith bird 146,401 howl with f1d1 1,t6, 10 I fr.ogmn11of1hr lowrr pun ofa
London, 0 Thc Bntish Library Board. All
9•1 Bcni c le Atlivit:\ Culturali, Soprintcndcnza Aloiandna 16-1,359, 38o, 38:1 bowl w11h'"" 1,t6, 40-1 howl w11hlropiord .ond 1r.unrr 35,f, •159 daln1.111r I a2, 396
Rights Rescn'W: cats 111 51, 56, 61,260,287,
per i Bcni Architcttonici c JX-rii Paesaggio: Alcx.,ndrm, Unl\'cn.i1yof 360 howl l'.1th lt-op.ordand lr,unrr 354, -f:IJ fidMh:.opctlpcrf11fflf'(wit 1,t6, 103 ~Inc E.bnrna11m 131,-136
Athens, C l\lichola.'lP. Goulandris 293, 294, 3oz-so5 Akx1m I Komntnos, E.mJ>eror3:1, I 16, wuh ponr.m of a uml 6g, 95,
1)111',I fr..~rnuo(.odu.h 350-1, 157 R ~In Smopr11.11.1 390
cat.17
Foundation- ?\IUS(:HOl of Cycladic An: 395, :196,398 388-9 ~ttd boY.I ..,,1h rrprOC'niauon of a (OIM 100-,, 159, 16.1,391--1.-107
London, Corbi,: 0 Y:um A11hus-Bcrtrand:
cal.120 Richmond, C Virginia r..luscum of Fine Aliouo, UhJX 444 glazed bol'.I Y.1thrcprCM'ntatJOn ~fl('t'T 147,401 Columb.111,81 381
fi.g.8; 0 ~lichad Nicholwn: rig,52; 0 Vanni
Courtcsyof~lichdc B.,cri: fi~-11-43 Archive: rig. 17 Aru/RonJ<'nnings: cau 119, 138, 201 altar 1ablcs 199
Ambrosc,St 27
oh d.1nccr 147,404
glazed bowl "1d1 a rqirew:ntauon
gla..:cdbo\.l ..,,,h a n:prncn1a1W)l1
fa.lcorn-r298, ,t..16
cf a
,.
Comba1 or Dawl :uiclGoh:ith (11h-cr
plait}

Rome, Archivio Fotografico Soprin1endcnza amphora 193, 4,i or a falconrr 298,,1,16 gfaad bc,..i .,.,th a rrprOf'mauon of a rombot 127, 192,3!)8,,1w 1
BaJtimorc, C ll1c W:i.hcrsAn Mu~um: cau London, 0111c Nalional Gallery: ampulla w1lh ,m;iga of lhe Adoration of gLuc:d bo"I ,.;,h II rcprc,,,:111;1tion fHh 29'!, +15 6 c:omm(111,uy on Grn"5lll .. ,111dra ...1ng of
Speciale per ii Patrimonio S1orico Artistico e
3'h 124, 1:u3, 11:14,296 cats 247.01, 247.02, 253 d,c Magi and the A..c;cmion 38, 84, ofa fis.h 298, HS. 6 st,u-d largr hl'Jwl with a rq,romi;i.0011 Clnist 303, 4,118
Etnoamropologico c )X'r ii Polo Mu.sca1e gl;ucd largr bowl w11ha rq,rcxntauoo ofal,,rd 14◄,402 Corm:uu n, F.mpcror -116
Belgrade, S1ud10 Strugar Publishers: fi.g.47 London, 0 i\'l"J"PL/Thc Nalional Gallery: dclla citt.\ di Roma: cat.,17 38r5
ampulln wi1h image, of the Cnicifooon, ofabird 144,<f02 gl.ued ,mall bowl with rrprc,,:ni;i.oon Com1,111unr1hr AL1n ISJ
c::11.250 Raurr«tion and AJcc:IWOn38, 84, glazed small bol'.•lv,ith rq,rocntaoon oh douhk-heaOOJ eagk 1,i9, -toS Conn:11111nrthr Grr.11,Emperor I 12. 11,f,
Berlin, 0 bpk/ 1\g)ptisches Museum und Rome, l\linistcro clcll'Imcmo - Dirczione
38,1 ch doub&c-hc~ eagle 149,405 glncd Jm.Jl four-W>bc<I bowl w,1h 378,410
Pap,•rus.•1:unmlung,S~IB/ JUrgt:n l..icpc: London, 011,e Tmstecs of the British Ccntrn.lc per l'Anuninistrazionc dcl Fondo glazed 1mall rcur-lobcd bowl with rq,n::r,mt.auon of a bud 1,tg. -10). rouu 393.,io8,,111
amuku 93, 1~-6, 387
fig.15 ~luscum: cats 10.01 10.03, 12, 21, 22, 28, 29, Edifici di Cuho: cat. 228 Empt:ror 68,384
Anas1a.sios., rcprac:ntauon ofa bird 149, ,jO'J, .. 0 .. -5 eot\\'C'n.ion 10Chmtmnuy 66,310
.36, 44-46, 57, 78, IOI, 102, I 15-118, 1261 128, Analolill 311 404-5 Jug with ud'oil mouth 1,t6. +o3 found:uiou ofC011,11a11unoplc38.46
Berlin, 0 bpk/ Amikcnsammlung, Sinai, The Holy Monaster)' of Saint
131-133, 143, 1,16, 150,151,171,174,179, 18.3, And~,s, ,12-13, 131,191,399 lnrgebowl 145, ,io3 largtbowt 145,+oJ head or .55, 378
SMB/lngrid Geske: C2Ll,H-; Johannes CatJ1erine and the Sup~me Council of Andron,lr.osI, Emperor 3:1 lnJtrc-paimcd bowl ..,,,h cu~bcarcr l~~•pam1cd bo-,.1.,.,,h cup--b,:::lttr mcdalliom cf 1&1
218, 220, 285, 307; rig.44
l..aurcmius: au 1211 125,127 Antiquities: cats .301, 315~23 Andronikos II Palaiologos,Emperor m 355,459 Coruanune 11,Emptror ,fl 1

Bertin,e bpk / Kupferstichkabmeu, S~LB:

London, 0 V&A lmagcs/V&A Museum:
Sion, Musl:es cantonaux / Heinz Prcisig:
393,,t38,4-t9
Androniko5 Ill Pawok,gos. Emperor 393 ,.,
lustrc--paintcd~·I v,1lh giraffe 35-4, ltutK--p;untcd tx,.,..I.,.,lh grr.iffe 354, Conwumne V, Emptror "J9
Consununc VI, Emptror 39-1
caL177
cats 54, 66,160,212,221,222
ca1.63 Andronikol IV Palaiologos,Emperor 453 pamtcd and gildt'd glim 00\\1 122,396 '"'
pla1e with arumal 149, 403, -104 VII l'orph~n~c-,
Coruta.111111c:

Bertin, 0 bpk/ kulptureruammlung und

Museum fur Byuntinischc Kunst, SMn/
Los Angeles.counesy LACt,.lA/0
Kou)'Tlljian: fig.49
Dickran
Sofia, National Institute of Archaeology and
Museum/K.rassimir Georgicv: caL5.3
Ani 309,310
Anne.Si 251
Antioch 16,j,"9,380
b-'<•
enamelled 165
gold 159, 16,t, 18o-J:,
407,413-15
plait Y.,tha dt:cr and othn- arunub
14S,-IOJ
plate Y.1thlion attacking a dttr 1-1;.
,., , ..
Emperor 36, 39, 11,-14-, 116,
126,308,393,395,

vm.
3g6. 397-8,

·-
Jfi~n ~: cats 7, 'l:5; Dictmar & Marga CourtesyorCyril fl.•lango: fig.2 Antioch Chalice 78. 382-, silver 180, 322-3, ,t12:-13, ◄50 Con,1anunc: Et-n11c:ror310
St Pe1cnburg, C 11ie National Library of Antoninus Pius, Emperor 47 Brankovit, 0Juradj 422 plate ...ilh lione,i; I .. S, -103 Co!UQntinc: C< Monomac.hm,Emperor
Riemann: caL 6; Antjc Voigt: caL 70
Counesy of Thomas F. Mathews: fig.12 Russia: cat.205 Aphrodi1e 153-156,Slb,,to6,,t10 on a bird 145, ◄03
pb.tc ..,;th Sll'C'.n 166, ,t.:25,.µ8, +1.s.-1-19,
-159
Bern, Bcrnischcs Historischcs Museum/
Stefan Rcbsamcn: caL 256
Milan, Civiche Raccoltc d'Arte Applicate ed
lncisioni / Fabio Saporcui: cat. 23
St Petersburg, 0 The State Hcm1itage
Apollo 76, 382
Apo,,lk:s 79, 38:t, 383
basin jlJ
bucket 153, 154,-105
candlacick !154, 4-58-9
,.,
pbte Wllh IWO lo,.-cn Ill a ptdcn 148,

tr.r.y...,th rq)l'CKlll:2.lXWI oftbc t\postlct

Coru.1:1.nu11CX Doubt, Emperor 399
Conscmw1e Xl. Emperor 394
Conacmtinopk. 26-7, 380
Museum: cats 3.3, 216 1 224, 286 Aputa-)'li, stone khatchbrof s28, 452
Birmingham, 1l1e Barber Institute Coin Anhl 27-8, 6g, 16.5,]58 dooncllhe Chun:h cl'San Salva1on: Pc1erand P~ fbnking a c:ro. Anbs baicgc: 28, 69
l\fonza, C Musco e Tesoro dd Duomo di Toili.si, 0 An Monumcnu Photo Recording an:hi1ecture 196-7, 279 de Birttt0, Atr.uu 304-s, ,t.◄8 210, ◄2] cap1un:byOt1onw1Turb ,6
Collection, UM-cnity of Birmingham: caui
Mon7..a/Piem Pozzi: cau 26, 27 Laboratory: fig. ◄6 Arculf,buhopofGaul 422 lamps 244, 434.-135 walltik:s 2.40-1.433-◄ Chor.r.~loruu1c:ryChurdl 278
55·1'""'55-29 Mthu,S1 2.41,,tS3 weights 161,408 cluuu iuChfuunnttrlln: 2Jfi
Ncbojla &riC: cau 4, 5, 173, 236, 269, 270,
Moscow, C 1l1e State HistoricaJ Museum: Thilisi, National Ccntte orManuscripu: Ariadne,F.mpn:st 68, 38.t bruicrin the form ofa domed bwkling b~<ham 16.t C!,urdlofdM!Bbchcmac 4o8, ◄-27
cau50, 266 caL28g t\rbdioi, Empefl>f S79 2c7,<123 dwn ornament and a)U1 93. 38,8 Cl1urch of the. Hdy Apostlci 42S
!ZJl.01-0.f.. 27?"""2(4.288 brcut•dWn •6.t gold 176,+11 Oi.urch of the Prophet Elijah 309
Afmcnia 309,310,312,313,456
Moscow, 0 The State P1nhkin Museum of Vatican City, 0 Bibliotcca Apos1olica ABcniot, Patriardl '19 brnu.ryofKing ~'Ofl Ill ofCilWI gold bodr<h:unl 172-3, 1n.+10.,fl2 Church cf Sc Sophill 37,31, 11,t. , 15,
Boston.OwoSMwcumofFineAn: cats
37, 187
Fine ArU: cats 68, 199 Vaticana: eaL59 Arta, Vl.chcrNo church 252
Anemis 410
.,,
Armenia (S1cp'anot Vahir.:a1S1l
336, nccldac:a 170,,flO
chairornamcnts 6o-1.,SO
1g8, 3og, ,,o.38o,3go
Column of Arbdiol 379
Bnmcb, C KJK-IRPk fig,24
l\lunich, Arch!lologische Staaw.'\mmlung/ Vatican City, Q Vatican Muscum.s/ A.shotI Bagr.uuni, King of Armenia ,,o bro= ctwic:c ,-rit 236, ,fJJ Coiutamini: I csu.bluh,cs 38, -t6
K.. Rainer: cat.170 Photographic Archives of the Vatican AsiaMinor 28, 31-11 bclli 2:05,-121-2 cha6tts 199, 21&-19,.µ6 con,ub 361
Cambridge, 0 Fittwilliam Museum: c:au 7.3, Mkkp,os 75, ,a,, 397 handle of a standing ttnx.r a35, 43:z Anooc:h Chalitt 78,'8,2--, Grn1Pabce 114,115o116,309
Museums: cats 48, 76, 244 head ofCo,utantine I, the Gn:a1 55, HippodJ'OfflC'66-7, :,8o,,Si
Andrecv Mykhaylo: cau 313,314 ;\wUIIJQJUf': 11¼i,,,tl01,fll chalice of the~ 137,-100
300 du!icE ...ilh four,~am;ltbc mauguraoonu New Rome 26
Venice, Foto Toso: c-.&t.s
82, 223 IUlCrub 199 378
ClcvcWld, 0 The CIC\-dand M weum of A~
0 Robert S. 'elJon: fig. 35 AthanastOI 388 1nomx. burner 2.44,434 Crtm Bs,366 imcr.w:tion...,1h Wen '278
cais1,2 Venice, su concwione dcl Ministero per i Athens 51,278 pbquc:.,.,thScG~ 2.35,,tp Smonio,o..6tt 39'> K.cclumtorncnc 116
New York, 0 TI1e Mctropolican M~um of Atrani, Chun:h ors.a..,Sah'llt(lft de 81rttt0 plaque: ..,,th St Nike1as 235, 432 "'-fJltc" dccoraoon, ttnmlCI l..13 rmapof 62-3, sBo
Ben! e le Attivi1ACuhurali, Soprintendenza
Councsyo(Robin Cormack: fig.g Art: cau 19,52, 134,140,142;
White: fig.37
fig.3: Bruce
pccialc per ii Polo Muscalc Veneziano:
caL75
AUKS
304-5, 4-t8
'lJ9
pnxcwonal
IC'1ll 159,'107
CroM 22 1, 427

''Oll"'C'IWld hok6ng a crou 226, ,t29

dianddicn 199, ~ .pl
Chu ..................... ,.....,
Mo~CI") olthc Hodcgon "'• 25,-,

of 6o-1, 38o, 420

pcnorufical.lOn
Delphi, councsy or the 10th Ephora1c of
_,.,,,
Augu~us, Emperor 378 Chiw,m,'$1
Byuntinc Autiquitics/Holy Monastery or New York, 0111c Pierpont Morgan Library: A,1u~ 26,27,,112 bucket 153, 154,◄05 child's ,wuc.,.,th a bood 191 • .po Aekof(120-1)32-3,,11,166,250,,11
Venice, per gentile conccssione delle buckla 159,407
Va1opcdi.. :Mount Atho,· fig.40 caL2g8; J01eph Zchavi: cat.297 China 513
Procuratoria di San 1'farco/Cameraphoto
Dijon,OMBA/FrantoisJar: c:at.188
Nicosia, Cwrus Museum or Nicosia, Arte: cat.s 58, 62, 64,80, 811 176 .,.
buclJc of Pnntt l'etarorHum 32:,, Chno
Ul church dean.bun 197-8
Emperor ,t6,411
Coruuu1w:a 1.1.,
comulardipcydu 68, 74
_.,,
Department of Antiquilies; cats 30, 31, 32,
Raffaele Venturini: ca1.26 5
B
&tthos, S1 66, I½>,,6o, 364,388,460
goldbclt,bucldc 178,,t12
Bulpn-1 31,309,311
ooCOUUffl
CNIM.'Oial S1 ampbor.t 193,421
Dublin, OTI1eTmstees of1.hc Chester 40-43, 122
Beauy I..ibr.i.ry: atL 292 Dahnua ,tl9 Bucnddmontt, CnslofOf'O, lMn ~ muyln10Jcn.a,:akm 66 chanddicr 2cn--:1, 421
Ni~ia, The Lcventis Municipal Museum: Vicuna, KHM: cats 24 , 74, 79 IJ.akt..,inJI, Kmg ofJmualem 4-46 wrAipt,.,. 62-3,sSo uthcGoodShcpbcrd ,i.8-9,378 copper alloy piaqllC \\1th the
Edinburgh, 0 The Trwtces of1he Nalional cau 257,258 Balbru 278,3o8,3og,310-12,314 Chri:,tgnity and -1111 205, 422
Hodcg'C'1n11
Washington DC, 0 Dumbanon Oaks, doo v.,lh the ,\sa:::nsiooof Alc:ll-lnder
Mwcum ofScolland: caL 111 8a,al I, Emperor 309 ut 8)-unWIC'an ,S-9
Oxford, The Hodlcian Library, Univcn.ity of Dyzantine Collection: cacs 20, 38.10, 38.20, l}awll,Empcl'OI' 30,31, 113, 11.).309,3•0 churtllcs 1g6-901.~7,.µ1-6 the. GJ'Cllt 312,JIJ'
Florence, Cabinetto Fotografico/ Oxford: cat.204
029 the Great, St 39, 200, 2.50
IJ.a.&II C C'Om"C'IVIO 66.SOCJ polyn.ndeloo 204, .pr-.r
su conccs.sionc dd Minincro per i Bcui e le S.SUt11e~111,t Cairo, Church oft.he Virgm, al-.Mu"albqa ~· an .u-$•• $~S pnxc,saon.r.lcrou 221,426-,
Oxford, 0 Magdalen College Library and W~hington DC, C F'~cr Gallery of An, Budi111 68, 74,381 31,t, !152-3, 458 iconocbsm 28-g. 39, ,11, 6g-70, 16, rdaquary en:mcs 1126,428-9
A1tivttA Cuhurali, Soprimendenz.a Speciale Smithsonian lnslitulion: fig.so
Archives/John Gibbons: cat.264 w,ru <an<U im:igoonCOU1J393 Copts 310,313,-119,.µo, ...57
per ii Polo Mwea.lc Fio~mino: cat., 15,225 bum made-for Sultan iU-Malikal-Sa.hh ounco"1th Chnst Pantobatoc- 231, ')mbolt 1-f.2:,-10,.,ti6 Connth, c:rnurua ,toS
C Bruce White: fig. 31 67
Aorencc, Opera di Santa Marfa dcl I-ion:/
Nicolo Orsi Uanagtini: cat, 227
Paris, Dibliolh&(uc nationalc de France: cats
49, Go, 175,261
Na.,mal•Om An11b 313,314
My11lcnc:b.u&11 153 ''°
cameo ",th .,.7,rriof''-wrn:w 5-1•378 .,,
Chw,;:h f•lhers aoo, 250. -400, 402,416, Conppw
Couneib of I.he Church 200
B».IUJ,Junlus 49,418 L,pa-b.zuh ,con "1th Oi.rui and the cbwchcs 1~ -,01, 2oz-.t7, -121-6 CO\TA-~(.'()\,'al

Paris, 0 Centre des Monumcnu Ba)~ I, Suh1111 33 \'i'l;ln 1128.4,0 uchnCCNre 196-7 Cttta.n ~ :z~
Florence, 0 2008 Scala; fig. 20 M_::ip~liefs, pp.20, 21, 23 O 1996 Mounmin
ationaux / Pierre Hamouda: cat. 67 Bell.mi,Gt'ntik, C.,--1 &- ... Tt1.• ,:andd11bn 199 bdh205,.µ-.t Crc1c 31,42.2'78,3S9
High .\laps, Digital Wisdom Inc. 36J
Mtlfdrmf/lltt&m..ila~1111 a.nm.363 boob 199-201 icon pi.anlcn t)i.

"""""'"'--
293,+l-t~
ca.ndJesocb 199,m.,US
capiuJ .,.,lh an,:t'll 2g&, .... 6
q d,c,conllOO 19,-8
aeon, 198 9
Cnspau 411
cro.bowfibub, 179,,fU

PHOTOORAPHIC ACKNOWLEDGEMENTS INDEX 49 1

 ,.,_., rO'f.Jdnon1,11h 1ht1'11nu1111.1t1011 I,~.,~- ""\\~\I !l.1Ullllll{'I l,1,-1\ l"t,,111 \"'I
II mil~:;", the ll11Ml\111
url:hnsc 2615, 11 111.,.111 111p111h1111l1ll,.,11111111
K ,,,mmrfll.1r'1, (,rnr•11\\1th1lr.1.. 11111; \lnr.,.1111 1m,t .,,m ... ul, '11l)rmrln"' r1111r,lr-fi,11(111rn1\\Ul11hr'.
lkm.fordllOJW" ro. 10,1-5,391 326 O' I ull.fll \nj('lu I jb ll(im.11 \h\ .._11111•IJJ I'"' I i,f( hn•• JOJ 111 ft 267 11•1 111 rr.1n.,fi~1n.11nn ofChru1 2<13,◄3-1
l-..1111.,k
.. tllflMl1, \l,,11ui-l 117
Croouo( Adn.JJtoplr n:,, p8 1oJrnU!Jr) door "'1th ,\n11uooo111on lunr-ra,, 1hllh ,..,th
()th•>11tk I ,r:iintt..,11 (;r.-.l.111 i;,1 KOt1\•lll1t_l,n,1 2'6_s. 118 1, 1,11""" .uul C 1111,t1'.18, 1•111
\ 111:111 /u,111,lu,,,1111"'\1r(l11 \l,n, J1or1r• ftt., o ""Pl froin 1hr Kml!'.'"Chun-h,
l-..111 1•>11\10
Croaolth<' r.mpc,on Rom.uMM111md 3bf1. 37◄ 1t.11 ,md 11..-\ 1~11 anil tlm•t •96-7 l,~l I 11, 1y MOIi \\Hl1 U11n1 \\llhSS i:-..- "'" 1hp1Hl1 83 1111
t,,.,U1w,l,.,1,/u,. 206 1n l m<h•mhn 1117 ',ttl(knM".&molU.slrl'),\\ldtp;tll'OIU
li.ui.111 IIS, llj 0r3~11m rnn.r 319 111) Ill (in'l"L l11r1,1hll'f' 10, 1111 ll.1ti hm )6o, 364, 1GotJWlland "'''l ,1,111\1h 1,.,r ...1111
.1,c-,1-111011 t..1,1,..1i... 1•,,1t,., '"1711 \I 1rn.wl rwm ",.11.1\hnit' Ii md .. um• 318, H')
lvk.111mr110, IIJ, 11 1. llh
cmsa-n-liqu.il) llll. "~ dra",""' ,78 hm,·i.u"\ 111:,n1,11l\t\O (,1Tr(l•I\ I \llhlM,hopnl()l1111I 1111 km1 \111h 1ht' l)i>1illtuig ollliomas t, ,frrurn.,.,,.,.1.-11,.,.,i.,ti< ....1111:( hn,, m..-r,,111(1'1.lOr
1!"11• JOI, J'.il 2SS-61 ftn111110P' Imm Sopot.1t11momutny
1•• l\r,,m Qur-,nof(-,11'11• 1•,h
gold u·ou \,1th mrllocd mKnpoon Duhf"0\1ul. n• (ilT/t')O 1hr(;rr.i,1, l\1w 1\1 266 Ill) "''" p1nd 1,11h ",1_),,lmtl,c- ~h.111hl..1r of \p111.1\h 3:.18 1•1,
IIMl/111!1.tl'U• .u .. t \t ll1f'tt1l,,i, 1111; \\Hh Km, S1rf.1n Lrol I and Pnnr-r
112.4 118 l)IJ('(IO 111-1'\\ (,ltjCl>f\ of'\ llllllfro\ tRl1 "on 1111htl,r ).;.oin1r11, 135 , -1ni 1hn,ln,;i m .,nd ",1 l'.1111111. 131 m1l\1C,.-,,,.,. 3n1 IH ffi<"'-'~ l'u,rJ ,,r,1 ',rrphrn 317 11'1 l>r.1,:111111thr-\·1rJt1nandCh11d
l-.lil1HI,., l',,1hrr ,,,, 711,}'I"
gokt rmd,v11 .,.1!.11
C'roM Chn11, 1hr Dul;11i"1tur :,24 •">' Gn111r11,I.I \l,u1l11.l1 3R l(Ollllllhthl').;.0111101.1ort11('v1 n \'1'1 JUO
/ ,,,,., ,,.,~1,,n,,,o .,,,1,,,..-kll:'
R•1t"l'lrlrw,n11 mo,.or 1•a1t"mrn1101h IJrl"IOml11~ll•W" 319 lll'J
t,,.lni,roll, Knut1,fl'rl"1,1 J7
\1l'J;ln. "i1Jnhn1ndtwoMmu 175 lluthuu C.ul.r1 1•4 1'\l G llllllnM"tal 1\fll{hh 161 1off 273 111 ~ ""n pmi-11,111, '>~ \1Kl1t\\ 1111d l'nn 62-3 1H1, rltl,r 11'\1>01h, sll lifl num.,1mr- ...11h ~I l.ulc- and ll11""0ph110'
«.,.1hn.-l, \n h,1.1l.,lt'l'"I -t ,s-1 n 110111,uh )1 lkmrtno,
t,,.,r, '"" i'''l tho l.11.-. ,,f ,11111,'-Ith ",1 I .u,,t,rmu ,oa rnr~11"11ht,..11l1,f(hn,1 216 It\ 3-13 l'1h
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P"'10r.l!C'ma 18,t, tt5
ptt1orillcro."'llh fnur J.n1n~IL\U
(.;~ •.\b,.1\\'lf 1\1\r, )'J9, :,10
li.1IIK"n1l,l.1111'lf'nll tb
Mor.i,un anl\t/ 2 6 7, ng-,o ""''
'" I\ 131, 1()()
p.11K"I,11th 1hc- l11c-01ol.o<,
llock-R""ln.1 11. 129 11}11II
(:.111K"1l1;1.I
l>omc-~ 10<1 11'1
I ortlir <,11l1lr11
or,, \11111.:11
1111
m.011u.. 11p1.. ul11l,,n,..1.,,.ro,r-1h,.
mur.il 1T1C,-.orj'l •1n. p
ponr-n1 ,,rf11•11•11~111 i, fllflllllll\p.o,nrl \\llh Liff'pnnr-.oll of'll
"'Mll~ll 96 J\O, 'j8')
'227,P!J 10 (.;;i11rnl4"\k' :N7 H IC'l)l~;~II~ ::1 ll1t'Ollnff' ,ALot&mOI)"Mi
1,.,r, tnpl\(h "1th ( ·1U1.1fL>.IOII ;ind
",1..,.,pln-1 11', \l,1(l.111n., 1kll.1 \111rnn,rd1,1 113 k....1,r1111-1.1h1 1f.5 l1t,H1111•111•/IA~ttn., 242 1\1
ptt1on.t n:l,qu;u) <"R'mn 103, '111151 l.r 1o8 41'1C)
1n
ll•A.uJW, 1\J
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Kon :;•,\~1 c- I 11u111pi,of'O"li01:6oxy
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11,c- Uon.11L11lc-I np1,d,
1\01111,mdm wnl"' l'.ih
1\011,.1 3S·I, I\')
339 ,.,., Ii
t\ l\.hr,ict,..,r-,, M,-11.1, 316 1)7
/..-rm.u-(on,1.,mm1.m.1r 1h
,..,1Jl 1n<K.o.-'-11111,r,.,1.. 1 ,m ,ml{l'I 291
... ,II p~111tm11;
.. ,,!,
'it C..i1hrnnr 295,
"'91 1 ,jJ8 9
pruri:-:,uon:J crop ,..uh Crunfooon l~ru "'
nR.1v1
(,rnoa
(;.,.._,,~, "-1 135,302,316,
111,117,418 •). 1ho
·JhO.366, !Qj. l ladn.111I, l'or•c- 101
I l,1lhn,u1th thp111h j81
1 1
11011'w11h ehc-\ 1rgin and luld 9', l\1)1'\
//~ 13-1 1ur
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Korr-<1t,M1d1.1c-l !'ii
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i"\r,.. lnt,1111rnt 1132, 111
JOI \ 17 11'1
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I' tl,nnlo,m r,11mil 1\, 11

llLlllllWnpu

G111nl.1l'iuno 288-g, 113 l'lttll'nlJl("r.l l\O ::· 292, 3l,o, 36s, 38g, 398 , .,. , 81 383 Kr.l!fjtll\ ln'.UUIT 187, 10b. jlt, PI
lfo1111hon \~1hc-1 J')I 'l 4 .,,ththr \11mn1C1,.1llonf.8,81, p11nro11t of (i,,~k•t\h;n n( K,m. w11h 111, \lr,v..,,.. l'I 1'.1lr,nnr ,7,1, Jf•J
l)NX"f'WOual n~ 199, u1-2 1 .pti f l,«'1-pt 3oft. 109 1n, 1Y' Gron:,.;, \OQ, jlO, '11l, 311 !S'l-3, ·"· I\Ot,

,,-t,c1,1.al)rnK1fur.t 13 ,~q lrnndlc- nr no1t,1.nd1nt;1 rnl.C'r 23s, 111 "'rc- ..mld.11111;h1rr 'f'/"1110 \l{)'Of"'I l'rnph.-1 r,A, Jht J, 367 ,iw, t p,mrh. rlo-utt 21-4-17 l''I b
!, N'nlmk'.I SS4-S Hq \8\ I
r,-ltquary o/ 1hr Tn.ir C.:r,._ HO, 1..t6 OJ'lf-\ 349 1\7
IIU/llljl "'
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tc-.1,u,1nd~u11u
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291,-tll nol"I -.uh \nl1.m~I M.1 7, 8o,JIIJ
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m,1('11,( nm1.111unc,plr 6?-3, '}6n
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l',,nulmn "i1 I 1R
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t!OO<" l.h.uchlou of pulA)l1 3118,.f!il n-hi;:-ton J7.i8 ~lt•<Uf'!)<'I' l)U'ltlC' \\llh 'II 1ll<"Ollol'I' 211 hc-;id 0111,m1r11t 327 l'IJ Kon \\1th 1hr V1rR111Bl,1c-hc-m11~
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11en-. '11:16.f:lf}
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l'ropl11·1 and Pa,n;in:h
crnc11u., n-bqUM) 213 Pf ~
Cru-.Mk-r1mru 1~1,16, 3
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\ollh lht- mlf•Jr- of !ht
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Luth)mios II ofJc-m~m (Pnn:ii, 1,on ,111hCom1,1111111c \'II
l'orph)f(lgtllllC'IO!I rrownnl
Chm• 111,126 J97 8
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1....1.0111,1t0J 101
r.1p,1,,I ,..1th .111,:r-l•298 116
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214-17 111 fi
.,_IA IN G.tn,1 Im 53 378
\fon..rrr,

\lmml 11..,..,.1,J:,8
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l\1pli°' 101 1,111
P.1m l',.1ho II I II I II\, 116
P,11f1ul11,(;rn~ 1b1 l
1c-011"uh thl' Virgin K.ud10t1Ni and l..a1nbou-,.,lrf'-'Urn 16s, J8~ )87, )88, ;\lou111 P.1p1li(WI ,jO'.j
EmhronC"CIand ,n-nn from tM hfr ~ \ -- " 3&,
l)ml"C'~ (ro:» \\llh Crut1fruon llu--.1lk-1on 'Jbj Chi.kl Al.ot,11110,:7)1, 26g, ◄ 4o IA11np.;1dn
I\Of)' JO• jOI). rn
Jo-'tla.i1l1s2178 l'.on.:i,h ..-nhr "'
l'l'l1<j11;1n-,.,rrr,ph..a~u 212 121 \lount Prmrl, r,') !l-lln1, lf)<J
olC11m11md 1h,r \ 1r,:in J'iJ M'nl~C"Oll"°' b7 288--9HJ I lrrallrn,., l'11111r1~u 17, ,18, 1b I, 38~ 188, KOii \\llh thr- \'ii-gm l's)'CIJOIOMru'16s k;1,( or,,,.. lUIUttbr chpf)eh of l!.uibut
L.,11n11J,(l11
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Cruudn '.P, .... p, IH- J\O, ;ry6.178 , ... m.amrb~ G~1t,c...Ji>h.&bo:t11,,og 101 ,138 9 b8.74,:J81 l~m,,. 199,244 13-1 5 l\J ljl, Jj<). J',; fTJ,{;1;
Shq>ht"fd Sot 178 JOQ iyi JOI
1115,J96 lk"""•>Ml-foprCt"Ca 'G.4~~• ~qlJo,..I p;llll1n:l~"'ldrd 122 ,g6 llr-r;1IJr1u,f'-00M.illllllC' f07 lap1J,l.uu1' K'OII w1Ll1Chn,1 and !he \klL~mk Psahc-, C-0\l"n 299, -116 Lun~trtu IICAllUf'il'IJI jJ,,llrn ,..,th 1h.- Cc,mm111uon ordK"
Npt,&d\Tf!l:Z◄-SU•
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mamd p&..quet '.:)!John lht

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llad,1o11h.Kmt; ofjud,1ih l9S
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,.,
pllqoc -.11h Apollo ;ind IJ,1ipluM"76 Ltoroon 378
IC'OO\\llh Chrut and 1hr \'irxin
1,1!>','"1.u:uli
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116
364-,)
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\pmtln 79. 181
p.!lt'n "1th v-rnNoflhr P.1-n111nof
(TT11.0U('I, •n 178. uh ~ and the-a.rd\&~l. \lidurl amulc-1 93 J87 11n1, G,.111 J8J m1cro1ncN11( d,pcych \\1th r~\'111 pl,IIJllt''-1lh Nr1Tid wuh fm1l•fiUn:I 228 1]0 \1,1,rlou \ .irot hoard 166 \luihm.1 r, II l'" 311. l'J , I- l'wft C hn11 JR.329,-451 ')
falronr, HS and (.Ahne-I SH-• 449 so lkrtu1 Colbr 168 ,tOQ llomc-r 18'> kl'"IM'I SS8-g, -IJ7 ~('1 77,'.)BJ
.c:on p.un1rn
ml.•\.oUI(',_
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-olU'OlMl.c- ,ow• bod)••dwns 172-3, 177 -110. ,tu
br.:i~kb 159, 1&o--, ,io6- 7, PJ 15 ... <hurch of 197,
I loo.I(), l.nul.1..', 111011.t~t<'I) nueronlO'o"llC 1eon Mth St TI1rodorc
2s5,u6
lnp<)~h ...1thCruofwonwldQ.lnU 114
1nptyeh '-lth Dcw.1and ~mu 113 1-1,
L;apuho, 1-4b
Llt•li.tWJ
l..;iun11 242,1'.H
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~l;1nh.tl Oilim·• G(IOIJ)Cls113. 340--, t35,

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JOI

C)l>nU ll'l'UUIT l!,J, ll_'\ ~ C"O\Yn 1:,S-,, •b:S bud.le, IS9, 178, 32J ,to7, 411, ,t~O I IIO'tllC'tn'.utlll:' 161,410, fll 111,rromru."\Jewuh Chru1 Panlolntor UJ, 13s,400 l..rh.11100 ,78
Sc CmlK"nnc- 16-,, "J61 l'.iul "'' IIJ. 131 210, ')6n. 372-J, 386,
,ntS, '109 iroru 2so d1~ru 93, 176, 387 8, -111 lluith of"~I \ K'l<M' ,n 256, 1•1b Vero\, Cukc-1 124, 153, :J91 l«uoo,lnt"I JOO
Mury,\1rg,n w\,~nM,uy JIJ9 100,µ3. 161
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C\TII of Akundn.i
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prrtan! cna -.,th Four r,~tib
m<hutthn
C"OIIU lo6--7, 159.J91
JOI
1, 107
llu,u 2(1
ll)AJtla 75,381,397
r111Cro111ou1C
260-1,437
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tmprror Ono 11 nod 1-.mprMS
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l\.la1hrws, lliom,l'!I 36o r N l',1,ulthr ~1lcmiary 6b
\l.1totilf'\1(h. Lromd ')118 '\lr-.1rJ-~,1 ]O() 10 pr-;,rl, fl(I
TUl, ',,1 tA n7.4'9](1 cro&)lJo,, fibub 179, p2 llllf't'OlllOl,,UC .,,th 1hc-Tr,u1..,r'8\ll"llllOII
11,,.oph;,110127,)()8 C'hn.t'1 Ap1>C'ar,111rr-to ~l.uy
M,mnc-r 11bc-nu1, l.mpcror 17, 381 IIC:C.kbr" 1fit. 168-71 174 IOO'J11 pc-non.I c-..._ 18,t, -t•'>
rrhqUM) ,.._ n9, i:JO C""amn~ 93, 186-7 1 387, -417 18 l,girl1 lrC'.UUrc- \IJ Mo1~knc- 3-18 157
2s1,n6 1 Mn..,um1;1n.l..n1Jl('f'Of 68 ,:\~ 77 J81. .µ1 pri-ton..l C'fOD ~,th Four t:,':lnl{t'hW 227,
nW.':alDll<. IN.hnl(IUC' P,0, 38q fih~•66 ·n,c ~hr.,dc orll1c- Ard1an~I ~lich111:I 1.,.w>11.1ryfMllc-1tml II ]II ~lr-.ulc-11rehn1qu",«nmia O'J ••l,.. '\oton.tru 38. uJ JO
,..._,rcbqu.u') U9i30 pt c~ ...,i.11rudloctl 11\JC"nphon I ;it Chonac 2s1, 253 ln'uonary '-1Lii rruofonn 1r:ict 120--1,
Mc-cca:J58 ,~ TC3LlmMII 19· IS}, lOI, 232 ◄]I p«lor:il
j.J!)
tth111ur) cn:wn 103, 22s. 226,
D 4-<bu,,. :,a, n,t.,ti8
,,.
l('ouoc:hum 28 I'), 39, 11, 6g 70, 16s. 199, l-lot1;1!;l<'I')'orSt Ca1hc-m1e, l-lou111
J ]9} 6
'-n
..,
m«bll,ons 16.t Jql. µ8 9
tblm,mc, fral{lnrm of 11111 •19f1 ,,,,,___JWIClll·•\'Cllmt'llll9(1 gold mc-d.\Ul()n ofJw11111.1n I 66, 8s, Sm.11358,36o .5,364-,s lr<IICM>ol'),..,1h l..;ut ~upptr 233 -IJI
go'd m«\.tlbon ol'Jmum;ui I 66. 8s '\1ehoLu., Si 2.40 l~I HJ t µ7 rrbci•• ,ao
0..ndolo, (q,r \ndrn 10, [.pphvln ~ S7"J >8; 199, 1s2 p;ur or ICOfU ",th the ,\11nu1ia;111011 J.o.fb.359 Lro. protosp:uhanos 10
K'Of10ll;l).U
Jamn, St 198, 253 !, 386
'[,chow ~h,o.k,oa., Patrurch lCJ pmcbnt, •6.t
DM'ldolo. \mu JU. 3u cpsnln.is:i.-rn gold pmd.ul1 ".,th
1bC'Adonoon of thc- 1e:011ott.uu bt;a111'-1th 1IJC'CIT.It Fc-;uu and 262-3 U7 8 l.,,rol LmJ'l('ror 18.i m«LJl,on ...,ch 1h, ,-IIJ{lll ;ind h,kt. rur'.Uo 166, ill I}. .1b lfl)kl 167, 4o8 9
J.1mn Kok1..i11(lluph0! 395
l>iuuc'.I 380 ~k- rn,;mrni ....,th w M~ and LIM'Mttrwoo 85, 3~ Doin 36o, 368-9 ,t61 111c l'roplm □,Jah 272 1 ,t I' l.l'O II K..mi; of C1hn.1 <t.sli
tht' t\donuon o1nd 1hC'
1hc i"\.itml), .'\1lr :J93 goklrou1--w1pcnilin1 175,,f•I
honuhc-, on the V1~n M.11) 2o6, 69,
lnrhnr 76 382 T~ ofChlbt 2◄,,, ♦3-1 1COM 250 M()fU :)9. '\I, l-t9 '},,j, 276- 7, -136-,11 St Cc-o~ on l-lorwb.ic-1. 279, l'T!J Lc-oIll, Lmprror 18 9. 70, lY>
8.1p1um 92,387 '\IU'flhoroa. P;atrut'll'h 28 plllt'C\.bc;T\,1Ulptnd:ant 174, ♦ 10
l~nd. Km~fMl..-o1c:l 16-7. :,8).1<>> t,16 ~lc-f'romtbi:Ouu~ho/lhc mNbJbon '-llh 1bC'\'irrin and Clukl CruMdrr wo,Uhop,l 2s3
1n 3 l.l'O Ill, l'opc" 389
S1John1hc-·n1~11 :rJ-1 roundel '-,th tllc \lothn olCod 2.45, ;\.11.q,horot 1118nunu.lC't-, Empnor
tl1e NAll\lty, the \donoon and tlM"
JeTll'1ru~ 161 Lro\,Emprror :19,70 "
D, ~,.,.,.,a. ....
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~
K-.;a1Sb,pou
~ br:Mnw11hthe' Crut Fc.vts
214-15 . .µ5
&pusm 92-3 '87
dupbpn,i: ~'52 3
tpnl)ln 151, 2n
IO()C)'Chmth V,rgm and 0111d
cn1hro11cd .,.1th an~b and s.unu
Jc-n.nalem '27, 17,66, '16,311
J("ru!.llfm, lmgdom of 33,9, ,t 11
Lc-o\ I Emprnw "'>· 393. 3q6. l~
L.ro Phoo, 425 "'
Mnluc-rnnun 2n, 278. 3o8
)96. 115
'\~Pholc.u11
pl pr-ni;bn1a.. with Clunt, the
\1~n.StjohnandlWOQ.mts 175,
rf*&.f-r 1u,113.3o8 and Denn 300, s68-g -461 O('('lbcc, 163-,1 17,t, jO!) II lflldcd-t.tl\'t'r FT\f'lfflC'IIU 251 2go,u3 .JC"'dkr; 163 6, 16,-87, -109 18 \ kplopoli 379 ..,-,Lc-u.,,.
Sc 215, IP I"
dndnur:,,' 4,6 Epiapt.. o{'\w:hoba ~ ptt1or.J rdaqUV) Cro5ll 103, .s91 ICON ot'thc \'irgm 251 2 1npt)·eh ,mh 1hc-V1rg111and Child ko Tomtbos 42') McllJ,('ndc:, Qottn ofJcNA.lem ,.old pnl(Wlt with the Adonoon oft~
bDCll'ku 1_s9, •6.t16s, 18o--:,, 3:1,..., 1-16 '\itna, mana,ncnpu 3-t 7 07
?;\r/l.11,,{.t-./,_.. JU,3U ..,..., 03 J)C"ll(b11u 167, '7i-S, 227,230, ◄09, mnUC"ncc Oil \\'e11c-m art 219 Enthroned and 1Cel1" from the hfe l,:,,11111'.176,:,oB \Ltlp ;;md UJC' utt!UIOn as.,~
,io6·7.-111 15,,450 l\.lt.1~,Klc~1ere0\Tn 299, 1t6 '\onn..nch s.s,11
o-....Jll-•tlwrtr-,(•&a,.a,/
llfJD..,Ja.J ...~pwtUlllt T]I
.,......J)"ICS,f\'alfflCnl
en. ,.,
199 ojlO 11,-129,-fJO
ttbqllM)'~ 229,,t:JO
m.lterul.J 'N)l 1 '150· 1
pamun,: 1tthmqun 250
olChrut a.nd 1hc-Virgin J6J
IW(Mtdcd IC'OII '-1th Lile'Vi~n
e11mng1 93,16,S,186-7,327,,S7,
117-18,UJ
l,:,,'Onlll,KmgofAnncnu
uJ,,,fSl~2so
lighung,churcha
O.S

199. 202-3, •44, tJI,

Mclwc-nos, Gttgot)
~lclbK<kk 310
1g6 "'llonn.lN 32. :1;8.-1.)ll
.Xon.hAfnca y>8 .,,
prnd.m1 "11.hOinst P:uuolcnuor 230,

......
l>Kma, Lmprro.- 16 uqwluic- ln21lifT 71 l_p. ,tlO and tlM'Annuncbuon

,,. """185,323,,i15, 17,450 proc;nuoni 252 t-l~1n;1 \le11,1indcr 66 "0\-gorod 31,t Pu.L.\r.apCll.nU177'9
enamd 165
1knu 11mhAn:lw~ CM>nel and St Paul Eduopusol map-c-nd 178., ◄12 rok of 19'1 267,,1:39 fil>ube' 16.J
-t3t-s
Mena,,, S1 6g, 316, -157 :'\ut.a]o8 pafwm- bnan,rr tn !he bm o( II d,omrd
\ttcr.tlUl"l' :JO I
.. 6,
lfio.372-3 Goha1h 385 Kn't'lll 199 l'-'0-ii<lcd IC'OO ,..,th 1he \'i,xi11
filigm: 166 R•ph;wl de
Mc-rc-o11t'Uu., :J8o manw,;npu 3-t6 -131 bwklm111 207,42:1
DnM, ,...,u,
St ~UT and Ard1angd Euch.alUI 700,JOl,,SJ Good Shq>hcrd 38, 9, .,s
5◄, 378 .,a, signr•d ..µ S llodc-getn.11u1d 1hc-t.lan of'
IM"AdomanM"nl 327, ,fS2
btUl'I) 197, 199. ~
Mc-n&IIC'tril".asutt 1(½,-112,-113 prrfumc: !wk, mh~pcd r ,t6, ◄OJ
Mic:h.ad 36o, 370--1, 161 ............... ,. ....... Ep,_ Oo<p<b,oo Sorrow1 JI, 'lS2, 282-3, +42
l..i\u of ainu ...,t11 St Ul1>ht'm1;1.1 o8, :J9-I Ir.an) 26. 'l',8, 3o8 1 310
st)'ln 2'>3 I nccl.bcn 16.1, 16841, 174, 109 II ~l~m1;1 309 ~r:u.i.
L.ombanbcgTlll\U 412
ddb~Andtn
Ddph'I ffi
Ht
._,.,,..,,,..,....,,..
oI •38-g,03 fou,Gospcls
m
118,2◄7,300,39S,-13b, Chru1 ,Ut
Chn~ P1ycll0a05tc::1252
l\\0-tKkd KOii ...1th the-
P,yd1oaottn11 and 1IJC'Annuricumon
""'8'" n11g5 18s, 323 -115 17, -450 1
Job, Hookof' 'lOI .,.
Lule, St -11,,z50, ,,,n,3◄3, :J9-♦,-123. -138,
IIIC'lltlworl 1« br;w., bro1u:r. gold . ...:h'ff;
"«I 0
l'C"",-o \\11n 1(,s
Prtar, l"nntt of Hum 323, -151
lxnM"tno.fm0alOIII 379 Ludo'Oa, f.mpn:a ,too I Four Gospels ...1th Chns1 Bbung Dcuu \\1Ul Atth.111gc:l Cabncl and 26-1,438 John, S1 t8 Mruphr.a1tc::1, S)'T11N)fl:S<H Obnd 25,3 Pncr,St _s6,112 ,3,1s1,210,36o,
OcmC""tnot,,St 267,111.39s.,11g-10 _..,.,..,........, ◄ '7
344-s,456- 7 St P•ul 360, 372-3, 161 Virgm 81,ichenuu.»ll. 2s11
John II KomllC'IIO.. Emperor 32, 39S
IWtrc-1),1,)111~00\\\ v,ith cup-boeal"l'r 35S,
\kthodK», Bllhopo(llc-r.1L11a :,g6 Of.Ilamp 199, 14-4 tl-+ 5 370--1, 379 386, :)99, ♦23, -161
Jc,pout-Kcru151
~rua ALnuu
Dlotku;ul, Linpc-ror 7q
10~
Cuphmua, $a I o8. 39-1
Wrup,i, '97
Euw:lnm.,Bnhopvi Caa.un s1
Four Gospr-ls '>1th Chruc, donor and
9Clllx- 33<1,Uf
"',lh
J:kWJwiLl1St atl~nnc of' AJcundn&
and ScS)l\nlc-r (Fra11coco du, Pua)
Virgin I IOOC'gt"IOII2,SI 2

,,,
Virgm I lodr1c-1rl,11 1hc-'AndJot,w.11'
John
John
V Pal.uolocot,,Cmprmr 393, Ill
\II KanllloumlOI. Lrnp,uor IS3
'"'
hu1rc-pain1<'.d 00\\1 '-'llh giraffe 3S4, 4S9
M,thod,oa, Pntnan:h 390, :J9-I
Mc-thodioa, ~• 309
Old Tawnait
o.•~'11•~ ,..
,i<>.Is:). JOI, :158
11:1,113.
rctt,Atc11,Tw.rof8lllgana
retrot 1C011Ji;a111t.c,, 161. 362
311

KOii "1U1 LIM'V"u-po8lachcmu,19a.

,.,,,.,
four Gospels a .serpent c-urlcd 28&-,, -113 John VIII Pab.iok,go.. f.mpcror .J1,196 t.le1oh1Ja 450
l>iony- .,8, If), ,.17, ,.,a C.Utht.,,.... ll Palnarth of'Jnualrm uound a trunlr. 337, 4S.'\ Dc-ui,, wid1 S1 Peter and A.rch;angtl Vi'X"nl'r)Th~n;a "12 John orcon11, archbuhop ol"N"icou;i t.l1e:h;ac-l,An:lu.ngd 117,250,393,.s94, Opiun.Bc:b04 ProplJC'I ~ l01c::1and Patrurdt
tl,p)1.h1 23.J
diJ>Cl"Chk--JWllh•8yu.i1ll.Ot'~ Cum:ip11•sl8 9
Eut)ichidn ,ito
four Co.J>eb with utk pagt cl St
M11tUIC'w'sOosp:1 3◄7, ,m
l-hdw-1 36o,:no--1,461
Dipiych with tbC' Virgin and Child and
/lftf/ff/'ftk!,U,l'i,~2n
lnccnx hunJC'f 2,t,t, 43t
HS
John orD;an\UCUS.,St 2so
M
Macedonia 2~1
3Q)o"'13
Mich11d Ill Empcro, 'ISO. 'l.S,1,S94
IJllllll..,..,,,~'QR
◄ •-I 1,s..-418
lb+-,+OQ,,tlO,

Pbnour-,
,.,
Eu1h,mt0ttII olJcrusa.Jcm

St ,s., 1-40
J61,
"'7,8:1,J&.t fourGoapC'b ~'"Ith LIIC: Virgm and Child the M&n of'Son-0\0'1 IIIDOl"ll'11t IV, l'opc- 2,ti Miclucl \'ll Doubt, Emprror 166 Orchoin,rooa 10

,.,
dil:iq&.J1,..1th ~and Ii)~ 75, ~w,tbbibbcallttf!Q
••rt
15,2 3, 16o and doncwand ~l.ary ~la.gdalcne
, .. 2, 456
{Umbrwi atwt,, 284-s, ,H'J · 3
doubl-Kkd icon orChmt and
lmnt Mtbn-11.n, U11hop nfTbC'o ♦S-1
l~llllll j61
S.-1'-nllltla J-1,39
Joh11 the 8:.ptl,i, Sc 250 · 1, 320-- 1, 386,
:JS,,i38 9t 449 10
M1ACtdoni.an
'M.attdoowi
\I~
dynU)
Re,~•
tkUi, \lu,meonh;i
1bs
30
313,339,
~hel\Kl \'JU Pabtologot,.Cmpc:ror
53. 2.s3.39S
Oroo10.R.l\"Cr ,SO
Otsu.. Cardinal Cionbno ,SO
1'1:ulapthc..John 3911
Ph.ilip thc Good, dul:.col BwJund', 311<>

,..
.If--~~
Onua dd ~ Raunoodr.li 4 'J7 l'hJollcnut dipt)'Ch :,81

.
difKl'-11 ... n.h O,r:mnnmut 68,711, :)81 Goi:Jxl a.roonlin11 lo St ~ l.utl11:w 99, tlw-Cruc:1fucion l,S2 l01,11.nC' (.cnbc1 4Sl \ldud Kll'roul.tnoa, Patnuch 'l'9
John tllC'Cvangtlu1 1 Sc ,S6
0.,.,-ch ,...,th1lw-\•~and Ctuld aod doubiMMkd icon ort11c Cruafooon 1nm s.l'cn,l.t, M1chipn. Un1\"CB1t)·o( 36o Onhodo..x Chun:h 31 41. 196-201. 1SO Phoba.f.rnr,rnw >7,s83,38g.393
tl1C' \Ian o(Som,ws mbnMi ,twoPnni and tllC' Vil'lln I lodc-gctn.a 2,s:1, 1,D
John 1bC'Granm1;u\&11, P.11nuth 390 M.,._.ti..,P-r-271,•17
'" 6
mic~~ so1.2s1.t53-61, Ohm. \bnbal JtJ.-156 I~ l'atnan::h 23. 79, -13, 390
...,.., 21.t-s-411 l F
.._
GoapC'l-book olToro, 338,
doubl-.txd ,con of the Virgm and lhc
Irene-, Lmprnt 99, '.J9I
l~nc- Doulr.ain;a,f.mprat 116
JohntbC'Thco&og!Mt,51 111,131 l)l,1.),1,
1,ti-7 °""",.,a Pui,cc:nu, p.lgnm 3S9
"'Vfl c:bpt,Th 8:, ,8-4
"'Off JitM)l h bf With• ,TtYuo 73. 3'11 Our t..dy o1c.rm.:1 771J
"'
Goi,p,l lecuoiury ,..,th the lloty
Womm at thC'St-pukhrc and
Annunaalion 25:1
~n ...,tJ1 lilt ll'IU1ldcof
c-mbrOKIC'rN.1
llUf' II. Empt"ror 191
la. J>lUIC'I1wilnu11g,JI
270,399 ,tOO, ◄-40, 441
John Chl).._10111, St 2'7, «7
John K11rNioa, St 2s,, s6o.
3,s, -462
\l■C""Md,from&in('h.tllC' 17
~I~ C.olqt' ~lwc,ri>uch 218
fflU'WIIUtT\olthStLu1.C""andl'bcopbab
343,-456
0.,,..,,
Ono ll. ~ 127 ,,.a
(IIC'rttd-won. dcconoon, goldworl,, 16.t,
-109, ,tlO. 413, 44 11
k--.r ollllC' eoruulu dipnd, or 8-but StG«lfFollhcGrttU779 Chn•·•~ to ~lar, LiM"H~A 314,315,+◄3 lsbm J«Mutluru
MaLmoa,St 211,3,-,,.12-1
,'\\llf'k.lt'olStl\.lciw s-16,457 Onom.t.aTw-b 26.,s.42 p1gnnu 101,776,riS.,»9

,~
....
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9tt11N 25~, ◄37
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·re-n-a1
cyda,'
tYt
f illl'Uffl 2SO, '391 419
197 530, 45S
s4a, m
~lactblmc-
COl>pC'bw,th Tar Ivan Alcundcr ,42, ...
ICOllo( d~ Arch4'n,:cl M1Chad 117,

,conorChrutf'anlolrator 271,4 .. ,
lu.1)· 777,218
h-an Ill, Or-And l'nntt 118
IVM A1Ulllldrr, TAT o( llulpn.i ,30-1,
John Tumisktt. f.,mpcror 31. 309
Jonah 49,-414
J..A,,,.,../N~'frw
JMM CaJ1 Lp :38, s2, 378
38,53,378
aJ.\lahl,; al-Sahh NAJm al,Om An-ub.
~IWljlJ,:,1,t
\lamlu1.s 3'-1
M11nol"Som:M,. 2n
'\hrronoll"nnrn' 116
\fual ,..,lh Cruofi.'OOn 501, H7
Molun1nial, Prophc-1 ,sB
p
piiinm•s1otc111
l'IY

.....
rn, Hl,
Pmndlo, pon,ait
66,66
1-4<1
m«bl ofJohn \'lll D
,..,ah
,--h
..
riliubc- 16.t, 179,412 Co.prb the- P;a,mon of hrut 237, kon ofeht llc-a,Tiliy l..t,ddc-rolStjohn 1'3 Josh11.1379,396 _.,.,. r• pamung, 2n
t.lokbn,1n 1c-'<tilcs316, 1-48 ~
coppn alloy pb,quc ,.,LI, thC'
d,~1 w,th UM'A,cc11$IOl1of Alcxandc-r
lhtCru.t ]U,JU
frawnrntll ol"a duh 3so--1, -157 8
~lorpn1aurothdr
ricu- 190 1•9 10
rlbgfff ,(,6
10:1 3!)0-1 1:13
Manha!Ollun'1G0afids
-I.U.456
31:1,3-10--1,
KLnw.oJ 36o, 375, -162
icon ol"clwPropllC't MOKI bcfon- tlM"
Uumm, Ru,J1 and rTttmnc the
lvanAKn, luro(Du.lgari;i
wory 19
311

Qn'N.I box '-1th empt"ron ridmg IIOO

Joshu.a Roiulu, 379
J11da111114b
Jug wnh trtr01:I mouth 1-46,40:3
...
Manutl I Koml1C'11oa,Empt-ro, 31,511,

Manuel II l'al,11ologo,,Cmperor -116

m()l\alt('O('f '17
chun.hn
IC'olu ~.)ti
1q,6
po,oung,
it,unllDl' uJ1UC"1Knon \\at
eoc■UWC' 1ttfouqUC' l",O. 389
277 8 I lodcr:1.n;a Md S,lll)t, 20s, ,t.n
tn.&nM"Ipbqua will, Stjohn thC'
Dohn Doi hoard tS1
Dodd. Crw o1Crwbh.u1k 11\.8
fint C)pnu lff'iW.ltl'"
rllh-.tiap-d pc-rfwnc- i'b.Lk 146, 101
'81,1o6 SlnopC' Cosp:b -13'
Tbnl Cospdt 333, ◄ \.I
Tabku oru,c Law 36o, 361 2,
367, 16o I
hu111mg 12s, 397
cad.ti 3S1, -1s8
Jup1\('r Dohchenui 429 m:ll!WC'npll 39, 278
lll"l'\U.I')"orKu\gl,:,,'011 Ill o(Cdtan
,~hc-n flJO 1
~IOl:\ll,l<'I')ol\1 C.lhc-l'UW'• \lou111
_,,.,.,.,,
Go1pc:l·boob 200 li;lpwt and the an-lw13'=b MichM:1
.ndO.bnll'I 320--1,-119
llum1rut.ana 777 IWicllun1 199 Cosp::I, 33:i, iii
I tqllroalil\i M'Oll or S1 Ol"Ofllt' and -ncsofhtt la((' C01nbt 127,19:1,398, 1.20 r
Jupuer K,roumo:s 1'9
nmma tcp'anoa Vll.!1Law· 336,
s.w p;mc-1paunuig, 51 1 51 C'il•COppcr pl.lqUC'¥i'lth I 1'licodoff
a...,n F~ ~ l\a, OC'WI "',th,;;. C...LIM'"nnt \'■111 Oo.pcb332, 15,3 and m,r;adn s6o.366, 46o O,11\'ldCaskc-1 1n, ,,,
JtL\lm 11, Cm_1>C"ror67,1BR b \h,wu.otc-n olStJohn ~tOI.Kb,». S90 ... ;ill pll.Ulting, 251, 2)3 211 123 I
k 011ol" tJohn the- TI~ogtoill 270,
Jumm;in I, l..mprror If 66,309,358, 3 0. IS> \\ntnn 279 plJ,Jue "'lth Apollo and D.tplu»t
door p,and1 rrom the Chunh of1ht or AkundN aod b$ S)hntu GodtK 1n:tuttc1un- 178, qg d11>1)'thk;ar.,,,.1th a llyununc "mpl'dl t.lC1lp,1s mllucntn
hcl;lln 313, 3i◄-, tSb 1

..
379,383, 38'>, :J9J, 16o Mo111rfc:hro. tc-dtn,:o Lb, Dult' ~ l!,btoo TJ.Dwil,,f .... 76,38,
\"upi,al-\lu'albtp,,C.Uro 314 286-?,+◄ l Cothica"278 H• 61,8:1.,s, ~,11.311
JJ2-3. OIi
dt-,o/llwChun:hu/~n~..uorr
rr.mr11.S. Ml
f-rancucaru 777, ]IS, l◄l, -t1S b
Godu 26
Or.i.nd11011.Ot.hoode- 296-7, 4◄S
KOii...llh tJiC~»II
ICOrl
266, 139
l'lllh 1hcAnnunn,11uon and 5.1.intt
diptych •1th AslJrploa a.nclI l)l'C'IJ 7S,
,
J1Uum;m 11, Empc-ror ,93 col:kctnl•1lln1uaJ "'TlUllg"IofS1Joh11
•111.I
tlW'\ "l'n
5<19,-IS1
\b.r, '-,th Cl11n1 '1'15
~J.,.._CJ,,,1,/~
Dtttu,,/ ,, ..... ., ,._,_, ,fair pbqut "'1tl1 Nt'rrid "'1lh Cnut-fiUrtl
b.ukc1 77, ,&
Jir D.n:,rm. '\tnn, 304-s, 4 11 a Fn,11b 19. 779 p,u1ulA~ 16& 23,4, 13' 'J dipl)'t'h '-11h CklflC'nunu, 68, 72, ,a,
INDEX 493
~92 INDEX
 plac1uewuh St Geo~ 'J3S, -132
pla<111e v.11hSt Nikcw 235, -432
R.odori'•lw:11205, 4:12
Rnm:rinF.mp1tt 3og
C1uu cl Adn.1noplc u-3,
Cn:. ohhe 1::..111x.ron
•'1
8
Roma.11<»II and
lt'.\Ulct
ch11.U1·c\'t1I 136, 43J
u
duld', tu11ic whh 11hood 191, -1~ U111bd.111
a11i.11, Dipt)'th 11'1th il,c VI
\"Olweplaque v,1il1Chm1 ble'-lmg llrzantium u roi1tmo•don of 'ffl &JUll115.11J
,md Cl1ild 1111d the Man ot~,
l!mpcror Ooo II 1111dr:.mprm Chnwa11U)'m -16,66 CIJJVI 31.,4}1 111<'hurt:110 199
28 .. -5 .... 2 3
1llC'OflhMO n7. 3g8 d«foic of 117 dn:ont.ion153 cmbrolJcral 10011 wuh the mirn<I<'of
Us1>cmk1j,Pmphyrij 2~01 360
plat~ 1.p, 141, 'IJ J-lcUcm1hC,nflll('oen 16.1 cam"" s•7, ◄.P 1hr.I loikgrtrb 314,315, •I10
Comll:lt ofDa\1d •nd Goluuh ,8 .1,·wdkry 16.j Emma, v_. 89, ,oo cmbruitkrrd Image of St Gcol'g\" 316,
Cyprus1rr:a.,urc 1~ panel 1,;tmt111p51 g1lded-.Ul1"CI'
m'l'tmcnu on'°"" 1151 -1-489
Cp1tupMosof 'lchol:u
t.l)'tilenet~rc 1~

plate ""uh 111urnal149. -10,,-10~

plate with a dt'Cr1tnJ 01hu anilllllll
Rouunoa I, t:rnptror II.
RQmanaquc arcl1itcaurc 2;8

Roman011ll,E,rnpcror u .. ll},116.,o&,
//«I.Jjlltt, ~•J
kon "11h the A11nunc1A1ioo
l!l{,01 -11
and SainlJ Eu1L11rnonoio.1m1u 1138-9,•33
rmgmcnt 0(11,r lowcr pan ofa
V
Vahlmu1, S1ep•imos, Urcviaryof"Klna
l..f'\'OII Ill orCihau Annt.nia
145,,103 39'1,599, -fOO I mcllo 166.,.16 dalnmtlc 122, 396
fr-;t.gt11r11t
of[I 11111.111
189,-119 336,455
,.,
pbtc- with hon •HIIC'linti;
• dttr 14s, Romanos IV, t:mpcnw-sg~. S!)8.-100
Ronlf' 380
IWIICIU !18..79,529,383, -4~2-3
pn:1on,J reliquary croM 21t5,-1.118 fr.1gmc11uof the robf' ofTs.,r h~n
Valrnan, E1111x.ror,t6
Vani G0\1>cb 3311,-ls:t-4
phur wuh liooc. 145. ,103 ratacombr. -16.49 prrfome br-.11.krm the fonn ofa domM Aku.ntkr 331, -153
Vnnmguuu •I15
pl21e wuh mountM hwll(T 1s, aiChrut1&ntt11trc 276 buikling 107, 4'l3 funer.uy cloth m1.h Othon de
Va.J.1k,Baron ◄55
pl111rwu.h ,frcn oi, a bird 145. ,t0J Colmnn of M:rin:m;\u~b11~ 379 Illa!~ 86-8, 94, IM, IJJ• ll&-7, 385, Crambon 11.ndthe Virgu11111d
\'lUCJ,Ceramic 143
phu.c W1il11wolovcn in 1tgankn 1411, Column ofTraJ&n Si'9 , ........ o6 Chmt 296--7,-4◄5
ra11t-d)'cd p;ulCIiho"ing 1hr Nam·uy Vaspurab.11 309
..0,1 Pant1K'Ol'1 58g rroa 221, •'l1
IM'O('a&K'N~I
.20 veil, cha.l1et' 236, 433
lihv plates 15'1,156-7, ,to6
ul\Tr pl.UC'v.1thcroa 94, 388
pcn,orulicahOl'Iof

,.,.
Santa Mana ad Man)T0-1"-'-1.mheoo ...
l"roj«fa Cukr1 711 152,153.,8o-1, 188,-119
u.lk "1th the Annuncmuon 98 1 389
Vrl1k0Tmovo 311

•..,,..
&11\'Cr
pb1c v.i1licniofOffll lllOllllgT1lffi

.lhTr pb.1e "'11hp11hcn.l. 1wopu

Sanui Pudcnlwu -t9 56t.SO
R-,,S
n-.llf1uar,·of1heTmc Cnw 220, ,t.116
nng,, 323, t.50-1
Mh'~r-gil•,,-eightfrom the reign of
tapCllf)' !11awl1,11h\'llS<' 11nd,~11cwuh
figurca 188,-418 9
tcx1ik hangu1g¥11thSt Maknnot: and
Venice 32,277, 2781 3111 3.i9,444
BlrnlicaorSan~larc-o -41,-1.1,.276
Doge', Palace -46
Tn:a,ur,•ol'San Marco 250
1402

and a dog 118,:386 roundel "",th 1hc Moc.hcrol'God 20. 435 1lJCO<lon 161,.oB womanmpraycr 211,-1"24
1lh,:.r1,l111e1"'1th~ from 1hr lire or r'O),J «-, ..,,,thtlM"A.nuullO.J.tJOn
516, 111,,-rP)"'-" \\1th Chn11, the Virgin 1111d Vemu 153,38o, 381, -412
153
111:ri.l:us.1
Vcro1a '153
l);i,vid 86-7, 153
pol)-ca•Mkloo 204,421~
•••
Ruhk-v, Andn-i 314
Archangt:b 91.:,87
~ 153,155. 158,-105, 4o6
1lic:IJCJ379
Cl,urd1 or St Gregor,• 4'l6 Vcroh Cuktt 39--10, •'l◄, 153,596,397

,..
\'CSM"ll, liturgical 199
p.ll)'thromc dcconoon, ccr.amo 142-s. Rubi ad-0,;nala 11.bu
Sub)TIIMI0.1'ud 312, Sm'COCI (acnbc) -153 111dJa 39.t
,,-,imcnu 199
-104-5 Sunorncb, Quet11 of Serbia H9 TI1rodoh11da,Queen '8-1
Vikings 31
polypt,,::lii. Irons 253 RIUIU 3o8,3og,314,315,-4,18 S11W .lff Moun1 uw 1l1codor-;1,Empra, 16.f,166, '150, 1151,
Virgin Mary 38-9
l'omp-U 38g Smope OO'JlCll ◄31 35,8.38◄, 393. Y.H.-1o8,.. 10, -417 icoruof 251-2
l)onrait orOagik-Aha, or Kan, .,.;,h has
"',re aod Wlughtcr 309
poncry lff ccn1mK1 s
Sion 1muurc -421
SiJ.mniO!IChabcc 396
nlll,.{buckci) 19,153
.,.
111codoni.,Qucen or Serbia, ring of 323.

1l1codorc,S1 211,251,302,,t23--4,+47
h01mlin 011the Virgin Mary Oarnc,
Kou.inob.iphos) .1106 1.p2-3
h'Orics 67-8, 81, 383-4
JlnCIU, \UlJnCllh 199 Sa~-429 Skn1>ou 111codo~ the Studnc, ,\bbol 390
rri~1on, Unwcn11ynf 360 Sl~thcrinc,l\lonutcryor lffl\lount Virgm BlachcmiUJU.4o8 1 -t-26,427
l'rohb.nut.,Rufus 581 Si...J ...,
Church orlhc K01mCA.t199, 21-4-15, 111codorc Psahcr 390, 453
111codorc S1r-;11cla1cs,St 'lS-4,255, -136
Virgm Hodcgc1ria <11,129,205,
'lo8-g, 31-h 315,394, .,2, .23, ,t38.,

-·· 1llCOdorc Tiro, s, 19'1.25-1,268, 09-40

procbUoruJ Cl'OIIICS -126 7
199, Ht-'J, &c-.,.--11,,,,...279-179 Church of Panagaa -10,-10
procadon,&I cnm ..,,,thCruaflXMWI Sbl's 26, 27,'l8 1l1codonc, King orti~ Omogotlu 381 -139,448
(Clu11111 Pu,..no) 288--9, H3 Virgin Parnmakiuimn 250-1
111 chutth dcconi,uon 197.19'1,199 ,.Jw, 159,-407 1l~i11, St S9<1
11~\lirgm',Grouo 115,123,396
proccu.KK"', oric:on, 252
f'roj«taCukc1 71,15'1,l»,,S0-1.-421
~ (kon •wxl) 252
,-:i,ltcn 119, 200- 1,!193
_,,,,ponraau or C,8.lig-70
tt:liai IKll,»8 9

~,,.::i,,
$opo6lru 25-4,3,i,312
SouOOU,0corieand Maria 36o
Spi)cotcs,Hclliu 278
IJ)OOIU 15!1, I 58, 4o6
TIICOdmtOS 987
ThcodOMosI, Emperor 116
obelisk of 66, 67
Throphll.110 the Greek (Fcofan Gn:k) 314
,,,a icons '16o
Vok»hanka, Grand Pnn,ca,sHclcna HB
,'Olumc uyle', K0fU 25-1
0 voth~ hand holding a Cl"OSI 2'16, •29
Ha11ulto11 l\al1n- 251-11 SaJut..
cull o/ 393 tpoon wilh flat haodlc 155, 4ol-6 S1Mak.anas314
1'0ti\'Coffcnnp 50-1, 201
~ldl•nde l'r.l11rrCO\<cn•,t.-t,t6 S:urmcl ,S5 1poo11v,i1hliucripUon 155, -405 ·n1eophano, Em1>n:a 127. 3!)8
\'Olive plaque 1,,th Chl'Ut blcssin&Empcrw
l'aru l'u.hn 114,114,11,5.116 anauuy door v.1thAnnunciauon 36o, two spooru dcoontcd v,ith a 1>a1uhcr 1l1cophil0J, Ernpcror 39•
II ,a Ono II and Emprcs, 1licophano
1-.ltrr of~ 37◄,-161 and a lion 153 1 ,to6 n~ophlllll, T1fflb.WMSront1l,t,t, 2n
!JP.her v.11hChnA prt1)1"! and viith liM' And.,ili,,child'1191,,t'l0 IUIUrothckc 'l]ii Thc-..lonil.i 49,'J53,'l54,311,393,,to5 l'l7, 398
CruofWOO and au NXlnOCWIJO, Sua::nu 1176 11,:11.titeouvmp 135, -101 Tht'aWy ◄03, 40-4
100,390 um:iphaga -49 11~1.JWOrd 155, ,to6 1ll0ffllll, St 266, 439
p,.L11n ""1thCruofunon..ronod.aJu
and.-~pnau 101,)90
rra,ment oh~
St Peter 56. J79
ffOfltwitJ1 Stefan Dulan, Tur -451
Stcran NcmanJa 511
1ibcnlU II, EmpcTOr 388, 393, 4 II
ula 240-1, ◄33--4
w
w.i.11moaak: witJ1head oran angel 2!H, HS
ol an icon of
p~hcr \o\llh1hc \'CllCMIUC-1 rcliqU.11')'t.1rcoph..p,; 2 12, .p-4 Stefan Uroil, KmgofSnbta 311,s12. Timotcsubani 3 12
1hc Vi,p, Macy 1-fodqctria •o&- wall painungs 14,, '153
Sarpsl"Kka1i:,ts,t 319. +49-..~0 Ticus, Emprror -17
~IV-•INl'matttfllN
9, -4~ ps;ahcr ,..,th \f"ugu,and Cluld 335, ◄54 Stefan Uroi II l\liluun, Kiil&ol'Sc:rlna +49 !Omb v.ith w.i.11pa.1nunp, iocludm.g-
pu.hn Vlllh lf'l'R and Child {S,.rpt S1ephar101(arch11ec1)ssft &JJuwwJV.,,._..Ja.JJr,8
SauJ s85
s.a,..,Stoo ~ -· FJJ,,, 58-g. ,so rraro copy from the K.111g'1 Chum\,
l'iwak) 335,454 S1cphan0t(ICOflpaimn-) 361-2, -46o-1 T on:cllo, Santa Maria Ailunta HS
11lttKkln: l'Altct -153 ~1g8-9,2.52 S1udenk:a moniutcry, v,i1h patroru
Strpl~n. S1 'l51, 317, -t-49 T°Ol'OIIROIWI 313
and .. mu 518, -4<19
l'-:Uoa. M1chad 51, :19
l'ubr.Judu-, lone -fl4
,cnpu 5 1 ,39,509 Stephen or Novgorod ◄3'l
.,, olT'oros the Priest 338,
Go•pet.l,>00.k
flUCO copy from Sopobnl lllOll.lACI)'

'(\111k1-Kom~• dcconu,on •12

pyxa1with Chrul, d~ V"IJl'n and
""""'""'
,rulp,u~
capillll ""ith ~b 298. +16
Sicphcn the Grca11 Prince -4,t-8
Suhcho, Consul -417
flr.lJ>-Cnd,gold 178,-412
TraJan, F..mpcror 378
tniy wilh rcprCtCntalion ol'the Apotlio
with King Stefan Uml I and Prince
Of'llllllin, the Vi,gin and Child
Ardwlg.:ll 91, 387
,,.
head ofCoruwltinc I, the Grnt U, 1udcnka 511
King'• Churcl1 ,,a, +49
l'ctcr and PauJ flanldng a ao.
210,-4.2,--4
S•9,+f9
Marriage 111Cana 166
Sl M...t.tn.s (Jl1cop/wK1 the Grttk)314

R
]-'t Call u,
J-'t"'--11\tc-JTm-
,e. 52,378
38,53,378

~licf.,.11hbcucswcity 57,37'9
.........
S.-....NINEIJ,,J(wmbfrac::o)

sword 155, -4o6

49, Trdat 310
Trcb~nd 312
'Trca Sarcophagw' 49
tomb with v.~11painlin,p. 111cludin(
~-/NEIJt,J 5&-g,38o
71,- Ran._ f/ ~
Ra\'~nna 164,16;J..13s·6
2-411,
-43-4 Scuola de.lb Canta 1193.......
a 1s9.407
Syl,-atcr, St 216-7, +n
Symeon, Abboc ofSm;u 359
1npcyclu 'lSJ
'l·larbaville' tripl)'Ch witJ1DcbiJ
..,
..,,.._u
puintmg with Sc C.tJ1cnne -,5,

Rcfomu,1100 ,ti walltilo 11,to-1,433-4

Sc~St H8 Symmachus, Q, Aurcllus 981 and Samu 133, 400-1
rdic, IIOl,35,8-9 ScljukTwb ,1-11,311.312,313 wdghu
Syria 310,513 tnpt)'Ch ""1d1CNCJfudon and u.ln1.1 11-1
rcldv.,tJ1boicplc:ny 57,379 Scrtu , ... +t9 one-pound commoc.llt)'\o'clgl11 with
a-n1mica 350-1, 457 8 lnJK)'Ch,..11hDcuita.11d.ah11.1113-•••
rcltqwi.nes 276 ~uCfl 3tt-:I, :,27, +19-so, ,t51-2 imJ>cnalfigurc, 161,408
lcoiu 360,36:J 113,132, -400
one•pound cornnlCKl1ty wclglu with
lkn-JonJHopcCroa 104"'$,!91 ail\"Cr32◄-S, 4'50,,t51 numuc::ript.1948, ~7 triptych with Virgm and Clnkl
FiCKhi-Morpn suurothckt 1011, woodwork 326-7, -u1 1wocmpcron 161, 1o8
cnll1roocd witJ11u11cls.ind ..ilnu
lil\'l':...,rltv.c.,iu rrom tJ1c"'lsnof
390- 1 s....,.,s, 63,"9,36o,364,388,46o 2 90,443--4
·n>coc1on1 , 6 1 , .. oa
f~nl ofa rdiqu.H) 3117,-451-a Sct:ri.uthc:,GtOl'p,t~ tnpl)'Ch "1th tbe Virsi11a11dChlld
p,tt1(lftlrcllqll&J')'cnM1a 103.11251,
591, ,t28-g ......
~dcunuon,ccr.unkli 143 T
Uiblctuppon v.1thfigure of the Good
Emhroncd .111d,ccnc, from tJ1clife
ofChl'UI wld tJ1eVirgin !J{i;J
Wcit'tmll.lm.Kun 960, 3&1-3
Wbt, Byuntium lllld 1J]6-9 12ao-,05,
_,...,,.
4<18S9
fragment orutuwl •89,,trg

..
rcliqwi.naorlhcTnt('Croa 11ao,r,6. Sh,epherd .5◄ ,!78 Tn1oru <f21
11S-1,,t13,,,f-26,,t28,-4,o,-4-11 2 ah.av.I"'1tJ1,_ and \1rtCwitJ1fiAUra 1ablo,allllr 199 Triumph orOnlKKk,xy 39, 1og, 250,251,
rcliqwi.ryc:ruafu 213,42-4-5
rcliqu.ar,~u9, ◄30 Skily 278
188, 418-g Talbot-Rice:, Oav,d ,6
Tanur, (hi«n ofOcorJJa ◄M""I TrucC~
, 27, 116,'.101,38-1
door paneil from the Churd1 ofthr
Cairo St◄,
\ll,gm, al-Mu•aJh1,q11,
reliquary Nrcophagui 1112,-f2-f :,s....,,,t.58
l\'Of)' 354.4513 Tamerlane 33 Ficachl-Morgan wiorothckr 102,
rffl0\~('9-,1 SJklt(g(f 513 rcl.d"""1tl1bcticg«I cuy 57.J79
Tao,.Kl:uJCd 309 3')0'
l'CIUl-dyfflpanel tJIO\o\1111
d~ 'aumy alk "',ththe Annunci,.tion gll, 389 tapouy Wv.-1\o\ithvax cmd \inc with rcliqu.tno 2•0, 1176,28-1, ◄ 15, ,t'l6,
1811,,f19
·"ff -128,-430,-4◄ 1 2

....
figures 181,,t18-9
R.hodo -,8, 77'9 book CO\"C'l':I 13&-g, 16s, 402 TartlaOI., P:11n11tt.h'l8 lrtdJ. 156,-4o6 y
Riha p;itcn 201 !Jolo\,..1thponr.u1ol1.wm lig,95, Tbc:u Go,pcb 333, -45-1 T,qaro.tav, Co.pell 332, -454
Ycn•l11.tmb(1enbc)4M.,is6
nn.p 1•1. :,25, 11s 17,-450-, TdC111hot-o.:,82 Turc11,Pro~ ,so
Rnzm., Andn:a, 363 bnccku ,Bo-], 323, -412-13,00 lcmpcni 250 Torow Secundu, 38o
R.itu.,l\~HI cachca ll2 1cmpl0fltcrttr11 1!)8 9,'l5:t Turconuuu 31-!l,311
z
roclCl)U
pc:ndluu .,;nh Clu-.. 1'.1nlokn.10f•30,

"'
1lic \'"up11'sGrouo 11.s,i•s, '96
.,.
«rucr 90, ,BG-7
chaJic:a 1•.'1.••S-19,jlb-J,:,86.
Tnm.ac Cori11ar11m1,u1:1.c t6 TurnOl'O ◄53
ru1on 119 Zwo, Cmpcror
Zclll 382
38.J
Zot, En1pra, 166,,to8, Hl

494 INDEX