Ancient Art XLiV
Mary, Matthew, Mark, Luke and John, Initials Inscribed in Greek Circa 9th-11th Century AD
Museum Quality Ancient A r t
Fragments of time, inc. John Ambrose, Director P.O. Box 376 Medfield, MA 02052 USA Phone: (508) 359-0090 (508) 359-0090 Fax: email: fragments@aol.com
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Early Christian Art Many collectors of antiquities focus on one or more of the “big three” cultures -- Egyptian, Greek and Roman. Until recently, art from the late Roman, Coptic and Byzantine periods was sometimes relegated to second class status. With a blossoming of scholarship and important museum exhibitions over the past two decades -- including Art of Late Rome and Byzantine at the Virginia Museum of Fine Arts in 1994, the seminal Glory of Byzantium at the Metropolitan Museum in New York in 1997, and Harvard and Yale’s Byzantine Women and Their World in 2003 -- objects from these periods, have enjoyed renewed popularity and intense collecting interest. And with good reason. Byzantium was a cultural crossroads. It is where the classical age converged with the Enlightenment of Western Europe. It was the bridge between eastern culture and classicism. And it was the cradle of modern European civilization. All objects in this catalog come from a single scholarly collection (see catalog preface for information on the Carroll Wales Collection). A vast majority bear symbols of early Christianity, the most dominant symbol, of course, is the sign of the cross. The cross was not widely depicted until the 4th century AD, when Christianity became the official religion of the Roman Empire. From this time forward, however, the cross becomes a unifying feature of Christian art, whether in its Eastern Orthodox or Roman Latin form. A note on Our revised Format We thank you all for your continued compliments on our catalogs. Several clients have suggested that we separate the prices of the objects from the catalog itself so they can include the catalog when they purchase objects as gifts for spouses or friends. So with this catalog we have created a supplemental price list. Rest assured that our fixed price policy has not changed. Every object is competitively priced to eliminate the need for haggling or bidding. As always, we do encourage you to call or email us as soon as possible to avoid disappointment. John Ambrose Director & Founder
Bibliography ANTIOCH: Christine Kondoleon, Antioch: The Lost Ancient City (Princeton 2000)
MALCOVE: Ed. Shelia Campbell, The Malcove Collection (University of Toronto 1985)
BAILEY IV: D.M. Bailey, A Catalogue of the Lamps in the British Museum, Vol. IV. Lamps of Metal and Stone, and Lampstands (1996)
PITARAKIS: Brigitte Pitarakis, Les Croix-Reliquares Pectorales Byzantines en Bronze (Picard 2006)
EMPORIO: Michael Ballance, John Boardman, et. al., Excavations in Chios 1952-1955 (British School of Archaeology at Athens 1989) GALAVARIS: George Galavaris, Bread and the Liturgy: The Symbolism of Early Christian and Byzantine Bread Stamps (University of Wisconsin Press 1970) GLORY: Ed by Helen Evans and William Wixom, The Glory of Byzantium: Art and Culture of the Middle Byzantine Era A.D. 843-1261 (NY 1997) JEWELLERY STUDIES: Jack Ogden, Classical Gold Jewellery and The Classical Tradition, Vol 5 (Society of Jewellery Historians 1991) KALAVREZOU: Ioli Kalavrezou, Byzantine Women and their World (Harvard University Press 2003)
PRINCETON: Ed. Slobodan Curcic and Archer St. Clair, Byzantium at Princeton (Princeton 1986) SEPPHORIS: Edited by Rebecca Martin Nagy et. al., Sepphoris in Galilee: Crosscurrents of Culture (North Carolina Art Museum 1996) TEMPLE: Ed by Richard Temple, Early Christian & Byzantine Art (London 1990) VMFA: Anna Gonosova and Christine Kondoleon, Art of Late Rome and Byzantium (VA Museum of Fine Arts 1994) WALTERS: Exhibition held at the Walters Art Gallery, Early Christian and Byzantine Art (Baltimore 1947) WEITZMANN: Ed. Kurt Weitzmann, Age of Spirituality: Late Antique and Early Christian Art, Third to Seventh Century (NY 1979)
KUNST AUS ROM: Fruhchristliche Kunst Aus Rom (Essen 1962) MAGUIRE: Eunice Dauterman Maguire et. al., Art and Holy Powers in the Early Christian House (Illinois 1989)
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Publication Date: Winter 2008
We wish to gratefully acknowledge Dr. Annewies van den Hoek, of the Harvard Divinity School, for her generous assistance with many of the translations. Needless to say, any inconsistencies or errors are entirely our own.
Fragments of Time, Inc. accepts:
Important Single Collection of Early Christian Objects It is with great pleasure that we present to you this special catalog of early Christian objects dating from the late Roman to Middle Byzantine periods. All of the objects herein were collected over two decades from 1952 to 1970 by Carroll F. Wales (1918-2007), a distinguished Harvard-educated scholar and conservator. We were fortunate to acquire the Wales collection of antiquities in its entirety directly from the estate, and are pleased to certify this important provenance with every object herein.
Carroll F. Wales
Wales traveled extensively throughout the Middle East and North Africa. He spent the 1950s restoring Byzantine frescoes in istanbul under grants from the Dumbarton Oaks Museum, and is also known for his restoration of the famous Roman mosaic panel from Antioch (photo above) at the Worcester (MA) Art Museum. He enjoyed an enduring friendship with archaeologist Max Mallowan and his wife, Agatha Christie, and conserved ivories for Mallowan during excavations at Nimrud, Iraq. While his collection spanned an 800-year timeframe and includes sculpture, pottery, bronzes, fine oil lamps, and jewelry, the heart of the Wales collection is a fine concentration of objects from the dawn of Christianity. Chief among these is a remarkable collection of bronze enkolpia engraved with a rich variation of saints, angels, Apostles, Mary, and Jesus Christ himself. The enkolpion was a popular type of devotional object worn often as a pendant reliquary, and hence also known as a “reliquary cross.” It consisted of two separate leaves, each cast with raised or inscribed figural decoration on the outside and a hollowed surface on its interior side. The leaves are joined by two sets of hinges, a small one at the bottom and a larger one at the top, usually attached to the loop of a suspension bead. The hollowed out inside portion of the cross was said to contain an actual sacred relic. For iconoduls (worshipers of religious images), the wearing of these crosses was an expression of their orthodox Christian faith, as well as adherence to a religious practice which called for the representation of holy figures on objects. This practice was vehemently opposed by the iconoclasts (smashers of religious images). It has been convincingly argued that the iconoduls were responsible for the widespread use of such pendant reliquary crosses following their first victory in 787 AD over their iconoclastic opponents. Many of the enkolpia in this catalog are inscribed in Greek. As was the Byzantine practice, such inscriptions include many variations due to carefulness of the engraver, space available, and region where the cross originated. The study of enkolpia has been enhanced immeasurably by Brigette Pitarakis’ seminal 2006 work entitled Les CroixReliquaires Pectorales in which she published more than 650 superb 9th-11th Century AD examples, the vast majority coming from Constantinople or anatolia. Many of the examples from the Wales collection have close parallels in the Pitarakis raisonne and are so referenced. We invite you to enjoy this wonderful collection.
Large cross with Four Saints 1
Byzantine Circa 8th-11th Century AD Length: 4.15 in. (10.5 cm) Width: 3.4 in (8.6 cm) Condition: Intact as shown. In the center, remains of a tinned solder which presumably once held a central jewel in place. Reference: See PITARAKIS, Figure #87, for a related example. Inscribed: ΟΑΓΗ / ΟCΓΕ / ΟΡ / ΓΗΟ / C ὁ ἅγηος Γεóργηος = ὁ ἅγιος Γεóργιος Saint George ΟΑΓ / ΗΟC / ΗΟ / Α / ΝΗ / C ὁ ἅγηος Ἠοάνης = ὁ ἅγιος Ἰοάν(ν)ης Saint John ΟΑΓΗ / ΟCCΤΕ / ΦΑΝ / ΟC ὁ ἅγηος Στέφανος = ὁ ἅγιος Στέφανος Saint Stephen ΟΑΓΗΟCΝ / ΗΚ / Ο / Λ / Α / Ο / C ὁ ἅγηος Νηκóλαος = ὁ ἅγιος Νικóλαος Saint Nicholas
Important bronze processional cross decorated on each arm with haloed saint inscribed with name: St. George (top) with elaborate robes enlivened with three small crosses arranged vertically; St John (left) flanked by cross and inscription; St. Nicholas (bottom) in elaborate robes with crosses and holding his hands to his chest, and St. Stephen (right) flanked by inscription and a small cross and incised representation of stones. This depiction of Stephen with three stones is especially interesting. He is described in Acts 6:11 as convicted in 34 AD by the Sanhedrin for blasphemy against Moses and God then stoned by a mob that included Saul of Tarsus (later St. Paul), thus becoming the first Christian martyr. Two small original attachment holes on the bottom arm. Reverse is flat and undecorated.
Byzantine
2
christ, Virgin and Stephen
Circa 9th-11th Century AD
Complete bronze
Length: 3.25 in. (8.3 cm)
reliquary cross
Condition: Unhinged top and bottom but most likely a matching set. Smooth olive patina on front, obverse side toned. Fore-edge of one arm chipped.
(enkolpion) decorated on the obverse with two central figures representing the Panaghia, or All
Inscribed:
Holy Virgin Mary
Obverse:
with her son Jesus
ΠΑΝΑΓΗΑ Παναγήα = Παναγία Panaghia (meaning “All-Holy,” the title of the virgin Mary)
Christ. This repre-
ΗC XC = Ἰ(ησοῦ)ς Χ(ριστό)ς Jesus Christ
at the moment of
Reverse:
Mary’s arms are in
ΟΑΓΗΟCCΤΕΦ / ΑΝΟC ὁ ἅγηος Στέφανος = ὁ ἅγιος Στέφανος Saint Stephen
the orans position,
Reference: See PITARAKIS, #279 for a related example of the obverse in the Walters Museum.
uity that survives in
sentation symbolizes Mary with Christ in the womb the incarnation.
i.e. arms outspread in prayer, a custom of praying in antiqChristianity to this day. Incised crosses decorate the space at each of Mary’s arms. The Christ child is shown wearing a mantle decorated with vertical and horizontal lines. On the reverse, St Stephen is shown with arms outspread and wears a spectacularly decorated robe. By his hand, a symbol of the cross on a mound of
Archistrategos and St. George
3
Byzantine
Complete bronze
Circa 9th-11th Century AD
reliquary cross
Length: 3.3 in. (8.5 cm)
(enkolpion) depicting an elaborately robed figure with arms outstretched in prayer with the title Archistrategos incised above. Archistrategos means “commander in chief” and is a title used for luminaries, particularly the archangel Michael, who is most likely represented here. The reverse features a wonderful depiction of St. George with broad rounded shoulders and flowing robes. From Constantinople or Anatolia. A superbly incised and important example with beautiful patina.
Condition: Superb. Lower hinge intact. Inscribed: Obverse: ΑΡΧΗCΤΡ / ΑΤΗΓΟC Ἀρχηστράτηγος = Ἀρχιστράτηγος Archistrategos (Michael or another archangel) Reverse: ΟΑΓΗΟCΓ / ΗΟΡΓΗΟ / C ὁ ἅγηος Γηόργηος = ὁ ἅγιος Γεόργιος Saint George Reference: See PITARAKIS, #348, for a very closely related example with St. John and St. George, most certainly from the same workshop and possibly by the same hand. Background: Archistrategos means “commander-in-chief” and is usually the title of archangels though not exclusively. In written texts, it has been used as title of Christ and Stephen (as well as the archangels). It also occurs for the Satanic hosts, as in Origen. The word originally came from the Hebrew Bible and was transferred through the Septuagint to the Christian world.
Byzantine
4 Unopened reliquary cross
Circa 9th-11th Century AD
Complete bronze
Height: 4 in. (10.2 cm)
reliquary cross
Condition: Original unopened state. Smooth, olive-green patina front, the reverse with lighter green patina and very tip of left arm broken away.
(enkolpion) depict-
Inscribed:
front inscribed with
ing a robed figure with arms outstretched in prayer on each side. The
Obverse:
the name of St.
ΜΗΧΑΗ / Λ Μηχαήλ = Μιχαήλ Michael
Michael, and the
Reverse:
inscription most
ΟΑΓΙC / ΓΙΕ / ΟC ὁ ἅγι(ο)ς Γιε(όρ)γ(ι)ος(?) Saint George?
likely of St. George.
Reference: See PITARAKIS, Supplemental #7, for an example with Saints Michael and George. See also #79, PRINCETON for a reliquary depicting Michael.
Extremely rare in
reverse featuring a non-standard
Original pins both top and bottom. original unopened condition.
Jesus christ and Virgin Complete bronze
5
Byzantine Circa 9th-11th Century AD
reliquary cross
Length: 3.3 in. (8.4 cm)
(enkolpion) with artJesus Christ with
Condition: Intact with superb patina on both sides. Hinge at bottom intact.
intricately styled
Inscribed:
flowing robes, an
Obverse:
ful depiction of
ornate halo also of thorns, and out-
ΗC / XC Ἠ(σοῦ)ς {Ἰ(ησοῦ)ς} Χ(ριστό)ς Jesus Christ
stretched arms with
Reverse:
symbolic of a crown
a cross on each side symbolic of the nail piercings. His feet, each with a nail piercing, protrude from below his garment. Inscribed above with the abbreviated form of Jesus Christ. The reverse depicts a figure with arms outstretched in prayer wearing beautifully detailed robes with Panaghia inscription above. Superbly preserved.
ΠΑΝΑΓ / Η / Α Παναγήα = Παναγία Panaghia (meaning All-Holy) Reference: See PITARAKIS, #236, for related iconography, and also TEMPLE, #57, for a reliquary cross with Panaghia. Background: Panaghia (also transliterated as Panagia and Panayia), meaning “All Holy,” was the title given to the Virgin after her motherhood of Christ was confirmed at the Council of Ephesus in 431 AD.
Byzantine
6 Mary as Mother of God
Circa 9th-11th Century AD
Bronze reliquary
Length: 3.25 in (8.2 cm)
cross (enkolpion)
Condition: Intact and attractive except one bottom hinge missing and a small pin-hole to the right arm. Inscribed: ΜΗΡ ΘΥ = μή(τη)ρ θ(εο)ῦ Mother of God Reference: See PITARAKIS, #318 and #319 for related examples with Christ and Mary flanked by anonymous busts, and #452 for an example flanked by busts identified as St. John and St. Paul.
depicting four figures. The two central figures are undoubtedly Christ and the Virgin Mary, Mother of God, as indicated by the inscription above. Two additional figures, en buste without inscription, are presented at the end of the left and right arms. By convention, the two busts may represent St. John and St. Paul. Superb patina and sharp inscription. A scarcer type with four figures.
St John and Panaghia
7
Byzantine
Large, solid bronze
Circa 9th-11th Century AD
pendant cross with
Height: 3.4 in. (8.6 cm)
single attachment
length portrait of an
Condition: Intact. Olive brown patina with two small areas of very light encrustation. Attachment loop intact.
elaborately robed
Inscribed:
man is depicted
Obverse:
with arms out-
motifs, perhaps
ΟΘΕΟΛΟΓ / ΟCΤ ὁ θεολόγος τ(ου ??) or Ι(οάννης ??) The Theologian (meaning St. John the Theologian)
palm branches,
Reverse:
flank the figure. An
ΠΑΝΑ / ΓΗΑ Παναγήα = Παναγία Panaghia (meaning “All-Holy” the title of the Virgin Mary)
loop at top. On the front, a single full-
stretched in prayer. Two triangular
inscription above identifies the figure as St. John the Theologian. St. John was son of Zebedee and the beloved apostle of Christ. He is believed to have authored the Gospel and first Epistle of John, and to have outlived the other Apostles. He is also known as John the Evangelist and John the Divine. On the reverse, a similar figure is shown surmounted by a Panaghia inscription.
Byzantine
8 incised Figure and cross
Circa 9th-11th Century AD
Complete bronze
Height: 3.8 in (10 cm)
reliquary cross
Condition: Intact as shown, no pin in lower hinge. Reference: See PITARAKIS #508 for an uninscribed example with a figure, and #620 for a variant of the etched cross reverse.
(enkolpion) depicting, on obverse, a single standing figure with arms stretched out in prayer. The figure is drawn in a very schematic style. On the reverse, a large cross is incised with punched dots punctuating each of the extremities and the center. A large piece of the original bronze attachment at the top remains. Nice green patina.
Large Processional cross Large solid bronze processional cross with two knobs at the end of each flaring arm and a long flange for insertion into a socket. The front engraved, from top, with the images of the winged archangel Michael, a haloed Mary Mother of God, with her hands in prayer, and Saint Mary Magdalen holding a cross in her right hand. Each figure depicted within a ring of dots and identified with an inscription. The reverse inscribed with five similar four-petaled flowers. The winged depiction of the archangel Michael is a less common subject on reliquary crosses.
9
Byzantine Circa 8th-10th Century AD Length: 8.4 in. (21.3 cm) Width: 4.2 in. (10.5 cm) Condition: Intact. Inscribed: ΜΗΧ / ΑΗΛ Μηχαήλ = Μιχαήλ Michael ΜΗ / ΘΥ μή(τηρ) θ(εο)ῦ Mother of God ΗΑΓΗ / ΑΜΑΡ / ΝΑ ἡ ἁγήα Μαρνα ? = ἡ ἁγία Μαρία ? Saint Mary (Magdalen) ? Reference: Crosses with tearshaped projections appear in the seventh century and continued with reduced frequency into the eleventh century. Reference: See PITARAKIS, figure #87, for an example in Athens. Also see MALCOVE, #177.
Byzantine
10 Standing robed Figure
Circa 9th-11th Century AD
Large bronze reli-
Height: 3.75 in. (9.5 cm)
quary cross (enkolpion) with lovely
Condition: Intact as shown. Remains of attachment loops at top and bottom.
portrait of a haloed figure with outstretched arms and
Reference: See PITARAKIS, #567-568 for related examples identified as St. George.
open-palm hands, possibly St. George, and long expressive face. The figure wears an ornate robe incised with hatched and geometric patterns. Attractive patina.
Byzantine
11 St. Stephen
Circa 9th-11th Century AD
Bronze reliquary
Height: 3.25 in. (8.3 cm)
cross (enkolpion)
Condition: Intact as shown. Thick patina. Bottom attachment loops partially lost.
depicting a haloed
Inscribed:
in prayer and wear-
ΑΓΗCΤΕΦΑΝ / ΟC ἅγη(ος) Στέφανος = ὁ ἅγι(ος) Στέφανος Saint Stephen
ing a full-length
standing figure with outstretched arms
robe with ornate design. Above the figure is an inscription with the name of St. Stephen.
Mary with Gospel Authors 12
Byzantine
Artful and important
Circa 9th-11th Century AD
bronze reliquary cross
Height: 3.25 in. (8.3 cm)
(enkolpion) featuring Mary and the authors of the four gospels, all cast in rare raised relief. Mary, Mother of God, is depicted as the central haloed figure with flowing robes and arms outstretched in prayer. The end of each arm is decorated with the bust of a male bearded bust within a beaded ring, each identified by the Greek initials of the names Matthew, Mark, Luke and John. Important type. From Anatolia or Constantinople.
Condition: Intact as shown. Top attachment loops missing. Inscribed: ΜΗ ΘΥ μή(τηρ) θ(εο)ῦ Mary, Mother of God (center) And the Greek initials Μ Matthew (top) Μ Mark (bottom) Λ Luke (left) I John (right) Reference: See PITARAKIS #112 for near identical example. For another example cast in raised relief in the collection of the Virginia Museum of Fine Arts, see #45 VMFA (Virginia: 1994). Also see WALTERS #305, for a similar example in the Detroit Institute of the Arts. Additional Image: See Cover Photo.
Mary with Gospel Authors 13
Byzantine
Cast raised relief cross simi-
Circa 9th-11th Century AD
lar to above, uninscribed.
Height: 3.65 in (9.3 cm) Condition: Intact as shown except one loop from bottom hinge missing. The highest relief detail worn from heavy use in antiquity, but very discernible. Reference: See PITARAKIS #114, and also VMFA, #45, and WALTERS, #305.
Byzantine
14 Hinged reliquary cross
Circa 8th-11th Century AD
Very fine, heavy, simply
Height: 3.7 in. (9.6 cm)
decorated, complete
Condition: Intact. Reference: See PITARAKIS, #531, for a variant with central open cavity and punch pattern.
bronze reliquary cross (enkolpion). Each slightly flared arm is decorated with a large concentric dot pattern and a series of smaller dot. At the center, a large incised circular pattern with a central cavity. The top hinge is attached to the loop of a large suspension arm. Front and back cover have similar design. Lovely patina.
Byzantine
15 Mother of God inscription
Circa 8th-11th Century AD
Top half of a bronze reli-
Length: 3 in. (7.6 cm)
quary cross (enkolpion)
Condition: Intact with light encrustation. Minor loss to the bottom of the punched cavities. Top hinge broken away.
depicting a full-length central figure with flowing robe neatly incised. The head is surrounded
Inscribed:
with a nimbus, and
ΜΡ / ΘΥ = μ(ήτη)ρ θ(εο)ῦ Mother of God
inscribed above. Five
Reference: See PITARAKIS #346 for the type.
rate the cross and would
depressed cavities decohave originally held a paste or glass inlay. A large and less common type. From Anatolia or Constantinople.
raised relief crucifix
16
Early Byzantine
Solid cast bronze
Circa 6th-8th Century AD
pendant cross
Height: 2.8 in. (7.2 cm)
with central
Condition: Suspension loop intact and wearable. The relief detail worn but very discernible.
depiction in high relief of the crucified Christ
Reference: See PITARAKIS, figure #4, for an example in the Fitzwilliam Museum, Cambridge. For the type, see also #124 A/B and also #119 in the VMFA.
flanked on left by a figure in profile (mourning Mary) and on right by a frontal bust (John). Two busts adorn the top and two angels appear at Christ’s feet. Rare and very early example of a crucifix.
Heavy cross with christ Very thick, solid cast
17
Byzantine Circa 8th-11th Century AD
bronze pectoral cross
Length: 2.8 in. (7.1 cm)
with integral attachment decorated with a simple
Condition: Intact. Reverse side with slightly more wear and possible indecipherable inscription.
but charming and lightly
Inscribed:
loop at top. The obverse
incised full-length image of christ with outstretched arms and inscription above. On the reverse, another full length figure, possibly Mary.
ΗC / XC Ἠ(σοῦ)ς {Ἰ(ησοῦ)ς} Χ(ριστό)ς Jesus Christ
Byzantine
18 Large Pendant cross
Circa 7th-11th Century AD
Early bronze
Height: 3.3 in. (8.4 cm)
pendant
Condition: Intact as shown, with remains of light earthy encrustation.
flat back,
cross with slightly flaring arms,
Reference: See PITARAKIS #200 for related type. Also see VMFA, page 114, for a related example with central cavity.
and integral attachment loop at the top. A large central circular cavity would have originally held a glass inlay. Flanking the central cavity are remains of where four circular appliques or stones were affixed.
Byzantine
19 Uninscribed enkolpion
Circa 8th-12th Century AD
Bronze,
Height: 2.25 in (6.2 cm)
medium-
Condition: Areas of light encrustation. Hinge pins missing, otherwise intact.
sized reliquary cross (enkolpion), uninscribed, with slightly flaring arms. Though unhinged, both sides clearly original matched halves. Nice example of the type.
christ nailed to cross
20
Byzantine
Top half of a
Circa 9th-11th century AD
bronze reli-
Height: 3.25 in. (8.3 cm)
quary cross (enkolpion)
Condition: Intact as shown with bottom loop gone. Superb patina.
beautifully
Inscribed:
depicting
ΗC+CNH / KA Ἠ(σοῦ)ς {Ἰ(ησοῦ)ς} Χ(ριστὸ)ς νικᾷ Jesus Christ conquers/is victorious
Jesus Christ, nimbus at his head, as a full-length, unbearded figure with flowing robes decorated with a hatched and ribbon incising. His arms are spread apart and at each hand a large nail is depicted. Extremely fine and rare.
Heavy Pendant cross Heavy, thickly cast medi-
21
Byzantine Circa 6th-10th Century AD
um-sized bronze pendant
Height: 2.15 in. (5.5 cm)
cross with flaring arms and
Condition: Intact with smooth dark green patina.
integral attachment loop at top. Nice patina and distinctive style. Wearable.
Byzantine
22 Pendant cross
Circa 8th-11th Century AD
Larger pendant
Length: 2.4 in (6.1 cm)
bronze cross with
Condition: Intact as shown with nice toning.
slightly flaring arms
Reference: See PITARAKIS, #606, and also see VMFA, page 114, for the type.
tral cavity which
and depressed cenonce held a paste or glass inlay. Each arm decorated with a punched circle pattern. An integral attachment loop at the top. Back is flat and undecorated. Attractive reddishgreen patina. Wearable.
Byzantine
23 Pendant cross
Circa 7th-10th Century AD
Pendant bronze cross
Height: 2.1 in (5.3 cm)
with flaring arms ter-
Condition: Intact as shown, with a small surface chip lower left, otherwise very fine. Background: The tear-drop projections were common in the Seventh century and continued with reduced frequency into the Middle Byzantine period.
minating in tearshaped projections at the corners. Each arm decorated with a punched circle pattern. An integral attachment loop at the top. Back is flat and undecorated. Smooth green patina. Wearable.
Pendant cross
24
Byzantine
Pendant bronze cross
Circa 7th-10th Century AD
with ornately
Height: 2.35 in. (7.2 cm)
knobbed terminals on
Condition: Intact as shown. Nice patina.
each arm. A central cavity once held a
Reference: See PRINCETON, #86, for a related example in silver now in the Princeton Art Museum.
stone or glass inlay, the balance of the cross decorated with a punch and circle pattern. The flat back is undecorated. An integral attachment loop at the top. Wearable.
Pendant cross Pendant bronze cross with two knobs decorating the terminal of each arm. Arms are symmetrical, resulting in very pleasing aesthetics. An empty cavity at the center of the cross once held a stone or glass inlay. A neatly applied punched circle pattern decorates the cross. The back is flat and undecorated. An integral attachment loop at the top.
25
Byzantine Circa 7th-10th Century AD Height: 2 in. (5 cm) Condition: Central inlay missing but otherwise intact as shown. Beautiful brown patina. Wearable. Reference: See PRINCETON, #86, for a related example in silver now in the Princeton Art Museum.
Byzantine Circa 6th-10th Century AD
26 Pendant crosses c
a
g
e
Length: Range from 1 in. (2.5 cm) smallest to 1.5 in. (3.8 cm) largest. Condition: All intact as shown. Background: Demand for pendant crosses began to accelerate in the 6th Century AD as people sought to hang them suspended from a cord around the neck as a source of divine favor or blessing. While bronze was most popular, pendant crosses were made from a variety of other materials including bone, iron, silver, gold and glass. They were used at every level of society, especially during the period of ‘Iconoclasm’ in the 8th - 9th Century AD when figural depictions were forbidden by the Orthodox Church. They are among the most durable surviving objects from the byzantine era and thus provide a physical link to the earliest days of the early Christian period.
Obverse
b
d
f
h
Reverse
Reference: For (a), see TEMPLE #60; for (b) see #449 in WALTERS; for (c-h) see TEMPLE #63.
Selection of fine bronze solid-cast pendant crosses including: (a) slender rounded-arm type (probably from Constantinople) with original dark green paste in central cavity; (b) rounded-arm type segmented central section and stylized with acutely tapered arms; and (c-h) six variants of a well-known type, paticularly popular in Egypt and Syria during the early Christian period, of simple pendant cross with punched circle pattern with lengths that taper toward the center. All with attachment loops intact and wearable.
enamelled Pendant cross
27
Byzantine
Fine, plain bronze pendant
Circa 8th-10th Century AD
cross with remains of a
Length: 1.8 in. (4.6 cm)
red enamel circle at the
Condition: Intact as shown with very attractive surface.
center enlivened with a pattern of punched dots.
Reference: See PITARAKIS, #605, for example with enameled central cavity.
Three of the four arms with a terminal pattern of a row of punched dots between vertical lines. At the bottom a single incised line. Flat backed, with integral attachment loop. Lovely patina. Wearable.
Buckle Plate with cross
28
Byzantine
Very fine bronze buckle
Circa 7th-10th Century AD
plate cast in the form of a
Height: 1.5 in. (3.8 cm)
cross. It is decorated on
Condition: Intact, the fastening pin lost in antiquity.
the front with punched circle motif. Lovely pati-
Reference: See TEMPLE no. 79 for near identical example of the type.
na and attractive.
circular Stylized Fitting
29
Byzantine
Stylized solid cast bronze
Circa 8th-12th Century AD
fitting consisting of a
Height: 2.5 in. (6 cm)
rounded ring with inte-
Condition: Intact, excellent dark chocolate patina.
gral, flattened projection terminating with a curved arm at each side. Both sides decorated with punched circle pattern.
Byzantine
30 Fine Openwork Phalera
Circa 8th-11th Century A.D.
This fine bronze
Height: 1.8 in. (4.6 cm)
openwork cross
Condition: Intact as shown, top of tang missing. Reference: For a similar bronze phalera in the Virginia Museum of Fine Arts, see VMFA #97. Background: The remains of the projecting tang suggests that the object may have been used as a harness fitting, suspended from the head or chest gear of horses.
with equal, flaring arms is cut out of a circular disc to which it is connected by slender projections at each of the eight corners of the cross. A punch and circle pattern decorates both sides. The stub of a projecting tongue, used for attachment, at the top.
Byzantine
31 Liturgical cross on chain
Circa 6th -9th Century AD
Wide-armed cross cut from a single
Height: 6.75 in (17.1 cm) including chain
sheet of bronze with central raised cir-
Condition: Intact as shown
and bottom and attached to original
Background: The polycandelon was a predecessor to the chandelier. It consisted of a large bronze round plate, hanging from a smaller bronze disc, which was suspended on chains from the vault or ceiling of a church.
cular boss. The cross is pierced at top bronze chains. Most likely an attachment from a liturgical object such as a polycandelon, lamp, or incense burner.
Medallion with Apostle
32
Byzantine
Important solid
Circa 9th-11th Century AD
bronze medallion
Diameter: 1.5 in. (3.8 cm)
with incised dotted border and decorated with a superb half-
Condition: Intact with excellent patina. Reference: See PRINCETON #62, and GLORY #234 for the type.
length incised portrait of a bearded Apostle, his head encircled with a nimbus. The Apostle wears ornately styled robes and raises both hands in prayer. Smooth, uninscribed back. Examples known in the Princeton and Metropolitan Museums are identified as St. Peter and St. John the Precursor.
Medallion with Polychronia 33
Byzantine
Important thin
Circa 9th-11th Century AD
bronze medallion
Diameter: 1.7 in. (4.2 cm)
with incised ring rated with an
Condition: Intact as shown, with small chip from right edge. The incised features of the face worn.
embossed half-
Inscribed:
border and deco-
length incised portrait of a figure, probably Polychronia. The figure grasps an incised robe with the right hand and holds the open palm of the left hand in prayer. A nimbus surrounds the figure’s head, incised tresses of hair fall past the shoulder. Polychronia is known as the mother of St. George and her name is synonymous with the acclamation “God Grant Many Years.”
Η / ΠΟ / ΛΥ / Χ / ΡΟ / ΝΗ / Α ἡ Πολυχρονήα = ἡ Πολυχρονία Polychronia (female name: meaning “many years”) Background: Polychronia is the mother of St. George. She became a Christian without her husband’s knowledge, then upon his death returned to her native Palestine to raise her son. George became revered when, as a young adult, he defied the Roman ruler Diocletian at the start of the Great Persecution (circa 304 AD).
Byzantine
34 Lamp with cross and Bird
Circa 8th-11th Century AD
Heavy cast,
Length: 7.3 in (18.5 cm)
high-quality
Condition: Intact as shown. Lamp lid and small upper section of right handle lost. Superb dark patina. Reference: See BAILEY IV, #Q3818 and Q3819 for two similar examples in the collection of the British Museum.
bronze lamp with rounded elongated body and long nozzle, with flaring tip, dished round the circular wickhole. Raised, molded rim round the fillinghole, stepped internally for the lost lamp lid with hinge pieces to the rear. Elaborate double-rod handle at the rear, curving up and forward, joining and separating, terminating in an open-work decorative series of a bird surmounting two loops atop a cross. The bottom of each handle where it joins the body of the lamp is decorated with a well articulated face in profile on each side. Substantial raised base ring with a square socket for the spike in the lamp stand.
Dual Lamp with insert
35
Byzantine
Sizable, high-quality
Circa 6th-11th Century AD
bronze dual-wick hanging
Length: 8 in. (20.3 cm)
lamp with circular body set on a low integral ring base. Each nozzle flares outward with rounded wick-hole decorated with circular knobs. A semi-circular spine runs underneath the nozzle neck from side to side. Two original bronze chains join the lamp to a double-loop attachment ring. Inside the lamp, a small removable bronze inset, perhaps an incense basket with bottom pierced in antiquity with two holes, is made to rest within an open underside. This type of free-standing insert make this a scarce variant of a well-known form.
Condition: Fine condition overall with light encrustation and some mottling of the patina. There are tiny areas of loss near one wickhole and under the opposite nozzle. Otherwise, sturdy and attractive. Reference: See BAILEY IV, #Q3826 for a more elaborate example of the type without the inset.
Byzantine
36 Seven Wick Bronze Lamp
Circa 6th-11th Century AD Diameter: 5.3 in (13.5 cm) Condition: Intact with smooth patina. Three tiny age fissures, the largest being a 5mm hole to the underside of one nozzle.
Charming, high-quality seven-wick solid cast bronze hanging lamp with three integral loops for attachment to suspension chain. The underside terminates in a concave footed pedestal base. The center with a circular filling hole and raised rim. Elegant shape.
Early Byzantine
37 Amuletic ‘Salvation’ Fish
Circa 5th-8th Century AD
Byzantine lead
Size: 1.4 in (3.5 cm)
amulet in the form of
Condition: Intact
a fish (perch or mullet), with articulated
Reference: For a discussion of fish amulets, see SEPPHORIS, page 194. For two examples of Byzantine fish amulets, see #335 and 354 in KUNST AUS ROM. Background: Based on interpretations of passages from Clement, fish also symbolize the believer as having been caught (that is, saved) by the fisherman Jesus.
eyes, gills, scales, fins and bifurcated tail. The Greek word for fish, ichthus, was interpreted as an abbreviation for the phrase Iesous Christos Theou (H)uios Soter, meaning “Jesus Christ, Son of God, Saviour.” Nice detail and quite interesting.
cross-inscribed Weights
38
Early Byzantine Circa 6th-8th Century AD Length: (a): 1.8 in. (4.6 cm) (b): 1.3 in. (3.3 cm) (c): 0.6 in. (1.5 cm) Condition: Superb with sharp inscriptions. Reference: See EMPORIO, #115 for an identical example of (a) along with a chart of weights and values. Also see ANTIOCH, page 87-88 for a discussion of weights in the early Byzantine period.
Three early Byzantine bronze square weights, two inscribed with the Cross, a symbol that was used on weights as an added mark of quality and honesty. The largest of the weights, (a) depicts a large central cross flanked on both sides by the Greek letter Γ (abbreviation for the Greek oungia) and encircled within a wreath. At 79.95 grams, the weight represents the value of 3 early Byzantine ounces, and is identical in weight and markings to one found at Emporio in Chios in the 1950s by the British School at Athens. Weight (b) at 26.6 grams represents the value of 1 ounce and is decorated with a wreathencircled cross flanked by the Greek letters Γ and Λ. An additional small cross is used at each of the four corners. Both weights are incised and originally inlaid with silver, slight traces of which remains. Weight (c) is of a simpler form with two circle punches on each side, probably indicating a value of two nomisma.
token with cross Pattern
39
Early Byzantine
Simple but wonderful circular
Circa 5th-7th Century AD
bone token or gaming counter
Diameter: 0.86 in (2.2cm)
hand-carved identically on both sides with alternating triangular cavities and circular punches that produced a cross pattern regardless of how the disc is rotated.
Condition: Slight abrasion as shown, opposite side is excellent. Reference: See ANTIOCH, pg 86, for a discussion of gaming and domestic entertainment.
Early Byzantine
40 eucharistic Bread Mold
Circa 5th-7th Century AD
Eucharistic
Diameter: 4.9 in (12.5 cm)
bread mold carved from
Condition: Intact and overall very crisp incised decoration with legible inscriptions. Minor losses at the edge as visible in photo.
a single section of wood. The large cir-
Reference: See GALAVARIS #81 for the type. In his seminal work on Bread and the Liturgy, Galavaris dates this particular type to the Early Byzantine Period (5th6th Century AD), and is most likely from Coptic Egypt.
cular front
Background: Excavations at Achmim-Panopolis have yielded a large number of Christian stamps, some of which have been identified as bread stamps; these have found their way into various museums and collections in Egypt and in Europe. Others have been unearthed in Palestine at important early Christian sites. Asia Minor and Constantinople have also provided examples.
angle with a
side is incised with central cross surmounted at each right small bordered square enclosing a Greek inscription including the abbreviated name of Jesus Christ in three of the four squares. Triangular shapes decorate each midpoint of the core design, forming arms of an outer cross. the border.
Concentric rings decorate The reverse is smooth
and undecorated except for the flat knob of the handle which is carved in the shape of a square with inscriptions divided into four smaller blocks with Greek inscriptions. Extremely rare, dating from the Early Byzantine Period.
Early Byzantine
41 christian Marriage ring
Circa 5th-6th Century AD Ring Size: 8.5 (18.6 mm) Condition: Thin part of band neatly repaired. Wear to bezel. Inscribed: VΓἸΑ (health) Reference: See KALAVREZOU, #126 for an identical example now in the Walters Museum. Background: The significance of “health” is related to successful conception and childbirth.
Early Christian bronze marriage ring engraved on the bezel with the images of a husband and wide en buste flanking a central cross. The iconography of early Christian marriage closely evolves from and resembles the official imagery of Roman imperial coins and art of this period.
Silver Beaded necklace
42
Early Byzantine Circa 4th-6th Century AD Length: 17.7 in. (45 cm) Condition: All but three beads intact. Each bead subtly unique in size and toning of the base silver. Reference: See KUNST AUS ROME, #278, for a related example using an openwork granulation technique to decorate the border of an early Christian mirror.
Very fine Byzantine necklace consisting of 79 silver cubeshaped “beads� with openwork sides and solid top and bottom where beads abut one another in succession. Each bead clearly fashioned by hand using an unusual and attractive granulation method, and pierced top and bottom for attachment. The wear between beads suggests that the necklace was worn and treasured over a long period of time. The beads are held together on a modern string, and could easily be refashioned with a modern chain into a dramatic wearable necklace. A bold and exquisite example of geometric art as jewelry.
Gold ring with Stone
43
Roman
Superb intact gold finger
Circa 2nd Century AD
ring with original, ruddy-
Ring Size: 5 (15.6 mm)
colored unengraved stone, perhaps cabochon garnet. Plain, oval-sectioned hoop expanding to wide shoulders and an oval flattened area centered with the stone set in a round bezel.
Weight: 2.0 grams Condition: Intact. Reference: See JEWELLERY STUDIES, p. 35, #5 and 6, for two related examples in the British Museum.
ART
FROM THE
ANCIENT WORLD XLIV
15
Mother of God
16
Raised Relief Crucifix
17
Heavy Cross with Christ
18
Large Pendant Cross
19
Uninscribed Enkolpion
20
Christ Nailed to Cross
21
Heavy Pendant Cross
1
Large Cross with Saints
2
Christ, Virgin and Stephen
3
Archistrategos and St. George
4
Unopened Reliquary Cross
5
Jesus Christ and Virgin
34 Lamp with Cross and Bird
6
Mother of God
35 Dual Wick Lamp with Insert
7
St. John and Panagia
36 Seven Wick Bronze Lamp
8
Incised Figure and Cross
37 Amuletic Fish
9
Large Processional Cross
38 Cross-Inscribed Weights
30 Fine Openwork Phalera 31 Liturgical Cross on Chain 32 Medallion with Apostle 33 Medallion with Polychronia
10 Cross with Robed Figure
39 Token with Cross Pattern
11 Cross with St. Stephen
40 Eucharistic Bread Mold
12 Mary with Gospel Authors
41 Christian Marriage Ring
13 Mary with Gospel Authors
42 Silver Necklace Beads
14 Hinged Reliquary Cross
43 Gold Ring with Stone 22
Pendant Cross
23
Pendant Cross
24
Pendant Cross
25
Pendant Cross
26
Pendant Cross Group
27
Pendant Cross
28
Buckle Plate with Cross
29
Circular Stylized Fitting
Museum Quality Ancient A r t