This Byzantine ivory from Constantinople shows Ariadne amid Dionysiac figures, likely from luxury furniture, now at the Musée de Cluny, reflecting myth, refinement, and classical themes reinterpreted in Late Antiquity.
Consul Areobindus Dagalaifus Areobindus
At the Cluny Museum, the ivory diptych of Consul Areobindus captures ceremonial power, intricate artistry, and Byzantine spectacle, linking personal memory with the enduring legacy of late Roman political symbolism.
The Stavelot Triptych in the Morgan Library
The Stavelot Triptych unites Byzantine and Romanesque traditions, blending Eastern symbolism with Western narrative, while its precious materials and relics embody artistic exchange, spiritual devotion, and the cultural dialogue of the 12th century.
Pendant with the Bust of an Empress
The pendant in the Getty collection cannot be securely identified as Aelia Flacilla. Although its imperial iconography and late 4th-century date place it within the Theodosian milieu, the lack of inscriptions or provenance makes any specific portrait attribution—however tempting—ultimately speculative rather than demonstrable.
Nativity scene from the Menologion of Basil II
The Nativity in the Menologion of Basil II presents Christ’s birth not as a simple narrative scene but as a visual theology of light and revelation. In Byzantine thought, the birth of Christ is understood as the “light of knowledge” entering the world, replacing the guidance of the stars with a higher form of divine illumination.
Byzantine Silver Bucket
Unearthed in 1901 near Albania’s Via Egnatia, the Vrap Treasure’s exquisite Byzantine Silver Bucket — repoussé birds, flowers, and mysteries intact — captivates still from the MET.
Miniature Mosaic Icon of Saint Demetrios in Sassoferrato
Sassoferrato’s breathtaking micromosaic Saint Demetrios — soldier, miracle-worker, holy oil and all — distills Byzantium’s final glorious artistic flowering into one extraordinary 24cm treasure.
The Enthroned Christ and Emperor Leo VI the Wise
The Hagia Sophia narthex mosaic of Christ and Emperor Leo VI endures as both art and message—an image of imperial humility and divine authority, crafted to speak across centuries.
The Hodegetria Plaque
The Hodegetria ivory and its related Louvre panel reveal the refined elegance of 10th-century Byzantine carving, where sacred figures, delicate drapery, and restrained composition embody aristocratic devotion and the serene spiritual authority of the Deësis tradition.
Christ Pantocrator in the Byzantine Monastery of Daphni
The Christ Pantocrator at Daphni, set within the austere harmony of the 11th-century monastery, embodies Byzantine spiritual intensity, where divine authority, emotional ambiguity, and monumental mosaic craftsmanship converge in an image that continues to provoke awe and interpretation.