Cardinal Bessarion in prayer before his Byzantine Reliquary

Gentile Bellini, active about 1460-1507
Cardinal Bessarion and Two Members of the Scuola della Carità in prayer with the Bessarion Reliquary, about 1472/3, Egg Tempera on Wood, 102.3 × 37.2 cm, The National Gallery, London, UK https://www.nationalgallery.org.uk/paintings/gentile-bellini-cardinal-bessarion-with-the-bessarion-reliquary
The Byzantine Reliquary of Cardinal Bessarion, late 14th-early 15th cent., Wood, silver, gilt filigree, enamel, glass, and precious stones, Galleria dell’Accademia, Venice, Italy https://www.gallerieaccademia.it/en/reliquary-cardinal-bessarion

The painting by Gentile Bellini depicting Cardinal Bessarion in prayer before his Byzantine Reliquary, accompanied by two Members of the Scuola della Carità, housed in the National Gallery in London, captivates my fascination. Bellini’s masterpiece not only offers a tangible link to the historical context it portrays but also illuminates the cultural milieu of its time. Functioning as both an artistic treasure and a captivating historical document, this work by Bellini is a testament to the rich tapestry of the past. https://www.nationalgallery.org.uk/paintings/gentile-bellini-cardinal-bessarion-with-the-bessarion-reliquary

Born Basilios Bessarion in 1403 in Trebizond, on the Black Sea, Bessarion emerged as a distinguished Humanist and a significant figure of the Renaissance. Initially devoted to a monastic life within the Eastern Orthodox Church, his trajectory took a pivotal turn during the Council of Ferrara-Florence. Here, he fervently advocated for the union of the Eastern and Western Churches, leading to his relocation to Italy. Immersing himself in the Renaissance’s revival of classical learning, Bessarion’s scholarly contributions and diplomatic acumen were acknowledged by Pope Eugene IV in 1439, culminating in his appointment as a Cardinal of the Catholic Church.

Beyond his ecclesiastical responsibilities, Cardinal Bessarion carried influence as a significant Arts Patron, amassing an extensive collection of Greek and Latin manuscripts including ecclesiastical and classical texts. His library considered a beacon of erudition, played a pivotal role in disseminating Greek knowledge to Latin-speaking scholars, thus nurturing the flourishing Humanist movement. This rich repository, comprising rare manuscripts and ancient texts, reflected Bessarion’s fervent commitment to preserving and transmitting the cultural heritage of both Eastern and Western traditions. This passion left a lasting mark on the intellectual landscape of the Renaissance. On May 31, 1468, Cardinal Bessarion bestowed his precious library upon the Serenissima Republic of Venice, endowing hundreds of rare manuscripts to shape the nucleus of the renowned library of St Mark’s, the Biblioteca Marciana.

Gentile Bellini, active about 1460-1507
Cardinal Bessarion and Two Members of the Scuola della Carità in prayer with the Bessarion Reliquary, about 1472/3, Egg Tempera on Wood, 102.3 × 37.2 cm, The National Gallery, London, UK https://www.nationalgallery.org.uk/paintings/gentile-bellini-cardinal-bessarion-with-the-bessarion-reliquary
The Byzantine Reliquary of Cardinal Bessarion, late 14th-early 15th cent., Wood, silver, gilt filigree, enamel, glass, and precious stones, Galleria dell’Accademia, Venice, Italy https://www.gallerieaccademia.it/en/reliquary-cardinal-bessarion

While Cardinal Bessarion is primarily celebrated for his scholarly contributions, efforts in reuniting the Eastern and Western Churches, and the establishment of his extensive library, he is also associated with a remarkable religious artifact known as Bessarion’s Reliquary or Staurotheke in Greek. This magnificent example of Late Byzantine craftsmanship, donated by Bessarion himself to the Scuola Grande della Carità in 1463, now forms part of the Collection of the Accademia in Venice. The Reliquary features a movable, gilded central Cross with origins traced back to the Byzantine princess Irene Paleologina. Encased within a wooden frame/box adorned with painted scenes depicting the Passion, intricate goldsmithing featuring blue-colored enameling, and flanked by the figures of Emperor Constantine and his mother Helena, the Cross also incorporates four chambers made of rock crystal. These chambers, situated on either side of the Cross, house the precious Relics of the True Cross and Christ’s robe.

Moving from the exploration of Cardinal Bessarion’s Reliquary to Gentile Bellini’s depiction of it, one can discern the symbiotic relationship between the historical artifact and the artist’s creative interpretation. Executed in 1972/73, precisely when Bessarion’s Reliquary made its way to Venice, Bellini was commissioned to craft a painted door panel. This panel was an integral component of a tabernacle designed to encase and safeguard the precious reliquary.

Cardinal Bessarion and Two Members of the Scuola della Carità in prayer with the Bessarion Reliquary (detail), Egg Tempera on Wood, 102.3 × 37.2 cm, The National Gallery, London, UK
https://www.nationalgallery.org.uk/paintings/gentile-bellini-cardinal-bessarion-with-the-bessarion-reliquary

Gentile Bellini’s artistic pursuit not only captures the religious significance of the Reliquary but also breathes life into the personalities linked to its donation. The painting prominently features the generous donor, Cardinal Bessarion, portrayed in profile and modestly attired in black. Accompanying him are two distinguished members of the Scuola della Carità, adorned in their characteristic white robes. One of them is depicted holding an instrument for self-flagellation, projecting a sense of distinction and prominence. Despite the varied depictions, the central focus remains on Bessarion’s Reliquary, commanding attention in the composition. It serves as both a symbolic and visual anchor, connecting the historical artifact to the narrative brushstrokes of Bellini’s portrayal. Consequently, Bellini’s canvas emerges as a bridge between the tangible beauty of the relic and the nuanced storytelling of the individuals tied to it.

Cardinal Bessarion and Two Members of the Scuola della Carità in prayer with the Bessarion Reliquary (detail), Egg Tempera on Wood, 102.3 × 37.2 cm, The National Gallery, London, UK
https://www.nationalgallery.org.uk/paintings/gentile-bellini-cardinal-bessarion-with-the-bessarion-reliquary

The Reliquary’s connection to Venice is beautifully narrated by Holgera A. Klein… In July 1463, ten years after the conquest of Constantinople (1453), Pope Pius II had sent Bessarion to Venice in an attempt to rekindle and promote the idea of a Crusade against the Ottoman Turks. Befitting his role as a Catholic Cardinal traveling as papal legate, the Doge and Senate went out to meet Bessarion in the lagoon on the Bucintoro, the doge’s great ceremonial barge, with chants, acclamations, and church bells resounding from all parts of the city. It was not the only honor bestowed on Bessarion in Venice, for on August 29, a few weeks after his arrival in Venice, Marco della Costa, the Guardian Grande of the Scuola della Carità, and a delegation of its most prominent members went to visit the Cardinal on the island of San Giorgio Maggiore and solemnly invited him to join their confraternity as a member. Touched by the city’s exhibit of respect, Bessarion, accepted the honor, accompanied the Scuola’s delegation back to the Rialto in festive procession, and vowed in gratitude to bestow a special gift on the Confraternity, namely his precious Stavrotheke, that previously belonged to Gregory III Melissenos, the Patriarch of Constantinople, with the sole provision that he would like to hold on to it during his lifetime. https://arthistory.columbia.edu/sites/default/files/content/faculty/pdfs/klein/Klein_estratto.pdf Cardinal Bessarion, Philippe de Mézières and the Rhetoric of Relics in late medieval Venice, by Holger A. Klein, pp. 23-26

In the spring of 1472, in Bolognia, on his way to France on yet another Papal mission, the ailing Bessarion decided to hand over the promised gift, which he had meanwhile ‘further adorned with silver, and fitted with a pole so that it could suitably be displayed in the context of pious devotion’. Three trusted men from the Cardinal’s familia were sent as couriers to hand over the precious panel, which, according to the confraternity’s reply, arrived in Venice in early June. At the request of the Venetian Senate the reliquary was first displayed on the high altar of San Marco on Trinity Sunday, and then carried in solemn procession through the city and across the Grand Canal into the Scuola della Carità accompanied by the entire populace chanting hymns…https://arthistory.columbia.edu/sites/default/files/content/faculty/pdfs/klein/Klein_estratto.pdf Cardinal Bessarion, Philippe de Mézières and the Rhetoric of Relics in late medieval Venice, by Holger A. Klein, pp. 23-26

What a magnificent story!

For a PowerPoint Presentation on Gentile Bellini’s oeuvre, please… Check HERE!

Information on the Conference ‘La Stauroteca di Bessarione: Restauro, Provenienza, Ambito Culturale tra Constantinopoli e Venezia’ (The Stauroteca of Bessarion: restoration, provenance, cultural context between Constantinople and Venice), organized by: Gallerie dell’Accademia, Istituto Hellenico, Veneto Institute of Sciences, Letters and Arts, in collaboration with the German Center of Venetian Studies, 17 – 18 October 2013 https://www.istitutoveneto.it/flex/cm/pages/ServeBLOB.php/L/IT/IDPagina/862

For Photographs of the Staurotheke’s restoration… https://leipsanothiki.blogspot.com/2014/10/359.html

Two Early Christian Tunics in Thessaloniki

Early Christian Tunic, 5th-7th cent., Wool, 117×100 cm, from Egypt (permanent loan of the Benaki Museum), Museum of Byzantine Culture, Thessaloniki, Greece
https://vizantinaistorika.blogspot.com/2016/06/blog-post_30.html

The Early Christian Tunic refers to a garment style worn during the Late Roman/Early Christian period which generally spans from the 4th to the 7th century AD. This era is characterized by the transition from the classical Roman Empire to the Μedieval period, and it includes the later part of the Roman Empire and the Εarly Byzantine Empire. Tunics of that era evolved from the earlier Roman Τunics but had distinct features that reflected the changing cultural, social, and political landscape. My BLOG intends to present information on Two Early Christian Tunics in Thessaloniki, exhibited in the city’s amazing Museum of Byzantine Culture.

What exactly is an Early Christian Tunic? It is a simple, loose-fitting garment, worn by both women and men and often made from linen or wool. Tunics were generally loose-fitting garments, providing comfort and ease of movement. They had no sewing and were worn with the help of belts, buckles, and pins. Cutting and sewing are practices that experienced wider spread in the Mediterranean area after the 7th century. They had a T-shape or a tubular design, with a hole for the head and sometimes sleeves. The shape could vary, and some tunics were more form-fitting than others. The length of the Τunic could also vary. Some reached the knees, while others were longer, extending to the ankles. https://www.mbp.gr/exhibit/chitonas-2/

While some Τunics were plain, others were embellished with plain coloured bands or ‘ornaments’ of textile bands, roundels, or square panels. These bands (called clavi) were of different lengths and adorned the front and back parts of the garment at shoulder level, but sometimes the lower edge was also trimmed with a horizontal band that turned vertically upwards at right angles at each side. Tunics were also adorned with square panels or roundels (called orbiculi) on the shoulders and near their lower edge. Many times, clavi and orbiculi were garment ornaments, tapestry-woven separately, and then applied to the linen or woolen Tunic. https://www.jstor.org/stable/1522750?read-now=1#page_scan_tab_contents page 239

The clothing of the Early Christian period is often studied through archaeological findings, artistic representations, and references in historical texts. For the history of Early Christian garments and their decoration, Egypt is a treasure trove, due to its hot and dry climate. Egyptian textiles that have survived from this period are referred to as Coptic Textiles, an Arabic corruption of the Greek word ‘Aigyptos’, used to describe the Christianised Egyptians.

In the Museum of Byzantine Culture, in Thessaloniki, Greece, there are two Coptic Tunics (on permanent loan from the Benaki Museum) beautifully decorated with clavi and orbiculi.

One of the two Tunics has the natural color of linen and is adorned with purple-colored woven bands (clavi). Wide bands, for instance, embellish the upper part of the chest on both the front and back of the garment. These bands feature depictions of soldiers carrying shields under colonnades. A narrower band extends across the shoulders, displaying roundels with depictions of hares inside woven squares. Prominent features of the Tunic include two long vertical bands that start from the chest and extend to the hem. These bands are adorned alternately with running lions and hares, creating the impression of a hunt.

The second Tunic, multicoloured, and lively, is equally impressive. Made of linen, coloured a vibrant red, it is adorned with woven vertical white bands, thinner than usually fashionable, down to the waist. The rest of the Tunic’s ornamentation consists of bands for the neck area and the hem of each wrist, adorned with white geometric shapes against a black background for the neck, and white lozenge motifs against a black background for the cuffs. Finally, two discs (orbiculi) with stylized plant motifs in the same colour palette, are placed in the lower part of the Tunic. Noteworthy is the fact that at the height of the waist, there is a seam that covers a belt.

Both Tunics are displayed in the Museum’s 2nd Gallery, where aspects of Early Christian period city life are presented. This Exhibition, inaugurated on July 10th, 1998, is organized around the triclinium, that is the reception hall of a rich house in Thessaloniki. It presents issues that emphasize the role of the city as a fortified residential complex, its private and public life, professional activities, economic life, commerce, workshops, houses and their equipment (pottery and glass vessels), domestic activities (weaving, cooking) and objects for personal adornment. https://www.mbp.gr/en/permanentexhibitions/room-2-early-christian-city-and-dwelling/

For a Student Activity, inspired by the Coptic Tunics in Thessaloniki, please… Check HERE!

Gold Medallion of Saint John the Forerunner

Medallion with Saint John the Baptist from an Icon Frame, ca. 1100, Gold, silver, and enamel worked in cloisonné, Diam: 8.3 cm, the MET, NY, USA
https://www.metmuseum.org/art/collection/search/464550

On the 7th of January, the Feast Day of Saint John the Baptist, the Greek Orthodox Church celebrates a significant figure in the Christian tradition. His Apolytikio is a testimony to his elevated status… The memory of the just is celebrated with hymns of praise, but the Lord’s testimony is sufficient for thee, O Forerunner; for thou hast proved to be truly even more venerable than the Prophets, since thou was granted to baptize in the running waters Him Whom they proclaimed. The Gold Medallion of Saint John the Forerunner in the MET is evidence of his importance in the arts. https://www.oramaworld.com/en/p/210255/Saint_John_the_Baptist_-_Aged_Byzantine_Icon

Saint John the Forerunner holds a prominent place in Christian iconography, his imagery rich with symbolic significance. The Icon of John baptizing Jesus in the Jordan River is a powerful representation of his pivotal role in preparing the way for the Savior. The lamb, a common element in depictions of John, symbolizes Christ as the “Lamb of God” who takes away the sins of the world. This type of artwork not only emphasizes John’s humility in recognizing Christ’s divine nature but also underscores the transformative nature of baptism. In Christian art, Saint John the Baptist serves as a bridge between the Old and New Testaments, symbolizing the transition from the era of prophets to the advent of the Messiah. His portrayal in religious art continues to inspire contemplation on themes of repentance, humility, and the heralding of spiritual renewal.

Today’s BLOG POST presents a MET treasure, a small Gold Medallion with Saint John the Forerunner in the Cloisonné technique, a traditional practice in art and metalwork, often associated with Byzantine art.

The MET Medallion of Saint John, along with eight more, was part of the decoration of a precious Frame for an Icon dedicated to the Archangel Gabriel, possibly a gift from the Byzantine court to the neighboring Christian state of Georgia. These types of medallions are valued not only for their aesthetic beauty but also for their historical and cultural significance, offering insights into the artistic achievements of the Byzantine Empire. https://www.metmuseum.org/art/collection/search/464550

Medallions from an Icon Frame, made in Constantinople ca. 1100, the MET, NY, USA https://www.metmuseum.org/art/collection/search/464550

The Precious Frames of Icons serve to underscore the icon’s significance, imparting both aesthetic appeal and worldly value to its religious status. Positioned at the upper narrow side of the frame, MET experts have identified three Roundels featuring Christ at the center. He is unmistakably distinguished by His cross-nimbus, extending a blessing with His right hand while cradling a Gospel book in His left. Flanking Him are the Medallions of the Mother of God (recognized by the Orthodox abbreviation ‘ΜΗΤΗΡ ΘΕΟΥ’) to His right and that of John the Forerunner (the standard Orthodox title for John the Baptist) to His left. These three figures, adopting a posture of intercession, collectively constitute the ‘Deesis,’ a term translating to ‘prayer’ or ‘supplication’ in Greek. For Byzantine iconography, ‘Deesis’ scenes, portray Christ as the divine judge and mediator between humanity and God, with Mary and John serving as the most effective intercessors for humankind alongside Christ. In essence, the ‘Deesis’ scene stands as a potent visual representation of the Byzantine Christian understanding of divine mercy, intercession, and the final judgment, positioning Christ at the epicenter of authority and mediation.

The remaining MET Medallions on the discussed Icon Frame depict the hierarchical arrangement of the Church. Positioned just beneath the ‘Deesis’ scene are the Apostles Saints Peter and Paul. Below the Medallion of Saint Paul, one finds the two Evangelists, Saints Matthew and Luke. Saint John the Theologian is situated beneath Saint Peter, and at the bottom narrow side of the Frame, we encounter the depiction of the military Saint, George.

For a Student Activity inspired by the Gold Medallion of Saint John the Forerunner in the MET, please… Check HERE!

Cloisonné is a decorative technique that involves the use of enamel, gemstones, or glass to fill compartments (cloisons) created by metal wires or strips on a metal surface. The word “cloisonné” comes from the French word for compartment. This technique was widely used in the Byzantine Empire, particularly in creating intricate designs on metal objects like jewelry, religious artifacts, and decorative items. The spaces, or cloisons, are filled with colorful enamel, creating a vibrant and detailed surface.

Michael Attaleiates’s Ring at Dumbarton Oaks

Ring of Michael Attaleiates, before 1080, Enamel on Gold, 3 cm, Dumbarton Oaks, Washington, DC, USA http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222620%22&sort=0&page=10

Michael Attaleiates’s Ring at Dumbarton Oaks has an inscription on its hoop that reads… Bearer of God, help thy servant Michael Attaleiates… while the bezel of the ring displays the bust of the Virgin flanked by the abbreviation ‘Mother of God.’ Byzantine rings with the owner’s name are scarce, and a ring associated with such a distinguished citizen is exceptionally rare. It stands as an extraordinary treasure! http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222620%22&sort=0&page=10

In confronting this historical artifact, the initial question that arises relates to its owner, Michael Attaleiates. The key questions are: Who was he, and what attributes contributed to his recognition as a significant figure?

Michael Attaleiates was a Byzantine historian and government official who lived in the 11th century. He was likely born in Attaleia and relocated to Constantinople between 1030 and 1040 for legal studies. Upon his ‘graduation’ he entered the empire’s administration serving in the judiciary sector. Recognized for his judicial prowess, he received prestigious honors from the Byzantine Emperors and amassed substantial wealth through services in the empire’s administration.

In 1072, he compiled the Ponema Nomikon, a legal synopsis for Emperor Michael VII, based on the 9th-century Basilika. Around 1079/80, he penned The History, chronicling the Byzantine Empire from 1034 to 1079, showcasing valuable insights into the events and characters of his time, as well as the political, military, and social developments. His writings contribute significantly to our understanding of the political and cultural context of the Byzantine Empire during a critical period of its history. https://alexandria-publ.gr/shop/vios-ke-politia-enos-vizantinou-mandarinou/

Ring of Michael Attaleiates, before 1080, Enamel on Gold, 3 cm, Dumbarton Oaks, Washington, DC, USA https://twitter.com/Varangian_Tagma/status/1598350774496817152/photo/1
Ring of Michael Attaleiates, before 1080, Enamel on Gold, 3 cm, Dumbarton Oaks, Washington, DC, USA http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222620%22&sort=0&page=10

Back to Attaleiates’s ring, and according to Stephen Zwirn, retired Assistant Curator in the Byzantine Collection of Dumbarton Oaks as of 2012… the ring stands out for deviating from the typical cloisonné technique used in Byzantium, instead adopting the champlevé technique associated with medieval Western European production. This method involves carving a cavity into the background, filling it with enamel, and leaving raised lines to define the image, allowing for intricate details in the drapery folds and inscriptions. The ring is so well crafted, that there is no doubt that this technique had been fully mastered by a Byzantine artist. http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222620%22&sort=0&page=10

The second inquiry that arises concerns the acquisition history of the ring. According to Dumbarton Oaks records, on the 15th of August – a day Christians commemorate the feast of the Assumption of the Blessed Virgin Mary – the Dumbarton Oaks Research Library and Collection in Washington, DC, acquired Michael Attaleiates’s Ring from the Art Dealer Joseph Brummer. This prompts a dual question: Who was Joseph Brummer, and what distinguishes him as a noteworthy figure in the realm of art dealers?

Henri Rousseau, 1844 – 1910
Portrait of Joseph Brummer, 1909, Oil on Canvas, 115.9 × 88.3 cm, The National Gallery, London, UK https://www.nationalgallery.org.uk/paintings/henri-rousseau-portrait-of-joseph-brummer

Joseph Brummer was a prominent art dealer in the early to mid-20th century, known for his significant contributions to the art world. Born in 1883 in Hungary, Brummer, along with his brothers, Ernest and Imre, established the Brummer Gallery in Paris in 1905, later moving it to New York in 1914. The Brummer Gallery played a pivotal role in recognizing the artistic importance of Medieval Arts and unusually introducing them as if they were modernist artifacts. The Brummer Gallery was also famous for introducing European modern art to the United States, showcasing works by renowned artists such as Picasso, Modigliani, and Brancusi. Joseph Brummer was renowned for his discerning eye and deep knowledge of art, building a reputation as a tastemaker and a key figure in the art market during his time. His legacy lives on not only through the artworks he handled but also in the influence he had on shaping the appreciation of art in America. https://medievalartus.ace.fordham.edu/exhibits/show/josephbrummer/josephbrummer-essay

P4125 recto: Byzantine ring in heavy, massive gold, with Greek inscription all around and a seal on top, also in gold, with figure in champleve enamel; also inscription around ring, The MET: Thomas J. Watson Library Digital Collections – The Brummer Gallery Records, New York, USA https://libmma.contentdm.oclc.org/digital/collection/p16028coll9/id/29918/rec/17
P4125 verso: Byzantine ring in heavy, massive gold, with Greek inscription all around and a seal on top, also in gold, with figure in champleve enamel; also inscription around ring, The MET: Thomas J. Watson Library Digital Collections – The Brummer Gallery Records, New York, USA https://libmma.contentdm.oclc.org/digital/collection/p16028coll9/id/29917/rec/17

On the 15th of August 1947, Dumbarton Oaks Research Library and Collection purchased Attaleiates’s Gold Ring from Joseph Brummer. Searching MET’s Thomas J. Watson Library Digital Collections – The Brummer Gallery Records, I present you with both sides of the Ring’s Inventory Card, Numbered P4125!

For a Student Activity, titled Comparative Analysis of Champlevé and Cloisonné Enamel Techniques in Byzantine Art, please… Check HERE!

Gold Sandwich-Glass Vase at the Canellopoulos Museum

Bottom of a Gold Sandwich-Glass Vase with representation of a Christian Martyr, Mid-4th century AD, Diam. 4,9 cm., Canellopoulo Museum, Athens, Greece https://camu.gr/en/item/pythmenas-amfyalou-chrysografimenou-angeiou/

The Gold Sandwich-Glass Vase at the Canellopoulos Museum in Athens is a truly rare and precious exhibit. Also referred to as Verre Églomisé, Gold Sandwich-Glass is a decorative technique with a rich history dating back to antiquity, used to craft stunning and opulent objects. The example on display at the Canellopoulos Museum stands as a unique treasure in Greece, inviting keen exploration and admiration!

Displayed at the Canellopoulos Museum in Athens, Greece, this remarkable piece is organized within a tondo, defined by concentric rings, and embellished with gold leaf in the space between the innermost pair. The composition takes on a triangular form, exhibiting simplicity, stability, and balance. Positioned at the very center of the tondo is a male figure, devoid of a beard but adorned with a luminous halo. In his lowered right hand, he clasps a palm branch, a Christian symbol of victory over death, while his left hand extends upward in a gesture of acclamation. The figure, portrayed in a strikingly naturalistic manner, stands upright and is flanked by laurel bushes on either side. The combination of brown hues and gold against a background of transparent glass creates an aethereal, and delicate composition, suitable for a religious shallow bowl (phiale).

According to Constantine Scampavias, the Canellopoulos Museum expert… Although the piece is not inscribed, the halo and the palm branch (as well as the two bushes if they are laurels) identify the figure as a Christian martyr. Perhaps it is the martyr Gereon, whose cult was widespread in the Rhineland and particularly in Cologne, where this bowl was possibly made. https://camu.gr/en/item/pythmenas-amfyalou-chrysografimenou-angeiou/

The Gold Sandwich-Glass technique was particularly popular throughout the Roman Empire during the 4th century AD. Images in this technique were etched in gold leaf and then, the leaf was fused between two layers of glass… like a sandwich! Items of Gold Glass were usually created into circular bottoms of luxurious drinking vessels since the Hellenistic period. A popular practice for the Romans of the later period, was to cut out the Gold Glass decorated roundel of a cup and cemented it to the wall of a catacomb Grave to serve as a grave marker for the small recesses where bodies were buried. In Rome, where this practice was particularly popular, archaeologists discovered over 500 pieces of Gold Glass used in this way. Decoration themes for Gold Sandwich-Glass items vary from pagan mythology and portraits to purely Jewish or Christian imagery. Chapter 13 Making Late Antique Gold Glass by Daniel Thomas Howells, pp.112-120https://webarchive.nationalarchives.gov.uk/20190801105206/https://www.britishmuseum.org/research/publications/research_publications_series.aspx#AllResearchPublications

For a PowerPoint on 10 artifacts of Gold Sandwich-Grass, please… Check HERE!

A Teacher Curator POST, on another famous Gold Sandwich-Glass roundel, titled Portrait Medallion of Gennadioshttps://www.teachercurator.com/uncategorized/portrait-medallion-of-gennadios/?fbclid=IwAR2gufFAvOMcFrz9j2sGH55wP-ajBQUA4ELpGgXpTpp-SRTXMIzyr0GUVTw

A wonderful Video on the Gold Sandwich-Glass making technique created by the Corning Museum of Glass https://www.youtube.com/watch?v=ALNMn6DGQJg

Pectoral with Coins and Pseudo-Medallion

Pectoral with Coins and Pseudo-Medallion, ca. 539–50, Gold, niello, 23.9 x 21.9 x 1.6 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/464070

Neck rings, such as the imposing gold Pectoral with Coins and Pseudo-Medallion in the Metropolitan Museum in New York City, are cited in early sources as playing a role both in the glorification of military heroes and in coronation ceremonies. They were popular during the Late Roman period and continued well into the Early Byzantine era. Also known as Byzantine Imperial Collars or Byzantine Imperial Torcs, ornate necklaces like the MET example, were worn by members of the Byzantine imperial family and high-ranking officials during the Byzantine Empire (330-1453 AD). These neck rings were made of gold and decorated with medallions, coins, and intricate designs, often featuring Christian symbols. https://www.metmuseum.org/art/collection/search/464070

The Metropolitan Museum pectoral necklace is composed of a plain, hollow neck ring attached to a frame set with a large central medallion flanked by coins, and two small decorative disks. The central medallion, encased by beaded wire, presents an unidentified Emperor in military attire on the obverse, and the enthroned personification of Constantinople on the reverse. Fourteen coins of Byzantine Emperors reigning during the fifth to the sixth centuries, are placed symmetrically, left, and right of the central medallion. The coins are surrounded by beaded wire as well. Crosses in niello, an interesting reference to Christianity, decorate the two small disks on either side of the medallion. The space between the coins and the medallion is filled with small rosettes and larger trefoils. The two ribbed rings at the pectoral’s lower edge once held a large medallion of the emperor Theodosius I (in the Collection of the Freer Gallery of Art). https://www.metmuseum.org/art/collection/search/464070 and https://www.metmuseum.org/art/metpublications/Age_of_Spirituality_Late_Antique_and_Early_Christian_Art_Third_to_Seventh_Century Age of Spirituality: Late Antique and Early Christian Art, page 318-319

Pectoral with Coins and Pseudo-Medallion (detail), ca. 539–50, Gold, niello, 23.9 x 21.9 x 1.6 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/464070
Medallion, consisting of a coin of Theodosius I (A.D. 379-395) set in an ornamental frame, 6th century, Gold, Diam: 0.5 cm, Freer Gallery of Art, Washington DC, USA https://archive.asia.si.edu/exhibitions/online/luxuryarts/1d.htm   

This amazing necklace was part of a hoard of thirty-four pieces of gold jewelry said to have been found at the turn of the twentieth century, possibly at ancient Lycopolis (modern Assiut) or Antinoöpolis (modern Sheikh Ibada), both in central Egypt. The circumstances of the hoard’s discovery remain obscure as the treasure was illegally excavated. The high quality of each piece links the treasure jewels to the imperial workshops in Constantinople. The hoard is now divided among the Metropolitan Museum; the British Museum, London; the Freer Gallery of Art, Washington, D.C.; and the Staatliche Museen-Preussischer Kulturbesitz, Berlin. Whether the pieces were indeed discovered together or were assembled from different sites, they represent the standard of luxury among the elite in Egypt under Byzantine rule and attest to the close connection between the wealthy province and the capital Constantinople. https://www.metmuseum.org/art/metpublications/The_Arts_of_Byzantium_The_Metropolitan_Museum_of_Art_Bulletin_v_58_no_4_Spring_2001 “The Arts of Byzantium”: The Metropolitan Museum of Art Bulletin, v. 58, no. 4 (Spring, 2001), Page 19 and “Into the hands of a well-known antiquary of Cairo”: The Assiut Treasure and the Making of an Archaeological Hoard by Elizabeth Dospěl Williams, West 86th: A Journal of Decorative Arts, Design History, and Material Culture, Vol. 21, No. 2 (Fall-Winter 2014), pp. 251-272 https://www.jstor.org/stable/10.1086/679985?read-now=1#page_scan_tab_contents

The Byzantine Imperial Neck Rings were not just a fashion accessory, they were a symbol of power and authority. The imperial family, for example, wore them on important occasions, such as coronations, to demonstrate their wealth and status. Members of the Byzantine military elite, on the other hand, wore them as trophies of their military distinction. According to Procopius, soldiers were rewarded with money, and honoured with precious necklaces or bracelets. It is interesting to note that during the Early Byzantine period, men and women wore such necklaces alike. https://www.metmuseum.org/art/metpublications/Age_of_Spirituality_Late_Antique_and_Early_Christian_Art_Third_to_Seventh_Century Age of Spirituality: Late Antique and Early Christian Art, Third to Seventh Century, edited by Kurt Weitzmann, 1979, page 318-319

For a PowerPoint on the so-called Assiut Treasure, please… Check HERE!

The Monument of Episkopi on Sikinos

The Monument of Episkopi on Sikinos, one of the smallest Cycladic islands, is a Roman mausoleum dating back to the 3rd century. Because of its conversion to a Byzantine church, it was continuously used and has therefore survived nearly intact. Its ancient structure, combined with interventions from several historical periods, offers an incomparable palimpsest of archaeological periods that is rarely preserved in ancient monuments. Severely affected by destructive earthquakes and human interventions throughout the centuries, the monument was abandoned in the 20th century. The Ephorate of Antiquities of the Cyclades decided to restore the building in 2016. In 2022 the monument, fully restored and fully studied by the scientific personnel of the Cyclades Ephorate of Antiquities, reopened to the public. https://www.europeanheritageawards.eu/winners/monument-of-episkopi/

How can we introduce the Island of Sikinos? Sikinos is a tiny and rocky island with few permanent inhabitants, located in the Cyclades, between the islands of Ios and Folegandros. It has an area of approximately 42 square kilometers and a population of around 300 people. It is a quiet and peaceful island with a traditional way of life. The main village, called Chora, is built on a hill and has narrow streets, white-washed houses, and stunning views of the Aegean Sea. Other villages on the island include Alopronia, a small fishing village with a sandy beach, and Episkopi, where the historic Episkopi Church is located.

Is the Island of Sikinos related to any Greek Myth? According to Greek Mythology, the island of Sikinos is named after the son of Thoas, King of Lemnos, and son of God Dionysos and Princess Ariadne. Ypsipyli, Thoa’s daughter, trying to save her father from the Lemnian women who were killing the male inhabitants of the island, hid him in a wooden box and threw him into the sea. The waves of the sea led Thoa’s box to the island of Oinoe, where the king married the nymph Niida, who gave birth to a boy called Sikinos. It was Thoa’s son and grandson of Dionysos and Ariadne, who gave his name to the island during his reign.

The History of the Island: The island has a long and fascinating history, dating back to ancient times when the island was known for its vineyards and wine production. The island was also known as an important religious center, with a temple dedicated to Apollo the Pythian located on the island’s highest peak. Sikinos’s history parallels that of the other Cyclades islands, passing from Roman to Byzantine rule, and then falling to the Venetians and the Ottomans.

In the 13th century AD, Sikinos was conquered by the Venetians, who built a fortress on the island to protect it from pirates and other invaders. During this time, the island became an important center for trade and commerce, and its wine was exported throughout the Mediterranean. In the 16th century, Sikinos was occupied by the Ottoman Turks, who ruled the island for nearly 300 years. During this time, the island’s population declined, and many Sikinians migrated to other parts of Greece and to other countries. In the early 19th century, Sikinos became part of the newly formed Greek state, and the island began to experience a period of growth and prosperity. The island’s vineyards were revived, and Sikinos once again became an important center for wine production. https://sikinostravel.com/sikinos-island/history/

Which is the most important monument on the Island of Sikinos? Undauntedly Episkopi, or the monument of the Diocese of Sikinos. According to Dr Dimitrios Athanasoulis, Director of the Ephorate of Antiquities of the Cyclades… The monument of the Diocese of Sikinos, one of the smaller islands of the Cyclades, was, originally, a Roman period mausoleum, built during the 3rd century AD. The mausoleum became a Byzantine church, and subsequently, an important landmark of cultural heritage for the island community throughout the centuries. https://www.lifo.gr/now/entertainment/episkopi-sikinoy-ena-monadiko-mnimeio-apodidetai-simera-sto-koino

What new archaeological information did the restoration of Episkopi bring to light? The archaeological research that took place during the restoration of the monument, Dr Dimitrios Athanasoulis said, enriched our knowledge of the funerary monuments of the Roman period in the Eastern Mediterranean region, as well as of Byzantine church building in the Cyclades. During the restoration work of Episkopi, valuable evidence of the past was revealed, such as inscriptions and fragments of Roman and Byzantine frescoes, for the preservation of which a microclimate monitoring system was installed. The most important find was the hermetically sealed, undisturbed burial of a woman of the upper class, named “Neiko”, with findings that betrayed superstitions and necrophobic notions. https://www.lifo.gr/now/entertainment/episkopi-sikinoy-ena-monadiko-mnimeio-apodidetai-simera-sto-koino

Why was the monument of Episkopi on Sikinos bestowed the Europa Nostra Award in 2022? The monument of Episkopi is a cultural landmark and a source of pride for this small island community. Building materials were reused as much as possible and new masonry was incorporated using locally collected stones. The combination of architectural elements of a Roman mausoleum in a Byzantine church forms a unique monument that is simply striking… emphasized by the Awards’ Jury. https://www.europeanheritageawards.eu/winners/monument-of-episkopi/

For a Student Activity, please, Check… HERE!

Madre della Consolazione

Madre della Consolazione,15th century, tempera on wood, 0.563×0.45 m, Canellopoulos Museum, Athens, Greece https://camu.gr/en/item/panagia-madre-della-consolazione/

Given this state of affairs and stepping out as though on the royal highway, following as we are the God-spoken teaching of our holy fathers and the tradition of the catholic church – for we recognize that this tradition comes from the Holy Spirit who dwells in her – we decree with full precision and care that, like the figure of the honoured and life-giving cross, the revered and holy images, whether painted or made of mosaic or of other suitable material, are to be exposed in the holy churches of God, on sacred instruments and vestments, on walls and panels, in houses and by public ways, these are the images of our Lord, God and saviour, Jesus Christ, and of our Lady without blemish, the holy God-bearer, and of the revered angels and of any of the saintly holy men. This is how the Council of Nicaea II, in 787 AD described the Restoration of the Holy Icons. The Madre della Consolazione Icon in the Canellopoulos Museum of our Lady without blemish, and the infant God and saviour, Jesus Christ, is a wonderful example of this declaration… https://www.papalencyclicals.net/councils/ecum07.htm

Paul and Alexandra Canellopoulos Museum in Athens has an important collection of Byzantine and post-Byzantine artworks dating from the formative years of the Byzantine era (4th-7th century AD) to the post-Byzantine and Modern periods (1453-1821). The Museum’s collection includes paintings, miniatures, gold and silverwork, wood carvings, and embroidery, as well as jewelry, coins, mosaics, wall paintings, and Patriarchal documents spanning from the 18th and the 19th centuries to the flourishing icon-painting workshops of Mount Athos. Worth noting is that the artwork in the Collection reveals diverse cultural influences that make up the breadth of Byzantine art, resulting in exceptional elegance and originality. https://camu.gr/en/art/byzantine-art/

Going through the Museum’s Collection of Icons I was impressed by the represented high-quality examples of Constantinopolitan, Macedonian, and Cretan styles of Byzantine painting. Particularly impressive is the group of Icons that represents the Post-Byzantine Cretan School. According to the Museum’s experts… almost all the great hagiographers of the Cretan School from the years after the Fall of Constantinople are represented in the Museum, including Nicolaos Tzafouris, Michael Damaskenos, Emmanuel Lambardos, Frangias Kavertzas, Ieremias Palladas, Victor, and Emmanuel Tzanes. https://camu.gr/en/art/byzantine-art/

I was immediately drawn to a 15th-century Icon presenting the Madre della Consolazione. How couldn’t I, when the Eastern Byzantine representational style, harmoniously met and adapted to the novel ideas of the ‘Maniera Greca’ style of 15th century Venice. An added bonus to the overall impression of this remarkable Icon is its Baroque wood-carved frame. High-relief open-work decoration of scrolling leaves and fruits, a ribbon passing between them, and five angels, almost sculpted in the round, create an impression of added opulence, and luxury.

The Canellopoulos Museum Icon is a typical example of an ‘Italo-Cretan’ style ‘Madre della Consolazione’ composition. It depicts the Virgin Mary in the ‘bust’ format, against the traditional Byzantine gold background, holding the infant Jesus on her right arm. Mary is depicted with a serene expression, gazing, with slanted eyes, at the child she affectionately holds. The infant Jesus presents the gold globus cruciger of the world with his left hand, and blesses the viewer with his right.

Inspired by the Byzantine tradition, Mary wears a red maphorion trimmed with elaborate gold embroidery of pseudo-Kufic motifs on its edge and carries the three gold stars (only two are visible), which symbolize chastity, on her forehead and her shoulders. The infant Christ, on the other hand, placed on the right side of the composition, is dressed in a white chiton, a deep blue ‘chemise’ of a Western type, embroidered richly in gold, and an orange himation with gold Byzantine striations.

Superbly crafted, and refined in execution, the Madre della Consolazione composition aims to convey a sense of comfort, solace, and maternal love. The overall mood of the Canellopoulos Museum Icon is one of sweet tenderness and compassion.

For a Student Activity, please… Check HERE!

Consul Areobindus Dagalaifus Areobindus

Leaf of a Diptych with Consul Areobindus, 506 AD, elephant ivory bas-relief, 39x13cm, Musée de Cluny, Paris, France (my amateurish attempt at Photography)

Devant une tribune, write the Cluny Museum Experts, paré de ses insignes, Areobindus est entouré d’assesseurs. La main droite levée, il lance les jeux avec la “mappa”, sorte de linge qui servait à signaler le début des jeux du cirque. En dessous sont représentés ces jeux : des gladiateurs combattent des animaux sauvages. On the 10th of May, 2023, I was in Paris, at the Cluny Museum, paying my respects to Consul Areobindus Dagalaifus Areobindus. It was a moment I will always cherish! https://www.musee-moyenage.fr/collection/oeuvre/diptyque-du-consul-areobindus.html

Let’s answer some questions starting with Who, What, Where, When, Why, and How…

What do we know about Late Roman / Early Byzantine Consular Diptychs? They were a form of ceremonial and commemorative artwork that originated in the late Roman Empire. They were created in the form of hinged wooden panels, often covered in ivory or other valuable materials. Consular diptychs typically consisted of two panels, known as leaves, which were decorated with relief carvings and inscriptions. These diptychs were presented as gifts to friends and supporters, by newly appointed consuls, who were the highest-ranking officials in the Roman Empire. They served as a record and celebration of their consulship. The inscriptions on the diptychs included the consul’s name, the names of the emperor or emperors in office during their consulship, and sometimes additional details such as the consul’s accomplishments or notable events from their term.

What do Consular Diptychs usually feature as their decoration? They often featured intricate and detailed relief carvings depicting various scenes, including mythological figures, military victories, and allegorical representations of virtues. These carvings were highly symbolic and conveyed messages of power, prestige, and legitimacy. Many consular diptychs have been lost or damaged. However, a number of surviving examples provide valuable insights into the art, culture, and political context of the late Roman / Early Byzantine Empire. They are significant historical artifacts that shed light on the individuals who held the highest offices in the Roman / Byzantine state.

Leaf of a Diptych with Consul Areobindus (detail upper part), 506 AD, elephant ivory bas-relief, 39x13cm, Musée de Cluny, Paris, France

Who was Consul Areobindus? Areobindus Dagalaifus Areobindus was a high-ranking Byzantine official and military leader during the reign of Emperor Anastasius I Dicorus (c. 431 – 518) in the 6th century AD. Areobindus was a scion of an extremely distinguished family of Roman and  Alanic-Gothic heritage. He was married to Anicia Juliana, the daughter of Olybrius, briefly the western Roman Emperor in 472, and his wife Placidia, thus, connecting Areobindus to the Theodosian dynasty. Along with his wife, considered to be the most aristocratic and the wealthiest inhabitant of Constantinople, Aerobindus spent a life of military and administrative distinction. In 506 AD, he served as consul of the Byzantine Empire. The consular office, though it had lost its administrative functions by this time, was still an important honorific title. The period of Areobindus’s consulship corresponded with the early period of Byzantine history, which was characterized by frequent wars with Sassanid Persia, the Germanic tribes, and other neighbors, as well as a flowering of Greek and Roman art and culture.

Leaf of a Diptych with Consul Areobindus (detail – faces), 506 AD, elephant ivory bas-relief, 39x13cm, Musée de Cluny, Paris, France

When was the Consular Diptych of Areobindus created? It was created in 506 AD, in Constantinople, when Areobindus was elected Consul of the Eastern Roman / Byzantine Empire.

How can the composition of Areobindus’s Diptych be described? Areobindus’s Consular Diptych is one of the best preserved and most intricately designed examples of Byzantine Consular Diptychs. Under the inscription C[omite] SAC[ri] STA[buli] ET M[agister] M[ilitum] P[er] OR[ientum] EX C[onsule] C[onsul] OR[dinarius] the artist of the Diptych presents Areobindus, in strict frontality, dressed in consular robes and holding the traditional symbols of the consul’s office, including a mappa circensis (a handkerchief with which the Consul gave the signal for the games to commence) and an elaborate scepter. Flanked by two of his assistants, the Consul is depicted presiding over the circus games sitting on a luxurious chair with curved legs and no back. The quality of the carving and the level of detail in this scene attest to the skill of the artist and the luxury of the object.

Leaf of a Diptych with Consul Areobindus (detail lower part), 506 AD, elephant ivory bas-relief, 39x13cm, Musée de Cluny, Paris, France
Leaf of a Diptych with Consul Areobindus (detail lower part with spectators), 506 AD, elephant ivory bas-relief, 39x13cm, Musée de Cluny, Paris, France

The lower part of the described Diptych depicts scenes of circus games, typically referred to as the venationes. These were staged hunts or fights involving wild animals, a popular form of public entertainment, at the time, alongside chariot races and gladiatorial combats. The venationes depicted in the Areobindus Diptych, showcase a range of exotic and dangerous animals, symbolizing both the consul’s power and the grand spectacle of the games themselves. It is a surprising, delightful scene. The artist exhibits originality, energy, and an unexpected variety of poses and gestures.

Why is the Consular Diptych of Areobindus significant? Simply put, it serves as an exceptional example of Early Byzantine artistry and craftsmanship. Its intricate relief carving depicts an important historical figure of the time, providing valuable insights into the iconography and symbolism of the era. It also serves as a tangible connection to the tradition of Consular Diptychs, which were presented as gifts to high-ranking officials or distributed during official ceremonies. It exemplifies the use of art and objects as a means of political communication and the display of status and authority during the Early Byzantine period.

Leaf of a Diptych with Consul Areobindus, 506 AD, elephant ivory bas-relief, 39x13cm, Musée de Cluny, Paris, France

Where is the Consular Diptych of Areobindus currently located? The Consular Diptych of Areobindus is an invaluable resource for historians studying the Byzantine Empire and the broader late antique period. It is an artifact that connects us directly with the people, events, and cultures of the past. It is part of the Louvre Museum Collection, but it is exhibited in the Cluny Museum, also known as the Musée National du Moyen Age, in Paris.

How can the Cluny Museum best be described? The Musée de Cluny, also known as the Musée National du Moyen Age, or the National Museum of the Middle Ages, is located in Paris, France. It is housed in two significant historic buildings: the 15th-century Hôtel de Cluny and the Gallo-Roman thermal baths dating back to the 3rd century. The museum is renowned for its extensive collection of medieval artifacts, including tapestries, sculptures, manuscripts, and metalwork. Its most famous work is arguably the “The Lady and the Unicorn” series of tapestries, a masterpiece of the late Middle Ages.

The architecture of the museum itself is notable. The Hôtel de Cluny is a fine example of late medieval secular architecture, with its Gothic-style features and well-preserved rooms. The adjacent thermal baths showcase the grandeur of Roman architecture and provide an interesting contrast. The museum is also known for its medieval-inspired gardens. These gardens are designed based on medieval texts and archaeological research and serve as a quiet oasis in the bustling city of Paris. As a whole, the museum provides a unique experience for visitors to immerse themselves in the rich history and culture of the Middle Ages, serving as a testament to the creativity, skill, and artistry of the period.

For a PowerPoint inspired by the Consul Areobindus Dagalaifus Areobindus BLOG POST, please… Check, HERE!

Photo Credits

https://www.musee-moyenage.fr/collection/oeuvre/diptyque-du-consul-areobindus.html

https://el.wikipedia.org/wiki/%CE%91%CF%81%CF%87%CE%B5%CE%AF%CE%BF:Areobindus_presides_over_the_games_MNMA_Cluny_13135_n02.jpg

https://fr.m.wikipedia.org/wiki/Fichier:Areobindus_presides_over_the_games_MNMA_Cluny_13135_n03.jpg

https://www.facebook.com/photo?fbid=600976638725848&set=pcb.600976745392504

https://www.facebook.com/photo/?fbid=3193819524018904&set=comment-f%C3%AAter-son-%C3%A9lection-en-remerciant-ses-plus-fid%C3%A8les-partisans-la-tradition

Pendant with the Bust of an Empress

Chain and Pendant with the Bust of an Empress, 379–395 AD, Gold, garnet, sapphire, glass, 6.4 cm, The J. Paul Getty Museum, CA, USA http://colorsandstones.eu/2020/11/08/necklace-with-a-pendant-roman-overview/

St. Ambrose describes her, Aelia Flacilla, wife of emperor Theodosius I, as “a soul true to God” (Fidelis anima Deo. – “De obitu Theodosii”, n. 40, in P. L., XVI, 1462). In his panegyric, St. Gregory of Nyssa bestowed the highest praise on her virtuous life and pictured her as the helpmate of the emperor in all good works, an ornament of the empire, a leader of justice, an image of beneficence. He praises her as filled with zeal for the Faith, as a pillar of the Church, and as a mother of the indigent. Theodoret in particular exalts her charity and benevolence (Hist. Eccles., V, xix, ed. Valesius, III, 192 sq.). He tells us how she personally tended cripples and quotes a saying of hers: “To distribute money belongs to the imperial dignity, but I offer up for the imperial dignity itself personal service to the Giver.” Could the Pendant with the Bust of an Empress in the Getty Collection depict this extraordinary Early Christian Empress? https://www.ecatholic2000.com/cathopedia/vol6/volsix114.shtml

Let’s answer some questions.

When did the Getty Museum acquire the Pendant with the Bust of an Empress? Yes, we do… Barbara Deppert-Lippitz, a most reputable expert archaeologist in ancient gold, contributed an article, titled A Group o f Late Antique Jewelry in the Getty Museum (pages 107-140) in Studia Varia from the J. Paul Getty Museum: Volume 1 (OPA 8), 1993. Let me quote… The majority of Late Roman and Early Byzantine jewelry that we do have has no known provenance and is undated. Our knowledge of jewelry of the period is based mainly on a few larger hoards with recorded find spots but without any external evidence for dating. It is therefore fortunate that in 1983 the Getty Museum was able to acquire a group of fifteen pieces of jewelry buried around A.D . 400. https://www.getty.edu/publications/virtuallibrary/0892362030.html page 107

Where were the Late Antique pieces of jewelry, including the Pendant with Empress, found? We do not exactly know… but according to Barbara Deppert-Lippitz… As all pieces had a similar patina, it need not be doubted that the group was, indeed, found together. They are all in very good condition, except for missing pearls on some items. Nothing is known about the previous history of this hoard, but no treasure corresponding to the present one is recorded as having been excavated anywhere during this century There are, however, certain indications that the hoard must have come from the eastern part of the Roman Empire. Further interesting observations point out that… The Getty hoard belongs among the well-known treasures from the Hill of Saint Louis in Carthage, Tunisia, and from Ténès in Algeria, both now generally agreed to belong to the period around A.D . 400, and the one from Thetford at Gallows Hill, near Thetfordin Norfolk, dated to the late fourth century A.D. All these hoards are dated on a purely stylistic basis, with no external evidence. https://www.getty.edu/publications/virtuallibrary/0892362030.html page 107, and https://en.wikipedia.org/wiki/Carthage_Treasure and https://www.persee.fr/doc/rbph_0035-0818_1960_num_38_1_2309_t1_0098_0000_2 and https://en.wikipedia.org/wiki/Thetford_Hoard

How did the Getty Museum acquire the Late Antique pieces of Jewelry? In 1983, the J. Paul Getty Museum purchased the group of fifteen pieces of Late Antique pieces of jewelry from the Company of “Robin Symes, Limited,” founded in 1977 and dissolved in 2005. https://www.getty.edu/art/collection/object/103VE6#full-artwork-details

Chain and Pendant with the Bust of an Empress, 379–395 AD, Gold, garnet, sapphire, glass, 6.4 cm, The J. Paul Getty Museum, CA, USA http://colorsandstones.eu/2020/11/08/necklace-with-a-pendant-roman-overview/

How can you describe the Pendant with the Bust of an Empress? This is actually a necklace consisting of a chain and a circular medallion. The gold ropelike multiple loop-in-loop chain shows remarkable workmanship. It ends with a hook-and-eye clasp, decorated with openwork circlets as well as filigree and granulation. The medallion-shaped pendant displays a frontal female bust flanked by two Victory Goddesses holding wreaths. A circular outer band, with inset garnets, and blue and green glass beads, serving as a frame to the repoussé medallion, was a rather primitive later addition to the original jewel. Three chain pendants and two strong rings attached to either side of the medallion were also added later. Today, only one pendant chain remains attached to the outer frame, holds an emerald, and terminates in a decorative scroll ornament. https://www.getty.edu/publications/virtuallibrary/0892362030.html pages 109-111.

Chain and Pendant with the Bust of an Empress (Detail), 379–395 AD, Gold, garnet, sapphire, glass, 6.4 cm, The J. Paul Getty Museum, CA, USA
http://colorsandstones.eu/2020/11/08/necklace-with-a-pendant-roman-overview/
 

Who is the depicted woman? It most probably is Aelia Flacilla, the first wife of Emperor Theodosius I. According to Barbara Deppert-Lippitz… a small but significant detail, the diadem, the Empress wears, offers valuable information. Based on numismatic evidence, similar diadems have been worn only by the empresses Aelia Flacilla, wife of Theodosius I, whose coinage commenced in A.D . 383 and who died in 386, and by her daughter-in-law Eudoxia, wife of Arcadius (A.D . 383-408). This narrows the chronological range of the medallion pendant to the last two decades of the fourth century A.D. The differences between the coin portraits of Flacilla and of Eudoxia are marginal. However, the oval face with a short straight nose, small mouth with thick lips, and energetic chin seem to be closer to the portrait on certain issues of Flacilla than to that of Eudoxia. https://www.getty.edu/publications/virtuallibrary/0892362030.html page 110

For a Student Activity, please… Check HERE!