byzantine art after 10 century

7/28/2019 Byzantine Art After 10 Century

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130U T THE YEAR 1075 a mysterious

ind ividual named K ekaumenos,

who seems to have been a highly

placed militar y governor ,

counselled his peer s:

If someone r evolts and pr od aims himself emper or ,

do not support his scherne but stand a!oof fr om him... Pr cserve f ealty to the emper or in Constantino ple

and you won't f ai! in your expectations ... i beseech

you ... to sid e with the emper or and to k ee p serving

him, since the emperor who has his court in

Constantinople must always win.'

Fig. 'gThe 'Da_id Cask et',

cnd of ninth century.

["ory, 16.1 x 8.+

x 10.3 cm

Mor e than a mor alising plea for loyalty, this

piece of ad Yice implies that the r ead er might

tak e the o pposite cour se and move against

the em per or ~ a possi bility fr equently r ealised

in the long histor y of Byzantine cons piracy

and usurpation. Both fealty and ex pectationschar acter ise the natur e of those objects that

we have, work s of art that in one way or

, another may be associatea with the Byzantine

court as things emanating fr om, or pr esented in,

this milieu. As against the long-Iost physical

. environment and d ecor ation of the Gr eat Palace,

these thihgs stiıı s peak of the pr etensions and

ambitions of those who mad e use of them.

The off ering and reception of gifts (and

titles), and broad suspicion as to the motives

und erlying such gestures, play a sizeable part

in the counsels of K ek aumenos. Both s

also f igure in the mid-tenth-centur y wo

as the Baak r if G er emanie.>and O n tlze Admin

tlze Empire, com pilations attr ibuted to C

VII Porphyr ogennetos (sole rule 945-39

In these texts it is o bvious what is off er e

what is r eceived , but in many cases whe

have only an o bject unaccompanied by

s pecifications, it is difficult to know whe

was a pr esent fr om or to the emperor . I

d ear that the so-caııed David Cask et in

Palazzo Venezia in Rome (fig.19) was g

the sover eign (and his s pouse) - the insc

on the lid, a bove an image of Chr ist ble

them and the d onor s saluting this event

of the 'couple ofser vants [who] ad or e a

should , the imperial couple' - it is far fr

certain whether a dismember ed o bject lthe leaf shovıing Constantine the Gr eat2

proba bly alluding to his tenth-centur y s

d enotes his demonstratian of piety befo

lost centr al membel' of a triptych presen

him or a gift to him cele brating this attit

Such pr o blems ar e inherent in many

instances of this sart and teııing in the a

they present since theyattest to value s i

shar ed by the ruler and his court. In oth

it is less important whether a piece or igi

the emper or 's or an aristocr at's behest t both parties to the artistic tr ansaction pa

pated in a comman id eology. Centr al to

bod y of thought was the r uler 's weıı- bein

this d e pend ed that of the empir e over w

ruled . His longevity, divinely pr otected p

health and a bility to d ef eat his enemies

as concomitants. These belief s ar e link ed

ivor y diptych, the two parts of which ar e

divid ed . On the leaf in Venice (eaI.75), a

anather in Dresd en,3 SS. John the Theol

and Paul are said in the e pigr am at the t protect an emper or Constantine - almos

certainly Constantine VII - fr om harm,



i:11'1" ni"ı!ıe \' enice !c"L no\l' İn \ ·icnn"

,\ndn'ıı' "nCi Pe[er ar e eksnilxd as

iıİın li'nın his sins. lt is intnesting to

\ıHlınl'·s p"cihc. or atorieal stam'l'

•,'S "r e depicted in philosopheı<

ılıl ' rok assignecl to him in the

I d ll iiııi. ı /m / iı ıı ı ı ı / / lie E m / J ir e. in ıdıich

;ııtr i bııtes a "ictan' O\Tr the Sb\'s

'I ('ntiun of 'the im'incibk ancl

. Iıle ıı'arr ior and captain andmar sh<ıl.

ıd ldlll and "icıorioııs hr st-called apostlc

\ııd ı, i ilc d ifler l'nce is c:--:plained by the

., •i 1.1 i, •that this ınulti-talented saint was

"III"d 111">11ın play in the ınid-tenth centur y .

. \ L ı i'compleınent<ır ity appear s \ıhen the

111>11'c: ,I "nc! inscriptions o n a tr i ptych, again

ııı li " ı ) ,I IC ı Venezia, ar e consid er eel (fig. :20).

(III İı. \ ing the legenel eleclar es th<ıt, withd ı( 11<'11',( [he lour ın<ırtyrs d epicteel, the r uler

,lc:.lll1. i lik cly Constantine VII) puts his

'11<'1111' IliGht - a sentimenr re peateel half

,i ("111111 !'ıer in a poern on the page f acing

lll,, ll"I" ıu r Basil II in his Psalter Hank eel

ı JI iı'(iII i inilitarv saints (fig. s ) , wher e the

111;11'1\r · i" .ıı·n are elescri bed as his 'allies'.

11111d u • ııi~r am on the triptych's centr al

ıll!'lııl)('1 " bles ehr is!'s instructions to iVlary

,llıd ),,11 iıc B<ıptist, the inter cessors for

11lllıı;lııi" ıtı, lo reJcase Constantine f r om all

iilıw"., ii"s He su bjects all powers to his

l'.ııılıi\ ,Jl'csentati\·e."

Illscriptian on the ıer t wing the

( red ited with the carving of the

i.ımiliar topos in Il'hich the s ponsor

i' unekrstoocl to have be en its

htantine, incleecl, is clescr i becl in a

dı' te:--:tas <ın ar tist in his own right

'(O] recıor ' of other crali:smtn." Yet,

" ,k ills <ır e mythical, the object <ıSa

'llsll1<ııf'<;thr \1:'1)' in \\'hieh Christian

" [umecl to the bend it of the

i,i, is so in the ease of a dıalice

'i'11)('11 '

11l;11[11

f'\ı-ıı il

\ \ I ıı ı l ( " i

in Venicc" -- possibly iootecl by the Latins fr om

the Great Palaee or the Church of St So phia -

on the f oot of which divine aid is invok ecl f or an

emper or R omanos. Ancl on the even mor e r ichly

gem-stuclclecl cr oss-r cliquary at Limbur g an cler

Lahn,7 s ponsor ecl by Basil the p ro ed ro 5 (a high-

ranking civilian clignity), an inser iption on the

fr ame asserts that, with the help of the Cr oss,

Constantine (VII) ancl R omanos (I or II) enısh

the bar bariam as Chr ist shatterecl the gates of

Hcll. Appr opriations of this sar t are rile on work s

fi·om the ninth through the twd f th century ancl,

par tieularly cluring Constantine's sole reign,

oceur on ieoııs in a var iety of mater ials. He

masq ueracles as the f ir st emperor of that name,

cr ownecl by Chr ist, in the pose use cl to de pict

the Pr oclromos (For er unner ) as he baptiscd

Christ in the Jorclan," on a well-known ivan'

plaq ue in Moseo\\' (cat.63); ;md in the guise of

King Abgar rceei\'ing the ı\Ianclylion on a \\'oocl

panel at i\Iount Sinai." R c pealcdl), :i"IIT "kıll

see, he a ppear s as Da\'icl in the Paris Ps:tltcr

(cat. 60). Bm the e:--: ploitation of an;ılogies to

Fig.20

Trip!""" "ith Deisis

~llld ~aints, m icl-tl 'lltlı

cCl1nıry. ln))"'y , Qo.8

x 7.6 en1 (l e r ı \ \" in g l ;

23.6 ;:.,q..2 cnı (centr

pbq ul'): 2'''9 x 6,9 c

(ri ght " ' ing )



Fi~. II

Tr ipeveh \Vith

Crucif ixion and saints,

mid-tenth cCIHur y.

k or yo 20.8 x 7.6 cm

dcft \Ving);23.6 x 1+2

cm (central plaquc);

20.9 x 6.9 cm (right

wing).

C,lhIıU:1 d t'~ ~kd :ı.iJl{"!>.

l~i bJiIHht;qlı(' naıionaie e le

Fr ;1I1CI'. P,ır i.~

Fig.22

The siekbed of King

Hezekiah, folio H6vof ıhe Paris Psalter ,

mid -tenıh centur y.

Tem per a and

gold on parehmetlt,20.3 x 18.1cm.

Cabiııct des ~lcd aiıı{·s.

Bil)tim!lequc Il.lıion.ıic

dc France. Paris

. J udeo-Chr isıİan Antiq uily ıı·as limited

to the per son nar the time of Constanti

This ruler 's mar r iage to Helena, d augh

his pr ed ecessor R omanos ı(920-++),

impetus to the long-esta blished image

Constantine the Gr eat and his mother

ıdıo wer e r egard ed as ar chety pal def en

the f aith. They stand together at the f o

Cr ass on a magnificent ivor y in the Ca

~Iedailles, Paris (f ig.21), thus supplemen

traditional iconogr a phy of the Crucifix

r e pr esented by the Borr adaile triptych

If size and excellence in carving ar e ev

of imperial sponsor ship, then [he tr ipty

Paris is just such a cr eatian, most lik ely

the r eign of Romanos II (959-63).10

Besid es a r e positor y of ancient id ea

Palace was evid ently a stor ehouse of anartefacts, both Christian and secular . T

trophies wer e braught out in their or igi

as were the silver 'lord anes' plate, the '

and other minsouria of the f ourth to six

centuries. iı Near the sickbed of King H

in the mid-tenth-centur y Paris Psalter (

stand s a chemibo xes to n (washing set) with

of fifth- or six[h-centur y ty pe. Mor e oft

materials were incorpor ated into new c

as in the case of the alr ead y-mentioned

of R omanos, the gadraoned bowl of wh

a sardonyx vessel of Late Antique, if no

origin. New lif e was similar ly given to th

rack cr ystal known as the 'Gratta of the

which in Venice, if not earlier in Byzant

mounted on a base now und er stood to

cr awn ofLeo Vi (886-912; cat.064) and

artef act in which the em perar is pr esente

is apos talos , the eq ual of the A postles and

Evangelists who surr aund him.

Between the ninth and the eleventh

the r e-employment of ancient har d stone

to have ins pir ed Byzantine cr aftsmen to

newly mined ~ıaterials of this sart. With



, ,1'1111<'1:111;111;ı''';ıtt' patt'n iıı P;lris.'C' illlOıııııı- i, ,-,

I' Iı ii i' ,''I ,iLTıIIIal 1'01In(lcl (kpilting ıhe

\\ 1 1 < '

1,,1'1"ll pp"1 d SITııe es peC'ially ap pr opriate lo

ılll' ii''''l,i:ııı harisıic Iımnion - ancl the lllllCh

I;ıı~l'1 "I,IILı,I,'r c:\aııı ple in "enice (caL80), at

ılj(' !ııılı' ıl'1\!ıil'lı a hall~length Chr ist \"'10. in the

iıı'ı 1'ipıi,1ı1"r "ııııclhiın. 'Takc. cal. this is ıny

I ILI' "il ," i"ice LOthe litur giC'al instruction)11 .. - •

rı'pe,ıı"" 1)\ ()r ıhoc!ox ancl other pr iesıs LO this

11;1\, ()Ij(' "i'ııı"n' ol'these sumptuous lItemils

ıııi"dıı 1\1,1111,111'coıııe from a churC'h or ciıapel

iıı ı!ıe (;1".11 P;ı1ace or f r om St So phia: the Boo l<

0 / Lddl/Old'" i. ehapters I, g) descr i bes ho\l', at

Peıııc,."" '111c!on other leasts, the em peror laid

1\\11l'ld ie," ancl t\l'O patens on the alta i'of the

(;rı''11 (:Iııırıh, The same text tclls repeateclly

e,~, d i i. Ch;ıptcr IS) ofcrowns, chains, silver

i,lllıkl;ı1l1 d, pt'ar l-studdcd and enamelled book ('{III'1's;iiici oıher ob jects br ought in fr om the

l1'cl,ıın aııCı neighbouring churches to adam the

\LI,!.!;llaıır;1;ıııci oıher parts of the palacı" when

.lınlia";IlI'ır s fr om a b r oad were received.

T" '\ rı"s only uniq ue o bjccts in r arc

ııı;lll'r i,lls \i oıılcl be to d istort the pictur c of

t,r if tsolil-r l'cI in the palacı" and to ignor e the

,.ir,.ıımsunces of their circulation, ]\Ilore habitual

\i;"ılll' prest'ntation of objects like the smail

ilın cr, '''c,s saicl in the Ceremonies book

i. ıha pı('\', ıg, :22) to have been bestawed by

ılj(' cınpıT"r on a variety of dignitar ies in the

Clıur ılı "I'ıhe :\lothcr of Cod ofthc Pharos

"iiLI\('il-;1Slof St Elijah and other occasions.

,'-iııılı pr esents are pr obably exemplif ied by

,i ,ıııall ,iIHT cr oss at Dumbarton Oak s (fig.23).

011illl' "ill'lTSe, ar oıınd the bu st of Chr ist,

ıP pl'.ıI, ıht' plca 'Lord he! p R omanos the

Onlı"d,,'. cmperor ', while, on the rever se, the

'in;iıı', d icl i, inH)k ed for 'Basil the Des pot bom

ıı iIIt, pıırpie', These niclloed legends mak e clear

1;1 1 ılı" r ıılns in question \I'er e Romanos IIand

\;ı,illl. Iıis son and co-cmper or bet\l'een g60

ııCı'ılı,; \\'Iı<lt the inscriptions do not tel! us is

r et'or ckd in the ({'rl'ıııııııi!',ı hook : ıhese sihTr

er osses \ı('re a\l'ard ed dur ing the same e\Tnt

as the pr cket of the tr casUl\' ancl other oHicials

of -lcred to the em per or inlaid gold nosses, The

precious-metal symbols \ITr e thus elements in

aritual of gilt exchange. a saned com pacı of

allegianees ıhat coııld stay the Hu:\ of loyaltİes

implicit in the acl\'ice of K ek aumenos and all too

aften manif est in the politicil historyol' the cr a,

R ead er s of the Book if Cmmoııi!' .> might

IH'II come a\ı'a)' belie\'ing that \I'iıhout pom p

ther e \Vas no cir eumstance, no r itual conr ext

surround ing and af f ecting an object that may

reasona bly be assumed to hm'e been associated

",ith the palace. Yet in many instances it is

d ifficult to identif y sur\'i\'iııg \'estiges of Byzanıine

ar t with activities of the court, fir st because this

text rar e!y enters into detail about the ob jectsthat it mentiom; and , second , ,e;iven its d eliber ate

focus' on 'public' events in this setting, because it

19nor es those things that penain to r elationships

between imperia! kinsmen and women, tokens

exchange d as mark er s of family solid arity -

the most important, and sometimes the most

flagranıly withd r awn, sort of al!egiance.

One example of such a ' personal' gif t is a

littlc-k nown cr oss-r eliquar y kept in the Church

of St-Eloi at Eine in Fland ers (f ig.24). l ts eed ar

obverse, bar ı" except for its gold and ename!

tips, repr esented a partid e of the T r ue Cr oss;

its reverse, sheathed in gold, bear s an inscr iption

describing this ' br anch of Eden' as an offering to

the Vir gin of '~Vlar ia, bom in the purple'. This

princess \l'as a daughter of Alexios IKomnenos

and Em press lr ene Douk aina, who pr esented a

\'er y similar silver -gilt rcliq uar y (now in Veniee)u

to the Keehar itomene in Constantino ple, the

com'enr to \rhich both mother and d aughter

r etir ed after the emper or's cleath in ii ı8.

Ostensi bly de\'oid of politica] GontenL these

richı), d emr ated r elics proclaimed the piety of

t beir donors, e\'en \I'hile the epithet ' purplc- borr i'

F i ; : ! . : 1 3

Cr o" or ılıe Emperor

Roın:ıno; II .ıncl B",i

[i. 9(io 03, Sillcr .

7· + x '-'. 9 cm.



Fig.24

Cross-reliquaıy,

bcgil1l1İng of t\Vclftb

(CnlUty. Cedar , gold ,nicllo and cnan1cl,

Lj..2 x 8 cm.

;ı pplied to ~Iaria Komnene sen'C.d to ollset

the fact that her father was a usur per . Clear ly,

Alexios I, noted f or the distıi bution of partieles

of the 'Holy Wood ' to f or eigner s and to

monaster ies over seas,14 did not exelud e

members of his own elan.

The Par is Psalter (cat. 60), an exce ptionallylar ge and lavishly d ecor ated ver sion of the book

that ser ved the Byzantines as a mor al and liter ar y

pr imer , may fittingly conelud e these r emark s on

ar t at court. Quite possibly pr e par ed at the ord er

of Constantine VII for the edification of his son

R omanos, ı5 the bod yol' the text is surr ound ed

by an elabor ate a ppar atus of patr istic and other

commentar y. But it is the d esign and content

of its four teen f ull-page miniatur es that best

r ehear se manyol' the themes outlined a bove.

Even the omament in their fr ames, nota bly the'vir tual' cabochons that stud the images attached

to the Od es of Moses (f aL.149 v) and Isaiah

(f o1.435v),echo or anticipate the encr ustation

of the precioııs-metal vessels and r eliqu

we have consid ered , while those of the

David cyele (lois w-- p) r ef lect motifs us

mosaic decoration and enamel inlays o

period.

Best known f or the per sonif ications

Classical and Chr istian vir tues cele br atevarious Byzantine 'Mirr or s of Pr inces'

lik e Ischys ( power ) in the scene of Davi

slaughter of the lion and bear , and Prao

(mildness) who attend s his anointment

- the images r ef er no less d ir ectly to r c

pr eser ved in the palace, as in the case o

that Moses wield s as he cr osses the R ed

o bject which was said to have been br o

Constantino ple d ur ing the r eign of Con

the Great and which, together with the

of the R omans' (manif est per haps in thof David 's coronation, f aL.6 v) , accor ding

Ceremon ie s book (II, Cha pter 15),was dis

Ar ab emissaries visiting the cour t. "Vhe

not the final miniatur e of the ailing Hez

(fig.n), whose lif e is extend ed by God a

thr ough the Prophet Isaiah, cannates th

and a bsolutian of Constantine VII, to w

ther e seems to be an allusion in the e pig

on ivories (cats 74, 75), ther e is little d ou

a number of o bjects d e picted in the psa

to pr oud possessions of the Gr eat Palace

ther e ar e many scholar s who r e ject the

a society rack ed by cons pir acy, usurpatio

sus picion, attested by K ek aumenos and

wr itings of Byzantine chr onieler s of lif e

These d oubters may well turn for comf o

contempor ary work s of ar t, a bod yol' pr

f rom which such d ysfunctional featur es

elid ed or combated with visual str ategies

concealed within dif f icult, coded r ef eren

58Icon of the Archan

Michael

Comtal1tinople, ı,,"elflh

Silver g-ilt on \Vaad , gald

enanıCı, pr C(iOııS stones,

46 ..1 x 1) x 2.7 cm



59 +-

Faur Gaspds,

Second 'luarter of

century, Constantin

Par chmenı, 18.6 x

1-325 folios

Constantino ple, m

L \lanuscript on par

37 x 26·5 cm

6 i --77

Lectionary wi

text, folia ıgy

Constantino ple, tw

Par chment, 38.5 x



!

'l, 1 .

i- • ~



65Casket

Byzantiuın, tentlı clc\'cııth

cclltllr ies, with latcr altcr atİol1s

Bo ne on a wooelen core, \\"ith

brass c1as ps , 1 6.1 x 2+ x i:-).6 enı

Constantino plc, mid-tcnıh centur y

Tvor y and bone on wünel cor e,

metal hard war e, 11.2 x 40.5 x 16 cm



( ) ~/

(:;lIy('ci hox iiith

l'ıııpl'1'ors ricli ııg ;ınc l

iıuııt111O ". - . ,

r('ıııll (jr {'It-. i. \ı'tll 1et'!lll!]"\"

(.;ın"cd ;ıııci .' . ....•Lııncd ı\"nıy. '-aid

~lıll\\ ıran" 01'.,.'1 i' '. III

.1. • .-.' ( lll~·.\\nlı ,ik, T

l pI.IIT llH'lıt.'

ltld, _ !ıiıı'r'I'orılt'l' l'('iııııırcCl11t'llh. ,..,l:-'.ll1d

; j.1 x ~l ;. -+ x qı"nı



( jg

h,ır\ \i iilı C:oııstaııtinc

\·11 I'orpll\ mgcnnctas

,r O\\ ıwd 1)\' Clırİsl

(,11 ı it ,ıpiı', ' J ı . . - ı

h.>\ ,I, j{ q.,") ı " r ı ı

( :i,11'i,ldIIIHI11!t'.

i )ii \\('I - ; 1 ;:;: () •1 11 c i ~ ) [ '1

I ,, '1'\. II i. ; , i(L X '2('lll

ii Ikliıı.

". Il1ld.\!ll" Iılıı Iıi;"

, ı".-,ıı"li

; 0\'atiH' plaquc "ith Clırİst

blessing Empt'ror Oııa i

(067 - 83) and Empr css

Thco plıano \982 83)

h"O r y. Ir.H T ;" nı' rrd poı~·t'hrtJıny.

ın.,i x ıo.t) rm



7 1 .-

Icon with Vir güı

and Child Sccond half of temh cemu

InH;:. 22.~ x q.:2 x 1.1cm

72 --.

1vory panel with th

Theotokos Hod eget

Comtaminople, tenth cen

,,"oıy, '25 -7 x '3.3 x 1.4 cm



-;1)

j . ) .

"ıır\ iiiılı ( lıı ı,ı

1 '. 1 1 L L L ,k r .ı ii'i

74Ivor y panel \I·ith

s s _ Andr ew and Peter

(;Olhl.tIltiIlı)pi<:. miCı-ıcIHh

CTIlıury CIl' 1(1)1).'"

k oı;:. :2+6 ; . < J~L)CI11

7 5h-or y panel witlı Stjolın

the Theologian anel

St Paul

(;f ııı ....Llllıillnl}k. mid-{I:nIJ ı

n'ntury OL " ıcı()l)..,

h"o ı ~. l+~J x 1:1.-!- ('!LL

-.". J.' .,ı. ,(",L. i i~ı'' 1'." "'ll; ••...•1", , "

\. ;'·",·Iı, i. ,,].•. 'I' !' ...

'IL.-.ı ,L. i .,1 dı \ " .'"1 . il ,i' . lıO "

1'1.1L i: ıi.' l.;'~',ı.ı, i. \1" . '\ ""'!" ,



76Triptych with

Deisis and Saints

ConstanLİoopie, c. ı000

h-or y with traces or gilt,

2:).2 x 33 x 2.9 cm (opeo)



/ i

1 1 1 ,1 i L I i J d \' i1 I c ' tr ip t\" c h

\lllIı I), j,i, ;l Ilcl sain ts,

ı l l " ti J H Ilo! {jr j.~'iıı.ılı.

. i tlıe {Ttllı'l' ,lllcl



78h·ory triptych with

Crucifixion and saints

(The Borr ad aile Triptych)

Icon with the

Cnnstanıino p!e. sec

of ıhe ıenıh cenııır y

Slcatİtc, panially g

'3 x 11.2 x 1.7 rmCoııswntinoplc, tenth century

In)};'. 27.2 x 15.7 cm (central

panel; 7.8 cın lIeft \ ,-in?;); 8.5 enl

rif{ht \\'in~\



81Chalicc ol' the Paırİar chs,\Ja!Ja,ın j l< l I < ii

witlı C lııi,!

COI1"I.tlııilll'pl, !I'IJlIı "IC'\I'llllı

('ııııır'<

\l.ıI,.•,,(!.]....•ihı I-·~jıl. l'lWK cry"ı:ıl.

;.)(.•III"'.II'II""'lıt'l,'I,;ılıH'!.

Coıı ....ıaıııiııoplc. Il'mb or

(' ;ı rly c!ı' \"('ıııh <Tlltııry

S;ır doııyx ('u p: "ikcr ~!.!,"ilı.

g-nld doi",OIlJl4:' e!l.ııııl'!. pt'ar b.

plTCioıı lnllC :ıııd rock cr y.\I;ı1

c.ı1)(Jt.'lıolı, 111011111. '27< ) x ıg1'111

Byzantiıll11, I : ı t < , It'IHh

L';:ırl~dı'\"l'llllı n'IHlıri(';-'

(;iklvd 7'ikl T /lll \\()od. "

g:ııld 1']Oi"OllIH' (,Ilamd".

aııd pr {'("iClu ....•.•11ınl· • .•. :": ~L)



At Church



'1"1 Llı

ılil i lt " i

"i ıı,ıiıı'

iiillı IIi

"I"ılı

I'li"'i'.

I""' piıınl illlcil!H' piıte'lI illlci

"i "IH' LO thl' ,ouıh 1;)1' ITslmı'llls

'. '1 '1 1 1 ' ,i\lletuan as ii ıı!ııılc

Iıııklcn Iwhiııc! thl' İl'f ıııostasi.'

i 11IJlI"1I aııc! r l'snlTd Ic)r

,lıı, miıınia! ahOlT aıı

,I ciil'inl' s peetack . Here an

i i>Ilıhinl'd hl'autif ülh-, the

" i ıhe lToss-in-squar e chur ch

ii 'lll' Il's.'icr ac (nıhes ur gla.'iSI

",ıil'. On c10se ins pectioıı, the

i iii.:.!.; St And r eıı' (fig':3+) shılll's hoıı'

, ..,insertecl iııc!İ\'icllıaııy inlO

, '~,(ıımd on site to constr uct an

,ilıhis created an othenvor 1c11y

,ii ing, r eftcctedlight. Paint ıvas

i ıhing to mosaic work , and the eff eet

L L L '1 !'hur ch was LOcreate a LOtaııy

tl d is phy, clark cl' andmor e intense.

i;iiıation of l1aos as 'centralised s pace

i \ as:1I1 area set apart rdated to the

ontine r eligioııs sen'ices. On thc

,ıngr egation couk ! listen to the

j "Jt obser ve their activities. Cer tain

l~ihJe r eadings and the d eliver l'af

homilil's look pliılT al t!ll' d o"r s or tlH'

il'lInuslasis bııı the litur g:' (the tnın rl'k r s

to ıhl' EUl'har isl, buı ııiıı he USl'd hl'r e Ic)r

am' rl'gu!ar ehureh sen'ilTi ıı'as huİ!t annınci

d raınillİl' iıp pearanl'l'S or thl' C1l'r g:' [i'oın the

s<lnl'lU,ll'l' at k cl' points in the sen'ict'

c!is p!aI'İng ıhl' Gos pl'1s <ınci ıhe saeraınl'nts.

In sl'mbolie terms. the pans or the chıır ch

IIlTe clil'icled hoth l'('rtİcaııy anclhor izonıaııy

ancl e:ıclı part coulcl be gin'n a s pİritua!

meaning. Verticaıı)', eınphasis has traclitionaıı)'

bin on the iınages ilİthin the ehur ch. These

hal'C long been und er staacl as l\'Or k ing in thr ee

r egister s. At the highest Ic\'cls, the cupolas and

apses ar e Cıecor aled Il'ith Chr ist, the Mother of

Gocl ancl ange!s. Bela\\' ar e scenes fr om the lif e

of Chr ist, o[(en Cid ieel a 'f estil'a! cycle' because

they hal'e been see n ;ıs scenes r epr esenting the

T\I'eh'e Gr eat feasts of the Orthodox Chur ch.5

Finaııy, the lowest [eye! is mad e up of saints,

LısuaHy shown as single standing figur es.

Tn this way, the to p levcl r e pr esents heaveıı

and , ind eeel, the centr al d ome is most of ten

occu pieel by Chr ist whose pr esence, though

not visi b!e to worship per s un!ess they chose

to look right u p, never theless hung over them

Fi~:-,3~ı 33["terior ,ıııcl p bno r til(' early dlTCllth-

century mona ...trry

clıur clı of Ho,i",

Loukas. 11t'.l\"

Di~tomo. in Boeot ia



Fig·34The İnterior of the

monastcr y church

of Hasİos Louk as

throughout their time in the builcling. In the

apse, the Mother of Gad , bearing the Child,

ser ved to illusırate the Incarnation, proving that

Gad became Man, was bom of a Virgin and

saved humankind . Below this, the scenes from

the life of Chr ist could be under stood in sever al

ways. A comman view is that they acted as books

f or the illiterate, a teaching tool f or those who

came to wor ship but who could not read. This

is a convenient interpr etation of the meaning of pictures in chur ches but it does not always match

the reality, which is that such scenes were often

uncomf orta bly high a bove wor shipper s and even

beyand their sight. R ather , they mac

life pr esent ancl visible as an eternal w

Christian truths and a r eassur ance to

Finaııy, the saints, both on the walls

on the lowest level, closest to the wor

physicaııy surr ound ed the \iewer s in

They gazed out at worshippers, seemmeet their eyes, acting as the fir st f oc

wor shippers on entering the church,

icons ofTheodore Tir o and Stlames.

wor ship per 's fir st act was to make a c

of these images, often the s pecial sain

each chur ch, dis played on stand s (kn

pr os / ıy neta r ia ) , venerating the m through

them, lighting cancUes in fr ont of them

touching them.6 This corpor eal conta

saints ena bled the f aithful to shar e th

as the lik enesses were not under stoocl

Byzantines simply as pictures but as i

which contained the authority of the

figur e. At the start of the litur gy, cong

and icons alik e wer e censed and , in th

both became equal participants and e

pr esences in the liturgy, f orming a pa

communion of saints. Russian envoys

Sophia in the tenth centur y wer e con

the angels descended from the mosaic

in the cele bration.7 So images within

drew the s pectator into contemplation

divine events and , beyand that, into p

in divine wor ship.8

Icons f illed chur ches. Over time t

of the Byzantine chur ch went through

of significant changes, stimulated by t

to incr ease the sanctity of the altar an

emphasise the power of icons. In the

Byzantine chur ch the laity could visua

participate in all the stages of the litur

per f ormed by the priests behind a law barrier between the nave and the alta

gr aclually changcd , and in the sixth ce

Chur ch of St So phia at Constantino ple



,

" i \\ iılı ,I Iıiıd ıer scr een, tlıe so-callcd halil tL ,'~, , , ,

Iii'i 11('11.ın Ir ont ot tlıe altar . ihıs type

ıııp o, .,cıT"1I \\ ,I' ii)uııcl III oıher dlllrdıes belür e

1'111 11I11iı r a pie!ly beeame the norm afi:er llUl ,. . i

1'111 11,11,ı1hin marblc as in the chur ch at'Iltil" ,

riptlll iıı : : j jl j + caıs 183, 18+1. By ıhe t\H'lfth

I 11'1 l(olJ.' IltTe laid O\Tr the to p of thelll .'

, iiLi, likı' ilıe !ıeaın on :'Tount .\thos \I'ithI' ,

ii or iiit' Iıl.ıiıı chur eh f esti\'als, the R aising- of :'l .,

l.ar ıl' ;i!ıti ılıe Transf iguration, as in eat.216),

ıılt"'ll tlj(' ı'oluınns of the templon, ieons or

ır ı;ıiıı' ii"1'(' graclually inserted. As a result of

H"t' ,lr ti('IIIl(". ıhe priest now perf or med part of

' liıur g, Iwhind an o paque scr een, enhancing

iık ;ı ,ıl' ılıe ill\'isi ble holy of holies in the

ırTIı ,Illll .ıllmı·ing him to m ak e entrances into

e clıur clı ;11 e!r;m1atic moments in the litur gy.

e ıeııd ı'ıı('\' to se par ate laity fr om priesthood

aclıed i ı > ; llIlal stage with the thirteenth-centur y

cloplIlen! of the high ieonostasis, a scr een

\I'ITd \\ iıh ieons which totally concealed the

ar uıılı'" ıhe centr al d oor s (usually d ecor ated

h aıı .\ııllLll1eiation, as cat.281) wer e o pened.

e i('oııo'ıasis included a whole range of icons

' 1(,IHTaıiol1, including the Deisis, the patronal

ıı ol' ıhe ehurch, the ma jor f estivals of the

r clı. aııe! other saints and pr ophets, and might

SlımHılllltee! with a crtlcifixion.

LIl'Iı church a p pears to have had its ownTr sc eollcetion of saints. Asaint may a p pear

losı aıı\ where on the walls of a chur ch, and

gr olljlee! lI'ith a var iety of other saints from

aııge of clates in the liturgieal calend ar .9

hough iı has been suggested that saints ar e

gaııiSl'd by ran k , function and plaee in the

ııci;ır of t he Chur ch, this is not the case.

ııgh saints \I·ithin the Church eer tainly

n ddiııee! gr oups - pr ophets, A postles,

ı ;1\ "lı .\ne!re\ı', E\·angclists. martyr s, bishops,

r rioJ. s.ıillts, hr etler saints - the a p parently

ı 1';1 1'\ nalur e of the ciıaice of ineli\'ielual ,aints

I!',1ı"ıl lI'iıhin each chur ch suggests that the

ineli\'ielual natur e anel r ole o r ıhe ehurclı \I'as

iııı por tant in picking the saints. !ııekeel, it is

possi ble that ehur ehes liTr e per soııalisee! thr ough

their choice of saint: the iııe!i\'ielual patrolis, ıhe

l\'lxof monk . the ty pe of ehur eh ınust all h<l\T

been signif ieant faetor s in the ehoiees of saiıl!'.

Sueh \ıas the settiııg for the litur gy. \I'hiclı

lI'as itself a perfor manee eelCbrated \ı·ith

a ppr o priatc tr a ppings \Iİthin the s pace of tlıe

ehur eh (fig.35). i\f any seniees took place early ın

the ınorning or at d usk , and churehes liTre oüen

small and r e/atiH ly dark , As a r esult, ligh ting was

of gr eat importance, and chur ch inventories and

ty pik a (f ound ation d oeuments) r cgular ly eliscms

the Iighting d evices in their particular building.

Candles and oil lam ps (cats 218, 21g) provieled

artificial light; they might be sus pend eel in

glitıering cand ela br a (ca ts 170, 171) and

chanddier s, or plaeed in cand lestick s.

The importance of the litur gy meant

that litur gical vesse/s and book s wer e valued

highly and mad e of pr eeious mater ials. The

k ey liturgical vessels wer e the chalice, paten

(ca ts 20, 80) anel asterisk (for the Eucharistic

wine and br ead ), and t he associated vessels

f or the pr e par ation of the Communion, the

f la bellum, or f an, the censer used thr oughout

the ser vice to' cense congregation, altar and

church. Processional cr osses (cats ıgo, ıgı) wereemployed in the entr y processions of the d er gy

and went befor e the Gos pe/-book. Altar tables

too could be precious and lavishly decor ated. iD

They, the br ead and wine, the chalice and patl'n

\Yere all co\'ered ıvith a p propriate textiles. of ten

silk s heavily embroid er ed in golel. The pr iests

themselves had vestınents a ppr opriate f or each

service. The ep it rach e lio n was an em broidereel stri p

of doth worn ar ounel the neck that all priests

were obliged to wear when ap pr oaching the

sanctuar y, wlıile the e J }( g o nn t i o ı ı was a stif f gold-

embr oielered piece of d orlı that hung f rom the

girelle to t he k nee,



Fig·35The inıer ior of

St Caıher ine', on

;\OlountSinai, with

a service in progress

Books wer e es peciaııy holy because they

contained the word of Gad. Consequently, they

wer e often lavishly d eeorated and sumptuously

bound , sho~ving proper r es pect to Gad . The

litur gy is an e1a borate interweaving of texts

fr om psalms, both r ead and sung, of passages

fr om the Gospels and Epistles or Prophets, of a

lar ge number of pr ayer s, same chanted , of short

r eadings a bout the saints whose day it is, and of

hymns. All of these need ed book s. Liturgical texts

were not assembled into one book but in f act

s pr ead across several volumes. The prayer s said

by the priest in Iitur gy wer e uniquely written on

a long scroll r olled to the eorr eet place and held

up by the d eacan for the priest. These serolls

tend ed not to be heavily illuminated: the Patmos

litur gieal roll has an elabor ate frontis pieee

showing St Basil the Great cele br ating

litur gy insid e an cla bor ate mar ble build

but the r e,t of its iııustr ations ar e initial

r eligious and secular . Gos pel texts wer e

in a lectioııar y, wher e they \,·er e divide

of lessons ananged accor ding to the d a

year on whieh passage was to be r ead .

Gos pel- book (eat. 205 ) playcd an active

in the litur gy, f or it was earried out into

ehur ch from the pr othesis, and tak en th

the sanctuar y d oor s into the be ma, or s

wher e it was placed on the altar . This a

symbolised . among other things, the en

the Word of Gad into the world. As a r

Gos pel-book s fr equently had impr essive

and less attention might be paid to thei

deeor ation. Ind eed , ther e is a ease for s

that same of the most ela borately deeorGos pel- books in Byzantium wer e never

used but may have simply sat on the al

re pr esentations of Christ's inearnate wi

just as the bread and wine of the Eueha

wer e his bod y and bload . However , hun

of illustrated Gos pel-book s sur vive, show

variety of ways of iııustr ating the narrati

use frontis pieees with Gos pel seenes, sam

narrative stıi ps between bloeks of text; m

Evangelist portr aits. Leetionaries (eats 6

eontained liturgical r eadings drawn fromBible f or the Euehar ist, and fr om saints'

Church Fathers and the Couneils of the

f or other serüces.

The psalter was per ha ps the most im

book in Byzantine d aily lif e, to the exten

childr en leamed to r ead and write from

even, as in the bilingı.ıal psalter her e, W

adults might leam Gr eek from it (eat. 17

In ehur eh, psalms wer e sung throughout

Iitur gy. In par ish ehur ches, they were se

r elevanee to that d ay's f east; in monaster

wer e sung in biblical ord er over the eour

serviees. Bothmonk s and lay singer s mu



.IıJI iiLi p,a!ln 1)\, he~lr ( ;IS, pmhably,

IJlII'1 ,,Jılıe cüll,~r egatiuıı, ,\ı kast 8: )

Jlıilı.ı1ııI psalıer s slIlYin' aııCı 110 t\1'() are

,;ııııı', i 1I11str aıecl in \'arious \I'ays, they

ı' 1lllllwr"lIS inıeıvr etaıions, meclitations

i ('lıll1llıı'lıtar ies on the psalıns, Suıvr isinglY,

piı,' ıı.ı\' iıı \d ıieh the psal111s \ITr e used in

r ~'\, IIli, ın;ı;, are neyer r earrang-ed to r eHect

bııı .dıı~ı\,; ınainıain ıheir biblical oı·der .

lıı'lp ıııııııks in the r ecitation or the psalıns,

dın' ,,,'r e organised into t\\'enıy sections or

ı ııılill , ,'aı h containing bet\lTen one and

p,;dı ih,To aid 111eınor )' eve n fur ther , each

hi,ııııı ii;1' su bd iyided into three, Ther e ar e

1 " , \ (1 ' ()Id Testament book s than New, in

ı 1t'lIn llI1~ their lesser place in the litur gy.

B""k ,)[Jo b, however . is one of the most

ıı!;ır , .ıııcl O\Tr twelye iııustrated co pies

l\T,

The 111llr eh was alsa a place wher e people

.(lll11I;lkeind ividual off er ings, Same took the

n ol' \Oıiye gifts lef t for Chr ist, the Mother

;ocl "i ıhe saints in pr ayer or in thank s f or

diı, received (cat. 198), R elics of saints wer e

'ioıı'. of Iering the f aithful a dir ect contact

ı1J(';ınual, tangi ble hal)', and ever y altar

mnlk eontaincd a relic. Such r emains

ci \ .LI'\'li'om a minute s plinter of wood from

Trııc Cross (ca ts 182, 188), encased as bef itted tll" or a mor sel of bone from asaint to

ıholı' hcad or a hand of asaim. Such

ial r ı 'lies alsa actcd as magnets f or pilgrims

e ı\ııırch.

Tllf' materials used to er eatc the images

"Iıied'> at chur ch r eHected both the

lll'(TS a\'ailable to the patrons and the

ır l.llJlT of r cligion, f or it was thc patr ons'

Iıı c;i\'t, of the ir be,t to Gad . There \I'as a

r ( 11\ (J[ matcr ials: mosaic and paint; gold ,

1)11)llze, br as;" co pper ; and material;,1"I\"s ınioht car ı'" a svm bolic mcaniıw.

" .',/ b

1"1' example, did not tarııi,h and so

re presellll'd pmi!\', Pıır plc staiııiıı,~ or pages or

buok s r l'pr esl'llted llot onl\' aıı İllCr l'aSl' iıı pr ilT

bllt abo a coıııment oll il11 pl'r ial statııs. pıırplc

being t he impcrial eolom r esel'\Td for the

e111per or . .\licro-1110saie ieons \ITH' a highly

s peeialised , partind arly eostly Itırın or 111osaic:

ıhe b'c1 and detail or skill need ed to \lork on

this seale ıısing mimııe ıesserae, ca ch plael'd

indi\'idııalh' in position, sur ely \lith t\\TeZer S,

is simply sraggcring. Ol~ jcets 111ight be hırther

d eeor ated \I'irh e\'Cn ınore precious materials,

inlaid in ename! perha ps (cats 199, 2 - 1 - , ) ) or

gild ed , and d eeor ar ed \I'ith omament and scenes

a p pr o priate to their lise, as with the Riha Paten

LlSed f or Eucharistic br ead , wher e the Last

Su p per is d e picr ed (cat. 20). And size always

mattcr ed . it related not only to cost, but alsa to

[ıınction: sm all book s wer e often intend ed to be

r ead in private.

'Vithin the ehur ch, ar chitectur e, imager y,

'the litur gy, as well as sights, sound s and smells,

including voices, incense, smak l' and candle-wax.

heat and bodies, hard , polished floor s, gli ttering

mater ials, aıı com bined to cr eate the ef f ect of

tr anslating the wor shipper into a s pher e beyand

the wor ldly, and to transiate the church into

heaven, in ord er to move being 'at chur ch'

to being 'with Gad '.



170

Chanclclicr (c!ıor o.ı)

Thir ıcellth li)t 1ncl'1lI1ı Cl'llIl1r~

(:~ıst ('opp cr alloy. diaııH'lcl" :).-)0

I.:lll: Iıl' i! .dlt ,," ithou t h;ııı!!iıı!.!;~

1'+6.) <:111



7 i

l JlJll']-,ıliIl\

h(,]]ıci,"I()1l

,[lll1 \11' 1I,r;ılll';ıll. 1.,-),")1) (i.-)n

ı . ı~ılı o r "'lI~p('Jı,ilıl1

;1-11'1" ııl' di,k '2g ("LLL

1 72 "

Clıur ch bcll

Ser bia, '1 ı\lıgUst I+12

CaQ br oıızt', hcight 7'2 cm;

c1iaıncıcT 55 rm

1 7 3 .,.

R ad ap's belI

Scrli:ı.:.? .-\ugıı"ı Lt:;:!

Ca~( br ol1z(', : > [ J x -l j rın

1 7 t +-

Co pper al10y plaque ıı"ith

the H od cgt.:tr ia and saints

il~Llıtilıll1. lı'mh f lr

l'i{'\"("Hiı fTılllır~·

('O p! cr :ı1!()) , ~ J '.- J y Itı.E: ('])1



1 7 5 .-Homilies on the

~lary by James

K okkino ba phos,

Constanıil1ople, lir s ı h

ıhe !\, dfi h eentur v

~ ranuscript on parchm

23 x t6.5 cm

1 76 --.Per fume br azier

f orm of a d omed

Constantino plc or Ital

end of the twelfth cent

Silwl', partiaııy gilded ,

and perf oratcd , 36 x 3

1 7 7 -77

Psalter with the

vener ation of an

the Virgin Mary

Hodegetr ia, folio

COl1sıantinople and C:y

arounCı 1300

Tempera anel golel on p

Latin and Gn'ek bilingııa

and other tcxts of \'ar ioı

x 2 + cn1



ııg .-Tray ıı-ith r e pl'l'seıııation

o r the. \postlcs Peter anel

Paul ııanking- acr oss

(:;ırt!ı;ı,:.!,\', ~ır ·ltııır \ - I tH )

(:Ia;. :r/.~) < :Jtl.n,'lll: \\iılth ol'

rr .lllW +. -i. cm

179 lt

Gilt-co ppcr plaqut' "ith

St Theoelor e

Byz.ll11iııın 'C()Il"uııtiI10 plC~)I.

nıid -dcn'l1rh (cnnır;;

Gilt (oppcr, 12.:) i< 6.7 cm

iLı ·1. ı.,· ,.fı:',- I1r;1 ;1 \hı. 11.1 .-, 1 -1 11.1

P~"ı.!i••·;- .

ı80 , j,

Textile hanging with

St Mak ar ios and waman

in pr ayer

E;.iYV l,lour tlı ')r tif tlı CC l1lur y

Lint'Jl and \\"001, IO~):. Sb Ctn



R cliq uar y sar co phagus

Byzantiul11, f if lh-sevenıh century

~ l arb le a~glonıcratc,

27 x 51 x '15 -:') cm

R eliq uary crucif i

Constantino ple, lirst h

the tenth centur y, :\[on

of St !I!ichael, Damok r(now Güzelce)

Parıially gilded silver c

hold er , 36.4 x 23·7 cm

(The ertlcif ix [a bove] a

the sar co phagı.ıs Dcf t]

for illustrative purposes

and ar e not exhi bited )



185 .-Double-sid ed d osure

pand

Thrb("s, nintlı ct'nll1ry

il br blc, 88.3 x 10:;.8 x Il).:) cnı

Double-sid ed d osur e

panel

Thebes m , 872/73

illarblc, 97.5 x 73.8 x 9.5 cnı



ı87Silver chalice

Syria, Early Byzantine,

sİxth century

Sih-er ,,·ith nicllo and gild ing,

18 x 26.6 x 16 cm



~!"_~- ~

~ '"



189 .-

(:llll"(i1lllirınplt'. lir..ıIı,ılr ııl'

,'ltTe mlı Cl'Jl!ll1Y

Ca ...! {'opper :ı1lııy. !ı.1l1l11ll'rn!.

l'1l!.~, T;ın·d <llld j>11I1dH·d. : 1 1 ) A. :;ll.ı x

o.:i clll

19° , j.

Pr ocessianal cross

Hy Z< 1I11 ilim.

pr nl>:,lık I\\Tllilı ,.,.nın!"\"

Br onzı" l'llgl'an'd .lIld L'll1 bo~snl.

Cia x +( j<~ x 'l.h cm

ıBnRı'liqı!ıı. arthe

'I'rtll ( ı J"

(ı'l1ltll'

"ıih,'j"

:.11· tl

lı ı nnnı' ')P~lqlıC

l,iı\"fT gilt su p port.

p.ı~;lı·, ~+x i/.7 x 1..')cm



ıgıProcessİonal cross

Constantino ple or north-western

.\naıolia. Iate ele\'enth or early

twcmh centur y

Silver , silver gilt, niello, iron cor e

and bronze shart, 73 x 39 cm

ıg2Th e Cross of A

L'lle tenth centur y

Silver sheets, ",ith en

partial gilding and n

decor ation. r i\'eted a

İr an co re. 58.5 x 31 x



19<>,)

( ' 1 (1 ( iıı" \I'ithıC J • •

'II '(i iiıser ıptıon1\1(' (Il

\1 'lII14'ITalıcaıı.ı ..ı"":!'ı' ,

"Iııl' ( -llllIY . . .

< ', - Iıı· j,r/U meltıcııng J ı L L L '. .. . . •

( i' i' . iı)ı ıp 7.1 ('LLL; \nd th..lJ'pl'li"llll

II LLL:"\1 '~Iil p.ıü g

i: .\i,,'ı:\~.ı '1', I"1

19+I, crossPCC(()I';ı1 r e ıquar y



.'1;' 1 98 . .ı . .

Votive hand hold

across• ~, t.'• ~ i

\ i

\t,~\,-I"" 'ı

, J1 \ 1 \ \ \ •

\'iif , ..ı ,"","1 ". .IUI. :\

. \ ı \ ' · . ti l "I · , j.,1

\i .\1 )' \

. } O-

Syıia-Palestine, sixth-

cighth ccntury

Bronzc, 2+ x 10 cm; cra

1 3 x L O cm

195 tPector al reliquar y cross

Constantino ple !Jr Anatolia,

eleventh ccntur y

Coppcr aııoy, 7"3 x +3 cm

1 96 tPector al reliquar y cross

Constantino ple or Anatolia,

clevcnth centur y

Cop pcr alloy, 8 x 4-5 cm

Pectoral r eliquar y cross

Constantinople or Anatolia, !ate

lenth or elevenıh century

Co pper aııoy, 9,5 x 5,5 cm

1 99 -- .Pector al cr oss with

Four Evangelists

Constantinople (O h secon

of the elcventh centur y

Gold , fıligr ce, cloisonne

chample \ 'c enanıeı, emer

tourmaline, pearls, 9 x 6



"ıı ,

,iılıi

1'(4ini

,i,

.1. i j . -~ r

', Cl"! .' ! " ,:

, . ,'c',.

."{'lll

iI ' :i ("; :1

".ıh:,',

, ,-

ı~Ii ı



Camea with

Christ Pantokratar

Consıanıinoplc, early thirteenıh

century <'amca); Serbia. Pf'C

or Prizrcn. early snoemecnıh

cenıur y (selting)

.Jasper green. ctltting; sih'er,

ham mc ring gilding; enamCı I blue

and gr een); canıelian, moıher -oı~

pear ı, glass pasıe. eameo length

+ cm; ",id th 3-5 cm: selting

kngı h 7.2 cm; width 6 cm

2°3Pendant with

Christ Pantokrata

Constantino ple e). e1

or t",elfih centur y i n a

sİxıccnth-cenwry mou

R ock er vsıal, gold. pre

pearls (mount),6.1

x 6lindud ing mounl)



20-!- 4

\l'lI T l"I;II11l'lıt.

I,ılio ı 7:ii

.\lid _ ı\\ı-ilııı ' ( , i ı[,y.

( ,I )rı~ı.ıııl: J. i 'i Jj(

!'.ın !ıııwı ;<'. - > - < r,)',l cm.

2°5Ll'niolld 1\ ıı 'ith

ılır Lı,ı :-ıu pper ,

l(ılİo ()i

(',ııl"ı.ıl)!IIH 'illI iLI'.\.r "ı ia

.\iiıı' ll'. ,;: ,~i'J ı ! ( J()O

I',ın hıııı']]ı' :..!.;: j( .2t1., j cm

, .~" li\','

- ' ' ' ' . : ~ , . . , . , 2 f " " i- ' ••, ı-' "...•••~f '~"'.,. •.••.,

ii ,, "'- - .

~n ••

L )~l·l\t\\ı;n HI< )fJ (~·H·

~'i ,~l\rıl;L(~1fC -'fd "lı,

'r(l'fI \\1l\(';1\.\ +/' J ~

iU, (; L\,ı PC~\. H)'rıiL\• . . . .

'I'.\'\t.\\tl 'ht;r!.\\," .

'I'lt 't' i : iiP(;! r~ Tı\ı. .... / v' .. •

\l;1 1 1 . \ ( ; f \.() " L l l f ·

Jı)r t :7",\()(; " , \ t• . ..7.\

i i 1 L( '.~,~T\.)lIt )1 1 V "

!~(~,.c;((;i p t ~ '1 ,, \ '

{ - ; ( \ ' J \ ) \ ' . \ . < ~ i ll! i ~~\•

i .~

/\1\1 'rı< ) li l ~i T " ı n , ' 'I' ~,\+,\.\ i j\ j\ ~( i),,.\i

:' / "

'Ti" lll'\.I\. '; j(f){i?



2IO

Chalice veil

2II

Gas pels with the

af Christ, f ülia 9

Constantinopic, secon

de\·enth ccntury·

Par elımeııı, 3° x 13.2

.Late ıhirteel1lh-early r ourteenth

century

Silk embroid er ed ",ith ,iker and

gild ed sih-cr thr ead , 63.5 x 63.5 cm



Epita phios of :\'icholas

Euclaimonoioanncs

Coıı:-'{~lI1tin() pk . 'l'h('~saı()l1iki

or ıhe Pcloponncst'. 1{06 /07

Cri m so n :- .i lk \\·it h ~ikcr . ,ilnT-gilt .

and (olonred tlır eacb. 8 j x '+u cn



213\Vaıı tilc with an

image of St Nicholas

Pr o bably C:onstamiııoplc.

{('llth century

Co Jo ur ed and tran:-.par Cl1l giaze:-)

011 \vhiıc c('ramir, ıG.8 x 1f ) . . . .J . CIll



214\ Vali r ile \y i th an

image of St Ar erhas

Pr lJ lı:ı l)iy Coıı'>lalııiIHll)ll' ,

ll'l1tlı (T1Hııry

(:o!<Jlır cd :ınd Ir .Ubpdl'l'llt ~lal.l·~

niL \\!ıi te «:r<ımi" 17.2 x 17.1 cm



215The Raising q f La zarus

Twelf th centur y

Egg tempcra on \Vood . 21.3 x 24 cm

Epistyle f ragınen

Transfigur ation

~Iount Athos, f ir st ha

ıwelf th centur y

Chcsınut wood , gesso

tem per a. 23.2 x 23.7 x



217 -.Incense burner

Serhia.Janjc \ 'o. f (J lırtec lııh century

Bronzc, ca:-.ting, opcnwork,

ii x 12 _ .1 x 3.05 cm

Lıstern ~lcditerrancan (? )L

fiflh-sixıh ccntury

Brass, '2.7x 7.9 cm

219 . J ,

Oillamp

Egy pt, sixıh ccntur yQlIaıemary allay, east in parts,

covered with grecn pariııa,

32.1 x 25.5 x 19.3 cm

Raund el

Alather o

IUi8-81 (?i,

SC'lJentine. d

220 ~

Brass lamp with

griffin's he ad hanelle

haly (?), fif th-sixth ccntur y AD

Br ass, height 15.9 cm; width 7.2 cm;

Icngth 21.3 cm



]'2'2

\I""ıiı li ıılı Iıı'ad

.0 1" ( : 1 I II ,i

~U :31-""111(,,,,1)('1,, Jo !io Ili'



x c

byzantine art after 10 century

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