Sweet Violet

by ArtByzantine ArtByzantine ManuscriptByzantiumEarly Christian ArtGreek ArtMedieval ArtPowerpoints
Sweet Violet, Vienna Dioscurides, Folio 148v, about 515 AD, Byzantine Greek Illuminated Manuscript of De Materia Medica by Pedanius Dioscurides, vellum folios measure 37 by 30 cm, Österreichischen Nationalbibliothek, Vienna https://jenikirbyhistory.getarchive.net/topics/vienna+dioscurides?page=2

“The Vienna Dioscurides is a Byzantine Greek illuminated manuscript copy of “Medical Material” by Dioscorides, which was created in 515 AD. It is a rare surviving example of an illustrated ancient scientific and medical text… The original “De Materia Medica” or “On Medical Material” was first written between 50 and 70 CE by Pedanius Dioscorides. It is a pharmacopeia of medicinal plants and was widely read and used for more than 1,500 years… This specific manuscript copy was created in the Byzantine Empire’s capital, Constantinople, for the byzantine imperial princess, Anicia Juliana. She was the daughter of Anicius Olybrius, who had been one of the last Western Roman Emperors… The manuscript was presented to the princess in gratitude for her funding the construction of a church… The dedication miniature portrait of Anicia Juliana is the oldest surviving dedication portrait in a book…” I find it hard to encapsulate the manuscript’s significance more effectively. The Manuscript’s Folio 148 verso presenting Sweet Violet is my favourite!   https://joyofmuseums.com/ancient-manuscripts-and-historically-influential-books/vienna-dioscurides/

This manuscript serves as one of my chosen ‘canvases’ for celebrating the arrival of each month. My goal for 2025 is to present twelve artworks—one for each month of the year—featuring exquisite depictions of flowers that beautifully convey their essence, symbolism, and historical importance. This initiative is more than just a tribute to flowers; it serves as a personal invitation to pause each month and appreciate the harmonious relationship between nature and art. Join us as we uncover how artists have woven the language of flowers into their work, using them to convey themes of love, purity, resilience, and more, allowing us to experience the beauty of each month in a fresh and vibrant way.

With a rich history spanning over two millennia, Sweet Violet is imbued with deep meaning and symbolism, making it a cherished choice for various occasions. As the flower of the month for February, its delicate fragrance and subtle beauty captivate the senses, while its association with love, modesty, and remembrance ensures that Sweet Violet remain a timeless floral favorite.

Sweet Violets (Viola odorata), known for their delicate fragrance and dainty blooms, have a storied history in botany that spans thousands of years. Originating in Europe and parts of Asia, they were among the earliest flowers to be cultivated for both medicinal and ornamental purposes. The ancient Greeks and Romans revered the Sweet Violet, using it in herbal remedies, perfumes, and even as a symbol of love and modesty. In medieval times, its medicinal properties were documented in early botanical texts, where it was praised for its ability to soothe headaches, respiratory issues, and inflammation. Renowned botanists, including Pedanius Dioscorides, highlighted the violet’s therapeutic virtues in works like De Materia Medica. Over the centuries, the Sweet Violet has maintained its place in botanical studies as a plant of both scientific and cultural significance, admired for its beauty, fragrance, and enduring symbolism.

The name Sweet Violet derives from its botanical classification, Viola odorata, which highlights both its genus and its defining characteristic—its fragrance. The genus name Viola is rooted in Latin, adopted from the ancient Greek word ion, which referred to violets and was associated with myths and poetic traditions. The epithet odorata translates to ‘fragrant’ or ‘sweet-smelling’ in Latin, emphasizing the flower’s delicate and appealing scent. In Greek mythology, violets were linked to figures like Io, a mortal transformed into a heifer by Zeus, for whom the gods caused violets to bloom as a food source. Over time, the name sweet violet became synonymous with modesty, purity, and love, encapsulating the flower’s gentle beauty and enduring fragrance.

Folio 148 verso of the Vienna Dioscurides features a stunning depiction of the Sweet Violet (Viola odorata), a testament to the manuscript’s masterful blend of scientific accuracy and artistic beauty. The page showcases the violet’s delicate blossoms, rendered in soft shades of purple and violet, with meticulous attention to the gentle curvature of the petals and the fine detail of the green leaves. The naturalistic portrayal reflects the Byzantine artists’ commitment to capturing the essence of the plant, both as a botanical specimen and as an object of aesthetic admiration. The composition is harmonious and balanced, with the violets depicted in their natural form, seemingly alive on the page. Beyond its visual appeal, the illustration exemplifies the manuscript’s role as both a practical pharmacopeia and a work of art, celebrating the beauty of nature through precise lines, subtle color palettes, and elegant simplicity. This folio, like many others in the Vienna Dioscurides, elevates the scientific depiction of plants to a level of timeless artistic achievement.

For a PowerPoint Presentation on the Vienna Dioscuridis, please… Check HERE!

St John the Baptist and Four Saints

by ArtByzantine ArtByzantine IvoriesByzantiumEducationGreek ArtMedieval ArtSocial StudiesStudent ActivitiesWorksheets
St John the Baptist and Four Saints, c. 1000 AD, Elephant ivory with traces of gilding, 23.2×13.3cm, Victoria and Albert Museum, London, UK https://commons.wikimedia.org/wiki/File:St._John_
the_Baptist_and_saints,_c._1000_CE._
Ivory_with_traces_of_gilding._From_Constantinople,_Byzantine_
Empire_%28Istanbul,_Turkey%29._Victoria_and_Albert_Museum.jpg

On the 7th of January, the Feast Day of Saint John the Baptist, the Greek Orthodox Church celebrates a significant figure in 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 Ivory Plaque of St John the Baptist and Four Saints in the Victoria and Albert Museum in London is evidence of his importance in the arts.

This Byzantine ivory plaque, housed in the Victoria and Albert Museum, presents a commanding depiction of Saint John the Baptist surrounded by four saints in a beautifully carved composition. St. John, central to the piece, gazes solemnly outward, his right hand raised in a gesture of blessing reminiscent of the iconic Christ Pantocrator. He holds a scroll, in his left hand, a symbol of prophetic wisdom. Encircling him in a design formed by an elegant tubular vine are busts of Saints Philip and Stephen above and Saints Andrew and Thomas below, creating a balanced visual symmetry.

The surface between these circular frames is filled with intricate, pierced foliage, a testament to the Byzantine craftsman’s skill. Traces of gilding and remnants of red-tinted inscriptions hint at the plaque’s former vibrancy, once illuminated with a regal gold shine and rich colours highlighting each saint’s name. The eyes of the figures, enhanced with glass paste beads, lend a lifelike intensity, particularly in St. Philip, where the beading remains fully intact.

Despite a long crack running vertically on the left side and the loss of two leaves from the foliage, the plaque preserves its structural beauty. The back side reveals the ivory’s natural texture, with gentle wavy lines and the subtle trace of a nerve canal, adding to the piece’s authenticity and tactile connection to its organic origins. These characteristics all contribute to the plaque’s historical value, serving as a physical testament to devotion and masterful artistry from the Byzantine era.

The V&A’s ivory plaque of Saint John the Baptist, dating to around 1000 AD, emerges from a period in Byzantine history when art flourished under the Macedonian Dynasty. This era was marked by a “renaissance” of classical themes, blending ancient Greco-Roman styles with Christian iconography and meticulous, refined craftsmanship. The plaque exemplifies this revival through its carefully carved figures and balanced composition, presenting Saint John with an aura of reverence as a ‘bridge’ between the Old and New Testaments. Positioned in the center with a raised hand in benediction, Saint John echoes the imagery of Christ Pantocrator, highlighting his esteemed role as the Forerunner who baptizes Christ. His scroll symbolizes prophetic wisdom, while the saints around him—Philip, Stephen, Andrew, and Thomas—reflect the universal call to discipleship, with inscriptions and red accents further enhancing their significance. https://collections.vam.ac.uk/item/O92548/st-john-the-baptist-and-plaque-unknown/

The original purpose of the plaque remains somewhat uncertain, though the prominence afforded to Saint John the Baptist suggests a possible connection to a religious foundation dedicated to him, such as the renowned Studios Monastery and Basilica in Constantinople. This celebrated institution, a major center of Byzantine monastic life, may have housed objects of similar significance. Following the Crusaders’ sacking of Constantinople in 1204, treasured items from such sites often made their way westward, making it plausible that this plaque was preserved as a valued relic in Europe. Through its symbolism and fine craftsmanship, the plaque reflects both personal devotion and the era’s dedication to spiritual legacy in Byzantine Art.

According to experts at the Victoria and Albert Museum, the Byzantine plaque has been stylistically linked to ivory panels on a casket now housed in the Bargello Museum in Florence, which also features half-length depictions of Saints John the Baptist, Philip, Andrew, and Thomas. This connection suggests a shared artistic tradition, reflecting how Byzantine craftsmen used similar motifs and compositions to emphasize the saints’ roles. While my search for a photo and further information on the Bargello casket has been challenging, I hope to view this piece in person during my upcoming visit to the Bargello in the spring! Seeing it firsthand will be invaluable for understanding its stylistic parallels with the V&A plaque. https://www.theflorentine.net/2021/05/04/bargello-museum-reopens-with-refurbished-sala-degli-avori/

For a Student Activity, please… Check HERE!

Enkolpion with Nativity

by ArtByzantine ArtByzantine JewelryByzantiumEarly Christian ArtMedieval ArtStudent ActivitiesWorksheets
Enkolpion with Enthroned Virgin, Nativity, Adoration and Baptism, Early Byzantine, last quarter of the 6th century (ca. 583?), Gold, 7.2×6.5 cm, Dumbarton Oaks, Washington DC, USA https://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222607%22&sort=0&page=51

In the realm of Byzantine devotion, Enkolpia (plural of enkolpion) were cherished devotional objects, worn around the neck by early Christian believers. These items often depict religious icons, acting as both a personal expression of faith and a protective amulet. An enkolpion with the Enthroned Virginwould emphasize the veneration of Mary, the Nativity, Adoration, and Baptism scenes would highlight central narratives of the Christian story, underscoring the divinity of Christ from birth to baptism. The Dumbarton Oaks Enkolpion with Nativity, the Enthroned Virgin, Adoration and Baptism is more than an object, it’s a narrative of divine love and protection. This piece captures the Byzantine reverence for Mary and Christ’s life events, merging intricate craftsmanship with theological depth—a fascinating window into Byzantine religious artistry and belief.

The Enkolpion in the Dumbarton Oaks was once part of the collection of Josef Strzygowski, a prominent Austrian art historian known for his studies on Byzantine and Islamic art. Strzygowski’s collection included rare and unique devotional pieces, with the enkolpion being notable for its intricate scenes. The enkolpion changed hands in October 1955 when Walter Strzygowski sold it to Dumbarton Oaks Research Library and Collection in Washington, DC, where it now stands as a key artifact reflecting Byzantine religious art and devotion.

Tracing its provenance, we go back to June 22, 1906, at Graz, in Austria, where a Cypriot Greek sold it to the Austrian scholar. According to Marvin C. Ross (Art historian, curator and member of WWII Monuments Men), the same Cypriot states in a letter that ‘his treasure’ had been found in Cyprus (the small town of Karavas, near Lambousa), along with other Byzantine jewelry which was sold to the elder J. Pierpont Morgan, and which was later given, by his son, to the Metropolitan Museum of Art in New York.’  It is believed that the Dumbarton Oaks enkolpio was part of a much larger find, which has come to be called the Lambousa treasure. Today, in the Cyprus Museum in Nicosia, there is a gold hinge that perfectly fits the two rings at the top of the frame on the Strzygowski/Dambarton Oaks medallion, providing valuable evidence on the artwork’s provenance. https://www.jstor.org/stable/1291110?read-now=1&seq=1

The Byzantine Enkolpion, a type of devotional object worn around the neck, served as both a spiritual safeguard and a personal emblem of faith. These small, portable items, often featuring crosses, medallions, or reliquaries, were deeply intertwined with the daily lives and social practices of their owners, extending beyond mere religious devotion to function as symbols of protection, connection, and exchange. The Strzygowski/Dambarton Oaks Emkolpion consists of a Medallion, cast, not struck, 6.5 cm in diameter, and 109 grs of gold in weight, adorned with a braidlike inner border, and a broad, flat frame.

The Enkolpion of the Enthroned Mary at Dumbarton Oaks features intricate religious imagery that underscores its devotional purpose. On one side, the Virgin Mary is depicted seated on a throne, holding the Christ Child, flanked by two angels. Below this central scene are smaller panels illustrating key moments from Christ’s early life: the Nativity, with the Christ Child in a manger surrounded by the ox, the ass, and a contemplative Joseph; two shepherds pointing toward a guiding star; and the Visit of the Magi, who approach the Virgin and Child while a star shines above them. An inscription along the edge reads, “Christ, our God, help us.”

The reverse side of the Byzantine Enkolpion of the Enthroned Mary at Dumbarton Oaks depicts the Baptism of Christ, a scene rich with symbolic elements. On the left, St. John baptizes a nude Christ in the waters of the Jordan, while the Hand of God and the Dove of the Holy Spirit appear from above, signifying divine approval. To the right, two angels stand with their hands respectfully covered, witnessing the sacred event. Below, the river Jordan is personified, and two river nymphs swim, adding a sense of movement to the scene. Encircling the medallion is an inscription quoting Matthew 3:17: “This is my beloved Son, in whom I am well pleased.”

For a Student Activity, please… Check HERE!

Bibliography: https://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222607%22&sort=0&page=51 and A Byzantine Gold Medallion at Dumbarton Oaks by Marvin C. Ross, Dumbarton Oaks Papers, Vol. 11 (1957), pp. 247-261 (19 pages) https://www.jstor.org/stable/1291110?read-now=1&seq=1#page_scan_tab_contents

Pair of Byzantine Gold Perikarpia from Thessaloniki

by ArchaeologyArtByzantine ArtByzantine JewelryByzantiumJewelryMedieval ArtPowerpoints
Pair of Wristbands with Birds and Palmettes, made in Constantinople, 800s–900s. Gold with granulated decoration and enamel, Height 7 cm and Diameter 8.6×6.6 cm, Museum of Byzantine Culture, Thessaloniki, Greece
http://vizantinaistorika.blogspot.com/2014/03/blog-post_19.html

In Byzantine culture, bejewelled perikarpia (wristbands) played a dual role, both as functional accessories and symbols of status and protection. They were often worn by emperors, officials, and high-ranking clergy, and were intricately designed with luxurious materials such as precious metals, silk, gold thread, and precious stones. Their aesthetic value lay in the detailed craftsmanship, often reflecting religious and imperial motifs, serving as a visual display of wealth, piety, and power. Additionally, the ornate patterns and vibrant colours used in perikarpia added to the elegance of Byzantine attire, contributing to the overall grandeur of the empire’s visual culture. Today we will focus on a Pair of Byzantine Gold Perikarpia from Thessaloniki that exhibits exceptional beauty!

By asking questions starting with ‘who,’ ‘why,’ ‘when,’ and ‘where’ about the Byzantine Perikarpia from Thessaloniki at the city’s Museum of Byzantine Culture, we can explore the artworks’ historical context, artistic significance, and the story behind their creation.

Where exactly were the perikarpia found, and what does this location tell us about their significance? The perikarpia were discovered under Dodecanesou Street in Thessaloniki, buried about three feet underground. This area was once a busy urban center in Byzantine times, indicating that the wristbands may have belonged to a wealthy or high-status individual living in the city. The location suggests a strong connection to Thessaloniki’s past as a significant cultural and economic hub of the Byzantine Empire. The hiding of these treasure points to periods of conflict and invasion, particularly during the Saracen attack on the city in 904.

When were they crafted, and how does this fit into Byzantine history? The Byzantine perikarpia were likely crafted during the height of the Byzantine Empire, possibly between the 9th and 10th centuries, based on their artistic style and the period of the Saracen attack on Thessaloniki in 904. This timeframe fits into a period of Byzantine wealth, artistic flourishing, and political challenges, marked by external threats and invasions. The use of gold and enamel on these wristbands reflects the luxurious craftsmanship typical of the empire’s elite, illustrating the fusion of religious symbolism and imperial power in Byzantine art.

Who might have owned or worn these wristbands, and what social or religious role did they play? The perikarpia were likely owned by a wealthy individual or someone of high status, possibly an aristocrat or merchant in Thessaloniki. Given their luxurious design and use of precious materials like gold and enamel, they may have also been worn by someone with religious or imperial connections. In Byzantine society, such items were not only decorative but also served as symbols of wealth, piety, and social rank, possibly even offering spiritual protection. Their burial suggests the owner sought to protect valuable possessions during times of conflict or instability.

Why were they buried twice, and what does their discovery reveal about the history of Thessaloniki during these periods? The perikarpia were buried twice—first during the Saracen attack on Thessaloniki in 904 to protect them from being looted, and then later, possibly in the 1600s, by a wealthy merchant. The double burial reflects the repeated cycles of instability in Thessaloniki’s history, as it faced invasions and upheavals over centuries. Their discovery highlights the city’s historical significance as a center of wealth, commerce, and strategic importance, while also showcasing the lengths individuals went to safeguard valuable possessions during turbulent times.

For a PowerPoint on Byzantine Perikarpia, please… Check HERE!

Bibliography: https://media.ems.gr/ekdoseis/makedonika/makedonika_07/ekd_pemk_07_petsas_2.pdf https://ejournals.epublishing.ekt.gr/index.php/deltion/article/view/4427/4203 σελ 59 Στυλιανός Πελεκανίδης, Τα χρυσά βυζαντινά νομίσματα της Θεσσαλονίκης, Δελτίον XAE 1 (1959), Περίοδος Δ’. Στη μνήμη του ΝίκουΒέη (1883-1958), ΑΘΗΝΑ  1960, Σελ. 55-71, https://www.mbp.gr/sites/default/files/styles/object_images/public/4mikrotexnia.jpg?itok=9xIJgEtP, Dr. Alicia Walker, “Wearable art in Byzantium,” in Smarthistory, July 30, 2021, accessed September 12, 2024, https://smarthistory.org/wearable-art-byzantium/ and https://blogs.getty.edu/iris/uncovering-the-history-of-a-long-buried-byzantine-treasure/

Saint Demetrios in prayer position with Patrons

by ArchaeologyArtByzantine ArtByzantine MosaicsByzantiumEarly Christian ArtGreek ArtStudent ActivitiesWorksheets
Wall mosaic with Saint Demetrios in prayer position and patrons, 5th-6th cent., Detached Mosaic from the North Inner Aisle of Saint Demetrius Church in Thessaloniki, Glass tiles in Mortar, 98×83 cm, Museum of Byzantine Culture, Thessaloniki, Greece https://www.mbp.gr/exhibit/entoichio-psifidoto-me-ton-agio-dimitri/

On the 26th of October, the Feast Day of Saint Demetrios… Let us honor with hymns the great soldier and athlete, the crowned victor, and the one who is marvelous among the martyrs, who was pierced by a spear in his side like the Master, the divine Demetrios… On the same day, let us remember a magnificent Wall Μosaic from the North Inner Aisle of his great Basilica in Thessaloniki, depicting Saint Demetrios in prayer position with Patrons, exhibited today in the city’s Museum of Byzantine Culture! https://www.imlagada.gr/default.aspx?catid=185

The year 1907 marked a pivotal moment for both Thessaloniki and Byzantine art. On August 1st, while the city was still under Ottoman rule, authorities began extensive renovations on Casimir Camii, originally the city’s Byzantine Church of Saint Demetrios. During the repairs, a remarkable and unexpected discovery was made: magnificent, well-preserved mosaics were uncovered on the wall of the North Inner Aisle of the nearly dilapidated church. The quality and preservation of these mosaics astounded scholars and Byzantinologists worldwide, prompting many to rush to Thessaloniki to study and document these extraordinary artworks.

Then, disaster struck on the 5th of August 1917… a great fire swept through the thriving city of Thessaloniki destroying two-thirds of the city’s center and leaving more than 70,000 homeless. The Great Fire of 1917 was a devastating event that ravaged many of the city’s historic and religious landmarks. Among the most significant losses was the Church of Saint Demetrios, the revered basilica dedicated to the city’s patron saint. The beautiful Mosaics of the Church’s North Inner Aisle discovered in 1907 were gone forever! Few photographs and even fewer paintings, created with care and sensitivity by artists, is all that remains… except a fragment of the mosaic over spandrel H depicting Saint Demetrios in prayer position with Patrons.

Originally built in the 5th century, this iconic structure was a center of worship and pilgrimage for centuries. The fire, which spread rapidly through the city’s wooden buildings, engulfed the church, causing extensive damage to its structure and the destruction of many of its priceless mosaics and artefacts. The loss of the church was deeply felt by the residents of Thessaloniki, as it symbolized not just a religious focal point, but also a vital part of the city’s cultural and spiritual heritage. The basilica was later meticulously restored, but the destruction marked a significant chapter in the history of Thessaloniki, highlighting the vulnerability of its treasured monuments to such catastrophes.

Wall mosaic with Saint Demetrios in prayer position and patrons (details), 5th-6th cent., Detached Mosaic from the North Inner Aisle of Saint Demetrius Church in Thessaloniki, Glass tiles in Mortar, 98×83 cm, Museum of Byzantine Culture, Thessaloniki, Greece https://helenmilesmosaics.org/ancient-mosaics/st-dimitrios-of-thessaloniki/

The mosaics in the North Inner Aisle of the Church of Saint Demetrios in Thessaloniki were among the most exquisite examples of Byzantine art. Their discovery, after having been concealed for centuries, was hailed as a major archaeological find, offering insight into the religious and artistic heritage of the city. These mosaics, dating back to various periods, depicted a range of sacred themes, including scenes of his miracles, and figures of saints and angels in prayerful poses. They were celebrated for their vibrant colours, detailed craftsmanship, and the way they illuminated the spiritual atmosphere of the basilica. The loss of these mosaics, in the Great Fire of 1917, represented a significant cultural and artistic tragedy, as they were irreplaceable treasures that connected the faithful to the early Christian and Byzantine heritage of the city. The destruction of the North Inner Aisle mosaics not only diminished the church’s aesthetic splendour but also erased a vital link to the city’s rich historical and religious narrative.

Museum of Byzantine Culture, Room 1 (where the Mosaic is exhibited), Thessaloniki, Greece
https://pierrekosmidis.blogspot.com/2015/11/1941-nazi-invasion-of-greece-through.html

According to the Thessaloniki Museum of Byzantine Culture experts, the mosaic of Saint Demetrios in prayer position with Patrons depicts the Saint… standing, in front of a golden niche of a building or kiborium decorated with a blue clam. He is in a posture of supplication, prayer, with his hands raised to the sky. He wears the uniform of an official official with a luxurious gold-embroidered cloak and tunic, which closes at the neck with embroidery of precious stones. To the left, at the height of the saint’s waist, is depicted a child with rich clothes and with his hands in a prayer position. Next to the left palm of the saint, a male head can be seen, possibly of the donor. The composition was probably a thanksgiving or a plea for help to the saint, by a wealthy believer. https://www.mbp.gr/exhibit/entoichio-psifidoto-me-ton-agio-dimitri/

If interested in the North Inner Aisle Mosaics of Hagios Demetrios in Thessaloniki… check The Mosaic Decoration of S. Demetrios, Thessaloniki: A Re-Examination in the Light of the Drawings of W. S. George by Robin S. Cormack in The Annual of the British School at Athens,
Vol. 64 (1969), pp. 17-52 (51 pages), Published by: British School at Athens https://www.jstor.org/stable/30103330?read-now=1&refreqid=excelsior%3A63a6e304a6bc30610613803b3f259b31&seq=1#page_scan_tab_contents

For a Student Activity, please… Check HERE!

Education in Byzantium

by ArtByzantine ArtByzantine ManuscriptByzantiumEducationMedieval ArtSocial StudiesStudent ActivitiesWorksheets
Teaching scene with teachers and students during the reign of the scholarly Emperor Constantine VII Porphyrogennetos (944-959) by a Sicilian Illuminator identified as B1, 12th century, Illuminated Manuscript version of the Synopsis of Histories, or Σύνοψις Ἱστοριῶν (in Greek) by John Skylitzes, which covers the reigns of the Byzantine emperors from the death of Nicephorus I in 811 to the deposition of Michael VI in 1057, Biblioteca Nacional de España, Madrid, Spain https://www.loc.gov/resource/gdcwdl.wdl_10625/?sp=277

Education in Byzantium was a complex system deeply rooted in the traditions of the Greco-Roman world and the Christian Church, evolving over the centuries to reflect the socio-political and religious changes within the empire. This system spanned from the establishment of Constantinople in 330 AD to the fall of the Byzantine Empire in 1453 AD. It was significantly influenced by classical Greek education, Roman administrative needs, and Christian teachings, creating a unique blend of classical and ecclesiastical learning.

Miniature 134r in the illuminated manuscript Madrid Skylitzes presents a Byzantine classroom. Using the illumination as an example, let’s explore… school reality 1.000 years ago!  

The Madrid Skylitzes is a richly illustrated manuscript, the only known illuminated manuscript of a Byzantine Greek Chronicle, that serves as a vital historical record of the Byzantine Empire from the reign of Emperor Nikephoros I in 811 AD to the death of Emperor Michael IV in 1057 AD. Named after the Spanish city where it is currently housed, the manuscript is based on the work of John Skylitzes, a late 11th century historian. The Madrid Skylitzes is notable for its detailed and vivid miniatures, 575 of which combine Byzantine, Western and Islamic elements of unparalleled significance for art historians. These miniatures depict the period’s significant events, battles, and personalities, providing a unique visual accompaniment to the textual narrative. This manuscript is one of the few surviving examples of Byzantine historical illustration and is invaluable for its insights into Byzantine art, culture, and historical scholarship.

Teaching scene with teachers and students during the reign of the scholarly Emperor Constantine VII Porphyrogennetos (944-959) by a Sicilian Illuminator identified as B1, 12th century, Illuminated Manuscript version of the Synopsis of Histories, or Σύνοψις Ἱστοριῶν(in Greek) by John Skylitzes, which covers the reigns of the Byzantine emperors from the death of Nicephorus I in 811 to the deposition of Michael VI in 1057, Biblioteca Nacional de España, Madrid, Spain https://www.loc.gov/resource/gdcwdl.wdl_10625/?sp=277

Miniature 134r of the Madrid Skylitzes manuscript vividly illustrates the essence of education during the Byzantine era, particularly the progress of letters during the reign of Constantine Porphyrogenitus (913-959). On the left side of the miniature, a group of eight male students is shown seated at a desk with open notebooks, highlighting their active participation in learning, presided over by their teacher, who expounds and explains with an upraised hand. Further to the right, four (possibly six) more students with notebooks in hand are depicted standing before two professors of philosophy. The scene takes place in a well-constructed, rectangular building that is collonaded, spacious, and well-furnished. The students appear young and attentively engaged. Their expressions, postures, and gestures suggest concentration and eagerness to absorb the teachings. The three teachers, two of whom are bearded, are shown with upraised pointer fingers, clearly in the process of delivering a lesson. Overall, the scene conveys a sense of disciplined yet dynamic learning, reflecting the structured and vibrant nature of Byzantine scholarly life. The attention to detail in the students’ attentive postures and the teachers’ engaged gestures underscores the era’s commitment to education and intellectual growth. https://www.academia.edu/31545633

John Skylitzes, emphasizing Emperor Constantine’s praiseworthy and wondrous qualities, highlights his interest in education and explains that …On his own initiative, the Emperor brought about a restoration of the sciences of arithmetic, music, astronomy, geometry in two and three dimensions and, superior to them all, philosophy, all sciences which had for a long time been neglected on account of a lack of care and learning in those [238] who held the reins of government. He sought out the most excellent and proven scholars in each discipline and, when he found them, appointed them teachers, approving of and applauding those who studied diligently. Hence he put ignorance and vulgarity to flight in short order and aligned the state on a more intellectual course.

Education in the Byzantine Empire was generally accessible to the upper and middle classes, while the lower classes had limited access due to economic constraints. The system was predominantly male-oriented, but there are records of women receiving education, particularly within monastic settings or among wealthy families. Notable figures in Byzantine education included Photius, a leading intellectual and Patriarch of Constantinople in the 9th century, and Michael Psellos, an 11th-century scholar who contributed significantly to philosophy, history, and rhetoric.

The legacy of Byzantine education is significant, particularly in its role in preserving and transmitting classical Greek and Roman knowledge to the Islamic world and later to Western Europe during the Renaissance. This educational system influenced Islamic education during the Abbasid Caliphate and contributed to the revival of learning in Western Europe. Through its sophisticated blend of classical and Christian teachings, Byzantine education formed a crucial bridge between the ancient world and medieval Europe, shaping intellectual traditions in both the Eastern and Western worlds.

For a Student Activity, please… Check HERE!

Bibliography: https://www.academia.edu/31545633 and https://www.persee.fr/doc/scrip_0036-9772_2007_num_61_2_4229 and https://www.bne.es/sites/default/files/redBNE/Actividades/Exposiciones/2024/skylitzes-matritensis-bne-en.pdf

The Torcello Hodegetria

by ArchaeologyArtByzantine ArtByzantine Church ArchitectureByzantine MosaicsByzantiumMosaicsStudent ActivitiesWorksheets
Cathedral of Santa Maria Assunta in Torcello, View of the Apse with the Mosaics of the Annunciation at the very top, the Hodegetria, and the Apostles, 11th century, Torcello, Italy http://www.thehistoryblog.com/archives/date/2020/10/06 and https://gr.pinterest.com/pin/642677809300738057/

Torcello was the mother-city of Venice, and she lies there now, a mere mouldering vestige, like a group of weather-bleached parental bones left impiously unburied. […] The church, admirably primitive and curious… is rich in grimly mystical mosaics of the twelfth century and the patchwork of precious fragments in the pavement not inferior to that of St. Mark’s… Torcello, like the Lido, has been improved; the deeply interesting little cathedral of the eighth century, which stood there on the edge of the sea, as touching in its ruin, with its grassy threshold and its primitive mosaics, as the bleached bones of a human skeleton washed ashore by the tide, has now been restored and made cheerful, and the charm of the place, its strange and suggestive desolation, has well-nigh departed… wrote Henry James in Italian Hours. Fifteen years back when I first visited Torcello, the deeply interesting little cathedra was restored and cheerful and the mosaic of The Torcello Hodegetria… a sight I will never forget! https://www.online-literature.com/henry_james/italian-hours/1/ and https://www.museodelcamminare.org/progetti/re_iter/james/james_en.html

Torcello Island, Italy https://religiana.com/torcello-cathedral
Torcello Island, View of the Cathedral of Santa Maria Assunta, the Church of Santa Fosca, and the Torcello Museum, Italy https://events.veneziaunica.it/content/basilica-santa-maria-assunta

The island of Torcello, situated in the northern part of the Venetian Lagoon, holds a significant place in the history of Venice. Established around the 5th century, Torcello is one of the earliest lagoon islands to be populated, serving as a refuge for people fleeing barbarian invasions on the mainland. During its peak in the early Middle Ages, it was a thriving center of commerce and culture, surpassing Venice in both size and influence. The island is renowned for its historic landmarks, particularly the Cathedral of Santa Maria Assunta, which dates back to 639 AD and houses some of the finest Byzantine mosaics in Italy. Despite its decline in later centuries due to malaria and the silting up of its canals, Torcello remains a captivating testament to the early development and artistic heritage of the Venetian Lagoon.

The island boasts several remarkable monuments that reflect its rich history and cultural heritage. The centerpiece is the Cathedral of Santa Maria Assunta, founded in 639 AD, and renowned for its stunning Byzantine mosaics. Adjacent to the Cathedral is the Church of Santa Fosca, a beautiful example of Byzantine-Romanesque architecture, built in the 11th century. Another notable structure is the Torcello Museum, housed in two historic buildings, the Palazzo dell’Archivio and the Palazzo del Consiglio, which display a fascinating collection of archaeological finds and medieval artefacts. The iconic Attila’s Throne, a stone chair of uncertain origin traditionally linked to the legendary Hun leader, and the ancient Devil’s Bridge, known for its distinctive shape and mysterious legends, further enrich Torcello’s historical landscape, making the island a captivating destination for history enthusiasts and travellers alike.

The Cathedral of Santa Maria Assunta, founded in 639 AD, and renovated in 1008 by its bishop, Orseolo, whose father was the Doge of Venice, stands as a magnificent testament to early Venetian history and Byzantine artistry. As the oldest cathedral in the Venetian Lagoon, it embodies a rich blend of architectural and cultural influences. The cathedral is particularly renowned for its exquisite mosaics, which date back to the 11th century. These mosaics include an imposing depiction of the Last Judgment and a majestic image of the Virgin Hodegetria. The cathedral’s ancient structure, with its elegant apse, Iconostasis, marble columns, incredible mosaic floor, and serene ambience, offers a glimpse into the early Christian art and architecture that once flourished in the region. Over the centuries, the Cathedral of Santa Maria Assunta has remained a vital link to the past, drawing visitors who seek to experience its historical and spiritual significance.

Virgin holding the Christ-Child with eleven of the apostles and St Paul, 11th century, Mosaic, Cathedral of Santa Maria Assunta, Cathedral of Santa Maria Assunta, Torcello, Italy https://www.walksinrome.com/italy-venice-torcello-santa-maria-assunta.html

The apse mosaic in the Cathedral of Santa Maria Assunta on Torcello island is a stunning masterpiece of Byzantine art, featuring the Hodegetria and the Apostles. The central figure of the Virgin Mary, depicted as the Hodegetria, stands with the Christ Child on her arm against a shimmering gold background, guiding the faithful with her serene yet commanding presence. The Hodegetria, wrapped in precious garments, and labelled in Greek, emphasises both the universal and local significance of the imagery. Below this scene, are the twelve Apostles including Saint Paul, each rendered with distinctive expressions and postures, symbolizing the foundation of the Christian Church. The Triumphal arch above showcases the Annunciation, with Gabriel and Mary on opposite sides.

Virgin holding the Christ-Child with eleven of the apostles and St Paul, 11th century, Mosaic, Cathedral of Santa Maria Assunta, Cathedral of Santa Maria Assunta, Torcello, Italy https://gr.pinterest.com/pin/305822630944977788/

The mosaic, with its intricate gold background and detailed iconography, radiates a profound sense of divine authority and spiritual tranquillity. Created in the 11th century, this artwork exemplifies the exquisite craftsmanship and deep religious devotion characteristic of Byzantine mosaics, making it one of the most revered and admired features of the Cathedral.

For a Student Activity, please… Check HERE!

Byzantine Ivory Caskets

by ArtByzantine ArtByzantine IvoriesByzantiumGreek ArtMedieval ArtPowerpoints
Byzantine Casket with Mythological and Combat Scenes, 4th quarter of the 10th century, Ivory, 11.5×41.5×17.5 cm, Musée de Cluny, Paris, France (Photo Credit: Amalia Spiliakou, May 2023)

Byzantine Ivory Caskets, also known as covered boxes, represent exquisite examples of medieval artistry and craftsmanship. These small, intricately carved containers were crafted in the Byzantine Empire during the early medieval period, primarily between the 6th and 12th centuries. Made from luxurious materials such as ivory, these Caskets served a variety of purposes, ranging from holding religious relics to storing precious items like jewelry or cosmetics. Adorned with elaborate motifs, often depicting religious scenes, mythological figures, or intricate geometric patterns, Byzantine Ivory Caskets not only served functional roles but also conveyed the wealth, power, and artistic sophistication of the Byzantine civilization. These objects provide valuable insights into the social, cultural, and religious contexts of the Byzantine Empire.

In the present day, around 125 ivory Caskets endure, each bearing its unique journey through time and wear, with approximately 50 adorned in secular motifs. These elegant Caskets stand as a testament to Byzantine artistry, representing a remarkable legacy of secular expression preserved amidst the sands of time. Their survival marks them as the paramount example of Byzantine secular art, offering a glimpse into the aesthetic tastes and cultural nuances of an empire steeped in opulence and sophistication.

Intricately carved and made of transverse sections of elephant tusks, the Byzantine Caskets were more than mere receptacles; they were vessels of cultural significance and practical utility. Their intricate reliefs, often depicting a blend of pagan mythology and Christian iconography, hint at their multifaceted functions. Those adorned with scenes of Christ’s miraculous healings likely served as vessels for safeguarding the sacred elements of the Eucharist, underscoring their role in religious rituals and devotion. Conversely, Caskets embellished with pagan motifs might have been employed for storing personal effects like valuable documents, cosmetics or jewelry, reflecting the interplay between secular and religious spheres in Byzantine society. Though their precise origins remain elusive, scholars speculate that these Caskets were crafted in Constantinople or the Byzantine provinces of North Africa or Syria-Palestine, regions renowned for their ivory craftsmanship. Despite the enigma surrounding their provenance, Byzantine Ivory Caskets endure as tangible manifestations of the empire’s artistic prowess and spiritual fervour.

During the Byzantine period, ivory held a revered status as a symbol of luxury, prestige, and religious devotion. The Byzantines prized ivory for its exceptional beauty and workability, utilizing it in a myriad of contexts ranging from religious artefacts to secular luxury items. Ivory was extensively employed in the creation of intricate carvings, including religious icons, diptychs, and triptychs, which adorned churches, palaces, and private collections and Caskets as containers of precious secular or religious treasures. These exquisite ivory artworks served not only as expressions of faith but also as tangible manifestations of wealth and power. Furthermore, ivory was utilized in the production of practical items such as furniture inlays, game pieces, and personal accessories, reflecting its versatility and widespread appeal across various aspects of Byzantine society. The use of ivory persisted throughout the Byzantine period, leaving an indelible mark on the art, culture, and material wealth of the empire.

Byzantine Casket with Mythological and Combat Scenes, 4th quarter of the 10th century, Ivory, 11.5×41.5×17.5 cm, Musée de Cluny, Paris, France https://www.facebook.com/photo/?fbid=747127510777426&set=a.547320410758138
Byzantine Casket with Mythological and Combat Scenes, 4th quarter of the 10th century, Ivory, 11.5×41.5×17.5 cm, Musée de Cluny, Paris, France
https://www.facebook.com/photo/?fbid=3555251714542348&set=a.547320410758138

Among these remarkable artefacts, the Byzantine ivory Casket of the Musée de Cluny in Paris stands as one of my favourites. Crafted in Constantinople around the turn of the millennium, this Casket is a testament to the refined tastes of the secular elites within the court of the Macedonian dynasty. Delicately adorned with finely carved ivory panels, it depicts intricate scenes drawn from the legendary exploits of Heracles and various other tales of Greek mythology to epic battles and chariot races. Each panel is a masterpiece of craftsmanship, capturing the essence of both ancient lore and medieval life. Undoubtedly intended for domestic use within the opulent confines of aristocratic households, this Casket serves as a tangible link between the classical past and the burgeoning cultural landscape of Byzantium.

As one marvels at this masterpiece within the halls of the Cluny Museum, one cannot help but be transported back in time, envisioning the opulence and splendour of the Byzantine era.

For a PowerPoint Presentation, please… Check HERE!

Constantine the Great

by ArtByzantine ArtByzantine ManuscriptByzantiumMedieval ArtStudent ActivitiesWorksheets
Homilies of Gregory of Nazianzus, Constantine and the Battle of the Milvian Bridge, folio 440r, (detail), 879-882 AD, Byzantine Illuminated Manuscript, Illustrated painted Parchment, Bibliothèque nationale de France. (BnF MS grec 510), Paris, France https://commons.wikimedia.org/wiki/File:BnF_MS_Gr510_folio_440_recto_-_detail_-_Constantine%27s_Vision_and_the_Battle_of_the_Milvian_Bridge.jpg

And while he was thus praying with fervent entreaty, a most marvelous sign appeared to him from heaven, the account of which it might have been hard to believe had it been related by any other person. But since the victorious emperor himself long afterwards declared it to the writer of this history, (1) when he was honored with his acquaintance and society, and confirmed his statement by an oath, who could hesitate to accredit the relation, especially since the testimony of after- time has established its truth? He said that about noon, when the day was already beginning to decline, he saw with his own eyes the trophy of a cross of light in the heavens, above the sun, and bearing the inscription, IN HOC SIGNO VINCES (Conquer by this) …  This phrase is traditionally associated with Constantine the Great and his vision before the Battle of the Milvian Bridge in 312. According to early Christian historian Eusebius, Constantine saw this sign in the sky urging him to adopt the Christian cross as his standard. https://www.u.arizona.edu/~afutrell/404b/euseb%20life%20c.htm

The 9th-century Byzantine illuminated manuscript known as the Homilies of Gregory of Nazianzus, housed in the Bibliothèque Nationale de France, is a particularly exquisite example of Byzantine book art and scholarship. Codex Grec 510, features a collection of selected homilies by Gregory of Nazianzus, a central figure in the formulation of the Nicene Creed and a master of Early Christian theology. This manuscript is celebrated for its aesthetic and artistic value, containing numerous illuminations that include elaborate headpieces and initial letters, which are executed in vibrant colours and gold, reflecting the sophisticated, luxurious, and highly skilled artistry of Byzantine manuscript illumination of this period. These visual embellishments not only highlight the sacred content but also serve to guide the reader’s experience of the text. The codex is a testament to the religious devotion, intellectual fervor, and artistic sophistication of Byzantine culture, providing insights into the spiritual and cultural life of the era.

Created in the late 9th century, this fine manuscript stands as a testament to the teachings of Gregory of Nazianzus, a significant theological figure from the fourth century. It was meticulously produced as an elaborate gift for Emperor Basil I, the progenitor of the Macedonian dynasty, courtesy of Patriarch Photios, a renowned scholar of Byzantium. This manuscript is distinguished by its forty-six full-page miniatures; however, less than half of these are directly reflective of the sermons it contains. Most of the artwork instead offers a visual exploration of the Byzantine court during the ninth century. These miniatures are more than mere decorations; they are profound visual essays that provide insights not captured in other contemporary records. Through careful examination, they reveal the unique capabilities of visual art to communicate complex themes and narratives distinctively different from written texts.

The 9th-century Byzantine illuminated manuscript known as the Homilies of Gregory of Nazianzus, housed in the Bibliothèque Nationale de France, is a particularly exquisite example of Byzantine book art and scholarship. Codex Grec 510, features a collection of selected Homilies by Gregory of Nazianzus, a central figure in the formulation of the Nicene Creed and a master of Early Christian theology. This manuscript is celebrated for its aesthetic and artistic value, containing numerous illuminations that include elaborate headpieces and initial letters, which are executed in vibrant colours and gold, reflecting the sophisticated, luxurious, and highly skilled artistry of Byzantine manuscript illumination of this period. These visual embellishments not only highlight the sacred content but also serve to guide the reader’s experience of the text. The codex is a testament to the religious devotion, intellectual fervour, and artistic sophistication of Byzantine culture, providing insights into the spiritual and cultural life of the era.

Created in the late 9th century, this fine manuscript stands as a testament to the teachings of Gregory of Nazianzus, a significant theological figure from the fourth century. It was meticulously produced as an elaborate gift for Emperor Basil I, the progenitor of the Macedonian dynasty, courtesy of Patriarch Photios, a renowned scholar of Byzantium. This manuscript is distinguished by its forty-six full-page miniatures; however, less than half of these are directly reflective of the sermons it contains. Most of the artwork instead offers a visual exploration of the Byzantine court during the ninth century. These miniatures are more than mere decorations; they are profound visual essays that provide insights not captured in other contemporary records. Through careful examination, they reveal the unique capabilities of visual art to communicate complex themes and narratives distinctively different from written texts.

Homilies of Gregory of Nazianzus, Constantine’s vision and the Battle of the Milvian Bridge, folio 440r, 879-882 AD, Byzantine Illuminated Manuscript, Illustrated painted Parchment, Bibliothèque nationale de France. (BnF MS grec 510), Paris, France https://el.wikipedia.org/wiki/%CE%9F%CE%BC%CE%B9%CE%BB%CE%AF%CE%B5%CF%82_%CF%84%CE%BF%CF%85_%CE%93%CF%81%CE%B7%CE%B3%CE%BF%CF%81%CE%AF%CE%BF%CF%85_%CE%9D%CE%B1%CE%B6%CE%B9%CE%B1%CE%BD%CE%B6%CE%B7%CE%BD%CE%BF%CF%8D

Folio 440r of the Homilies of Gregory of Nazianzus presents a captivating artistic depiction of a pivotal historical moment: Emperor Constantine the Great at the Battle of the Milvian Bridge. This illustration is not just a simple portrayal; it is imbued with historical and symbolic significance. The scene vividly captures the dramatic and miraculous nature of the battle, which occurred in 312 AD near Rome. According to historical accounts, Constantine, on the eve of the conflict, experienced a vision that led him to adopt the Christian symbol of the Cross and the Chi-Rho on his soldiers’ shields, a decisive factor attributed to his victory. This moment is often considered a turning point for Christianity, marking its transition from persecution to imperial endorsement.

The artistry of the miniature depicting Constantine’s victory at the Battle of the Milvian Bridge transcends simple historical documentation, embodying the theological and political ideals of the Byzantine Empire at the time of the manuscript’s creation. This illustration is set against a two-tone green ground beneath a blue backdrop, where the background features are minimalist, confined only to essential narrative elements such as the Milvian Bridge itself or a monochromatic landscape. The figures, stocky with disproportionately large heads, are rendered in a style that favours either a frontal gaze or a pure profile, even as more complex poses are attempted.

Through its detailed iconography and thoughtful composition, the miniature communicates both the earthly and heavenly endorsement of Constantine’s rule and victory, providing viewers with a layered interpretation of history that is infused with divine significance. This approach creates a visual narrative that not only highlights the pivotal moment but also emphasizes themes interwoven with the broader religious and imperial ethos of the era. The strategic simplification of background elements and the stylized depiction of figures enhance the focus on the central themes, effectively marrying form with content in a portrayal rich with symbolic meaning.

For a Student Activity inspired by folio 440r of the Homilies of Gregory of Nazianzus, which depicts Constantine the Great and the Battle of the Milvian Bridge, please… Check HERE!

Bibliography: Vision and Meaning in 9th-Century Byzantium, Image as Exegesis in the Homilies of Gregory of Nazianzus by Leslie Brubaker https://www.academia.edu/49490426/Vision_and_Meaning_in_9th_Century_Byzantium_Image_as_Exegesis_in_the_Homilies_of_Gregory_of_Nazianzus and https://gallica.bnf.fr/ark:/12148/btv1b84522082/f891

The so-called ‘Rubens Vase’

by ArtByzantine ArtByzantiumEarly Christian ArtStudent ActivitiesWorksheets
The so-called ‘Rubens Vase’, c. 400 AD, Agate and Gold, 18.1 x 18.3 x 12.1 cm, The Walters Art Gallery, Baltimore, USA https://art.thewalters.org/detail/10284/the-rubens-vase/

‘…nothing has ever delighted me more than gems…’  Rubens wrote to his friend and antiquarian Nicolas-Claude Fabri de Peiresc, and I think of The so-called ‘Rubens Vase’ in the Walters Art Gallery, in Baltimore. https://www.jstor.org/stable/879678 The Burlington Magazine, Vol. 121, No. 916 (Jul. 1979), pp. 424+426-432 (8 pages)

Peter Paul Rubens (1577–1640) was a renowned Flemish Baroque painter, known for his masterful use of colour, dynamic compositions, and his contributions to the Counter-Reformation. What is lesser known is his passion for collecting ‘gems’ and antique ‘curiosities’. Known as a man of wide interests, the artist, described by Pierre Cassendi as a most experienced connoisseur of all antiquities, but most of all of cameos… was known to exchange his artworks for precious gems, and in his own words, never miss the opportunity to become familiar with antiquities and buy rarities that he paid cash. https://www.jstor.org/stable/879678

The so-called ‘Rubens Vase’, c. 400 AD, Agate and Gold, 18.1 x 18.3 x 12.1 cm, The Walters Art Gallery, Baltimore, USA https://art.thewalters.org/detail/10284/the-rubens-vase/

Rubens’s diverse collection encompassed classical sculptures, coins, medals, manuscripts, and paintings, reflecting a deep fascination with the world of art. Rubens’ interest in antiquities extended beyond mere aesthetics, as he sought to surround himself with artefacts that not only inspired his artistic endeavours but also fueled his scholarly curiosity about ancient history and civilization. His “cabinet of curiosities” served as a testament to his intellectual pursuits, creating a space where the convergence of art, literature, and science fostered learning and reflection. Rubens’ collaborations with other collectors, such as Archduke Leopold Wilhelm of Austria, and his active engagement in the cultural and intellectual circles of his time further solidified his legacy as a multifaceted figure in the rich tapestry of the Baroque period.

Among the artist’s many treasures is The so-called ‘Rubens Vase’, currently in the Walters Art Gallery. According to the Museum experts, this amazing piece was most probably created in high relief from a single piece of agate, in the imperial workshops of Constantinople for an unknown Byzantine Emperor. It made its way to France, probably carried off as treasure after the sack of Constantinople in 1204 during the Fourth Crusade, where it passed through the hands of some of the most renowned collectors of western Europe, including the Dukes of Anjou and King Charles V of France. In 1619, the vase was purchased by the great Flemish painter Peter Paul Rubens in Paris, at the Saint-Germaine Fair for the considerable price of 2,000 scudi. Rubens was so excited about his purchase, that he created a drawing of his agate vase, which is currently in the collection of the Hermitage Museum, in Saint Petersburg. https://art.thewalters.org/detail/10284/the-rubens-vase/

Peter Paul Rubens, 1577-1640
The Rubens Vase, before 1626, Paper, pen and brush and brown wash-over sketch in black chalk, 201×148 cm, The State Hermitage Museum, Russia https://www.hermitagemuseum.org/wps/portal/hermitage/digital-collection/02.+drawings/248654
Paulus Pontius, Flemish Artist, 1603 – 1658
The Rubens Vase, about 1630, Etching, sheet: 39.5 × 53.3 cm, Birmingham Museum of Art, UK https://www.artsbma.org/collection/the-rubens-vase/

The Rubens Vase is an amazing work of art, an exquisite testament to craftsmanship — almost in perfect condition, ovoid in shape, with a finely turned rim veiled in a gold mount, flattened yet tapered to a flanged base. The vase’s handles, resembling knobs, bear the characteristics of Pan, his coarse features, drooping goat-like ears, moustache, and free-cut horns adding an intriguing dimension. As the heads of Pan rest on large acanthus leaves, and lively grapevines, with leaves, tendrils, and small fruit in high relief, playfully embrace the wider sides, the ‘Rubens Vase’ unfolds a captivating narrative in its design. The bottom, adorned with a low relief carving of a rosette, completes this masterpiece, leaving an indelible mark on the connoisseur’s imagination! https://www.jstor.org/stable/20168774?read-now=1&seq=2

For a Student Activity, please… Check HERE!