Early Christian Art Archives

Enkolpion with Nativity

December 23, 2024

by admin Art Byzantine Art Byzantine Jewelry Byzantium Early Christian Art Medieval Art Student Activities Worksheets

**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

Saint Demetrios in prayer position with Patrons

October 25, 2024

by admin Archaeology Art Byzantine Art Byzantine Mosaics Byzantium Early Christian Art Greek Art Student Activities Worksheets

**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 26^th 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!

The Emperor Julian

July 18, 2024

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**Statue of a Priest of Serapis or Julian the Apostate,** 2^nd century AD or 4^th century AD if it is the statue of Emperor Julian, Marble, Height: 181 cm, Musée de Cluny, the Musée National du Moyen Âge, Paris, France
https://www.facebook.com/photo/?fbid=3606532259414293&set=a.547320410758138

…However the song that I now sing has been composed in prose, and it contains much violent abuse, directed not, by Zeus, against others – how could it be, since the law forbids? – but against the poet and author himself. For there is no law to prevent one’s writing either praise or criticism of oneself. Now as for praising myself, though I should be delighted to do so, I have no reason for that; but for criticising myself I have countless reasons, and first I will begin with my face. For though nature did not make this any too handsome or well-favoured or give it the bloom of youth, I myself out of sheer perversity and ill-temper have added to it this long beard of mine, to punish it, as it would seem, for this very crime of not being handsome by nature… The Emperor Julian as described in his book Misopogon (or “Beard-Hater”) https://sourcebooks.fordham.edu/ancient/julian-mispogon.asp

Emperor Julian, often referred to as Julian the Apostate, is a compelling figure in Late Roman/Early Christian history, renowned for his military acumen and his controversial efforts to revive paganism. His life and reign were marked by dramatic events and significant attempts to reform the Late Roman Empire.

Born in 331 or 332 AD in Constantinople, Julian’s full name was Flavius Claudius Julianus. He was the nephew of Emperor Constantine the Great. After Constantine’s death, a violent power struggle ensued, resulting in the deaths of many of Julian’s relatives. Julian and his half-brother Gallus were among the few survivors. Julian received an extensive education, studying in places like Nicomedia and Athens, where he was deeply influenced by philosophy, rhetoric, and classical studies.

Julian’s rise to power began in 355 AD when his cousin, Emperor Constantius II, appointed him as Caesar, assigning him the defence of the Western Roman Empire, particularly the region of Gaul (modern-day France). Julian quickly demonstrated his military prowess, winning several critical battles against Germanic tribes, including the notable Battle of Strasbourg in 357 AD.

**Statue of a Priest of Serapis or Emperor Julian the Apostate?** 2^nd century AD or 4^th century AD if it is the statue of Emperor Julian, Marble, Height: 181 cm, Musée de Cluny, the Musée National du Moyen Âge, Paris, France – Photo Credit: Amalia Spiliakou, May 2023

In 361 AD, following the death of Constantius II, Julian became the sole emperor. Constantius had named Julian as his successor on his deathbed. As emperor, Julian focused on reforming the administration and curbing corruption. Known for his personal austerity and philosophical inclinations, Julian’s governance aimed at restoring the moral and ethical standards of the Roman administration.

Julian’s reign is particularly remembered for his efforts to revive paganism, earning him the moniker ‘the Apostate’ for his rejection of Christianity, which had been embraced by his predecessor Constantine. Julian sought to reinvigorate traditional Roman religious practices and restore pagan temples. Although he favoured paganism, he did not persecute Christians outright but rather aimed to diminish their influence by withdrawing state support and promoting religious pluralism. He even attempted to establish a pagan church structure to rival the Christian hierarchy.

In 363 AD, Julian embarked on an ambitious military campaign against the Persian Empire. Initially successful, the campaign eventually encountered severe logistical challenges. During a retreat, Julian was mortally wounded and died on June 26, 363 AD. The circumstances of his death remain unclear, with some accounts suggesting he was killed by a Persian soldier, while others imply he was assassinated by a Christian within his ranks.

Julian’s reign, though brief, left a lasting impact. His efforts to restore paganism were largely reversed by his successors, but his writings and philosophical contributions continued to influence subsequent generations. An accomplished writer, Julian authored works such as “Misopogon” (Beard-Hater), a satirical critique of the citizens of Antioch, along with numerous letters and treatises on philosophy and religion. Julian the Apostate remains a complex and intriguing figure, known both for his military successes and his controversial religious policies. His attempt to halt the Christianization of the Roman Empire ultimately failed, yet his reign illustrates the dynamic and often contentious nature of the late Roman Empire.

On the 10^th of May 2023, I came face to face with Emperor Julian in Paris, at the Musée de Cluny, the Musée National du Moyen Âge. Or so I thought… as Museum scholars now believe that the impressive statue of the bearded man in their Collection is probably the portrait of a 2^nd century AD priest, not the Emperor. Whoever the man is… he is striking and imposing, gracious and dignified… a noble man of distinction!

For a Student Activity on The Emperor Julian, please… Check HERE!

The Treasure of Childeric I

July 13, 2024

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**Golden Bees**, Treasure of Childeric I, 5^th century AD, Gold, Garnet, Bibliothèque nationale de France, Paris, France https://www.hhantiquejewelry.com/napoleon-bees-jewelry-tomb-childeric-i-symbols-empire/

. The 14^th of July is the anniversary of the Storming of the Bastille, a major event of the French Revolution, and the most important French Fête Nationale! Let’s celebrate this important historical event with a story… that of The Treasure of Childeric I, its beautiful Bee-Shaped Jewels and… Napoleon!

The Treasure of Childeric I, discovered on May 27th, 1653, in Tournai, Belgium, by Adrien Quinquin, a mason working on the reconstruction of the Church of Saint-Brice, is an extraordinary archaeological find that offers a unique glimpse into the early medieval period of European history. Attributed to Childeric I, a prominent king of the Salian Franks and father of Clovis I, the founder of the Merovingian dynasty, the hoard included a remarkable array of artefacts, such as jewelry, coins, and ceremonial weapons, reflecting the wealth and craftsmanship of the time.

Childeric I reigned during a pivotal era marked by the transition from Roman rule to establishing Frankish kingdoms. Therefore, his treasure highlights the personal wealth and power of a Frankish king and serves as a cultural bridge between the late Roman Empire and the early medieval Frankish state. Each item within the treasure provides invaluable insights into the art, culture, and political dynamics of the 5th century.

The discovery of Childeric’s treasure was a landmark event in the field of archaeology and has since played a crucial role in shaping our understanding of Merovingian art and society. The Treasure included a variety of fascinating items: a throwing axe, a spear, a long sword known as a spatha, and a short scramasax, both adorned with gold and garnet cloisonné. There was also a solid gold torc bracelet, part of an iron horseshoe with nails still intact, and belt and shoe buckles as well as horse harness fittings, all elaborately decorated with cloisonné gold and garnets. Additionally, the collection contained a leather purse with over a hundred gold and silver coins, the latest of which featured the Byzantine Emperor Zeno (474-491 A.D.). Among the treasures were also a gold bull’s head with a solar disc on its forehead, a crystal ball, and a gold signet ring.

Among the most notable items were the gold and enamel bees, over 300 of them, which were likely used as decorations for Childeric’s cloak or other regalia. These bees were later adopted by Napoleon Bonaparte, who, preparing for his coronation as Emperor of the French, sought a link to ancient French royalty. He deliberately avoided the still-despised Bourbon fleur-de-lys symbol, espousing Childeric’s heraldic bees as his emblem. Consequently, Napoleon’s coronation robe was embroidered with 300 gold bees, establishing them as the symbol of the new French Empire, and associating himself with the continuity and authority of the ancient Frankish kings. The bees thus became emblematic of the Napoleonic regime, symbolizing immortality and resurrection. In modern times, the bee has also contributed to the commemoration of the 14th of July national holiday, symbolizing the unity and enduring spirit of the French nation.

The Treasure’s discovery

When Childeric’s treasure was discovered in 1653 in Tournai, then part of the Spanish Netherlands, it was sent to Archduke Leopold Wilhelm of Austria. Recognizing its importance, the Archduke commissioned his physician, Jean-Jacques Chifflet, to document the artefacts meticulously. Chifflet’s detailed study, including precise engravings, was published in 1655 as “Anastasis Childerici I,” marking the first scientific archaeological publication. Although Chifflet made some errors in his analysis, his work laid the groundwork for modern archaeological documentation, preserving invaluable information about the Merovingian dynasty. Archduke Leopold brought Childeric’s treasure to Vienna in 1656 and, upon his death in 1662, bequeathed it to his nephew, Holy Roman Emperor Leopold I, who gifted the treasure to King Louis XIV. Louis, unimpressed by the 5th-century artefacts, stored them in the Louvre’s Cabinet of Medals. After the French Revolution, the treasure became part of the Cabinet of Medals at the Imperial Library, later known as the National Library of France.

On the night of November 5th, 1831, thieves broke into the Cabinet of Medals at the Bibliothèque Nationale de France, stealing over 2,000 gold objects, including Childeric’s treasure. The exact sequence of events is unclear due to record losses during the Paris Commune of 1871. The theft was a major scandal, prompting the reappointment of Eugène-François Vidocq, founder of the Sûreté, to lead the investigation and recover the treasure. With Vidocq in charge (Vidoq was a former criminal and convict turned policeman, believed to be Victor Hugo’s inspiration for Javert and Valjean of Les Misérables) a portion of the stolen treasure was retrieved from the Seine River where it was hidden in leather bags. Unfortunately, the treasure’s theft led to a dramatic loss of French cultural heritage, as only a portion of the treasure was recovered with many pieces lost forever. Today, the Treasure of Childeric I remains a testament to the historical significance and enduring legacy of the early Frankish rulers.

For a PowerPoint on The Treasure of Childeric I, please… Check HERE!

The so-called ‘Rubens Vase’

April 14, 2024

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**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

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!

Two Early Christian Tunics in Thessaloniki

February 8, 2024

by admin Byzantine Art Byzantium Early Christian Art Education Egypt Medieval Art Social Studies Student Activities Textiles Worksheets

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

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

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

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

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

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

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

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

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

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

Gold Sandwich-Glass Vase at the Canellopoulos Museum

November 25, 2023

by admin Art Byzantine Art Byzantium Early Christian Art Powerpoints

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

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

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

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

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

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

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

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

Pectoral with Coins and Pseudo-Medallion

October 10, 2023

by admin Art Byzantine Art Byzantine Jewelry Byzantium Early Christian Art Jewelry Powerpoints

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

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

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

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

**Medallion, consisting of a coin of Theodosius I (A.D. 379-395) set in an ornamental frame,** 6^th century, Gold, Diam: 0.5 cm, Freer Gallery of Art, Washington DC, USA https://archive.asia.si.edu/exhibitions/online/luxuryarts/1d.htm

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

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

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

Consul Areobindus Dagalaifus Areobindus

June 8, 2023

by admin Art Byzantine Art Byzantine Ivories Byzantium Early Christian Art Powerpoints Social Studies

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photo Credits

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

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

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

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

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

The Enkolpion of Empress Maria

February 4, 2023

by admin Art Early Christian Art Student Activities Worksheets

**Enkolpion of Empress Maria,** 398-407, Agate Cameo, Gold, Ruby or Garnet, Emerald, 2.6×1.8×1 cm, the Louvre, Paris, France https://www.doaks.org/research/byzantine/scholarly-activities/dynastic-jewels-a-late-antique-rhetoric-of-treasure-and-adornment

Late Antique poetry has often been characterized by its ‘jeweled style,’ in which authors mobilized ornament, variety, and tessellation for the purposes of visual splendor and immediacy. Jewels, and treasure more broadly, also serve as particularly effective metonyms for power. And historians frequently describe the programmatic effort to bolster dynastic power over the course of the fourth century as a ‘dynastic imperative.’ Is The Enkolpion of Empress Maria in the collection of the Louvre an example of Imperious Power? Worn around the neck of Empress Maria, was this unique Enkolpion an integral part of the sustained program of dynasty building in the tumultuous years following the death of Emperor Theodosius I? https://www.doaks.org/events/byzantine-studies/2022-2023/dynastic-jewels-a-late-antique-rhetoric-of-treasure-and-adornment

Empress Maria’s Enkolpion is a small piece of jewelry, 1.3 x 1.8 cm in size, and round in shape. It is a flat receptacle of earth grains probably from the Holy Land, smelling, at the time of its discovery, of musk. The two white and russet orange agate cameos it is made of are attached back to back by a band of gold adorned with emeralds and rubies. How splendid can it be! It can… if you consider the cameos’ simple, yet ‘powerful’ decoration.

Both cameos are embellished with inscriptions, in the shape of Christograms, cut in very low relief, arranged spikelike around a central ansate cross. One cameo reads: Honorius and Maria (the loop of the letter Rho), Stelicho, Serena, vivatis in Deo, and the other cameo reads: Stelicho and Serena (the loop of the letter Rho), Eucherius, Thermantia, vivatis in Deo. Everyone mentioned by name in the two inscriptions is an important member of the Theodosian Dynasty! https://www.metmuseum.org/art/metpublications/Age_of_Spirituality_Late_Antique_and_Early_Christian_Art_Third_to_Seventh_Century

Maria’s Enkolpion, suggested to be a wedding gift, is a family heirloom! Stelicho, for example, of Vandal origin, was a powerful military commander in the Roman army. Married to Serena, the niece of emperor Theodosius I, and guardian for the underage Emperor Honorius, Stelicho was the father of Maria, Emperor Honorius’s first wife, Thermantia, the young Emperor’s second wife, and Eucherius. If this isn’t a ‘dynastic imperative’ then what can it be?

The Enkolpion was found in February 1544, in Rome, in a sarcophagus in what was once the Mausoleum of Emperor Honorius, later, during the 8^th century, converted into the Chapel of Saint Petronilla. The Mausoleum was built next to the Vatican Rotunda, another round structure on Vatican Hill, beside Old Saint Peter’s Basilica in Rome.

The Mausoleum was used as the resting place for members of the Theodosian Imperial family. The first to be buried was Augusta Maria, the first wife of Honorius, who died young, before 408. Honorius, the first emperor of the Theodosian dynasty was also entombed there in 424. The Mausoleum was used as a resting place for Honorius’s second wife Thermantia, and probably, Honorius’s sister, Augusta Galla Placidia, her husband Augustus Constantius III, and her sons Theodosius and Valentinian III. https://en.wikipedia.org/wiki/Mausoleum_of_Honorius

For a Student Activity, inspired by The Enkolpion of Empress Maria, please… Check HERE!