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_
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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/

‘October’ Stained Glass Roundel

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October, ca. 1480, Clear and coloured glass with painted details in brown/black pigment and yellow (silver) stain, Diameter: 29.2cm, V&A Museum, London, UK https://collections.vam.ac.uk/item/O7620/october-roundel-unknown/

I’m not sure if you enjoy Japanese Haiku, those brief poems with 3 lines and 17 syllables. As I look at the ‘October’ Stained Glass Roundel at the Victoria and Albert Museum depicting a farmer sowing seeds, I reminisce about the ‘Haiku’ games I used to play with my students. And just like that, a new Haiku came to life… Red and yellow glow, / Seeds are sown in glass and light, / Medieval blooms…

Stained glass roundels offer a vivid glimpse into the daily lives and seasonal rhythms of medieval society, and the Victoria and Albert Museum holds a remarkable example in its collection. Among the treasures acquired by the museum in 1931 are three roundels, which once formed part of a larger set depicting the ‘Labours of the Months.’ Although the original location of these roundels remains a mystery, they are believed to have originated from the old parsonage at St Michael-at-Coslany in Norwich. One of the missing pieces, illustrating the month of January or February, now resides in the Burrell Collection in Glasgow, connecting these scattered remnants of medieval art across time and space.

The ‘Labours of the Months’ is a captivating iconographic theme in medieval art, reflecting the cyclical nature of rural life and the deep connection between humanity and the seasons. Each month was traditionally represented by a specific task or activity, from sowing seeds in October to harvesting in August, offering a visual calendar of rural labour. These depictions often appeared in illuminated manuscripts, sculptures, and stained glass, serving as both educational tools and spiritual reflections of the divine order of the world. In churches and cathedrals, the ‘Labours of the Months’ provided parishioners with a relatable visual narrative that connected the rhythms of the natural world with their spiritual lives.

The Stained Glass Roundel depicting ‘October’ in the Victoria and Albert Museum beautifully exemplifies the role of stained glass in medieval church decoration. With its vibrant colours and intricate design, this roundel transforms the agricultural task of sowing seeds into a luminous spectacle of divine light. Like many stained glass windows of the period, this piece is not just a work of art but a powerful symbol of spiritual illumination. The depiction of a farmer scattering seeds is rendered in brilliant hues that would have cast vivid images across the stone interiors of the church, engaging and educating the faithful.

According to the V&A experts, …the farmer is depicted dressed in a red tunic and yellow hose, his head covered by a capuchon, indicating cool weather conditions. He has a pouch attached to a belt around his waist, and over his shoulder, he carries a wicker basket containing seed that he strews across the fields. He is probably sowing seed for wheat that will be harvested in the spring. https://collections.vam.ac.uk/item/O7620/october-roundel-unknown/

This roundel, believed to have originated from the old parsonage at St Michael-at-Coslany in Norwich, required exceptional craftsmanship—each piece of glass was carefully selected, painted, and assembled to convey the rhythm of life and labour in harmony with the divine. Serving both as an educational illustration for a largely illiterate medieval population and as a spiritual tool, this roundel is a testament to the enduring legacy of stained glass in guiding the faithful toward contemplation and connection with the divine.

For a Student Activity inspired by the V&A Museum roundel of ‘October’, 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

Santa María la Real de las Huelgas

by ArtMedieval ArtSpanish ArtStudent ActivitiesWorksheets
View of the Cloister of Santa María la Real de las Huelgas, 13th century, Burgos Spain – Photo Credit: Amalia Spiliakou, May 2024

I love cloisters’ peace / soft words of silence within / harmony and calm… This is exactly how I felt in the Cloister of the Monastery of Santa María la Real de las Huelgas, in Burgos, Spain.

The Monastery of Santa María la Real de las Huelgas in Burgos, Spain, was founded in 1187 by King Alfonso VIII of Castile and his wife Queen Eleanor of England. Originally established as a royal Pantheon and Cistercian convent, the monastery played a significant role in Spanish religious and political life throughout the Middle Ages. It served as a spiritual and cultural center, with close ties to the Castilian monarchy. The monastery’s royal patronage allowed it to amass considerable wealth and influence, making it one of the most important monastic institutions in medieval Spain. Over the centuries, it has witnessed numerous historical events, including royal ceremonies and the burial of several Castilian monarchs. https://www.patrimonionacional.es/visita/monasterio-de-sta-maria-la-real-de-las-huelgas

An essential stop on the Camino de Santiago, the Monastery holds the distinction of being the premier female Cistercian monastery in Spain and serves as the head of all Cistercian Convents within the Crown of Castile. The first abbess of Las Huelgas was a testament to the wealth and privileges bestowed upon the monastery; she wielded ecclesiastical, civil, and criminal authority over more than 50 nearby towns, answering only to the pope. Her high rank was symbolized by a unique headdress similar to a mitre, and she carried a crosier, reflecting a status akin to that of a female bishop.

View of the Cloister of Santa María la Real de las Huelgas, 13th century, Burgos Spain – Photo Credit: Amalia Spiliakou, May 2024

The Monastery showcases a fascinating blend of architectural styles. The original construction included a Mudejar church, part of which is still preserved in the current Chapel of the Assumption, characterized by its Almohad style. This early structure contrasts with the later Romanesque elements, particularly visible in the arches and columns adorned with plant motifs and castle designs. In the early 13th century, the definitive Gothic monastery was constructed, embodying the austere architectural style of the Cistercian order. This phase included the large church with reinforced walls and various rooms, among which the chapter house stands out for its significance and design.

Santa María la Real de las Huelgas is famous for its Romanesque Cloister known as las Claustrillas. Architecturally, the Cloister consists of 12 arches on each side supported by double columns, with capitals decorated with plant and castle motifs. Serving as the heart of monastic life, Cloisters were designed as a serene and contemplative space, often enclosing a garden or courtyard. They provided a sheltered pathway for monks to move between the different parts of the monastery while maintaining a meditative atmosphere conducive to prayer and reflection. The architectural significance of Cloisters lies in their ability to blend functionality with spiritual symbolism, representing the monastic ideals of seclusion and introspection. The Cloister at Las Huelgas, with its intricate arches and harmonious proportions, is a testament to the importance of these spaces in fostering the religious and communal life of the monastery. https://www.monasteriodelashuelgas.org/

View of the Cloister of Santa María la Real de las Huelgas, 13th century, Burgos Spain – Photo Credit: Amalia Spiliakou, May 2024

The Cloister of the Monastery, constructed in the 13th century, is a remarkable example of Romanesque architecture infused with Cistercian austerity. Its history is intertwined with the monastery’s development as a Royal Pantheon and spiritual center. The Cloister features a series of arches supported by slender columns, creating a rhythmic and harmonious passageway around a tranquil courtyard. The simplicity of the design reflects the Cistercian emphasis on modesty and contemplation, while the delicate tracery and occasional ornamental details showcase the Romanesque influence. Over the centuries, the Cloister of Santa María la Real de las Huelgas has been a silent witness to the daily rituals of the nuns, royal ceremonies, and the ebb and flow of historical events, making it a significant architectural and historical element of the monastery.

For a Student Activity, please… Check HERE!

The Treasure of Childeric I

by ArchaeologyArtEarly Christian ArtFrench ArtJewelryMedieval ArtPowerpointsSocial Studies
Golden Bees, Treasure of Childeric I, 5th century AD, Gold, Garnet, Bibliothèque nationale de France, Paris, France https://www.hhantiquejewelry.com/napoleon-bees-jewelry-tomb-childeric-i-symbols-empire/

. The 14th 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!

Royal Pantheon of San Isidoro

by ArtMedieval ArtSpanish Art
Royal Pantheon of San Isidoro de León, Romanesque Fresco Paintings
July, Calendar of San Isidoro de León, between 1160 and 1170, fresco painting, Colegiata de San Isidoro, León, Spain https://conocerelmundo.blog/2021/04/25/san-isidoro-de-leon/ and https://viajarconelarte.blogspot.com/2015/06/el-panteon-real-los-claustros-y-el.html

On the 12th of May 2024, I was in León, Spain, and the Royal Pantheon of San Isidoro was the first cultural monument I visited. Nestled within the Royal Collegiate of San Isidoro, this remarkable Pantheon is often referred to as the “Sistine Chapel of Romanesque Art” due to its stunningly preserved frescoes that date back to the 12th century. As I stepped inside, I was immediately captivated by the vibrant murals that depict biblical scenes and medieval life, their rich colours, and intricate details astonishingly intact after centuries. The Pantheon serves as the final resting place for many of León’s kings and queens, adding a profound historical significance to its artistic splendour. The serene ambience, coupled with the sense of walking through a living piece of history, made my visit an unforgettable introduction to the cultural and historical treasures of León.

Colegiata de San Isidoro, León, Spain
https://basilicasanisidoro.com/

The Royal Collegiate of San Isidore in León holds a pivotal place in Spanish history and culture, renowned for its religious, architectural, and historical significance. Established in the 10th century and later dedicated to Saint Isidore of Seville, this monastery has long been a center of spiritual and intellectual life. Architecturally, it is a stunning example of Romanesque design, featuring intricate carvings, soaring arches, and the remarkable Royal Pantheon with its breathtaking frescoes. Historically, it served as a royal collegiate church and a burial site for Leonese monarchs, symbolizing the political and religious power of the Kingdom of León. The monastery also played a crucial role in the cultural revival of the medieval period, housing a vast scriptorium where scholars produced and preserved numerous manuscripts, thus contributing significantly to the preservation and dissemination of knowledge throughout Europe.

The architecture of the Royal Pantheon in San Isidoro in León is a quintessential example of the Romanesque style, characterized by its solid and austere construction, yet adorned with remarkable artistic details. The structure features robust stone walls and semi-circular arches that exude a sense of permanence and strength. Inside, the Pantheon is renowned for its barrel-vaulted ceilings, which are covered with some of the most exquisite and well-preserved frescoes from the 12th century. These vibrant murals, which depict biblical scenes and daily life, are framed by intricately carved capitals atop sturdy columns, adding to the grandeur of the space. The use of natural light, filtering through small, strategically placed windows, enhances the ethereal quality of the interior, creating a sacred atmosphere that complements its function as the resting place for León’s royalty. This harmonious blend of architectural solidity and artistic finesse makes the Royal Pantheon a masterpiece of medieval art and architecture.

Royal Pantheon of San Isidoro de León, Romanesque Fresco Paintings, between 1160 and 1170, fresco painting, Colegiata de San Isidoro, León, Spain
https://www.museosanisidorodeleon.com/en/the-royal-panteon/ and https://www.wga.hu/html_m/zgothic/mural/12c2/05catala.html

The fresco decoration of the Royal Pantheon is an equally stunning example of Romanesque art, revered for its vibrant colours and intricate detail. These 12th-century murals cover the ceilings and upper walls, vividly depicting an array of biblical scenes, including the Annunciation to the Shepherds, Christ in Majesty, and various saints and angels. The frescoes are notable for their expressive figures and dynamic compositions, capturing the spiritual and cultural essence of the medieval period. Rich hues of reds, blues, and ochres dominate the palette, creating a visually striking contrast against the stone architecture. These frescoes not only serve as a religious and educational tool, illustrating key narratives of Christian doctrine but also stand as a testament to the artistic skill and devotional intensity of the period. Their exceptional preservation allows visitors to experience the same awe and reverence as medieval worshippers, making the Royal Pantheon a remarkable fusion of art, faith, and history.

Royal Pantheon of San Isidoro de León, Romanesque Fresco Paintings
Calendar of San Isidoro de León, between 1160 and 1170, fresco painting, Colegiata de San Isidoro, León, Spain https://viajarconelarte.blogspot.com/2015/06/el-panteon-real-los-claustros-y-el.html

I was pleasantly surprised by the twelve roundels presenting the agricultural calendar, developed in the intrados (the inner curve of an arch or vault) of an arch, where the daily and real life of the people of León in the 12th century are portrayed. These frescoes depicting the 12 months are a fascinating blend of Roman tradition and medieval life. Each month is personified with a vivid scene that captures the essence of seasonal activities and agricultural cycles. January, (Genuarius), echoes the ancient Roman deity Janus, with a double-faced figure symbolizing the transition between the old and new year. February, (Februarius), shows a man warming himself by the fire, indicating the harshness of winter and the retreat from outdoor labour. March, (Marcius), portrays a man pruning vines, a task essential for the forthcoming growth. April, (Aprilis), celebrates the onset of planting with a figure holding tender sprouts, ready for sowing. May, (Magius), diverges from agricultural labour, depicting a knight with a shield, representing the pursuits of hunting and warfare. June, (Iunius), and July, (Iulii), are illustrated with scenes of harvesting, emphasizing the peak of agricultural activity. August, (Agustus), focuses on the separation of grain from chaff, a crucial step in the agricultural process. September, (September), captures the grape harvest, a vital part of the winemaking tradition. October, (October), shows a man shaking acorns from a tree to feed pigs, linking to the preparation for winter. November, (November), is marked by the depiction of pig slaughter, a significant event for food preservation. Finally, December, (December), closes the cycle with a man resting by the fire, reflecting on the year’s labours, and enjoying the respite of winter. These frescoes not only highlight the agricultural calendar but also offer a glimpse into the daily lives and seasonal rhythms of medieval society.

Best Wishes for a Healthy and Happy Month of July

For Student Activities, 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