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The Arts of Byzantium The Metropolitan Museum of Art Bulletin V 58 No 4 Spring 2001 PDF
The Arts of Byzantium The Metropolitan Museum of Art Bulletin V 58 No 4 Spring 2001 PDF
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The Arts of Byzantium
Helen C. Evans
Melanie Holcomb
RobertHallman
This publication was made possible through the Subscriptions $25.00 a year. Single copies General Manager of Publications: John P. O'Neill
generosity of the Lila Acheson Wallace Fund for $8.95. Four weeks' notice required for change Editorin Chief of the Bulletin:Joan Holt
The Metropolitan Museum of Art established by of address. POSTMASTER:Send address Editorof the Bulletin:Jennifer Bernstein
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The Metropolitan Museum of Art Bulletin. issues available on microfilm from University
Photography by Joseph Coscia Jr.,Anna-Marie
Spring 2001. Volume LVIII,Number 4 (ISSN Microfilms, 300 N. Zeeb Road, Ann Arbor,
Kellen, and Juan Trujilloof the Photograph
0026-1521). Published quarterly. Copyright ? Mich. 48106. Volumes I-XXXVII(1905-42)
Studio of The Metropolitan Museum of Art
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postage paid at New York, N.Y., and Additional vidual yearly volumes from Ayer Company Frontcover: Christon the Cross, with the Virgin
Mailing Offices. The Metropolitan Museum of Publishers Inc., 50 Northwestern Drive #10, and SaintJohn, detail of a box reliquary(see p. 39).
Art Bulletin is provided as a benefit to Museum Salem, N.H. 03079, or from the Museum, Back cover: Personificationof Ktisis(or Foundation),
members and is available by subscription. Box 700, Middle Village, N.Y. 1137.9. detail of a floor mosaic (see p. 17)
3
TheArts of Byzantium
The empire called Byzantiumlasted byzantine-intrigues. The splendid works
more than 1,100 years-from the found- in the MetropolitanMuseum'sinstallation
ing of its capital, Constantinople(modern of Byzantineart in the Maryand Michael
Istanbul,Turkey),in 330 to the conquest JaharisGalleries demonstrate, however,
of the city by the OttomanTurksin 1453. that the great empire was not a frozen
The image that many have of it today society but a diverse and vital state. These
comes from William ButlerYeats'spoem artworksoffer us a profound, nuanced
"Sailingto Byzantium"(1928): It is a understandingof the Byzantines'appre-
world filled with objects of "hammered ciation of beauty, faith, and power.
gold and gold enamelling/To keep a
drowsy Emperorawake;/Or [to be] set The Empire's First Golden Age
upon a golden bough to sing/To lords The firstgolden age of the Byzantine
and ladies of Byzantium/Of what is past, Empire,known as the EarlyByzantine
or passing, or to come." The citizens of period, extended from the founding of
this Byzantiumare either "sages standing Constantinople into the 700s. The
in God's holy fire/As in the gold mosaic emperor Constantinethe Great (r. 306-
of a wall" or-according to another 37) selected Byzantion, an ancient Greek
popular conception-plotters consumed city on the Bosporus, to be the site of
by complex and disorienting-that is, the new capital of the Roman Empirein
4
324. In 330 he transferredthe senate and
the imperialcourt from Rome to the for-
mer Byzantion,a largercity he named
Constantinople(the polis-or city-of
Constantine).There, at the junctureof
Europeand Asia, where the overland
trade routes of the Eastmet the sea
routes of the Mediterranean,the emperor
believed that he could best protect the
valuable Romanprovinces in Egypt,the
Holy Land,Syria,and the Balkansfrom
the empire'spowerful ancient enemy to
the east, the Persians.
Constantinewas the firstChristian
rulerof the Roman Empire.At the Battle
of the Milvian Bridgein 312 he had
defeated Maxentius(r.306-12) for sole
control of the empire; Constantine'ssol-
diersare said to have paintedthe Chi-Rho,
or monogramof Christ,on their shields
after he beheld a vision that the new
faith would lead him to victory. In 313
he acknowledged the divine assistance
he had received and made Christianitya Personification of Spring, detail of tunic decoration (see p. 25)
5
settled near the Danube began regularly
to attack the Romans.The tribal peoples
nonetheless also served as mercenaries
in the Roman and Byzantine armies. In
395 the Roman/Byzantine Empirewas
divided into eastern and western halves
ruled by Arcadius (r.395-408) and
Honorius (r.395-423), respectively,the
sons of Theodosius I (r.379-95), the
emperor who declared Christianitythe
state religion. The border peoples began
to establish their own kingdoms in the
western provinces, and many received
official recognition from Constantinople.
Theirarts combined Roman and Byzan-
tine elements with Bronze Age and
Celtic influences.
The peoples on the western borders
began to convert to Christianity,though
not always to the church of Rome and
Constantinople.In 345 the Goths adopted
Arianism,a teaching that had originated
in Alexandriaand that in 325 had been
condemned as heretical by a council of
The Virgin,medallion from an icon frame (see p. 45)
the church. Arians,who included several
Byzantine emperors, were opposed to
the official church position that Christ
most precious porphyry(purple marble) church came to be called the Coptic was the equal of God the Father,holding
was quarriedthere. Alexandria,at the church, as it still is today. (Theterm instead that he was created by God the
mouth of the Nile, became a Christian "Coptic"was introduced by Egypt's Father.When the Anglo-Saxons settled
diocese in 382. (Accordingto tradition, Arabconquerors in the mid-seventh Englandin the 430s, they created two
the city's firstbishop had been the evan- century; it is derived from a mispronun- religious spheres: the Anglo-Saxons in
gelist Mark[act. before A.D. 70].) The city ciation of Aigyptos, the ancient Greek the west became Christians,while those
was one of the five major centers word for "Egypt."Indeed, "Byzantium" in the east remained pagans. Under King
of the church (the others were Rome, was coined by the German humanist Clovis (r.481 -511), the Franksconverted
Constantinople,Antioch, and Jerusalem). HieronymousWolf [1518-1580] to to Christianityabout 496. By the 700s the
Egypt,where men like SaintAnthony distinguishthe Roman state ruled from increasing numbers of Christianpeoples
the Great (ca. 251 -356) went into the Byzantion-Constantinoplefrom the in the West-descended from Germanic
desert to live ascetic lives in contempla- empire when it was ruled from Rome.) tribes such as the Franks(France),Lango-
tion of the divine, was also the source bards (Italy),Visigoths (Spain), Anglo-
of Christianmonasticism.The Egyptian- The Early Byzantine World and the Saxons (England),Vikings (Scandinavia),
born Pachomios(ca. 290-346) wrote Peoples on Its Borders and others-were growing more and
rules for communal living, once others As early as the 160s Roman armies more distant from Byzantium and
began to follow holy men into the desert. under MarcusAurelius(r. 161 -80) had establishing separate alliances with the
In 451 internaltheological debates at the clashed with Germanic tribes on the church in Rome. In 800 Charlemagne
Council of Chalcedon led the Egyptian empire'swestern border,in what is today (king 768-814) had himself crowned
church to separatefrom the church of Romania. In the third century the Franks imperator Romanorum (emperor of
Constantinople.Ultimatelythe Egyptian living along the Rhine and the Goths the Romans)by Pope Leo III(in office
6
795-816) in Rome. In 812 the Byzantine emperor continued to reign as Christ's Ukraine, Belarus,and western Russia),
court recognized Charlemagneas representativeon earth. Greek became Bulgaria,Georgia, Armenia, Syria,the
basileus (king)of only the Franks. the dominant official language; classical Holy Land, Egypt,Cyprus, Norman
As independent states developed on scholarship remained the basis of the Sicily, and southern Italy.The multiethnic
the western bordersof the empire, educational system. culture of Byzantiumnot only influenced
attacksby both old and new enemies As Byzantiumentered a new diplo- the artsof other nations but also absorbed
continued on its eastern borders.The matic era, it developed regularcontact for its own use elements from the Latin
Persianshad long threatenedthe eastern with the Islamic caliphates, Christians West and the Islamic Near East.
empire. By the fifth century they con- living in Islamic states, and Western In the east some of the territorylost
trolled the Christianlands of Armenia rulers. Duringthis period Byzantium's to the Arabswas regained, through
and Georgia and attempted by force to sphere of influence embraced Kievan both diplomatic and militaryefforts.
convertthe inhabitantsto Zoroastrianism, Rus' (a state that took in partsof modern Under the emperor Basil II(r. 976-1025)
the Persianstate religion. In 626 the
Persiansjoined with the nomadic Avars
to besiege Constantinopleby land and
sea, but the capital was saved by its mas-
sive double-walled fortificationsand by
the imperialnavy,which broke the sea
blockade. Farthersouth the Persians
successfully swept to the Mediterranean,
occupying the Holy Landand Egyptfrom
61 8 to 629. In the 640s, after having
briefly regainedthe bulk of that territory
from the Persians,Byzantiumperma-
nently lost most of its southernterritories,
from Roman Syriato northernAfrica,to
the rising power in the East,the Arab
armies fighting in the name of a new
religion, Islam.
Within the empire the Iconoclastic
Controversy-an intense debate over the
role of images in religious devotions-
deeply divided the population. In 726
the Byzantineemperor Leo III(r. 71 7-
41) forbade the use of icons.
7
the second golden age of Byzantium to a request from the Byzantineemperor The Final Flowering of the Byzantine
reached its zenith; the empire'sterritories Alexios I Komnenos(r. 1081-1118) for World
included much of Armenia in the east aid against the Muslim occupiers of In 1261 MichaelVIIIPalaiologos(r. 1259-
and Bulgariato the northeast.In 1071, Jerusalem.Latin-speakingknightsfrom 82), a Byzantine nobleman descended
however, the Byzantineforces were western Europecame east to try to from three imperialfamilies, retook
routed at the Battleof Mantzikert,on the regain the Holy Land.(The FirstCrusade, Constantinopleand established the
empire'seastern border.This defeat in 1099, ended in the recaptureof Jeru- dynastythat ruled the empire during its
markedthe beginning of the empire's salem.) The Crusadesgreatly increased last centuries. In this era the artsflour-
final loss of its eastern territoriesto the interactionbetween Byzantine and ished in spite of a series of militaryand
Islam,a process that took centuries. Westerner,and a circuit of small financial crises that reduced both the
The empire was more successful in Crusaderstates was established along empire'sterritoryand its prestige.Internal
extending its influence northward,to the the Mediterraneancoast, including power struggles,controversiesover
Slavs, through missionariessent from fortresses at sites of strategic impor- accepting Rome'sterms for repairingthe
Constantinople.Saints Constantine tance, such as Montfortand Kracdes Great Schism, and encroachment on
the Philosopher(also known as Cyril; Chevaliers(in modern Israeland Syria, Byzantineterritory,especially by the
ca. 827-869) and Methodius (ca. 815- respectively). Relations between Mongols and laterthe OttomanTurks,
885), who undertookthe firsttranslations Crusaderand Byzantineforces deterio- diminished the authorityof the central-
of numerous liturgicaltexts into Old rated, though. During the Fourth ized state. Nevertheless, writers,artists,
ChurchSlavonic, were the most impor- Crusade in 1204 the Western knights and architectsworking in urbancenters
tant among these emissaries. Byzantium's began to occupy Byzantineterritories, such as Mistra,Thessalonike,Constan-
proselytizingefforts bore fruit in 988, and ultimatelythey took Constantinople. tinople, and Trebizondcontinued to
when the powerful state of KievanRus' The Latin Empireestablished there enrich Byzantine culture.
recognized Christianityas its official reli- lasted until 1261. The church remainedthe chief reposi-
gion, under the aegis of the church in The Crusaderpresence altered the tory of art and intellectual endeavor, and
Constantinople. shape of the Byzantineworld. Through it was throughthe Orthodox church that
Westernstates continued to have alliances with the West, kingdoms like Byzantineart and culture lived on in the
ambivalentrelationswith Byzantium.In ArmenianCilicia gained independence. empire'sformerterritoriesand in Russia,
962 Otto I (r. 936-62) was crowned Small Byzantine successor states were decades afterthe Ottoman conquest of
imperatorin Rome. The Byzantines rec- founded atTrebizond,Nicaea, and Epiros. Constantinoplein 1453. Moscow saw
ognized him only as basileus of the Many Westernersremained in Byzantine itself as the heir to Constantinople; as
Franksyet sent the Byzantine princess lands,adoptingelements of Byzantinecul- the Orthodox monk Filofeyof Pskov
Theophanoto be the wife of Otto II ture and patronizing Byzantine arts;oth- (1465-1542) proclaimed in 1511: "Hear
(r.973-83). Religioustensions between ers took Byzantine works and learning me, pious Czar [VasilyIII(r. 1505-33)].
Constantinopleand Rome became home with them, where they influenced All Christiankingdoms have converged
increasinglycomplex. In 1054 a papal Western culture. Some of the most in thine alone. Two Romes have fallen, a
delegation from Rome argued violently prized Byzantine artistic treasures and thirdstands, a fourththere shall not be."
with the patriarchof Constantinople most famous of Constantinople's Icon paintersfrom Creteproduced images
over doctrine; so irreconcilablewere Christianrelics were broughtto western for both the Orthodox and the Latin
their differences that they pronounced Europe.Among them was the Crown church. Byzantine scholars and scholar-
anathemas upon each other. This was of Thorns,which was sold by the last ship traveledas far west as the courts of
the beginning of the Great Schism that Latinking of Constantinople, Baldwin II Italy,France,and Flanders.Long afterthe
to this day divides the Easternand (r. 1240-61), to his cousin Louis IX empire ended, Byzantine art and culture
Westernchurches. (r. 1226-70) of France.(Louisbuilt the set a standardfor luxury,beauty, and
In 1095 Pope Urban II(in office churchof Sainte-Chapellein Paristo learningthat inspired its successors,
1088-99) responded favorably,however, house the crown.) West and East.
8
THE EMPIRE'S FIRST GOLDEN AGE
Goldglass Silver
Roman Romanor Byzantine,said to havebeen
Made250-300, probablyin Alexandria, found in Tartus,Syria
Egypt Made300s
Diam.15/8 in. (4.1 cm) W. 93/4 in. (24.8 cm)
FletcherFund,1926 (26.258) FletcherFund,1947 (47.100.33)
This exquisite portraithead shows a This silver box was probably meant for
youth fromAlexandria,the cosmopolitan domestic use, possibly as part of a lady's
Egyptiancity that had been founded by toilet. Itatteststo the continuingpopularity
Alexanderthe Great (r.336-323 B.C.)in in the eastern provinces of the empire-
331 B.C.The medallion was probably a even as Christianityincreased in impor-
prize for the winner of a musical contest: tance-of images drawn from the cults
the inscriptionin Greek-the cultural of the classical world. Worked in high
languageof the city-identifies the youth relief, the oval box displays on its lid a
as "Gennadios,most skilled in music." charming sleeping Eros,the classical
The masterfullynaturalisticimage, drawn god of love; he reclines on a lion's skin,
with a fine point on gold leaf, was applied with his bow in hand. The sides of the
to the upper surface of a dark blue glass box are decorated with playful putti
disk.A second, clear disk was then placed holding garlandswith bulls' heads, an
on top of the first,to seal the image. The ancient symbol of fertility,at each end.
beveled edges of the disks suggest that These motifs are relatedto the cult of
the medallion was meant to be mounted Dionysos, god of wine, and they persisted
and worn as a pendant. in the Byzantine world into the Middle
The medallion dates from a time when Byzantine era (843-1261). The images
the Roman Empirewas increasingly may have had a cultic significancefor the
aware of the need to better protect such owners of the objects they adorned.
wealthy eastern provinces as Egypt.
Gennadios'scity, the major port at the
mouth of the Nile, would become
the third-largestcity in the Byzantine
Empire,afterConstantinopleand Rome.
Under Byzantine rule it would also
continue to be the great intellectual
center it had been under the Greeks
and Romans.
9
Sarcophagus with a Greek Physician The owner of this sarcophagusselected curses the person who might reuse the
its central image to ensure that his learn- sarcophagus:"Ifanyone shall dare to bury
Marble;missingthe lid and the lower-right
ing and skills would be recognized for another person along with this one,
frontedge
eternity.A sitting man carefully studying he shall pay to the treasurythree times
Roman,fromnearOstia
Carvedearly300s a scroll is depicted in the pose that in two thousand [the unit of currency].This
L. 847/8in. (215.6 cm) the classical world denoted educated is what he shall pay to [the city of] Portus
Giftof Mrs.JosephBrummerand Ernest men or philosophers.The contents of the [Ostia], but he himself will endure the
Brummer, in memoryof JosephBrummer, chest before him-a basin for bleeding eternal punishment of the violator
1948 (48.76.1) patients and more scrolls-identify the of graves."
figureas a physician,perhapsa teacher of Duringthe 300s Christiansadopted the
medicine. On top of the chest is an open philosopher'spose to depict the learned
medical kit;the incised depictions of the men of their faith, including Christ,the
surgeon'stools are still faintly visible. apostles, and leading figures of the
Although the sarcophaguswas found church. The undulating motifs, or strigils,
near Ostia, the port city of Rome, the on each side of the central sarcophagus
figure's style of dress and the use of image were inspired by the tools used by
Greek for the inscription suggest that athletes in the gymnasiums to scrape oil
the owner was one of the many Greek and sand from their bodies; strigils,too,
doctors practicing in the region. Rather would appear in Christianart.
than naming the owner, the inscription
10
Fragmentary Base of a Bowl with
Jewish Symbols
Gold glass
Roman,probablyfromRome
Made300-350
Max. w. 3Y/2in. (8.9 cm)
Rogers Fund, 1918 (18.145.1a, b)
11
Bowl with Saints Peter and Paul
13
Head of Emperor Constans The firstChristianRoman emperor, Greece-in 337, at about age seventeen;
(r. 337-50) Constantine,had four sons. This classi- he took command of the remainderof
cally styled head probably represents the western half of the empire in 340.
Marble
Constans, the youngest. The head, meant He defeated the Franksand was the last
Byzantine
Carvedabout337-40 for a statue, is crowned with a pearl- emperor to visit Britain.In 350, before
H. 101/4 in. (26 cm) bordereddiadem of the type worn by he was thirty,Constans was killed by the
Rogers Fund, 1967 (67.107) Constantine'sfamily. usurper Magnentius (r. 350-53). By
A devout Christian,Constans became the end of the fourthcenturymost of the
rulerof partof the western empire- western empire was no longer under
including Italy,Africa,and much of the control of Constantinople.
14
Two Panels of a Diptych Announcing honorific. JustinianI (r. 527-65) later central medallions read: "Thesegifts,
the Consulship of Justinian became the greatestemperor of the Early slight indeed in value but rich in honors,
Byzantine period. I as consul offer to my senators."The
Ivory
Eightelegantly carved lions' heads small crosses at the top and bottom of
Byzantine
surroundedby acanthus leaves, at the the medallions are the only indication
Made 521, in Constantinople
Each: 133/4x 53/4in. (35 x 14.5 cm) corners of the panels, focus attention of the donor's religion. Once hinged
Gift of J. Pierpont Morgan, 191 7 on inscriptionswritten in Latin,the offi- together, with the names of the other
(17.190.52, .53) cial language of the empire in the early consuls inscribed in wax on the interior,
period. The inscriptionsacross the top the panels probably served as an invita-
These handsome ivory panels announce of the two panels give the donor's name tion to the great public games that new
the election of Justinianas consul and and titles: "FlaviusPetrusSabbatius consuls hosted in Constantinople'ship-
were presentedby him to a memberof the Justinianus,noble, officer, and chief of podrome. Earlierconsular diptychs, also
senate. The rank of consul was once the cavalry and commander in chief made of ivory,often displayed events
the highest in the Romanstate, and in the of the infantryand consul entering his from the games, including animal fights
sixth century it was still an important office at the propertime."Those in the and gladiatorialcontests.
15
Steelyard Weight with Bust of a Fragment of a Floor Mosaic with a
Byzantine Empress and a Hook Personification of Ktisis
weightfilledwith lead;brass
Copper-alloy Marbleand glass
hook Byzantine
Byzantine Made500-550; modernrestoration
Cast400-450 Overall 533/8x 33 in. (135.6 x 83.8 cm)
H. 91/8in. (23.2 cm); wt. 5.04 lb. (2.29 kg) HarrisBrisbaneDickand FletcherFunds,
Purchase,RogersFund,Bequestof Theodore 1998 (1998.69)
M. Davis,by exchange,and Giftsof George Purchase,LilaAchesonWallaceGift,and
J. PierpontMorgan,Mrs.LucyW.
Blumenthal, Dodge and RogersFunds,1999 (1999.99)
Drexel,andMrs.RobertJ. Levy,by exchange,
1980 (1980.416a,b) The bust of a richly bejeweled woman
stares from this fragmentof a floor
Steelyardweights used to measure heavy legitimacy of commercial contracts mosaic that was once part of a large
goods like grain were often shaped as involving weights and measures.This public building. The partiallyrestored
busts of empresses. The sober images unusually detailed bust representsa Greek inscriptionnear her head identi-
may have been meant to enhance the rankingmember of the Byzantine court, fies her as Ktisis,the personificationof
weights' authorityas accurate measures, whose elaborate jewelry atteststo the the act of generous donation or founda-
or they may have served as remindersto wealth of the state. Her dress and tion. To emphasize her role as donor,
the public of the government'sduty to demeanor suggest that she is an empress she holds the measuring tool for the
maintaintaxis, or order and harmony in of the Theodosian dynasty,which ruled Romanfoot. On her righta man extends
the universe-in part by ensuring the between 379 and 450. a cornucopia toward her as if offering a
gift; the Greek word for "good" is near
his head. Originallya similarfigure prob-
ably appeared to her left, and an inscrip-
tion by his head would have completed
the legend "Good wishes."
The classical traditionof personifying
abstractideals continued during the
ChristianErain many places around the
Mediterraneanbasin, including Antioch
(modern Antakya,Turkey),Cyprus, and
North Africa.The carefully arrangedand
sized marble and glass tesserae forming
this floor fragmentare typical of the
exceptional mosaics created throughout
the Byzantine world in the 500s.
The MetropolitanMuseum acquired
the two figures independently. They
were restored in accordance with an
old photographof the mosaic in a dealer's
storeroom, showing the figures in their
original arrangement before being
separatedfor sale.
16
Bust of a Lady of Rank
Marble
Byzantine
Carved late 400s-early 500s, probably in
Constantinople
H. 207/8 in. (53 cm)
The Cloisters Collection, 1966 (66.25)
19
Lintel Fragment
Limestone
Byzantine
Made about 400-550, probably in Syria
20 x 191/2in. (49.5 x 17.8 cm) chi (X);the vertical arm of the cross referto a vision beheld by John the
Purchase,Anonymous Gift, 1969 (69.15) ends in the letter rho (P).Togetherthey Evangeliston the Aegean islandof Patmos,
constitute a variant of the Christogram where he had been exiled by the Romans.
The deeply undercutpatternson this (see p. 12). The Chi-Rho is found wher- In a letterto the seven churches of Asia
architecturalfragmentresemble the dec- ever Christianityreached, from Gaul in Minor,John described the message from
oration on lintels from church door- western Europeto Egyptin the south. God that was communicated to him by
frames in Asia Minor,particularlyin the The alpha (A) and omega (w)flanking an angel: "Iam Alpha and Omega, the
northernregions of Roman Syria.The the cross-the firstand last letters in the beginning and the ending, saith the Lord,
equal-armedcross in the medallion at Greek alphabet-were also symbols which is, and which was, and which is
the center representsthe Greek letter widely used by the early church.They to come, the Almighty"(Revelation 1:8).
20
The Antioch Chalice
Detailof AntiochChalice
I
Plaques with Saints Peter and Paul beard. Here (above right)he holds a Christ.The decoration on the back of
book-an appropriate symbol for this pyxis shows three women standing
Silver
the authorof much of the New Testament. with their hands outstretched, in the
Byzantine, from Roman Syria, possibly
Both men stand under arches flanked orant (praying)posture used in the early
Antioch or KaperKoraon
Made about 550-600; shown before the by peacocks. The early church often church. Here, on the front, two Marys
latest restoration described heaven in architecturalterms; swing censers as they approach a domed
10Y4 x 81/2 in. (27.3 x 21.6 cm) (.1); thus, arches are often considered repre- building, where tied-back curtains reveal
105/8 x 81/2in. (27 x 21.6 cm) (.2) sentations of paradise.These two plaques an altar. In the early church the altar
Fletcher Fund, 1950 (50.5.1, .2) may have framed an image of Christ, came to be understood as a symbol of
composing a tripartiteicon for Christ'stomb. On the altar is the Gospel
The plaques,which are partof the Antioch contemplation or veneration. book, Christ'sword. Above it is a hang-
Treasure(see the Antioch Chalice on ing lamp. Narrativescenes such as this
p. 21), depict two of the most important Ivory Pyxis Depicting Women at the made the words of the Gospels visible
original followers of Christ.The image Tomb of Christ for the devout, and they established tra-
of Saint Peterestablished by the early ditions for the depiction of events in the
Byzantine
church was of a man with a round face, Made500s, in the easternMediterranean life of Christthat influenced subsequent
short hair, and a beard. Here (above H. 4 in. (10.2 cm) Christianart.
left) he holds a cross and gestures as if Giftof J. PierpontMorgan,1917 (17.190.57) This finely carved pyxis was worked
preaching.At his waist are the keys to from a cross section of an elephant's
the kingdom of heaven given to him by The Gospel of Luke(24:1-10) describes tusk. Such containers may have been
Christ(Matthew16:19). The early church a group of women-including the Virgin used to carrythe bread of the Eucharist
representedSaint Paulas a man with a Mary,MaryMagdalen, and Mary,mother to those too ill or too elderly to
long face, receding hairline, and pointed of James-at the empty tomb of the risen attend church.
22
Flask with Adoration of the Magi Christiancommunity in the East,include
examples of such unusual iconography.
Silver and silver gilt
At the left the ChristChild is sitting
Byzantine
Made 500s
uprightin his mother'slap. Above the
H. 123/ in. (31.5 cm)
ChristChild is the starthat, according to
Purchase, FrederickC. Hewitt Fund, by the Gospel of Matthew (2:1-12), led the
exchange; Rogers Fund and Schimmel three wise men to Christ.The archangel
FoundationInc. Gift; Gifts of J. Pierpont Gabriel is shown dramaticallystriding
Morgan, Mr.and Mrs. Marc B. Rojtman, forwardto present the three Magi (not
Mr.and Mrs.John D. RockefellerJr.,LucyW. shown in this illustration)to the Christ
Drexel, and Anonymous, by exchange; Child. Only in the ArmenianInfancy
Bequests of Mary Stillman Harkness, George Gospel, a popular early text elaborating
Blumenthal, Gwynne M. Andrews, and the Gospels' descriptionsof Christ's
Michael Dreicer, by exchange; Theodore M.
young life, is Gabriel described as the
Davis Collection, Bequest of Theodore M.
wise men's guide. At the base of the flask
Davis, by exchange; Rogers Fund, by
are phoenixes, whose legendary rebirth
exchange; and The Cloisters Collection, by
from the ashes may have been meant to
exchange, 1984 (1984.196)
symbolize the salvation offered by
Some early depictions of events from the Christ'sbirth.
life of Christinclude details that were
omitted from laterstandardrepresenta-
tions of the scenes. The images on this
flask, which may have been used by a
23
Arch with Running Vines, Leaves, and
Fruit
Limestone
Byzantine, said to be from the Monastery of
Apa Apollo, Bawit, Egypt
Carved 500-600
Max. w. (with capitals): 92 in. (231 cm)
Gift of EdwardS. Harkness, 1929
(29.9.2a-v)
Limestone
Byzantine, said to be from the Monastery of
Apa Jeremias,Saqqara, Egypt
Carved 500-700
H. 221/2in. (57.2 cm) (.66); 22 in. (55.9 cm)
(.76)
Rogers Fund, 1909-10 (10.1 75.66, .76)
24
Tunic Decoration: Square with a
Personification of Spring
25
Hanging with Heads of a Dionysian Dionysos's bald tutor (bottom row, sec- Tunics, usually worn in layers, were the
Group ond from right).The rich jewelry worn standarddress in the Mediterranean
by several of the figures is similarto that world. Most that survive were found in
weave in multicoloredwool
Tapestry
in the MetropolitanMuseum'sjewelry graves in the dry sands of Egypt,as was
Byzantine,saidto havebeen excavatedat
hoard said to be from either Lycopolis this one. The outer tunics of the elite-
Antinoopolis(Antinoe;modernSheikh
Ibada,Egypt) (modernAssiut)or nearbyAntino6polis, officials,nobles, well-to-do citizens-were
Wovenabout500 in Egypt(see the pectoral and bracelets long and elaborately decorated, with
401/4x 621/4in. (102 x 158 cm) on p. 19). long sleeves. The garmentswere orna-
Giftof EdwardS. Harkness,1931 (31.9.3) mented with woven bands (clavi),squares,
or medallions-decoration not merely
Evenas Christianitybecame more firmly for its own sake but also as amuletic pro-
established in the empire, images of tection for the wearer. Purplewas closely
older gods remained popular.Thirteenof associated with imperial power, and its
the fifteen exquisitely woven medallions Tunic with Dionysos and Dionysian use for the patternshere suggests that the
on this large wall hanging are at least Motifs tunic was made for a leading citizen of
partiallypreserved.They are encircled by Plain-weavelinenwith designsworkedin Byzantine Egypt.
ivy, a symbol of Dionysos, the ancient linenand purplewool in tapestryweave The tunic's richly woven bands and
god of wine, and contain busts of par- Byzantine,saidto be fromPanopolis squares are filled with images of the
ticipants in the Dionysian revelries. (modernAkhmim,Egypt) followers of Dionysos celebrating his
Among the horned satyrsand beautiful Woven400-500 revelries. Dionysos himself appears in
nymphs and maenads are Herakles 72 x 53 in. (183 x 135 cm) the squares at the shoulders. The god
(top row, second from left) and Silenus, Giftof EdwardS. Harkness,1926 (26.9.8) long remained popular in Panopolis.
26
About the time this tunic was woven,
Nonnos of Panopolis(act. early fifth
century)wrote a long epic poem, the
Dionysiaka,on Dionysos's conquest of
India,a frequentsubject in Egypt,where
another conqueror,Alexanderthe Great s
(r.336-323 B.C.), had ruled and was
buried. It is unclear if the continuing
interestin Dionysian themes had any
religious significance. (Nonnos, for
instance, is thought to have also written
a verse paraphraseof the Gospel of John.)
Bronze
Byzantine
Made400-450, probablyfoundon the
Italianpeninsula
H. 7 in. (17.8 cm)
EdithPerryChapmanFund,1963 (63.206)
27
delightfullyplump eros is one of the small, childlike figures surroundingthe
many classical subjects that remained Nike are erotes, who in Egyptsymbol-
popular as Roman Egyptbecame ized the number of feet the riverneeded
Byzantine Egypt,and as the paganism to rise each year to ensure fertilityand a
of antiquityyielded to Christianity. good harvest. Erotesalso appear beside
the superbly carved, longhaired old man
Fragments with Personifications of who personifies the Nile. The delicate
Victory and the Nile refinementof his face is echoed in the
personificationof the riverfound on
Ivory
the surviving floor mosaics of the
Byzantine
Carved 500s, probably in Egypt Great Palace of the imperial court in
L. (Nile) 21/2in. (6.4 cm); I. (Nike) 41/8 in. Constantinople(now in the Mosaic
(10.5 cm) Museum, Istanbul).
The CloistersCollection, 1971 (1971.49.1, .2)
Polycandelon with Crosses
It is possible that these fragmentsare from
Copperalloy
an ivory celebratingthe annual flooding Byzantine
of the Nile River.The figure who appears Made 500-600
to fly, bearing a wreath, is a Nike, or Diam. 101/2 in. (26.5 cm)
personificationof victory. (Images like Promised Gift of Miriam N. Rosen
this one, which are common in classical
Plaque with an Eros art, may have been the models for depic- Oil-filled glass vessels were hung from
tions of angels in Christianart.)The the round openings in this flat, circular
Bone, with traces of red and blue paint
Byzantine
Carved 300-500, probably in Egypt
31/2x 23/8in. (8.9 x 6 cm)
Gift of Mr.and Mrs. Charles D. Kelekian,
1978 (1978.431)
Rogers Fund, 1978 (1978.432.1,2)
28
I Lamp Handle with Griffin's Head
Copperalloy
Byzantine
Made500-700
H. 67/8 in. (17.6 cm)
Giftof Max Falk,1987 (1987.441)
29
THE EARLY BYZANTINE WORLD AND THE PEOPLES ON ITS BORDERS
The Vermand Treasure The Rhine and Danube Riversdefined 1885, it remains unsurpassedamong
the bordersof the Roman Empirein barbarian-warrior graves in the number
Provincial Roman, found in Vermand,
western Europe.They separatedthe citi- and quality of objects it held. Among the
France
Made about 400
zens of Rome from the many peoples goods were an ax, spears, a sword, and a
who inhabited Germania,as the Romans shield (the boss and handle of the shield
Three Mounts for Spear Shafts called the vast area beyond the frontiers. are also in the MetropolitanMuseum).
By the fourthcentury many Germanic The exceptional craftsmanshipand rich
Silver gilt inlaid with niello tribesmen-whom the Romans referred design of the spear-shaftornaments sug-
L. 11/8 in. (3 cm) (.143); 33/4in. (9.4 cm)
to as barbarians-had been enticed by gest that they belonged to a high-ranking
(.144); 43/4in. (12.2 cm) (.145)
money and gifts to serve as mercenary militaryleader.The pieces are intricately
Gift of J. Pierpont Morgan, 191 7
soldiers within the empire. This group cast with scrolls, rosettes, and fantastic
(17.192.143-.145)
of objects-a set of three mounts for animals. Theirsurfaces are gilded, with
spear shafts-was found in the grave of vivid patternscreated by niello inlays.
a barbarianwarrior stationed in the The six-pointed interlaced star prominent
Roman province of Gaul, where more on one mount was not a Jewish symbol
than 75,000 soldiers safeguardedthe at this time; it appears as a decorative
Rhine border. motif in both Roman and Germanic art.
Although the grave had been looted MH
30
Buckle Crossbow Brooch
31
The Vrap Treasure The ensemble of objects on these two voice of the Lordis upon the waters"
pages, found together in Vrap, attests to [Psalms29:3]); a sixth-centuryByzantine
Gold,silver,and silverwith partialgilding
the wealth of the Avars,a nomadic tribe bucket used for drawingwater;and simple
Avaror Byzantine,foundin Vrap(modern
easternAlbania)
of mounted warriorswho inhabitedthe goblets (see opposite). A more elaborate
Made600s-700s Eurasiansteppes. Fromthe sixth to the goblet is decorated with personifica-
L.(longestbelt fitting):5 in. (12.7 cm); eighth century,the Avarsmaintained a tions of four ecclesiastical centers in
h. (ewer): 91/8in. (23.2 cm) complex relationshipwith the Byzantine the Byzantine world-Cyprus, Rome,
Giftof J. PierpontMorgan,1917 Empire,at times protectingthe empire's Alexandria,and Constantinople(for the
(17.190.1673, .1678, .1679, .1683, .1686, borders,at times raidingthe very lands last, see detail).
.1697, .1704, .1705, .1 707, .1708, .1 710, they had agreed to defend. Tributepay- Why these variedobjects were brought
.1711a, .1712a) ments from Byzantiumas well as war together remains a mystery.Some schol-
booty provided the Avarswith enormous ars have suggested that the objects were
amounts of gold and silver.Avargold- partof a treasurebelonging to an Avar
smiths created works of exceptionally chief; others have speculated that they
high quality and were counted among were the propertyof an Avarcraftsman.
the tribe'srulingclass. Although some have attributedthe ves-
The treasurecontains an arrayof belt sels to a provincial Byzantine artist, it is
fittings,some richly decorated (see more likely that most of them were cre-
above), some unfinished or defectively ated in emulation of Byzantine works
cast. Italso includes severalvessels: a admired from afar. MH
32
Personification of Constantinople, detail of a goblet
33
Plate with Presentation of David to Museum, Nicosia.) Cypruswas an impor- was often used in Byzantine art in depic-
Saul tant trading center in the eastern Med- tions of the imperial court. The symmetry
Plate with Battle of David and Goliath iterraneanduringthe EarlyByzantineera. of the design is also typical of Byzantine
The treasuremay have been buried by a imperialart, suggesting the taxis, or
Silver,cast, hammered,engraved,punched,
and chased wealthy person or family in the mid- harmonyand order,that the emperor
as Arabsinvadedthe island and the was supposed to provide for his people.
Byzantine,foundin 1902 at Karavas, Cyprus 600s,
Made629-30, in Constantinople EarlyByzantine period came to an end. Above, David is presentedto KingSaul,
Diam. 101/2 in. (26.7 cm); 191/2 in. (49.4 cm) The decoration on the plates illus- as described in 1 Samuel 17:32-34. He
Giftof J. PierpontMorgan,1917 tratesevents early in the life of the Old stands bravely before the seated ruler,
(17.190.397, .396) Testamentking David-up to his slaying asserting his willingness to battle the
of Goliath and his marriageto Michal, giant Goliath.
A set of nine beautifullyworked silver daughterof KingSaul. The plates are The David plates, with their naturalis-
plates was among an impressivehoard of grouped by size: there are four small tically renderedfigures, fall within the
gold and silver objects found at Karavas, plates, four medium-size plates, and one classical traditionof elegantlywrought
a small town near Lambousa(ancient great plate (opposite and detail p. 36). silverfor domestic use. Elaboratedishes
on
Lapithos), Cyprus's northern shore. On the medium-size plates events from displayed at banquets in the Byzantine
(Theplates are now divided between the David's life are presented before an Empirewere usually decorated with
Metropolitan Museum and the Cyprus arcaded lintel, an architecturalform that classical subjects. The David plates may
34
bbb,
. . i
"I,
I
PI
OW-11.19-0
......
David Battling Goliath, detail of the large plate
be the earliest survivingexamples of the the stones for his sling. In the middle ending a long and costly war and regain-
use of biblical scenes on display plates. he battles Goliath with his sling (above); ing Jerusalem,Egypt,and other Byzantine
Illustratedon page 35 is the largest the fluttering ends of his tunic and territory.The contemporaryFrankish
and most importantof the David plates. mantle emphasize his lack of armor. chronicler Fredegariuswrote that
At banquets the eight smaller plates may While the heavily armed Goliath seems Heraclius "advancedto the fray like a
have been arrangedaround it-in the assured of victory,the startledposes of second David."The backs of the nine
biblical order of the events depicted on his comrades at the far right herald a David plates are markedwith silverstamps
them-to form a Christogram. differentfate. At the bottom David dating from 613 to 629/30, during
The story,from 1 Samuel 17:41-51, is beheads the fallen Goliath. Heraclius'sreign. Thus the plates may
told in three registers.At the top David In 628-29 the Byzantine emperor referto his victory over the Persians.
confrontsGoliath before a personification Heraclius(r.610-41) defeated the Persian
of the brook from which he gathered general Razatisin single-handed combat,
36
Girdle with Coins and Medallions This incomplete, massive gold girdle was dress, standing in a chariot drawn by
partof the treasurethat contained the four horses. He holds a globe sur-
Gold
David plates (see pp. 34-36). It may have mounted by a small Nike offering a
Byzantine,foundin 1902 at Karavas,Cyprus
afterdiscovery been worn as an insignia of office, which crown of victory.To his side is a Christo-
Madeabout583; reassembled
L. 26/8 in. (67.5 cm) suggests that the owner of the hoard was gram, symbolizing the religion of the
Giftof J. PierpontMorgan,1917 closely connected with the imperial Byzantine state.
(17.190.147) court in Constantinople. The girdle also contains thirteen
Purchase,MorganGuaranty Trust
Company The four medallions depicting the coins, including one from the reign of
of NewYork,StephenK.Scherand Mrs. emperor MauriceTiberius(r. 582-602) Theodosius IIand four from the brief
MaximeL.HermanosGifts,RogersFund, probablywere minted for him to present joint rule in 527 of JustinI (r. 518-27)
and fundsfromvariousdonors,1991 as gifts to high officials and nobles when and JustinianI. Old coins were fre-
(1991.136) he assumed the office of consul in 583. quently used for jewelry, since under
On the front is a bust of him; he is in later rulerstheir historic value and their
imperialdress and holds the mappa, or worth in gold often exceeded their worth
white handkerchief,with which a new as currency.All the coins and medallions
consul opened the games that he was are stamped CONOB,an abbreviation for
requiredto stage for the populace of Constantinopolisobryzum (pure gold of
Constantinople.On the back of the medal- Constantinople),indicating that they
lions the emperor is shown in military were minted in the capital.
37
The Attarouthi Treasure smaller church, dedicated to SaintJohn The censers, which retaintheir copper
(probablySaintJohn the Forerunner,who liners, held hot coals and incense. One
Silverand silvergilt with copperliners
in the Western church is called John the of a deacon's duties was to swing the
Byzantine,fromnorthernSyria
Made500-650 Baptist).In the inscriptionsdonors also censers, releasing the perfume of the
H. (chalices):67/8-93/4 in. (17.5-24.9 cm) requested salvation for themselves or for incense to honor the Gospel, the altar,
Purchase,RogersFund,and HenryJ. and loved ones, thus preservingthe names of and the objects used in the service.
DrueE.Heinz Foundation,Norbert several citizens of the town: Anastasia; The dove is unique among the vessels
Schimmel,and LilaAchesonWallaceGifts, Diodoros; Eudoxia;John, deacon of Saint and may be the earliest surviving repre-
1986 (1986.3.1-.15) Stephen; Erthaand Stephen, children of sentation of the Holy Spirit.
Kyriakos;Kerykos,son of Michaelios; Among the figures decorating the
These well-wrought liturgicalvessels and Martyrios. works are the Virgin, with her hands
belonged to a Christianchurch in the The chalices, censers, and strainer raised in the orant pose of the early
affluentmerchanttown of Attarouthi,in were employed in the Divine Liturgy,or church; Saint Stephen, one of the first
Syria,while the region was still partof Eucharistservice, in which Christianstake seven deacons of the Christianchurch
the Byzantine Empire.Byzantiumlost the wine and bread in commemoration of and its first martyr;archangels; and-
area in the early seventh century,firstto Christ'ssacrifice and death. The chalices, an unusual feature-military saints in
the Persiansand then to MuslimArab with their tall foot and large cup, are typ- armor(those slaying dragons may be
armies.The works were probably buried ical for the early church, and their gener- the first known depictions of Saint
in haste as the Byzantinearmy retreated. ous size suggests that a large community George). Starsand crosses on several of
Inscriptionsin Greek on the objects of Christians resided near Attarouthi the chalices may represent, respectively,
indicate that many of them were donated prior to the rise of Islam.As wine was the star of Bethlehem that announced
either to Attarouthi'smajor church, poured into the chalices, the strainer Christ'sbirth and the cross on which
dedicated to Saint Stephen, or to a was used to remove impurities. he died.
38
Box Reliquary of the True Cross The cross upon which Christwas cruci- sleeved) popular in EarlyByzantine
fied is said to have been discovered in depictions of the Crucifixion. He is
Silvergilt,gold, cloisonneenamel,and
the early fourthcentury by Saint Helena, flanked by the mourningfigures of the
niello
mother of Constantinethe Great. During Virgin and Saint John. On the back of
Byzantine
the Byzantine period small fragmentsof the lid, worked in niello, are depictions
Madeabout800, in Constantinople
4 x 27/8in. (10.2 x 7.4 cm) the TrueCross were distributedas gifts of the Annunciation to the Virgin,the
Giftof J. PierpontMorgan,1917 and housed in precious containers where Nativity, the Crucifixion, and the
(17.190.715a, b) they could be venerated by the faithful. Anastasis,or Harrowingof Hell. (The
Relics of the TrueCross were one of the Anastasis, showing Christreaching for-
most importantdiplomatic gifts offered ward to draw Adam and Eve out of pur-
by the Byzantine court. gatory,was an image that evolved in
This small, finely made cloisonne- Constantinople about 800.) Together
enamel box is one of the earliestexamples the images promise eternal life for
of a staurotheke,or reliquarymade to mankindthrough Christ'sbirth and sac-
contain a fragmentof the TrueCross. rifice on the cross. The lid slides back
On the frontof the lid Christis shown to reveal five compartments,arranged
alive on the cross, wearing the colobium in the shape of a cross, for housing
(long tunic, usually sleeveless or short- the relic.
39
THE EMPIRE'S SECOND GOLDEN AGE
40
Processional Cross
Silverwith gildingand silver-giltmedallions
Byzantine
Madeabout1000-1050
235/8x 173/4 in. (60 x 45.1 cm)
RogersFund,1993 (1993.163)
41
Base for a Cross Base for a Cross
Copper alloy Copper alloy These bases may have held processional
Byzantine Byzantine crosses that were carried into and
Made about 1000-1100, probably in Made about 1000-1100, probably in through churches, towns, and cities.
Constantinople or Asia Minor Constantinople or Asia Minor They representin miniaturethe church
H. 101/2 in. (26.7 cm) H. 41/2in. (11.4 cm)
type most popular during the Middle
Purchase, Max Falk,Alastair B. Martin, Fletcher Fund, 1962 (62.10.8)
Byzantine centuries: a square building
Stephen Scher, and William Kelly Simpson
topped at the center by a dome. The
Gifts, in honor of William D. Wixom, 1993
interiorof the structurewas designed to
(1993.165)
suggest an equal-armed cross.
The church was the center of public
religious life. Often a bust of Christ
looked down on the congregation from
the dome. Mosaics (see p. 40) and fres-
coes covered the upper walls; marble
revetments lined the lower walls. Such
luxuriousfurnishingsmade the church a
symbol of paradise.
42
Decorative Panel Marblepanels of this kind were employed horizontallyor vertically.Such panels
throughoutthe Byzantineworld to define were widely exported and are frequently
Marble
the interiorspaces of churches. They found in Italianchurches, especially in
Byzantine, possibly from Constantinople
were commonly used to form the base of the area of Venice. Many Byzantine
Carved 900-1 100
27 x 311/2in. (68.6 x 80 cm) the templon, or barrier,that screened the designs were copied outside the empire,
Fletcher Fund, 1947 (47.100.47) altar and apse from the nave, where the at times on marble that had been
congregation assembled. They were also importedfrom Constantinople.
combined to make low walls for the
galleries around the nave or to frame
windows; often the patternswere carved
so as to allow the slabs to be mounted
43
Tip of a Pointer
Gold, enameled in the cloisonne technique
Byzantine
Made about 1080-1150, in Constantinople
H. 1 in. (2.5 cm)
Purchase, LouisV. Bell Fund and Henry G.
Keasbey Bequest, 1997 (1997.235)
,<DCbO<T"I
^?<f0<< i-
This icon, meant for personal devotions,
was once the central panel of a triptych;
the two lost wings closed to cover it. The
exquisitely carved figures are raised so
far from the backgroundthat they are
almost three-dimensional.The crucified
Christ,his body slumped in death, is
flanked by the Virginand SaintJohn the
Evangelist,who stand in mourning poses
typical of Byzantine art. Below Christ's
feet a group of Roman soldiers draws lots
for Christ'scloak (the event is identified
by an inscription in Greek). Beneath
Double-Sided Pendant Icon with the Icon with the Crucifixion them is a unique image described in
Virgin and Christ Pantokrator an inscriptionas "the cross implanted in
Ivory
the stomach of Hades."The inclusion
Gold, enameled in the cloisonne technique Byzantine
of Hades is a visual affirmation of
Byzantine Carved mid-900s, probably in
Made about 1080-1120, in Constantinople
the Christianbelief that through his
Constantinople
11/4x1 in. (3.3 x 2.4 cm) 5 x 31/2in. (12.7 x 8.9 cm) sufferingon the cross, Christwon a
Purchase, LilaAcheson Wallace Gift, 1994 Gift of J. Pierpont Morgan, 191 7 (17.190.44) victory over death.
(1994.403)
46
Revetments from an Icon of the Virgin These intricatelyworked cloisonne- is an abbreviated inscription in Greek
enamel panels once covered an icon that for "Motherof God";to the left of the
Gold,enameledin the cloisonnetechnique
depicted the Virginturningto the side panel was a small image of Christin
Byzantine
with her hands raised in supplication. heaven, to whom the Virgindirected her
Madeabout1100, in Constantinople
5/4 x 11/2 in. (13.3 x 3.8 cm),
Halofragments: The same image appears in miniatureon prayers.The two lower panels define
51/4x 17/8 in. (13.3 x 4.8 cm) the double-sided pendant icon (opposite). the slope of her shoulders, with a small
Giftof J. PierpontMorgan,1917 The type is called the Hagiosoritissa,or cutout at the lower left for her upraised
(17.190.644-.648) Virgin of the Holy Soros, after the reli- hands. Another portion of the frame is
quary chest (soros) in Constantinoplein in the Musee du Louvre,Paris;other
which the Virgin'smantel was kept. sections are in the Georgian State Art
(Thisrelic was used to invoke her aid Museum, T'bilisi.
as protectressof the city.)
Two of the panels are from the Virgin's
halo; three are from the backgroundthat
covered the icon. On the upper-leftpanel
47
Icon with the Koimesis One of the most importantnew images pallet for the dead. Christstands behind
to develop with the triumphof icons was her, holding up her soul (which takes the
Ivory
the Koimesis,or Death of the Virgin, shape of an infant)and offering it to
Byzantine
Carved late 900s, probably in which is firstfound in Byzantine art in angels who will transportit to heaven.
Constantinople the 900s. This image became one of the The apostles, led by Saint Paulat her feet
71/8x 57/8 in. (18.7 x 14.9 cm) most popular in the Middle and Late and Saint Peterbehind her head, stand
Gift of J. Pierpont Morgan, 191 7 Byzantineworld. It often appeared over witness. Holes in the ivory suggest that
(17.190.132) the doors of churches,to be contemplated it was used to decorate the cover of a
by the faithfulas they left the service. book, probably in the LatinWest, where
Here, the Virginis shown lying on a the practice was popular (see p. 61).
48
Three Panels from a Casket with
Scenes from the Story of Joshua illuminations, and each scene is identi- until eventide." On the third panel emis-
fied by an inscriptionin Greek.The first saries from the Gibeonites approach
Ivory
panel, designed to fit arounda lock plate, Joshua.The inscription is adapted from
Byzantine
shows the conquest of the city of Ai; Joshua 9, "TheGibeonites Displaying
Carved about 900-1000, probably in
inscribed on the narrowframe are the TheirTornClothes."Joshua'sstory was
Constantinople
H. 25/8 in. (6.6 cm) (a); 2 in. (5 cm) (b); words "AndJoshuastretchedout the spear often invoked in the Middle Byzantine
23/8in. (6 cm) (c) that he had in his handtowardthe city.... period, when the Byzantinesfrequently
Gift of J. Pierpont Morgan, 191 7 And the ambush arose quickly . .. and identified themselves with God's Chosen
(17.190.137a-c) slew the men of Ai" (Joshua8:18-21). People and likened their own military
The second panel shows the captive king victories and defeats to those of the Jews
These three panels and their ornamental of Ai, first bowed in submission before many centuries earlier.
borderswere once partof a casket illus- Joshuaand then hanged on a forkedstake The portraitheads in profile on the
tratedwith the Old Testamentstory of at the far rightof the scene. The inscrip- borders may refer to antique coins.
Joshua'sconquest of the Promised Land. tion alludes to Joshua 8:23, 29: "And Traces of paint indicate that this work
Each panel is delicately carved in a the king of Ai they . . . brought him to originally may have been as colorful as
manner reminiscent of manuscript Joshua ... [and] he hanged on a tree the illuminatedmanuscriptsof the period.
49
Icon with Saint Demetrios
Ivory
Byzantine
Carved about 950-1000
73/4x 43/4in. (19.6 x 12.2 cm)
The Cloisters Collection, 1970 (1970.324.3)
50
?
(
;ItD:
"4--, . - I - I I ,
Casket with the Deesis, Archangels, This small casket is a rareexample of a similar to manuscriptmotifs frame the
and the Twelve Apostles work carved from solid panels of ivory, whole panel, and roundels with apostles
a most valuable material.On the lid, and evangelists, each identified in a
Ivory,with later copper-alloy-gilt mounts
within a central medallion flanked by carefully carved Greek inscription,deco-
Byzantine
Carved about 950-1 000, probably in
four others, Christappears enthroned in rate the sides of the casket. Saints Paul,
Constantinople majesty.In the upper two medallions Peter,James, and Andrew are shown on
x 37/t in. (18.4 x 9.8 cm)
7%/4 are the Virginand John the Baptist,each the front; Philip and Thomas, on the right
Gift of J. Pierpont Morgan, 191 7 identified by an inscriptionin Greek; side; Bartholomewand Simon, on the
(17.190.238) together with the image of Christ,they left; and John, Mark, Luke,and Matthew
form the popular Middle Byzantine on the back. At one time the casket was
Deesis composition. Two unidentified covered with paint applied so thickly
archangels, the guardiansof heaven, that it obscured the inscriptions.Recently,
appear in the lower medallions, indicat- Museum conservatorsremoved all the
ing that the figures depicted are in para- color afterthey exposed sections of
dise. The same group appears on the the front and lid in their original
frontof the silver-giltprocessional cross unpainted state beneath a late-medieval
illustratedon page 41 . Vine-scrollpatterns but not original lock plate.
51
Two Panels from a Casket with the
Story of Adam and Eve These finely carved, thin ivory panels hammersa metal object on his forge.
were once attached to the wooden core Two surviving Byzantine caskets that also
Ivory
of a casket decorated with scenes from illustratethe story of Adam and Eve
Byzantine
the lives of Adam and Eve. Both panels include, among similar scenes of grief
Carved about 900-1100, probably in
show the couple, who are identified by and toil, the personificationof Ploutos
Constantinople
L. 3 Y in. (9.5 cm) (.138); 378 in. (9.8 cm) inscriptionsin Greek, laboringaftertheir (Wealth),a figure meant to remind the
(.139) fall and expulsion from paradise.At left person who stores jewels or money in the
Gift of J. Pierpont Morgan, 191 7 Adam and Eve are seen harvestinggrain. casket that prosperityis a gift from God
(17.190.138, .139) She wears a long tunic; he, a short one. and that God favors those who repent
At right Eve works a bellows as Adam their sins. RH
1Psri
: -i.
%'*
.
A. 7V.
w9
/i
A. 1,71. --
I S' !,
" K
,, al
.i ' a .... ,,,?,
I i . t /
a. J
' H-" ~
.&
52
Casket with Warriors and Dancers Eastthroughoutthe Byzantine period. Mayyou spareformy sake Platoand
The erotes that dance and wage mock Plutarch,
Bonepanels
battles on the sides of this casket and Forbothwereveryclose to yourlawsin
Byzantine
tame a female pantheron the lid recall both teaching and way of life.
Carvedabout1000-1100, probablyin
copper-giltmetalwork
Constantinople; imageryassociated with the ancient cult Even if they were unawarethat you as God
added1400s, probablyin Italy of the god Dionysos (see pp. 9, 26-27). reign over all,
L. 11/8 in. (28.8 cm) The enthusiasm for classical learning in In this matteronly your charity is needed,
Giftof J. PierpontMorgan,1917 the Middle Byzantine era and the effort Throughwhich you are willing to save all
(17.190.239) to reconcile it with Christiantheology men while asking nothing in return.
were effectively described by the writer
Bone-paneled caskets used at home by and teacher John Mauropous in the In the aftermath of the Fourth Crusade,
the well-to-do were often decorated with eleventh century: when caskets like this reached the
classical subjects, for the learning, litera- Latin West, they were often used in
ture, and images of ancient Greece and Ifperchanceyou wishto exemptcertain churches as containers for the relics
Rome remained alive and vibrantin the pagansfrompunishment, myChrist, of Christian saints.
53
Temple Pendant and Stick
Gold,enameledin the cloisonnetechnique
Byzantine
Madeabout 1080-1150, in Constantinople
H. (pendantwith loop):1 in. (4.9 cm);
7/8
Bearer)was a title originally reservedfor one of several Byzantine states that arose
|
|
|
membersof the imperialbodyguard.By duringthe Latincontrolof Constantinople. *
the Middle Byzantine period, however, He was also one of the founders of the L
ls
p:
signet ring. RH
A:e
tOS
| t
HH
IV
54
The stick would have been used to Cameo of the Virgin and Child in the BlachernaiMonasteryin Constanti-
guide the cloth in or out of the pendant. nople. The exquisite carving of the agate
Agate
Fragmentsof the metal strips,or cloisons, and the careful arrangementof the
Byzantine
that outlined the patternsremainon the Carved about 1050-1 100, probably in
design to take advantage of the colors of
stick;the now-empty cells were once the stone demonstratewhy the demand
Constantinople; gold setting made about
filled with vividly colored powdered 1800 by Adrien Jean MaximillianVachette for Byzantine hard-stonecarvings per-
glass and fired to make this miniature in Paris sisted long afterthe empire was over-
cloisonne masterpiece. H. (cameo without frame): 1/8 in. (4.1 cm) thrown.The elegant gold setting, crafted
Lent by John C. Weber about 1800 by AdrienJean Maximillian
Vachette, a leading goldsmith of his day,
Wealthy Byzantineswho wore temple testifies to the appeal of such Byzantine
pendants may also have worn or carried luxurygoods in Napoleonic France.
masterfullycarved cameos like this one.
The miniatureicon displays the Virgin
with her arms upraised in the orant pose.
Barelyvisible on her breastis a medallion
of the youthful ChristEmmanuel,who
representsthe preexistentword of God.
Such images, which became popular in
the eleventh century,are often called the
VirginBlachernitissa,after a famous icon
of the type thought to have been housed
55
Temple Pendants (Kolty) court. Local artistssoon produced their Byzantium,temple pendants may have
own versions of Constantinopolitan been worn next to the face by both the
Mostin gold or electrumwith cloisonne
fashions. These temple pendants of pre- men and the women of Rus'.The works
enamel;one in silverwith niello
cious metals worked in cloisonne shown here were perhaps buried by their
KievanRus';mostfoundin 1842 in or near
the Desiatynna(Dormition)Churchand in enamel or niello are local variantsof owners when the Mongol armies under
1906 nearMykhailivs'kyi Zolotoverkhyi more intricatelydetailed works made for Batu Khansacked Kiev in 1240.
(SaintMichaelof the GoldenDomes),Kiev, the Byzantine court (see p. 54). In one
Ukraine pair busts of saints appear silhouetted
Made1000-1200, in Kiev against a gold ground. In others con-
Max.h. 23/8in. (6 cm) fronted birds-and one pair of birdlike
Giftof J. PierpontMorgan,1917 sirens, each with a feathered tail-flank
(1917.190.670,.680, .684, .699, .700, motifs that may representthe tree of eter-
.702-.704, .707-.709) nal life. One set retainstraces of the
strandsof pearls that may have originally
When KievanRus',a powerful new state encircled most of these ornaments. On
to the northof the Byzantine Empire, the pair worked in silver and niello,
accepted Christianityas its official reli- griffinsfrom classical mythology appear
gion in 988, the aristocracyalso adopted in forms that may be related to the arts
the mannersand dress of the Byzantine of the Vikingswho founded Kiev.As in
56
Bowl with Fish
Bowl with Bird of Prey that the dowry of the hero'swife includes
"twelve snowy
e orgahawks from Abasgia [in
whiteslip, and transparent
Terracotta, glaze moe twe
, fales an
modern Georgia], twelve falconers, and
Byzantine
Made1OOOs-1
200s the same numberof falcons."
in. (24.4 cm)
Diam. 9%5/
AnonymousGift,1984 (1984.302)
57
THE FINAL FLOWERING OF THE BYZANTINE WORLD
Marble
Byzantine, possibly from Greece or the
Capital with Bust of the Archangel Balkans
Michael Carved 1250-1300
231/2 x 201/2 in. (59.5 x 51.5 cm)
Marble Brothers,by exchange; Bequests of George
Purchase, Rogers Fund and Jeannette and
Byzantine, from Constantinople; possibly Blumenthal and Anne D. Thompson, The
Jonathan Rosen Gift, 2000 (2000.81)
from the Monastery of the Virgin Peribleptos, Collection of Michael Dreicer, Bequest of
now the Sulu ManastirMosque, Istanbul Michael Dreicer, and Theodore M. Davis
A number of images that originated in
Made about 1250-1300, in Constantinople Collection, Bequest of Theodore M. Davis,
H. 9:Y4in. (24.7 cm) by exchange; Rogers Fund and Mr. and Mrs. the classical world remained popular
Purchase, Gifts of J. Pierpont Morgan, Maxime L. Hermanos Gift, 1983 (1983.167) throughoutthe historyof Byzantium.
George Blumenthal, and Messrs. Duveen Forexample, griffinswere accepted as
58
Christiansymbols in the firstcenturies of late-third-centuryAlexander Romance, reminiscent of designs on silks made for
the Byzantineera (see p. 29). They often that image of the great ruler has been both Byzantine and Muslim patrons.The
continued their traditionalrole as protec- found as far west as Englandand on small crosses on the bordersconfirm that
tors of the dead. As time went on, these works made for the Muslimstates located the work was intended for Christianuse.
mythicalcreatureswere increasingly on the Byzantine Empire'seastern and Griffinslike this one are found on Late
associated with royalty.Byzantineartists southern borders. Byzantine tombs, where they may have
frequentlyportrayedAlexanderthe Great The elaborate overall patterningof had the dual function of announcing
in a griffin-drawnchariot, surveying his this marble panel and the arrangement the royal status of the dead and offering
vast realm from the air. Derived from the of the griffinwithin a medallion are them protection.
59
in which he drew this connection, while
emphasizing the superiorityof the
Christianheroes: "Ipainted the cham-
pions [the two Theodores] armed, so that
Satan, humbled, may turn his back and
may not assault us boldly. 'Not even
Herakles,'they say, 'is a match for two."'
Carved in reverse, the Museum's
intaglio may have been used for sealing
documents.A less carefullycarved inscrip-
tion in Greek on the back of the gem
calls upon Christto help the anonymous
owner of this miniatureicon. RH
60
,
4
Il
Santa Cruz de la Ser6s, said to have plaque that may have been the cover for plaque is a small Islamic sapphire
been founded by Queen Felicia(d. 1085), a book (Byzantine ivory icons were sealstone with four of the ninety-nine
wife of Sancho V (r. 1076-94), king of widely used as book covers in the West) BeautifulNames of Allah inscribed
Aragonand Navarre.Therethe icon was or as partof a votive work, possibly a on it.
converted into the central panel of a reliquary.On the rightside of the
61
Incipit Page of the Gospel of John,
from an Armenian Gospels
to the illuminatorSargis;scribe
Attributed
unknown
Pigmentsand gold on vellum
Madeabout1300-1310, at the Monastery
of Noravank',Siwnik',GreaterArmenia
12112 x 9/4 in. (31.7 x 23.6 cm)
RogersFund,1938 (38.171.2)
62
Page with the Ascension of Christ,
from an Ethiopian Gospels
Pigments on vellum
Painted in the early 1400s, in the LakeTana
region
161/2X 111 in. (41.9 x 28.6 cm)
Rogers Fund, 1998 (1998.66)
63
models by Italianartistsfor works such
as this one. It has been attributedto
Berlinghiero,one of the first paintersto
work in the Byzantine-influencedItalian
style later called the manieragreca
(Greek manner).This image of the Virgin
and Child, in which the mother draws the
viewer's eye to her son by the gesture of
a hand, is modeled on a Byzantine icon
type called the Hodegetria (afterthe
Hodegon Monastery in Constantinople,
where the original icon was first kept).
The viewer is led to recognize by the
gently pointing fingers that Christ is
the way to salvation. The Virgin'sdeeply
furrowed brow indicates an awareness
of her son's future sacrifice and death.
According to legend, this image was first
painted from life by Saint Luke. It was
the most widely copied icon type for the
Virgin in the Byzantine world.
During the Latinoccupation of the
capital the original icon, which directly
or indirectlyinspiredBerlinghiero'swork,
was transferredfrom the Hodegon to
the Pantokrator Monastery,then underthe
control of the Venetians. In 1261, when
the emperor Michael VIIIPalaiologos
(r. 1259-82) regained Constantinople, he
entered the city walking behind the icon.
It is said to have been cut into four parts
and destroyed when the city fell to the
Ottoman Turksin 1453.
66
Chronology
EarlyByzantine Period, 330-843 313 EmperorConstantine 972 Marriagein Rome of
the Great issues the Otto IIand Byzantine
Middle Byzantine Period, 843-1261
Edictof Milan, allow- princessTheophano
Late Byzantine Period, 1261-1453 ing Christiansto
988 Under PrinceVladimir
worship freely within KievanRus' adopts
the empire
Christianityas its
early 300s Armenian,Georgian, official religion
and Ethiopianpeoples
1018-25 Under EmperorBasil II
convert to Christianity
Byzantine Empire
330 EmperorConstantine reaches peak of its
the Great transfersthe second flowering
capital from Rome to 1054 Startof the Great
Constantinople
Schism: the patriarch
410 Sack of Rome by the of Constantinopleand
Visigoths the pope of Rome
excommunicate each
ca. 496 Conversionof Clovis,
other
king of the Franks,to
Christianity 1071 Battleof Mantzikert:
eastern territoriesof the
532-37 JustinianI erects
the great church of empire are lost to
Islamicforces
Hagia Sophia in
Constantinople 1099 FirstCrusadeestab-
lishes the Latinkingdom
633-47 Islamic armies conquer
of Jerusalem
the southernterritories
of the empire-Syria, 1204 FourthCrusadecap-
the Holy Land, Egypt, tures Constantinople
and Jordan and establishes the
LatinEmpire.Byzantine
726 Byzantineemperor
successor states arise in
Leo IIIforbidsthe cre-
Nicaea, Epiros,and
ation and veneration
Trebizond
of icons
1261 Byzantine Empire
795 FirstrecordedViking
raidson Scotland and regains Constantinople
under Michael VIII
Ireland
Palaiologos
800 Charlemagneis
1453-61 Constantinopleand the
crowned emperor and
remaining imperial
augustus (a title) by
lands fall to the
Pope Leo IIIin Rome
OttomanTurks
843 Restorationof the
veneration of icons is
proclaimed
67
Acknowledgments
Thispublication is dedicated to the JenniferL. Ball, Sarah Brooks, Hope
memory of MargaretEnglishFrazer Cullinan, Maria Fragopoulou,Lyle
(1940-1999), for many years the Humphrey,Daphne Kostopoulos, Patricia
Museum'sspecialist in Byzantine art Lurati,JudyOfek, Daniel Perrier,
as a curatorin the Department of Aranzazu M. Sarasola,Vega Solana, and
MedievalArt and The Cloisters. TarraZynda were fellows, interns,and
volunteers who also aided the project.
ProfessorsThelma K.Thomas,Angela
Special thanks must be offered to Peter C. Hero, and Henry Maguireare col-
Barnet,Michel David-Weill curatorin leagues outside of the Museum who
charge of the Departmentof Medieval provided valuable assistance. Within
Artand The Cloisters,who broughtgreat the departmentBarbaraD. Boehm
support and enthusiasm to the develop- and CharlesT. Little,curators;Christine
ment of the Maryand Michael Jaharis Brennan,collections informationcoordi-
Galleries, the firststep in his planned nator;RobertTheo Margelony,assistantfor
reinstallationof all the medieval galleries. administration;and ThomasC. Vinton,
I am indebtedto many people for their principal departmentaltechnician, must
assistance in the researchfor the new be thanked for their advice and efforts.
galleries, which served as a basis for this I am deeply gratefulto other Museum
Bulletin.William D. Wixom, former head colleagues, particularlythe talented
of the department,and KatharineR. members of our conservation and design
Brown, the Museum's former specialist departments,for their unstintingefforts
in early medieval art, made important in the successful completion of the new
contributionsearly on in the project. galleries. HCE
68
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