Ancient Art XLiV

Mary, Matthew, Mark, Luke and John, Initials Inscribed in Greek

Circa 9th-11th Century AD

Museum Quality Ancient A r t

Fragments of time, inc.

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Early Christian Art

Many collectors of antiquities focus on one or more of the big
three cultures -- Egyptian, Greek and Roman. Until recently,
art from the late Roman, Coptic and Byzantine periods was
sometimes relegated to second class status.
With a blossoming of scholarship and important museum exhibitions over the past two decades -- including Art of Late
Rome and Byzantine at the Virginia Museum of Fine Arts in
1994, the seminal Glory of Byzantium at the Metropolitan
Museum in New York in 1997, and Harvard and Yales
Byzantine Women and Their World in 2003 -- objects from
these periods, have enjoyed renewed popularity and intense
collecting interest. And with good reason. Byzantium was a
cultural crossroads. It is where the classical age converged
with the Enlightenment of Western Europe. It was the bridge
between eastern culture and classicism. And it was the cradle
of modern European civilization.
All objects in this catalog come from a single scholarly collection (see catalog preface for information on the Carroll Wales
Collection). A vast majority bear symbols of early Christianity,
the most dominant symbol, of course, is the sign of the cross.
The cross was not widely depicted until the 4th century AD,
when Christianity became the official religion of the Roman
Empire. From this time forward, however, the cross becomes a
unifying feature of Christian art, whether in its Eastern
Orthodox or Roman Latin form.
A note on Our revised Format
We thank you all for your continued compliments on our catalogs. Several clients have suggested that we separate the
prices of the objects from the catalog itself so they can include
the catalog when they purchase objects as gifts for spouses or
friends. So with this catalog we have created a supplemental
price list. Rest assured that our fixed price policy has not
changed. Every object is competitively priced to eliminate the
need for haggling or bidding. As always, we do encourage you
to call or email us as soon as possible to avoid disappointment.
John Ambrose
Director & Founder

Bibliography
ANTIOCH: Christine Kondoleon,
Antioch: The Lost Ancient City
(Princeton 2000)

MALCOVE: Ed. Shelia Campbell, The

Malcove Collection (University of
Toronto 1985)

BAILEY IV: D.M. Bailey, A Catalogue

of the Lamps in the British Museum,
Vol. IV. Lamps of Metal and Stone,
and Lampstands (1996)

PITARAKIS: Brigitte Pitarakis, Les

Croix-Reliquares Pectorales
Byzantines en Bronze (Picard 2006)

EMPORIO: Michael Ballance, John

Boardman, et. al., Excavations in
Chios 1952-1955 (British School of
Archaeology at Athens 1989)
GALAVARIS: George Galavaris,
Bread and the Liturgy: The
Symbolism of Early Christian and
Byzantine Bread Stamps (University
of Wisconsin Press 1970)
GLORY: Ed by Helen Evans and
William Wixom, The Glory of
Byzantium: Art and Culture of the
Middle Byzantine Era A.D. 843-1261
(NY 1997)
JEWELLERY STUDIES: Jack Ogden,
Classical Gold Jewellery and The
Classical Tradition, Vol 5 (Society of
Jewellery Historians 1991)
KALAVREZOU: Ioli Kalavrezou,
Byzantine Women and their World
(Harvard University Press 2003)

PRINCETON: Ed. Slobodan Curcic

and Archer St. Clair, Byzantium at
Princeton (Princeton 1986)
SEPPHORIS: Edited by Rebecca
Martin Nagy et. al., Sepphoris in
Galilee: Crosscurrents of Culture
(North Carolina Art Museum 1996)
TEMPLE: Ed by Richard Temple,
Early Christian & Byzantine Art
(London 1990)
VMFA: Anna Gonosova and
Christine Kondoleon, Art of Late
Rome and Byzantium (VA Museum
of Fine Arts 1994)
WALTERS: Exhibition held at the
Walters Art Gallery, Early Christian
and Byzantine Art (Baltimore 1947)
WEITZMANN: Ed. Kurt Weitzmann,
Age of Spirituality: Late Antique and
Early Christian Art, Third to Seventh
Century (NY 1979)

KUNST AUS ROM: Fruhchristliche

Kunst Aus Rom (Essen 1962)
MAGUIRE: Eunice Dauterman
Maguire et. al., Art and Holy Powers
in the Early Christian House (Illinois
1989)

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Publication Date: Winter 2008

We wish to gratefully acknowledge Dr. Annewies van den

Hoek, of the Harvard Divinity School, for her generous assistance with many of the translations. Needless to say, any
inconsistencies or errors are entirely our own.

Fragments of Time, Inc. accepts:

Important Single Collection of Early Christian Objects

It is with great pleasure that we present to you this special catalog of early
Christian objects dating from the late Roman to Middle Byzantine periods.
All of the objects herein were collected over two decades from 1952 to
1970 by Carroll F. Wales (1918-2007), a distinguished Harvard-educated
scholar and conservator. We were fortunate to acquire the Wales collection
of antiquities in its entirety directly from the estate, and are pleased to certify this important provenance with every object herein.

Carroll F. Wales

Wales traveled extensively throughout the Middle East and North Africa. He spent the
1950s restoring Byzantine frescoes in istanbul under grants from the Dumbarton Oaks
Museum, and is also known for his restoration of the famous Roman mosaic panel from
Antioch (photo above) at the Worcester (MA) Art Museum. He enjoyed an enduring
friendship with archaeologist Max Mallowan and his wife, Agatha Christie, and conserved
ivories for Mallowan during excavations at Nimrud, Iraq.
While his collection spanned an 800-year timeframe and includes sculpture, pottery,
bronzes, fine oil lamps, and jewelry, the heart of the Wales collection is a fine concentration of objects from the dawn of Christianity. Chief among these is a remarkable collection
of bronze enkolpia engraved with a rich variation of saints, angels, Apostles, Mary, and
Jesus Christ himself.
The enkolpion was a popular type of devotional object worn often as a pendant reliquary,
and hence also known as a reliquary cross. It consisted of two separate leaves, each
cast with raised or inscribed figural decoration on the outside and a hollowed surface on
its interior side. The leaves are joined by two sets of hinges, a small one at the bottom and
a larger one at the top, usually attached to the loop of a suspension bead. The hollowed
out inside portion of the cross was said to contain an actual sacred relic.
For iconoduls (worshipers of religious images), the wearing of these crosses was an expression of their orthodox Christian faith, as well as adherence to a religious practice which
called for the representation of holy figures on objects. This practice was vehemently
opposed by the iconoclasts (smashers of religious images). It has been convincingly
argued that the iconoduls were responsible for the widespread use of such pendant reliquary crosses following their first victory in 787 AD over their iconoclastic opponents.
Many of the enkolpia in this catalog are inscribed in Greek. As was the Byzantine practice, such inscriptions include many variations due to carefulness of the engraver, space
available, and region where the cross originated. The study of enkolpia has been
enhanced immeasurably by Brigette Pitarakis seminal 2006 work entitled Les CroixReliquaires Pectorales in which she published more than 650 superb 9th-11th Century AD
examples, the vast majority coming from Constantinople or anatolia. Many of the examples from the Wales collection have close parallels in the Pitarakis raisonne and are so referenced. We invite you to enjoy this wonderful collection.

Large cross with Four Saints 1

Byzantine
Circa 8th-11th Century AD
Length: 4.15 in. (10.5 cm)
Width: 3.4 in (8.6 cm)
Condition: Intact as shown. In
the center, remains of a tinned
solder which presumably once
held a central jewel in place.
Reference: See PITARAKIS, Figure
#87, for a related example.
Inscribed:
/ C / / / C
=

Saint George
/ C / / / / C
=
()
Saint John
/ CC / / C
=

Saint Stephen
C / / / / / / C
=

Saint Nicholas

Important bronze processional cross decorated on each

arm with haloed saint inscribed with name: St. George
(top) with elaborate robes enlivened with three small
crosses arranged vertically; St John (left) flanked by cross
and inscription; St. Nicholas (bottom) in elaborate robes
with crosses and holding his hands to his chest, and St.
Stephen (right) flanked by inscription and a small cross and
incised representation of stones. This depiction of Stephen
with three stones is especially interesting. He is described
in Acts 6:11 as convicted in 34 AD by the Sanhedrin for
blasphemy against Moses and God then stoned by a mob
that included Saul of Tarsus (later St. Paul), thus becoming
the first Christian martyr. Two small original attachment
holes on the bottom arm. Reverse is flat and undecorated.

Byzantine

christ, Virgin and Stephen

Circa 9th-11th Century AD

Complete bronze

Length: 3.25 in. (8.3 cm)

reliquary cross

Condition: Unhinged top and

bottom but most likely a matching
set. Smooth olive patina on front,
obverse side toned. Fore-edge of
one arm chipped.

(enkolpion) decorated on the obverse

with two central figures representing
the Panaghia, or All

Inscribed:

Holy Virgin Mary

Obverse:

with her son Jesus

=
Panaghia (meaning All-Holy, the
title of the virgin Mary)

Christ. This repre-

C XC = () ()
Jesus Christ

at the moment of

Reverse:

Marys arms are in

CC / C
=

Saint Stephen

the orans position,

Reference: See PITARAKIS, #279

for a related example of the
obverse in the Walters Museum.

uity that survives in

sentation symbolizes Mary with

Christ in the womb
the incarnation.

i.e. arms outspread

in prayer, a custom
of praying in antiqChristianity to this
day. Incised crosses
decorate the space
at each of Marys
arms. The Christ
child is shown
wearing a mantle
decorated with vertical and horizontal
lines.
On the reverse, St
Stephen is shown
with arms outspread
and wears a spectacularly decorated
robe. By his hand, a
symbol of the cross
on a mound of

Archistrategos and St. George

Byzantine

Complete bronze

Circa 9th-11th Century AD

reliquary cross

Length: 3.3 in. (8.5 cm)

(enkolpion) depicting an elaborately

robed figure with
arms outstretched
in prayer with the
title Archistrategos
incised above.
Archistrategos
means commander
in chief and is a
title used for luminaries, particularly
the archangel
Michael, who is
most likely represented here.
The reverse features a wonderful
depiction of St.
George with broad
rounded shoulders
and flowing robes.
From Constantinople
or Anatolia.
A superbly incised
and important
example with beautiful patina.

Condition: Superb. Lower hinge

intact.
Inscribed:
Obverse:
C / C
=
Archistrategos (Michael or another
archangel)
Reverse:
C / / C
=

Saint George
Reference: See PITARAKIS, #348,
for a very closely related example
with St. John and St. George, most
certainly from the same workshop
and possibly by the same hand.
Background: Archistrategos
means commander-in-chief and
is usually the title of archangels
though not exclusively. In written
texts, it has been used as title of
Christ and Stephen (as well as the
archangels). It also occurs for the
Satanic hosts, as in Origen. The
word originally came from the
Hebrew Bible and was transferred
through the Septuagint to the
Christian world.

Byzantine

4 Unopened reliquary cross

Circa 9th-11th Century AD

Complete bronze

Height: 4 in. (10.2 cm)

reliquary cross

Condition: Original unopened

state. Smooth, olive-green patina
front, the reverse with lighter
green patina and very tip of left
arm broken away.

(enkolpion) depict-

Inscribed:

front inscribed with

ing a robed figure

with arms outstretched in prayer
on each side. The

Obverse:

the name of St.

/
=
Michael

Michael, and the

Reverse:

inscription most

C / / C
() ()()(?)
Saint George?

likely of St. George.

Reference: See PITARAKIS,

Supplemental #7, for an example
with Saints Michael and George.
See also #79, PRINCETON for a
reliquary depicting Michael.

Extremely rare in

reverse featuring a
non-standard

Original pins both

top and bottom.
original unopened
condition.

Jesus christ and Virgin

Complete bronze

Byzantine
Circa 9th-11th Century AD

reliquary cross

Length: 3.3 in. (8.4 cm)

(enkolpion) with artJesus Christ with

Condition: Intact with superb

patina on both sides. Hinge at
bottom intact.

intricately styled

Inscribed:

flowing robes, an

Obverse:

ful depiction of

ornate halo also

of thorns, and out-

C / XC
() {()} ()
Jesus Christ

stretched arms with

Reverse:

symbolic of a crown

a cross on each side

symbolic of the nail
piercings. His feet,
each with a nail
piercing, protrude
from below his garment. Inscribed
above with the
abbreviated form of
Jesus Christ. The
reverse depicts a
figure with arms
outstretched in
prayer wearing
beautifully detailed
robes with Panaghia
inscription above.
Superbly preserved.

/ /
=
Panaghia (meaning All-Holy)
Reference: See PITARAKIS, #236,
for related iconography, and also
TEMPLE, #57, for a reliquary cross
with Panaghia.
Background: Panaghia (also
transliterated as Panagia and
Panayia), meaning All Holy, was
the title given to the Virgin after
her motherhood of Christ was
confirmed at the Council of
Ephesus in 431 AD.

Byzantine

6 Mary as Mother of God

Circa 9th-11th Century AD

Bronze reliquary

Length: 3.25 in (8.2 cm)

cross (enkolpion)

Condition: Intact and attractive

except one bottom hinge missing
and a small pin-hole to the right
arm.
Inscribed:
= () ()
Mother of God
Reference: See PITARAKIS, #318
and #319 for related examples
with Christ and Mary flanked by
anonymous busts, and #452 for
an example flanked by busts identified as St. John and St. Paul.

depicting four figures. The two central figures are

undoubtedly Christ
and the Virgin
Mary, Mother of
God, as indicated
by the inscription
above. Two additional figures, en
buste without
inscription, are presented at the end of
the left and right
arms. By convention, the two busts
may represent St.
John and St. Paul.
Superb patina and
sharp inscription. A
scarcer type with
four figures.

St John and Panaghia

Byzantine

Large, solid bronze

Circa 9th-11th Century AD

pendant cross with

Height: 3.4 in. (8.6 cm)

single attachment

length portrait of an

Condition: Intact. Olive brown

patina with two small areas of
very light encrustation.
Attachment loop intact.

elaborately robed

Inscribed:

man is depicted

Obverse:

with arms out-

motifs, perhaps

/ C
( ??) or ( ??)
The Theologian (meaning St. John
the Theologian)

palm branches,

Reverse:

flank the figure. An

/
=
Panaghia (meaning All-Holy the
title of the Virgin Mary)

loop at top. On the

front, a single full-

stretched in prayer.
Two triangular

inscription above
identifies the figure
as St. John the
Theologian. St. John
was son of Zebedee
and the beloved
apostle of Christ.
He is believed to
have authored the
Gospel and first
Epistle of John, and
to have outlived the
other Apostles. He
is also known as
John the Evangelist
and John the Divine.
On the reverse, a
similar figure is
shown surmounted
by a Panaghia
inscription.

Byzantine

8 incised Figure and cross

Circa 9th-11th Century AD

Complete bronze

Height: 3.8 in (10 cm)

reliquary cross

Condition: Intact as shown, no

pin in lower hinge.
Reference: See PITARAKIS #508
for an uninscribed example with a
figure, and #620 for a variant of
the etched cross reverse.

(enkolpion) depicting, on obverse, a

single standing figure with arms
stretched out in
prayer. The figure
is drawn in a very
schematic style.
On the reverse, a
large cross is
incised with
punched dots punctuating each of the
extremities and the
center. A large
piece of the original
bronze attachment
at the top remains.
Nice green patina.

Large Processional cross

Large solid
bronze processional cross with
two knobs at the
end of each flaring arm and a
long flange for
insertion into a
socket. The
front engraved,
from top, with
the images of
the winged
archangel
Michael, a
haloed Mary
Mother of God,
with her hands
in prayer, and
Saint Mary
Magdalen holding a cross in
her right hand.
Each figure
depicted within
a ring of dots
and identified
with an inscription. The
reverse inscribed
with five similar
four-petaled
flowers. The
winged depiction of the
archangel
Michael is a less
common subject
on reliquary
crosses.

Byzantine
Circa 8th-10th Century AD
Length: 8.4 in. (21.3 cm)
Width: 4.2 in. (10.5 cm)
Condition: Intact.
Inscribed:
/
=
Michael
/
() ()
Mother of God
/ /
? = ?
Saint Mary (Magdalen) ?
Reference: Crosses with tearshaped projections appear in the
seventh century and continued
with reduced frequency into the
eleventh century.
Reference: See PITARAKIS, figure
#87, for an example in Athens.
Also see MALCOVE, #177.

Byzantine

10 Standing robed Figure

Circa 9th-11th Century AD

Large bronze reli-

Height: 3.75 in. (9.5 cm)

quary cross (enkolpion) with lovely

Condition: Intact as shown.

Remains of attachment loops at
top and bottom.

portrait of a haloed
figure with outstretched arms and

Reference: See PITARAKIS,

#567-568 for related examples
identified as St. George.

open-palm hands,
possibly St. George,
and long expressive
face. The figure
wears an ornate
robe incised with
hatched and geometric patterns.
Attractive patina.

Byzantine

11 St. Stephen

Circa 9th-11th Century AD

Bronze reliquary

Height: 3.25 in. (8.3 cm)

cross (enkolpion)

Condition: Intact as shown.

Thick patina. Bottom attachment
loops partially lost.

depicting a haloed

Inscribed:

in prayer and wear-

C / C
() = ()

Saint Stephen

ing a full-length

standing figure with

outstretched arms

robe with ornate

design. Above the
figure is an inscription with the name
of St. Stephen.

Mary with Gospel Authors 12

Byzantine

Artful and important

Circa 9th-11th Century AD

bronze reliquary cross

Height: 3.25 in. (8.3 cm)

(enkolpion) featuring
Mary and the authors of
the four gospels, all cast
in rare raised relief. Mary,
Mother of God, is depicted as the central haloed
figure with flowing robes
and arms outstretched in
prayer. The end of each
arm is decorated with the
bust of a male bearded
bust within a beaded ring,
each identified by the
Greek initials of the
names Matthew, Mark,
Luke and John. Important
type. From Anatolia or
Constantinople.

Condition: Intact as shown. Top

attachment loops missing.
Inscribed:

() ()
Mary, Mother of God (center)
And the Greek initials

Matthew (top)

Mark (bottom)

Luke (left)
I
John (right)
Reference: See PITARAKIS #112
for near identical example. For
another example cast in raised
relief in the collection of the
Virginia Museum of Fine Arts, see
#45 VMFA (Virginia: 1994). Also
see WALTERS #305, for a similar
example in the Detroit Institute of
the Arts.
Additional Image: See Cover
Photo.

Mary with Gospel Authors 13

Byzantine

Cast raised relief cross simi-

Circa 9th-11th Century AD

lar to above, uninscribed.

Height: 3.65 in (9.3 cm)

Condition: Intact as shown
except one loop from bottom
hinge missing. The highest relief
detail worn from heavy use in
antiquity, but very discernible.
Reference: See PITARAKIS #114,
and also VMFA, #45, and WALTERS, #305.

Byzantine

14 Hinged reliquary cross

Circa 8th-11th Century AD

Very fine, heavy, simply

Height: 3.7 in. (9.6 cm)

decorated, complete

Condition: Intact.
Reference: See PITARAKIS, #531,
for a variant with central open
cavity and punch pattern.

bronze reliquary cross

(enkolpion). Each slightly
flared arm is decorated
with a large concentric
dot pattern and a series of
smaller dot. At the center, a large incised circular
pattern with a central
cavity. The top hinge is
attached to the loop of a
large suspension arm.
Front and back cover
have similar design.
Lovely patina.

Byzantine

15 Mother of God inscription

Circa 8th-11th Century AD

Top half of a bronze reli-

Length: 3 in. (7.6 cm)

quary cross (enkolpion)

Condition: Intact with light

encrustation. Minor loss to the
bottom of the punched cavities.
Top hinge broken away.

depicting a full-length
central figure with flowing robe neatly incised.
The head is surrounded

Inscribed:

with a nimbus, and

/ = () ()
Mother of God

inscribed above. Five

Reference: See PITARAKIS #346

for the type.

rate the cross and would

depressed cavities decohave originally held a

paste or glass inlay. A
large and less common
type. From Anatolia or
Constantinople.

raised relief crucifix

16

Early Byzantine

Solid cast bronze

Circa 6th-8th Century AD

pendant cross

Height: 2.8 in. (7.2 cm)

with central

Condition: Suspension loop

intact and wearable. The relief
detail worn but very discernible.

depiction in high
relief of the crucified Christ

Reference: See PITARAKIS, figure

#4, for an example in the
Fitzwilliam Museum, Cambridge.
For the type, see also #124 A/B
and also #119 in the VMFA.

flanked on left by
a figure in profile
(mourning Mary)
and on right by a
frontal bust
(John). Two busts
adorn the top
and two angels
appear at Christs
feet. Rare and
very early example of a crucifix.

Heavy cross with christ

Very thick, solid cast

17

Byzantine
Circa 8th-11th Century AD

bronze pectoral cross

Length: 2.8 in. (7.1 cm)

with integral attachment

decorated with a simple

Condition: Intact. Reverse side

with slightly more wear and possible indecipherable inscription.

but charming and lightly

Inscribed:

loop at top. The obverse

incised full-length image

of christ with outstretched
arms and inscription
above. On the reverse,
another full length figure,
possibly Mary.

C / XC
() {()} ()
Jesus Christ

Byzantine

18 Large Pendant cross

Circa 7th-11th Century AD

Early bronze

Height: 3.3 in. (8.4 cm)

pendant

Condition: Intact as shown, with

remains of light earthy encrustation.

flat back,

cross with
slightly flaring arms,

Reference: See PITARAKIS #200

for related type. Also see VMFA,
page 114, for a related example
with central cavity.

and integral
attachment
loop at the
top. A large
central circular cavity
would have
originally
held a glass
inlay.
Flanking the
central cavity are remains of where four circular appliques or stones
were affixed.

Byzantine

19 Uninscribed enkolpion

Circa 8th-12th Century AD

Bronze,

Height: 2.25 in (6.2 cm)

medium-

Condition: Areas of light encrustation. Hinge pins missing, otherwise intact.

sized reliquary cross

(enkolpion),
uninscribed,
with slightly
flaring arms.
Though
unhinged,
both sides
clearly original matched
halves. Nice
example of
the type.

christ nailed to cross

20

Byzantine

Top half of a

Circa 9th-11th century AD

bronze reli-

Height: 3.25 in. (8.3 cm)

quary cross
(enkolpion)

Condition: Intact as shown with

bottom loop gone. Superb patina.

beautifully

Inscribed:

depicting

C+CNH / KA
() {()} ()
Jesus Christ conquers/is victorious

Jesus Christ,
nimbus at his
head, as a
full-length,
unbearded figure with flowing robes decorated with a
hatched and
ribbon incising. His arms
are spread
apart and at
each hand a
large nail is
depicted.
Extremely fine
and rare.

Heavy Pendant cross

Heavy, thickly cast medi-

21

Byzantine
Circa 6th-10th Century AD

um-sized bronze pendant

Height: 2.15 in. (5.5 cm)

cross with flaring arms and

Condition: Intact with smooth

dark green patina.

integral attachment loop at

top. Nice patina and distinctive style. Wearable.

Byzantine

22 Pendant cross

Circa 8th-11th Century AD

Larger pendant

Length: 2.4 in (6.1 cm)

bronze cross with

Condition: Intact as shown with

nice toning.

slightly flaring arms

Reference: See PITARAKIS, #606,

and also see VMFA, page 114, for
the type.

tral cavity which

and depressed cenonce held a paste or

glass inlay. Each arm
decorated with a
punched circle pattern. An integral
attachment loop at
the top. Back is flat
and undecorated.
Attractive reddishgreen patina.
Wearable.

Byzantine

23 Pendant cross

Circa 7th-10th Century AD

Pendant bronze cross

Height: 2.1 in (5.3 cm)

with flaring arms ter-

Condition: Intact as shown, with

a small surface chip lower left,
otherwise very fine.
Background: The tear-drop projections were common in the
Seventh century and continued
with reduced frequency into the
Middle Byzantine period.

minating in tearshaped projections at

the corners. Each
arm decorated with a
punched circle pattern. An integral
attachment loop at
the top. Back is flat
and undecorated.
Smooth green patina.
Wearable.

Pendant cross

24

Byzantine

Pendant bronze cross

Circa 7th-10th Century AD

with ornately

Height: 2.35 in. (7.2 cm)

knobbed terminals on

Condition: Intact as shown. Nice

patina.

each arm. A central

cavity once held a

Reference: See PRINCETON, #86,

for a related example in silver
now in the Princeton Art Museum.

stone or glass inlay,

the balance of the
cross decorated with
a punch and circle
pattern. The flat back
is undecorated. An
integral attachment
loop at the top.
Wearable.

Pendant cross
Pendant bronze cross
with two knobs decorating the terminal of
each arm. Arms are
symmetrical, resulting in very pleasing
aesthetics. An empty
cavity at the center
of the cross once
held a stone or glass
inlay. A neatly
applied punched circle pattern decorates
the cross. The back
is flat and undecorated. An integral
attachment loop at
the top.

25

Byzantine
Circa 7th-10th Century AD
Height: 2 in. (5 cm)
Condition: Central inlay missing
but otherwise intact as shown.
Beautiful brown patina. Wearable.
Reference: See PRINCETON, #86,
for a related example in silver
now in the Princeton Art Museum.

Byzantine
Circa 6th-10th Century AD

26 Pendant crosses
c

Length: Range from 1 in. (2.5

cm) smallest to 1.5 in. (3.8 cm)
largest.
Condition: All intact as shown.
Background: Demand for pendant crosses began to accelerate
in the 6th Century AD as people
sought to hang them suspended
from a cord around the neck as a
source of divine favor or blessing.
While bronze was most popular,
pendant crosses were made from
a variety of other materials including bone, iron, silver, gold and
glass. They were used at every
level of society, especially during
the period of Iconoclasm in the
8th - 9th Century AD when figural
depictions were forbidden by the
Orthodox Church. They are
among the most durable surviving
objects from the byzantine era and
thus provide a physical link to the
earliest days of the early Christian
period.

Obverse

Reverse

Reference: For (a), see TEMPLE

#60; for (b) see #449 in WALTERS;
for (c-h) see TEMPLE #63.

Selection of fine bronze solid-cast pendant crosses including: (a) slender rounded-arm type (probably from
Constantinople) with original dark green paste in central
cavity; (b) rounded-arm type segmented central section
and stylized with acutely tapered arms; and (c-h) six variants of a well-known type, paticularly popular in Egypt and
Syria during the early Christian period, of simple pendant
cross with punched circle pattern with lengths that taper
toward the center. All with attachment loops intact and
wearable.

enamelled Pendant cross

27

Byzantine

Fine, plain bronze pendant

Circa 8th-10th Century AD

cross with remains of a

Length: 1.8 in. (4.6 cm)

red enamel circle at the

Condition: Intact as shown with

very attractive surface.

center enlivened with a

pattern of punched dots.

Reference: See PITARAKIS, #605,

for example with enameled central cavity.

Three of the four arms

with a terminal pattern of
a row of punched dots
between vertical lines. At
the bottom a single
incised line. Flat backed,
with integral attachment
loop. Lovely patina.
Wearable.

Buckle Plate with cross

28

Byzantine

Very fine bronze buckle

Circa 7th-10th Century AD

plate cast in the form of a

Height: 1.5 in. (3.8 cm)

cross. It is decorated on

Condition: Intact, the fastening

pin lost in antiquity.

the front with punched

circle motif. Lovely pati-

Reference: See TEMPLE no. 79

for near identical example of the
type.

na and attractive.

circular Stylized Fitting

29

Byzantine

Stylized solid cast bronze

Circa 8th-12th Century AD

fitting consisting of a

Height: 2.5 in. (6 cm)

rounded ring with inte-

Condition: Intact, excellent dark

chocolate patina.

gral, flattened projection

terminating with a curved
arm at each side. Both
sides decorated with
punched circle pattern.

Byzantine

30 Fine Openwork Phalera

Circa 8th-11th Century A.D.

This fine bronze

Height: 1.8 in. (4.6 cm)

openwork cross

Condition: Intact as shown, top

of tang missing.
Reference: For a similar bronze
phalera in the Virginia Museum of
Fine Arts, see VMFA #97.
Background: The remains of the
projecting tang suggests that the
object may have been used as a
harness fitting, suspended from
the head or chest gear of horses.

with equal, flaring

arms is cut out of a
circular disc to
which it is connected by slender projections at each of
the eight corners of
the cross. A punch
and circle pattern
decorates both
sides. The stub of a
projecting tongue,
used for attachment, at the top.

Byzantine

31 Liturgical cross on chain

Circa 6th -9th Century AD

Wide-armed cross cut from a single

Height: 6.75 in (17.1 cm) including chain

sheet of bronze with central raised cir-

Condition: Intact as shown

and bottom and attached to original

Background: The polycandelon

was a predecessor to the chandelier. It consisted of a large bronze
round plate, hanging from a smaller bronze disc, which was suspended on chains from the vault
or ceiling of a church.

cular boss. The cross is pierced at top

bronze chains. Most likely an attachment from a liturgical object such as a
polycandelon, lamp, or incense burner.

Medallion with Apostle

32

Byzantine

Important solid

Circa 9th-11th Century AD

bronze medallion

Diameter: 1.5 in. (3.8 cm)

with incised dotted border and

decorated with a
superb half-

Condition: Intact with excellent

patina.
Reference: See PRINCETON #62,
and GLORY #234 for the type.

length incised
portrait of a
bearded Apostle,
his head encircled with a nimbus. The Apostle
wears ornately
styled robes and
raises both
hands in prayer. Smooth, uninscribed back. Examples
known in the Princeton and Metropolitan Museums are
identified as St. Peter and St. John the Precursor.

Medallion with Polychronia 33

Byzantine

Important thin

Circa 9th-11th Century AD

bronze medallion

Diameter: 1.7 in. (4.2 cm)

with incised ring

rated with an

Condition: Intact as shown, with

small chip from right edge. The
incised features of the face worn.

embossed half-

Inscribed:

border and deco-

length incised
portrait of a figure, probably
Polychronia. The
figure grasps an
incised robe with
the right hand
and holds the
open palm of the
left hand in prayer. A nimbus surrounds the figures head,
incised tresses of hair fall past the shoulder. Polychronia is
known as the mother of St. George and her name is synonymous with the acclamation God Grant Many Years.

/ / / / / /
=
Polychronia (female name: meaning many years)
Background: Polychronia is the
mother of St. George. She became
a Christian without her husbands
knowledge, then upon his death
returned to her native Palestine to
raise her son. George became
revered when, as a young adult,
he defied the Roman ruler
Diocletian at the start of the Great
Persecution (circa 304 AD).

Byzantine

34 Lamp with cross and Bird

Circa 8th-11th Century AD

Heavy cast,

Length: 7.3 in (18.5 cm)

high-quality

Condition: Intact as shown.

Lamp lid and small upper section
of right handle lost. Superb dark
patina.
Reference: See BAILEY IV,
#Q3818 and Q3819 for two similar examples in the collection of
the British Museum.

bronze lamp
with rounded
elongated body
and long nozzle,
with flaring tip,
dished round the
circular wickhole. Raised,
molded rim
round the fillinghole, stepped internally for the lost lamp lid with hinge
pieces to the rear. Elaborate double-rod handle at the rear,
curving up and forward, joining and separating, terminating
in an open-work decorative series of a bird surmounting
two loops atop a cross. The bottom of each handle where
it joins the body of the lamp is decorated with a well articulated face in profile on each side. Substantial raised base
ring with a square socket for the spike in the lamp stand.

Dual Lamp with insert

35

Byzantine

Sizable, high-quality

Circa 6th-11th Century AD

bronze dual-wick hanging

Length: 8 in. (20.3 cm)

lamp with circular body

set on a low integral ring
base. Each nozzle flares
outward with rounded
wick-hole decorated with circular knobs. A semi-circular
spine runs underneath the nozzle neck from side to side.
Two original bronze chains join the lamp to a double-loop
attachment ring. Inside the lamp, a small removable
bronze inset, perhaps an incense basket with bottom
pierced in antiquity with two holes, is made to rest within
an open underside. This type of free-standing insert make
this a scarce variant of a well-known form.

Condition: Fine condition overall

with light encrustation and some
mottling of the patina. There are
tiny areas of loss near one wickhole and under the opposite nozzle. Otherwise, sturdy and attractive.
Reference: See BAILEY IV,
#Q3826 for a more elaborate
example of the type without the
inset.

Byzantine

36 Seven Wick Bronze Lamp

Circa 6th-11th Century AD

Diameter: 5.3 in (13.5 cm)
Condition: Intact with smooth
patina. Three tiny age fissures,
the largest being a 5mm hole to
the underside of one nozzle.

Charming, high-quality seven-wick solid

cast bronze hanging
lamp with three integral loops for attachment to suspension
chain. The underside
terminates in a concave footed pedestal
base. The center
with a circular filling
hole and raised rim.
Elegant shape.

Early Byzantine

37 Amuletic Salvation Fish

Circa 5th-8th Century AD

Byzantine lead

Size: 1.4 in (3.5 cm)

amulet in the form of

Condition: Intact

a fish (perch or mullet), with articulated

Reference: For a discussion of

fish amulets, see SEPPHORIS, page
194. For two examples of
Byzantine fish amulets, see #335
and 354 in KUNST AUS ROM.
Background: Based on interpretations of passages from Clement,
fish also symbolize the believer as
having been caught (that is,
saved) by the fisherman Jesus.

eyes, gills, scales, fins

and bifurcated tail.
The Greek word for
fish, ichthus, was
interpreted as an
abbreviation for the phrase Iesous Christos Theou (H)uios
Soter, meaning Jesus Christ, Son of God, Saviour. Nice
detail and quite interesting.

cross-inscribed Weights

38

Early Byzantine
Circa 6th-8th Century AD
Length:
(a): 1.8 in. (4.6 cm)
(b): 1.3 in. (3.3 cm)
(c): 0.6 in. (1.5 cm)
Condition: Superb with sharp
inscriptions.
Reference: See EMPORIO, #115
for an identical example of (a)
along with a chart of weights and
values. Also see ANTIOCH, page
87-88 for a discussion of weights
in the early Byzantine period.

Three early Byzantine bronze square weights, two

inscribed with the Cross, a symbol that was used on
weights as an added mark of quality and honesty. The
largest of the weights, (a) depicts a large central cross
flanked on both sides by the Greek letter (abbreviation for
the Greek oungia) and encircled within a wreath. At 79.95
grams, the weight represents the value of 3 early
Byzantine ounces, and is identical in weight and markings
to one found at Emporio in Chios in the 1950s by the
British School at Athens. Weight (b) at 26.6 grams represents the value of 1 ounce and is decorated with a wreathencircled cross flanked by the Greek letters and . An
additional small cross is used at each of the four corners.
Both weights are incised and originally inlaid with silver,
slight traces of which remains. Weight (c) is of a simpler
form with two circle punches on each side, probably indicating a value of two nomisma.

token with cross Pattern

39

Early Byzantine

Simple but wonderful circular

Circa 5th-7th Century AD

bone token or gaming counter

Diameter: 0.86 in (2.2cm)

hand-carved identically on
both sides with alternating triangular cavities and circular
punches that produced a cross
pattern regardless of how the
disc is rotated.

Condition: Slight abrasion as

shown, opposite side is excellent.
Reference: See ANTIOCH, pg 86,
for a discussion of gaming and
domestic entertainment.

Early Byzantine

40 eucharistic Bread Mold

Circa 5th-7th Century AD

Eucharistic

Diameter: 4.9 in (12.5 cm)

bread mold
carved from

Condition: Intact and overall

very crisp incised decoration with
legible inscriptions. Minor losses
at the edge as visible in photo.

a single section of wood.

The large cir-

Reference: See GALAVARIS #81

for the type. In his seminal work
on Bread and the Liturgy,
Galavaris dates this particular type
to the Early Byzantine Period (5th6th Century AD), and is most likely from Coptic Egypt.

cular front

Background: Excavations at
Achmim-Panopolis have yielded a
large number of Christian stamps,
some of which have been identified as bread stamps; these have
found their way into various
museums and collections in Egypt
and in Europe. Others have been
unearthed in Palestine at important early Christian sites. Asia
Minor and Constantinople have
also provided examples.

angle with a

side is
incised with
central cross
surmounted
at each right
small bordered square
enclosing a
Greek inscription including the abbreviated name of Jesus
Christ in three of the four squares. Triangular shapes decorate each midpoint of the core design, forming arms of an
outer cross.
the border.

Concentric rings decorate

The reverse is smooth

and undecorated except for the flat

knob of the handle which is carved in
the shape of a square with inscriptions
divided into four smaller blocks with
Greek inscriptions. Extremely rare,
dating from the Early Byzantine Period.

Early Byzantine

41 christian Marriage ring

Circa 5th-6th Century AD

Ring Size: 8.5 (18.6 mm)
Condition: Thin part of band
neatly repaired. Wear to bezel.
Inscribed:
V (health)
Reference: See KALAVREZOU,
#126 for an identical example
now in the Walters Museum.
Background: The significance of
health is related to successful
conception and childbirth.

Early Christian bronze marriage ring engraved on the bezel

with the images of a husband and wide en buste flanking a
central cross. The iconography of early Christian marriage
closely evolves from and resembles the official imagery of
Roman imperial coins and art of this period.

Silver Beaded necklace

42

Early Byzantine
Circa 4th-6th Century AD
Length: 17.7 in. (45 cm)
Condition: All but three beads
intact. Each bead subtly unique in
size and toning of the base silver.
Reference: See KUNST AUS
ROME, #278, for a related example using an openwork granulation technique to decorate the
border of an early Christian mirror.

Very fine Byzantine necklace consisting of 79 silver cubeshaped beads with openwork sides and solid top and bottom where beads abut one another in succession. Each
bead clearly fashioned by hand using an unusual and
attractive granulation method, and pierced top and bottom
for attachment. The wear between beads suggests that the
necklace was worn and treasured over a long period of
time. The beads are held together on a modern string, and
could easily be refashioned with a modern chain into a
dramatic wearable necklace. A bold and exquisite example of geometric art as jewelry.

Gold ring with Stone

43

Roman

Superb intact gold finger

Circa 2nd Century AD

ring with original, ruddy-

Ring Size: 5 (15.6 mm)

colored unengraved stone,

perhaps cabochon garnet.
Plain, oval-sectioned hoop
expanding to wide shoulders and an oval flattened
area centered with the
stone set in a round bezel.

Weight: 2.0 grams

Condition: Intact.
Reference: See JEWELLERY
STUDIES, p. 35, #5 and 6, for two
related examples in the British
Museum.

ART

FROM THE

ANCIENT WORLD XLIV

15

Mother of God

16

Raised Relief Crucifix

17

Heavy Cross with Christ

18

Large Pendant Cross

19

Uninscribed Enkolpion

20

Christ Nailed to Cross

21

Heavy Pendant Cross

Large Cross with Saints

Christ, Virgin and Stephen

Archistrategos and St. George

Unopened Reliquary Cross

Jesus Christ and Virgin

34 Lamp with Cross and Bird

Mother of God

35 Dual Wick Lamp with Insert

St. John and Panagia

36 Seven Wick Bronze Lamp

Incised Figure and Cross

37 Amuletic Fish

Large Processional Cross

38 Cross-Inscribed Weights

30 Fine Openwork Phalera

31 Liturgical Cross on Chain
32 Medallion with Apostle
33 Medallion with Polychronia

10 Cross with Robed Figure

39 Token with Cross Pattern

11 Cross with St. Stephen

40 Eucharistic Bread Mold

12 Mary with Gospel Authors

41 Christian Marriage Ring

13 Mary with Gospel Authors

42 Silver Necklace Beads

14 Hinged Reliquary Cross

43 Gold Ring with Stone

22

Pendant Cross

23

Pendant Cross

24

Pendant Cross

25

Pendant Cross

26

Pendant Cross Group

27

Pendant Cross

28

Buckle Plate with Cross

29

Circular Stylized Fitting

Museum Quality Ancient A r t