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This volume publishes over 200 works of art belonging to the American collector, James Ferrell. The focus of the collection is jewelry, engraved gems and cameos, medallions, and silver plate primarily of the late Roman and early Byzantine periods (3rd-7th centuries AD). Much of the material derives from imperial workshops and served as official gifts. The catalogue opens with a small selection of Hellenistic jewelry, including a group composed of a necklace, earrings, and rings probably of Ptolemaic origin. The second chapter is composed primarily of late Roman jewelry, gems and cameos, and other objects in precious metal, including necklaces, bracelets, rings, fibulae, and belts, most of which date between the third and fifth centuries AD. The third and fourth chapters are devoted to the jewelry and other objects of the sort found in Gothic tombs of the fifth and sixth centuries AD. Chapter Five presents an outstanding selection of Byzantine jewelry of the sixth and seventh century, including pendants, crosses, bracelets, earrings, and rings, many set with precious gems and pearls. The final chapter is devoted to Byzantine ecclesiastical silver of the sixth century AD. The publication will be of considerable interest to a variety of scholars, museums, and collectors. Historians of late antiquity will find many objects with important imperial associations. The rich selection of Byzantine jewelry and silver, including many pieces decorated with unusual iconography, will be of importance to Byzantinists. The Gothic objects include many pieces of particularly high quality. Jewelry historians and collectors will be delighted with the superb color photography.
Conversations about materiality have helped forge a common meeting ground for scholars seeking to integrate images, sites, texts and implements in their approach to religion in the ancient Mediterranean. The thirteen chapters in this volume explore the productivity of these approaches, with case studies from Israel, Athens, Rome, Sicily and North Africa. The results foreground the capacity of material approaches to cast light on the cultural creation of the sacred through the integration of rhetorical, material, and iconographic means. They open more nuanced pathways to the uses of text in the study of material evidence. They highlight the potential for material objects to bring political and ethnic boundaries into the sacred realm. And they emphasize the role of ongoing interpretation, debate, and multiple readings in the creation of the sacred, in both ancient contexts and scholarly discussion.
Graphic Signs of Authority in Late Antiquity and the Early Middle Ages presents a cultural history of graphic signs and examines how they were employed to communicate secular and divine authority in the late antique Mediterranean and early medieval Europe. Visual materials such as the sign of the cross, christograms, monograms, and other such devices, are examined against the backdrop of the cultural, religious, and socio-political transition from the late Graeco-Roman world to that of medieval Europe. This monograph is a synthetic study of graphic visual evidence from a wide range of material media that have rarely been studied collectively, including various mass-produced items and unique objects of art, architectural monuments and epigraphic inscriptions, as well as manuscripts and charters. This study promises to provide a timely reference tool for historians, art historians, archaeologists, epigraphists, manuscript scholars, and numismatists.
Barsauma was a fifth-century Syrian ascetic, archimandrite, and leader of monks, notorious for his extreme asceticism and violent anti-Jewish campaigns across the Holy Land. Although Barsauma was a powerful and revered figure in the Eastern church, modern scholarship has widely dismissed him as a thug of peripheral interest. Until now, only the most salacious bits of the Life of Barsauma—a fascinating collection of miracles that Barsauma undertook across the Near East—had been translated. This pioneering study includes the first full translation of the Life and a series of studies by scholars employing a range of methods to illuminate the text from different angles and contexts. This is the authoritative source on this influential figure in the history of the church and his life, travels, and relations with other religious groups.
These essays on late antiquity traverse a territory in which Christian and pagan imagery and practices compete, coexist, and intermingle. The iconography of the most significant late antique ceramic, African Red Slip Ware, is an important and relatively unexploited vehicle for documenting the diversity and interpenetration of late antique cultures. Literary texts and art in other media, particularly mosaics, provide imagery that complement and enhance the messages of the ceramics. Popular entertainments, pagan cults, mythic heroes, beasts, monsters, and biblical visions are themes dealt with on the patrician and popular levels. With interpretive supplements from these diverse realms, it is possible to achieve greater insight into the life, attitudes, and thought of Late Antiquity.
Twenty-four experts from the fields of Ancient History, Semitic philology, Assyriology, Classical Archaeology, and Classical Philology come together in this volume to explore the role of textiles in ancient religion in Greece, Italy, The Levant and the Near East. Recent scholarship has illustrated how textiles played a large and very important role in the ancient Mediterranean sanctuaries. In Greece, the so-called temple inventories testify to the use of textiles as votive offerings, in particular to female divinities. Furthermore, in several cults, textiles were used to dress the images of different deities. Textiles played an important role in the dress of priests and priestesses, who often wore specific garments designated by particular colours. Clothing regulations in order to enter or participate in certain rituals from several Greek sanctuaries also testify to the importance of dress of ordinary visitors. Textiles were used for the furnishings of the temples, for example in the form of curtains, draperies, wall-hangings, sun-shields, and carpets. This illustrates how the sanctuaries were potential major consumers of textiles; nevertheless, this particular topic has so far not received much attention in modern scholarship. Furthermore, our knowledge of where the textiles consumed in the sanctuaries came from, where they were produced, and by who is extremely limited. Textiles and Cult in the Ancient Mediterranean examines the topics of textile production in sanctuaries, the use of textiles as votive offerings and ritual dress using epigraphy, literary sources, iconography and the archaeological material itself.
"This handbook offers a wide-ranging introduction to the richness and diversity of the arts in the Byzantine world. It includes thirty-eight essays by international authors, from prominent researchers to emerging scholars, on various issues and media. Discussions consider art created for religious purposes, to enhance and beautify the Orthodox liturgy and worship space, as well as art made to serve in royal and domestic contexts. While Byzantium is defined as the years 330-1453 CE, some chapters treat the aftermath and influence of Byzantine art on later periods. Arts covered include buildings and objects from the Eastern Mediterranean region, including the Balkans, Russia, North Africa, and the Near East. The volume brings together object-based considerations of themes and monuments which form the backbone of art history, with considerations drawing on many different methodologies-sociology, semiotics, anthropology, archaeology, reception theory, deconstruction theory, among others-all in an up-to-date synthesis of scholarship on Byzantine art and architecture. The Oxford Handbook of Byzantine Art and Architecture is a comprehensive overview of a rich field of study, offering a window into the world of this distinct and fascinating period of art"--
Late Byzantine Rings, 1204-1453 is the first study of the rings of the final years of the Byzantine Empire, the period encompassing the Latin occupation of Constantinople (1204-1261) and the restored empire under the Palaiologan rulers until the fall of Byzantium to the Turks in 1453. The rings from this period are remarkable not only for their fine design but also for the variety of inscriptions they bear, including personal names and monograms, official titles, and epigrams composed by Byzantine poets. The book illustrates and discusses nearly fifty rings from the Palaiologan period, as well as some earlier Byzantine rings, contemporary Byzantine jewelry, and related material from Bulgaria, Serbia, and the West. Many of the rings are published here for the first time. The study begins with a review of the great diversity of rings that existed at the end of the twelfth century, just before the Latin Conquest, and suggests that in view of the occupation of both Constantinople and Thessalonica, the production of rings and jewelry in Byzantine style was disrupted. When the Byzantine workshops in Constantinople resumed after 1261, the rings took new forms, combining tradition Byzantine style with considerable Western influence apparent in the style of engraving and the occasional use of engraved gems. The material gathered in this study will be of importance to a variety of students of Byzantine and Medieval history, literature, art, and jewelry. The rings preserve a number of previously unrecorded personal names and titles that shed light on relations between the imperial court and the new landowning class that emerged in the late Byzantine period. Find sites and names also demonstrate a great degree of political and economic contact with neighboring Serbia and Bulgaria. Influence from the West (especially Venice) is apparent in the workmanship of the rings and their frequent use of heraldic devices in Western style. Verses engraved on some rings can be identified as works of both traditional and contemporary Byzantine poets. The surviving rings also demonstrate that fine quality jewelry was still being produced in the imperial court in Constantinople in the Palaiologan period.
Throughout this engaging narrative, full of a colorful cast of characters, from the mansion living suburbanites to the junk haulers themselves, Ferrell makes a persuasive argument about the dangers of over-consumption.