This elaborate bronze oil lamp dates to the Byzantine era. The ring handle is surmounted by a leaf-shaped attachment incorporating a Christian cross. The filling hole is  More »

This elaborate bronze oil lamp dates to the Byzantine era. The ring handle is surmounted by a leaf-shaped attachment incorporating a Christian cross. The filling hole is covered with a hinged lid bearing the head of a bull. The details are incredibly naturalistic with wide nostrils, deep-set eyes and short curved horns. Three thick strands of curly hair adorn the animal’s forehead. Around the cover a petal motif is repeated in two semi-circles, perhaps imitating the sun’s rays- highly appropriate given the purpose of the lamp. Where the spout begins a small moveable attachment survives, which may once have served as a handle to lift the bull head cover. The spout terminates in a wide circular opening for the wick.The majority of lamps in the ancient world were fashioned from clay. The use of bronze was a costly and luxurious alternative. - (LO.1315)   « Less

Pyxis is the term applied to cylindrical containers used to store valuables since antiquity. During the Byzantine era their most common function was as a receptacle for the  More »

Pyxis is the term applied to cylindrical containers used to store valuables since antiquity. During the Byzantine era their most common function was as a receptacle for the consecrated host. Typically made of lavish materials, such as ivory, this example is nevertheless extraordinary for the expense of the stone. Lapis lazuli had to be imported from Afghanistan, and although a handful of small cameos and plaques survive in this material, its use was restricted to the most high status items. Three iconic images have been carved in relief around the sides of the vessel. The first is a half-length Virgin and Child, the former pointing at her son with her right hand, a type known as Hodegetria. This is a Greek phrase meaning, ‘one who shows the way.’ The Virgin points to Christ, revealing to mankind its means of salvation. The Christ Child is depicted fully draped as was customary in this period and considerable care has been lavished on the folds of his gown. It is possible that the eyes of the figures were once inlaid with another precious material. The second image is that of Christ, with an open book balanced between his forearms. This was a variant of the ‘Pantokrator’ image which is often displayed on the interior of the domes of Byzantine churches. In this image Christ gestures with both his hands and the emphasis is on his role as a teacher. The details of his hair and beard have been carefully defined and the aureole has sections of cross-hatching to distinguish the sign of the cross. The final image shows a full-length Christ set against a flaming aureole with his right arm raised. Texture has been added to the rays of the aureole by extensive cross-hatching. A swathe of drapery runs diagonally across Christ’s torso and over his left shoulder. Separating each image is the symbol of the cross within a circle. The pyxis is supported on three feet which resemble animal hooves of some kind. The tapered lip indicates that the lid is missing, indeed all such containers undoubtedly had lids originally because of the precious materials they were designed to contain. This is a remarkable and extremely rare object that would form the centrepiece of any collection of medieval Christian art. - (AM.0177)   « Less

For as long as there has been civilization, children have played with dolls. Wooden dolls with bead hair have been found in Egypt, and terracotta ones from Greece and Rome.  More »

For as long as there has been civilization, children have played with dolls. Wooden dolls with bead hair have been found in Egypt, and terracotta ones from Greece and Rome. Since dolls are traditionally made mostly from perishable material like cloth, most do not survive past the youth of their owners. This wide-eyed effigy must once have been the prized possession of some child living in the sunset of the Classical world. Many generations of children have grown up since then, yet such an object still has the power to touch our hearts. - (PF.0150)   « Less

For as long as there has been civilization, children have played with dolls. Wooden dolls with bead hair have been found in Egypt, and terracotta ones from Greece and Rome.  More »

For as long as there has been civilization, children have played with dolls. Wooden dolls with bead hair have been found in Egypt, and terracotta ones from Greece and Rome. Since dolls are traditionally made mostly from perishable materials like cloth, most do not survive past the youth of their owners. This wide-eyed effigy must once have been the prized possession of some child living in the sunset of the classical world. Many generations of children have grown up since then, yet such an object still has the power to touch our hearts. - (PF.0151)   « Less

In the Late Roman world, where Christianity was the dominant force, there were still holdovers from an earlier pagan time. This bone doll seems to be one of the last remnants  More »

In the Late Roman world, where Christianity was the dominant force, there were still holdovers from an earlier pagan time. This bone doll seems to be one of the last remnants of an ancient cult that stretches back to the Astarte of the Babylonians, the Isis of the Egyptians, and the Venus of the Romans. This most essential of goddesses would soon be supplanted by the Christian Madonna, though here she retains her pagan dignity. She is a poignant reminder of a world in transition, a culture balanced between the ancient and medieval eras. - (PF.2275)   « Less

In the Late Roman world, where Christianity was the dominant force, there were still holdovers from an earlier pagan time. This bone doll seems to be one of the last remnants  More »

In the Late Roman world, where Christianity was the dominant force, there were still holdovers from an earlier pagan time. This bone doll seems to be one of the last remnants of an ancient cult that stretches back to the Astarte of the Babylonians, the Isis of the Egyptians, and the Venus of the Romans. This most essential of goddesses would soon be supplanted by the Christian Madonna, though here she retains her pagan dignity. She is a poignant reminder of a world in transition, a culture balance between the ancient and medieval eras. - (PF.2276)   « Less

During the early flowering of the Christian era, this bronze stamp was used to mark the communion Eucharist. The message it bears, Charita, is one of cheerful greeting, the  More »

During the early flowering of the Christian era, this bronze stamp was used to mark the communion Eucharist. The message it bears, Charita, is one of cheerful greeting, the equivalent of "Hello." This stamp was almost certainly the property of one of the numerous churches that early Christianity built in the town of Jesus' birth. A simple object of daily ritual, it evokes an age of heartfelt faith, a spirit that has endured across the centuries. - (FZ.210)   « Less

This handsome bronze seal is part of a fascinating age-old tradition. The use of seal impressions dates back to the very earliest beginnings of civilization. Ancient  More »

This handsome bronze seal is part of a fascinating age-old tradition. The use of seal impressions dates back to the very earliest beginnings of civilization. Ancient merchants used their individualized seals to identify their saleable goods. Egyptian Pharaohs used magnificently carved seals with images that served to symbolize their power and authority. Roman artists carved seals from precious stones, finely detailing the stunning images of ancient gods. This bronze seal dating to the Byzantine period was probably used by the Church as a seal impression for holy breads. Shaped like the moon in its first quarter, the seal's curvilinear lines echo the soft lines of this new moon. The Byzantine artist who created this symbolic seal drew on a spiritual lunar image that continues to inspire and move us today. Just as this seal created a meaningful impression on ancient holy bread, so it makes a meaningful impression on our ancient emotions. - (FZ.288)   « Less

During the Roman era, bakeries were required to stamp their bread with an individual seal in order to trace the source of the loaves and to prevent fraud or theft of imperial  More »

During the Roman era, bakeries were required to stamp their bread with an individual seal in order to trace the source of the loaves and to prevent fraud or theft of imperial supplies. Upon the birth of the Byzantine Empire, bread stamps were still used, although their purpose had significantly changed. Although varying greatly in size and shape, the common characteristic of Byzantine bread stamps was the emphasis in drawing fracture lines that indicated to the priest where to cut the loaf. These lines become even more important on Eucharistic stamps that marked the consecrated bread for communion. However, this square-shaped stamp was more likely used to prepare bread given to the faithful on specific religious events and holidays. The engraved inscription reads, “K(YPI)E B(OETHEI) EYSTPA T(IO) (KAI) THEOPHAN(EI),” and can be translated as, “God help Eustratios and Theophanes.” Square-shaped bread stamps are more rare than their circular counterparts because the loaves themselves were round. A square shape pressed into a round loaf tends to distort the roundness of the loaf. Square loaves were not feasible, since the corners would brown and harden before the rest of the loaf, not to mention the difficulty in keeping the loaf square once the yeast begins taking effect. Thus, this stamp would have once been pressed into a round loaf. As the loaf baked in the oven, the stamped image would grow larger as the loaf expanded. After the bread was finished baking and cooled, the loaf would be cut into pieces, leaving the stamped piece intact. If used during the Eucharist, this piece would have then served as the body of Christ. If used on another religious occasion, this piece would have been offered as a warm prayer in the names of two men, Eustratios and Theophanes. - (X.0089)   « Less

Though sculpted in a naive style, barely nodding in the direction of the classical busts from which it derives, this lively terracotta nonetheless evokes an ancient life. We  More »

Though sculpted in a naive style, barely nodding in the direction of the classical busts from which it derives, this lively terracotta nonetheless evokes an ancient life. We feel in its presence that age-old human desire to leave some mark on the world, to say: "I was here." We would never mistake it for a recognizable portrait, yet something in its wide stare recalls that long-forgotten individual to our imaginations. - (P.0368)   « Less