From the point of view of jewelry, no empire was ever richer in tradition than that of the Byzantines, as evidenced by this extraordinary pair of ornamented gold earrings.  More »

From the point of view of jewelry, no empire was ever richer in tradition than that of the Byzantines, as evidenced by this extraordinary pair of ornamented gold earrings. Within this remarkable empire there existed a co-mingling of artistic traditions, ranging from the classic realism of ancient Greece to the abstracted aesthetics of Persia and the east, neither approach ever completely dominating the arts. Rather, the jewelry of the empire reflects a successful blending of traditions, with works of art that display a spirited vitality and individuality that is timeless in its ability to please the senses. A bejeweled splendor became part of the ritual of the Byzantine court and was duly imitated throughout the empire. Indeed, one can just imagine these striking earrings, with their intricate, granulated and banded gold patterns catching the ancient light and at the same time brightening the spirits of the wearer. To behold these unique gold earrings today is to capture some of that ancient brightness, its radiant beauty timeless and magical. - (FJ.5090)   « Less

Father-Son-Holy Spirit - (OS.134 )

Father-Son-Holy Spirit - (OS.134 )   « Less

A fibula is a clasp or broach used in Ancient Greece and Rome to secure garments into place. This charming pin takes on the form of a horse. Striding with his front foot  More »

A fibula is a clasp or broach used in Ancient Greece and Rome to secure garments into place. This charming pin takes on the form of a horse. Striding with his front foot raised forward, the stallion appears proud and sure. Although the scale of the work is miniature, determined primarily by its function, the horse is remarkably detailed. Incised lines convey the texture of the broad mane. Depicted in profile, an eye and ear are evident, as is the sloping musculature of the horse’s body. A thin tail falls from behind, incised with the same hatches as the mane. The texture of the tail merges into the layer of ground the horse canters along. Although this fibula served a purely functional purpose, it also became a stylish decoration. While today fashion rarely demands the use of pins to secure our clothes into place, we continue to wear broaches and pins for symbolic or ornamental purposes alone. This horse is a perfect example of where this timeless trend began. As fashion evolved and the fibula grew obsolete, the beauty of such creations continued to be appreciated as self-sufficient. - (FZ.361)   « Less

This is a special phallic amulet of a type found throughout the Roman Empire. Originally, this bronze amulet would have hung from a large ring. Two lateral projections are  More »

This is a special phallic amulet of a type found throughout the Roman Empire. Originally, this bronze amulet would have hung from a large ring. Two lateral projections are attached to the central, realistically represented male genitals: on the right, a large phallus, on the left a hand making the obscene “fig” gesture, with the thumb sticking out from in between the curled index and middle fingers. This gesture is also known by the term mano fico, mano meaning: “hand,” and fico meaning: “fig.” In antiquity, the fig was ubiquitously used as a symbol of several goddesses because the fruit’s oval red interior strikingly resembles a vulva. Ancient Greeks used the word “fig” as slang for the female genitalia. Thus the hand gesture on the amulet is an obvious imitation of heterosexual intercourse. Such hand gestures are commonly used today, revealing how closely our lives are linked to the Ancient Greeks and Romans, or else perhaps how little we have evolved in two thousand years. However, this phallic amulet remains a symbol of man’s enduring, if infantile, fascination with the physicality and pleasures of the human body and the phenomenon of procreation. After all, without sex, none of us would be here. - (PF.5756)   « Less

This gorgeous bronze Byzantine cross was found in Jerusalem and was created between the fourth and sixth centuries A.D. One of the most striking features of this cross is the  More »

This gorgeous bronze Byzantine cross was found in Jerusalem and was created between the fourth and sixth centuries A.D. One of the most striking features of this cross is the simplicity of its design. The edge of the cross consists of three concentric borders that conform to its shape. Within these borders are five concentric circles. One is at the center, and the other four are located at the extremities of the cross. These probably symbolize the points where Christ’s head, hands, heart, and feet would have lain. This cross exhibits a refined geometric elegance, which is manifested in its four equidistant rectangular arms. It is a work of art, which combines both religious symbolism and attention to form. The bronze from which it is fashioned is graced with the patina of time and reveals its ancient origins. The spiritual impact of this cross, however, transcends time and speaks to us of religious devotion. - (FJ.5801)   « Less

Though the cross is one of the simplest of forms, it is probably the most poignant. For Christians and non-Christians alike, the cross is synonymous with Jesus Christ. The  More »

Though the cross is one of the simplest of forms, it is probably the most poignant. For Christians and non-Christians alike, the cross is synonymous with Jesus Christ. The fact that an instrument of death was turned into a symbol of spiritual rebirth is amazing. This is especially true for the faithful, and the Byzantine age was certainly one of fervent piety and extreme fanaticism. In terms of religious expression, this lovely cross falls into the category of gentle piousness and deep devotion. The figure of Christ is quite abstract, and done in such a way as to suggest the torment of his physical body and the detachment from the physical realm through resurrection. This cross is very personal and intimate. Though worn publicly, it does not shout its creed, but proclaims the wearer is sharing the quiet joys of faith. - (FJ.6264)   « Less

This Ancient Cross Has Been Set in a Modern 18 Karat Gold Pendant Though the cross is one of the simplest of forms, it is probably the most poignant. For Christians, the  More »

This Ancient Cross Has Been Set in a Modern 18 Karat Gold Pendant Though the cross is one of the simplest of forms, it is probably the most poignant. For Christians, the cross is the most potent symbol in existence, representing the earthly suffering, spiritual liberation, resurrection, and eternal life of Jesus Christ. The fact that an instrument of death was turned into a symbol of spiritual rebirth is amazing in itself. This is especially true for the faithful, and the Byzantine age was certainly one of fervent piety and extreme fanaticism. In terms of religious expression, this lovely cross falls into the category of gentle piousness and deep devotion. Although the image of Christ does not appear on this cross, the smaller Greek cross at the center suggests his presence. This ancient shape of this cross originated from the Greek letters “Chi Rho”, a popular monogram for Christ. Thus, this small cross is symbolic of the crucified Christ. This personal relic does not shout of pain and passion, it is instead an elegant reminder of the one event central to Christianity. Though worn publicly, it does not flaunt its creed; but proclaims the wearer is sharing the quiet joys of faith. - (FJ.6757)   « Less

This Ancient Cross Has Been Set in a Modern 18 Karat Gold Pendant Completed by Four Sapphire Highlights. Though the cross is one of the simplest of forms, it is probably the  More »

This Ancient Cross Has Been Set in a Modern 18 Karat Gold Pendant Completed by Four Sapphire Highlights. Though the cross is one of the simplest of forms, it is probably the most poignant. For Christians, the cross is the most potent symbol in existence, representing the earthly suffering, spiritual liberation, resurrection, and eternal life of Jesus Christ. The fact that an instrument of death was turned into a symbol of spiritual rebirth is amazing in itself. This is especially true for the faithful, and the Byzantine age was certainly one of fervent piety and extreme fanaticism. In terms of religious expression, this lovely cross falls into the category of gentle piousness and deep devotion. This Latin-shaped cross has been incised with a representation of Mary. The Virgin is shown with her arms outstretched in prayer, bent upward towards the heavens. This specific pose is known as the Virgin Orans, meaning “Praying Virgin.” The forms of figure have been abstracted, especially regarding her lack of facial features. This suggestive style heightens the spirituality of the work, for it is the idea of the holiness of the Virgin that is the focus, not her physicality. The Virgin is surrounded by four busts, one on each arm of the cross. These figures most likely represent the four gospel writers: Matthew, Mark, Luke, and John. They are shown on other similar examples holding books, thus confirming their identity. Here, the books are suggested by small triangles at the base of the busts that have worn away over the ages almost to the point of indecipherability. This personal relic does not shout of pain and passion, it is instead an elegant reminder of the one event central to Christianity its witnesses and recorders. Though worn publicly, it does not flaunt its creed; but proclaims the wearer is sharing the quiet joys of faith while basking in the lavish luxury and rarity of this precious piece. - (FJ.6760)   « Less

A reliquary is a receptacle for keeping or displaying sacred relics. For Christians, relics were objects connected with saints or the actual physical remains of saints. The  More »

A reliquary is a receptacle for keeping or displaying sacred relics. For Christians, relics were objects connected with saints or the actual physical remains of saints. The veneration of the sacred relics of martyrs is a practice known to date from at least as early as the 2nd century. The Crusades led to an influx of relics from the Middle East and reliquaries became popular items of adornment used for protection by crusaders and the wealthy elite who could afford such luxuries. Although the practice of veneration was defended both by the 13th century theologian St. Thomas Aquinas and by the Council of Trent in the 16th century, the veneration of icons has always had a greater importance in the Eastern Orthodoxy. This beautiful Byzantine reliquary cross once housed the relics of a Christian martyr, perhaps St. Stephan or St. George whose images have been incised onto opposite sides of the cross. On one side, St. Stephen is shown standing, wearing a bishop's garment with a stole bearing crosses and holding a censer. On the other, St. George wears an elaborate garment. A stellar symbol appears just beneath his left hand. The forms of figures have been abstracted, especially regarding their facial features. This suggestive style heightens the spirituality of the work, for it is the idea of the holiness of the Saints that is the focus, not their physicality. The incised decorations are remarkably vivid and the overall condition of this Latin-shaped reliquary cross is outstanding, notice that the original suspension loop is still intact. The sacred, protective energies of this spectacular reliquary cross continue to radiate outwards, still as potent and powerful as the day it was first worn. - (X.0054)   « Less

A reliquary is a receptacle for keeping or displaying sacred relics. For Christians, relics were objects connected with saints or the actual physical remains of saints. The  More »

A reliquary is a receptacle for keeping or displaying sacred relics. For Christians, relics were objects connected with saints or the actual physical remains of saints. The veneration of the sacred relics of martyrs is a practice known to date from at least as early as the 2nd century. The Crusades led to an influx of relics from the Middle East and reliquaries became popular items of adornment used for protection by crusaders and the wealthy elite who could afford such luxuries. Although the practice of veneration was defended both by the 13th century theologian St. Thomas Aquinas and by the Council of Trent in the 16th century, the veneration of icons has always had a greater importance in the Eastern Orthodoxy. This cross has been reassembled from two halves of separate Byzantine reliquary crosses, one half bronze, the other silver. The bronze side is inscribed to the Mother of God (THEO TOKOS) and depicts Mary standing with baby Jesus in her arms. At the ends of the horizontal arms are the busts of saints. The forms of figures have been abstracted. This suggestive style heightens the spirituality of the work, for it is the idea of the holiness of the figures that is the focus, not their physicality.The silver side has an incised design. On both sides the points of the arms are ornamented with disks. The sacred, protective energies of this reliquary cross continue to radiate outwards, still as potent and powerful as the day it was first forged. - (X.0055)   « Less