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Leo Scepter
Unknown
This small ivory scepter, carved on both sides, provides inscriptions both identifying the figures and psalm verses9. The front depicts Christ in the center, flanked by Peter (left) and Paul (right). The back shows the Virgin Mary in the center crowning Leo VI (left) as emperor with the attendance of the archangel Gabriel to the right of the Virgin. The main inscription (starting on the front arch and moving to the back) reads, "Lord in Your power the emperor Leo will rejoice/and in Your salvation he will exult exceedingly" (Ps. 20:2)
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Leo Scepter (2)
Unknown
This small ivory scepter, carved on both sides, provides inscriptions both identifying the figures and psalm verses9. The front depicts Christ in the center, flanked by Peter (left) and Paul (right). The back shows the Virgin Mary in the center crowning Leo VI (left) as emperor with the attendance of the archangel Gabriel to the right of the Virgin. The main inscription (starting on the front arch and moving to the back) reads, "Lord in Your power the emperor Leo will rejoice/and in Your salvation he will exult exceedingly" (Ps. 20:2)
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Reliquary Pendant
Unknown
This pendant would open to present a relic. Whether a body pary of a holy icon or a piece of clothing from that person, this reliquary holds that relic close to the heart of the wearer and gives them protection and power.
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Lunette mosaic panel of Christ
Unknown
The lunette mosaic panel of Christ in the inner narthex of Saint Sophia. The image illustrates Christ sitting on a lyre-backed throne, representing an emperor or judge with the figure of an emperor in proskynesis, a gesture of devotion to Christ where one prostrates themself and kisses the earth at his feet. Claims suggested that the figure is Leo VI, subjugating to Christ and penance his sin of marrying four times14. Two medallions sit on either side of Christ. One medallion depicts an archangel (right) while the other shows the Virgin Mary (left) in an intercession (begging favor or advocating for another in prayer) gesture towards Christ, symbolizing her effort to help the emperor gain forgiveness for his sin.
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The Artophorion (Reliquary of St. Anastasios the Persian)
Unknown and Willy Horsch
This reliquary box is speculated to have held the head of Anastasios the Persian. The shape of this reliquary alludes to Byzantine architecture as seen in the dome, the arcade windows, the half dome, and golden inscriptions.
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Basil I Gold Solidus
Unknown
On the reverso, Basil I is shown front-facing with a full-body image. Portrait likeness is less important than the imperial costume he wears. In other words, you know Basil I is the emperor, not because it looks like him, but because he is wearing the imperial dress of the emperor. Basil I also holds religious and devotional objects, displaying his religious piety to all. The front of the coin shows the majesty of Christ or the enthroned Christ. We know this is Christ because of the special cruxiform halo (a halo with a cross inside it) that adorns his face. Replacing the emperor with Christ shows how coinage became much more Christian in nature; Christ is shown as coming before the emperor, and it is implied that the emperor’s power comes directly from God himself.
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The Fieschi Morgan Staurotheke
Unknown and The MET Online Collection
This reliquary box not only contains a holy relic, but shares the message of Christ's death through the enlaid images on the exterior of the box. The colors, iconography, and artistic elements show Byzantine influence and aid in the worship process.
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The Attarouthi Treasure
Unknown
Collection of 15 liturgical objects consisting of chalices, sensers, strainers, and the holy dove used for the Eucharist. Given to the Church of St. Stephen by patrons.
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Plate with David Slaying a Lion
Unknown
A warrior version of David wears Byzantine garments as he slays a lion to symbolize the Byzantine end to a war with Persia.
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Empress Theodora and Retinue
Unknown
This is a mosiac of Empress Theorora, wife of Emperor Justinian, and is known to be one of the most powerful women in Byzantine history.
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Rebecca and Eliezer at the Well, Folio 7 Recto from the Vienna Genesis
Unknown
Illustration from the Vienna Genesis, showing Eliezer meeting Rebecca.
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Barberini Ivory
Unknown
The Barberini ivory is a leaf from an imperial ivory diptych dating from the first half of the 6th century Byzantine Empire. The leaf depicts a heroic Christian emperor riding his noble steed and crowned victorious. The leaf is broken up into five parts, starting with the upper panel. The first part represents the iconography of "Christ in majesty," depicting a youthful-looking Christ on top of a medallion held up by two winged figures characterized as angels or archangels. Symbols of the sun, moon, and star shown on the medallion give the impression of Christ as ruler or lord of the universe. The panel on the left depicts a male figure, a soldier, wearing military garb captured in movement with one foot in front of the other as he holds a small figurine of the goddess Victory. This only further emphasizes the overall message of triumph as the small figurine extends a laurel wreath towards the leading figure in the center of the leaf. The right side panel of this diptych is clearly unfinished. The central part of this diptych depicts the story's main character as he is protruding more outwardly towards the viewer than the rest of the leaf. The figure represents an emperor after returning victorious from battle as his face relays a calm and confident expression. At the same time, his horse also shows a sense of pride in his powerful stance, which is also seen in many Greco-Roman arts illustrations of horses. There is questioning if the leading figure, but most signs point to Justinian based on the dating of the leaf and style of his facial features and crown, which are reminiscent of the Justinian and his attendants mosaic at San Vitale. The figure hidden behind the man's spear is the potential defeated enemy based on the Phrygian cap he is wearing, a symbol of peoples from Eastern Europe and non-Greek-speakers also regarded as "barbarians." Finally, the female at the bottom of the center panel represents the allegorical figure of Gaea, the personification of the Earth. She holds the emperor's foot and offers fruits as a symbol of prosperity while looking up to him in admiration as though he is a god himself. The bottom panel of the leaf depicts two sets of figures from the Western Roman Empire and two from the East with an angel in between. They are portrayed as being in procession to offer the victorious king what they had and accept Justinian as the emperor of the great Byzantine Empire. The stylization of these figures is very reminiscent of the reliefs on the obelisk of Theodosius the First. There are inscriptions on the very back of the ivory leaf that informs us how the work made it to Western Europe and under the ownership of the Frankish queen Brunhilda during the Merovingian dynasty in the seventh century. The inscriptions include names of Frankish kings and the names of her husband, brothers, and children. The ivory was inscribed with a protective prayer for the family and eventually offered to the church as a votive object.
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Fragment of a Floor Mosaic with a Personification of Ktisis
Unknown
Ktisis, a personification of the act of generous donation, holds a Roman foot-measuring device, and is flanked by a figure holding a cornucopia.
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The Antioch "Chalice"
Unknown
A silver chalice, believed to be the Holy Grail, is overlaid with images of Christ, the twelve apostles, and even classical philosophers.
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Apse Mosaic of Christ in Majesty
Unknown
The apse mosaic at San Vitale in Ravenna depicting Christ in Majesty. The image shows Christ sitting on an orb, the orb of the universe or earth, as he is wearing purple robes symbolizing his powerful authority. At the same time, he holds the book of the apocalypse and a golden crown to which he is giving to San Vitalis, the primary martyr of the city12. This imagery signifies Christ's role as the True King above all.
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Emperor Justinian and Members of His Court
Unknown
This mosaic features Justinian at the forefront, dressed in purple imperial garb and decorated with jewels accompanied by clergy members, including Bishop Maximianus of Ravenna, surrounded by the imperial administration (wearing a purple stripe) and soldiers. The golden halo highlights the portrayal of Justinian as a divine figure. At the same time, the composition includes Justinian carrying the paten for the bread of the Eucharist, the bishop carrying the cross, and the (tonsured; shaved head of a monk or priest as a sign of devotion) priest with the Gospel book5. Although Justinian is represented as a divine ruler in this mosaic, the act of carrying the bread of the Eucharist is his way of showing respect to Christ.
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Miracle of the Loaves and the Fishes
Unknown and Nick Thompson
This mosaic depicts Christ with four apostles in the biblical story of the loaves and the fishes. Mosaics and images of Christ often taught viewers spiritual messages without words and helped connect the worshiper to the divine being.
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Christ as the Good Shepherd Mosaic
Unknown and Vanderbilt University
This mosaic shows classic Byzantine elements as seen in the detailed figure of Christ, the sheep, and the ornate blue and gold starry design. The iconography of Christ sitting on a rock resembles Christ enthroned and alludes to his heavenly power.
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Constantine the Great, Gold Solidus
Unknown
Constantine is portrayed with a portrait-style, profile-facing bust. He wears a laurel. The reverso shows Nike the goddess of victory dancing.
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