Imperial medallions, such as this one of Constantius II (reigned 350-361), were often mounted by their recipients to boast of their highly favored status in society. This stunning example, minted in Nicomedia (Asia Minor), represents on the reverse the triumphant emperor in his chariot. Smaller coins were also mounted as jewelry, like the smaller aureus honoring Faustina the Elder (died 140/141), wife of Antoninus Pius. Other mounted coins, separated by lengths of chain, would have completed this section of either a belt or a necklace.For the latest information about this object, belts (costume accessories); jewelry; medallions; coins, visit art.thewalters.org.Dynasty: Inscriptions: [Transcription] Inscribed on small medallion of Faustina I, obverse of coin: DIVA FAVSTINA; [Translation] The Deified Faustina; [Transcription] Inscribed on reverse of coin: AVGVSTA; [Translation] Augusta (empress); [Transcription] Inscribed on large medallion of Constantius II, obverse of coin: D(ominus) N(oster) CONSTANTIVS MAX(imus) AVGVSTVS; [Translation] Our Lord Constantius Great, emperor; [Transcription] Inscribed on large medallion of Constantius II, reverse of coin: D(ominus) N(oster) CONSTANTIVS P(ius) F(elix) AVGVSTVS; [Translation] Our dutiful and blessed lord Constantius, emperorReign: Style:
Illustrated Books of Hours in Greek are extremely rare. This example is also of interest because its miniatures show interaction between the Late Byzantine and Gothic artistic styles. It may have been copied on the island of Crete, which in the fifteenth century was ruled by Venice.For the latest information about this object, illuminated manuscripts, visit art.thewalters.org.Dynasty: Inscriptions: Reign: Style:
The front of this casket depicts the Fall of Adam and the Temptation of Eve, flanking the Sorrowing Adam below the lockplate. A fourth plaque on the back of the casket portrays Adam hiding behind a tree and covering his nudity. The large rectangular plaque set into the casket's lid shows the Old Testament patriarch Jacob ordering his son Joseph to follow his brothers, and the Angel of the Lord guiding his way. These Old Testament images must have been intened as moral examples for the box's owner. It was probably used in a private home for the safekeeping of valuables.
In Constantinople, where urban life, especially in the middle Byzantine period (843-1204) surpassed that of any western center, luxury items such as boxes made of ivory and bone were in great demand and produced serially. A number of details point toward such a system of manufacture: many extant boxes have similar dimensions, and often the borders were cut to size and used as fillers. The plaque on the lid of this box with biblical scenes is smaller than the allotted space, a sign that it was not made to measure. Likewise, the presence of peg holes prepared but not drilled through (like those in the upper left border) indicates that the plaque was part of a stockpile and not custom made. These techniques allowed workshops to produce more affordable wares, thus meeting the needs of a larger market. The wealthier patrons might order a custom-made box covered in ivory plaques, consumers of more modest means could purchase a box decorated with the plaques and strips of carved bone that the workshop kept in stock.
For the latest information about this object, caskets (personal gear); boxes, visit art.thewalters.org.Dynasty: Macedonian DynastyInscriptions: [Translation]
Jacob Sending Joseph out to His Brothers
Angel of the Lord
The Transgression of Adam
[The] Snake Speaking to EveReign: Style:
This bracelet is made of tubular gold, with a simulated fastener of five ribs embossed on one side. It was bought ca. 1920 in Athens together with two others, now in Toronto, Royal Ontario Museum, inv. 951.166.1-2. Very similar Byzantine bracelets are also in Washington DC, Dumbarton Oaks Museum, inv. 58.42 and Saint Petersburg, State Hermitage Museum, inv. Omega 100-101.For the latest information about this object, bracelets, visit art.thewalters.org.Dynasty: Inscriptions: Reign: Style:
Steelyard weights shaped like the bust of an empress were common in the early Byzantine period.For the latest information about this object, weights, visit art.thewalters.org.Dynasty: Inscriptions: Reign: Style:
This small and delicately carved bloodstone cameo shows the Virgin standing and turning to her left, her arms raised in a gesture of prayer or supplication. An abbreviated inscription on either side identifies her as the "Mother of God." She is perhaps imploring her son to forgive the sins of humanity, and the original owner of this work no doubt hoped that she was interceding specifically on his or her behalf. The gold frame around the piece is modern, and it is unclear whether this small work was originally meant to be worn around the neck like many other carved Byzantine gems, or whether it was part of a small devotional diptych or triptych, arranged so that this panel was next to one depicting Christ, with the Virgin therefore directly gesturing toward her son.
The image is carved on a bloodstone. The red streaks in this stone would have reminded pious viewers of the blood shed by Christ at the Crucifixion, perhaps focusing their thoughts on Mary's role at that event.For the latest information about this object, cameos, visit art.thewalters.org.Dynasty: Macedonian DynastyInscriptions: Reign: Leo VI (886-912)Style:
Glazed, polychrome tile fragmentsFor the latest information about this object, ceramic tiles, visit art.thewalters.org.Dynasty: Inscriptions: Reign: Style: