1title: Byzantine Saint Parascheve (?) - Walters 48208614
artist: Anonymous (byzantine artist)Unknown author
date: 10th century (Middle Ages)
medium: ceramic with glaze
dimensions: size cm 16.8 16.4
current location: Partial museum purchase with funds provided by the S. & A. P. Fund, 1956 and partial gift of Mr. Robert E. Hecht, Jr., 1957
credit: Walters art Museum: Home page Info about artwork
license:Public domain
2title: Byzantine Necklace - Walters 57544 - View A
artist: Anonymous (byzantine Empire)Unknown author
date: 5th century (Late Antique)
medium: gold, amethysts, green glass beads, and pearls
dimensions: size cm 17.5 21 0.8
current location: Acquired by Henry Walters, 1909
credit: Walters art Museum: Home page Info about artwork
description: Wealthy women in the byzantine Empire favored elaborate necklaces such as these. Pearls and emeralds (from Egypt) were most highly prized, although amethysts evoked the imperial use of the color purple.
license:Public domain
3title: Byzantine Menorah Token - Walters 47654
artist: Anonymous (byzantine Empire)Unknown author
date: 4th century (Late Antique)
medium: Technique glass
dimensions: size cm height=2.1
current location: Museum purchase, 1990
credit: Walters art Museum: Home page Info about artwork
license:Public domain
4title: Byzantine Saint Nicholas - Walters 4820861
artist: Anonymous (byzantine Empire)Unknown author
date: 10th century (Middle Ages)
medium: ceramic with glaze
dimensions: size cm height=16.7 width=16.4 depth=0.8
current location: Partial museum purchase with funds provided by the S. & A. P. Fund, 1956 and partial gift of Mr. Robert E. Hecht, Jr., 1957
credit: Walters art Museum: Home page Info about artwork
license:Public domain
5title: Jaharis Byzantine Lectionary MET DP160641
artist: unknown
date: circa 1100
medium: Tempera, gold, and ink on parchment; leather binding
dimensions: Overall: 14 1/2 x 11 5/8 x 4 7/8 in. (36.8 x 29.6 x 12.4 cm) folio: 13 3/4 x 10 5/16 in. (35 x 26.2 cm)
current location: Institution:Metropolitan Museum of art
source: link Template:TheMet
credit: This file was donated to Wikimedia Commons as part of a project by the Metropolitan Museum of art. See the Image and Data Resources Open Access Policy
description:
byzantine; Gospel lectionary; Manuscript; Manuscripts and Illuminationslicense:
CC0
6title: Byzantium, Syria?, early Byzantine period, 4th 5th Century - Bowl with Beaded Rim - 1954.259 - Cleveland Museum of Art
artist: unknown
date: between 300 and 500
medium: Silver
dimensions: Overall: 10.4 x 27.8 x 10.5 cm (4 1/8 x 10 15/16 x 4 1/8 in.)
current location: institution:Cleveland Museum of art
source: link
credit: link
license:
CC0
7title: Byzantium, Northern Syria, Byzantine period, 5th century Ram near a Tree - 1969.113 - Cleveland Museum of Art
artist: unknown
date: 400s
medium: Marble tesserae
dimensions: Overall: 89.5 x 85.1 cm (35 1/4 x 33 1/2 in.); Mounted: 92.1 x 87 cm (36 1/4 x 34 1/4 in.)
current location: institution:Cleveland Museum of art
source: link
credit: link
description:
The two mosaic fragments of an ibex and a ram (1969.114) once formed part of a much larger floor mosaic that decorated an early byzantine church in northern Syria. Displayed upright in the museum context, these mosaic fragments were originally displayed flat, possibly flanking the church's altar to evoke a paradise setting. The mosaic fragment showing the Fall of Adam and Eve (1969.115) is likely to have formed part of the same floor.license:
CC0
8title: Byzantium, Constantinople, Byzantine period, 6th century Solidus of Justinian I - 1968.55 - Cleveland Museum of Art
artist: unknown
date: between circa 545 and circa 565
medium: Gold
dimensions: Diameter: 2 cm (13/16 in.)
current location: institution:Cleveland Museum of art
source: link
credit: link
description:
byzantine Gold Coins The vast number of surviving byzantine coins attests to the level of trade across the empire. Controlled and supervised by the emperor, the producers of coins took care to represent his authority and reflect his stature. Talented artists were recruited to engrave the dies (molds) used for the striking of coins. Emperors increasingly came to include their heirs and co-emperors on their coinage, as well as other family members or even earlier rulers. Coins were recognized, then as now, as small, portable works of art. With their inscriptions and images, byzantine coins provide valuable documentation of historical events and a record of the physical appearance of the emperors. The coins shown here include the solidus, the basic gold coin of 24 karats; the tremissis, a gold coin of one-third the weight and value of the solidus; and the nomisma, which in the 10th century replaced the solidus as the standard gold coin.license:
CC0
9title: Byzantium, Constantinople?, Byzantine period, 11th century Crescent-Shaped Earring - 1946.493 - Cleveland Museum of Art
artist: unknown
date: between 1000 and 1100
medium: Gold filigree with cloisonné enamel
dimensions: Average: 2.3 x 2.6 cm (7/8 x 1 in.)
current location: institution:Cleveland Museum of art
source: link
credit: link
license:
CC0
title: Duomo (Padua) right arm of transept - Madonna dei Miracoli chapel - icona della Madonna dei Miracoli
artist: unknown
current location: Institution:Duomo, Padua : mld |en=Fifth chapel on the right in the transept arm |fr=Cinquième chapelle de droite dans le bras du transept |it=Quinta cappella a destra nel braccio del transetto
source: own
description: In the thirteenth century a canon bequeathed to the cathedral an ancient byzantine icon depicting the Virgin with the Infant Jesus, considered the work of St. Luke. This icon was immediately used in the solemn liturgies of the cathedral (already linked to the Marian cult, by title), and immediately became dear to the citizens, so much so that the canons took up the use of gathering around the image, singing an antiphon on Saturday Marian. The painting was also transported outside in solemn processions, so much so that it was necessary, in the fourteenth century, to preserve it from wear with copies. Two of these replacement paintings are still preserved today, works by Guariento di Arpo (now in the Metropolitan Museum of art in New York) and by Giusto de 'Menabuoi (now in the Diocesan Museum, in the Episcopal Palace). From the seventeenth century the historic icon was displayed on the special altar in the new right transept, but due to an accident, it was ruined in 1647. It was immediately replaced with an identical copy, so much so that it was discovered that it was not the original only in 1974.
license:
CC BY-SA 4.0
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