Through a Glass Brightly: Studies in Byzantine and Medieval Art and Archaeology Presented to David Buckton

265 Pages·2003·20.757 MB·English

by  Chris Entwistle (Ed.)

Through a Glass Brightly
Studies in Byzantine and Medieval Art and Archaeology
Presented to David Buckton
Edited by Chris Entwistle
Oxbow Books
Oxford & Philadelphia
Published in the United Kingdom in 2003 by
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© Oxbow Books and the individual authors 2003
Reprinted in paperback 2016
Hardcover Edition: ISBN 978-1-84217-090-8
Paperback Edition: ISBN 978-1-78570-251-8
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Front cover: Gold and cloisonné enamel reliquary cross, Byzantine, around 1000.
British Museum, Dept. of Prehistory and Europe, P&E 1965,6-4,1 (Photo: BM).
Back cover: Esztergom staurothèke, silver-gilt and enamel, Byzantine.
Cathedral Treasury, Esztergom, Hungary (Photo: Cathedral Treasury).
Contents
List of Contributors.................................................................................................................................................................v
Illustration Abbreviations and List of Plate Captions..........................................................................................................vi
Bibliography for David Buckton.........................................................................................................................................viii
Preface Peter Lasko................................................................................................................................................................xi
Acknowledgements................................................................................................................................................................xii
1. A dandy dipper: the Ambleteuse clepsydra, Empedocles, and wine-thieves I have known
Donald M. Bailey..............................................................................................................................................................1
2. Body-chains: Hellenistic to Late Roman
Catherine Johns..............................................................................................................................................................10
3. Light on Byzantium – a universal sundial in the British Museum
Silke Ackermann .............................................................................................................................................................16
4. Visualising women in Late Antique Rome: the Projecta casket
Jaś Elsner........................................................................................................................................................................22
5. Sources of cloisonné enamel: some early fused gold and glass inlays
Noël Adams.....................................................................................................................................................................37
6. On the date of the Symmachi panel and the so-called Grado Chair ivories
Paul Williamson..............................................................................................................................................................47
7. Who’s that girl? Personifications of the Byzantine empress
Liz James.........................................................................................................................................................................51
8. A painting of Saint Kollouthos
Maria Vassilaki...............................................................................................................................................................57
9. Three illuminating objects in the Lampsacus treasure
Marlia M. Mango............................................................................................................................................................64
10. Early Byzantine mercantile communities in the West
Ken Dark.........................................................................................................................................................................76
11. Studying the Byzantine staurothèque at Esztergom
Paul Hetherington ..........................................................................................................................................................82
12. Saint Theodore and the Dragon
Christopher Walter.........................................................................................................................................................95
13. Apotropaic devices on Byzantine lead seals in the Collections of Dumbarton Oaks and the Fogg Museum of Art
John W. Nesbitt.............................................................................................................................................................107
14. Middle Byzantine (10th–13th century AD) stamp seals in semi-precious stone
Jeffrey Spier..................................................................................................................................................................114
15. The Bristol Psalter
Leslie Brubaker.............................................................................................................................................................127
iv CONTENTS
16. The production of red glass and enamel in the Late Iron Age, Roman and Byzantine periods
Ian C Freestone, Colleen P. Stapleton and Valery Rigby..........................................................................................142
17. ‘The Celtic Fringe’: two enamelled mounts
Susan Youngs................................................................................................................................................................155
18. Some late tenth- and eleventh-century cloisonné enamel brooches and finger-rings from Denmark
Fritze Lindahl................................................................................................................................................................163
19. Containers for Agnus Deis
John Cherry...................................................................................................................................................................171
20. Design and invention in Gothic architecture: Mildenhall and Ely
Barrie Singleton............................................................................................................................................................184
21. Abbé James Hamilton: antiquary, patron of the arts, Victorian Anglo-Catholic
Paul Corby Finney........................................................................................................................................................190
22. Nineteenth-century versions of the Veroli casket
Anthony Cutler..............................................................................................................................................................199
23. A Venetian goblet made for the Paris Exhibition of 1878 with gold leaf medallions of Early Christian martyrs
Judy Rudoe....................................................................................................................................................................210
24. Felix Slade’s forgotten version of the so-called Early Christian ‘Amiens Chalice’
Hugh Tait ......................................................................................................................................................................220
25. ‘Lay not up for yourselves treasures upon Earth’: the British Museum and the second Cyprus treasure
Chris Entwistle..............................................................................................................................................................226
Colour Plates........................................................................................................................................................................237
v
List of Contributors
Dr Silke Ackermann Professor Paul Corby Finney Judy Rudoe
Dept. of Medieval and Modern Europe Princeton Art Index Dept. of Medieval and Modern Europe
British Museum Princeton, NJ British Museum
London USA London
Dr Noël Adams Professor Ian Freestone Dr Barrie Singleton
c/o Dept. of Medieval and Modern Europe Dept. of Scientific Research Morley College of Art
British Museum British Museum London
London London
Donald M. Bailey Dr Paul Hetherington Dr Jeffrey Spier
Dept. of Greek and Roman Antiquities London USA
British Museum
London
Dr Leslie Brubaker Dr Liz James Dr Colleen P. Stapleton
Centre for Byzantine and Ottoman Studies University of Sussex Dept. of Scientific Research
University of Birmingham Brighton British Museum
Birmingham England London
John Cherry Dr Catherine Johns Hugh Tait
Dept. of Medieval and Modern Europe Dept. of Prehistoric and Early Europe c/o Dept. of Medieval and Modern Europe
British Museum British Museum British Museum
London London London
Dr Paul T. Craddock Professor Peter Lasko Dr Maria Vassilaki
Department of Scientific Research Norwich University of Chania
British Museum Norfolk Crete
London England Greece
Professor Anthony Cutler Dr Fritze Lindahl Dr Christopher Walter
University of Pennsylvania Denmark Paris
USA France
Dr Ken Dark Dr Marlia Mundell-Mango Paul Williamson
Dept. of History St John’s College Dept. of Sculpture
University of Reading University of Oxford Victoria and Albert Museum
England England London
Dr Jaś Elsner Dr John W. Nesbitt Susan M Youngs
Corpus Christi College Dumbarton Oaks Collection Dept. of Medieval and Modern Europe
University of Oxford Washington DC British Museum
England USA London
Chris Entwistle Dr Valerie Rigby
Dept. of Medieval and Modern Europe c/o Dept. of Prehistoric and Early Europe
British Museum British Museum
London London
vi
Illustration Abbreviations and List of Plate Captions
Abbreviations Szilágysomlyó, Romania. Magyar Nemzeti Muzéum,
Budapest, nos. 122/1895.6–6a (Photo: Csaba Gedai).
BL = British Library Board, London
BM = Trustees of the British Museum, London 8. A painting of Saint Kollouthos, Maria Vassilaki
DO = Dumbarton Oaks Collection, Washington DC Plate 4 Textile with painting of St Kollouthos. The Carras’
Collection, London (Photo: courtesy of Carras’ Col-
JF = Jim Farrant, illustrator (British Museum)
lection).
V&A = Victoria and Albert Museum, London
12. Saint Theodore and the Dragon, Christopher Walter
Plate 5 Saint Theodore and the Dragon. Enamel icon, the
Plate Captions Hermitage, Saint Petersburg (Photo: after Banck [note
1]).
3. Light on Byzantium – a universal sundial in the
British Museum, Silke Ackermann 15. The Bristol Psalter, Leslie Brubaker
Plate 1.1 Front of the dial with the latitude and calendrical Plate 6.1 Khludov Psalter: church at Sion, anointing of David,
scales. British Museum (Photo: BM). martyrdom of the Makkabees. Moscow, Historical
Plate 1.2 Back of the dial with the latitude list. British Museum Museum, cod. 129, f. 79r (Photo: Historical Museum).
(Photo: BM). Plate 6.2 Bristol Psalter: martrydom of the Makkabees. London,
Plate 1.3 Front of the dial with Latin inscriptions and the British Library, Add. Ms. 40.731, f. 132v (Photo:
gnomon-vane. Museum of the History of Science BL).
(MHS), Oxford (Photo: MHS). Plate 6.3 Khludov Psalter: arrest of David, arrest of Christ,
Plate 1.4 Back of the dial with latitude list. Museum of the Christ and the Hebrews. Moscow, Historical Museum,
History of Science, Oxford (Photo: MHS). cod. 129, f. 54v (Photo: Historical Museum).
Plate 6.4 Bristol Psalter: arrest of David. London, British
4. Visualising women in Late Antique Rome: Library, Add. Ms. 40.731, f. 89r (Photo: BL).
the Projecta casket, Jaś Elsner Plate 6.5 Khludov Psalter: denial of Peter. Moscow, Historical
Plate 2.1 British Museum, Esquiline treasure, Projecta casket, Museum, cod. 129, f. 38v (Photo: Historical Museum).
front (Photo: BM). Plate 6.6 Khludov Psalter: crucifixion, the drowned pharaoh,
Plate 2.2 British Museum, Esquiline treasure, Projecta casket, baptism with bleeding serpent and demon. Moscow,
top of lid (Photo: BM). Historical Museum, cod. 129, f. 72v (Photo: Historical
Plate 2.3 British Museum, Esquiline treasure, Projecta casket, Museum).
back (Photo: BM). Plate 6.7 Bristol Psalter: serpent with broken head. London,
British Library, Add. Ms. 40.731, f. 120r (Photo: BL).
5. Sources of cloisonné enamel: some early fused gold
Plate 6.8 Khludov Psalter: David hiding, Ziphites before Saul.
and glass inlays, Noël Adams
Moscow, Historical Museum, cod. 129, f. 52v (Photo:
Plate 3.1 Gold and garnet cloisonné medallion with fused gold Historical Museum).
wire and glass disc, Aragvispiri Grave 13, Republic Plate 6.9 Bristol Psalter: David raised on a shield. London,
of Georgia, State Museum of Georgia, Tbilisi no. 5– British Library, Add. Ms. 40.731, f. 33r (Photo: BL).
975:31 (Photo: author). Plate 6.10 Khludov Psalter: Hezekiah raised on a shield. Mos-
Plate 3.2 Roman period fused gold wire and coloured glass cow, Historical Museum, cod. 129, f. 18v (Photo:
disc with a vine leaf, in a silver collet, 1851 exca- Historical Museum).
vations at Envermeu, France, Musée des Antiquités, Plate 6.11 Bristol Psalter: penitence of David. London, British
Rouen (Photo: courtesy of Laurence Flavigny). Library, Add. Ms. 40.731, f. 82v (Photo: BL).
Plate 3.3 Roman period fused gold wire and glass inlays de-
16. The production of red glass and enamel in the Late Iron
picting a parrot, cock and lizard. British Museum,
Department of Greek and Roman Antiquities, nos. Age, Roman and Byzantine periods, Ian C Freestone,
85.5–1.79; 86.11–17.67; 59.3–1.128 (Photo: BM). Colleen P Stapleton and Valery Rigby
Plate 3.4 Pair of bow brooches, silver covered with gold sheet, Plate 7.1 The Lycurgus Cup, in translucent ruby state. British
set with two cloisonné discs, second hoard from Museum, MME 1958,12–2,1 (Photo: BM).
ILLUSTRATION ABBREVIATIONS AND LIST OF PLATE CAPTIONS vii
Plate 7.2 The Lycurgus Cup, in opaque pea-green state. British Plate 9.15 Gold and enamel finger-ring from Fjenneslevmagle.
Museum, MME 1958,12–2,1 (Photo: BM). National Museum of Denmark (Photo: Lennart Lar-
sen, The National Museum).
Plate 9.16 Gold and enamel finger-ring. British Museum (Photo:
17. ‘The Celtic Fringe’: two enamelled mounts, Sue Youngs
BM).
Plate 8.1 Hanging bowl mount from Prestwood, Staffordshire,
Plate 9.17 Enamelled gold plaque from Sørenga, Oslo (Photo:
of tinned bronze with enamel and glass inlay: front.
Universitetets Oldsaksamling, Oslo).
Scale 1:1 (Photo: BM).
Plate 8.2 Prestwood bowl mount: side (Photo: BM). 20. Design and invention in Gothic architecture: Mildenhall
Plate 8.3 Prestwood bowl mount: back (Photo: BM).
and Ely, Barrie Singleton
Plate 8.4 Hooked hanging bowl mount from the largest hanging
Plate 10.1 Prior Crauden’s Chapel, the remains of the Cruci-
bowl from mound 1, Sutton Hoo, Suffolk (Photo:
fixion mural as recorded by William Burgess. Victoria
BM).
and Albert Museum, London, V&A Prints and Draw-
Plate 8.5 Enamelled and tinned hanging bowl mount from
ings 93.E.5.25 (Photo: V&A Picture Library).
Kemsing, Kent: front (Photo: BM).
Plate 10.2 Prior Crauden’s chapel, detail of the Crucifixion mural
Plate 8.6 Kemsing bowl mount: back (Photo: BM).
as recorded by William Burgess. Victoria and Albert
18. Some late tenth- and eleventh-century cloisonné enamel Museum, London, V&A Prints and Drawings
brooches and finger-rings from Denmark, Fritze Lindahl 93.E.5.25 (Photo: V&A Picture Library).
Plate 9.1 Enamelled disk-brooch of Colchester-type from Ved-
21. Abbé Hamilton: antiquary, patron of the arts, Victorian
delev. National Museum of Denmark (Photo: Vagn
Anglo-Catholic, P. Corby Finney
Jensen, Roskilde).
Plate 9.2 Enamelled disk-brooch of Colchester-type from Hjul- Plate 11.1 One cameo and eleven intaglios from the Hamilton
by. National Museum of Denmark (Photo: Weiss and Collection. Finney Appendix nos. 1–12 (from top left
Wichmann). to right). British Museum, Department of Medieval
Plate 9.3 Enamelled disk-brooch of Colchester-type from Seb- and Modern Europe (Photo: BM).
ber. Aalborg historiske Museum (Photo: Aalborg Plate 11.2 One cameo and eleven intaglios from the Hamilton
Museum). Collection. Finney Appendix nos. 14–25 (from top
Plate 9.4 Enamelled disk-brooch of Colchester-type from Nør- left to right). British Museum, Department of Medi-
holm. National Museum of Denmark (Photo: Lennart eval and Modern Europe (Photo: BM).
Larsen, National Museum of Denmark).
23. A Venetian goblet made for the Paris Exhibition of
Plate 9.5 Enamelled disk-brooch from Sebber. National Museum
of Denmark (Photo: Per Poulsen, National Museum of 1878 with gold leaf medallions of Early Christian martyrs,
Denmark). Judy Rudoe
Plate 9.6 Enamelled disk-brooch of Saunderton-type from Aal- Plate 12.1 Enamelled and gilded glass goblet with portraits of
borg. National Museum of Denmark (Photo: Weiss early Christian martyrs. Venice, Murano, 1878. Brit-
and Wichmann). ish Museum, Department of Medieval and Modern
Plate 9.7 Enamelled disk-brooch of ‘hybrid’ type from Jutland. Europe, 1998,12–3,1 (Photo: BM).
National Museum of Denmark (Photo: Lennart Lar- Plate 12.2 Fragments of a bowl with gold glass medallions made
sen, National Museum of Denmark). in Venice c. 1890 and given by C.H. Read to the
Plate 9.8 Enamelled disk-brooch of ‘hybrid’ type from Nibe. British Museum in 1898. British Museum, Depart-
National Museum of Denmark (Photo: Lennart Lar- ment of Medieval and Modern Europe, 1898,2–11,1
sen, National Museum of Denmark). (Photo: BM).
Plate 9.9 Enamelled disk-brooch of ‘hybrid’ type from Sønder
Tranders. National Museum of Denmark (Photo: 24. Felix Slade’s forgotten version of the so-called Early
Aalborg Museum). Christian ‘Amiens Chalice’, Hugh Tait
Plate 9.10 Enamelled disk-brooch of ‘hybrid’ type from Vin- Plate 13.1 (On the left) the forgotten version of the ‘Amiens
dinge. Roskilde Museum. (Photo: Flemming Ras- Chalice’ preserved by Felix Slade (1790–1868), and
mussen, Roskilde Museum). (on the right) the so-called Early Christian ‘Amiens
Plate 9.11 Enamelled disk-brooch of ‘hybrid’ type from Ros- Chalice’, both of blue glass. Here identified as Venetian
kilde. Roskilde Museum (Photo: Flemming Ras- (?), first half of 19th century. Department of Medieval
mussen, Roskilde Museum). and Modern Europe, British Museum (Photo: BM).
Plate 9.12 Enamelled disk-brooch from North Zealand. National Plate 13.2 Detail of the notch cut in the rim of the ‘Amiens
Museum of Denmark (Photo: Lennart Larsen, National Chalice’ where one handle failed to achieve contact
Museum of Denmark). and fusion (Photo: BM).
Plate 9.13 Gold and enamel finger-ring from Lindholm Høje. Plate 13.3 Detail of the Slade Collection version, showing notch
National Museum of Denmark (Photo: Lennart Lar- in rim (Photo: BM).
sen, National Museum of Denmark). Plate 13.4 As Plate 13.2, but seen from above (Photo: BM).
Plate 9.14 Gold and enamel finger-ring from Assens. National Plate 13.5 Side view of Slade Collection version, detail of the
Museum of Denmark (Photo: Weiss and Wichmann). disfigured area with hole. See also Fig 24.3 (Photo:
BM).
viii
Bibliography for David Buckton
Numerous reviews for daily and periodical newspapers, Founding editor of Jewellery Studies; editor of volumes 1–
Apollo, Burlington Magazine, Friends of Mount Athos, 3 (1983–1986).
Medieval Archaeology, Minerva, Speculum, &c., and the
following: ‘The beauty of holiness: opus interrasile from a Late
Antique workshop’, Jewellery Studies 1 (1983–4), pp. 15–
Contributions to: Hugh Tait (ed.), The Golden Age of 19, colour pl. I.
Venetian Glass (exhibition catalogue), London, 1979.
‘Byzantine metrology’, Bulletin of British Byzantine Studies
‘A Carolingian Ascension ivory’, British Museum Oc- 10 (1984), p. 27.
casional Papers 10 (1980), pp. 17–24, pls 1–6.
The Treasury of San Marco, Venice (exhibition catalogue,
‘The mass-produced Byzantine saint’, in: Sergei Hackel British edition), Milan, 1984 (ed., 337 pp.).
(ed.), The Byzantine Saint, Studies supplementary to Sobor-
nost (Eastern Churches Review) 5 (1981), pp. 187–189. The Treasury of San Marco, Venice, Milan, 1984 (7 pp.).
Contributions to: Jacqueline Lafontaine-Dosogne (ed.), The Treasury of San Marco, Venice (exhibition catalogue,
Splendeur de Byzance (exhibition catalogue), Brussels, 1982. revised North American edition), Milan, 1984 (ed., 337
pp.).
Great Moravia: the Archaeology of Ninth-Century Czecho-
slovakia (exhibition catalogue), London, 1982 (with Susan The Treasury of San Marco, Venice (English-language
Beeby and Zdenek Klanica, 37 pp.). edition for sale in Venice), Milan, 1984 (ed., 337 pp.).
‘Where on earth is Great Moravia?’, British Museum ‘Necessity the mother of invention in early medieval
Society Bulletin, November 1982, pp. 24–27. Reprinted in enamel’, Transactions of the Canadian Conference of
Popular Archaeology, November 1982. Medieval Art Historians [no. 3, 1982], London (Ontario),
1985, pp. 1–6.
‘Enamelling on gold, a historical perspective’, Gold Bulletin
15 (1982), pp. 101–109. ‘A Byzantine coin-set pendant, AD 324–88’, National Art-
Collections Fund Review, London, 1985, pp. 92–93.
‘The Oppenheim or Fieschi-Morgan reliquary in New York,
and the antecedents of Middle Byzantine enamel’, Abstracts ‘British Byzantine institutions: 2. The British Museum’,
of the 8th Annual Byzantine Studies Conference, Chicago, Bulletin of British Byzantine Studies 12 (1986), pp. 32–33.
1982, pp. 35–36.
Contributions to: Hugh Tait (ed.), Seven Thousand Years
‘Vorläufige Ergebnisse einer optischen Untersuchung des of Jewellery, London, 1986.
Emails der Krone’, in: Ferenc Fülep, Éva Kovács and
Zsuzsa Lovag (eds), Insignia Regni Hungariae (Studien ‘Retrospection and invention in ninth and tenth-century
zur Machtsymbolik des mittelalterlichen Ungarns), I, enamel’, Abstracts of the 17th International Byzantine
Budapest, 1983, pp. 129–143, Abb. 1–13. Congress, Washington, DC, 1986, pp. 50–51.
Ernst Kitzinger, Early Medieval Art in the British Museum ‘Material and method of manufacture of the early Byzantine
and British Library, 3rd edition, London, 1983 (extensively chalice: in vino veritas?’, Abstracts of the 17th International
revised and partly rewritten, 127 pp.). Byzantine Congress, Washington, DC, 1986, p. 50.
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Kunst, Cologne, 1987 (translation of the 3rd edition of
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and Athanasios Markopoulos (eds), Èõìßáìá óôç ìíÞìç
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Margaret E. Frazer). 1996, pp. 659–663, s.v. Early Christian and Byzantine art,
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