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The Troyes Casket is a carved ivory box of Byzantine origin. It is housed in the treasury of the Troyes Cathedral in Troyes, France. [1]
The Troyes Casket was carved during Byzantium’s Macedonian Dynasty, in the 10th or 11th century. The artisan who carved the casket is unknown, as is the identity of the person it was created for, although it is believed to have been crafted for a member of the imperial court due to its themes and the expensive materials it is constructed from. [2]
The Troyes Casket measures 13 × 26 × 13 centimeters. It has six intact, 1 cm thick panels of solid ivory, five of which feature carved inscriptions. The ivory panels are dyed a purplish-red color. Purple was considered a royal color in Byzantium, and only members of the imperial family and court were allowed to wear or use it. [3]
The long front panels of the casket are carved with scenes of hunting and martial skill. The carving on the front panel of the casket depicts two men on horseback hunting a lion. The two hunters are dressed as soldiers, carrying bows and swords and wearing lamellar armor. The back panel depicts a lone individual spearing a wild boar. [4] The shorter end panels depict, or were heavily inspired by representations of, the mythical Chinese bird known as the fenghuang. [5] These images are very similar to those created in China at the time, although they were carved in Constantinople. The carver’s intention behind including this exotic imagery is debated, but unknown.
The lid is flat and hinged, and can be opened upwards. On the lid panel, two men on horses are carved riding away from a walled city, which may be intended to represent Constantinople. These riders are also wearing armor, in a style modelled after Greco-Roman generals, and they carry spears. The two figures are believed to represent an unknown emperor and his heir, carrying out the action of expanding their empire through war.
Sultanahmet Square or the Hippodrome of Constantinople is a square in Istanbul, Turkey. Previously, it was a circus that was the sporting and social centre of Constantinople, capital of the Byzantine Empire.
Byzantine art comprises the body of Christian Greek artistic products of the Eastern Roman Empire, as well as the nations and states that inherited culturally from the empire. Though the empire itself emerged from the decline of Rome and lasted until the Fall of Constantinople in 1453, the start date of the Byzantine period is rather clearer in art history than in political history, if still imprecise. Many Eastern Orthodox states in Eastern Europe, as well as to some degree the Islamic states of the eastern Mediterranean, preserved many aspects of the empire's culture and art for centuries afterward.
Byzantine dress changed considerably over the thousand years of the Empire, but was essentially conservative. Popularly, Byzantine dress remained attached to its classical Greek roots with most changes and different styles being evidenced in the upper strata of Byzantine society always with a touch of the Hellenic environment. The Byzantines liked colour and pattern, and made and exported very richly patterned cloth, especially Byzantine silk, woven and embroidered for the upper classes, and resist-dyed and printed for the lower. A different border or trimming round the edges was very common, and many single stripes down the body or around the upper arm are seen, often denoting class or rank. Taste for the middle and upper classes followed the latest fashions at the Imperial Court.
Ivory carving is the carving of ivory, that is to say animal tooth or tusk, generally by using sharp cutting tools, either mechanically or manually. Objects carved in ivory are often called "ivories".
Andronikos V Palaiologos or Andronicus V Palaeologus was the Byzantine ruler of the city of Thessalonica and surrounding territories from 1403 to his death in 1407, alongside his father John VII Palaiologos. Though they did not control Constantinople, John and Andronikos ruled Thessalonica with the full Byzantine imperial title, recognized by the ruling senior emperor, John VII's uncle Manuel II Palaiologos.
The Barberini ivory is a Byzantine ivory leaf from an imperial diptych dating from Late Antiquity, now in the Louvre in Paris. It represents the emperor as triumphant victor. It is generally dated from the first half of the 6th century and is attributed to an imperial workshop in Constantinople, while the emperor is usually identified as Justinian, or possibly Anastasius I or Zeno. It is a notable historical document because it is linked to queen Brunhilda of Austrasia. On the back there is a list of names of Frankish kings, all relatives of Brunhilda, indicating her important position. Brunhilda ordered the list to be inscribed and offered it to the church as a votive image.
Macedonian art is the art of the Macedonian Renaissance in Byzantine art. The period followed the end of the Byzantine iconoclasm and lasted until the fall of the Macedonian dynasty, which ruled the Byzantine Empire from 867 to 1056, having originated in the theme of Macedonia. It coincided with the Ottonian Renaissance in Western Europe. In the 9th and 10th centuries, the Byzantine Empire's military situation improved, and art and architecture revived.
For most of its history, the Eastern Roman (Byzantine) Empire did not know or use heraldry in the Western European sense of permanent motifs transmitted through hereditary right. Various large aristocratic families employed certain symbols to identify themselves; the use of the cross, and of icons of Christ, the Theotokos and various saints is also attested on seals of officials, but these were often personal rather than family emblems. Likewise, various emblems were used in official occasions and for military purposes, such as banners or shields displaying various motifs such as the cross or the labarum. Despite the abundance of pre-heraldic symbols in Byzantine society from the 10th century, only through contact with the Crusaders in the 12th century, and particularly following the Fourth Crusade (1202–1204) and the establishment of Frankish principalities on Byzantine soil from 1204 onwards, did heraldic uses penetrate in Byzantium. A native Byzantine heraldry began to appear in the middle and lower rungs of aristocratic families in the 14th century, coinciding with the decline of imperial authority and with the fragmentation of political power under the late Palaiologan emperors. However, it never achieved the breadth of adoption, or the systematization, of its Western analogues.
The Byzantine Empire, also referred to as the Eastern Roman Empire or Byzantium, was the continuation of the Roman Empire in its eastern provinces during Late Antiquity and the Middle Ages, when its capital city was Constantinople. It survived the fragmentation and fall of the Western Roman Empire in the 5th century AD and continued to exist for an additional thousand years until the fall of Constantinople to the Ottoman Empire in 1453. During most of its existence, the empire remained the most powerful economic, cultural, and military force in Europe. The terms "Byzantine Empire" and "Eastern Roman Empire" were coined after the end of the realm; its citizens continued to refer to their empire as the Roman Empire, and to themselves as Romans—a term which Greeks continued to use for themselves into Ottoman times. Although the Roman state continued and its traditions were maintained, modern historians prefer to differentiate the Byzantine Empire from Ancient Rome as it was centered on Constantinople, oriented towards Greek rather than Latin culture, and characterised by Eastern Orthodox Christianity instead of Paganism.
The Veroli Casket is a Middle Byzantine casket, probably made in Constantinople in the late 10th or early 11th century, and now in Room 8 of the Victoria and Albert Museum, London. It is thought to have been made for a person close to the Imperial Court of Constantinople, the capital of the Byzantine Empire, and may have been used to hold scent bottles or jewellery. It was later in the Cathedral Treasury at Veroli, south east of Rome, until 1861.
The Archangel ivory is the largest surviving Byzantine ivory panel, now in the British Museum in London. Dated to the early 6th century, it depicts an archangel holding a sceptre and imperial orb.
The object called by the museum Casket with Scenes of Romances is a French Gothic ivory casket made in Paris between 1330 and 1350, and now in the Walters Art Museum, Baltimore, Maryland. The casket is 4 5/8 inches high, 9 15/16 inches wide and 5 1/16 inches deep.
The Chrysotriklinos, Latinized as Chrysotriclinus or Chrysotriclinium, was the main reception and ceremonial hall of the Great Palace of Constantinople from its construction, in the late 6th century, until the 10th century. Its appearance is known only through literary descriptions, chiefly the 10th-century De Ceremoniis, a collection of imperial ceremonies, but, as the chief symbol of imperial power, it inspired the construction of Charlemagne's Palatine Chapel in Aachen.
Byzantine silk is silk woven in the Byzantine Empire (Byzantium) from about the fourth century until the Fall of Constantinople in 1453.
The Throne of Maximian is a cathedra that was made for Archbishop Maximianus of Ravenna and is now on display at the Archiepiscopal Museum, Ravenna. It is generally agreed that the throne was carved in the Greek East of the Byzantine Empire and shipped to Ravenna, but there has long been scholarly debate over whether it was made in Constantinople or Alexandria.
The Menologion of Basil II is an illuminated manuscript designed as a church calendar or Eastern Orthodox Church service book (menologion) that was compiled c. 1000 AD, for the Byzantine Emperor Basil II. It contains a synaxarion, a short collection of saints' lives, compiled at Constantinople for liturgical use, and around 430 miniature paintings by eight different artists. It was unusual for a menologion from that era to be so richly painted. It currently resides in the Vatican Library . A full facsimile was produced in 1907.
The Brescia Casket or lipsanotheca of Brescia or reliquary of Brescia is an ivory box, perhaps a reliquary, from the late 4th century, which is now in the Museo di Santa Giulia at San Salvatore in Brescia, Italy. It is a virtually unique survival of a complete Early Christian ivory box in generally good condition. The 36 subjects depicted on the box represent a wide range of the images found in the evolving Christian art of the period, and their identification has generated a great deal of art-historical discussion, though the high quality of the carving has never been in question. According to one scholar: "despite an abundance of resourceful and often astute exegesis, its date, use, provenance, and meaning remain among the most formidable and enduring enigmas in the study of early Christian art."
The Leo Scepter is a Byzantine ivory work of art, usually and erroneously identified as a scepter tip. Generally accepted to be from the 9th century, the piece is now part of the collection of the Berlin State Museums. It must be added that the date and identification of this ivory, although probable, are not indisputable. Various historians have suggested that the piece, carved with religious iconographies and inscriptions, such as the name of an Emperor Leo, had been made during the reign of Leo VI the Wise, and was probably handled in public ceremonies as a symbol of imperial and religious authority. Kurt Weitzmann on the other hand proposed that this ivory may have been made during the reign of Leo V the Armenian. However, a recent analysis of the content of its inscriptions has shown that the connection with the coronation of Leo V is unjustified.
The Salerno Ivories are a collection of Biblical ivory plaques from around the 11th or 12th century that contain elements of Early Christian, Byzantine, and Islamic art as well as influences from Western Romanesque and Anglo-Saxon art. Disputed in number, it is said there are between 38-70 plaques that comprise the collection. It is the largest unified set of ivory carvings preserved from the pre-Gothic Middle Ages, and depicts narrative scenes from both the Old and New Testaments. Some researchers believe the Ivories hold political significance and serve as commentary on the Investiture Controversy through their iconographies. The majority of the plaques are housed in the Diocesan Museum of the Cathedral of Salerno, which is where the group's main namesake comes from. It is supposed the ivories originated in either Salerno and Amalfi, which both contain identified ivory workshops, however neither has been definitively linked to the plaques so the city of origin remains unknown. Smaller groups of the plaques and fragments of panels are currently housed in different museum collections in Europe and America, including the Metropolitan Museum of Art in New York, the Louvre in Paris, the Museum of Fine Arts in Budapest, the Hamburg Museum of Art and Trade, and the Sculpture Collection in the Berlin State Museums.
The Trier Adventus Ivory or the Translation of Relics Ivory is an artwork in the Trier Cathedral Treasury in Trier, Germany. The 4th-century relief is a piece of ivory carving from the Byzantine Empire. It was acquired by the Cathedral of Trier in 1844. The work is considered to be an "enigma of Early Byzantine art" and scholars have debated over the ivory's date of manufacture, its original location, and who is depicted. The panel is relatively intact aside from minimal damage to the top right and bottom left corners and some figures having lost their heads.