2 10 13 https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/d779b432205ef4fb975ba52b5336060a.jpg 67a2c4996b12538fbf0ad81efa215c9e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Final Late Antiquity Mirador IIIF Collection Metadata UUID c6cea811-7e75-4e59-9625-790acc1758b2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lamp Handle with Dolphins Subject The topic of the resource a. Early Byzantine c. 4th-5th century b. 21.9 x 10.7 x 2.9 cm, copper alloy c. Metropolitan Museum of Art 63.185.1 Description An account of the resource A pair of dolphins use their tails to support the handle’s rectangular plaque. Their heads would have been attached to a now-lost base. Round flat hanging lamps, or polycandela, were lit by oil-filled glass vessels hung from the round holes in their designs. Paul the Silentiary in 563 described the effect of huge hanging lamps that lit the great church of Hagia Sophia in Constantinople: “Thus is everything clothed in beauty…no words are sufficient to describe the illumination in the evening: you might say that some nocturnal sun filled the majestic church with light.” IIIF Item Metadata UUID 4b33882d-563a-4811-977e-33108012d04b https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/fc42d571ab1d2301599c0296cb0c90e8.jpg 055f5c9ac20088ca314ea1143b76782c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Final Late Antiquity Mirador IIIF Collection Metadata UUID c6cea811-7e75-4e59-9625-790acc1758b2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Openwork Lamp with Openwork Inscription Subject The topic of the resource a. Early Byzantine c. mid 6th century b. 10.3 x 15.5 cm, silver c. Dumbarton Oaks, BZ.1965.1.12 Description An account of the resource The Sion Treasure (BZ.1963.36.1-3,11 and BZ.1965.1.1,5,12) is an extensive and varied group of liturgical objects and church furnishings discovered in the early 1960s in southern Turkey. A significant part of this treasure is in Dumbarton Oaks, while much of it is housed in the Antalya Museum, with a few pieces in private collections. The treasure’s name derives from the niello inscription on an oblong polycandelon mentioning “Holy Sion,” possibly the church or the monastery for which the objects were made. Many Sion Treasure items are inscribed for a Bishop Eutychianos, who is otherwise unknown. Several other individuals are named, but they, too, are unknown among historical sources. Many objects are unique—for example, a cross-shaped polycandelon and a peacock censer. Almost all the objects in the treasure are of exceptionally high quality, and many were in excellent condition when they were found, like the patens. Some pieces, however, were bent or crushed, suggesting that they were going to be melted down and their metal reused. If, as is supposed, the treasure was buried during the early seventh century, when Sasanian invasions were followed by Arab incursions, the Byzantine imperial authorities most likely were calling in church silver to mint coins in order to pay the wages of the emperor’s army. The openwork silver lamps in the Sion Treasure are among its most extraordinary artistic contributions to the history and craft of liturgical arts. This unusual cylindrical lamp has an openwork cut-out inscription over a horseshoe arcade, with a criss-cross openwork pattern on its flat bottom. The oil and burning wick floating on water were originally held in a glass liner that would have been blown directly into the silver container. Whether the lamp was standing or suspended from chains, light would have streamed out of it in all directions through its multiple openwork patterns. Eutychianos, the major donor of the Sion Treasure, recorded his humility and, incidentally, his pride by including his name in the formula of offering on the lamp: “Eutychianos, most humble bishop, [offers this] to [our] Lady, the Mother of God." - S. Zwirn IIIF Item Metadata UUID 320bd68d-cfdd-490e-b738-3fb914aae7e7 https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/33bf19667e02dbf115283880f97d8cd7.JPG fd6f8b233366bc145c6d98bea0844b6f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Final Late Antiquity Mirador IIIF Collection Metadata UUID c6cea811-7e75-4e59-9625-790acc1758b2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lampstand or Candlestick Subject The topic of the resource a. Early Byzantine c. 602-610 (stamps of Phocas) b. 21.2 cm, silver c. Dumbarton Oaks BZ.1938.83 Description An account of the resource Excavated in Antioch in a fragmentary state and restored, this lampstand or candlestick rests upon three feet, which support a flaring base of petal-shaped aprons. Above, a baluster topped with a disk ends with a four-sided spike known as a pricket. This would have fit into the four-sided sleeve in the base of a metal oil-lamp, known from numerous extant examples in bronze. Alternatively, it might have been used to stabilize a candle, a source of domestic lighting just coming into use in seventh-century Byzantium. Comfortably grasped about the baluster and carried, the stand is portable and would have allowed the source of light to be moved easily from place to place. Its size suggests that it was meant to be placed on a table or in a niche. Impressed on the underside of the base are traces of five control stamps, with which many Byzantine silver objects were marked between the late-fifth and mid-seventh centuries. This system of stamps may have been reserved for objects of high silver content, as the state attempted to control the trade of precious metals, or, the state may have mass-produced these objects in imperial workshops, stamping them during production to authorize their sale. Typically applied before an object was fully finished, stamps often provide the only information regarding date and place of origin. One of the stamps on this stand bears a partial inscription referring to the city of Antioch; a more complete inscription designating the city also appears on a similarly-stamped silver lamp in the Walters Art Museum in Baltimore. Thus, this stand was likely created in Antioch during the reign of Emperor Phocas (602-610), whose partial monogram appears beside one of the control stamps. Additionally, two very similar stands are now in the British Museum and the Byzantine Museum in Athens, dated to the mid-sixth and early seventh centuries, respectively, which were stamped in Constantinople. The close resemblance in size, shape and weight among these three objects, despite their different sites of manufacture, suggests some form of standardized, state-controlled production. - S. Zwirn IIIF Item Metadata UUID 2b9c521c-957b-4894-9efb-13c2bc65ac62