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                  <text>Final Late Antiquity Mirador</text>
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                <text>Lampstand or Candlestick</text>
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                <text>a.	Early Byzantine c. 602-610 (stamps of Phocas)&#13;
b.	21.2 cm, silver&#13;
c.	Dumbarton Oaks  BZ.1938.83&#13;
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                <text>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. &#13;
&#13;
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. &#13;
&#13;
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. &#13;
&#13;
- S. Zwirn&#13;
&#13;
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                  <text>Final Late Antiquity Mirador</text>
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                <text>Openwork Lamp with Openwork Inscription</text>
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                <text>a.	Early Byzantine c. mid 6th century&#13;
b.	10.3 x 15.5 cm, silver&#13;
c.	Dumbarton Oaks, BZ.1965.1.12&#13;
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                <text>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. &#13;
&#13;
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. &#13;
&#13;
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." &#13;
&#13;
- S. Zwirn&#13;
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                  <text>Final Late Antiquity Mirador</text>
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                <text>Lamp Handle with Dolphins</text>
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                <text>a.	Early Byzantine c. 4th-5th century&#13;
b.	21.9 x 10.7 x 2.9 cm, copper alloy&#13;
c.	Metropolitan Museum of Art  63.185.1&#13;
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                <text>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.&#13;
&#13;
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.”&#13;
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                <text>Terracotta oil lamp</text>
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                <text>a.	Early Byzantine c. 7th century&#13;
b.	3.8 x 9.2 cm, terracotta&#13;
c.	Metropolitan Museum of Art 74.51.2127&#13;
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                <text>Vessberg Type 19. Mold-made. Applied conical handle. Sharply carinated, pear-shaped body. Discus: square pattern comprising two curved, raised lines on each side around central filling hole; channel to wick hole, with a raised dot above; around discus, two raised, curving lines, the inner of which also encircles the wick hole. Wide, rounded shoulder with raised short lines on upper part. Small, flat base, with a pattern of a central hollow dot and a hollow circle.</text>
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                <text>a.	Coptic c. 4th-7th century&#13;
b.	4.9 x 11.7 x 9.7 cm, earthenware&#13;
c.	Metropolitan Museum of Art  25.10.20.71&#13;
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                <text>Lamp with Christ Trampling the Beasts</text>
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                <text>a.	Probably Tunisia, c. 5th century&#13;
b.	14.6 x 8.3 cm, molded earthenware&#13;
c.	Metropolitan Museum of Art 27.94.30&#13;
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                <text>Small earthenware lamps, made from double molds, were the most commonly used source of light in North Africa during the early Byzantine period. A wick produced from plant fiber or linen fabric was placed in a reservoir filled with oil, generally castor or sesame oil, and illuminated. The disc of this lamp depicts the standing figure of Christ holding a cross-staff and treading underfoot the lion, the dragon, the asp, and the basilisk. He is nimbed and flanked by flying angels. The image is enclosed by a broad rim decorated with circles enclosing the christogram (monogram for Christ’s name), foliated lozenges, and chevrons. Religious images used as decoration were thought to offer protection for the lamp’s owner.&#13;
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                <text>a.	Roman Syria c. 4th-6th century&#13;
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c.	Metropolitan Museum of Art 91.1.1361&#13;
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                <text>Translucent blue green; handle in same color; trails in translucent cobalt blue.&#13;
Plain rim, with downward flange on one side; flaring mouth; cylindrical neck, expanding slightly downwards; slanting, rounded shoulder; funnel-shaped body; thick bottom with kick and small, central pontil scar; reeded strap handle attached unevenly to shoulder, drawn up and outwards in a curve, then attached to edge of rim and trailed back on itself.&#13;
Narrow ribs extend in a tight spiral down from left to right from rim to lower body, in low relief at top but fading from shoulder downwards; a thick trail wound once round outer edge of rim; another thick trail applied on lower neck, wound round overlapping itself twice, then drawn in a spiral up neck and across underside of mouth ending as a fine line over trail on rim.&#13;
Intact, except for part of trail on neck; many bubbles, some elongated, and a few black impurities; shallow vertical tooling indent in side of body; dulling, slight pitting, faint weathering, and small areas of soil encrustation on exterior, thick soil deposit in bottom of interior&#13;
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                <text>a.	Roman Syro-Palestine after 5th century&#13;
b.	8.1 cm, glass&#13;
c.	Metropolitan Museum of Art  29.100.89&#13;
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                <text>Uncertain translucent color; trail and pontil pad in opaque brownish red.&#13;
&#13;
Thick, outsplayed rim, folded over, in, and pressed down into mouth; very short, concave, cylindrical neck; globular body; kick in bottom, with traces of pontil pad.&#13;
&#13;
Single marvered trail applied as a large pad on bottom and wound up in a spiral eleven or more times over body and rim, then tooled into hanging festoons with seven upward tooling strokes.&#13;
&#13;
Intact; pinprick bubbles on surface; thick creamy brown weathering and iridescence covering most of body with areas of pitting and dulling on exterior, but trail largely unweathered, soil encrustation and thick weathering on interior.&#13;
&#13;
Other examples are said to be made from translucent yellowish brown glass.&#13;
&#13;
A number of jars of this type are known, all probably from the same Syrian workshop. Their date, however, is less certain, and suggestions range from the 3rd to the 8th century A.D.</text>
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                <text>a.	Tunisia late 4th century&#13;
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c.	The British Museum 1994,0720.2&#13;
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                <text>a.	Tunisia mid 4th century&#13;
b.	18.8 x 4.7 cm, terra sigillata (African Red Slip Ware)&#13;
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                <text>Pottery: African Red Slip Ware dish or bowl with appliqué decoration. The larger scene shows a group of cupids. The central cupid reclines and seems to be mimicking Hercules, while the others make offerings to him of a garland and a kid. The smaller appliqué shows a centaur-triton blowing an elongated triton shell.&#13;
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