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                <text>Silver Ewer</text>
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                <text>Silver Ewer, 4th century, Early Byzantine, Antioch, silver, height: 20 cm, Washington D.C., Dumbarton Oaks.</text>
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                <text>Museum Desciprtion: “This silver ewer reflects the good life that could be found in a household in Daphne, the wealthy suburb of the great commercial city of Antioch. In one of the villas, the ewer was discovered purposely buried together with three other silver objects: a plate, a bowl, and a statuette of Aphrodite—the latter perhaps a guardian of the household (cf. Ross, 1953; Mango, 1986). Probably associated with the bowl, the ewer presumably formed a set such as those known as parts of the dinner service in well-to-do Roman households: servants would pour water from a ewer over the hands of diners and catch it in a bowl before eating. Although this ewer is not decorated, its bulbous body, long neck, and sharply angled handle place it in the fourth century. The cache of objects was excavated in the House of Menander, an extensive urban villa whose name derives from a representation of the famous Hellenistic Greek playwright on a floor mosaic. The mosaic with Fishing Erotes at Dumbarton Oaks (BZ.1940.64) also comes from this villa.”&#13;
&#13;
-S. Zwirn</text>
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                <text>http://museum.doaks.org/objects-1/info/27018 </text>
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                <text>Dumbarton Oaks BZ.1940.24</text>
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                <text>Solidus of Constantine I</text>
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                <text>Solidus of Constantine I, 323, Roman, Sirmium, gold, 4.16g, Cambridge, MA, Harvard Art Museums. </text>
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                <text>Obverse Bust of Constantine to r., laureate, draped and cuirassed&#13;
&#13;
Inscription: CONSTANTINVS P F AVG &#13;
&#13;
CONSTANTINVS P[IVS] F[ELIX] AVG[VSTUS]&#13;
&#13;
Constantine Dutiful and Wise Augustus&#13;
&#13;
Reverse Emperor standing crowning trophy&#13;
&#13;
Inscription: SECVRITAS PERPETVA &#13;
&#13;
Perpetual Security </text>
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                <text>https://hvrd.art/o/196493</text>
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                <text>Harvard Art Museums 1951.31.4.2</text>
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                <text>Christ as Sol Invictus</text>
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                <text>Christ as Sol Invictus, Roman, 3rd century, mosaic, Rome, St. Peter’s Basilica. </text>
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                <text>This ceiling mosaic in Mausoleum M, the Tomb of the Julii, in the Vatican Necropolis underneath St. Peter’s Basilica, has been interpreted as depicting Christ as Sol Invictus (Unconquered Sun), the sun god of the later Roman Empire. Sol Invictus came to be favored by Roman emperors after Aurelian elevated the cult in 274 CE. Constantine I also identified with Sol. Invictus and has the figure depicted on some of his coinage. The figure depicted in this mosaic, if it is indeed a blending of Christ and Sol, is shown riding in a chariot pulled by rearing horses with vines (a symbol associated both with Dionysius and with Jesus) surrounding. </text>
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                <text>http://stpetersbasilica.info/Necropolis/TombM.htm </text>
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                <text>St. Peter's Basilica </text>
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                <text>Roundel</text>
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                <text>Roundel: Personification with Candelabra Plants, Byzantine, Egypt, 7th-8th century, 20.23 cm, wool and linen, Cambridge, MA, Harvard Art Museums. </text>
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                <text>Museum Description: “Tapestry woven roundel (orbiculus). The small medallion at its center contains a female figure, likely a beneficent personification, with a green nimbus against a bright red background. Her breasts are distinguished in yellow against her dark blue torso. She wears a skirt with many folds and may be seated. The woman raises one arm and possibly holds up a leaf in a gesture common to depictions of personifications of the earth. Thin white supplementary threads above the woman’s right hand may be an unreadable interpretation of the inscriptions that often identify personifications. Eight thick, gold plant forms outlined in black surround the central medallion in a symmetrical arrangement; these plants are of the jeweled candelabra type often featured in textile medallions in the later part of Late Antiquity. Four of the vine-like plants contain birds, and the other four have leaves/flowers of various colors. Small birds and red dots fill the empty space within the main field. The borders of the central medallion and the larger design field are formed by interlocking color segments outlined in black. The outermost border is formed of red and yellow tendrils and blue dots.&#13;
&#13;
Undyed warps run parallel to the orientation of the figural design.”</text>
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                <text>Harvard Art Museums 1931.46</text>
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                <text>Griffin’s Head Lamp</text>
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                <text>Griffin’s Head Lamp, 4th-5th century, Early Byzantine, bronze, 20 x 24.5cm, Washington D.C., Dumbarton Oaks.</text>
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                <text>Museum Description: “Noteworthy for its imposing size, this lamp is also remarkable for its combination of pagan and Christian imagery. The handle is an elegantly articulated griffin’s head, which derives from pagan mythology, while the cross, symbol of salvation, and the dove, symbol of enlightenment through the Holy Spirit, are primarily Christian symbols. The griffin, having an eagle’s head and a lion’s body, was associated with Apollo, recognized as the god of the sun, the source of light, and the Muses, personifications of culture and knowledge. &#13;
&#13;
Light, a frequent metaphor of divine emanation in the Old Testament, was often used as a reference to Jesus and his ministry in the New Testament. In fact, every Christian lamp could be a metaphor for Jesus, who said, “I am the light of the world; he who follows me will not walk in darkness, but will have the Light of Life” (John 8:12). An apt reference to Christian salvation, lamps and other Christian symbols were decorated with crosses during the centuries after Christianity’s official acceptance by the Emperor Constantine in 313. &#13;
&#13;
During the early Christian centuries, Christian imagery was not isolated from pagan imagery, nor did it wholly replace it. Combinations of age-old images were thought to reinforce the spiritual and apotropaic character of new visual images, aiding in warding off malevolent forces. The griffin, cross, and dove combined Apolline and Christian references into a new, but short-lived cultural hybrid.”&#13;
&#13;
-S. Zwirn </text>
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                <text>http://museum.doaks.org/objects-1/info/27320 </text>
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