Byzantine Bronze Cross Pendant and Angel Finial

Hollow-formed capsule pendant with granule finials, median openwork filigree band. 0.83 grams, 14 mm



Ex property of a late Japanese collector, 1970s.

Flat-section ring with four round holes and attachment fittings for four substantial chains, forming a polycandelon chandelier with multiple candles. 528 grams, 27 cm hanging height



Ex Surrey, UK, collection of a gentleman, 1960-2000s.

In 563 A.D., Paul the Silentiary visited Hagia Sophia in Constantinople and described the wondrous lighting effects, ‘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.’ The church was lit by polycandela, an early type of candelabra that held glass oil lamps rather than candles. The lamps were either conical or shaped like round bowls with an elongated stem attached beneath. An effective and very atmospheric source of lighting, polycandela required considerable skill in casting and glasswork. Amidst the burning of incense and the chanting of prayers, the flickering light must have helped to inspire pious devotion. Contemporaries certainly attest to this feeling and among the surviving accounts, that of Arculf, Bishop of Gaul, is particularly affecting. In 670 he went on a pilgrimage to Jerusalem and visited the Church of the Ascension, ‘…to the customary light of the eight lamps…on the night of the feast of the Lord’s Ascension it is usual to add innumerable other lamps; and under the terrible and wondrous gleaming of these, pouring out copiously through the shutters of the windows, all Mount Olivet seems not alone to be illuminated, but even to be on fire, and the whole city, situated on the lower ground nearby, seems to be lit up.’

Discoid in form with integral loop, obverse with low-relief images of mounted Saint Sisinnios killing the demon Gyllou (Lilith), Agnus Dei, a stork, a lion, the holy snake Chnoubis and other symbols with Greek text between; reverse with a standing nimbate angel within a panel of Greek text from Psalm 91. 17.3 grams, 73 mm



From the collection of a gentleman, acquired on the London art market in the 1990s.

The text surrounding the angel recites the verses of Psalm 90 (Heb.91) in the ‘Great Reward Prayer’ (Μεγάλο Απόδειπνο): …Ο κατοικών εν βοηθεία τού Υψίστου, εν σκέπη τού Θεού τού ουρανού αυλισθήσεται. Ερεί τώ Κυρίω, Αντιλήπτωρ μου εί, καί καταφυγή μου… = …He who dwells in the shelter of the Most High will rest in the shadow of the Almighty. I will say of the Lord, 'He is my refuge and my fortress…'