Late Antique and Byzantine Jewellery

Тези доповідей наукового семінару присвячені актуальним питанням археології Буковини та сусідніх регіонів. Розглядається проблематика кам'яної доби, епохи палеометалу, раннього заліза, середньовіччя та раннього нового часу, а також історії вивчення, охорони та використання об'єктів археологічної спадщини, музеєфікації старожитностей краю. Результати досліджень представили науковці та краєзнавці з Чернівецької, Івано-Франківської, Львівської, Тернопільської областей, Києва, Ужгорода, Луцька, Кам'янця-Подільського (Україна), Кишинева (Молдова), Сучави (Румунія), Будапешта (Угорщина).

psychologist Abraham Maslow proposed that all people had a strong desire to realize their full potential and were motivated by a number needs, some of which took precedence over others. Maslow's needs are often represented in pyramid form and classified into five categories: Physiological, Safety, Love and Belonging, Esteem, and Self-Actualization. Maslow added a sixth dimension -Self-Transcendence -to the needs in his later years.

Course Description: This course looks at jewelry throughout history and from around the world. We will explore aesthetics, design, materials, and production techniques across cultures. We will investigate the role of adornment in conveying gender and identity, and also consider cultural perspectives of jewelry as sacred and magical. Prerequisite(s): N/A Co-requisite(s): N/A Learning Goals: Students who successfully complete this course will develop the visual skills and critical vocabulary for identifying, describing, and contextualizing works of jewelry representative of diverse world cultures. Students will develop a critical, interdisciplinary approach to jewelry, incorporating art historical, anthropological, fashion, and identity theory. We will study jewelry, itself, as a primary resource, considering individual elements of jewelry and their incorporation into dress ensembles. In addition, we will consider the representation of jewelry elements and ensembles in art, literature, and contemporary media to better understand its roles in various culture.

This article describes replication experiments that producedfne pierced goldwork of the kind ofien termed opus interrasile, and hollow beaded wires oJa type identified on late Roman and early Byzantine jewellery. The use oJ punched circular holes in conjunction with a triangular-section graver-like tool is proposed as one wdy to reproduce the Jine pierced work. Precise hollow beaded wire can be made from sheet gold tube by means oJ a simple two-piece implement, A charcoal (originally wood?) core has been identiJied in some ancient hollow beaded wire and might haue been part oJ the fabrication technique. A case is also made against the continued use o;f the term op:us interrasileifor fne pierced gold work.

The Desana Treasure has been well known since its discovery, or rather, since it was purchased on the antiques market in 1938 by the ‘Museo Civico di Arte Antica’ in Turin. The composition of the Desana treasure shows that is was ‘collected’ over centuries. A ring with gemstone and a chain from the 2/3rd century are the oldest elements and objects from early 6th century the most recent. The latter give the date for the burial. Though, most objects are from the late 5th / early 6th century AD, that is from the reign of Theoderich the Great. The composition of the Desana treasure is interesting from another point of view as well. There are male and female dress adornments and silverware in the form of spoons. This new analysis of the Desana treasure allows a fresh view on this complex and offers insights into society in Ostrogothic Italy, especially into the relationship between old Latin landowners and Ostrogothic nobility. The detailed description and photographs of the 51 objects give valuable information regarding the goldsmith’s art, which is extremely important because of the lack in Italy of burials of the same value belonging to that period. So, this description is crucial for future research about goldsmith’s workshops in the late antique Mediterranean.

An update of the Roman coin jewels auctioned from 2006 to 2016 is presented and discussed. They are two necklaces, nine pendants and two finger rings. The essay also presents a new ideal assemblage of the necklace from the so-called "Diarchy Treasury" offered for sale in 2016 again and two uniface gold medallions manufactured in the Barbaricum from recent sales catalogues.

The largest necropolis of Naissus (modern Niš, Serbia) in the late antiquity period was formed on the right bank of the river Nišava, east of the fortification, along the road that led to Ratiaria. It is located on the site of today's city district of Jagodin Mala, after which it became known in literature. This area had been intensively used for burials from IV to the end of VI or beginning of VII century.
The necropolis of Naissus in Jagodin Mala represents a well organized cemetery, with regular rows of graves and tombs, whose number is the largest in the vicinity of grave basilicas, which were erected at a small distance one from another. Five such buildings were registered so far by the archaeological research and the most important one is the basilica with a crypt (V-VI c.).
The most  luxury grave constructions belong to barrel vaulted tombs and tombs with arcosolia and calotte, sometimes decorated with wall painting (representations of St Paul and St Peter, IV-V c.; Christ monogram in the laurel wreath, cca 382 AD; etc). Richness of the grave goods and inventory indicates that city population lived in socially and economically prosperous times.

The Ancient City of Parion is located in the village of Kemer, in the Biga district of Çanakkale province, north
of Troas Region. Parion, which had its golden age during the Roman Empire period, has been a center of
religious and cultural attraction for centuries. Although there is no clear information about the establishment
of Parion, it is stated in ancient literature that the city was colonized by Paros, Miletos and Erythrai in 709 B.C.
The first scientific excavations in Parion were started in 2005 and still continue today. Excavation works are
currently being carried out at eight sectors. Those eight sectors are South Necropolis, Slope Bath, Hellenistic
Theatre, Roman Bath, Roman Odeion, Hellenistic Tower, Acropolis and Roman Chamber Tombs. As a result
of the works carried out since 2005, jewelleries made from many precious and semi-precious metals were
found. A large number of jewellery objects made from various metals were found, especially in the Southern
Necropolis of Parion. The jewelleries found were made of various materials such as gold, silver, bronze, lead,
terracotta, glass and bone. The jewellery unearthed in the Southern Necropolis is dated to the Late Classical-Early Hellenistic period (4-3th Century BC) and to the Roman period (1st-3rd Century AD). It is observed that
jewelleries were ornamented by applying different techniques. Ornamentation techniques have been applied
to the jewelleries according to the types of materials they were made of. ornamentation techniques such as
filigree, ajoure, plaque, incise, amalgam and gilding were observed in the jewelleries discovered in the Parion.
In this study, ornamentation techniques seen in finds will be examined chronologicaly. However, some wrong
definitions used in ornament techniques terminology will be discussed.

A Byzantine Casting Mould for a Hystera (Womb) Amulet and a Cross in the Museum Schnütgen, Cologne: A Contribution to the Cultural and Religious History of Byzantium and the Material Culture of Byzantine Magic, in: Lebenswelten zwischen Archäologie und Geschichte. Festschrift für Falko Daim zu seinem 65. Geburtstag. RGZM Monographien 150, hg. von J. Drauschke, E. Kislinger, K. Kühtreiber, T. Kühtreiber, G. Scharrer-Liška, T. Vida, Mainz 2018, 629-644.


A Byzantine casting mould in Cologne comprises cavities for eight pendants, amongst them a pendant cross and a »pagan« hystera amulet with a womb demon made to protect the ability of procreation. The context and provenance of the mould are unknown, but comparisons suggest a date in the 12th-14th centuries. However, since hystera amulets are usually dated earlier, to the 10th-12th centuries, the mould thus represents the latest material evidence for hystera amulets in Byzantium. This demonstrates the continued use of »pagan« amulets, predominantly known through literary evidence. Throughout Byzantine history, amulet wearing had been fervently fought by the church, but also by the state since Constantine the Great. Amulet making was then explicitly prohibited in the 8th-century Ecloga. Nevertheless, this mould also served to cast a Christian cross in the same workshop, thus making it a unique and fascinating object, which provides a revealing insight into the cultural and religious history of Byzantium.

The only surviving early Byzantine broad collar with pendants, the so-called Berlin collar, was
acquired as part of the so-called treasure of Assiût in Cairo in 1909. Based on its technique, the motifs of its pierced-work, and its settings, the collar can be dated to the second half of the 6th or the first half of the 7th century. A date to this period is further corroborated by a pair of bracelets and a necklace from the
same treasure, which were probably made as a set together with the collar. According to images, collars with pendants were worn by private persons, mythological figures, Constantinopolis, Roma, Maria, Saints, and female members of the imperial family from the 4th century onwards. From the early 5th century onwards, though, such collars seem to have been reserved for Constantinopolis
and Roma, Maria and Agnes in imperia attire, and female members of the imperial family. Thus, broad collars with pendants were probably used as regalia. Such a function is also suggested by two extant collars with pendants from the medieval period: one from Preslav, the other from Mainz. The Berlin collar is abundantly decorated with emeralds, hyacinths (sapphires, one amethyst), and pearls.
Thus, it stands out among other pieces of jewellery from the same period, none of which is decorated in a
similar way and with the same materials. According to literary sources and images, emeralds, hyacinths,
and pearls were used on regalia. The edict Codex Iustinianus 11.12 restricts these materials and regulates
that all imperial jewellery and regalia had to be made in the palatine workshops. The shape and the materials of the Berlin collar, therefore, suggest that it functioned as a regalium for a female member of the imperial family. Thus, it was probably made in Constantinople, and it may have reached Egypt as a votive to an early Byzantine church or pilgrimage shrine.

Музейні читання. Матеріали наукової конференції «Ювелірне мистецтво — погляд крізь віки». Київ, Музей історичних коштовностей України, 9-11 листопада 2009 р. — Київ: 2010. — 272 с.

Чергова конференція ‘‘Ювелірне мистецтво - погляд крізь віки”, що відбулася в рамках щорічних “Музейних читань, зібрала науковців з України, а також - інших держав. Співробітники музеїв, науково-дослідних інститутів та університетів обговорювали проблеми дослідження історії художньої обробки металу та збереження культурних цінностей, питання мистецтвознавчих та техніко-технологічних аспектів вивчення та експертизи ювелірних творів.
Збірник постить матеріали конференції, проведення якої щорічно здійснює Музей історичних коштовностей України у співпраці з Центром пам’яткознавства НАН України та Українського товариства охорони пам'яток історії та культури.
Автори наукових робіт, представлених у кількох розділах збірника, розглядають широке коло питань, цікавих для фахівців, студентів та всіх небайдужих до культури.

Ricerche sul costume dei chlamydati nei secoli V e VI. Le fibule a croce latina d'oro e d'argento dei tesori di Ténès e Desana zione, società, a cura di I. . 2. I dubbi principali relativi a tali questioni sono riassunti da DEPPERT-LIPPITZ, A Late Antique Crossbow Fibula cit. (nota 1), pp. 61-62, con bibliografia relativa alle varie ipotesi formulate in merito. 3. Elenco e descrizione dei pezzi noti in Ibid., pp. 39-60. Utili, anche se non

In order to facilitate the research of students and other scientists on archaeological material regarding the ancient Thessaloniki and especially the western part of it up around the western area of the ancient fortification, we contribute the following work which is the text of a speech given on Tuesday, April 19 2016 at 19:00 in the "Manolis Anagnostakis" auditorium in Thessaloniki City Hall.

This talk briefly summarizes the main archaeological sites and monuments of this region. The event was organized by the 2nd Municipal ward of Thessaloniki, having as main target the briefing of citizens about the archaeological identity of their neighborhood.

The illustrations accompanying the text are subject to copyright laws.

The present work aims to offer an overview of the Byzantine glass finds from Northern Greece. Material is presented geographically. Glass objects had almost completely vanished during the Dark Ages (7th-9th century A.D.), and they reappeared in the Middle Byzantine period (9th-12th century A.D.). Finds from this period mainly consist of glass jewellery, like glass bracelets, beads and gems. Glass vessels -lamps, tableware and other containers-are found in small numbers. Also continues the production and use of glass tesserae for mural mosaics. There is evidence of local production of glass, in Thessaloniki, but no products of these workshops can be determined. The use of glass flourishes once more during the Palaeologan period. New forms of vessels appear in the market, mainly imports from Venice and the Caliphates, while local production is not easily discernable. Glass tesserae, although present, are very rarely used now for wall mosaics. Quantitatively the use of glass is far lower than in the Early Christian period and it seems that it was restricted to a very small part of the population, and to certain uses.

The purpose of this paper is to present a reading of the monogram on a gold lunate earring from the Benaki Museum, and to propose a connection with three pendants from the Preslav Treasure in the context of a luxurious Early Byzantine workshop group. The centrepiece of the decorative composition of the openwork lunate is a medallion, flanked by peacocks, and filled with a cruciform monogram. The composition with the peacocks is repeated on other lunate earrings, worked out in the opus interrasile style. The monogram should be deciphered as the name (Λ)ΕΟΝΤ(Ι)Α(C), thus the jewel’s owner could be the empress Leontia, wife of emperor Phocas (602-610). Certainly, the direct connection with the Preslav Treasure openwork pendants is expressed through a very characteristic common detail: the holders of the outer pearl strings are round (ellipsoid) extended length ‘eyelets’ made of folded half-ellipsoid wires. As a result, their date must be reconsidered as it might be much earlier than previously thought.

The book is devoted to the publication and the study and gold jewelry from the excavations, chance finds and purchases from Phanagoria. The work is based on materials acquired by  the Institute of Archaeology of Russian Academy of Sciences in Moscow, as well as museums in Moscow (State Pushkin Museum of Fine Arts), Krasnodar and Taman from 1928 to 2011. Chronological framework of work: from the second half of the 4th century BC to late antiquity (the latest finds are dated to the first half of the 5th century AD). A characteristic feature of the work is a complex approach to the study. Artifacts from Phanagoria considered as elements of the funeral inventory (78 burial complexes). Typological and stylistic analysis of objects (277 catalogue numbers) is supplemented by special numismatic and epigraphic observations. Particular attention is paid to the investigations of gold objects using the methods of the natural sciences.
Книга посвящена публикации и исследованию золотых изделий из раскопок, случайных находок и покупок из Фанагории. Работа основана на материалах, которые поступили в собрания Института археологии РАН в Москве, а также музеев Москвы (ГМИИ им. А. С. Пушкина), Краснодара и Тамани с 1928 по 2011 гг. Хронологические рамки работы: от второй половины 4 в. до н.э. до позднеантичного времени (самые поздние находки относятся к первой половине 5 в. н.э.). Особенностью работы является комплексный подход к исследованию. Артефакты из Фанагории рассматриваются как элементы погребального инвентаря (78 погребальных комплексов). Типологический и стилистический анализ предметов (277 каталожных номеров) дополняется специальными нумизматическими и эпиграфическими наблюдениями. Особое внимание уделено изучению рассматриваемых в работе предметов из золота при помощи методов естественных наук.

Bu tez içerisinde, Myra ve limanı Andriake kazılarında, mezarlardan ve çeşitli yapılardan ele geçen 130 takı ve takı ögesi kataloglanmıştır. Bu takılar tipolojik, stilistik, ikonografik ve teknik açılardan incelenmiştir. Tez kapsamında, küpe, yüzük, takı taşları, kolye sarkaçları, bilezikler ve boncuklar gibi takı türleri bulunmaktadır. Bu örneklerden bazıları takım oldukları için ya da birbirleri ile ilişkili görüldükleri için bağlamlarından kopmamaları amacıyla tek katalog numarası altında değerlendirilmiştir. Bu çalışma içerisinde incelenen takılar, tipolojik gruplara ayrılmıştır. Her grubun, objelerin form ve bezeme özelliklerine göre oluşturulmuş alt grupları bulunmaktadır. Özellikle küpe buluntuları Roma Dönemi'nin ana küpe tipolojisiyle paralellik göstermektedir. Büyük bir çoğunluğu döneminin ana tipolojisini takip eden takı buluntularında çok çeşitli malzemeler kullanılmıştır. Myra ve Andriake takıları oldukça zengin tipolojik ve ikonografik özellikler taşımaktadır. Mezarlardan ve çeşitli yapılardan ele geçen takıların neredeyse tamamında kullanım izlerinin gözlemlenmesi bu takıların sadece mezar armağanı olmadıklarını aynı zamanda günlük hayatta da kullanılmış olan ölü eşyaları olduklarını göstermesi açısından önemlidir. Bu durum, Myra ve Andriake takılarının ölü armağanı ya da adak için özel olarak üretilmediklerini gösterir. Takılar, birey tarafından yaşarken kullanılmış ve ölüm sonrası yaşamında da ona eşlik etmeye devam etmişlerdir. Andriake'deki ÇA-5/B açma numaralı mezar ile Demre Çayı'nda bulunan altı lahit, antik dönemde soyulmamış oldukları için daha doğru değerlendirme yapmamıza olanak sağlamaktadır. Mezarlardan ele geçen örnekler M.S. 2.-3. yüzyıl takı geleneğinin izlerini taşır. Kataloğumuzdaki en erken takı örneği olan 29 katalog numaralı Hermes betimli gemme M.S. 1.-2. yüzyıl aralığına tarihlendirilmiştir. Buluntular arasındaki en geç tarihli örnek ise İslami Dönem'e tarihlendirilen içte opak mavi cam ipliği bezemeli 93 katalog numaralı burgulu bilezik parçasıdır. Myra ve Andriake takılarının büyük çoğunluğu M.S. 2.-3. yüzyıllara aittir. Altın ve süs taşlarının yoğun olarak kullanıldığı bu zaman aralığına ait takıların neredeyse tamamı mezarlardan ele geçmiştir. M.S. 5. yüzyıldan sonra ise Hristiyanlık sembolleri ve anlatıları ile bezenmiş bronz takıların kullanımı artmıştır. Andriake'de bulunan takılarda hem doğu hem de batı ikonografisinin kullanılması kentin kültürel dokusunu açıkça yansıtmaktadır. Roma ile Mısır arasında ticari ilişkilerin bulunması ve Andriake'nin bu noktada önemli bir liman olması göz önünde bulundurulduğunda uluslarası nesne trafiğine sahne olması şaşırtıcı değildir.

In this thesis, 130 jewellery and jewellery components were catalogued from the graves and various structures in the excavations of Myra and its harbour Andriace. These jewels were examined in terms of typological, stylistic, iconographic and technical aspects. Within the scope of the thesis, there are jewellery types such as earrings, rings, gemstones, pendants, bracelets and beads. Some of these examples have been studied under a single catalogue number, so that they do not break from their context as they are pairs or seem to be related to each other. Jewels studied in this thesis is divided into typological groups. Each group has subgroups formed according to the form and decoration features of the objects. In particular, the earrings follow the general typology of the Roman Period. A wide variety of materials are found in jewellery finds, the vast majority of which follow the main typology of their time. The jewellery of Myra and Andriake has very rich typological and iconographic features. It is important to observe the traces of wear marks that indicate usage in almost all jewels recovered from graves and various structures, as they show that these jewels aren't not only burial gifts but also burial gifts used in daily life. This indicated that jewels of Myra and Andriace aren't specially produced for grave gifts of votive. These jewels were used while living by their owner and continued to accompany him or her in his post-mortem life. The grave numbered ÇA-5/B in Andriace and the six sarcophagi in Myros Stream allow us to make a more accurate assessment since they were not peeled in the ancient period. Jewels obtained from the graves bear the traces of the jewellery tradition of 2nd-3rd centuries AD. The earliest jewellery example in our catalogue, the ring stone with the depiction of Hermes (Cat. No. 29), is dated to 1st-2nd centuries AD. The latest example among the finds is the twisted bracelet with an opaque blue glass trail decorated inside, dated to the Islamic Period (Cat. No. 93). The vast majority of Myra and Andriace's jewels belongs to 2nd-3rd centuries AD. Almost all of the jewels belonging to this period, in which gold and ornamental stones were used extensively, were recovered from the graves. After the 5th century AD, the use of bronze jewels decorated with Christianity symbols and narratives increased. The use of both eastern and western iconography in jewels found in Andriace clearly reflects the cultural texture of the city. Considering the commercial relations between Rome and Egypt and Andriace is an important harbour at this point, it is not surprising that there is international object traffic in Andriace.

In this paper I discuss two gold pendants, from the Late Antique
or Early Medieval Period, which are somewhat unique finds for
Slovenian territory. The first pendant is from the Late Antique site
of Kranj-Lajh (Carnium); it is leaf-shaped, and the chronologically
older pendant of the two. The child grave in which this pendant
was found is interpreted as belonging to an individual of the local
Late Antique elite. The grave is notable also because some of
the grave goods were made in the middle of the 5th century AD,
even though the burial presumably dates to the first half of the
6th century AD. On the basis of a single-sided comb with low handle, I assume that the individual did not belong to the Gothic cultural
milieu. The second pendant, a tear-shaped specimen, was
found in one of the oldest settlement layers of Early Mediaeval
Koper (Iustinopolis), at the site of Kapucinski vrt. I argue that it
was worn not as a pendant on a necklace or earring, but rather
as an integral part of an earring. This interpretation is based on
earrings from another time (the second half of the 3rd century AD
and the 4th century AD) and place (south-western Crimea), with
which the pendant from Koper shares many features.

Gilded copper hollow spherical pendants known as gombiky (s. gombik) were examined to identify the technology of gilding and the material chosen as the substrate. The examined ornaments dating from the ninth and tenth centuries AD were recovered from elite graves of two major political, ecclesiastical and economic centres of the Early Medieval period located in the territory of the present-day Czech Republic: Mikulčice and Prague Castle, major sites of Moravia and Bohemia, respectively. Taking into account the state of degradation and possible bias due to earlier restorations, surface and bulk characterisation of the gilded material has been performed combining optical observation, X-ray radiography, metallography, scanning electron microscopy with energy-dispersive spectrometry (SEM/EDS analysis) and focused ion beam (FIB) milling mounted on FEG-SEM. The manufacturing procedure was reproduced by experimental archaeology. A detailed investigation of the gilded artefacts revealed several types of gombik construction involving different mounted elements, including the main body parts and the suspension system elements joined by hard soldering. The different constitutive parts are made with almost pure copper or low-purity copper. The systematic use of fire gilding (mercury amalgam gilding) was documented. Differences in the materials that were used and technical quality show the coexistence of finely produced objects by highly skilled and knowledgeable jewellers alongside more coarsely manufactured imitations. These variations are discussed in terms of different workshops in a possible relationship with their origin of manufacture.

Ein Anhänger in München, frühbyzantinische Diademe und anderer Hochzeitsschmuck Yvonne Stolz Der Anhänger in der Münchner Privatsammlung CS Inv. 378 ist Ausgangspunkt dieser Studie. Er besteht aus zwei getriebenen Goldblechscheiben, deren Rückseiten gegeneinander gesetzt sind, und einer Fassung mit einem durchbrochen gearbeiteten Dreiblattfries und einem Perldraht. Zwei einfache Ösen am oberen Rand der Fassung waren Teile eines Scharniers, das den Anhänger mit einer heute verlorenen Halskette verband. Eine der beiden Goldblechscheiben (Abb. ) zeigt eine dextrarum iunctio mit Christus im Zentrum, dem Bräutigam zu seiner Rechten und der Braut zu seiner Linken. Christus, bärtig und kreuznimbiert, ist in eine bodenlange Tunika und ein pallium gehüllt. Der Bräutigam trägt eine knielange Tunika und darüber eine Chlamys mit tablion, die von einer Fibel zusammengehalten wird. Die Braut ist in ein bodenlanges, reich verziertes und gegürtetes Gewand gekleidet. Außerdem trägt sie ein perlengeschmücktes Banddiadem (Abb. ) sowie einen Halsbehang mit Pendilien. Symbole für Sonne und Mond sind neben den Köpfen des Bräutigams und der Braut dargestellt. Zu beiden Seiten der dextrarum iunctio befindet sich die Inschrift IRHNHN THN EMHN / DIDWMI UMEIN, Meinen Frieden gebe ich Euch (Joh. 4,27). Unterhalb der Szene ist ein Krater dargestellt, dem eine Ranke entwächst. Die zweite Goldblechscheibe zeigt einen Marienzyklus (Abb 2). Die Verkündigung nimmt die oberen zwei Drittel der Goldblechscheibe ein und wird von der Inschrift XAIRE KEXARITOMENH O KC META COU, Gegrüßet seist Du, Gnadenreiche, der Herr sei mit Dir (Lk ,28), gerahmt. Unterhalb der Verkündigung befinden sich die kleiner dimensionierten Szenen der Heimsuchung, der Geburt Jesu mit der Hebamme Salome und des in der Krippe liegenden Kinds mit Ochs und Esel, Josef und einem Hirten mit Tier. Bislang haben sich drei Autoren ausführlicher mit dem Münchner Anhänger beschäftigt: Iacobini, R.-Alföldi und Deckers (s. Anm. ). Alle datieren den Anhänger aus verschiedenen Gründen zwischen das 5. und 7. Jahrhundert und lokalisieren ihn in den östlichen Mittelmeerraum. Einigkeit herrscht ferner darüber, dass Braut und Bräutigam wegen der dargestellten Realien nicht derselben gesellschaftlichen Schicht angehören können: Die Braut trägt mit ihrem Diadem nämlich ein kaiserliches Insignium, während der Bräutigam durch seine Tracht als hoher, höfischer Beamter gekennzeichnet ist. Da die nächsten Parallelen für das Diadem der Braut aus der Regierungszeit der Grundlegend Iacobini 99; Deckers, in: Wamser, Zahlhaas (Hrsg.) 998, S. 207-2 Nr. 308; darauf beruhend Deckers, in: Stiegemann (Hrsg.) 200, S. 292f. Nr. IV.2 und Deckers, in: Wamser (Hrsg.) 2004, S. 306f. Nr. 505; R.-Alföldi 2006. Der Anhänger wiegt 40,9 g. Mein herzlicher Dank gilt an dieser Stelle J. Deckers, der mich auf die Publikation von M. R.-Alföldi aufmerksam gemacht, mir unpublizierte Forschungsergebnisse zur Verfügung gestellt und den Anhänger ausführlich mit mir besprochen hat. Kaiserin Ariadne (474-55) stammen, 2 ist die Braut von Iacobini und R.-Alfölidi als Kaiserin Ariadne identifiziert worden. 3 Die Braut trägt jedoch keine Chlamys, wie sie in dieser Zeit fester Bestandteil der kaiserlichen Robe war, und so kommt Iacobini zu dem Schluss, dass der Münchner Anhänger die Vermählung der Prinzessin Ariadne, Tochter des regierenden Kaisers Leo I. (457-474), mit dem späteren Kaiser Zenon 466/467 zeigt. Da Ariadne zu diesem Zeitpunkt noch nicht regierte, könnte sie ohne die Chlamys dargestellt worden sein. Im Gegensatz dazu identifiziert R.-Alföldi die Darstellung nicht als Hochzeitsszene, sondern als ein Ereignis, das nach dem Tode Zenons stattfand: die Berufung des silentarius Anastasius auf den Thron durch Kaiserin Ariadne am . April 49. Während Iacobini die Inschrift Joh. 4,27 und den Marienzyklus in Relation zur dargestellten Hochzeit sieht, 4 deutet R.-Alföldi die Inschrift als Absegnung der "gelungenen Kaiserwahl" und den Marienzyklus als Stellungnahme Ariadnes zur Gottesmutterschaft Mariens. 5 Entgegen Iacobini und R.-Alföldi zieht Deckers zwar eine Deutung der Darstellung als Hochzeit einer kaiserlichen Prinzessin mit einem hohen höfischen Beamten in Erwägung und nennt in diesem Zusammenhang die Doppelhochzeit zweier Töchter des Kaisers Tiberius im Jahre 582, er möchte jedoch nicht endgültig ausschließen, dass der Münchner Anhänger eine bürgerliche Hochzeit zeigt. 6