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Knowledge
Spanning over a millennia, the Byzantine Empire began under the rule of Constantine the Great, who became Roman Emperor in 306 AD. After ending the persecution of Christians, he eventually proclaimed himself one, and in 330 AD he made Constantinople the second capital of the empire after Rome.
Design Periods
Where was the Empire?
The Byzantine Empire thrived between 330-1453 AD. At its height, its borders reached as far as the Mediterranean coast and North Africa, and saw close to one hundred emperors rule. With far reaching trade links to the East and West, it is unsurprising that jewellery produced by the Byzantine Empire had influence on style beyond its borders.
Throughout the empire's existence, jewellery was just one of the many means employed to display its wealth, as well as acting as a symbol of its faith. In 1453, Constantinople, the capital of the empire, was stormed by Ottoman armies, effectively ending one thousand years of Byzantine rule.
£16,600
£9,100
Types of Jewellery
A wealthy society, it was common for most households to own at least one or two gold rings as a way of displaying their wealth. Jewellery was worn by all members of society, men and children included and those who could not afford gold, wore silver or bronze.
For men, belt buckles and fibula were crafted from gold and worn by high ranking men to signify their status. Signet rings with names and monograms engraved were also a popular choice. The early Byzantine signet ring was rooted in Roman imperial traditions. Rings engraved with symbols like the eagle or phoenix marked authority and ownership Crafted from gold, these rings were primarily functional, used to seal documents and assert the control of the Emperor. As Christianity grew, these rings began reflecting the emperor’s divine mandate, intertwining spiritual and political power.
For women, rings, bangles and especially earrings were all the rage. In particular, half-moon shaped earrings became a typically Byzantine look and these often displayed intricate gold work and depictions of flora and fauna from the natural world.
Gold medallions were another popular form of jewellery, crafted from two embossed gold disks with decorative images to both sides. Figural scenes were popular during the early Byzantine Empire, as were scenes from Greek mythology. Other forms of pendant were worn as amulets, in response to the superstitions of society.
Symbolism and Motifs
Nature
Laden with symbolism, one of the most popular motifs to find in jewellery was birds, in particular, the peacock. Symbolic of high status, many wealthy, high ranking nobles kept peacocks on their estates to emulate paradise, such as the Garden of Eden.
Peacocks were also associated with immortality and rebirth, owing to the fact that their tail feathers regenerate each year, thus peacocks, and peacock feathers feature widely in Byzantine jewellery. Other natural motifs such as flowers, leaves and vines were also abundant.
Religion
Whilst designs endured in many ways from the Roman Empire, the main departure in the style of jewellery can be seen around the 5th-6th century AD and was a result of the spread of Christianity. Religious iconography displaying saints and angels are often seen, and images of Christ are characterised by triple lines radiating from his head, symbolising the holy trinity. Marriage and betrothal rings also often brought in this religious aspect.
In the early empire, marriage rings often featured busts of the couple, either facing forwards, or in profile facing each other. In later rings, the figure of Christ or a cross is often shown between them. In a move away from earlier Roman betrothal rings, these were square in shape, instead of round.
There were two periods of iconoclasm during the Byzantine Empire. This meant that the use of religious imagery was banned between the 8th and 9th centuries, which had an adverse effect on the production of jewellery during this time. The rejection of religious imagery meant that jewellery embraced more abstract motifs like the double-headed eagle, however few examples have survived to today.
Material Influence
Gold was seen abundantly in this era and with offerings accepted by the emperor at church made from this precious metal, it quickly became symbolic of his divine right to rule. As a result, laws were passed in 529 AD by Emperor Justinian that prohibited anyone who wasn’t the Emperor, or part of his imperial household from using gold, pearls and emeralds, along with the use of purple silk. Those who defined this law were subject to harsh punishments, which ranged from steep fines to even death.
The prolific use of gold could in part be attributed to the many gold mines that were found within the Empire’s borders and the laws did have some exemptions of when this metal could be used, including women’s jewellery, coins, and dental fillings.
Workshops and Techniques
Jewellery production was concentrated in certain cities, including Alexandria, Rome, Antioch and later, Constantinople. There were also a great number of workshops in ancient Syria, a wealthy part of the empire due to its excellent agricultural output and well located trade routes between the east and west. This wealth created a need for skilled craftsmen to make pieces for an increasingly wealthy society. Byzantine jewellers enjoyed a level of prestige and their styles and techniques have been found copied by jewellers in China and elsewhere outside the empire’s borders.
Goldsmiths employed a range of techniques, many which had been well established in previous Roman and Hellenistic workshops, whilst also innovating to create uniquely Byzantine jewels which are synonymous with this era. Jewellery was all handmade, largely on a commission basis and those wanting jewellery provided the necessary amount of gold to the goldsmith. Mass production was limited to simple objects made from base metals.
Opus Interrasile
The most characteristic technique seen throughout Byzantine jewellery is pierce work, known as opus interrasile. This was introduced around 300 AD, reaching its peak around 600 AD, and this technique saw a gold sheet pierced with an awl, or cut through with a chisel. In a move away from the late antiquity method of chasing or carving on one face, early Byzantine examples were crafted on a much larger scale and embossing was often seen in conjunction with this.
Enamel and Niello
Byzantine jewellers were very skilled in the art of cloisonné enamelling, producing many pieces that featured detailed polychromatic designs. This helped create the desired colourful look that was popular amongst the people. Most enamelled jewellery was destroyed during the iconoclastic era as they showed religious icons which had been outlawed, and therefore much of the enamel jewellery we find is from the latter part of the era.
Niello, a black metallic alloy usually composed of sulphur, lead, copper and silver is similar to the cloisonne enamel in that it is fused to the surface. Used as an inlay on engraved material, it is a common feature in byzantine jewellery and accentuates certain motifs and imagery.
Byzantine Jewellery at Berganza
Byzantine jewellery is known for its strong cultural and historical significance and is timeless in its appeal. Berganza’s collection offers an opportunity to invest in a piece from this fascinating part of history, including marriage rings, monogrammed designs and more! Visit our showroom or view our entire collection online.
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