Les croix-reliquaires pectorales byzantines en bronze (review)

The author makes available in an intelligent format and with crisp illustrations a large mass of cult objects of interest to art historians, students of religion, museum curators, and the larger public. The volume is essentially a catalogue of pectoral cross-reliquaries in bronze (pp. 187-390) preceded by a lengthy introduction and followed by a supplement. The catalogue section essentially consists of two parts: cross-reliquaries cast with relief decoration (nos. 1-197) and cross-reliquaries with engraved decoration (nos. 221-651). There is also a small section listing cross-eliquaries with niello decoration (nos. 206-20). A typical entry begins with identification of the collection in which the object is conserved and its inventory number. Such data are then followed by a far more subjective description, namely, the cultural milieu in which the object was produced (for example, "Constantinople," "Constantinople or Anatolia") and at what general date. The entry continues with specification of the item's dimensions, next its provenance, and then its state of preservation. In the introduction to the catalogue the author clearly defines the principles behind the catalogue's structure. It unfolds according to "groupings of related pieces" (p. 187). At the base of such groupings is chronology. In pinpointing dates the author has employed considerations of the technique behind an object's decoration and its iconography, elements, the author asserts, that provide, along with archaeological considerations, the required chronological clues. A goal of the exercise is to try to isolate individual workmen. To achieve this, one would begin with materials that fall into the same time period and proceed from there to peculiarities (or outright mistakes) in epigraphy, iconography, or style. The author fully admits that a number of unknowns might enter into play. For example, although two crosses might be very similar, this could be the result of one workshop copying the style of another. Still, it seems to this reviewer that in the final analysis the author has proceeded to organize the catalogue in a proper, time-honored manner: placing like with like.

In Chapter 1 the author discusses with superb photographs the varying shapes of reliquary crosses worn on the chest. The discussion has a certain importance since it leads to the conclusion that one type may be linked to localized production in the Balkans (p. 39). Other types tend to be used exclusively with engraved decoration and still others with engraved and cast decoration. Chapter 2 delves into questions of metallic composition, techniques, and decoration. Noteworthy, from the viewpoint of production practices, is the inclusion (p. 41) of a table listing the results of chemical analysis of select pieces. Chapter 3 deals with iconography. Of particular interest to social historians who track cultic trends is Table 2 on page 108. Here the author summarizes the number of times one saint appears on cross-reliquaries with engraved decoration in contrast to others. From the author's researches one learns that the most popular intercessor was St. George, followed in second place by St. John (the Evangelist?), and then St. Peter, the Archangel Michael, St. Stephen, and St. Nicholas. With this material in hand, future researchers may find it interesting to compare the results of this study with the popularity of specific saints among another type of decorated object employed on a large scale, namely, Byzantine lead seals. A starting point would be J. Cotsonis' recent article "The Contribution of Byzantine Lead Seals to the Study of the Cult of the Saints (Sixth–Twelfth Century") in Byzantion, LXXV (2005), 383-497, in particular Chart 3.