The Eerdmans

Encyclopedia
of Early Christian
Art and Archaeology

Paul Corby Finney, editor

The Eerdmans Encyclopedia
of Early Christian Art
and Archaeology

Paul Corby Finney, General Editor

William B. Eerdmans Publishing Company

Grand Rapids, Michigan
Wm. B. Eerdmans Publishing Co.
2140 Oak Industrial Drive, NE, Grand Rapids, Michigan 49505

© 2016 Wm. B. Eerdmans Publishing Co.

All Rights Reserved
Published 2016
Printed in the United States of America

22 21 20 19 18 17 16   1 2 3 4 5 6 7

Library of Congress Cataloging-in-Publication Data

ISBN 978-0-8028-3811-7

www.eerdmans.com
In memory of Ernst Kitzinger, 1912-2003
Board of Advisers

François Baratte, Professor of Archaeology, University of Paris-Sorbonne

Beat Brenk, Professor of Art History, University of Basel

Arne Effenberger, Director, Museum of Late Antique and Byzantine Art, Berlin

Ernst Kitzinger†, late Professor of Art History, Harvard University

Guntram Koch, Professor of Art and Archaeology, University of Marburg

Philippe Pergola, Professor of Archaeology, PIAC, Rome

Renate Pillinger, Professor of Archaeology, University of Vienna

Carolyn Snively, Professor of Archaeology, Gettysburg College

Contents

List of Entries [000]

Foreword by Francesco Buranelli [000]
Foreword by Colum P. Hourihane [000]
Preface [000]
Abbreviations [000]
Encyclopedia, A–J (vol. 1) [000]
Encyclopedia, K–Z (vol. 2) [000]
Glossary [000]
Contributors [000]
Map Index (vol. 3) [000]
Color Maps (vol. 3) [000]
Color Plates (vol. 3) [000]
List of Entries

Aachen Albans, St. Aphrodisias (Caria) Ashmunein, al-

Aaron Albenga Aphrodisias (Cilicia) Askalon
Abecedary Ałc‘ Aphrodite Asklepios
Abel Alexandria Aphrodito Asnam, el-
Aberkios Algeria Apocalypse Assos
Abgar Alisca Apollo Aštarak
Abila Allegory Apollonia (Israel) Astrology
Abner Alpha and Omega Apollonia (Libya) Aswān
Abraham Altar Apostle Athena
Abraham and Isaac Althiburos Apotropaion Athens
Abrasax Alzey Apse Athens: Asklepieion
Abruzzo Amathus Aqaba Athens: Temple of Hephaistos
Abusir Ambo Aquileia/Grado Atripe
Acclamation Ambulatory Aquincum Atrium
Acheiropoietos Amman Arapaj Atrun, el-
Achilles Amorium Archaeology: Early Christian Attaleia
Acrostic Amos (Historiography) Attribute
Adam and Eve Amphipolis Archaeology: Early Christian Augsburg
Adiabene Amphora (Pioneers) Augustine of Canterbury:
Adoration of the Magi Ampulla Archaeology: Illustrated Gospel Book
Adrasos Ampurias New Testament (Palestine) Austria
Adulis Amulet Archaeology: Axe
Adventus Anamur New Testament (Turkey) Axiopolis
Aedicula Anastasiupolis Architect Ayatekla
Aegina Anazarbos Architecture: Arian Ayios Kononas
Aenon Anchor Architecture: Cilician Baalbek
Aesthetics Ancona Architecture: Egypt Babel
Afterlife Ancyra (3rd-7th c. a.d.) Bagawāt, al-
Agatha Anderin Arch of Constantine Bakhīra
Agnes Andernach Arch of Galerius Balaam
Agony in the Garden Andrew Arcosolium Balearics
Agrigento Andros Area Bālis
Aḫbarīya, Karm al- Angel Arenarium Baptism: Iconography
Aion Anicia Juliana Argos Baptistery
Aisle Aniconism Arian Art Bara, el-
Aix-­en-­Provence Animal Arianism Barberini Ivory
Aizanoi Annunciation Ark of the Covenant Barcelona
Akedah Antinoupolis Arles Bargala
Akhmim Antioch (Pisidia) Armband Basilica
Akkale Antioch (Seleukeia Pieria) Armenia Basilicata
Akören Antioch Chalice Artemis Bath
Aksum Antiquarianism and Artist Bath (England)
Al- Christian Archaeology Arykanda Bath: Christian Reuse of
Alahan (ca. 1450‑1650) Ascension Bāwīt
Alakilise Aosta Ascension Panel (Munich) Beersheva
Albania Apamea Asceticism Beirut
Albano Laziale Aperlai Ashburnham Pentateuch Beit Ras
Beiyūdāt Cairo Cirencester Damascus
Bekalta Calabria City Damasus
Bela Palanka Calendar of 354 City Gate Dancer
Belgrade Callatis Cityscape Dandarā
Bellerophon Cameo Cividale del Friuli Daniel
Bema Campania Civitas Dara
Benevento Cana Cleveland Marbles David
Berakhot, Ḥorvat Canbazlı Clipeus Dayr Abu Hinnis
Berenike Cancelli Clothing/Costume Dayr Abu Hinnis:
Bestiary Candelabrum Codex Cave Church Paintings
Beth Guvrin Canon Tables Coin Dayr al-‘Adra
Bethlehem Canosa Colchester Dayr al-­Balayza
Bethlehem: Canterbury Collegium Dayr al-’Izām
Cityscape Iconography Capella Regis Cologne Dayr al-­Naqlūn
Beth Loya, Ḥorvat Capernaum Color Decapolis
Beth Shean Capital: Greek East Column: Honorific Deer
Biblia Pauperum Capital: Latin West Column: Structural Dehes
Binbirkilise Cappadocia Comb Deir, Khirbet ed-
Bird Capua Commendatio Animae Deir ‘Ain ‘Abaṭa
Bithynia Carbuncle Como Deir za-‘Fārān
Blind Man, Jesus’ Healing of Caria Conch Delos
Blindness Caričin Grad Conched Structure Delphi
Bologna Carrhae Concordia Apostolorum Demetrias
Bone Carthage Concordia/Homonoia Demetrios
Bone Statuette Carthago Nova Concordia Sagittaria Demoniac
Bonn Casa Herrera Consignatorium Denis, St.
Book Illustration Catacomb: Early Christian Constance Devil
Book Illustration: Scientific (Provincial Italy) Constanța Dhiban
Boppard Catacomb: Early Christian Constantia Diadem
Bosio, Antonio (Rome) Constantina Diakonikon
Bosnia and Herzegovina Catacomb: Jewish Constantine Diatretus
Bosra Cathedra Constantine-­Cirta (Algeria) Die
Bovalar Cave Church Constantinople Digne
Box Celje Contorniate Diocaesarea and Olba
Box: Ivory (Brescia Casket) Censer Coptos Dion
Box: Ivory (Maskell Casket) Centcelles Corbel Dionysos
Box: Wood Centrally Planned Structures Córdoba Dioskorides
Brač Chalcedon Corinth Dipinto
Brandeum Chancel Screen Cornelian Diptych
Bread Channel Islands Cornice Diptych: Carrand
Bregalnica Chapel Cornwall Diyarbakır
Brescia Charaktēres Corsica Djémila
Brick Chariton Cotton Genesis Doclea
Brindisi Chemtou Couch Dodecanese
Britain: 400-600 Chenoboskion Creation Dokimeion
Brugnato Cherchel Crete Dölger, Franz Joseph
Bugojno Chersonesos Croatia Doll: Ivory
Bulgaria Cherub Croatia: North (Movables) Dolphin
Bulla Chios Cross Dome: Architectonics
Bulla Regia Chisphin Crossing of the Red Sea Domestic Space and Heresy
Burial Chiusi Crucifixion Dome: Symbolism
Burial: Jewish Connections Christogram Crypt Dongola
Burial: Law of Chur: St. Stephen’s Church Cultural Heritage Donkey
Burial: Mineral-Packed Church: Double Cultural Heritage: Door: Iconography
Burning Bush Church: Personification AGCA Declaration Dora
Butrint Church: Pilgrimage Cup/Chalice Dorchester (Dorset)
Buzluk Church: Private Curse Tablet Dorchester-­on-­Thames
Byllis Ciborium Curtain Dougga
Byzacena Cilicia Cymatium Duin
Caerleon Cimiez Cyprus Dume
Caerwent Cimitile Cyrene Dura Europos
Caesarea (Israel) Cinerarium Dağ Pazarı Durrës
Cain and Abel Circus Daimon Eagle
Eboda Faras Glass: Ampulla Histria
Edessa (Greece) Fastigium Glass: Box Homs
Egnazia Faw Qibli Glass: Cage Cup Horn of Plenty
Egypt Fayyum Glass: Engraved Ḥorvat
Ēǰmiacin Fiery Furnace, Glass: Gold Hosea
Ēǰmiacin Codex Three Hebrew Youths in Glass: Gold (Jewish) House
Ekphrasis Fifehead Neville Glass: Jug/Pitcher House: Bishop’s
El- Finale Marina Glass: Lamp Beaker House Church
Elijah Finger Ring (Historiography Glass: Mold-­Blown Humayma
Elisha and Nomenclature) Glass: Pendant Hungary
Elusa Fire Glass: Window Hypogeum
Ełvard Fish, Miraculous Catch of Glastonbury Iasos
Emilia-­Romagna Fisherman Glis Ibahernando
Emmaus Fish: Symbol Globe Icklingham
Emotion Flagellation Gnosticism: Iconography Icon
Enamel Flaviopolis God: Iconography Iconoclasm
‘Enaton Flight into Egypt Göktepe Iconography
Encaenia Florence Golan Iconology
England Follis Gold Idanha-a-Velha
‘En Karem Footstool Gortyn Identity
Enkolpion Footwashing Gousset, Henchir el- Imbros
Entablature Footwear Grape Incised Slab
Entry into Jerusalem Forgery Greece Ingelheim
Epfach Fortification Greece: Central Ingot
Ephesia Grammata Fossor Greece: Islands Inhabited Scroll
Ephesos Fountain of Life Greece: North Innovation
Epidauros Frampton Greece: South Insigne
Epidaurum France Gregory the Great Insigne: Empress
Epigraphy Fréjus Grenoble Intaglio
Epigraphy: Balkans Friuli–­Venezia Giulia Griffin Interpretation
Epigraphy: Clandestine and Galilee Habakkuk Invillino
Crypto-­Christian Galla Placidia Hacksilber Iona
Epigraphy: Coptic Gallery Haggai Ionian Islands
Epigraphy: England Gamzigrad Haïdra Iovia
Epigraphy: Europe Garden Hairstyle Iran, Iraq
Epigraphy: Italy (Rome) Garland Halab Ireland
Epigraphy: Montanist Gatillo de Arriba, El Halabīyah Ireland:
Epigraphy: North Africa Gaza Halo Early Christian Period
Epigraphy: Pannonia Gematria Hama Irish Missionary Foundations
Epigraphy: Sicily Gemiler Adası Hammat Gader in Continental Europe
Epigraphy: Syriac Gemstone: Cross Hand of God Isaiah
Epigraphy: Turkey Gemstone: Engraved Hārūn, Jebel: Isis
Epiros (Early Christian) Mountain of Aaron Isna
Epistyle Gemstone: Engraved Hawarte Isola d’Orta
Ereruk‘ (Sasanian) Hawrān Israel and Palestine
Eschatological Themes Gemstone: Frieze Headless Figure Isrīye
Ethiopia Gemstone: Symbolism Healing Istria
Euboea Gender Helena Italy: Central
Euchaita Geneva Helios Italy: North
Eulalia Genius Hemmaberg Italy: South
Eulogia Genoa Heptapegon Itanos
Euphemia Georgia Herakleia Lynkestis Itinerary
Eusebius of Caesarea Gerena Herakles Ivory
Evangelist Gerizim Hermon, Mt. Ivory: Coloring of
Evil Eye Germany Hermonthis Ivory: Mythological Subjects
Exedra Germia Heshbon Ivy
Exorcism Gerona Hetoimasia Jabal/Jebel
Ezekiel Gesture Hierapolis Jacob
Ezra Gethsemane Hierapolis: Philip Martyrion Jairus’s Daughter, Raising of
Ezraa Gharbi Ḥilwān James
Facade Ghirza Hinton St. Mary Jerash
Fanā, Dayr Abū Ghor es-­Safi Hippo Regius Jeremiah
Fantasy Creature Glass Hippos Jerusalem
Jerusalem: Holy Sepulchre Ketos Lincoln Maximian of Ravenna
Jerusalem: Iconography Khirbet Lion Maximian of Ravenna:
Jerusalem: Temple Khurus Literature: Apocryphal (Early Ivory Throne
Jesus Christ: Generic Types Kissufim Christian Iconography) Meal
Jesus Christ: Iconography Kiti Liturgy Medal
Jesus Christ: Kızıl Kilise Livadhia Mediana
Infancy and Childhood Klinē Living Creature Melchizedek
Jesus Christ: Knidos Ljubljana Melos
Mythological Types Knossos Loaves and Fishes Memphis
Jesus Christ: Kobern-­Gondorf Loculus Mensa
Old Testament Types Koblenz Lombardy Mérida
Jewelry Koinobion/Coenobium London Mértola
Jewish Art Kokh Lot Metal
Jewish Art: Invention and In- Kom Namrud Lots, Casting of Metal Sheeting
novation in Late Antiquity Konjuh Lullingstone Metalwork:
Jewish-Christianity: Konya Luni Irish (Early Christian)
Material Culture (200-550) Konz Luni/Carrara: Quarries Metalwork: Pierced
Jilma Korykos Lycia Method
Job Kos Lyon Metrology
Joel Kosmas Indikopleustes Lythrankomi Metz
John the Baptist Kourion Maccabees Micah
Jonah Koziba Macedonia Milan
Jordan Krabattos Mactar Miletus
Jordan River: Personification Kremna Madaba Miliarense
Joseph (NT) Ksar Lemsa Madauros Milreu
Joseph (OT) Künzing Magen Mīnā, Abū
Joshua Kyaneai Magician Mines and Mineral Resources
Judah Kybele Magic: Iconography Mint
Judas Kyrenia Magos Miracle
Judgment Labarum Ma’in Miriam
Judith Lamb Mainz Mithraism
Justinian I Lamella Malachi Model Book
Kadesh-barnea Lamp: Metal Malta Modena
Kairouan Lamp: Pottery Mampsis Mogorjelo
Kaiseraugst Lampstand Mamre Mokissos
Kalavasos Lamta Manbij Mold
Kamouliana Lamta: Sarcophagus Mandorla Molise
Kanlıdivane Landscape and Seascape Mandylion Monastery
Kantharos Lanx Mani Monastery: Turkey
Karabel Laodikeia (Phrygia) Manna Monogram
Karden Lararium Map Montenegro, Serbia
Karkur ‘Illit, Ḥorvat Last Supper Marble Monza
Karm al-Ahbārīya Late Antiquity Marble, Color of Mopsuestia
Karpas Peninsula Laura Marche Morocco
Karpathos Law and Imperial Legislation Mariamin Mosaic Mosaic
K’asał Lawrence Marion Mosaic: Africa
Kasserine Laying on of Hands Maroneia Mosaic: Antioch
Kastabala Lazarus, Raising of Maroni-­Petrera Mosaic: Balkans
Kathisma Lebanon Marriage Mosaic: Carpet
Kaunos Lechaion Marseille Mosaic:
Kayseri Lectisternium Martyr: Iconography Conservation (Ravenna)
Kef, el- Lefkosia Martyrium Mosaic: Cyprus
Kefar ʾOthnay Leggio Martyrius Mosaic: Greece
Kélibia Leptis Magna Martyropolis Mosaic: Levant
Kellia Lesbos Mary Mosaic: Ravenna (Floors)
Kelt, Wadi Libation Mary Magdalene Mosaic: Turkey and Georgia
Kempten Liber Pontificalis Marzamemi II: Church Wreck Mosaic: Western Europe
Kenchreai Libra Masos, Tel Moselkern
Kephallenia Libya Massacre of the Innocents Moses
Keramos Ligature Matara Mount of Olives
Kerch Liguria Matifou Mursa
Kérkyra Limassol Matroneum Musical Instruments
Keszthely Culture Limyra Mausoleum Muskar
Mustis Oratory Peter Pula
Myra/Andriake Ornament Petra Pupput
Myth Orpheus Petra Papyri Purple
Nahum Oscillum Peutinger Map Pyxis
Nail Osrhoëne Peyia Qalʿat Simʿān
Nakedness Ossuary Pfalzel Qalb Lozeh
Naples Ostia Philadelphia (Lydia) Qanawāt
Narona Oued Ramel Philae Qasr el-Lebia (Libya)
Narthex Oxyrhynchos Philippi Qasr Ibn Wardan
Nativity Pachomian Monasteries Philosopher Qasr Ibrim
Nave Padua Phineas Qennishrîn
Naxos Paestum Phoenix Qirk Bizah
Nazareth Pag Photography Quail
Nazianzos Pagan Sanctuaries: Phylactery Quarry
Nea Anchialos Christianized Physiologos Quedlinburg Itala
Nea Herakleia Pagan Sanctuaries: Piazza Armerina Quintanilla de las Viñas
Nebo Christianized (Athens) Picture Magic Qumran
Nebuchadnezzar Painting: Encaustic Piedmont Rab
Negev Painting: Fresco Pier Rabbula Gospels
Nemea Painting: Papyrus Pilaster Rahab
Nereids Painting: Tempera Pilate, Pontius Rainbow
Nessana Painting: Textile Pilgrimage Art Ras el-Hilal
Neuss Palace Pillar Ravenna/Classe
Nicaea Palazzo Pignano Place: Holy (Classical Period) Ravenna: Mausolea
Niche Paleography: Coptic Place: Holy Rebekah
Nike/Victoria Paleography: Greek and Latin (Earliest Written Evidence) Recopolis
Nikomedia Paleography: Syriac Place: Holy Refrigerium
Nikopolis Palm (Pre-­Constantinian Mate- Regensburg
Nimbus Palmyra rial Evidence) Rehovot-in-the-Negev
Niš Paneas Plant Relic, Translation of
Nisibis Paphos Plaque Reliquary: Ivory
Nitl Papyrus Podgorica Reliquary: Silver
Noah Paralytic Poitiers Reliquary: Stone
Nola Paris Polykandelon Resurrection
Noli Paris (BN).Syriac MS 33 Pomegranate Return Aisle
Nomina Sacra Paris (BN).Syriac MS 341 Poreč Rhodes
Notitia Dignitatum Paros Porphyry Richborough
Notitia Galliarum Passau Porphyry of Tyre Rider
Novalja Pastophories Portera Riez
Nubia Patara Porto Rihab
Numerology Paten Portrait Rimini
Nummus Patera Portrait: Constantine Riva San Vitale
Nursing Mother Patras Portrait: Jesus Christ Rivers of Paradise
Nymphaeum Patronage Portugal Rod
Nyssa Patronage: Levant Possession Romainmôtier
Obadiah Patronage: Pottery Romania
Obelisk Sarcophagus Evidence Pottery: Amphora Rome: Christian Topography
Octagon Pattern Pottery: ARS Ware with Rome: Collections
Octateuch Paul Stamped Reliefs Rose
Odysseus Paulinus of Nola Pottery: Terra Sigillata Rossano Codex
Offertory Table Peacock Poundbury Camp Rossi, Giovanni Battista de
Okrid Pécs Praetorium Rouen
Öküzlü Pednelissos Prahovo Rural Settlements
Olympia Pella Priene and Landscapes
Onomastics Pelusion Procession Rusafa
Opus Interrasile Penance Prokonnesos Ruth
Opus Sectile Pendant Prometheus Sabas
Opus Sectile: Cyprus Pepouza Prophet Sabiona
Opus Sectile: Pergamon Prudentius Sabratha
Imitation (Palatine East) Perge Psyche Sagalassos
Opus Sectile (and Mosaic): Pergola Ptolemais Ságvár
Rome (Floors) Personification Ptuj Saint
Orant Pessinus Puglia Saint: Military
Salamis Siscia Tetramorphic Treasure: Esquiline
Salona Sisinnius Tetrapylon Treasure: Galognano
Samaria Situla Teurnia Treasure: Hama
Samaritan Woman Sivec Textile Treasure: Hoxne
Samos Skupoi Textile: Diagnostics Treasure: Kaiseraugst
Samson Slovenia Textile: Embroidery Treasure: Kaper Koraon
Samuel Snake Textile: Liturgical Treasure: Lampsakos
San Juan de Baños Sobata Textile: Wall Hanging/ Treasure: Licinius
San Miguel de los Fresnos Sodom Room Divider Treasure: Luxor
San Pedro de Alcántara Sofia Thasos Treasure: Maʿarat al-­Nuʿmān
(Málaga) Sohag Thebes Treasure:
San Pedro de la Nave Sokrine, Henchir Thekla Malaja Pereshchepina
Santa Lucía del Trampal Solea Thelepte Treasure: Mildenhall
Santa María de Melque Soli Theophany Treasure: Mytilene
Santa Maria in Stelle Solidus Theoria Treasure: Reggio Emilia
São Cucufate Solomon Theoria: Architectural Treasure: Riha
Saqqara Sophia Thera Treasure: Risley Park Lanx
Sarcophagus Sousse Thessaloniki Treasure: Sevso
Sarcophagus: Tarraco Space Thessaloniki: Treasure: Sion
Sardinia Spain Church of Hosios David Treasure: Stuma
Sardis Speyer Thessaloniki: Treasure: Tăuteni Bihor
Šarkamen Spies Church of St. Demetrios Treasure: Thetford
Satan Split Thessaloniki: Treasure: Traprain Law
Saul Spolia Rotunda of St. George Treasure: Vrap
Savaria Spoon Thisbe (Gilead) Treasure: Water Newton
Sbeïtla Srima Tholos Tree
Scarbantia Staff Thuburbo Maius Tree House: Seated Figure in
Scetis Stari Grad Thyna Tremetousia
Scotland Staurogram Tiberias Tremissis
Scroll St. Bertrand de Comminges Tigzirt Trent
Sculpture Stevenson, Enrico (Henry) Tile: Relief Trentino–­Alto Adige
Sculpture and Ornament: St. Maurice d’Agaune Timgad Tribelon
Architectural Stobi Timothy of Lystra Triclinium
Sculpture: Coptic Stone Book Timothy of Pannonia Triconch
Sculpture: Relief (Ivory) Strasbourg Tipasa Trier
Sculpture: Stylite Title Church Trinity
Relief (on Tabletops) Sundial Titulus Tripod
Sculpture: Susanna Tobiah and the Big Fish Tripoli (Libya)
Wood (Reliefs on Doors) Sutton Hoo Tokra Troia
Sebaste (Cilicia) Switzerland Toledo Tropaeum Traiani
Seleukeia (Cilicia) Symposiast Tolentino Tuneinir, Tell
Semissis Synagogue Tomarza Tunisia
Senatorium Syncretism Torque Ṭur ʿAbdin
Sepphoris Synthronon Torre de Palma Turkey
Seraph Syracuse Toulouse Tuscany
Serdjilla Syria Toy Tyche
Sergios Tabarka Traditio Clavium Type and Antitype
Sétif Tabennisi Traditio Legis Tyre
Sheikh Ali, Wadi Tabernacle Transenna Uley
Shepherd Tabitha Transept Ulpiana
Ship Tabula Ansata Transfiguration Umbria
Sicily Tamassos/Politikon Treasure Umm al-­Rasas
Side (Pamphylia) Tank Treasure: Antioch Umm el-­Jimal
Sigma Taranto Treasure: Attarouthi Umm Qais
Sikyon Ṭārif, Jabal al- Treasure: Beth Misona Unicorn
Silchester Tarragona Treasure: Canoscio Urfa
Siliqua Tarrasa Treasure: Canterbury Utica
Sinai Tarsus Treasure: Carthage Valentia
Sinope Fragment Teacher Treasure: Coleraine Vatican
Sion Tébessa Treasure: Conçesti Vault
Siponto Tegea Treasure: Corbridge Veil
Sirach Tekor Treasure: Cyprus Veneto
Sirmium Tel/Tell Treasure: Desana Venosa
Veria Wand Women at the Tomb Yanıkhan
Verona War Wondrous Mountain Yassi Ada
Veronica Wedding at Cana Wood: Yattir, Khirbet
Vicenza Weight: Glass Architectural Sculpture Yemen
Vienna Genesis Weight: Metal Wood: Coffin Yialousa
Vienne Weights and Measures Wood: Portables and Fixtures York
Villa Wells Word Magic Zacchaeus
Viminacium Welschbillig Workshop Zadar
Virgin Whithorn Worms Zechariah
Visitation Widow’s Son at Nain, Wreath Zephaniah
Votive Raising of Wroxeter Zodiac
Wadi Wilderness (Judean) Würzburg Zuglio
Wales Wilpert, Josef Xanten Zurzach
Walking on Water Woman with the Xanthos
Wall: Construction Types Issue of Blood Xenodocheion/Xenodochium
L

Labarum
A popular early Christian symbol, consisting of the chi-­rho 
monogram inscribed within a  wreath or circle, surmounting a
long cross; the l. is associated with Constantine and the Constan-
tinian dynasty. It was first devised for application to the Roman
Imperial military standard (uexillum). The l. was applied exten-
sively throughout the 4th c. in a wide range of material contexts —
e.g., in inscriptions and MSS; on coins, dies, jewelry, metalwork,
military paraphernalia, mosaics, and pottery; on ivory, marble,
wood, and limestone reliefs; and in fresco and gold-­glass and en-
caustic painting. The l. was often pressed into service as an 
apotropaion.
The etymology of the word is obscure (see R. Egger, Sitzungs-
berichte der Akademie der Wissenschaften zu Wien, 234.1 [1960]:
3-26); connections with Greek and Latin roots are conceivable, but
there is no conclusive evidence. It is perhaps more likely that the
word comes from Celtic, Gallic, or Germanic vernaculars.
The l. is a contraction of two Greek characters (chi and rho);
they are joined to create one character (or one siglum [i.e., abbre-
viation; see A. Capelli, Lexicon abbreviaturarum (Milan, 1899)] or
one monogram, depending on application and context). A close
parallel is the  staurogram which, like the l., is a true ligature.
The  nomina sacra are also contractions and also ligatures, but
the nomina sacra always consist of two or more characters (the
ligating instrument being a supralinear stroke), whereas the l. and
the staurogram are singletons.
The earliest use of the word (transliterated in Gk. characters)
is found in the chapter indices to Eusebius’s VC, composed by an
ignotus. In a text composed at the beginning of the 5th c., Pruden-
tius’s Against Symmachus gives one of the earliest Latin citations
of the word:
Eusebius (VC 1.26-31) and Lactantius (Mort. 44.5-6) trace the
invention and application of the l. to Constantine; neither author
actually uses the word. Lactantius says that, on the night before
the battle of the Milvian Bridge (28 Oct. 312), God commanded
Constantine to mark his men’s shields with a chi bisected by an
iota with a circumflex at its upper end; evidently what Lactantius
meant was a chi (χ) bisected by a rho (ρ; fig. 1). Eusebius says that
before the same battle Constantine adapted the military standard
consisting of a vertical hasta and transverse bar (thus forming a
long cross) surmounted by a wreath; the chi-­rho ligature was in-
serted into the wreath (fig. 2). We do not have sufficient evidence
to corroborate either report. The earliest datable evidence con-
firming the use of the chi-­rho ligature in a Constantinian setting
appears on a silver medallion struck at Ticinum probably in 315
( Coin [fig. 3]).
Bibliography
Finney, P. C. “Labarum,” EEC (1997), s.v.
Grosse, R. “Labarum,” RE 12.1 (1924), s.v.
Ed.
Fig. 1.  Schematic drawing of the labarum based on the accounts of Lac-
tantius (De mortibus persecutorum, 44.5-6).  (Courtesy P. C. Finney)

Christus purpureum gemmanti textus in auro

signabat labarum, clipeorum insignia Christus
scripserat, ardebat summis crux addita cristis.

The mark of Christ, wrought in jeweled gold,

was on the purple labarum; Christ had drawn the insignia
on the shields, and the cross blazed on the crests atop.
 (trans. H. J. Thomson, ContSym. vol. 1,
 lines 486-88; LCL 387, 1949)

Tertullian (Apol. 16.9ff., centering on the discussion of cross

worship) does not mention l. The word was transliterated into
Greek (in variant forms) commencing in the second half of the Fig. 2.  Schematic drawing of the labarum based on the accounts of Eu-
4th c. (Lampe.1961, s.v.). sebius (De vita Constantini, 26-31).  (Courtesy P. C. Finney)

35
Lamb
Lamb
Young sheep; popular early Christian associations: innocence,
weakness, gentleness, youth, purity ( Agnes), sacrificial victim
(Is. 53.6-7 and Acts 8.32; 1 Pet. 1.19), affliction, humiliation, suffer-
ing (1 Clem. 16.7; Barn. 5.2). Terminology varies (ἀμνός, ἀρνίον,
πρόβατον). The English word “lamb” is represented in Gk./Lat. by
amnos/agnus. Amnos appears four times in the NT — twice on
the lips of John the Baptist (first record of the phrase ὁ ἀμνὸς τοῦ
θεοῦ, “the L. of God,” Jn. 1.29, 36; repeated in LXX A Odes 14.17),
also Acts 8.32 and 1 Pet. 1.19 — in all four referring to Christ as the
sacrificial l. In Revelation John uses arnion (diminutive of ἀρήν,
“little lamb”). Próbaton has a more generic sense: a quadruped
for slaughter.
L. iconography (see LCI, “Lamm”) is widespread in early Chris-
tianity, an expression of the general early Christian interest in 
animal symbolism and  allegory. The subject appears early in
the history of catacomb painting; lambs are represented standing
alone or alongside  shepherds. In the 4th c. l. allegories enter
the iconographic repertory; e.g., in the Praetextatus Catacomb,
the innocent Suzanna is represented as a l. standing between two
wolves (RepPitt 87, no. 5). In six spandrels on the front of the
Junius Bassus sarcophagus (RepSark 1, no. 680), biblical figures
(the three Hebrew youths, Moses, Jesus) are rendered as lambs —
e.g., Jesus as a l. raising Lazarus (fig. 1). A Roman sarcophagus lid
(ca. 300) in New York (RepSark 2, no. 162) represents the separa-
tion of lambs (Mt. 25.32: probata) and goats at the Last Judgment.
This marks the beginning of a continuous 4th/5th-­c. iconographic
tradition of representing the faithful as lambs in a row (Gerke,
1934). This tradition not only feeds sarcophagus reliefs (RepSark.
IR: “Lämmersymbolik”; Koch.2000, 194) but also influences early
Christian mosaics, esp. in church apses (Ravenna: Sant’Apollinaire
in Classe; Rome: S. Caecilia, SS. Cosmas and Damian, S. Costanza,
the apse of Old St. Peter’s; see Belting-­Ihm, 1992). The same picto-
rial tradition is represented on a mosaic lunette in the Mausoleum
of Galla Placidia (Ravenna) and on the triumphal arch in S. Ma-
ria Maggiore (Rome). The l. juxtaposed against the four rivers of
Fig. 1.  Jesus as a lamb raising Lazarus; Junius Bassus sarcophagus,
spandrel 6; Vatican City, Treasury of St. Peter’s Basilica.  (Line drawing
by A. de Waal)
36
Lamp: Metal
paradise becomes a widespread iconographic tradition from the
4th-6th c. (P.-A. Février, “Les quatre fleuves du Paradis,” RivAC
32 [1956]: 179-99).
Bibliography
Belting-­Ihm, C.  Die Programme der christlichen Apsismalerei, 2nd
ed. (Stuttgart, 1992), index: “Lamm.”
Gerke, F. “Der Ursprung der Lämmerallegorie in der altchristli-
chen Plastik,” ZNTW 33 (1934): 160-96.
L.V. & Ed.
Lambousa/Lápithos  Treasure: Cyprus
Lamella
(Lat. lamina + la). A thin metal plate or tablet. For the material
culture of late antiquity, the word is used with some frequency
to denote a miniature tablet of precious metal sheeting inscribed
with uoces magicae (magical names, words, or formulas), folded
over, and inserted into a small receptacle ( Phylactery) that was
suspended from a chain and commonly worn round the neck
(see Bonner.1950, index: “Lamella”;  Amulet; Jewelry; Metal
Sheeting).
Ed.
Lamina  Jewelry
Lamp: Metal
In the late Roman period metal lamps were usually made of
bronze or brass. The earliest shape of this period, produced in
the years 200-400, is a descendant of early Imperial metal lamps.
These lamps have two nozzles and large volutes flanking the noz-
zles. The nozzles are usually flat-­topped with rounded tips. Several
lamps have handle ornaments, and almost all have raised circular
bases or base rings. One such lamp in Florence has statuettes of
Sol ( Helios) and Luna standing at the rear, accompanied by two
Tritons on the shoulders. Other similar lamps have a statuette of
Jupiter,  Kybele, or Minerva at the rear ( Myth). The lamps
were usually intended for suspension, and the suspension lugs can
be seen on their nozzle tops and at the rear of the lamp or on the
handle ornament.
From the late 4th to the mid-5th c., imitations of North African
clay lamps of Hayes Type I ( Lamp: Pottery) were produced in
Italy. These lamps have an elongated body, a decorative shoulder,
and a broad channel from the central discus to the circular wick
hole. Another type, which resembles the shapes of Roman pottery
lamps and can be dated to the 5th and 6th c., has a circular body, a
short nozzle, and a ring handle surmounted by decorative features
such as a leaf, cross, or dolphin. The top is often concave and plain.
Proveniences suggest manufacture in the Eastern Empire.
The most common late Roman shape for metal lamps of the
6th and 7th c. (fig. 1) has an elongated, either carinated or rounded
body; a raised, rounded nozzle that could be decorated with a
band of tongues or ridges; often a hinged lid; a ring handle sur-
mounted by an ornament; and a ring base, raised circular base, or
flat bottom usually designed to fit on a pricket stand. The rounded
body is narrowed at the front to form a prominent raised nozzle.
When a lamp has a hinged lid, it is normally shaped like a stylized
Lamp: Pottery Lamp: Pottery

shell or has baluster knobs covering a broad filling-­hole behind

which a ring handle is surmounted by an ornament. A figure of a
mouse, a dolphin, or a fish could be attached to the extension of
the lid. The handles can also be extremely elaborate double-­rod
handles, with decorative elements, supporting crosses, human
heads, birds, or disks (see fig. 1). Sometimes a needle and a pair
of tweezers were attached to the ring handle by means of a chain
to be used when the wick has to be drawn farther toward the front.
Most of these lamps seem to have been produced in the eastern
Mediterranean area.

Bibliography
Bailey, D. M. A Catalogue of the Lamps in the British Museum, vol.
4: Lamps of Metal and Stone, and Lampstands (London, 1996),
60-79, pls. 70-92.
Perlzweig, J. Lamps of the Roman Period, First to Seventh Century
after Christ, The Athenian Agora, Results of Excavations Con-
ducted by the American School of Classical Studies at Athens
7 (Princeton, 1961), 199-200, pl. 48.
Rosenthal, R., & R. Sivan. Ancient Lamps in the Schloessinger Col-
lection (Jerusalem, 1978).
Schäfer, S., & L. Marczoch. Lampen der Antikensammlung.
Auswahl­katalog, Archäologische Reihe 13 (Frankfurt, 1990).
Xanthopoulou, M. “Lampes en métal, lampes en terre cuite. Vies
parallèles,” in Lychnological Acts 1. Actes du 1er Congrès In-
ternational d’Études sur le Luminaire Antique (Nyon-­Genève,
29.IX–4.X.2003), ed. L. Chrzanovski (Montagnac, 2005), 303-7,
pls. 136-39.
―. Les lampes en bronze à l’époque paleochrétienne, Bibl. Ant-
Tard 16 (Turnhout, 2010).
A.K.

Lamp: Pottery

Fig. 1.  Bronze lamp and lampstand; 6th-7th c.; London, BM, PE 1850,0719.1
(Bailey, 1996, Q3922).  (Courtesy Trustees of the British Museum)
 Pottery vessel containing oil, burned at the wick, for the pur-
pose of illumination; the most important means of lighting in
antiquity, used in a wide range of public and private contexts.
In late antiquity, lamps became important to Christians in cult
settings: churches, baptisteries, and cemeteries.  Votive lamps
also played an important role in early Christian piety. In Judaism
contemporaneous with early Christianity, the menorah ( Lamp-
stand) came to function as the central cult object and symbol
of Jewish identity; ceramic lamps marked with menorot were a
commonplace in late antiquity.
Lamps were usually mold-­formed, in fired clay, with a cham-
ber for oil (fig. 1, no. 11; next page), a fill hole in the center top
(no. 2), a wick hole (no. 6), and a handle opposite the wick hole
(no. 8). The lighting capability of a lamp could be increased only
by creating multiple nozzles. The top surfaces of the lamps were
generally decorated with geometric or vegetal devices, occasion-
ally with mythological subjects, and from the 4th-5th c. onward,
with Christian devices. The handle was occasionally topped by a
decorative feature, a practice that was more usual for metal lamps
( Lamp: Metal). Sometimes even hinged lamp-­lids that covered
the fill hole of metal lamps could be copied to clay lamps. Lamps
were usually made of clay, but they could also be produced in
metal, glass, or stone.
Most lamp molds (fig. 2, next page) in the late Roman Empire
were made of gypsum plaster, some of clay, and a few of stone.
A lampmaker needed, however, first a solid archetype, including
the shape and all the details of the planned product. Once molds
were taken from the archetype, serial production could begin.

37
Lamp: Pottery Lamp: Pottery

8 widely within the Empire, but from the 2nd c. a.d. onward, local
workshops in multiple locations began producing copies of Italian
4
9
10 prototypes.
6
1
5 7
1a
2
1 8 Another lamp shape that was created in Italy in the 1st c., the
3
2
3 12
4 3 so-­called Firmalampe, or factory lamp, had a round body, a long
1a 11
4
11 nozzle, and sparse decoration on the lamp top. These lamps were
5
7 popular in the northern parts of the Roman Empire and were
6
top base produced in some localities until the 4th c.
The Italian lamp shape, with a short rounded nozzle, was devel-
1. Disk 7. Air hole
1a. Framing ring or grooves 8. Handle oped further to new versions in the 2nd and 3rd c. in Greece, esp.
2.
3.
Fill hole
Panels
9.
10.
Termination of handle
Leaflet or loops at the end
in Corinth and Athens. The most popular version had rectangular
4. Rim or shoulder of the handle panels on the shoulders flanking the round central disk (see fig. 1,
5.
6.
Nozzle
Wick hole
11. Body, chamber for oil
12. Base
nos. 3-5), a kite-­shaped nozzle (no. 5), and fine figurative reliefs on
the disk, which made them popular and widely imitated products
Fig. 1.  Composite reconstruction line drawing of lamp (based on a 3rd-c. throughout the late Roman Empire (fig. 3). The relief decoration on
Athenian type).  (Drawing by Arja Karivieri) many of these lamps degenerated after continuous copying during
the 4th and 5th c., but lamps of this shape were produced until the
6th c. Many of these Corinthian and Athenian lamps from the 2nd
The archetype could be used to produce molds for undecorated to the early 6th c. were signed by the lampmaker. These incised or
lamps, but it could also be decorated with impressed patterns; stamped signatures are preserved on the base of the lamps.
incising freehand or relief designs could be applied to the ar- A special type of early Roman lamp that was produced in Ath-
chetypes. Raised patterns on the shoulders of the lamps might ens — with globules on the body, volutes flanking the nozzle, and a
be taken from a one-­piece mold; a series of patterns could be raised letter alpha on the base — evolved into more sophisticated
applied individually in a row to achieve the planned result; or globule-­and-­volute lamps in the 3rd c. and were produced until
the pattern could be incised or impressed into the mold, which the 5th c. In the final phase of this type, however, the relief glob-
resulted in a relief pattern on the lamp. When the lamp halves ules had disappeared after repeated copying, and the volutes were
had been taken out from the molds and attached to each other, replaced by simple arches.
it was still possible to give the “final touch” to the lamp with a Another shape popular in late Roman Athens was a lamp with
sharp tool when the clay was soft. The lamp could be glazed or a U-­shaped nozzle that was produced until the 5th c. Lamps of
unglazed, or it could have a slip. Several factors could affect the this shape had a limited repertory of disk reliefs: the main mo-
final result and color of the lamp: the firing conditions in the kiln; tifs were the crescent, the bull’s head, eight leaves, and the star
the temperature and the amount of oxygen in the kiln during the (fig. 4), which were almost never displayed in lamps with kite-­
firing; and whether the surface of the lamp had been slipped with shaped nozzles.
a layer of liquid clay or the lamp had been dipped into a liquid to Lamps were produced in larger scale in the coastal areas of Asia
produce a special color. Minor in the 5th-7th c. and exported widely in the eastern Med-
A shape that had a long lifespan in the Roman Empire, in the iterranean area. The typical characteristics of these glazed Asia
1st-5th/6th c., esp. in the Eastern Empire, was a broad circular Minor lamps are a raised edge around the wick hole, a nozzle with
body and a short, rounded nozzle (see fig. 1, no. 5). The round disk
on the top (no. 1) received usually a decorative relief, depicting
mythological subjects, scenes from circus, theater, and arena; men
and animals; or vegetal and geometric designs. These were first
manufactured in Italian workshops, whence they were exported

Fig. 2.  Gypsum plaster mold from Tunisia; lamp type: Hayes II, ca. A.D. Fig. 3.  Athenian lamp with Aphrodite and the Three Graces; mid-3rd c.;
400-500; London, BM.  (Photo courtesy Trustees of the British Museum) London, BM.  (Photo courtesy Trustees of the British Museum)

38
Limyra Limyra

K OR K U T EL I

Termessos

Attaleia

ANTALYA

Oinoanda
Kadyanda EL M AL I

FETHIYE K EM E R
Idebessos
Telmessos
Tios Akalissos
Pinara Arykanda
Kormos
Arsada Phaselis

Sidyma Rhodiapolis

Korydalla Olympos
Xanthos Limyra
Pydnai K U M L U CA
Kandyba
8 Trysa Gagai
Patara 7 Myra FINIKE
6
Phellos
5
4
Late antique toponyms K AS 3
Modern toponyms 2
1 1 Antiphellos 5 Andriake
2 Aperlai 6 Sura
0 50 km
3 Apollonia 7 Kyaneai
4 Simena 8 Tyssa

Fig. 1. Region of Lycia, in Diocese of Lycia and Pamphylia; from J. Borchhardt, Die Steine von Zẽmuri (Vienna, 1993), map. 2. (© ÖAI, used by permission)

The 6th-c. remains of a monastic(?) installation have been dis-
covered on the acropolis hill. This complex consisted of several
rooms, a cistern, and a church (23 × 15 m) with a triconch annex
on the north side (transformed into a rectangular chapel in a later
period). By the mid to late 8th c. the basilica had collapsed, and
a three-aisled church, now supported by pillars, was constructed
over its main nave.
Hillside community
West of L. there are small, late antique churches at Gülmez Asar
and in the neighborhood of Keşlik. On Kök Burunu, a peninsula
near Finike, remains of an early Christian basilica with ancillary
structures have come to light. On a hillside to the west, at Kara-
kuyu, another three-aisled, early Christian basilica (26 × 20 m)
has been identified that contains a wealth of architectural sculp-
ture (Pülz, 1995). The church’s capitals and ciborium show a close
affinity to architectural sculpture found at Alakilise, Alacahisar,
and Karabel (Severin & Grossmann, 2003).

theater Bibliography
baths Alanyalı, H., A. Pülz, & P. Ruggendorfer. “Urbanistische For-
schungen in der Oststadt von Limyra,” in Grabungen und For-
schungen in Limyra aus den Jahren 1991-1996, ed. J. Borchhardt
rch et al., JÖAI suppl. 66 (Vienna, 1997), 374-84.
hu
inec
Ptolemaion ant Foss, C. “The Lycian Coast in the Byzantine Age,” DOP 48 (1994):
Byz
Western sector 37-42.
Co

The

Hellenkemper, H., & F. Hild. Lykien und Pamphylien, TIB 8 (Vi-

lum

East
nS

Cathedral enna, 2004), 686-90.

ern

Cenotaph
tre

Jacobek, R. “Lykien,” RBK 5 (1995): 866-72.

et

Eastern sector
Gate

Marksteiner, T. “Die spätantiken und byzantinischen Befesti-

gungen von Limyra im Bereich des Ptolemaions,” in Studien
Episcopal palace in Lykien, ed. M. Seyer, JÖAI suppl. 8 (Vienna, 2007), 29-45.
Müller-Wiener, W. “Bischofsresidenzen des 4.-7. Jhs. im östlichen
Mittelmeer-Raum,” in CIAC 11.1 (1989), 683-84.
Lym

0 200
Peschlow, U. “Die Bischofskirche in Limyra (Lykien),” in CIAC
iros

Roman necropolis m
10.2 (1984), 409-21.
Pülz, A. “Zur byzantinischen Bebauung von Karakuyu bei Limyra
Fig. 2. The two sectors of Lymira. (Plan after Seyer & Lotz, , fig. ; (Lykien),” MiChA 1 (1995): 60-65.
© ÖAI, used by permission) Pülz, A., & P. Ruggendorfer. “Kaiserzeitliche und frühbyzan-

63
 A B C D E F

16°E Mostar 18°E 20°E

Brač Neretva River D A L M AT I A MOESIA
Klobuk
Hvar Žitomislići
PRIMA
1
Narona
Tasovčići
Mogorjelo PA NNO NI A E
Vranjevo
Selo Konjuh Kamenička
Ljubomir Plain

Ulpiana
Epidaurum/Cavtat
Doclea
FLAMINIA AND DARDAN
Podgorica
PICENUM

M
42°N Adriatic
PRAEVALITANA
Tepe Koman
2 Sea Scodra Shurdhah Scupi
Gargano
Peninsula Drin River
Gorica

O
Molise Lezhe
Siponto
Vig Melan
APULIA AND Kruja
Gjuricaj
CALABRIA Zgerdhesh
Benevento Canosa

E
Durrës
A

Tirana
Arapaj Via
Vrap Egn
Cimitile PUGLIA Erseke ati
3 Venosa a
Nola Apennine Elbasan Okrid
Lin
Mountains Lake Monastir-
Egnazia Okrid Heraklea

S
Herakleia
I

Via
Ap Brindisi
Apollonia EPIRUS Lynkestis
BASILICATA pia Berat
Zaradishte
Paestum Ballsh
Byllis
N O VA
Taranto Vlora
Amantia
L

Ersekë
LU C A N I A Mesaplik
40°N Paleokastra
4 Dhermi Antigoneia
AND Saranda
EPIRUS
A

Phoinike

BRUTTII Butrint
VETUS
Corfu
Ioannina
Tirreno Photiki Dodona
Io

Sea Paramithiá
T

ni

Glikí
Paxoi
an

5
CALABRIA
Nikopolis
Isl
I

an

Drymos
Kithara
ds

Lipari

Ionian
Sea Ithake
Tindari Messina
6 38°N
Kephallenia

Taormina

SICILIA Zakynthos
Catania

Leontini

Palazzolo
Acreide
7 Syracuse
0 25 50 75 kilometers

16°E 18°E 20°E

A B C D E F
 G H J K L M
Ossenovo
22°E 24°E 26°E 28°E
Pleven Devnya
Odessus/Varna
DACIA RIPENSIS s Ri v e r Nicopolis ad Istrum/Nikjup Zar Krum
Dzhanavar-tepe Galata
Mediana/Brzi Brod Vratsa tru

Ia
MOESIA SECUNDA Black
Lyutibrod 1

Caricin Sea
Grad
D A C I A Serdica/Sofia Pirdop Nessebăr
Anchialos
MEDITERRANEA Augusta Traiana/ Sozopolis
Hisar Stara Zagora Debelt
NIA Perivol THRACIA
Kyustendil Philippopolis/
Plovdiv
Konjuh Neretva Yabălkovo HAEMIMONTUS 42°N

River 2
Ovče Peruštica
Plain Rakitovo
Krupište Kočani
Kočani Plain
T H R A C I A E
Va

Bargala
rd
ar

Štip Gărmen
Ri

Bregalnica
Ne
RHODOPE
ve

River s tu Armira
r

Stobi Sandanski sR
Crkva iv e
r
Bregalnica EUROPA
Majdan MACEDONIA
atia 3
Via Egn
Se a o f
Philippi
Maroneia
M a r m a ra
Edessa Prokonnesos
Amphipolis
Thasos Prokonnesos
Thessaloniki Apollonia
Veria Samothrace
Veria
I

er
Ri v
Dion Imbros 40°N
M

Me k e s t o s
4
yt
ika
sM

Nea
A

ts.

Herakleia HELLESPONTUS
E

Demetrias Aegean
Sea Lesbos Pergamon
Nea
Anchialos 5

THESSALIA
LYDIA
Delphi Mts. Sardis
ASIA
Euboea Chios

Patras
A S I A N A 6
38°N
Ephesos
Athens iv e r
Sikyon e an d e r R
Corinth Ma Harpasa
Lechaion Keraunos
Kérkira Andros Priene
Nemea
Samos
Aegina Mycale Alinda Alabanda
Olympia Argos
Miletus
ACHAIA Kenchreai
Epidauros
CARIA
Tegea Delos
Iasos

Keramos
PELOPONNESOS INSULAE SPORADES
s/
7

Paros Naxos DODECANESE Sinu

m e ios am os
Ker a f o f K er
CYCLADES Kos G ul Knidos (old)
22°E 24°E 26°E Knidos (new) 28°E

G H J K L M
Plate 34. AU coin/solidus; obv.: Nimbate bust of Theodosius II holding mappa and sceptre;
legend: D(ominus) N(oster) THEODOSIVS PIUS F(elix) AVG(ustus); rev.: Enthroned Theodosius
facing forward while holding a mappa and cruciform sceptre; legend: SECVRITAS REIPVBLI-
CAE; exergue: CON(stantinopolis) OB; date: A.D. 416; Washington, D.C., DO, Byzantine Collec-
tion; RIC 10:254, no. 208 DO LRC, no. 347. (Photo courtesy Byzantine Collection, Dumbarton
Oaks, Washington, D.C.)

Plate 35. AU coin/solidus; obv.: Bust of Licinia Eudoxia facing forward while wearing crown
with pinnacles, central cross, and pendilia; legend: LICINIA EVDOXIA P(ius) F(elix) AVG(usta);
rev.: Enthroned empress holding a globus cruciger and cruciform sceptre; legend: SALVS
REIPVBLICAE; exergue: COMOB (minted in Ravenna); date: A.D. 430-45; Washington, D.C.,
DO, Byzantine Collection; RIC 10:367, no. 2023 DO LRC, no. 870. (Photo courtesy Byzantine
Collection, Dumbarton Oaks, Washington, D.C.)
Plate 36. Grimfridus chalice; 9th c.; Wash-
ington, D.C.; Dumberton Oaks. (Photo
courtesy, Byzantine Collection, Dumberton
Oaks, Washington, D.C.)
Plate 59.  Emperor Constantine the Great and St. Helena with the True Cross; fresco; Church of the Serpent, Göreme, Cappadocia, Turkey; 7th c. ​
(The Art Archive/Alfredo Dagli Orti / Art Resource, NY)
 Plate . Cage cup reconstruction; Ba-
silica of St. Lawrence, Grenoble. (Cour-
tesy R. Colardelle)

Plate . Cubiculum of Leo, painted

ceiling fresco: nimbed bust of Christ;
Comodilla Catacomb, Via Ostiense,
Rome (see Pergola/Barbini.99, -
). (Photo courtesy PCAS; after RSCr 
[Vatican City, ], pl. )
Contributors
A.A. Achim Arbeiter — Balearics; Centcelles; Dume; Ge-
rena; Idanha-­a-Velha; Portera; Quintanilla de las
Viñas; San Juan de Baños; San Miguel de los Fres-
nos; San Pedro de la Nave; Santa Lucía del Trampal;
Santa María de Melque
A.C. Anthony Cutler — Barberini Ivory; David; Diptych
(Ivory Diptychs: Secular); Ivory
A.C.A. Alexandra Chavarría Arnau — Gatillo de Arriba,
El; Ibahernando; Milreu
A.C.P. Amy C. Papalexandrou — Karpas Peninsula; Kiti;
Kyrenia; Lefkosia; Limassol; Livadhia; Lythran-
komi; Opus Sectile: Cyprus; Tamassos/Politikon;
Tremetousia; Yialousa
A.C.S. Allison Coleman Smith — Apse; Facade
A.E.F. Antonio Enrico Felle — Puglia
A.G.W. Alan G. Walmsley — Tiberias
A.H. Antonia Holden — Treasure: Sevso
A.J.† Aleksandar Jovanović — Bela Palanka; Belgrade;
Gamzigrad; Mediana; Montenegro, Serbia; Niš;
Prahovo; Sirmium; Viminacium
A.K. Arja Karivieri — Athens: Asklepieion; Candela-
brum; Couch; Lamp: Metal; Lamp: Pottery; Myth;
Nakedness; Sigma
A.L.† André Laronde — Apollonia (Libya); Gharbi; Ras
el-­Hilal; Sabratha
Al.B. Alexandru Barnea — Axiopolis; Callatis; Constanța;
Histria; Romania; Tropaeum Traiani
Alb.B. Albrecht Berger — Mokissos
Al.C.P. Alison C. Poe — Annunciation; Ascension; City
Gate; Hetoimasia; Solomon
Ale.B. Alessandro Betori — Ekphrasis; House Church
Al.G. Alessandra Guiglia — Capital: Greek East
A.M. Aristotle Mentzos — Dion
A.McC. Anne McClanan — Insigne: Empress
Am.E. Amy Erickson — Job
Am.H. Amir Harrak — Epigraphy: Syriac
Am.K. Amos Kloner — Beth Guvrin
A.M.N. Anna Maria Nieddu — Sardinia; Vatican
A.N.† Aldo Nestori — Tolentino
An.H. Anthea Harris — Algeria; Praetorium
A.O. Andrew Oliver — Cyprus
A.P. Andreas Pülz — Aperlai; Arykanda; Kyaneai;
Limyra; Myra/Andriake
A.P.-L. Annegret Plontke-­Lüning — Georgia
Ar.M. Arianna Monachesi — Cimiez; Kélibia
A.S. Annemarie Stauffer — Textile: Liturgical
1566
A.St.C. Archer St. Clair Harvey — Bone; Bone Statuette;
Box: Ivory (Brescia Casket); Glass: Gold; Opus Sec-
tile: Imitation (Palatine East); Pyxis
A.U. Achim Unger — Textile: Diagnostics
A.v.D. Ann van Dijk — Demoniac; Maccabees
A.W. Albrecht Weiland — Elijah
B.A.C. Béatrice A. Caseau — Iconoclasm
B.A.P. Birger A. Pearson — Alexandria; Gnosticism:
Iconography
B.B. Beat Brenk — Innovation; Insigne; Jerash; Mar-
tyrium; Palace; Spolia
B.B.-A. Beate Böhlendorf-­Arslan — Assos
B.B.-C. Brigitte Boissavit-­Camus — Poitiers
B.F. Barbara Finster — Yemen
B.K. Bente Kiilerich — Ascension Panel (Munich);
Box: Ivory (Maskell Casket); Diptych (Ivory Dip-
tychs: Religious [Christian]); Diptych: Carrand;
Mariamin Mosaic; Maximian of Ravenna: Ivory
Throne; Reliquary: Silver; Sculpture: Wood (Reliefs
on Doors); Women at the Tomb
B.O. Bernhard Overbeck — Ingot; Treasure: Licinius
B.P. Bernd Päffgen — Aachen; Alzey; Andernach; Arm-
band; Augsburg; Bonn; Boppard; Capella Regis;
Church: Private; Cologne; Constance; Epfach; Ger-
many; Irish Missionary Foundations in Continen-
tal Europe; Karden; Kempten; Kobern-­Gondorf;
Koblenz; Künzing; Mainz; Metz; Moselkern; Nail;
Neuss; Notitia Galliarum; Passau; Regensburg; San
Juan de Baños; Speyer; Torque; Worms; Würzburg
B.P.N. Bradley P. Nystrom — Asklepios; Crete
Br.M. Branka Migotti — Croatia: North (Movables);
Novalja; Rab; Srima; Zadar
B.R.McC. Byron R. McCane — Burial: Jewish Connections;
Ossuary
Ca.B. Carmen Buda — Melchizedek; Theophany
Cä.F. Cäcilia Fluck — Textile: Embroidery
Ca.M. Carol Meyers — Lampstand
Ca.T. Catherine Thirard — Deir, Khirbet ed-
Ca.V. Carola Vogel — Obelisk
C.B. Cormac Bourke — Staff
C.B.-I. Christa Belting-­Ihm — Rider
C.B.P. Carles Buenacasa Pérez — Bethlehem: Cityscape
Iconography; Gerizim; Law and Imperial Legisla-
tion; Magen; Martyrius
C.C. Caterina Curci — Cilicia
C.D. Claudine Dauphin — Dora; Gaza; Heptapegon; In-
habited Scroll; Mamre; Mosaic: Carpet; Samaria

C.F. Clive Foss — Lycia
C.F.T. Cinzia Fiorio Tedone — Santa Maria in Stelle
C.G. Caterina Giostra — Luni; Milan; Monza
C.G.T. Catherine Gines Taylor — Nave; Niche; Sigma;
Wall: Construction Types
C.H. Charles Hollinrake — Glastonbury
Ch.B. Charles Bonnet — Geneva
Ch.Ba. Charalambos Bakirtzis — Peyia
Ch.R. Charlotte Roueché — Aphrodisias (Caria)
C.J. Catherine Johns — Treasure: Hoxne
C.J.D. Caroline J. Downing — Cityscape; Donkey; Kan-
tharos; Personification
C.J.L. Chérie J. Lenzen — Umm el-­Jimal
C.J.S.E. Christopher J. S. Entwistle — Metrology; Weight:
Glass; Weight: Metal
C.K. Christine Kondoleon — Mosaic: Antioch; Mosaic:
Cyprus
C.L. Chiara Lambert — Ampulla; Liguria
Cl.Br. Clive Bridger — Xanten
C.L.C. Carolyn L. Connor — Ivory: Coloring of
Cl.Ne. Claudio Negrelli — Rimini
C.M. Christine Milner — Gemstone: Cross
C.N. Claudia Nauerth — Abraham and Isaac; Aphrodite;
Herakles; Saint: Military; Thekla
C.O. Carolyn Osiek — Malta
Cor.S.† Cornelius Schuddeboom — Archaeology: Early
Christian (Pioneers); Bosio, Antonio
Co.S. Cornelius Steckner — Bath: Christian Reuse of;
Samos; Weights and Measures
C.R. Clementina Rizzardi — Maximian of Ravenna;
Ravenna/Classe; Ravenna: Mausolea
C.S. Chiara Sanmorì — Amman; Aosta; Beit Ras; Hip-
pos; Italy: North; Marche; Umm al-­Rasas
C.S.-G. Christopher Sparey-­Green — Burial: Mineral-­
Packed; Fifehead Neville; Frampton; Hinton St.
Mary; Poundbury Camp
C.S.L. Christopher S. Lightfoot — bibliography: Amorium
C.S.S. Carolyn S. Snively — Edessa (Greece); Epidaurum;
Konjuh; Macedonia; Okrid; Skupoi; Stobi; Veria;
translation: Bregalnica
C.T. Concetta Tiano — Tobiah and the Big Fish
C.V. Catherine Vanderheyde — Chios; Epiros; Itanos
D.A. Diliana Angelova — Ivory: Mythological Subjects;
Relic, Translation of; Textile
D.A.P. David A. Petts — Cornwall
D.B. Dominique Bénazeth — Bāwīt
D.Bu. David Buckton — Enamel
D.B.W.† David B. Whitehouse — Glass; Glass: Cage Cup;
Glass: Window
D.G. Daniela Goffredo — Door: Iconography
D.G.J. David Glenmor Jeffreys — Memphis
D.H.V. Dorothy H. Verkerk — Ashburnham Pentateuch;
Ireland; Liturgy; Patronage
D.J.W. Dorothy J. Watts — England; London; Tank; Trea-
sure: Thetford
D.K. Dieter Korol — Cimitile
D.M. Danilo Mazzoleni — Epigraphy: Italy (Rome)
D.M.D. D. M. Deliyannis — translation: Ravenna/Classe
inscription
D.M.L. Douglas MacLean — Scotland
D.M.M. David M. Murrey — Follis; Miliarense; Nummus;
Semissis; Siliqua; Solidus; Tremissis
D.N. Donatella Nuzzo — Egnazia; Puglia
1567
Contributors
D.P. David Parrish — Mosaic: Turkey and Georgia; Mo-
saic: Western Europe
D.T.S.J. Dominic T. S. Janes — Gold; Treasure; Treasure:
Carthage; Treasure: Esquiline
D.W.J.† David W. Johnson — Paleography: Coptic
E.B.W. Emily Blanchard West — Column: Structural; Epi-
style; Pier; Pilaster; Pillar
E.C. Enrico Cavada — Trent
Ed. Editor: Paul Corby Finney — [many]
E.F. Everett Ferguson — Aberkios; Acrostic; Baptism:
Iconography; Deer; Fiery Furnace, Three Hebrew
Youths in; Jacob; Noah; Numerology; Octagon
E.F.C.B. Elena Flavia Castagnino Berlinghieri — Marzam-
emi II: Church Wreck
E.L. Eliane Lenoir — Morocco
E.L.-P.† Elisabetta Lucchesi-­Palli — Eagle; Ivy
El.S. Eli Shenhav — Yattir, Khirbet
E.M. Emilio Marin — Narona; Split
E.M.S. E. Marianne Stern — Glass: Engraved; Glass:
Mold-­Blown
E.R. Erin Roberts — Anchor
Er.S. Erkki Sironen — Epigraphy: Balkans
E.S. Eva Schurr — Attribute; Tile: Relief
E.S.B. Elizabeth S. Bolman — Nursing Mother; Sohag
E.T. Endre Tóth — Alisca; Hungary; Iovia; Keszthely
Culture; Pécs; Ságvár; Savaria; Scarbantia; Timothy
of Pannonia
Eu.Ch. Eugenia Chalkia — Nikopolis
F.B. François Baratte — Haïdra; Treasure: Canoscio;
Treasure: Kaiseraugst; Treasure: Luxor; Treasure:
Malaja Pereshchepina
F.C. Francesca Cristini — Molise
F.D’A. Francesco D’Andria — Hierapolis: Philip Martyrion
F.D.R. Francesca Di Renzo — Abruzzo
Fe.B. Fethi Béjaoui — Gousset, Henchir el-; Jilma; Mac-
tar; Sbeïtla; Sokrine, Henchir
F.G. Franz Glaser — Arianism; Church: Double; Hem-
maberg; Teurnia
F.H.-M. Felicity Harley-­McGowan — Crucifixion; Shepherd
F.K. Frank Kolb — City
Fl.S. Florence Schweitzer — Laying on of Hands;
Zacchaeus
F.O. Fulvia Olevano — Opus Sectile
F.R. Franz Rickert — Type and Antitype
F.S. Francesca Severini — Chiusi; Mold; Ostia; Porto
F.v.B. Friederike von Bargen — Comb; Sculpture: Relief
(Ivory)
G.A.G. G. A. Guazzelli — Antiquarianism and Christian
Archaeology (ca. 1450-1650)
G.A.K. Genevra A. Kornbluth — Cameo
G.A.W.† Gerard A. Wellen — Mary
G.B. Gioia Bertelli — Architecture: Arian; Canosa; Si-
ponto; Venosa
G.D. Georges Descoeudres — Glis; Kellia
G.D.A. Gabrielle Démians d’Archimbaud — Digne
G.D.B.J.† G. D. Barri Jones — Leptis Magna; Tipasa
G.D.F. Giuliano De Felice — Basilicata; Taranto
G.D.R. Gianfranco De Rossi — Italy: South
G.D.S. G. De Spirito — Evangelist; Joseph (NT); Massacre
of the Innocents; Rome: Christian Topography
G.D.St. Giovanni Di Stefano — Syracuse
Contributors
G.G.G.† Georgios G. Gounaris — Amphipolis; Philippi;
Thessaloniki; Thessaloniki: Church of St. Deme-
trios; Thessaloniki: Rotunda of St. George
G.H. Gernot Hochhauser — translation: Umbria
inscription
Gi.B. Giovanna Bucci — Opus Sectile (and Mosaic):
Rome (Floors)
G.J.-B. Gisela Jeremias-­Büttner — Church: Personification
G.J.J. Gary J. Johnson — Binbirkilise; Bithynia; Epigra-
phy: Turkey
G.J.M.v.L. Gertrud J. M. van Loon — Dayr Abu Hinnis: Cave
Church Paintings
G.K. Guntram Koch — Albania; Amorium; Aqaba;
Atrun, el-; Attaleia; Buzluk; Cappadocia; Chalce-
don; Cleveland Marbles; Clipeus; Constantinople;
Curtain; Euchaita; Flagellation; Gemiler Adası;
Gortyn; Greece; Greece: Islands; Greece: North;
Greece: South; Hama; Iasos; Incised Slab; Israel and
Palestine; Kairouan; Kaiseraugst; Kaunos; Kayseri;
Kızıl Kilise; Klinē; Knidos; Konya; Konz; Kremna;
Lamta: Sarcophagus; Leggio; Marble, Color of; Na-
zianzos; Nikomedia; Nyssa; Öküzlü; Patara; Perge;
Pfalzel; Philadelphia (Lydia); Portrait; Priene;
Prokonnesos; Reliquary: Stone; Sarcophagus;
Sculpture; Side (Pamphylia); Sofia; Syria; Tabula
Ansata; Thera; Tile: Relief; Tomarza; Treasure:
Vrap; Tripoli (Libya); Tunisia; Tur ‘Abdin; Turkey;
Welschbillig; Wondrous Mountain; Yassi Ada
G.L.† Gary Lease — Akhmim; Antinoupolis; Faw Qibli;
Mithraism; Oxyrhynchos
Gl.P. Glenn Peers — Angel; Demetrios; Devil; Eulalia;
Euphemia; John the Baptist; Lawrence; Peter; Rod;
Saint; Sergios; Sisinnius; Stylite
G.M. Gabriele Mietke — Akören
G.P. Gerasimos Pagoulatos — Athens: Temple of
Hephaistos
G.P.L.† George P. Lavas — Kathisma
G.R. Gisela Ripoll — Ampurias; Barcelona; Recopolis;
Spain; Toledo
G.T. Giordana Trovabene — Modena
G.T.A. Gregory T. Armstrong — Anicia Juliana; Constan-
tine; Eusebius of Caesarea; Helena; Jerusalem; Je-
rusalem: Iconography; Justinian I
G.T.D.† George T. Dennis — Paleography: Greek and Latin
Gu.B. Gunnar Brands — Basilica; Column: Honorific;
Deir za-‘Fārān; Gallery; Pastophories; Tetrapylon
G.W. Gerhard Waldherr — Berenike; Cyrene; Ghirza;
Libya; Tokra
Ha.E. Hanan Eshel — Yattir, Khirbet
Ha.R.S. Hans Reinhard Seeliger — Photography
H.B. Helmut Buschhausen — Box; Box: Wood; Fanā,
Dayr Abū
H.E. Hugh Elton — Alahan; Dağ Pazarı
H.-G.S. Hans-­Georg Severin — Sculpture: Coptic
H.H.† Heinz Heinen — Trier
Hi.T. Hilke Thür — House
H.K.-M. Helga Kaiser-­Minn — Adam and Eve; Creation
H.L.K. Herbert L. Kessler — Cotton Genesis; Model Book;
Paul
H.O.M. Harry O. Maier — Domestic Space and Heresy
H.R.G. Hans Rupprecht Goette — Clothing/Costume;
Footwear
1568
HR.S. Hans Rudolf Sennhauser — Sion; St. Maurice
d’Agaune; Zurzach
H.S. Heikki Solin — Onomastics
H.T. Hjalmar Torp — Thessaloniki: Church of Hosios
David
H.W.-H.† Hemming Windfeld-­Hansen — Centrally Planned
Structures
I.B.† Ion Barnea — Axiopolis; Callatis; Constanța;
Histria; Romania; Tropaeum Traiani
I.B.L. Isabella Baldini Lippolis — Brindisi; Jewelry; Toy
I.C.S. Iris C. Stollmayer — Triconch
I.J. Ine Jacobs — Sagalassos
I.K. Irene Kabala — Bread; Globe; Halo; Manna; Quail;
Scroll; Sigma; Snake
I.P.† Irene Pekáry — Ship
I.R. Isabel Rodà — Sarcophagus: Tarraco
I.R.-N. Ivanka Ribarević-­Nikolić — Bosnia and Herzegov-
ina; Mogorjelo
I.V. Ioannis Vitaliotis — Andros; Paros
Ja.F. Jaakko Frösén — Hārūn, Jebel: Mountain of Aaron;
Petra Papyri
J.A.G. Joseph A. Greene — Askalon; Dougga; Tabarka
J.D. John Devreker — Pessinos
J.D.-W. Jutta Dresken-­Weiland — Elijah; Griffin; Patronage:
Sarcophagus Evidence; Rivers of Paradise; Sculp-
ture: Relief (on Tabletops)
J.E.G. James E. Goehring — Chenoboskion; Pachomian
Monasteries; Sheikh Ali, Wadi; Tabennisi; Ṭārif,
Jabal al-
Je.G. Jean Gascou — ʿEnaton
Je.Guy. Jean Guyon — Arles; Catacomb: Early Christian
(Rome); Damasus; Fossor; France; Marseille; St.
Bertrand de Comminges
J.E.T. Joan E. Taylor — Jewish-­Christianity: Material Cul-
ture (200-550); Nazareth
J.E.V. Johannes E. Volanakis — Aegina; Crete; Karpathos;
Kephallenia; Kos; Lesbos; Naxos; Nea Anchialos
J.F. Jane Fejfer — Ayios Kononas
J.-F.R. J.-F. Reynaud — Lyon; Vienne
J.G.† Joseph Gutmann — Akedah; Jewish Art
J.G.G. John G. Gager — Amulet; Curse Tablet; Stone Book
J.H. Jane Hawkes — Whithorn
J.H.T. Janet H. Tulloch — Gender
J.I.L. John I. Lawlor — Eboda; Ma’in; Nebo; Thisbe
(Gilead)
J.J.H. John J. Herrmann, Jr. — Capital: Latin West; Doki-
meion; Göktepe; Luni/Carrara: Quarries; Sculpture
and Ornament: Architectural
J.L. Judith Lerner — Iran, Iraq
J.L.G. Jennifer L. Gibson — Atrium; Ciborium; Narthex
J.L.M. Jacques Le Maho — Rouen
J.M. Jodi Magness — Yattir, Khirbet
J.-M.D. Jean-­Marie Dentzer — Bosra; Hawrān
J.M.G. Josep M. Gurt — Carthago Nova; Córdoba; Tarrasa;
Valentia
J.M.-O.† Jerome Murphy-­O’Connor — Bethlehem; Hammat
Gader; Jerusalem: Holy Sepulchre; Kelt, Wadi
Jn.M. John Mitchell — Butrint
Jo.E. Joseph Engemann — Eulogia; Fastigium; Votive
Jo.P.† John Percival — Villa
J.P.O. John Peter Oleson — Humayma
J.P.R. Jayne Philipp Reinhard — Epidauros
J.P.S. Jaqueline P. Sturm — Fountain of Life

J.-P.S. Jean-­Pierre Sodini — Byllis; Halab; Qalʿat Simʿān;
Thasos; Xanthos
J.R. John Rosser — Greece: Central
J.R.B. Joan R. Branham — Chancel Screen; Jerusalem:
Temple
J.S. Jeffrey Spier — Gemstone: Engraved (Early
Christian)
J.S.C. Jordina Sales Carbonell — Doll: Ivory; Toy
J.T.W. Joel Thomas Walker — Anastasiupolis
Ju.H. Julia Hauser — translation: Finger Ring (Historiog-
raphy and Nomenclature)
J.v.d.V. Jacques van der Vliet — Epigraphy: Coptic
J.W. Johanna Witte — Aḫbarīya, Karma al-
J.W.H. John W. Hayes — Pottery
K.D.B. Kimberly D. Bowes — São Cucufate
K.-D.D.† Klaus-­Dieter Dorsch — Photography
K.D.P. Konstantinos D. Politis — Aenon; Deir ‘Ain ‘Abaṭa;
Ghor es-­Safi
K.E.M. Kathleen E. McVey — Acheiropoietos; Dome: Sym-
bolism; Miriam; Samaritan Woman; Tabernacle;
Theoria; Theoria: Architectural
K.G.H. Kenneth G. Holum — Caesarea (Israel)
K.K.-A. Katrin Kogman-­Appel — Lot; Nessana; Phineas
K.M. Kathrin Meier — Textile: Diagnostics
K.M.D.D. Katherine M. D. Dunbabin — Mosaic: Africa
K.R.D. Ken R. Dark — Civitas; Epigraphy: England;
Pupput
K.S. Karl Sandin — Antioch Chalice; Cross; Liturgy;
Paten
K.S.P. Kenneth S. Painter — Albans, St.; Bath (England);
Channel Islands; Cup/Chalice; Dorchester (Dor-
set); Hacksilber; Icklingham; Iona; Treasure: Can-
terbury; Treasure: Coleraine; Uley; Wells; Wroxeter
K.S.T.† Kiril S. Trajkovski — Bargala; Bregalnica
Ku.S.† Kurt Schubert — Jewish Art
K.V. Konrad Vössing — Epigraphy: North Africa; Hippo
Regius; Madauros
L.B. Leslie Brubaker — Book Illustration; Dioskorides;
Kosmas Indikopleustes; Octateuch; Vienna Genesis
L.D.† Lois Drewer — Atrun, el-; Corbel; Ptolemais; Qasr
el-­Lebia (Libya); Wood: Architectural Sculpture;
Wood: Coffin; Wood: Portables and Fixtures
L.D.P. Ljubica D. Popovich — Prophet
L.H.M. Luther H. Martin — Isis
L.I.L. Lee I. Levine — Jewish Art: Invention and Innova-
tion in Late Antiquity
L.J. Lynn Jones — Ēǰmiacin Codex
L.J.H. Linda J. Hall — Architect; Artist; Collegium
L.M.S. Lea M. Stirling — Lamta
L.P.B. Luisella Pejrani Baricco — Isola d’Orta
Lu.V. Luca Villa — Cividale del Friuli; Invillino; Vicenza;
Zuglio
Lu.V.R. Lucas Van Rompay — Paleography: Syriac
L.V. Laurence Vieillefon — Bellerophon; Entry into
Jerusalem; Flight into Egypt; Footwashing; Jesus
Christ: Infancy and Childhood; Judas; Lamb; Last
Supper; Nativity; Orpheus; Shepherd; Treasure:
Cyprus
L.V.R. Leonard Victor Rutgers — Catacomb: Jewish; Hy-
pogeum; Isna; Painting: Fresco
L.W.H. Larry W. Hurtado — Nomina Sacra
M.A. Mordechai Aviam — Galilee
Ma.B. Maria Busia — Bulla Regia; Mustis; Thyna
1569
Contributors
Ma.C. Marica Cassis — Bulla; Gemstone: Engraved
(Sasanian)
Ma.E. Maria Rosaria Esposito — Campania; Capua; Na-
ples; Nola
Ma.G. Marc Griesheimer — Syracuse
Ma.H. Marc Heijmans — Arles
M.B. Magen Broshi — Archaeology: New Testament
(Palestine)
M.C. Marilena Casirani — Palazzo Pignano
M.C.D. Maria Carmela Dalessandro — Workshop
M.C.M. Maria Concetta Muscolino — Mosaic: Conserva-
tion (Ravenna)
M.D.M. Manuel De Martino — Campania; Cilicia
M.E. Mongi Ennaifer — Althiburos; Utica
M.E.H. Marilyn E. Heldman — Adulis; Aksum; Canon Ta-
bles; Ethiopia; Matara
M.E.R. Marice E. Rose — Virgin; Woman with the Issue of
Blood
M.F. Michael Fuller — Tuneinir, Tell
M.F.R. Michael F. Ryan — Ireland: Early Christian Period;
Metalwork: Irish (Early Christian)
M.G. Mario Giannitrapani — Landscape and Seascape
M.H. Martin Henig — Caerleon; Caerwent; Canterbury;
Cirencester; Dorchester-­on-­Thames; Treasure: Cor-
bridge; Treasure: Risley Park Lanx; York
M.H.S. Mustafa H. Sayar — Akören
M.I. Monica Ibsen — Brescia
Mi.G. Michał Gawlikowski — Ezraa; Hawarte; Palmyra
M.I.G. Maria Ida Gulletta — Epigraphy: Sicilian
Mi.Gr. Michael Grünbart — Monogram
Mi.J.J. Michael J. Jones — Britain: 400-600; Lincoln
Mi.R. Michael Roberts — Prudentius
Mi.S. Mikels Skele — Paestum
Mi.Sch. Michael Schmauder — Hairstyle; Patera; Treasure:
Tăuteni Bihor
M.J.J. Mark J. Johnson — Burial: Law of; Mausoleum;
Oratory
M.L.C. Mary Lee Coulson — Athens
M.L.R. Marcus L. Rautman — Amathus; Ancyra; Kala-
vasos; Kourion; Marion; Myra/Andriake; Nicaea;
Paphos; Pergamon; Salamis; Sardis; Soli
M.M. Marco Martignoni — Brugnato; Finale Marina;
Friuli–­Venezia Giulia; Noli
Mo.F. Moshe Fischer — Capernaum
M.O.H.C. Martin O. H. Carver — Sutton Hoo
M.P.† Michele Piccirillo — Cana; Emmaus; Jordan; Mad-
aba; Rihab
M.P.-P. † Maja Parović-­Pešikan — Ulpiana
M.R. Marcello Rotili — Benevento
M.R.S. Michele R. Salzman — Calendar of 354
M.S. Marco Sannazaro — Como
M.T. Marcus Trier — Augsburg
M.W. Marc J. C. Waelkens — Sagalassos
Na.C. Nadia Cavallaro — Rome: Collections
N.B. Nacéra Benseddik — Cherchel; Sétif
N.C. Nenad Cambi — Brač; Salona; Stari Grad
N.E. Nancy Edwards — Wales
N.H. Nancy Hollinrake — Glastonbury
Ni.L. Nikolaos Laskaris — Rhodes; Tegea
N.J.C. Neil J. Christie — Genoa; Rural Settlements and
Landscapes
N.L. Nora Laos — Aix-­en-­Provence
N.M.H. Nathanael M. Hauser — Church: Pilgrimage
Contributors
No.L. Noel Lenski — Portrait: Constantine
O.B. Olof Brandt — Baptistery
O.W. Odile Wattel — Sousse
Pa.B.† Patrick Bruun — Coin
Pa.P. Patrick Périn — Denis, St.; Paris
Pa.Po. Paola Porta — Bologna; Padua
P.B. Peter Baumann — Patronage: Levant
P.Bu. P. Burrows — translation: Architecture: Arian
P.C. Pascale Chevalier — Croatia
P.C.H.† Philip C. Hammond — Dhiban
P.C.M. Patricia Cox Miller — Asceticism
P.D. Paolo Demeglio — Emilia-­Romagna; Piedmont;
Veneto
P.d.P.† Pere de Palol — Barcelona; Bovalar; Gerona
P.D.-V. Pauline Donceel-­Voûte — Baalbek; Dura Europos;
Lebanon; Mosaic: Levant; Osrhoëne; Qumran; Tyre
P.E. Peter Eggenberger — Romainmôtier
Pe.J. Petra Janke — Codex; Liber Pontificalis
Pe.M.C. Pedro Mateos Cruz — Mérida
P.F. Pau Figueras — Beersheva; Karkur ‘Illit, Ḥorvat;
Negev
P.G. Peter Grossmann — Abusir; Antinoupolis; Ar-
chitecture: Egypt (3rd-7th c. a.d.); Ashmunein,
al-; Aswān; Bagawāt, al-; Cairo; Coptos; Dandarā;
Dayr Abu Hinnis; Dayr al-‘Adra; Dayr al-­Balayza;
Dayr al-’Izām; Egypt; Fayyum; Hermonthis; Ḥil-
wān; Khurus; Kom Namrud; Mīnā, Abū; Pelusion;
Philae; Return Aisle; Saqqara; Scetis; Sinai; Sohag;
Thebes
P.Ge. Patty Gerstenblith — Cultural Heritage
P.G.W. P. G. Walsh — translation: Trinity inscription
Ph.B.† Philippe Bruneau — Delos
Ph.C. Philip Crummy — Colchester
Ph.D. Phane Drossoyianni — Crete
P.J. Peter Jakobs — Crypt
P.K. Péter Kovács — Aquincum; Epigraphy: Pannonia;
Mursa; Siscia
P.L. Peter Low — Augustine of Canterbury: Illustrated
Gospel Book; Quedlinburg Itala
Pl.P. Platon Petridis — Delphi
P.M. Peter Marzolff — Demetrias
P.Ma.C. Pere Maymó i Capdevila — Martyr: Iconography
P.M.B. Palmira Maria Barbini — Burial; Catacomb: Early
Christian (Provincial Italy)
P.M.C. Paul M. Cobb — Damascus; Homs
P.M.F. P. M. Forness — translation: Tarragona inscription
P.N. Philipp Niewöhner — Aizanoi; Dokimeion; Ger-
mia; Marble: Archaeology; Miletus; Sivec
P.P. Philippe Pergola — Albenga; Corsica
P.T. Peter Talloen — Sagalassos
P.v.M.† Paul van Moorsel — Crossing of the Red Sea
R.A. Richard Abdy — Contorniate; Die; Medal; Mint
R.A.H.† Robert A. Hadley — Bakhīra; Carrhae
Ra.M.J. Randon M. Jerris — Mines and Mineral Resources;
Quarry
R.B. Rajko Bratož — Celje; Ljubljana; Ptuj; Slovenia
R.B.H. R. Bruce Hitchner — Kasserine
R.Bo. Ralf Bockmann — Carthage
R.C.† Rudolf Cohen — Kissufim
Re.C. Renée Colardelle — Grenoble
R.F.C. Raffaella Farioli Campanati — Florence; Mosaic:
Ravenna (Floors)
1570
R.G. Rüdiger Gogräfe — Anderin; Chisphin; Dehes; Is-
rīye; Manbij; Qennishrîn; Qirk Bizah
R.H.S. Robert Houston Smith — Decapolis; Pella
Rh.Se. Rhoda Seidenberg — Balaam; Ezekiel
R.J.M. Ray Jabre Mouawad — Beirut
R.K. Ruth Kolarik — Mosaic: Balkans
R.M. Rossana Martorelli — Albano Laziale
R.M.B.C Rosa Maria Bonacasa Carra — Agrigento
R.M.J. Robin M. Jensen — Bekalta; Dolphin; Jordan River:
Personification; Meal; Moses; Pilate, Pontius
R.M.R. Richard M. Rothaus — Argos; Corinth; Epidauros;
Kenchreai; Kérkyra; Sikyon
R.M.T. Rabun M. Taylor — Aedicula; Aisle; Apse; Atrium;
Bath; Bema; Brick; Ciborium; Column: Structural;
Cornice; Diakonikon; Dome: Architectonics; En-
tablature; Epistyle; Exedra; Facade; Fortification;
Narthex; Nymphaeum; Pagan Sanctuaries: Chris-
tianized; Pier; Pillar; Synthronon; Tribelon; Triclin-
ium; Vault; Xenodocheion/Xenodochium
R.O. Robert Ousterhout — Imbros
Ro.G. Rollins Guild, Jr. — Strasbourg
Ro.M. Robert Matijašić — Pula
R.P. Renate Pillinger — Andrew; Austria; Bulgaria;
Chersonesos; Kerch
R.S. Reiner Sörries — Arian Art; Daniel; Paris (BN).
Syriac MS 33; Paris (BN).Syriac MS 341; Rossi,
Giovanni Battista de; Stevenson, Enrico (Henry);
Switzerland; Wilpert, Josef
R.W. Rainer Warland — Portrait: Jesus Christ
R.W.E. Robert W. Edwards — Akkale; Ałc‘; Anamur;
Anazarbos; Antioch (Seleukeia Pieria); Aphrodisias
(Cilicia); Architecture: Cilician; Armenia; Aštarak;
Ayatekla; Canbazlı; Diocaesarea and Olba; Diyar-
bakır; Duin; Ēǰmiacin; Ełvard; Ereruk‘; Flaviopolis;
Kanlıdivane; K’asał; Kastabala; Korykos; Martyrop-
olis; Mopsuestia; Sebaste (Cilicia); Seleukeia (Cili-
cia); Tarsus; Tekor; Yanıkhan
Sa.B. Sarah Bassett — Circus; Icon; Piazza Armerina
Sa.H. Sali Hidri — Arapaj
S.A.T. Sarah A. Taft — Joseph (OT); Liturgy; Rebekah;
Samson; Susanna
S.B. Susan Boyd — Treasure: Sion
S.D. Shimon Dar — Hermon, Mt.
S.d.B. Sible de Blaauw — Altar; Ambo; Cathedra; Liturgy;
Offertory Table; Solea
S.E. Stephen Emmel — Sohag
S.E.K. Sandra E. Knudsen — Arch of Constantine; Arch
of Galerius
S.E.O. Sara E. Orel — Amphora
S.E.P. Stephen E. Potthoff — Ambulatory; Conched
Structure
Si.P. Simona Petrelli — Ancona
S.J.M. Stephanie J. Maloney — Mértola; Portugal; San Pe-
dro de Alcántara (Málaga); Torre de Palma; Troia
S.K. Susanne Kerner — Umm Qais
S.L. Stavros Lazaris — Book Illustration: Scientific;
Clothing/Costume; Gesture; Physiologos
S.M. Skënder Muçaj — Byllis
S.M.Y. Susan M. Youngs — Enamel
S.N.-H. Sabine Noack-­Haley — translation: Centcelles
S.P. Silvia Pasi — Concordia Sagittaria; Verona
S.R. Sebastian Ristow — Alzey; bibliography: Aquileia/
Grado; Asnam, el-; Boppard; Chemtou; Finger Ring

(Historiography and Nomenclature); Fréjus; Ingel-
heim; Karden; Kef, el-; Kobern-­Gondorf; Koblenz;
Ksar Lemsa; Pednelissos; Peutinger Map; Riez; Riva
San Vitale; Thelepte; Thuburbo Maius; Worms
S.R.H. Stefan R. Hauser — Spoon; Treasure: Antioch; Trea-
sure: Attarouthi; Treasure: Beth Misona; Treasure:
Desana; Treasure: Galognano; Treasure: Hama;
Treasure: Kaper Koraon; Treasure: Lampsakos;
Treasure: Maʿarat al-­Nuʿmān; Treasure: Mytilene;
Treasure: Reggio Emilia; Treasure: Riha; Treasure:
Stuma
S.S. Silvia Sangiorgi — Tuscany
St.K. Stefan Karwiese — Ephesos
St.S. Stephanie Smith — Apocalypse; Glass: Gold; Glass:
Gold (Jewish)
Sv.P. Svetlana Popović — Chapel; Monastery
S.W. Stephan Westphalen — Apamea; Bara, el-; Hal-
abīyah; Qanawāt; Serdjilla
T.E.-G. Tali Erickson-­Gini — Mampsis
T.E.R. Thomas E. Russo — Transenna; Transept
T.H. Theodor Hauschild — Tarragona
T.J.† Tome Janakievski — Herakleia Lynkestis
T.J.M. T. J. Molloy — translation: Doll: Ivory
T.K. Timotej Knific — Slovenia
T.L. Tomas Lehmann — Aquileia/Grado
T.M. Thomas Meier — Speyer
T.U. Thilo Ulbert — Casa Herrera; Rusafa
T.V. Thomas Völling — Olympia
T.W. Tim Wardle — Place: Holy (Earliest Written
Evidence)
U.K. Ulrike Koenen — Adoration of the Magi; Blindness;
Sodom
U.P. Ute Possekel — Dara; Nisibis; Urfa
U.S. Ufuk Serìn — Monastery: Turkey
U.U. Umberto Utro — Afterlife
V.B. Volker Bierbrauer — Sabiona
V.D. Vincent Déroche — Delphi
V.E. Victoria Erhart — Heshbon; Hierapolis; Laodikeia
(Phrygia); Qalb Lozeh; Qasr Ibn Wardan; Sabas
Ve.P.† Veljko Paškvalin — Bugojno
V.G.K. Veronica G. Kalas — Cave Church
1571
Contributors
V.L.V.C. Valentina La Via Colli — Lombardy; Sicily;
Trentino–­Alto Adige
V.M. Violaine Malineau — Blind Man, Jesus’ Healing
of; Demoniac; Fish, Miraculous Catch of; Jairus’s
Daughter, Raising of; Lazarus, Raising of; Loaves
and Fishes; Paralytic; Walking on Water; Wedding
at Cana; Widow’s Son at Nain, Raising of
V.P. Vasso Penna — Chios
V.R. Vincenzo Ruggieri — Keramos
V.R.A.-S. Virginia R. Anderson-­Stojanovi — Caričin Grad;
Doclea
V.V. Valentina Vincenti — Kenchreai; Lechaion; Matro-
neum; Senatorium; Umbria
W.B.† William Brashear — Abrasax; Magician; Magic: Ico-
nography; Magician; Magos; Papyrus; Word Magic
W.C.L. William C. Loerke — Notitia Dignitatum; Rabbula
Gospels; Rossano Codex; Sinope Fragment
W.G. Włodzimierz Godlewski — Dayr al-­Naqlūn; Don-
gola; Faras; Nubia
W.H.C.F.† William H. C. Frend — Constantine-­Cirta (Alge-
ria); Djémila; Lullingstone; Matifou; Qasr Ibrim;
Richborough; Silchester; Tébessa; Tigzirt; Timgad;
Treasure: Mildenhall; Treasure: Traprain Law; Trea-
sure: Water Newton
W.H.M.† W. Harold Mare — Abila
Wm.B. William Bowden — Butrint
W.T. William Tabbernee — Archaeology: New Tes-
tament (Turkey); Epigraphy: Clandestine and
Crypto-­Christian; Epigraphy: Montanist; Pepouza
W.W. Wolfgang Wischmeyer — Archaeology: Early
Christian (Historiography); Rossi, Giovanni Bat-
tista de; translation: Umbria inscription
Y.A.M. Ylva Andrea Meyer — Chur: St. Steven’s Church
Y.D.V. Yannis D. Varalis — Euboea; Maroneia; Melos
Y.H.† Yizhar Hirschfeld — Koziba; Laura; Sobata; Wil-
derness (Judean)
Y.T. Yoram Tsafrir — Beth Shean; Rehovot-­in-­the-­Negev
Z.G. Zsuzsanna Gulácsi — Mani
Zo.W. Zografia Welch — Mosaic: Greece
Z.T.F. Zbigniew T. Fiema — Petra
Z.W. Zeev Weiss — Sepphoris
Splendid, monumental reference work, authoritative and lavishly illustrated

More than 400 distinguished scholars, including archaeologists, art historians, historians,
epigraphers, and theologians, have written the 1,455 entries in this monumental
encyclopedia — the first comprehensive reference work of its kind.

From Aachen to Zurzach, Paul Corby Finney’s three-volume masterwork draws on archaeo­
logical and epigraphic evidence to offer readers a basic orientation to early Christian
architec­ture, sculpture, painting, mosaic, and portable artifacts created roughly between AD
200 and 600 in Africa, Asia, and Europe.

Clear, comprehensive, and illustrated, this work will be an essential resource for all those
interested in late antique and early Christian art, archaeology, and history.

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History / Reference
November • 978-0-8028-3811-7
8½" x 11" hardcover, 3 volumes in slipcase
172 color + 655 b&w pictures
22 color + 56 b&w maps
Paul Corby Finney is professor emeritus of
Volume 1: A–J • 804 pages
ancient history at the University of Missouri, Saint Volume 2: K–Z • 784 pages
Louis. His previous books include The Invisible God: Volume 3: Color photos and maps • 144
pages
The Earliest Christians on Art and Seeing beyond the
$495.00 [£353.99]
Word: Visual Arts and the Calvinist Tradition. (limited discount)