The fall of the Byzantine capital of Constantinople to the Latin West in 1204 during the Fourth Crusade abruptly interrupted nearly nine hundred years of artistic and cultural traditions. In 1261, however, the Byzantine general Michael VIII Palaiologos triumphantly re-entered Constantinople and reclaimed the seat of the empire, initiating a resurgence of art and culture that would continue for nearly three hundred years, not only in the waning empire itself but also among rival Eastern Christian nations eager to assume its legacy. Byzantium: Faith and Power (1261–1557), and the groundbreaking exhibition that it accompanies, explores the artistic and cultural flowering of the last centuries of the "Empire of the Romans" and its enduring heritage. Conceived as the third of a trio of exhibitions dedicated to a fuller understanding of the art of the Byzantine Empire, whose influence spanned more than a millennium, "Byzantium: Faith and Power (1261–1557)" follows the 1997 landmark presentation of "The Glory of Byzantium," which focused on the art and culture of the Middle Byzantine era—the Second Golden Age of the Byzantine Empire (843–1261). In the late 1970s, "The Age of Spirituality" explored the early centuries of Byzantium's history. The present concluding segment explores the exceptional artistic accomplishments of an era too often considered in terms of political decline. Magnificent works—from splendid frescoes, textiles, gilded metalwork, and mosaics to elaborately decorated manuscripts and liturgical objects—testify to the artistic and intellectual vigor of the Late and Post-Byzantine era. In addition, forty magnificent icons from the Holy Monastery of Saint Catherine, Sinai, Egypt, join others from leading international institutions in a splendid gathering of these powerful religious images. While the political strength of the empire weakened, the creativity and learning of Byzantium spread father than ever before. The exceptional works of secular and religious art produced by Late Byzantine artists were emulated and transformed by other Eastern Christian centers of power, among them Russia, Serbia, Bulgaria, and Cilician Armenia. The Islamic world adapted motifs drawn from Byzantium's imperial past, as Christian minorities in the Muslin East continued Byzantine customs. From Italy to the Lowlands, Byzantium's artistic and intellectual practices deeply influenced the development of the Renaissance, while, in turn, Byzantium's own traditions reflected the empire's connections with the Latin West. Fine examples of these interrelationships are illustrated by important panel paintings, ceramics, and illuminated manuscripts, among other objects. In 1557 the "Empire of the Romans," as its citizens knew it, which had fallen to the Ottoman Turks in 1453, was renamed Byzantium by the German scholar Hieronymus Wolf. The cultural and historical interaction and mutual influence of these major cultures—the Latin West and the Christian and Islamic East—during this fascinating period are investigated in this publication by a renowned group of international scholars in seventeen major essays and catalogue discussions of more than 350 exhibited objects.

Building on the groundbreaking 2012 exhibition “Byzantium and Islam: Age of Transition,” which explored the transformations and continuities in the Byzantine Empire from the seventh to the ninth century, the present volume extends the exhibition catalogue’s innovative investigation of cultural interaction between Christian and Jewish communities and the world of Islam. Eleven essays by internationally distinguished scholars address such topics as the transmission of Christian imagery to the Mediterranean, icons preserved in The Holy Monastery of Saint Catherine at Sinai, interaction between Jewish communities and the Muslim world, the purposeful mutilation of figurative floor mosaics in places of worship, the evolution of classical and Byzantine motifs in a new cosmology for Muslim rulers, and interconnections in the realm of music. Each essay provides compelling evidence that the era of transition from Byzantine to Islamic rule in the eastern Mediterranean and North Africa resulted in unprecedented cultural cross-fertilization and significantly affected the development of the Mediterranean world for centuries to come.

While mortuary ruins have long fascinated archaeologists and art historians interested in the cultures of the Near East and eastern Mediterranean, the human skeletal remains contained in the tombs of this region have garnered less attention. In Bioarchaeology and Behavior, Megan Perry presents a collection of essays that aim a spotlight on the investigation of the ancient inhabitants of the circum-Mediterranean area. Composed of eight diverse papers, this volume synthesizes recent research on human skeletal remains and their archaeological and historical contexts in this region. Utilizing an environmental, social, and political framework, the contributors present scholarly case studies on such topics as the region’s mortuary archaeology, genetic investigations of migration patterns, and the ancient populations’ health, disease, and diet. Other key anthropological issues addressed in this volume include the effects of the domestication of plants and animals, the rise of state-level formations, and the role of religion in society. Ultimately, this collection will provide anthropologists, archaeologists, and bioarchaeologists with an important foundation for future research in the Near East and eastern Mediterranean.

This significant critical anthology explores the life of Anna Komnene, the Byzantine context in which she wrote, and the impact of the Alexiad on her times and on subsequent historical works of literature.

The fourteen essays in this collection demonstrate a wide variety of approaches to the study of Byzantine architecture and its decoration, a reflection of both newer trends and traditional scholarship in the field. The variety is also a reflection of Professor Curcic’s wide interests, which he shares with his students. These include the analysis of recent archaeological discoveries; recovery of lost monuments through archival research and onsite examination of material remains; reconsidering traditional typological approaches often ignored in current scholarship; fresh interpretations of architectural features and designs; contextualization of monuments within the landscape; tracing historiographic trends; and mining neglected written sources for motives of patronage. The papers also range broadly in terms of chronology and geography, from the Early Christian through the post-Byzantine period and from Italy to Armenia. Three papers examine Early Christian monuments, and of these two expand the inquiry into their architectural afterlives. Others discuss later monuments in Byzantine territory and monuments in territories related to Byzantium such as Serbia, Armenia, and Norman Italy. No Orthodox church being complete without interior decoration, two papers discuss issues connected to frescoes in late medieval Balkan churches. Finally, one study investigates the continued influence of Byzantine palace architecture long after the fall of Constantinople.

Taking a fresh look at the interconnections between medieval images, texts, theater, and practices of viewing, reading and listening, this explicitly interdisciplinary volume explores various manifestations of performance and meanings of performativity in the Middle Ages. The contributors - from their various perspectives as scholars of art history, religion, history, literary studies, theater studies, music and dance - combine their resources to reassess the complexity of expressions and definitions of medieval performance in a variety of different media. Among the topics considered are interconnections between ritual and theater; dynamics of performative readings of illuminated manuscripts, buildings and sculptures; linguistic performances of identity; performative models of medieval spirituality; social and political spectacles encoded in ceremonies; junctures between spatial configurations of the medieval stage and mnemonic practices used for meditation; performances of late medieval music that raise questions about the issues of historicity, authenticity, and historical correctness in performance; and tensions inherent in the very notion of a medieval dance performance.

Constantine XI’s last moments in life, as he stood before the walls of Constantinople in 1453, have bestowed a heroic status on him. This book produces a more balanced portrait of an intriguing individual: the last emperor of Constantinople. To be sure, the last of the Greek Caesars was a fascinating figure, not so much because he was a great statesman, as he was not, and not because of his military prowess, as he was neither a notable tactician nor a soldier of exceptional merit. This monarch may have formulated grandiose plans but his hopes and ambitions were ultimately doomed, because he failed to inspire his own subjects, who did not rally to his cause. Constantine lacked the skills to create, restore, or maintain harmony in his troubled realm. In addition, he was ineffective on the diplomatic front, as he proved unable to stimulate Latin Christendom to mount an expedition and come to the aid of south-eastern Orthodox Europe. Yet in sharp contrast to his numerous shortcomings, his military defeats, and the various disappointments during his reign, posterity still fondly remembers the last Constantine.

In this collection leading international authorities analyse the structures and economic functions of non-agrarian centres between ca. 500 and 1000 A.D. - their trade, their surrounding settlements, and the agricultural and cultural milieux. The thirty-one papers presented at an international conference held in Bad Homburg focus on recent archaeological discoveries in Central Europe (Vol. 1), as well as on those from southeastern Europe to Asia Minor (Vol. 2).