19 Seal of George, apo eparchon, with the Bust of St. Demetrios

Figure 1. View of the front.

Byzantine Empire, Thessaloniki(?), 7th-8th Century

Lead

Diameter: 1 1/8 in. (2.9 cm)

Weight: 0.75 oz. (21.1 g)

Blick-Harris Collection, 2020.116

This rough circular-shaped lead seal possesses a white-cream color (Figure 1). The upper half of the seal features the bust of St. Demetrios, off-center to the left. St. Demetrios was a military saint and is the patron saint of Thessaloniki, as this was the place of his martyrdom. He was also later credited in miracle stories with protecting Thessaloniki from the threat of invaders. The medieval Greek inscription on the left and right of the saint’s torso reads “Theotokos, help.” This is asking for the Mother of God’s protection and blessing. A decorative wreath encircles the perimeter, resembling the style of other seals dating back to the seventh century.

On the back of the seal, the decorative wreath continues to follow the outer edges (Figure 2). The inscription identifies the owner and his status: “George apo eparchon and archon.” Apo eparchon is an honorific title reserved for public officers who supervise state workshops, toll collection, or notaries. Moreover, the usage of the title apo eparchon was most prevalent in the 7th century, which could indicate that the seal originated from this time period. George also held the title of archon, which signifies the high position of governor.

Figure 2. View of the reverse.

People of all walks of life in the Byzantine Empire utilized seals to spread information through letters (see nos. 20, 21, 22, 23). These seals identified the sender and ensured that the letter had not been tampered with. A lead seal was made by threading a string through an open channel in a blank round lead disc then pressing that disc in a die that was inscribed with the user's name. The result was a stamped seal, secured to a string that was connected to a document. Byzantine society used lead seals as another way to convey social strata based upon the images, iconography, and inscriptions present.

Figure 3. Seal of Peter archbishop of Thessaloniki, Thessaloniki, 8th Century. Lead, Diameter 31.0 mm. Dumbarton Oaks, BZS.1951.31.5.1307.

The portrayal of St. Demetrios is relevant to George’s position in government, due to the saint’s military and protective status. Furthermore, the saint’s cult popularity in the 7th century, and close ties to Thessaloniki, may suggest George’s location. The seal of Peter, archbishop of Thessaloniki, also features St. Demetrios (Figure 3). Both George and Peter’s usage of St. Demetrios on their seal may indicate the saint’s popularity with people in positions of power, and its unique relation to Thessaloniki. The seal of Peter also represents what a religious seal would look like in Byzantine society. The monogram at the center is reminiscent of a cross and another clue of his high social status, religious position, and devotion.

The seal of Markellia is also a religious seal that possesses a monogram (Figure 4). It manages to simultaneously incorporate both her identity as a woman and her successful religious career. The front of the seal portrays the Virgin Hodegetria which means: “she who shows the way” and is a Byzantine name for a ceremonial image of the Virgin and the Christ Child. A halo circles the Virgin’s head and in her left arm, she cradles the infant Son of God. Christ is also adorned by a halo. The monogram reads hegoumena of the monastery of Theodore, which indicates her authoritative position in the monastery. Overall, the more power one obtains, the more the design of the seal begins to deviate, as the use of monograms indicates higher status.

Figure 4. Seal of Markellia, Byzantine, 7th/8th Century. Lead, Diameter 35.0 mm. Dumbarton Oaks, BZS.1955.1.4533.

Figure 5. Obverse, Seal of Anastasios the Butcher, Byzantine, 7th/8th Century. Lead, Diameter 29.0 mm. Dumbarton Oaks, BZS.1951.31.5.2555.

Figure 6. Reverse, Seal of Anastasios the Butcher.

A seal for a butcher named Anastasios provides an example of a working-class Byzantine (Figures 5 & 6). The seal focuses on the mere essentials, as it simply states his identity, and asks for a very commonplace prayer of protection. Anastasios’s lead seal, in its simplicity and lack of stylistic or iconographic elements, represents his lack of high-ranking social status.

Figure 7. Obverse, Seal of Constantine IV, Byzantine, 7th Century. Lead. Diameter 30.0 mm. Dumbarton Oaks, BZS.1951.31.5.1640.

The highest power in the Byzantine hierarchy is the Emperor, and the presentation of his seal represents that power and influence. Constantine IV depicts his ultimate authority through his lead seal. The front (Figure 7) features a bust of himself with his head slightly angled. He wears his hair in a long curled style. The Emperor is pictured wearing a cuirass and chlamys. In his right hand, he holds a spear behind his head, while a shield decorated with a horse lays on his left shoulder. He intentionally paints himself as heroic through his youthful, military imagery.

On the back (Figure 8), he replaces the typical iconography of the Virgin with the cross potent. The cross serves as a victory motif and symbolizes Christ’s triumph over death. Constantine IV could also be attempting to emphasize his connection with earlier well-regarded Emperors like Constantine the Great, who started the trend of associating the cross with victory after the famous Battle of Milvian Bridge. Constantine IV uses his imperial power to portray himself as a charismatic and heroic emperor, attempting to imitate the greatness of the original Constantine. By drawing out these similarities between the two rulers he hopes to convey and cement his legitimacy and adequacy to rule. Additionally, another indication of his influence and power is that, unlike all the other seals, he does not need to identify who he is for people to be aware.

As a whole, lead seals paint an insightful picture of the social identity and positions their owners held.

Figure 8. Reverse, Seal of Constantine IV.

Bibliography

Dumbarton Oaks, Online Catalogue of Byzantine Seals, https://www.doaks.org/resources/seals.

Alexander P. Kazhdan, ed, Oxford Dictionary of Byzantium (Oxford: Oxford University Press, 1991).

Asen Kirin, ed., Sacred Art, Secular Context: Objects of Art from the Byzantine Collection of Dumbarton Oaks, Washington, DC (Athens, GA: Georgia Museum of Art, 2005).

Nicolas Oikonomides, Byzantine Lead Seals (Washington, DC: Dumbarton Oaks, 1985).

Gary Vikan and John Nesbitt, Security in Byzantium: Locking, Sealing, and Weighing (Washington, DC: Dumbarton Oaks, 1980).