̕Eν Σοφίᾳ μαθητεύσαντες: Essays in Byzantine Material Culture and Society in Honour of Sophia Kalopissi-Verti

Cover
Title Page
Copyright page
Contents Page
Foreword
Back cover
List of Figures
Foreword
Charikleia Diamanti and Anastasia Vassiliou
Sophia Kalopissi-Verti and her Contribution to the Study of Byzantine Art and Archaeology
Vicky Foskolou
Publications of Sophia Kalopissi-Verti
Urbanism and Architecture
The Reconstruction of Byzantine Lived Spaces: A Challenge for Survey Archaeology*
Myrto Veikou
The Kyphes of Chalke: A Primitive Type of Medieval Housing in a Small Island of the Dodecanese*
Maria Z. Sigala
Bent Entrances in Fortifications of the Middle and Late Byzantine Period*
Stavros I. Arvanitopoulos
‘Fino al tempo delli Re di Cipro’: Retro-Gothic and Nostalgic Identities in Venetian Cyprus*
Michalis Olympios
A Reassessment of the Contribution of Albert Gabriel to the Study of Urban Architecture in Hospitaller Rhodes
Anna-Maria Kasdagli
Painting and Iconography
Entre Constantinople et périphérie: Saint Léon, Évêque de Catane, particulièrement vénéré en Laconie, Péloponnèse*
Anna Takoumi et Kyriaki Tassoyannopoulou
The ‘Rose of the Winds’ Illustration in the Exultet I Bari Roll (c. 1025-1034) and its probable Neoplatonic Implications*
Sophia Germanidou
The Wall Paintings of the Church of St George Tropaiophoros at Loukisia in Boeotia, Greece (second quarter of the 13th century)
Giannis Vaxevanis
The Iconographic Cycle of the Revelation of John at Petra Monastery (1789) near the Village of Katafygio in the Region of Karditsa, Greece*
Georgios Tsimpoukis
Stone Carving and Sculpture
Early Byzantine Marble Vases from Kos Island, Dodecanese, Greece*
Eirene Poupaki
Observations on Published and Unpublished Byzantine Sculpted Architectural Members from Corinth*
Eleni G. Manolessou
The Synthesis of the Façades of the Church of St John at Keria in Mesa (Inner) Mani: The Role of the Marble Spolia built into the Walls*
Angeliki Mexia
Ceramics
Quaestura exercitus, the Eparch of the islands and the Late Roman/Early Byzantine Stamped Amphoras*
Charikleia Diamanti
The 6th-7th century AD Greek Lamps Phenomenon: An Indication of Regional Identity or a Large-Scale Imitation?*
Platon Petridis
Aspects of Medieval Secular Imagery: Representations of Warriors in Byzantine Glazed Pottery from Argos and Nauplio (12th-13th centuries)*
Anastasia Vassiliou
Bone, Metal and Textiles
Dice and Pawns from the Early Byzantine Episcopal Complex at Louloudies of Kitros in Pieria
Evangelia Angelkou
A Casket’s Bone Lid from the Early Byzantine Episcopal Complex at Louloudies of Kitros in Pieria*
Maria Cheimonopoulou
Early Byzantine Metal Workshops in a Settlement near St Catherine’s Monastery (Mount Sinai, Egypt): Archaeological Evidence and First Results of Laboratory Examinations*
Dionysios Mourelatos and Anno Hein**
Weaponry from the Principality of Achaia (1205-1428)*
Eleni Barmparitsa
Le vestiaire byzantin comme témoin de l’identité culturelle des Byzantins ainsi que de la réalité politique de l’Empire
Pari Kalamara
Coinage and Sigillography
The Mint of Byzantine Antioch (c. 516-610): Some Remarks on Trends in Provincial Coinage*
Pavla Gkantzios Drápelová
Some Unpublished Byzantine Lead Seals from the Private Collection of Zafeiris Syrras (London)*
Christos Stavrakos and Zafeiris Syrras
Daniel in the Lions’ Den: An Unknown Palaiologan Numismatic Representation*
Pagona Papadopoulou
Inscriptions, Portraits and Patronage
Kos in the Early and Middle Byzantine Times: The Evidence of Epigraphy*
Evangelia Militsi-Kechagia
Verbal Funerary Portraits: Inscriptions and Epigrams as Tomb Decoration in Monuments of the Byzantine Periphery
Konstantina Tsiorou
Remarks on Two Middle Byzantine Templon Inscriptions with Curses from Mani*
Georgios Pallis
What are the Byzantine Emperor and the Patriarch of Constantinople doing in Aegina? A Historical Interpretation of the Donor Inscription in the Omorphe Ekklesia (1289)
Vicky Foskolou
Nikolaos Kourouniotes remembered: A Funerary Portrait from Medieval Leros, Dodecanese
Konstantia Kefala
The Church of the Saviour at Mesaria, Telos (Dodecanese) and its Votive Inscription (1423/4)*
Nikolaos Mastrochristos
Patronage in Constantinople after 1453
Nicholas Melvani
List of Contributors
Essays in Byzantine Material Culture and Society in Honour of Sophia Kalopissi-Verti
edited by
	Sophia Kalopissi-Verti (June 2018)
Contents
List of Figures
Foreword
	Charikleia Diamanti and Anastasia Vassiliou
		Figure 2. Looking at inscriptions with her children Yannis and Stephanos at Amphiaraeion. May 1985 (Photo: Th. Kalopissis).
		Figure 1. Taking pictures at Hagios Petros, Gardenitsa, Mani. November 1984 (Photo: Th. Kalopissis).
		Figure 3. At the excavation of the Early Byzantine settlement in Kardamaina on Kos. July 1992 (Photographic Archive of the Excavation).
		Figure 4. Expedition to South Sinai, Holy Summit. May 1998 (Photographic Archive of S. Kalopissi-Verti).
		Figure 5. Receiving an award at the University of Belgrade for establishing cooperation between the Universities of Athens and Belgrade. 15-4-2010 (Photographic Archive of S. Kalopissi-Verti).
		Figure 6. With Gojko Subotić and Theodore Kalopissis at the University of Belgrade. 15-4-2010 (Photographic Archive of S. Kalopissi-Verti).
		Figure 7. Academy of Athens, receiving an award for the Multilingual Illustrated Dictionary of Byzantine Architecture and Sculpture Terminology, with Maria Panayotidi-Kesisoglou. 29-12-2011. (Photo: Photo Press Th. and A. Anagnostopoulos).
		Figure 8. At the 35th Symposium of the Christian Archaeological Society, Athens, Byzantine and Christian Museum. 23-4-2015 (Photo: N. Mylonas).
		Figure 10. Alepochori, Church of the Saviour, on a trip organized by the Christian Archaeological Society. March 2015 (Photo: A. Vassiliou).
		Figure 9. Galatsi, Omorphi Ekklisia, on a visit organized by the Christian Archaeological Society. February 2019 (Photo: F. Kaimaki).
		Figure 11. Messenia, Samarina, Church of Zoodochos Pigi. November 2017 (Photo: M. Kappas).
Sophia Kalopissi-Verti and her Contribution to the Study of Byzantine Art and Archaeology
	Vicky Foskolou
		Figure 2. With colleagues and students from the interdisciplinary post-graduate seminar ‘Nikos Oikonomides’, Constantinople. April 2005 (Photographic Archive of S. Kalopissi-Verti).
		Figure 1. With the students of a seminar on medieval Rhodes. Rhodes, Old town, Church of St Catherine. November 2001 (Photographic Archive of S. Kalopissi-Verti).
		Figure 3. With colleagues and students from the interdisciplinary post-graduate seminar ‘Nikos Oikonomides’ at the National Hellenic Research Foundation, Athens. May 2012 (Photographic Archive of S. Kalopissi-Verti).
		Figure 4. Thermos, working on an inscription. July 1989 (Photo: Th. Kalopissis).
		Figure 5. With Maria Panayotidi-Kesisoglou on an expedition in the Mani. November 1984 (Photo: Th. Kalopissis).
		Figure 6. With Georgia Kokkorou-Alevras and Maria Panayotidi-Kesisoglou at the excavation at Kardamaina (ancient Halasarna) on the island of Kos. July 1987 (Photographic Archive of the Excavation).
Publications of Sophia Kalopissi-Verti
Urbanism and Architecture
The Reconstruction of Byzantine Lived Spaces: A Challenge for Survey Archaeology*
	Myrto Veikou
The Kyphes of Chalke: A Primitive Type of Medieval Housing in a Small Island of the Dodecanese*
	Maria Z. Sigala
		Figure 2. Chalke, Signi, kyphe with elliptical plan (© M.Z. Sigala, photo by N. Pitsinos).
		Figure 1. Chalke, Kefali, the round kyphe X57.1 (Type B) (© M.Z. Sigala).
		Figure 3a-b. Chalke, Koila, plan and section of the kyphe X50.4 (© M.Z. Sigala, by P. Papatheodorou, architect).
		Figure 4. Chalke, Chorio, the kyphe X29.2 (Type C) (© M.Z. Sigala).
		Figure 5. Chalke, Koila, the inside of the kyphe X50.3 (© M.Z. Sigala).
		Figure 6. Chalke, Koila, the kyphe X50.3. Oblong pieces of rock serving as keystones of the vaults (© M.Z. Sigala).
		Figure 7. Chalke, Koila, the half ruined kyphe X50.3 (© M.Z. Sigala).
		Figure 8. Chalke, Ais Andrias mountain, the kyphe X37.1 of Type A (© M.Z. Sigala).
		Figure 9. Islet Saria, near Karpathos, building at Palatia (© Ephorate of Antiquities of the Dodecanese).
		Figure 10. Tenos, kelli (cell) NW of the church of Agios Georgios at Falatado (© M.Z. Sigala and Ephorate of Antiquities of the Cyclades).
		Figure 11. Chalke, Andramassos, Hellenistic wall incorporated in the kyphe X38.1 (© M.Z. Sigala).
		Figure 12. Chalke, Koila, ancient architectural piece incorporated in the kyphe X50.3 (© M.Z. Sigala).
		Figure 13. Chalke, Amali, the ‘twin kyphes’ X49.5 and X49.6 (© M.Z. Sigala).
		Figure 14. Chalke, Kefali, alonotopos (threshing place) (© M.Z. Sigala).
		Figure 15. Chalke, Alimounda, the kyphe X59.2 with a fenced courtyard (© M.Z. Sigala).
Bent Entrances in Fortifications of the Middle and Late Byzantine Period*
	Stavros I. Arvanitopoulos
		Figure 1. Mystras, Gate Ε4, view from the North (© S.I. Arvanitopoulos).
		Figure 2. Kalamata, inner bailey gate, exterior view (© S.I. Arvanitopoulos).
		Figure 3. Mystras, Upper Town, Tower Α1, exterior view (© S.I. Arvanitopoulos).
		Figure 4. Mystras, Upper Town, Gate E2, view from the Northeast (© S.I. Arvanitopoulos).
		Figure 5. Syria, Aleppo, the main portal, view from the Southwest (© S.I. Arvanitopoulos).
		Figure 6. Syria, Krak des Chevaliers, plan of the eastern gate (based on: Müller-Wiener 1966, 61, pl. 14).
		Figure 8. Algeria, Ksar Bellezma, gate plan (based on: Diehl 1896, 160).
		Figure 7. Syria, Krak des Chevaliers, tower of the main gate, exterior view. (© S.I. Arvanitopoulos).
‘Fino al tempo delli Re di Cipro’: Retro-Gothic and Nostalgic Identities in Venetian Cyprus*
	Michalis Olympios
		Figure 1. Nicosia, Greek cathedral of Panagia Hodegetria (now Bedesten), general view of the exterior of the northern aisle apse (© M. Olympios).
		Figure 3. Nicosia, Latin cathedral of St Sophia (now Selimiye Mosque), view of the western porch, looking southwards (© M. Olympios).
		Figure 2. Nicosia, Greek cathedral of Panagia Hodegetria, general view of the northern front (© M. Olympios).
		Figure 4. Left: Nicosia, Latin cathedral of St Sophia, western porch, right jamb of southern portal. Right: Greek cathedral of Panagia Hodegetria, northern front, left jamb of eastern portal (© M. Olympios).
		Figure 5. Nicosia, Greek cathedral of Panagia Hodegetria, view of the eastern portal of the northern front through the southern arch of the Latin cathedral’s porch (© M. Olympios).
		Figure 6. Left: Nicosia, church of St Catherine (now Haidar Paşa Mosque), western portal. Right: Nicosia, Greek cathedral of Panagia Hodegetria, northern front, western portal (© M. Olympios).
		Figure 7. Morphou, monastery of St Mamas, general view of the church, looking southeast (© M. Olympios).
		Figure 8. Left: Greek cathedral of Panagia Hodegetria, northern front, middle portal, detail of left jamb. Right: Morphou, monastery of St Mamas, tomb of St Mamas, detail of left jamb of framing arch (© M. Olympios).
		Figure 9. Nicosia, church of Panagia Chrysaliniotissa, west end, detail of recycled fragment of portal sculpture (© M. Olympios).
		Figure 10. Nicosia, church of Panagia Chrysaliniotissa, west end, detail of recycled fragments of microarchitectural ornament (© M. Olympios).
		Figure 11. Nicosia, Greek cathedral of Panagia Hodegetria, northern front, eastern portal, detail of lintel bearing series of coats-of-arms; the inset isolates the arms of the Costanzo (© M. Olympios).
A Reassessment of the Contribution of Albert Gabriel to the Study of Urban Architecture in Hospitaller Rhodes
	Anna-Maria Kasdagli
		Figure 1. Mullion capitals reused at the Palace of the Grand Master (© A.-M. Kasdagli and Ephorate of Antiquities of the Dodecanese).
		Figure 2. Mullion capitals with human faces from the medieval town of Rhodes (© A.-M. Kasdagli and Ephorate of Antiquities of the Dodecanese).
		Figure 3. Mullion capital with green men at the corners (F 550) (© A.-M. Kasdagli and Ephorate of Antiquities of the Dodecanese).
		Figure 4. Pilaster capital with bull and ram at the corners (F 513) (© A.-M. Kasdagli and Ephorate of Antiquities of the Dodecanese).
		Figure 5. House on 19K Timokreontos St.: decorative detail on cross window (© A.-M. Kasdagli and Ephorate of Antiquities of the Dodecanese).
		Figure 6. Two-level relief carving of interlaced arches (F 97) (© A.-M. Kasdagli and Ephorate of Antiquities of the Dodecanese).
Painting and Iconography
Entre Constantinople et périphérie: Saint Léon, Évêque de Catane, particulièrement vénéré en Laconie, Péloponnèse*
	Anna Takoumi et Kyriaki Tassoyannopoulou
		Figure 1. Magne, Epano Boularii, église de Hagios Panteleïmon, mur sud du Bêma: saint Léon, évêque de Catane (première couche, 991/2) (© Takoumi – Tassoyannopoulou).
		Figure 2. Magne, Epano Boularii, église d’Aï-Stratigos (Saint-Stratège), hémicylindre du diakonikon: saint Léon, évêque de Catane (première couche, fin du XIIe siècle) (© Takoumi – Tassoyannopoulou).
		Figure 3. Magne, Gardenitsa, église de Hagios Petros, mur nord du Bêma: saint Léon, évêque de Catane (première moitié du XIIIe siècle) (© Takoumi – Tassoyannopoulou).
		Figure 4. Magne, Fragkoulianika, katholikon du monastère de la Panagia Phaneromeni, mur sud du Bêma: saint Léon, évêque de Catane (deuxième couche, 1322/23) (© Takoumi – Tassoyannopoulou).
		Figure 5. Vat. Gr 1613 (Ménologe de Basile II), p. 416: saint Léon, évêque de Catane (c. 985) (© 2018 par le Musée Benaki à Athènes [fac-similé]).
		Figure 6. Argolis, Hagia Triada (Merbakas), église de la Panagia (Dormition de la Vierge), conque de la Prothèse: saint Léon, évêque de Catane (fin du XIVe- début du XVe siècle) (© Takoumi – Tassoyannopoulou).
		Figure 7. Roumanie, Cozia, katholikon du monastère, mur ouest du narthex: côté droit du registre, saint Léon (1386) (© Dr. Dana Prioteasa).
		Figure 8. Magne, Korogonianika, église de Hagios Philippos, mur nord du naos: la représentation de sainte Kyriaki et des personnifications d’autres six jours devant elle en axe vertical (© Takoumi – Tassoyannopoulou).
		Figure 9. Magne, Korogonianika, église de Hagios Philippos: détail de la fig. 8.
		Figure 11. Magne, Epano Boularii, église d’Aï-Stratigos (Saint-Stratège), mur ouest du narthex: sainte Kyriaki et saint Nikôn le “Métanoïté” (fin du XIIIe–début du XIVe siècle) (© Takoumi – Tassoyannopoulou).
		Figure 10. Magne, Korogonianika, église de Hagios Philippos, voûte du Bêma: détail de la scène de l’Ascension du Christ (© Takoumi – Tassoyannopoulou).
		Figure 1a. Bari Exultet Ι, St Loukas supplicant, 1025-1034 (© Arcidiocesi di Bari; Pace 2013, 495, fig. 5).
The ‘Rose of the Winds’ Illustration in the Exultet I Bari Roll (c. 1025-1034) and its probable Neoplatonic Implications*
	Sophia Germanidou
		Figure 1b. Boeotia, Monastery of Hosios Loukas, Crypt of the katholicon, St Loukas supplicant, 1048-1055 (Chatzidakis 2003, 85, fig. 85).
		Figure 2a. Bari Exultet Ι, Depiction of the Earth as female figure, 1025-1034 (Micunco 2011, n.p.).
		Figure 2b. Corfu, Ano Korakiana, Ai Lias (Prophet Elijah) site, Church of St Nicholas (today exhibited in the Byzantine Collection of the Old Fortress), Non identified female saint, 11th century (Vocotopoulos 1971, 173, fig. 20).
		Figure 3a. Bari Exultet Ι, St Arsenios, Bishop of Corfu, 1025-1034 (© Arcidiocesi di Bari; Falla Castelfranchi 2011, 32, fig. 4).
		Figure 3b. St Arsenios, Bishop of Corfu, Fresco detached from the church of Sts Jason and Sosipater, beginning of 11th century (Vocotopoulos 1971, 177, fig. 23).
		Figure 4. Bari Exultet Ι, ‘The Rose of Winds’, 1025-1034 (Micunco 2011, n.p.).
		Figure 5. Lebanon, Tyre, Qabr Hiram (today at the Louvre Museum), Basilica of St Christopher, Mosaic pavement, Depiction of a male-figured wind, 575 (https://commons.wikimedia.org/wiki/File:Pavement_de_Saint-Christophe_-_Qabr-Hiram.jpg, last accessed: 8-
		Figure 6. De ordine ac positione stellarum in signis, Cod. Vat. lat. 645, fol. 66r, ‘The Rose of Winds’ with Adam in the center, 830-860 (Raff 1978-1979, 147, fig. 113).
		Figure 7. Isidore of Seville, De rerum natura, Codices latini monacenses 16128, fol. 35v, ‘The Rose of Winds’, end of 8th century (© Bayerische Staatsbibliothek München; Obrist 1997, fig. 4).
		Figure 8. Turin, Church of St Salvatore, Mosaic pavement (today in Museo Civico), Male-figured winds trumpeting, second half of 12th century (Raff 1978-1979, 149, fig. 118).
		Figure 9. Topography of Kosmas Indikopleustes, Sin. gr. 1186, fol. 66v, Miniature model of the world, 11th century (Weitzmann and Galavaris 1990, pl. IXa).
The Wall Paintings of the Church of St George Tropaiophoros at Loukisia in Boeotia, Greece (second quarter of the 13th century)
	Giannis Vaxevanis
		Figure 1. Loukisia, Church of St George, general view of the exterior from the southwest (© G. Vaxevanis).
		Figure 3. Loukisia, Church of St George, Ceiling plan showing the iconographic program of the church (drawing by Giorgos Kourmadas).
		1. Virgin Blachernitissa; 2. St John Chrysostom; 3. St Euplos; 4. St Gregory the Theologian; 5. Unidentified deacon; 6. Foliate cross; 7. Geometric ornament; 8. Evangelist John or Matthew; 9. Evangelist Luke or Mark; 10-11. Floral ornaments; 12. Unidentif
		Figure 2. Loukisia, Church of St George, the interior toward the east (© G. Vaxevanis).
		Figure 4. Loukisia, Church of St George, semi-dome of the Bema apse, the Virgin Blachernitissa flanked by two angels (drawing by Cháïdo Binteri).
		Figure 5. Loukisia, Church of St George, semi-dome of the Bema apse, the angel at the left of the Virgin Blachernitissa (© G. Vaxevanis).
		Figure 6. Loukisia, Church of St George, the southern part of the semi-cylinder of the Bema apse, Sts John Chrysostom, Euplos, and Gregory the Theologian (© G. Vaxevanis).
		Figure 7. Loukisia, Church of St George, semi-cylinder of the Bema apse, north semi-circular niche, unidentified deacon and foliate cross (© G. Vaxevanis).
		Figure 8. Loukisia, Church of St George, southwestern pendentive of the dome, the evangelist Luke or Mark (© G. Vaxevanis).
		Figure 9. Loukisia, Church of St George, semi-dome of the south apse, the Presentation (drawing by Cháïdo Binteri).
		Figure 10. Loukisia, Church of St George, semi-dome of the south apse, the prophet Symeon with Christ (detail of the Presentation) (© G. Vaxevanis).
		Figure 11. Loukisia, Church of St George, semi-dome of the west apse, the Crucifixion (drawing by Cháïdo Binteri).
		Figure 12. Loukisia, Church of St George, semi-dome of the west apse, the Virgin with Myrrophoroi and the penitent thief Dysmas (detail of the Crucifixion) (© G. Vaxevanis).
		Figure 13. Loukisia, Church of St George, north apse, Miracle of St George (?) and unidentified hierarch (drawing by Cháïdo Binteri).
		Figure 14. Loukisia, Church of St George, semi-cylinder of the south apse, east semi-circular niche, unidentified medical (?) saint (© G. Vaxevanis).
		Figure 15. Loukisia, Church of St George, semi-cylinder of the west apse, south semi-circular niche, unidentified female saint  (© G. Vaxevanis).
		Figure 16. Loukisia, Church of St George, southwestern pendentive of the dome, floral ornaments (drawing by Cháïdo Binteri).
		Figure 17. Loukisia, Church of St George, semi-cylinder of the Bema apse, north semi-circular niche, unidentified deacon (© G. Vaxevanis).
		Figure 18. Attica, Kalyvia Kouvara, Church of Saint Peter, the deacon Stephen (1232/3) (© G. Vaxevanis).
		Figure 19. Loukisia, Church of St George, semi-cylinder of the Bema apse, south semi-circular niche, the deacon Euplos (© G. Vaxevanis).
		Figure 20. Euboea, Psachna, Church of St John Kalybites, the deacon Stephen (1245)  (photo by Sophia Kalopissi).
The Iconographic Cycle of the Revelation of John at Petra Monastery (1789) near the Village of Katafygio in the Region of Karditsa, Greece*
	Georgios Tsimpoukis
		Figure 1. Thessaly, Katafygio village at Karditsa region, Petra monastery. Lite, eastern soffit of the north arch. Revelation, chapter 1:9-20 (© Ephorate of Antiquities of Karditsa).
		Figure 2. Thessaly, Katafygio village at Karditsa region, Petra monastery. Lite, eastern soffit of the north arch. Revelation, chapter 4:1-11 (© Ephorate of Antiquities of Karditsa).
		Figure 3. Thessaly, Katafygio village at Karditsa region, Petra monastery. Lite, eastern soffit of the south arch. Revelation, chapters 9-12 (© Ephorate of Antiquities of Karditsa).
		Figure 4. Thessaly, Katafygio village at Karditsa region, Petra monastery. Lite, western soffit of the south arch. Revelation, chapters 13-16 (© Ephorate of Antiquities of Karditsa).
		Figure 5. Thessaly, Katafygio village at Karditsa region, Petra monastery. Lite, north lunette of the east wall. Revelation, chapter 17:1-18 (© Ephorate of Antiquities of Karditsa).
		Figure 6. Thessaly, Katafygio village at Karditsa region, Petra monastery. Lite, south lunette of the east wall. Revelation, chapter 19:11-21 (© Ephorate of Antiquities of Karditsa).
		Figure 7. Thessaly, Katafygio village at Karditsa region, Petra monastery. Lite, east wall (beneath south lunette). Revelation, chapter 20:1-15 (© Ephorate of Antiquities of Karditsa).
		Figure 8. Thessaly, Katafygio village at Karditsa region, Petra monastery. Lite, south lunette of the west wall. Revelation, chapter 21:1-27 (© Ephorate of Antiquities of Karditsa).
Stone Carving and Sculpture
Early Byzantine Marble Vases from Kos Island, Dodecanese, Greece*
	Eirene Poupaki
		Figure 1a-b. Bowl fragment with inscribed decorated rim no. 4 (© E. Poupaki).
		Figure 2. Bowl fragment no. 14 (© E. Poupaki).
		Figure 3. Bowl fragment with decorated handles no. 18 (© E. Poupaki).
		Figure 4. Bowl fragment no. 19 (© E. Poupaki).
		Figure 5. Bowl fragment no. 20 (© E. Poupaki).
		Figure 6. Two conjoint bowl fragments no. 22 (© E. Poupaki).
		Figure 7. Bowl fragment no. 23 (© E. Poupaki).
		Figure 8. Bowl fragment no. 24 (© E. Poupaki).
		Figure 9. Bowl fragment with a spout no. 28 (© E. Poupaki).
		Figure 10. Bowl fragment with a spout no. 29 (© E. Poupaki).
Observations on Published and Unpublished Byzantine Sculpted Architectural Members from Corinth*
	Eleni G. Manolessou
		Figure 1a-b. Museum of Ancient Corinth, fragment of a templon architrave (no. 1); a: front side, b: underneath view (courtesy of D. Athanasoulis).
		Figure 2. Museum of Ancient Corinth, fragment of a templon architrave (no. 2) (© Ephorate of Antiquities of Corinthia).
		Figure 3a-b. Museum of Ancient Corinth, the left section of architrave no. 2. a: front side, b: underneath view (© Ephorate of Antiquities of Corinthia).
		Figure 4a-b. Museum of Ancient Corinth, the right section of architrave no. 2. a: front side, b: underneath view (© Ephorate of Antiquities of Corinthia).
		Figure 5. Lechaion, site Diavatiki, capital no. 3. Front side (© E. Manolessou).
		Figure 6. Lechaion, site Diavatiki, capital no. 3 (© E. Manolessou).
		Figure 7a-b. Archaeological site of Ancient Corinth. a: colonette with coalescent capital no. 4, b: the capital, detail (© E. Manolessou).
		Figure 8a-b. Acrocorinth castle, capital: different sides (© Ephorate of Antiquities of Corinthia).
The Synthesis of the Façades of the Church of St John at Keria in Mesa (Inner) Mani: The Role of the Marble Spolia built into the Walls*
	Angeliki Mexia
		Figure 1. View of the church from the southwest (© Ephorate of Antiquities of Laconia, Th. Rigou).
		Figure 2. The west façade of the church; the numbers refer to the catalogue of marble spolia built into the walls in the Appendix (© Ephorate of Antiquities of Laconia).
		Figure 3. The south façade of the church; the numbers refer to the catalogue of marble spolia built into the walls in the Appendix (© Ephorate of Antiquities of Laconia, Th. Rigou).
		Figure 4. The north façade of the church; the numbers refer to the catalogue of marble spolia built into the walls in the Appendix (© A. Mexia).
		Figure 5. The east façade of the church (© A. Mexia).
		Figure 6. The gable of the north cross arm (© Ephorate of Antiquities of Laconia, Th. Rigou).
		Figure 8. Piers (nos. 22, 24) and base of a perirrhanterion (no. 26) built into the north gable of the church (courtesy of E. Eleftheriou).
		Figure 7. Piers (nos. 21, 23) and base of a perirrhanterion (no. 25) built into the north gable of the church (courtesy of E. Eleftheriou).
		Figure 9. Part of the north façade of the narthex, with the closure slabs nos. 27 and 28 (© A. Mexia).
		Figure 10. The lintel and the lunette of the relieving arch of the south doorway of the church (© A. Mexia).
		Figure 12. The single-light window in the south façade of the narthex, framed by the closure slabs nos. 30 and 31 (© Ephorate of Antiquities of Laconia).
		Figure 11. Closure slab (no. 29) built into the south façade of the church (© A. Mexia).
		Figure 13. Crowning of closure slab (no. 32) built into the south façade of the narthex (© A. Mexia).
		Figure 14. The gable of the west cross arm (© A. Mexia).
		Figure 16. Part of the west façade of the church, south of the doorway. Visible are the sculptures nos. 14, 15, 16 and 18 (© A. Mexia).
		Figure 15. Part of the west façade of the church, north of the doorway. Visible are the sculptures nos. 12, 13 and 17 (© A. Mexia).
		Figure 17. Colonnette capital (no. 1) built into the west gable of the church (© A. Mexia).
		Figure 18. Relief plaque with representation of a horseman-hunter (no. 19) (© Ephorate of Antiquities of Laconia).
		Figure 19. The Late Hellenistic temple-shaped funerary relief (no. 20), as it was placed on the south jamb of the west doorway (© Ephorate of Antiquities of Laconia).
Ceramics
Quaestura exercitus, the Eparch of the islands and the Late Roman/Early Byzantine Stamped Amphoras*
	Charikleia Diamanti
		Figure 1. Cos island, Halasarna, Stamped Coan Late Roman Amphora 13 with monogram and inscription «CΟΥ… ΕΝΔΟΞΟT[.]», second half of 6th-7th century (© Diamanti 2010b, 7, fig. 3a).
		Figure 2. Cos island, Halasarna, Stamped Coan Late Roman Amphora 13 with the bust of Emperor (Tiberius II?) and inscription «[ΕΠΑΡ] ΧΟΥ+ΕΠΕ [- – -]», second half of the 6th century (© Diamanti 2012, fig. 1).
		Figure 3. Cos island, Halasarna, Stamped Coan Late Roman Amphora 13 with the bust of Emperor (Phocas) and inscription «[- – -] ΟΥ+Ε [- – -]», 7th century (© Diamanti 2012, 1-2, figs 2-3).
		Figure 4. Cos island, Halasarna, Coan Late Roman Amphora 1, second half of 6th-7th century (© Diamanti 2010a, 179, fig. 12.1.9.1b, drawing K. Mpairaktaris).
		Figure 5. Cos island, Halasarna, Coan Late Roman Amphora 13, second half of 6th-7th century (© Diamanti 2010a, 179, fig. 12.1.9.2. drawing K. Mpairaktaris).
		Figure 6a-b. Cos island, Halasarna, Coan Late Roman Amphora 13, double stamped on the neck, second half of 6th-7th century, after conservation works (© Diamanti 2012, 2-3, fig. 5a-b).
The 6th-7th century AD Greek Lamps Phenomenon: An Indication of Regional Identity or a Large-Scale Imitation?*
	Platon Petridis
		Figure 1. Spheres of influence of North-African (green) and Asia Minor (red) productions in the Aegean (map designed by A. Konstantinidou; © Petridis 2013, map 3).
		Figure 2. Original North-African lamp found at Delphi (© P. Petridis).
		Figures 4-5. Lamps from Delphi decorated with the cross-and-palm-branch pattern (© P. Petridis).
		Figure 3. Imitation of North-African lamp produced at Delphi (© P. Petridis).
		Figure 6. Lamp with the cross-and-palm-branch pattern from Corinth (Broneer 1930, pl. XXII).
		Figure 7. Lamp and lamp mould from Argos (Athanasoulis and Vassiliou 2016, 132-133, nos. 144-145, courtesy of A. Vassiliou).
		Figure 8. Lamp mould from Delphi (© P. Petridis).
		Figure 9. Lamp of the so-called ‘jeweled cross atelier’ from the Strait of Gibraltar (courtesy of D. Bernal Casasola).
Aspects of Medieval Secular Imagery: Representations of Warriors in Byzantine Glazed Pottery from Argos and Nauplio (12th-13th centuries)*
	Anastasia Vassiliou
		Figure 1. Small body fragment of an open vessel. Fine Sgraffito Ware. Argos, Selli plot (© A. Vassiliou).
		Figure 2. Small body fragment of a dish. Fine Sgraffito Ware (?). Nauplio, Castle of Akronauplia (© A. Vassiliou).
		Figure 3. Small body fragment of an open vessel. Fine Sgraffito Ware (?). Argos, ATE plot (© A. Vassiliou).
		Figure 4a-b. Base and body fragment of an open vessel. Fine Sgraffito Ware (?). Argos, Selli plot (© A. Vassiliou).
		Figure 5a-b. Three body and rim fragments of a dish. Incised Sgraffito Ware – Free Style. Argos, Xakousti – Xixi plot (© A. Vassiliou).
		Figure 6a-b. Two body and rim fragments of a dish. Incised Sgraffito Ware – Free Style. Argos, OTE plot (© A. Vassiliou).
		Figure 7. Body and rim fragment of a bowl. Incised Sgraffito Ware – Free Style. Nauplio, Castle of Akronauplia (© A. Vassiliou).
		Figure 8. Body fragment of a dish. Incised Sgraffito Ware. Nauplio, Castle of Akronauplia (© A. Vassiliou).
		Figure 9. Base and body fragment of a dish. Incised Sgraffito Ware – Free Style. Argos, ATE plot (© A. Vassiliou).
		Figure 10a-b. Dish half-preserved. Incised Sgraffito Ware – Free Style. Argos, Konstantopouleio Mansion (© A. Vassiliou).
		Figure 11a-b. Base and body fragment of a small bowl. Incised Sgraffito Ware. Nauplio, Castle of Akronauplia (© A. Vassiliou).
		Figure 12a-b. Base and body fragment of a bowl (?). Incised Sgraffito Ware – Free Style. Nauplio, Castle of Akronauplia (© A. Vassiliou).
		Figure 13a-b. Base and body fragment of a dish (?). Champlevé Ware. Argos, ATE plot (© A. Vassiliou).
		Figure 14. Digenis combating the Amazon Maximou. Church of the Panayia Chryssaphitissa at Chryssapha/Laconia (© Ephorate of Antiquities of Laconia).
		Figure 15. Dish. Incised Sgraffito Ware – Free Style. Rhodes (© Ephorate of Antiquities of the Dodecanese).
Bone, Metal and Textiles
Dice and Pawns from the Early Byzantine Episcopal Complex at Louloudies of Kitros in Pieria
	Evangelia Angelkou
		Figure 1. Bone dice (© Museum of Byzantine Culture, Thessalonike).
		Figure 2. Clay dice (© Museum of Byzantine Culture, Thessalonike).
		Figure 3. Bone pawn (© Museum of Byzantine Culture, Thessalonike).
		Figure 4. Bone pawn (© Museum of Byzantine Culture, Thessalonike).
A Casket’s Bone Lid from the Early Byzantine Episcopal Complex at Louloudies of Kitros in Pieria*
	Maria Cheimonopoulou
		Figure 1. Louloudies of Kitros, Plan of the Episcopal Complex, 6th century (Marki 2004, 39, drawing 4).
		Figure 2. Louloudies of Kitros, Plan of the Episcopal Complex, end of 6th-7th century (Marki 2004, 40, drawing 5).
		Figure 3. Louloudies of Kitros, Plan of the Episcopal Complex, 7th-8th century (Marki 2004, 41, drawing 6).
		Figure 4. Thessalonike, Museum of Byzantine Culture, Casket’s bone lid (inv. no.: ΒΟ 91/2), one of its long sides (© Museum of Byzantine Culture, Thessalonike).
		Figure 5a-b. Thessalonike, Museum of Byzantine Culture, Casket’s bone lid (inv. no.: ΒΟ 91/2), inner surface of the lid (© Museum of Byzantine Culture, Thessalonike).
		Figure 6. Thessalonike, Museum of Byzantine Culture, Casket’s bone lid (inv. no.: ΒΟ 91/2), face of the second long side with an incised decoration (© Museum of Byzantine Culture, Thessalonike).
		Figure 7. Thessalonike, Museum of Byzantine Culture, Casket’s bone lid (inv. no.: ΒΟ 91/2), face of the lid (© Museum of Byzantine Culture, Thessalonike).
Early Byzantine Metal Workshops in a Settlement near St Catherine’s Monastery (Mount Sinai, Egypt): Archaeological Evidence and First Results of Laboratory Examinations*
	Dionysios Mourelatos and Anno Hein**
		Figure 1. Archaeological site east/southeast of St Catherine’s monastery at Sinai (view from North) (© Hellenic Archaeological Mission of South Sinai).
		Figure 2. Archaeological site east/southeast of St Catherine’s monastery at Sinai (architectural plan by P. Koufopoulos and M. Myriantheos-Koufopoulou) (© Hellenic Archaeological Mission of South Sinai).
		Figure 3. Archaeological site east/southeast of St Catherine’s monastery at Sinai, room complexes II and III (architectural plan by P. Koufopoulos and M. Myriantheos-Koufopoulou) (© Hellenic Archaeological Mission of South Sinai).
		Figure 4. Iron tools (© Hellenic Archaeological Mission of South Sinai).
		Figures 5-6. Iron and copper compounds in undefined shapes (© Hellenic Archaeological Mission of South Sinai).
		Figures 7-8. Furnaces (© Hellenic Archaeological Mission of South Sinai).
		Figures 9-10. Furnaces, constructed with amphoras in secondary use (© Hellenic Archaeological Mission of South Sinai).
		Figure 11. Twin basins (© Hellenic Archaeological Mission of South Sinai).
		Figure 12. Knife found in a closed furnace (© Hellenic Archaeological Mission of South Sinai).
		Figure 13. Scanning Electron Microscope micrograph in backscattering mode of a section of the iron-rich compound with element maps of iron, calcium and silicon: Iron and iron oxide is embedded in slag with charcoal inclusions (black) indicating a bloom or
		Figure 14. Scanning Electron Microscope micrograph in secondary electron mode of ceramic Sample 1 showing extensive vitrification (© A. Hein).
		Figure 15. Scanning Electron Microscope micrograph in secondary electron mode of ceramic Sample 2 showing extensive to intermediate vitrification (© A. Hein).
Weaponry from the Principality of Achaia (1205-1428)*
	Eleni Barmparitsa
		Figure 1. Lakonia, Vrontamas, Monastery of Panagia (Palaiomonastero), Wall painting of St George, 13th century (courtesy of M. Kappas).
		Figure 2a-c. Clarenza, Burial layers of the cathedral, Iron parts of swords, 14th-early 15th century (© E. Barmparitsa, drawing: A. Djordjević).
		Figure 3a-b. Chlemoutsi castle, Iron dagger blades, end of the 13th-14th century (© E. Barmparitsa, drawing: A. Djordjević).
		Figure 4. Chlemoutsi castle, Iron lance head, early 13th century (© E. Barmparitsa, drawing: A. Djordjević).
		Figure 5. Chlemoutsi castle, Iron arrowhead, 13th century (© E. Barmparitsa, drawing: A. Djordjević).
		Figure 6a-b. Chlemoutsi castle, Iron crossbow arrowheads, Frankish period (© E. Barmparitsa, drawing: A. Djordjević).
		Figure 7. Divri, Church of Hagia Triada (Holy Trinity), Bowman arming a crossbow, Detail from the wall painting of the Betrayal, second half of the 14th century (courtesy of M. Kappas).
Le vestiaire byzantin comme témoin de l’identité culturelle des Byzantins ainsi que de la réalité politique de l’Empire
	Pari Kalamara
		Figure 1. L’évangile de Rossano, fol. 8v, Museo Diocesano di Arte Sacra, Rossano, Italy: Le Jésus Christ devant le Ponce Pilate. Il s’agit d’une scène qui nous procure tout d’abord des informations sur le costume de la cour et de la haute société à l’époq
		Figure 2. Pavement en mosaïque, Piazza Armerina, Sicile, Italy: Une famille se dirige aux thermes. La scène documente le costume quotidien d’une femme de la haute société, ainsi que celui de ses fils et de ses servantes. On peu, donc, en parler de la hiér
		Figure 3. Icône votive en mosaïque, Saint Démétrios, Thessalonique, Grèce: Saint George accompagné par deux petits garçons. Tous les trois portent le costume approprié à l’époque pour les hommes de l’aristocratie byzantine. Par cette image devient claire
		Figure 4. Le psautier de Paris, Par. gr. 139, fol. 435v: La prière du prophète Isaïe, qui apparait accompagné par deux personnifications. Scène qui nous aide déceler l’imaginaire byzantin, tels qu’on le détecte à travers le costume (© Source Gallica / Bib
		Figure 5. Le manuscrit Coislin 79 avec les Homélies de Jean Chrysostome, fol. 2r: Scène cérémonial de la cour byzantine (XIe siècle), avec l’empereur Nicéphore III Botaniatès au centre, entouré par quatre hauts dignitaires et deux personnifications. Il s’
		Figure 6. Le manuscrit Coislin 79 avec les Homélies de Jean Chrysostome, fol. 2v: Scène de donation de l’œuvre de Chrysostome à l’empereur Nicéphore III Botaniatès, à la présence, en outre, de l’archange Michel et du peintre-miniaturiste lui-même (XIe siè
		Figure 7. Le psautier de Vatican, Vat. gr. 752, fol. 449v: La danse de Mariam et des Israélites. La scène documente le costume féminin de la haute catégorie sociale au XIe siècle ainsi que le costume des musiciens (© 2019 Biblioteca Apostolica Vaticana ‘b
		Figure 8. Peinture murale à la Vierge Odégétria, Monastère de Vrontochi, Mistrás: Portrait funéraire d’un couple (?) ou de deux femmes (?), XIVe siècle, qui parle pour l’insertion des éléments occidentaux au vestiaire byzantin, à celui des femmes, au moin
Coinage and Sigillography
The Mint of Byzantine Antioch (c. 516-610): Some Remarks on Trends in Provincial Coinage*
	Pavla Gkantzios Drápelová
		Figure 1. Anastasios I, follis, mint of Antioch (516-517), type Hahn and Metlich 2000, 56 (Harlan J. Berk, 13 July 2017, lot 296).
		Figure 2. Justin I, half-follis, mint of Antioch (518-527), type Hahn and Metlich 2000, 61 (© Petros Protonotarios collection).
		Figure 3. Justin I – Justinian I, pentanummium, mint of Antioch (527), type Hahn and Metlich 2000, 13 (Classical Numismatic Group, electronic auction 368, lot: 522).
		Figure 4. Maximinus Daia, bronze issue, mint of Antioch (310-313), type 170d in McAlee 2007 (Classical Numismatic Group, electronic auction 324, lot: 468).
		Figure 5. Justin I – Justinian I, follis, mint of Antioch (527), type Hahn and Metlich 2000, 10 (Classical Numismatic Group, electronic auction 370, lot: 548).
		Figure 6. Theodosios II – Valentinian III, exagium solidi, mint of Constantinople (425-450), type RIC X 8-9 (Classical Numismatic Group, printed auction 97, lot: 379).
		Figure 7. Justinian I, follis, mint of Antioch (529-536/7?), type Hahn and Metlich 2000, 130 (© Petros Protonotarios collection).
		Figure 8. Justin II, follis, mint of Antioch (565/6), type Hahn and Metlich 2009, 55b (Classical Numismatic Group, electronic auction 337, lot: 552).
		Figure 9. Justin II (together with Sophia), follis, mint of Antioch (569/70), type Hahn and Metlich 2009, 56b (© Petros Protonotarios collection).
		Figure 10. Justin II (together with Sophia), follis, mint of Constantinople (565/6), type Hahn and Metlich 2009, 43a (Classical Numismatic Group, electronic auction 326, lot: 607).
		Figure 11. Maurice, follis, mint of Antioch (590/1), type Hahn and Metlich 2009, 96C (Classical Numismatic Group, electronic auction 401, lot: 574).
		Figure 12. Maurice, follis, mint of Constantinople (588/9), type Hahn and Metlich 2009, 67D (Classical Numismatic Group, electronic auction 331, lot: 380).
Some Unpublished Byzantine Lead Seals from the Private Collection of Zafeiris Syrras (London)*
	Christos Stavrakos and Zafeiris Syrras
		Figure 1. Drawing of Andronikos II’s trachy according to the original identification of the obverse figure as the Virgin orans (Bendall and Donald 1979, 49).
		Figure 2. Specimen kept at the Ashmolean Museum, Oxford (ex Bendall collection) (© Heberden Coin Room, Ashmolean Museum of Art and Archaeology, University of Oxford).
Daniel in the Lions’ Den: An Unknown Palaiologan Numismatic Representation*
	Pagona Papadopoulou
		Figure 3. Specimen found in the excavations at Anaia/Kadıkalesi, Turkey (inv. no 2011-95.17) (© P. Papadopoulou).
		Figure 4. Specimen found in the excavations at Anaia/Kadıkalesi, Turkey (inv. no 2011-95.18) (© P. Papadopoulou).
		Figure 5. Reconstruction of the Andronikos II’s trachy with the representation of Daniel in the Lions’ Den (drawing by Dimitrios Giovis).
		Figure 6. Drawing of Andronikos II’s basilikon with the prophet Ahijah (Bendall and Donald 1979, 103).
Inscriptions, Portraits and Patronage
Kos in the Early and Middle Byzantine Times: The Evidence of Epigraphy*
	Evangelia Militsi-Kechagia
		Figure 1. Kos, Nerantzia castle, Museum of Architectural Sculptures, inscribed lintel (© E. Militsi-Kechagia).
		Figure 2. Kos, Nerantzia castle, Museum of Architectural Sculptures, inscribed ambo panel (© E. Militsi-Kechagia).
		Figure 3. Kos, Nerantzia castle, Museum of Architectural Sculptures, inscribed fragment (© E. Militsi-Kechagia).
		Figure 4. Kos, Nerantzia castle, Museum of Architectural Sculptures, inscribed fragment (detail) (© E. Militsi-Kechagia).
Verbal Funerary Portraits: Inscriptions and Epigrams as Tomb Decoration in Monuments of the Byzantine Periphery
	Konstantina Tsiorou
		Figure 1. Cappadocia, Zelve, Hermitage of the Monk Symeon, Arcosolium front with painted inscription (© K. Tsiorou).
		Figure 2. Palermo, Church of St John the Hermit (formerly church of the Archangel Michael), Incised slab with inscription in four languages (courtesy of N. Melvani).
Remarks on Two Middle Byzantine Templon Inscriptions with Curses from Mani*
	Georgios Pallis
		Figure 1. Mani, Thalames, Church of St George, the imbedded templon architrave, 2nd half of the 11th-1st half of the 12th century (© G. Pallis).
		Figure 2. Mani, Thalames, Church of St George, detail of the imbedded templon architrave (© G. Pallis).
		Figure 3. Mani, Mantophoros, Church of St Basil, left panel with inscription a, 12th century (courtesy of A. Mexia).
		Figure 4. Mani, Mantophoros, Church of St Basil, left panel with inscription b, 12th century (courtesy of A. Mexia).
What are the Byzantine Emperor and the Patriarch of Constantinople doing in Aegina? A Historical Interpretation of the Donor Inscription in the Omorphe Ekklesia (1289)
	Vicky Foskolou
		Figure 1. Aegina, the church of Omorphe Ekklesia (Sts Theodores) (© V. Foskolou).
		Figure 2. Aegina, church of Omorphe Ekklesia, carved inscription on the west façade (© V. Foskolou).
Nikolaos Kourouniotes remembered: A Funerary Portrait from Medieval Leros, Dodecanese
	Konstantia Kefala
		Figure 1. Leros, Gournes, Church of Taxiarches Michael, General view of the church from the southeast (© Ephorate of Antiquities of the Dodecanese).
		Figure 2. Leros, Gournes, Church of Taxiarches Michael, Arcosolium with the representation of Archangel Michael (© Ephorate of Antiquities of the Dodecanese).
		Figure 4. Leros, Gournes, Church of Taxiarches Michael, Funerary portrait of Nikolaos Kourouniotes (© Ephorate of Antiquities of the Dodecanese).
		Figure 3. Leros, Gournes, Church of Taxiarches Michael, Intrados of the arcosolium, ornamental theme (© Ephorate of Antiquities of the Dodecanese).
		Figure 5. Leros, Gournes, Church of Taxiarches Michael, Funerary inscription (© Ephorate of Antiquities of the Dodecanese).
		Figure 6. Leros, Drymonas, Church of Panagia Gourlomata, Deesis at the apse (© Ephorate of Antiquities of the Dodecanese).
		Figure 7. Leros, Drymonas, Church of Panagia Gourlomata, Dedicatory inscription (© Ephorate of Antiquities of the Dodecanese).
		Figure 9. Kalymnos, Church of St John Koutsokephalos, Kalymnos, Incised signature (© Ephorate of Antiquities of the Dodecanese).
		Figure 8. Leros, Drymonas, Church of Panagia Gourlomata, Dedicatory inscription (detail) (© Ephorate of Antiquities of the Dodecanese).
The Church of the Saviour at Mesaria, Telos (Dodecanese) and its Votive Inscription (1423/4)*
	Nikolaos Mastrochristos
		Figure 1. Telos, Mesaria, Church of the Saviour, View from Northwest (© Ephorate of Antiquities of the Dodecanese).
		Figure 2. Telos, Mesaria, Church of the Saviour, Architectural plan (© Ephorate of Antiquities of the Dodecanese).
		Figure 4. Telos, Mesaria, Church of the Saviour, The Deesis (detail) (© Ephorate of Antiquities of the Dodecanese).
		Figure 3. Telos, Mesaria, Church of the Saviour, The Deesis (© Ephorate of Antiquities of the Dodecanese).
		Figure 5. Telos, Mesaria, Church of the Saviour, St Athanasios (© Ephorate of Antiquities of the Dodecanese).
		Figure 6. Telos, Mesaria, Church of the Saviour, The Annunciation (© Ephorate of Antiquities of the Dodecanese).
		Figure 7. Telos, Mesaria, Church of the Saviour, The Lithos (© Ephorate of Antiquities of the Dodecanese).
		Figure 8. Telos, Mesaria, Church of the Saviour, The inscription (© Ephorate of Antiquities of the Dodecanese).
Patronage in Constantinople after 1453
	Nicholas Melvani
		Figure 1. Istanbul, General view of the monastery of the Virgin Pammakaristos (© N. Melvani).
		Figure 2. Istanbul, General view of the church of the Virgin Mouchliotissa (© N. Melvani).
		Figure 3. Istanbul, General view of the Chora monastery (© N. Melvani).
		Figure 4. Istanbul, General view of the Myrelaion church (© N. Melvani).
		Figure 5. Istanbul, General view of the church of St Demetrios of Kanabes (© N. Melvani).
		Figure 6. Map of Early Ottoman Constantinople showing the most important monuments attested in the sources during the reigns of Mehmed II and Beyazid II (© OpenStreetMap contributors; recomposition: N. Melvani).
List of Contributors