Cultural Values in Clothing: Apotropaic Practices

CHAPTER 3 Cultural Values in Clothing: Apotropaic Practices As discussed in the previous chapter, the use of amu- Variations of this design can often be found on both lets and amuletic symbols and patterns was clearly an amulets and floor mosaics.5 On most such depictions important and integral part of life in Late Antiquity, the eye is usually seen being attacked by weapons and/ allowing the ordinary man and woman to influence the or animals, however the eye shape alone is also some- invisible powers that affected his/her life. The many times found as an apotropaic symbol, particularly amuletic objects excavated in domestic levels of the late on clothing.6 There are many tapestry fragments in antique settlement at Anemurium in Turkey, indicate museum collections that include this shape, usually that, although clearly Christian, the inhabitants here filled with interlace patterns (see fig. 1).7 Identified vari- relied on traditional methods to control the unseen ously as coming from cushions (de Moor et al. (1993) forces of the evil eye, and that such measures were a cat no.25), curtains or blankets (MAK T 603; Louvre normal and necessary part of everyday life.1 It is within E12580) and garments (de Moor et al. (1993) cat. no. 137; this religio-cultural worldview that we must try to inter- Dauterman Maguire (1999) cat. no. A13) the popularity pret and understand the designs found on many of the of the device is evident. functional and everyday items from that time, including clothing. The Evil Eye The evil eye was greatly feared during antiquity; this fear was based on the conviction that good fortune could attract the envy not just of other men, but also of the gods, fortune or the fates.2 The eyes of the envious could, like ‘poisonous darts’ inflict damage directly or could be used by supernatural forces to cause harm. The evil eye could be overpowered or ‘diverted’ in a number of ways, for example by the use of interlace and knot patterns, or with bells, a practice condemned by John Chrysostom.3 However according to the Testament of Solomon which was a popular magic treatise in early Byzantium, the image of the ‘much suffering eye’ was the best deterrent: Figure 1 Eye-shaped tapestry fragment, MAK inv. no. T 603. photo: ©MAK. The 35th spirit: I am called Phthenoth. I cast the evil eye on every man. Therefore, the eye, much suffering, if it be drawn, frustrates me.4 5 See for example the mosaic of the ‘much suffering eye’ in the Antakya Museum in Antioch. A 2nd c. gold amulet, now in the Johns Hopkins Museum (no. FIC.07.225), shows an eye being attacked by several animals, as does a bronze amulet in the Kelsey Museum (no. 26115), and a 6th/7th c. bronze amulet in The Art Museum, Princeton University (Y1931–34, Kalavrezou (2003) 1 Russell (1995) 50. 167) (see fig. 9). A bronze amulet with the ‘much suffering eye’ on 2 Dickie (1995) 12–13. one side and the holy rider on the other was found at Anemurium 3 Joh. Chrys. Hom. in Ep. I ad Cor. 12.13 (PG 61.105). (see appendix in Turkey (Russell (1995) figs. 5–6). E.4.1). A golden bell found at Rome is inscribed in Greek with ‘I 6 A single eye is also found on the floor mosaic on the western walk am set against eyes’ (Prentice (1906) 141: IG 14 no. 409, 5). See also of the Tri-conch house in Butrint; it is surrounded by crosses and Daremberg and Saglio (1873–1919) 341–44 for a number of exam- Solomon’s knots: Mitchell (2007) 281–82. ples of bells being used as protection against the evil eye. 7 MMA acc. nos. 89.18.277; 89.18.275, 89.18.115; MAKT9835, T603, 4 Testament of Solomon, no. 105 (transl. Conybeare (1898) 38). T608; De Moor (1993) catalogue nos. 137 and 25. © koninklijke brill nv, leiden, ��8 | doi ��.��63/9789004353466_005 Cultural Values in Clothing: Apotropaic Practices 39 We cannot be sure how many of these fragments Considered to provide protection in battle, it was also come from clothing, however, two of the tunics I exam- used to tie the sash of Roman military commanders. The ined from the collection at Katoen Natie in Antwerp knot of Solomon was a pentalpha or pentagram; accord- clearly include the protective eye in their decoration. ing to the Testament of Solomon, this was the device that Both are children’s tunics and have clavi made up of was inscribed on Solomon’s ring giving him power over variously coloured eyes; in both cases, the ‘eye’ pattern demons. Variations on these knots, as well as more com- is interspersed with crosses (see figs. 2–3).8 Amulets plicated interlace patterns are found on garments long to be worn as jewellery or attached to clothing might into the Christian era. These complex interlace patterns have been intended to provide protection or a cure in were most often arranged symmetrically within the specific circumstances, for example when the child was clavi, or on the tapestry panels found on the shoulders ill, or participating in an activity that might invite the and lower hem of the tunic. These patterned panels, envy of others; these were both situations that could be round orbiculi and square or rectangular tabulae, may identified by the parent. However, the ‘evil eye’ could have been so placed to provide supernatural protection also bring misfortune and harm at any time through the for the knees and shoulder joints.13 According to Gell, unknowable intentions of others, and had to be con- the protective nature of such patterns is a result of the stantly guarded against. The inclusion of such amuletic mathematical intricacy and ‘interconnectedness’ of and apotropaic designs on children’s clothing was a way the design; the repetitive and/or interlocking nature of ‘enveloping’ the child in a layer of constant and ongo- of the pattern creates what he describes as a “mind- ing protection. trap” that hooks and holds the viewer. The “unfinished business”14 of such patterns creates and maintains an ongoing relationship between two people in a social Knots and Interlace Patterns context.15 When used apotropaically, they become “de- mon-traps, in effect, demonic fly-paper, in which de- The Greek word ‘katadeo’ (χστσδεω) means to bind, not mons become hopelessly stuck and are thus rendered only physically as with knots, but also with spells.9 Knots harmless”.16 and knot patterns had powerful pre-Christian magical Another interlace figure that is often found on tex- connotations, and were believed to provide protection tiles, or sometimes placed inside an orbiculus, is the from harm. Simple knots, such as the knot of Hercules eight-sided star made up of two squares interwoven with and the knot of Solomon were both believed to have each other, a figure that is meaningful in a number of apotropaic powers, and can be found on everyday items ways. This device can be seen on the mantle worn by the as well as amulets.10 They are also often found on floor woman standing to the left of the empress Theodora on mosaics, particularly near entrances, in order to prevent the mosaic in San Vitale in Ravenna. The double square evil spirits from entering.11 The knot of Hercules was could be interpreted as a symbol of the universe: a ‘cos- a simple reef knot; the belt worn by the Roman bride mogram’, with one square representing the world of was tied with it, both as a protective device and possibly man, and the other representing the divine.17 In a more also mimetically, to attract the fertility demonstrated by specifically Christian context, eight came to symbolise Hercules, who had purportedly fathered 70 children.12 the resurrection and salvation through baptism,18 and a number of early baptistries and baptismal fonts were octagonal in shape, notably the 4th c. Lateran Baptistry 8 KTN 789–01 (cat. no. 10) is unpublished; KTN 789–03 (cat. in Rome, and the 5th c. Baptistry of Neon in Ravenna. no. 12), published in Kwaspen and Verhecken-Lammens (2016). 9 Maguire (1990) 216. 13 Dauterman-Maguire (2003) 26, n. 77. 10 Dauterman Maguire et al. (1989) 5. 14 Gell (1998) 80. 11 Dauterman Maguire et al. (1989) 4. Evil spirits could not pen- 15 Gell (1998) 80–81. etrate solid walls; like people, they had to enter buildings 16 Gell (1998) 84. through doors or windows: Prentice (1906) 138. Therefore, 17 At its most basic level, the square represented the earth by these entrances frequently included apotropaic designs on marking the four cardinal points of the compass: North, or around them, for example, the Insula del Soffito Dipinto at South, East and West. It also represented the four ‘corners’ of Ostia includes a Solomon’s knot in the entrance mosaic: Swift time: the two solstices and two equinoxes; for a discussion of (2009) 41 n. 69. The mosaic at the western entrance to the Tri- the double square as a cosmogram, see Schmidt-Colinet (1991) conch house in Butrint includes Solomon’s knots as well as a 21–25. number of other apotropaic symbols: Mitchell (2007) 283. 18 Isaac was circumcised when he was eight days old (Genesis 12 Dauterman Maguire et al. (1989) 3, paraphrasing Festus, De sig- 21.4); eight people were saved from the flood (1 Peter 3:18.22); nificatione verborum 63. and Christ rose from the tomb on the eighth day (John 20:24)..

Load more