Gilt Fibula with Christogram from Imperial Palace in Sirmium

UDC 904:739.1/.2"652"(497.113) DOI: 10.2298/STA0757101P 101

IVANA POPOVI], Institute of Archaeology, Belgrade

GILT FIBULA WITH CHRISTOGRAM FROM IMPERIAL PALACE IN SIRMIUM

Abstract. ‡ The foot of gilt bronze fibula was discovered in 2005 during archaeological investigations of locality 85 in Sirmium, that is assumed to have been the remains of the imperial palace. Ornament on the foot enclosed within rectangular field is executed in the niello technique. End of the foot is bent at the right angle and the Christogram is engraved on it with Greek letters alpha and omega engraved above its side arm. The preserved part of fibula makes possible reconstruction of its appearance and attribution to the group of massive bronze crossbow fibulae, which were produced in the second half of the 4th century and characterized by decoration consisting of gilding, niello, Christogram motif and/or the busts of young men in medallions.

Key words. ‡ Crossbow fibula, Christogram, Late Antiquity, Sirmium

n the course of archaeological investigations at bent upper arm makes letter rho. Letters alpha and locality 85 in Sirmium, that could be assumed omega are engraved above the side arm of the cross with considerable certainty to be the segment of as direct allusion to Christ as the beginning and the I 1 imperial residential complex, the foot of gilt bronze end’, in accordance with His words in the Book of fibula (C-169/2005), 31 x 22 mm in size (Fig. 1), was Revelation (1:8; 21:6; 22:13). discovered in the fall of 2005. The fibula fragment The distinct ornament on the foot makes possible has been found in sector C, room 12, in the layer of relatively precise reconstruction of fibula, despite the building rubble originating from the same site and fact that its other parts are not preserved (Fig. 2). accumulated after the completion of archaeological Namely, the ornamental scheme on this foot has direct excavations conducted in the previous year. On both analogies on somewhat longer fibulae feet from the lateral edges of the fibula foot there are three cast grave of Roman officer, most probably of German volutes shaped as letter C. The ornament in the central descent, discovered in Bonn2 and fibula from the foot zone is enclosed within a rectangular field, unknown site, now in the Metropolitan Museum in covering almost its entire surface. The decoration New York.3 In contrast to the Sirmium foot with three executed by engraving and highlighted by niello C-shaped volutes on each lateral edge, the other two consists of intersecting circles, which create the motifs mentioned specimens have four C-shaped volutes on of quatrefoils and rhombs filled with short engraved and niello-filled lines. Above the ornamental panel is ______semicircular impression of the base of the fibula’s missing bow. The end of foot bent at right angle is 1 Systematic archaeological investigations of this site have terminating in an arch and the base of the trough- started in 2003 and are still in progress. They were preceded by -shaped pin holder is missing. On the bent surface, test trenching in 2002, cf. Jeremi}, Popovi} 2004, 283-288. i.e. the rear wall of the pin holder, there is a cross Archaeological investigations are organized by the Institute of executed by engraving and niello. Its upper arm is Archaeology in Belgrade in cooperation with the Museum of Srem bent to resemble the Greek letter rho, so the mono- in Sremska Mitrovica and the Office for Protection of Cultural Monuments in Sremska Mitrovica. The co-directors of investigations gram cross, or Christogram, crux monogrammatica are Dr. Ivana Popovi} and Dr. Miroslav Jeremi}. the combined representation of cross and two initial 2 A l´aube de la France 1981, 147‡148, nr. 234 a. letters of the word Christos was thus created. In other 3 Deppert-Lippitz 2000, 53‡54, Fig. 15; Dandridge 2000, words, the cross itself represents letter chi, while its 82‡84, Fig. 15‡17.

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Fig. 1 ‡ Foot of gilt fibula, Sirmium Sl. 1 ‡ Stopa pozla}ene fibule, Sirmium the lateral edges. The ornament in central panel is pressing need to produce gold fibulae, because the identical on all three feet, but the ornamental panel on persons for whom such honors were intended could the Sirmium fibula is slightly shorter, hence the have been satisfied with gilt bronze specimens of ornament is less elaborate. On the bent segment of identical shape and impressive appearance as were the foot, i.e. on the rear wall of the pin holder of the the gold fibulae.4 Bonn fibula, there is the Christogram and letters alpha These gilt bronze specimens were produced from and omega, like on the Sirmium specimen, while there the pieces of sheet metal joined by forging. Although are no such symbols on the foot of the fibula from the their entire length does not exceed 7‡10 cm, the top Metropolitan Museum. surfaces of bow and foot are wider than on the The fibulae from Bonn and the Metropolitan Mu- earlier fibulae and therefore they had a voluminous seum, as well as the one whose foot was discovered appearance. The foot is of semicircular or triangular within the imperial palace complex in Sirmium, be- cross-section with top lateral edges having series of C long to one not so numerous group of the crossbow fi- volutes cast on the metal sheet of which the foot bulae having been produced during the second half of was made. The onion bulbs’, made of two metal the 4th century and of distinct type, considering the hemispheres joined horizontally by forging, are mode of manufacture and system of decoration. In massive and hollow. Broad wavy band, appliqué, on contrast to the simple bronze fibulae assembled from the transversal bar was also contributing to the massive the cast elements, these gilt specimens were made in appearance of these fibulae. Nevertheless, besides the same way as the gold fibulae, which were certa- these structural elements, their impressive appearance inly used as models, although not a single piece of is enhanced also by distinct decoration on the broad these gold prototypes is preserved today. In other top surfaces of bow and foot organized in ornamental words, there is no single gold fibula which could be bands, which are like tapestry spreading over the reliably dated in the third and the beginning of the fo- fibula body. The motifs of geometric character within urth quarter of the 4th century. It could be the conse- quence of unhappy circumstances in the course of ar- ______chaeological excavations, but it also could be the re- sult of situation at that time, when there was not a 4 Depper-Lippitz 2000, 53. GILT FIBULA WITH CHRISTOGRAM FROM IMPERIAL PALACE IN SIRMIUM 103

Black Sea,6 the largest concentration of these finds is recorded in the middle and lower Danube basin and the regions gravitating toward that area (Fig. 3), where by all appearances the workshops producing such fibulae also existed. In the graves from the large Late Roman necropolis Ságvár (Triciana), near the Lake Balaton in Hungary, as much as nine such specimens have been recorded and particularly interesting are fibula from grave 249, found with a coin of Constantius Gallus from 351/354 AD, and specimen from grave 253, discovered with a coin of Valentinianus I, minted between AD 367 and AD 375.7 Considering the fibulae from this necropolis the portrait medallions within ornamental panels occur on two specimens8 and Christogram on one specimen.9 It is interesting that fibulae of this type have been found also in the female graves at this necropolis.10 Besides the fibula from grave 249 at the mentioned necropolis, among the earliest money-dated specimens of this type is attributed the fibula from grave A at the necropolis on the site Mucsfa-Szárászpuszta, decorated with two portrait medallions on the foot and found together with coins of Constantine I, Constans and Constantius II.11 The gilt fibula with three portrait medallions within an Fig. 2 ‡ Gilt crossbow fibula, possible ornamental band was recorded in a grave from th reconstruction the last third of the 4 century at large Pannonian necropolis Csákvár (Floriana),12 while the specimen Sl. 2 ‡ Pozla}ena lukovi~asta fibula, from grave 25 at the necropolis Somodvar is dated by mogu}a rekonstrukcija the coin of Valens from AD 364/378.13 Other fibulae of this type from Pannonia are not precisely dated by the these bands were executed by engraving and the co- monetary finds. Two specimens from Osijek (Mursa), loristic effect was achieved using black niello and one with portrait medallion and two Christograms on white silver plating on yellow gilt background.5 In the bow, and the other with four portrait medallions, addition to the intersecting circles creating the motifs are chance finds. Fibula with four portrait medallions14 of quatrefoils and rhombs on the fibulae from Bonn, from [trbinci near \akovo (Certesia ?) was found Sirmium and the Metropolitan Museum, on other during the archaeological excavations and on the basis specimens are encountered also the motifs of squares, of the analysis of the portraits it was dated into the octagons, rhomboids, herringbone or the S motif. period between 323 and 337,15 while for fibulae from Within these ornamental panels, which substituted narrow decorative bands, on earlier specimens there ______were sometimes incorporated small medallions with engraved portraits or busts of young men with their 5 Depper-Lippitz 2000, 54; Dandridge 2000, 83‡84. faces turned three-quarters to the side and clad in the 6 Keller 1971, 217‡218 (Liste 10). draped tunics. According to the pieces discovered so 7 Burger 1966, 143‡144, Pl. XC, 1‡5, 7; XCI, 1, 3; XCIII, 2. far, the number of these portrait medallions, imagines 8 Burger 196, 6 Pl. XCI, 1, 3 (graves 97 and 114). clipeatae, varies from one to ten. Within these 9 Burger 1966, Fig. 95, 20/3 (grave 20). ornamental bands sometimes also occurs the panel 10 Burger 1966, Fig. 95, 20/3 (grave 20). 11 with Christogram, which could be executed also on Guggisberg 2003, 159, F 22, Abb. 287. 12 Salomon, Barkóczi 1971, 70,75, Abb. 11. 18, T. XVII, 9. the rear wall of the pin holder. 13 Keller 1971, 41. Although the fibulae of this type have been 14 Vinski 1974, 8, T. II, 1; III, 1. encountered within the wide area from Britain to the 15 Migotti 2008, 9‡11; 56‡58.

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Fig. 3 ‡ Finds of gilt crossbow fibulae with Christogram (a‡f), male busts (1‡43) and combination of both motifs (2, 3, 10, 17, 24, 38): a ‡ Bonn, b ‡ Ságvár-Triciana, c ‡ Sremska Mitrovica‡Sirmium, d ‡ Pleven, e ‡ Prahovo‡Aquae, f ‡ Ni{‡Naissus, Fortress; 1‡ Barrington, 2 ‡ London, 3 ‡ Marteville, 4 ‡ Paris, 5 ‡ Chartres, 6 ‡ Cortrat, 7 ‡ Bourges, 8 ‡ Köln‡Deutz, 9 ‡ Trier, 10 ‡ Basel, 11‡13 ‡ Windisch, 14 ‡ Murnau, 15 ‡ Enns, 16 ‡ Spodnja Hajdina, 17 ‡ Drnovo‡Neviodunum, 18 ‡ Somlóvásárhley, 19 ‡ Csákvár, 20‡21 ‡ Ságvár, 22 ‡ Mucsfa-Szárápuszta, 23 ‡ Dunaújváros-Intercisa, 24‡25 ‡ Osijek‡Mursa, 26 ‡ Ni{, 27 ‡ Kozlodui, 28 ‡ ômakovci, 29‡31 ‡ Pleven, 32 ‡ Stara Zagora-Augusta Traiana, 33 ‡ Kolarci, 34 ‡ Varna‡Odessos, 35 ‡ êrna Gora; 36 ‡ Bulgaria, Archaeological Museum, Sofia, 37 ‡ Serbia, National Museum, Belgrade, 38 ‡ Gamzigrad‡Romuliana; 39 ‡ [trbinci; 40 ‡ Zmajevac; 41 ‡ Vinkovci; 42‡43 ‡ Tamuda (44‡52 ‡ unknown sites: Syria; Paris, Louvre Museum; London, British Museum; Munich, private collections) Sl. 3 ‡ Nalazi pozla}enih lukovi~astih fibula sa hristogramom (a‡f), mu{ke biste (1‡43) i kombinacije oba motiva (2, 3, 10, 17, 24, 38): a ‡ Bon, b ‡ [agvar‡Triciana, c ‡ Sremska Mitrovi- ca‡Sirmium, d ‡ Pleven, e ‡ Prahovo-Aquae, f ‡ Ni{-Naissus, Tvr|ava; 1 ‡ Berington, 2 ‡ London, 3 ‡ Martvij, 4 ‡ Pariz, 5 ‡ [artr, 6 ‡ Korta, 7 ‡ Bur`, 8 ‡ Keln‡Dojc, 9 ‡ Trijer, 10 ‡ Bazel, 11‡13 ‡ Vindi{, 14 ‡ Mirno, 15 ‡ Ens, 16 ‡ Spodwa Hajdina, 17 ‡ Drnovo‡Neviodunum, 18 ‡ Somlovara- {lei, 19 ‡ âkvar, 20‡21 ‡ [agvar, 22 ‡ Mu~va‡Sarapusta, 23 ‡ Dunajvaro{‡Intercisa, 24‡25 ‡ Osi- jek‡Mursa, 26‡Ni{, 27 ‡ Kozloduj, 28 ‡ ômakovci, 29‡31 ‡ Pleven, 32 ‡ Stara Zagora‡Augusta Tra- iana, 33 ‡ Kolarci, 34 ‡ Varna‡Odessos, 35 ‡ êrna Gora; 36 ‡ Bugarska, Arheolo{ki muzej, Sofija, 37 ‡ Srbija, Narodni muzej, Beograd, 38 ‡ Gamzigrad-Romuliana; 39 ‡ [trbinci, 40 ‡ Zmajevac, 41 ‡ Vinkovci, 42‡43 ‡ Tamuda, (44‡52 ‡ nepoznata nalazi{ta: Sirija; Pariz, Muzej Luvr; London, Britanski muzej; Minhen, privatna kolekcija) GILT FIBULA WITH CHRISTOGRAM FROM IMPERIAL PALACE IN SIRMIUM 105

Fig. 4 ‡ Fibula with Christogram, Prahovo (Aquae) Sl. 4 ‡ Fibula sa hristogramom, Prahovo, (Aquae)

Zmajevac (with one portrait) and Vinkovci (with two fibula discovered at the Fortress in Ni{ (Naissus) portraits) no certain chronological period was defi- Christogram is depicted on a rear wall of pin holder,22 ned.16 There is also no information concerning the while on the specimen from Jagodin Mala necropolis finding circumstances of the specimen from Velika in this town three portrait medallions are incorporated near Slavonska Po`ega with ornamental band witho- within the ornamental band on the bow.23 ut any other ornaments.17 Particularly interesting is In the lower Danube basin, in the territory of the specimen from Drnovo (Neviodunum) with six present-day Bulgaria, as much as nine fibulae with portraits and Christogram on the bent section of the portraits of young men either on the ornamental band foot.18 or on the bent section of the foot have been discove- The concentration of gilt fibulae of this type has red. Number of images varies between one and six. been recorded, except in Pannonia, also in the middle Six medallions were encountered on the fibula from and lower Danube basin. The specimen from Prahovo (Aquae) has Christogram at the beginning of an ______ornamental band19 (Fig. 4), while there are two portrait 16 Migotti 2008, 85‡86. medallions between the rhombs on the ornamental 17 Vinski 1974, 8‡9, T. III, 3. band on the fibula from the unknown site in Serbia 18 Vinski 1974, 8, T. III, 2. (Fig. 5).20 In the course of archaeological excavations 19 Popovi} 2001, cat. 89. carried out along the south rampart of Gamzigrad 20 Popovi} 2001, cat. 88. (Romuliana) in 2006 one fibula was discovered under 21 For the information and possibility to consult photo- the head of the deceased in a male burial. This fibula documentation of this find I am thankful to Dr. Sofija Petkovi} has the bust of a young man in a medallion within from the Institute of Archaeology in Belgrade and Maja @ivi} MA from the National Museum in Zaje~ar, who are going to publish in ornamental band on the foot, while two portrait detail this fibula in their works in this volume of Starinar. medallions are on the fibula bow, while Christogram 22 Jovanovi} 1978, 45, cat. 53, fig. 128. 21 or cross-in-circle is depicted between them. On the 23 Jovanovi} 1978, 45, cat. 52, fig. 127.

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Fig. 5 ‡ Fibula with portrait medallions, Serbia, unknown site Sl. 5 ‡ Fibula sa hristogramom, Srbija, nepoznato nalazi{te the site êrna Gora and five images were depicted on of fibulae was introduced as early as around AD the specimens from the northern necropolis at Stara 350,27 while some isolated specimens have been found Zagora (Augusta Traiana) and at the site ômakovci. in the graves dating from the beginning of the 5th Four images were depicted on the fibula from the century.28 The money-dated finds from the necropoles necropolis Straàta in Pleven and the specimen with Andernach and Krefeld-Gellep in Lower Germania fit three medallions was also found at the same site. Three into the suggested chronological framework as they images were represented also on one fibula from the included the coins of Valens minted in the period AD site Kozlodui-Regianum and one from an unknown 364/378 and AD 373/378.29 site. Two medallions were encountered on the specimen In our analysis of fragmented gilt fibula from from the necropolis at Varna (Odessos) and one Sirmium, we studied it within suggested type, paying portrait was on the fibula from the site Kolarci.24 special attention to specimens which included in their This group of fibulae belongs, according to the decorative scheme Christogram and/or the medallions existing classifications, to the Keller/Pröttel type 5 with portraits of young men. We think that both these and it is dated in the period from around AD 370 to decorative elements are motifs which independently around AD 400. This chronological framework has or combined occur on the bows and feet of these been derived on the basis of 23 grave finds of fibulae with the portrait medallions,25 i.e. on the basis of type ______5 fibulae, being found together with distinct elements of belt garnitures within certain grave association,26 24 Ivanov 1972, 9‡29, Fig. 1‡13; Dumanov 2006, although specimens from the Pannonian necropoles 113‡117, Fig. 1‡4, 6; Guggisberg 2003, F 27‡35. 25 Mucsfa-Szárászpuszta and Ságvár occur already with Guggisberg 2003, 159. 26 Keller 1971, 41‡53; Pröttel 1988, 364‡369. the coins of Constantius II and Constans (337‡340; 27 Deppert-Lippitz 2000, 53‡54. 337‡350), i.e. of Constantius Gallus from AD 351/ 28 Pröttel 1988, 369. 354 AD. There is, therefore, the opinion that this type 29 Keller 1941, 41. GILT FIBULA WITH CHRISTOGRAM FROM IMPERIAL PALACE IN SIRMIUM 107 fibulae, so the specimens decorated with just one group ornamental scheme of the fibulae of this group appear of these motifs could not be distinguished. The statistic only sporadically on the related fibulae of type 6, dated data reveal that on 49 recorded fibulae with portrait in the period around AD 400 and in the first half of medallions, Christogram appears on nine of them the 5th century.35 But, C volutes on type 6 fibulae are (London ?, Marteville, Basel, Drnovo-Neviodunum, not incorporated in the narrow foot, but they are its Osijek-Mursa, London-British Museum, Munich- dominant element executed in the openwork technique. private collections, 3 pieces),30 while autonomous These ornamental motifs on rare known specimens of appearance of Christ monogram on fibulae without the type 6 fibulae are isolated from other ornamental medallions with male images has been recorded on elements and somewhat differently executed than on smaller number of specimens, like those from graves the earlier specimens of type 5. Thus, on the fibula of discovered in Bonn, at the necropoles Ságvár and that slightly later group found in grave 42 at Ságvár Straàta in Pleven or the chance finds from Prahovo necropolis, Christogram is placed on top of the pin (Aquae) and from the Fortress in Ni{ (Naissus)31 (Fig. cassette,36 while on the fibula from grave 1033 in 3). The conclusion concerning relationship between Pe}ine necropolis in Viminacium the very reduced the fibulae with Christogram and portrait medallions Christograms are placed in nine medallions on the is corroborated also by the fact that the opinion that ornamental band and the yung man’s portrait is on the latter ones are imperial fibulae’, i.e. that portraits in bent section of the end of the foot.37 The portrait of medallions depict Constantine and members of his young man on the bent section of foot of the fibula dynasty, are abandoned in literature,32 because from village Kolarci in Bulgaria,38 that was executed relatively numerous dated specimens from grave in a panel without medallion could be stylistically associations suggest somewhat later chronological associated with portraits of melancholic figures in framework. The opinion that these are the portraits of the painting and sculpture of the 4th‡5th centuries. bishops33 or saints34 is also unsustainable, concerning This is the latest so far known fibula with a portrait of the absence of any inscriptions or depiction of nimbi young man. Nevertheless, the Christogram motif around the heads of portrayed persons. Therefore, the reappears on exceptionally luxurious gold crossbow occurrence of these ornamental elements should be fibulae made in the opus interrasile technique and dating considered from a different angle and certainly not from around AD 450 to AD 538.39 But, ornamental isolated from the ornamental band spreading like elements on these fibulae incorporating Christogram, tapestry over the foot and bow of these fibulae. After differ from the ornamental elements on the gilt bronze all, as the bow of the Sirmium specimen is missing, ______we could not determine whether the ornament on the bow included also the portrait medallions, although 30 Guggisberg 2003, 157, Tab. 2; 307‡322 (46 registered analogously decorated specimens from Bonn and the specimens); Popovi} 2001, cat. 88 (Serbia, unknown site, National Metropolitan Museum do not have them. Museum in Belgrade); Dumanov 2006, 113, Fig. 1 (êrna Gora). The crossbow fibulae including also the gilt 31 A láube de la France 1981, nr. 234 a; Burger 1966, Fig. specimens decorated with ornamental bands, 95, 20/3; Tabakova-Cenova 1981, 103, Fig. 6, 3; Popovi} 2001, Christograms and portrait medallions are functional cat. 89; Jovanovi} 1978, 45, cat. 53, Fig. 128. 32 jewelry used to fasten the cloak, chlamys, at the Laur-Belart 1959, 57; Ivanov 1972, 22, 26; Jovanovi} 1978, 57; Tabakova-Cenova 1981, 136. A detailed survey of the shoulder and worn in the late antiquity by the higher existing opinions about the meaning and the symbolics of the ranking officers and civil servants. They were used, portrait medallions on fibulae was given by Migotti 2008, 16‡23. as largitio and donativa, to commemorate imperial 33 Cabrol, Leclercq 1923, 1490. jubilees and victories and, as civilian population in 34 Heurgon 1958, 25‡26. the 4th century got many military characteristics, they 35 Keller 1971, 52‡53. became ornamenta dignitatis for the larger segment 36 Burger 1966, 143, Pl. XCI, 2. of population. In contrast to the earlier specimens 37 Spasi}-\uri} 2008, 419-420, sl. 8, T. II, 5. 38 decorated with narrow ornamental bands on the foot Ivanov 1972, 18, Fig. 14, 15. 39 Deppert-Lippitz 2000, 57‡61, Fig. 18‡24 (fibula from the and bow and sometimes with inscriptions, the group unknown site, today in the museum in Stockholm, specimens from of fibulae we are talking about has diverse ornamen- the sites Apahida in Rumania, Tournai in Belgium, Reggio Emilia tal motifs coloristically enhanced using niello and in Italy, Palatine Hill in Rome, from Asia Minor, today in Burton silver plating on the gilt background. Christograms Y. Berry Collection, Bloomington and from the unknown site, and portrait medallions that are elements of the today in the Louvre Museum in Paris).

STARINAR LVII/2007. 108 IVANA POPOVI] fibulae from the second half of the 4th century, so it octagons is most frequently encountered in mosaics, makes possible following an evolution of the symbolic even in the mosaics from the imperial palace and meaning of this decorative scheme. Decoration of the villa urbana in Sirmium.44 gilt bronze fibulae of type 5 reflects accurately the So, an ornamental scheme on the foot of gilt fibula aesthetic ideas and concepts in the art of the second from Sirmium clearly indicates that decorative systems half of the 4th century. The elaborate floral and in the Late Roman art swiftly passed from one group geometric motifs highlighted by niello and medallions of objects to the other, so we could speak about the art with schematized portraits of young men appear not industry (Kunstindustrie), which united many aspects only on fibulae of this type, but also on belt buckles of craftsmanship and artistry. Within such setting, and appliqués, on silver vessels and other objects, often common for the objects of art originating from pagan in scenes of animal hunting and other nature illustrating and Christian milieu, the Christogram appears on the scenes. This iconographic scheme is customary also rear wall of pin holder of the fibula from Sirmium, as in mosaics, frescoes, on luxurious glass vessels and it also appears on different parts of already mentioned ivory.40 The floral motifs, first of all that of vine, clearly fibulae of that type with or without portrait indicate the Dionysian character of these motifs, medallions,45 on the silver vessels46 and jewelry, which are associated with comfortable lifestyle. The particularly finger rings,47 from the same period. This schematized busts of young men are also a segment of symbol is certainly an indicator of Christian conviction that classicistic ornamental program and their origin of the fibula owner, although other ornamental motifs is probably in the representations of lesser deities and do not suggest it openly. Still, on the pin holder of personification of natural phenomena and allegories Sirmium fibula is depicted a rising cross, i.e. the cross in the Roman art. This decorative program used in all erected at Golgotha, that is an unambiguous allusion fields of the applied arts was accepted also by the to Christ, but also to his triumph over death. The Christians, so many pagan motifs remained in use apocalyptic letters, alpha and omega, suspended from along with the Christian symbols. Therefore, it is not lateral arms of the cross, symbolize Christ as the be- surprising that Christograms appear on fibulae together ginning and the end’ in accordance with His words in with busts of young men and floral and geometric the Book of Revelation, where Christ says in various motifs enhanced by niello, so to say the symbols variants on three occasions (1:8; 21:6; 22:13): I am reminding of comfortable lifestyle, richness of nature the Alpha and Omega, the Beginning and the End, the and force of its phenomena. Namely, among military First and the Last’. But the complete symbolism of and civil elite, the owners of these fibulae, there were this motif was going to appear just few decades later in the end of the 4th century without doubt many on gold fibulae made in the opus interrasile technique, Christians and most of them (according to some where the monogram cross does not appear within opinions as much as 80%) were of barbarian descent, ornamental motifs known from many pagan as grave finds concentrated along the Danube limes monuments, but within the setting imposing strong indicate.41 The appearance of Christian symbols on Christian message. Perhaps the best example of objects of pagan iconographic contents has been evolution of the motif on the crossbow fibulae feet recorded also on the luxurious silver vessels, like, for that developed for approximately one century, from instance, on the Hunting Plate’ from the Seuso tre- the end of 4th to the end of 5th ‡ beginning of the 6th asure, where the Christ monogram is incorporated in century, could be seen on luxurious gold specimen the inscription of the central medallion.42 The foot of gilt fibula from the imperial palace in ______Sirmium is adorned besides the Christogram on the rear wall of pin holder also with wide ornamental 40 Guggisberg 2003, 142‡164. band with motif of intersecting circles creating 41 Deppert-Lippitz 2000, 54. quatrefoils and rhombs. The ornamental bands with 42 Mundell-Mango, Bennett 1994, Nr. 1, Fig. 1/1‡50. intersecting circles, ellipses and squares highlighted 43 Guggisberg 2003, 134‡139. by niello and sometimes combined with the medallions 44 Roman Imperial Towns 1993, Fig. 29 (mosaic A from ro- with busts of young men appear frequently also on om 16 of the imperial palace in Sirmium); unpublished mosaic from room 21 of urban villa in Sirmium. luxurious silver vessels in the middle-second half of 45 Cf. notes 28, 29. th 43 the 4 century. However, the motif of quatrefoils 46 Cf. note 39. and rhombs resulting from intersection of circles or 47 Popovi} 2001, cat. 18, 19 (with cited literature). GILT FIBULA WITH CHRISTOGRAM FROM IMPERIAL PALACE IN SIRMIUM 109 from the Metropolitan Museum. Contrary to the the reasons of its appearance within the remains of the standard late antique ornamental scheme on the foot imperial palace in Sirmium. It is important to mention, of Sirmium fibula, on this specimen we encounter regarding this problem, that residential complex lost together with monogram cross and apocalyptic letters its original function already by the end of the 4th alpha and omega also the motif of spirally winding century. It is confirmed by humble dwellings of stone foliages, clearly indicating Garden of Eden, while the and brick fragments encountered in the open areas of cross itself is crowned with a wreath as symbol of the imperial palace and hippodrome.50 At the beginning victory. Thus, this is the message about triumphant of the 5th century the necropoles were no more situated cross, the synonym of the Golgotha cross, i.e. of the outside town ramparts and the remains of the dead tree of life, which brings eternal life in contrast to the were transferred to the enclosed town area as indicated tree of good and evil in the Garden of Eden, that by small brick-built graves found in the interior of the brought the mortality to mankind.48 Nevertheless, this Sirmium town basilica (the church of St. Demetrius).51 emphasized Christian symbolism is not conspicuous on At locality 85 in Sirmium have been recorded the the Sirmium specimen, as an ornamental setting of remains of the cathedral church of medieval Dmitrovica, the Christ monogram is common for many objects of dating from the 14th‡16th centuries, built on top of art produced in the second half of the 4th century in the the remains of late antique residential structure. The Christian, as well as in the pagan milieu. Only in the church was surrounded by the necropolis with many ensuing decades the standard late antique decoration levels of burials. The remains of Early Christian cult was to be transformed into genuine Christian one. The structure have been recorded only fragmentary.52 The luxurious gilt bronze fibula could have been awarded assumption that shortly before the attack of Huns and as emperor’s gift, in the final decades of the 4th century, Goths in the beginning of the 5th century the remains to someone of the court officials, perhaps during the of the dead and their grave goods, including the gilt meeting between emperors and brothers Valentinian fibula with Christogram, were transferred from the and Valens, taking place in Sirmium, or on the necropolis extra muros to the small cemetery around occasion of crowning of Theodosius I during the stay or inside the church, that is a phenomenon already of emperor Gratian in this town.49 As most of these recorded in the Sirmium town basilica, remains for fibulae are grave finds, the question arises concerning the time being just a hypothesis.

______

48 Deppert-Lippitz 2000, 64‡65. 49 Mirkovi} 1971, 39‡40. 50 Popovi} 1971, 129‡133; 144‡148; Popovi} 1982, 545‡555. 51 Popovi} 1998, 54‡56. 52 Archaeological investigations at this site are still in progress and the results have not been published so far.

STARINAR LVII/2007. 110 IVANA POPOVI]

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Rezime: IVANA POPOVI], Arheolo{ki institut, Beograd

POZLA]ENA FIBULA SA HRISTOGRAMOM IZ CARSKE PALATE U SIRMIJUMU

Prilikom arheolo{kih istraìvawa lo- znatog lokaliteta, danas u Metropoliten mu- kaliteta 85 Sirmijuma, za koji se sa velikom zeju u Wujorku. Za razliku od sirmijumske sto- dozom izvesnosti pretpostavqa de predstav- pe, na ~ijim se bo~nim ivicama nalaze po tri qa deo carskog rezidencijalnog kompleksa, S volute, stope oba navedena primerka ukra- otkrivena je, u jesen 2005. godine, stopa bron- {ene su sa po ~etiri S volute na bo~nim ivi- zane pozla}ene fibule (S-169/2005), dimenzi- cama, dok je dekor u centralnom poqu isti na ja 31 x 22 mm (sl. 1). Fragment fibule na|en je sve tri stope, s tim {to je ornamentalno poqe u sektoru C, u prostoriji 12, u sloju {uta koji na stopi fibule iz Sirmijuma ne{to kra}e, je nanet po zavr{etku arheolo{kih radova pa je, samim tim, dekor mawe razvijen. Na po- prethodne godine, a koji poti~e sa istog loka- vijenom delu stope, odnosno na zadwem zidu liteta. Na bo~nim rubovima stope fibule na- drà~a igle fibule iz Bona nalaze se, kao i laze se po tri izlivene volute u obliku slova na sirmijumskom primerku, hristogram i slo- C. Dekor u sredi{wem delu stope sme{ten je u va alfa i omega, dok je taj deo stope fibule iz pravougaono poqe koje obuhvata skoro celu Metropoliten muzeja bez ovih simbola. wenu povr{inu. Ornament, izveden urezi- Fibule iz Bona i Metropoliten muzeja, vawem i nagla{en nielom, sastoji se od krugo- kao i ona ~ija je stopa otkrivena na prostoru va koji se seku, formiraju}i motive ~etvoro- carske palate u Sirmijumu, pripadaju jednoj lista i rombova, ~ije su povr{ine popuwene ne tako brojnoj grupi lukovi~astih fibula, kratkim urezanim i nielom ispuwenim lini- proizvo|enih tokom druge polovine IV veka, a jama. Iznad ornamentalnog poqa nalazi se po- specifi~nih po na~inu izrade i sistemu ukra- lukru`ni otisak osnove luka fibule, koji ne- {avawa (tip V). Za razliku od obi~nih bron- dostaje. Kraj stope, povijen pod pravim uglom, zanih fibula koje su na~iwene od livenih lu~no je zavr{en, a osnova olu~astog drà~a elemenata, ovi pozla}eni primerci su izra- igle nedostaje. Na povijenoj povr{ini, zad- |ivani na isti na~in kao zlatne fibule, koje wem zidu drà~a igle, urezivawem i nielom su im, svakako, posluìle kao modeli, mada izveden je krst ~iji je gorwi krak povijen u nijedan od tih zlatnih prototipova danas nije gr~ko slovo rho, tako da se formira monogram- sa~uvan. U {iroka ornamentalna poqa na wi- ski krst, ili hristogram, kombinovana slika hovoj stopi, koja su zamenila uske ornamen- krsta i prva dva slova re~i Christos. Naime, talne trake na ranijim primercima, ponekad sam krst predstavqa slovo chi, dok wegov posu integrisani mali medaqoni sa ugravira- vijen gorwi krak formira slovo rho. Iznad nim portretima ili bistama mladi}a, glava bo~nog kraka krsta ugravirana su slova alfa i okrenutih tri ~etvrtine u stranu i obu~enih omega, {to je direktna aluzija na Hrista kao u drapirane tunike. Prema dosada{wim nala- po~etak i kraj, u skladu sa wegovim re~ima iz zima, broj ovih portretnih medaqona, imagines Kwige Otkrovewa (1:8; 21:6; 22:13). clipeateae, kre}e se od jedan do deset. Unutar Specifi~an ornament na stopi omogu}ava ovih ornamentalnih traka nekad se javqa i da se relativno precizno rekonstrui{e iz- poqe sa hristogramom, koji moè biti izve- gled fibule, iako weni drugi delovi nisu sa- den i na zadwem zidu drà~a igle. ~uvani (sl. 2). Naime, ornamentalna shema na Iako su fibule ovog tipa konstatovane na ovoj stopi svoje direktne analogije nalazi na {irokom prostoru od Britanije do Crnog mo- ne{to duìm stopama fibule iz groba jednog ra, najve}a koncentracija wihovih nalaza je u rimskog oficira, najverovatnije germanskog sredwem i dowem Podunavqu i regionima ko- porekla, otkrivenog u Bonu, i fibule sa nepo- ji gravitraju tom pojasu (sl. 3), gde su se, po

STARINAR LVII/2007. 112 IVANA POPOVI] svoj prilici, nalazile i radionice za wihovu Novcem datovani nalazi fibula sa ovom deko- izradu. racijom jasno pokazuju da je re~ o proizvodima Nasuprot standrdnoj kasnoanti~koj deko- iz druge polovine IV veka, tako da ranije izne- rativnoj shemi sa stope sirmijumske fibule, ta hipoteza da su u medaqonima prikazani na ovom primerku, uz monogramski krst i apo- ~lanovi Konstantinove dinastije, gubi svoj kalipti~na sloava alfa i omega, sre}emo motiv oslonac. spiralno uvijenih lozica, koje jasno asocira- Luksuznu bronzanu pozla}enu fibulu mo- ju na Raj, dok je sam krst oven~an vencem, sim- gao je da dobije tokom posledwih decenija IV bolom pobede. Dakle, to je poruka o krstu ko- veka, kao carski dar, neko iz dvorskog okru- ji pobe|uje, sinonimu za krst na Golgoti, od- èwa, mo`da tokom sastanka, odrànog u nosno za drvo ìvota koje donosi ve~ni ì- Sirmijumu, izme|u careva i bra}e, Valenti- vot, za razliku od drveta poznavawa dobra i nijana i Valensa, ili, pak, povodom kruni- zla iz Rajskog vrta, koje je donelo smrtnost sawa Teodosija I, tokom boravka cara Gracija- ~ove~anstvu. Me|utim, ta nagla{ena hri- na u ovom gradu. Budu}i da najve}i broj fibu- {}anska simbolika na sirmijumskom primer- la ovog tipa predstavqa grobne nalaze, po- ku se ne uo~ava, budu}i da je dekorativno okru- stavqa se pitawe o razlozima wene pojave u èwe u kojem se Hristov monogram pojavquje kontekstu ostataka carske palate Sirmijuma. zajedni~ko za brojne umetni~ke predmete na- U okviru razmatrawa ovog problema va`no je stale u drugoj polovini IV veka kako u hri- napomenuti da je rezidencijalni kompleks {}anskoj, tako i u paganskoj sredini. Tek u na- ve} na kraju IV veka izgubio svoju prvobitnu rednim decenijama standardna kasnoanti~ka funkciju, {to dokazuju skromne stambene gra- ornamentika transformisa}e se u hri{}an- |evine od kamena i fragmenata cigala, kon- sku. statovane na slobodnim povr{inama carske Dekoracija bronzanih pozla}enih fibula palate i hipodroma. Po~etkom V veka nekro- tipa 5 verno odraàva estetske ideje i kon- pole se vi{e nisu nalazile van gradskih bede- cepte u umetnosti druge polovine IV veka. Bo- ma, a ostaci pokojnika su, kako to pokazuju ma- gati floralni i geometrijski motivi, nagla- li grobovi od opeka iz unutra{wosti gradske {eni nielom, i medaqoni sa shematizovanim bazilike (crkva svetog Dimitrija) u Sirmiju- portretima mladi}a, pojavquju se ne samo na mu, pred naletom varvara preneseni u ogra|e- fibulama ovog tipa, ve} i na pojasnim kop~a- ni gradski prostor. Na lokalitetu 85 Sirmi- ma i aplikacijama, na srebrnom posu|u i dru- juma, iznad ostataka kasnoanti~ke rezidenci- gim predmetima, ~esto u kontekstu scena lova jalne gra|evine, registrovani su ostaci kate- na divqe ìvotiwe i drugih prizora iz pri- dralne crkve sredwevekovne Dmitrovice iz rode. Ta ikonografska shema uobi~ajena je i XIV–XVI veka, oko koje se prostirala nekro- na mozaicima, freskama, luksuznim stakle- pola sa vi{e nivoa sahrana. Ostaci ranijeg nim posudama i slonova~i. Floralni motivi, ranohri{}anskog kultnog objekta registro- pre svega predstave vinove loze, jasno ukazuju vani su samo fragmentarno. Pretpostavka da na Dionizijski karakter ovih motiva, koji su po~etkom V veka, pred najezdom Huna i Go- asociraju na ugodan ìvot. Shematizovane bi- ta, ostaci pokojnika i wihovi grobni prilo- ste mladi}a predstavqaju, tako|e, deo tog kla- zi, me|u kojima je bila i pozla}ena fibula sa sicisti~kog dekorativnog programa, a wihovo hristogramom, preneti iz nekropole extra mu- poreklo se, verovatno, nalazi u predstavama ros na malo grobqe oko ili unutar crkve, {to niìh boànstava i personifikacija prirod- je pojava ve} registrovana u gradskoj bazilici nih pojava i alegorija u rimskoj umetnosti. Sirmijuma, ostaje za sada u domenu hipoteze.