Nikomeid PDF

The Nikomedia Workshop: New Evidence on Byzantine Tiles
Author(s): SHARON E. J. GERSTEL

Source: The Journal of the Walters Art Museum, Vol. 66/67 (2008-2009), pp. 5-53
Published by: The Walters Art Museum
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The Nikomedia Workshop: New Evidence on Byzantine Tiles

SHARON E.J. GERSTEL
with technical analysis by Julie Lauffenburger
the art market in both England and Turkey in the last ten
This of more
ofarticle
more
than presents
thanthree
three
the thousand
thousand
full publicationByzantine
Byzantine of a collection
tile tile
fragfrag-
years. One of these, the representation of St. Theodore
ments today in London.1 The tiles came to light in the
(cat. no. 11), joins with a tile in the London collection; the
early 1960s during the cultivation of fields on a narrow
reconstructed plaque is included in this catalogue.
plateau located in the forested ridge between Dagky and
Common methods of manufacture, stylistic similari-
Tepeky, two small villages approximately 10 kilometers
ties, the repetition of patterns, and the elemental profile
northeast of zmit (Byzantine Nikomedia) on the road
established by neutron activation analysis (NAA) con-
to Kandira. At that time the north wall and apse of a
firm that the London fragments were produced by the
modest church stood to a height of approximately 1 meter
same workshop that created the polychrome tiles today
(fig. i);2 the south and west walls had tumbled down the
divided between the Walters Art Museum and the Muse
eroded hillside. Numerous fragments of marble and other
du Louvre.5 To this group can be added a single tile in
building materials littered the ground surrounding the

church. Most important among these was an inscription
the Istanbul Archaeological Museum and three tiles in

the State Historical Museum in Moscow.6 The Paris and
block, visible in the early 1960s, which recorded in Greek
Baltimore tiles, which were purchased in 1955 and 1956,
letters the name of Kl(audios) Philokalos (figs. 2a, b).3
derive from the city of Uskb (Konuralp), located 8 kilo-
The beautifully carved epistyle, which can be dated to the
meters to the north of Diizce in Bithynia.7 The Istanbul
end of the second or early third century ce, most likely
tile, according to museum records, was found in Diizce in
derives from a Roman funerary monument that may have
been dismantled to build the Byzantine church. In the

course of agricultural work at this site a large number
of tile fragments had been revealed.4 In April 1963, preliminary investigation inside the church walls uncovered
additional fragments within the deposition that overlay a
terracotta tile floor; the precise find spots of the tiles within
the building were, unfortunately, not recorded, although

roughly a third were discovered along the interior of the
north wall. A letter of 16 July 1963 in the possession of
the author confirms that: "two cases of multi colour frag-
ments of Byzantine tiles (?) from Turkey" were received
in London. Since that time the collection has remained

in the possession of a single owner. In 2007-2008 twenty
tiles from the collection were displayed at the Walters Art
Museum. Fragments from the same site have appeared on
Fig. i. Sketch of church as it stood in 1961 (drawn after photographs

of the site)
The Journal of the Walters Art Museum 66! 67 (issue year 2008/2009, published 2011) y
Figs. 2a, 2b. Inscription block in 1961
i960; in actuality, the fragment was acquired from neigh-
adopted in S. Gerstel and J. Lauffenburger, A Lost Art
boring skb, i.e., the same location as the Paris and
Rediscovered: The Architectural Ceramics of Byzantium
Baltimore tiles.8 The Moscow tiles are said to be from
(University Park, Penn., 2001).
Nikomedia.9 To these may be added another substantial

collection, as yet unpublished, from a site 10 kilometers
to the southeast of Izmit.10 This second collection has also
been in London since 1963.
CATALOGUE
Figurai Tiles
It would appear, on the basis of the tiles find spots

and evidence internal to the tiles, that we can localize the
Only a small number of the thousands of tile fragments
workshop that produced them to the Byzantine city of
that have survived from medieval Byzantium have figurai
Nikomedia or its immediate environs.11 The identification
decoration. In 2004, the number of Byzantine ceramic
of this workshop is significant, for although the use of the
icons stood at forty.14 Of these, twenty-nine are found

in the collections of the Walters Art Museum and the
term "testis de Nicomedia'12 in a medieval inventory has

long suggested to scholars that the Bithynian city was an
Muse du Louvre. Additional figurai tiles are located in
important production site for tiles that served as architec-
the Benaki Museum in Athens, the Istanbul Archaeological
tural revetment, there has been, to date, insufficient mate-
Museum, the State Historical Museum in Moscow, and in
rial evidence to test the reliability of the written source.13
a private collection in England.15 The London collection
The assemblage of a large number of tiles attributable to a
includes fragments of three large (26-31 cm) and fourteen
single workshop in the region of Izmit demonstrates that
small (17-20 cm) square figurai plaques, as well as three
the Nikomedian industry mentioned in the inventory of
fragments from colonnette capitals.16 Each figure on the
the Botaneiates oikos was very much a reality.
flat plaques is framed by a circular, painted band and set
Like the well-known collections in Baltimore and
against an amber background that was meant to evoke the
Paris, the London tiles are both figurai and ornamental.
gold background of icons in paint or enamel.17 In gen-
In order to make sense of this collection, this article begins
eral, the figures are represented half length and in frontal
with a section on the ceramic icons. The ornamental tiles
pose. Some of the plaques, including the archangels and
are then divided by shape: half colonnettes, flat plaques,
apostles (cat. nos. 2-7), may have decorated the epistyle
and rectangular tiles that are concave, convex, or narrow
of a sanctuary screen. Unlike the plaques in the Walters
strips. These sections are followed by a technical analysis
Art Museum that were affixed to a templon beam, how-
of the materials. The article concludes with remarks about
ever, none of the figurai tiles in the London Collection is
the importance of this collection for the study of Byzantine
marked on the reverse with letters or symbols that might
revetment tiles. With some exceptions, the names of the
have facilitated installation.18 Yet other ceramic icons,
patterns and their descriptions follow the nomenclature
such as the image of Panteleimon (cat. no. 10), may have
Fig. 3. Virgin Mary and Christ, 29.5 x 29.5 cm Muse du Louvre,
Fig. 4. St. Christopher, 29.5 x 29.5 cm. The Walters Art Museum,
Paris, Dpartement des Objects art ( 83)
Baltimore (48.2086.13)
functioned as votive plaques or as icons of significance to
A faint line drawn above the upper lid emphasizes the
the community or individuals. Three additional figures in
crease below the brow. The brows are sharply arched. Lines
the London collection, Christ, the Virgin, and a military
descend from the inner corner of the lower lid. A prepa-
saint (cat. nos. 18, 19, 20), are painted on tiles with a curved
ratory sketch of an eye, executed by this painter, can be
profile. Framed within guilloche bands and flanked by
seen on the reverse of a rectangular strip decorated with
foliate crosses, these once adorned the bulbous centers of
concentric circles (cat. no. 87). Additional facial features
half capitals.19
allow us to attribute these tiles to the hand of a single
The hands of two painters can be detected in the deco-
painter. The ears are attached low on the head. The mouth
ration of the figurai tiles in this collection; both painters
is formed by a black, bowed line, which divides the pink,
can also be associated with tiles today in the Walters Art
slip-painted lips. Two curved lines articulate the upper
Museum, the Muse du Louvre, and, most likely, the
line of the chin; three curves outline its base. Narrow
State Historical Museum in Moscow and the Istanbul
lines descend from the chin to the neck, in several cases
Archaeological Museum.20 The first painter was respon-
terminating in curves. The fingers of the saints in this
sible for a group of large tiles in Baltimore and Paris,
group, when preserved, are attenuated, and the nails are
including the icons of the Virgin and Child (fig. 3), St.
not usually articulated. The tiles of the two archangels,
Christopher (fig. 4), St. Panteleimon and, perhaps, St.
two episcopal saints, two apostles, St. Panteleimon, and
Ignatios Theophoros.21 The tiles in this group share sty-
a fragment of Christ from a capital, can be attributed to
listic affinities with the portrait of a male saint found in
this group (cat. nos. 2, 3, 4, 6, 8, 9, 10, 19).
skb (Diizce) (fig. 5), the likely find spot of the Walters
A second painter recognized in the Baltimore tiles was
and Louvre tiles, and a portrait of St. Panteleimon in the
responsible for smaller plaques with portraits of saints,
State Historical Museum in Moscow (fig. 6), said to be
including those of Arethas (fig. 7), Panteleimon, Basil,
from Nikomedia.
an unidentified martyr, an apostle, the Virgin and Child
A particular feature that assists in grouping these tiles
and, perhaps, Constan tine. 22 The portrait of St. George
is the rendering of the eyes. The upper eyelids are slightly
in the State Historical Museum in Moscow (fig. 8), a tile
thickened, flair horizontally, and taper toward the hairline.
said to be from Nikomedia, should also be assigned to this
Fig. 5. Male Saint, M.P.H. 5.5 cm. Archaeological Museum, Istanbul
Fig. 6. St. Panteleimon, 14.5 x 14.0. State Historical Museum, Moscow
(6545 P.T.)
(53066)
Fig. 7. St. Arethas, 17.2 x 17. 1 cm. The Walters Art Museum, Baltimore
Fig. 8. St. George, 17.3 x 17.2 cm. State Historical Museum, Moscow
(48.2086.2)
(53066)
group.23 These tiles make wide use of deep purple (man-
decoration ornament the garments. The necklines of the
ganese) glaze, particularly on the elaborately detailed vest-
tunics are generally trapezoidal. The figures' right hands are
ments. Pink slip is used liberally to highlight facial features
rendered in an identical fashion with articulated thumb-
and costume elements. The contours of the face are simi-
nails and lines emphasizing the crease between the thumb
larly tapered, with wide cheeks leading to a narrow chin.
and the rest of the hand. The letterforms of the inscriptions
Intricate foliate patterns, elaborate fibulae, and gemstone
painted on these tiles are ornate. The alphas and epsilons
Fig. 9. St. George. Detail of cat. no. 12.

Private Collection, London
3 . Archangel (Michael ?)
M.P.H. 5.2; Th. 0.7 cm
on the Theodore (cat. no. 11), Constantine, and George
This single fragment is the upper left edge of a small square
(Moscow; fig. 8) plaques are nearly identical.24 The inscrip-
plaque. Portions of the green-glazed band and flat, open
tions on the portraits of George in the London collection
leaf that framed the figure are still preserved. Only the
(fig. 9, cat. no. 12) and in Moscow both begin with crosses
upper portion of the angels head survives. As in the por-
formed from pellets. Eight tiles from the London collec-
trait of Gabriel painted by the same hand, the angels
tion can be assigned to this painter with some security:
hair is held back from his face by a diadem; two wisps
the portrait of one apostle, St. Theodore, the incomplete
fall onto the forehead and are shaded with pink slip. His
portrait of St. George, three military saints (including
arching eyebrows are preserved along the lower edge of
one on a capital), the partial face of a male saint, and the
the fragment.
cross-holding hand of a male figure (cat. nos. 7, 11, 12, 13,

15, 16, 17, 20).
4. Apostle
H. of plaque as reconstructed 17; Th. 0.7 cm
i . Christ
Maximum preserved height (M.P.H.) 6.5;

Thickness (Th.) 0.7 cm
The three joining and one non-joining fragments derive

from the center and left corner of a small, square plaque.
This is the portrait of a youthful apostle, who carries a
This single fragment from a large, square plaque pre-
scroll in his left hand and extends his right hand in a
serves the right side of an identifying inscription and the
gesture of speech. The apostle wears a tunic with a trap-
remains of the right side of a broad cross that was once
ezoidal neckline covered by a white mantle. Black, sharp
glazed green. The style of the chi and lunate sigma recalls
lines indicate the folds of the cloth. The chin is under-
the letters on the Christopher plaque in the Walters Art
lined by three curves, and looping, thin strokes mark the
Museum (fig. 3) where the chi is also embellished with
divide between the neck and collarbones. Parallel black,
squared serifs.
curved lines are painted below the lower lip, dividing it

from the chin. The painter has applied pink to highlight
the figures neck and fingers. The reverse of the plaque is
2. Archangel Gabriel
M.P.H. 4.2; Th. 0.8 cm
[1|1]
This single fragment from a small square plaque contains

the partial name and face of the archangel. The angels hair,
glazed in deep brown that was colored by manganese, is
painted with loose, red brushstrokes, perhaps part of a

quickly sketched face.
5. Apostle
Est. H. and W. of plaque 18; Th. 0.7 cm
held back from his face by a diadem; two wisps fall onto
This single fragment is the lower left corner of a small,
the forehead. The angels eye has an elongated upper lid
square plaque. The framing green band and the open leaf
and is covered by a sharply arched brow. A fainter line
in the corner are both well preserved. The white garments
articulates the upper crease of the lid. Touches of pink slip
are marked by black lines, which denote the folds of the
are applied to contour and shade the face. Traces of the
fabric. Characteristic of the style of this painter is the
framing band demonstrate that this figure was represented
drawing of an angular hook at the end of lines that mark
in half length within a green, circular frame.
creases in the drapery.
6. Apostle
9. Episcopal Saint
M.P.H. 6; Est. H. and W. of plaque 18;
H. and W. of plaque as reconstructed 26;
Th. 0.8 cm
Th. 0.9 cm
This single fragment, from the lower edge of a small square
Five joining fragments from the lower right corner of a
plaque, preserves the green band and partial figure of an
large square plaque. A green circular frame, terminating in
apostle. The apostle is garbed in a white robe with thick,
heart-shaped leaves in the corners, contains the partially
dark lines denoting creases in the fabric. In his left hand
preserved image of an episcopal saint. The bishop wears an
he holds a scroll; two fingers from the right hand, raised
omophorion decorated with a black cross. His office is also
in a gesture of speech, are partially preserved.
signified by his epitrachelion , which is marked by parallel
lines and pellets in the shape of a cross. A jeweled gospel

book rests in the crook of the figures covered left arm;
7. Apostle (?)
M.P.H. 6.9; Est. H. and W. of plaque 17.5;
Th. 0.6 cm
two fingers from his right hand are extended toward the
codex. The bishop s white vestments are marked with thick
black lines that denote folds in the fabric. Characteristic of
This single fragment comprises the lower right corner of
the painter, some of the lines terminate in squared hooks.
a small, square plaque. The figure grasps his robe with
Parallel short brushstrokes provide further texture to the
his right hand. The most prominent characteristic of the
garment. The thin line descending from the face to the
painters style is the thumb, with its carefully delineat-
neck and the traces of a curved line below the chin, as
ed nail and knuckle. The portrait of St. Christopher in
well as the use of pink shading and the attenuated fingers
the Walters Art Museum has similarly rendered fingers
with undifferentiated nails, associate this tile to the painter
(fig- 4)-
of St. Ignatios Theophoros in the Walters Art Museum

(Gerstel and Lauffenburger, A Lost Art Rediscovered, a. 4).
The two tiles are identical in size.
8. Episcopal Saint
i . Saint Panteleimon
Th. 0.9 cm
This is a single fragment from the lower edge of a small
square plaque. The frontal, half-length bishop has a long,
pointed beard. His fingers are attenuated. Black, elongated
[o'Ayio I navTeXgr]M,QN
M.P.H. 16.7; H. and W. of plaque as

reconstructed 31; Th. 0.6 cm
crosses ornament both sides of the omophorion, which is
Three joining fragments of a large square plaque. The
crossed in front of his chest. The figure holds a jeweled
saint, at the center of the plaque, is placed against an
Gospel book in his left, covered hand. An error has been
amber background. His hair, face, neck, and shoulder are
made in glazing the cover of the codex. The small trian-
preserved. The saints curly hair is highlighted with quick
gular section below it and to the left (where the book
brushstrokes. Cropped short, the tendrils fall behind the
was clasped shut) should have remained white. This may
left ear lobe. His right brow arches over a carefully painted
suggest that the person who sketched the figure was not
eye. The dark iris is attached to the thicker, upper lid,
the same as the one who glazed it. This figure closely
leaving some white space below. The line of the upper lid
resembles the representation of St. Ignatios Theophoros
extends outward, elongating the eye. A curved line below
in the Walters Art Museum (Gerstel and Lauffenburger,
the eye articulates the crease under the lower lid. The
A Lost Art Rediscovered, a. 4) and must have been made by
nose, drawn in black line, is modeled by the use of pink
the same painter.
slip along the tip. Touches of pink slip also provide color
on the cheeks and shade the bridge and tip of the nose
and the sides of the neck. This figure closely resembles a
10
il
portrait of Panteleimon in the State Historical Museum
1 2 . Military Saint (George ?)
in Moscow (fig. 6). Two additional portraits of the saint
are found on ceramic tiles in the Walters Art Museum.25
Th. 0.8 cm
Panteleimon s martyrdom in Nikomedia in 304 ce and

the popularity of his cult in that city and the surrounding
This small square plaque is reconstructed from two non-
region undoubtedly account for the frequent representation of the saint in this medium.26 The Church of St.
joining fragments. One additional border fragment may
Panteleimon of Adamantios, located to the west of the city,
by a green band, is set against a background of interlock-
functioned as a center of devotion to this saint throughout
ing green and deep purple triangles, a pattern found on
the Middle Ages.
ornamental tiles in this collection (cat. nos. 48, 49, 54).
also belong to this plaque. The amber medallion, encircled
This is the only figurai tile to have such decoration. The

upper left fragment is inscribed with a cross that is com-
1 1 . Saint Theodore
('Ayio; 0)EO(So)POC
H. and W. of plaque as reconstructed 17.5;
Th. 0.8 cm
posed of pellets and an alpha with a triangular element

(fig. 9). The form of the alpha and the cross recall those
on plaques depicting St. Constantine in the Walters Art
Museum (fig. 14) and St. George in the State Historical

This small plaque is reconstructed from one large frag-
Museum, Moscow (fig. 8). 28 The lower right section of the
ment and one smaller joining piece.27 Seven nonjoining
plaque preserves part of the figure of the saint, who wears
fragments complete the reconstructed tile. A compass
a light purple mantle bordered in white reserve. The outer
mark at the center of the plaque creates a depression in
garment is pulled aside to reveal an amber tunic. Similar
the glaze. The saint, rendered frontal and half length, is
garments are represented on the St. Theodore plaque (cat.
set against an amber background. A green band that opens
no. 11) and on the St. George plaque in Moscow.
into a heart-shaped leaf at each corner encircles the portrait. The saint's lean face is bearded. His sunken cheeks
and long nose are highlighted with pink slip, as are his
13. Military Saint

M.P.H. 8.8; Th. 0.8 cm
lips. Thin lines emphasize the verticality of the face and

delineate individual locks of his cropped hair. In his right
Single fragment from a small square plaque. The male
hand, the saint holds a cross that was once glazed green.
figure wears a cloak clasped by an elaborate fibula com-
Thick lines outline the thumbnail and fingers of his right
posed of five circles.
hand. For a nearly identical hand and cross, see cat. no.
17. Theodore wears a dark brown tunic that is ornamented
with a wide amber collar. Circles on this collar simulate
the appearance of pearls and gemstones. The saints outer
mantle, glazed dark brown and green, is clasped on his
14. Saint George (?)

( 'yio )
M.P.H. 5.1; Th. 0.8-0.9 cm
right shoulder with a fibula and opens to reveal an amber
Two joining fragments from the right side of a small square
garment below. For a similarly treated garment, see cat.
plaque. The framing green band and the amber medallion
nos. 13 and 15, two military saints, and the representation
are preserved, along with a partial inscription.
of St. George in Moscow (fig. 8).
12
16. Male Figure

M.P.H. 2.9; Th. 0.8-0.9 cm
1 5 . Military Saint
M.P.W. 4; Th. 0.8 cm
Single fragment from a small, square tile. The saint, who
This single fragment representing the head of a bearded
has a long beard, wears a gold mantle over a green tunic
figure, either Christ or a saint, derives from a small, square
with a trapezoidal collar. A gold, circular fibula clasps the
plaque.
garment on his right shoulder. The figure is identical in
scale and decorative details to the representation of St.

Theodore and another military saint (cat. nos. 11, 13).
10
il
12
13
17. Male Saint

M.P.H. 6; Th. 0.9 cm
Two joining fragments from a small, square plaque representing the right hand of a saint carrying an elaborate
cross. For a nearly identical hand and cross, see the rep-
resentation of St. Theodore, cat. no. 11.
14
15
1 8. Capital with the Virgin Mary (?)
M.P.H. 3 cm
16
A single small fragment with the left ear, partial face, and
18
purple mantle of a female figure, most likely the Virgin
Mary. The tile is curved in profile, demonstrating that

it forms part of a capital with figurai decoration. If the
17
figure is indeed the Virgin, then this fragment most likely
belongs to a capital that was paired with cat. no. 19, a

capital with a representation of Christ. For the render-
a private collection in England offers a comparable case
ing of a female saint with similar garb, see Gerstel and
of placing a holy portrait on a curved surface rather than
Lauffenburger, A Lost Art Rediscovered , a. 20.
on a flat plaque (Gerstel and Lauffenburger, A Lost Art
Rediscovered , j.i). Wells of polychrome bowls found in
1 9 . Capital with Christ

H. as reconstructed 29; D. at base 17;
D. at rim 20.5; Th. 0.9-1.2 cm.
Two nonjoining fragments from a decorated capital.

Christ is represented in frontal pose and half length. A
jeweled cross radiates from his head and touches the sides
of the encircling frame. The upper lids of his eyes are elon-
Constantinople are also decorated with images of saints,

suggesting that the types of surfaces that could receive holy
portraits were more varied than previously known.29
2 . Capital with Military Saint

H. as reconstructed 31; D. at base 18;
D. at rim 20; Th. 0.7-0.9 cm
gated and his brows sharply arched. His head, the contours
Seven fragments from a decorated capital. A green strip
of his face, and the part of his hair are painted with thick
borders the rim of the capital, which is flat and thick.
black lines and shaded with pink slip. Individual strands
Heart-shaped leaves glazed in amber and ornamented
of hair are rendered in quicker strokes. The background
by black veins run in a tight pattern in a band along the
of the medallion is amber. The medallion forms part of
upright rim of the capital. Green triangular leaves and
a guilloche band in which the figure is flanked by foliate
florettes fill the voids created by the leaf pattern. Below,
crosses in alternating loops. A similar guilloche, though
two joining curved fragments are decorated with a guil-
without figures, is found on flat, rectangular tiles in the
loche band enclosing decorative crosses and the frontal
Walters Art Museum (Gerstel and Lauffenburger, A Lost
figure of a military saint. The saint has short, curly hair
Art Rediscovered, a. 55). Cat. nos. 18 and 20, the represen-
and wears a green chlamys over a purple tunic. A gold,
tation of a female saint or the Virgin Mary and the rep-
circular fibula clasps the garment on his right shoulder.
resentation of a military saint, belong to similarly shaped
To the left: of the head is a terminal sigma from the word
capitals. Although the depiction of figures on the curved
Hagios. At the base of the capital are an amber band and
surfaces of capitals is unusual in the Middle Byzantine
the remains of a leaf pattern that mirrored the pattern on
period, a representation of Christ on a convex tile now in
the upper rim.
14
19
20
Animals
Ornamental
Tiles
The London collection includes fifteen fragments deco-
The London collection of approximately three thousand
rated with the heads, bodies, wings, or legs of animals.
fragments represents less than half of the tiles that once
These fragments belong to at least six different tiles, most
decorated the church interior. The astonishing variety of
likely square in shape. Representations of animals are not
patterns and shapes represented in this collection provides
unique to this collection. Peacocks are found on large
some insights into the decorative strategies employed by
square tiles in the Walters Art Museum and the Muse du
tenth-century church decorators. Although some of the
Louvre.30 One additional flat rectangular plaque in the
tiles may have been placed against a wooden framework
Muse du Louvre represents a boar, a hare, and a lion.31
as a barrier between the nave and the sanctuary, it is more
Some scholars have suggested, due to its unusual decora-
likely that the colonnettes and the large number of flat
tion and narrow size, that the Paris tile may have been used
plaques in this collection lined the lateral walls and apse
in a secular context, perhaps as inlay in a larger object,

such as a wooden casket.32 The London animals - an
of the church, framing works of devotional import. The
eagle, a lion, an ox, and two peacocks - are represented
arches containing portraits of saint can be seen, for exam-
in frontal pose or in profile. Depicting animals associated
ple, in the eleventh-century decoration of the New Church
with Evangelist symbols or animals of symbolic value,
of the Tokali Kilise, Cappadocia (fig. 10), a monument that
these tiles could easily find a place within the decoration
also repeats in its ornamental designs a number of patter-
of a church. Numerous parallels for stylized animals are
ns found on the Nikomedian tiles. Indeed, churches in
attested in Middle Byzantine sculpture of the period, par-
Cappadocia display the tendency to decorate architectural
ticularly on carved epistyles and are also found, in secular
components - columns, cornices, and capitals - in the
contexts, on whiteware vessels.
same patterns represented on the tiles. Such decoration is
use of painted half colonnettes as framing devices for blind
especially well displayed in the eleventh-century Karanlik
Kilise (fig. 11), where columns are painted with sawto-
2 1 . Animals
oth and marble patterns, and wall surfaces are covered
Th. 0.7-0.9 cm
with vine scrolls, jeweled bands, and decorative squares
The animal tiles are very fragmentary and are thus treated
that resemble attached plaques. The painted architectural
as a group. Three fragments form part of the representation
fragments that once decorated the Lower City Church
of a bird of prey (a) - its talons stretch to the left and tail
at Amorium provide important comparisons from a site
feathers to the right. Two fragments belong to separate rep-
geographically closer to Nikomedia. Dated to the late
resentations of either a horse or an ox (b). One fragment
ninth or early tenth century and to the eleventh century,
represents the body of a lion (c). At least two tiles - one
the fragments include a limestone string course sculp-
small and one large - depict peacocks (d).
ted with a guilloche pattern that was painted red-orange,
16
Fig. io. New Church, Tokali Kilise, Cappadocia, Turkey. General view
Fig. 1 1 . Karanlik Kilise, Cappadocia, Turkey
to the north
yellow, blue, and black.33 The foliate patterns and split

leaves that decorated cornice blocks from the church are
also close in design and color to patterns presented on the
tiles (fig. 12; see cat. no. 81). Fragments associated with
the refurbishment of the Lower Church in the eleventh
century are also carved with decorative patterns that are
found on tiles produced by the Nikomedia workshop,

including interlaced circles, upright leaves and guilloche.
The large number of ornamental patterns found in painted
and sculpted churches of the period provides evidence that
the polychrome aesthetic of the Middle Byzantine period

extended across media, even to the walls of a very modest
church in the hinterlands of Nikomedia.34 Decorated with
numerous ceramic colonnettes painted in a wide variety

of colorful patterns and reveted with plaques of matching or antithetical patterns, the interior decoration of the
church, evidenced only by the chance survival of part of
Fig. 12. Cornice blocks, Lower City Church, Amorium, Late 9th/early
10th century (T905, t8 50). After E. Hendrix, "Painted Polychromy on
Carved Stones from the Lower City of Amorium," in C. S. Lightfoot,
its ceramic decoration, must have impressed the faithful
ed., Amorium Reports , II: Research Papers and Technical Reports , BAR
with its rich color and striking luminosity.
International Series 11 70 (Oxford, 2003), pl.i.ix/3
Colonnettes
The London collection is outstanding for its large number
of colonnette shafts and capitals. The collection includes

fragments from numerous colonnettes made of multiple
"drums," or shaft segments, divided by bands. The reconstruction of at least twenty colonnette shafts (cat. nos. 22,
25, 26, 30, 34) demonstrates that each segment measured

at least 35 cm. Made in pairs, it would appear that drums
of different design were stacked on top of one another
Fig. 1 3 . Cross fragments from colonette. The Walters Art Museum,
with ornamental bands marking the transitions between
patterns. Separately formed capitals were set on top of the
stacked tiles and were probably attached by plaster. On

occasion, shafts were set directly on top of one another
without intervening bands. The incision of the Greek letter
on the upper and lower ends of two shafts suggests that
which is the main field of decoration. The capitals were
the letter facilitated installation by aligning the ceramic
shaped and fired as separate components to be placed at
half cylinders (cat. no. 26)
the top of the stacked shafts. The lower edge is narrower
The surviving fragments include a large number of
in diameter than the upper, matching the diameter of
patterns, both for the shafts and for the bands painted at
most of the shafts in the collection. Although the shape of
their ends. Six types of shaft patterns are represented in the
the capitals in the Walters Art Museum and others from
London collection: chevron, marble, peacock feather, flo-
excavated sites in Istanbul, including the Topkapi Sarayi
rette, vine scroll, and sawtooth rows. Of these, the chevron,
Basilica, is somewhat different, these were also produced
marble, peacock feather, and sawtooth patterns are found
on a wheel and fired as separate components.35 The colon-
on tiles excavated in Istanbul as well as on fragments in the
nettes may have been placed directly on the pavement or
Walters Art Museum. Vine scroll and florette colonnettes
attached to ceramic bases. Several tiles, wider in diameter,
are unique to the London collection. The band patterns are
may have served as the bases for ceramic shafts (see cat.
more numerous: black and white checkerboard, florette,
no. 35). Several of the bands have a convex moulding close
compressed circles enclosing plants, alternating diamonds
to the end; these also may have served as bases for colon-
and four-petaled flowers, scrollwork, guilloche, jeweled
nette shafts, imitating in their profile the torus moulding
band, heart-shaped leaves, tongue and dart, and triangles
of ancient column bases (cat. no. 37)
enclosing florettes. Bands are not paired with specific shaft
Painted crosses, set off within medallions, mark two
patterns. A similar design of interlocking triangles and half
pairs of colonnette shafts in the London collection (cat.
florettes, for example, is found on shafts decorated with
nos. 23, 25). The tile fragments in the Walters Art Museum
both chevron and marble patterns (cat. nos. 22, 26). The
also include a cross from a shaft decorated with a diaper
use of similar band designs on differently patterned shafts
pattern (fig. 13). 36 The Muse National de Cramique,
and the restricted palette of glazes ensured that the overall
Svres, includes another example in its collection of
appearance of the colonnettes was harmonious even if the
tile fragments.37 Such cross decoration is unique to the
juxtaposed patterns appear, at times, discordant.
Byzantine tiles painted by the Nikomedia workshop.
Ornate capitals crowned the colonnettes. Fragments
of at least six capitals can be identified in the London
Separated from the patterned shaft by a circular frame,
collection (cat. nos. 17, 18, 19, 28, 40, 41); three of them
the painted crosses imitated in shape and green glaze color

metal votive crosses that were affixed to or incised into
have figurai decoration. The capitals have a bulbous center,
columns in Byzantine churches.38
18
. Chevron Shaft and Interlocking Triangles
chevron pattern (called lozenge braid), glazed in blue green
Enclosing Half Florettes
and white, were found in excavations of the Kyriotissa
H. of shaft as reconstructed 35; D. 14.5;
Church (Kalenderhane Camii) in Istanbul (Gerstel and
Th. at base 1.1; lh. at rim 0.8 cm
Lauffenburger, A Lost Art Rediscovered ' v.9).
lhe 136 preserved fragments belong to at least four col-
onnette shafts decorated with identical bands along the
upper rim. One additional shaft does not have a band,

lhe bottom edges are flat and slightly rolled, lhe shafts
are decorated with a chevron pattern in which amber

and green alternate with white reserve and deep purple.
23a, b. Chevron Shaft with Cross

a: D. of medallion 11; L. of cross 7.6;
lh. 0.8 cm; H. of shaft as reconstructed 15;
D. as reconstructed 15 cm; b: D. of medallion

11.4; L. of cross 8; lh. 0.8 cm
The upper band (H. 3.4 cm), bordered at the top and
Crosses within medallions from two colonnette shafts
the bottom by a green strip, is divided into interlocking
with chevron decoration. The first cross (a), formed of six
amber and white reserve triangles (for a similar pattern,
joining fragments, decorates a short shaft approximately
see cat. no. 2 6). Half florettes within the triangles are
15 cm in height. The second cross (b) is reconstructed
glazed in deep purple enclosing a white reserve half circle
from ten fragments that decorated a taller shaft. On both,
or green enclosing an amber half circle. Two crosses on
a framing white reserve band, oudined in black, divides
an amber background punctuated the colonnette (cat.
the cross from the patterned shaft. Amber glaze fills the
nos. 23a, b). Fragments from a colonnette decorated with a
ground between the arms of the cross and the circular
band, lhe interior of each cross is divided into green,

white reserve, and black rectangles. A square, painted with
concentric squares in deep purple (?), amber, and white

reserves, marks the point where the arms intersect. Small
circles, in imitation of the round finais on metal crosses,
ornament the corners of each arm. Two fragments from
a medallion enclosing a cross are among the tile fragments in the Walters Art Museum (fig. 13). lhe interior
of the Baltimore cross is ornamented with a pattern of

segmented squares. A single fragment from another col-
onnette decorated with a medallion (perhaps enclosing
a cross) is found in the Muse National de Cramique,
22
23a
23b
19
Svres (Gerstel and Lauffenburger, A Lost Art Rediscovered,
effect. The red color is intended to evoke columns of
C.3). Marble shafts within the London collection are also
precious stone, such as porphyry. The upper edge of the
decorated with crosses in medallions (cat. no. 25)
column is rolled. The upper 7 cm has striations that sug-
gest wheel throwing and is similar to the fabrication of
24. Chevron Shaft and Band of Compressed Circles

Enclosing Lobed Plants
the capitals in the Walters Art Museum.39 The patterned

band a the top of the colonnette, set off by green bands,
measures 9.2 cm black lines divide the pattern into squares
M.P.H. 12.5; D. 15; Th. 0.8-0.9 cm
enclosing diamonds alternating with four-petaled flowers.
Twelve band fragments are preserved from at least three
Each diamond encloses a smaller square, set on an amber
colonnette shafts decorated in a chevron pattern (the shaft
ground. The squares enclose a smaller, quartered square
fragments are counted in cat. no. 22). On two of the shafts,
with dots in the center of each compartment. On each
the decorative bank is located along the upper rim; the
side of the diamond is a small trilobed leaf, which was
same band design decorates the lower edge of the third
initially colored with deep purple glaze. The four-petaled
shaft. The band (H. 3.6 cm), bordered on the top and the
flowers are glazed amber. Trilobed leaves, glazed green,
bottom by green strips, consists of repeated compressed
fill the spaces between the elongated petals. The identical
circles that are linked by amber stylized tendrils. Within
pattern of diamonds alternating with four-petaled flowers
the circles are green lobed plants. The decoration on the
is found on a capital (cat. no. 28). Five of the fragments
band is similar to a pattern of hearts with five-pointed
from the lower edge of the colonnette are decorated with
leaves that adorns rectangular strips found in excavations
a meander border (H. 1.2 cm) separated from the marble
at theTopkapi Sarayi Basilica (Gerstel and Lauffenburger,
shaft by a black line. Six fragments belong to crosses that
A Lost Art Rediscovered, xii.16).
punctuated two of the shafts. The crosses are centered in
2 5 . Marble Shaft with Band of Diamonds Alternating

with Four-petaled Flowers and Cross
H. of shaft as reconstructed 37.5;
D. at rim 17.5; D. at base 16.5; Th. 1 cm

Sixty-six fragments of at least three colonnette shafts with
decorative bands. Red slip is applied to the tile with a

sponge, then covered with a clear glaze, creating a marble
*5
20
an amber medallion that is encircled by a white reserve
26. Marble Shaft with Band of Interlocking
band. The flaring arms of the cross terminate in discs,
Triangles Enclosing Half Florettes
which touch the framing circular band. The interior of
Est. H. of each shaft 35 cm
the cross is painted with bands of green, white reserve,

and black. For similar crosses on shafts in the London
One hundred eighteen fragments of four or more colon-
collection, see cat. no. 23.
nette shafts. The upper edge is rolled. The shaft is decorated with a red and black sponge pattern on white reserve
in imitation of marble or another precious stone. At the

top of three of the shafts is a rectangular band bordered by
thick green strips and divided by black lines into triangles;
fragments are preserved from one additional band. The

descending triangles are amber in color and enclose green
trilobed leaves with amber semicircles at the center. The
ascending triangles are white reserve with deep purple

trilobed leaves enclosing white semicircles. A similar pattern is found on the banded end of a chevron colonnette
(cat. no. 22). Two of the shafts are incised with matching
halves of the Greek letter , an indication that the letter
was intended to facilitate the stacking of the shafts when
installed. This letter is divided between two shafts with
finished edges, an indication that the letter was intended
to facilitate the stacking of shafts when installed.
27. Black and White Checkerboard Band

M.P.H. 7; D. at base 13.6; Th. 0.9 cm
Twenty fragments from the bands of at least two colon-
nettes. The edges are scored and snapped; the outer surfaces are flattened. The decoration is a black and white
checkerboard pattern bordered at the upper and lower

edges by a green band. Two fragments preserve traces of
an adjacent shaft pattern, perhaps half-concentric circles
or petals in amber with green glaze at the center. The band
pattern is unique to this site.
26
27
21
2 9 . Peacock Feather Shaft
28. Capital with Black and White Meander,

Diamonds Alternating with Four-Petaled
Est. D. 18; Th. 0.5-0.7 cm
Flowers, and Interlocking Triangles
M.P.H. 9; D. at base 13.8; Th. 0.8 cm
Ten fragments from the shaft of at least one colonnette;

the lateral edges are scored and snapped. The shaft depicts
Three joining and three nonjoining fragments from a
peacock feathers alternating in color between deep purple
capital with flaring profile. The lower, flattened rim of
and green. Each feather is bordered in amber and clear
the capital is decorated with a black and white meander
glaze and contains a black barb terminating in a circle at
pattern. At the center of the capital is a band of squares
the center. At the lower edge of the design is an amber
enclosing alternating diamonds and florettes. The dia-
band. A similar pattern decorates the shafts of colonnettes
monds, placed against a white reserve ground, frame
found in excavations at the Hospital of Sampson, the
smaller squares, which are segmented on the inside and
church of the Virgin Kyriotissa (Kalenderhane Camii) and
ornamented with dots. Four prominent petals flare from
the Istanbul Law Court, as well as a reconstructed tile in
a central core within the green florettes. At the top of the
a private collection in England and one in the Muse du
capital is a narrow band of interlocking amber and white
Louvre (Gerstel and Lauffenburger, A Lost Art Rediscovered,
reserve triangles. The identical pattern of diamonds alter-
11.18, IV. i, V.8, XV.6, xv.11, B.15).
nating with four-petaled flowers bands a colonnette with
a marble shaft (cat. no. 25). A similar meander pattern

decorates the lower edge of the same marble shaft and is
also found on a fragment from the edge of a square plaque
found at a site to the southeast of Izmit.40
28
29
30
22
3 0. Florette Shaft with Marble Band
foliate design of contrasting white reserve and manganese
H. of shaft as reconstructed 36; D. 18; Th. 0.7 cm
flowers under arches (fragments from the same shaft may
be included in cat. no. 30). The band at the top of the

The 116 fragments belong to at least three, and most likely
colonnette is a black and white abstract scroll coated with
four, colonnette shafts. The lateral edges are scored and
a thin layer of green glaze. The design is set off from the
snapped. The upper edge of the shaft is banded by a red
shaft by framing bands of amber.
and black marble pattern framed by amber strips; the

lower part of the shaft is banded by a red and black marble
pattern. Below this, a green strip framed by amber bands

borders the lower edge. The shaft is covered with bands
32. Florette Shaft with Jeweled Band
M.P.H. 10.8; D. at rim 28.4; Th. 0.7 cm
of florettes that alternate between amber and green, deep
The two joining fragments belong to the top of a wide
purple and clear. A similar florette pattern is found on flat
colonnette (the curvature is unusually shallow) with a
and convex tiles (see cat. nos. 64, 77).
flattened rim. Additional fragments belonging to the same
shaft have been used in the reconstruction. The interior

surface shows evidence of smoothing. Green strips border
3 1 . Florette Shaft and Scrollwork Band
a jeweled band (H. 6.5 cm) decorated with alternating
M.P.H. 13.5; D. at rim 16; Th. 1 cm
concentric rectangles and checkerboards. The concentric
Five joining fragments are preserved from one colonnette
rectangles are amber, white reserve, and black. The check-
shaft; additional fragments belong to a second colonnette.
erboard is segmented into twelve boxes, each containing
One of the shafts has a flat upper surface with scrape marks
a black dot. Below the jeweled band are the traces of two
on the interior. The upper surface of the second is rolled.
green medallions enclosing large florettes painted on a
Little survives of the column shaft, which was painted in a
white reserve ground.
31
32
23
3 Florette and Guilloche Capital

M.P.H. 5.8; D. at base 16.4; Th. 0.7-0.9 cm
shaft is bordered by a band of heart-shaped leaves (H. 6.7
cm) framed by green strips (b). One additional shaft is

not banded at the end.
Six fragments belong to a capital decorated with narrow
guilloche band (H. 3.8 cm) along the lower rim. Amber
strips separate the narrow band from bulbous center of
the capital, which is covered with florettes. The guilloche
35. V ine Scroll ( ?) Shaft and Florette Band
M.P.H. 10; D. at base 22.7; Th. 0.7 cm
is drawn in black line on white reserve and may have been
Nine fragments from the base of one colonnette. The
coated with clear glaze. On the interior surface, a narrow
thick band, framed by amber strips, is decorated with
ledge corresponds to the change in pattern on the outer
florettes turned on side. The pattern on the shaft is difficult to read.
surface of the tile. A similar guilloche band, though running in the opposite direction, decorates the top of a vessel
decorated with a marble pattern (cat. no. 88). The two

bands appear to be the work of the same painter. A similarly painted guilloche decorates a tile found in excavations
of the Topkapi Sarayi Basilica, where it forms an orna-
36. Foliate (?) Shaft and Band of Concentric Squares

and Diamonds
Th. 0.9 cm
mental strip on a concave tile (Gerstel and Lauffenb urger,
Nine fragments belong to the upper section of two colon-
A Lost Art Rediscovered , xi 1 . 24) .
nette shafts decorated with an ornamental band. The shaft
is decorated with scrolling tendrils with leaves. A band of
34a, b. Vine Scroll Shaft with Jeweled Band and
Heart-Shaped Leaf Band

H. as reconstructed 36;
D. 16.2; Th. 0.8 cm
alternating squares and diamonds is set off from the shaft

by amber strips. The concentric squares are decorated with
bands of amber glaze and white reserve. The diamonds are

segmented and contain dots in alternating boxes. Trilobed
forms extend from the sides of the diamond. The reverse
Seventy- two largely nonjoining fragments of at least three
side of the colonnette has a sketch of a tree branch with
colonnette shafts with scrolling, green vines encircling
leaves (?).
deep purple and amber flowers. Amber-glazed clasps control the scrolling tendrils and enliven the palette. Eight
fragments of a related shaft have additional black flowers
on long tendrils. There are no parallels for this pattern,
and it is not found on shafts recovered from other sites.
37a, b. Bands of Vine Scrolls and

Heart-Shaped Leaves
M.P.H. 10.3; D. 15.5; Th. 0.8 cm
A jeweled band decorates the upper end of one shaft (a).
Nine fragments from two bands of the lower ends of foli-
This ornamental band, framed by green strips, consists
ate column shafts with convex mouldings in imitation of
of concentric squares alternating with circles (H. 6.6 cm)
the torus moulding on column bases. The moulding, here
in imitation of a jeweled band of inset gemstones and
a band of heart-shaped leaves, bulges slightly in profile
pearls. Each amber square frames a green interior. The
below the edge. A ledge on the interior corresponds to the
white reserve circles, stacked two above two, are enclosed
change in decorative pattern on the exterior. A decorative
within a black square. A similar jeweled pattern of alter-
band of amber strips framing a vine scroll decorates the flat
nating concentric rectangles and circles decorates a flat
edge of the band. The leaves on the vine scroll are glazed
rectangular tile (cat. no. 82). See also the rectangular tiles
amber and the grapes deep purple. Adjacent, on the convex
excavated in the Topkapi Sarayi Basilica and the church of
section of the band is a row of amber leaves turned on
the Virgin Kyriotissa (Kalenderhane Camii) (Gerstel and
side to form a chain. Each leaf encloses a five-lobed green
Lauffenburger, A Lost Art Rediscovered, v.i, XII.3). Another
florette with a black teardrop at the center.
24
33
35
3 8. Bands of Vine Scrolls and Tongue and Dart

Th. i cm
40. Diaper Pattern

M.P.H. 7.1; D. at rim 17; Th. 0.8 cm
The three nonjoining fragments belong to the end of a
Two fragments from the lower edge and bulbous center
colonnette with a flattened rim. At the edge of the shaft is a
of a capital. The capital bulges above the flattened rim. A
narrow decorative band (2.7 cm) of amber strips enclosing
ledge on the interior corresponds to the pattern change
a tongue and dart design. The painter has modified the
on the exterior. A narrow green band (3.6 cm) framed by
traditional design by alternating the direction of the darts
amber strips decorates the edge of the tile. On the main
within their square frames. The shaft, or a second band at
decorative field, dark diagonal lines intersect to create a
the end of the shaft, has a delicate vine scroll design.
pattern of alternating diamonds. White reserve diamonds

enclosing foliate forms alternate with diamonds that are
subdivided into checkerboard patterns of nine boxes. The
3 9. Band with Heart-Shaped Leaves
corners of the boxes are filled with green glaze; at the center
Th. 0.6-0.7 cm
of each side the white squares are marked by four lines in
Seven fragments from the lower edge of two colonnette
imitation of the fastenings for gemstones in metalwork.
shafts most likely with foliate decoration. An amber strip
The center box is colored black. For a similar capital shape,
runs parallel to the edge. Above this, heart-shaped leaves
see cat. nos. 19, 20, 41.
enclosing concentric circles run in a tight pattern. Between
them are small, upright and pointy leaves.
38
39
40
26
42 . Band of Interlocking Triangles
4 1 . Diaper Pattern
Th. i cm
Enclosing Florettes
M.P.H. 7; Th. 0.9 cm

Three fragments from a capital similar in shape to cat. nos.
19, 20, and 40. Dark diagonal lines intersect to create a pat-
Two fragments from the banded edge of a colonnette.
tern of alternating diamonds. Amber diamonds enclosing

circles alternate with diamonds divided into nine boxes.
A green strip runs along the rim, which is flattened.
The corners of the boxes are filled with green glaze; at the
triangles that are painted in alternating colors. The white
center of each side the white squares are marked by a dot.
reserve triangles enclose trilobed, deep purple forms. The
The center box is colored deep purple. The circles within
green triangles enclose amber circles.
Intersecting horizontal and diagonal lines form rows of
the amber diamonds are decorated with black discs on four

sides. A flat rectangular plaque with the identical pattern is
found in the collection of the Walters Art Museum (Gerstel
and Lauffenburger, A Lost Art Rediscovered, A.48).
43 . Shaft with Sawtooth Rows and Interlocking

Triangles Enclosing Florettes
M.P.H. 12.4; Th. 0.9 cm

Eight fragments of a colonnette shaft that has scored and
snapped edges. The sawtooth rows are evenly spaced at

1.4 cm and alternate in color between green and white
reserve. For the use of this pattern on a painted column,
see fig. il, a painted colonnette in the Karanlik Kilise in
Cappadocia.
42
43
41
27
44a, b. Basketweave
Large Square Plaques
Est. H. and W. 27; Th. 0.8 cm (larger plaque);

Square plaques decorated with intricate ornamental pat-
Est. H. and W. 1 6; Th. 0.7 cm (smaller plaque)
terns are found both in the Walters Art Museum and
the Muse du Louvre. Large plaques measure approxi-
Eight fragments from the outer edges and corner of one
mately 28-32 cm. The patterns are framed by circular
or two large square plaques and five fragments from the
green bands that open into heart-shaped leaves in the
interior of one small square plaque. The larger plaque (a)
corners of the plaque. The London tiles are of a similar
has a deeply scored wavy line on the reverse of two of the
scale and, with two exceptions, cat. nos. 54, 59, the patterns
fragments. The smaller plaque (b) has a preparatory draw-
are also framed by green bands. Most of the patterns on the
ing of rosettes on the reverse. A green band terminating
London plaques are repeated on a second plaque (cat. nos.
in heart-shaped leaves in the corners frames a basketweave
44, 45, 47, 48, 49, 51, 52, 53), suggesting that the plaques
pattern, which is painted in deep purple, amber, and white
might have been paired when affixed to the wall surface.
reserve. On the small plaque, this pattern frames a central
Although a number of the patterns are derived from opus
medallion of concentric circles alternating in white reserve
sectile designs for pavements, the tiles are too thin to have
and amber. On the larger plaque, the center is associated
been used as flooring.41 There are no registration marks
with a rosette with angular petals in white and amber. A
or letters found on the reverse of the square plaques. Two
basketweave pattern also ornaments three ceramic column
unusual sets of tiles with decoration that extended from
capitals in the Walters Art Museum, Baltimore (Gerstel
one plaque to another, however, are marked on the obverse
and Lauffenburger, A Lost Art Rediscovered, A.72-A.74) and
with Greek letters or symbols that must have facilitated
at least four large flat plaques and a colonnette shaft from
placement (cat. nos. 54).
a second site to the southeast of Nikomedia.42
45a, b. Half Florette and Disk

Th. i cm
Three joining and four additional fragments belong to
a large, square plaque that has beveled edges (a). Two

worn fragments are preserved from a second plaque of
nearly identical design (b). A broad, green circular band
terminating in broad, green leaves in each corner frames
the central pattern. Three preserved rows of half circles
enclosing half florettes begin from the outer band and

progressively decrease in size toward the central medallion. The arches alternate between amber, which encloses
a green florette with an amber and black interior, and

white reserve, which encloses a deep purple florette with
a white reserve and black interior. At the center of the tile
is a black disk encircled by a deep purple band. Inside the

disk are seven white circles surrounding a white reserve
band and an amber circular core. A compass point is preserved beneath the amber glaze at the center of the tile.
28
The second plaque has four rows of florettes rather than

three; the central medallion of the design is identical. A
similar design, though on convex tile, decorates fragments
in the Walters Art Museum (Gerstel and Lauffenburger,

A Lost Art Rediscovered^ a. 67).
46. Half Florette and Intersecting Squares

Th. 0.8 cm
Three joining and three nonjoining fragments of a large
square plaque with beveled edges. The depression left by

a compass point is visible. At the center of the plaque is a
medallion enclosing two intersecting squares whose exter-
nal corners terminate in loops. The squares enclose concentric circles of white reserve and green glaze. A broad,
green band encircles the central pattern. Five preserved

rows of diamonds and triangles formed by intersecting arcs
enclose half florettes, which begin from the inner medallion and progressively increase in size toward the exterior of
the plaque. The diamonds and florettes alternate in color

between amber, green, and white reserve. One large fragment preserves traces of a scallop pattern on the reverse.
For a large square plaque in the Walters Art Museum,

with intersecting squares at the center, see Gerstel and
Lauffenburger, A Lost Art Rediscovered, A.35.
47. Half Florette and Intersecting Squares

Th. 0.7 cm
Five nonjoining fragments of a large square plaque. A
broad, green circular band terminating in green leaves in
each corner frames the central pattern. At least four rows
of half circles enclosing half florettes begin from the inner
46
medallion and progressively increase in size toward the exte-
rior of the plaque. At the center of the plaque is a medallion
enclosing two intersecting squares whose external corners

terminate in loops. One additional fragment comes from
the center of a second plaque of identical design.
47
29
48a, b. Interlocking Triangles and Intersecting Squares
triangles decorates a large square plaque in the Walters
Art Museum (Gerstel and Lauffenburger, A Lost Art
Th. 0.7 cm
Rediscovered , a. 34).
Eleven nonjoining fragments of one large square plaque

(a) and twenty-six additional fragments of a second plaque
(b). A thick green band terminating in broad green leaves
in each corner encircles the pattern. Six bands of inter-
49 . Interlocking Triangles and Marble Disk

Th. 0.7-0.9 cm.
locking triangles, created by the intersection of concentric
Three joining and twenty-four nonjoining fragments
circles and radiating arcs, are colored amber, deep purple,
belong to three or four plaques.44 On each plaque, a green
green, and white reserve and form a lively geometric pat-
strip that opens into green leaves in the corners encloses a
tern. The concentric black lines were painted first and then
central disk and surrounding decorative bands. The central
the radiating arcs. Set off by a narrow white reserve band,
pattern consists of bands of amber and green interlocking
the inner medallion is decorated by intersecting squares
triangles formed by the intersection of concentric black
of white and amber enclosing a four-petaled flower. On
lines and arcs. Set off from this pattern by a green band
the reverse of two of the corner fragments are preparatory
is a "marble" disk at the center, which is created by red-
sketches for corner leaves. The pattern of interlocking
colored slip applied with a sponge. The reverse of two
triangles and squares recalls sunburst designs in Byzantine
joining fragments is marked by traces of red slip where
opus sectile pavements of the period in Bithynia and the
the painter cleaned off his brush. Similar patterns in opus
Byzantine capital.43 A similar pattern of interlocking
sectile are common in Byzantine churches of the period.

The marble pattern at the center clearly refers to inset disks
of precious stone in floor pavements.
30
5 o. Rosette and Segmented Square

Th. 0.8 cm
by a green border and four corner leaves. The inner medal-
lion contains a four-petaled flower against a black ground.
On the other, the diaper pattern extends to the edge of

This single fragment from the center of a square plaque
the tile. The inner medallion of the tile has a star pattern
preserves traces of a compass point. The central medallion
with radiating geometric petals in alternating white reserve
contains a four-petaled flower with a segmented square at
and amber. Three fragments preserve on their reverse a
the center. The square, which is glazed amber, has deep
sketch of interlocking triangles surrounding a medal-
purple discs at each corner.
lion containing a florette. Similar patterns decorate two

large square tiles in the Walters Art Museum (Gerstel and
5 1 . Geometric Pattern with Central Medallion

Lauffenburger, A Lost Art Rediscovered, A.36, A.38), and the
reverse side of a plaque in the same collection (a. 39).
Th. 0.8 cm
Twenty-two fragments belonging to two large square

plaques. The design of both plaques is a diaper pattern
5 2 . Geometric Pattern with Eight-Petaled Flower

H. and W. of plaque as reconstructed 26.5 cm
formed from alternating white reserve segmented dia-
Thirteen fragments of a large square plaque and additional
monds and amber glazed diamonds enclosing circles. The
fragments from a second plaque. A central core of an
tiles differ in the treatment of the border and the central
eight-petaled angular flower is surrounded by a diaper pat-
medallion. On one tile, the diaper pattern is surrounded
tern of segmented squares alternating with circles. Corner

leaves frame the composition. For a similar core pattern,
see a rosette plaque in the Muse du Louvre (Gerstel and

Lauffenburger, A Lost Art Rediscovered , .4).
3*
53. Acanthus
54a, b. Interlocking Triangles and Rosettes
Est. H. 28-32; Est. H. of reconstructed com-
Th. 0.7 cm
position of nine plaques 90 cm
Eight fragments of a broad acanthus are painted against
Thirty-four fragments, largely nonjoining, belong to two
a white reserve background. A wide green band encircles
sets of plaques that were intended for installation next to
the plant and opens into broad, heart-shaped leaves in
one another. Analysis of the fragments suggests that two
the corners of the plaque. The space between the band
different patterns were painted on sets of at least nine
and the edge of the plaque is glazed amber. The plants
tiles which, when installed, would have displayed a very
curving leaves are decorated with half florettes that are
large circle with loops at the corners, a quincunx pattern
glazed green and deep purple set against amber and white
found in opus sectile pavements. At the points of juncture
reserve. At the base of the acanthus, broad leaves curve
between the tiles, there are letters or symbols. The incom-
upward to reveal both the veining of the lower surface and
plete number of fragments prevents a full reconstruction
the more ornate, floral and polychrome patterning of the
or understanding of the meaning of the symbols in assem-
upper surface. Recalling a bouquet, an amber band clasps
bling the tiles. The first set of tiles (a) has a framing band
the plants stem. To either side, thin tendrils terminate in
of interlocking triangles that are colored in alternating
heart-shaped leaves originally glazed green. The stem of
green and amber in one band and deep purple and white
the plant ends in two roundels of amber enclosing black
reserve in the other. The second set of tiles (b) has a band
circles. Eight additional fragments belong to at least two
of rosettes, which are turned sideways and framed by white
plaques of the same type. Large plaques with similar acan-
reserve bands. A similar turning of the rosettes on side is
thus plants are found in the Walters Art Museum and the
found on tile fragments from a colonnette base and a small
Muse du Louvre (Gerstel and Lauffenburger, A Lost Art
square plaque (cat. nos. 35, 60). The central motif within
Rediscovered , A.40, A.43, .3).
each set of tiles is different: rosettes (a) and triangles (b).

The playful juxtaposition of patterns is characteristic of
this workshop. The installation of tiles adjacent to one

another, as suggested by the continuation of patterns from
one piece to the next without intervening borders, has also
been proposed for flat tiles with a cross motif found in the
Topkapi Sarayi Basilica and for figurai tiles in the Walters
Art Museum, Baltimore (Gerstel and Lauffenburger, A

Lost Art Rediscovered, xii.33, A.20, A.21). Fragments from
a site to the southeast of Nikomedia are also decorated
with patterns that run across tiles (Gerstel, "More Tiles

of Nikomedia" [forthcoming] ) .
32
55. Cross
Th. 06- 0.7 cm
Four nonjoining fragments of a large square plaque with
no preserved edges. The reverse side of the plaque is rough.
The cross is made up of concentric rectangles of green,
white reserve, amber, and black, each outlined in black

line. The inner rectangles terminate in a black discs; the
outer rectangle terminates in a dotted circle, reminiscent
of the round finials that adorned the arms of processional
crosses. At the center of the intersecting arms is a square
enclosing a rosette. The cross is identical in its proportions
and decoration to that on a large square plaque in the

Art Rediscovered, a. 31). The two works may be attributed
to the hand of the same painter.
33
Small Square Plaques

Smaller plaques are found in abundance in the London
collection. They vary in size between 14 and 22 cm.
5 6. Intersecting Squares
Th. 0.9 cm
Three joining and six nonjoining fragments of a small
square plaque with beveled edges. A green band that terminates in open leaves in the four corners frames a central
pattern of two intersecting squares of amber and white
reserve. Between each of the eight corners are trilobed

florettes oriented toward the inside of the plaque.
5 7. Rosette with Cusped Octagon

Th. 0.6 cm
Twelve fragments from a small square plaque. The dominant
motif is a single rosette surrounded by two circular bands

divided into boxes. The petals of the flower are formed of
5 9 . Acanthus Scroll
Est. H. and W. 19.5; Th. 0.8 cm
concentric bands of amber, white and black. At the center

of the flower is a cusped octagon with a white reserve circle
The fourteen fragments belong to two small square
at the center. Traces of a compass point are visible. Sketches
plaques. Elongated vines colored green and amber create
are preserved on the reverse side of four fragments.
a design of connecting circles enclosing clusters of grapes

and heart-shaped leaves. At the center of the plaque is a
concentric circle glazed amber at its core. At the corners,
58. Rosette
and most likely around the edges, the plaque was painted
Th. 0.7-0.8 cm
with a red marble pattern. Drawings on the reverse con-
Five fragments belong to a small square plaque or flat
firm that the fragments belong to two separate plaques.
rectangular plaque with beveled and squared edges; only
On the reverse of one tile, the painter has sketched a
two sides are preserved. A half rosette or rosette on a green
diaper pattern (see cat. no. 68). A sketchy floral pattern
ground is crowned or framed by white reserve arches that
is partially preserved on the reverse of the second set of
are segmented into squares that alternate between amber
fragments. The identical scroll design, though without the
and white. Each square is ornamented with four strokes
marble border, is found on a square plaque of comparable
and five dots. The rosettes petals, which are outlined in
size in the Walters Art Museum as well as on a rectangular
a thick black line, are black at the core with white and
plaque in the same collection (Gerstel and Lauffenburger,
amber surrounding bands.
A Lost Art Rediscovered , a. 56, a. 57).
34
35
6o. Florette
62. Cross
Th. 0.8 cm
Th. 0.6 cm
The small, square plaque is reconstructed from four join-
Section of a small square plaque reconstructed from two
ing and three nonjoining fragments. The edges of the
joining and two nonjoining fragments. The edges of the
plaque are beveled. The glazes are in poor condition with
tile are beveled, and its reverse is smoothed. A cross,
amber glaze running over the edge. The design of the
framed by a circular green band, is represented against a
plaque, dominated by concentric circles, is distinctive in
white reserve ground. Heart-shaped leaves fill the plaque s
having no leaves in the corners. The space between the
corners. The cross is made up of concentric rectangles of
outer circle (D. 13 cm) and the edges of the tile is filled
white reserve, amber, and black. Each color is outlined in
with amber glaze. At the center of the design is a visible
thick black lines, which form finials at the outer corners
compass mark. The outer circle of white reserve encloses a
of the arms. The reverse of the plaque is marked by a
band of florettes turned on side, a decorative feature found
painter s sketch in red slip. A similar cross, though larger
on other tiles in this collection (cat. nos. 35, 54). Another
in scale, is found in the Walters Art Museum (Gerstel and
circle of white reserve surrounds the central medallion,
Lauffenburger, A Lost Art Rediscovered, A.31).
which was originally glazed green.

Rectangular Tiles
61. Florette
Th. 0.7 cm
6 3. Chevron
M.P.H. 18.2; W. 15.4; Th. 0.7-0.8 cm
Eleven fragments from two small square plaques with
hi fragments are preserved from several flat, rectangular
half florettes in three rows running from the core to the
tiles. A thick, green band borders the tile. The chevron
tile exterior. The florettes alternate in color between deep
pattern consists of rows of amber and green compartments
purple and green; the backgrounds alternate between
alternating with rows of white reserve and deep purple.
amber and white reserve. A circular band opening into
Ten fragments preserve traces of paint on the reverse. Of
heart-shaped leaves in the corners frames the florettes. At
these, seven represent a chevron pattern. For a similar
the center of the plaque, a quatrefoil encloses a checker-
design on a colonnette shaft, see cat. no. 22.
board with dots at the corners.
36
37
64. Florette
glazed green. The half florettes are deep purple with an
Th. 0.6-0.7 cm
amber, semicircular center along the edges of the tile. A
similar pattern of checkerboards and florettes is found

Twenty-six fragments of a flat rectangular plaque with
on a flat rectangular plaque in the Walters Art Museum
beveled edges. The span of each arch within the foliate
(Gerstel and Lauffenburger, A Lost Art Rediscovered, A.49)
pattern is 4 cm. The bands of florettes alternate in color
and tile fragments recovered from a site to the southeast
between amber and green, deep purple and white reserve.
of zmit (Gerstel, "More Tiles of Nikomedia," cat. no. 20
The reverse side of this fragment has a sketch of a diaper
[forthcoming]).
pattern. An error in the sketch on the reverse - the draw-
ing of two segmented squares next to one another - may
account for the decision to decorate the opposite side of

the tile.
Est. H. 15.3; Th. 0.9-1 cm
The twenty-four fragments of this rectangular flat tile are
grouped by the size of the checkerboards, 3-3.2 cm. The
6$. Florette
tiles are bordered on their upper and lower edges by a
Th. 0.7 cm
green band. A broad rectangular plaque with the identical
Twelve fragments decorate a flat tile with beveled edges.
pattern is found in the Walters Art Museum (Gerstel and
The span of each arch within the foliate pattern is 2.8
Lauffenburger, A Lost Art Rediscovered , A.44).
cm, resulting in a denser petal scheme than cat. no. 64.

In color, the bands of florettes alternate between amber
and green, deep purple, and white reserve. A single fragment has florettes radiating from the corner rather than
parallel to the lower edge of the tile. It is likely that these
69. Diaper Pattern

H. 8; Th. 0.7 cm
H. 9.2; Th. 0.6 cm
fragments belong to cat. no. 54 and may have formed part
Differences in measurements demonstrate that the four-
of the center tile of the nine-tile composition.
teen preserved fragments belong to two separate flat

plaques. Uneven firing has produced slight differences in
glaze color. In design, these are similar to cat. no. 68, but
66. Vine Scroll
black discs radiate from the perimeter of the green circle

within the amber diamonds.
H. 7; Th. 0.7 cm
Seventeen fragments of at least two flat, rectangular tiles.
The pattern, set against an amber ground, presents grapes

and flowers encircled by a narrow vine. Graceful, multi-
70. Diaper Pattern
lobed green leaves cluster along the vine at the top and
The four different flat tiles with similar patterns are dif-
bottom of the plaque at regular intervals.
ferentiated by the size of the checkerboards: 2 cm (12 frag-
ments); 2.4 cm (41 fragments); 3 cm (185 fragments); 3.4
67. Checkerboard and Florette

H. 7; Th. 0.7 cm
cm (12 fragments). One of these fragments is now in the

collection of the Benaki Museum. A large number of the
fragments have preparatory sketches on the reverse that
The twenty-seven nonjoining fragments belong to at least
include a diaper pattern, half circle with half rosette, flo-
two flat rectangular plaques. The pattern, set on an amber
rette, step, and, perhaps even letters.
ground, alternates diamonds at the center of the tile, and

half florettes at its periphery. The diamonds are divided into
checkerboards with deep purple central squares flanked

by a jewel prong pattern. The corner compartments are
3*
39
40
74. Sawtooth Rows
Th. 0.8 cm
Th. 0.6-0.7 cm
The four fragments belong to a flat tile divided by black

lines into diamonds. The colors of the diamonds are either
amber or white reserve. At the center of each diamond is
Five fragments of flat tile. The sawtooth rows are evenly
spaced at 1.8 cm and alternate between green and white

reserve.
a trilobed form that is deep purple with a green center.

There are no parallels to this pattern, although it is similar
to others in this category and is reminiscent of a florette
pattern on a large square plaque (cat. no. 46).
7 5 . Circle with Four-Petaled Flower
H. 16.4; W. 22.4; Th. 0.7 cm

The twenty-six fragments belong to at least four flat tiles
with squared and beveled edges. Green glaze strips run
72. Sawtooth Rows
along the upper and lower edges of the tile. The background
W. 40; Th. 0.6 cm
is glazed amber. The white reserve leaves are outlined in
The nineteen fragments of this flat tile have beveled and
black and the fronds are colored in green glaze. The tips of
squared edges. The sawtooth rows are evenly spaced at 1
the leaves connect to form a pattern of repeating medal-
cm and alternate between green and white reserve. Nine
lions; each medallion encloses a four-petaled flower with
fragments have drawings on the reverse side. Of these, five
a black center. Between each medallion is a trilobed green
have sawtooth rows, two have a checkerboard, and three
leaf oriented to either the top or bottom of the tile. For
loose sketches. Brush strokes are not continuous across
a comparable pattern, see a convex tile in the Walters Art
tile but begin and end with each change of direction.
Museum (Gerstel and Lauffenburger, A Lost Art Redis-
In some tiles, uneven spacing reveals that the patterns
covered , A.70 [with collected comparisons]). Examples
were drawn freehand. A tile with identically drawn and

colored sawtooth rows is in the collection of the Walters
of this pattern are commonly found on tiles excavated

in istanbul.
Art Museum (Gerstel and Lauffenburger, A Lost Art

Rediscovered , a. 53). For a similar design on a colonnette
shaft, see cat. no. 43.
76. Jeweled Band and Concentric Circles

Est. H. 10; Th. 0.8 cm
The thirty-five fragments belong to at least two flat, rect-
73. Sawtooth Rows
angular tiles. Rows of concentric circles on an amber back-
Th. 0.5-0.8 cm
ground line the borders. At the center is a jeweled band
The twenty-six fragments of this flat tile have beveled and
comprised of concentric rectangles and a checkerboard of
squared edges. The sawtooth rows are evenly spaced at 1.4
fifteen compartments. Small dots decorate alternate com-
cm and alternate between green and white reserve. One
partments of the checkerboard. Six fragments are painted
corner fragment, damaged before glazing, reveals that
on the reverse with patterns seen on other tiles, including
imperfect tiles were not necessarily discarded.
foliate patterns, diamonds enclosing circles, concentric
circles, and jeweled band. The concentric circles on the

fragments are of different diameter, demonstrating that
there are several different tiles belonging to this pattern.
There are no direct parallels for this pattern.
41
Convex Tiles
77 Florette
78. Half Circle with Half Rosette
H. 9; Th. 0.7-0.8 cm
H. 11; W. 38; Th. 0.6-0.8 cm
Ninety-four fragments of at least two convex, rectangular
Seventy-four fragments of at least six convex tiles with
tile with squared and beveled edges. The foliate pattern is
squared and beveled edges. The pink and white color of
divided into four rows of arches. In the lowest row a green
clay reveals uneven firing. The tiles are decorated with
half circle inscribes a green half florette with an amber
half rosettes on a green background under white reserve
center. In the center row a green band frames a deep purple
arches. Here, the rosette is formed by three full and two
florette that encloses a smaller, white florette. The upper
half petals along the lower edge. Scrolling green leaves fill
row repeats the color scheme of the lowest but the inner
the space between the arches and decorate the corners of
circle is replaced by an amber florette. The backgrounds

within the arches alternate in color between amber and
the tile. For a similar design on flat and concave tiles, see
white reserve. At the upper edge of the tile, a row of flo-
cat. nos. 57, 58, and 83. Convex tiles of similar design and
rettes is partially visible. The identical pattern is found on
size are found in the Walters Art Museum (Gerstel and
twenty-three fragments of a convex tile (foliate design) in
Lauffenburger, A Lost Art Rediscovered , a .66).
the plaque. A green band runs along the upper edge of
the Walters Art Museum (Gerstel and Lauffenburger, A

Lost Art Rediscovered , a. 67) .
42
79' Half Circle with Half Rosette

Th. .6 cm
80. Circle with Disk
H. 11; W. as reconstructed 27; Th. 0.6 cm
Seventeen fragments of at least one convex tile with bev-
The eighteen fragments belong to at least two convex
eled lower and side edges. The upper edge of the tile is not
tiles with beveled and squared edges. The pattern con-
preserved. Half rosettes emerge from the lower border. At
sists of repeated medallions on an amber background.
the center of each rosette is an amber semicircle framed
Semicircular arches enclosing trilobed shapes of deep
by a green band. The petals have a black core surrounded
purple set against white reserve hug the perimeter of the
with white and amber bands. One fragment preserves a
medallions and create a cusped octagon from the green
painted head of a bearded man on the reverse, though
glazed space in their interior. At the center of each medal-
perpendicular to the pattern on the obverse.
lion is a black disc that contains seven white circles ringing
a central, amber circle. The center of each small circle is

painted in an opposing color, either black or white reserve.
Open green leaves with black veins fill the spaces along
the edges of the tile between the medallions. A convex tile
of similar design, though smaller dimensions, is found in
the Walters Art Museum (Gerstel and Lauffenburger, A

Lost Art Rediscovered, a. 68).
43
8 1 . Paired Acanthus Leaves
82. Jeweled Band

H. 6.5; Th. 0.6 cm
H. 10.5; Th. 0.5 cm

The seventeen fragments belong to at least two convex
The sixty-seven fragments of convex tiles are of indetermi-
tiles with beveled edges. The repeated foliate pattern has
nate width, but appear to be long strips that could have
broad symmetrical amber leaves outlined in white and
been used as borders. The pattern consists of alternat-
set against a green background. A heart-shaped leaf is
ing concentric rectangles and circles. The rectangles are
placed at the center of each pair of broader leaves; smaller
formed of amber, white, and green bands (5.2 x 7.8 cm).
curling tendrils spread at the base of the tile between the
The circles, positioned two over two on a black ground,
plants. Lobed black and white leaves running along the
are white reserve enclosing a green core. A jeweled pattern
bottom of the tile. A similar convex tile is found in the
of alternating concentric squares and circles decorates a
colonnette with a foliate shaft (cat. no. 34a). A similar pat-
Art Rediscovered, a. 62). The design is also found on tiles
tern decorated tiles found in excavations at the Topkapi
excavated at the Church of Saint John Stoudios, the Atik
Sarayi Basilica and the Church of the Virgin Kyriotissa
Mustafa Paa Camii, and the Topkapi Sarayi Basilica. In
(Kalenderhane Camii) (Gerstel and Lauffenburger, A Lost
examples from Istanbul, however, the leaves are glazed
Art Rediscovered, XII.3, v.i).
green and the line is finer (Gerstel and Lauffenburger, A

Lost Art Rediscovered, x.3, xn.15, D.3, 196). Three additional
fragments belonging to a similar tile do not have black

and white leaves at the lower edge.
44
Concave Tiles
8 . Haif Circle with Half Rosette
H. .8; Th. 0.7-0.8 cm
84. Tongue and Dart

H. 6.2; Th. 0.6-0.7 cm
Thirteen fragments from two or three concave tiles. The
The thirty-two fragments of concave tiles represent a
upper, lower, and right edge of a single tile is preserved.
tongue-and-dart motif painted on a white-reserve ground.
The tile s edges are slightly squared and beveled. Half
A green band runs along the upper edge of the tile. The
rosettes on a green background are crowned by white
tongue is decorated with bands of green and amber that
reserve arches that are divided into two bands of repeated
alternate with black darts to create a continuous design.
boxes with dots at center. At the center of each rosette is
an amber half circle surrounded by a green band. The
Sketches on the reverse side of two fragments include

a face. Similar concave tiles are found in the Walters
five petals of the rosette have black cores surrounded by
Art Museum and the Muse du Louvre (Gerstel and
white reserve and amber bands. Between each large petal
Lauffenburger, A Lost Art Rediscovered , a. 61, .6), and at
is a white reserve petal tip. A green band runs along the
a site to the southeast of zmit (Gerstel, "More Tiles of
upper border of the tile. At the corner of the tile is an
Nikomedia," cat. no. 28 [forthcoming]).
open green leaf, which is usually characteristic of square
plaques. A nearly identical pattern is found on convex

tiles in the Walters Art Museum and the Muse du Louvre
(Gerstel and Lauffenburger, A Lost Art Rediscovered, A.65,
A. 66, B.8).
85. Tongue and Dart

H. 7.4; Th. 0.6-0.7 cm
Eighty-one fragments of concave tiles that have an identi-
cal pattern to cat. no. 84 but different dimensions. Three

of the fragments are painted on the reverse with lines or
dots.
45
Strips
86. Marble
H. 3.1; Th. 0.6 cm

Two fragments of a rectangular, thin strip with black and
red slip on white reserve. For a similar design on a colonnette, see cat. no. 26.
87. Concentric Circles

H. 3-3.2 (97 fragments) and 4.3 cm (7 fragments);
W. 32.5; Th. 0.5 cm
One hundred five fragments of flat, rectangular strips with
squared, slightly beveled edges. The design of concentric

circles outlined in black paint is placed against an amber
background. The inner circle is filled with green glaze,

though poorly preserved; the outer circle is white reserve.
The large number of end pieces with whole circles demonstrates that the tiles were painted after the final shape
was cut. Six fragments have drawings in red iron-oxide

on the reverse: concentric circles, an eye, eyebrows (?),
fingers (?), simple lines, and a vegetal motif. One fragment
with bubbled amber glaze on the obverse and reverse was

damaged during firing. Strips with concentric circles are
found at numerous sites (Gerstel and Lauffenburger, A

Lost Art Rediscovered, a. 54 [with collected comparisons]).
Flat strips with concentric circles are also associated with
a site to the southeast of Izmit (see Gerstel, "More Tiles
of Nikomedia," cat. no. 30 [forthcoming]).
Vessels
8 8 . Marble Vessel with Guilloche Rim
Th. 0.3-0.4 cm.

Twelve fragments from a small globular vessel with a
vertical rim. The fragments are unusually thin and were
produced on the wheel. Amber bands on the rim frame

a narrow guilloche pattern painted in black line on white
reserve (H. of band 4.5 cm). The marble pattern on the

body is red on white reserve. A similar guilloche band,
though running in the opposite direction, decorates the
end of a florette shaft (cat. no. 33). The two bands appear
46
to be the work of the same painter. Seven thin-walled frag-
the Baltimore and Paris collections were drilled from the
ments decorated with a red marble pattern may belong to
plaques and submitted as powder; the balance of the NAA
additional vessels. There is no trace of residue (oil or wine)
samples from the London collection were submitted as
in the base of the vessels suggesting that they might have
ceramic fragments, a preferable technique. The use of drill
been used as containers for holy water.
bits for the powdered samples may have been responsible
for elevated amounts of some trace elements as metal

TECHNICAL ANALYSIS
contaminants.51
The ceramic plaques or tiles in London share many of
From a technical viewpoint the tiles in the London col-
the manufacturing steps with those previously studied.52
lection are strikingly similar to those in the Walters Art
The clay was first rolled out between two guides to create a
Museum and the Muse du Louvre. As described in earlier
sheet of fairly uniform thickness. Cloth or loose sand was
publications, the tiles from the Walters Art Museum, the
used as separators in order to ensure that the rolled clay
Muse du Louvre, and the Muse National de Cramique,
would not adhere to the working surface. For the majority
Svres, are low-fired white wares with aggregate in the
of flat tiles, the final dimensions of the plaques were estab-
form of added quartz, iron oxide, and organic temper.
lished by placing a template of the desired size over the clay
They are formed from highly aluminous clays (about 20-25
and cutting the clay with a sharp-edged tool. This quick
percent aluminum oxide) characteristic of a kaolinitic
cut resulted in a beveled edge tapering toward the back.
clay source. Silica and alumina account for almost 90
The bevel cut allowed for tiles to be placed directly next
percent of the overall composition.45 Scientific analy-
to each other without any intervening spaces, a technical
sis, including neutron activation analysis (NAA)46 and
feature that was of particular importance when designs
inductively coupled plasma-mass spectrometry (ICP-AES/
continued across tiles to form a complete pattern (see,
MS),47 concluded that the tiles in the Muse du Louvre
for example, cat. no. 54). In almost all of the London tiles
and Walters Art Museum belong to one broad composi-
there is evidence that the craftsman worked on the reverse
tional group. This group is linked to an assemblage of tiles
through scraping or scoring to even out the thickness or to
excavated at the so-called Hospital of Sampson in Istanbul
roughen the surface in order to facilitate adhesion. Many
and today in the Dumbarton Oaks Collection. Indeed,

the mean concentration value of all of the tiles is not very
of the final shapes of the tiles in the London collection

are identical to those found on tiles in the Walters Art
diverse. While the actual source of the clay has not been
Museum and the Muse du Louvre: flat square and rectan-
confirmed through direct sampling, earlier studies have
gular tiles, convex and concave plaques, and half capitals.
suggested possible clay sources on the European side of
Tiles in the London collection, however, introduce some
the Bosporos.48 Examination of the tiles in the London
new forms, several new patterns, and exhibit the use of
collection shows the use of a very similar soft-white ware
connecting tiles to create larger, more complex patterns.
clay body with quartz and iron oxide inclusions. Six sam-
Parallel throw lines on the reverse of several forms indi-
ples from the London collection and two samples from

a second collection of tiles from a site to the southeast
cate that the potters' wheel was used to create some special
of zmit were analyzed using neutron activation analysis
observed on tiles in the Baltimore and Paris (Gerstel and
(NAA).49 Hierarchical cluster analysis of the combined
Lauffenburger, A Lost Art Rediscovered, A.72-A.74, c.3). All
data sets suggests that the London tiles are broadly similar
of the tiles and decorative forms that were thrown on the
to those previously studied.50 The drilled sample taken
wheel have lines along their inner edges that indicate that
from the Panteleimon fragment (cat. no. 10) associates it
the clay was scored while wet, then fired and snapped. This
most closely with the tiles in the Walters Art Museum.
technical feature is associated with decorative elements
forms (see cat. no. 22). The same working method can be
This may be a result of preparation; samples from both
such as colonnette shafts. These were initially produced
the Panteleimon tile and the previously analyzed tiles in
as vessels in the round and were then divided; the use of
47
the wheel allowed the preparation of two matched halves.
and beyond Constantinople. Several tiles excavated in
Most convex and concave tiles were rolled out flat and
Constantinople are also painted with gold leaf,55 a treat-
then placed into or over a form, perhaps made of plaster,
ment that is absent from tiles in the London, Baltimore,
on which they were allowed to dry slowly in order to
and Paris collections.
maintain a desired shape.
The overall preservation of the glaze colors on the
Once the clay tiles were dried and smoothed, patterns
London collection is slightly poorer than those in the
were drawn onto their surfaces with iron-oxide slip. Most
Walters Art Museum and Muse du Louvre, though all
of the drawings were executed freehand; in some cases a
three collections show the same general trends. In the
compass and rule were used for arcs and intersecting linear
overwhelming majority of cases the amber glaze, colored
patterns (see, for example, cat. no. 46). The skill with
by iron oxide, is the best preserved; the green glaze, which
which these drawings were executed is at a very sophisti-
is applied fairly thickly, is the most poorly preserved. This
cated level and is in some respect more refined than the
condition may result from the poor body-to-glaze fit
subsequent glaze application. A mistake in the glaze appli-
resulting from differences in rates of thermal expansion
cation on the jeweled Gospel book of an episcopal saint
between the glaze and the dimensionally stable ceramic
in the London collection (cat. no. 8) illustrates this point.
body. Lead glazes are known to be more dimensionally
This error may indicate some division of labor; perhaps
stable than alkali glazes, and as a general rule the green
one craftsman was responsible for the assured line of the
glazes contain a higher proportion of alkali in their recipe
images and inscriptions and another was responsible for
than the correspondingly more stable amber glazes; this
the broad applications of glaze. In most cases the tiles were
makes the green glazes more susceptible to crazing or
cut to their final dimension prior to the application of the
cracking and eventual loss.56 The clear glaze applied only
drawing. In only one case, the sawtooth pattern (cat. nos.
over areas of reserve such as the facial feature and skin
72-74), was the repetitive design painted before the tile
tones, is especially thin and extremely deteriorated, some-
was cut to size.53
times rendering it opaque.
After the application of the drawings and inscriptions,
One final technical link between the collections in
colored glazes were applied. While the glaze compositions
London, Paris, and Baltimore is the presence of sketches
of the London tiles have not yet been analyzed, they mimic
on the reverse of many of the tiles (cat. nos. 4, 36, 57, 59,
in every way the glaze colors and application sequence

identified in the Baltimore and Paris collections. On the
62, 63, 70, 72, 76, 79, 85, 87). The sketches were painted
with the same iron-oxide slip that was used for the under-
basis of previous analyses we would expect the composi-
drawings on the front of the tiles. The sketches on the
tions of the glazes to be a lead or lead-alkali mix with the
reverse of the tiles are largely unrelated to the patterns on

the obverse.57
primary alkali flux expected to be sodium oxide. Amber

colored by iron oxides and green colored by copper oxides
The examination of two large collections of tiles attrib-
were applied within the painted outlines and predominate.
uted to a single workshop provides the opportunity to make
Deep purple or brown, colored by the addition of manga-
some suggestions about workshop practice. Colonnette
nese oxide, is often used to fill in areas of hair and portions
shafts in the London collection have the same maximum
of vestments. Facial features were further embellished with
preserved height, 35 cm, suggesting that multiple tiles of
touches of pink slip applied beneath clear glaze.
The London tiles show no trace of cobalt blue glaze.
With the exception of a single tile, the Baltimore and

Paris groups also lack cobalt as a coloring agent.54 Cobalt
the same size, shape, and decoration were produced to

cover large surface areas. The duplication or multiplication
of patterns suggests mass production on some level.
Despite our increasing understanding of the work-
blue was used in tiles excavated from the Hospital of
shop practices involved in tile production and decora-
Sampson, the Topkapi Sarayi Basilica, and the Baths
tion, however, the study of the London collection offers
of Zeuxippos. This localized use within the capital may
no additional information about methods of installation
be significant in trying to identify workshops within
within Byzantine churches. Like the tiles in Baltimore and
48
Paris, the London fragments preserve no traces of mortar
association, based on stylistic grounds, has yet to be tested
or plaster on the reverse, suggesting that the tiles separated
scientifically, but the comparison is compelling. Another
cleanly from the fine plaster that was used to bond them
workshop, which used different glazes and painted in a
to the wall surface or that the plaster deteriorated once
crisper line, was responsible for the limited tile decoration
the tiles were buried with other destruction debris from
in the church of St. John Studios, the church now known
the church that they once adorned.
as the Atik Mustafa Paa Camii, and, perhaps, the church

of Constan tine Lips.58 The tiles from these buildings are
CONCLUSIONS
thinner and the clay whiter. Yet another workshop was

involved in the decoration of the tiles in the Boukoleon
In 200I, the authors of A Lost Art Rediscovered attempted to
palace chamber where the tiles are decorated with different
place the unprovenanced tiles in the Walters Art Museum
glazes and an unusual marble pattern produced by driz-
and the Muse du Louvre into the context of excavated
zling the glaze onto the tile surface.59 Whether all of these
materials from Constantinople. Although scientific testing
workshops operated in the city of Nikomedia, or whether
revealed general similarities in the clay type, the painted
the author of the Botaneiates inventory employed the term
decoration clearly differed. The London tiles, a group
"Nikomedia" to denote a specific style of tile revetment
of more than three thousand fragments from a modest
remains an open question. Indeed, the broad dating of the
church in the hills to the northeast of Izmit, were pro-
monuments in question suggests that several generations
duced by the same workshop that was responsible for the
of artisans in a single large workshop or in multiple small
tiles today in Baltimore and Paris. This collection, and
workshops may have produced the tiles.
another collection of fragments associated with a site to
The publication of tiles from the Nikomedia work-
the southeast of Izmit, provides the critical link to the
shop serves to clarify one of the mysteries surrounding
city of Nikomedia, a site named in medieval sources as a
the decoration of Middle Byzantine churches: the short-
center of tile production but one that has never yielded
lived use of polychrome tiles as a decorative medium in
the excavated materials that could confirm the veracity
Byzantium. Scholars have suggested that tiles in the Walters
of the written source. Other unpublished materials from
Art Museum and the Muse du Louvre should be dated ca.
the region of Izmit suggest that this was an active work-
iooo, although a date earlier in the tenth century cannot
shop that exported tiles to sites within Bithynia and even
be excluded.60 This date accords with that of tile finds from
beyond.
excavated contexts in Constantinople, which cluster in
Tiles excavated in Constantinople differ sufficiently
the period between the early tenth and mid-eleventh cen-
for us now to propose the existence of one, if not two,
tury.61 After that time, it would appear that tiles no longer
additional workshops involved in the large-scale produc-
decorated ex novo the interior walls of the capitals finest
tion of architectural ceramics. The tiles that once decorated
buildings. The abrupt disappearance of polychrome tiles
the interior of the Topkapi Sarayi Basilica - a building
as a decorative feature of Byzantine architecture has been
whose medieval identity remains elusive - provide the
attributed to a number of factors, including changing artis-
closest comparison to the tiles produced by the Nikomedia
tic tastes.62 One simple explanation for this phenomenon,
workshop. The glaze colors, range of unusual shapes, simi-
however, may rest in the history of Nikomedia following
larities of pattern, combinations of patterns on a single
the Byzantine defeat at the Battle of Manzikert in 1071.63 In
tile, the free-hand application of line, the large number
the late eleventh century the city was in turmoil. Captured
of crosses, and the rare existence of figurai tiles in this
by the Turks in 1087, it was retaken by the imperial forces
Constantinopolitan setting, all suggest that the painter
in 1090, and then was briefly inhabited by Crusaders in
who produced the tiles for this church was associated
1097. One of them, Stephen, count of Chartres, offers
with the workshop that created the tiles in the Walters

and Louvre as well as the tiles from Nikomedia docu-
primary testimony about the condition of the city in that

year. In a letter to his "sweetest wife Adele" written from
mented in this article and in a forthcoming work. This
nearby Nicaea, Stephen describes Nikomedia as "urbem
49
desolatam aTurcis."64 Conditions were no longer optimal

for the creation or, indeed, the exportation of tiles from
the ruined city. It was only under the Ottomans that tiles
would again be produced in Bithynia, but this time in the
city of Nicaea (Iznik).
yuvaiK" in F. K. Drner, Inschriften und Denkmler aus Bithynien
(Berlin, 1941), 107. A funerary monument of 207, also found
in Bithynia, was raised by "the slave of Klaudios Philokalos,"

according to its inscription. It is tempting to view this as the same
Klaudios mentioned in the inscription found at the church site.

See H. Kern, "BijdrageTot De Verklaring Van Eenige Woorden In
Pali-Geschriften Voorkomende," Verhandelingen der Koninklij ke
Sharon E. J. Gerstel (gerstel@humnet.ucla.edu) is Professor

of Byzantine Art and Archaeology in the Department of Art
History at the University of Californiay Los Angeles.
Akademie van Wetenschappen te Amsterdam. Afdeeling Letterkunde
17 (1888): 13.
4. Although the tiles described in this article are glazed, a number

of tiles had lost their surface decoration due to exposure to the
elements. For a plaque joined from glazed and worn tiles, see
Julie Laujfenburger (jlauffenburger@thewalters.org) is Senior
Objects Conservator at the Walters Art Museum.
cat. no. 72.
5. S. Gerstel and J. Lauffenb urger, A Lost Art Rediscovered: The
Architectural Ceramics of Byzantium (University Park, Penn.,
2001).
NOTES
6. Gerstel and Lauffenburger, A Lost Art Rediscovered, 238, 301-2.
i. The authors thank the London collector for his generosity in

encouraging the study of these tiles and providing copies of his
7. Gerstel and Lauffenburger, A Lost Art Rediscovered, 243, 279.
8. Istanbul Archaeological Museum, inv. no. 6545. Istanbul Arkeoloji
personal correspondence. The tiles are in the process of conser-
Mzerlert Yilligi 10 (1962): 13; Gerstel and Lauffenburger, A
vation and, whenever possible, reconstruction. Penny Fisher,
Lost Art Rediscovered, 629, 238. See also P. Verdier, "Tiles of
former chief conservation officer at the British Museum, has been
Nicomedia," in Okeanos: Essays Presented to Ihor evenko on
charged with the conservation and restoration of the tiles. On tiles
His Sixtieth Birthday by His Colleagues and Students , Harvard
from this collection, see S. Gerstel, "New 'Tiles of Nikomedia
Ukrainian Studies 7, ed. . Mango and O. Pritsak (Cambridge,
and Architectural Polychromy in Medieval Byzantium," in
Mass., 1983), 633.
ana ohm A ta eopti ka : Studies in Honor of Thomas F Mathews ,
ed. J. Alchermes (Mainz, 2009), 173-80; S. Gerstel, "'Tiles of

Nikomedia and the Cult of Saint Panteleimon" in Byzantine
9. Gerstel and Lauffenburger, A Lost Art Rediscovered , 301.
10. The five hundred tiles from this collection form the subject of
Religious Culture: Studies in Honor of Alice-Mary Talbot , ed. E.
a separate study to be published by S. Gerstel, "More Tiles of
Fisher, E. Papaioannou, and D. Sullivan (forthcoming 2011).
Nikomedia." The tiles were recovered from the ruins of a church
Research for this paper was supported by a Faculty Research
to the southeast of zmit. According to one source, the church
Grant from the University of California, Los Angeles, and by des-
was dismantled for use as building materials for a nearby village.
ignated funds from the UCLA Dean of Humanities. The authors
Neutron activation analysis (NAA) testing of two tile fragments
are deeply grateful to Timothy Stowell, Dean of Humanities,
from this second private collection show an elemental profile
for his sustained interest in this project and support for travel
connected to this research.
similar to that of the fragments published in this article and

also those in the Walters Art Museum. Patterns on the tiles as
2. Although one large column was observed at the site in the early
1960s, there is no internal evidence to support the church's recon-
struction as a cross-in-square plan. There were no traces of cham-
bers flanking the sanctuary, nor were there remains of bonded
well as methods of manufacture link them to the Nikomedia

workshop.
1 1 . The author has examined two additional small groups of tiles that
are said to be from the region of Izmit. The patterns are similar to
bricks that might have belonged to pendentives. The width of
those from the workshop discussed in this article, including flo-
the church (reconstructed as 9m) would suggest, however, that
rettes, checkerboards, tongue and dart, and concentric rectangles.
the building was not simply barrel vaulted.
The clay fabric is, however, finer and the tiles are thinner.
3. The three-line inscription was incomplete in 1961; no measure-
12. The Latin inventory is dated May 1192. For the text, see F.
ments were recorded at that time. As far as we are aware, the
Miklosich and J. Mller, Acta et diplomata graeca medii aevi
inscription is unpublished and may be lost. The text, as preserved
sacra et profana, III (Vienna, 1865), x; . Imperiale, ed., Codice
in a photograph, reads: - ] KA(auSio) oiaokaaoc zn
diplomatico della Repubblica di Genova: Fonti per la storia d'Italia
E (kCv) [- / - ] E EN M NH M EI ON
89 (1942): 68.14-17. For a translation of the text into English,
e ATT ci KAI [- / - ](yu)NAiKi KAI [ - . The lan-
see Michael Angold, "Appendix," in The Byzantine Aristocracy, IX
guage mirrors that of other Roman funerary inscriptions from
to XIII Centuries, ed. M. Angold, BAR International Series 221
Bithynia. See, for example, a marker for a family tomb from
(Oxford, 1984), 255, 263m (with bibliography). A Greek transla-
ayirky, inscribed: " [xv]y][ov KarauKeiiacrev aurw ! rrj
tion of the inventory is dated 13 October 1202. For the text, see
SO
Miklosich and Mller, Acta et diplomata, 55. For a translation

of the text into English, see Angold, "Appendix," 259, 263 4
(with bibliography); C. Mango, The Art of the Byzantine Empire,
312-1453: Sources and Documents (Englewood Cliffs, N.J., 1972),
239-40. On the use of the term "testis de Nicomedia" and its

Greek translation, see also R. B. Mason and M. Mundell Mango,
27. lhe larger piece was offered for sale in a London Gallery in
2008.
28. Gerstel and Lauffenburger, A Lost Art Rediscovered, A.27, f.i.
29. For a polychrome bowl with the representation of St. Nicholas,

see Gerstel and Lauffenburger, A Lost Art Rediscovered, 252. Recent
"Glazed 'Tiles of Nicomedia' in Bithynia, Constantinople,
excavations in Istanbul have brought to light other examples of
and Elsewhere," in Constantinople and Its Hinterland , ed. .
bowls decorated with sacred figures. For a base fragment exca-
Mango and G. Dagron (Aldershot, 1995), 313-31; Gerstel and
vated in Sultanahmet and decorated with an image of the Virgin
Lauffenburger, A Lost Art Rediscovered , 230.
13. On Nikomedia as a production site, see Verdier, "Tiles of

Nicomedia" (note 8), 635; Mason and Mango, "Glazed 'Tiles of
Nicomedia'" (note 12).
and Child, see Giin fyginda Istanbulun 8000 yili : Marmaray,

Metro, Sultanahmet kazilari (Istanbul, 2007), 153.
30. Gerstel and Lauffenburger, A Lost Art Rediscovered, A.29, A.30, B2.
3 1 . Gerstel and Lauffenburger, A Lost Art Rediscovered, . 5.
14. S. E.J. Gerstel, "Ceramic Icons from Medieval Constantinople,"

in Gerstel and Lauffenburger, A Lost Art Rediscovered, 42-65. This
number would increase if preparatory sketches of figures found
32. Gerstel and Lauffenburger, A Lost Art Rediscovered, 283.
33. Elizabeth A. Hendrix, "Painted Polychromy on Carved Stones
on the reverse of tiles were included. For these, see Gerstel and
from the Lower City Church," in C. S. Lightfoot, ed., Amorium
Lauffenburger, A Lost Art Rediscovered, A.44, A.46, a. 53, a. 71. For
Reports, II: Research Papers andTechnical Reports, BAR International
figurai tiles produced in Bulgaria, see T. Totev, The Ceramic Icon
Series 1170 (Oxford, 2003), 129-33; esp. 129, pl. ix/i.
in Medieval Bulgaria (Sofia, 2001).

1 5. Gerstel and Lauffenburger, A Lost Art Rediscovered, d.i, d.2, f.i,
F.2, F.3, F.4, I.I, J.I, XII.I, XII. 2, XX.I.
1 6. An additional figurai tile that represents a female saint or the

Virgin Mary derives from an undocumented site near Nikomedia.
The tile fragment is unpublished.
17. On the use of yellow to signify gold, see L. James, Light and
Colour in Byzantine Art (Oxford, 1996), 31.
18. Plaques painted with images of the apostles in the collection of

the Walters Art Museum, Baltimore, were marked on the reverse
side with Greek letters, most likely to facilitate installation. See

Gerstel and Lauffenburger, A Lost Art Rediscovered, A.5-A.16
19. We have been unable to find examples of sculpted capitals from

this period that were decorated with figures. Within the context of
monumental painting, the alternation of heads and floral motifs
within interlace bands can be seen in the late ninth-century

painted decoration of the Temple of Fortuna Virilus in Rome.
See J. Lafontaine, Peintures mdivales dans le temple dit de la
Fortune Virile Rome (Brussels and Rome, 1959).
20. For a discussion of these painters, see Gerstel, "Ceramic Icons"

(note 14), 42-65.
ing the decoration of banded colonnettes, see E. S. Bolman, "Late
Antique Aesthetics, Chromophobia, and the Red Monastery,

Sohag, Egypt," Eastern Christian Art 3 (2006): 1-24. For discussions of polychromy in Middle Byzantine written sources
and sculpture, see James, Light and Colour (note 17); E. Ivison,
"Polychromy in the Lower City Church: An Overview," in C. S.
Lightfoot, ed., Amorium Reports, II (note 33), 119-28; M. Altripp,
"Beobachtungen zur polychromie Byzantinischer Blauplastik in

Griechenland," Jahrbuch * der sterreichischen Byzantinistik 52
(2002): 259-70; Gerstel, "New 'Tiles'" (note i).

35. Gerstel and Lauffenburger, A Lost Art Rediscovered, A.72-A.74,
XII.37. At the Hospital of Sampson the shafts and capitals were

fused (Gerstel and Lauffenburger, A Lost Art Rediscovered, 11.18),
suggesting that a different workshop was involved in their

production.
36. Gerstel and Lauffenburger, A Lost Art Rediscovered, a. 63.
37. Gerstel and Lauffenburger, A Lost Art Rediscovered, c.3.
38. N. Teteriatnikov, "Devotional Crosses in the Columns and Walls
of Hagia Sophia," Byzantion 68 (1998): 419-45. For an example

of a votive cross that may have been affixed to a column, see I.
Kalavrezou, ed., Byzantine Women and Their World (New Haven
21. Gerstel and Lauffenburger, A Lost Art Rediscovered, a.i, a.2, A.3,
A.4, B.I.
and London, 2003), 135.

39. Gerstel and Lauffenburger, A Lost Art Rediscovered, A.72-A.74;
22. Gerstel and Lauffenburger, A Lost Art Rediscovered, a. 22, a. 23,

a. 24, A.25, A.2 6, a. 27.
75-76.
40. Gerstel, "More Tiles of Nikomedia" (note 10), cat. no. 23.
23. Gerstel and Lauffenburger, A Lost Art Rediscovered, f.i.

24. Gerstel and Lauffenburger, A Lost Art Rediscovered, a. 27, f.i
25. Gerstel and Lauffenburger, A Lost Art Rediscovered, A.3, a. 24
26. Gerstel, "'Tiles of Nikomedia' and the Cult of Saint Panteleimon"

(note 1).
34. For an earlier, though similar treatment of the wall surface includ-
41. See Gerstel, "New 'Tiles'" (note 1), 177-79; U. Peschlow, "Zum
byzantinischen opus-sectile-Boden," m Beitrge zur Altertumskunde
Kleinasiens, ed. R.M. Boehmer and H. Hauptmann (Mainz,

1983) 435-47-
42. Gerstel, "More Tiles of Nikomedia" (note 10), cat. nos. 17, 18.
S1
43- The pavement from the small chapel found behind the so-called
House of Justinian in the Boukoleon Palace contains both elements. N. Asgari, "istanbul temei kazilarindan haberler - 1983,"
Arattrma sonulan toplantisi 2 (1984): 45-46.
44. Gerstel, "More Tiles of Nikomedia" (note 10). For this tile, see
Gerstel, "New 'Tiles'" (note 1).
45. C. Vogt, A. Bouquillon, M. Dubus, and G. Querr, "Glazed Wall
Tiles of Constantinople: Physical and Chemical Characterization
and Decorative Processes," in Materials Analysis of Byzantine

Pottery , ed. H. Maguire (Washington, D. ., 1997), 54, fig. 12.
46. J. Lauffenburger, . Vogt, and A. Bouquillon, "Technical Insights
into the Working Practices of the Byzantine Tile Maker," in
52. For a discussion of manufacturing steps, see Lauffenburger, Vogt,
and Bouquillon, "Technical Insights," 67-87 (note 46).

53. Examination of the tile edges shows that the iron oxide slip was
sliced through, which indicates that the lines of the pattern were
applied prior to cutting the final dimensions of the tile.

54. Gerstel and Lauffenburger, A Lost Art Rediscovered , A.28.
55. Gerstel and Lauffenburger, A Lost Art Rediscovered , vili, VII.4,

XVI.I
5 6. Gerstel and Lauffenburger, A Lost Art Rediscovered , 82-83: Tables

I, II, IV.
57. In all but one case (cat. no. 4), the sketches are found on the
reverse of ornamental tiles.
Gerstel and Lauffenburger, A Lost Art Rediscovered, 78-82.

58. Gerstel and Lauffenburger, A Lost Art Rediscovered, 189-95, 196,
47. The Centre de Recherches Ptrographiques et Gochemiques in
Nancy, France, conducted ICP-AES/MS on tile samples from
203-5.
the Louvre and Svres. A diamond drill sampled two hundred
59. Gerstel and Lauffenburger, A Lost Art Rediscovered , 172-75.
milligrams of powder in each tile.
60. For a slightly later date based on analysis of polychrome bowls,
48. See A. H. S. Megaw and R. E. Jones, "Byzantine and Allied

Pottery: A Contribution by Chemical Analysis to Problems of
Origin and Distribution," Annual of the British School at Athens
78 (1983): 236, 242-43, 247, 256-58.

49. Eight ceramic tiles were analyzed by neutron activation analysis
at the Archaeometry Laboratory, University of Missouri Research
Reactor (MURR). Sample data were compared with those generated between 1992 and 1994 at the University of Illinois at
Urbana-Champaign (UIUC) Program on Ancient Technologies
and Archaeological Materials (ATAM).
50. Several discrepancies in the findings relate to the manner of
obtaining samples. In all but one case for the London Collection
(sample BYZ6) the samples were submitted as ceramic fragments to MURR, sample BYZ6, a sample taken from the St.
Panteleimon tile (cat. no. 10) was submitted as a drilled sample.
primarily from Corinth, see G. D. R. Sanders, "Byzantine

Polychrome Pottery," in J. Herrin, M. Mullett, and C. OttenFroux, eds., Mosaic : Festschrift for A. H. S. Megaw (London, 2001),
89-103.
61. A group of tiles found in excavations carried out in the south
aisle of the church of St. John Stoudios may be dated to the

mid-eleventh century. Gerstel and Lauffenburger, A Lost Art
Rediscovered , 203-5.
62. See the discussion by M. Mango in Gerstel and Lauffenburger,

A Lost Art Rediscovered, 28-29.
63 . For an excellent history of the city, see C. Foss, Survey of Medieval
Castles of Anatolia, II: Nicomedia (Oxford, 1996). See also M.

Kleonymos and C. Papadopoulos, Bivvix r ^ {ovoypayia
B&vva tjv avrrj (Constantinople, 1867).
64. Stephani, comitis carnotensis, ad Adelam, uxorem suam, epistola,
All of the previous samples submitted to ATAM were also drilled
scripta ex castris obsidionis nicaenae, in Recueil des Historiens des
samples. MURR labs identified contaminant metals (specifically
Croisades , Historiens Occidentaux, III (Paris, 1866), 886.
cobalt and tungsten, but perhaps others as well) in both the

MURR and ATAM drilled samples. Their presence as a contaminant removes them from the list of comparative elements.
5 1 . While it is optimal to collect ceramic fragments as samples in
illustration credits: Courtesy of the Amorium Excavations

Project: fig. 12; Photo DeA Picture Library/Art Resource, NY:
fig. 10; Courtesy Sharon Gerstel: figs. 1, 2, 9; Istanbul Arkeoloji

Mzeleri: fig. 5; Courtesy Veronica Kalas: fig. 11; Muse du Louvre,
order to negate the effect of metal contaminants from drill bits,
Paris: fig. 3; Marie Saldaa: cat. 54a reconstruction; Courtesy of the
it is not possible in many cases since the required sample is fairly
State Historical Museum, Moscow: figs. 6, 8; The Walters Art Museum,
large. By drilling from a break edge there is no damage to the
Julie Lauffenburger: figs. 14, 15; The Walters Art Museum, Susan
decorative face of the tile.
Tobin: figs. 4, 7, 13
52
ADDENDUM
As a result of a recent loan request for the ceramic icon tile
A subsequent reexamination of the fragmentary icon
of St. Constantine (48.2086.6, Gerstel and Lauffenburger,
tiles in storage at the Walters revealed the proper place for
A Lost Art Rediscovered , cat. A.27), a graduate intern in
this important fragment. Figures 16 shows the fragment
training in the Division of Conservation and Technical
as now joined to the tile of St. Basil (48.2086.16, Gerstel
Research discovered that one of the fragments reassembled with the tile - the saints head associated with the
and Lauffenburger, A Lost Art Rediscovered, cat. a. 23). Even
Constantine tile prior to entering the Walters' collection -
deteriorated, the correct placement is confirmed by com-
did not belong. Consequently, the old plaster restoration
paring working lines across the back of the tile. ( JL)
though the glazed surface of the saints face is somewhat
(fig. 14) was taken apart, and the fragment was removed
(fig. 15). The tile was cleaned and reassembled.
Fig. 14. St. Constantine before treatment. The Walters Art Museum,
Fig. 15. St. Constantine after treatment. The Walters Art Museum,
Fig. 1 6. St. Basil after treatment. The Walters Art Museum, Baltimore
(48.2086.16)
53

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The Nikomedia Workshop: New Evidence on Byzantine Tiles

Author(s): SHARON E. J. GERSTEL

The Nikomedia Workshop: New Evidence on Byzantine Tiles

years. One of these, the representation of St. Theodore

ments today in London.1 The tiles came to light in the

early 1960s during the cultivation of fields on a narrow

reconstructed plaque is included in this catalogue.

plateau located in the forested ridge between Dagky and

Common methods of manufacture, stylistic similari-

Tepeky, two small villages approximately 10 kilometers

ties, the repetition of patterns, and the elemental profile

northeast of zmit (Byzantine Nikomedia) on the road

established by neutron activation analysis (NAA) con-

to Kandira. At that time the north wall and apse of a

firm that the London fragments were produced by the

modest church stood to a height of approximately 1 meter

same workshop that created the polychrome tiles today

divided between the Walters Art Museum and the Muse

eroded hillside. Numerous fragments of marble and other

du Louvre.5 To this group can be added a single tile in

building materials littered the ground surrounding the

the Istanbul Archaeological Museum and three tiles in

block, visible in the early 1960s, which recorded in Greek

Baltimore tiles, which were purchased in 1955 and 1956,

letters the name of Kl(audios) Philokalos (figs. 2a, b).3

derive from the city of Uskb (Konuralp), located 8 kilo-

The beautifully carved epistyle, which can be dated to the

meters to the north of Diizce in Bithynia.7 The Istanbul

end of the second or early third century ce, most likely

tile, according to museum records, was found in Diizce in

derives from a Roman funerary monument that may have

been dismantled to build the Byzantine church. In the

the building were, unfortunately, not recorded, although

ments of Byzantine tiles (?) from Turkey" were received

in London. Since that time the collection has remained

Museum. Fragments from the same site have appeared on

Fig. i. Sketch of church as it stood in 1961 (drawn after photographs

Figs. 2a, 2b. Inscription block in 1961

i960; in actuality, the fragment was acquired from neigh-

adopted in S. Gerstel and J. Lauffenburger, A Lost Art

boring skb, i.e., the same location as the Paris and

Rediscovered: The Architectural Ceramics of Byzantium

Baltimore tiles.8 The Moscow tiles are said to be from

(University Park, Penn., 2001).

Nikomedia.9 To these may be added another substantial

been in London since 1963.

It would appear, on the basis of the tiles find spots

Only a small number of the thousands of tile fragments

workshop that produced them to the Byzantine city of

that have survived from medieval Byzantium have figurai

Nikomedia or its immediate environs.11 The identification

decoration. In 2004, the number of Byzantine ceramic

of this workshop is significant, for although the use of the

icons stood at forty.14 Of these, twenty-nine are found

term "testis de Nicomedia'12 in a medieval inventory has

Muse du Louvre. Additional figurai tiles are located in

important production site for tiles that served as architec-

the Benaki Museum in Athens, the Istanbul Archaeological

tural revetment, there has been, to date, insufficient mate-

Museum, the State Historical Museum in Moscow, and in

rial evidence to test the reliability of the written source.13

a private collection in England.15 The London collection