Byzantine Swords

Long slender swords were a favourite of the Eastern Romans. Thin or narrow bladed swords appear to have caught on in Constantinople and the lands of the Romiosi, as well as in Spain (perhaps independently) well before they became popular in Northern Europe. Why this was is likely to be mere speculation unless some tangible evidence makes itself known, though the long standing Roman tradition of emphasising the thrust over the cut may have been a force driving this development.

Date: probably late 14th century
Culture: Byzantine
Medium: Sardonyx
Dimensions: Overall: 1 1/8 x 13/16 x 3/16 in. (2.8 x 2.1 x 0.4 cm)
Classification: Lapidary Work-Sardonyx
Credit Line: The Milton Weil Collection, 1940
Accession Number: 40.20.58

This small oval cameo, which probably depicts the archangel Michael, was once most likely set into a metal frame to be worn suspended from its owner's neck. The cameo almost certainly served an apotropaic function, and Michael's role as the commander of the angelic host, a miraculous healer, and psychopompos (conductor of souls) would make his depiction on a phylactery a logical choice.

The artist has skillfully used the material to contrast the low white relief of the saint against the rich dark red background of the matrix. The archangel is seen standing upon a suppedaneum (footstool). Dressed in full military costume, he grasps his sword sheath with his left hand and holds his sword upright with his right. This emphasis on Michael's martial role is noteworthy, for depictions of the saint more frequently show him wearing a chiton and himation. This choice may indicate the patronage of a member of the Byzantine military aristocracy. Instead of gazing intently at the viewer, the archangel focuses his gaze to the right, which gives an impression of vigilance and prevents a sense of stasis from dominating the composition. The artist has further underscored that the figure is not in absolute repose by positioning the right wing to indicate that Michael has just alighted; the same narrative detail is seen in the figure of the archangel Gabriel in a fourteenth-century icon of the Annunciation, now in Skopje. This attempt at creating a sense of movement and the figure's incongruously wide hips (a feature also seen in steatite carving) both suggest an attribution to the fourteenth century.

Source: www.metmuseum.org/collection/the-collection-online/search/467685

San Apollinare Nuovo, Ravenna, early sixth century
-originally deicated to Christ Savior and attached to the Palace of Theodoric
-some changes made after Justinian took the city
-note the treatment of Christ

Source: ssmith.people.ysu.edu/ecbyzwebpage/Golden%20Age%20of%20Justinian.html

Clash between Byzantines and Arabs at the Battle of Lalakaon (863) and defeat of Amer, the Emir of Malatya. The similarity in armies is not due to naiveté on the behalf of the illustrator - Islamic Armies in particular emulated the panoply and military practices of the Byzantines, and for this reason Byzantines found them to be problematic adversaries.

Note that single edged swords appear to be in use as well as double edged swords, many of the single edged swords are of the 'Avar' type.

Chronicle of John Skylitzes, cod. Vitr. 26-2, fol. 73va, Madrid National Library 13th Century

Source: en.wikipedia.org/wiki/File:Fighting_between_Byzantines_and_Arabs_Chronikon_of_Ioannis_Skylitzes,_end_of_13th_century..jpg