Meaningful mingling: classicizing imagery and Islamicizing script in a Byzantine bowl

30. Although floriated Kufic is found in Abbasid and Fatimid textiles beginning in the second half of the tenth century, the most compelling comparanda appear in Fatimid textiles of the eleventh century. Claus-Peter Haase, "Some Aspects of Fatimid Calligraphy on Textiles," in Barrucand, L'Egypte fatimide, 339-47, esp. 341; Nancy Pence Britton, A Study of Some Early Islamic Textiles in the Museum of Fine Arts, Boston (Boston: Museum of Fine Arts, 1938), figs. 41, 42, 46; and Ernst Kuhnel and Louisa Bellinger, Catalogue of Dated Tiraz Fabrics: Umayyad, Abbasid, Fatimid (Washington. D.C.: National Publishing Company, 1952), pls. XXVIII-XXX, nos. 73.672, 73.42, 73.39, 73.573, 73.43.

31. Ernst Kuhnel, Die islamischen Elfenbeinskulpturen: 8.-13. Jh. (Berlin: Deutscher Verlag fur Kunstwissenschaft, 1971), esp. cat. nos. 20, 21, 24, 28, 35, 40, 42, 43, 134; Sophie Makariou, "A New Group of Spanish Ivory Pen Boxes?" Journal of the David Collection 2 (2005): 185-95, esp. figs. 90, 93; and Sheila Blair, "What the Inscriptions Tell Us: Text and Message on the Ivories from al-Andalus," Journal of the David Collection 2 (2005): 75-100.

32. Jean Ebersolt, La miniature byzantine (Paris: G. Vanoest, 1926), 48, pl. LIII, fig. 2; and Miles, "Byzantium and the Arabs," 32. fig. 94.

33. Kurt Weitzmann and George Galavaris, The Monastery of Saint Catherine at Mount Sinai: The Illuminated Greek Manuscripts, vol. 1 (Princeton: Princeton University Press, 1990), 118, fig. 395; and Cutler, "Parallel Universes," 642, fig. 2.

34. See n. 7 above.

35. Enameled and gilded glass, for example, is attested in Islamic regions only in the twelfth century and may have developed from Byzantine glass production, which used these techniques already in the eleventh century. Prior to the twelfth century, Islamic glass was stained, a technique often referred to as luster painting, and gold was "sandwiched" between layers of glass rather than painted onto the surface, as in Byzantine examples. Stefano Carboni, Class from Islamic Lands (New York: Thames and Hudson, 2001), 50-53, 62-67, 323-25; and Carboni and David Whitehouse, Glass of the Sultans (New York: Metropolitan Museum of Art, 2001), 199-207, cat. nos. 108-9.

36. For discussion of Homer's importance in Byzantine education and literature, see N. G. Wilson, Scholars of Byzantium (London: Gerald Duckworth, 1996), passim; and Alexander Kazhdan et al., "Homer," in ODB, vol. 2, 943-44.

37. Although Pausanias was not widely read in the Byzantine era, his Periegesis (Description of Greece) was known to the early-tenth-century scholar Arethas and was cited in the late-tenth-century Souda. A. Diller, "Pausanias in the Middle Ages," Transactions and Proceedings of the American Philological Association 87 (1956): 84-97; and Alexander Kazhdan, "Pausanias," in ODB, vol. 3, 1609.

38. Regarding the continuity of occult traditions across Byzantine history, see Greenfield, Traditions of Belief, 129-31; and Dorothy de F. Abrahamse, "Magic and Sorcery in the Hagiography of the Middle Byzantine Period," Byzantinische Forschungen 8 (1982): 3-17.