A Symbol of Power : Many Outstanding Issues

Disc brooches, as well as crossbow fibulae, were a clear symbol of social status and their typological differentiation connoted the social level of the bearer and his role. With the beginning of the fourth century disc brooches become an imperial insigna of the emperors of the Eastern Roman Empire. It is no accident that in the well-known sixth-century mosaic panel of San Vitale (Ravenna, Italy) the only one to wear a disc brooch with three pendulia is the emperor Justinian. This kind of clasp was indeed one of the imperial insigna of the Byzantine emperors therefore a symbol of power. Portraits of Byzantine emperors on the most different media are often characterised by the presence of a clasp which holds the chlamys fastened on the right shoulder. Although literary and iconographic sources (e.g. coins, mosaics, statues) record such a custom, few luxury artefacts attest this kind of production, and none of them attributable with certainty to a Byzantine court workshop. The reverse occurs instead among the Lombards. Excavations in Lombard necropolis as well as sporadic findings in areas inhabited by the Lombards brought to light different typologies of disc clasps. It is so significant that a symbol of power purely "Byzantine" is used even by a different ethnic group. Why? If we assume that the Lombards inherited the symbolic meaning of the disc brooch to legitimate their power, it is no clear why most of the disc brooches was discovered in female burials. The discovery of some fibulas of particular value, however, poses another issue: were a Lombard production or the result of an imperial donation? This contribution will be built on such a dichotomy. At first the focus will be on the iconographic sources which attest this custom in the Byzantine society and on the distinctive features of that jewel. When it would seem to start this fashion? What is its origin? These are only some of the questions we will attempt to give an answer bringing attention to an aspect often neglected. The actors of the second part of the contribution will be the disc brooches stored in Italian and international museums. Although the luxury which distinguishes some of these objects suggests a high patronage (e.g. disc brooch from Benevento preserved at the Ashmolean Museum, University of Oxford, UK), to date unfortunately these artefacts are not attributable directly to the imperial sphere. Their typological and morphological analysis will allow us to give concrete shape to this kind of objects and to deepen this field of study in which the dialogue between archaeology and art history may lead to new possible interpretations.