976 - An Early Byzantine brass torch in the shape of a soldier with a multi-part belt, late 6th to 7th century A.D.

An Early Byzantine brass torch in the shape of a soldier with a multi-part belt, late 6th to 7th century A.D. Three stylized dolphins, facing outward and curving downward, serve as “feet” supporting a hollow, drum-shaped base that tapers slightly upward, featuring floral decoration. The drum is finished at the bottom with a flared, wide, and slightly beveled rim. Engraved along the upper edge of this rim is a “Lesbian kyma” consisting of a series of tongue-shaped leaf motifs, their curves facing outward. Around the drum are six palmettes with internal divisions formed by curved ribs. The palmettes are connected at the bottom by a semicircular arch, with a perforation above each one. The palmettes widen laterally in their upper sections and curve inward toward the tip, where the central rib of each palmette also ends. At the top, between the tips of the palmettes, are oval leaves with a central vein that protrude beyond the touching, outward-curving sides of the palmettes. The drum is topped by a sturdy, overhanging smooth slab. In the center of this slab is a low cone, atop which stands a soldier wearing a tunic and leggings tucked into mid-calf boots. His clothing and hairstyle resemble depictions of “guard soldiers” as seen in various works of early Byzantine art, including mosaics in Ravenna. His hairstyle is a typical “page cut” with bangs and a low, bowl-shaped cut on the sides. The tunic is richly decorated: with a wide, zigzag-patterned border along the lower edge; on the upper body, hatched vertical stripes over a background entirely divided by diamonds with circular eyes in the center. Just above the hips, the soldier wears a belt from which vertical strips hang down—a so-called multi-part belt. Incisions and slight variations in the relief depict the metal fittings of such a belt. This indicates that the date of manufacture cannot be earlier than the late 6th century and may extend into the 7th century. The relatively close-fitting trousers with longitudinal pleats are likewise decorated with stripes. The boots are smooth. The left arm is bent, with the hands resting at the level of the belt. The left arm, extended horizontally, holds a simple, three-legged candelabrum with a conical base and an egg-shaped drum that is slightly curved all around, profiled at the top and bottom. The whole is topped by a disc-shaped plate with a square spigot. This handcrafted piece is, in a sense, two candelabras nested one inside the other. A small oil lamp could be inserted onto the spindle of the small candelabra held in the soldier’s hands, thanks to a precisely fitting recess in the lower part of the body. The surface is covered with a beautiful, lustrous “noble patina” of a dark green hue, whose appearance closely resembles that of enamel. An exceptionally fine, virtually perfectly preserved example of a so-called “soldier’s candlestick,” which, among known examples, can be considered by far the finest of its kind due to its state of preservation and artistic quality. Total height: 17 cm. A masterpiece of early Byzantine craftsmanship featuring the stylization typical of the era, whose individual decorative elements and details of the figurative representation clearly allow it to be dated to the late 6th century. There are many similar originals from the Early Byzantine period featuring the simple candelabrum held in the soldier’s hand. Soldier candlesticks may have been particularly favored by Byzantine military personnel. Due to its significance, the piece was extensively published and acclaimed by a renowned Byzantinist: Victor H. Elbern 1982, “A brass candlestick in the shape of a soldier with a multi-part belt, Early Byzantine, late 6th to 7th century AD.” In *Aachener Kunstblätter* 50, pp. 148–159. Reprinted in “Victor H. Elbern. Fructus Operis III. Selected Art-Historical Writings from 1961–2007.” Regensburg 2008, pp. 217–228. A metallurgical analysis conducted in 1979 at the Staatliche Museen Preussischer Kulturbesitz (Rathgen Research Laboratory) concluded that there is no evidence to suggest that the object does not date from the Byzantine period. CULTURAL HERITAGE! Provenance: Acquired before 1979 by the Cologne art dealer Axel Weber. In the Axel Guttmann Collection since the early 1990s. In a private Berlin collection since 2002. Condition: I