Amulets and talismans from the Triconch Palace

Amulets and protective imagery are characteristic features of the late Roman world, intended to assure safety, health and success in a period of increasing social insecurity and urban decline.

Within in the Triconch Palace various images were designed to protect the house and its occupants. In the mosaic pavement, immediately in front of the main doorway, was a large eye surrounded by a variety of motifs, including crosses. This Evil Eye motif was designed to protect against the effects of envy or malicious spirits, and an element of superstition is here combined with Christian symbols to protect the main entrance into the house.

Apotropaic designs were also incorporated into the four main windows of the dining hall: crosses, Chi-Rho monograms and six-pointed stars. Other than the Christian protective symbols, the pointed star was a common sign on magic gemstones. These window grilles would have protected the hall and the guests from evil spirits and demons that might slip in on a breath of wind or a shaft of light.

A number of amulets similarly reveal something of the everyday practices and beliefs of this period.

On a bone intaglio plaque, a magnificent hunting dog with trailing leash leaps over a large eye. The hunting dog was often used to denote status, power and control. The idea behind the plaque is similar to that in the mosaic floor; here the hound leaps over and brings to bay the dangerous eye.

Similar sentiments are expressed on a two-sided copper tag. On one side is depicted a horseman with haloed head and flying cloak who lances a prone figure, while a lion bounds along below. The surrounding legend reads: ‘One god who conquers evil’. This holy rider can be identified with Solomon, the master of demons, who was empowered to control and bind all evil spirits. The image on the other side shows the Evil Eye assailed by spears and a trident, and surrounded by aggressive creatures, like a lion, serpents and a scorpion. At the top is inscribed ‘Iao/Jawe, Lord of Hosts, Michael, help’, calling on a popular trinity of protective powers of Jewish association. This type of amulets is thought to have been worn by children and by women to guard against mishap in childbirth.

Purely Christian imagery appears on a small circular lead pendant inscribed with a cross within a circling band – the halo of light associated with the second coming of Christ – and on a cruciform anchor incised on a finger ring. Here the salvation sign of the cross is combined with the apotropaic symbol of hope, the anchor.

The mosaic pavement, the windows and the bone plaque with the leaping dog all belong to the Triconch Palace when it was one of the largest and most prominent houses of the late antique city. In superstitious beliefs little separated the educated elite from their poorer clients.

Yet, most of the small protective amulets date from an age of anxiety, at a time when the palace was in ruins and subdivided. For individuals whose lives were fragile and insecure, the amulets represented personal security and preservation.

 

• A private residence
• From villa to palace
• Amulets and talismans from the Triconch Palace
• Later History
• QTVR of the Triconch Palace
• 3 eras of the Triconch Palace

Modern-day domestic magic
Practises to protect the house and its occupants can still be found in use in Albania today.
In southern Albania it is customary when constructing a house to set up a doll or figure in an elevated position.
The purpose is generally apotropaic: to safeguard a structure from calamity, misfortune or from the envious glances and ambitions of a neighbour.
The figures remain up during construction, watching over the building while it is open and the windows and doors still bare holes.
They may stay in place if further work, like an extension or second storey, is planned for the future.
The practice is widespread, and can catch one’s eye and even haunt one’s imagination quite dramatically on first acquaintance.