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Emperor Nicephorus III and Empress Maria with the old male and new female styles

The loros (Greek: λῶρος, romanized: lôros) was a long, narrow and embroidered cloth, which was wrapped around the torso and dropped over the left hand. It was one of the most important and distinctive parts of the most formal and ceremonial type of imperial Byzantine costume, worn only by the Imperial family and a few of the most senior officials. It developed out of the trabea triumphalis of the Roman consuls. There were different male and female versions.[1] Byzantine sources speak of the "loros costume" as the loros dictated the rest of the imperial outfit. The slightly less formal, and more secular, imperial costume, which was also that normally worn by high officials on official occasions, was the chlamys costume.[2] Underneath either the loros or the chlamys were worn the divetesion (διβητήσιον), a long silk robe, and a tunic.[3]

Male

[edit]
Obverse: A bust of Emperor Tiberius II Constantine facing, wearing a crown and consular robes with a loros, holding a mappa in his right hand and a cross on an eagle on sceptre in his left hand
A mid-10th century ivory relief showing a Byzantine emperor wearing the traditional loros in a very accurate carving

The first representations of the loros are on coins from the reign of Tiberius II Constantine (r. 578 - 582 AD).

Other examples can be seen on coins minted by emperors like Justinian II (r. 685–695 and 705–711).[4] Until the 10th century, the male loros was wrapped around the torso in a specific way, following the ancient trabea. However, increasingly from the 11th century, the loros acquired a new design. The new loros had a loop that went round the neck and was pulled on over the head.[5] By the Komnenian dynasty, the old loros was completely abandoned, after a period when both designs are seen.[6] By the 14th century the strip down the front may have been sewn onto the tunic beneath, and the loros may have been called a diadema instead.[7] Despite the modifications, the loros was the most important part of the imperial costume up until the end of the empire in the 15th century.

Although in practice it was, according to the De Ceremoniis by Constantine VII, worn only in exceptional occasions such as on Easter Sunday, Pentecost, sometimes other feasts, and to receive important foreign visitors, the loros was an integral part of imperial portraiture. In earlier periods it was worn in triumphal processions.[8]

The loros was also worn at Easter by the "twelve dignitaries", holders of the ranks of magistros and anthypatos, as well as by the Eparch of Constantinople and the zoste patrikia during the ceremonies of their promotion.[9] It was said to symbolize the winding-sheet of Christ, with the officials as the Twelve Apostles.[10] It is also worn by archangels in Byzantine art,[11] which spread to medieval art in the West, as they were regarded as the high officials of God. It seems the loros-costume was not worn at the coronation of the Emperor, although he was given it in the course of the ceremony, and when crowned by Christ in art always wears it.[12]

From the 13th century the loros began to be shown worn in imperial portraits of other Orthodox rulers, such those of Serbia, Georgia and the Armenian Kingdom of Cilicia. In the Bulgarian Gospels of Tsar Ivan Alexander, the tsar and his son both wear it.[13] Westwards, a mosaic in the Church of Santa Maria dell'Ammiraglio shows King Roger II of Sicily wearing "the raiment of a Byzantine emperor", including a loros.[14] The Stola, a 14th-century garment in the Imperial Regalia of the Holy Roman Empire, was made to be worn like a loros; misinterpretation caused later generations to wear it in the manner of a priest's stole, although it was too long for the purpose.[15]

Female

[edit]
Crowned empress Irene wearing a loros, holding a globe with a cross (sphaira) in her right and a cross scepter in her left hand

At first empresses wore essentially the same form as emperors, but from around the 9th century a new style appears. The hanging end was longer and much broader, and after reaching down to the ankles turned upwards to be folded over the left forearm, or fastened or tucked into the belt. The wide end has the appearance in paintings of a round-topped shield tapering to a point, at an oblique angle.[16] In the 13th century this shield shape is no longer seen, and the female form returns to being that of the now modified male one for the last phase of the empire.[17] Empresses also wore a wide jewelled "superhumeral" collar in matching styles to the loros, and perhaps attached to it. This was the distinctive garment of empresses and also worn on other occasions, and copied by other upper-class women; the modified male loros created much the same effect.

[edit]
  • A Roman consul wearing the trabea triumphalis, 517 AD
    A Roman consul wearing the trabea triumphalis, 517 AD
  • Constantine VII wearing the traditional loros though not accurately wrapped, 945 AD
    Constantine VII wearing the traditional loros though not accurately wrapped, 945 AD
  • The Romanos Ivory showing emperor Romanos wearing an accurate modified loros, probably 945–949 AD
    The Romanos Ivory showing emperor Romanos wearing an accurate modified loros, probably 945–949 AD
  • John II Komnenos. Although the relief is anachronistic and the emperor wears simultaneously both the loros and the chlamys (the coat on top), something which was never the practice, the wrapping of the loros beneath is carved accurately, 1143 AD.
    John II Komnenos. Although the relief is anachronistic and the emperor wears simultaneously both the loros and the chlamys (the coat on top), something which was never the practice, the wrapping of the loros beneath is carved accurately, 1143 AD.
  • Manuel I Komnenos wearing the modified loros, 12th century
    Manuel I Komnenos wearing the modified loros, 12th century
  • Andronikos II Palaiologos, r. 1272–1328
    Andronikos II Palaiologos, r. 1272–1328
  • Gospels of Tsar Ivan Alexander, 1355–56, portrait of the Bulgarian tsar and his family
    Gospels of Tsar Ivan Alexander, 1355–56, portrait of the Bulgarian tsar and his family
  • A fresco of Georgian King David IV (r. 1089–1125) from Gelati Monastery
    A fresco of Georgian King David IV (r. 1089–1125) from Gelati Monastery
  • A Georgian icon of the Archangel Gabriel
    A Georgian icon of the Archangel Gabriel
  • Detail of the Stola of the Holy Roman Empire, a Western adaptation of the loros; preserved in the Kunsthistorisches Museum in Vienna
    Detail of the Stola of the Holy Roman Empire, a Western adaptation of the loros; preserved in the Kunsthistorisches Museum in Vienna

Notes

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Loros

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The loros (Greek: λῶρος, romanized: lôros) was a ceremonial garment central to Byzantine imperial attire, consisting of a long, narrow scarf-like cloth heavily embroidered with gold thread and adorned with pearls, jewels, and religious motifs, which was wrapped around the and draped over the left arm or shoulder. Derived from the Roman trabea triumphalis, a consular robe symbolizing triumph and authority, the loros evolved into a distinctly Byzantine form by the late AD and remained a key element of until the fall of in 1453. It was worn by the , empress, and high-ranking officials during official ceremonies, coronations, and religious processions, underscoring the divine right and unified imperial power of the ruling couple. Two primary variants existed: the X-type loros, which crossed over the chest in an "X" formation, and the pullover-type, featuring a head opening for easier wear over a ; by the , a simplified sewn version became more common for practicality. Often symbolizing Christ's burial shroud, the loros carried profound religious connotations, blending Roman imperial traditions with to legitimize Byzantine rulership as both secular and sacred. Its elaborate construction, sometimes extending several meters in length, required skilled artisans and reflected the empire's opulent textile production, with depictions appearing in mosaics, coins, and manuscripts from the Middle Byzantine period (8th–12th centuries) onward. The garment's development and use are detailed in scholarly analyses, such as those tracing its transformation from a wrapped cloth to a more structured in imperial portraiture.

Overview

Definition and Etymology

The loros is a ceremonial central to Byzantine imperial attire, consisting of a long, narrow embroidered cloth wrapped around the and draped over the left or hand. This garment served as a key element of formal , symbolizing imperial authority and worn exclusively by the and empress during official ceremonies. Typically constructed from fabric adorned with intricate thread , the loros allowed for its elaborate draping. The term "loros" derives from the Greek word λῶρος (lôros), which entered Byzantine usage as a designation for this vestment. It likely originates from the Latin lorum, meaning "strap" or "thong," reflecting the garment's initial conception as a banded or strapped form of consular regalia. The word first appears in Byzantine texts around the 6th century, coinciding with the evolution of imperial costume practices. The loros developed as a stylized successor to Roman traditions, such as the trabea triumphalis worn by consuls, adapting these elements into a distinctly Byzantine symbol of sovereignty.

Components of the Loros Costume

The Loros costume formed the pinnacle of Byzantine imperial regalia, integrating the loros—a long, narrow, embroidered cloth—as its central draped element with complementary garments to convey divine legitimacy and Roman heritage during coronations and solemn ceremonies. This ensemble emphasized hierarchy through layered opulence, with the loros wrapped around the torso and over the left arm, symbolizing both triumph and sacred authority, and worn by both the emperor and empress in a non-gendered manner to underscore unified imperial power. The foundational layer was the divitision, a full-length, long-sleeved crafted from patterned , at the and lavishly adorned with gold-trimmed bands along the hem, collar, upper arms, and cuffs. Worn beneath the loros, it provided a structured base that supported the outer while showcasing intricate and pearl inlays, ensuring the wearer's movements remained dignified in processions. Atop the ensemble sat the stemma, a jeweled evolving from an open circlet of pearls and gems in the to a closed, hemispherical under the Komnenian dynasty, sometimes topped with a single prominent jewel in later forms. This headpiece, fixed with pendants or chains, crowned the loros costume literally and figuratively, marking the emperor's sovereignty and often depicted in official art alongside the loros and divitision. Occasionally, a mantle complemented the outfit, such as the semicircular —an ankle-length purple fastened by a with golden tablia (rectangular patches)—though it was phased out by the in favor of the mandyas, a more enveloping ecclesiastical-style . Over time, the Loros costume transitioned from fluid early Byzantine combinations of loose tunics and cloaks to rigid late forms, where the loros might be sewn directly onto the divitision for stability, with added tabs, pendants, or a detached at the ends enhancing ceremonial drama. This evolution mirrored shifts in court rituals, from the 6th-century trabea-inspired wrappings to 15th-century ensembles izing imperial mystery through black sakkos variants integrated with the loros. Such adaptations maintained the costume's role as a cohesive of power, worn exclusively by emperors and select co-rulers in major feasts and investitures.

Historical Development

Origins in Roman Tradition

The loros originated as an evolution of Roman ceremonial attire, specifically deriving from the picta and trabea triumphalis, which were worn by emperors, consuls, and triumphators as symbols of imperial authority and military victory beginning in the . The picta, a semicircular garment dyed and richly embroidered with gold thread motifs such as stars or natural forms, was reserved for elite contexts like triumphs and consular inaugurations, distinguishing the wearer as a figure of supreme power. Similarly, the trabea triumphalis represented a specialized variant of this embroidered , often crossed over the chest in a manner that prefigured later imperial draping styles. During , from the 4th to 5th centuries AD, these broad, draped Roman garments underwent a significant transformation, narrowing from expansive sheets into a more compact, strap-like form that emphasized vertical bands and elaborate . This shift aligned with emerging Eastern Roman aesthetic preferences for luxurious, textile-heavy over the cumbersome full , facilitating easier wear in ceremonial settings while retaining symbolic elements of triumph and divinity. The loros thus emerged as a direct late Roman adaptation of the , blending functionality with opulence in a form suited to the evolving imperial court. Literary evidence from Roman historians, including Cassius Dio's accounts of imperial triumphs and processions, highlights the use of embroidered scarves and banded garments as precursors to the loros, underscoring their role in conveying perpetual victory and sacred kingship. Complementing these texts are archaeological discoveries, such as 5th-century and fragments from Antinoopolis in , which feature intricate tapestry-woven in vibrant colors and accents—techniques that mirror the decorative sophistication of early loros prototypes and reflect late Roman experimentation with Eastern-influenced motifs. These finds illustrate the continuity between Roman imperial dress and its Byzantine successors.

Evolution in the Byzantine Empire

The loros was introduced into Byzantine imperial regalia during the early period under Emperor Justinian I (r. 527–565), marking its adoption in 6th-century court rituals as a ceremonial garment derived from Roman traditions but adapted for Byzantine use. This early form featured simpler draping, consisting of a narrow purple scarf embroidered with gold, crossed over the torso and draped over the left arm, reflecting influences from Sassanid Persian styles in textile motifs and courtly opulence amid ongoing Byzantine-Sassanid diplomatic and military interactions. The earliest surviving depictions of the loros appear on coins issued during the reign of Justinian II (r. 685–695 and 705–711), showing the emperor wearing the garment as a symbol of authority and triumph. In the middle Byzantine period (10th–12th centuries), the loros underwent modifications that increased its rigidity, with the addition of embroidered panels in gold thread, pearls, and jewels along the borders and train, transforming it into a more structured garment often pulled over the head for ease of wear, with the pullover variant emerging around the mid-10th century (c. 950). These changes emphasized its role in ceremonial contexts, particularly following the end of and the restoration of in 843 under Empress Theodora, when the loros was prominently featured in and imperial portraits as a symbol of doctrinal continuity and imperial piety, appearing in mosaics like those in depicting Constantine IX (r. 1042–1055). The garment's train, now broader and more ornate, was draped over the left , enhancing its visual rigidity and symbolic weight during and rituals. During the late Byzantine period (13th–15th centuries), the loros became more elaborate with attachments of jewels and enameled plaques sewn into the fabric, maintaining its core form but with a simplified structure where the train was often sewn onto the underlying , as seen in depictions of the dynasty. This evolution persisted after the Latin occupation of 1204, with (r. 1259–1282) portrayed on seals and coins wearing a loros adorned with rows of crosses, underscoring its enduring role in imperial legitimacy amid territorial losses. The garment remained a staple until the fall of in 1453, featured in portraits of (r. 1449–1453), symbolizing the continuity of Byzantine imperial tradition in its final phase.

Design and Variations

General Form and Construction

The loros is a long, narrow scarf-like garment typically constructed from a rectangular panel of luxurious fabric, measuring several meters in length to allow for elaborate draping over the . Its ends are often finished with fringes or tabs, and the seams are reinforced to ensure durability during prolonged ceremonial use, preventing wear from the weight of embedded jewels and . This form evolved from earlier Roman traditions but was standardized in Byzantine imperial attire by the middle period, emphasizing both functionality and opulence without reliance on fasteners like pins, which were reserved for other garments such as the . The draping technique involves wrapping the loros clockwise around the , beginning at the right , where one end is positioned to hang down the front to approximately length. The fabric is then crossed under the left arm, brought across the breast, over the left , and under the right arm again, with the trailing end draped over the left or hand, creating a crossed effect that symbolizes imperial authority while allowing freedom of movement for holding . In , it is secured solely by the tension of the wrapping and tucking, often over a underlying or divetesion, though it may later incorporate a detachable sewn to the back for added grandeur. This method is evident in artistic depictions from the 7th century onward, such as on coins of . The primary materials for the loros include silk woven in damask or samite patterns, which provide a lustrous, weft-faced compound weave suitable for heavy decoration. These silks are interlaced with and silver threads to form intricate motifs, enhancing the garment's sheen and prestige, while the exclusive use of murex-derived dyes reserves vibrant imperial hues for examples. Such fabrication techniques, involving drawlooms for patterned weaves, underscore the loros's role as a high-status item produced in imperial workshops.

Male Loros

The male loros was a ceremonial garment specifically adapted for Byzantine emperors, consisting of a long, narrow scarf-like cloth richly embroidered with thread, pearls, and precious jewels, which was draped around the with the end falling prominently over the left forearm to facilitate gestures during imperial ceremonies. Evolving from the Roman trabea triumphalis by the sixth century, the Middle Byzantine version featured a simplified pulled over the head rather than crossed over , resulting in a narrower train compared to earlier forms and allowing for greater ease of movement beneath the overlying divetesion, a worn underneath. This structured design enabled the to hold symbols of authority, such as the akakia or , in the left hand while the right arm remained relatively free. In contrast to the broader, more flowing general form of the loros, the male adaptation emphasized imperial masculinity and functionality, often incorporating a central embroidered panel at chest level adorned with motifs symbolizing power. The garment's narrower profile, typically allowing the train to drape straight down the front to below the waist before being knotted or arranged from the rear, underscored the emperor's poised stance in processions and audiences. Adornments like these panels highlighted the loros's role as a marker of divine right, with the motifs reinforcing connections to imperial . Historical depictions illustrate the male loros's prominence in imperial iconography, as seen on coins and seals of Emperor (r. 976–1025), where he is portrayed in half-length facing busts wearing the loros over his divetesion, crowned with pendilia, and holding a to affirm his authority. Such representations from the late tenth and early eleventh centuries demonstrate the garment's integration into official media, often paired with military elements like a belt in processional contexts to blend ceremonial splendor with symbolism. Surviving numismatic evidence from this period, including miliaresia and solidi, shows the loros as a constant in portraits of ruling emperors, evolving slightly but retaining its core form through the Middle Byzantine era.

Female Loros

The female loros, adapted specifically for Byzantine empresses, featured a long, embroidered cloth with a notably wider back panel that was drawn forward and secured by tucking it under a belt at the waist to ensure stability during ceremonial movement. In the Middle Byzantine period (11th-12th centuries), it often featured a shield-shaped train element. This construction allowed the front panel to drape to the ankles, accommodating layered undergarments such as the divetesion, a that provided both comfort and visual harmony with the outer . Unlike the more linear male variant, the female loros emphasized practicality for female physiology, with its less rigid draping facilitating the integration of elaborate jewelry, veils, and other accessories essential to imperial feminine presentation. Historical depictions provide key evidence of the female loros in use, notably on Empress Zoe (r. 1028–1050), who is shown wearing it in the mosaic panel of in , where she stands alongside Emperor offering a scroll to . This eleventh-century artwork illustrates the loros crossed over her torso and cascading over her left hand, underscoring its role as a marker of imperial authority for women. Another example appears in representations of Empress (r. 1074–1081), paired with Emperor , highlighting the garment's continuity in middle Byzantine court attire. These portrayals reveal the loros as a quasi-ecclesiastical derived from earlier Roman traditions, worn over a and divetesion to evoke both divine and earthly sovereignty. Ornamentation on the female loros accentuated its feminine character through lavish encrustations of pearls and gems, often arranged in dense patterns that evoked opulence and purity, as seen in the jeweled surfaces of figures like Zoe. further distinguished it, incorporating floral motifs resembling blooming meadows alongside Christian crosses, which added layers of aesthetic and theological depth without compromising the garment's structural integrity. These decorative elements, including small enameled plaques, aligned with broader Byzantine textile techniques but were tailored to complement the and veil, creating a cohesive ensemble of imperial splendor.

Usage and Significance

Ceremonial Contexts

The loros served as a mandatory element of imperial attire in several key Byzantine rituals from the onward, including coronations, major ecclesiastical liturgies, and select processional events. Coronations typically occurred in the in , where the emperor or co-emperor received the loros as part of the at the Omphalion, a designated marble spot on the church floor marking the site's sacred significance for imperial consecrations. These garments were also integral to high liturgies such as those for , , , and , conducted within the or imperial palaces, where the loros was draped over the emperor's or empress's other vestments to denote their exalted status during the services. Triumphal entries into the city following military victories occasionally incorporated the loros for the emperor's reception in palace halls, though such uses diminished after the 10th century in favor of more practical attire for public displays. Strict protocol governed its employment, as outlined in Emperor Porphyrogennetos's Book of Ceremonies (compiled before 959 CE): the loros was exclusively reserved for the emperor, empress, and any co-emperors, with no other officials permitted to wear it; its ceremonial removal could signal or loss of imperial favor, while attendants and courtiers donned the subordinate cloak instead. Usage was confined to controlled indoor environments like churches and palace interiors to preserve the garment's opulence and ritual purity, avoiding exposure in outdoor or military settings after the when the loros evolved into a purely static ceremonial piece.

Symbolic Role in Imperial Regalia

The loros served as a potent of imperial exclusivity in Byzantine society, embodying the emperor's divine authority and unbroken continuity with Roman imperial tradition. Derived from the ancient Roman trabea triumphalis, a consular garment symbolizing and power, the loros first appeared in the sixth century and became the preeminent attire for Byzantine rulers by the Middle Byzantine period, as evidenced on coins of (r. 685–695, 705–711). Its rich purple hue, achieved through rare Tyrian dyes reserved exclusively for the imperial court, evoked the robes of royalty and Christ's passion, while intricate gold represented heavenly kingship and the brilliance of divine , reinforcing the emperor's role as Christ's on earth. This exclusivity underscored the loros as a marker of sacred , inaccessible to all but the legitimate . Politically, the loros played a crucial role in legitimizing imperial rule, particularly amid the frequent usurpations of the eleventh century, such as those chronicled during the crises under Romanos III and . Worn during coronations and triumphs, it projected an image of unassailable authority, with its folds and jewels signifying triumph over rivals and continuity of the dynasty. In historical accounts, denial of the loros—or associated regalia like the red imperial boots—served as a deliberate for pretenders and deposed rulers, stripping usurpers of their claim to legitimacy during military and courtly confrontations. This practice highlighted the garment's function as a tool of political theater, where its bestowal or withholding affirmed or negated the emperor's divine mandate. Religiously, the loros carried profound connotations linking imperial vesture to biblical precedents and liturgical practice, emerging prominently by the ninth century. Its draped form echoed the priestly garments of figures like King David and , as depicted in Byzantine to align the with sacred kingship and divine election. Furthermore, the loros symbolized Christ's shroud or , a motif intensified after the arrival of the Holy Mandylion in in 944, portraying the emperor as a participant in Christ's entombment and ; this is detailed in Porphyrogennetos's Book of Ceremonies (ca. 960), which describes its use in and rites alongside twelve dignitaries evoking the Apostles. By the tenth century, such usages influenced Orthodox , integrating the loros into imperial processions that blurred lines between secular rule and ecclesiastical mystery, thereby sacralizing the emperor's apostolic authority.

Evidence and Depictions

Artistic Representations

The loros features prominently in Byzantine , providing key evidence for its ceremonial form and imperial associations across various media. In mosaics, early examples like the in (c. 547 AD) depict imperial figures with fluid, draped garments that foreshadow the loros's development, as seen in the purple and embroidered underlayers worn by Emperor Justinian and his court, rendered in vibrant glass tesserae against gold backgrounds. Later mosaics, such as the Komnenos panel in , (c. 1122 AD), show the fully evolved loros on Emperors and Alexios , with its narrow, embroidered bands crossed over the torso and adorned with jewels, emphasizing rigidity and opulence in gold and colored tesserae. In frescoes, 14th-century works in the Kariye Camii (Church of the Holy Saviour in ), , portray archangels and divine figures in loros, using sinuous lines and earthy pigments to convey ethereal hierarchy within narrative cycles like the . Illuminated manuscripts further illustrate the loros's details, as in the Homilies of (Paris, BnF Grec 510, 879–883 AD), where Emperor appears on folio Cv in a loros with narrow bands, pearl clusters, and gems arranged in square motifs, draped over a skaramangion and paired with pearl-ornamented red shoes, highlighting its role in imperial portraiture. These representations trace the garment's stylistic evolution from the fluid, naturalistic drapes of 6th-century mosaics, which evoke Roman precedents like the trabea triumphalis, to the stylized rigidity of 12th-century icons, where geometric paneling and encrusted gems dominate, reflecting post-Iconoclastic formalization. distinctions emerge clearly in these arts: loros typically cross firmly over the breast with a dangling end held in the left hand, accompanied by scepter or akakia, while female versions drape more loosely around the shoulders, often with veil-like extensions and jewelry emphasizing in pose and accessory scale. Iconographically, the loros frequently pairs with haloed figures—emperors, Christ, or archangels—to symbolize divine election and triumph, as in mosaics where it aligns wearers with Christ's authority, or manuscript scenes of where it denotes sacred . This symbolism influenced Western art through Crusader and Norman contacts, evident in 12th-century Sicilian mosaics like those in the , , where rulers such as Roger II adopt the loros to claim Byzantine-style legitimacy.

Surviving Examples and Artifacts

Due to the perishable nature of silk and the elaborate embroidery typical of the loros, no complete examples of this imperial garment have survived from the Byzantine period. Instead, evidence comes from fragmentary textiles and indirect artifacts that preserve elements suggestive of its form, such as embroidered straps and panels. Among the rare textile survivals, silk fragments from Byzantine shipwrecks provide glimpses of the weaving and decorative techniques likely used in loros production. For instance, 9th- to 10th-century silk pieces recovered from Mediterranean wrecks feature embroidered motifs and strap-like borders resembling the loros's characteristic bands, though direct attribution to imperial garments remains tentative. In museum collections, comparable Byzantine silks include an 11th-century dalmatic in the Vatican Museums, part of the so-called Dalmatic of Charlemagne (actually a sakkos), which displays gold-embroidered strap motifs and purple silk panels echoing loros elements. Non-textile artifacts offer additional outlines of the loros through imperial . Gold solidi from the late , such as those of Empress Irene (797–802 CE), depict her wearing a loros with its draped and jeweled tabs, confirming the garment's form in official imagery. Similarly, lead seals from the collection, dating to the 11th–12th centuries (e.g., those of ), show emperors in loros, with the fabric's folds and end draped over the wrist rendered in fine detail. Recent scholarly analyses since 2000 have employed advanced techniques to study these remnants, revealing construction details akin to loros fabrication. and scanning electron microscopy on fragments in European collections have identified complex weaves and metal-wrapped threads, indicating imperial workshop techniques from . These studies also trace connections to vestments, where the loros influenced the sakkos—a worn under the loros that evolved into Orthodox bishops' attire, as explored in detailed examinations of 11th-century examples. Such analyses underscore the loros's role in bridging secular and sacred traditions.

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