The first volume in the catalogue covers the coins of Anastasius I through Maurice, and includes a history of the collections.

In volume three of this series, Part I covers the period between Leo III to Michale III (867-1081), while Part II covers Bail I to Nicephorus III (867-1081).

These sculptures reflect the Blisses' wide-ranging tastes and extraordinary connoisseurship. About a quarter are Greco-Roman; nearly two-thirds of the rest are Late Antique, mostly limestone carvings from Early Byzantine Egypt. Sculpture from the Middle Byzantine period is very rare, making the four pieces in this collection especially significant.

Empresses-in-Waiting comprises case studies of late antique empresses, female members of imperial dynasties, and female members of the highest nobility of the late Roman empire, ranging from the fourth to the seventh centuries AD. Situated in the context of the broader developments of scholarship on late antique and byzantine empresses, this volume explores the political agency, religious authority, and influence of imperial and near-imperial women within the Late Roman imperial court, which is understood as a complex spatial, social, and cultural system, the centre of patronage networks, and an arena for elite competition. The studies explore female performance and representation in literary and visual media as well as in court ceremonial, and discuss the opportunities and constraints of female power within a male dominated court environment and the broader realms of imperial activity. By focusing on imperial women, the volume not only addresses questions of gendered rhetoric and agency but throws into relief general dynamics in the exercise of imperial power during a period in which the classical Mediterranean world at large, as well as the Roman monarchy, underwent crucial transformations.

Late Antique artefacts, and the images they carry, attest to a highly connected visual culture from ca. 300 to 800 C.E. On the one hand, the same decorative motifs and iconographies are found across various genres of visual and material culture, irrespective of social and economic differences among their users – for instance in mosaics, architectural decoration, and luxury arts (silver plate, textiles, ivories), as well as in everyday objects such as tableware, lamps, and pilgrim vessels. On the other hand, they are also spread in geographically distant regions, mingled with local elements, far beyond the traditional borders of the classical world. At the same time, foreign motifs, especially of Germanic and Sasanian origin, are attested in Roman territories. This volume aims at investigating the reasons behind this seemingly globalised visual culture spread across the Late Antique world, both within the borders of the (former) Roman and (later) Byzantine Empire and beyond, bringing together diverse approaches characteristic of different national and disciplinary traditions. The presentation of a wide range of relevant case studies chosen from different geographical and cultural contexts exemplifies the vast scale of the phenomenon and demonstrates the benefit of addressing such a complex historical question with a combination of different theoretical approaches.