North Aegean Stories
Seals, Authentication and Identity
Here we look at two pyramidal metal seals originating from Molyvos (Mithymna) on the island of Lesvos, dated to the late Ottoman period. Their distinctive form, featuring engraved inscriptions on three sides, suggests that they were versatile tools, which served either multiple individuals or the varied linguistic and administrative needs of a single user. The genealogical or personal connections among the owners or users of the seals do not fall within the scope of this presentation. On might note, however, that the multi-faced metal seals of the Ottoman period are impressive objects, closely associated with the administrative and bureaucratic structures of the time.
Although we have not found extensive published information – particularly regarding multi-faced seals from Lesvos – close observation allows us to highlight both general and specific features related to these objects: The material composition of the two seals – silver and copper – may mark a gradation of social status and economic standing, or even the significance of their intended use. Silver, traditionally associated with value, formality, and financial prosperity, suggests higher rank, prestige, or a more personal, symbolic function, whereas copper corresponds to more practical or everyday use.
These metal artifacts, each bear different inscriptions in both Greek and Ottoman script on their engraved surfaces. Their shape resembles a pyramid or polyhedron, allowing each face to carry a distinct seal. The handle features a forked end, suggesting it was designed to hang from a chain. Such seals were primarily used by state officials or judicial authorities, as they enabled the validation of various documents with a single tool, offering multiple inscriptions (e.g., name of official, province, date, etc.).
While they may have been used in official functions, these seals also likely served personal or commercial purposes. In addition to their functional role, these multi-faced metal seals also possess notable artistic value, as evidenced by the precision of their engraving and the harmonious design of their inscriptions, which reflect the refined craftsmanship of the period.
However, their use may also have been personal rather than official—possibly by individuals or members of the same family – who used them on commercial or legal documents. In the case presented here, the two seals from the Rallou Kralli archive are family heirlooms belonging to residents of Molyvos – Christian subjects/citizens of the Ottoman Empire, who moved seamlessly between the Greek and Ottoman languages and administrative systems. These seals serve as rare testimonies to the personal and social life of the period, recording the constant and dynamic presence of Greek Orthodox families in the northern Aegean region. They also reflect their economic and commercial networks before the incorporation of Lesvos into the Greek state in 1912.
Of the two, the one in silver bears an impressively early date on two of its sides, recorded in both the Julian and Islamic calendars: 1835/1836 (1251 AH) – a time when Molyvos, still under Ottoman rule, stood as a crossroads of cultures, languages, and identities. Engraved on three sides and in two languages, the seal reflects the presence and activity of its owner(s) within both the Greek and Ottoman administrative spheres.
It is not merely a bureaucratic tool, but a rare and tangible testament to everyday life and familial identity.
Of particular note is one side featuring the Greek initials “N.K.”, identifying Nikolaos Karamitsas [1], a double-headed eagle, flanked by the letters “Φ. Θ.” – possibly an abbreviation of the phrase “Φόβω Θεού” (In the Fear of God) or “Φύλαττε Θεέ” (God Protect). The second Greek side bears the initials “Λ.K.”, referring to Leonidas Kyriakou [1]. The third side, in Ottoman script, reads “Nikolas, son of Fotis,” with the date 1251 H (1835/1836) [2]. A particular significance is given to the side with the double-headed eagle and the religious symbols, which not only denote piety but also reveal the spiritual identity and consciousness of the holders. In the convergence of language, religion, and administration, the seal becomes a symbol of cultural coexistence, memory, and dignity.
The second seal, dated 1903/1904 (1322 AH), reveals the multilayered nature of identity at the dawn of the 20th century. Engraved on three sides—two in Greek and one in Ottoman Turkish—it serves as a small yet eloquent testament to the linguistic and cultural coexistence that defined the mixed communities of Lesvos. The Greek initials on two faces, alongside the Ottoman script on the third, correspond to names of extended family members, suggesting either shared ownership or coordinated use. One side is inscribed with Greek letters: Ι. Δ. Κ. 1903/4, and the other: Δ. Κ. 1903/4. The third side bears Ottoman script that reads “Yanko Dimitri 1322” [1904-5 or 1906-7][2].
These seals are not merely instruments of authentication; they are testimonies
to a world in which identity was shaped through words, language, and widely legible symbols. Through these small handmade objects, a window opens onto the world of the 19th century: a world where identity was not singular, but polyphonic; anchored in faith and memory.
AEGEAN STORIES VAULT
North Aegean Stories
- Achliptarouda
- Administrative Continuities
- Allilodiplografia
- Barbarossa
- Daphnis and Chloe
- Dowry Contract & Residence Permit
- Education in the Ottoman Archives
- Egyptian Photo Parlours
- Egyptian stories
- Eleftheriadis: Paris/London
- E. Schmidt on Painted Houses
- Figures from Byzantine Lesvos
- Global Fashions
- Lomemili and Genoese trade
- Conze and Humann in Molyvos
- Nature in Lesvos
- C. T. Newton in Mytilene
- Ottoman Yearbooks
- Postcards
- Smyrna Photo Parlours
- S. Adam on Education in Lesvos
- Seismic Shifts
- Thinking about the state
- War Trauma
- Seals, Authentication and Identity
- A Medical Diploma and a world of connections
- The Vampire of Mytilene
- Women and Memory in Molyvos
Historial Background
Art Creation in Place
- Dimitris Krallis
- Mariza Krallis
- Aytek Soner Alpan
- Maria Mandamadiotou
- Aneurin Ellis-Evans
- Christina Sgouromiti
- Soloup (Antonis Nikolopoulos)
- Yannis Tentzeris
- Ethan Schmidt
- Nina Houle
- Sam Adam
- Emrecan Çelik
- Gregory Tsolakis
This project was supported by an SFU FASS Kickstarter Grant, by the Stavros Niarchos Foundation Centre for Hellenic Studies at SFU and by Gefyra, an SNF-funded collaboration between SFU and UCLA.
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