The Icons of Their Bodies: Saints And Their Images In Byzantium

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THE ICNS OF TIR BDIE ans and her mags n Byzanu

HENRY MAGUR

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 Mount Atos, Monastery of te Great Lavra, MS K22, K 22, ol 4v (Life of St Athana

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sos) St. Atanasios (after G Galavaris, "Te ortraits o St. Athaasius o Atos, Byzanine Byzanine Studies 5 978, . ) Jerusalem, Greek atriarcal Library, MS Tapou, 4, ol 07 (omiliary): St Luke paints te rin and ild (Library of onress) Hosios Loukas, atolikon, mosaic: St Nikon (a ter E. Stikas, o oikodomikon  hronikon  mon Hoiou Louka Phkidos [Athe  s, 190 pl 27; reproduced by permission of te Arcaeoloical Society at Athens, Greece) Hosos Loukas, Katolikon, Katolikon, mosaic St Jon te Baptist (arolyn onnor) aris, Bibliotque Nationale, S r. 923, ol 328v (Sacra parallela): painter copyin an icon (Biblotque Nationale) asinton, D, Dumbarton Oaks, silver cross ope Sylvester Sylvester displayin icons o eter and aul to the Emperor onstantine (Dumbarton Oaks) Drawin by Frascino ©98 © 98 Te ew Yorker Maazine, Maazine, nc nc  Mount Atos, Atos, Stauronikita Monastery, MS 43, ol 3r (ospel (osp el book): book) : St St Jon te Evanelist (after K Weitzmann, Die byzaniische Buchmalerei des  und  ]arhunders, Berli, 935,  72) Greme, Toka Kise, resco: Blessin Blessin of the Loaves and te Fishes (A arton, courtesy courtesy of Dumbarton Dumbarton Oaks) Oaks) Nerezi, urc o St anteleimon, fresco St rokopios, St Theodore te General and St Teodore the Recruit (Duan Tasic' Kastoria hurc o the Haioi Anaryroi, resco St. Teodore te General and St. Teodore te Recruit (ater S elekades, Kaoria  [Tessaloniki, 953, pl 2) Hosios Loukas, Katholikon, Katholikon, mosaic St Theodore the Recruit (Dumbarto (Dumbarto Oaks) Hosos Loukas, Katholi Katholikon kon,, fresco: St Teodore te General (arolyn onor onor)) stanbl, Kariye ami, ami, fresco: fresco : St. Theodore Theodore the Recruit Recr uit (Dumbart (Dumbarton on Oaks) stabul, Kariye ami, resco: St. Teodore te General General (Dumbarton (Dumbarton Oaks) Hosios Loukas, Loukas , Katolikon, Katolikon, mosaic: mosai c: St Teodore of of Stoudios Stoudios (Ernst Becvar) Mount Atos, Stauronikita onastery, MS 43, fol. 13v (Gospel book) St Eutymios Eutymios (atriarca (atriarcall nstitute or  or atr stic Studies, Tessaloniki) Hosios Loukas, Katolikon, mosaic St utyios ut yios (Duan Tasi) Tasi) Rome, atican Lbrary, S r 3, p 78 (Menologium o Basil ) St. John hrysostom oin into exle (Bibliotea Apostolica aticana)

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20. ome,Vatican Librar, M gr 3 p 2 (eoogw of asil ): t asil (ib lioteca Apostolica Vaticana) �im of asil ): t Gregor of 2  ome, Vatican Librar, M gr 13, p 34 (eoo�im Nazianzus (Biblioteca Apostolica Vaticana) 22. ome, Vatican Librar,  gr 3, p 22 (eoogim of Basil II t Nichols (iblioteca Apostolica aticana) 23. Washington, DC, Dumbarton Oaks, mosaic icon (54.2): t John Crsostom (Dumbarton Oaks) 24 Moutoullas, Moutoullas, Church of of the Panagia Amasg Amasgou, ou, fresco: fresco : aints aints arbara, Marina, and Anastasia (Dumbarton Oaks) 25. Elasson, Churc of te Pangia Olmpiotissa, Olmpiotis sa, fresco: t arbara arbara (after E ConstanConsta ntinides, e Wa Paiigs Paiigs oe Paagia P aagia Oympiois Oympioissa sa [Athens,  992], g  o5) 2. Asinou, Church of the th e Panagia Phorbiotissa, Phorbiotissa, freso t t Mar Mar  of Eg Eg  (Dumbarton Oaks) 27 Kubinvo, Kubinvo, Curch of t eorge, fresco fresc o t Anne and te irgin irgin (Zavod za za zastitu spomenika spomenik a kulture koje) 2 . Tessaloniki, Tessal oniki, Churc of t ophia, fresco t Theodora Theodora (after C Bakirtzis, "Marmarin eikona ts Hagias Teodoras, Heika 39 [9],  , g 2) 29. Hosios Loukas, Katholikon, mosaic Helena and Constantine holding the Tre Cross (Josephine Powell) 30 Hosios Loukas, Katolikon, mosaic t Thekla (Dumbarton (Dumbarton Oaks) 3. Kastoria, Churc of the the gioi Anargroi, Anargroi, fresco t Marina of Antioch (Photo (Ph oto dermann) 32. Perachorio, Perachor io, Church of the ol Apostles, Apostles , undedrawing undedrawing t Paul, from the ComCo mmunion of the Aposles (Dumbarton Oaks) 3 3 Kakopetria, Kakopetri a, Churc Ch urc of t Nicholas tis t is tegis, underdrawing underdrawing t Gregor of Nazianzus (David Wineld) 34 Thessalonik, Curch of t Demetrios, osaic Unnaed saint (Hir (H ire err otoarciv) 35. Mount inai, inai, onaster, onaster, panel painting V irgin and and Child Child between between two unnaed saints (eroduced through te courtes of the MichiganPrincetnAlexandria Exedition to Mount inai) 3 Thessaloniki, Curch Curch of of t Dem�trios, mosaic t Demetrios with angels (after (afte r  oteriou and M oteriou,  Basiik  Hagio Dmio essaoiks [thens, 952] l o) 37 37 Thessalonik, Church of of t t Demetrios, Demetr ios, mosaic T e Virgin wit t Theodore the ecruit (Joseine Powell) Powell) 3  Hosios Loukas, Katolikon, mosaic in the south arm irgin and Chid (author) 3 Hosios Hosio s Loukas, Loukas , Katholikon Katholikon mosaic in te south arm t Panteleimon (athor) (a thor)

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Lagoudera, Chuh Chu h o the Panaga tou Arakou fresco fresc o St antelemon Dumbarton Dumbar ton Oaks oSt Panteemon, fresco Monks uan Tas  Nerez, Church oSt Oa ks 2 uer, Church of St Nketas, fresco St Nketas Dumbarton Oaks Church of o f St Nketas, Nketas, fresco: fresc o: Sants Sants Pau of Thebes and Anthon Anthon umbar umbar 3 uer, Church ton Oaks  Kastora, Church of t Ncholas tou Kasntz, fresco o Bshops Beat Brenk 5 Kastora, Church of St Ncholas tou Kasntz, fresco Sants Nestor and Merkuros Beat Brenk  Kastora, Church of the Taxarches, resco: S Theodore the Genera author 7 Kastora, Church of the Taxarches, fresco: St Ignato  heophoros author  Nerez, Church of St antelemn, escoes n apse ldarchv Foto Marburg 9 Nerez, Church of St Pantelemon, resco Lturg of the o Bshops Bldarchv Foto Marburg o Nerez, Church of St Panteemon, fresco Lturg of the Apostles, deta Duan Tasc 5  Nerez, Church of St antelemon, fresco Lturg of the Apostles, detal, St Luke and St Andrew exchangng a kss uan Tasc 52 Staro Nagorno, Church of St George, frescoes n apse Lturg of the Apostles and of the ol Bshops Bldachv Foto Marburg 53 Monreale, cathedral, mosac on the orth wal of the apse Apostles and sants Al nar/Art nar/Art Resource, .Y) 5 Mount Sna, onaster of St Catherne, MS 34, fol v ohn Chrostoms homes on Matthew Sants Matthew and ohn Chrsostom reroduced through the courtes of the MchganrncetonAexandra xpedton to Mount Sna 55 Kastora, Archaeologca Colecton, pane pantng ormton of the rgn Thanass apazotos 5 astora, Archaeologcal Colecton, panel pantng, detal Bshops and apostes pre sent at the ormton of the rgn Thanass Papazotos 57 Lagoudera, Church of the Panaga tou Aakou, fresco ormton of the Vrgn  Dumbarton Oaks 58 Lagoudera, Church of the anaga tou Arakou, fresco, deta Bshop present at the Dormton of the Vrgn umarton Oaks 59· Lagoudera, Church o the anaga tou Arakou, fresco, detal Apostle Lue present at the Dorton of the rgn Dumarton Oaks o osos Loukas, Loukas, Katholkon, Katholkon, mosac St Luke of Strs osephne owel  Staro Nagorno, Church of St George, fresco Ange dressed as a monk besde St Pachoos after B Tod, S NgoCno Begrade, 993], pl 33 0

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Cypru cave church of St eophyto freco Acenion of St eophyto beteen ae (Dumarto Oak) 3 Phladelphia Phladelphia Bare Collectio The Aei y Pablo Picao (The Barne Foundation) 64. Mount Sinai Monatery of St Catherine panel paintin St John the Baptit (reproduced throuh the courtey of the Michia-PrincetonAlexandria xpe dition to Mount Sinai) 65. Cypru cave church o St eophyto freco Sait Makario ad Onouphrio (Dumbarton Oak)  Katoria Church o St. Geore o the Mountain Mountain freco St Geore (author) 7 Venice Venice S Marco marle marle relie St Demetrio (AliariArt (AliariArt Reource )  Mout Ath Monatery o the Great Lavra moaic icon St John the Theoloan (ater S S Kada Mon Ah Athen 1979] ; 97 9 Ohrid ational Mueum pael paintin Cruixio o Chrit (after K eit ive de de ine ine ari 1978] p 149 ma et al Le gand ive 70 Jerualm Greek atriarchal Lirary MS Taphou 47 ol 153v (e Tetament) St John (Byantie Mueum Athen) 7 1 Ohrid Church o St St Sophi Sophia a reco i the vault over the actuary Acenio of Chrit (avi riht) 72 Ohrid Church o St Sophia reco in the vault over the anctuary outh ide Apotle om the Aceio ad ael in adoratio (ua Taic' ) 73 Ohrid Church o St Sopia reco in the vault over the anctuary north ide Apotle rom the Aceio ad anel i adoratio (uan Taic' ) 74 Meapelaion Monatery MS  ol 8v (Gopel ook) Matthe accompanied accompan ied by hi "anthopomorphic ymbol (elo) ad the ativity (above) (ater R S Byzanti ne Gopel Gopel Book elon The Ionogaph o Pe and iniaue in he Byzantine [e York 980]  ) 75· Itanul Kariye Camii moac Chrit and the Virn ith Iaac Komeno and Melane the un (Duarto Oak) 7 Rome Vatican Library MS Re r B fol v (Bile o Leo the atrician) The  ii receivin the ook rom Leo (Bilioteca (Bilioteca Apotol Apotolica ica aticana) 77 Rome atican Lirary MS e r B fol 3r (Bile of Leo the atricia) St ichola receivin the upplicatio o the aot Makar and Contantie the protopahario (Bilioteca Apotolica Vaticana) 7 Hoio Louka Katholiko eat ide o the orth arm Shrine o o St Luke o Stiri (ildarchiv Foto Marur) 79 Hoio Louka Katholiko moaic moaic aove aove the hrine o St Luke Viri Vi ri ad Chld (Joephine Poell)  Hoio Louka Katholikon moaic in the vault over the orth arm Chri ith the Archanel Michael and Gariel ad St Jame the Brother o the Lord (Joephine oell) 62.

L L  G U 

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R  oo Loua, Kathoion, moai in the narthex St Pu (author

  oio Loua, Kathoion, moaic in the the narthex St St Thoma and the Doubting o Thoma (author 3 Theaonii, Theaonii, St Demetrio, Demetrio, moaic Preentation Preent ation of aria to St Demetrio (after (afte r R Cormack, e urc  Sain Demeris De meris e ercrs erc rs an Draings  S Gerge [Theaoni, 985], g 3 4 Theaonii, St. Demetrio, moaic aria ofering cande cande to St St  emetrio emetrio (ater R Cormack, e urc  Sain Demeris, g 34 Theaon i, St emetrio, emetrio, moaic aria oering dove dove to St Demetrio (ater R  5 Theaoni, Cormc, e urc urc  Sain Demeris, Demeri s, g. 3 86. Tuni, Bardo ueum cerac tie rom Bou-Ficha �aired reief of the Virgn and Chid (after A Dri, reasures  e Bar useum tTuni, Tuni, 9], p 4  7 Pari, Louvre Mueum, cerac tie (AC 83 Virgin V irgin and and Chid ( Runion Run ion de mue ationaux 88 e Yor, etropoitan ueum o Art, Attarouthi treaure, chaice (983 Saint (The etropoit etropoitan an ueum o Art, urchae, Roger Fund, and Henr J and Drue E. Hein Foundation, orbert Schimme and Lia Acheon Waace Git Git  98] 89 Venice, Treaur o San arco, chaice of Romano (5 Saint (Ainari/Art (Ainari/ Art Reource, N) 9 St Peterburg, Hertage ueum ead ea (M-48  Saint Peter and Pau (ater E V Stepnova, Sea ith Latin Incription in the Hermitage Coection, Suies in Byzanine Sigigrapy 3, ed  Oionode [Wahington, C, 993], g   aachuett, ett, Fogg ueum ueum of Art, ead ea ea ( 3 D O C 535 9  Cambridge, aachu Saint Peter and au (umbarton Oak Evi l Ee, Ee, oor oor moaic uch-uering uch-uering ee ee (ater  Levi, Lev i, 9  Antioch, oue o the Evil Anic Msaic Paemens, II rinceton, 947, p I c 93 niverit o Chicago, brone amuet Rider ang a demon (author 4 Geneva, Geneva, ue dart et et dhitoire, dhitoire, fragment of a tunic tunic (   74 74  Protective ee and other oti (Vile de Genve, ue dart et dhitoire 5 Tentieth-centu amuet amuet rom rom Greece Cro and protective ee (author  London, Britih Librar, S Add 9.35, o. o. 9v (pater The andering andering o St Gregor of Agrigentum (b permion o the Britih Librar 7 ount Sinai, Monater Monater o St Catherine, Cather ine, pane painting, detai St ichoa ichoa cam c am the torn (reproduced through the courte of the ichigan-riceton Aexandria Expediton to ount Sinai 9 Torceo, Torceo, cathedra, moaic Lat Judgment (Ainari 99 riomo, Church o the Panagia, reco in the dome Chrit te Judge (umbarton (umba rton Oa

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Unersy of Coenhgen Insu for lsssk olog yrus (P un III  I Holy nscron nd ghy sgns (fer T Lsen nd A BlowJcobsen Ppy Jee ene II Pyrolosche Tee und Abhndlungen 36 Bonn 9] l III no 5I Leden onl Museu of Anques yrus (P Led  395 Reeed ow els (Rjksuseu n udheden Leden) ronze ule locon unknown: S Ssnnos on horsebck cconed by gcl sns (fer C Bonner Se  g Ae Ann Arbor  50 l

 325

London Brsh Museu hee ule: S Prokoos (fer C Bonner Se n 1g 1g Ame Ann Arbor 1950, l 8 04 Ann Arbor Kelsey useu of Archeolo bronze ule reerse 26 I  5) "uchsufferng eye (Kelsey Museu of Archeoloy nersy of Mchgn) o f Archeoloy bronze bron ze ule oberse 26 I ):   Ann  Arbor Kelsey Museu of Holy rder deon nd on (Kelsey Museu of Archeoloy nersy of hn) I6 Bronze ule fro Syrn Holy rder (fer P Perdrze Nego pembn n eneb Srsbourg 1922,   107. Ann Aror Kelsey Museu of Archeology bronze bezel of  rng K 26165 Holy rder wh unnelgle nscron (Kelsey Museu of Archeology nersy of chgn) 8 Renn S V le le osc Theodor nd her renue renue (AlnrAr (AlnrAr Resource Y) 109 Lyon use Hsorque des Tssus slk seee nd 9 : Holy wrror iln  dron (Muse Hsorque des Tssus) r 10. Phldelh useu of Ar fren of sik sleee bnd 33831 33831 Holy wrror kllng  dron (Phldelh Museu of Ar gen by Howrd L oodhr) I   Prue Ars nd Crfs Museu esrywoen bnd 2245 gure n orn ose (fer L Kylo op exe London 196,  86  I2. Roe Vcn useus esrywoen edllon (T rss 2 S Mens nked y cels (use Vcn Archo Foogrco)  3 shnon DC The Teile useu esrywoen edllon  118 Alender of Mcedon (The Tee Mus eu)    4 Cleelnd Cleelnd Museu of Ar esrywo esrywoen en edllon 59123 Alen der of cedon (The Cleelnd useu of Ar)   5 shnon DC The Tele useu esrywoen edllon 1  17 nned rder wh lon (The Tele useu 6258 del])  I  Bw Monsery of S Aoo fresco S Ssnnos wh deons nd wld bess (fer A rbr e Goen Age o]nn  ew York York 967   London Brsh Museu owl of orh Afrcn red sl wre 1963.74·  Chrs() holdng  cross (Brsh useu) 03

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Arbor ly ly Musum of Archaol Archaology ogy bowl bowl of orh Afrc Afrcan an rd slip war   � Ann Arbor (20024) San() holng a cross (lsy usum of Archaology Unvrsiy of ichigan)  19 Ann Arbor lsy Musum of of Archaology bowl of orh Afrcan r slp war da (20024) San(?) holn a cross (lsy usum of Archaology Un vrsy of Michgan) 20 sanbul Archaologcal Musum fragmn of bowl of orh African rd slip war (5) Sain(?) holding a cross (afr "ians kram Aaf ei ei Yii   95] 95] g     Lonon riish Musum silvr bowl (M and LA 99.4-25.2) Unnamd sain pr-  haps Srgius or acchus (riish usum)  22 almor Walrs Ar Gallry gold pnan (5752) Had of Alandr of acdon (Walrs Ar Gallry) 2 aris Bblohqu aional MS Coisln 7 fol. 2r (Homlis of S John Chrysosom) ikphoros Boanias wih courrs (Bblohqu aonal) 124 Sns cahdral rasury slk from h rliquary of S. Siard () Grfns (afr 0 on alk Kuntgecicte er Seieeberei [Brln 11] pl 244) 125. aris Bblohqu Bblohqu aional MS gr. 2 144 fol. fol.  r (Hppocras) Alos Apokaukos (Bibliohqu aional) 12 Washingon Washingon D.C Dumbaron Oaks Oak s naml plaqu (57) S. Dmros Dmro s (Dum baron Oaks) 7 Wahngon D. Dumbaon Oak gol mariag ng (471) Th Virgn and Chris crown h brid and groom (Dumbaron Oaks) 12� Washng Washngon on DC D C Dumbaron Oaks gol marriag ring (47· 5) Annuncaion Visiaion and aiiy (Dumbaron Oaks) 129 Wasngton Wasngton DC. D C. Dumbaron Oaks gold marriag ring (47. 15) Bapism Cruc Cruc  ion and Rsurrcion (umbaron Oaks) 10. Washing Washingon on DC. Dumbaron Oaks O aks gol marriag rng (47 (47 15) ay a y r snaion of Chris an Bapism (Dumbaron Oaks) 1 . Washingon DC. Dumbaron Du mbaron Oaks gold marrag rng Diagram of imags 12. Daphn monasry church mosaic in narh Annunciaon o Joachm (Josphin owll)   aph monasry church mosac n naos nao s Annuncaion Annun caion of Chriss birh Josphin owll) 14 aphn monasry church mosaic in naos naos Brh of h Virgn (Josphin owll)  5. aphn monasry church mosac in naos Th hr agi bfor Chris (Josphin owll) 16 Daphni monasry church mosac in narh lssing of h Vrgn (Josphin owll) 17 Hosios Loukas Loukas aholikon aholikon mosaic rsnaion of Chris (Josphin (Josphin owll)

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3� aphn onaery churc oa m narhex Preenaon o he Vrgn oephne Poell)  3 apn onaery church oac m narhex: Annuncaon o S Anne (oephne Poell) 0 Roe Vacan Lbrary MS gr  12 ol v: Annuncaon o S Anne (b loca Apoolca Vaicaa)    Roe Vacan Vacan Lbrary Lbrary MS gr  62 ol   r: Annuncaon "The Saluao Salua o (bloeca Apoola Vaicana  2 Roe Vacan Lbrary MS gr   62 ol 22 Annuncaon "Exposion o e ru o he Gopels (Bbloeca Apoolca Vacana) 3 Roe Vacan Vacan Lbrary Lbrary MS gr  2 ol ol 2r: 2r : Annunc Annuncao aon n "The doubs o o he Vir V ir gin a o h she  o conceve e Lord blioeca Apoolca Vacana)  Roe Roe  Vacan Lbrary MS gr  62 ol  r Annuncaton "Te Virgin  releaed ro her doubs (Bbloeca Aposolca Vacana) 5 Ro Vacan Library Library MS gr  62 ol 27: Annuncaon Joy n heaen (Bb-  loeca loec a Aposolica Aposolica Vaicana) Vaicana)  6 denica Kings King s Curc reco: ay a y o Chris (uan Tasi) 17 Sdenica Kigs Churc resco: avy o he Virgin (uan Tac  8 apn onasery chrc oaic: aviy o Crs (Josephne oell) 9 Mon Sina Sina Monasery o S Caerne Caerne icon: S chol chola a  scenes ro h le (reproduced hroug he courey o he Mcgan-Prnceon-Aexandra Expedo Exp edonn o Moun Sinai 50 Mon Snai Monasery Monasery o S Caerine icon deail deail S Ncholas aes aes ree en en ro execuon (reproduced ogh e coresy o e Mchgan-rinceon Alexandra Expediion o Moun Sina) 15 Saro agorino Curc o S George resco S icholas aves ree en ro execuon (baron Oaks 52 Saro agoriino agoriino Curch Curc h o S George resco: resco: Crucixon o Cris Cris  (aer G Mille La penue du myen ge en uglave, III ari 162 pl 2   53 Moun Snai Snai Moasery o S Caerine Caerine icon deail: The ree condened gen erals in prison (reprodced rogh e couresy o he Mcgan-rinceo Alexandria Expediion o Moun Snai 5· Roe Vacan Library MS gr 175 ol 6r (Penenal ann Penien onks (bloeca Aposolica Vaicana 55 Graaica Curch o he Koesis resco: he hree condened generals n n prison (aer B Zikoi Gaana Belgrade 18])  6 Graanica Graan ica Curc o e Koiesis resco resco Laenaion over over Cris C ris (aer B Zkoi Gaana Begrade 18]) 157 Mou Sinai Moasery Moasery o S aerine icon icon dea S Nichola ading e pau- 

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F I  R S



er th three dhter fter K. etm onen aus e Katarnenoster  au em erge na [erl 190] pl.  pyrht y the Prcet-Mch Aexdr xpedt t Mt S r 8  hrch f St. Nchl frec St. Nchl d the pper th three dhter fter N. evek e L o Sant Ncoas Ncoas n yzantne Ar [Tr 8] . ros t Mt S ter f St. there c detl St. Nchl fell the cypre tree f Plkm reprdced thrh the crte f the Mch Prcet-lexdr xpedt t Mt S to Str Nri hrch f St. Gere frec St. Nchl fell the cypre tree f Plk mrt Ok r   Str N hrch f t. Gere frece  the th ll The P f hrt d f St. Gere Bdrchv Ft Mrr   Str N hrch f St Gere frec eth d rl f St Gere Bldrchv Ft Mrr t Mt S ter f St. there c St. Gere th cee f h mr cle d mrtrdm reprdced thrh the crte f the Mch Prcet-Aexdr xpedt t Mt S 4 Str N hrch f St Gere frec: St Gere e crped th r cl  T  Sr Nr hrch f St Gere frec St. Gere e red   lme pt fter G Mlet La penture du oyen ge en ugosae III [Pr 9], pl . 7

O 

Str Ni hrch f St Gere frec Mck f hrt Bldrchv Ft Mrr Mc Ke Mem Mr Skk f the etrplt Pht fter . A. Mv et l Medeal oral Ebrodery [Mc  p. 39

PRFACE

 book  born o of  onvon   r b of r ory  r nd   of r ory bgn  ng Nvr,   prn ork  nd bov  o  orn xndr Kzdn, wo r opnd y y o  porn of  rn n v for ndrndng Byznn r n  9  d  prvg of oborng   on  prpron of n r, 1   b b   krn krn  o o   dy d y  grown Tr  no dob  d xndr Kzd bn  grdnr rr n y  pn od v gron n nor dron nd d  dffrn nd ry br for   , y db o   profond nd gry knodgd ny or og v onrbd o  work n y bo dr nd ndr n prr,   ndbd o  prpn n o nr, on  rn o  Vrgn of  Sor  onnnop nd on Byznn pgr dvod o or of r,  wr d  Dbron k n  99 2 nd  rpvy nd py o xndr xk or vnko  Srry ry Tbo nd Wo Hrndnr  grd nr   Unvry of no on  n n dv r gv  n opporny o  o d bfor  r dn of dn fro vro d of r ory;   gr for r ng, py for  rfrn o  n x provdd by Er d S n nro or oon  v bnd o  dv nd on of nd nd og py Pr Bron royn onnor, V ono, Kn orrgn, Sobodn r nony r Sron Gr, nn Gonoov, Hrbr Kr,  orron, ndr Nod, Nny vno, nd Dn Svn   ndbd o o r Brbr for  rfrn o  ono on of S Sop  provdd   of  book nd o  wo nonyo rdr of  Prnon Unvry Pr for r nro ggon for provn n   g, Hdy Sr nd on Sob provdd nvb p n pdng d nd obnng poogrp poogrp   gr o o non for pron o k  of r o r    prvoy pbd n prod or ov vo prodd by  o Dbron  for poron of pr I nd , nd o  Dprn of r nd oogy  Prnon Unvry for on of pr 2 nd 

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PEFACE

  a bevee ak o eod e e of wo oeaue wo ave aed aa  oed eay fo onveaon w veana oekov, and fo ean e eak of e onoa of e an n yanne a, a ed a e knew o we. oo Ka w aae geneoy owed e e aned ue of aoa and  eon, and aed  unvaed knowede e vn onnue o nu and e eo o gve ea. Fna,  owe onnu  o Eune auean Maue fo udane and uo n ae bo aa and aa. ubaon ak, Ju £

THE ICONS OF HEI BODIES: SINTS D THEI I MGE IN BYZTIUM

INDUCIN

e Banne rroded eeve w er an, nvbe b onan oanon, woe bode were ade vbe b drea, b von, and b r For e Banne,  wa e ae, weer n on or n von, a de e neen word rea, and e neen word a gave rea reene o e ae e ooon and reenaon of  agned aer foowed a oa rre, a onr a wa ef a oeve work of ar reaed b Banne oe M roe n  book  o a ae e o of e an ae n Ban, no o e ereve of a oa oran b o a of an ar oran. n oer word,    an nenon o d no e roe  a on ad n Banne oe b raer e roe a oe ad n e degn of on n e enre afer e end of e onoa onrover n e nn enr, e Banne gave o er ae dffern fora araer of oveen, odeng, de, and deneaon aordn o e ak a e on were aed on o erfor n e aoran bne of onaon beween e vbe and e nvbe word e degn of e arork wa ondoned b e nare of e an roe n reaon o e vewer and er of e on. e ereved roe of e an renfored e araer aearane of e on, we e aearane of e on n  rn renfored e ereon of e an roe.  book fa no for aer e r  devoed o e robe of e veraon of on and o e Banne one of e ared orra a  wa deveoed afer e end of onoaa one a wa oer o wa ve wod a denon an o orrare Here are ded e reqreen of good denon a e ere een b e Banne, and ow oe reqreen onroe e dnve feare of er age of o en and woen, ndn Qe and arbe, faa feare, and nron e eond aer derbe e dfferen fora qae of oden and oveen gven b oonoa Banne ar o ea a of an, and deonrae e orreondene beween e a for of  he an ae and e varn roe a e were beeved o a n e nvbe roee of nereon and avaon e rd aer onder e qeon of w and wen e Banne ne deveoed  e e of ao aogra gra  orrare.   ow ow a drn drn e ear enre of Ban e robe of a aed an oran ar n

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NT R DCO DCO

h ona dba onnng on ay n ag of h an w vd a an oan o agan nvy an h a of dn  a onn of h onoa d of h ghh and nnh n  ban nay o b o y h way n whh ag  fnonng n od o xd any oby of h aonoo oaon h oonoa on of h o of on had a dv ff on h hya aaan ng n h dvon of a nh o g ad day and onogahy of ad oa nay h a ha n o oa on o naav don of h v of h an and ho hov h va bogah ao ad dffng foa haa ha nabd h o ok n dffn way on bhaf of h w. h naon of h Byzann y of ad oa and naav ha  gvn n h ag haz h no. My don  nndd o ay ba h an oy of a va angag ah han o db a h a va on and adns o whh h h d by ha anaoy wa b o h aon h book fo h o a  no onnd wh Byzannzng a odd byond h bod of h  wh h  gh b bokn o f n n avy Nvh h vazaon of h an n Byzan dd no hav an anaoy ha wa dy and dad. I wa a vng  on hh ondd o h Byzann vw dy f oona and a nd. h ad of h book w nd wo bbogah h  and ong bbogahy gv h o oan onday a ha  nn o h o of ah ha n addon, h  a ho bbogahy of van an v n anaon fo h bogah off h o d and h o vvd ngh no h vyday xn of a n Byzan

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 LIKNSS AND DINIION

                   

e oe of aed oaue a develoed n Byanu afe e end of onola n e nn enuy wa dffeen fo ou own 1 May    of e feaue a a oden vewe exe o ee n a oa wee ondeed y e Byanne o be unneeay n a lkene, o even dang. Fo e, n ode  o be lfelke, a oa ad only o e auaely dened n elaon o  o  a of oe an. Howeve vewe oday ay dee Byanne oa, ee  no dou a e Byanne heelve ondeed e o be ueolfe In e bogae of e an, Byanne we equenly laed a e ane ould odue lfelke oa, bo of an wo wee ll lvng o wo ad only eenly ded, and of oe vo wee aleady long dead a e e a e age wee ade Fo exale, e Lfe of Aanao, e enenuy ao of e Monaey of e Gea Lava on Moun Ao, ae a Koa, e foe aan of e onaey, aw a oa of e ao wo e ad nown eonally and edaely eogned a  wa auaely ade o e ge degee of lkene. lkene. I  oble o vuale wa wa knd of oa  wa o a dawng a ev a e onee o a y of e an ogay n e lbay of e Gea Lava (g ) e ke wa obably ade n e elven enuy, oe afe e an ad ded n I  I ow e feaue a wee o beoe andad n oa of San Aanao of Ao n Byanne a, naely a g, doed foeead, a eedng alne, and a foked, we bead. Anoe ae n w a oneoay, o nea oneoay, of a an aknowledge  oa o be vey lfelke an be found n e Geek Lfe of an ankao of aona, a dle of San Pee  bogay wa uoedly wen by ankao ueo a bo of aona,  dle Evagu, bu n ealy  ay e a lae a e nn enuy Evagu dee ow, afe e dea of ankao, e ul a u and deoaed  v anng

T

 adone adonedd e e ol olee buld buldng ng   e oy oy of   Old ea eaen en,,    aodng o e Boo of Gene. In anoe lae I ad e oy of e Nev eaen deed. I alo deed e aaane of ny lod Pankao n an 

6 - 

A  

r

    

I

                  



age, reely a he one wa n when I ee h reveren aearane n he age  ee o e hen ha I ee wh h n he eh an look h   u on h he Byanne herefore oul la ha her age were ufenly lfelke o gve vewer he reon ha hey were were aually aually wh a an n eron eron  How wa uh verilue aheve? he an lve ake  lan ha were ofen neeary for ar o aheve he requre egree of lkene  wa he ae boh for lvng an an for hoe who ha been long eeae  One of he o grah aoun of a ng for a orra  onane n he earlyelevenhenury Lfe of Irene, abbe of he onven of Chryobalanon n Conannole. We  learn o he ex ha Irene wa a oneorary of e eeror Bal I (867-886 who entene o eah a relave of he ant who ha been wronglly aue of reaon. he eeror ha he onene an hrown no a ark ungeon n he alae, an a ruor wen aroun ha he wa gong o be hrown no the Bohoro at nght H fay aeale o San Irene for her a he an nervene by aearg ha ngh o he eeror n a von he awoe o h luber o ee an uown voan anng bee h be he woan oane Bal o releae her knan beaue he auaton agan h were fale. She hen announe her nae hree e an oke he eeror harly n h e o ake ure hat he reale ha he wa awake an no reang an vanhe hrough he ble oor of h behaber. he nex ornng he aare eeror en h  protosta ostaros ros an he  saklla  sakl laro ross o he nunnery he hgh oal, nlung he  prot envoy alo ook n her renue a aner o ake he orra of he abbe One hey ha reahe he onven hey anage o engage her n onveraon ufently ong for he aner o roue an aurae lkene of he an. When h orrat wa brough bak o he eeror, he wa ghene by he egree of  reebane o he woan who he ha een n h von 5 he elevenhenury bograher, herefore, fel ha a ng wa neeary o roue an aurae lkene, an he onere ha he ng houl la a eran lengh of e. Another ae of a ng beng requre to roue he orra of a lvng an an be foun n he uh earler bograhy of heoore of Sykeon who e n 63 e auhor of he Lfe wa heoore   le George, who wroe a oe e aer the year 64  Aorng o George he onk of he onaery of S Sehen of Rhoao n Conannole whe to e u a orra of heoore  o ha hey oul reeber he an hrough    a of Seon n her onatery o oban h bleng hey ake an ar o an heoore orra, bu he an

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    

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eem o ave een relua o ave s ptre aken Te panter ad o reor o e ubere of spn on e ol ma surreptoul ro a mall ole  order to oan s lkene wou en seen Laer e ant wa aked o les e porra e ompled  used e paner of tef 6 Te rs art wo paned e portrat of a an om lfe was none oer an e evanels Luke wo aordn o leend paned e Vrn w er ld T eon was lluraed  Bzanne arts u as e eleveteur llu naor of a ook of oles now n te olleon of e Greek Pararal Lrar a Jerusalem ( 2) n e minaure, te seaed sant an e see arefull reprodun e feature of  model on te panel tat e olds on s lap Te n e  pantn s of te wellkown Hdegetra pe n w Mar old Cr on er lef arm and ere toward m wt er r and wle e eaed ld lesses w  r and and old a sroll n e oer Tu, e Hodeera on dd no represen a onvenonal te for e Bzane a t doe for modern ar toran wo lass mae rater  reprodued a reallfe pon at a spe momen n tme w was was apure for for all tme  e ar. ar . Tese ores of sts nvolved sants wo were lvn onemporares of e aners. Bu wat wa e ar to do f te sa wa dead? How wa e to oban an arae lkee f te an was no loner avalable o poe for a or

              

9

ra? The bes soluon was for he sn o be arrane raulousl, an he sans les onan seeral sores o hs e One o bes known s foun n fe f an on he Meanoee of ara, who e n he earl eleenh enur hs borah was wren b a laer abbo of Nkons onaser a ara, erhas n he eleenh enur Nkon he Meanoee was a san who oele hself on John he Bas an on hs all o reenane Hs hsal haraerss, as he are esrbe n he Lfe, also reseble he haraers feaures of John he Bas n Bzanne ar We are ol ha Nkon wore a aere aren an was all n saure, bu he lbs of hs bo shrele, an hs fae beae where o fasn Hs fae," sa hs boraher, hane ue o hs exesse ases an bea eaae" s har an ear were were blak blak,, an he aear aearane ane of hs hea hea as s ual7 ual 7 These feaures feaures a a be seen n he earles surn orra of he san, he osa n he onaser hurh of Hosos Loukas, whh aes o he rs half of he eleenh enur ( 3 Here a e foun he lon fae of he ase, he sunken heeks, an he sheele blak har ha hns a hol squalor In  slar fashon, a lon fae an sheele blak har haraerze he osa porra of Nkons role oel, an John he Bas, ha s resere n he sae hurh ( 4 The ornal orra of an Nkon, howeer, was no he osa a Hosos Loukas, bu a now os ann whh he auhor of he Lfe ells us was enerae n he sans shrne a ara Ths ae ha been roue n he follown anner.  loal ranee of ara, nae John Malakenos, was sae b kon o onon an ushen for he re of reason fer he eah of he san, Malakenos wane a orra ohs saor. He foun a skll ars an esrbe o h Nkons exa aearanehs saure, hs har, an s ressan aske he aner o roue  lkeness on a ane The ars wen bk o hs hoe an re  o sar work on he ae, bu he oul no an. He oul no, sas he Lfe, rereae he prese slar of a an he ha neer seen, een houh he ossesse he uos skll n hs rofesson  hs on a onk enere hs house an lae a perfe slar o Nkon The ars rushe o hs anel, nenn o sar ann o hs foruousl roe ser, onl o n he hol aerane of he san alrea auoaall presse (ektyptheisa) uon he woo When he ars urne o look a he serous onk o e aan, he foun ha hs sor ha anshe The ars nshe he ann an brouh  o Malakenos, who foun  o be an sushable lkeness of Nkon 8 The auhor of hs sor enhane s effeeness b elberael ehon he auoa reaon of he hol andylin of Chrs The anlon was an ae of

IO



I

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h fatrs of Cs raos rn ono a ow, whh Chrs ha sn o Kn Abaros of Essa whn h ar ha fan  hs faos r was ransfrr fro Essa o onsanno  h Eror Consan VII n  foon on Bann ar ssss aans h Aabs Consann VII ha an aon of h ransaon wrn, n whh h anon was rfrr o as an a" or rsson" (ektypa) ha was vho oors. h orahr s ha Nkon, n a sar annr, arran for hs fars o b raos, an ara, rro on h an for h bn of Maaknos Anohr sor of a srnara sn s onan n h Lf of a fa san, Mara h Yonr Yonr of V n  n hra, hra, who  n    Aorn o hr borawho wro n h vnh nr, San Mara aar afr hr ah o an o anr, vho v as a rs, an oan h o an hr on as o s  now" Sh ask h ars o rrsn hr on h on n oan wh hr wo bos an hr asrvan Aah h o an ro hr a as h ha sn hr n hs ra." Whn h orra was nsh, h sn  o V, hr hoown. h o hr who ha sn Mara whn sh was av wr aa b h on's rsan o h woan h ha own  In so ass, hrfor, a ra nab an ars o ak h knss of a

                  

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sant who ha . Bt wat was th atst to o f th sant was a an no mal po a sttng? It was an mpotant axom of on thoy that th ons nat by th Byzantns w not nw nntons bt aat ops of t pototyps Ths th nnthnty patah Nphoos n on of hs pos aganst th onolasts ontast Cstan onogaphy wt th monstos nntons of th pagans wtng W say that th ptng o magng of Chst  not ta ts ogn om us no  t bgn n o ag no s t a nw nnton Th pt has th athoty of tm t s pnnt n ts antqty t s oal th th polamaton of th Gospls." In oth wos th mags of Chst Ch st an of hs sants w w atnt p otat otatss of o f th psons pson s potay potay how how long lon g ago ty ty a l In o to po po ths athnt athntty ty on on o n ha to b op laboosly om anoth Th poss of opyng s shown n a mnat n a nnthnty manspt now n Pas ontanng th Sacra parallela, an anthology of txts attbt to ohn of Damass g. . Th pantng llstats a passag om on of th ltts of ant Basl th Gat who xplan that pants whn thy pant ons om ons loong losly at th mol a ag to tansf th aat [. fats] of th on to th own mastp" How Basl also omplan that atsts whl opyng ons sally wan om th ahtyp. ahtyp .  Th Byzantns Byzant ns w wll awa tat n t poss of opyng naas ol b nto Th anxty abot th

[2

    

I

J I 



 ry of ops from os  t r rm, s  sor om t m book of Amt,  omplto of trprttos  s probbly pt togtr togtr  t tt try Amt g t followg  If  kg kg r rm ms tt tt  or or  o oss of t t s sts m m,,     f t ops of t os s  tr ry, s [wkg] ffs lso wll s f ot, t oppost ll pp kws, f t rmr s  om mor, mor,   of s tos wll wll t ot  or o r wt wt t sss s ss [tt s, t y] of t ops Trfor,  o to b fft t ios of t ss  to b t Bt ow possbl to t o k  k t ty ty of o of st stss wo      log tm go?  go? s t possbl Hr, g, s  vsos   sstl rol to ply, fo ty bl t rsmlt of os to b mt gst t tl ppr of logs sts T   ms ms  fo ts pross of kig kig By t t  st s t m sm,  o ol b r y  sbsqt iso of t st By t so msm,  so of  st ol b ri by  sbsqt g of s o r ofor sos, s ll s os, migt b fls rom t otsrs psp t, t wol poss ws lr, bt to t Byztns t po rss  rfmto fo tr ft  bot tr sts  t os 5

            

TJ

 pca am of a or n whch an co  vr b a von  rat n  n ephn ephn h Young. phn ph n h Youngr wa wa a an an of Conan h f of n no who fn h cu of con an wa mary b h conocat mpror ontantn V n 65 H bograph wa wrttn b anothr tphn th acon n . W ar o ha h mohr of ant phn th Youngr wnt to h church of h Bachrna n ontantnop o pra for a on. h ar hr prar to an mag n th church whch how th Vrgin Mar hong hr own on u n hr arm th tx a tha tphn mothr too n ont of h con an bch t wth w th ar. ar. Lar, Lar, h h ha a von v on n whch h Vrgn apar o hr n th am am form (lasts) a h wa hown n hr mag mag n h chrch. chrch . Th Vrgn truck truc k an phn phn mohr n hr lon lon  romng hr hr ha ha  h wou wou hav a on.  th bographr xan: B uch man, h who n a marna wa mot wf mov hr on' pt to th ccor of ur rac tranform th an n a ntnt mothr."1 ponnt ponnt an Hr, hn t wa th von hat corrpon to th icon; but n othr ca  wa h con ha corrpon to  von Dram an von, bng a prvat an ou rguar oca contro, wr nhrntl upct. Thr rgn co jt a wl b om th v a from fr om Go Th ambva ambvan n tau of ram wa uccnc xpan b Nka Dav Paphlagon, th auhor of a bograph of th nnthcnr pararch Ignato. H a vn f man ram hav thr ourc n a thought an car, man ar conjur  n pr b mon but t ao happn tha th ar form b angl of Go on H coman17 Th probm hn for th Bzantn wa o trn h naur of a ram ourc, whthr t wa hol or unhol. Hr an con cou prov ul aur anc that a nocturna vtor ha bn an an not monc. W hav alra ncontr a ca of th p n th or of th con knman of Irn of hrobaanon. I ·ll b rcal tha whn Irn ma a urnatra apparanc o Bail  b ngh,  orr to man hr rlatv ra, h ok th mpror n h  to mak r tha h ralz that h wa awak an not dramng for a ram tha wa ntrtan whil a wa nhrnt mor u pct than a von n whl awak  th am, th mpror l f tha h von wa abolc n orgn; th folowng mornng h mon th con mn man an accu hm of workng magc an orcr Th bograph xplan ha Bal oubt wr rmov onl aftr h ha n hat h nw ma portrat of Irn match h woman whom h ha n n h von  8  mlar tory of th typ com om h Lf of Pp vr who wa n ofc btwn    an   5, ng th rgn of onantn h Grat Th atng

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

I

 t Gk si  t L is dbtd, t it my bg t t sd   t igt ty  tis Li, d i is gs dpdt p it,   td  stti  i d sbsty d  dm i i  s ppd by tw m , idtiig tss s Pt d P, pisd t  im  iti tt  sm t pp H, t mp di t k is t isits d sty did t kw t  t  s tst t dm  Syst m b stti, t pp swd t mp bstgt is  t psts Pt d P, d stti kw kw  dgd tt t pstls i t ptits w t sm idiids s t m  d ppd t im by igt Tp, stti lwd ims t  bp tizd1 Tis sty is isttd   tty id si ss,  t Dmbt ks, whi sws Pp Syst dispyig t t is  Pt  P t t mp g 6) i spit  ti sm siz, t sits i t imgs d by t pp  diy b giz y i s ptit typs, tt is, by t st d d st, igt igtd d i  St St  Pt d by t bdig i  dk, pitd bd  St P A tid sty tt s t i g t isi is d i t Li  t tty Sit Eisbt t dk Adig t  mdi

              

l5

7 ©

biographr shortl bor hr ath, ait lisabth was at prar i th church o th Thotokos Chalkopratia i Costatiopl, wh sh saw a isio o ait Glkria Followig istructios om th apparitio, ait lisabth wt to aothr church i th cit th shri o th martr Romaos whr sh rcogiz a ico o th woma sh ha ust s i th church o th Thotokos Chalkopratia As i to alla a oubts a to mak sur that thr was o mis tak Glkria spok to lisabth agai om th ico " whom ou s  ow am also sh whom ou saw bor i th church."0                

Ma mor critics ha b puzzl b th Bzatis claims that thir imags wr trutoli ad prcisl rsmblig thir subcts, or iwrs toa td to obsr that Bzati icos o ot look lili" at all Th prsta a prcp p rcptio tio o o  Bzati portraitur portraitur ght b b  compar compar  to a mor car car tooists iw o chlr's art g ) I a rawig b Frascio, whch origiall appar i th New Yrer a schooltachr, abot to bgi a corc with a part is light to iscor that th apprac o th bos mothr i ral li

16

   

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crrspns cy  hr s's ciish prri f hr T h mrn viwr hrfr Byznin prris ih sm  rsmb hs rwins  my sm ru  h chirn w pruc hm bu n  h u viwr. uc  prcpin f yzi icns wvr wu b wr fr h Byz ins wr nihr chirn nr iv Th iffrnc bwn h prsny n h Byzni viwr is   f sphisicin s pps  niv fr  pp v vr bn mr sphisic i hir pprcs  ims n h yzis hr h iffrnc is  f pcin. Whn  mrn viwr spks f n im im b i i ifik ifik " h pci is   i wi b iu sinis si nisic ic wi wi risic risic ffs f ii ii n prspc prsp ci iv v ik  phrp  Byznins wv wvrr i n sk pic iusi iusi nism in hir prris bu rhr r hr ccurcy f niin Tir pci w �   im shu b suf ciny wl n  nb m  inify  hy ur rrsn m  rn f sins  incu  cin h ribs h prri p n m up  ifik p r  iscrpi Fr h Byzins  s furs r m ri As w s s in  fwi cpr mi n prspciv i py  r i Byzi ims f sm sis bu ir r ws n  cr  iu sin r ir purps ws s  f i  is  mk sms bu bu h nur nur f  y p rsn bin b in prry prry n n bu bu his r r psi ps i i  scm f inrcssin inrcssin  svi svi T sins vnr by  Byznis wr ivi in csss by hi cs ums ums n by  usu usu ribus ribus  y : : viss viss fr mp mp w w  h niqu uc  hmin n ispy hir bks y bishps wr  in ir iuric vsmns n s  bks r scrs mks wr hir bis s irs irs wr ir  ir mlir mliryy tcs  cuirsss cuir sss  brnis brnis  ir wpns wp ns   crs sp ir mic bs n suric isumts T csss f sins prvi  rs cry  iin fr  Byzn viwr Furr  css  wc  si b n  vr    whc h r s ws swn us bisps n mnks wr fn pry s  wh w r ry ish ir wh crs n sirs wr sw yur wm w  fw cpins s n  b sw s yu A sry i  Lif f i Aw  F rvs w  Byz ur pc  vnis  b rczb m s  s csum n hs ribu   bk T birpr ls us f Epips  iscip f Si Aw, w pry  h y mn's sus i v su b rv  m Epiphs ws rwr h    spnd visin i whic  i  mn ss in w rmns" cm  is si Ts  m sw Epipns  vny cr n Sin Aws

                  



hn plac within it As Epiphas llw walking bhin his n gi, h saw that h was hling th Gspl in his ight han." Ths m his clthng an th bk that h hl, Epiphanis cl tll that his lly cmpan in was n  th nglists, althgh th txt s nt tll s whch n Within th classs  saints, sch as anglists, bishps, mnks, slis an cts, th w  th m imptant iniials latily pcis stana ptait typs, which w  th mst pat cat by aiatins in th cl an  aangmnt  th b a an an ha ha 3 Th tait typs w th scn l mnt in th nitin  th imag Sm saints alay ha ti ptait typs b nst  icnclasm in th ihth cnty, bt m th tnth cnt nwas many m saints w intiat by thi acial ats, an ths istingishing ats tn in tim t bcm m accntat Unli lat mial atists in wstn Ep, th Byzantins i nt lp a y xtsi icngaphy  spcic attibts  spcic saints, sch as a tw  aint Babaa  a whl  Saint Cathin Only a latily w Byzantin saints w  hl thi wn attibts Saint Stphn th Yng,  xampl, was smtims shwn hling an icn, whil th militay cs Saints Sgis an

8

    

9

Bccu r prtryd wrig trq rd tir ck (g    )  I Byz ti rt ttribut wr mr imprtt r tliig t category  it it t wic  idividul blgd; witi c ctgry, t mr imprtt idi vidul it wr idtid b tir cil tur Bzti rtit dvld  muc mr xtiv gllry  cil prtritu t did rtit i t wt.   ll   t prtrit prtrit culd  mzi mzigly gly citt citt vr vrl vrl cturi cturi  Ev tug my my it vr cquird td tdrd rd prtrit typ typ , t t  w r  rd bcm itty rcgizbl by tir img l, witut t t d t lgd Fr xmpl, mg t ptl w wr grlly    i t tiqu tuic d imti, Byzti rtit ditiguid  t Evglit   vrbl ld m wit ldig gry r ht ir d  lg, vy brd. c  prtit  it  c b  i   illuiti pitd i  ttctury Gpl k prrvd i t trnikit mtry  Mut t (g 8 drw,  t tr d, w w   ld m  wt ir w ud udt t d unkmpt. unkmpt. Hi prit pri t my my     i tr  tr ttctury ttc tury

    



pantng a sc f th Bssng f th Lavs and th Fshs m th cav chuch f Tka Ks n Cappadca wh h stands t h ght f Sant Pt wh s shwn as usua wh sht wh ha and bad g ) Th chng and th ptat yps w nugh  nab a Byzann vw  cgnz ths sants Thus th mnk Ksmas wh w an accunt f a vsnay vst  havn vhch h mad sm tm af    camd ha h was ab t cgnz hs w gayhad and vnab" guds t th havny kngdm as th apsts Anw and hn as fa as  cud nf  th smbanc t h appaanc f h sacd cns" Say  h Lf f Patach gnats by Nktas Davd Paphagn w a td that h casa Badas had a dam n whch h saw sttng n h ynthnn n th sanctuay f th Gat Chuch f S Spha an agd ag d man pcsy smbng smbng h h cn f P P h chf f h apsts." apsts."

20





  In t as o solr sants, t stntons twn t nval portrat typs ol ol  spa sp ally lly stl. stl. A n allry allry o o  warrors s prsrv on t north an sot ·alls o t wstrn arm o t r o Nrz wos rsos wr pant n I  6 Fr  o llstrats t portrats on t nort wall T solr ·t a ron sl wo stans on t lt an  nt as Snt rokopos  s ronzal rom s smoot nr n an om s  n at t n k n a o oant styl styl  H lon lon lant loks o ar, w ar n an ts  stns larly rom otr alss warror sants s as ant Gor wos ar was sally sown sortr an rly ompar 

   



     Th Th portrat typ typss o  th two two sants to th rght o Prokopo Prokoposs at rst sght

appar rmarkab smar Thy ar th two Thodors Thodor Stratats, or th Gnra, n th cntr, and Thodor Tro, or th Rcrut o th rght Both o ths namsaks hav ong acs wth thck, cury har and ong, pontd bards osr nspcton, howvr, rvas som subt drncs btwn th two portrats  6 Th Gnra has a sght ct n hs bard, wh th crut has a somwhat ongr ac than th Gra, and hs bard s sghty thckr. Most sgncanty, hs har s shortr, so that a o hs t ar s vsb th Gnras ars, on th ohr hand, ar party covrd by hs har Ths ds tnctons btwn th portrats  o th two Thodors , sma sma though thy ar, ar , wr mantand wth rmarkab consstncy n Byzantn pantng om th vnth to th tnth tnth cntury; c ntury; ty ar a  strkng str kng dmonstraton dmons traton o th mportanc o aca aturs n th Byzantn dnton o thr sants For xamp, th sam portrat typs rappar n th somhat atr twthcntury scos n th church o th go Anargyro at Kastora g  ) Hr agan, t can b sn that Thoor th Gnra has a cntral ct n hs bard, wh

22





Thoor h Rcrui on  rih has a lonr ac han h Gnral a som wha wdr bar an shorr hair which lav lavs s all o hs ars uncovrd u ncovrd A sm ilar irniaion occurs in h mosaics and rscos o h monasry church a osos os os Loukas Loukas  which a a o  o h h  rs hal o h lv lvnh nh cnury (s (s  2  3  n his cas h syl s much mor schmaic han in h panns oNrzi an o h Anaryroi a Kasora bu h ssnc o h isincion rmains an Thoor h Rcru who is porrayd n a mosaic ( I2 has a lonr ac and shorr hair han his namsak who s porray in a rsco (  3 ; hr s h sam lln conras n h ramn o h ars Ths porra yps wr sll prsrv n la Byzanin works o ar such as h arlyornhcn ury rsc rscos os in i n h church church o o  h Kary Caii in  onsannopl (s (s     I   Now h ariss wr panin in y a rn syl in h classczin mannr o h Palaoloan Rnaissanc Nvrhlss h sncions prss: h Rcrus a is lonr an his ars ar lly visibl ( ) whil h Gnral's bar prsrvs s slih cl      An piso n a wlhcnury bioraphy o ain Thoor h Rcrui shows h imporanc ha Byzann viwrs arbu o h accuracy o his ma Th sory is o a yp ha wll by now b aliar o h radr W a ol ha ar h ah o ain Thodor hs bnacrss usba wan o obain hs porrai h visi an aris an scrib o him as wll as sh col h apparanc an acial aurs o h dpar san Lik h painr o an Nikon howvr h aris oun  hard o prouc a oo porrai mrly on h bass o a vrbal scripon. Forunaly ain Thodor himsl cam o h painrs painr s a a  soon so on ar ar hs paron ha ma ma hr visi visi h aris ha ha a vision o h sain in h us o a solir rurnin om a lon xpon Thoor com man h aris o pain him as h saw hm wih prcsion Th aris com pl pl  an as soo s oonn  as h porrai was was nish hs iraculous sir vansh Whn h painr showd h ima o usbia sh vas ovrjoy rconizin h porrai as h lllmn ohr sir7 omms h porra yps o h sains wr rcor as hmbnal scrpons in hir bioraphis W hav alray ncounr such a vrbal porra n h Li o an Nkon an w hav sn ha his lis o h phys cal characriscs o h san mach his mosac ma a osos Loukas hch was mad no vry many yars ar h ah o h sain (i 3 Anohr mnasc sain whos apparanc was scrib in his bioraphy was Thodor o ouios h amous abbo o h ouos Monasry o on sannopl who lv rom 79 o 826 Th L o h san arbu o his

                



I 

scpl Mchal Mchal lats that Th app appa a   n a vsn as a tall man, th an pal n th ac, th gzzl ha an a balng ha.  8 nth vsn  ths bgaph as that ths as th sants appaanc n al l. Ts vbal sktch csns t th sants pat tp n at, hch vas ll m  lss athl b atsts m th lvnth cnt t th pstBzantn p.3° t can b sn,  ampl, n a msac at ss Lkas





7

I



I

wr t o mn ring ir n pinin, witr k r givn  mpi g  6) A tir monti int wo w rib in  writtn Lif w Sint tyo Aorng to  ixtntr biogrpr, Cyri of Sytopoi t t tim of i t t t o d  d t form of n ng, pi om o mpty gry ir n  ong br tt r  r  i by wr in t m txt t int ppr to  ik mn in t form of  grizz monk wit  ong br3 From t tnt ntry on t int  rgry itingi by t ftr in rt tt i by gry ir n by  ong br ning, in mny intn  fr  i it S portrits n b n for xmp, in t tntntr Go of t Stronikit Montry g  7 n in notr

                 

8  u, o om o t ol monk, at lat, moac at oo Louka g I 8 t w tabld potat tp tat accod wt wttn dcpto n t bogap. bogap. 3 3  wt t apotl, old, and mok, o too wt t bop t mot mpotant ant cam to b dngud b t ndvdual potat tp.  a pcall t o t th ac, Sant on Cotom, Sant Bal, and ant Ggo o Nazanz, and alo o Sant Ncola, a v popula ant n Bzantm a n t wt 34  potat o t ou ant a ond n t ll dvlopd om b t bnn o t lvnt cntu ll o tm can b n potad n t mnat o t Menologium o Ba II n t Vatcan Lba. ant on Cotom, n a cn o  joun nto xl,  tkl caactzd wt a naow cn, a mall potd bad, a bald dom to  ad, and an actc appaanc wt dpl nk ck g. ). Muc l actc  t appaac o at Bal, Bal, wo  p ota otadd a ong ong an t ot bop, bcau  dd at t ag o t . 2) H a an longatd ac, wt dak black a and a long, pontd bad. Sant Ggo o Nazanz  ow a a baldn wtad ma wt a boad padapd bad . 2), wl Sant Ncola a ·t cdn a, kn ck, and a ot bad g. 22). In

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ar cri om of h porrai far wr xaggrad, a ca b  i a aryforhcr moic ico of Sai Joh hryoom a mbar o Oa (g. 23 Thr wa o grop of ai who ood apar from h ohr ad who wr rad by Bzai ari i a omwha diffr wa amy h fma ai Lik h m, h wom wr caid by ma of hir coh iga , for xamp, or a mprb i wa rar for h idivida fma ai o acqir pcific porrai p I par hi wa a qio of a  w hav  ha amog h vario cagori of ma ai oy h mor impora wr hoord wih pcic porrai I a madomiad iiio ch a h Bzai chrch, i wa o rpriig ha h fma ai wr ccordd  ao a hir ma corar B hr wa a pracica difcy Th dr of mo of h wom ai cocad hir hair, ad, of cor, hy had o bard Sic h craio of idivida facia porrai i Byzai ar wa i arg par a mar of h coor ad arragm o h bard ad hair, h ari had i o work wih wh i cam o porrayig wom O fma ai who did acqir a rcogizab facia porrai yp wa Sai Barbara Accordig o h hcr vrio of hr Lif b ymo Maphra, Sai Barbara wa xcdig fair of fac, ad xraordiary for hr bay"3 I Byzai ar h i ay dpicd rich drd, warig arrig ad a crow or a diadm I ar Bzai ar, ch a a co of 20 i h chrch of h Paagia Amago a Mooa, o ypr, h appar ih  chk, givig hr fac a diic rodd apparac g 2 4  A Mooa, h rich of Barbara' com ad h rod of hr fac cora i h mor vr mi of hr wo comaio o h righ, Sai Maria ad Aaaia A rod fac wa coidrd b h Byzai o b a mark of pcia  Th, h wfhcr hioria Ana Comna, dcribig h good  ook of of hr moh mohr r Ir, Ir, cai caim md: d:  Hr fac fac wa wa o o abo abo  y y ro rodd    b i dpard oy a i om a prfc circ" Somim, ao, Sai Barara aow hr hair  fa oo ovr hr hodr, i a dipay of immody a for a Byzai ai Thi ca b , for xamp, i a ahirhcry Paagia Oympioi Oympioia a i Eao g  g 25; hr, oo, paiig i h chrch of h Paagia Sai Barbara' chk ar , givig h fac a omha rodd apparac Aohr fma ai ho dipayd hr hair, hogh for diffr rao, a h acic Sai Mary oEgyp Lik Sai Barbara, Sai Mary of Egp a o of h f Byzai fma ai o b giv a rcogzab phyica porrai yp,

i



                  

29







                  

3

2.

o s m to  sow s  mit g wt  gg c, skltl lms,  nmpt, mtt wit i A stiig potyl o  is o mog t lywltcty sos i t scty o t  t Asio o Cyps (g 26) Sit My o Egypt ws lso o o t w l sits to  sow s ol, o  my ys o stiism i th st  g h Anot wom sit o ws sotims sow it li ts, o ot o  v g t t tim tht sh ociv, ws St A t ot o t Vigi I  lttltcty so i t chh o St Gog t Kiovo, o xmpl,  c pps iz  wil, v s s sckls h chl (g 2)37 Fo t most pt, owv �l sits w sow s o iogps o om sits o o t wlt wlt o ti yothl ty  ty o xpl, xpl, ccoig to to  biogp bio gp o t ttt ttt Sit Tomis Tomis o Lsos, Ls os,  it itll vits vits w t i  xtl ty  i  pt oily oy"3 8 I th Li o Too oTssloiki, wo i s   i t y 2, w  tt  s ws  smll gil s ws pis   o t bty o h o   ptty " H t s so pst y h s tt  h Too

2

    

[

nggd to  md t t g o sn, wc ws t yongst possl lgl g 3   sys tt t snt ws stll tl wn s ntd  nnn t t g o 2540 t  long l n t clost, s dd t t g o gty41 In t ow, s ws not dpctd s n gd monstc, s s wold  n w s  mn n t conty, s cn  sn n  spposd lntcnty pott n t cc o St Sop n sslonk, s ws sown s  yong womn (g 2) s ct ws notd y  ogp, wo lts ow, t odo dd,  nt nmd on md  con nd gdnc om  dm, dpctng  n sc  wy tt tos wo knw  wll sd tt s lookd [n t con] st s s dd wn s ws yong"4 Byzntn tsts comnstd o t lck o ml ott typs y gng 

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33

. Thessaoniki Chuh oSt Sophia eso St Theodoa

few woen indi indiidua idua attibutes by whih they they oud eadiy b e eognized eognize d The ost onsiuous of these attibutes is the Tue Coss assoiated with Heena The osai at Hosios Loukas is one on e of o f any any iages iages in Byzantine Byzantine at a t showing showing the  eess standing standing beside b eside he he son Constan C onstantine tine and hoding hoding this ei ei (g (g 2)  the feae saints wt sei attibutes inuded Teka who was often shown with a book as she was a ose disie of Saint Pau she aso aeas aong the osais at Hosios Loukas in a gaey of feae saints aed in the oh (g 30 Sant astasia Phaaoytia tue to he nae often hods a ediina ask  The ost ituesue it uesue of the attibu a ttibutes tes hed by by feae feae saints is the oe aet of Sant aina of Antioh with whih she stuk the deon Bezebuth Bezebut h She an a n be seen se en wieding wieding this weaon in a tetwef tetwefth thentuy entuy eso th e huh of the gioi Anagy Anagyoi oi at astoia (g ( g 3      i n the Thus Thus  fo the Byzantines, the th e tue otait of the th e saint as a set se t of haateisti haateisti featues the othng and attibutes geneay indiated the ategoy whie, fo

34

CHPTR



 Hosios Loukas Kathoikon mosaic Heena and Constantine hoding the Tue Coss

oinet saints, the otait tye and in soe ases an attibute indiated the indiidual Essentially, these featues would fo the undeawing of a ainting o a osai whih ould be nished by the atist with olos with highlights and shading shading and with a bakgound bakgound,, in a aiety of styles  But Bu t we hae hae seen se en that whethe the styles used to ish the otaits wee elatiely sheati, as in the osais of Hosios Hosi os Loukas, Lou kas, o elatiel elatielyy lassiizig as in the esoes es oes of the aie aie Cai the sei identiig featues of the sait eained onstant ith the eetio of the adde hai olo, olo, it i t is usually ossible ossible to identi the haateisti haateisti featues of an iotant Byzatine saint o the undelying sketh alone This ay be obseed in seeal ne Byzantine unddawings whih ae eseed on the island of Cyus. Figue 32 illustates a detail o the sene of the Counion of the Aostles in the Chuh of the Holy Aostles at Peahoio, whe Saint Pau is eognizable aong the aostles o his bald head and ediulength, ointed bead (oae g 6) n the Chuh of St Niholas tis Stegis at akoeta thee is an undedawing of Saint egoy of Nazianzus, eosed b neath the wall aintings i the ase (g  He an be eognized o his balding head, his sunken heeks, an his sadeshaed bead featues whih an

 I  N  S S  N D D  F I N I T I O N

30 Hosios Loukas Kathoikon mosai St Theka

3  Kastoa Chuh of the gioi Anagyoi eso St Maina of Antioh

35

CH PT 



3 2 Peahoio Peahoio Chuh o the Hoy Apostes, undedawing St Pau Pau o m the Couon o the th e Apostes Apostes

also al so be seen se en in oter  ortrayals ortrayals of te saint oare oare g g 2    u sketes sketes hel us to understand te story of te reati  reation on of o f aint Nikon's ortrait wi as already been related he biograer of te saint akes it lear tat te iage that was iraulousl transferred to the ainters anel was an underdrawing As we have seen se en the autor oares the iression of o f Nikons features features to the andy andylilion on of C hrist, w  a aord ording ing to the aount o f its onveyan onveyanee o Edessa Edessa to t o C onstantinole in 4 444, was an iage without oloring or ainters art" Nikon's biograer says tat wen the drawing ad been miraulously ed uon the anel that is wen te saint's likeness ad been atured ten te artist was able to  add the reain reaining ing olors" olors " in i n order order to nis the iage iage   There is one oter iortant aset of te denition and reognition of sared ortraits to onsider Even though te ost iortant saints were distinguised

y

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3

3 3  opetia opetia Chuh Chuh o St ihoas tis Stegis undedawing St Gegoy o azianzus

by idividua idividuall ortrait ortrait tyes ot ll saits were were so hoored hoored I  the ase  ase o f the less oo saits sa its who had o stadrd faial faial featu features res it was ossible for the viewer vie wer to determe oly to whih ategory they beloged (eg bishos or soldiers he olete detatio ad to be trough the aoyig isrtio he isritio the the  beae the al eleet i the deitio deitio of the ige ige  of whih it was was a essetial art art  he iortae of o f the aig aig of iages is set s et out ou t by a eisode i the Life of the iilia bisho Paatios who as see above was a disile of ait Peter but whose Life ay have bee writte as late as the rst half of the ith etury durig the seod s eod eriod of ioolas he story ay be quoted i its etirety: e blessed aostle Peter suoig oseh the Paite said to i: Make e the iage of our Lord esus C hrist so that those who se s e it i t ay

CHPTER

I

34· 34 · Thessaoni Thessaoniki ki Chuh oS t Demetos mosai: Unnamed saint

believe beli eve te t e ore s eei eeing ng te irint of o f is for for and and ay ay reeber wat I ave reaced to te" o te ainter taking brigt wa colors ainted te iage of Our Lord esus Crist And te aostle said: Paint cild y iage too and tat of y broter Pankratios in orer tat tose wo use te or reebrance igt say Tis is te one wo reaced te word of te Lord to us te aostle Peter and concerning y broter Pankratios tis is te one wo built te tower of te sacristy o te young ainter each ima i mage it own name47 nised tese aintings also and he wrote on each After te nint century terefore saints in Byzantine art even tose saints suc as aint Peter wo were readily recognizable o teir ortaits were alost always accoaied by a legend Before iconoclas owever naes were equently otted o oly iages bot in onuental aintings and osaics anel aintings Many and on saller anel Many of te saints ortrayed ortrayed in te sit sit and an d seventcentury osaics in te Cuc of t eetrios at Tessaloniki are not

I N  S S  N D D  F I N I T I O N

3  ount Sinai monastey pane pinting Vigin an Cd etween two unnamed saints

3

40

CHPTR



36 Thessaoniki Chh oSt Demetios Demetios mosai St Demetios Demetios with with anges

amd by icritio ( 4 6 ) or ar thr ay icritio o th famou ithctury ico at Mout Siai hich ho th Viri bt to aoymou ait (. 5) But aftr icooclam it bcam th rul for ima to b accomaid by ld i th ord of th Lif of Pakratio o ach o  am am . " Thi cha cha a   ha ha  a accom ac comaid aid  o m th th ima it o tth ctury oard by th cratio of a much mor ti ad rci icoograhy icoo grahy of ortrait ty for idiidual ait Th rao that lay bhid th dlomt ar lord  a latr chatr ( blo cha ). T  RCOGNI TION OF SCRD PORTRITS

To odr odr ir ir  th dtail o f cotum co tum ad hairtyl hai rtyl that t hat diff diffrt rtiat iatd d th ortrait of ait i Byzatium  comaratily all ad iiicat to mot ol today th to military Thodor for ml aar rmarkably milar to ach othr ( 01 5 )  It i atural th th to ak hth hthrr th a a orit of th Byzati r rally caabl of ditiuihi bt th ima Wr thy mor iti tha th ara ir of our tim to th uac

   N  S S  N D D  F I N  T  O N

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3 7 Thessao Thessaoi Churh o St  Demetrios mosai The Virgin Virgin with with St Theodore Theodore the th e Reruit Reruit



CHPTR

I

btn th ortrat, or r th ma rcozabl to only a f larnd clr c n th Mddl A t a thy can b dntd by oly a f calt today? Th ar  rodd by th Byzat thml, for thy do m to ha ctd orhr to b alrt to th al n that dthd on acrd ortrat om anothr and to tll th mortant ant aart om ach othr, n thot th ad of crton W ha alrady n ho th mon Koma a abl to rconz th aotl Andr and Joh n h on on accont of thr rmbl rmblanc anc to t o th acrd acr d co co  " A mdnnthcntry bho o f Tha lonk, namd Lo told n on of h rmon a tory abot a conron that  cally raln n th rct H rlatd that thr a a yon Jh oman  th cty ho dr o ht had a dram  hch h a th Vr n Mary accomand by mtro th atron at of th cty drd n ht Bn Jh, th oman a not famar th th to at and dd not rconz rcon z thm Sh dram dram d that hr hr t tor ld hr nto th battry bat try of th th Chrch Ch rch of th Vr n Thal Th alon onk k (no  non non a th Chrc C hrch h of h Achrooto) Wh h aok h t  actalty t th battry of that chrch n bn batzd bat zd thr thr h a abl to nl  nl ot th ortrat  ortrat of th th to ant ho had aard to hr, on accot of thr charactrtc fatr Th tt of o f th rmo rmo ay: ay : Lookn at crtan ma that r r  t  tothr th othr n that holy battry, ad hch had dtnct charactrtc h ontd o ntd ot o t om amon th oth o thr r ma ma or Lady th Holy Mothr of God and th allloro all loro martyr m mtr tro o,, ay ay that t a thy ho ho had com co m to hr by nht"  Th tory  rmcnt rmcnt of a modr modr tn to a crm crm , ho  o  odd t o c o t a ct om a   of hotorah hotorah arran arrand d by th olc olc  Wth h rn moac n th Chrch of St Dm Dmtr tro o n Ta th ad of to of h hon th atron atro n ant n th comany of anl ( (  6)  6) and th lonk, lonk , on hon othr, th Vr n th comany of Sant Thodor th crt (  )   may may alz ho th ma n by th oman may ha lookd Anothr tory that conrm th Byzat' ablty to rconz th ma of thr ant ant     fond fond n t tt, on o f th tth ctry and on o f th for for tnth t nth T arlr tt tt  an anonymo anonymo collcto collct on n of mracl mracl that had bn r formd at th hr of th Vrn of P, that  of th Srn," hch a locatd t otd th all of Contantol Th latr tt  a rrtn of th tal by b y an athor a thor o f th th arly fortth fortth cntry nam nam d Nhoro Kallto Xanthoolo Th tory concr a ck man ho trd to obtan a cr by th ractc of ncbaton that , by dn th nht n th hrn In th tntcntry tnt cntry r ron on of th Miracle t  told a follo: ollo:

L  K    S S A  D D  F    T   

43

 tai  tai Joh, a   oto   athaio [a high oial, ho a hal dad om th attk o hi dia, am to th Chuh of th Thotoko [th g Ad hil h a lyig do al i th huh h a, a h aid, th Moth of God itutig th maty Patlimo [a follo]  hat i og ith th ik ma  .  " d th maty [Patlimo [Patlimo]] aid H Hi i iid a ufig tibly, Lady" d agai th Thotoko aid to th maty: ou may oid thi o othy o a u" Ad havig b aakd om l by tho od, h id a omlt miio ohi ohi di dia .     Thi imagid dialogu bt th Vigi ad atlimo, a llko doto ait, a b omad ith th aagmt o imag i th moaty Chuh o Hoio Louka, hi hi  tiod a a  a halig hi hi to hih ik i k ilam o u H  , i th outh am o th huh, hu h, moai of th Vigi gim am ad of atlimo, t lo do o a to b aibl to th viito, a ah oth ao th ao ao a (g  8 ,  ) )  A i th th mi mia al l toy, th to ait ait i th imag ok okd d togth o o  bhal of th uliat Th lat vio o th Miacle th foutthtuy tllig by Xathooulo, giv to th aout a muh mo iti quality. Th lat autho ti to a to qutio: t, ho did th ik ma ogiz atlimo i hi viio? d, od, ho ily a th uatual u ahid? Xathooulo' vio of th toy ad a ollo Th at o th ig [o [o  Pg] a ho to b a holy g fo fo a  tai mah a a otothaio i akho a atig avay i all hi limb ith a uio o dia, ad a a oqu had bom half dad. Fo o day a h a th, digly at do, a divi viio tood by him, a h a tuig to l Ad th viio lookd lik a digly bautil oma, ith a olmity o iit, ahig ith a kid o bauty ad ga d a youg ma ollod bid h, ith hi hai vy aid u, ad lookig tikig i a  gamt, hi lft had ighd do by a bo ull of mdii, hil hi ight had a quid qui d ith a blad it ith h a ha ha dl dl  I aaa ad i all oth oth   t h mbld th divi Patlimo Ad th oma, tadig by th la h Joh (fo o th athaio a amd) had to b lyig, ommadd th o ho follod h to am th ik ma loly [to d] hat aild him. Ad h, alatig th ma' body, otd that hi iid  outd, ad that it ould b ay to tat hi oditio

44

CH A PT 

  Hosios Loukas Katholikon mosac in the south arm Virn and Child

ith ith a icii ic iio o Ad Ad h brouht do hi mall mall kif kif , irci i rci th cht ch t ad th othr ma, hai b cut, aok from hi l, xtolli th Mothr of God, dicri othi of hat h had udro bfor, but oly i th th oi i oud oud [t hat ha t had ha d rult rultd] d] om  om th th cut c ut  It may b otd hr that Xathooulo i th to lmt cary for th idticatio of Patlimo i Byzati ortrait  lit th attribut, th call ad th mdici box hich idicatd that th ait blod to th cla of doctor Ad h dcrib th diidual ortrait ty th ait a a you ma, ith raidu hair"that i, ll ad curly rathr tha lo ad lak hich arrod th idticatio rthr ithi th catory of hyicia Th ortrayal of Patlimo at oio Louka corrod to thi dcritio ( mo t othr\ othr\ ima of o f th th ait i latr latr Byzati Byzati art art    Th am  am or  ) a do mot trait ty i foud, for xaml, amo th aiti o I I 2 at Laoudra ( urthrmor , Xathooulo Xa thooulo did ot ha ha to cify cify that th at th you you  ma 40)  F urthrmor rmbld Patlimo a h a ho i icon but imly that h rmbld th dii Patlimo" Th imlicatio i that Xathooulo k th ait ortrait ty a a abolut fact ad h xctd th radr to ko it alo Fially,  may ot th dic for rifyi th truthl of th iio,

L K  K   S S A  D D  F      O 

39 Hosios Lokas Katholikon mosaic in the soth arm St Panteleimon

40  Laodera Laodera Chrch of the Panaa Panaa to Arako fresco St. Panteeimon

45

CAPTR I

nael the hsical sca that was left behind on the mans body afte the vision itself its elf had fa ded ded  As with all the stoies in the saints Lives thes tales ae tue and false on diffeent levels We a doubt whethe the acles and visions actually haened, but the biogahes in ode to give cedence to thei clais concening the suenatual, had to ancho the in eality A sto that was eviently colete fantas ant as ould be ignoed by eveyone eveyone Theefoe Theefoe the authos autho s had to ceate a con c on tet fo thei claied iacles fom details of daily life that wee ealistic and fo eectations that wee cedible to thei Byzantine audience Aong those ee e ectati ctations ons can c an be included the assution assution that tha t both individu individual al saints and thei iages coud be eognized fo fo thei hysical hysical chaacteistics yodinay yodinay eole  Finally Finally o the vey end of o f the Bantine Bantine ei  eiod od om the fouth fouth decade of the fteenth centuy we have stiking testiony of ho a Bzantine viewe could becoe bec oe dsoient dso iented ed ifhe if he was cononted c ononted with Cistian iages o a diff diffeent tadition, wch he as uable to ecognize The costue, the attibutes the otait tes tes  and a nd the inscitions togethe tog ethe ade u the eleme elements nts of o f a falia falia code cod e enablg the zantine viewe to ecognize and elate to the saints that ee otayed in the at of the othodo chuch Without this code the Bzantine oshie was at a loss, as can be seen o the anne i whch one of the Geek delegates at the Council of Feaa eacted to the alien tadition of chuch at eesented by the ealy Italian Renaissance This Bzantine ceic Gegoy elissenos comlaed hen I ente a chuch of the Latins I do not evee any of the images of] saints saints that ae thee, thee, ecause ecaus e I do not ecognize any of them At the ost  I ma ecognize Chist, but I do not evee Hi eithe since I do not kno ho he is inscibed But I ake my own sign of] the coss and evee it I evee the coss that I ake sel an   an not anything else tht I see thee  In othe wods the Byzantie viewe coud not ecognze the esten iages, hoeve ifeike they ight be in ou tems because they ee not oely dened accoding to the code that he kew COCUSIO

Fo the Byzantin B yzantines es theefoe, theefoe, otaitue was a atte of deition deitio n not of illusion In one of his hiosohic hiosohical al o oks John of amascus the geat geat cham chamion io n o f images, ovid ovided ed a deitio deition n o f de de nition nition In his Dialectica he ote:

  K K   S S A     F    T   

4

 sond denitin as neite a deiy no a speity of wods  ad en e nit iti in n as a s not eno wo wod dss  o to many many  pefe pefett denition deni tion is one on e tat is eipoal it te oet dened n impefet one does not eip ate eeoe neite te denition tat as a deieny o wds no te one tat as a peity eipoates wit its oet Fo wen it as to many wods te denition s wantin in onete ealities and wen it is lain lain  ods it inldes too ma many ny ealitie eal itiess  on o amass oes on to explain tat te pefet denitin o man" old e a liin ein tat is motal and as eason"  one wee to add te wods and is a ammaian" to tis denition it wld exlde too many eali ties (tat is ateoies  men) o not all men ae   mmaians mmaians On te ote and i one wee to mit te wods tat is mtal" ten te denitin wold inlde too may ateoies o amon te eins tat ae eason oe an inlde te anels as well as men men   same same loi also ontolled ontolled te Byantine appoa to potaits  tei saints te imaes ad to e st st detailed eno eno to dene an distinis distinis  ea saint o te tes t not so dened wit witxt xta a neos detail tat te denitin wold e to na  Fo example a detailed aond settin set tin tat wold wold p in te saint's ma ma e down to a pa p atila tila time and plae wold e ely estitie and wold ts eate a ad potait On te ote and in te ase f te tw edoes te potait type ad to e sf iently detailed to allw te two saints to e distinised om ea te and not t e nsed. t any eent te imae sold not neessaily so te qal ities of potapi illsionism As we sall see se e  tat ind of illsinism did ae its pae  in Byantine at t it was sed nly wen neessay wen ood denition so eqied eqied

2 CPLY D MMELY

 O  M A  D  S T  N C T  O N S B E TW TW E E N C L A S S E S O O S A  N T S

s we saw in te last last ate, e essene essen e  Byan Byan ine ptaite lay in te ndedaw ndedawin in  te imae imaess  Neeteless, e Byaines eld tese t ese dawdawins t be inmplete e nly imaes tat te Byantines nsideed t be mplete mplet e wit wit ls wee wee e mialsly mialsly de dedd ins   Cist s as te mandylin  Edessa n te Lie  Saint Nin, we ae tld tat ate te panel ad mialsly eied te saint's imae, wi is desibed as a med lieness" (etyptheia emphereia te ainte imsel added te emainin ls" in de t nis te in  ndeed, te inmpleteness inmpleteness  te nled set,  sadw, as sed  e nised imae, wit its ls, as a mmn simile sed by Byantine wies  desibe te elatinsis between te Old and te New estaments  F examle, te tenty elian Cyil  lexandia wte We say tat te law was a sadw and a type, an and lilie a i ite     e tlines ae te st mas made by te sill  tse w  aint n  anels, anels, and i te bitness bitness  e ls ls i s laid n tese , ten i ndeed te beaty    te it i te e ases t t  Me s sint intly ly,, Jn   Damass te in te ei enty s te Law [is]   a eliminay esad sad win in    te led pitue, s Gae and    ae te led ite ite " e e simile was s ed nt nly by elians elians b als b y te biaes biaes  e saints saints  F example, example, natis te Dean Dea n,, in is nientuy nientuy Lie Lie  te atia aasis aasis , says tat Cist C ist is annned by by te wd wd  tt tt,, as i seted in bla by te seants  e Wd b is pained and imsibed by e deed, dee d, as i i  t t  ls s e ndedawin, teee, wi ated te aate eates  e saint, was inmlete witt te ainted laye tat eed it is ppe laye wuld nain te imae's lin, is litin, and its mdelin  ese added elements wee essential t te tutlness  te imae imae bease be ase tey ele eledd t  nney te nate  te saint w as bein ptayed at is, te l, liin, and mdelin, tete wit e mal elements s as pesetie, min, and ntality, ntality, we wee e sed by t e Byantines a ate te inlasm, and and espeially m  m te ten enty nwad,  ney diein deees  ality  imate

C O R P O R A L  T  A N D I  A T E R  A  I T 

4

4 Nerezi Chch ofS Panteleon fesco Mos

ality, apppate t te ly pesn in te imae  e Byantines dd nt see t mae al tei ns esele mden ptapi ptaits, t all maes dsplay dsplayin in an eqal de deee ee  illsinsm and spntaneity, t tey tey did ai ai  t dstnis eteen sants adn t tei types s tat sme ee sn t me, and se ·t less, mdeln and mement Tese dstintns ee nt aslte t elatie Witin te mal ane  a ien atist  ped, sme sme lasses  saints ee  ien a eate eate  eed eedm m and and teedim tee dimens ens nality nali ty as a sn  tei pality, and sme ess  llstate ts pint, e may etn t te sldie sants depited n te telftenty pantins at Neei ( ) and mpae tem t te mns  ae depited neay n an adjinin all f te sae  ( 4 1) Hee it an e seen tat eeas te sldes me tei dies eely in sae, te ns ae less dly pesene and ae me nstaned n tei ements

o

4  e e Chch ofS Nkeas fesco S Neas

CHAPTER 

43  e e Chch of S Nkeas fesco esco  Sans Pal of Thees and Anhon

 he mons stand in sti sti colmnlie colmnlie ostes os tes which which a a e almost almos t om o mletely le tely ontal hei gestes ae discilined eetitie and shallo being conned to dislay mch moe the ont plane o the picte he militay saints by contast dislay motion and een an exaggeated exaggeated conta contaposto posto as in the case o Saint ooios  on the let his waio stands in a swaying pose his weight spoted on his ight leg. le g. He tns his bod bo dy shaply s o that t hat his head h ead and his toso to so ace ace in di dieent diections He steps owad wit his let oot while dawig ba his shaly oeshotened ight am into the icte sace behind his body as i he wee intending to thow his spea spe a oe the head o the iewe iewe  he saint's ond shield meanwhile is held nde his let am in ont o his chest and aallel to the ic te plane n shot this is a man o action twisting and moing in sace con tasting with the igid igid otaits o the mons mon s hose ho se eedom o moement b oth lateally and in deth is seeely esticted he same omal distinctions between soldies and mons can be obseed in chches painted pain ted at othe oth e eiods and and in othe styles styles Fo exam othe Byantine chches ple pl e  among the ealyoteenthcenty escoes o the Chch o St. Nietas at

C  R    R A L     N D      E R  A L   

5

er  er in Maedonia Maed onia we an a n see se e the same same diff differentiation erentiat ion of monasti and mili ar saint relatie  eah oher The warrior Saint iketas is almost a swaer in re his torso wisted in a vigoros ontraosto his righ arm held akimo and his wellrnded hest thrst toward the viewer g 4 2). y on as eti sains sains Pal of o f Thees and Anthony stand in more riid os tras the two as res virtall withot withot ontraost ontraostoo   43 )  Their o odies dies are attened attened aainst the front lane of the itre and their arments resemle shadows ast aainst the wall n oher words while the oerall eriod stle of these forteenth entr esoes is more natralisti than that of the earlier aintins at Nerei the formal distin distin tions etween the two two sets s ets of o f imaes are maintaine Simlar ont on trasts an  an e osered if we j xtaose xtao se yantine imaes of warrior saints with those of hl ishos Among the latetwelfthentr wall aintins of the Chrh of St iholas to Kasniti at Kastoria for examle there is a sriking differene in resentation etween he isho saints ortraed at the east end and the soldier saints at the west end of the soth wall of the nae At the western end the soldiers estor and Merkrios stand read for attle the one rasin his sear and he other drawing his sword from its saard g 4 5 )  At the easern end of the the wall the ishosSaint Cril g 44 lwer left) a omanion now too effaed to e identied and Saint iholas nder the arh on the riht)stand in idential ontal oses with ooks held in their left hands and with with their their riht han hands ds raised raise d in lessin As in the ase  ase of the soldiers and the th e nks the ontrast etween the treatme treatments nts of the soldiers soldiers and the ishos  ishos m nks eame more rononed in the forteenth enr Aong the aitins of  3 5 9 60 in the Chrh of the axiarhes at Kastoria for instane we may jxta ose os e the ortrais ortrais of o f he two two Theodores with that tha t of the isho isho Saint  natios heohoros Theodore he General is ainted with anahe  46) He draws his sear ak in his right hand while he trns his head to his riht his eyes meanwhile are direed straiht at the viewer His stomah swells enly nder his ne red loak and raen aror Oosite the general Theodore the Rerit also stands in an aie ose with his head inlined as he lls his sword from its sheath The vigor of he tvo warriors ontrasts wih the motionless ontal materiality has h as ea ea orated wraithlike re of Saint natios  4) whose materiality  ehind ehind the severe severe lak and white attern att ern of rosses ross es on hs estme estmen ns Anther set of formal antitheses etween ororalit and inssantialiy and etween motion and immoilit a e fond in the santaries of later yan ine in e hrhes hr hes ·here ·here a hoi  hoirr of o f holy ishos was jxtaosed jxt aosed vith vith the twelve aostles rom the twelf entry onward it was oon to nd in antine

54

HAPT

2

4   Nere Nerezi zi Churh of S. Panele Paneleon on rescoes in ase ase

C O  P   A  I T   N D I   AT   I A  I T 

4· Nee Nee Chch of St St  Pantelemon fesco fesco Lt of the Hol Bshos

o Nee Nee Chch of St Pantelemon feso feso Lt of the Aostles detal deta l

55

CHAPTER 

5  . Nerez Churh Churh of St Pantelemon f eso es o Ltur of the Aostles detal St Luk e and St Andew exhann a kss

 harateri harateristis stis At erei the the ishos all stand in idential oses oses  with wi th their their  aks owed to the same deree their heads inlined at the same anle and their srolls held in the same way way  49 ) n ontrast ontras t the ose os e of eah aostle is diff differen eren  O n so th side sid e of o f the ase ase  for for exam examl le e t he rst rst aostle aostle  Pal o  ows more deely the soth to reeive read om the hands of Christ while the seond ows only slihtly  5 0) n the north side two aostles fae eah other to exhane the Kiss of Peae  5 1) The aostle on the left an e identied as Saint Lke om his harateristi featres of a tonsre and a short ointe lak eard while the aostle on the riht has has the lon lo n nkem nkemtt white hair of Saint Andrew Andrew omare  9)  Saint Lke is shown rnnin forward orward imetosly imetosly to exhane exhane the reetre etin with his hi s om  omani anion on while Saint Andrew Andrew in ef efffet et  trns his  ak on his mastands  ehind ehind him at the enter  enter of the ase as e ter who s tands At erei the ishos and the aostles differ om eah other not only in their relative derees deree s of motion  t also in the extent of their modelin modelin and ororality ororalit y The ishos wear heavy leatless white vestments overed with lak rossesthe

 O R O R A L  A N D    A  E R  A   

5

om o horio Mos of o f hese rosses ross es are no foresho foreshoren rened ed so ha  olytarion and he omo eh armen is reded o a a wodimensional rid linin o he srfae of he wall s 48 49)  y onras onras  he drain drain o he aosles aosles makes hem aear ae ar more sbsanial hey ·ea heir sal anie arb of ni and  himion swahin swahin hem he m i amle folds folds of o f loh l oh whih are a re relaively well model mod eled ed wih lih and shade shade  he armens armens of  he aosles are hinner and more more revealin revealin han han ho  hose se of he bishos showin showin heir he ir bodies bodi es in moion wisin and and rnin rnin in sae s s  5 0 5  Here one old rly say ha he lohes make he man no only by showin he sains sains rank b b  also by onveyin he very nares nares of o f heir bodi bo dies es  A similar onras of forms an be seen in he ase of an ealyforeenh enry bildin he Chrh of S Geore a Saro aoriino in aedonia  5 2)  his hrh was ained aine d more han one hndred fy fy years year s af af er erezi erezi  when yzanine ariss were workin in a more lassial idiom wih a sroner emhasis emhasis on he ons o nsr ri i on of illsions of sa sa e  e ever verheless heless wihin he ara me ers of his more illsionisi me ill sionisi syle  he same formal formal disi disinions nions were made beween bewe en he diff differen eren lasse  lassess of sains sains  Aain we nd ha h sanes of he h e bish os in he lower zone are wih one exeion idenial Only Sain Cyril of Alexandria breaks he relar seene of bowed res by lookin ward oward Chris who disribes he bread and he wine n onras he oses of he aosles above are exremely varied As hey ome forward some of hem have heir hands overed and ohers novered Some raise heir hands as hey reae o reeive he ifs ohers lower hem ome ross heir hands ohers sread hem aar Some aroah wih wih heir baks ben be n  ohers are more more sraih sraih Some look forward oward he alar ohers look behind em he ariss have also endowed endowed he wo ros ros of sains sain s wih diff differin derees d erees of o f oror or oraliy aliy he h e b odies of  he aosles aosles are well modeled in i n heir hei r lassi lassi izin izin robes robes heir  heir draeries even have a somewha inaed aearane he vesmens of he bishos on h oher hand are a and wodimensional And here in hese earlfor eenhenry esoes here is an added elemen of ontras namely iorial sae he aosles are iven an illsionisi sae in whih o move reaed by ree n rond on whi whi hey h ey sand and an d he arhieral arhieral b akdro of o f bild  he reen ins solidly onsred in oblie erseive while he bishos are simly sil ed aains a elds of he olors ble and reen hoe ed he same formal disinions ha divided aosles om bishos also searaed hem om ohe oherr lasses o f sains sains s s as deaons and and monks A ood examle examle of of his kind of diaramin of he sains an be fond in he laetwelfhenry mosais in he ase of he ahedral of Monreale in Siily mosais made for



CHPTER 

2 Stao Nagoricino, Chuch of o f St Geore Geor e fescoes in ase ase Litu Litu of the Aoses and of the Ho  Bishos

Norman atrons t set nder the servision of antinetrained artists Here there is a hoir of hol ishos ishos dea dea ons mon ss and virins in the lower one of the north and soth walls jxtaosed with  roin of the twelve aostles in the omletel el ontal ontal t  t the er one (. 5  )  All the saints in the lower one are omlet aostles aove are reresented in mh eer attitdes either trnin toward eah other or toard the enthroned Virin and Child in the enter of the ase Ts

C O R P O R A L IT Y

A N D I M M A E E R I A L I T Y

5 3 . Monreal Monreale, e, cathed cathedral ral,, mosaic mosaic o n tthe he north wall of the apse: Aposes and saints

59

o

H APT ER 

on the north side of the ase  5 3 ) the aostles Phili and artholomew on the left leftnterat nterat with eah other as a air while while ke John an James all fae the  enter of the ase with Lke and John w win in their heas in reve revere rene ne n ontrast ontr ast the virn martr Aatha the monk Anthon the ishos laise and Martin and the deaon Stehen do not om o mmni mni ate with other res in the ase t  t fae fae the viewer in strit ontalit Their deortment ma e harateried in the words of an anonmos antine eiram whih is fond in a lare antholo of oems reserved in a latethirteenth or earl earlfforteenthentr ort eenthentr mansrit mansrit now hosed ho sed in the Mariana Lirar at Venie The oem whih refers to the stonin of Stehe Ste hen n and and was roa roal l written to t o e insrie insriedd on o n an ion of o f the saint eins Stehen was steafast with a manl rose n the fa e of the stonin st onin it was as a s if he had a natre aove natre  and a  e sh that that wo wold ld manif manifest est de den n the law lawss of natre natre      n the fa fa e of o f the  lows om the the stones stones  he was [himself] [himself] a stone sto ne  n other words the deaon saint who had a natre aove natre was riid and immova immovale le like the imaes in the lower one o f mosais at a t Monreale Monreale  Sh formal distintions etween different lasses f saints were not onned to the ases as es o f hrhes t  t were were oserved onsistentl throhot throhot the entire setrm se trm of ostionolasti ostionolasti antine art in all media or or examle examle re  4 illstrates the frontisiee to a o ofJohn Chrsostoms holies on Matthews Gosel a mansrit whih was roal made in the mideleventh entr for resen re sentat tation ion to the newl newl fonded fonded imerial monaster monast er of St Ge Geore ore of Manana Manan a in Constantinole The miniatre shows the evanelist offerin his osel to its exonent while the isho ts ot his hans to reeive it. Althoh te to saints oth are ortraed in threearter view as if trnin toward eah other and ther estres are reiroal there is a strikin differene in their stanes Matthew moves more freel than John Chrsostom his arms reah ot rther while those of John C hrsostom are hel more tihtl tihtl and riidl aainst his od The otline made  Matthews od is neven an dnami while John Crsostoms ame ts within the severe on o nnes of a retanle There There is a  onalso  in the modelin modelin of o f the saints  lothin lothin While While the fall fall of the evanetrast trast also lists arents reates omlex fold attes whih are arell rendered with shadin and hihlihts the vestments of the isho are at withot life and movement and simle in their visal effet. Som So me of the most sstantial and threedimensional imaes in antine aintin aintin are ortraits of the evanelists The distintion etween the ororeal

CORP ORA LITY

AND

I M M AT E R I A L I T Y

61

5 4  Mount Sinai, Monastery ofSt. Catherine MS 364, fol 2v (John Chrysostom's homies on Matthew): Saints Matthew and John Chrysostom

62

CHAPTR

2

Co ection tion ane aintin aintin Dormition of the Virin Virin 5 5 . Kastoria Archaeooica Coec

C O R P O R A   T  A N D  A T E R A A T 

56. aa Ahaea Cen pane pann dea Bhp and ape ape preen a he Dn  he he Vn

evanelist and the inororeal aseti is made with eseial fore in the faos aintins of the tenthentry Gosel book in the Staronkita monastery on Mont Aths We have already seen the ortrait of Saint John a volmnosly draed re seated in a saios antie settin with a rved arhitetral nihe nihe ehind ehind him    8) We have also seen se en that if we trn this ae of the man srit there is overleaf a irlar ion of the monk Saint Etheos raisin his hands hands in ont of o f his hest  hest in a symetri symetria all estre es tre of rayer rayer   )  Ts Ts imae imae of the monasti saint small tiht and astere aainst a at old rond, is strik inly diff diffrent om the amle form of the evanelist on the reedin re edin ae  ae yantine artists observed these formal distintions between different lasses of saints not no t only in individ individal al ions and in eremonial senes sh as ontisiees ontisie es and the elestial litries b also in Gosel narratives That is even in the on tet of the earthly earthly lif li fe of Christ the diff different erent lasses lasse s of o f saints artiiati arti iatin n in the th e

CHPTER 

7 Laudera, Churh  the Panaia tu Araku, re Driti n  the Virin

events show their distintive natres throh their deortment and throh their varyin varyin derees of  ororality ororality The learest demonstratio demonstration n of this rini rini-le is to be b e fond fond in yantine ortrayals ortrayals o f the th e ormiti ormiti on of o f the Virin s s  h a s a remark remarkabl ablee ion from from Kastoria Kastoria i n Greee Greee  whih whih dates dates t o the rst half of the thirteenth entry  5 5 ) Here we see the mornin aostles athered arond the deathbed of the Virin with Christ at the enter reeivin her sol. As beame the stom in later yantine aintin the artist also sows three bishos  a nkin Christ who were believed to have been resent at her death and to have witnessed the fneral The bishos inlded ionysios the Areoaite who was thoht on the basis of his own writins to have been an eyewitn eyewitness ess to t o the t he sene   and James the rother of the Lord Lord the rst bisho bish o o f Jer  salem who as also beieved to have attended at the orition and to have have written a n ao aont nt of he event. event.   t i n this ion the the deea deeano norr o f the bishos is very diff different from from that of the aostles aos tles     6  The aostle sow their intense rief rie f and emotion emot ion in their  ined ined heeks and tensely frrowed brows brows and and in the ase as e of Peter Pal  and John thro throh h their ostres a s they bend over the bier The exressions on the faes of the saintly bishos on the o ther hand are imassive and nmoved They aear as disembodied resenes in their at white arments oatin nbendin setators rather than flly

C O R P O R  L I T   N D     T E R I  L I T

5   Laudera Chrc Chrch h  the Panaa tu Araku frec detal Bhp preent a the Drtn  the Vrn

· Laudera Church  the Panaia tu Araku rec detal Aptle (Luke preent a t the Dritn  the Vrn

engaged participants in the draa Siilar distinctions between the witnessing bishops and te orn orning ing apostles can be obsered in Byzantine wall paintings o f the Dorion, sch as the wellpresered fresco of   2 in the chrch at Lagodera on Cyprs (g  In his drawing of the faces of the participants, the artist dstingished etween the hree ishops sanding o he righ of Christ and te Twele Apostles While the bishops coplexions are arked by (g  8 , thir eyebro eyebrows ws are not no t disgred disgred y the shap e d t he lines o f old age (g distorti dist ortions ons that signify signify the sorrow of the apostles apos tles (g  , nor are there streaks streak s of tears descending descending from from their eyelids The contrasts c ontrasts are ore ore sbtle sbtl e than in i n the t he later icon from Kastoria, t they are already there Byzantine artists after iconoclas, therefore, soght consistently to ake dis tincti tin ctions ons bet b eteen diff different erent casses cass es of saints saint s according a ccording to their degrees d egrees of corporal corpo ral ity, otion, and eotie response In the reainder of this chapter we shall see how the forma idioms chosen for the portrayals of soldiers, onks, bishops, apostles, and eangelists corresponded to the perceied natres and nctions of grops ofsaints, of saints, as epressed epressed in i n their iographies, i n poes poes that were co  these grops posed for their icons, and in dedicatory inscriptions Finally, at the end of the chapter, we  consider consider a sp ecial case, case , that of o f iages of the Virgin

66

HAPTER

2

 O NK NK S A N D A S  E T I C S

ontic tic int of Bynti Bynti retricte both bot h their lie n thei oeent 3 he on In their biorphie, onk wee copred to liin onent" or colun" of irte irt e A bio b iopher pher of Sint Alypio Alypio the Stylite, St ylite, for exple exple,, e ecribe cribe hi  tnding like  otionle liing colu pon  lifele coln" he cetic onk h hun feeli, bt they oece their eotion b the retne of their mn They poeed a atheia tht i, eedo o hn pion n eotion A n eple of the inexibliy of montic int, we y tke  tochin cene whic i ecribe in te ife of Sint Nikon of Sprt, whoe rcloly cete ie h ley been ice A  yon n, y the biorphe, Sint Nikon i len hi fly for the lt tie, ettin off for the life of  wnderin cetic By  rcle, he h croe  wollen rie, lein hi pr in fthe n bothe trnded on the fr bnk Fro cro the rng wter, Sint Nikon he hi e fther lentin hi on deptre The nt, y the thor, t hor, w h h n n he loe hi f f ther On herin herin the old n n  ple ple  , Nion Nio n trne helf helf  little" towrd towrd h fther fther nd brother, o th th t they cold e  e e h f ce cin the the he bent be nt ce whch, whch, by now, w w withered with ered throuh cetici cet ici ( 3    Fcin  he thee tie tow the ron, then took hi fce wy n e the hi bc, tkin up h joney"  w  gly che oent, b i h he iul for forlit lityy of o f  litry Thi light conce c onceion ion to hi h i ditrht fly fly w w  the th e expec expected ted depotent of the th e ontic ontic holy ho ly n n Fele ontic lo cltited a atheia For exple, the biorpher of the nnthcenty int Theo dor dor of The The lonki ( (  2 8) tell  how he ce to ter her feeling of ternl ffection towr her dhter, Theopite, who w  nn in the e conent When Theoo, beco bject to hn eo tion," howe in ofpy of pyin in pecil ttention ttentio n to t o her d d hte, hte, the bbe ipoe ipo e pon her  p enn ennce ce of not peking pe king to he d dghter ghter for for fte fteen en yer yer  After After th lon lo n perio peri o of o f ilenc il ence, e, othe othe nd d dghte ghte e no thoht thoht to their elt eltionhip ionhip    Montic int, herefore, were retricted both in their oeent nd in thei eotion Bt they lo retricted themele by phyicl prition, wtin teele throh thro h ftin ftin , o tht they bece lifele lifele nd nd bodile bo dile  Ain, Ai n, we cn  ote the iopher iopher of Nikon, who   of hi hero  One wol wol he he i i d tht tht the th e how how of  tte w w to be een e en in hi hi , bt not no t  n in  body"  Elewhere we re told Hi body w o wted wy nd ftiue o toil tht h e differed not fro  hdow"  B pition in the teril word brouht  new eeo Thoe whoe uet for iterility w priculrly cceful were ble to leitte theele, or een becoe iniible The tenthcentry

C O R P O R A   T  A  D M M A T E R  A   T 

6 H Luka Kathn ac St Luke  S

saint Lke of Strs, whose portrat srvves in hs onastery (g. 6o 6o , sed to evi tate hiself a cbt o the grond whenever whenever he prayed 9 Sant Nikon Nikon was able to pt his powers of evtation to practcal se and travel between Corinth and Agos ying throgh the ar ar  As for the abity to ake oneself nvisible to others, this was the sbject of a daloge recorded n the biography of the ninthcentry onk Sant Anthony the Yonger, which was wrtten by a conteporary of the saint We are told that th at a certan certa n ascetc asc etc had the th e power to ake hiself invsibl invsiblee  One day he dsappeared before the eyes of Sant Antony, who cold only conr the holy ans presence by tochng hs garent with hs foot In wonderent, Antony addressed the an an as foows foows In trth, aster, f yo wsh, w sh, soeo so eone ne can ca n see yo, bt b t if yo do not wsh it, yo are ar e not seen see n by nyo nyone ne" " o whch the ascetic asc etic replied repl ied,, siling siling And And are yo nable nabl e to do this Try, Try, if yo have have not yet attained ths, yo have not yet become a onk "  In trth, the smit of the onastic achieveent was to reach a copetely iatera state of being, like that of the angels. Fro the tie of the early desert fathers, onks had been compared to the bodiless anges, the amata We saw n the ast chapter that the sxthcentry wrter Cyri of Scythopols said that Sant Ethyos Ethyos,, at the te of hs death, possessed the for for  of an ange Since angels ere sexess, tey tey were associated associate d also with nns n the Life Life o f the f  fthcentry Saint Esabeth the Wonderworker, we are tod that pon entering a con



CH 

6    a a ar arn n Chuh Chuh   Gee e Ane deed a a nk ede St ah ah 

vent she pt on the angelc gab"  As fo the tenthcenty sant Nkon, hs estence was sad to be on the th e bonday between han han nate nate and the angelc and dsebod dseboded ed"" he sant sant  whle whle lng lng n the esh on accont of hs lkenes lkenesss to dseboded powes was not eghed down by the appendage of the body bt hs lfe was pwads walkng on a togethe wth the powes of heaven"   I n the fote foteent enth h centy centy the the polc Byzantne cot co t poet Manel Phles wote a poe On patheia statng that the a of the onks lfe was to each the state of the angels When yo becoe a copletely passonless an then yo wsely esect the bed sol Fo t [the sol] seeks to go to the lght of the angels hang shed the dst of o f the passons p assons and the dakn dakness ess   e dese epessed by ths poe was also conveyed by woks of at In late Byzantne pantng angels wee soetes actally depcted as onks weang the onastc habt, as can be seen n an ealyfoteenthcenty esco n the Chch of t Geoge at Stao Nagono whch s contepoay wth the

 O R P O R A  I T A  D  M M AT E R I A  I T 

6 Cypru ave hurh S ephy re Aenin S. ephyt beteen anel

poem by Manue Phies Ph ies (g. 61) Here he hooded ange/monk is porrayed beside the desert ather Pachoos, anking he western door o he monastery church A precursor o hese images is a remarkabe esco which he Cypriot hermi Saint eophys had painted toward he end of he weh century on the ceiing of he rockcut chape tha adjoined his ce g 62)5 It shows Saint eophyts himse himse being escorted up u p o heaven by by wo winged winged anges Thus the asceic, whie si aive, coud ook up and see paited above him he reaizaion of his dream: o wak on air ogether wih he powes of heaven"

0

CHAPTR 

The panng of San eophyos bngs us o he ole of angels n Byanne poayals of he sans. The Byannes undesood ha snce angels wee puely spual bengs, whou ae, he depcon n a had o be enely conven onal Ths dea was epessed epessed n poems ha ee composed composed o accompany he eaple , one Byann Byannee epgam quees quees he as a s of an con of he mages. Fo eaple, achangel Mchael as follows: If you wsh o dsplay he movemen of an angel,  why, pane, do you pan pa n hs wnged man, and no nellgence, sp, lgh, and ame? Only one could no pan he aeal wh wha s maeal.  Ths poem poses a poblem whch had aleady been answeed by anohe ep gam on an mage of he achangel Mchael, wen by he elevenhcenuy bshop Joh Mauopous e know ha he angels ae lgh sp, and e, hghe han all ae and evey passon. Bu he geneal of he maeal hoss sands [hee] paned wh maeal colos.  fah! Wha wondes you have powe o wok! How easly you gve fom o he naue ha s foess! Only he panng shows he ne ha s paned no as he s by naue, bu as he ofen seemed o be  In ohe wods, Byanne a showed angels no as hey acually wee, bu n e foms ha hey had assumed n he eahly appeaances, which dd no eec he ue naues On he ohe hand, as we shall see, he fomal abues of eahly sans n a w beleved o be a eecon of he eal naues, and no a mae of convenon. Ths dsncon beween angels and humans n a made  possble fo angels o play a double ole as a fol fo oal sans. In conas o ds emoded sans, such as monks, he angels wee paned wh moe novemen and subsance; n conas o moe copoeal sans, such as aposles, hey wee h e wods of Theodoe ofSoudo of Soudoss In compason o a sold sol d paned wh paned wh less In he body, he naue of he angels s bodiless bu n copason o he dey  s ne  bodless no unccuscbable Fo his eason he Aposle says boh celes al bodes and eesal bodes" bodes" (I o  5 40).   In a, he ole of he angels was o pove p ove pons pons of conas n a bna sysem, by whch he sans' sans' degee of ds embodmen o copoaly could be gauged. In he esco n he cave chuch of

6 3  Philadel Philadelphia phia Barne Barne Clen Te Ascec y Pal Pia

S Nophys hrfor  s ha h angls ar classical gab ih sinuous folds dscnding o hir f hil Sain Nophys ars a onasic habi ha is a in is rndring ih svrly sraigh and vrical plas (g 62) Th undulaing parns of h angls garns giv h lif and ovn il Nophys is imobil Th angls hav roundd slighly bulging soachs and hy an h sain ih a saying gai Nophys on h ohr hand is as siff as a column In ohr ords ords Sain Nophys is sn s n as a s mor incorporal and suprhuan han h angls; hir coparaivly livly and robus fors phasiz his spcial naur  shall s hovr ha hr angls ar porrayd ogr  ih vangliss and aposls h conras is rvrsd Th nihcnury aris Pablo Picasso undrsood ll h nur of monks in Byzanin ar as can b sn in his paining  At  hich is no in h Barns ollcion in Philadlphia (g 63) This canvas o h ariss Blu Priod hich h paind in 1 9 0 3 undr h inunc of El Grco shos h ypical and body of h Byzanin onk hinly paind and dvoid of volum volu m suround suround by a or havily havi ly odld odld bardd bardd had had This T his odrnday od rnday ascic ih his py dish in on of hi chos h foral valus of h condn Sain Nophys (g 62) vn hil h prssion of his fac bspaks an poc ofhisory ha is spiriually lss scur Thus foral conrass of odling and ovmn prssd hrough binary opposiions bn onks and soldirs (gs. 10 4143 )  or vn bn

7

CHAPTER



ons and angels (g 6), ere portant gns of onastc selfdenal n Byzante ar. Bt here as anoher ay by hch Byzantne arts llstrated at ng and elfprvaascetcs, not by foral eans, bt by realtc ages of fatng ton Here the odel as John he Bapt, ho, o the eleventhcentry onard as eqently depcted as a desert acetc, half naed, clad only n a hor r tnc or n a spy cloa, and ehbg eacaed, stcle lb A strng con of th type  preserved  the collecton at Mon a (g 64). he appearan appea rance ce of at a t John n hs age age accords accor ds ell ell th th a poe p oe by Joh Joh  Maropos, hch descrbes the sant n a pag of he Bapts a an th long a ar,r, clvatng clvatng a l ldd and and sqald sqald appearace appearace  .  eshle eshless, ss, half nae naed, d, he angel. 9  9 Even ore graphc  a decrpon ofJoh he Bap  a type of an angel. eron by hlagathos, a Gree on of he telf t elfth th centry, ho lved n sother Ialy e  a a shaggy and ld n appearance, o havg been rased n the desert fro chldhood. H head a qald, lthy, and covered h ong locs He as shaded by the as of hs on har. Hs bard as hc, and hs body as eleal on accont of hs eager ay of lfe hlagathos characterzaton of te sant h ts conrast beeen hs thc, shaggy har ad hs eacated lbs,  an eac conterpart to the con at Mont a (g 6 4)  hs portra type ofJoh ofJoh the Bapst repreet an alternatve ode for represenng ascetcs n Byzatne art, ot throgh attened draperes b hrogh a ore realstc portrayal of tcle lb and nept har. Oher ants ho  ere  er e porraye por rayedd n th th  aner nclded ant Maaros Maar os and and Onophros, Onophr os, ho  ent so far as to be sho sho  copletely nde, her thered b hrste hrs te bodes ncovered by any clothng ther odesty preserved n the patgs oly by strategcally placed trees and bshes Both of hese ants ere portrayed on the  alls of the cave chrch of t eophyts, here they provded odel for the herts qest for onasc perfecon (g 6) Even these naed age relaed to the concept of apata Accordng to the onac rter yeon the e heologan, o lved a the trn of he enth o the eleventh cetry, the sant  ho had apatha vas no ashaed to be, or o be seen aed. rtng abot hs sprtal father, yeon Elabes, he sad n oe of h hy ant yeon yeon Elabe, the tdte  as not ashaed a the t he ls l s of anyone, anyone, nether to see oher e naed, or to be seen naed, for he possessed the entre Chrt and he hself a entrely hrt And all hs lb and the lbs of every other person,

COR PORT AD MMTRAT



6   Cypu Cypu cave cave chu chuch ch  t. ephyt ec ant Maka and Ouph

64 Munt na Mnatey t Cathene anel patn t Jhn the the Baptt

eery and each each oe ere alay al ayss in his eyes like Christ nd he remained ioile inocent and ithout passion 3  In other ords een thouh his esh e naked the monk ho has attained perfection can remain unmoed y the passons The female counterpart to these realistcally portrayed male ascetics in Byzantine art is Saint Mary of Eypt ho is often shon as exceedinly emacated almost skeletal skele tal in appearance ith a dran face face and matted hair This is the conditio in hich she as found y the monk Zosimas hen she as aed seetysix ety six and had een ee n liin in the ilderness for for fort fortyse yseen en years In the Lfe Lfe of the saint ascred to the seenthcentury rter Sophronius her ody is compared to a shado her skin s said to e scorched lack y the sun and her hair is

74

CHAPTER 

decrbed a whe a wool wool 3 Frhermore F rhermore,, he had had he powe powerr o levaon, levaon, 3 3 lke lke San Lke o Sr, and he wa able o cro he Rver Jordan by walkng pon e waer3 Some o he mo vvd porrayal o er n ar are n Cypro re coe, ch a he panng o  06 a Ano, een n he la chaper (g 26). Her dark, crawny eare and long, whe maed ar conra wh he plmp porra (g (g 2 4, 2). 2 ). ace and mooh core o San Barbara porra Thee acec porra o San Mary o Egyp alo had her lerary coner par Byzanne poe, n parclar, were moved o mach he ar graphc ren derng o er acecm Th, Manel Phle, who compoed many poem or con, wroe he ollowng epgram o be ncrbed pon an mage o he an:  Paner, yor and ha paned e hadow o a hadow,

or he body o he Egypan woman wa a hadow; or raher, o p p   precely, precely, om a adow yo have paned maeral ern erng g 3 A poe o he lae welh and early hreenh cenre, John Apokako, ed he ame mage o a hadow bu alo decrbed he realm o he an mage n more concree concree erm: She had he ehle qaly o he angel, and   a marvel how he rn wegh no hadow and how he  boh bance and agan reman hadow, and how e hnne o a hadow  emboded n her], beng compoed o condened new B he ckne o he wegh  hnned o, o ha  ha nohng more an adow    I eem o me ha hey pan e Egypan woman a he nare o angel wa oen een For he  no n o neror neror o he angel, angel, even eve n by a lle 3 monac eh eh  San Mary o Egyp, hen, wa a ll conerpar o he male monac le, demoded, a hadow ca pon e wall In he ollowng page we hall ee how h ow grealy der deren en were were he h e Byzanne Byzanne epecaon o her warror warr or an an  SODER

A ory n he \Ial o San eorge provde an nereng ngh no e way ha he Byzanne vewed mage o her mlary an We are old ha a grop

ORP ORAT AND IMMATERIA



 idel Saraen ldier inlted Saint Gerge by ging int i r t drink, leep, and ee play die tere Tey ad it te e ritian priner, ne  h arned the tat te aint a able t repay  beair Bt te Saraen nly laghed and aked teir priner t pint t Saint Gerge  ang te ly iage et p abe te in te r Te ritian indiated te ai f te artyr it hi nger arding t te text, te aint in te iage a girt abt ith brigtne and a ilitary relet, earing brnze legering, lding a arpear in i and, and lking in a terriing anner pn te  gazed traight at i n pite  te feare arater  thi prtrait, ne  the Saraen ldier till ade  bld a t hrl a iile at it Bt the eapn a retrned t the attaker in h a ay that it trk i in te eart Te aint atie partiipatin in ti irale a pred by te in itel  hih  hi h a een by te ter  ter ldie  ldier r t t  tret  tret  t it hand 3 Ti try belng t a aliar la  legend nerning iage that repnded t attak by idel and inlat Bt it i al ntable r it tre n te pyially pyially atie rle rle  the iage iage te prtrait ear it arr and arrie it eapn in  a ay a t appear terriying t it behlder; te image een ee t be extending it hand Ti lat detail  te try i athed by eeral Byzantine prtrayal  arrir aint in ih their eapn pret beynd te rame  the iage, int the pae pied by the ieer, a an be een in the e  Tedre te Rerit at the Kariye ai (g  4) ter literary re here e nd a eare haraterizatin  a ldier aint i te tententry Synaxarin  ntatinple, a pilatin  brie ntie deted t te lie  te aint nerning Saint Sa ba the General, General, ti Te glane glane  i eye eye ad ad a ere and and terriing terriing ara arater, ter, h h  text delare  Te ing te tt  anly anly and ilitary qalit qalitie ie33 Te deriptin rrepnd rrepnd t  rk   rk  art ar t in ih th thee ldier aint, aint , e een en ile they trn t rn th thei eirr bdi b die e and head t the right r the let,  their eye edly n the ieer (g 4) Se  te t iid tale f te pyial pre diplayed by iage   arri  a rrir r aint e  e  hritian Egypt One  te relate tat dring dri ng te reign  te patriar yril  Alexandria, h a in e r  0 8 t   02, a bedin entered entered te te hrh  St S t Gerg Gergee in the th e illage illage  Daall and td ghting it te iage  te aint Te aint in the in ten trk i, and e bedin died iediately 39 A gentler try nern an indel rler, Haaraay, te n  Aad ibn Tln, , paing an iage  Saint Thedre, ked the in by trig a bn  bail at it it te rd Take it,  knight,  aliant ne erepn te pitre  the aint reaed t a and

CHAPTER 

nd too te lnt Hmry vs so mressed by ts resonse tt e treted te Crstns ell terf terfter ter  Stores sc s tese demonstrte demonstrte tt medev Crstns looed to te solder mrtyrs for strengt to el tem trog lfe nd tt te mges of tese snts d to loo te rt. Byntne oems comosed for nscrton on cons lso so o te yn tnes veed ter mltry snts Te rrors ere eected to be restless nd goros t elty red comleons not motonless esless nd le le te sdo orrts of te mons For emle ts s o Mnel Ples vrtes of  nted n ted mge of Snt George: George: Te restless mn t rms corgeos gnst enemes sorts  red bloom on s cees For to be bsoltely le before bttle s  mr of nmnlness not mnlness. A good emle of te te of mge ddressed by ts oem cn be fond  mong te   �tBynt �tBynt escoes n te Crc of St George of te Mont · (to Vonf (g 66) Here Snt George sts n  sftng ose s f e  ere bot  bot to rse for for combt comb t s legs legs trned trn ed to te rgt rgt s er  er bod fcng fcng te ont nd s sord lled lf y om t scbbrd. Te oem by Pes cn lso be comred t  mrble relef of te solder snt Demetros c s no blt to te fcde of te Crc of S Mrco n Vence bt c s  robbly  Byntne ork of te elevent centr (g 67 67)) Here too cn be seen te restless ness descrbed by te Byntne oet te movement of te legs nd te sord beng  tdrn  tdrn for bttle Ts rr  rror or s ell fed; fed; tere s  s even te te nt of  nc  nc.. Anoter Bntne oet cols llles ddressed  oem n te rst lf of te telft telft centry to  mrble con c on of Snt eorge c c no longer srves bt vc mst ve been smlr to te crvng of Snt Demetros n Vence. Accord ng to te ttle of te oem gven n to of te mnscrts te crvng s re served n te Monstery of te Mngn n Constntnole Te verses l on te teness of te mrble; one old eect ss te oet tt te snts con tennce be robst nd red bt ere t s not. He sys of ts stone mryr tt: If e d  d n rddness rddness of es ts becme le sno nd s fond to be te set   vng been sed ot by  mrtrs set A slr stress on qultes o movement vtlness nd robstness s fond n egrs devoted to mges of te to Snts Teodore A tycl emle s

aa Chuch Chuch  S Gee Gee    he  aa Mua ec S Gee

67 Vece S Mac ae ee S. Deei

tis po on an icon of Todor h Gnral wic s attributd to t wlftcnur wlftcnur wri oor Prodroos T aryr is living; do you no s how h watcs If you look ou will sa at  vn brandishs is spar us t paintr paints t Gnral 3 A pom po m b anul anul Pls sking s king o charactriz charactriz portrai portraits ts of  wo odors in ir aror turns to t classical iagr of rculs Th pigra was co nssiond o Pils b Thodor Konnos Palaiologos h youngr son of t mpror ical VIII, o b inscribd upon an icon Altoug Todor Palaiologos  namsak of h sains onl comissiond t po and  icon icon in t vrss  spaks bo as auhor of t on and as artis of t or I paintd  campions armd so tat Satan Sa tan ubl ubld d a urn his back and a no assault us bolly ot vn rculs" y say is a ach for wo spciall wn  ar riupan vn ovr fvris a and volls

CHAPR

2

But I, bearng ther beautl name, reoce and have condence n every battle. For I seem to see them lvng everyhere,  whom I have engraved as solders even n my heart hea rt Thereore let every enemy, seen or unseen, dscard ther shelds and ee the noble (par) as  they were re. For Chrst strengthens them mystcally For the battles that have been drawn up aganst us Theodore Palaologos [wrote] ths 44 The two armed sants, thereore, whon whon not even Hercles would be able to over come, brought courage to the donor n hs daly concts, both aganst hs vsble  human enemes and aganst the nvsble legons o demons In suary suary,, the solder solder sants n Byzantne Byzantne art had ha d to look strong, sold, and a nd hys cally actve  they were to nsre condence n the beholder. Perhas t was o this reason that survving rele cons o mltary sants, carved in both stone and wood, are relatvely coon (g 67), whle there are very ew rele cons o ascetcs such as monks or bshops The latter classes o sants had natures that were thned out and nsubstantal, nsubstantal, and or them rele rel e carvng was not a sutable sutable medum medum BSHOPS

Lke the monastc sants, the holy bshops also were eected by Byzantne vew ers to sho qualtes o dsembodment and materalty n ther mages. uch an epectaton s clearly epressed by three poems attrbuted to Manuel hes,  whch were wrtten to accompany accomp any cons o ant John Chrysostom. They are all al l varatons on the same theme, namely the ascetc bshos lack o materal sub stance. The poems may be compared to a amous contemporary mage o the sant, the earlyourteenthcentury mosac con now n the Byzantne collecton a umbarton Oaks (g 2 3 )  The three epgrams are as ollows 0 panter, your hand has anted the shadow o a shadow

For the ody o the Chrysostomos was a hado hadow, w, thnned out om astng as  t were eshless, and ths s a wonder, how you pant the shadow o a shadow. 45 There s no sotness and weght weght o luury n you, ahe ahe nor s there any ecess ecess o body, body, water, or esh

 O R P O R A  I T  A N D I M M AT E R I A  I T 

9

For yo av tind ot pysical ticss and svrly stripd it don it a ars rgimn.  Li a living nstrmnt nd  spig lilss sll yo r accratly son tin and pal bot living and dad and paintd yo to om it bll to b t goldn motpic [ Cy Cym] m] o Crist. Cris t.  Hr t langag is t opposit o t words sd by Pils to dscrib t soldir saints; t bisop is al" ot rd";  is lilss" as ll as livig".  poms ar a prct complmt o t portrait in t mosaic icon hic is still rotal and odimnsional (g 2 3   Oly  small gst o spc mad by t rigt and d t modling o t orad int at movmnt and sbstanc.  it vstmts o t biso it tir blac crosss compltly ito orsortning attn t gr and ndo it it s trity and pallor  may not ovr tt t rst to lins o t rst pom by Pils on Jo Crysostom ar almost idntical it t opning o his pom on an imag o Saint Mary o Egypt  0 Paintr yor and as aintd t sado o a sado or t body o t Egyptian oman was a sado" O t othr nd t corrsonding imags in rt r qi di rt For Sait Mary o Egypt o as rprstd al ad in art Byzanti paitrs mployd t mor ralistic gr typ o a maciatd body it mattd air and sltal limbs (g 26) For t bisop saint y sd a clotd gr tat as mor abstractd a rontal imag attd ad draid o li li a sll.  s o idnticl ords by Manl Pils to dscrib t to cagoris o imag dos ot man tat  as an nivtiv pot; ratr it sos tt tt t to portraits t ralistic and t abstractd abstractd ad ssntially t sam mssg namly to convy t ida o ascicism and t strippig do o t s Among t otr bisop saits Basil t Grat as also singld ot or th asctic apparanc o is portraits A anonymos pom rom a collction com osd at t trn o t nint to t tt cntry addrsss an icon o tis sait  wit  wi t a amliar mtapor Evn t sado o yor s 0 Basil  spas  wil bing bi ng silnt sil nt ad ad addrsss admonismts. admonismts .9 9 s s  vrss vr ss c c  b com com  pard it t som som ltr miniatr o t sint i th nlgum o asil I I (g. 20), ic sos t bisop standing straigt and svr bor  li o colmns tat rc is rctitd.

8o

CHAPTER



69 Ohd atal Mueu pael pat pat Cu  Cht

6 8  Mut Ath Matey  the Geat Geat Lava Lava ai  St Jh the Thelia Thelia

As i he case o oh Chrysostom the poems o Sait Basil also reerred to the ascetic pallor o the sait I the eleveth cetry, or example, oh Maropos described a paitig o him as ollows A certai agst pallor om selcotrol  bets the wise teacher" The same athor addressed aother poem to a ico o oh Chrysostom i which he described the sait as weakvoiced rom astig." Thus whereas the soldier saits were see as vigorous rddy ad strog the bishops were viewed as pale ad physically weak; their sregh was o a imaterial kid. A P O S T   S A  D E VA  G E   S T S

I the oastery o the Great Lavra o Mot Athos there is aother osaic ico o the ealy orteeth cetry cetr y, which which diers strikigly om om that o oh Chrysostom (gs 3, 68) This work which portrays oh the Theologi Theologia a holdig holdig his book ad his pe irodces s to the dametal logic tha lay behid the ormal

C O R P O  A  I T  A  D I M M AT E  I A  I T 

8r

70 Jerae Greek ararha ararha Lirary MS Taph Taph 4 . .   3  (e Teaen S Jhn

dsncons beween deen classes of san n yzanne a Unlke San ohn hysosom and he ohe bshop sans depced by yzanne ass o he Theologan has a wellounded body wh caelly modeled dapey folds He s uned o he lef n a hunched pose wh hs gh hand ben fowad i an awk  wad posue unde hs cn hs demeano s vey dffeen om he onaly and saghbacked gdy of San ohn hysosom The posue of ohn he The ologan s a efeence o hs ole a he CucXon of hs n yzanne Cuc Xon scenes such as a s an ealyfoueenhce ealyfoueenhcenuy nuy con om Ohd g 6) 6) a younge San o was coonly shown wh hs head bowed n soow and hs gh hand ased and cooked unde hs chn n a gesue of weepng Thus n he mosac con even as he wes hs ospel ohn echoes hs pacpaon n he cu cal even of Cs's Cs's eay lfe lfe Poayals of San ohn sa o he  he mosac con n he ea Lava wee smemes paned as onspeces n Byzanne manu scps conanng he Epsles Fo eample hee s a panng of he evangels n a

CH A ER 

 1  Ohid Ohid  Chuh C huh    phia  phia  e in he he aul aul ve ve he he anuay anuay Aenin  Chi

slaly hunchd pos n a lawlfhcnury copy of h w Tsamn now n Jrusalm (g 70) 70) Th po Manul Phls Phls wro wro  a pom p om o accompany such a mnaur Hs pgram bars h l: On h mag [o S John] s n h s ls" and  bgns Th son of Zbd s bn o h ground  for h carrs on hs shouldrs h yok of h Lord"5 I s hrfor as f h pos of San John carrs h wgh of h crossbar of Cs's dah From hs xaml  can b sn ha h formal dsncon bwn h wo grous bshops and aposs man mor han  dffrnc bwn ascc and nonascc sans I was also a sgn ha  aposls had parcpad n h hsorcal vns of Chrs's lf on ar h ha s hy bar wnss o hs ncarnaon hn John ofDamascus wro mages h sad of h aposls ha hy saw Chrs cororally boh hs ease on mag hs suff suffrngs rngs and hs racls and hy hy hard s word wordss     Thy sa sav hm fac fac o fac ac  bcaus h was prsn n h body body55 3 Lk h ascc monks h aposls wr somms juxaposd wh angls n Byzann ar ar  bu b u wh wh a vw o  o mphasz mphaszng ng hr hr corporal corporaly y no hr a a raly raly On of h mos srkng conrass of hs knd can b sn n h sancu ary of h Church of S Sopha a Ohrd whch was dcorad n h lvnh

COR PO R AI T AD IMMATERIA IT

 Ohrd Church  S Spa rec in he aul er he ancuary uh ide Aple r he Acenin and anel in adrain

 3  Ohrd Church  S Spa re rec c in he aul er he ancuary nrh ide Ape r he Acenin and anel in adrain

CHAPTER

2

cery Here here s a large pang of he Asceson of Chrs hc covers he barrel val over he sacary he ascedg Chrs s sho nhroed  a areole of lgh bore p by agels a he cer of h coposo hle he aposles ad he Vrg are raged alog each sd g 7 r Belo he fee of he aposles o ehr sde of he val here s a le of keelg agls all facg o he eas oard he mage of he Vrgn ad Chld ha appears n he apse gs 72  72  7) I hese escoes all h porrayals of agels are govrned by src prc ples of rpon and blaeral syry Beeah he aposles each heavely beg beds o oe kee  a vrally decal posr of adoraon Frher ore all he angels  h Asceso scene abov are symercally posed; eve he agels ho address he achg aposls are rror ags of each oher g 7 r   I conras he posres of he essg aposles hav been coscosly ar ed: soe ar sen om he fro soe om he sde ad ohers o he back some srd oard he ascedg Chrs ad ohers sep aay; so po h her rgh hands ohers sheld hr eyes o he lgh ad ye aoher psvely oches hs ch gs 72 7) Ths he ars plays p he rasory ad earhly varey var ey of he aposles movees movees conrasg h o he rp r peaed eaed poses of he agels ho are ed  eral heavely reverce e have seen ha  he pangs  he cell of eophyos he effec o h coparson as he reverse ha s  he asceso of he ascec ok he agels shoed oveme ad lf l fe hle he sa as rgd ad dseboded g 2) he raonal for hs foral dsnco beeen agels ad aposles ca be fod  a sero coposed  he lae nh cry by he leared peror Leo VI for he dedcao of a chrch by hs faherla Sylas Zaozas Descrb g h osacs  hs chrch Lo coass he ages  he doe here he agel bgs srrod hrs as s msrs ad  ages  he loer par of he chrch ch rch hch depc he eves of h carao hrogh he esh" Aog he laer he observs a vvd porrayal of he Ascenso Her Chs ca be see ascedg h hs hma are" o have hle hs dscples are sadng here fashod h sch lflke characer by he paer ha hey see deed o be sezed sez ed by he varos var os eoos o lvng lv ng persos Oe of he gves gves he mpres mpres so o follog he ascedg Chrs] wh hs eyes; aohr s see o be all ears aepg o capre he eag ea g of he ord ordss ha h a are ered ered above above    ; aoher s pesve becase of hs asshen anoher s lled vh oderen ad fear" Lfe eoos ovee all of hes er fares ha were avoded  porrayals of ascec sas as e have see B for he aposles hey ere desrable becas hese sas essed he earhly lfe o Chrs

 O R P O R A  I T  A N D  M M AT E R I A L I T

8

We have obseved that in Byzantine at some of the ost stongly theediensional diensional iages of saints saints ae those of the evangelist evang elistss Anothe Anothe epiga attibat tibuted to Manuel Philes specically associates the copoeal fom of an evangelist ith the incanation of his The poem is one of a set addessed to paintings of the evangelists seated and accompanied by thei beasts," o symbols Saint Matthe ith Matthe  ith the inged inged man Saint Ma ith the lion, Saint Lue ith the cal and Saint John vith the eagle It is pobable that Philes ote these epigams to go ith illuinations in a manuscipt   Although he boo fo vhich he intended the poes does not suvive, i ay have been simila to a suviving ospel boo of the fouteenth centuy in Pais (Bibliohque ationale, ms g 6),), hich contains a set of epigas on o n the evangelists and thei symbols   The  6 closest suviving countepats of the illunations descibed by Philes ae fou evangelist poaits added in the fouteenth cenuy o a tenthcentuy Gospel boo no in e Megaspelaion Monasey Hee each autho is shon seated as he ites ith his sybol peched above his lecten Figue 74 illustates the potait of Matthe ho is accompanied by his anthopomophic symbol of the inged man, hich esembles an angel The poem that Philes ote fo the mniatue of Matthe beas the title On his [ie Matthes] anthopoophic symbol" and it eads Since you do not possess the eshless naue of angels you bea the fom of a esy evangelist not because the angels have something highe but because you ite fo us the incanate Wod Hee Phies is aing a contast beteen Matthe and his symbol Lie Byzandepicted he apostles he uses the image of the angel as a s a foil to tine paintes ho depicted emphasize he copoality of the evangelist He says that the iting evangelist beas a eshy fom not the eshless appeaance of an angel, because i as as a man that he evangelist boe itness to the incanation In this poem e ae given the eason fo the stongly theedimensional evangelist potaits such as those in he Stauoniita ospels ih thei deep spaial settings (g 8 The evangelists ho announce the incanation above all othe saints belong to the mate mat eial ial od of the th e esh esh  In conclusion the apostles and the evangelists ee depicted depicted in a moe copoeal manne in a because they boe itness to Chist in his human natue But holy bishops and deacons, as ell as monastic saints ee not copletely subect to the las of physical natue These saints to quote agai om the epigam on the icon

86

CHA PTE R 

Measpelaon Monasery, Monasery, M   fol v (Gopel ook Mahe 74  Measpelaon aopaed y h anhopooph anh opooph  yol (elo and he ay (aove (aove

C O R P O R   I   A N D I M M A E R I   I  

of ant tepen ad a nature aove nature Tus paradoxicaly te apostes  ere depcted as ore corporea ecause tey partcipated partcipated in i n te ife ife of rst as a man te onks and te oly cergy ere dseoded ecase tey d a speca coseness t Crst rs t as God aceved aceved y ter sefdeni sefdenia a and ascetics ascetics.. HE VIRIN

In Byantine art en te irgn s accopanied y oter saints se often appears appea rs ore y modeed modeed tan tey t ey and especialy especialy sos so s ore ove oveen entt and emoton e aso appears very frequently in reef icons of stone and ood a medum n ic as e ave seen ascetic saints ere very rarey portrayed Te ogc s apparent te ediaton of te irgin is effectve on account of er uanty e is te moter of Crst and as a specia coseness to i Te uan onds eteen Crist and is moter ere seen y Byantine veers as a guarantee gu arantee of te strengt strengt of er intercession on o n teir t eir el£ el£ 9 Tis idea is stted expressy y one of te poes of Manuel Pies c descres an ico of Crst t te rgn at te srine of te Pege outside Constantnope: Te Lord stands sienty ere lstenng lste nng to te ord ordss of o f te rgn rgn Do tou y so seeng te expression of affection eceve eceve te pedges pedges of savaton Te icon descred y Manue Pes ay ave resemed a osac in te nner nartex of te Kariye Cai c sos Crist standng esde te rgn  o   o eseeces eseec es i t t  open op en ands and a face expressive of tender eoto e otonn (g   At ter feet are te to supplants on ealf of o se addresses er appea Isaac Koenos Koenos and Meane te Nun. But f t as te ond of uman feeing tat gave poer poer to te t e ntercession ntercessi on of te rgn n te case of te ascetc ascet c sants t as te oposite; ter prayer as e ave seen as effectve precisey ecause tey ad a d overc overco oee uan  uan needs and feelngs feelngs Te rgin Mary M ary as  as ce erated for for er oterood and er_ ond it er son son  ut ve ave seen tat te ascetc nun Teodor as prised for conquering er feengs for er daugter so tat se gave no tougt to ter reationsp Te dstncton eeen te rgin and oter sants as expressed in al periods ofByantne art from te st century to te ftent It may e seen aready i te faous sxtcetry icon of te irgin entroned eteen to standng sants tat s preserved n te olecton at Mount inai (g 3 Typcaly for te

8

HAPTER 

7 Itanul aye Ca a Cht and the V wth Iaa nen and Melane the u

early eriod er iod oe oe o he sais sais is ideied ideied by a iscriio iscriio The oe o e o he le le is almos ceraily Sai Theodore whose orrai ye was relaively ell esablished by his ime alhough here was o ye he disicio bewee Theodore he eeal ad Theodore he Recrui. The sai o he righ curlyhaired ad ubearded bears he orrai ye o Sai eorge These o soldiers sad i oal oses alhough heir e legs are very slighl be causig a sligh raisig o he le heel ad a shadow uder he le kee Their eyes hoever sare edly o he o The irgi i comariso, dislays much more oio; her eyes are urd markedly o he righ ad she sis wih oe kee raised higher a he oher as she suors he Chris Child on her la A sowha laer iage o he irgi accoaied by Sai Theodore he Recrui ecr ui is reserved r eserved aong he he mosaics i he church o S S  Demerios a Thessaloniki (g 3 7) The dae o his ael which we have already ecouered i he rs chaer is coroversial i may belog o he seveh ceury or o he ihceur eriod aer he resoraio o images ollowig ollowig icooclas icooclasm m I he mosaic here is a sark  uaosi uaosiio io o Sai Theodore Theodore o he righ who is i a symerical ad coleely oal ose wih his wo alms raised i rayer ad

ORPOR IT AD MMAER IAI

e Virgi  e let  sads i treeqarer vie as se medaes beee e vieer ad Cris appearig i eave abve erea e sace  Tere is cmpletely miless e Virgi is depiced i te act  rig r er  ee are see ally acig e ieer ile e pper part  er bdy is mvig  e rig ard Tedre ad Crist O er scrll is rite er reqest  beal  e siper Spplicati Lrd G arke t te vice  my prayer r  pry r e rld.  aditi t te dierees i e pses  te  sais tere is a disici i e mdelig  e gres Te ace  Sai Tedre ss litle saig i cras t at  te irgi ad e pleas  is clak are simply reaed by black erical lies ile e irgis rbe is me delicately igliged it yell stripes. Te cras eee te  saits i tis msaic emsrates e relativiy  te cmpariss mae by yzaie riss beee e sais. t  as a biary bia ry sysem i  h e sigs ere  ivariably ivariabl y xed b acqir acq ired ed eir rms ad teir meaigs ly i pairs  psiis Te sldier sait Tedre as e ae see as gie sbsace ad mveme i ctrast  mks b i ctras  e irgi e appears rigid ad tdimesial  eve mre strikig isici ca be bserved beee e  dedicati pages  e tecery Bible  Le e Paricia ic is  i e Vaica Library O te rs age Le a ec is s erig e bk ta e as cmissied  e irgi  gai meiaes beee im ad Cris g 76) Te epigram a mes is iiare  ll r sies expresses Les  is a te gi  tis Bible ill il l icrease is caces c aces  salati sal ati  make my gd bt mle erig t  ai ly tis b  Gd  it e Mer  gae bir b ir  e Mter  G G   .  i reqital r e idictmets agais me  e paiig te Virgi makes gestres  acceptace leaig d  er rig side t ackledge er spplia ile a e same ime raisig er l a pards  Cris i eae Aer isrpi a e p  e age reads Te allly Mte  Gd i Cris eceivig te bk m Le prepsits paricia ad sakellaris"3  ter ds e image prvides reassrace  te dr ta is gi is acceped O e acig page  e mascript is ater dedicary miiare g. 77 is e sig Sai Niclas ake by by  keelig spias  are ar e ideied by by iscriptis i scriptis as a s e abb Makar  te let ad as Les brer Csaie  te rigt t ca rer

CH AP TER 2

Rome Vatican Library MS Reg gr B , B , fol. fol. 2v (ible (ible of Leo the Patrician) Patrician):: The Virgi Virgin n receiving the ook  ook from from Leo

76.

 O R P O R A  I T  A  D I M AT E R I    T 

I

77. Re Re Vatan Vatan Lba Lbay y MS Re Re r  B  f f 3  be fe the Pat Patan an St ha ha eevn the uppatn f the abbt Maka and Cntantne the proosphros

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 A PE R 

b dducd om t nscrptons tat onstantn as t dcasd oundr o t monastry or c Lo ad commssond t Bl. T pom tat runs around th mnatur rcords t prayr o t to supplants to Sant colas Vctory o t popl or ckd malc on .   and th l sprts, gv [ts] o lssd on. dspnsng to bot grac, to t on strngth, to t otr rsson o hs dts tratr  In contrast to t rgn, t mag o Sant colas tat accompans ths prayr s compltly dsngagd om t knlng gurs at s t. Wl t sant dos mak a gstur o spch t hs rght hand, n othr rspcts h dos not acknoldg t prsnc o Makar and onstantn at all Hs mag oats stragt and unndng bhind tm, a spctr n t vstmnts, drand o l and sustac t may hav bn t spcal rsponsv caractr o mags o t Vrgn, n comparson to tos o othr sants, tat ga rs to lgnds rcountd n t sants Lvs o t Vrgn racng out o r mags and, as t r, comng to l For xampl, n t L o Antony t Youngr, th monk o t mdnnth cntury,  rad tat this sant rpatdly pttond an con o t Vrgn on bhal o hs protg pr otg Ptronas H gan gan s prayr as ollo ollos s My M y lady lady,, compassonat on, o olds od, t Word, your son, n your matrnal arms, rcv my ntraty and rng t bor your son and od ant Anthony rcvd conrmaton o th accptanc o s prayr n a miraculous ason On gt, as h [t sant] stood or tat holy con, strtcng out s ands, t mag o t Motr o od nt toards hm and toucd s hands. d t [t con] as rstord agan to ts ormr apparanc Hr, tn, t Byantn wr o an con o t Vrgn lookd to t human ond btn mothr and son as a support or h ntrcsson on hs hal h as rwardd y th con comng to l, so tat t dsplayd n actualty th movmnt and ntracton tat h ad xpctd xpctd to s n  n th mag mag A mor dramatc ntrvnton by an con o t Vrgn s rcordd n th ographs o Sant Jon o D amascus Accordng Accordng to t vrson wrttn by John Mrkouropoulos, a twltcntury patrarc o Jrusalm, Sant Jon ad hs arm cut o by t rulr o Damascus, wo ad accusd im o trason Atr th amputaton,  cam nto a chapl and prayd bor a dvn con barng t ac o th Motr o od H tn ll aslp and sa  s dram t con o t Vrgn tllng m tat h as hald; n h ok up, s srd arm as

CORPORATY AD ATERALTY

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totally stod T o akabl pat of t toy s tat accodng to Moopolos Jon's adoptd bot osas sa t p o t con stppng dovn fo t ood and cng t slpng sant Mkouopoulo add tat t panl tslf and a dpvd of t ag. Ts T s ags of t gn gn fqntly fqntly    gvn a g g dg dg  of copoalcopoalty and ovnt tan tos of ot sants In  cons t Byzantn v sogt oton oton and sponsvnss and t atsts spondd t fos ta atcd t v's pctaton. Ts fos  not altc n ou sns of t od but y  sufcnt to claly dn t gn's ol n laton to t ols of ot sants. T v' agnaton could do t st COCSIO

By ay of say t  usfl to look o closly at n t onasty Cc of Hoo Loukas fo  t foal logc t potayal of sants n Byzantn at s pssd t patcula claty T logc s cla pcsly bcaus t ovall styl of ts osacs s latvly unclasscal and scatc ts t dstnctons a dan o aply T ags n t cuc constct a acy of ntcsson tat bgan t t otal an of Holy Luk t onasty's found t aclous docto and t cnt of a alng clt  Hs lcs and t oly ol assocatd t t okd any aculous cu ty  oud n a pcal n placd und an ac t nto t ast  all of t not no tnn a o t cc (und (und t gtand ac n gu 78 Oppost t lcs n t osac on t st all of t non a t ant slf ass s to and n pay (gs 6o 78  l abov t lcs l cs facng t pota of Holy Luk t gn olds  Cld n  a (g 8 7 9  On could agn tat upplants o  sck ould addss t pay to t ag of Holy Holy Lk L k folo olon ngg t t  logc p  pd d n t t  bogap bogapyy of o f anot sant Ncolas Ncolas of of Son Fat God God ltns at at  to you Yo Yo pay fo u T pays of Holy Luk  d ffctv bcaus of s spcal closnss to God a closnss on y actcs and pd y t foal caacttc of s ag \g   Hs otat  lost  tly ontal t s a akd latal yty gong all act f t con o t postons of t upad and to t adatng fold of t cloak. Only n t dcton of t ant' y tnd to t lft toad t cnt of t cuc  t a nt of ovnt T pays of t local an on alf of t v  datd by t gn  os ag appa app a oppot (g. 7 9 . S s son accodng to t typ of t

94

C HA P T ER 2

78. Hosos Hoso s Loukas, Katholikon Katholikon east side of the north north arm: Shrne Shrne of St. Luke of S tiris

C O R P O R A  I T  A N D I M M AT E R I A  I T 

5

79 Hi Hi  Luka hlikn hli kn aic bve he hine hine  S. Luke Luke Viin Viin and Cild

. Hi Luk ahlikn aic n he vul ve he nh  Chi ih he Achanel Achanel Michel and Gbiel nd S. Jae he Bhe  he Ld

C PT ER



odegetria that is unlike oly Luke she is in motion cradling Christ and turning to him inclining her head and looking upon her child. This dmonstration o aternal closeness proes the eectieness o an intercession which in her case comes not om emotional emotional distance distance but b ut rom eotional attachent. At the top o hierarchy on the east side o o  the ault directly di rectly aboe aboe the mosaic mos aic o the Virgin the hierarchy is a hallength hallength portrayal portrayal o Christ in a edallion edalli on anked by by his heaen h eaenly ly court o  archangls archangls (g. (g. 8o ; here then i s seen se en the ultimate ultimate recipient o th e pray prayer erss . The saint sain t in the medallion on the west side o the ault immediatel immediatelyy abo ab oee oly Luke Luke  also has a special signicance in this contet or he is James the rother o the Lord who was inoked especially in prayers or the sick. is presnce in this contet is a re r eernc ernc to the Epist Ep istle le o ames 5    -    s anyone aong you in trouble ?  .  e should send or or the elders o o  the congregation to pray pra y oer oer him him and anoint hi with oil in the nae o the Lord. Th prayer oered in aith wl sae the sick a a  the Lord will will raise hi om his bed and any sins sins he ma mayy hae comitte ittedd wi will be o orgien . . . . A good ans prayer is powerl and and e e ecti ec tiee . " At the shrine o the saint thereore oly Luke and the Virgin intercede with Christ on behal be hal o the th e suppliant each bearing th e ormal ormal signs o a distinct status s tatus that renders their interention eectie. Th portrait o oly Luke attened rontal and motionless resembles the osaics o te other onastic saints who are reprsented on th walls and arches o  this chuch (compare Saint Nikon in gur 3 and Saint Theodore o Stoudios in gur  ) But the indidual portraits o the aposles on the arches between the aults i the narthe are quite dierent. As can be seen o the osaic o Saint Paul (g. 8    they they are show shown n in threequart threequarter er iew iew i n otion. Their gargarents are less syetrical han those o the onks conorng to the moeent o the body. The ocus o the apostles' motion is Chist whose iage appears aboe the central doorway leading om the narthe into the nae the apostls are depicted in th action o turning oward their mastr. At the sae ti thy are integrated into the historical scenes o Christs li which are depicted between the in the niches o the narthe. Thus the portrait o Thomas anks the mosaic n the southern niche in which he is shown again putting his nger into the wound in Christs side (g. 8. The apostle porraits proe s it. i t. her bear witness to the incarnation and thei  ormal character proes These distinctions go eyond the abstractions o theology because they also concern conc ern he ractical nctions  iages in i n society. soc iety. Praye Prayerr to Christ Chris t was e eecti ec ti on account o the esag o redeption and salation brought by th incarnation and especially by the ability o Christ to sympathize with human troubles

CORPO RA LITY AND

8 I.

IMMATERIALITY

Hosios Loukas, Katholikon mosaic in the narthex: St. Paul

97

C H A PT ER 

 Hi Luka ahikn ai in he nahex S. Tha and he Dubin 

ha

and weakness and o be moed by he pleas o hose mos near and dear o him such as e irgin Since i was desirable o hae images in curc wich reinorced ha idea ose classes o sains who mos closely paricipaed in and bore winess o Criss lie on earh in paricular he apostles and he eangeliss were endowed wih an appropriae degree o moemen and corporaliy. Aoe all ariss souh o disinguis he humani o he Virgin and he emoie ies ha bound er o her son Bu in he ase o monasic and clerical sains i was no heir umanty ha made em eecie as helpers bu heir human qualiies Accordingly eir images were caracerized by relaie immobiliy and lac o subsance whic proed a ey were nearer han ordinary morals o God; hey ad psba, a special closeness ad inimacy wih Chris won no hrough hrough ies o kinshi kinshipp or early early associaion as was he case wih Chris's co n emporaries bu hrough eir passionless way o lie In ncional erms eir disembodimen was a like a badge b adge a sign o o  heir sp sp ecial saus  Te orma ormall qualqual iies o heir imageshe imagesheir ir aness  eir symm symme ery ry and heir rigidiyw rigidiywer eree no b u were an imporan par o heir message more impor imporan an incidenal eaures bu een een han iconographic eaures such as cosume or gesure I was no oly

CORPR ALI AND I AERIAI

99

Lukes onastic habit that caused hi to heal nor een his gesture o prayer tere were plenty o prayin prayingg monks who were not no t helers. ther it i t was is is spe cial status as a holy man that enabled Luke to cure peole and tis status was dened by the oral eatures o his portrait in relation to other images in the sae church. his is what gae to his icon its special pwer in the eyes o the yzantine beholder The ormal qualities o te portraitits bilater  symetry its rontal rontality ity its lack o modelingar modelingaree not n ot simply to be seen s een as the generic ode od e o icons on the contrary they indicate that this was a particular type o holy iage iage  one that that occupied oc cupied a particular place place within a logical logical system o isual com c om unication and sered particular social needs. Fro te perspectie o twentiethcentury iewers yzantine art cobines eleents tat we would call schematic or abstract with tose that e would call ilusionistic. To our perception the latter elements appear more realistic" than the orer. ut to yzantine iewers both modes o representation ere equally true tolie tolie  Just Just as we do toda to day y they saw the twin aspects o yzantine art but they considered both o them to be real and responded t them accordingly Their world as both material and imaterial one in wich saints could be not only strong enoug to be copared to ercules but also insbstantial enouh to leitate teseles and make themseles inisible The yzantine saints coud be bent with emotion or rigid and passionless like colus o stone The art o yzantiu eokes eokes all al l o these realities .

3 MG  D D V V  UL  Y

E SAN 'S AGE BEFOR E AND AFE CON OCAS 

n he last two two chapters we hae hae seen se en that ater ater the nint nint century yzantine artists a rtists always dened each saint closely both as a eber o a category and as an indiidual. The category to whic a saint belonged was indicated by his or her costue attributes and oral characteristics. As an indiidual the saint was dened alost inariably by an inscription giing the nae oten by the portrait type and occasionally by an attribute n this chapter we consider the origins and causes o this posticonocla po sticonoclastic stic syste o portraitu por traiture re and suggest soe reasons or its deelopent. The essential purpose o the portraiture syste vas recognition which was required by the theory o th icon. This theory had been deeloped in resonse to the th e iconocla ico noclastic stic contr contro oer ersy sy o the eighth eighth and ninth ninth centuries which which ha d deonstrated that the church needed to exert a greater control oer access to the supernatural through iages The question o how people were to ake contact with supernatural powers was partly linked to yzantine ideas about the operation o deonic eil and and about the ways ways in which iages iages could be used to t o cobat it. ecause e cause the yzant yzantines ines belieed belieed that all all kinds kinds ophysical ophysical isortune isortuness could be caused by deons otiated by eny who were peritted by God to wreak their ischie in order to tst or to punish huans there were two possibile reedies. First there was a short and or the ost part unocial route which engaged directly with the deons and bocked their work; work; this ght be caled ca led a sypoatic treatent o the physical probles. Second there was an indirect but ocially sanctioned route vhich appealed or relie to God through his interediaries the church on earth and the saints in heaen; this was a treatent which engaged ith the underlying spiritual context o the isortune and addressed the health o the spplicants soul. s a eans o access acces s to the supernatsup ernatural iages played an iportant part in each ype o reedy but their ors vere adapted to t the intended route whether direct or indirect. n this chapter we ll rs t high highlig light ht the th e changes that took too k place in i n the th e portrayportrayals o the saints saints between the eary eary centuries centur ies of yzantiu yzantiu  and and the perio p erio  ater ater iconoclas. iconocla s. Then we vi villll consider co nsider the proble o o  deoni deonicc eny as a background to yzantine conceptions o the nctioning o iages in the iaterial world.

I

oo

NA M I N G A N D I N D    D U A L  T Y



Following th discussi dis cussion on of ny w will look loo k at th mploymnt mploymnt of portraits port raits f th sain a dirct rmdis gainst dmons  spcially in th domstic arts of th arly priod Finally, w will s how posticonoclastic imags of th saints wr dsignd to work indirctly by th intrcssion of th dpictd intrmdiars with God, so that th for of th icons thmsls changd to match th prcid ways in which th imags wr nctioning for iconoclasm thr was gratr ambiguity; thr wr fwr consistnt portrait typs nd quntly saints in art wr not accompanid by inscriptions Furthrmor in th arly Byzantin p riod it as not uncoon to nd two or mor idnticl portrayals of th sam saint in th sam contt, such as on a dish or a pic pi c of clothing, or n n within a singl coission of imgs in  church tr th iconoclastic controrsy such rptition of th saints imags was gnrlly aoidd. Thr might b h rptisimlrr imags imags in on ontt ont t but th icons icon s wr wr rarly rarly idntil idntil  tion of siml Th followig sris ofjutapositions ofjutapositions highlights th changs that took plac in th ways that saints wr incorporatd into th dcoration of both churchs and smallr smallrscal sca l art obj obj cts c ts  may for for m mpl, pl , contrast contrast th sith and snthcntury mosaics mosaics of th Church of St .  D Dm mtrios in Thssaloniki Thssaloniki with thos of th lnth cntury in th pilgrimag Church of osios Loukas. W ha alrady sn s n that many of th imags in th arlir church wr wr not idntid id ntid by inscripinsc riptions (gs. 3 4 , 3 6 37 whras all th imags in th latr building wr namd (gs. 3    6,  8  9 , 3 0 38 3 9 , 6o 7 98. h two churchs also display dfrnt attituds towrd rptition Th Church of St. Dmtrios is unlik any suriing posticonoclastic church with mosaics It is dcoratd with a sris of ex vt imags of th patron saint which wr gin by indiiduals in chang for his fors Saint Dmtrios was portrayd t last tn tims in th mosaics and probably mor quntly, sinc our knowldg of th originl dcoration of th church is only frgmntary En within  singl ex vt coission th saints portrait ight b rpatd sral tims For ampl on th all of th innr north aisl of th church, thr was a squnc of mosaics dating to to th sith cntury hich wr ll mad as part of on donation for th bnt of a child namd aria (gs 838 This cycl of scns which is now lost but known om draings, shows a thrfold prsnttion of th girl to th saint at diffrnt tims in hr lif Prsumably th mosaics wr gin by hr parnts, who, as may b dducd by an inscription undr th last scn wr asking for som faor on hr bhal£ In th rst of th scns,  woman prsnts aria as a child in arms to Saint Dmtros, ho is portrayd satd in ont of his shrin in th church (g.  3   In th scond s cond scn th child now walking but still an infant infant of offfrs candls candls

0

8 3 Thessalonki St Demetrios mosaic Presentation o Maria to St Demetrios

CHPTER

3

84 Thessaloki St Demetrios mosaic Maria oering candles to St Demetrios

to a stadig image of Sait Demetrios that is set i ot of a curtai, perhaps represtig th itrior of his church g 84 I the ast sce, the chid o iggr, offers doves to the sait who is shov stadig i a gard g. 85). Whie the ag ag  of o f the chid i s diff differt i each scee , ad each settig sett ig diff differs, i every case the foca foca poit of o f the compositio is a ota portrait of the sait. By cotrast, at Hosios Louas, as  a other posticoocastic churches decorated wit mosaics, the portraits of the patro sait ere far feer, ad they ere icorporated ito a sige coheret program of images comprisig oth arrative scees ad portrait icos of other saits Hoy Lu occurs oy oc  the extesive program of mosaics i the mai church g o) eig sho, as e have see, directy opposite the shrie that hed his reics g. 78 Athough three aditoa portraits of the sait ca e foud amog the wa paitigs of  the susidiary orthw orthwest est chape ad of the crypt, ther ca c a e o dout that the moasterys fouder, ad the wesprig of its heaig cut, payed a much more coed coed roe i i the art of his chrch tha did Sait Demtrios Demtrios at Thessaoii. Thessaoi i.  Cotrastig attitudes toward ag ad repetitio ca aso e foud i the maufactre of ceramic ties for th decoratio of churches durig the eary ad ater Byzatie periods. A umer of sixthcetury tis earig Christia s j ects, ec ts, idig idig saits, have have ee foud foud i North Aica Thse Ths e ties ere prdcd prdc d i mos, with the rsut that the same dsig was reeated severa times ovr, ot

N A   N G A N D   D    D UA L  T Y

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8 Thessaloiki, St Demetrios, mosaic Maria oerig does to St Demetrios

oy o separate ties, t sometimes eve o the same tie For exampe, the tile sho  gre 8, 8 , hich as fod fod at oFicha i i  Tsia, repeats to idetica ideti ca Athogh there are o iscriptio, the sj sj ect ca e recogized recogi zed reiefs reiefs side y side Athogh as the Virgi ethroed with the Christ Child o her ap. A siar tie, portrag the Virgi ad Chid, as fod at the asica Chrch ofDermech i Carthage chitectra ties decorated ith reigios sjects ere aso prodced i Byzatim after icoocasm, especiay drig the teth ad eeveth cetries, t o there was the importat differece that the desigs were paited, ot prodced y mods Therefore, it wod have ee difct for the post-icoo castic artists to reprodce exacty the same desig o separate ties, for the tech iqe of had paitig der gaze did ot ecorage exact repetitio The teth- ad eevetcet eevetcetry ry ties ties seem se em to have have ee e e made made p p ito sets, with with each e ach set presetig a gaery of differet saits There is o evidece that idivida saits were repeated i ay o e cotext. cotex t. Moreov Moreover, er, i the posticoocastic p eriod erio d each sait as amed y a iscriptio, as ca e see i the paited tie is trated i gre 8  , which came origiay om the regio of Costatiope. Here the Virgi was idetied as Mtr Theo, or Mother of God Te eed to dee ad to ame that differetiates post-icoocastic Byzatie portraitre om earier practice is apparet i every every medim ad type of o f oje oject ct.. It ca e fod, for exampe, i the decoratio of itrgca ojects sch as chaices

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3

 Paris, Loure Museum ceramic tile AC 83 8 3 )  Virgin Virgin and and C hild ild

8 6 Tuis Tuis Bardo B ardo Museum, ceramic ceramic tile tile om om Bou Ficha Ficha  Paired P aired relie relies o the Virgin Virgin and Chld Chld

8 8  New ork ork Metropolita Metropolitan n Museum o Art, Attarout treasure chalice (!9863  )  Saints

89 enice, Treasury o San Marco, chalice o Romano Romanoss (6  Saints

N A   N G A N D  N D    D U A   T

90 St Petersburg, Hermtage Museum, lead seal M48) Sats eter ad Paul

o

9. Cambridge, Massachusetts, Fogg Museum Museum o Art, lead seal   3 06; DOC 5 3 . 5 : Sats Peter ad Paul Paul

The ten sixthsixth- or seventh-c seventh-century entury siv siver er-git -git chaices preserve preservedd in the Attarouthi teasure om northern northern Syria are encirced y gures of saints in shaow reie cre ated y means of the repouss techique g 88) These saints are differentiated om each other y costume according to their categor, for exampe, as ishops, deacons dea cons,, or sodiers, and an d to some extent they are aso a so distiguished y their facia facia fea fea tures However, the saints are not named y any inscriptions, so that it has proved dicut or modern schoars to identi them These eary Byzantine vesses may e contrasted with the tenth-centur sver-git and roc-crysta chaices preserved in the Venetian Treasury ofSan Marco g 89) Here each of the ust-ength saints por tayed in the enames on the meta mounts is carey identied y an iscription The same change is apparent in the sma-scae portra por traits its of saints on ead seas seas  These ojects, which survive i great numers since they were extensivey used y the Byzantines to protect and authenticate their written documents, provide a very good index of changing attitudes toward images Before iconocasm, the saints vere frequenty eft unnamed y inscriptions  An exampe is provided y gure 90, iustrating a seventh-century sea in the coection of the Heritage Museum in St Petersurg, which was acquired in Constantinope It shows the usts of two men who can ca n e recogniz rec ognized, ed, y the styes of their eard ea rdss and hair, as eter, on the eft, and Pau, on the right However, there is no egend on the sea to secure the identication of the saints This sea may e contrasted with another now n the Fogg Museum Museum of Art, which proay dates to the turn om the ninth to the tenth century g 9   . It eonged to Deetrios, the metropoitan

10

CHAPER

3

shop of Heraea, on the uropean coastlne of the Sea of armara Here aga there are t usts, portrag Sant Peter on the eft ad Sant Pau o the rght But  ths case there s aso an nscrpton that surrouds the portrats ad cotnues on the ac of the sea Sants Peter and Paul, hep Demetros the metropota of Heraea After the nnth centur, the sats depcted on Bzate seas were amost nvara dented, ether  the vocaton or  separate egeds ang the portrat Wh dd ths change come aout, om mages tat were repeated and unamed to mages that were dented and preseted sng? Ad wh dd the Bzates deveop a arger repertore of cosstent portrat tpes after the th centur To understad the cases, we have to cosder the sstem of eef wthn whch the portraas of the sants were caled upon to operate In partcu ar, we must examine Bzantne deas aout the operaton of ev, exemped  demonic ev, and aout the dfferet was, sanctoned ad unsanctoed, through through whch eevers eevers coud use us e mages of the sats to comat ts mace mace THE PROBEM OF ENV

From antqut ant qut unt even the present presen t da, da, eef ee f  the power of the ev ee, ee , the maevoent maevoent gance gan ce of o f an evous ev ous neghor, neghor, has ee  ee a wdespread orce orce n edterraea socet I the late Roman word, t was thought that the ev ee mght fa on an aspect of oes good fortue, o ones house, possessos, heath, or chdren It was a costant danger ad potental source of harm, whch caed for cotnuous protectve measures Papr survvg om gpt show that t was standard procedure for etter wrters, whenever whenever the referred referred to ther c orre spondets chdren, to add the formua a the ev ee [or enchantmet] not touch them them  Ths hope was expressed  Chrstans as we as  pagans The dager posed  env was feded off  a varet of protectve measures, the most spec sp ec eg the devce devce of the much-suff much-sufferg ee, whch wh ch was depcted depcte d on the oors  oors of prvate houses, hous es,  wa wa patgs, patgs, and, and , aove aove a, a , on amuets amuets worn o the od 3 Ths desgn shows an ee, sometmes expct dented  an nscrpton as env, eg attaced  a varet of enemies, oth animate ad namate, cudg daggers, spears, trdets, scorpons, snaes, rds, and wd easts easts  A goo d example example o the devce devce appears appears  the mosac pavement pavement of a hous h ousee at Atoch g.  2) Its name, the muchsufferng ee, s derved from the Ts tamnt  Smn, Smn , a popuar Bzatne magca treatse whch ncorporated oth ewsh ad Chrstan eemets Accordg to ths text, the Archage Mchae

NA   N G A N D  N D I  I D U A L T 

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2 Antioch, Antioch, Houe o o  he Eil Eye oo  oorr moaic: moaic : Muchsu Muchsuering eye

gae Kig Soomo a rig with a egraed ste ste  This sea gae ga e the ig power power oer a the demos with its aid he summoed thirty-six of them efore him i tur giig to each ei spirit a iteriew ad rcig it t reea its ame ad the measures that were effectie agaist it The thirty-h demo to e caed forth was resposie for the ei eye It said My ame is Rhyx Phtheoth I cast the gace of ei at eery ma My power is aued y the egraed image of the muchsuff muchsufferig eye eye   I  some some cases mere merey y the shape or the th e outi outiee    a eye eye was suciet to repe the poe poerr of evy evy There are eye-shaped roze roz e amuets om Paestie Paes tie ad Syria Syr ia for exampe which show a rider sayig sayig a dem d em wth a crosshead cross headed ed staff staff g 9 3 )  s we sha see the rider i this case might e Sm hise r ese a Cristia sait, such as Theodre or Sisiios Protectie eyes were aso we ito the desigs of cotg as i the coar of a tunc tunc  the sixth or seeth cetury wch was foud i gypt g 9) he arrow ads f tapestry weae that desced

r o8

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93 Uiersiy o Chicago broze amule Rier slayig a emo

om the ec at the ot ad bac of the tuic (lav are decorated with ee shapes cotaiig circuar pupis i the ceter of which are sma crosses ve toda  moder Greee, it is possibe to buy eyeshaped amuets which are some times comied, as o the eary Byzatie textie, with crosses g 95) These beiefs i the powers of ev ad the evi ee had origis that were paga paga  ad pre-Christia, et et they they were were adopted adopte d by by Christias both bo th i their writ writ te ad i their visua cuture But how was it possibe for such ideas to be tted ito the amewor of a orthodox Christia theoogy? The probem was oe that chaeged the fathers of the ear Christia church who evetua arrived at a a  acceptabe accep tabe soutio ssetia  ssetia  the orthodox ie was was that th at evy poceeded from the devi, who had evied Adam right om his creatio as ig of the earthy word The devi temted Adam to fa ad so brought deah ito the word word but eve after after the Fa his ev ev of humaity humaity cotiued ad was thought to cause phsica ad spiritua harm I the words of the biographer of Sait Thomais of Lesbos "The demo evies our race ad cast a evi eye upo it from the th e begi b egii ig g a add has iicted harm upo us om the eariest time ti me of o f our forefathers I some cases the devi was beieved to cause phsca msfortues direct, but i other cases he operated idirecty maig use of huma beigs The atter cocept of the devi worig idirect through humas was a chris tiaizatio of the od paga otio of the evi eye The orthodox Christia view was that it was ot the vious peope themseves who caused harm with teir

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94 Genea Mse dart et dhistore, fragment of a tunic ( 4) Protecte eyes and other motifs

eyesthat beief as cndemned as a superstitius reic f paganism; rather it as the demns h caused the harm, hen they t adantage f maeent humans. The cassic statement f this dctrine d ctrine is that f  f the fur furthc thcent entury ury father father Saint Basi the Great (g 20) He said that the beief that the eyes f a jeaus persn cause harm n their n is an d mens superstitin; instead, the

 

CHAPTE

3

9 Twentethcentury amuet om Greece: Cro and protecte eye

ghatig dems heever they d smee ith itetis that are famiiar t them mae use f these itetis i ever ay fr their  pur pse s that they empy the eviers eyes i the servie f their  i I sme ays this dtrie made the per f huma evy evy mre dagerus dagerus tha it it ha d ee e e efre efre ea  eause use it as  aied t  the far greater per per f dems Byzatie iterature m the imagiative saits Lives t the mre ser st ries is rded ith iustratis f h the devi ud ause misfrtues t pe pe thrugh the evy f thers vy ardig t e saits Life as the r shp f evi  A speia fus f true as the admii admiist strati rati f j ustie ustie  here muh harm as aus  aused ed y syphay syphay (sykpanta), the fase fase testim tes timyy f the evi us A ramati aut fsyphatia due t evy a e fud i the igraphy f Gregry the ishp f Agrigetum a sait h stesiy ived  the sxth etury i the time fJustiia The devi e are td sa the ishps pure ad

NA  I N G A N D I  D I  I D UA  I T

I

usaed hats ad as trasported th ev. He provoed hostlt agast the sat usg as his agets a prest ad a deac amed Saus ad Crescetus These t me red a oug prstute o est that the shop had slept t her. The rought ther charge efore he goverr ho summoed the girl  the presece of he  accusers o corm he sr. But he the oma tested that tha t Bshp Bsh p Gregor had deed ee th her she as mmedat mmedate e pssessed  a dem s that she ega to foam at the muth ad to rol o the groud at the feet of the sat; here hereupo upo  a those thos e preset prese t ere ere seze se ze  fear fear ad ad caed out to Gd saig hat the eeved her accusats o e fase.   eeveth-cetur psater om Csape cotas margia pag f this vvd epsde hch here illustrae a passage om Psam 212  o dever me t the appete of m eemies fase esmies are rased agast me hch cte voece g. 9) he artst prraed the str  four scees. At the ottom of the page the evu evuss pres Sa Saus us   the t he presece prese ce f tesses tesses s sho eadg the red prsttute ut f the shps ce here Saius had dde her. At the top of the page page  Sa Saus ad Crescetus ead e ad the shop shop ou of s s paace paace  I e midde f he page he oma dressed  a ee-catcg og-seeved g maes her fase accusao agast the shp eeath this scee appears the due met of o f the sor he she s sezed  the th e dem ad cast to he grud. grud. Bzate rters f potca hstor as e as he authors f sats Lves sa ev ad he evi ee as a mvg force  eves. The ear-hrteeth-cetur Hisry  Netas Choiates gves a srg accout f he evi effects o ev ad sphata sphata  a passage cocerg cocerg Theodre Theo dre Stppetes Stppet es ho ho fe fe m hs posto f hgh fav favor or th th mper mperr r Maue I  I  ths case t as aother aother paace ocal the gee  e drms, Joh amaers ho eved Sppetes s god fortue especl afer the emperr had preseed m th a gode ecru sed h h gems gems amaters amaters sas Chaes Ch aes as tormeted tormeted   ev e ecrused eve  hs dream dream He cud cud t rest utl he had success me medd Stppetes Stppe tes  a charge of reasoae assocat th he g of Sc. As a result of he sladers f amaters ad the dscver of a forged etter the emperr had Stppees ded. At the cocuso o ths str Choates gves a amet  suj ec of ev v  v  hch hch ever ever s  s asace asa ce t  at the great ruers the suj f ats ad ctes u as at those f mre mdest m dest ra ad hch hch s foreve foreverr ar ar at had had ur urur uri igg ra rat trs rs . . .  the e verthre verthre [Sppeotes] [Sppeotes] ad caused caus ed hm to suffer a most pteous fa.   These The se setmets setmets are ar e o j ust terar terar cve cve to t o the represet rea fears fears amog the Bzates f staty ad ucertat  he adstrat ofjustce ofjustce

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96 London British Library MS Add 19352, fol 29v (psalter): The T he slande slandering ring of St. Gregory of Agrigetum Agrigetum

N   N   N D  N D    D U  L  T 

 3

The devil envy alo caused people to fall sick, although here he often oper ated direc dir ectl tly y rather than through through the gency of malicous people peop le The dels roe in provoking ill health can be seen in a tory told in the seenthcentury collection o al o aint emetrio composed by ohn o Thesaloniki ohn writes that there wa a certain aran a senator of o f high birth ad great great wealth vho administered utice as an eparch at Thealoniki vith such integrity and piety that he won the avor of God and the people, but at the same time he excited excited the envy o the devil The devil rt tried to attack arian spiritually by tempting him to sin bu to no avail Then he devil decided to attack him physically making him paralytic so that he could not even feed himsel The treatment of the doctor were ueles and arians refued any recourse to magic ntead he prayed to ant emetrio (g 3 6) and wa eventually cured through the saint intercession 2 The saints intervention, thereore, cured he icknes that had been caused directly by the devil's envy n the mins of the Byantines, miortunes in he spheres of heath and justice could be linked because both had the ame source, namely the envy o the deil Likewise, both could have the ame solution, the intervention o the saints saints  Thu, Thu , in i n the Lie Lie of aint Luke of tiris (g 6o) 6o),, there there i a tory of a cerc alledd Ptho Ptho  who found himel p ut in a difcult difcult situati sit uation on on o n the tain general calle occasion of an invetigation at Contantinople into a conpiracy against the emperor At thi time, he received a letter om his wife aying both that the emperor desired hs preenc in the capital capi tal and that th at hi on o n had allen allen ill and was near to death This put Pthos in a terrible dilemma he wanted to return home becau bec ause se of the impending dath o f hi child but he wa afraid afraid of being uspect usp ected ed of complicity in the plot He turned for help to Holy Luke, who wa able to olve both bo th problems at the ame time The aint predicted that i Pthos went to the capit al he would would be well receive rece ivedd by the emperor and that he would would nd nd hi on c ured And o, o course course,, it i t turned turned out  Other daster alo, vere caued by the devl's envy ailor who went to sea had to contend with diabolical intererence with the procee of nature, as was well known rom a story o aint Nichola, one o the most popular saints i Byantine art According to his biographers aint Nichola took a ship on hi way to the Holy Land But during the ourney th devil caued a violent storm aint Neophyt Neophyt  the Recluse Recluse (g 6)  in his encoum of Nichola Nichola pecies that it wa atan's envy that caused cau sed the tempet tempet  Nicholas actually aw aw the devl ying ying around the boat with a kfe trying to cut the riggng that controlled he sail and to overturn the hp The deperate sailors aked Nchola to help them and

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CHAPTER

3

97 Mout Siai Moatery ofSt Catherie pael paitig paitig detail St St  Nichola calm the  torm

e almed te sea wit is prayer   Tis story was oten illustrated in art, te eariest portrayal being a vignette on a tweltentury ion in te olletion at ount inai (g. 9 7)  Here we see a mass o rolling waves on wi is pered a small sm all boat b oat ontaining o ntaining a sailor oding onto two two oars o ars wo blak blak devils attak te rigging riggi ng wile aint ain t Niolas Niolas pray prayss in te sern s ern Even in i n ore mundane mundane matters su su  as agriulture agriulture and usbandry usbandry,, envy envy was a aus o misortunes or eamle, in te ie o Peter o Atroa, a nintentury saint sain t wo lived in Anatoia, we read o a wealty land landown owner er in Lydia, Lydia, wo ad oks o ks omposed ompos ed o many kinds o animals wi were dying dying prematurely, prematurely, aving a ving suumbed to an envious one and a sorerer In is ase, beause te biogra er uses te word sorerer s) it is evident tat te devil devil did not operae o n  is own bu tat tere was also some uman invovement in te bewiment e solution was or te andowner to obtain some oly oil om te saints tomb and to sprinkle tis substane over is wle ouse and is oks, a remedy wi wi put p ut an end to te probem.   Envy, tereore, was a major ause o isortunes or te Byantines, weter o   ealous umans umans  B e eore ore aused by te devi ating on is own or making use o o ok in more detai at te role o o  te saints in ombatting tis tis or ore e , it is ne we ook

N A M I N G A N  I N  I V I  U A  I T

I I

eary to conider the Byantine overa conception of the pace of maice and tic e in i n the univere univere,, or of what we woud woud ca the probe probem m of evi  tice The Byantine beieved that in the na order of thing, divine jutice uti matey prevaied Eventuay the demon were going to be put in their proper pace, pace , an outcome that can be een  een in the Byantine Byantine cheme of the Lat udgment udgment a it i t i portrayed portrayed in the famou famou eeventh eeventh and twef twefthcentury thcentury moaic in the Cathedra ofTorceo (g 98) ere the demon are conned to the ower right corner of the compoition, to the eft hand of Chrit, where they are aowed to inict their harm ony on the wicke who have been aigned to them Utimatey, heaveny jutice wa not awed and not ubect to envy but it wa ow, and therein ay the probem Byantine faith in utimate jutice wa expreed by of utice, or the aeeing eye of God emon operthe concept of the Eye ofutice, ated ate d ony becaue becau e God aowed their activitie, activitie, either to tet and prov provee the rightrighteou, ike ob, ob , or ee to punih pun ih the wicked The orthodox view of the matter wa et out by ohn Chryotom (g   ) , in i n a etter of conoati conoation on to Oympia Oympia,, after after he had been ent into exie om Contantinope e expained that the attack againt her were provoked by the devi but permitted y God in order to augment the virtue of her ou 7 Eewher Eewheree he ued the metaphor metaphor of aior who are trained by torm not to become bec ome eaick   Likewie Abbot Theodore of Stoudio (g  ) the teadfat defender of icon during the econd period of iconocam, decared in one ofhi etter to hi perecuted foower Thoughtfu ervant [of God] do not ay Unti when when    or the Seepe Eye know hat i good in each cae n the na anayi, the uffering caued by demon wa benecia, benec ia, even though though thi might not be apparent to their thei r victim victim at the time time  t i not urpriing that there were compaint about thi ytem One of the mot triking ament i the outburt of Niketa Choniate on the ubject of S typpei typpeiote ote,, who, a we have have e en, wa w a amed amed by the envy envy of Kamatero and binded by anue Komneno Choniate excaimed 0 unerring unerring Eye ofutice, that ee  ee a thing, how i it that you often often over overoo ookk uch trangreion trangreion and even other more wicked deed de ed of men Neither do you hur forthwith forthwith the t he ightning ig htning and the thunderbot, but by deaying you defer retribution ncrtabe i your judgment and beyond human comprehenion! But yet you are wie, and you know perfecty what i good for u " n art, the the concept concep t of the Eye ofutice  wa embodied embodi ed in the gure of C hrit ooking down om the centra dome of a Byantin chrch, to judge thoe beow Often in thee image, the eye of Chrit are enarged, a may be een in the thirteenthcentury eco in the dome of the Church of the Panagia at

I I

CH AP TE 

98 Torcell, cahedral moaic La Judgmen

Trikomo Trikomo , on Cypru (g (g     ere the impoing painting painting of Chrit Chr it i ringed by poe m ceary ceary pecif p ecifying ying the iage' j udgmenta udgmenta roe a poem e who overee al thing om the ditant pace, ee e e a who enter here here he examine their ou and the ovement of their heart. Morta, be terried at the judge   The gae of the divine judge i ao evoked i a famou decription of the oaic in the centra dome of the Church of the oy Apote in Contantinople, which wa written by Nichoa Mearite around the year  00 Of thi cl ean undertandundertandimage, Mearite ay i eye to thoe who have acheved a clean ing, are gente and iendy iendy and intil the j oy of contrition contrition in the oul  oul of the pure p ure

A M I  G A  D I  D I V I D U A  I T 

11

 Trkomo Trkomo Church Church o the Panagia, esco i n the dome Christ Chris t the Judge

n hart    to thos, hovr who ar condnd by thr own judgmnt, th ar scornl and hostl and bodng bo dng of ll " n sum  th old old pagan pagan conc co ncpt pt of th  vl vl y,  th damag damag caus d by nvy, nvy, was in th Byantn prod ovra ovrarchd rchd by by a nw concpt, concp t, that of th  Ey of Justc, accordng to whch dvn justc ould vntuay b don vn f com mg mght b nconvnntly slow t as th slow pac of havnly j us  ts co tc that gav a plac for ntrm suprnatura ntrvntons, to provd a quckr rmdy for th harm nctd by dmons Ths ntrvntons wr of

8

CHAPTE

3

two kinds, tos wic wr unocia and invovd magic, and tos wic wr sanctiond by t ccsiastica autoritis T unocia rmdis took a sort s ort cut, by bocking bocking t oprations oprations o  dmon dmonss  T sanctiond rmdis rmdis invovd an appa or p to od, t utimat sourc oustic o ustic mags o t saints sain ts coud co ud pay a ro i n bot b ot typs o o  rmdy, rmdy, tat is, ty coud itr b usd in magic to manipuat suprnatura orcs dircty, or s ty coud b usd as a rguar cann cann or or appas to t o t suprm suprm udg udg  W sa sa s s  tat t icons o t saints assumd dirnt orms according to t ros tat ty wr cad c ad upon to pay pay

THE SAINTS AN HO SEHO MAGIC

Wit Cristianity cam strong nw dndrs against t orc o nvy, namy t saints Tir imags wr viwd as ctiv protction against tis vi, as t tntcntury pot on Gomtrs picity stats in a pom writtn to accom acco mpany pany an icon ic on o o  Saint Dmtrios Dmtrios : T ci o  Tssaoniki stands r armd But  co conqu nqurs rs witout arm arm ow c an tat b wn wn  taks up arms t is not by conqu con quring ring wit wit arms tat t martyr as as ci o isdo But Bu t dnding dnding wit bot, bo t, scattr sca ttr nvy to to t wind windss   n otr words, by virtu o is martyrdom, Saint Dmtrios can conqur t invisib strngt o nv, ust as  can ovrcom visib opponnts wit is wapons T saints saint s imags imag s , tr t ror or,, r a powr sourc o scu s curi rity ty against a conc ons t ant trat But ow and wn wr t to b usd n t Bantin word, not ony was tr dispu btwn t proponnts and opponnts o Cristian imags, but tr was aso controvrsy vn among tos wo accptd imags ovr t gitimat and igitimat conexs o tir us us  T qustion was sovd ony atr iconocasm, n t rationsip btwn t saints icons and divin powr was nay dnd in suc a way as to cu, or argy xcud, practics tat ad prviousy bn considrd susct or dviant by many curc autoritis T ro o t saints was at rst ambiguous, or in t ay cnturis cnturi s tir imags wr wr not ony  sn s n in curcs curcs ty ty wr aso incorporatd ra td into t apparatus o ouso maic Tir cut ay in btwn ocia curc curc art and an d t unocia unocia  rmdis o  t om om  tr iconocasm, iconocasm, b ot t t  cut o t saints sai nts and tir ro ro in art wr wr muc muc mor mor cosy cosy rguatd rguatd by t t 

AMIG A  IIVIUAIT

1

eccleiatical authoritie Thee change had important effect on the deign of he image themelve Since the earl   al of the aint took on certain characteritic aociated   with magical magical de i it i neceary to look more cloely cloel y at the form orm of magic magic in the eary Byantine world  The denition of magic a a vexed vexed quetion in in Bantium  ut u t a it i today today  or the purpoe o thi dicuion the ord magc ill be ued to decribe relation with the upernatural that ere outide the regular c nnel nnel of e church According According to thi dnition the boundarie o f magic e ere re not xed but b ut involved involved a certain certai n ambiguity A the church churc h ought o ught to dictate more cloely clo ely hich practice ere orthodox ortho dox and which were not the parameter of magic tightened In the early period there wa coniderable overlap between what ome churchmen condemned a magic and what other Chritian were willing to practice practic e ter iconoclam the marginaliation marginaliation of the the quetionable practice became increaingly effective At the core core of magic both bot h a it a dened by ear e aryy Byantine church churchmen men and a it i undertood by cholar today are te magical papyri urviving om Egypt Typically they contain charms intended to enure good health or ucce in variou endeavo endeavor r uch a lawuit lawuit or love The text of the charm charm peciing the ai of the uer equently are accompanied by upporting device character ed by obcurity and repetition Thee device include variou conguration of repeating letter and alo ring ign hich reemble a form of writing but are unintelligible ery often the group of letter and the ign are ithout apparent meanng or reference to the external orld a knon by the uer of the charm They are thu elfcontained in that their only meaning a their uppoed effect. They were mighty ign able to act in their on right without recoure to aitance and intervention om outide force The directne of m ade clear cle ar by by one on e papyru papyru of the ft fth c entury entury intended intended to c ure their operation i made a ickne which which accompane it text t ext and aociated aoci ated ring ri ng gn with the folloin folloingg command  oly incriptio incri ption n and mghty ign ign  chae cha e away the feve feverr with hiver ing om Kale Kale  who who wear wear thi protective charm charm (g 1 00 00   In addition to their obcurity and unintelligibilit unintelligibilit another characteritic of the charm charm in the magical papyri i their ue of repetition  ariou trick ere employed to convey the idea of endle reiteration of letter in erie  One uch device i llutrated by a ourthcentury papyru at Leiden here the voel alpha epilon eta ota omicron upilon and a nd omega are repeated repeate d in diff differnt b ut alay alay enele enele  p er mutation in three column (g 101)   In the econd column one extra leter i added to the erie an omega after the omega and in the third column two xtra



h

0

CHAPTER

3

 00 Uni Unierity erity o C openhagen, Intitut for aik Filologi, papyru P un un III   )  Holy incript incription ion and ghty gn

letters are inserted an omicron and an upsilon between the two omegas This pattern implies that the series of columns could be extended indenitely to the right by adding an increasing increasin g number of o f lettes to each column The desire desir e for for endless repetition expressed by such devices corresponds to the verbal texts of the charms which often call for continuous protection with formulas such as pr p rotect him for the entire time of his whole life  or heal her for all of her lifetime3  When Christian imagery was incorporated into the househo it tended to take on some of the characteristics of the magica charms of the papyi In the rst place the Christian images became ambiguous and obscure rather than well  dened dene d   And se cond beca be caus usee the images worked worked directly dire ctly it was ef efffe ctive to repeat repe at them for the greater the number of devices devices  the greater was their eff effect ec t on unseen unsee n for force cess The cearest examples of the incorporation of images of saints into household magic occur on amulets of the eary Byantine period or example a brone amulet ·hich was perforated for wearing shows Saint Sisinnios the infants as a ounted ount ed horseman spe aring a woman woman who represents repres ents guardian of infants a childkilling demon (g  0) The saint is invoked as Holy Sisinnios by

 A M I  G A   I   I V I  U A  I 

II

 Leden Leden  Naional Me of niqiie pap P P Leid J 39 3 9  epeaed vowel vowel

02 Bronze amule loaion unown: S Sisinnios on orsebak aompaed aomp aed b maial sins

03 London, Briis Museum emaie ale S Prokopios

the inscription surrounding the image. In the eld between the ictorious horseman and the legend there are arious magical signs a star a crescent, a circle with with six spokes ad a a eye eye  Anothe amuet (g (g  03 ) on which a saint is appeaed to by name is made made of hematite hematite or bloodstone a materi a beieed to hae hae the magical mag ical property of o f preening preening hemorha hemorhages ges On one side of the tone Saint Prokopios a matyr of Caesaea in Paestine is portrayed standing wit his hands raised in pryer while the other side contains the text of the inocation "Holy Prokopios More frequenty the hoy gures on the amulets are not identied We hae already seen n exampe of a bronze

 

 4 nn rbor Kele Mueum of reolo bronze mule revere (6 ( 6    ) : "Muuff "Muufferin ee

HAPTER

3

 o  nn rbor rbor Kele Kele Mueum Mueum of reolo bronze mule obvere 6   ) )  Hol Hol rid rider er demon demon nd lion

a mulet ule t fom fom Syia o Palestine wic sows an unnamed haoe d ide s s eaing ea ing a n adesay (g 93) Since this hoseman wields a coss-eaded sea we know that he is Chistian ut we noted also that the amuet as a whole takes the outline o f an eye which sows sows clealy clealy that th at the endant endant was intended to off eny eny T hee hee is a seies of onze amulets amulets fom fom the th e sam sa me egion which w hich wad off sho sh ow the "much-suffeing eye unde attack om a aiety of ceatues and o ffensie weaons (g  04) n te eese sides of these endants a nimed ide aeas with a ecument demon and a oaing ion unde the hooes of his hos hos e (g 1 0  )  The identity o f ts ts ide i de is uncetain uncetain i t is ossile th at e eesents a conation of seea oweful heoes ot saints and nonsaints Such an inteetation is sugested y te insition that suounds a ide with a coss-headed sea on an amulet found at Smyna (g 106): "Fee 0 Detested one! it commands addessing te demon "Solomon Sisinnios Sisinnaios usue you Hee the Solomon and the two saints Sisinnios and Sisinaios ae all associated with te owefu sign of te ide in an

N A M I N G A N D I N D I V  D UA L I TY

o6 Bronze amule om Smrna Hol rider

123

 7 nn rbor Kele ueum of raeolo raeolo bronze bronz e bezel beze l of  rin K 266: Hol rider wi uninelliible insripion

image tat was amiguous and mutaent Finay on one amet wic sered as a s te t e eze ez e o f a ring te rider moti f is framed framed y a totay meaningess inscription " ogdmape g dmapeo ouufzezouz zezo uze ebe be (g 17) We ae seen tat sc uninteigie wor words were were caracteristic of te magic of te papyri; p apyri; in tis cas c as e te t e identity of te rider was was intentiona intention ayy oscured os cured oestic tetile fro te eary Byzantine perod aso sow ow te images of saints were incorporated into magica or se-magica contexts Bot gured drawoom siks and te ceaper tapestry weaes iustrate tis penomenon penomenon Te production production of texties earing Cristian Crist ian iconogra iconogr apy py for ouseod use is nown rom iterary sources and rom extant exampes Atoug te suriing siks wit Cristian suects are not now ery numer ou s aing een presered presered for for te most part ony in te dry cimate of Egypt  tey were once common enoug to draw te ire of a atefourtcenry  i sop Asterius o Amaseia wo in a famos passage specicay attacked eaty ay peope wo wore episodes from te ospes woen into teir gar ments citing especiay scenes sowing Crist's miraces  Anoter autor Teo doret wo wrote in Syria Syria during d uring te ft ft century spoke of texties dec dec  orated orat ed wt gures of men in prayer prayer   Tere is aso a amous amous portraya portraya o te Empress Teodora in a md-sixt-century mosaic at S Vitae in enna ic sows te empress wearing a sik robe wit a depiction of te tree Magi on te em (g 1) It is cear rom te caracter of te Cristian sbects on eary Byzantine ouseod texties tat tey were primariy ametic  is signicant ta te

14

CHAPTER

3

o8 venn S ite, moi Teodor nd er reinue

woen ospel scenes attacked by Asterius o Aaseia were depictions o Christs miracles The wearers ust hae hoped or siilar benets themseles When Christian images appeared on garments, they were usually placed in hard-to-see locations, such as hes or sleees, which would hae ade them dicult to use as educational or deotional aids (g 0) Furtherore, the portrayals were oten unspecic so that it is unclear which holy gre is being represented Like the bronze aulets these images were not directed at huan iewers but at unseen uns een orces orces  They were were not representations o ndiidu ndiidual al holy p ersons ersons  but b ut they th ey were sel-sucient deices that were powerl in and o theseles Lie the " mighty signs o the papyri, they nctioned diectly and in their own right The auletic character o the doestic weaings is shown ost clearl by a group o silks haing repeated iages o a hol warrior killing a dragon (gs  09   o)  The hero stands in litary litar y dress dress o o  tunic tunic and cloak and pieces piece s the beast with a cross-headed spear Originally these slks decorated the sleees o tunics, each sleee slee e band epeaing the identical oti  oti our ties oe The Th e epeti ep eti tion was the result o the dawloo techique o anuactue which with its mechanical sequences encouraged the epetition o designs in series Fiure  09

NAMING AN INIVIUALIT

9 Lon Me Htorqe de T T,, lk lee leeve ve band 9 o. III     Hol warror klln a draon

l25

  o Pladelpa Pladelpa Mem of o f rt frament rament of lk leeve leeve band 3 3  8 3  Hol warror klln a draon

2

CHAPTER

3

illustrates a complete sleee and o this type while gure   o shows a ragment o another slee sle eee and that preseres only one gure Ao A oee each ea ch  the repeated warriors is an eagle with its prey a moti which translates the action o the human hero he ro into int o animal imagery imagery The eagle was a wellknown deice on magical gems whose supposed apotropaic apotropaic powers powers were attested to y the Roman natural natural ist Pliny   Some diculty has een caused to modern scholars y the lack o inscriptions on these silks the warrior has een identied ariously as Saint Michael Saint eorge Saint Theodore or een as Christ himsel   Howeer the asence o a name was proaly no prolem to the original wearers o the garment who cared only whether the moti worked In summary then this group o slee sle eee ands ands exhiits exhiits two o the salient sali ent eatures eatures o household hous ehold magic the signs are autonomous and they repeat Another roup rou p o images on ealy Byzantine domestic weain weaings gs depicts men m en in prayer As  we hae seen Theodoet in the th century descries such images on clotng He speaks o garments woen with siken or w  olen threads so as to depict images o trees and all kinds o anmals as well as gures o men some hunting and others in prayer 4 The comination o motis recorded y Theodoret Th eodoret can e ound on suring textiles For example a and o wooland wooland linen tapestry weae now in Prague depicts a nimed gure with hands raised in the orant pose amed on either side  lions dogs and treelike designs (g    )  As is usually the case the praying personage on ths textile is anonymous Only ey rarely is it possile to denti an orant saint on a textile om a written name or om some associated attriute One o tese exceptions is an eighth century medallion now in the Vatican Museums (g   2) Here the praying man is anked y two humped camels; he can thus e identied as the soldier martyr Menas Menas  hose cult was centered near Alex Alexand andria ria in Eypt Thee monted riders that Th th at were eatur eatured ed on magical magi cal amuets amuets were were also al so portrayed on domestic textiles There is  ne series o seent-century tapestryweae medallions decorated with this moti which were proaly made in itation o more costly arics in sk 4 As in the case ca se o the amulets the horsemen are o o ten te n unnamed Howeer on a pair o medallions rom a tunic now in the Textile Museum Muse um o Washingto ashingto  D  C   and in the Cleelan Cleelandd Museum o Art the rider r ider is identied y a legend as "Alexander o acedon (gs (gs     1 1 4) 4) . As we shall s ee ee  images o Alexan Alexande derr were were thought th ought to hae mag magical ical properties In this c ase ase  Aexande nderr was was repea repeated ted seeral it may e noted that the sign o th e horseman Aexa times on the same piece o cloting Not only was ths rider repeated twice in each medallion in itation i tation o the iateral syetry syetry characteristic o o  drawlo drawloom om

NAMN G AN IN IVI UAIT

    Pae  and Caft Me tapetwoven band (224   i ie e in oant oant poe

7

 2. oe atian Me tapetwoven edallion T Gai 2 : S t Mena aed b ael

texties but the roundes themsees were reeated on te same tunic More often the rider was eft nameess as can be seen in another medaion in the Textie Museum of Washington (g   5) Hre te orsman who is mared ony by a hao rides triumhanty oer a arge ion an image that can be reated to the engraings on te bronze amuets directed against the ei ye (g   5)  As on the the amuets amuets this defender defender coud be associa ass ociated ted with with a number of owerf owerfu riders riders b it i t Aexand Aexander er Soomon Soomon  or een a ristian ristia n saint such s uch as Sisinnios Sisinnios who in a sixt- or seent seenth-century h-century wa ainting at th Monastry of St Aoo at Bawit was shown on orsebac surrounded by demons and wid beasts (g   6) The decoration dec oration of domesti domesticc texties wth uamed uamed and reeated oy gures was echoed in other househod artifacts such as ottery bows and dishes There are exames in the sixthcentury sixthc entury red si ware that was manufac manufactured tured in North ca and widey eorted in the Byzantine word. Among te motifs stamed into the thes e esses are standing standi ng men hoding crosses cros ses on ong staf st afffs (gs.   7 oors of these   9   None of the men are idented by inscritions and ince the gures wre fabricc of o f te bows by means of o f stams they were equenty imressed into the fabri

8

APTER 

  3  Wa Wainon inon D C  Te Te Texile Mem aper woen meda medall llio ion n   .  8) : lexan lexander der o f Maedon

 4 Cleeland Cleeland Mem of r aperwoen medalion 9   23 ) : lexa lexand nder er of of Maedon Maedon

NA M  N G A N   N   V   U A L  T

2

    Was Wasi in non on D C  Te Tex Texil ilee Museu ap es esw wov oven en ed edal allio lion n      7) nna nnae ed d ider wi lion

repeated not ony on separate ows ut sometimes on the same esse Modern researchers generay identi some of these gures as saints others as Christ Those gures thought to portray portray Christ Chr ist corresond to one of o f his portrait tyes tyes  with ong o ng hair faing faing dow down n oe oer the shouders and they are dstinguis dstinguished hed y haoes (g  7)  7)  iustrated y gure gure     which It is possie that a saint is ortrayed in the ow iustrated as found at the Egytian town of Karanis The man stamped at its center has no niu niuss his hair is short and cury cury and he wears a ong unic ornamented with cir ces (g    He hods the crossheaded staff in his eft hand whie he raises his right in a gesture of spech or essing. Figure 20 shows a agment of a ow

3

CHAPTER

3

 6 Bawi Monaer of S pollo freco S Siinnio wi deon and wild bea

  7 London London Brii Brii Mueu Mueu bowl of Nor ic ican an red re d lip ware   963 7 )  Cri Cri?) ?) oldi olding ng a ro

NAM I N G

AND

 N D  V  D UA L I T Y



 8. nn rbor Kele Mem o

  9  nn rbor Kele Kele Mem Me m o raeolo raeolo  b owl owl

raeolo raeol o   bowl o Nor Nor  rian rian red lip war waree 4): Sain(? oldin a ro ro 

o Nor rian red lip ware deail 4): Sain(? oldin a ro

ound in southern natolia but now in the Archaeological Museum at Istanbul The essel ess el had ha d a large cross stamed stame d at its center cen ter which was anked on the let let by a nameless man holding a crossheaded sta he resembles the gure stamed into the bowl om Karanis excet excet that e is distinguished distinguis hed by is hairstyle hairstyle which which is straght rather than curly  identical gure robably robably stood on the right of the large cross c ross creating a symetrical comosition Such a airing of identical holy men is still resered on a similar bowl bowl om elos  which whic h is decorated with two two "saints "sai nts om the same stam set side by side (elos (elos  Archaeological Archaeological Museum in in B  9/7 9/ 7 )  These ortrayals o holy men somewat crudely stamed into the oors of  o ttery essels imitated ner works in siler An examle of the latter is a ne bowl discoered on Cyrus and dated by the control stam on its base to the years years 6 6  6 655  (g  2  ) . It has a central medall medallion ion ortray ortrayin ingg the bust of an unnamed nimbed gure in low relie Like some o the men stamed into the ottery bowls he has curly hair and holds a crossheaded staf. Without the inscrition the identication is uncertain howeer the torque worn around the man's neck (the naon) suggests that he may be either Saint Sergius or Saint B acchus acchus  high court ocials whose later ortraits ortraits exhibited exhibited this attribute attribute

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H APT ER

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. Isabul rcaeoloial Museum ramen o bowl o Nor  rian rian red slip slip ware ware (  6  ) : Sain(?) oldin a cross

  cocluio it ca e aid tat the ait layed a  ocure ad amiuou roe i te dometic art of the early ceturie of Byzatium rely did tey reveal reveal teir ame ame or idetitie, ad ofte ofte they allowed temelve temelve to t o e reeat re eated ed everal time over a idetical imae o te ame oject They ket comay wth maical i ad ymo, ot oly o amulet ut alo o textile All thee caracteritic ca racteritic were uciet uciet to attract te deeet de eet uicio of the curch authoritie OFFIIA OPPOITIO N TO HOEO AGI

The icororatio of Critia eemet ito ouehold maic did ot o uo tce y the curch ad it rovoked coiderale ooitio I their attack o dometic maic  te t e eary eary church fater fater ied out ou t everal everal oj oj ectioa ecti oale le feature feature,, a of hich were were caracteriti caracteriticc of the th e imae tat t at we have have exam examed ed I the rt lace tey diiked te uocial ature of dometic defee aait demo, wich were either cotroled or actioed y te curc Secod they com aied  teoloica roud tat tee remedie were aimed directly at te hyical hyical welei of te ody rather tha at te ealt of te oul; i other ord ord  ecaue ecau e teir tei r eff effect wa direct direc t te t e imae were a ortcut or tcut to te receit rece it of

N A M  N G A N   N   V   UA   T

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 2  . London Briis Musum Musum silvr silvr b owl owl M nd nd L 99.42  . 2 2  nnm nnmd d sin prps prps Srius or Bus

enets In the third place, they were amiguous and oscure their ontent was not unamialently Christian And, nally, in addition to eing amiguous, they were characterized y repetition, a sign of their autnomous, nonintercessory operation We will look riey ri ey at each of o f these complaints in turn There is no dout that the church authorities, despite their frequent diatries om the pulpit, were ale to exercise ery little control oer the imagery of domestic art during the early Byzantne period  The production produc tion of draw drawloom silks earing Christian suj suj ects, ects , for example, example, was not regulated y y church or state st ate

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Such textiles could be uchased nd used by all who could affod them Asteius of Amase Amaseia ia in his attack on the t he silk clothes gued with C histian histian subj subj ects highlighted the domestic oigins of the imagey saying that it was the weaes themseles who chse the scenes to be deicted and secifying that this owe as execised by women as well as by men "The moe eligious among ich men and women hing icked out the stoy of the osels hae handed it oe oe to the weaes weaes 4 Fo Fo the less wealthy wealthy a lage numbe of small wokshos wokshos made gued textiles in wool and linen taesty weae Theefoe the imagey on the t he ta esty weaes weaes also a lso would hae een ey dicult fo fo the authoities auth oities to c ontol It my my be oted that Asteius of Amaseia Amaseia unlike his contemoay Eihanios of Salmis did not object to seeng Chistian subjects hown in chuches; he comosed  moing moing descition of a ainting of the matydom of S aint Euhemia Euhemia that he h e saw deicted deicte d in he shine shine 44 He did howe howee e obj obj ect ec t to Chistian subjects otayed on clothing in a context that was unegulated by the ecclesiastical authoities A common image used by the chuch fathes to exess the unofcial natue of domestic magc was that of te "dunken old woman a chaacte who fo them the m exemlied exemlied the the magins magins of society4 soc iety4 Fo Fo examle examle John C hysostom hysosto m com lined eetedl of the dunken old women who oided incantations nd claimed to be Chistian Chistian because becau se they they utteed utt eed the name name of od od  but b ut who in tuth intoduced the deice deicess of demons demons 4  Elsewhee he included othe categoies of women in is citicisms as when he attcked nuses and mids who made a mak on a chids head while bathing it in ode to oid the eil eye fascina tion nd eny He comlained that by this action they comomised the sealing with the coss oided oided by the iest a t the childs ba ba tism;4 tism; 4 in othe wod wodss  the maginal itual conducted b women at home nullied the ocial itual e fomed by the male at chuch The diectness of household emedies als came unde consideable attack At wost wost they could be seen as a fom fom of coecion coec ion of the demons demons and at best as a s an easy way to faos and benets which did not inole an effot to imoe the uses soul. Again we tun to the semon by Asteius of Amaseia fo the ocial iews on the subject Te bisho said that eole who oe deictions of Chists macles woen into thei gaments did so because  the thought that they wee weaing "gaments leasing to od They wee wong he said because one should not simly sketch the ising ofLazaus but athe eae one's defense ell fo one's own esuection One should not hae miacles deicted on ones clothes but one should go out and do good woks adicee of Asteius to cultiate woks onesel o nesel 4  The adic

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God in te sirit and not to wear him deicted on the body echoed the strictres of Sain eome. The Latin father father criticized "serstitios "s erstitios itte  itte wom women who ike the Pharisees with ther hyacteries tied onto themseves itte ose books or sch reics as ieces of the wood of the cross. cross. ike ike the Pharisees Pharisees  he said these women wor woree the t he scritres on their bodies rather than in their hearts 4 Ths the chrch fathers were ssicios of a obects sch as weavings of ose scenes or even the Goses themsev themseves es that were sed for for direct hysica benets rather than as sorces sorc es of o f instrction instrc tion and edication edication . The tre tr e Christian Christi an shod shod not e con c on cerned with short-term secrity sec rity on earth bt rather ra ther with his his or her standng at the cort of heaven heaven From the ersective of the eccesiastica athorities the margina character of th e Christian arah  araherna ernaia ia emoyed emoyed in the hosehod wo wod d have have been accent accen t ated by its tendency to ambigity and obscrity. It has been seen that  many cases sch as the nidentied riders it is not cear whether the images on amets and texties are Christian or rofane. The chrch fathers saw sch ambigity as an eseciay esecia y insidios featre featre of magic. magic . For exame exame John Chrysostom Chrysostom in his attacks att acks on amets and other aotroaic devices reeatedy stressed that ony the cross is accet acc etabe abe as an ex exicity Cistian rotection rotection  Ony the sign of the cross cross  he said can be t on a chid's forehead not some other sign made i md by its nrses and maids s  The chid shod not be garded by amets tied to it nor by bes hng om its hand nor by scaet sca et thread bt ony by the sign of o f the cross cr oss  The woman who ties on an amet inscribed with the name of o f a rier rier is not making a sime incantation bt is faing for a device of Satan for the Christians ny weaon weaon shod be the cross. cross .   In John Chrysostoms Chrysostom s writin writings gs we see that any any ro tective te ctive device that was not nambigosy nambigosy Christian was ssect sse ct.. We We can nd simiar sentiments exressed in the sixth centry by the monastic writer Barsans not however with resect to amets bt to images received in drea. In answer to the qestion "How can the devi dare in a vison or in a dreamfantasy to show the Master Christ? Barsans reies "[The devi] can not shov the Master Christ Himse    bt he ies and resents the image of some man. man. .   Neverthe Nevertheess ess he canot c anot show the hoy cross c ross for he does do es not n ot nd nd a way to deict it in another form Inasmch as we knov the tre sign and iage of the cros crosss the the dev devi does does not dar daree to se it [f [for or dec dece eti tion on]]     When there e yo see in a dream the image of the cross kow that this dream is tre and om od4 Barsans therefore fet that hman images received in ncon troed circtances sch as in i n dreams were were ncertain and inhere inherenty nty dangeros dangeros.. Under sc conditions ony the cross was exicity Christian and safe.

APER

3

imilar warnings aout the dangers inherent in uncertain and oscure signs and images are ound in the popular saints lies and collections o racles The story told in the seenthcentury Mls o aint emetrios concerning the eparch Marians is especially interesting in this regard We hae seen that ths high ocial excited the eny o the deil on account o his integrity, and as a conse  uence he was aicted with paralysis. Hoping to cure Marians, one ohis close associates approached hin hin with a risky proposal proposal,, which he whispered into the sck ans ear "There is a certain nn who said to me that he could make you health heal thy, y, Master, i i  you wished to tie around your your neck and and wear the inscried inscr ied parchment that he is giing to you Marians was imediately suspicious he asked "And what is it that he says is written on the parchmet? His serant replied "When I in uired [aout this matter] a little more carelly, on account o my extraordinary care or you, 0 Master, he did not conceal it rom me, ut he said tha he had written certain c ertain letters there, and stars, and hal circles, and cer othe r ormulas ormulas with w ith Herew letters, and names o angels unknown unknown to the tain other many many,, wrtten w rtten inside and outside. outside . But, Bu t, added the serant, "what "wh at need is there to know the orce orce and the orms o o  what is written there? For there is ut  ut one con cern or or all o us your serants, naely that you should gain your your health health   But the pious epar eparch ch was was not not to to e decei deceied ed.. He resp respon onde dedd in indi dign gnan antl tly y " First First    rom ·hat ·ha t is it mani maniest that th at I will wil l escape the th e dis dis ease ease  haing haing worn worn the parchment ut rather, rather, sinc s incee its writer did not wish to make make clear cl ear the orce orce o what wh at was written, is it not plain that tha t nothing nothing good has een  een inscried inscried upon it? For whatsoe whatsoeer er doth make maniest according to the apostle, is light 5 The serant o Marians, then, did not care whence whence the amulet deried deried its power or him it only mattered that it worked In the same manner, the users o household ojects earing anonymous images did not care whom they repre sented, so long as they were eectie But or the ocial, Marians, the oscu rity and amiguity o the signs and ormulas were a matter o grae concern, a source o danger or the unwar, or he did not ish to sae his ody while losing his soul. Ithe I the content was not crystal clear, it as as tainted. Ecclesiastical Ec clesiastical writers also reerre reerredd to the repetition characterist cha racteristic ic o magical deices For example, example, John C hrysostom ineig ineighed hed against against those who w ho used charms charms and amulets and who made chains around their heads and eet with coins o Alexander o Macedon.  We know that such "coins were manuactured as amulets in the ourth century, at the time when John Chrysostom preached, ecase one o tem, a circular gold pendant earing a prole head o Alexander, is now now presered in he Walte Walters rs Art Gallery Ga llery o Baltimor Ba ltimoree (g  2 2)   We We hae hae

NA M  N G A N D  N D I V  D UA   T 

3

. Bltor Wltrs rt Gllr old pndnt (7) d of xndr of Mdon

seen aso that images of "Aexander of Macedon were repeated on tunics (gs  I ,   ) A passage in the biography of Saint Andrew the Foo speaks of the magica repetition of knots It tes the story of a woman of Constantinope who engaged the serices of a magician to hep her with her marita probems The sorcerer tied fur knots in her girde and adised her to ·ear it By such means he bound a demon to her om which she was reeased ony after she had been adised to burn the garment   This tae is an accurate reection of ate antique and eary Byzantine magica prctices The written instrucions for a charm for exampe may specify that three knots shoud be tied in the cord empoyed to sus pend t om the the users neck neck  T H E TA M I N G O F T H E S A I N T ' S I M A G E

The incrporation of Cristian imagery into househod magic gae an easy aenue of attack to the iconocasts who wished to ban Chritian icons atogether aowing ony the unambiguous unambiguous sign of the cross In their poemics the iconocasts iconocasts made use us e of quotations o m the the earier earier church church authoritie autho ritiess suc s uchh as Asteriu Asteriuss of Amaseia Amaseia who had cndeed the domestic use of Christian images  The conocasts charged among other things that the proponents of images showed reerence for icons and inanimate substances in and of themsees rather than for the saints that had empowered them In response the defenders of images reiterate the od doctrine

HT



of Saint Basil that "the honor paid to an image passes to its prototpe   and insisted that the icons did indeed work their benets b the intercession of the prototpe with od and not directl  The debate is illustrated  a late-eighth or earninthcentur sermon attributed to th iconophile writer onstantine of Tios Referring to the iconoclast emperor onstantine V the holist complains Not onl did he [the mperor] extend his wickdness against the hol icons [b [b destro stroing them]  but but also also    he set at naught the hag hag asmata [ie hol water shrines] that oe on account of od's proidence toward men and he called those who made use us e of o f them wor worshiprs shiprs of water thus th us taking the glor awa from the intercessions of the saints een renouncing the help and intercession of Mar the allhol Mother of od   n other words the iconoclast emperor accused the image worshipers ofelieing  that icons and substances related to the cults of the saints operated directl on intercssion n n repl repl  the champi champions ons of icons had to oint their own and not b intercssio to the intercessor role plaed b the saints in miracles that had aparentl been achied through the agenc of inanimate ojcts For example at the Second ouncil ofNicaea which met in 8 to reinstate icons a passage om the sixth or seenthcentur Mraes of Saints Kosmas and Daian D aian was quoted in defnse defnse of the cult t told of a woman with the colic  who was cured c ured   scrap sc raping ing laster laster from the images of the saints painted upon the walls of her edroom and drink ing the resulting powder with water Such a stor might suggest that the images were acting directl as a powerl sustance in their own right like a medicine or a drug drug  But B ut the assage concludes with a signicant disclai disclaier er t adds that the woman "immediatel became health her pains haing ceased b the nterventon (epphotss) of the saints  4 Smewhat later Theodore of Stoudios strssed tha "it is not the th e material [of the icon] that is enerated enerated but the prototp prototp e   As a result of the debate oer images there was less ambiguit after iconoclasm concerning their status hristian icons were seen as intermediaris between the sppliant spp liant and the inisible inisible power powe r rather than as power powerss in themseles themseles  n theor th eor it wa no longer possible for icons of the saints to hae the ailit to act on their own; icons could onl facilitate access to the prototpes in the hop of their intercession with the supreme Judge This distinction etween icon and proto tpe was emphasized in the Life of th ninth-centur saint Theodora which was written in the earl tenth centur The text describes how heodora's knsman Anthon the archbishop of o f Drrachion Drrachio n made ma de a defense defense of o f icons f  fore th ico i con n oclast emperor Leo V Al eople who are taught of od in the Spirit said

NAM N AN NV UAT

39

Anthony "are familiar with this distinction of reerence and what sort of enera tion we should render to Crist our od and they kno how to render the h te t e and how to offer through them [i e .  throug through proper reverence icons, and how the m [ie reverence to holy icons,

icons] honor to the archetype The importance of intercession in the nctioning of icons is emphasized in many posticonoclastic saints Lies. There are, for example, many stories which reerse the usual pattern of prayer to an icon being followed by miraculous inter ention, so that the appeal for help and the iraculous interention take place before before the icon ico n is een ee n mentioned. menti oned. We hae already encountered encounte red a story sto ry of this type concerning the relatie of aint Irene of Cysobalanton whom she saed sai nts portrait was was not to iraculously om execution  In this tale the role of the saints bring about her aid aid but only to con conrm rm that it had taken place Other stories in the t he posticonoclastic saints' Lies were still more explicit in reiorcing the dogma that images did not ork directly on their own but that any benets were besowed only through the intercession of the archeype with od. For example in the nthcentury Life of aint tephen abaites a tale is told of a certain Leontios, who suff suffered om demoic demoic assaults assaults  This Thi s man was releas rel eased ed om his aiction aiction only after he sopped looking at icons for a certain period.  uch a cure could work of course course only only if the real source source o f powe powerr was was outside o f the icons theeles theeles  The posticonoclastic posticono clastic concept of the nctioning of images had important con sequences sequenc es for for the design and presentation of o f the portraits of the saints . In the t he rst rs t place, it was now ineffectie to hae multiple identical copies of the same image bec ause the indiid indiid in one context in one area of a church or on one garment, because ual iewer could reach the protoype only through one image at a time In this respect a distinction should be made beteen isual images and erbal prayers such as were recited in the liturgy The repetition of erbal appeals could still be compatibl compatiblee with the idea of intecession intecession but b ut repeated repea ted identical images were were use less to the indiidual worshiper who could ook upon only one picture at a time. For this reason, it is unusual to nd a repetition of the same image within one program of decoration in a posticonoclastic church. We hae seen, for example that een Holy Lue appears just once in the mosaics of his church there are many similar images among those mosaics but none are identical It could be said of course, course , that th at posticonocl posticonoclstic stic Byzantine Byzantine artists came close t o the repet tin of images in cases cas es such as the wo Theodores ho could amost be be taken as win winss of each other (gs. (gs.  0    )  But een here as we hae hae seen artists a rtists were were careful careful to obsere the distinctions between the two saints, saints , portraying portraying them as two indiiduals, not as an exactly repeated type

CHAPTER 3

The posticooclastic chage i the status of icos had its most sigicat impact o the domestic arts Accordig to the Acts of the cooclastic Coucil of   4 the icooclasts baed hristia images om priate dwelligs° But ee after the ed of icoolas, the depictio of saits all but disappeared i some domestic media, such as textiles ad pottery  household ceramics, oly the old motif of the imbed rider piercig a foe occasioally suried, but it was rela tiely rare after the ith cetury  textiles the greatest chage took place i the decoratio of drawloom silks. As we hae see, the drawloom techique ecouraged the repetitio of idetical motifs motifs , but such a presetatio was ow o loger suitable for for Christia images The icooclastic disput disputee of the eight eigh t ad it ceturies had caused a break i the productio of textiles with Christia images withi the Byzatie Empire We kow from the cts of the Coucil of t he eighthcetury biogr bio grap aphy hy of Athousa of Matieo Matieo    4 /  as well as om the that the iooclasts seized ad defaced textiles bearig Christia gures; ee the altar cloths were i dager of desecratio Therefore, the productio of drawloo drawloo silk silkss decorated with wit h Christia subj subj ects ec ts must mus t ha haee ceased cea sed i i  the Byza tie Empire durig the the icooclastic period But oce icooclasm was ally oer, oer, i the ith cetury, the drawloom silks woe with Christia gures seem eer to hae retured Suriig Byzatie drawloom silks om the ceturies after icooclasm are woe oly with repeated profae motifs, especially with aimals t is true that the Libe Poncalis does metio two two ithcetury ithc etury pa p ap al doatios to Roma churches of textiles decorated with Christia scees that may hae bee Byzatie i origi, sice the subjects are desigated with Greek ames (" Cheeismon, or "Salutatio, ad  Ypopa popan ni,i, or "Prese "P resetatio) tatio)  Howeer, it is ot clear that these were drawloom silks with repeatig woe desigs; er possibly they were embroideries. Certainly posticooclastic repre setatios of Byzatie lay persos wearig silks iariably show that their gar mets were decorated with aimal or plat motifs rather tha with religous imagery Two examples may be draw from mauscripts. First, thre is the the famous portrait of the eleethcetury emperor Nikephoros Botaeiates, which seres as oe of the frotispieces to a copy of the homilies of Sait Joh Chrysos tom ow i Paris (g  2 3 )  Here Here oe of the courtiers stadig stadig to the left left of the eperor wears a white silk robe decorated with repeatig medallios cotaiig lios executed i gold ad red. His costume ca be compared with a suriig silk om the reliquary of Sait Siiard at Ses which is woe with medallios cotaii gold grifs o a white groud (g.  2 4) Secod a fourteeth cetury mauscript of Hipocrates, ow i Paris, portrays the ower, Alexios

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HT



24 Sens, caeda eas s fom e eiq of S Siviad 8) Gfns

Aokaukos wearng a drawloo slk decorated wth dentcal edallons each contanng contanng two lons set ack to ak (g (g 1 25) 25 )  The surng edence suggests thereore that ater the nnth century reeatng drawloo slks were no longer a sutale edu or ortrayals o the sants ecause eca use the realng realng age theor theor dscoura dscouraged ged reet reetton ton A second sec ond con sequence o the new concet o ages was that all sacre cons had to e sucently detaled colete legle and recse or the rototye to e recog nzed or now t was not the con ut the t he holy  erson ortrayed that ossessed os sessed the ower ower T he ortance o the nae and the eatures eatures o the age ag e as onter o nterss Second Counc Cou nc  o Ncaea " The to the rototye was stressed n the Acts o the Second age reseles the rototye not wth regard to essence ut only wth regard to the nae and to the oston o the eers whch can e characterzed Recognton was an ortant ortant art  art o the exere exerencn ncngg o cons as the stores stor es o o dreas and sons n the sants Les reeal For ths reason ost-conoclastc deeloe edd a standard sys artsts to a uch greater extent than ther redecessors deelo te or or clearly dentng dent ng the sants y eans o category cat egory and  any cases also

NAMIG

A D

 N D I V I D U A LI TY

1 2 5. Pris Bibliothque Bibliothque Nionle, Nionle, MS gr 2  44 fo fo  I  (Hippo (Hippocrates crates)) : Alexio Alexio Apokukos

I 43

1

HPTE

3

  Washn ashnon on D C   Dubaron Dubaron aks aks enael enael plaq plaque ue  7. 9: S Deeros Deeros

by rtrait tye tye  Most imor imoran antl tly y h ddition of identifying identifying inscritions een tually became standard racice after iconoclasm as the conrast between the mosaics in the churches of St Demetrios and Hosios Loukas has shown (gs 3, 6o). Een for smallscale images on domestic jewelr it became the general rule for the saints to be identied by inscritions as can be seen for examle on a tiny ngernailsized ename laque of the eleenth century which ortrays St Demetrios (g. 26) n the osticonoclastic eriod the effectieness of icons deended on their their accuracy and se secici cicity ty not on o n their obscurity and ambigu ambiguity ity In concusion it may be said that ortrayals of saints and other holy gures on early Byzntine domestic clothi cl othing ng and rnishing rnishingss ere decentralize decentra lizedd in their ro duction and not standardized in heir iconograhy. Many images were ambiguous ortrait ort rait tyes ty es were few few and of o ften identif ide ntifying ying inscritions inscriti ons were lacing Eseci Es eciall allyy in textiles but also in other media there was equen reetition of identical images en in churches e-voo images such as those th ose of Saint Demetrios took on some so me of the characteristics ch aracteristics of o f domestic ar These early early images images were oerating in a different ay om those in osticonoclastic art To a arge extent they were not icons serig as aenues of aeal to an indiidual saint but rather they were direct and owerl signs n their own right intended esecially to couner the l effects of demonc eny The character and ncion of Christian images in domestic art shared seeral features features in common ith deices and and ractices that the t he church condemned as deiant or magical and therefore hese mages osed rob lems both for oonents and fo suorters o Chistian images After iconoclasm howeer the church was able o recontextualize and chanel Christian imagery so that i no longer as able o lay a role in custom and belief beli ef systems that the churc could could not reconcle with he theology of the icon ico n his restriction h ad imortant eff effect ec ts on the t he design and resentation of Byzan tine images of the saints Posiconoclastic art resonded resonded o the theory of interces sion hat had  been deelo deeloe edd by the chu ch that is to the demand that each image should relate direcly to an indiidual holy gure o hom rayers could be addressed in order to ersuade the saint to intercede with the diine Judge There as no longer any room for ambiguity The iconograhy of the saints as standardied with the differen classes of saints beig cery dstngushed om each ea ch other an andd with indiidua indiidua ortrait tyes bei ng created for for each ea ch of the more m ore

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important saints ost signicantly, al saints were now identied clearly by inscriptions These hanges affeted both domestic and hurh art Furthermore after iconoclasm the repetition of identical images within a single context on one object or within one space of the church was usually aoided except in some special cases such as the images of a patron saint or the indiidual wor shiper repeated indiidual images were at best useless and at worst suspect for only if the images were deices that had power in and of themseles did it make sense to repeat them In other words the images of the saints lost the status of powerful powerful signs and a nd became instead ins tead portraits po rtraits of powerl powerl indiiduals The change om  om a more open to a more more dened iconography iconography of the saints and the disappearance of their images from seeral categories of domestic rnish ingsespecially frm weaingssignalled a tightening of church control oer access to the supernatural We hae seen that in the early yzantine period lay people at a t home home including women women were were able to exercise exercise choie cho ie oer oer the select sel ection ion of images and instruct their artists acrdingly They were able to use the images that they had commissioned as deices that worked directly there was no neces sity to go through the regular interessory channels prescribed by the churh in order to seek alleiation otheir problems After iconoclasm howeer the eccle siastical authorities could monitor lay acess to supernatural powr more effe tiely tiely both bo th through the th e theology of o f the th e icon and a nd through the form formss of the th e icons themseles

4 EL N EFCENC

M O D E  O F     T  O      T   D   T E  T   E

a ribued spuriousy spurious y o he henury eologian eolo gian 0 ne o  e oiies aribued

Hesyius o erusalem bu in i n a a omposed ompose d som so me enuries aer aer is dea is devoed devoe d o e assion assion o ain Longinus Longinus he Cenur C enurio ion n The sermon opens wi an ineresing onras beween images o iies as reaed by p ainers and images o o  maryrd maryrdom om as desribed by wriers wriers Jus as e images o e painers represen erain appearanes o iies and show e sies o eir owers and e orms o men and women now young now od now imperia now nupia now sadooking now oyous so also al so o  ose se wo ompose aouns o  e  e rias rias o he h e maryr maryrss make plain rmness o e [maryrs'] [maryr s'] spiri s piri he ourageousness o o heir earers e rmness eir aiude aiu dess and eir earess bravespiri bravespiried ed and imperurbable imperurba ble ompor men in i n he ae o dangers 

Te omparison made here beween paning and oraory is a onveniona opengambi or or enoa eno a o o  he sans bu wa is unusua ing gambi unusu a and srkin srkingg abou his hi s pas pas  sage is he Byanine auor auorss are disnion disnion beeen wo modes o narraion. narraion. Ta is e wrier disinguises beween a piuresque mode on e one and showng e empora aidens o you and age pariuar soia oasios and passng emoiona saes and a more rgd mode on e oher hand sowing rm ness ness  an avoidane o emoions emoions su  ear and a genera imerurbabiy. I is wi su disin di sinions ions a is haper is onened or here i   be sown ha Bzanine ariss aer ionoasm reae sia diereniaions beeen e narraive ves o e saints s aints making hem eie  o iniden and pariuariy or o r ese rigdy semai and a nd impassivey impassivey absra We sal see se e a in narraive senes senes  ar and ieraure oowed dieren rues i resp o eir eamens o e sans' ies or n some ases e hagographi enes n ar euaed or even eeeded e drama o e wen biograpes bu in oers e el ar shor o he es eing more strippe strippedd down and redued Te visua biogr bi ograph aphes es o he sains ke heir hei r orais orais sowed varying orma araerisis a reeed dierenes bo in e savi subj es and in e devoiona e epeaions peaions o eir vewe vewers rs roes o hei subj

D  TA   A  D D  F       

7

n this chater the ies of three saints are seected for exanation namey te Virin Saint Nichoas and Saint eorge ecause their iograhies were te most equenty iustrated in Byzantine artists iustrated the narra ich can e dened as either more or ess tie of each saint in a distinct detaied and earthbound in comars n with the ife of Christ We egin with the ife ife of the Virin where the reationshis reati onshis to the ife ife o o  Christ are articuay arti cuay comex initin interretation on seera ees



TH F OF TH VG

Aready in the eary Byzantine eriod christooica scenes inoing the Virin were set in oosition to those in which she was not resent in order to create a meanin uxtaosition A articuary interestin re-iconocastic exame is the the god rin ius iustrated trated in ures ures  27 to 13, which is now now in the Byzantine Co Co  ection at Dumarton Oaks. We wi ook at this rin riey efore moin on to deictions of the ife of the Virin in the eeenth to ourteenth centuries because it makes an instructie contrast with the ater works of art In site of suercia simia simiarities rities to the th e ost-iconocastic ost-iconocastic monuments monuments the imaes on o n the th e rin juxtaose the Virin and her Son in a different way and with a different urose The rin ri n was was made for for a marriae that th at took to ok ace in the ate at e sxth or seenth cen tury We know the names of the coue for around the ede of the beze is writ ten the foowin inscrition "Lord he thy serants Peter and Theodote The rida air are ortrayed on the beze on the to o the rin y means of nieo that has een set into te od (g 27) On the riht of the hotograh we see the bride Theodote who is bein crowned y the Virin On the eft stands the room Peter who is being crowned by Christ; he was gien the more honored osition, to the right hand of the Lord The comosition howeer is erfecty symmetrica with the maes on the eft and the emaes on the iht This idea of baance is reinforced y the inscrition underneath the gur s  which reads simy "Omona o r " harmon harmony On the faceted hoo of this eight-sided rin there are seen eisodes om the ife of Christ one eisode to each facet These christooica scenes are remark ae for their sma size and detai ut it is erhas more remarkae that they too to o are symmetricay symmetricay diided with the maecentered su su ects ec ts on the eft eft of the ez as seen in the hotograhs and the femaecentered subects on the right If we take the scenes in the chronooica order of Christs ie we hae on the riht three scenes ino inoin ingg the Virin Mary the An Annu nunciation nciation of Christs birth b irth

HATE 

27 Wasington D.C Dmbarton aks gold marriag ring (47   T irgin and rist rown t brid and groom

 2 8  Wasi asing ngton ton D C  Dmbar Dmbarton ton aks gold gold marriag marriag ring ring (47    nnniation isitation and Nativit

 29 29  Wasgton gton  C  Dmbarton Dmbarton aks gold marriag marriag ring ring (47 (47    Baptism Crixion and srrtion

 3 0 a asington D   Dmbarton aks gold gold marriag marriag ring (47    Nativit Prsntation ofCrist ofCrist and Baptism

the Visitation in which Mary ebraces her cousin Elizabeth and the Nativity of Christ (g.  2 8)  Then, Then, on the other side of the hoo the ale ale side, e have the Batis of Christ, his Crucion between two thieves, and nally his Resurrection, which is ortrayed by his aearance to the women in the garden (g  2 9 These two sequences of scenes are ingeniously linked by the engraving of the th e Presentation, at the bac b ackk o f the th e hoo wher wheree we see se e the Virgin Virgin giving giving the Christ Child into the arms of the ohet Symeon, the Virgin being on the

1 49

 E A I  A N   E F I  I E N C 

ide and Vign

hst nd m

Annunctn

euectn

Vttn

ucfxn

Ntvty

ptm

Pesenttn (ay-hld-Syen)

1   Wasngon sngon D  C   Dumbaron Dumb aron aks gold gold marrag marrag rng: Dagram of mags mags

eale side, side , on the let, let, the rohet on the ale ale side, side , o the right right (g 1  )  The gender sye syetry try is absoltely consistent, consist ent, s n be seen o the diagra o the iages on the ring shown in gure     o our siilar reThe arrige ring at Dubarton Oaks belongs to a grou oour iconoclastic rings with octagonal hoos decorated with eisodes o the lie o Christ, Chris t, but it is unique in he consistency and recision o its division o the scenes by gender The rose o this syetry was ore thn a sile eression o the union o o  ale and ele ele in arriage arriag e it also had h ad to do with the con tent o the inscritions on the ring, the harony" invoked on the bezel, and lso the t he twin inscritions inscritions that run r un around around the two edges o the hoo :  My ece  ece  leave with you, an My eace  give nto yo These inscritions ree to verse in the t he Gose Go sell oJohn, that th at reds in its entirety Peace Peac e is y y arting art ing gi gitt the verse to you, y own ece, such as the world cnnot give Set your trobled hearts t yor er erss ( 1  2 )" cholrs hve recognized that erly Byzntine rest and banish yor rings o this tye re ulic not only does th inscrition on the edge o the b ezel invoke Christs Chri sts hel or or the coule c oule,, but bu t even the shae shae o the ring ri ng ay have have been benicent, or rings with octagonal hoos were thought to have edicinl

I 0

CHTE

4

popeies omoing good healh. Bu in his ase he amule is designed no only fo he physial healh of he eae bu also fo he healh of he maiage isel The Byzanines ee as ell aae as e ae oday ha maiages ould be maed by sif s ifee and diso dis od dpp ehas moe aae aae beause be ause divoe fo fo hem h em as muh moe diful. Fo he Byanines maial disod as no us due o poblems of pesonaliy; i as as ause a usedd also by demons Fom F om he Byzanine Byzanine agtamentt  Solomon ve even kno he names of he ial exbook he soalled tamen malevolen spiis esponsible fo maial onis names suh as Modabeel and Kaanikoaeel.  A ing suh as his one ould ok is benign inuene o epel hese evil spiis and o insue peae beeen ife and husband The aeful paiing of images by gende omlemens he insiions y invoking hamony; he o o gendes ge ndes fom fom a kind of magi ile  held held in a eeu  eeual al balane bala ne ha is insued insu ed by he  he life life of Chis Chis  himsel The maiage ing a Dumbaon Oaks and is elaives ae among he ealies knon objes onaining a losed hisologial yle ha is a selfonained sequene of biogaphial biogaphi al senes om he life life of Chis As suh hese ings ings have been seen as imon peusos of he mosais and esoes ha ee o apea in Byzanine huhes afe ionolasm.  Fo in Byzanine huhes ha ee deoaed afe he ninh enuy ha is afe end of he ionolasi peiod e ommonly nd a sequene sequ ene of senes om he life life of Chis Chis  eniling eniling he huh huh like a geay eanded vesion of he images on he ing. Suh images of he life of Chis ee aled by he Byzanines feas" ions ih he imliaion ha hey imaged he yealong sequene of he liugy  In many posionolasi huhes he yle of he feass as expaned by he addiion of senes poaying he bih and ealy life of he Vigin  These images ima ges om o m he lif li fe of he Vigin fomed fomed a kind kin d of female ounepoin o he he senes om he life life of Chis Chis  seing se ing up a division division by gende jus as he senes ee divided by gende on he maiage ing To illusae his ounepoin of he feas senes female and male e may look a he mosais eseved in he huh a Dahni ouside Ahens hih dae o he lae elevenh o o he ealy elfh enuy. Wih one exepion he sene of he ea eayy lif l ifee of he Vigin ee poaye poayedd in he nahex o poh of he  uh uh hie hie he senes s enes of he infany infany of Chis Chis  ee ee displayed in he naos nao s o nave high up in he fou squinh vauls unde he dome. In he nahe he lif li fe of he Vigin sas ih he Annuniaion o he fahe Joahim (g. 132). Aoing o he apoyphal Gosel he Protevangelium of James hih hih as he pinipal sou s oue e fo fo he ionogah iono gahyy o f he Life Life of he Vigin Joahim Joa him as a ih and and ious man bu also seile. On aoun aoun  of his inabili inabiliyy o bege b ege a hild his hi s

D  T I    D D  F I  I    

oerns were resed by he hhres a he eme oown hs rebu he wen no he deser o as and o ray Aer an nerva o ory days and ory nhs an ane came o hm o announce ha hs we an Anne, woud now conceve   So s scene aears as a ender reversa o he Annuncaon o Chrss brh, hch s orrayed n he naos ( 1) ha s, here he ane comes no o he woman b o he man he Brh B rh o he Vrn Vrn s ven ven seca sec a romnence a Dahn (   4)  wher wheree  s  s aken ou o he narhe he ocaon oca on o he oher o her scenes o he nancy nancy o he Vrn, and resened nsead n he naos, as a endan o he vs o he hree Ma o Chrs ( 1  5)  he Navy o he rn s shown shown on he easern wa o  he naos nao s whe he vs o he wse men s n he corresondo he norh arm o n oson os on on he eas wa o he souh arm n he Navy Navy o he Vrn we see a he e San Anne sn u on a bed n order o receve wo omen who brn s n oden conaners Beow a hrd woman ours waer or he rs bah o he chd om a od and sver cher hch she crades on a owe On he oher sde o he church, n he endan oson we see he hree Ma brnn brn n her o oerns o od, ankncense an kncense , and myrr myrrh h o he  he Chrs chd, who s enhroned on hs mohers a hus on he e e see women brnn s n oden conaners o a emae chd on he rh men o a mae he arn ar n o he maes n hese mosacs mosa cs had s counerar n rea e e , n he ceremonies o he mera aace  Consannoe where here were arae rece rec eon onss or or he emeror and he emress emress  We We know a ceran cera n amoun abou abou  hese h ese meria ruas om he oca Book  Ceremonies, whch as comled by he enhcenury emeror Consanne Porhyroenneos Accordn o hs rease when he emeror receved oren ambassadors n he hone room o he Manaura, he eaes were ed beore m by an oca carryn a oden r , ho was known as he Otiario. Once he ambassadors reached he hrone o he emeror hey e on he round o ay m resec   n he mosac o he Ma a Dai, e see ha he roe o he Osaros s aken by an ane, who carres a oden rod and nroduces he Ma o Chrs as hey bow beore hm ( 1 5 )  here was aso a receon nvovn he emress on he occason oh o hee brh o a mae chd Here he nsrucons om he ook 9�onies sae: now we ha on he ehh day aer he brh h � pedchamber edchamber o he he Auusa [he emress]  s eaued  h h ve vess n ner erwo wove ven n wh od od and and wh wh an ande de er erss    he chd    s aced n he crb ad he and he Auusa are covered wh sreas woven h od hese sreads can be seen covern he couch n he mosac o he Brh o he Vr Vrin in ( 1  4)  The Book  Ceremonie connues Then he peposii are



H T E 

 3  . Dapni monaer monaer ur ur moai in naex nnunciaion o Joaim

 34  Dapni monaer monaer ur ur moai in nao Bir of e irgin

 E A I  A N   EF I C I E N C 

 3 3 Dpni monr ur mo n no nnunon of Cr br

 3 5 Dpn onr ur mo n no: T r M bfor Cr

 5

I 

HAPTER 

36 Dapni monaser r mos in narex narex Blessin of e irin

Kaoikon mosai resenaion of Cris Cris  3 7 Hosios Lokas Kaoikon

D  A  L A  D D  F       Y



 3 8  Dapni monaer r, moa in narex Preenaion of e irin

suoned .   and en are ed in [te [t e wives and and idows o te cour o o cia c ias s  one ae aerr ano ano er er,, o te te Ne Ne Pa Paac acee dini dinin n roo roo   .   And tey ray  tanksgiving or te Augusa, and accai er and ey give ting resect eac one bringing bringing in a gi git o er e r own own cice "   I n te t e osaic tis tis grea crowd crowd o o  visiors as been reduced o to, bu ere is no doubt oteage's resonanceTe Virgin and er moter are onored ere wit an ieria receion, siar to e one accorded to Crist e ay ay note note  owever, owever, tat te oer o te t e Virgin is c o oed by e eaters o an earty an ed by a servan on e et, wie te adoration o Cris Cr is is i s over oversadowed sadowed by te t e ings o an ange Te ne eisode o be ortrayed o te ie o te Virgin is ocated in e narte and takes ace on er rst birtday wen se as given by er arents to be b e bessed by by te riests g 136) Te visua counerar counerar to is eisod eisodee is e Presenation o Cris in e ee a scene at a Dani was originay orta tayed in i n one o e squ s quinc inc  vaus o o  te naos bu is i s now os. Ho Howe wever ver ere is is a wereserved osaic o te Presentation in e somewat earier Crc o Hosios oukas, o ukas, wic wic ay ay be used use d or or coarison .  . 137) In bot im imaes e arents, on te rig, carry e cid o be resented to te ries o as

CHAT 4

sh  the leftat aphi the gure f the priest h was blessig the Virgi is lst gai the sexes are reersed i the lessig f the Virgi, it is the father h hlds the the daughter; i the th e resetati reseta ti f  f Christ Christ  it is the ter h h hlds the s  additi t the sith i geder rles, e ay bsere i the rese tati f Christ tat te a, Jseph, flls at a respetful distae fr he is t really the fater, f urse (g   ) ere aai there is a essage abut the sta tus f  f the hild, a pit p it t hih we shall sha ll retur retur later The last eet fr the ifay  te Virgi that as depited i the arthex at aphi was her resetati i the teple, a eet that tk plae we she as three years ld (g ) O this asi she as reeied it the teple by the priest Zaarias ad left there by her parets util she as ld eug t be betr b etrthed thed.. Oe i the teple, she s he as as take it it the hly hly f hlies ad fed i the satu ry by a agel, a rale tat a be see  the left  This ageli feedig as regarde by yzatie etatrs as a fresadig f the euharist euharist  Oe re if e ake te paris paris with the resetati resetati  f w e d d th e sae sae ged geder er reersal the Virgi is preseted by her Christ Christ (g (g   ) , we father, hile Christ is ffered by his ther O the surfae, therefre, it appears that the artists fDaphi attepted t re ate pairigs f sees by geder ih i se respets see t e the geder syetry syetry f the episdes   the early yzatie rig ut  ut are the t ases really siilar?  the arriage rig, hi as a desti bet ith a quasiagial itet, the dialeti is relatiely siple ad straightfrard; the diisi is equal ad the essage is ary betwee te sexes ut the pairigs i the later yzatie hurhes are re plex Te essages are preseted i a sphisti ated aer ad they reet t the uegulated iews f laye ad e but the fial dgas  a ale lergy The ehig f the sees i the hurh ay at rst lk syetrial but lser srutiy reeals sigiat differees hih arry a essage f prfud asyetry Te desigers at Daphi ere eplyig a tehique that as equet  yzatie hures, aely, the use f paired iages iages t ephasize trasts i tet  Te play f the life life f the Vir gi agaist the life f Christ as iteded t ey distitis that were t ly gedered, but als thelgial erig huaity ad diity The relatiship betee the infay f the Virgi ad te infay f Christ as disussed di sussed extesie extesiely ly by yzatie yzati e preahers, i sers sers hih hi h ere ere read ut eah year    the apprpriate apprpriate feast days. days. g the st ppular  f tese sers, t udge  the eqey ith whi tey were pied i liturgial au sripts, ere the ilies  the ifay f te Virgi by Gerge f Nieia

D   A I  A N D D  F I C I  N C. Y

 5

i ece w w n eccleitic ec cleitic o f te nint nint centy centy wo wo ent t  t o  cee  ciit of te Cc of St Soi in Contntinole Geoe o icomedi ico medi   ec e c of te eent of o f te ely ely lif li fe of te Vigin Vigin  ediction of te t e mc mc  moe moe wond wondo o lif li fe of Cit Cit    t i not te myteie ytei e of o f te t e Vigin Vigin tt e onoed" e eced in  emon on e eenttion bt te te eent of te te tt e foedow foedowed ed by tem "   n note note emon emon on te concetion nd bit of y e mde n inoled comion between te tiity of te Vigin nd te tiity tiity of Cit; i lngge i difclt nd etoic eto icll fo ti ti i te kind kind of o f witing tt te Byzntine dmied dmied bt te in oint o int of o f i  xtoition i cle te lee le e eent foe foedow dowed ed te ete In te wo wod d of Ge Geog ogee of icomedi og te micle tt ened to [te Vigin'] ent we e tgt bo te myteie of te moe ineffble micle i elie [tiity] w indeed te ediction of tt [tiity] nd tog wt w flfilled it foect te cetinty of wt  nnonced ee  womn wo w teile w debed fom wt w oite fo e nte bt ee  Vigin i wlled by n iniolble ctity ee te binding [ie teility] w longltin bt ee te ity of ccte i immotl immot l t bit   te fit of ito ito  ctio c tion n nd ye ye  bt ee te inexlicble concetion i intitted new on ccont of ing itue nd bondle ity ee it w n nel wo w te eld of te omied cildbit; ee it i n cnel wo i te nnonce of te entl concetion   Ote Ot e Byzntine ece ece dew  imi contt between be tween te incy incy of o f te Vi gin nd tt of Crit e lened Byzntie emeo Leo VI fo exmle wote  ge in  omily on te tiity of te Vigi whic i moe comeed tn etoic of Geoge Geoge of o f icomedi icomedi bt eentilly eent illy y te me me ting te etoic ow te ow te il iln nt to oi icc God on on cco ccont nt of of i i ity    bing fot om  teile womb te womb tt e wil occy in  entl fion Fo it w tting tt te micl miclee old old b e eceded ece ded by  micle; te te micle micle tt i gete nd tncending nte by te micle tt i lee; nd te one b oe nte by te one on e tt t t i boe boe oe oe   7 tt i bo  eo VI wo w gien to ity fomltion of comlex dogm cc teize te tiit of te Vigin  only boe oe o e bt b t te tiity of Cit  boe nte

CH TE 4

139· Dapni monase cuc

mosac n narex: nnuncaon o S nne

Suc ides wee eessed so by Byzntine tists not in veb etoic but in te t e nguge ngu ge o f fos We y conside c onside fo e ee e syety syety nd syety in te Annuncition scenes t Dni n tis cuc te osic of te Annuncition to Joci in te wide widenes nesss g    2) is set beside  second nnuncition scene sowing te ence of te nge to is wife Sint Anne g 1 9) Te two eisodes e seen by te visito ieditey on enteig te nte soewt bove eye eve on te igtnd w n contst we ve seen tt te osic of te Annuncition to te Vigin is witin te cuc oe in te nos nd it is not o down but dised ig u in one of te squince squincess bene be net t te doe doe g 1  )  Co Coing ing te iges iges in oe deti deti we see tt te osic of te Annun Annuncition cition to Sint Ane is  of ictueq ictueque ue incident g g 1 1  9 )  foo oowin wingg te t e tet of o f te Proevanelium, te tist s sown Sint Anne stnding in  gden wee se sees  bids' nest in  ue tee nd wee se induges in  ong ent coining tt se one of  cetues is i s unbe unb e eoduce To te eft se is witnessed o te doo of e ouse by e seto eoduce vnt Judit wo d eie eoced e fo e steiity Above nd to te igt n nge t ong st nnounces to Sint Anne te fotcoing bit of  cid   Te tist s esized te dets of dy ife tt bing te stoy down to e t We see s ee te nysto nystoied ied citectu citectuee of Sint Si nt Anne's ouse ous e  fo fo te Proevanelium sys tt se nd Joci wee wety We e sown te

TA   A N         N  Y   TA

59

embroiere rtain at the oorway an the fontain in te garen, wit its pineone nial spoting water an its basin of olore marbles. All this is in striing ontrast to the mosai o the Annniation to the Virgin, whi is ree ree  to a simp simple le onontation of he he wo wo protagonists protagonists g    ) . Even Even thogh t hogh the Gospel implies tha he Annniation of Christs birth oo plae inoors, in e  e Virgin Virginss hose, hos e, the sene sen e is present presente e against an absoltely lain gol gol gron. Ths, the mosai in the narthex is seen by the visior on entering, low on in the biling, an rih in eails of aily life i is a reparation for he greater mysery tha is to be seen witin, high p ner he ome, shorn of earthy rappings an silhoete against gol. hrogh the ontrasts in their formal esign, he paral pa rallel lel Annniations reveal profon ifferenes in stas. A very striing illstration of o f his istinion istin ion beween the tw tw myseries, yseries , the one on e tha was above hope an the one that was above nare, an be fon in two famos mansripts of he tweth entry whih onain he llsrate sermons of a writer nown as James of ofKo Koino inobaphos baphos 9 The wo mansripts are now preserve in he ibliothqe Nationale in Paris ms gr 2o8) an in the Vatian Library ms. gr.   62) , an they eah ontain o ntain six sermons evoe o  o he life life of the Virgin, om her Coneption o he Visiation, ogeher with neay iential yles of llstraions. The homilies are writen in an exeeingly ori syle, more rhetorial, even, than the homilies homi lies of George ofNiomeia. The iares in the t he two mansrips mansrips follow follow e sermons qite losely, bt he artist hange hs manner of llstrang the text aoring o he stats of he sbje matter Js as a aphni, he life of he Virgin evoe a more etae n more ownoearh elling an e life of Chris e mayy ompare, ma om pare, again, again ,    wo wo Annniat Annniation ions,s, o San S an e an o o he Vrgn igre  40 illstrates the Annniation Annniation to Sain nne  nne om he mansrip in he Vatian. As at aphni, the sory is given the piresqe reatment at e lower lef we see se e Saint nne an a n Jih waing waing in the garen gar en e servant rns rns towar towar her her mismisress, in orer to point ot the birs who are feeing heir nestlings in the rees Ten, o n  he lower lower rigt, Sain Anne Anne lamens lamens besie bes ie an elaborate elabo rate fona fonain, in, whih whih has waerspots in te sape of o f serpents serpe nts heas he as ere an angel angel tells her tha tha she ll oneive. The sene shovn above provies an emoional onrast. Sain Ae, waiting in her hose for Joaim o ome ba om his vgil in the werness, has js hear om her servant hat he is rerng, wherepon she springs p eagey om her hair an rns o  o meet m eet him On the left left she greets her sban sb an with with an mpe mpe-os embrae, whih whih is also a lso a isreet referene referene o he naral oneption on eption o f he il Ths, the ivision of he are into wo regsers in effet reaes an emotional ontrast between the wo stages of the sory elow is he lament in te garen, in

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CHAPTER

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Annunciation to St Anne

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which ain ne compain, in the wod o he hoy, tha he i e t han ny ceaue tha can give bih  The ppe ege poay he joy eep o he new oJoachim aiva and he geeting ohm n ome way the iatue o the nnunciaion o he igin igin bih bi h goe beond he tex o the hoiy hoiy in amati ng the to, o e emon doe not ee to the evant announcing Joachm etun; it wa a detai ieted on the itiative o he ati The ame paine, when he came to iutae the emon devoted to the nunciation o he nativi nativi  o  Chit, poduced iniatue iniatue o a compleel di di  een chaacte, even though hey ae in the ame manucipt (g  4 114) Hee the text by Jame o okinobapho give a vey extended deciption o he igin emotion a he eceived the meage o he achange Gabiel; t he wa ea, then heitant, and only ae eeling thee emotion did he joy ull give he acceptance o he heavenl viio Thi long aage o wiing i accompanied in he manucip b a equence o ve miniatue o the Annunci aion, whch ake no accun whatoeve o the emotional hit expeienced b the igin in act, he ve illutation ae vey imila, alhough the atit wa caeul not o make hem idenical We wi look at hem in moe deai, to ee a they a a ho o  illutatig the text to which they ae at a tached ached  ut how a The t miniatue miniatue (g 1 4 1 ) , come on oio oio   8 o the manucipt manucipt in the a a ican; it i headed "0 hairmo o The alutation" t how the ange appoaching om he e, and, on the ight, the igin iing and pinning in ont o a domed buding ha eeen he houe he i in a poe ha ma expe he iniia aam at Gabiel appoach, o he ha he body acing away om he ange, whie he tn he head to look at he vito ove he houlde Thi mniatue come immediael ate a paage in which the homiit decibe how the igin wa t taled b the angel when he wa ouide he hoe, eching wate wate om o m he he well wel l  he ed  ed indoo indoo and tied o compoe heel with he pinnin pinning g The hoit coninue Wih he hea i embling and palpiating, wth pallo daining he cheek, and wih a o he limb embling embling violentl violentl,, he wa intent i ntent on he achgeneal o the heavenl heavenl hot] hot] , peenting hiel wok Wheeupo the achgeneal in human human om, om, appeaed appe aed be b eoe oe he ace ace to ace though the doo And hen h en he he ange ange ut ute eed ed ho hoee be be ed ed wo wod     il thou th ou who a highy highy av avoe oed, d, he Lod i with thee"   The econd miniatue o the Annunciation occu ou oio ate, on olio 22 ig 1 42)  Hee he poe po e o both the igin igin and the the ange eembe eembe the

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rst natre, bt the arhitetral bakrond has been spled he paintn is headed Eposti Epostion on o the trth o the Gosels Gos els  t ollow ollowss a tet hih inldes inld es a disssion disssi on o why the Virin was so ear earl o the anel  he hoilist says Beore we roeed any rter, it is roper that we shold at this pont raise the qestion qest ion o how that ost ialate one took so s o h ear at the sht o the arhanel, when she orerly had been habitated to the o any any o ane anels ls [thro [thro h h bein bein ed ed]] in the te tepl plee .    Why was she pani striken, striken, dist distr rbe bed, d, and and at at a loss loss at the the sh shtt o the an anel el    n trth, it was not on o n aont o the [apea [ap earan ranee o the the anel] , b b  t on aont ao nt o the new ness o what the anel said that se was dstrbed within hersel  he third iniatre o the nnniation ollows ater two ore olos o tet ( 1 4 3 ) ; ne aain, a ain, the oses o ses o bo t rotaonists stronly stronly reseble the re edin iniatre, bt there are sliht variations in the desin o the hose he pantin s eaded ead ed he  he dobts do bts o o  the Virin Virin as to how she is to oneive the Lord and it aopnies a rther  rther dialoe between Gabriel and Mary in whih ears and dobts   the anel se eks to allay her ears he orth nnnation iniatre oes two olios later ( 144 t is headed [he Virn is] released o her dobts, bt we wold hardly know this o te poses o the res, whih are vrtally idential to those in the last oposition here s, however, an ther hane here in the arhitetre o te Vrin's hose, or the doe at the to has ven way to a abled roo his niatre aopanies a opanies a passae passa e in whih we we are told told o o  te Virn's Virn's  oy one her ears have been allayed By sh eans the arhenera boye te allid nderstanin o the Virin, settin it above the heavens Wereore, e reared her to sbit to the ystery with ineable joy joy     nd so what had been a ase a se o ear nertainty to her, her, beae be ae a ase o reater j oy  and nertainty he deiton o the oy has to wait ntil the th iniatre o the nnnia to t o n, ·hih is ond on the et olio ( 145) t illstrates a assae in the hoily whih desribes what haened wh n the Virn nally ave her assent to the oneption n the words oJa o Jaes es o Kokkin Kokkinobahos obahos ll the ntelliible powers leaed [or oy] when this resonse reahed their ears; heaven above reoied, and the lods reeived these words like a  oyl dew  n the nia tre, thoh, it s only the anels on the riht vho show ther enthsias, b

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peng nd wvng e nd n he  e Vgn nd Gbel e ll fen n e me pe  ey hve dped n ll he her Annncn cene ny he rchecre  e he behnd e Vgn h chnged gn,    nw  ppe ppedd by by n p p en cbm e e  e e, en, h e eqence f cene ce ne  gn erly gc One wld expec  e cr wld cnge he pn ver me, whle e cece, he e, wld y he me In fc,   he evee H w e e we w e  exp expn n  nfry nfry f ng?  ng? e e cnn cbe     lc l c  f gny  nven nvenn n n e p f he r, bece bec e mny f he cmp n  n n h mncp mncp e nqe, nqe, ncdng e cene ce ne h we ed  ed  ele f S n Anne recev rec evng ng e new f he hbnd v (g 1 4   A mre  fcy explnn explnn e n he  f he mge e ne cene, ce ne, e Annnc n f C h brh, w bve bve ne, cred, nd nd mmble, mmble, even en e ex f he emn pvded  ere f ebn n e Gpe ex he he cene,  cene, he Annn Annncn cn f he Vrgn Vrgn bh, w w  me mnd mndne ne  cd c d be elbed b he ner even beynd he reqr reqremen emen  f he erm  ermn n P dclly, he e mprn mprn he mgey, mgey, he rche  cld cld be n  n del, nd cn veely, he hgher  , he mre  hd be decen Sl Sl be b evn vn cn be b e mde f  f e rn m he Annncn Annncn f he b  he ve heelve Here, , Bynne  nd wy  cnrng  f e cene c ene , he nec nec cnen h ndel ndelyy epe he cnrng he pr f mge gre  4 nd I 4 e e w Nve  ey e pyed p yed n he e e y yreen re encenry cenry ece e ce f e ce  cedd ng' C hch  Sdenc he  cene e e ne bve he he n he h wl, he bh f  f Ch n  n he hgher hgher pn p n (g 1 4 4 nd he he bh  he Vrgn Vrgn b elw (g  4)  On r veng veng,, he pr f cmpn  Sdenc e eb b  knd f ye yer ry y In ech rec, rec, he mhe   he cener, ng  n  bed be d pne f he h e pcre,  he   b    he h e child, child, hle hle B elw er, n h e n pne bede her re her virhe wmen h gf endng he bh f e V gn, he hee g nd nd e e heherd heherd  he brh f Ch Ch B here  ne vey gncn dference }een h  cene, hch  ell  her ce e ee  Sn Anne h  be pped fer e cldbh he cnn  p n he he  wn wn b h   be b e elped by   mdwv mdwve. e. he Vg Vgn, n, n he h e he hnd, cn len fw fwd d w w nce nce,,  embce he ed f er ch chdd  he  e n h cb h  n n ngncn de, f  w ned by Bynne we hemelve when hey decrbed wrk  r. A ely  he h ceny, he  Chc , decrbng  mc  he Nv Nvy y f Ch n he Chch f

D E T I   N D D E F I C I E N C 

46 Sudnia King Cr fro Naivi of Cri

· Suda King Cur fro: Naivi of  irgin

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CPTE 

D ni monst monster er crc mosic Ntivit Ntivit  of Cris Cris  4 8  Dni

St Sergiu at Gaza aid that the image hwed a Virgi wh ha give birth t a child child ithut ith ut recure t u u  with a ma ma He Herr ace ace   he wet    i i  t altered with the allr  e wh ha ut give birth ad ideed fr the rt time deemed wrth wrth f a ueratural uerat ural mtherhd he wa  utl utl ared are d it atural ai Thi aage wa reeated virtuall verbatim b a writer f the twelfth cetur the mk Jh Phka wh made a lgrimage t Paletie ad afterward ward wrte u a decriti d ecriti   f a maic maic f the Nativit f Chrit Chrit that he aw i the grtt udereath the church at Betehem Accrdig t Jh Phka, t l did the Virgi Virgi i the maic hw  ig f ai but he wa i hi w w  wrd lkig tward the Babe ad dil ig her ier dicreti i her milig rm ad i te clr i her cheek  S the ctratig deicti f the tw ther at Studeicawith ad withut the ig f earthl labrclearl hw the ctratig ature  the tw Nativitie eve while their verall cmiti are mmetrical I ther Bzatie wrk f art the ame ctrat w 

D ETA I L A N D D E F I C  E N C Y

exressed exresse d n a mre sbtle manner manner Ths , n the msa f the Brth f the Vrgn at Dahn, Sant nne raes her left hand t th her hn a gestre h n Byzantne art as a sgn f gref r an g 1 3  )  The Vrgn n the msa f the Brth B rth f Chrst makes n h gn f earthy traal traal g 18) We hae seen, then, that there ere rfnd dfferenes beteen the ays n hh Chrstan s enes ere ared are d n the early Byzantne marrage rng rng and n stnlast art The mages n the rng exemled an nffal, dmest art that th at resented the male male and a nd the female sdes f the lfe lfe f Chrst a s a semmagal eqatn desgned t nsre martal harmny The stnlast mages, n the ther hand, reres reresented ented an art that as n mre tghtly ntrlle  ntrlledd by the male lergy ts messa me ssage ge as as ne  ne f rfnd rfnd neqalty neqalt y beteen the t senes n eah arng an neqalty hse mlatns tat s, and gender The mage ma ge f  f the Vrgn nfany nfany ere nled thelgy s tats, mre detaled a d dramat and ths mre temral and earthbnd thse f Chrst ere mre stred dn andherat and ths mre eternal and lser t heaen T H E  I F E O F S  I  T  I C H O  S

Whle the nfany f the Vrgn as rtrayed th me eeny n Byzantne art the bgrahes f ther sants ere less n mng the fe sants se s e les e ere re str strte te y Bzantne artt artt  the narrat narrates es f Nhlas and an d Gerge ere by ar ar the mst desrea desrea The relate re late lart lart f  f Sant Nhlas may be asrbed t hs beng smethng f a generalst Whereas ter sants tended t sealze n the mirals attes, as healers  the sk fr examle r as rtetrs f slders, slders, Sant Nhlas rded hel n a arety f statns tns  He athed er traelers, he rded mney t the needy, he exelled demns and he heled ele n trble th the la The range f h rales, ther eqently mndane haraer, and hs ndefatgable stn t the fre f eny n all ts eratns hel t exlan the effeteness and larty f hs bgrahal senes n Byantne art   The exetatns that ere laed n the mages f Sat Sat Nhlas Nhlas may may be gaged gaged m a em e m attrbted t Manel Manel Phes, n hh a dnr dedates a hrh t ths sant The erses desrbe the hrh, hh as rbably rbably anted h senes frm the ant's lfe, as a mmn reme dy f safety ad as a ea f mirales ng tht eny The rle f Nhlas  slng arthly rblem as lnked t h rle as an nteressr at the heaenly rt, fr the Byzantnes beleed that sants h had

PTER

4

a good record in soling problems in this wold, who were known to hae inter ceded with God successfully to block the machinations of demons, could also be expected to be effectie at the Last Judgment, when the staes were igher Because the Byzantines belieed that Saint Nicholas was an esecially successl adocate at the court of heaen, the scenes om his life were often ainted in associatio assoc iation n with tombs or p enitentia enitentia inscritions.  here are seeral extant written written Lies of Saint Nichoas, the th e most important o f which was the ersion by the tenthcentury writer Symeon Metaphrastes. According to some suriing monastic iturgical rulebooks, or ypika this er sion of the Life was recited at the orning serice, or orthros, on the saints feast day, which took ace on the sixth ofDecember. For examle, the Metaphrastian Life is rescribed as a reading by the ypikon of the Eergetis monastery, which mideleenth century in the suburbs of o f Co Constantinole nstantinole..   was founded in the mideleenth his his tyion in i ts turn turn became be came the model for for the liturgical instruction instru ctionss of seeral see ral other ot her Byzantin Byza ntinee monas m onasteri teries es in the twelf twelfth th centur ce ntury. y.   hus, the foundation typikon typikon of o f the Monaster M onasteryy of St. Mamas Mamas in C onstanti onstantino nol le, e, which which was composed compose d in   5, requires requires tha t hatt the liturgica calendar o f the th e Eergeti Eergetiss monastery shoud shoud be be followed copletely" and without abbreiation A s was was his c ustom, Symeon Metaphrastes Metaphrastes wrote wrote his biography of S aint Nicholas in a strongly strongly rhetorica stye, ll o f iid and eotional eotio nal detai de tail.l. Metahrastes describe d the settin se ttings gs of o f the arious episodes at soe length, iin a ll acount acoun t f the emoions of the articipants as expressed expressed through their dra dra matc gestures and speeche. hen it came to the isua lies, howeer, Byzan di d ittle to emulate the drama of the text. n a conentional conentional rhetorica tine artists did introduction to his life of Saint Nicholas, Symeon Metahrastes claime that seech is more iid than aintin in presenting the accomplishments of the saints; in this case at east, Byzantine art certainly conrms his obseration. Although the contrasts between ord and image are particuary triking in the Metaphrastian biography, the lies of Saint Nicholas written by other Byzantine authors also differ markedly from works of art. As a grou, the written lies of Saint Nicholas are more detaied and more iid than the isual. S eeral comparisons illustrate the contrasts between the written and the p ainted ainte d ersions o f the saints sai nts lif li fe . e e may tart ith the wellknown wellknown story stor y of the saint saing three men who were ictimized by eny and ere consequently unjustly condemned to be executed. Symeon Metahrastes precedes his accunt of these eents by relating that the Emeror Constantine sent three generas to put down a reolt in Phrygia. On their wy, the generals anded at a port near

D E TA TA I L A N D D E F I C I E N C 

7

Mra naed Andriake ere ain icola enerained he Tey ere abou o dear de ar hen cerain of hoe in e ciy aroached e ain and falling headlon a hi fee eaedly begged i o defend oe ho ad been ronged and deanded ha he releae e o eir reen ifrune For e Goernor Euaio" ey aid ih ailing and ear a been corrued in hi oul b oney b e lae of en and eil and [no] unihe ih dea ree en of e ciy ho hae done no rong ao aoeer eer For ee en erefore erefore e ci i ieoul ieo ul beaing bea ing i brea and grieing grieing and in uch orro call for your reence For ad ou been ere e un lo oked don don uon uch an abomnaion in he ciy" ould o hae looked Wen he heard hi iaioned lea he ain a in folloed b e ree general  urried o e l ce of execuion There he dicoered e folloing cene He a a big crod anding around and he [ree] en ala! ih heir and ied beind e and ih heir eye coered alred ben oar oardd he  heir neck bare bar e and reched ou aiing for for e cu A iiful iiful ground i heir igh! A igh of uffering no o be borne! He a he execuioner ielf ih i ord already already dran looki l ooking ng urderou and ild and oing he harhne of hi iule b he ere ig of hi hen ichola a hi iuaion e are old e aced ifly and deciely Aroaching he execuioner he ook he ord fro  hand hre i on e ground nd releaed he en o heir bond yeon Mearae he decri decr ibe be  he reacion boh of he condened en and of e ecaor A for hoe ho had been aed heir joy oed e o ar ear and hey joll and reeaedly houed aloud on accoun of eir cange of circuance The ole lain  a heaer and all houed raie and broke ou ino loud crie on accoun of he igh ha hey had beeld 5 Thi ex i rearkable for i recording of draaic deail and eeciall of chological reacion To incree e  e iidne iidne of h e accoun eon Meahrae ell ho e ain reached he hree en in e nick of ie and he record he eoional ae of all he acor in he lay een of he execuioner The cene in e ex i croded ih eole: The hole lain a a heaer hea er Byzanine Byzanin e ri ri  on he oher hand hand drained i ory of i draa draa and eciciy reening only e bare ouline of he een a a be een for



H AP E  4

19 Mon Sinai Monaer of S. Caerine, icon S Nicola wi cene fro i life

D ET I   N D D E  I  I E N  

 

 0 0  Moun Sna onaser onaser of S S  Caerne con deal S  Ncol Ncolas as sav saves es ree en e n fro execuon

eale, in a ainting o the sene wih orders an earlthirteenthentur ion now reserved at Mount Sinai (g  This ion is o the soaed o grahial" t t e , whih surrounds surrounds a entra ortrait o the saint with sal s enes o his lie Here the stor othe ondemned en is redued to onl ve ar tiiants (g   )  We We see j ust the three vitis, the eeutioner ee utioner raising his sword sword to strike one o the, and the saint staing his hand Soe his in the ak ground hint that the ation is taking lae outside o the it, ut in other resets the setting is generi and vague The witnessing rowd and the tree generals, who a suh a roinent art in the tets, are oete asent asent  omission o these the se details is not si si due to the sal sae s ae o the aint The omission ing on o n the ion, or there isis a simlar ak o sei s eii it t in largesae aintings a intings o the sene Even in the Paaioogan eriod, when stles o Bzantine ainting were ore iusionisti and riher in detai, the eisodes o the ie o Saint ihoas retained their sare and strieddown qulit For eae, the earlourteenthentur esoes at Staro agoriino resent a striking ontrast etween etwee n the sene o iholas saving saving the three en, ortraed in the diaonion (g  5 ), and the Cruiion o Christ, shown i the nave (g  5 2) One

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CHPTE

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    Staro Nagoino Church ofSt. Geore esco: St Nichoas saves hree men from execuion

again in te naative o te ie of te saint on te ve inia aates ae son against agains t te sie ado ado of o f a i i  n te ainting of o f te Ci C iion io n on te ote and age ods of susidia susidia a aes es tong te te stage s tage aongao ngside te inia atos inudig Jes disies o oen and sodies Moeove Moeove  te eso ea indiates te setting o f te Cuiion Cui ion on a i outo utside te as of te it  tis ainting e tu see at Seon Metaastes desied as a teate te ate eeas in te eso of Saint Nioas e ae ae given on a diaga o anote oosition of tet and iage e a onside onside te eisode o te tee geneas in ison i oos te sto of Saint Nioas saving te tee en o eeution at a Again te etaastian ife tes te tae it a geat ge at dea of da daaa and eotion eoti on t eates o te tee geneas aving eft Ma ent on to gia to sette affais tee and ten etuned to Constantinoe ee te ee etavagant eeived  te gate eeo

D EA I  A N D D E FI C  E N C 

1

Star o Nagono, Church of St George fresco es co Crucon of Chrst 1 5 2  Staro

Constantine. But as in the ase of the the three onee en the ev eye of envy struk again nvy i not inten to ut u ith ts (goo fortune or ao that it shou be toerate by the eyes of the envious Certain en says the tet aroahe Ababius the earh of the ty an to hi that the three generas ha b een otting against the t he eeror eeror They reinf reinfore their story stor y it bribes bribe s ith the resut that the earh ea rh ent ent to the eero eerorr an  ersuae hi to thro the th e three genera generass into int o rison rison  After After a hie the th e earh earh yieing to rther ressure o the envious en ersuae Constantine to orer the eeution of the generas There There fo fooe oe a touhing sene i n the rison It as eterne then that they shou ie on _the fooing ay The eree ha been given in the evening. An the unu essenger of the ugent ha oe to the aier an ha ae knon to hi everything onerning his risoners But the aer having earer aente u at their fate by hiseffor he as it sees uh softerhearte than the earh an besies ha beoe frieny an faiiar th thegreve fo the en e n an ent to the an sai Wou Wou that I ha never starte  to seak ith you nor that yu ha sent so uh te ith e nor that I ha share your tabe an your foo. or then ore easiy ou I subt to

 PE 4

1  3  Mou Siai Moaery o S Caherie ico

deail The hree hr ee codemed codemed eerals eerals i priso

y i ortne, nd ess oud I ee in t or sertion, nor od suering so toch y sou. or toorro e re rted o ech otherthe bitter, s nd n sertion. Nor i  see ny more the ongedor sight o yo, nor i  her your voices, nor i  hve set beore e our cobred. or or you hve hve been ord order ered ed to be be ki kied ed. .   " on bred. He soke thus, enting nd bittery ournng their deth. ut s for theho oud  sou rect to this hen it s conscious o nothing orthy o deth? They tore o their cothing nd wretchedy ued out their hir. Which deon," they sid, e nvied s our ie? ie? To ht end i e subit to the deth o  ciins? Wht hve e done to erit deth?" deth? " They ced on their kinsen by ne, they ced on God to itness their resent sitution, situti on, they igined their deth redy redy beore beore their eyes.   ortuntey, one o the geners, Neotinus, coected hise sciently to ree reeber ber hov hov Sint ichos hd h d sved sved the three en o eecution eecuti on t Myr. The three geners ced or id o the sint, ho ered to Costntine tht night in  dre nd ordered their reese reese   Once gin,  y observe tht yzntine rtists istrted very itte o the thetric deti rovided b the tets. The inting on the erytteenthcentury icon o Mount Sini siy shos three en sitting in rison, their eet bond

D  TA I L

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AND   DFICI EN CY

5 4 · Rome, Vatican Vatican Libar Libary y MS gr. 1 754 fol. fol. 6r (Penitential Canon): Penitent Penitent mos

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by ion fettes (g I 5 ). Te suotive guad of te itten lives is noee to be seen Te condeed geneals aise tei ands in at may be inteeted as a sign of aeal and tei faces ae doleful, but tey make none of e gesues of gief and desai so vividly descibed by etaastes; tee is no iing of gaents, no eaing of te ai Yet suc gesus ee cetainly a of te vocabu lay of co contemoay ntemoay Byzantine atists in oe contexts, as is oved oved fo exale exale , b y te deictions of  enitent monks monks in an illumin illuminated ated coy coy o f e Penitenial Canon eseved in e Vatican Libay One of te ainings i n tis manuscit sos te enients  enients ulling a ei ai and clotes in a demonstaion of desai equivalent equivalent to tat descibed by Symeon etaastes etaastes (g.  54)  f e un fom fom e smallscale ainting o f icons o e onumenal at of escoes, e d tat ee o Byzanine atists ee singularly undemonsative in tei otayal of te ee condemned geneals o examle, in te eayfoueenentuy esco in te Cuc of te Koimesis at Gaanica (g   5 ) , te ee geneals sit assively in jail, making little dislay of mouning ote an to cu one and against te ceek (e isone on te igt) o to sead te als (te isone in e cente). Altoug te esco a Gaanica is no incomlete, it is vey likely tat oiginally te guad as omed, because e alost neve neve aeas aeas in ts scene in Byzantine Byzantine at n contast, co ntast, te contemoay esco of te Lamentaion ove te dead Cist in te sae cuc (g  6) deicts deic ts a lage lage cod of mounes abandoning emselves emselves to ei gie tong tei as u ito te ai o eaing a ei ai, le e Vigin ay eself succubs o a soon Tus e Laentation ove Cis is tonged i da matic actions, ile te ee geneals sit assively in ei ison cell Since te Lamentaion is not descibed in e Gosels eselves, but only in te yms, seons, and aocya of e Byzantine cuc, e see ta is scene ovies moe acos an te canoncal stoy equies, ile e aining om te sains life life ovies less  A simla simla lack of detail deta il is found in e illustaion ill ustaion of o f ote soies soie s om e lif l ifee of Sai Nicolas A aticularly stiking examle is e ellkon eisode concening te oo an t tee auges Accoding o e sains biogaes, is an could not affod doies fo te maidens and as aout to ut tem to ok as osiues Saint Nicolas came o e man s aid by stealtily toing a bag of gold toug te windo of e aue's ouse as e slet, tus oviding a doy fo te s of te dugtes He eeate eea tedd tis act a ct of o f kindess kindess fo fo te secon s econdd an e tid aidens    is emakable tat in some of te vsual vesions of tis stoy, e tee daugtes ae comletely omitted o examle, on an eleventcenuy icon

D E TA I  A N D D E F I C I E N C Y

I 5 5 . Graanica, Church of the Koimesis fresco The three condemned generas in prison pri son

I 56. Graanica Church o Church off the Koimesis esco Lamentation oer Christ

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

CHPTER

4

 Mount na Monatey ot Cathene con deta t hoa adn the paupe wth the dauhtes

at Mout Sa which peseves some o the ealiest suvvi illustatios o the lie lie o Sait Ncholas we smply see the aupe ly i bed wth Sait Nicholas stadi st adi beside hm holdi holdi out a ba o moey ( (   5 7) 7)  Alhou Alhouh h the pove povety ty o the th e sleepe s idicated idicated by the act act that th at he has ha s o shoes the thee you wome wome  ae owhee to be see Aai, the ossio o some o the majo actos  the soy is ot due meely to the small scale o the pati o i the dthteethcetuy esco i the Cuch o St Nicholas at Bojana  Bulaia the dauhtes ae also let out o the pctue (  5 88))  Aothe stoy that t hat eceived a malist teatmet om atists atists  while i t was told i much eate detal  the texts s that o Sait Nicholas Nicholas elli elli the cypess tee te e Th e bioaphies elate elate that ea the villae villae o  Plaoma Plaoma  Lycia Lycia thee thee was a b b  cypess tee that haboed a daeous devl The vilaes pleaded with Nicholas to cut dow the tee He came ad bea to chop at the tee wth his axe while a lae cowd watched Moved by the devl howeve the tee stated to al o the spectatos ad dsaste would have esued had ot the sait asped its tu ad all  the oppos o pposite ite dect decto o. .   I some som e Byate Byate wos wos o at this stoy sto y made it all is educe to the loe ue o the sat cutt dow the tee  the ealy thiteethcetuy ico a Mout Sa (  59) the cowd is completey omit

D E TA I  A N D D E F I C I E  C 

18

 5 8  Bj Bj  Church f t Nichs, fr fresc esc  . Nichs Nichs idig idig he puper with three three dughters

ted; the saved spectatos spe ctatos ae also abset om the esco esco at Stao Sta o N aoiio aoiio ( (  I 6o), althouh hee the atist has added the devils eei om the uppe baches baches o the tee  It ca c a  b e see, the, that i i  Byatie Byatie at a t the lives lives o Sait Nichola Nicholass ad the Vii stood i opposit opp ositee elatioships to the t he lie lie o Chist Chist  heeas the iacy iacy o the Vii wa was potayed potayed as moe mo e detailed ad moe eathboud eathboud tha that o he so the ie o Sait Nicholas was ess detailed ad moe schematic As was the case wth the potaits potaits o the saits, saits , these distictis betwee thei bioaphical bioap hical aatives caied messaes about the scheme o salvatio ad the elative posi tios o the saits ithi it The aativ aativee o Chist's bith, i cotast to that o his mothe, showed hs divie ad supehuma atue Compaed with Sait Nicholas, howeve howeve, , Chist's Chist 's humaity was evealed, ad theeb theebyy also was demo stated the supehuma atue o te sait

HAPTER 

 5  Moun Sin Sinii Monser Monser  o S herine herine icon dei S Nichos eing he cress ree o Pkom

I addto to ths bay bay cod co d o o status sta tus the dstctos betwee Chst ad hs sats also ad a mpotat psycholocal dmeso The vsual lves o Chst ad o Sat Ncholas had vey deet demads put upo them b the vewe ad accodly tey too deet oms e have see that the motal atue o Chst was emphased  Byate at thouh the ceato o da_ matc scees o Chst's passo (s  52  5) Such scees eached the ll developmet  the eal outeeth cetuy The pupose o these theatcal po taals taals o Chsts death death was both bot h theolocal ad ad ctoal ctoal I theolocal t heolocal te t e,, they coveed the doma o Chst's humaty whle  ctoal tems the moe accessble to vew vvd emotoal cotet seve to mae the caato moe es  thus b Chst close to them as a ocus o payes.  poem  a ou teeth te eth o  teethcetu mauscpt  the Vatca Vatca Lba Lba shows how a pat o the Passo o Chst could eae the emotos o the Byate vewe as a assuace o the mecy o Chst The epam whch s ettled "   the Etombmet s  the om o a questo om the vewe ad o Chsts espose The vewe ass las! hat s ths [evet]? Do eve You de my Chst have ve beath bea th ad a d the measue meas ue o o  le le to all? Yo u who have

 E TA I  A    E F I C I E  C 

o. Sro Ngorio, Churh o S George eso S Nihols ellig e yress ree o Plkom

Chst Chst eples I de as a ma, but wllly But let me ase Adam om decay ad coupto, ad let me come ce c e moe to the beadth o  Paadse Paadse Pase, theeoe, my compasso4° I othe wod wods,s, the the ve· ve·e e has empa empath thyy wth wth the deat deathh o Ch Chst st ("Alas    Do eve You de?), ad, at the same tme, Chst's codesceso to motalty poves hs compasso. Fom othe souces, we ow that the eeactmet o Chst's death  the Byate ltuy ceasly became a ocus o pesoal peace ad cot to to  4  Thus,  the ealy outeeth cetuy the Patach Athaasos I ecouaed the people o Costatople to assemble at the Holy Satuday ceemoes wth

CATER

4

appopiate cotitio ad ea ad love ad teas so that we may quech teas with teas  aothe lette o the same subject addessed to the empeo he com paes the coeatio to the hoy ome at Chist's tomb sayi: Yo u  subject jects    ill ·itess with compassioate soul what was doe by the me o that time though a ihuma ad ad mudeous impulse ad shae the the soow soow o the the eveVig moth mothe e o Go Godd    ad they should ot sim ply depat just as a spectato iteested i watchig divie spectacles but should athe emai ad "big pecious oitmets i the hope at they [the mselves] see the stoe olled away away 4 may [themselves] Hee the the patiach isists isists that the people should atted the sevices ot j ust as obseves obseves bu t as paticipats; paticipats ; they they should shae the soow o the th e Vigi Vigi they should come with thei ow teas o emose As i the ituies celebatig the lie ad dea h o Chist so also i the visual aatives Byatie atists sought moe ad moe to egage the viewe i the passio o the momet though scees that wee damatic ad l o eeli The egaemet o Byatie beholdes with images o the lie o Sait Nicholas Nicho las howeve too too  a complet com pletely ely di diet om e ca ca  discove discov e how ou ou teethcetu viewes eacted to these scees om a poem attibuted to aue Philes hich was pobably iscibed upo a ico o Sait Nicholas to which a gilt silve evetmet had bee added The poet declaed Let ayoe ayoe who wishes wish es boast boas t simply simply i aboudi possessios possessios  moey moey ad loy loy But   0 bessed oe am otuate i you imae a ll but alive al ive,, you wo wo wode wodess without withou t evy evy    i which beig all Theeoe Theeoe  eceive eceiv e om us t he golde golde adomet ad omet toethe wth the stoes set  it Fo ith the ivisible Fo ivisible i i  o o  you payes payes add with the spiitual a spi itual stoes o you acles away om  om us u s the hidde wolves wolves 44 you oce away The ded evetmet that had bee doated to this ico ico  o Sait Nicholas thee  oe was studded with jewels which the poet comaes to a ivisible ig o the saits payes ad also to a implied i o his miacles The wite claims that Sait Nicholas wos his wodes without evy the ig o his payes ad his miacles have ha ve the powe to ad o o ivisible ivisible daes The lauae o the poem helps us to see how a ealy-outeethcetuy

DETI ND D EFII EN

185

vewe mht have eaded the ccle o abbevated boaphcal scees su oud Sat Ncholas o the pael at Mout Sa ( 19) as well as o late boaphcal cos o the sat. These scees wee wee ot  ot so much aatve aatvess desed to eae the emotos o the beholde beholde but bu t athe eteated etea ted assuaces o potec to om a sat who was a powel ecouse aast evy ad the evl eye. As such the eec qualty o te scees made them moe usel because to put t smply the less specc the mae was the eate the th e umbe o stuatos stuatos t  t could apply to ad the moe people could elate to t The eealato o each ma cle scee expaded ts ae o eeece ad thus ts elevace to vewes. As we have see Sat Ncholas specaled  ett eople out o mudae toubles ad the vsual scees o hs le wee paadms o such stuatos athe tha llustatos o specc evets. evets. I the case o the poo ma wth thee dauh tes o example  oe could say that may people mht le  bed at ht wshi that they had moe moey but ot eveyoe had thee dauhtes Theeoe the pat had wde elevace o the aveae vewe  the thee you wome wee wee omtted omtte d (s (s 1 5  1 5 8 ) . The expla explaat atoy oy scptos accomp ac compa ay y s s scee  Byate at ote bea out the eec atue o the mae Fo exam ple o a boaphcal co o the teeth cetuy at te Moaste o St Joh o the slad o Patmos we d a techat leed that eads  ts etety "B the moey4 Lewse  th scee o the thee eeals  pso the atsts eeded oly to show eouh detal to det the oveall ccumstaces amely that they had bee badly teated by the law But t was ot ecessay o eve desable to eae the vewe's sympathes wth these patcula vctms o vey ew o the beholdes woul be eeals It was oly ecessay to evoe te oveall oveall ccumstaces ccum staces o the macle whch wh ch pomsed pomse d that ayoe ayoe who w ho oud oud hm sel ujustly accused o  eal dcultes could be helped Hee aa the scptos attached to the scee wee wee equetly equetly ospecc  chaacte O the co at Mout Sa o example the thee eeals wee descbed smply as " The thee me  the pso pso  ( 1 5 3 ) 4  As o the macl maclee o the cypess cypess tee te e the ma pot o the th e stoy was was ot o t that th e sat saved the patcula cowd cowd that tha t tued out to watch the sp sp ecta ect a le but that he was eectve at dv out demos wheeve they mht be Accodly the scpto o the co at Mout Sa eads " The sat chas chas  the demo demoss om the tee tee ( ( 1 59)  4 O aothe aothe bo aphcal co at the Chch o St Ncholas ts Stes at Kaopeta o Cypus the leed accompay te cee eads oly "Te sat chas away the demos.4  Le the maes the scptos ot to the pot I  suay the scees sce es om the le le o Chst Ch st ad o Sat Sa t Nchola Nch olass had ha d d de

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6

APE

4

et demad put upo them, eulti i dieet mode o peetatio The cee c ee o Sait Sai t Nichola wee wee eitea  eiteated ted auace o help hel p i di dieet mudae ituatio, to which a eeic caacte ·a appopiate to iue the beadth o thei appeal hece thee imae wee daied o thei pecicity The cee om the paio o Chit, i cotat, woed i the oppoite diectio They wee iteded to eae the emotio o the viewe i cotemplati the pe cic cicumtace o the icaatio a a auace o Chit acceibility to huma paye paye ad ad to the t he iteceio o the th e ait To achieve achieve thi thi ed, ed, Byatie atit ·ho illutated the lie lie o Chit ceated a moe paticipatoy at, which i may epe epect ct wa moe detailed tha the G opel text The me atit, howeve howeve, , whe illutati the lie o Sait Nichola, ioed the damatic detail povided by hi bioaphe  H   I F E O F  T. G E O  G E

The lie o Sait Geoe, lie that o Sait Nichola, wa depicted with elative equecy i Byatie at   I thei mae o peetatio, the two bioa phie haed ome imilaitie, o both teded to be moe chematic ad le detailed tha depictio o the lie o Chit But with epect to cotet, the live o Sait Geoe ad Sait Nichola had dieet chaacte The emphai with Sait Nichola wa placed o hi mudae acle, but with Sait Geoe the te wa put o hi epeated epeate d totue ad miaculou uvival uvival The miacle peomed by Sait Geoe i aid o othe wee ot omitted om the viual ecod but they wee balaced by the eiteated cee o hi ow uei, which ote ote echoed ec hoed each othe oth e i thei omal omal compoiti compoitio o It i thi th i lat apc t o the ce om ait Geoe' lie that coe u hee Ho did thei epeti tiou ad omulaic atue beet the Byatie viewe A a maty, Sait Geoe wa a imitato o Chit ut a the Gopel elatd that Chit wa euected o the thid day om Hell, the bioaphie o Sait Geoe epoted that he wa placed i a pit o cautic lime o thee day but emeed om it alive  Seveal wite claimed that lie Chit, Sait Geoe wa ally put to death o a Fiday s  I ome itace, cee o the totue ad matydom o Sait Geoe wee itetioally juxtapoed with the Paio t he ealy ealyouteethcetuy oute ethcetuy ecoe ecoe o o  the chuch chuch o St G eoe at o C hit I the Stao Naoiio, o example, the two aative wee et i paallel, ui aoud the wall o the ave, oe beeath the othe ( 6) Each bioaphy coclude with the death death o it potaoit, the beheadi beheadi o Sait Sait Geoe Geoe b ei

D E TA I  A  D D E F I  I E   

6 Sar Nagorno, Church ofS. George frescoes on he souh wa: The Passon of Chris and of S George

88

C HAPT E

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62 Saro Nagoriino, Church ofS George fresco: Deah and burial ofS George

shwn shwn at a t the easten end  the nth wall  the nave nave (. 1 2 2))  diectly beneath the Cucixin  Chist which appeas in i n the eist eiste e abv abvee (  52)   In spite  such juxtapsitins Byantine atists ptayed the naatives  Chist and  his maty in sinicantly dieent ways A stiin chaacteistic  the illustain illus tain  Saint Gee G eess ttues ttues an andd matydm matydm is the eiteatin eiteat in  sim ila but nt identical ident ical schematic schema tic cmpsitins cmps itins This e eect  a litan lit anyy can be und und  example n a thiteenth-centu biaphical icn peseved at Munt Sinai whee seveal  the saints ttues ae pesented accdin t the same mula thuh they ae caeully distinuished by the Gee insciptins (.   3 ) I we ead the scenes aund the ame  the icn statn in a clcwise diectin m the tp ihthand ihthand cne we see that each ttue  the saint s aint ll llws ws a lie patten wth the saint in the cente bein aned by tw tw sy syetical etical executin e whethe he be beaten with whips whips buied b uied in a pit  caustic lime scaped by in hs hs  cushed unde unde a stn ben ben n a wheel    buned bune d wth tches  in the case  Saint Nichlas the atist mts many  the distinctive details iven in the witten Lives; thus he shws neithe the anel wh miaculusly cued

D E TA I  A N D D E F I C I E N C 

13 Moun Sinai Monae of S. Caheine icon S Geoge wih scene ofi

miracle and marrdom

CHA PT E

 64 Sar Saroo Naorin Naorino o Church o S Geore, esco: S Geore ben scraped wh ron  ron claws claws

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 65  Saro Naori Naorin no o Church o S. eore eore resco: S eore ben bured bured n a lime l ime p

Geoe's wods ate he had bee boe o the wheel o the ael who accompaed the sat ad potected him whle he was i the pt o lme  Eve amo the wall pats  the Chuch o St Geoe at Stao Naoo which ae much lae i scale scal e ad che i detal thee is a tedecy to ep ep eat sila sim plied compositos. composit os. Fo example the pats pats o the scap wth o claws ad o the buial i the lime pit both mae s  o the same basic symmetical scheme showi the sait stadi hal aed bewee two exectioes who attac him om eithe side wth match istmets o tote (s 1 6 4  16) At Stao Naoio these two sta scees om the le oSat Geoe mae a especally st cotast wth the Moci o Chist which s potayed  the eiste above The latte episode thouh it s also symmetically composed pesets a

D E TA I  A N D D E  I C I E N C 

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Mcgg  Chst  66 Sta Nag Chuch  St Gg sc Mc

complete thro ojeer ojeer chaacters surroud Chrst, vared  pose ae, ad costume ad clud muscas as well as dac boys wth app sleeves ( I 66)  Smpled ad ormulac ormulac maes o the su suers o Sat Geore ca be be oud  several other Byate churches, the compostos be vared oly by the substtu subs ttuto to  o d deret meas o pushmet pushme t  the co at out Sa, as at Staro Naoo, the scees o Geore's tor tures are accompaed by others whch llustrate hs help mracles such as the (se cod om the botto bo ttom m o the let let sde o the ame  .  . ll o the drao (secod  63 )  the resurre resurrect ct  o a dea ma (th (thrd rd om the bottom o the rht sde o

HATE

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the ame), and the estoin to lie o a poo ames ox (second om the let at the bottom) Toethe, the potayals o eoes toments and o his macles iustate a pincipe o ecipocity tat was undamenta to te Byantine menta ali en to t o modes o thinin today The epeat ep eated ed su su eins eins o o  the maty, m aty, ity but is alien Gods miacuous inteventions on his behal and his own miacles peomed on behal o otes wee wee all asuances to the dono dono o the viewe viewe o S aint G eoes coseness cos eness to Go God, d, and o the e eectivene ec tiveness ss o o  his intecessions  ne peache o o  the seventh centuy, ce ntuy, Ac Acadi adius o Cypus, beed the saint: Since, 0 maty, soldie, attendnt, and iend o Cist, you have enjoyed much ace and eedom to spea with Him arria),    all o us aith now habitually habit ually beseech bes eech you: you : "Become "Bec ome piest pies t o o us sinnes sinnes who do not n ot enj enj oy the eed  eedom om to spea with with te Lod, pay as ou champion on behal behal  o the th e Chistian ol who ae piteously, but justy, chastised, do not cease to say continuously toethe with all the saints:  Spae you you p eople, 0 Lo Lod   Hence at Stao Naoiino, on the icon at ount Sinai, and elsewhee in Byantine at, at , the totues o  the saint wee intespesed wit his helpin mia mia cles, o the th e maty's maty 's succ s uccessl essl enduance enduance o many tials assued assu ed the e eectiveness ec tiveness and equency o his inteventions o the benet o othes This equation o epeated totues and epeated macles, both aleady peomed and anticipated, was expessed by a dono's insciption accompanyin a lie o Saint Geoe p ainted in i n t chuch chu ch o o  the Aayoi Aayoi at astoia. Hee the latetwethcentuy latetwethcentuy escoes, whc ae in the noth aisle o the chuch, depict the toments o te saint sain t toethe to ethe with his miacles miacles,, such as the savin savin o the in's in's dauhte om the da daon on The insciption, insciption, which is now incomplete, incomplete, bei b eins ns You vee aleady painted in my eat, muc muc  su su ein maty, with wi th mystic tint ti ntss o lonin Ad now with moe mateial coos pict uess o you miaces, I paint te pictue thou thou whic whichh you you wade wadedd o o many many  . .   any su su eins, ein s, theeoe, theeoe, meant mean t man manyy acles a cles The eiteation eit eation o simila simila imaes ima es o totue bouht eassuance to t o the Byanne viewe viewe o epeated epeat ed benets b enets The saints, o couse, could not wo thei miacles without God As in the case o Saint Sain t Nicolas, the abstation abst ation o Saint eoes bioaphical bioap hical imaes vas vas a demonstation o the saints special closeness to the divinity The lives and encomia o Saint Geoe empasied empasied the constant and unchanin owe o Go Godd

D E   L  N D D E   C  E N C Y

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th eabled the repeated trumps o the sait over his oppoets the poer that preerved his body uhared i the lie pi that ep him ucrushed by he stoe ad that set a ae to rescue him rom the heel The bioraphy o the sait by Symeo Metaphrastes ater recouti his miraculous survival i the lime pit has the sait address his tormeter the Emperor Diocletia ith the olloi ords "Let it be lai to you 0 emperor that Christ himsel the So o God overshados me ad all those ho believe i Him ith His ivisible is ad saves us om eery id o harm At the ed o the bioraphy Symeo Metaphrastes coludes that God's plede o assurace as udyi throuh all o the martyrs tortures tortu res just jus t as it i t ill be or all believ beli ever erss  hereore he [Sait Geore] too the cro ot a mortal cro exteded by the riht had o a mortal but a immortal cro om a imortal a riht had tat ot oy croed him but ouht ith him i his ormer trials tria ls ad participate parti cipatedd ith ith him  his his cotests cotest s  For the poe poerr ad the lory is Christ's ith the eteral Father ad ith the lieivi Spirit o ad orever or aes upo aes s  The uchai character o the sait's sait' s tortures i Byatie art the relative sameess ad lac lac o o  detail i the compositios  ad ad their lac o temporal speci spec i city cit y all carried carr ied a positive po sitive essae or Byatie ieers ieers or the poer that sus su s taied the sait sai t as see s ee to be cost co stat at ad etera eter a or h hm as or or them Neertheless eve hile the poer o the matyrdom scees as ehaced throuh the repetitio o similar ormulas ad compositios the artists too care ot to reproduce imaes that ere exactly the same or each torture as clearly distict distict  The vsual arraties arraties o o  the martyr saits saits ith their reechoi scees o trials ad tortures could ctio as recurri assuraces o aid rom the same sait but they ere ot to be cosed ith idetical maical sis edoed ith the ability to act i their o riht CONCUSON

I this chapter chapt er e e have see may may o the actors actors that tha t cotrolled the composit co mpositio io o the saits' lives i Byatie art The visual arratives o the saits ere deed i relatio to each other ad to that o Christ Sice Christ as por trayed as both divie ad huma his lie could lay a double role i a series o biary oppositios The lie o the Viri as sho as more detailed ad earth boud ad thus i our terms ore "realistic tha that o her so Thereby

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HAPTER

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Byatie atists simultaeusly evealed the special divie status  Chist ad als, by extesin, his huma atue, sice the Vii as,  cuse, his mthe The paited lives  Saits Nichlas ad Gee,  the the had, ee less detailed detailed tha that tha t  C hist hist they ee ee me "abst " abstact, act, hethe hethe in tems  thei elative lac  emtiveess, incidetal detail,  vaiety  cmpsiti B meas  thei deciecy, the supehuma status  these saits as evealed At the same time, the paadimatic ad eiteat e q l ties  these haiaphic imaes eabled hem t act me eectively as assuaces  the behldes saety eils  this l ldd ad  the ext. i the p eils t is appaet, theee, that aative at ad aative liteatue lled di eet ules u les  the ealm ealm  lteat lt eature ure,, a eas eastt day, day, hethe hethe celebat celebat  a sait    an imptat imp tat evet evet i the li li e    Chist Chis t  the Vii, Vii, called call ed   a biaphy bi aphy  a pa pa  eyical sem, elabated ith apppiate hetic ad dama, t be ead ut ce a yea  the ccasi that as bei celebated  at, heve, the imaes ee ptetially visible all at the same time ad all yea ud Csequetly Cse quetly,, they ee cded accdi t the elative status  thei subjects ad adapted t the ctiui devtial eds  thei viees Thus, hile the texts miht i eac case be b e ich ith a vaiety va iety  eathly icidet ad dama, dama, the  ss   at depict i the same sties ee ee t ecessaily s  The texts texts alays alays had had the ptetial p tetial t pvide atists ith the ispiati   specic details, det ails, but the chice chi ce  hethe  t t illustate thse details as bth a thelical ad a ctial e, dictated y the paticula pat icula le le played played by the subj subj ect  the imae im ae i i  maiesti maiesti the dc t he exp exp ectatis ectati s  the viee tie  the chuch ad i satisi the

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COCUO he subjec o his boo has bee he aaomy o Byaie a boh i he lieal sese o he sais bodies ad i he meaphoical sese o he loic heir imaes The s wo chapes aalyed he Byaie co saced poaiue as i was develop develop ed i he ceuies ceui es ae ae icooclasm icooclas m cepio saced e saw ha h a he aim ai m o Byaie Byai e aiss ais s was o dee dee all a ll he sai sai  as closel c losel as was ecessay i he s place by assi evey idividual o  ecoiable caeoy such as aosles bishops mos ad soldies each caeoy bei ds iuished b mes o he sais aribues o cosume ad omal values Sec od whi ech caeoy evey impora sai was rhe deed by poai ype ad all sais wee ideied by ame. The Byaie oio o ue ad lielie poraiue did o corespod o ou ideas o realism o heir pupose was oly o dee he sai suciey o ecoii  o o ceae a opical illusio illusi o The sysem o o  di dieeiaio eeiai obew bewee ee caeorie c aeoriess o sais accodi ac codi o hei aibues ad omal qualiies bewee idividuals accodi o hei po ai ypesremaied cosa ove he ceuies eve while peiod syles chaed chaed I was ie a ue a could be asposed io diee eys The veaciy o he poais was cosaly comed by deams ad visios which i hei u wee comed comed by by he icos Thus boh he visios ad he pai is wee aicial cosucs beloi o he domai o Byaie Byaie ar. a r. The secod chape aued ha he omal characeisics ha we associae wih illusiosm illusiosm ad spoaeiy spoaeiy  oraiue such as modeli ad moveme wee eihe employed o wihheld by Byaie aiss i ode o disiuish bewee he caeoies o sais accordi o hei au aues es whehe copoeal as i he case o soldi soldis s ad wiesses wiesses o he icaraio o Chris or icopo icopoeal eal as i he he case ca se o o  asceic mo mos s ad bishops. Fo Fo he h e Byaies Byaies aess ad ad iid iy siiyi siiyi immaeialiy ad immobiliy immobili y composed a ue ad accuae a ccuae de iio o he aures o aceic sais while moio ad oudess displayed eihe he vio ad seh o he holy warrios o he maeialiy o hose who par icipaed i he eahly lie o Chis The hid hi d chaper showe showedd how he  he posico p osicooclasi oclasicc cocepio o saced po aiue ad he oms ha icos cosequely oo w e cdiioed by he ucios o he imaes i maes E arlier imaes imaes o sais i Byaie Bya ie a espe esp e p eceived ucios cial ci ally ly i domesic domesic coexs had h ad bee bee  vieed ad ad used by ma mayy people as poe poe 

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195

CONCUSO

sis wih owes o  wok i hei ow ih cosequely hey did o eed o be ideied by isciios (h is ied o a aicula hol esoae ouside o he imae isel)  ad hey c ould be eeae ee aedd o o maximum maximu m e ee c   e e icoo clasm howeve howeve  he imaes wee see ol as chaels chaels o couicaio couica io  so s o a  a ow he owes wee vesed o i he imaes heelves bu i he sais ha hey oayed osequely each ico had o be a accuae oai o   icula sai wihou ambiuiy o sueuous eeiio. The ouh chae moved moved om he oais o he sais o hei bio b ioahies ahies showi h hee wee also omal disicios bewee he visual aaives o hei lives esecially i elaio o he lie o Chis The iacy o he Vii was eseed as  edeed coueoi o he iacy o he so he eae ichess o eahly deil i My's M y's lie lie howi howi io elie he diviiy o his. his . ov o ves esel ely y he  he lives o o  he h e oula Sais Nicholas Nicholas ad G eoe wee less deailed suehuma saus sa us ad o o  he muli ha ha o his as a exessio o hei suehuma valecy ad muliliciy o hei ieveios i hum a ai i  I  h visual lives o  e sais s wih wih hei ois aiss aiss eseed a seies o biay oosiios oosi ios coas s cayi cayi  messaes o he viewe each ai o coass B oh o h he om oByie icos ad hei oles i sociey have bee he sub ec e c o his sud su dy Howeve Howeve his has has o bee  book boo k bou a a  i sociey socie y bu abou sociey i a The objecs hemselves hei omal desi ad hei ma e o eseaio have bee he ocus he suoudi mai o belies ad cices hs b ee ivesied oly isoa isoa as i ho hows ws lih uo he aeaace o he obje objecs cs I we have have ouched uo qusios o heoloy c ul mac mac ad  ede hese  hese hve bee be e acly acly o ou mai  uose which has has bee be e o exli exli why Byie wos o a ook he aicula om h hey dd Neveheless Neveheless ou is is e o wihou elevace elevace o he bode bo de issues o a soci ey becau be cause se hee  hee ws alwys alwys a wo wowa wayy iechae iechae bewee be wee he  he aw a wo o i sociey ad he viewe The disicios ha we have obseved bewee diee cae oies o sis wih esec o he omal chaaceisics o hei oais ad o hei visua lives demosae ha  hei imaes i  ·ee ·ee ieded ied ed o eae he h e beholde i diee ways ad h hee ws a coiuous dialoue bewee viewe viewe d  d imae imae I  he h e co covesa vesaio io had bee oly o he  he a  a o he he viewe viewe  be e simly  mooloue  hee would hve hve bee be e o  o oi i he ha is i i hd bee aiss vayi he imaes The iis o ll Byaie sais could have shaed excly he same omal chceisics ad i woul hve bee he ask o he viewe o ovide he viio houh chaes i his o he esose Bu i Byaie sociey he ole o imes was moe cive hey hemselves wee va

ONUION

 

tribues, in order i e d in their  their   formal formal attribues, order to prov pr ovoke oke diferent diferent respon responses ses om te The ttened images of the viewer. tten ed images the monks iewer. The onks and the the robust obust portraya po rtrayals ls of the the ww-

rior rior saints evoed evoed di dierent erent responses respons es partly becaus bec ausee o the viewer viewerss expe expe ctations ctati ons  and partly because o he esign o the images themselves Liewise a  Byzantine painting painti ng of o f the Lamentation Lamenta tion over over Christ Chri st woul wouldd not no t engage the viewer viewer in the same way as the lamentation of the three generals cndened unjusly to executin Thee one scene Th s cene  detailed an an charged with emotion emoti on was was designed to invol involve ve wor wor shipers as participants in the moent of Christs death to draw them into that p articular drama whic whichh was was an assurance assurance o their thei r salvation. salvation. The Th e other scene the plight plig ht o o  the three th ree genera generals ls abstracte abstractedd and drained drained o detail detail was intended to lea d viewers out of that particular situation to reassure them o the help o Saint Nicholas in all cases o in injj ustice ustice  whatever whatever the precise circumstances. circumstances. The view view ers expectations conditioned the orms o the images and the ors o the images in their turn encouraged encouraged the viewer viewerss expec expectations tations.. The expectations of yzantine viewers in ront o their images went beyond emotiona emot ionall response to issues o o  power and control The repeated undened and anonmous images on an early Byzantine tunic or bowl wored or the beholder in ways ways that were completey contrary to the closely c losely dened portraits portraits o the post pos t iconoclastic period. p eriod. Even Even though the viewers viewers hoped or physica physicall benet might might oten be the same whether it was health saety or success the means o getting there was very di di erent. In the ormer case it was by the direct dire ct operation op eration o the image in the latter case through the meiation o intervening powers through the depicted saint through his overlord Christ and through Christs earthly min isters in the church In the case of the early Byzantine image more conrol was retained by the user in the case o the posticonoclastic icon the vieer was at the mercy of his or her intermediaries intermediaries.. Thus the change in artistic orms signaled an important shit from using to viewing and a signican signican loss of control control or the individu individual al who sought so ught the bene be ne ts The loss of control was especially signicant or emale viewers. In the domestic art of the ealy ealy yzantine yzantine period p eriod wome women n reained a signicant signi cant degree o power over over both bo th the imagery and the result re sultss o o  is use . We have have seen see n that th at in the mosaics of S. Vitale it was was Theoora Theoo ra who was depicted depict ed wearin wearingg the Three Magi embroidered onto the hem o her robe (g. o8) while on the early Byzantine two gender genderss appeared balanced balanc ed in a state o harmonious equal marriage ring the two ity gs.   7     )  In the later p eriod both bot h the or orms ms of the images and and the chan nels of communication with the supernatural powers were more tightly con clergy. In the nal centurie ce nturiess o Byzantium Byzan tium it i t was the clergy trolled by the male clergy.

COCIO

6 Mocow, Kein Mueu "Minor Sao of e Meropoian Poios

not te lay people wo wore te magnicent costumes elaorately emroidered vit Cristian Cris tian images and scene sc eness  as can e seen s een om te ricy gured gured "Minor Saos o te Metropolitan Potios a Byzantine vestment o te fourteent century wit later Russian Russian additions (g. (g .  67)  In te posticonoc posticonoclastic lastic p eriod o Byzantium Byzant ium Cristian Cris tian imagery imagery played a reduced reduc ed rol rolee in te decoration o ouse old oj oj ects ects  and wen it did appear appe ar tere tere as in j ewelr ewelry y it tended tend ed to oll ollow ow te iconogra icono grapi picc prescriptions o o  te curc cu rc i �cluding te aderence to estalised portrait types and te provision provision o inscriptions (g I 26)  Te later later images o te saints vored y intercession not y coercion a sit tat did not so muc mar a cange fron "magic to "religion as a sit rom lay to ecclesiastical control Te curc tereore was ultimately successl in monitoring te use made o

CONCUSION

 99

image, not only o nly by the t he "foolih "foolih old old omen omen abot hom ho m the ealy ealy fathe fathe  o o plained bt alo in an important ene by all laymen and omen There i one nal onlion that emerge fom the text and image peented in thi book b ook To ndeta ndetand nd both Byzantine Byzantine art and it it reeption reeptio n it i neeay to look at it formal vale There an be no hitory of Byzantine art nor of at in Byzantim Byzan tim ithot itho t an ndetanding ndetanding of it fom fom

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AB B VI V IAT I ON S Acta SS

Acta atm

PG

Ptrologie ursus ompletus Series gre ed. J-P. Migne r 6 I vols Prs

7 I vols. Pris I 863 - 1 940. 940.

I 857 I 866

P

Ptrologie ursus ompletus Series ltin ed J.P. Migne 2 2 1 vols Pris 844-I880



OTES

I

                                                     

                                           =                                                                                                                                                                                                                                                                                                                   

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0                                  I                                                                                                                                                                                                                                              a                                                                                                                                                                                                                        

NOES O CHAPE

                                                                                                                                                                                              !'0                                      p                                                         a                                                  0                                                                                           

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                                                                                                                                                                                                                       e                        

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2

   86        Wiz     w                                                                                                                                             �                                                                F                  a                                                                                                                                                                              

N   E S T  C  A P  ER 

           

 

                                                                                                                                          Y       0  qf                                                                                                                                                                                                 

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                                                          I                                                                                                                                                                                                                                                                                                                                                            

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   

     

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                        mid                           mr,                               12 9,                                                                                                                                                                                                     3121453

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207

            K .  JO-IJO                                                                                                                                                I.                                                                                                                                                                                   

2

NOES  O APE 4

                                                                                                                                            ,                                                     0    55                                                                                                                                                                                                   

                                                                            

                                                                                                                                                                               

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                                                     -                                                                                                                    

NOTES TO CHATE

 6                                                                                                                                                                                                                                                                                                                                   555                                                            

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2 09   

                                                                                                                                                                    1                                                                                          S                                                                                   

C H H  P T E R B I B Ll O G P P H I E S

Chaper 1 Bin, H. Likeness and Pesence: A Hsory  he Image bore he Era  Ar Chicao, 1994 Bruakr, L "Byzanin Ar in h Ninh Cnury Thory, Pracic, and Cuur. Byzanne and Modern Greek Sudes 1 3 ( 989) 989)  23-93 23-93  . "Prcion and Concion: Ar, Thory and Cuur in Ninhcntury Ninhcntury Byzanium. rd and Image 5 ,  1989) 19-32· Bucha, Bucha, H " om Nos o n Byzan Byzanin in Haiora Haiorahica hica Porraiur. Porraiur.  Gazee des Beaux-Ars 62 (1963) 81-90 Camron, A "Th Lanua ofmas: T Ris of o f Icons and Chrisian Rrsna ion. In The hurch and he Ars d. d. D Wood, 1-42. ord, 1992 (= Sud Sude ess in hurch Hsory Hsory 28). Cormack, R " Th Mosaic Mosaic Dcoraion of . Dmrios, Thssaoi: A RExamina ion in h Lih Lih of h Dra D rawi win nss of W  Gor Annua An nua l o ohe he Brish Brish School a Ahens 64 (1969) 17-52. Daron, G. "Hoy Imas and Lk �ss .  19 91)  23-3 23-3 3 . Dumbaron Oaks Papers 45  1991) . "L cu ds imas dans  mond yzanin. In Hsore cue du peuple Dum mau au,, 1 3 3-60. 3-60. cren I, d ] Du Touous, ouous, 1 979 . Rrin Rrin d d in G Daron, chrienne nne en Or£en London, La romani chrie 1984.  "L'ima d cu   orri. In Duran rand, d, Byzance e les mages d ] Du 12-o. Paris, 1994.  "omr d'un dou: haorahi n qusion, IXI sic. Dubron Oaks Papers 46 1992) 59-68.

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us, 0  "Two Paaooan Mosaic Icons in h Dumaron aks Cocion 960) 87-1 87-1 1 9. Dumbaron Oaks Papers 14 (1 960) Gaars, G. "Th Porrais of Ahanasius of Ahos. Byzanine Sudies 5 (1 978) 9 1 24. Gri, R. "Byzanin Crduiy as an Imd imn o Aniquarianism Gesa 26 (1 987) 987) 3-9 HadrmannMisuich, L Kurbinovo Les resques de SanGeoes e la peinure byzan ine du XIIe scle Brusss, 1975. azhdan, A "Consanin imainir': Byzanin Byzanin Ln L nds of o f h Ninh Cn C nury ury aou Cnsanin h Gra Byzanon 57 ( 1987) 1987) 19250. 19250. azhdan, A, and H. Mauir. "Byzanin Haioraca Haioraca Tx Txss as ourcs on Ar A r. . -22. Dumbaron Oaks Papers 45 (199 1) -22. izinr, E "om Rcions on Porrai ur in Byzanin Ar. Zbornk Radoa Vzanolokog Insua 8 (1963) 185-93. Lowdn, Lowdn, J lumnae lumn aedd Pro Prophe phe  Books: A Sudy o Byza By zan nin inee Manusc M anuscri rips ps he Major and Minor Min or Pro Proh hes es Unrsiy Park, 1988. Marod Marodino inova, va,  "n " n Thodor, Thodor , ouion ouion  aricuaris d son y icono rah rahqu qu dans a inur mdia mdia  Bullen de l'Insiu des Ars Acad Bu ar ar ds ds ci cin nc css 1 3  1969) 1969) 3 3-52. Mourki, Mourki, D. "Th Porrts Porrts ofThodor ofThodor u  u dis di s in Byzan Byzanin in Ar. ]arbuc der serre 249-80 icischen Byznnsk 20 (1 971)  249 Parr, . "Thodor udis and h Pari arch Nichoros on ImaMakin as a Chrisian Imraiv Byzanon 5 9 1989) 1989) 164-1 164-1 83 . aharakis, I he Porrai i n Byzanne lum l um naed Manuscrps Lidn, 1976 Tomkoi,  "L Porrai' dans 'ar yzan

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B I B  I OG R A  H  F O R C    T E R

ti ti  xml d gi gi d moi moi  du Mologu d Bail II  Dai i Deani Deani et  art byzantin au milieu d XI " sicle d  Djui -33 Blgad 989. Wild Wild D  C  Middl Middl ad ad Lat Lat Byati Byati Wall Paitig Mthod A Comaati Study Dumbarton Oas Papers  (968) 6-39. Zi B Cocultua Itptatio o Imagy i  th Midd Midd Ag Ag  Art Blletin 76 (  994)  6 894 

Chapter  Coo C L At and Miracles in edieval Byzantium The Crypt at Hosios Loas and Its Frescoes Picto 99 Dmu 0  The os osaic aicss  Norma or mann Sicily Lo do 949. Galataiotou Galataiotou C  Th Thee Ma Main ingg f a Sain Sa intt The Le Times Times and an d Sanct!cati Sanct!ca tion on  Neophytos phy tos the Reluse Cambidg 99. H J  d d  Miaculou Miaculou Ico ad hi Hitoical Backgoud Backgoud I Coptic Coptic Art and Cltre d H Hodik 89-00 Caio 990 K K H H  L Mdial Mdial At a Aum Aumt t  I Iconography at the Crossroads d B Ca idy 59-70. Picto 993. Kitig E Byzantine Byzantine Art i n the Main Maing g Main Lines f Stylistic evelo evelopme pment nt in Mediterranean Art 3rd7th Centry Cam bidg Ma 977  Byati At i th Piod btw btw  Jutiia ad Icooclam erihte zm I Internationalen Byzantinis tenKongress nchen 958 (Muich) 4 (958) -50 itd i E Kitig The Art  Byzanti Byzan tium um and the Medieval Medieval West Bloomgto  976  O Som Ico o th Sth Ctuy I Late Classical and Mediaeval Studies in Honor ono r  Albert Mahias Friend Friend Jr 

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2 

d K Witma t al 3-50. Pic to ^w 9 5 5 .  it itd d i E Kiti Kitig g he Art  Byzantium and the Medieval st Boomigto 976. Magui H Dimbodimt ad Cooa ity i Byati Byati Imag Imag o th Sait  I Iconography at the Crossroads d B Caidy 75-83  Pi Pic cto to  993 . Nlo  The Iconogphy o Prce and Miniatre in the Byzantine ospel Boo N Yok 980. Pay K hodo Studit ad th Pati ach Nichoo o ImagMakig a a Chitia Imati Byzantion 5 9 ( 989) 989)  6464-83. Shi D Li ad Colo Paitig a Aalogu to yology i Gk Patitic itatu itatu I The 17th 1 7th Inter Internation national al Byzan Byz antitine ne Congr Congres esss Abstracts Abstracts  Short Sho rt Papers 3 7- 8. a ahi hio o  D C   986. bot AM Eigam o Maul Phil o th hotoko t Pg ad ad I At At  Dumbarton Oas Papers 48 (994) 35-65. Walt alt C . Futh Not Not o o  th Di Revue des tdes byzantines 8 (970) 6-87 Witma K h Caical i Byati At a a Mod o Idiidua Exio I  Byzantine Art An Eropean Eropean Art Nint Exhi Exhibi bitition on Held Held nder n der the Aspices Aspices f the Council o Eroe Lectres  49-77 49-77 Ath  966 itd itd i K Wit Witma ma  Stdies in Classical Classical and an d Byzantine Byzanti ne  anscript anscript l lmi mi nation Chcago 97 ^ . w Wid Wid D  C  Middl Middl ad Lat Lat Byati Wal Paitig Mtho A Comaati Study mbarton Oas Papers  (968) 6-39.

Chapter 3 Bab C Fom aomatio to Di: At ad Wohi at Byati Icoo cam Art Blletin 75 (993) 7-6 .

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 I   I O G  A P H  FO  C H  P T E 

Be, C Suies Su ies in a aga   u es, es, Ciy aeo-Egypan. A Ab, 1950 B P  " A DakAg DakAgee Cisis: Aspecs   he Icclasic Cesy Engis Hisoa Revew 8 (1973) 1-34. Buh, J A Coins Coi ns an Cosue Cosue in Lae nq u i y. Washg, D C, 1993. Ca Ca,, A W , a L ] Mcc  Byzanine aepiee Reovee Te Tieen-Cen uy uy ua uass o o Lysi Lys i Cyp Cypus us Ausi, 199. Dsei  Das pabe pabe i n My Mysik un un  Mage Bei 192. Dubabi, M D D  , a M W W Dickie " Invia u u panu pa nu peoa peoa The Icgaphy  PhhsIiia i GaecR A ]au nike un Cisenu 26 (1 983) 7-37· Egea, J J  " Zu Zu  Ve Vebeiug beiug agische agische  belabeh i e ichchisliche u chisliche SpaikeJabu   nike n ike 22-48 un Cisenu Cisenu 1 8 (1 975): 22eebeg, D Te owe  Iage Suie in e Hsoy Hs oy an an  Teoy  Response. Response. Ccag, 1989  Ge S Byzanine onoas uing e Reign o Consanine V Luai, 1977 Gs, A "Texiles I Beyon e aaos Egyp an e Cops in e 2n o 7 Cen Cenu uie iess  D  exh c, Rhe Isla Schl Desig, e  D Fiem, 65-72 Piece, 1989. Geeel, RPH Taiions ai ions  Bei i n Lae L ae Byzanine Deonoogy. Amsem 1988 iz izi ige ge, , E E  "The Cul  Iages i i  he Age bee Icclas Dubaon Oaks apes 8 ( 19 54): 54): 8 1- 1 50. Rep Repi ie e  i i E izige, Te  oByzaniu an e iea Wes Blig, 1976. Mauie, D, e   an Hoy owes in e Eay Cisian House Ubaa, 1989 Maguie, H "Fn he El Eye  e Eye  Jusice The Sais, A, aJusice i Byzaium I Law �n Soiey in Byzan-

E.

4

iu, Nn-Twe Cenues es A Lau a D Si 217-39. Washg, DC, 1994  "Games Pleasig  G The Sig Sig cace cace  Desic Des ic Texle Desigs Desig s i he Ealy Byzie Pei Dubaon Oaks apes 44  990): 2  -224 , e Byzanine ag Wshg, 1995 Mag Mag C  "Diablu "Diabluss Byza Byzaius ius Dubaon (1992)  21 5-23 Oaks Oak s a apes pes 46 (1992 MaianiRebe, M "Texiles I Byzane exh exh c, Lu Lue e,, 1 48-5 1 , 1 92 370-73 370-73  486 Pais, 1992. Ousehu, R, a L Bubake, es Te Sae Iage Eas an s. Ubaa, 1995 Peize, P Negou pebuans in enebis: ues e onoogie gooenae Sas bug, 1922. Saue, A Spanike un kopise Wikeeien: Unesuungen zu ikonogapisen Tiion in spaniken spaniken un un ieaeien xi weksen Be, 992 Tabiah, S J ag, Siene, Reion, an e So Sope  Raionaiy. Rai onaiy. Cambige, 1990. Ths Ths,, T   xies o Meiea ei ea Egyp gyp Pisbugh gh,, 1 990. D. Oo1Oo Pisbu Vka, G "A Meicie, a Magic i Ealy Byzaiu Dubaon Oaks apes 3 8 (1984): 65-86.  "Ealy Byzaie Byzaie Pilgi Pilgiage age Devo Eiece  he Appeace Appe ace  ionaia as Eiece Plgiage Shies I PERGRNAT: i geeise un iezie ken es 2 nea iona io naen en Kong Konges esses ses Cis Ci s i e oogie, Bonn, 11 ]abu ]abu    n ke k e un Cis C is enu Egzugsba (1993). Cape  Aes, J C "The Illusae Sems  Jes e Mk: Thei Daes, Oe, a Place i he Hisy Byzaie A Vao 22 ( 99 1): 6- 2o Belig, Belig, H "A Imge a Is Is Fuci i

I OGRAPHY FOR CHAPTER

th Litrg Th Ma  Srrs i Bzatium barto Oas Papers 4-5 (988   :  -  6  - The Ia Iage ge a d ts Pblc Pbl c  the Mddle Mddle Ages  Yr, 1990 ah, ah , C Picturig th Tt Tt arrati arrati i th Le  th th Saits Saits  Art Hstory 1  ,  (990): - uttr, I  , ad P Caart as areh areholar olar des de s Mch Mchss ]aobos vo v o Ko Ko obaphos, obaphos, Codex tcas raecs 1162 Cdics  aticanis scti 79 Zrich,  99   tzigr, E ctis  th Fast Cc i Bzai A Cahers arhologqes  6 (1988): (1988): 5 1-7 1-7   La LataiDsg, taiDsg,   Icoogphe de lece de la la Verge rge das da s Epre Epr e byza by zat t  et e Occde. Brusss Brusss  992 99 2 Maguir Maguir, , H. Th T h Art Ar t  Cmparig Cmparig i Bzatium Art Ar t Blle B llet t 70 (1 988): 8 8-10  - Frm th Ei E t th E Jus

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tic: Th Saits, Art, ad ustic i Bza tium I Law ad Socety Socety  Byzat, Byzat , Nth-Tweh Cetres s A Lau ad D Sim, 2 17-9 Was Wash hgt, gt, D C   1994  "T Mds  arrati i i  Bza Bza ti Art I Byzate East, Lat st ArtHstorcal Stdes  Meory  Krt Wetza ds C Mss ad  ir, 8 5-9 5-9 1  Pri Pric ct t ,, 1 995  Mar MarWir, ir , T arrati Ccs Cc s  th Li  St rg i Bzatin Art Ph D  diss diss  ,  Yr Yr  Ui Uirsi rsit t,, 1 977 97 7   The Le o Sat Sa t Ncholas Ncholas  Byzate Art Turi, 198 ia, ia,   Art Art ad Marriag Marriag i i  Ea Ea Bza tium bar  barto to Oas Pa Papers 44 (1990): 145-6  Art, Mdici, Mdici, ad Magic i  Ea Bzatium    barto Oas Oa s Papers pers  8 (1 984) 984) 65-86

SAT' LV

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EXCERPTS A ND COLLECTED LI V E

ango  The Art A rt f the Bzantne B zantne mpre mpre 1-1 Englood l ls  972 97 2 Rprnd Toroo 86 Talbo A d ol me  Bzantm n Sants Lves n nlsh Tnslaon Wasinon D 1995  Bzantne nders maes maes Seven Sants' Lves n nlsh Tnslatons Wasingon D 997

I N D I V I D UA L L I V E   N D R E W T H E  o o L  sari P In 

Sant Folli d Bsanzo 99-257 ilan 990 the Fool oo l 2 Rdn L The L f A ndrew the ols Uppsala 995 E u T H Y M 1 o  T H E G R E A T . sugr  ] In Les moines m oines de Pale Palestne stne 55-44

!

Pari Paris s  962 Pric Pric R   I n rl f Scthopos The Lves f the Monk  Palestne 92 alamazoo mazoo  99    R E N E O F  H R  O l A LA  T O  

Rosns  0 The Le f S rene Abbess  Chrsbalanton Uppsala 98 uKE THE ouNE OF TIRI,

onnor  L , and W R onnor The L and a nd Mc Mcle less f Sant Sa nt Lke Lk e f Sters Brookl Brooklin in ass ass  994  I C H O L A  o F  i o N  nko I and N P o The L f San  holas holas f Son Brooklin ass 984 N       S    Suian D  The L f Sant kon Bookl Bookli i as ass s  9 87  H E o D o R E o F S  K E o   sug     e de Thodore de Skon 2 ols Brussls 97 Daws E and N Ba s  I  Three zantne ans 88-92 paa ranslaion swood N 977

INDEX  I                                                                                                                                                           (?)                                                                                                                                                                            

                                                                                   + .7 $  + 7                   .  + ( ’ ! 7. %(’ . +6 7                                                                                               I                                        I                                        I 

2

NDEX

  & 8 @  Uw & B & Fw8 8 @ w &  w   ‘ ew _ d 8  wB w $@ ‘w _@ & w8wF&
 ND EX

                                                                                                                                                                                                  r                                                                                            



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DEX

                                                                                                                                                                                                                                                                                                                                                     

                                                                                                                                                                                                                                                                                               



I ND EX

                    ]                                                                                                                                                                                                            I                   

                                    

7

     

                                    

                                                                                                                                                                 7  ’  0 "7  ’7                                                                                

22      F 2 F 8 w FQw  2 L w9 8/  2 w DB E F wH F w   ( 8 <8 ?w

 N D EX

         

 7  < w                               M$w   a 8 ? w  aw( M 2 $ w ( 28 w 8 8 a w8?  8 D w ( < < w                                        F a  w D 8 w    Hw7   D M Uw  H 2 H < w   F  F 8 w 7  2 < 2 D w  awaw$w  w 8 8 < w?  ?waw  (


 ND EX

 %?5w  & 2Bw 4 . ’7 $ + + 6 7    ^w ?M BB w  ^w    &$: : ? T w FM w   & B & 5 w     2 ? ,w  & 2M 2 T w & ?F: w T FG w ? : U w  ^w   GMM2w  FBFFw     4 . ’7 & 0  0 &   7   ^2wB w ^w^w2w  F?w  ^w’ 5 & ?w        Hw& wB? 5? B wHMw  & $B?w             ^ :$w  ^ 2:w   ^ F-^ H ,w^ b&w               BB w F5 F: w  F H F M T w :Hw ^ $B ,w^ 5^ ,w ^w ^ M ,& w 5wB  & w: : 2 : 5 w M 5 M B w   & $::2Tw & 225B w & 555 ? , w & 5wF& $: w& : 2 ,& w FM M H w      ( ’  7    2$2 & ^, wH H ,w && MM 2 w   & B 5   B : T w Tw F3 w   ^ :^w & 5F,w& BF H$ w & ?H,w  &M : ? $ w & 5? , w ^ F? w& w& M ?  Tw MF w   : $ w H F H H w   5 ? w    5 B:w & ’0 + ).  7 B$w   m2w2 w w&$2 2 2 w&F2w  & F$w&  F&w^ ,2w4 w                 :F Mw H M & w $ ? ,w B F w2$2 2 w; M ? & F, w&F,w  & -& : w & 2Mw^ M ?^w M Fw ^F

  ^ $F w& 22w ^ 2Fw  F 5 w    

          Nw         ? F B H B O w( F5 wl I n  w ^w HB M2 w B &7 ?, w ^ - k ,w & $BB2 w  B :BCw   ? 2 ,w  mw5w       B j wH F w   & 5 M w  ^w 5 ,w ^wFw   n B B H ,w & D : :F w       H:w w: 5 - : : w   o B  F w^ w^ $^^ ^ , w * F &*,w F ? ,w ^G ?w  & -5& : w  F 2 w   2Hw* F$ w&:Fw & FH ,w^ M 5w  F 2 w w& B2w^cw^ w& w& JH w & MV$   B5 wH : wP 6M M w&  w  + :F ? B w^ w ^w ?H& ,wB BBM w& w& FM w  F?w  & F$ H w & 52 ,w^ 2B w^ 5: u w   : H w  n j BF w ^w ?$w

 5 5 w   & 2 5 wFw &M HF^w5 H w  5w^ ,BwBw HF  2 &2- 2 w: $ w: F w ? &FFwF H w  H H H M w^ evw ^ 2B ,w& 5 M w

FFF Hw  FFw   g ^ 2 2 ,w: $: 2w : F w?w^ ,Fw? ,w F F ] H ,w H H M w& F$w& B 2 w& 5 M w ^ ?^ ,w& 7 H w   22 wF$wM B w  ^w^w &w?w     Fw  & 522Bw  BBw                     : 2 W w   5 H: 2 w H H w ^ f ^ 2 ,w& ::w    5 : ,w5 B w  5 F ,w  2 H w H 5 -H ?  Tw  5 2 ,w  5wm ,& w$Hw  M Bw  ^$w2 5 w    ^ N ,w Mw

222

INDEX

 7      7        7   7 I  7    7 7  99                           8                          $ (. 7

% A* C1A’ A7

  

 -s. & A * ( 7            7  7                                                                                               

                                                                                               /7 / 5. $ 7 % 0  E0 % 7                                                                                     0&

*.(’7

  

(

!  7 C( # $

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