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130U T THE YEAR 1075 a mysterious
ind ividual named K ekaumenos,
who seems to have been a highly
placed militar y governor ,
counselled his peer s:
If someone r evolts and pr od aims himself emper or ,
do not support his scherne but stand a!oof fr om him... Pr cserve f ealty to the emper or in Constantino ple
and you won't f ai! in your expectations ... i beseech
you ... to sid e with the emper or and to k ee p serving
him, since the emperor who has his court in
Constantinople must always win.'
Fig. 'gThe 'Da_id Cask et',
cnd of ninth century.
["ory, 16.1 x 8.+
x 10.3 cm
Mor e than a mor alising plea for loyalty, this
piece of ad Yice implies that the r ead er might
tak e the o pposite cour se and move against
the em per or ~ a possi bility fr equently r ealised
in the long histor y of Byzantine cons piracy
and usurpation. Both fealty and ex pectationschar acter ise the natur e of those objects that
we have, work s of art that in one way or
, another may be associatea with the Byzantine
court as things emanating fr om, or pr esented in,
this milieu. As against the long-Iost physical
. environment and d ecor ation of the Gr eat Palace,
these thihgs stiıı s peak of the pr etensions and
ambitions of those who mad e use of them.
The off ering and reception of gifts (and
titles), and broad suspicion as to the motives
und erlying such gestures, play a sizeable part
in the counsels of K ek aumenos. Both s
also f igure in the mid-tenth-centur y wo
as the Baak r if G er emanie.>and O n tlze Admin
tlze Empire, com pilations attr ibuted to C
VII Porphyr ogennetos (sole rule 945-39
In these texts it is o bvious what is off er e
what is r eceived , but in many cases whe
have only an o bject unaccompanied by
s pecifications, it is difficult to know whe
was a pr esent fr om or to the emperor . I
d ear that the so-caııed David Cask et in
Palazzo Venezia in Rome (fig.19) was g
the sover eign (and his s pouse) - the insc
on the lid, a bove an image of Chr ist ble
them and the d onor s saluting this event
of the 'couple ofser vants [who] ad or e a
should , the imperial couple' - it is far fr
certain whether a dismember ed o bject lthe leaf shovıing Constantine the Gr eat2
proba bly alluding to his tenth-centur y s
d enotes his demonstratian of piety befo
lost centr al membel' of a triptych presen
him or a gift to him cele brating this attit
Such pr o blems ar e inherent in many
instances of this sart and teııing in the a
they present since theyattest to value s i
shar ed by the ruler and his court. In oth
it is less important whether a piece or igi
the emper or 's or an aristocr at's behest t both parties to the artistic tr ansaction pa
pated in a comman id eology. Centr al to
bod y of thought was the r uler 's weıı- bein
this d e pend ed that of the empir e over w
ruled . His longevity, divinely pr otected p
health and a bility to d ef eat his enemies
as concomitants. These belief s ar e link ed
ivor y diptych, the two parts of which ar e
divid ed . On the leaf in Venice (eaI.75), a
anather in Dresd en,3 SS. John the Theol
and Paul are said in the e pigr am at the t protect an emper or Constantine - almos
certainly Constantine VII - fr om harm,
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i:11'1" ni"ı!ıe \' enice !c"L no\l' İn \ ·icnn"
,\ndn'ıı' "nCi Pe[er ar e eksnilxd as
iıİın li'nın his sins. lt is intnesting to
\ıHlınl'·s p"cihc. or atorieal stam'l'
•,'S "r e depicted in philosopheı<
ılıl ' rok assignecl to him in the
I d ll iiııi. ı /m / iı ıı ı ı ı / / lie E m / J ir e. in ıdıich
;ııtr i bııtes a "ictan' O\Tr the Sb\'s
'I ('ntiun of 'the im'incibk ancl
. Iıle ıı'arr ior and captain andmar sh<ıl.
ıd ldlll and "icıorioııs hr st-called apostlc
\ııd ı, i ilc d ifler l'nce is c:--:plained by the
., •i 1.1 i, •that this ınulti-talented saint was
"III"d 111">11ın play in the ınid-tenth centur y .
. \ L ı i'compleınent<ır ity appear s \ıhen the
111>11'c: ,I "nc! inscriptions o n a tr i ptych, again
ııı li " ı ) ,I IC ı Venezia, ar e consid er eel (fig. :20).
(III İı. \ ing the legenel eleclar es th<ıt, withd ı( 11<'11',( [he lour ın<ırtyrs d epicteel, the r uler
,lc:.lll1. i lik cly Constantine VII) puts his
'11<'1111' IliGht - a sentimenr re peateel half
,i ("111111 !'ıer in a poern on the page f acing
lll,, ll"I" ıu r Basil II in his Psalter Hank eel
ı JI iı'(iII i inilitarv saints (fig. s ) , wher e the
111;11'1\r · i" .ıı·n are elescri bed as his 'allies'.
11111d u • ııi~r am on the triptych's centr al
ıll!'lııl)('1 " bles ehr is!'s instructions to iVlary
,llıd ),,11 iıc B<ıptist, the inter cessors for
11lllıı;lııi" ıtı, lo reJcase Constantine f r om all
iilıw"., ii"s He su bjects all powers to his
l'.ııılıi\ ,Jl'csentati\·e."
Illscriptian on the ıer t wing the
( red ited with the carving of the
i.ımiliar topos in Il'hich the s ponsor
i' unekrstoocl to have be en its
htantine, incleecl, is clescr i becl in a
dı' te:--:tas <ın ar tist in his own right
'(O] recıor ' of other crali:smtn." Yet,
" ,k ills <ır e mythical, the object <ıSa
'llsll1<ııf'<;thr \1:'1)' in \\'hieh Christian
" [umecl to the bend it of the
i,i, is so in the ease of a dıalice
'i'11)('11 '
11l;11[11
f'\ı-ıı il
\ \ I ıı ı l ( " i
in Venicc" -- possibly iootecl by the Latins fr om
the Great Palaee or the Church of St So phia -
on the f oot of which divine aid is invok ecl f or an
emper or R omanos. Ancl on the even mor e r ichly
gem-stuclclecl cr oss-r cliquary at Limbur g an cler
Lahn,7 s ponsor ecl by Basil the p ro ed ro 5 (a high-
ranking civilian clignity), an inser iption on the
fr ame asserts that, with the help of the Cr oss,
Constantine (VII) ancl R omanos (I or II) enısh
the bar bariam as Chr ist shatterecl the gates of
Hcll. Appr opriations of this sar t are rile on work s
fi·om the ninth through the twd f th century ancl,
par tieularly cluring Constantine's sole reign,
oceur on ieoııs in a var iety of mater ials. He
masq ueracles as the f ir st emperor of that name,
cr ownecl by Chr ist, in the pose use cl to de pict
the Pr oclromos (For er unner ) as he baptiscd
Christ in the Jorclan," on a well-known ivan'
plaq ue in Moseo\\' (cat.63); ;md in the guise of
King Abgar rceei\'ing the ı\Ianclylion on a \\'oocl
panel at i\Iount Sinai." R c pealcdl), :i"IIT "kıll
see, he a ppear s as Da\'icl in the Paris Ps:tltcr
(cat. 60). Bm the e:--: ploitation of an;ılogies to
Fig.20
Trip!""" "ith Deisis
~llld ~aints, m icl-tl 'lltlı
cCl1nıry. ln))"'y , Qo.8
x 7.6 en1 (l e r ı \ \" in g l ;
23.6 ;:.,q..2 cnı (centr
pbq ul'): 2'''9 x 6,9 c
(ri ght " ' ing )
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Fi~. II
Tr ipeveh \Vith
Crucif ixion and saints,
mid-tenth cCIHur y.
k or yo 20.8 x 7.6 cm
dcft \Ving);23.6 x 1+2
cm (central plaquc);
20.9 x 6.9 cm (right
wing).
C,lhIıU:1 d t'~ ~kd :ı.iJl{"!>.
l~i bJiIHht;qlı(' naıionaie e le
Fr ;1I1CI'. P,ır i.~
Fig.22
The siekbed of King
Hezekiah, folio H6vof ıhe Paris Psalter ,
mid -tenıh centur y.
Tem per a and
gold on parehmetlt,20.3 x 18.1cm.
Cabiııct des ~lcd aiıı{·s.
Bil)tim!lequc Il.lıion.ıic
dc France. Paris
. J udeo-Chr isıİan Antiq uily ıı·as limited
to the per son nar the time of Constanti
This ruler 's mar r iage to Helena, d augh
his pr ed ecessor R omanos ı(920-++),
impetus to the long-esta blished image
Constantine the Gr eat and his mother
ıdıo wer e r egard ed as ar chety pal def en
the f aith. They stand together at the f o
Cr ass on a magnificent ivor y in the Ca
~Iedailles, Paris (f ig.21), thus supplemen
traditional iconogr a phy of the Crucifix
r e pr esented by the Borr adaile triptych
If size and excellence in carving ar e ev
of imperial sponsor ship, then [he tr ipty
Paris is just such a cr eatian, most lik ely
the r eign of Romanos II (959-63).10
Besid es a r e positor y of ancient id ea
Palace was evid ently a stor ehouse of anartefacts, both Christian and secular . T
trophies wer e braught out in their or igi
as were the silver 'lord anes' plate, the '
and other minsouria of the f ourth to six
centuries. iı Near the sickbed of King H
in the mid-tenth-centur y Paris Psalter (
stand s a chemibo xes to n (washing set) with
of fifth- or six[h-centur y ty pe. Mor e oft
materials were incorpor ated into new c
as in the case of the alr ead y-mentioned
of R omanos, the gadraoned bowl of wh
a sardonyx vessel of Late Antique, if no
origin. New lif e was similar ly given to th
rack cr ystal known as the 'Gratta of the
which in Venice, if not earlier in Byzant
mounted on a base now und er stood to
cr awn ofLeo Vi (886-912; cat.064) and
artef act in which the em perar is pr esente
is apos talos , the eq ual of the A postles and
Evangelists who surr aund him.
Between the ninth and the eleventh
the r e-employment of ancient har d stone
to have ins pir ed Byzantine cr aftsmen to
newly mined ~ıaterials of this sart. With
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, ,1'1111<'1:111;111;ı''';ıtt' patt'n iıı P;lris.'C' illlOıııııı- i, ,-,
I' Iı ii i' ,''I ,iLTıIIIal 1'01In(lcl (kpilting ıhe
\\ 1 1 < '
1,,1'1"ll pp"1 d SITııe es peC'ially ap pr opriate lo
ılll' ii''''l,i:ııı harisıic Iımnion - ancl the lllllCh
I;ıı~l'1 "I,IILı,I,'r c:\aııı ple in "enice (caL80), at
ılj(' !ııılı' ıl'1\!ıil'lı a hall~length Chr ist \"'10. in the
iıı'ı 1'ipıi,1ı1"r "ııııclhiın. 'Takc. cal. this is ıny
I ILI' "il ," i"ice LOthe litur giC'al instruction)11 .. - •
rı'pe,ıı"" 1)\ ()r ıhoc!ox ancl other pr iesıs LO this
11;1\, ()Ij(' "i'ııı"n' ol'these sumptuous lItemils
ıııi"dıı 1\1,1111,111'coıııe from a churC'h or ciıapel
iıı ı!ıe (;1".11 P;ı1ace or f r om St So phia: the Boo l<
0 / Lddl/Old'" i. ehapters I, g) descr i bes ho\l', at
Peıııc,."" '111c!on other leasts, the em peror laid
1\\11l'ld ie," ancl t\l'O patens on the alta i'of the
(;rı''11 (:Iııırıh, The same text tclls repeateclly
e,~, d i i. Ch;ıptcr IS) ofcrowns, chains, silver
i,lllıkl;ı1l1 d, pt'ar l-studdcd and enamelled book ('{III'1's;iiici oıher ob jects br ought in fr om the
l1'cl,ıın aııCı neighbouring churches to adam the
\LI,!.!;llaıır;1;ıııci oıher parts of the palacı" when
.lınlia";IlI'ır s fr om a b r oad were received.
T" '\ rı"s only uniq ue o bjccts in r arc
ııı;lll'r i,lls \i oıılcl be to d istort the pictur c of
t,r if tsolil-r l'cI in the palacı" and to ignor e the
,.ir,.ıımsunces of their circulation, ]\Ilore habitual
\i;"ılll' prest'ntation of objects like the smail
ilın cr, '''c,s saicl in the Ceremonies book
i. ıha pı('\', ıg, :22) to have been bestawed by
ılj(' cınpıT"r on a variety of dignitar ies in the
Clıur ılı "I'ıhe :\lothcr of Cod ofthc Pharos
"iiLI\('il-;1Slof St Elijah and other occasions.
,'-iııılı pr esents are pr obably exemplif ied by
,i ,ıııall ,iIHT cr oss at Dumbarton Oak s (fig.23).
011illl' "ill'lTSe, ar oıınd the bu st of Chr ist,
ıP pl'.ıI, ıht' plca 'Lord he! p R omanos the
Onlı"d,,'. cmperor ', while, on the rever se, the
'in;iıı', d icl i, inH)k ed for 'Basil the Des pot bom
ıı iIIt, pıırpie', These niclloed legends mak e clear
1;1 1 ılı" r ıılns in question \I'er e Romanos IIand
\;ı,illl. Iıis son and co-cmper or bet\l'een g60
ııCı'ılı,; \\'Iı<lt the inscriptions do not tel! us is
r et'or ckd in the ({'rl'ıııııııi!',ı hook : ıhese sihTr
er osses \ı('re a\l'ard ed dur ing the same e\Tnt
as the pr cket of the tr casUl\' ancl other oHicials
of -lcred to the em per or inlaid gold nosses, The
precious-metal symbols \ITr e thus elements in
aritual of gilt exchange. a saned com pacı of
allegianees ıhat coııld stay the Hu:\ of loyaltİes
implicit in the acl\'ice of K ek aumenos and all too
aften manif est in the politicil historyol' the cr a,
R ead er s of the Book if Cmmoııi!' .> might
IH'II come a\ı'a)' belie\'ing that \I'iıhout pom p
ther e \Vas no cir eumstance, no r itual conr ext
surround ing and af f ecting an object that may
reasona bly be assumed to hm'e been associated
",ith the palace. Yet in many instances it is
d ifficult to identif y sur\'i\'iııg \'estiges of Byzanıine
ar t with activities of the court, fir st because this
text rar e!y enters into detail about the ob jectsthat it mentiom; and , second , ,e;iven its d eliber ate
focus' on 'public' events in this setting, because it
19nor es those things that penain to r elationships
between imperia! kinsmen and women, tokens
exchange d as mark er s of family solid arity -
the most important, and sometimes the most
flagranıly withd r awn, sort of al!egiance.
One example of such a ' personal' gif t is a
littlc-k nown cr oss-r eliquar y kept in the Church
of St-Eloi at Eine in Fland ers (f ig.24). l ts eed ar
obverse, bar ı" except for its gold and ename!
tips, repr esented a partid e of the T r ue Cr oss;
its reverse, sheathed in gold, bear s an inscr iption
describing this ' br anch of Eden' as an offering to
the Vir gin of '~Vlar ia, bom in the purple'. This
princess \l'as a daughter of Alexios IKomnenos
and Em press lr ene Douk aina, who pr esented a
\'er y similar silver -gilt rcliq uar y (now in Veniee)u
to the Keehar itomene in Constantino ple, the
com'enr to \rhich both mother and d aughter
r etir ed after the emper or's cleath in ii ı8.
Ostensi bly de\'oid of politica] GontenL these
richı), d emr ated r elics proclaimed the piety of
t beir donors, e\'en \I'hile the epithet ' purplc- borr i'
F i ; : ! . : 1 3
Cr o" or ılıe Emperor
Roın:ıno; II .ıncl B",i
[i. 9(io 03, Sillcr .
7· + x '-'. 9 cm.
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Fig.24
Cross-reliquaıy,
bcgil1l1İng of t\Vclftb
(CnlUty. Cedar , gold ,nicllo and cnan1cl,
Lj..2 x 8 cm.
;ı pplied to ~Iaria Komnene sen'C.d to ollset
the fact that her father was a usur per . Clear ly,
Alexios I, noted f or the distıi bution of partieles
of the 'Holy Wood ' to f or eigner s and to
monaster ies over seas,14 did not exelud e
members of his own elan.
The Par is Psalter (cat. 60), an exce ptionallylar ge and lavishly d ecor ated ver sion of the book
that ser ved the Byzantines as a mor al and liter ar y
pr imer , may fittingly conelud e these r emark s on
ar t at court. Quite possibly pr e par ed at the ord er
of Constantine VII for the edification of his son
R omanos, ı5 the bod yol' the text is surr ound ed
by an elabor ate a ppar atus of patr istic and other
commentar y. But it is the d esign and content
of its four teen f ull-page miniatur es that best
r ehear se manyol' the themes outlined a bove.
Even the omament in their fr ames, nota bly the'vir tual' cabochons that stud the images attached
to the Od es of Moses (f aL.149 v) and Isaiah
(f o1.435v),echo or anticipate the encr ustation
of the precioııs-metal vessels and r eliqu
we have consid ered , while those of the
David cyele (lois w-- p) r ef lect motifs us
mosaic decoration and enamel inlays o
period.
Best known f or the per sonif ications
Classical and Chr istian vir tues cele br atevarious Byzantine 'Mirr or s of Pr inces'
lik e Ischys ( power ) in the scene of Davi
slaughter of the lion and bear , and Prao
(mildness) who attend s his anointment
- the images r ef er no less d ir ectly to r c
pr eser ved in the palace, as in the case o
that Moses wield s as he cr osses the R ed
o bject which was said to have been br o
Constantino ple d ur ing the r eign of Con
the Great and which, together with the
of the R omans' (manif est per haps in thof David 's coronation, f aL.6 v) , accor ding
Ceremon ie s book (II, Cha pter 15),was dis
Ar ab emissaries visiting the cour t. "Vhe
not the final miniatur e of the ailing Hez
(fig.n), whose lif e is extend ed by God a
thr ough the Prophet Isaiah, cannates th
and a bsolutian of Constantine VII, to w
ther e seems to be an allusion in the e pig
on ivories (cats 74, 75), ther e is little d ou
a number of o bjects d e picted in the psa
to pr oud possessions of the Gr eat Palace
ther e ar e many scholar s who r e ject the
a society rack ed by cons pir acy, usurpatio
sus picion, attested by K ek aumenos and
wr itings of Byzantine chr onieler s of lif e
These d oubters may well turn for comf o
contempor ary work s of ar t, a bod yol' pr
f rom which such d ysfunctional featur es
elid ed or combated with visual str ategies
concealed within dif f icult, coded r ef eren
58Icon of the Archan
Michael
Comtal1tinople, ı,,"elflh
Silver g-ilt on \Vaad , gald
enanıCı, pr C(iOııS stones,
46 ..1 x 1) x 2.7 cm
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59 +-
Faur Gaspds,
Second 'luarter of
century, Constantin
Par chmenı, 18.6 x
1-325 folios
Constantino ple, m
L \lanuscript on par
37 x 26·5 cm
6 i --77
Lectionary wi
text, folia ıgy
Constantino ple, tw
Par chment, 38.5 x
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!
'l, 1 .
i- • ~
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65Casket
Byzantiuın, tentlı clc\'cııth
cclltllr ies, with latcr altcr atİol1s
Bo ne on a wooelen core, \\"ith
brass c1as ps , 1 6.1 x 2+ x i:-).6 enı
Constantino plc, mid-tcnıh centur y
Tvor y and bone on wünel cor e,
metal hard war e, 11.2 x 40.5 x 16 cm
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( ) ~/
(:;lIy('ci hox iiith
l'ıııpl'1'ors ricli ııg ;ınc l
iıuııt111O ". - . ,
r('ıııll (jr {'It-. i. \ı'tll 1et'!lll!]"\"
(.;ın"cd ;ıııci .' . ....•Lııncd ı\"nıy. '-aid
~lıll\\ ıran" 01'.,.'1 i' '. III
.1. • .-.' ( lll~·.\\nlı ,ik, T
l pI.IIT llH'lıt.'
ltld, _ !ıiıı'r'I'orılt'l' l'('iııııırcCl11t'llh. ,..,l:-'.ll1d
; j.1 x ~l ;. -+ x qı"nı
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( jg
h,ır\ \i iilı C:oııstaııtinc
\·11 I'orpll\ mgcnnctas
,r O\\ ıwd 1)\' Clırİsl
(,11 ı it ,ıpiı', ' J ı . . - ı
h.>\ ,I, j{ q.,") ı " r ı ı
( :i,11'i,ldIIIHI11!t'.
i )ii \\('I - ; 1 ;:;: () •1 11 c i ~ ) [ '1
I ,, '1'\. II i. ; , i(L X '2('lll
ii Ikliıı.
". Il1ld.\!ll" Iılıı Iıi;"
, ı".-,ıı"li
; 0\'atiH' plaquc "ith Clırİst
blessing Empt'ror Oııa i
(067 - 83) and Empr css
Thco plıano \982 83)
h"O r y. Ir.H T ;" nı' rrd poı~·t'hrtJıny.
ın.,i x ıo.t) rm
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7 1 .-
Icon with Vir güı
and Child Sccond half of temh cemu
InH;:. 22.~ x q.:2 x 1.1cm
72 --.
1vory panel with th
Theotokos Hod eget
Comtaminople, tenth cen
,,"oıy, '25 -7 x '3.3 x 1.4 cm
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-;1)
j . ) .
"ıır\ iiiılı ( lıı ı,ı
1 '. 1 1 L L L ,k r .ı ii'i
74Ivor y panel \I·ith
s s _ Andr ew and Peter
(;Olhl.tIltiIlı)pi<:. miCı-ıcIHh
CTIlıury CIl' 1(1)1).'"
k oı;:. :2+6 ; . < J~L)CI11
7 5h-or y panel witlı Stjolın
the Theologian anel
St Paul
(;f ııı ....Llllıillnl}k. mid-{I:nIJ ı
n'ntury OL " ıcı()l)..,
h"o ı ~. l+~J x 1:1.-!- ('!LL
-.". J.' .,ı. ,(",L. i i~ı'' 1'." "'ll; ••...•1", , "
\. ;'·",·Iı, i. ,,].•. 'I' !' ...
'IL.-.ı ,L. i .,1 dı \ " .'"1 . il ,i' . lıO "
1'1.1L i: ıi.' l.;'~',ı.ı, i. \1" . '\ ""'!" ,
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76Triptych with
Deisis and Saints
ConstanLİoopie, c. ı000
h-or y with traces or gilt,
2:).2 x 33 x 2.9 cm (opeo)
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/ i
1 1 1 ,1 i L I i J d \' i1 I c ' tr ip t\" c h
\lllIı I), j,i, ;l Ilcl sain ts,
ı l l " ti J H Ilo! {jr j.~'iıı.ılı.
. i tlıe {Ttllı'l' ,lllcl
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78h·ory triptych with
Crucifixion and saints
(The Borr ad aile Triptych)
Icon with the
Cnnstanıino p!e. sec
of ıhe ıenıh cenııır y
Slcatİtc, panially g
'3 x 11.2 x 1.7 rmCoııswntinoplc, tenth century
In)};'. 27.2 x 15.7 cm (central
panel; 7.8 cın lIeft \ ,-in?;); 8.5 enl
rif{ht \\'in~\
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81Chalicc ol' the Paırİar chs,\Ja!Ja,ın j l< l I < ii
witlı C lııi,!
COI1"I.tlııilll'pl, !I'IJlIı "IC'\I'llllı
('ııııır'<
\l.ıI,.•,,(!.]....•ihı I-·~jıl. l'lWK cry"ı:ıl.
;.)(.•III"'.II'II""'lıt'l,'I,;ılıH'!.
Coıı ....ıaıııiııoplc. Il'mb or
(' ;ı rly c!ı' \"('ıııh <Tlltııry
S;ır doııyx ('u p: "ikcr ~!.!,"ilı.
g-nld doi",OIlJl4:' e!l.ııııl'!. pt'ar b.
plTCioıı lnllC :ıııd rock cr y.\I;ı1
c.ı1)(Jt.'lıolı, 111011111. '27< ) x ıg1'111
Byzantiıll11, I : ı t < , It'IHh
L';:ırl~dı'\"l'llllı n'IHlıri(';-'
(;iklvd 7'ikl T /lll \\()od. "
g:ııld 1']Oi"OllIH' (,Ilamd".
aııd pr {'("iClu ....•.•11ınl· • .•. :": ~L)
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At Church
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'1"1 Llı
ılil i lt " i
"i ıı,ıiıı'
iiillı IIi
"I"ılı
I'li"'i'.
I""' piıınl illlcil!H' piıte'lI illlci
"i "IH' LO thl' ,ouıh 1;)1' ITslmı'llls
'. '1 '1 1 1 ' ,i\lletuan as ii ıı!ııılc
Iıııklcn Iwhiııc! thl' İl'f ıııostasi.'
i 11IJlI"1I aııc! r l'snlTd Ic)r
,lıı, miıınia! ahOlT aıı
,I ciil'inl' s peetack . Here an
i i>Ilıhinl'd hl'autif ülh-, the
" i ıhe lToss-in-squar e chur ch
ii 'lll' Il's.'icr ac (nıhes ur gla.'iSI
",ıil'. On c10se ins pectioıı, the
i iii.:.!.; St And r eıı' (fig':3+) shılll's hoıı'
, ..,insertecl iııc!İ\'icllıaııy inlO
, '~,(ıımd on site to constr uct an
,ilıhis created an othenvor 1c11y
,ii ing, r eftcctedlight. Paint ıvas
i ıhing to mosaic work , and the eff eet
L L L '1 !'hur ch was LOcreate a LOtaııy
tl d is phy, clark cl' andmor e intense.
i;iiıation of l1aos as 'centralised s pace
i \ as:1I1 area set apart rdated to the
ontine r eligioııs sen'ices. On thc
,ıngr egation couk ! listen to the
j "Jt obser ve their activities. Cer tain
l~ihJe r eadings and the d eliver l'af
homilil's look pliılT al t!ll' d o"r s or tlH'
il'lInuslasis bııı the litur g:' (the tnın rl'k r s
to ıhl' EUl'har isl, buı ııiıı he USl'd hl'r e Ic)r
am' rl'gu!ar ehureh sen'ilTi ıı'as huİ!t annınci
d raınillİl' iıp pearanl'l'S or thl' C1l'r g:' [i'oın the
s<lnl'lU,ll'l' at k cl' points in the sen'ict'
c!is p!aI'İng ıhl' Gos pl'1s <ınci ıhe saeraınl'nts.
In sl'mbolie terms. the pans or the chıır ch
IIlTe clil'icled hoth l'('rtİcaııy anclhor izonıaııy
ancl e:ıclı part coulcl be gin'n a s pİritua!
meaning. Verticaıı)', eınphasis has traclitionaıı)'
bin on the iınages ilİthin the ehur ch. These
hal'C long been und er staacl as l\'Or k ing in thr ee
r egister s. At the highest Ic\'cls, the cupolas and
apses ar e Cıecor aled Il'ith Chr ist, the Mother of
Gocl ancl ange!s. Bela\\' ar e scenes fr om the lif e
of Chr ist, o[(en Cid ieel a 'f estil'a! cycle' because
they hal'e been see n ;ıs scenes r epr esenting the
T\I'eh'e Gr eat feasts of the Orthodox Chur ch.5
Finaııy, the lowest [eye! is mad e up of saints,
LısuaHy shown as single standing figur es.
Tn this way, the to p levcl r e pr esents heaveıı
and , ind eeel, the centr al d ome is most of ten
occu pieel by Chr ist whose pr esence, though
not visi b!e to worship per s un!ess they chose
to look right u p, never theless hung over them
Fi~:-,3~ı 33["terior ,ıııcl p bno r til(' early dlTCllth-
century mona ...trry
clıur clı of Ho,i",
Loukas. 11t'.l\"
Di~tomo. in Boeot ia
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Fig·34The İnterior of the
monastcr y church
of Hasİos Louk as
throughout their time in the builcling. In the
apse, the Mother of Gad , bearing the Child,
ser ved to illusırate the Incarnation, proving that
Gad became Man, was bom of a Virgin and
saved humankind . Below this, the scenes from
the life of Chr ist could be under stood in sever al
ways. A comman view is that they acted as books
f or the illiterate, a teaching tool f or those who
came to wor ship but who could not read. This
is a convenient interpr etation of the meaning of pictures in chur ches but it does not always match
the reality, which is that such scenes were often
uncomf orta bly high a bove wor shipper s and even
beyand their sight. R ather , they mac
life pr esent ancl visible as an eternal w
Christian truths and a r eassur ance to
Finaııy, the saints, both on the walls
on the lowest level, closest to the wor
physicaııy surr ound ed the \iewer s in
They gazed out at worshippers, seemmeet their eyes, acting as the fir st f oc
wor shippers on entering the church,
icons ofTheodore Tir o and Stlames.
wor ship per 's fir st act was to make a c
of these images, often the s pecial sain
each chur ch, dis played on stand s (kn
pr os / ıy neta r ia ) , venerating the m through
them, lighting cancUes in fr ont of them
touching them.6 This corpor eal conta
saints ena bled the f aithful to shar e th
as the lik enesses were not under stoocl
Byzantines simply as pictures but as i
which contained the authority of the
figur e. At the start of the litur gy, cong
and icons alik e wer e censed and , in th
both became equal participants and e
pr esences in the liturgy, f orming a pa
communion of saints. Russian envoys
Sophia in the tenth centur y wer e con
the angels descended from the mosaic
in the cele bration.7 So images within
drew the s pectator into contemplation
divine events and , beyand that, into p
in divine wor ship.8
Icons f illed chur ches. Over time t
of the Byzantine chur ch went through
of significant changes, stimulated by t
to incr ease the sanctity of the altar an
emphasise the power of icons. In the
Byzantine chur ch the laity could visua
participate in all the stages of the litur
per f ormed by the priests behind a law barrier between the nave and the alta
gr aclually changcd , and in the sixth ce
Chur ch of St So phia at Constantino ple
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,
" i \\ iılı ,I Iıiıd ıer scr een, tlıe so-callcd halil tL ,'~, , , ,
Iii'i 11('11.ın Ir ont ot tlıe altar . ihıs type
ıııp o, .,cıT"1I \\ ,I' ii)uııcl III oıher dlllrdıes belür e
1'111 11I11iı r a pie!ly beeame the norm afi:er llUl ,. . i
1'111 11,11,ı1hin marblc as in the chur ch at'Iltil" ,
riptlll iıı : : j jl j + caıs 183, 18+1. By ıhe t\H'lfth
I 11'1 l(olJ.' IltTe laid O\Tr the to p of thelll .'
, iiLi, likı' ilıe !ıeaın on :'Tount .\thos \I'ithI' ,
ii or iiit' Iıl.ıiıı chur eh f esti\'als, the R aising- of :'l .,
l.ar ıl' ;i!ıti ılıe Transf iguration, as in eat.216),
ıılt"'ll tlj(' ı'oluınns of the templon, ieons or
ır ı;ıiıı' ii"1'(' graclually inserted. As a result of
H"t' ,lr ti('IIIl(". ıhe priest now perf or med part of
' liıur g, Iwhind an o paque scr een, enhancing
iık ;ı ,ıl' ılıe ill\'isi ble holy of holies in the
ırTIı ,Illll .ıllmı·ing him to m ak e entrances into
e clıur clı ;11 e!r;m1atic moments in the litur gy.
e ıeııd ı'ıı('\' to se par ate laity fr om priesthood
aclıed i ı > ; llIlal stage with the thirteenth-centur y
cloplIlen! of the high ieonostasis, a scr een
\I'ITd \\ iıh ieons which totally concealed the
ar uıılı'" ıhe centr al d oor s (usually d ecor ated
h aıı .\ııllLll1eiation, as cat.281) wer e o pened.
e i('oııo'ıasis included a whole range of icons
' 1(,IHTaıiol1, including the Deisis, the patronal
ıı ol' ıhe ehurch, the ma jor f estivals of the
r clı. aııe! other saints and pr ophets, and might
SlımHılllltee! with a crtlcifixion.
LIl'Iı church a p pears to have had its ownTr sc eollcetion of saints. Asaint may a p pear
losı aıı\ where on the walls of a chur ch, and
gr olljlee! lI'ith a var iety of other saints from
aııge of clates in the liturgieal calend ar .9
hough iı has been suggested that saints ar e
gaııiSl'd by ran k , function and plaee in the
ııci;ır of t he Chur ch, this is not the case.
ııgh saints \I·ithin the Church eer tainly
n ddiııee! gr oups - pr ophets, A postles,
ı ;1\ "lı .\ne!re\ı', E\·angclists. martyr s, bishops,
r rioJ. s.ıillts, hr etler saints - the a p parently
ı 1';1 1'\ nalur e of the ciıaice of ineli\'ielual ,aints
I!',1ı"ıl lI'iıhin each chur ch suggests that the
ineli\'ielual natur e anel r ole o r ıhe ehurclı \I'as
iııı por tant in picking the saints. !ııekeel, it is
possi ble that ehur ehes liTr e per soııalisee! thr ough
their choice of saint: the iııe!i\'ielual patrolis, ıhe
l\'lxof monk . the ty pe of ehur eh ınust all h<l\T
been signif ieant faetor s in the ehoiees of saiıl!'.
Sueh \ıas the settiııg for the litur gy. \I'hiclı
lI'as itself a perfor manee eelCbrated \ı·ith
a ppr o priatc tr a ppings \Iİthin the s pace of tlıe
ehur eh (fig.35). i\f any seniees took place early ın
the ınorning or at d usk , and churehes liTre oüen
small and r e/atiH ly dark , As a r esult, ligh ting was
of gr eat importance, and chur ch inventories and
ty pik a (f ound ation d oeuments) r cgular ly eliscms
the Iighting d evices in their particular building.
Candles and oil lam ps (cats 218, 21g) provieled
artificial light; they might be sus pend eel in
glitıering cand ela br a (ca ts 170, 171) and
chanddier s, or plaeed in cand lestick s.
The importance of the litur gy meant
that litur gical vesse/s and book s wer e valued
highly and mad e of pr eeious mater ials. The
k ey liturgical vessels wer e the chalice, paten
(ca ts 20, 80) anel asterisk (for the Eucharistic
wine and br ead ), and t he associated vessels
f or the pr e par ation of the Communion, the
f la bellum, or f an, the censer used thr oughout
the ser vice to' cense congregation, altar and
church. Processional cr osses (cats ıgo, ıgı) wereemployed in the entr y processions of the d er gy
and went befor e the Gos pe/-book. Altar tables
too could be precious and lavishly decor ated. iD
They, the br ead and wine, the chalice and patl'n
\Yere all co\'ered ıvith a p propriate textiles. of ten
silk s heavily embroid er ed in golel. The pr iests
themselves had vestınents a ppr opriate f or each
service. The ep it rach e lio n was an em broidereel stri p
of doth worn ar ounel the neck that all priests
were obliged to wear when ap pr oaching the
sanctuar y, wlıile the e J }( g o nn t i o ı ı was a stif f gold-
embr oielered piece of d orlı that hung f rom the
girelle to t he k nee,
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Fig·35The inıer ior of
St Caıher ine', on
;\OlountSinai, with
a service in progress
Books wer e es peciaııy holy because they
contained the word of Gad. Consequently, they
wer e often lavishly d eeorated and sumptuously
bound , sho~ving proper r es pect to Gad . The
litur gy is an e1a borate interweaving of texts
fr om psalms, both r ead and sung, of passages
fr om the Gospels and Epistles or Prophets, of a
lar ge number of pr ayer s, same chanted , of short
r eadings a bout the saints whose day it is, and of
hymns. All of these need ed book s. Liturgical texts
were not assembled into one book but in f act
s pr ead across several volumes. The prayer s said
by the priest in Iitur gy wer e uniquely written on
a long scroll r olled to the eorr eet place and held
up by the d eacan for the priest. These serolls
tend ed not to be heavily illuminated: the Patmos
litur gieal roll has an elabor ate frontis pieee
showing St Basil the Great cele br ating
litur gy insid e an cla bor ate mar ble build
but the r e,t of its iııustr ations ar e initial
r eligious and secular . Gos pel texts wer e
in a lectioııar y, wher e they \,·er e divide
of lessons ananged accor ding to the d a
year on whieh passage was to be r ead .
Gos pel- book (eat. 205 ) playcd an active
in the litur gy, f or it was earried out into
ehur ch from the pr othesis, and tak en th
the sanctuar y d oor s into the be ma, or s
wher e it was placed on the altar . This a
symbolised . among other things, the en
the Word of Gad into the world. As a r
Gos pel-book s fr equently had impr essive
and less attention might be paid to thei
deeor ation. Ind eed , ther e is a ease for s
that same of the most ela borately deeorGos pel- books in Byzantium wer e never
used but may have simply sat on the al
re pr esentations of Christ's inearnate wi
just as the bread and wine of the Eueha
wer e his bod y and bload . However , hun
of illustrated Gos pel-book s sur vive, show
variety of ways of iııustr ating the narrati
use frontis pieees with Gos pel seenes, sam
narrative stıi ps between bloeks of text; m
Evangelist portr aits. Leetionaries (eats 6
eontained liturgical r eadings drawn fromBible f or the Euehar ist, and fr om saints'
Church Fathers and the Couneils of the
f or other serüces.
The psalter was per ha ps the most im
book in Byzantine d aily lif e, to the exten
childr en leamed to r ead and write from
even, as in the bilingı.ıal psalter her e, W
adults might leam Gr eek from it (eat. 17
In ehur eh, psalms wer e sung throughout
Iitur gy. In par ish ehur ches, they were se
r elevanee to that d ay's f east; in monaster
wer e sung in biblical ord er over the eour
serviees. Bothmonk s and lay singer s mu
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.IıJI iiLi p,a!ln 1)\, he~lr ( ;IS, pmhably,
IJlII'1 ,,Jılıe cüll,~r egatiuıı, ,\ı kast 8: )
Jlıilı.ı1ııI psalıer s slIlYin' aııCı 110 t\1'() are
,;ııııı', i 1I11str aıecl in \'arious \I'ays, they
ı' 1lllllwr"lIS inıeıvr etaıions, meclitations
i ('lıll1llıı'lıtar ies on the psalıns, Suıvr isinglY,
piı,' ıı.ı\' iıı \d ıieh the psal111s \ITr e used in
r ~'\, IIli, ın;ı;, are neyer r earrang-ed to r eHect
bııı .dıı~ı\,; ınainıain ıheir biblical oı·der .
lıı'lp ıııııııks in the r ecitation or the psalıns,
dın' ,,,'r e organised into t\\'enıy sections or
ı ııılill , ,'aı h containing bet\lTen one and
p,;dı ih,To aid 111eınor )' eve n fur ther , each
hi,ııııı ii;1' su bd iyided into three, Ther e ar e
1 " , \ (1 ' ()Id Testament book s than New, in
ı 1t'lIn llI1~ their lesser place in the litur gy.
B""k ,)[Jo b, however . is one of the most
ıı!;ır , .ıııcl O\Tr twelye iııustrated co pies
l\T,
The 111llr eh was alsa a place wher e people
.(lll11I;lkeind ividual off er ings, Same took the
n ol' \Oıiye gifts lef t for Chr ist, the Mother
;ocl "i ıhe saints in pr ayer or in thank s f or
diı, received (cat. 198), R elics of saints wer e
'ioıı'. of Iering the f aithful a dir ect contact
ı1J(';ınual, tangi ble hal)', and ever y altar
mnlk eontaincd a relic. Such r emains
ci \ .LI'\'li'om a minute s plinter of wood from
Trııc Cross (ca ts 182, 188), encased as bef itted tll" or a mor sel of bone from asaint to
ıholı' hcad or a hand of asaim. Such
ial r ı 'lies alsa actcd as magnets f or pilgrims
e ı\ııırch.
Tllf' materials used to er eatc the images
"Iıied'> at chur ch r eHected both the
lll'(TS a\'ailable to the patrons and the
ır l.llJlT of r cligion, f or it was thc patr ons'
Iıı c;i\'t, of the ir be,t to Gad . There \I'as a
r ( 11\ (J[ matcr ials: mosaic and paint; gold ,
1)11)llze, br as;" co pper ; and material;,1"I\"s ınioht car ı'" a svm bolic mcaniıw.
" .',/ b
1"1' example, did not tarııi,h and so
re presellll'd pmi!\', Pıır plc staiııiıı,~ or pages or
buok s r l'pr esl'llted llot onl\' aıı İllCr l'aSl' iıı pr ilT
bllt abo a coıııment oll il11 pl'r ial statııs. pıırplc
being t he impcrial eolom r esel'\Td for the
e111per or . .\licro-1110saie ieons \ITH' a highly
s peeialised , partind arly eostly Itırın or 111osaic:
ıhe b'c1 and detail or skill need ed to \lork on
this seale ıısing mimııe ıesserae, ca ch plael'd
indi\'idııalh' in position, sur ely \lith t\\TeZer S,
is simply sraggcring. Ol~ jcets 111ight be hırther
d eeor ated \I'irh e\'Cn ınore precious materials,
inlaid in ename! perha ps (cats 199, 2 - 1 - , ) ) or
gild ed , and d eeor ar ed \I'ith omament and scenes
a p pr o priate to their lise, as with the Riha Paten
LlSed f or Eucharistic br ead , wher e the Last
Su p per is d e picr ed (cat. 20). And size always
mattcr ed . it related not only to cost, but alsa to
[ıınction: sm all book s wer e often intend ed to be
r ead in private.
'Vithin the ehur ch, ar chitectur e, imager y,
'the litur gy, as well as sights, sound s and smells,
including voices, incense, smak l' and candle-wax.
heat and bodies, hard , polished floor s, gli ttering
mater ials, aıı com bined to cr eate the ef f ect of
tr anslating the wor shipper into a s pher e beyand
the wor ldly, and to transiate the church into
heaven, in ord er to move being 'at chur ch'
to being 'with Gad '.
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170
Chanclclicr (c!ıor o.ı)
Thir ıcellth li)t 1ncl'1lI1ı Cl'llIl1r~
(:~ıst ('opp cr alloy. diaııH'lcl" :).-)0
I.:lll: Iıl' i! .dlt ,," ithou t h;ııı!!iıı!.!;~
1'+6.) <:111
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7 i
l JlJll']-,ıliIl\
h(,]]ıci,"I()1l
,[lll1 \11' 1I,r;ılll';ıll. 1.,-),")1) (i.-)n
ı . ı~ılı o r "'lI~p('Jı,ilıl1
;1-11'1" ııl' di,k '2g ("LLL
1 72 "
Clıur ch bcll
Ser bia, '1 ı\lıgUst I+12
CaQ br oıızt', hcight 7'2 cm;
c1iaıncıcT 55 rm
1 7 3 .,.
R ad ap's belI
Scrli:ı.:.? .-\ugıı"ı Lt:;:!
Ca~( br ol1z(', : > [ J x -l j rın
1 7 t +-
Co pper al10y plaque ıı"ith
the H od cgt.:tr ia and saints
il~Llıtilıll1. lı'mh f lr
l'i{'\"("Hiı fTılllır~·
('O p! cr :ı1!()) , ~ J '.- J y Itı.E: ('])1
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1 7 5 .-Homilies on the
~lary by James
K okkino ba phos,
Constanıil1ople, lir s ı h
ıhe !\, dfi h eentur v
~ ranuscript on parchm
23 x t6.5 cm
1 76 --.Per fume br azier
f orm of a d omed
Constantino plc or Ital
end of the twelfth cent
Silwl', partiaııy gilded ,
and perf oratcd , 36 x 3
1 7 7 -77
Psalter with the
vener ation of an
the Virgin Mary
Hodegetr ia, folio
COl1sıantinople and C:y
arounCı 1300
Tempera anel golel on p
Latin and Gn'ek bilingııa
and other tcxts of \'ar ioı
x 2 + cn1
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ııg .-Tray ıı-ith r e pl'l'seıııation
o r the. \postlcs Peter anel
Paul ııanking- acr oss
(:;ırt!ı;ı,:.!,\', ~ır ·ltııır \ - I tH )
(:Ia;. :r/.~) < :Jtl.n,'lll: \\iılth ol'
rr .lllW +. -i. cm
179 lt
Gilt-co ppcr plaqut' "ith
St Theoelor e
Byz.ll11iııın 'C()Il"uııtiI10 plC~)I.
nıid -dcn'l1rh (cnnır;;
Gilt (oppcr, 12.:) i< 6.7 cm
iLı ·1. ı.,· ,.fı:',- I1r;1 ;1 \hı. 11.1 .-, 1 -1 11.1
P~"ı.!i••·;- .
ı80 , j,
Textile hanging with
St Mak ar ios and waman
in pr ayer
E;.iYV l,lour tlı ')r tif tlı CC l1lur y
Lint'Jl and \\"001, IO~):. Sb Ctn
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R cliq uar y sar co phagus
Byzantiul11, f if lh-sevenıh century
~ l arb le a~glonıcratc,
27 x 51 x '15 -:') cm
R eliq uary crucif i
Constantino ple, lirst h
the tenth centur y, :\[on
of St !I!ichael, Damok r(now Güzelce)
Parıially gilded silver c
hold er , 36.4 x 23·7 cm
(The ertlcif ix [a bove] a
the sar co phagı.ıs Dcf t]
for illustrative purposes
and ar e not exhi bited )
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185 .-Double-sid ed d osure
pand
Thrb("s, nintlı ct'nll1ry
il br blc, 88.3 x 10:;.8 x Il).:) cnı
Double-sid ed d osur e
panel
Thebes m , 872/73
illarblc, 97.5 x 73.8 x 9.5 cnı
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ı87Silver chalice
Syria, Early Byzantine,
sİxth century
Sih-er ,,·ith nicllo and gild ing,
18 x 26.6 x 16 cm
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~!"_~- ~
~ '"
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189 .-
(:llll"(i1lllirınplt'. lir..ıIı,ılr ııl'
,'ltTe mlı Cl'Jl!ll1Y
Ca ...! {'opper :ı1lııy. !ı.1l1l11ll'rn!.
l'1l!.~, T;ın·d <llld j>11I1dH·d. : 1 1 ) A. :;ll.ı x
o.:i clll
19° , j.
Pr ocessianal cross
Hy Z< 1I11 ilim.
pr nl>:,lık I\\Tllilı ,.,.nın!"\"
Br onzı" l'llgl'an'd .lIld L'll1 bo~snl.
Cia x +( j<~ x 'l.h cm
ıBnRı'liqı!ıı. arthe
'I'rtll ( ı J"
(ı'l1ltll'
"ıih,'j"
:.11· tl
lı ı nnnı' ')P~lqlıC
l,iı\"fT gilt su p port.
p.ı~;lı·, ~+x i/.7 x 1..')cm
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ıgıProcessİonal cross
Constantino ple or north-western
.\naıolia. Iate ele\'enth or early
twcmh centur y
Silver , silver gilt, niello, iron cor e
and bronze shart, 73 x 39 cm
ıg2Th e Cross of A
L'lle tenth centur y
Silver sheets, ",ith en
partial gilding and n
decor ation. r i\'eted a
İr an co re. 58.5 x 31 x
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19<>,)
( ' 1 (1 ( iıı" \I'ithıC J • •
'II '(i iiıser ıptıon1\1(' (Il
\1 'lII14'ITalıcaıı.ı ..ı"":!'ı' ,
"Iııl' ( -llllIY . . .
< ', - Iıı· j,r/U meltıcııng J ı L L L '. .. . . •
( i' i' . iı)ı ıp 7.1 ('LLL; \nd th..lJ'pl'li"llll
II LLL:"\1 '~Iil p.ıü g
i: .\i,,'ı:\~.ı '1', I"1
19+I, crossPCC(()I';ı1 r e ıquar y
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.'1;' 1 98 . .ı . .
Votive hand hold
across• ~, t.'• ~ i
\ i
\t,~\,-I"" 'ı
, J1 \ 1 \ \ \ •
\'iif , ..ı ,"","1 ". .IUI. :\
. \ ı \ ' · . ti l "I · , j.,1
\i .\1 )' \
. } O-
Syıia-Palestine, sixth-
cighth ccntury
Bronzc, 2+ x 10 cm; cra
1 3 x L O cm
195 tPector al reliquar y cross
Constantino ple !Jr Anatolia,
eleventh ccntur y
Coppcr aııoy, 7"3 x +3 cm
1 96 tPector al reliquar y cross
Constantino ple or Anatolia,
clevcnth centur y
Cop pcr alloy, 8 x 4-5 cm
Pectoral r eliquar y cross
Constantinople or Anatolia, !ate
lenth or elevenıh century
Co pper aııoy, 9,5 x 5,5 cm
1 99 -- .Pector al cr oss with
Four Evangelists
Constantinople (O h secon
of the elcventh centur y
Gold , fıligr ce, cloisonne
chample \ 'c enanıeı, emer
tourmaline, pearls, 9 x 6
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"ıı ,
,iılıi
1'(4ini
,i,
.1. i j . -~ r
', Cl"! .' ! " ,:
, . ,'c',.
."{'lll
iI ' :i ("; :1
".ıh:,',
, ,-
ı~Ii ı
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Camea with
Christ Pantokratar
Consıanıinoplc, early thirteenıh
century <'amca); Serbia. Pf'C
or Prizrcn. early snoemecnıh
cenıur y (selting)
.Jasper green. ctltting; sih'er,
ham mc ring gilding; enamCı I blue
and gr een); canıelian, moıher -oı~
pear ı, glass pasıe. eameo length
+ cm; ",id th 3-5 cm: selting
kngı h 7.2 cm; width 6 cm
2°3Pendant with
Christ Pantokrata
Constantino ple e). e1
or t",elfih centur y i n a
sİxıccnth-cenwry mou
R ock er vsıal, gold. pre
pearls (mount),6.1
x 6lindud ing mounl)
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20-!- 4
\l'lI T l"I;II11l'lıt.
I,ılio ı 7:ii
.\lid _ ı\\ı-ilııı ' ( , i ı[,y.
( ,I )rı~ı.ıııl: J. i 'i Jj(
!'.ın !ıııwı ;<'. - > - < r,)',l cm.
2°5Ll'niolld 1\ ıı 'ith
ılır Lı,ı :-ıu pper ,
l(ılİo ()i
(',ııl"ı.ıl)!IIH 'illI iLI'.\.r "ı ia
.\iiıı' ll'. ,;: ,~i'J ı ! ( J()O
I',ın hıııı']]ı' :..!.;: j( .2t1., j cm
, .~" li\','
- ' ' ' ' . : ~ , . . , . , 2 f " " i- ' ••, ı-' "...•••~f '~"'.,. •.••.,
ii ,, "'- - .
~n ••
L )~l·l\t\\ı;n HI< )fJ (~·H·
~'i ,~l\rıl;L(~1fC -'fd "lı,
'r(l'fI \\1l\(';1\.\ +/' J ~
iU, (; L\,ı PC~\. H)'rıiL\• . . . .
'I'.\'\t.\\tl 'ht;r!.\\," .
'I'lt 't' i : iiP(;! r~ Tı\ı. .... / v' .. •
\l;1 1 1 . \ ( ; f \.() " L l l f ·
Jı)r t :7",\()(; " , \ t• . ..7.\
i i 1 L( '.~,~T\.)lIt )1 1 V "
!~(~,.c;((;i p t ~ '1 ,, \ '
{ - ; ( \ ' J \ ) \ ' . \ . < ~ i ll! i ~~\•
i .~
/\1\1 'rı< ) li l ~i T " ı n , ' 'I' ~,\+,\.\ i j\ j\ ~( i),,.\i
:' / "
'Ti" lll'\.I\. '; j(f){i?
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2IO
Chalice veil
2II
Gas pels with the
af Christ, f ülia 9
Constantinopic, secon
de\·enth ccntury·
Par elımeııı, 3° x 13.2
.Late ıhirteel1lh-early r ourteenth
century
Silk embroid er ed ",ith ,iker and
gild ed sih-cr thr ead , 63.5 x 63.5 cm
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Epita phios of :\'icholas
Euclaimonoioanncs
Coıı:-'{~lI1tin() pk . 'l'h('~saı()l1iki
or ıhe Pcloponncst'. 1{06 /07
Cri m so n :- .i lk \\·it h ~ikcr . ,ilnT-gilt .
and (olonred tlır eacb. 8 j x '+u cn
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213\Vaıı tilc with an
image of St Nicholas
Pr o bably C:onstamiııoplc.
{('llth century
Co Jo ur ed and tran:-.par Cl1l giaze:-)
011 \vhiıc c('ramir, ıG.8 x 1f ) . . . .J . CIll
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214\ Vali r ile \y i th an
image of St Ar erhas
Pr lJ lı:ı l)iy Coıı'>lalııiIHll)ll' ,
ll'l1tlı (T1Hııry
(:o!<Jlır cd :ınd Ir .Ubpdl'l'llt ~lal.l·~
niL \\!ıi te «:r<ımi" 17.2 x 17.1 cm
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215The Raising q f La zarus
Twelf th centur y
Egg tempcra on \Vood . 21.3 x 24 cm
Epistyle f ragınen
Transfigur ation
~Iount Athos, f ir st ha
ıwelf th centur y
Chcsınut wood , gesso
tem per a. 23.2 x 23.7 x
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217 -.Incense burner
Serhia.Janjc \ 'o. f (J lırtec lııh century
Bronzc, ca:-.ting, opcnwork,
ii x 12 _ .1 x 3.05 cm
Lıstern ~lcditerrancan (? )L
fiflh-sixıh ccntury
Brass, '2.7x 7.9 cm
219 . J ,
Oillamp
Egy pt, sixıh ccntur yQlIaıemary allay, east in parts,
covered with grecn pariııa,
32.1 x 25.5 x 19.3 cm
Raund el
Alather o
IUi8-81 (?i,
SC'lJentine. d
220 ~
Brass lamp with
griffin's he ad hanelle
haly (?), fif th-sixth ccntur y AD
Br ass, height 15.9 cm; width 7.2 cm;
Icngth 21.3 cm
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]'2'2
\I""ıiı li ıılı Iıı'ad
.0 1" ( : 1 I II ,i
~U :31-""111(,,,,1)('1,, Jo !io Ili'