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in eoo".nliJlO!>l< oround 880 fOr "'" Em""""
Iluil l . , fMOl Ih. p..,i>n:k !'ho:.o<;"'.
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1)'<1 ofmetA8C1 .halli>< fJic'UJ"<ll<O<Ikl
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VISION AND MEANING IN NINTH-CENTURY BYZANTIUM
Imagtm Extgt'Jir in thr Homi/i(J Q!Grrgory o!Nazianzur
Byumincs used imagery to eommun iauc a of In the comext of
lconoc!:asm _ the debate about the legitimacy of rdigious art conductM between ca. AD 730
,,"d 843 - Byu. ,,,inc aut hors themselves that visual images could ide ..
than words. Visi01lll nd Mrllning in Ninth-CmfUry BYMntium deals with how such visual
communication workM, and cxami ne> the lJ'P<" of me.sages that pictures could convey in . he
oficonocI..sm. hs focus is on del uxc manuscr ipt comm;"ionM around 880. a copy
of fourth-century sermonS or the Cappadocian church father GrrgoryofNazianzu. which
w:as to the Emperor Basil I, founder of the Macedonian dynasty, by one of
gre. ,es. scholars Byz:tmiurn ever producro. patriarch I'hotios. The manuscript was lavishly
decor.tro wi th gilded initiais, clabo rate and. full-page miniature each of
Gregory's sermunS. Forry-six of these. induding over 100 distinct scenes, survin. Fewu th.n
half. however. Were directly i",pired by the homily [h.t they .ccompany. Inste.d, mos[ func_
I inn as commemaries on the ninthcentury court, and. C:.<cfully deco"'tructed, both provide
us Wilh not av. ilable from written sources and, perhaps more impor-
l.nt, show US how vi.ual imagescommunicatediffercndyfrom words.
DR BRUHA is Seniot Lecturer at the Centre for Byzantine, Onoman and Modern
University of Birmingham. She has edited Byztmrium in Ik Ninth Ctntury:
[Had or Aliw? and (with Robert Oustcrhollt) Thr Sllrrtd lmagt ail andWm, :as wdl:as conrrib-
tlling choPlers and art id es to numerouS publication. in slUdies.
Cambridgr 5rudirJ in PaLlrographyand Codicoiogy
GENERAL EDITORS
Rosamond McKiuerick N"""ham 0>lkp. U"i",..,itycjC.mbndg.
T",,,, Trinity ('''U't'' U"i"",ity DfGtmbndgr
EDITORIAL aOARD
l>nard Boyk Vati,." Libmry
Virginia Brown for Mtdi,,,,/ Studitl. Ton"""
J. p. Univmityofuidm
P:t.nick McGurk Birkbrt:k C"Ikt" Lcn"""
Nigel Morgan fA Hob. Uni"'''ity. J!,f./boum.
Richard Rouse U";",,,ity ofC.lifomia. LOI Ang''''
David Wright U"iw:"iry"jrA/'fo"'"", &rhlry
This new series has bc.:n ",tabl ished ro further the study of m.nuscripts from the middle .ges
ro the renaissance. It indudes books dcvOled ro panicula. types of manuscripts. thei r produc-
1 ion and circul alion, 10 individual codices of oumanding imporr..ncc, and to rq;ions, p"riods
and scripts of especial imerest 10 scholars. Certain volumes will b.. specially designed to provide
studenrs in the 6dd with reliable introductions to central topics, and occasionally a classic orig-
inally published in another language will trambtcd into English. The series will of imer-
est nOt only to schol ... and studoms of medievallitcratur, and history. but also ro th= logians,
art historians, and others working with manuscript sources.
ALREADY
I. Bernhard Bischoff Malfuscnj)fS,mJ Librariu in the Age
ofCharlnnagn, 511 JRJ46 J
2. Richard Gameson Th, EarlyMdiroal Bibfr 44HOX
J. Nancy Nctur Culturallmtrplayin 'M Eighth Cmtury: Tht Tn'trGDlptls
and tht Making"fa 5<riptDrium at Ethmtnu 411112
4. William Nod Tin f/Il,.ky fulur 464911
\. CJ,.rlc. E Brigg> Gil" Dc Rcgimin< Principum: andW,.i,inX I'Dliti at
eo"" and U"i",..,iry, c. 1)15 570\J 0
6. Lellie Vi,ion and Munin! in Ninth-Cmtury Byzantium: inuit, as Ex'fpi, in tIM
Homilie, ofG>qory ofNazWnzus 6l11J 4
7. Franci,Newton TIMScriptoriumandLibraryllt
MonttCastinClflf8-IIOf \8J95 0
VISION AND MEANING I N
N I NTH-CENTURY BYZANTIUM
m a g ~ d J Exegesis in the Homilies of
Gregory of Nazianzus
LES LIE BRU BAKER
I!IJi! CAMBRIDGE
\(]Jf UNIVERSITY PRESS
CAMBRIDGE UNIVERSITY PRESS
Cambridge, New York, Mclbow-ne, M.drid, Cope Town. Siog.po, SID 1'0010. Delhi
Cambridge University Pre ..
Th. Edinbu'lIb Bui lding, Combridge CB2 8RU, UK
Publi.hed in the Unitod Statu of America by Cambridge Uni,..-.i,y Pr ... , New York
W'" W .cam bJ id go ,org
In formo, ion on this 'it Ie: www.eambridge.org/9780SlI62IH1
" Le, lie Brub.kcr 1999
This poblicotion i. i. copyright. Subject 10 .... tutory exception
aod '0 the pro.i. ion. <If rcle.",,' <o!lcctive .g.-cement<.
no production orany part m.y toke pl ac. without the written
pcrmi .. ion of Cambridge Uni ve", it y Pre ...
First publi'hed 1999
ROp<inte<l 2001
Tbi. digitally printed yo"ion 2008
Library of Cvng"''' Calalogu;"!; ;n dala
Brubaker. Le.lie
Vi,ion ond m.oning in nin,hcentury Byzan,ium: I"",go 0' . ,egc,i, in tho
homilies of Gregol)' ofNazi .... u. I L li. Brubaker,
p. em. (Cambr idge Stodie. in palaeoogrophy ond codioology)
lodud .. bibliognlpbic.l referenc,", and index.
ISBN O--S21 -621 S3-4 (hb)
L Bibliothi:que notioo.le dc France. Manuscrip'- Gr .. cu. S W-
Hlu''''' ';<Jn.. 2. Bible --- I1 lu",-"I;OD'. 1. Gregory, of Nui.nIU',
Saint _ Art. 4. Illumination of book> and manu, orip". Byzantine.
5. Orthodox Ea.tern Cbu.-.:b --- S.rm"",. I, Tille. II. Seri ...
ND3185.B57B78 1999
745.6'7487-<102 I 97-43385 CIP
ISBN 9780521 621533 hardback
ISBN 9180521 10181 ] p.perback
For Christopher
Contents
List ufillustrariuns
Preface
Ack lluw!cJgml>n n;
Abbreviat ions
,
,
bllrot/ll(tiQlI
CuJimlugical J e.,nipI;OO
Localizatiun and date
Prod lIet iOIl and Ji,'!rihlll ion of labou r
The physical [dari"mhi!, hem'ern rexI
Samons wililOlll illmHJtions and "IUS1' milliallJr<-:;
I listury "f the "'''tlme r;pl
ris.gf.) I 0 and 0( h.a il iusrr;llcd manuscript s of Gr<cgory's Humilic's
Sitillg flit' lIIillimlll"t'J: ill/tlKl'r)' ; 1/ Ihl' lIilllb (('II/III}
B}"l.:lruillt I)<:[cqnio" of the ";sll,,1
Text and image in nimh-anmry manuscripts
leulluphil" argument s "MIll illl,,!;e,;
N in th-cell! llry p"l!crns of i magn )'
konugraphy and the issue or (""IiI ion
' ]hc (uuniuns of images i 1\ the fl int h ccru II')'
Mini;!!LI'C:' al"\
11)(' lIIill ;afllres: imfTl/(/! flll'dfliff
TylX" of SC<'l1cS fi" ilill,tration
Tht conceptual relationship bellwen text and
Seb: lion as commcntary
a, cxq;csis
Tht ill$cn cd rnioia\i!rcs
Formal consideralions
Composition as a bearer of
Cross-curr,' lll, mini at\l\('s
..
'"
page x
..
XVII
..
XXII
,
;
7
8
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TIN:' bio,f,I'i1p!Jiml mill/(/fl/us: IlJImrt/ ;1I}(fgr (IS rxrgrsil
Grtgory nf N,II ia II ttl> ,I lid h il /:",,;1),
lb.,il ,IIlJ CYl'riJIl
'I"\\",,J IIn:l):<'
Btuil I mill l'i,1II11 /NII/Wl'i,'
BJ,il 111,' 'n,'" C"I1>1Jmin(" Jnd Ih(, fi,uuJJI iUII ' nf ,h4' ,\ b", ... luIUJn
h(>u .....
Basil. Consl,mli"". :",J Ih" ilk, ,,((IYI1J"Y
BJ'j[', Old ' l"",III1"m ,IIHi,yl" "
KJ,i l ,lIlel J""'I,h
IIJsil ,lnd
BJsil Jnd D,l\'i,l
KJsil ,md ] .. ,IU1J
Illr pmr;f/r,.b /'/Jolios (//Id l'il/1II1 rxt"Xt'Sil
lli>!",i. ,d
kliiSillll, IIIm'lllY/OIII mllll'iil/a/ j!1I/"m;(
.Hul InJr!vnl "ll1
,I):alll" h,'n"'y
I'l'r(I'I" ;(IIIS old;
Old T""Jnu',U vi,i, ,'"
1" ""'I"i,.,,, ,of divini!),
kOIlOf,mp"J'
knnl)gullhy 1>)" ,h., h.K,k
Th" Old [("11;1111<"11'
,Ill.! ,II" Odt m;n;.lIu,<', H( ,h,'
rh,' N" ... r"",Hlll'!I!
I',tri' ,gf.\!o ,,,,.I "Ihn " .rviving ph'gr.""I"'"
TIll' ! r .. m. II i"i"n ,.f i, Oil"):' Jl'hy
c'fJl/(hlflf/lI$
anJ
\'(' ''111('11.111<'11 , ,.ml
'I;'-x, .m<l im,I!!"
Phmi", .lIld H" lo ,1
1'."i"I> . ,lo ... " r"l'ri,,,
"II'
119
119
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179
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"['[' EN [)ICf. S
A IIII"I'III0ry oflhl' millimllr/'f
B 71)1' II'XIIIIII T"/'Frl'll fl'J for fbI' SfI'II/'f ill n,riJ.gr.po
C QlliT"/' ditlf!,r.t lm

Index
"
1llllStrations
.
BETWF.EN PACES XXII' "NO I
I l'ari).gqlO. (Av: Chrbl enthroned
1 P;u is.gqlO. f. Br: Emprcss Eudokia Ibnked hr Leo :md AlcXJndl' r
3 P<l ri).gr,slO. f. Bv: cross
-I r. Cr: nnss
S Paris.gr.I IO. f. Cv: Emp..: ror Basil I Ibn ked hy Elij ah an.:1 Gabriel
6 I'Mis.gr. ; lo, f. Jr: :I , annund:uion and visilali un: b. from Ihe life of Jonah
7 (. 10\': a. crucifixion; b. dl"l>osition and ( luomhll1l' lIf: (:. chai rcte
,II l'aris.gr.slO, f. pv; manyrdom of Ihe :l posli n
9 I\Hi s.gr.slO. f -13"': a. Gr"gory and hi .\ f.lIni I)': b. (lI nn;11 of Kaisarius; c. dealh of
Gorgoni:1
10 I'Mis.gLSIO. f. )!\': creation :lI1d i.'xpulsion of Adam and c. ]" losc5
rcin-s the Ia\\'li: Gregory preIchi ng in N,l1.ianzus
II Pari s.sr.Slo, f. 67\'; a. vision uf Isaia h; h. Cn-gory consi.'Cr;\(cd bishop of Sa si ma
12 l'ari ).gr.s ro. f. 69v: a.--c. scene5 from Jhc lift' of Joseph
13 f. 71V: :to lhsil. Gregor). of Nyssa. and Gregory of h. Job
011 his clunghc:tp
q f. 75r: trnnsfi gur.lIi on
15 Paris.gqto. f. 78r: a. hailstorm: b. Grt'gor)' prt'achinlt
16 P.lri).gqlO. f. S7v: a. calling of Peter. And rew. :l1ld John: Chrl)t :lncl
Z:lchi :ls: calling of Ma!! hew: b. Chri .I J and tl,,:, rich yowh: conversion of
Nalh:macl: c. com't'rsion of Gregory's father
17 Paris.gr.51O. f. 104r: scenl"S from the li fe of 5t Basil
18 Paris.gr.510. f. 137r: a, Aclornl ion and dn.-am of tht Magi: b. mass..crt of the
innocents; Right of Eli l abeth and John the Baptist: martyrdom of Zachari.u: c.
Prest' malion
19 Pari s.gr.jlO. f. 14J\': l. Jeremiah from Ihe pit : pcnitcnce ofD,wid: b.
pa rablt' of the Good Sa m:lrita n: c. ht'aJing of the paral ytic at Bcth,sJ<i: ht'aling
of Ihe woman wilh the iSSUt, ofhlood and tile raising of Jairus' daughter
!O Paris.gToS tO, f. q 9r: a. Gregory and B<isil l1eal lh<' sick: h. L>ivcs and lau rus
,

2r I':lri s.gr. sro, f. r6sr: a. Christ among lhl, b. u:mpr;uion of Chri s I: Co
multipli calion o( lhl' loaves and fi shes
22 l'aris.gLSro, f. 170r: a. healing of the leper: healing of Ihe man wilh drop,y;
healing of [he demoni acs: h. hl',[lillg of dll' cel1luriun's serva nt ; healing of Peter's
mOlhn-in-law; c. Christ walks o n wal er
23 Pari s.gr.S lo, f, 174v: a, sacrifi CI: oflsa;!c; b. Jacob's slruggk with Ihe angel: Jacob's
dream; c. anointing o f David
24 Pari s.gr.5 IO. f. 196v: a. raisi ng of Lrlarus; SUPP( T al Si mo n's; b. entry illlo
Jerusalem
25 P,lri s.gr.llO. f 2ISV: a. judgmel\! o( Solomo n; b. convl"fsiun of Ihe Sama ritan
woman: healing of the l t'n lepers
26 Paris.gf.SlO, (. u6v: a. Moses sl rik<:s waIn frum a TOlk; b. STOpS [h<: sun
and moon: Joshua m<:<:I S [he ang<:l
17 P,[ris.gr.slO. f. 239r: a. Gr<:gory and Ihe.' Empl"fur Tlwodusius; b. Gregory leaves
CO!lStantinupk
28 Par is.gr.j ID. f. 164v: J . Moses :lnd Ihe h urni ng bush; cll nvl"fsilln of Sa ul;
ascension of Eli jah; b. of Ihe Red Sea wilh Ihe darKe ot Mi riam
29 Pari s.gr.Slo, f 285 r: vision of Haba kkuk
30 PariS.gr.SIO, f. 3Otr: PeIHl'COSI
JI Paris.gr.SID. r JIOI' : a. healing of the man with the widlCred arm: he,ding of lhl'
IWO men born blind: b. hc;l ling of Ihe bell! woman; parable of thl" withered fi g
I reO'
32 Paris.gr.51O, f. J16r: a. healing of dlC blind n1:1n al Siluam: parable uf Ihe widow's
mite; b. healing of [he paralytic al Capcrnaurn: rai sing of Ihe widow's son al
Naill
J3 l'ari .l .gt.)JQ, f. 3J2V: scenes fro m Ihe life of Cypri an
H Pari s.gr.5JO. f. Hor: man }'rdo m of Ih<: Makkalx-es
JS Paris.gr.510, f: H 7": a.-b. scenes from Ihe life of Sa mson: c. Gidt' un and Ihe
Reece; martyrdom of Isaiah
36 Paris.gr.lJO. [ 35)r: Council of 381
37 f. 360 r: a. tower of B'lb<:l ; b. Noah's ark
J8 Paris.gr.Slo. f. 367"; scenes ffom thl' history of the Arians
39 Paris.gr.llO. f. 374": SCl'nes from the life o f Jul ian the Apostate. part I
40 Paris.gr.Sl o, f. 409v: scenes from rhe life of Julian !Ill" Apos1':m. pan II
41 Paris,gr.slO, f. 424v: a. (Ill of Jericho: h. israel il es victory over Ihe Arnaleki[ es: c.
Gregory writing
42 Paris.gr.510. f. 426v: mission of the apostl es
43 i'uis.gT.)JQ, f. 43Sv: a. Ihree Hebrews in rhe furna ce: Daniel in Ihe lions' den: h.
Isaiah and HC7.c ki ah: Manas.\es
44 Par is.gr. llO, f. 438\! : Ezl'ki<:l in the valley of Ihe dry bo nes
45 P,lri s.gr.510, f. 44o r: scenes from Ihe lives ofConstanlint and Hdena
,,6 Pari s.gr. Slo. f. ,IS 2f: scenes from the I ife of Grego ry of Na7.i'lI l"lUs
47 Paris.gf.l IO. f. 3/611: headpi ece to ' Tu Klt'doni os' II
' "
9 1 1 I I 1 I : S ) O 1 I 0 ! S J J , \ U O ) : . \ 1 8 J - 6 6 9 ' J : l - 1 c , \ L l
J l I l I U ! S ! , \ : : . , 1 . J 9 1 .
h i J J I J J : l I R J ' 6 6 ' ) ' J l 1 ' l \ ' i \ S L
1 0 1 l P : U 0 i " J o ; ' ) ! I I U O J . ! : J ! i ' l ! J ' 0 9 . ! . " ' O \ j l V I l I l l O V - i t o t .
, O J I l w u r J " m O J ) S . l I l J J S : , 1 1 1 ; 1 J ' 0 9 1 . ! p J d O J ' : , \ ' S O l j l V J U l l o l , \ , I L
1 0 1 I p : U O f ) O ; ) ! I J i l l I U O I ) : A ! \ r j ' ( ' f l ' J l 1 ' S ! J I : d , L
1 6 p l l 1 ' , l l P ) O l I O ! I t ' ) ! [ d ! I P H U : 1 [ E l j l l . J . P I O I i .
1 6 I S ! J l J : ) j O u O ! l 1 ! l { i l u . ' l P J ! l j l : l l r ! ' [ 0 1 . M , ' N 0 1 .
6 8 l I o ! l e l ( l u m : . . . o f l j ' 1 < ) J O I I ' J l j O I I I l : J ' s m p v l u n o l ' \ ! 6 9
8 8 J O S U O ! 1 I ' , d U I . l l : J 6 0 1 J " I 1 1 1 1 . : 1 r . U I : ! Z U J J 1 1 I : l ' J : m . m l l : 1 8 9
L 8 i , U ) . } I U \ I - P ! l U : U O ! I C I U J S . ) J d : 1 1 ' : ' 1 0 . 1 . " , . ' I N ' : ' 9
S g [ " d s o ' i i S ! 4 l U O l )
I j I ! . \ \ J l j t q : , \ 6 , 1 J ' 9 8 , ' p o J ' . 1 3 " 1 1 0 : : > ! 1 ' ! J 1 D s n d J O : J ' J : J p ! H l l m : : ) 9 9
I g J O : J I " j ' s [ < ' . I < 0 9
1 . 1 . 1 I 1 ' I ! J 1 " t I i C S " i P J U
, ) l P : l 1 l ! " P J : S " p > , ( ) { ! C , n p : l U , ! l l l . l P P I S ! J l O : , I m f " j ' f r 6 ' J : 1 ' S ! J I \ 1 h )
9 1 . U I ' I ! J I " U ' : S " i P J i l " l l l t J l ' < J : , , 1 . " j
1 . 9 S C ! J l ' l p C Z ' U ! " l 1 I 1 1 U I U J l p I I ! : 3 1 1 ! P ! Y 1 ' ! J ( I i : H
" i P u y o f p u r I P ; l ( I C " ' ! E l ' S I I I , l . l O I I U ! J U J J . , e S S I ' w : S ! U U ! H l i l l Y J , , ' U . ' )
J l p J O 1 l 0 ! l f J O p C : f l 1 b ! I I I Y I ' I S ' , l I U O } 1
J ' I I 6 ' J : l < ! J I \ 1 0 < }
H , ! t ' ! I U ; " I J . l f p u t : ' ( I I n ! I \ [ ' 1 ' , " 1 5 0 H ' \ ' I I I ! I ! J o \ \ p ! , I C U : J 9 1 J ' f . 6 ' J : 1 ' ' ' ! J l ' , !
H S 1 1 l 1 l t ! ! 1 . c N 1 0 , ( 1 O : 1 , ) J : ) : J I - I - J ' f t 6 - J i h ! J l ' , [ g S
o f I S ! J l [ ) J o 1 I 0 J ' I I C ( I S r _ \ \ . ) I ! y , , ,
" j ' l i n I N ) ' 1 I 1 t 1 " S l I \ _ ' l 1 r J ! J O I S ! H ' , \ I u ) m ) _ \ [
" , , ; b l d ) ! I : S U I I I J , t l l ' : I ' l I l d o S 1 : ! : 1 1 : H ' 1 ' ' ' 1 1 1 1 ' 1 ' ' [ 9 S
. 1 1 l : l s o d V " ' 1 1 U l ' ! l l l f 0 1
l j l ' ; I < ! " I ' S " \ N J " I ' U I ' [ ! ' ' ! ' S ] ' d ' J I I ! ' p o . ) l ' I l l " S U J ' l I I l V ' W ' [ ! I _ \ [ B
' ' I t ! w x l y ; " I ' l l 1 I I : ! I " f
0 1 S I I ! O , ) I I J 1 1 P J > ( J " ! P l o < U t ! ! I S ! J l [ ) : 1 f L ' d ' " j U ! ' p o . ) t ! u r ! s o J l j I U V ' m ' I ! ! \ [
' : M C J I ' O l l l ! 1 " . . ) 1 J J r l s o d V J I ] I U C ! l l l f : F I L ' < I ' J I I ! ' 1 ) 4 ) ) c u r ! S O J ' l I l l V ' U C I ! ! " H
P ! " r a J O
: l l p p i l i ' P [ [ ; ) S " H ' s ; ) S u l , \ ' : 6 9 S - d ' J l l ! ' \ ) O J C U I : ! S O J q U I V ' u r . I ! ! \ [ . S
1 ! , ' r H 1 ' " 1 " ' I " S " \ N
J O ' S t l 1 . l l l " ! 1 , J : N J u , ( J U : : b J : ) : 8 f l ' d ' J I I ! - P O ) l ' I I C ! S O H 1 I U V ' 1 I I ' 1 ! ! o I j I S
P ' P " )
I ' " " ' S t l - I , U l " ! ' a N J U , \ J o R , ) J : ) : I F I ' J ' J U ! o S / ( , t o - ] ' I ) o J 1 : \ l I : , S O J ' l U 1 V ' U " I ! ] _ \ '
: 0 0 1 ' d ' " J I I ! ' p O J C I I I ' ! s O J q w v ' \ I t ' l ! ] \ [ 6 1 -
1 1 1 r J
' J ; ' l \ ; ' l , J " ' O l l l ' \ _ \ , ' < . " K O I ' \ ' ' u O l u o l O S ' ( I ' " j l l ! O S t 6 ! - ' : 1 ' P O ) ! ' \ I 1 ' ! S O J q I I l V ' \ l J : I ! I \ ' g v
6 1 ( l N V g l N i I ' ' ' , : I \ . I , : 1 I 1
S i l O ! I r . J l , t l l 1 l
Illustration.<
78 Istanbul, Hagia Sophia: no rth tympanum mosaic. Ignatios 11 7
79 l'ari s.gr.54). L j.flv: Gregory of Nnianws and hi s fadwr widl the citin'ns
of Nazian:ws; GO:J,;ory pr.;!Ching on the hail storm 11.6
So Nomisma. ohverse (Dumharton (hks 2h.,) of 1-:61-:- 1-:79: Chrisl emhroned q8
81 Istanbul, Hagia Sophia: room ovl'f thl' vcstiimk, musaic o(Christ
emhroned t49
82 Istanbul. Hagia Sophia: narthex mosaic. Chri st l"Il1hroned bd(.!fl Basil
or Leo VI 1)0
83 Istanbul. Hagia Sophia: M.:krl'ton mosaic. noss 155
1-:4 Rome. Palazzo Venezia: ivory casket. lid 160
8S Moscow, Historical Musellm, COd.129, r. s8\': Constantine 166
86 Istanbul. Hagia Sophia: room over vestihule. mosaic ofConst.lI1[ine
87 Nomi sma, rL'W,se (Dumbanon ,\V I) uf868(?): B;lsill 170
88 P"ris.gr.9z3. r. nr: :tnd Pharaoh [7S
89 SeilS, Cathcd,,!1 Trl'asury: ivory cash!. apOthl'Osi s of 177
Paris.gr.91.J. r. !46v: Samson and [he foxes; Samson slap thl' Philistines
91 Paris.gr.92j. r. t6tv: Moses praying; Samson d<.:SHOYS th.:- hOlls<.: of Ih ..
Elijah praying tBI
92 Vat.gr. 747. L 251r: Samson destroys tlw houscofthe I'hiliSlin<.:s: burial of
Samson 184
93 Ronl e. P:tbno Vene/.i:!: ivory ca., k<.: l. coronat ion of David: D,l vid and
Goliath 18')
94 l'aris.gr.92.l. f. 80r: Samuel praying: Samud wilh a heiler: anoinl ing of
David; Micah d<.:ceives Saul"s messengers 189
95 Ronll", I'alau;o Vl'naia: ivory casket. David cu tS the hem from Sanl"s
tunic: anointing of David; David b<.:(or<.: Saul 190
96 f. .lv: Jnoillling of David 19'
97 Vat.rtg.gr.l, L 163r: anoiming of David
98 (a\'u}in: east wall. Joshua and till" angel: north apse. Nikephuros I'hobs,
Thl'ophano. CIl"sar Bardas
99 Vat.palat.gQ3J, shl'C[ s: fall of Jer icho 196
100 Oxford. Bodl eian Lihr:!fY. MS ROl" 6. f. 4r: Hahakkllk's vision 206
!Ol Vat.gr.746, r. 97r: Jacob's dr.:-am !to
!01 Mou1H Athos, Pamokrator 61. f. 161': Council o(StS
IOJ Moscow, Historical Museum. f. {,zv: men .Ii nging in pr.:ti5C uf
God; I'entcrost 141
104 Moscow, Histori<.:al Museum, COd.129. f. 17r: apmdes preaching 246
105 l'ar is.gr.9!.l. f. 92r: Mallhew. John, Peter 249
106 l'aris.J,;f.913, f: 270V; I'alll (retouched) 250
107 Rome. San Paolo fllori Ie lllUfa: brom.<.: doors with lht" martyrdom of the
aposd<.:s
t08 Rotll\:. S<ltl I',IOJO fumi Ie nmra: hronze doors. detail. martyrdom of
Mark
XU I
III,urr.lli"",
10') Jerusalem. CRock Patriarchal Libr:tr),. cod, Saba w8. r. 91\': m,tnrrdoms of
John. Luk(. Mark, M:auhC'w: 1!.1f!holorm'w, Simon. Thom.u !54
110 hlos(()w. HislOrical MUSi.:u11l, Cod,119. f, 3}r: David wilh ChriSI and Ihl"
Sarn;!rir,lII woman 267
III MoutH Alhos. l'atHokralOr 61, f. 42V: Christ and thl' S:II1l,lril:tll worn:lrl:
tile Jews 1;11110 till: ground bdor(' Christ 168
112 NewToblr: Iwalingofrh(' man with rhe witill'red:lr111 271
113 l'aris.gr.9!}. r. !!lV: Chri st healing rhe dumb man by a demon.
rhe 1ll,1n wirh Ihl' wilhered arm. four WOI1WI1. rwo blind men. the lunatic.
and the (wo men born blind 274
lI4 l'ari s.gr.9l}. f. jOt\': Christ rciatt'S Ihl' "amble of thl' \\' i(lo\\'s mill' 278
lIS Florence, Laurenzi:llla plm,G.l}, r. t54V: Christ relates Illl' par:lble of lhe
widow's Illi le 279
11 6 Fil'SChi , Morgan reliquar),: extl'rior, lid. crucifixion 19'i
117 Nl'W ' Iokah: crucifixion !96
118 r\-Ioscow, Hi stori cal Musellnl. COd.129, f. 87r: enrombnll'nt 19S
119 Old ' Ioblt: deposition: l:nt()mbmclH 300
llO Mounl Athos. Panrokrator 61, r. t09r: chairete }Ol
121 /vluunt Sinai. Monaslcry nfSt CUhl'rine. apse tran,figur,Ltion .104
IH ,\ losco\\'. HislOrical cod.n9. f. 8S\': transfiguration Jo6
III l'ari s.gr.91j. r. 69r: curse of Ad,lm. Ev('. and. the serpent Jil
Iq 1';Lris.gr.I108. f. -t 7r: scenes from Ih<' hi swry of Adam :lIld Eve jl!
I!S f.,.loscow, Hi st oriClI MUSI: um, COd, I19, r. 119V: cheruh gllJrd.ing the g.11e
of paf'J.dise J I4
t!6 f. 49\': scenes from til<" iliswrr of Adam and En- JIS
117 Rome, St;] Maria Antiqu:r: J:rcob :tnd Joseph 317
IlS ::'l'm. Cuhe<lul Trl'asury: i.,.ory casket. Jnseph approac' ht:s hi ... brothers 31
DOlhaim; DJ"id and rile- lion .ItS
t19 Vat.gr.746. r lI G,,: Jose-ph cast inlO the cimrn.Jnserh,1 brOII1l'rs bluody
I,i._, JW
IjO Vlnice. S.Ln ""area: Joseph', brothers fC: I.,ting }22
Ijl IlistoriClI MllloeuILL. COO.129, f. 106r: scenc:'l. from lhl." lifl' of
}14
1j1 ROIlll.", Sla hlari:r Amiqua: J05"ph sold to POI iphar: JO"l'ph and POliphar's
wife J1S
133 Mount Alhos, I'antokralor 61. f. 151\': mi racit'S of tht: m:tnn;t :md quails:
Moses strih-s walef from a rock: sacrifice of lSi!ac P9
1301 V,II .gr. 746. 8H: Abraham al1\1 lS:l:Jc 330
1)5 Va1.l;r.7-16. f. JJI
I \6 Vi."nn.t. Na [ionalb ibliot hek. cod. t heol.gr. 31. pin. J: Noah's :J rk 333
1)7 V,It.rcg.gr.l. r. 15S\': MOSt'S re(('iving {h ... laws }36
L3l! V:u.gr.699. f. -t sr: Moses with the Isradiu.'S in the wilderness: Mo-'Cs
rl'(l'iving Ihe laws n8
III U>I ral iOlls
1.19 Vaueg.gr.l. f 4(,\,: Moses and dle hurning crossing lhe Red Se't ]40
140 Pari s.gr.139, r. 419V: crossing tht." Red Sea ]41
I'll London. Brirish Lihrary, AddAO.73[, r. Il7r: crossing [he Rcd Sea HZ
142 Moscow, Historical MUSt."UIll, COO.H9, f. lOllT: crossing [he Red Sea ]44
14.1 Moscow. Historical Museum. cod.ll9, f [4SV; crn.,sing the Rl'd Sea. rhe
dance of Miriam 345
t44 Moum Athos. I'antokrator (,1. f tOj\' : crossing [ht." Red Sea 346
t45 Moum AdIOS, PantOkralOr 61. f. lO6r: crossi ng the Red Sea. the dancc'
of Mirialll 347
146 Paris.gr.w, f. 16r: crossing Ihe Rcd Sea 348
[47 Pari s.gr.HoS. f 149V: Gideon HI
148 London, British Library. AddAO.731. r. SlY: penitence of Da\'id 3\"J
149 r. 136v: penirenct" of David 3Si
1,0 Val .gr.699. t: 66\': ascension of Elijah 357
151 Moscow. Historical MUM.ulll, coJ.129, f. 41V: ascension of Elijah ;,8
152 P:lris.gr.923, f. l68\'; JlTl'llliah; ascc'l)sion of Elijah l59
15,\ Pari s.gr.9l;, f 2>7r: Joh's wift." with Joh on his dunghill ;62
1)4 Vl'nin', Marciana gr.u8. f 2Jr: Job's wife wilh Job on his dunghill J6]
1)5 VaLreg.gr.l, f 461": Joh's wife and fri ends with Joh on his dunghill ;64
156 V'1I.gr,699, f 7\r: D,lllici in Ihe li ons' dt."n ;67
157 Pari s.suppl.gr.610. f. 212\' : Habakkuk's Qde ;68
158 Mounl Alhus. I'arl{okrat or 61. f. 222r: dUt."e Hehrew., in [ht." fiery
furnace 370
159 Alhens, Elhnike Bibliothekt.", (od. 7, r. 2
1
6\': sacrifice of Man,ISscs 372
160 Paris.gr.92], f. 2)2V: Isaiah and HC'llliah J7J
161 Paris.gr.ll9, f. 446v; Isaiah Jnd He7.ekiah 374
162 Rome, S[J Maria AllIiqua: annunciation 377
16] Romt", Sta Maria Allliqua: annunciation 378
164 Moulll AdIOS. I'antukratur 61, f. 55V: 379
t65 New Tobit : annunciati on ,80
166 Moscow. Hi swrical Musellm, COd.JZ9. f. 85r; visiwtioll 381
167 Nt"W lokalt: calling of Peter, Andrew, Jamt"s and John ,82
168 Fl ort"nce, L:llJl"t"n1.iall J plut.6.23. f. 9r: call ing ofPt"tt"r, Andrew, James
and John 383
[69 Nt"w Tobll : calling of MJttbl'w 38)
170 Florence. Laurerl1.iana pllll. 6.2}. f. J7r: calling of Manbcw 386
171 FlorellCt", burenzi:llla pluI.6.2J, f. 39r: Christ blcsst"s tht" children:
ChriSI wilh Ihe rich youth: Christ tells tht" apostles .. bout thc kingdom
of heaven J87
172 Paris.gr.92), r. lllr: Christ bt."aling tbt" lepl."[, the ccnturion's servant, I'eter's
Illother-in-bw, and two blind nlt"n )88
173 Moull! Athas, Pall!Okrator 61. f 144r: Chri st healing (be dt"mon iac and
rwo OIhers 390
174 Florence. LllHt'm:i:lIl:l plm.G.ry. f. r6v: Christ hcaling tht' de!lloniacs;
slH."plwrds recounr rhe episode as Christ and di scipk sail away 391
175 New Toblr: Chrisl healing rllt mall wilh drop"y and Iht' celliurion's ScrV:IIlI;
tht' raising ofJairus' daughler 392
176 ROIllt'. San Saba: Peter by 393
177 Berlin, SI:urlichc Mus<:en, ivory with Leo VI, rll(" virgin M:lry and an
archangel 39R
I'HOTO l;II.AI'I I CII.ED ITS
jigs. {- 47, f8- 60. 64. 12, 19. 88. 90. 91, 94 , 96, Wf, 106, IIJ. "4. f2J. u4, {26, 140, {46,
{41. '49, {52, {53, {fl. 160. {6{, (72: P;Jris. Bibl io(hi."qul N:HionaleJt' France
figj. 48- f). Mibn, Bi bliolCCI Ambrosiana
figs. 56, 61, 10, 71, 18, 86. Sl . "2. " 1, "9, {65, (67, 169, I7f : Dumbanon
Oaks. DC
figs. f7, S5, 10J. 104, 110. liS. 112. u ). ill. 141, 14J, l)l. 166: Stale
Hiswlic;J1 Muscuill
jigs. 61, 107. lOt). 127. 1]1. 161. 16J. /16: Romc, Ministero per i heni culturali e
ambieIHali, Istittlw CClHralc pcr il caralogo e b dOClIllI(1I1a7.ione
jig. 61: J. Cledat. /.(' mOllllSffrl' ('( 1,1 I/{hopoll' de BrlOII;I. Memoires de l'institUl
frarh,ais d'archcologie orientale du Caire 12 (1904-196)
figs. 6J. 6f: ROSS;Jnll, Musco Dioccsa no di Art<: SKr:l
jig. 66: Mastcr and Fdlows of Corpus Christi Colkge. C lIllbridge
jigs. 68. 11). 168. 110, 111. 174: Florcnu:. BibliotcCI Mcdicca-Laurel17:1an:1
jig,.. 69. 102, /II. 120. IJJ. 144. 145. 15t), 164. ' 1J: by pnmissioll orlhe Hol y
MOll:mt"ry ofl':lnwkraror. Holy Mounl:lin (Molln( Alhos)
figi. 7]. -4: by uf Ihc Hol y Monastery ofVatopeJi. Holy Mountain
(Muull{ Alhos)
jigs. 15-77. 92. 97, 99. 101. 129, IH, Ij), 1j7-1)9. IfO. IH. l f6:. BibliO(('ca Apostolica
Vnieln:!
jigs. 84, 9J. 9f ROlll l " Palazzo Vellezia
jigs. 89. uS: Cliche Musecs de SeIlS. L. De Cargolltl
fig. 9S: Lyn Radler
fig. 100:. Oxford. The Bodleian Library
jig . 109. ljO: Washington Dc' Library of ColJgress
jig. 116: New York. MctropolitalJ Museulll of An
fig. 121: I'ublished through tht" councs), of Ihc Mi chigan-l'rinn:tun-Akx:llldria
Expedition to Moul11 Sinai
jig. 1)6: Vicnna. Osterreichische N:nion:!lbibliorhck
jig . '41. 148: by l'("fIllissioll urlhe Brirish LibrJry
jig. IJ4: Venin" Biblioreca N:lzionale Marci;llla
fig. 15!l. Athms. N:niona! Libr;lr)' (Lconidas Ananiades)
jig. 1J7: SI;la rli che Museen zu Berlin l'rcussischcr Knhurbesil-l. Musccn fiir
llnd Byzantinische Kunst
,.,
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Fig. 6 Paris,gr. SIO./ JT; 4. "",,,unda/ion and v;,;la/;on; b. from lifo of Jonah
Fig_ 7 l'ilri1.gr: JIG, f Jove If_ crucifixion; h. dqH"irion nnd rntomhmmr; c. C h i l i , ~
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Fig. 8 Paril.gr.!I",! J ~ martyrdom O f l h ~ apouln
.- -
Fig. 9 PariJ.gr.SIO.j 4jv: 11. GrTgory "nd hi, fom;"; h. fon",,! oj Kniilui<JI; c. lUll'" of Go rgoni a
FiS '0 Pttri!r }111. f ,.lV: a.-b. crt:tltion tlnd expulsion of Adtlm tlnd Ew: t. Mom .... rriW! rlN
law.; G"l"" ,rrtlrhi"S in N"zitllfUd
Fig, IT Pil riS'l".JIO, f 6711: iI. visi(", of fSllil1h: b. G"'K"YJ conu mllM bishop ojS4simll
-
Fig. IJ l'aril.gr.510.f 71!1: 4. &iif, Grrgory o/Nyssa. and GTYgory o!Na";/ln2.UJ; b. Job 01' hiJ
Jungmap

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Fit 16 f'4U.P;fUJ.! 17v: ". rlllli"t,,!f'tin. A"d"'1<\ .. eh.illll"'" Zuhi41;
rill/ins"! M.,th, b. Chn" lInd tbi ,jch Y"",h .. ro""",;",, MIIht.,,4d; c. ,"""vmiDn,,!
C"'X"?i falhrr
Fig. '7 Paris.gr.fIO. f 104r: ,rmttfiv'" th, tift ofSt &sit
- . "
Fig. ,8 Pam.p.flo,! l)7r: 4. tUWralion .. nd drum q l h ~ Magi; b. mlllilZlT7 oflm innocmts;
fligJn ofEliwhrlh andJohn r h ~ &pwr; marry""'''' 01Z-dum'as; c. fu,mralion
--
Fig. 19 l'ariJ.",. $10. f 143": tZ. Jtrmtiah m i s ~ fro'" ,h( pit; pmiuna o[ Chlltido' il. pllrabk "i 1"(
Goed Samarium; c. lualing OJIM paralytic III Brtlmaa; huling "i"u ",om"" wI,h tlu s s ~
of blood Itnd Ih, rai'ing of iairu! Mught"

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of b ~ ioaVN .. rut fis/"I
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Fig. 22 f'dris ,t;r.510,j qQ.: a. hfating f t ~ Up"; hf"ling ojrk man wilh drop', ; h,,,/inK ofrhr
tUmor/ian; b. lua/i"g oftht untu,i",,' urtllml; htaling of 17ur;- mOfhrr-in-ww; c. Ch .. iu
walk. on waUr
hg.)J PaTlI,gr.JIO. f 'Nv: a, ,acrift" ofl!altC; b. Jacobi Slmgglr WIth ,hr 'mgrl; Jacobi d"am: c.
"nointing ofDa"id
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htahng oftht Un
FiS 26 Pnro.r.5' O,! 226v. ". Mom striful uliltn from" rock; b. josh .. " 1I0p1 Ihr JIm "nd moon;
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Fig. 211 f'l1ris,gqro.j Z(f4V: 11. Mosn and TIN burning bu,h; conwr>ion o/SAul; mumion of
Elijah; b. n'Ol!;"g ofth( Rfd!Va with rk dane. 0/ Miriam
F;g.29 P"rr;J.gr.$10. / 18$': ";';0" ofH"baHuk
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f,t 31 Parn.gr.flo, f JIOV: Il. hlafing oflh >It"n with tlu w;rhtud arm; ,""lingofllu two mm
born blind; b. huling ofth bint WOmtl,,; /Nl",bk olllY wirhm:d fig 1m
Hr.- j1 ParU.!7-$10,j jl6r: II. ~ 1 I 1 i r . offM blind mil" IIf Si/J!..m; f"J ,abk 4'M wit4>w; milt: b.
MIlIi"t. of IN JHlu.1Jfit III c.f>"'UI"m: u.n;"t. tlflM "';"" ... 1 "'" III N.i"
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Fig. 4' PariJgr.Slo. f 'P'II'; . fotl of b. 1",.,lim' /',aory 0"" r. G.-rgory
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b. Mllnl"w; JUlia" and

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Fig. ~ PRris.gr.JIO. f 4p r: Ii."tM from 1m lift ofGrrgory of Nllzill"U<!


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Introduction
Gregory of Nazianzlls, fourth-century Cappaaocian church father, was a
prolific writer whose eloquence and theology so appealed to the Byzantines that
they produced more copies of his sermons than of any other non-scripmral texi.
The ninth-century copy orhis Homilies in Paris, Bibliothequc: National, de France,
codex grac:cus 510 provides the full edilion orhis forry-four orations, \ as well as four
of Gregory's letters (cwo each to Kledonios and Nc:krarios), two p('>ems. and two
texts not written by Gregory at all; rhe anonymous Signiftcatio in and
the 'Meraphrase ofEcc1esiastes' now assigned to GregoryThaumaturgos. The vira
orGregory ofNazianzlls, written by Gregory the Presbyter, is partially preserved at
the end of {he manuscript, where an indeterminate numberofleaves have been lost.
Paris.gf.510 is an unabashedly luxurious manuscript. It is large and long, and
glitters with colour and gold leaf: most text pages (fig. 47) include at least twO gold
or painted initials and indicate imporrant text passages with gilded marginal signs:
painted headpieces originally introduced each sermon: and the forty-six mini
atures - which incorporatc ovcr 200 disdnct scenes - are full-colour, and
surrounded by gold ordecorated frames. The text itself was written in uncial rather
than the faster and more economical minuscule.
1
The evident cxpeme involved, the coordination of labour impli ed, and rhe
overall visual the manuscript arc. however, rarely noted in modern publica-
dons on Paris.gr.jlO: though the Paris Homilies has been cited more ottcn than any
other B)"Laminc manuscript (and probably more often than any Byzantine monu-
ment except Hagia Sophia). among the thousands of pages of discussiun onl y
perhaps fifty deal even tangentially with the material attributes of the book.
J
1 'ClI,ual ,,,,di,ion .... by [':o,i . gr.jto i, in ,hi, ch.p,.
'The actual co>! of ,he m.nu.erip, i. unknown; for commen!> on ,he ClIpcmc> incurred in book
how<;vc'. s<c K .. v;or; (l9'}I).
! Kond.koffll (,891). 57- 74, i, ,h. mo" Iloubl. excep,iun. bu, > .1'0 Bo,di e, (188j), 6" 89;
Franll (1914): Wcip.mann (19lj), 4; Nordenf.Jk (1970). '99: and Brub.ker ('99!). For the extenT of the
bibliography un r .. i . g,.jl0,..., the yearly ii"ing> of m'rlu ript <ira'ions in Scr;p'Q,;"m, which

Vi,ion .nd in nimh-a.mury By .. ;tnlium
Paris.gr. jIO has been accorded its posidon of prominence for reasons that
to dowith its quality: it remains of the relatively few Byzantine manuscripts that
can be localised and dated with precision, and it containsa vaSt repertoire ofimages.
Paris.gr.po contains such a wealth of extended narrative sequences that one of
its major roles has been to function as an iconographical repository for modern
scholaf$ to draw upon. The miniatures cannot, however, always be seen (as they
sometimes have been) as reprC5entative of all-encompassing ninth-century
iconographical traditions. Though the core groupings of many individual scenes
repeat conventional formulae, the peripheral trappings an: often unattested else-
where; and while this may be an accident of sUlViV'.II, a genuine idiosyncrasy of the
manuscript is that the shape of the page as a whole usually affects the pn:sentation
of the scenes pi ctured on It, with compositions adapted to complement other
scenes on the page. T he miniatures ofParis.gr.)Io do not necessaril y suppl y a rdi-
able iconographical stepping stone; instead. they reveal how and why the visual
worked in quite specific circumstances. Paris.gr.jlO was a private book, and its
miniatures sometimes deliver personal mes.o;ages.
It is perhaps for this reason that the meaning of the illustrations in the Pari s
Gregory only began to be de<.iphered in 1962, when Sirarpie Ocr Nersessian pub-
lished her pioneering study of the relationship betwccn the texts and images of
Paris.gr.po and demonstrated that the miniatures often acted as commentaries on
- rather than direct illustnttions of - Gregory's sermons. Standing on the shouldef$
of such a giant, I have pushed the material a littl e further: and, as this is a book
rather than an article, I have also been able to consider the manuscript from more
than one perspective. These perspectives all point back to the personalized mes-
sages conveyed by Paris.gr. slO, How and why these messages were formed and
delivered is the subject of this book.
COD I COLOGICAL DI!SCR11'TION
In it.S present state, Paris. gr. po consists of 464 folios (ca. 4ro x ca. 300 mm) plus an
introductory garhering (If. A..-C) of five miniamres,i The manuscri pr is toO fragile
.lmoS! wi,hom fail nme .. Ie:"" one new refe...,nce ro the manuscript over , he preading.ix mon,h . In
Spnharaki, (981), 6-9, the select bibl iography on rari . gr.jIO li ll. two densely packed colum n, of an
oversized p.ge; the only olher manuscripl even to approach Ihi mount of cillition i. the Menologion
of Basi l II. Sp,uh.rak.i. included only di",u"ions focused on r..,i,.gT.5lo; Ihere are pc,hap' len limes
.. m.ny pusing ref.reno;c. to the m.nu""ipl .
Though the I .. t folio of p .. is,gr.jlo is numbered (by. modern hand) 465, thi. same hand omincd
181. rubli,hed ",wunto of Ihe .ize of Ihe m.nuscripto vary. Omont (1919) , 11 give> 418 x lOS mm;
H6,givcs 415 x )00. J h.vc not been allowed to me .. urc Ihc manu5Cripl; photograph,
comaining ""I .. , however, .uggs .. t thll p:.ge ,i.., r.nge from 404 to 418 mm high. and from '7' to
j05 mm wid .
,
Introduction
to allow unrestricted access; as noted throughoUi thi s book. the Bibliotheque
Nationale has never allowed me to handle it. BUI, because the amount of text
written on each page is remarkably consistent, the amount of texr missing - as
revealed through collarion of the Paris text (on microfilm) with editions of the
Homilies published in Migne and Sources Chreriennes - gives a dear and quit e
precise indication of how many leaves have rerished. AI least twelve folios, and
probably thirteen, have been lost from the body of Ihe manuscript; the end,
abruptly cut off in mid-sentence, lacks an indeterminate number of pages.
Probably during the fourteenth century, Palaiologan scribes replaced three of the
lost pages, and inserted the apparently spurious thirty-fifth sermon. (See the
diagram of quires: Appendix C. ) With few exceptions, the gatherings are arranged
in regularquatcrnions.
Quire signatures (numbers) appear on the first folio of all but five of the fifty-
eight qui res; eighteen of these, placed in the upper left margin, are in the ninth-
century hand responsible for the marginalia of Paris.gr.po, and this same band
aprended two small crosses, aligned with the rulings determining the left and right
margins, at the top off. 61r. At a later date - probably during the Palaiologan period
- most of the qui re numbers were rewritten. In some cases, the larer signatures were
placed below rhe original numbers; in others, rhe ninth-century numbers were
over-written. When rhe manuscript was trimmed, possibly in conjunction with its
rebinding in ,601, aU bUI eighteen of [he original signatures were excised; fortu-
nately, most of the later numbers survived. In the quire diagrams that appear in
Appendix Co the Greek number below each gathering refers to the quire signature.
Those not enclosed by parentheses Of brackets indicate a signature in the original
ninth-cenTury hand; parentheses denote a Palaiologan signature, brackets a hypo-
thetical one. Quire 20 (K), for example, both retains its original signature and dis-
plays a later one, while quire 4' (MA) shows no signature.
The scribe carefully wrote tht"" text on ruled leavt""s in twO equal columns of
forty lines each (Leroy's ruling WCl),S using a regular uncial with a slight but
pronounced slant to the right. Letter forms are generally consistent, Ibough the
pointed loop of the does not always join the bar in the same place, the
cross-bar of mu may be eit her pointed or curved, and twO forms of xi arc used
interchangeably. Slanting uncial of rhe type found in Paris.gr.slO recurs through-
out the ninth century; it is, however, nOI common after 870, by which time
minuscule - a script introduced around 800 thai was faster to wriTe (and Therefore
cheaper to commission) - had become standard. The relative scarcity of uncial by
the 880s may explain why palaoographers have 1101 discovered The hand rt""sponsi-
bl e for the Paris Gregory in any other manuscript: Werner Jaeger's aTtempt to lillk
the Homilies with a group of texts associated with Vat.gr.2066 has not met wide
s Leruy (1976).
}
Vi,ion:rnd in Byzantium
a"epran,c} and re,ent of nintil-,enrury sai pt simply ,ite
Paris.gr.slO as an of slanting undaL7 The most similar s'ripr that I have
found appears in Vat.gt.l625, fr. 216-219, a fragment of a text by Theodore of
Stoudion.
8
The de,ision 10 use un,ial rather than the more rompaa and les.s
expensive minuS(; ule signalled twO things 10 a late ninth-,elllury
audiencr: overt luxury and, by 880s in Consranrinople, the past. The old-fash-
ioned script reiterated the authority of the tradition that lay behind Gregory's
text.
Four of the marginal signs that had been associated with Gregory's Homilies
since the sinh <:entury supplemem the text (fig. 47).9The original sigla are nearly
all formed of gold leaf (a few were added in a dark ink by a later hand), and ronvey
the same message as the uncial text: the patron of Pari s.gr.510 followed tradition
and spared no expense in doingso.
In addition 10 the traditional marginal signs, four homilies ,arry marginal
numbers beside Gregory's referen,cs 10 mythology whi,h rorrespond with a 5ixth-
century commemary written by Pseudo-Nonnos.lOThe text, which exists in illus-
trated versions, II may once have followed the homilies. Spof"adic (and unedited)
scholia also appear in the margins.
One thousand four hundred and forty-five gold letters and t72 initials with
palmed deroration are distributed over the 433 nimh-century text folios; twenty
sides - six falling at the ends of various homilies, with less than one column of text
used - are without initials, while many pages have three or more: f. il3v,ontains
eleven. In the quire diagrams (Appendix C), the arabi, numbers along the side of
ea,h folio indi,ate the total number of painted or gilded initials on that page; if
there are two numbers, the lower one signals how many of these received additional
decoration. On f. 2V, for exampl e, there are no enlarged initials (though there is a
rolophon, indi cated by the letter C), whi le on f. 5r there are five; of these, one is
d aboratdydecorated and the other four arc gold.
Fifry-one headpieces remain; they are signalled by (he leuer H in the quire di a
grams (Appendix C). All were originally numbered, and the (Greck) numbers are
endosed in parentheses immediately bd ow the H marking; bra,kers indkate that
the headpiece number no longer survives. Compare if. Ir and 33t.
The forry.six miniatures - five prefacing the text (If. A-C) and forty-one ime
grated or inserred within it - arc indicated by the letter M in the quire diagrams
(Appendix C). All will be considered in detail in subsequent chapters .
.. Jaeger ('947), .'p. 9'"""91. J have eumined moo< of the manu.e, ip" in Jacgd. group: ,heir sclip,.
>Te only generally . imil,. !O that ofr.,i, .gr. 110; the layout and ,Ir. quit. different .
; E.g. Cavallo ('977), "'p. 98-99. Sec Julien uroy (1961).
, Sec ASlfUC (")74) and Mo .... y (t9h).
LO Sec Brock (1971); Declerck (t976, 1977, '9787"9); Accorinti (I,}?O): Nimmo Smith ('99')'
" Weitz mann ('911b), 87-1l8.
Introduction
LOCALIZATION AND DATI::
localization and ofParis.gr.51O depend on the disturbed first of
the manuscript (if, A-C). Folio A, now a sheet, originally had bhnk recto:
the with the portrait of Chris! on f. Av (fig. l) . Folios
Band C form a bifolium which imact, but has Thc mini-
aturesof th
e
Eudokia (d. 882; f. Bf: fig. 2), a cross (f. Bv: fig. }),
cross (f. Cr: fig. 4), and the Emperor Basil I (867-886: f. Cv: fig. 5) now in incor-
rect hierarchical Basi! should come before Eudoki a, an
confirmed by vem: frami ng the empress's port rai l whi ch begins ' Basil, emperor
of the Romans, you ... ' . '3 Thc reversal occurred while the manuscript was
in Byz.antine hands, at some time after the middle of the tenth century - when
miniaturist of the Leo Bibk copi ed original disposition of {vvo framing
portraits
' 4
- but before the late founeenth when the verse
enframing f. Br was copied onto f. Av:
15
had original order still been retained,
the transcri ption would now appear on f. Cv. Folded correcdy, bifolium's origi-
nal disposition of a cross (f. Cr), Basil (f. Cv), Eudokia (f. Br), and a final cross (f.
Bv) resembles a commemorative diptych with exterior crosses por-
traits.
IG
Henri Bordier rightly Bernardus de Montfaucon's opinion that the
initial gathering consti wted a lareraddition to the manuscript:
17
epigraphy, colour,
and decorative detai ls of ff. A-C match thei r counterpartS in the rest of the book.
Though all of the frontispiece miniatures are badly damaged, the frame on f. Av
duplicates alternating of headpieces on If, }16v (fig. 47) and 427r,
and the facial modelling of twO boys on f. Br is so similar to that of the frontal
angels on f. 67v (fig. u) that must been painted by the same hand. IS We
cannot divotce the frontispiece minialUrcs from the rest ofParis.gr.51O.
The imperial portraits of the frontispiece sequence provide strong evidence that
the manuscript was produced in and allow us to it with
some precision. Leo and Alexander are f. Sr, !O a titl e that Leo
in 870, and Alexander sometime kfore the of November 879:
Basil 's ddest son Constantine (crowned 867/8), who died in September 879, is nnt
"Stt 0 .. (' 96:). 198; ,h" is wrong, however, in d .. ing .h" rev ...... 1 to tho r60o. rebind_
,ng. U Stt
,. V>< ... g.gr.l . If. !f-JV; Minidill" ('90j), pl . 3-6; Duf.enne . nd C.na" (]988), ' 9-10. This rcl.-
,ionship h., bn n",,,d by m.ny previou> ",hoi .. " > Ihe di"" .. ,ion of If. BvCr in chap , 4.
" I wOllld like .0 thank Nancy s,...' lenko for he. hdp in ",nscribing Ihe inoerip,ion, . nd Ihot
!;.vlcnko for hi .... i".nce in d.,ing ,hc h.nd fO thc >ccond half of . he fo""e<n.h ccn,UlY, ,hi! da.ing
h., becn confirmed by Charles A"ruc, whom I ,h.nk ror ,,"'mini ng ,he in",ip. ion in December
1986. So too K.I.vr"lo" M",,,,; ncr ('978), 14. )1 Bordic, (,885) , 61.
" The imperi.1 costumc worn on f. Br, ,hough no' iden. ic.l, .ec.ll, Helen., . tti .. on f. ,8j'
19), to<>_ " Cf. Wil",n (1967) , 57- '" JG.1.vrt70u_Max.inc, ('978).
,
Vision in ninlh-ntury Byunrium
included in the sequence. Eudokia, who died shortly after Leo's marriage to
T heophano in the winter of882, appears: Thoophano does not. Folio Br must have
been painted after Constantine's death and Alexander's coronation in the final
months of 879, and before Leo's marriage in 881. and the subsequent death of
Eudokia.
l l
The frontispiece sequence thus indicates that Paris.gr.510 was com-
pleted between late 879 and 882.
Aslightly earlier dating has been proposed by loannes Spatharakis on the basis of
the underdrawing now visible beneaTh the badly Raked f. Bv (fig. 3), which shows a
central imperial male figure jointly crowned by an archangel, standing on the
(viewer's) right, and a third. hardy revealed, figure on the left.
22
The underdrawing
anticipates the final composition on f. Cv, and most scholars have assumed that it is
a preliminary sketch for that page. a ponrai t of Basil Ranked by Gabriel and
Elijah, H Spatharakis, however, identified the underdrawing on f. Bv as a portrait of
Basil's son Constantine, and redated the manuscript's commission to 879, arguing
Thar Constantine's unexpected death led to the covering of his portrait by a cross.Z
1
Spatharakis' thesi s was refuted by loli Kalavrezou-Maxeiner, who noted that Basil's
son Constantine, unlike the man on f. Bv, was nevet shown bearded; that to placc
the heir-presumptive after his mother and younger brothers contradicted impetial
protocol; and that the reverse of this leaf (f. Br) must anyway post-date September
879 because both the inscription and framing poem identify Alexandet as drcpow,
a rank he attained only after Constantine's death.
2s
Kalavrewu-Maxeiner is surely
correct, and OTher argumems against an identification of the underdrawing with
Constantine can be adduced; most basically, there is no reason to connect
Constantine with Elijah and Gabriel, while there is ample reason to connect his
father with them.
16
1\ Sec IX. Ne". "ian (1961). 198 and, on ,he impli""'iom ofTheoph.no' b .. nC<', Mango .nd
H.wkins (197<), )7, Eudokia 'ppea" wilh and Ba.il on Whol "",ms 10 be. commemOJa
,i"" coin >truck her de .. h, and long .f.., Const.",inel (Grierson 11 1,1 lt97JJ, 481: fo< icon",I ... ,
paralld., .. e G,ie,,,,n lIl .1 [197JJ. 8-9). hut Con.tantine's .b.ence: h.", ind;""le. th" cru.. i. nOl a
m<mo.ial .. que"ce.
U Velmam (1974), fig. 7 (incorreclir I.belled f. A., and with G.b.iel i,lcnlified .. Michael) and
Sp .. h. raki. (J974), fig. \ "'p,oduoe d.,ail, of ,h. most vi.ible underdtawing;. line drawing of .ddi-
tiona! troCe5 '1'1""" in Kal . vre-wu-Mucine, (1978) . fig. J. Velman. (1974), '41 - 145. noted Ihe high
qu.lity of th. d",wing and 'I"'cul.,ed ,h., mini .. ."i .. ",hCfWil<C un ... e< .. d in p.,i '_g' _Sl o '., ..
r<>pon.;blc. Thi eem, unl ikely. as underd .. wing vi,ible elsewhere in ,he manu$Ctipt il equ.lly fine; it
wo pp.rcntly ,i mply mo'e difficult '0 pain' ,han '0 d",w derail. The question of why de",il roon 10
be ob$Cured was d",wn ., .ll , emaim.
H Sec further the diKu .. ion off. Cv in ohaple, 4. " Spa,haraki. ('974).
' j KaI,v'e<ou.Maciner (t978), Sp.lh ... ki, ([1989], 89-9J) la,c' .peculned "' Alexander mighl
h.ve been crowned btforc 879, Ih .. Conslanl;ne wa, of .ge by 879 and ,hus could h.ve been .hown
bearded . nd Iha. Euduki. was pl.ced befu.-c Con.",n,ine btcausc _ as i. gonerally 'gr..,d (..., e.g.
Mango [1 97J]) - . he was not hi. mOlh .. , He .1", .!lgg .... that ,he manu""ip' wa5 commissioned by.
dono, in the of ,he emp.-c ... Sp.,hanki' propo d "rangem.", rem.ins vi '''"lIy umh;nkable
in !C.m, of ,h. Byzanline impe,ial hierarchy. M Sec <h'pler 4.
6
lntroduCiion
Paris.gr.SIOwas, then. completed in Constantinople between 879 and 118l for the
Emperor Basil I and his family. This locates the manuscript in the midst of a crucial
half-century in the annals of B)7.antium: years of economic recovery, and of rdi-
gious consolidation following the end of the imperial policy that
officially banned rdigious imagery between ca. 730 and 787, and again from III} (or
1115) until 843. The Paris Gregory is, in fact, the only sc<urdy dated Byzantine
manuscript from the second half of the nimh century, and it is the fitst surviving
illustrated book produced for a Byzantine emperor.
PRODUCTI ON AND DISTRIBUTION OF LABOUR
The production of Paris.gr.slO was well organi7-c:d, and the same process was used
consistently throughout the book. When an enlarged initial was ro appear. the
scribe paused to outline il before cominuing with the text; the ink outline of the
initial is clearly visible in severallellers where the paint has Aaked, and this outline
must have been completed before the adjacent text was written, for the text flows
smoothly around its contours. Further, we can sti ll decipher exactly where the
scribe dipped pen in ink, and the pattern formed by the progressive lightening and
then abrupt darkness of the ink demonstrates that the scribe wrote the text
continuously; there was no need to pause to block in an initial, for its oudine was
already thereY The enlarged letters are thus integrated within the text, process
that coincides with a change in the location (and imporrance) of the ini tials. In
earlier Byzantine manuscriptS, enlarged letters appear at the beginning of a natu-
rally occurring line of ten: ro signal a particular passage, the scribe would enlarge
[he first letter of the next line of text. IS In Paris.gr.po, with two exceptions among
more than 1600 initials, the firs! letter of the passage to be marked received the
enlarged letter; when an initial was required, the scribe began the passage ro be
marked on a new line.1?The increased status of the enlarged letters is confirmed by
their embellishment, in paint or gold leaf, in a separate process after the text had
been completed: the paint on the far right edge of a painted inirial is occasionally
superimposed over the text. The writing and the painting were clearly distinct pro-
cesses, and the scribes.seem not to have anticipated elaborate ornament: even when
initial terminal dc<orations ate quite extensive, they never infringe on the [ext
space, for no space was left for them by the scribe. The autonomy of the two ptO-
cesses, and the distinct approaches to the initials taken by the (conservative) scribes
and the (sometimes fbmboyalll) illuminators, suggest that, in an apparem break
from earlier Byzamine practice, lhe scribes were not responsible for the embellish-
" I ,h.nk Mid d McCormick ror ,hi, ob",,,,,uion .
.. See Bmb r ('99r), 16-l7.
7
VISion and in ninlh-untu'}' Byzamium
ment of the enlarged initials. Paris.gr., lo seems to provide our earl iest evi dence of
an aUlOnomous group of illuminalOrs. h is also the first datable and unquestion-
abl y Byunrine manuscript with paimed inilials. A study of these inilials
has appeared dsewhere,lO and will nOl be repc:oued here.
The illuminators also painted the dceofalive headpieces (fig. 47) that once pre-
faced each of Gregory's sermons: init ials and headpieces share thc motifs of the
st riped cabl e, multi-coloured rows of heam, five-lobed leaf decoration, and an
unusual palmette form, as well as ma n: common jewdled pands. However. in only
o ne instance - Ihe miniature and incipit initial {o 'On EaSIer' (fr. 285r- v) - are the
non-figural dn:orations visually coordinated with a miniature. Further more, the
visual vocabulary used by the miniaturists themselves differs from that used by the
ill umi nators: the blessing hand of the hand-ha5ta epsilons (fi g. 47) is, for example,
inv;l{iably shown with Ihe palm facing inward; in COntrast, the- miniaturislS consis-
tently d ected to revc:rse the blming hand, and dJ"C'W them with the palm exposed ro
{he viewer." Not onl y, then, do the illuminators seem to have been distinci from
the scribes; they also seem to have- been distinct from the miniaturists.
There seem to have been at least three illuminators, most conveniently di s-
tinguished by a predilect ion for a particular type of terminal descender: trilobe
(three small circles attached 10 the base of a lettet). grape cluster, or foliate scroll.
The ttilobe decoration reveals a pattern of allocation in the fi rst quarter of the
manuscript, where trilobe: initials appear in every third quire:
J2
at Ie-a.n al the begin-
ning of production, quires were far med out to the illumi nators following a fairly
regull r system, and the painter of the t{ilobe: inili als received every third quire.
Collaboral ion between the illuminatOrs was apparently loose, for initial forms are
neither homogeneous nor consistem, and a \'ariety of lener shapes (twO forms of
mu, for example) appear. TllI:ore is no evidence thai the illuminators formed part of
an scri ptorium. nor do any other manuscripts reveal their contribu-
lions either solo or collectivdy.
THE I'HYSICAL RELAT I ONS ItII' BETWEEN TEXT AND MINIATURE5
After the fi ve- miniature frontispiece u=quence that cdebrata; ChriSl's bl essing of
the Empctor Basil I and his family (fr. A-C), most of the illuSlr:1.tions in Paris.gr.po
arc full y integrated into the fabric of the manuscript: the end of the preceding
sermon or the beginning of the following one occupies the: other side of thirty-two
of the fony-one text miniatures. Theconrinui ty of the text ensures that these mini -
at ures retai n their original locations a.nd preserve the inte-nded disposition of text
10 Brubaker ('99' ); he .. . 00 bibliography.
If. 5lV, 71r, 87". !64v . n8v (figs. 10. ,6.18. +4}.
II Two in qui ... two and live. one in qui re Ihr(e ill quir< dcvcn and two in quire lounn.
8
Introduction
and ' I'his simplificti matters for modern interpreters, but it has
nor been kind TO the miniaTUres: painting on ruled parchment encourages Raking,
and the images are often badly damaged,
Presumably for this reason, full-page miniaTures were more normally painted on
unruled leaves that were inserted into the text.
33
Apart from Paris,gr,Slo, the excep-
tions usually appear in manuscripts where most of the illustrations are nOT full-
page: for example, pictures incorporated within the rext dominate the early
fifth-century Vatican Virgil, and the occasional full -page miniatures have TeXT on
their reverse,3' Another exception is provided hy the sixth-century Vienna
Dioscorides, a herbal with each full -page plant miniature facing a page of explana-
tory texr: rhe miniatures thus have the text belonging to the previous image on their
reverses. The Vienna Dioscorides, however, was a deluxe presentation copy; herbals
did nO! regularly contain full-page Like the full-page miniatures in
the Vatican Virgil, those in the Dioscorides deviate from a tradition of smaller pic.
Tures inserted in the text.
Paris.gt.510 apparently continues this pattern. No other illustrated copies of
Gregory's sermons usc full-page illustrations: in all other copicti, the image always
shares a page with text (fi gs. 48-55, 79, 100) . The integral miniatures in the
Homilies perpetuate the integrated format normally used for illustrated copies of
the text.
It is possible that in Par is.gr.510 the retention of the integrated formal represents
a bow to tradition, for the miniaturists demonstrably knew about painting On
unruled and inserted sheets: the fronti spiece sequence is unruled, and eight or
nine miniatures in the body of the manuscript were painted on inserted single
leaves, unruled, and with blank backs.J.6 The first ten miniaTUres, in fact , follow
this system: after the five frontispiCi:e mi niatures, five imerted leaves with mini-
atureS on one side and a blank reverse appear in the first seven quires of the manu-
script. There are no integral miniatures until the eighth gathering, where f. 67
JJ hw mini.,ure! p.oou,rd in I>.fo", (0. during) ,h. nimh
",ntu.y .urvi'e; . hose Ih" do. huwev .. , ,,"ually .h. ,.., wi.h mini (a. in .he ,ix.h-
R..bbul. and Ro" .no (;o'pd$) or were painted on unruled leav", ,hat rcmainrd blank on .he
""v'''''', . he nint h-<:entury miniatUre> ofP,in",ton, Garnott 6 .nd the fronti.piece tu ,he Khludov
[..:oter BY'.ntine . u mpl .. , t"", . lmo't.lw.),", follow thi. fo'mub, ... do pre,tenth,century
La.in bool", e.g. the . ixth- or seventh_eemury Ashburnham Penta,euch. ,he ocvcnth- and eighth-
<emu.y in,ul .. go.pdbooks, .ighth.antury Vesp.,i.n l'<altcr, and the ninth_nt uty ' !outoni.n
Bible .
" On (he fullp.gede .. h of Dido in the Vatican Vi.gi l (elA, [19Hl, nO.lt; h!.l. ,.,,21. f. 40.).
p.in"d in Rome ca. 400. > Weitzm.nn (''In), }6. In (h. Ch,i"i." Topography'
(v.t.g,.699). eight.en "f the ,i"y-on. mini . "" ", ar. full -p.ge (If. 'IV, }S "'V. 41'. 49'. Ilf. )9'. 6,v.
63v, 66v, 7"', 7)', 76., hv, SJv, 89" "4V, "IV); .bou, half were p.in(cd on unruled ,h .....
,j G.,stinger (t979); And."on (1977).
,. S the n<'X( nore. Quire 47 i, p'obkmari.; i, , ,.inly h .. on., and possibly tWO, in .. "ed mini -
.tu' .. ,
9
Vi,ioll ill Byzamium
comains the end of Gregory's sermon 'On Peace' on its recto and a miniature on its
versQ, 37
The insertion of unruled leaves containing full-page miniatures into regular text
gatherings is common in Byzamium,l8 but the combination of TWO systems of
illust[;uion found in Paris,gr.slO, inserted and integral , is so unusual that the break
beTWeen Ihe two systems in thecighrh gathering mUSt indicate adecision to change
the format at this poim, It is however hard to imagine reasons for switching from
inserted to integral minialUres: inserted leaves allow greater flexibility (scribes and
paimers can work independemly) and provide a smooth surface that takes paint
more easily, while the integrated formal foll owed from f. 67 onward required the
precise coordination of scribes and miniaturists and imposed an uneven ruled
surface on lhe painters, The shift is unlikely to have resulted from an abrupt deci-
sion to trim production costs: in a book the length ofParis,gr,S'o, the sixreen folios
(eight bifolia) saved by imegrat ing the miniatures would have had littl e financial
impacL Were cost-cutting the issue, full -page miniatures are unlikely to have been
included at all and each new sermon would nOt begin on a fresh page, often leaving
considerable empty parchment on the final page of the prcreding homily, instead -
and especi ally given the care with which Paris,gf,Slo was produced - the change in
format &Cems to document a radical change in plans, Thischangeoccurred after the
scribes had already begun work on the teX[ and had completed the first six homilies,
meticulously outlining the enlarged initials for the il luminators but neglecdng to
leave blank sides for miniatures, Since the scribe,.; habitually left a blank side for a
miniature before each sermon from the eighth quire On, l' it seems reasonable to
assume that they wefe only told to do so after they had completed the first seven
quires. Either the designer of the manuscript at first forgot to tell the scri bes to
make accommodations for pictures, or the design of the manuscript itself was
revised in us, Both possibilities conceivable, The careful design other-
wise evident throughout the manuscript suggests, however, that the shift in forma t
reAects a genuine change in plans rather than the correction of an oversight. If so,
the decision to illustrate Gregory's sermons was made only as the scribes began the
eighth gathering, While the coherem and self-comained fromispicce .sequence
might Ot might not always have been intended, it appears thal Paris.gr.5IO may not
originally have been conceived as an illustrated text, Whatever prompted the
change in plans, miniatures were inserted into the first seven quires; thereafter, the
II All of , h. inserted I v., _ f. 3 in ,he lin" If, 30 and p in the founh, f, betw n ,h.lif,h
and .ix,h, f, j1 ktw<:<:n ,h. ,ix,h and ..:venth, f. 347 in quire 44, f. )67 or (and?) f. J74 in quire and
f. in quire SS _ di"upt the regul" qu ... rnion sy".m u",d throughout P"i . gr.5'o. Sec Appendix
C. J.t Se. notOl) .oove,
" Th '''''plion. are 'On him",]f' (Homily .6), which w;u un iltu.nated (= page 11 ) nd , h.l.n.r
to Engri"', now prcf.."cd by an inserted miniature (f, that su.taim nO rd ation,hip to th.letter
and may well allO originally have bc.:n unillu", .. cd (= "bapt.r a), On ,h. quite "'.
App"ndix C.
'0
lmroouerion
scribes left aside free for a miniature before most sermons and the traditional, inte-
grated format of Homilies illustration was fol lowed for the rest of the manu5l:ript.
Once the die was cast with the first integral miniature on f. 67r, the following
twenty-three miniatures share a leaf with either the end of the preceding sermon or
the beginning of the neX! one. The system breaks down, however, in quire 44;
though a space WaJ; left for a miniature (f. 346r is blank), f. 347 isan inserted leafwith
a miniature all its verso. Inserted leaves can of course be moved without disrupting
the text, and this may in fact not have been the original location of the miniature; its
alternative site, however, follows thc same pattern: it precedes a recto left blank for
illustration (f. }19r in quire 41) .'0 Whether Ihe lapse in ,he inregraHxl system
occurred in quitc 41 or quire 44, subseqUClll miniatures are integrated until quire 47,
where again a page left blank for illustration (f. 366t) was ignored and a leaf with a
miniature on its verso tipped in (f. 367). There is one more inserted miniature (now
f. 4}5r in quire 55), the original location of which is unclear; the remaining seven
miniatures that follow f. 367v are all integrated. If the miniatures were painted more
or le55 in the order they appear, perhaps the three inserted miniatures that appear
toward the end of the manuscript wefe painted separately in order that the scribes,
ill u m i nalOrs and miniaturists could complete their work at roughly the same time.
SERMOl'S WITHOUT ILLUSTRATIONS ANO LOST MINIATURES
Of the homilies now without miniatures in Paris.gr.51O, only one was clearly never
illustrated: 'On himself' (ff. 13IV- 238v) could nOI even ha\'e supported an inserted
minialUre, for the text of Ihe preceding sermon ends on the recto of its opening text
page.
Three texts, all in the third quarter of the manuscript, follow a blank page: the
empty f. 149V faces 'On (he nativity' ; f. 308v, 'To Nektarios'; and f. }19r, 'On
Athanasios'. These blank pages were apparently intended to receive illustrations
that were never painted. It is possible that miniatures were once inserted b.:fore
these texts, for aJ; we have just seen the inserted miniatures on fr. 347 and 367
follow blank pages, and the former may in fact have preceded 'On Athanasios',
leaving the blank f. 346v befOre the sermon ' In praise of Heron' that it now prefaces.
Though there is no way of telling whether or not illustrations were actually
completed, the folios on which six additional miniamres could have been painted
have cxcis<:d at the beginning of the following sermons:
'On peace' : the original text now begins on f. 63r; (he lost rwo paragraphs
(sufficimt for a single leaving a blank recto) were replaced in, probably,
the fourtc.:nth century.

"
Vi,ion ~ n m ~ m i n g in nimh-eentury By""nt ium
'On the Son' I: a folio is missing lxtwcen ff. r87 and i88: its recto originally con-
tained the final words of the preceding so::rmon: its verso could have conuined
a mlllJature.
'On the Holy Spirit': nearly si x paragraphs from the beginning of the text are
lost: with headpiece 23, this text would have filled three: sides of the bifolium
lost from the middle of quire 26 between the present ff. 204 and 1O'j. The first
of the four sides (originall y facing f. 204v) was not needed for text and could
have contained a mini ature.
'On Virginity'; a folio is missing between If. 21} and 214: its recro originally con-
tained the final words of the precedingso::rmon: irs verso could have contained
amllliarure.
'On light' : f. 256 is a fourteenth-ce ntury inSeH that contains the final words of
the preceding sermon. The lost folio (half of a bifolium, with f. 261) would
have accommodated this text on its recto; its verso could have contained a
minIature.
'On New Sunday': a folio is missing betwt'en ff. 297 and 298: its verso ona: con-
tained the opening paragraphs of the homily; its recto could have contained a
mllllature.
In all of thest: cases the relevant folios might have bee:n removed to acquire the
miniature. However, in each of the three (au'S where the end of the preceding text is
lost, very littl e text - the final paragraph or only pan of it - would have been written
on the reero. Such almost empty pages were habitually pilfered fo r their blank
parchment by later scribes, and rhis may be an equall y plausibl e explanation for
those leaflosses. If so. no miniatute evet occupied the verso, and 'On the Son r,
'On virginity' , and 'On light' were once preceded by a blank page meant for an
ill ustration that was never painted.
HISTORY OF TH E MANUSCRiPT
We know very little about the history ofParis.gr.51O after it was made. Neither its
decoration nor its miniatures had a great effeer on lat er Byzantine an outside of a
small circle of manuscripts produced in Constantinople, and probably for
members of the court and patriarchate: the Paris Gregory had limited and c'li te
viewers. Yet the manuscript surdy remained in the capilal and was in at least occa-
sional use unril the late founeenrh century, the dale of the latest B)'7,amine addi-
tions to the manuscript.
41
It had moved west by the carly sixtee: nth cemury. and is
variously listed as number 129, IS and 1}2 in catalogues of the library of Cardinal
Nicholas Ridolfi (nephew of Pope leo X): Omont plausibly suggested that John
. 1 S "OIe!1 .oove.
Introduction
Lascaris acquired the manuscript in the late fifteenth century on one of his buying
trips to Constantinople after the Turkish conqueSt. From Ridolfi, Paris.gf.510
passed {O Pietro Srroni, and rhen, around 1558. 10 Catherine de Medici; it entered
the Bibliotheque du Roi in IS94. Here it was rebound in 1602, and recdved its
present cover bearing the arms of Henry I V. After a series of other appellations (no.
15) [ClV] in 1622, no. 1809 in 1682) it beca.me graews SIO in T740:H h remains one
of the mOM precious manuscripts owned by the French slale (which wok over the
Royal Library after the revolution) and, because of its fragile state, is jealously
guarded from use.
PARI5.GR.SIO AND OTHER ILLUSTRATf.O MANUSCRIPTS OF CREGORY'S
HOMILIES
Gospels and psal ters, the primary biblical works used in the liturgy, make up the
bulk of all B)'"l-:llltine illustrated manuscripts. T hough lack of wear suggests that
many of the most heavily decorated were displayed rarher than used, it was
nonetheless putative service books Ihal were normally produced as luxury items.-13
A sdection of Gregory's Homilies, tOO, was recited over the course: of the liturgical
year in the orthodox church. Some are already incorporated in the ninth-century
typikon of the Great Church (Hagia Sophia) ana attested in a ninth-centurycolle:c-
don of sermons associated with IilllTgical feaSTS, bm the definitive sdection and
arrangement of sermons for liturgical use seems {O have occurred in the tenth
century:" Though the circumstances of their recital are not entirely dear, the so-
called liturgical editions of the Homili es (called by the B}'"lantine:s rhe 'read words')
comprise about half of all extant Gregory This is also the group
most commonly illustrated (figs. 79, 100): George Galavaris catalogued Thirty-six
copies of the 'read' Homilie:s with illustrations, the earliest of which date to the
eleventh centucy.'6 In contrast, Paris.gr.slO is one of the three earliest examples of
the full edition of Gregory's works, a group Ihal makes up only about one per cent
of all pr=:rved manuscripts of the Homilies. Only two of the surviving copies of
the full edition received illustrations: the Paris Gregory and a manuscript, also of
the ninth century, in Milan, Biblioteca Ambrosiana, cod. E.49/S0 inf. (figs. 48- 5S).
Both illustrate the set of Grtgocys sermons called the 'collection of fifty-two'
" Omont (1919). 10-11. On ,h. expo" of Greek m.nuK,ip" to ir.ly in ,he fifteenth cen.ury, > R.
Nd",n (1991). " Se<: lowden (' 990), :63- .80. .. Sec G,I,vari,1t969), 9-10 .
j He ... lId in ,h. ,.m.ind.r of ,hi. p ... graph [ ,ely 011 I. rgely unpubli,hed materi.1 p,,,,,ided hy
F., her Justin M"""y, whom T ,h.nk for numerou, diKu"ion, of rhe Homil ico .ext ... di.ion. The pre_
limin.ry .nd b .. i. otudy of rhi , .radition rem,in, Sinko (t917, (913), wh".., eondusion$ 1rC in the
proces, of king r" .. i..,d .. work progrco, on .h. minor edirion of .he Ioga; in Pari. (intermittently
publi,hed in SCI and the m,jor edi.ion being prep.red in louv.in.
<-6 Gabv.ri. ( ' 'J6?) tcl"oduc.d mo" of the mini.,ures.
'3
Vision and in nimh-century Byuntium
(known a'l 'family n' to teXT scholars); the other early group of manu-
scripts, the 'collection of forry-scven' ('fami ly m') has no illustrated members,7
illustrations in these twO manuscripts are quite different from those in the
liturgical editions, the miniatures of which. like the pictures in many gospel books
and psairers, responded ro public rituals.
Tht" so-called liturgical homi lies differ from the Paris Gregory both textually and
pictorially: in no case can a convincing parallel bet ..... een a miniature from the litut-
gical editions and one from Paris.gr.510 be drawn:
16
The Milan manuscript is the
sale copy of the Homilies with illustrations that cver n:semble those ofParis.gf.5lo.
The connection between the two ninth-century manuscripts is not, however,
straightforward. Their texts arc far from idt"ntical. Though both belong to the
'family n', this family ha'l a confusing stemma, and the Milan and Paris Gregories
often present variant readings that are at odds with each other.? Generally speak-
ing, the Milan manuscript is considered a better wirness 10 the original text than is
Paris.gr,jlo, and indeed the Paris Gregory often stands isolated from all other
manuscripts in its readings and the order in which the .sermons arc arranged. so
Someone (Photios?) extensively edited the text. In the opinions of its various
editors, Paris.gr.510 nevenhdess preserves, after the Milan Gregory, the best
witness to the family; and it .\.Cems that a text very like that prt"servcd in Milan was
copied, with modifications. by the scribes ofParis.gf.FO.
We do not know when Gregory's Homilies first received illustration, but the fact
that the two oldest copies with miniatures belong to the same text family hints that
if an earlier illustrated manuscript existed it probably belonged to 'family n'. While
nothing in either of the ninth-cemury copies conclusively demonstrates the exis-
tence of an older illustrated text, comparison of the few scenes shared by
Paris.gr.510 and thc Milan Gregory suggestS that the miniaturists of both were
sometimes inspired by - or at least familiar with - similar picture$ in more ancient
copies of Gregory's .\.Crmons.
The Milan Homilies contains almost 250 marginal illustrations, nearly all com-
posed as hlack ink drawings filled in with gold, with touches of ted paint (figs.
48-55). \t The miniatures respond directly to the text, though narrative episodes arc
often reduced either to thci r essential components or to a portrait of the major pro-
tagonist. The only images not inspired directly by Gregory's words arc the extended
author portraits that preface most of the sermons; these show Gregory delivering
the homi ly (the first words of which are usually inscribed on ascroll he holds), often
., Sci: Bern.rdi in SC '47. jJ_6S. . , The ne!;'Otive ""idence i. preoented throughout ,his book.
See , he comment:! in SC '47, H-6S; SC '70, >5- ,6. 32; SC 3"9, 67-80; SC 3,8, 64- 73.
'" For Mil.n ec esp. SC 31S, 64- 65. 73; for Paril, $CC p. SC '70, 15- ,6, J1 and SC 31S, 70-7).
" Gr>bor (19430.) published nearly.1I of the preserved mini .. urel .nd connected them with the rd-
eva", pa..'>g in ,he PC edition of ,he Homili .. (note, however, rhat pI. V.I corre'ponds with PC
35:4'0-421. not 460: .nd pI. X" oorrc.ponill with PC }5:1156. no, 115); fot culout reproduCtions, SCt
Cav.llo (19Sz). figs. 46.-.67.
'.
1 ntroduCliun
to a group of p<:ople and occasionally with the subject of the sermon pictured
alongside. Though universally agreed to beor Ihe ninth century, the Milan Gregory
has never hn dated with further precision; it has been attributed to a number of
provincial locales, most recent ly to B)I'Lantine
The manuscript has been hadly treated: rebindings have left the text disotdeted,
and nearly as many of its marginal images h;lve been excised as st ill remain.
Sometimes we can still identify a losl figure or scene through its remaining inscrip-
tion: for example, the titulus IC XC Ranks excised medallions on PI" 506 and 662,
Peter once appeared on p. 129,John the Baptist on p. 199, on p. 639,Abraham
and Jeremiah on p. 660, Cyprian's beheading on p. 351, muggle with the
angel on p. 422, and theanastasis on p. 54+ Several times-as, for example, on pp. 69
and 133 - the shape of the excision and its location at the beginning ofa new ser mon
suggest that a preaching scene was excised, and sometimes the location of an exci-
sion furnishes a cl ue as to the original subject matter presented. But most often there
is nothing left to indicate the intended subject or the excised image; and when, as
occurs throughout the manuscript, whole margins have been removed, there is no
way of knowing whether the strip was removed for its unmarked parchment or for
the images that may have been painted on it. Whil e we may speculate that the Mi lan
Gregory originally contained about twice as many images as now .survive, we can
detetmine the subject maHer of only a handful of these now-lost pictu res.
The Milan miniatures that are preserved differ radically from those in
Paris.gr.510 in their style and function. While the Milan Gregory recalls the ninth-
century Sacra Paraikln (Paris.gr.92J) in its gold forms arranged in
abbreviated scenes or preseme<l as portraits (figs. 58- 60, 64, 88, 90, 91, 94, 105, 106,
113.114, 123, 152, 153, 160, 172),\3 the technkal quality of the Milan manuscript is far
below that of the Sacra Paralklnand, unlike (hat of the latter manuscript, its some-
what cursory style does not demonstrate even tangential t ies with that of
Paris.gr.5Io. Funher, rather than exeget ical supplements to Gregory's
as does Paris. gr. po, Milan miniaturist drew inspiration directly from
the text. Though by their vcry presencc the Mi lan images authenticate or validate
textual descri ptions, So( and like all miniatures reframe the words that they accom-
pany. thcy do nOt self-consciously expand the meaning of words ro create
visual commenraries.
On the surfau, i, would appear that the only feature two copits of the
Homilies share is their 'family n' text. The differenus the ways that the
painters of the two manuscripts handl e images, however, make those visual paral-
lels that do appear doubly significant. parallels are of three types.
First, although mosl of the Mihn marginal poHrairs accompany passages that
"C.""lIo (,977), ror-In); G .. b .. (197.), .0-.,; c..v.llo ('98, S06-soS.
"Wei<1.m. nn (1979') reproducw the mini.rures .
.. Sec Corrig. n (1991), 11il-1!9, '38; .nd. on the u>c "fim.go< to v.lid .. c. text. ch.prer I.
"
Vi,ion and in ninrh-..;enrury Bytantium
did not inspire illus{r;nion in Par is.gr.51O. these passages were often marked by {he
Pari5 scri be with an initial or marginal sign. This suggesrs either that these were
simply the obvious passages 10 si gn. or that the makers of both manuscriptS had
before them a copy of Gregory's Homilies that flagged these same phrases with an
image - as in the Milan copy - or a margi nal notation, as in Paris.gqiO. The mar-
ginal notations that habitually accompany Gregory's sermons from at least the
sixth cenlUry have been catalogued, but not fully coordinated with {he
Comparison of a selection of the homilies suggests that the correspondence
between the passages marked in the Milan and Paris Homili es goes beyond the
remit of traditional scribal notations, but only further work on the annotations will
permit predsion on this point.
The second type of paralld is found in instances whete the Paris Homilies shows
a narrative composition that centres on a figure who is represented by a portrait in
thc Mi lan copy: Abraham's aborted sacrifice of Isaac on f. 17 4 V (fig. 23), for
example. responds 10 a passage in Gregory's sermon next 10 which the Milan
painter placed a bust of But because the function of the illustra{ions in
the two manuscripts is so different, it is unusual 10 find the same passage illustrated
with the same narrative scene in both books. The third type of parallel - formed of
the images {hat survive in the Milan Gregory, where so many crucial narrative
scenes have been excised, and recur in the Paris Homilies, a manuscripr almost dia-
metrically opposed 10 the Mi lan copy in its sryle and the role of its miniatures -
thus takes on particularweight.
Fi ve miniatures in Paris.gqlO find echoes in the Milan Gregory. and fi ve more
illustrate Kenes that inscriptions demonstrate were excised from it. The five scenes
or groupings that the twO manuscripts still share will be considered in detail in later
chapters; they are simply listed here:
t Gorgonia's death, illustrating Gregory's funeral oration to his sister in the Paris
(fig. 9) and Milan (fi g. 49) Homilies. Tbough much of the Milan image is
missing and the figure of Go rgoni a is reversed, the groupings and architeCTure at
each end of the deathbed are the same in hoth manuscripts.
z Gregory and his father, illustrati ng the historical circumstances that prompted
the first oration 'On peace' in Paris (fig. 10) and Milan, Ambrosiana E.49/S0 inf.,
p. uS. In the only biographical scene inserted on this page in Paris.gr.po. the twO
Gregories stand together as they do in {he Milan manuscript. It is the inclusion
of the pair at all in Paris.gr.po that is notable; the surrounding composition does
not appear in the Milan manuscript.
3 The triple portrait of Gregory, Basil. and Gregory of Nyssa accompanying 'To
Gregory of Nyssa' on f. 7 1V (fig. I)) of rhe I'aris Gregory and p. 1)8 (fig. 51) in the
Milan text; here. again. it is the indu5ion of the trio on f. 7 1V that re<::alls the
"Sttch.pt<fS
,6
Introduction
Milan manuscript. Paris.gr.j IO frames the figures and joins them with an image
of Job; both features are lacking from the Milan Homilies.
4 Julian's visit to the demon, illustrating rhe first 'I nvective against Julian' in
Paris. gr. po (fig. 39) and Ambrosiana E.49/'jO info (fig. 53). Both books prese01 an
extensive narrative scene that, aside from the reversal of the two major figures, is
virtually identical in rhe tWO versions. The most imporTam difference is Ihal in
Paris.gr.5Io tWO historical details have been added.
5 The portraits of Basil and Gregory of Nyssa ill umaring rhe second 'lnvecrive
againstJulian' on f. 409V of the Paris manuscript (fig. 40) and p. 785 in the Mi lan
Gregory (fig. 55). That the pair, .scemingly unmotivated in the Paris scene -
which relics on Pscudo-Amphilochios' Life of Basil rather than Gregory's sermon
- appear in the Milan manuscript, where Gregory's oration is rhe sole teKwal
. . . .
tnsplra(!on, suggests a conne.:;(!on.
Except for Julian's visit to the demon, these are all biographical scenes or portrairs
of the sort habitual in the Milan Gregory but morc rarely found in Paris.gr.5 Io.
Their duplication thus suggests some SOrt of affiliation, but this suspicion is
strcngthencd only by rhc narrative of Julian's visit to the dcmon. T his is by far the
most significant of the shared images, for it is the only one [hat exrends beyond por-
tcaiturc; it is also - if only bc:cause it is a narrative sccne with a relative wealth of
shared incidemal detail - the most convincing link between the twO manuscripts.
Thc abbrcviatcd nalllre of most of thc scencs that the m'o manuscripts share
makes the Milan excisions of narrative that would help define the relation-
ship between Paris.gr.slO and the Milan Homilies particularly frustrating. The
scenes in Paris.gr.510 for which preserved inscriptions do<:utnent lost images in the
Milan Gregory i[Justrate:
t 'On the plague ofhai!': the incipit miniature in the Milan copy has been excised
ftom p. 146. Most i ncipi t miniatures show Gregory preachi ng to a groupof monks,
but sometimes the image is more specific. Gregory's sermon on rhe Makkabees in
the Milan Homilies, for example, shows Gregory preaching beside twO rows of
figures: the bollom row the audience; the lOp row portrays the subjects
of the sermon. 57 Elsewhere, Gregory preaches against Julian the Apostate in the
centreofthecomposition, Aankedon oneside by his audience (in thisca;;e agroup
of monks) and on the ot her by his subject , J ulian excised miniarure on p. 146
thus presumably showed ei ther Gregory preaching or, as in (fig. 15),
Gregory preaching with his father by an image of the hailstorm.
2 ' On theology': [he miniature of Jacob's struggle wi th the angd, identifiable by its
preserved inscripTion, once appeared on p. 4:2-2 of the Mil an manuscript; the
scene recurs. with an identical inscr iption, on f. [74V of Paris. gr. 510 (fig. 23).
" G",b>r (r'J"')' pI. XXIX. " Ibid .. pI. LXVII .1.
'7
Vision and meaning in ninrh-cenlUry Byzantium
3 'On Pemecost': this scene, identified by inscription, most unusually once pre-
Gregory's sermon in the Milan copy (p, 577) as it docs, on f, 30n (fig. 30). in
Paris.gr510.
4 'Against the Arians': all of the relevant scenes have been excised from the Milan
Gregory, where the sermon fills pp. 591- 602; the various scenes arecollectoo on (
367v of Paris.gr. 510 (fig. 38) .
5 The second 'Invective against Julian': cwo scenc.o; of Julian's advance on the
Persians have b<-:en excised from the Milan m:muscript (pp. 763, 764); a single
image o( the advance appears in Paris.gr.510 on the fi rst of f. 409V (fig.
40) .
The fruslratingly frequent of narrative scenes shared by both manuscripts
from the Milan Gregory is, presumably, coi ncidental. Many more than JUSt these
narrative scenes have been excised from Ihe Milan manuscript, and it seems
improbable that the Ambrosiana text was systematically physically pilfered for
models by the miniaturisrs responsi ble for Paris.gr.5Io. The parall els are nonelhe-
less suggestive and, combined with the evidence of the shared scenes, seem 10 indi -
cate Ihat buri ed beneath lhe minialures of the Paris Homilies lies a manuscript with
illustrations that resembled in some ways those in Ihe Milan Gregory. The one nar-
ralive scene that bolh nimh-century manuscripts ni ll retain - Julian's visit w the
demon - reveals a constellation of unusual shared details lhat would be hard to
understand without postulating that the cwo miniaturists relied on an older and
similar visual tradition. It is this that makes me suspect chal the other, more
random, parallels becween (he books should probably be attributed to familiarity
with an earlier illustrated Homilies; for unless the Paris miniaturists knew lhe
Milan Gregory itsdf(a possibility that cannot be excluded), the tradition that they
seem w share can only have been conveyed by an illustrated Homilies.
Ahhough, aswe have seen, Paris.gr.SIo apparently was not originally intended to
have illustrations, the correspondence becween marginal notadons in Paris.gr.51o
and marginal portraits in the Milan Gregory, coupled with thewimessof the motifs
shared by the two manuscripts, suggests that the followed by the Paris scribe
could well have had It may, in faci . have been [he presence of piClllres in che
text provided to the scrib<! that inspired the i nelusion of mi niatures in Paris. gr.5Io.
Be that as it may, comparison of the Paris and Milan manuscri pts suggests that the
artisans responsi ble for Paris.gf.510 knew at least some pictures that resembled
those of the Milan Gregory. If! am correCt in supposing Ihal the Paris minialllrists
had before them a wpy of Gregory's sermons with images that those in
the Milan copy. [he 'modernization' apparent in Paris.gr.Slo (to which we shall
rewrn in chapter 1) surely isolated it from any conventionally illustrated Homilies
manuscript as much as if the miniatures had been compiled novo.
"
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Siting the miniatures: imagery in the ninth century
This chapter explores, from different vantage points, how the makers of
images reproduced and reinforced patTerns of ninth-eemury Byzantine society, and
how they contributed to the production of those patterns. It investigates ninth-
century Byzantine images as indices of socially constructable meaning, and as con-
structors of social meaning.
l
My focus is on the presuppositions {hal conditioned
{he way [he pauon ofParis.gr.51o could envisage the manuscript, the way its pro-
ducers could concei ve it, and the way irs original viewers could see it.
While the private meanings that an image could have for any Byuntine arc irre-
trievable, we nand on slightly firmer ground when we tryro understand the socially
constructed meaning of images for ceruin defined groups. Even then, the tics that
bind obj e<rs ro their producers, context, and audience are seldom
however imperfect, our best guide to how images could work and how people
could understand them in the ninth century emerges from the assessment and
comparison of recurring patterns in both verbal and visual communications. The
following discussion of these patterns has been divided into a number of compart-
ments which overlap inexrricably; they arc: isolated only to darifY the arguments.
logether, I hope, they will givea framework for ninth-century visual culture, inside
which Paris.gr.51o Gin usefully be viewed.
BYZANTINE PERCEPTION OF THE VISUAl..
Bytantium was not a monolithic culture, and the ways Byzantines wrote about
what they saw depended on the situation and intent of the author, and differed as
well over time and place. Nearly all, however, sound foreign now; Byzantine
I Sec Spiegel (1990); .1." Marx (197J). 146: B,""haw (197\). .nd (1 976) , Ortner (1984),
11S-'19; Halda n ([986); (1991),
'9
Vision iUld meaning in ninlh-amury Bp,anlium
responSCSIO the visual as(Xpl"(ssW. in wOlds ale quite distinct from modern
tions ofB)7.amine att.lTwo (Xamples illuminate the contrast.
The apse mosaic at Hagia Sophia (fig. 56) is one of the f(W surviving remains of
ninth-century monumental imagery, and it is the only one for which we have a con-
temporary teaction. The mosaic shows the Virgin Mary, scaled, with the Christ
Chi ld sitting upright on her lap;) the response was delivered in Hagia Sophia by rhe
pauiarch PhOl ios, who prached a sermon commemorating the complet ion of the
mosaic on Hnly Saturday (19 May) in 867. The sermon h;l!; agendas beyond {he
description of a mosaic that Photios' audience could anyway see as they listened to
him. Were we [0 assume ThaI Phorios' inlent was art-historical descri ption, in faCt,
it would be hard 10 reconcile his words with the mosaic preserved at Hagi a Sophia -
and a number of scholars have duly argued that the mosaic we now sec is nOl (he
one Phorios But we CilnnOi read Photios' sermon as if it weI"( a
museum Cil talogue, nor can Y>'C suppose thai the perceptions and expectations of
Photios and his ninth-century audience dupliCiited our own. As Liz James and
Ruth Webb nOted, the type of t(Xt in which we normally find Byzantine descrip-
tions of images - ekphr.uis - \Va!; never intended to provide an object ive record;
instead, ekphrasi s focused on the meaning of the They suggest,
convincingly, that Photios' aim was 'to express the Virgin herself, nOI to record a
panicular image of her for posterity'?
Photios nonelheless twice referred specifically to the q uali ty of the image. The
first I"(fel"(nce - ' for the painter's skill , which is a reRection of inspiration from
above, has thus eractly establ is hed the natural (life-li ke) imitat ion" - reads oddly
to a modern viewer. for the mosaic is nOI. to our eyes, a ' natural imitation', and
Photios seems to deny the mosaicist the autonomy that we assume for art ists. But
we follow different criteria from Ihe Byzantines, who distinguished between idols-
which represented something imaginary - and icons, which had the original holy
figures as prototypes. and differed from them only in subSfance. Any religious
1 Fot of <M Mal 10 diY<>1U .... ....,Iws f.orn I""tJul'pOli.iom when
.luling wi,h 8yun,iurn, 1ft h9IZ). 4'r11.
Mango . nd ]hwir.i", ('96s). 1'1-111.
, Homily 17: ed. I..aourdu (,919). ,64-']1; Iran . Mango (1918). Ul6- 196. Sec: 100 ibid . 279;
Co.ma<;k ,.6-,60 . '1'. '5l-'5.; Mac,id", and M.gda] ino (1988). 79-80; Sann."..: ('9'14).
U'- lJI. On Pho,i". (pa, riarch '58-867. 877-886). 1ft ODB), 1669-.670, . od chap,er S.
M"" """,o']y. Oikonomide. ('985b). " ' - "5; for, ,horough c,;rique. Spk ('98,). )o.-)n.
l.m .. :rnd Wd)b (199'). 1 ]bid., 11- '); quotation. ').
.y".;....,..". .. I.,.. ... ,"""t.... q yix'"'l 0';"_ "s +
;""!<I. (cd. Loou.<h$ r '9591. , 67); u imi]ar uarul..,ion '1'1""<$ in ('9s!). 190. Jama and W<hb
(' 99' )' I), supply an 'The .. , of pain.ing ... has oct "I' such iUl eUc, ;miu,ion of her
.... 'ure Ma"" til ,,,,";11 follow:. no.mal. _ ."phLl.n at;Cu,iw: . inguL"
noun func.;on. as an .djeaiw: - ' na,u,al' or ' lif. ]ikc' Iftm p",fe rable ,rand ion ,n ofh .. nature'.
I ,hank John H.ldon for help on ,hi, poin<.
Si ling 1M mini:I<UlQ; illl.3gc'Y in 1M nimh c,"nm'Y
image was thus by definition 3 reproduction of the original, inspi""d 'from
if inspiration came from the :II lone, the result would have been
idol, nOt an ioon.
9
BYLamine texts thus almost invariably played down the 'an o(
the pai nter'. Al exp""ssed by the 787 Council , 'the idea, therefore, and the tradi rion
ilfe [the fathers'], nOt the painter's, onl y the an is of the painter'.IO Photios' 'the
painter's skill ... is a reRcction of inspiration from above' and, in a different
sermon, 'a divine power sUJXrior to our own has formed its beauty'll continue the
distinction between the inspiration and the execution. As Kennelh Parry observed,
the Byzantine use of the term ' life-like' could simply mean that rhe image: was
inspi red by a real person mher than rcpreseming, ny, an imaginary mythological
bcast.
11
That Photios (among others) reaCted wi thin the accepted framework of
onhodox image theory should not, however, blind us to hi s sympathy for, and
response to, beauty and skill. n
Photios' second qualitative reference rcads: 'To such an atem have the li ps been
m:llde Resh by the colours, merely to be pressed together and stilled
:u in the myst eries. yet their silence: is nOI at all inen nei ther is the fairness of her
form deriv:lltory, but father it is the real archetype.'HThe end of this semence links
image and prototype; the opening lines describe and t hen imerpret; (or PhOl ios,
the mosaic is a window to a real woman, and he is exploring hi s reactions 10 her as
mediated through the image. I} Thi s is not the way that we normally respond to
Byzanti ne images, and Phorios' racti on to the visual suggests a difre""m way of
thinking and ralking about what one sees- a difrerem way of seeing - from the way
we see ;md process the seen.
Photios' response 10 the Hagi a Sophi a mosaic is not unique. In his Ufe of
Tarasios (patriarch 784-806) , written between 843 and 847, Ignati os the Deacon
comments on a lost (or imagined) martyrdom sequence ch3t shares numerous
points of resemblance wirh the martyrdom o( the Makkabces painted less than
forty years later in Pa.ris.gr.5Io ((. Hor; fig. 34).'6 Al in virtual ly all Byzanline depic-
lions of manyrdoms, the dyi ng saints dici t lilli e sympathy (rom nlOS( modern
' Sft nOl .. . , 8. Ind 10 b,d.ow .
.. Manu XII t. ""0'. S.h (,,8&.). 8 . Sft .1>0 71 below: de 69- 71: and
Cormock ('9nb), 'II, ' 17, ,61. iconodl .... ""mlemoed pointe .. fOr Ih.i. gretd: e.g. Mlns; XIII.
,.810: 'rans. S.h .. (19860). 8" ond Mingo ('971) 66.
I ) Homily 10.)' cd. Laour<bs (' 919), 100: ,ran . Mango (1918). 181.
Il P.ny (1989). r80-.8 . Kuhd.:m .nd (19911. M. , uggcsI Ih., ' life_li ke' mam ,h.1 on
Im."e foll owed C()nnniion., .urvey lOme of 1M e. r1ier on Brunline .... S"
of 1M lerm. Stt now M"IIuile (/996). I) So 100 M."UI,t(1991). 'J7-1 }S.
I. F.d.l.ao'mw (1919), ,67: Iran . Marw> (1918), 190. II cr. Jam .. and Webb (' 991). I}.
" Ed. Heikel (.1191): U,.M. I. So.-vt ... ko (1914): new nti,ion or . 1K .n, by S ..,h ...... Efthymi.uliJ i.
npcclnt, .... Efihymi.di, (1991). O n f<>m. of .1.. il poses, Speck (19a6): on Ih.
m"'yldom >equence descri bed, W.lter (19So). Wol.k. Conul (1980). Brubaker {/989. 1; on i .. poui _
ble loulion. Ruggieri (1991). 101. On T ..... ;n . ODR}. IOU.
"
Vision and meaning inninth-antury Byzanrium
viewers, to whom they remarkably detached. Yet Ignatios describes images
of martyrs in highly emotional terms. He ignores even the names of the saillts to
concentrate instead on the viewer's response to their torments, as a typical semence
demonstrates: 'For who would sec a man represented in colours and struggling for
truth, disdaining fi re ... and would not be drenched in warm tears and groan with
compunction?'17 Ignatios' description is more directive than Photios' - though
Photios too us<:d rhetorical questions to channd the sympathies of his
but both suggest that in the nimh century empathy was an accepted literary
tesponse to images that seem to us detached and StatiC
19
Such literary convcmions apparemly reproduced the act ual perceptions of
ninth-century Byzantines, when the tears, fear, marvd and amazemem inspired by
" E..l. Heike! (, 891) , 413, tr.n>. l. Sevtenkn (1984). Stt ,he diKu"ion off. HO' in dnp'e< 6.
" E.g. Homily '7.1: cd. Uourd .. '70: l.an>. M.ngo ('918), 194,
,. Stt further Brub.ku ('989')' Jame' and Webb {199' l confla'e emo,ion.l ,c'pon", it> gcne"'[
wi,h .pccific m.t>ifC'SlOtion, of eOl",ion , h .. ,he au,ho .... u, .. the audience i, will cxpctiet>c< (c.g.
proiected tears). whieh do nO! """,me a ".nd.,d of image writing until around ,he ycar 800.
Siting the miniatures: imagety in Ihe ninth century
Images are recorded in numerous and disparate sources. The Acts of the
Ecumenical Council of 787 cite rhe rears rhat contemplarion of religious images
generated as proof of the sanctity of such paintings.
w
The Parastmds Syntomoj
Chronikai (written sometime between 775 and 843, probably around 780), a guide
to the antique sTatuaryofConstantinoplc composed by less highly trained authors,
fails to provide any real dacriptions of the sculptures and instead concentrates on
their effects on the beholder.ll The spurious letter of Pope Gregory II [0 Emperor
Leo III - probably, as Jean Gouillatd argued, written around the year 800 by a
Constantinopolitan monk - describ.:s the compunction, emulation, and tears
inspi red by images on three separate occasions.12 An account of the conversion of
Boris of Bul garia in 864, pracrved in a text from the middle of the tenth century,
records the king tkmanding an emotional response from imagery: Boris asks a
cenain Methodios to paint 'anything he might wish. on condition that the sighl of
the pai nting should induce fear and amazement in ils spectators, .n Authorswriting
from a range oflevels assumed Ihe power of images 10 elidt emotional and person-
responses.
As these le"ls make clear, ninth-century B)7.amine writers saw images as images
that were sUM:eptible to qualitative remarks such as Photios'. But these authors also
assumed mat an image was 001 only a material depiction; their response was not
only to the image, but also to the subject of that image. Texts dealing with monu-
mental images and icons presume an interactive relationship, expressed in person-
ali1.ed terms. that seems 10 parallel Jived experience.
TE"T ANn IN N INTH-CENTURY MANUSCRIPTS
Miniatures in manuscriptS were not usuall y exposed to public gaze, and they were
not the subjects of ninth-ccntury ekphrasis. Their cultural mili eu is defined by twO
characleris[ic features, both of them required by the medium itself. First, and obvi-
ously, viewers of miniatures had access 10 books; and secondly, mOSt of them were
almosl certainly literatc.
24
What proportion of Byzantines were literate, either
functionally or actively. is unclear; it is nOI even certain to what ,,,rem literacy was
'" M.n,i Xli!. 9. II . ,1. &t (19S,). ""i. long bttn "'-'0-
ci.,rd w;,h and P"'"Y'" ( .... , .. 1[9791. W 3"d 3!; Auz.py [1987]. !6!); it i,
ovcr! ,ha, is wotlhy of
" Ed. and (1984); on dal<. I. ('99Zb). ,89-'93; ([994).
'[-5' . Cf (1 996) .
n Gouill attl (1,68). 185 lines 114-Jl6. 1891in<:< [54-[58. 189-191 Ii"". [64- (6). s." oJ", S in ('980),
89-IJ7. Fo, '''OIher .""mplc. c.:,nig.n (199j).
'J Ed. Ikkk .. (18,8). ,6,-,64' Iran . Mango (' 971), '9<>-[91; .,," .lso Co.mack (I977b). 160-[6, .
,. A donor who govc. dccorawi book !O' church migh' or migh' no, be li[e ,e. bur onct
manuscrip' w" housed in church ttea.uty its audi,,,ct w ... umm .,icaJly limi"d.
'J
Vision and maning in ninlh-anlury BYUnlium
confined 10 particular groups in thc ninth century.2' Bur most Byzantines had at
least passi ve fami liarity with books as publ ic vehicles of communiC1uion and
authori!}', particularly the and perhaps also the law codes: at the very least,
Byzantines heard texu read aloud, and operated in a s}'Stcm that recognized the
potential a\lIhority of the written word. It nonetheless remains unlikel y that most
Byzanti nC!l had frequent access to mi niatures. Functional service books were rarely
iIIustrated/' while ill uminated manuscripTS were expensive and of len kept locked
in libraries and treasuries, which restricted (and defined) their audiences. T he
small scale of miniature painting suggests, tOO, that viewers of miniatures were
almost of necessity the actual readers (or viewers) of the text; it also assumes an inti-
mate relationship between image and beholder. Mi niatures cannOt be seen as
didactic tools meant to educate the unleflered or confi rm broad truths to a general
audience. I"slead, they address a restricred group, most of whom could have
written, read, and thought about texu. More than ;my other pictorial medium,
miniatures speak to and for the sarru: audience a.s do texts; thq share a specific cul -
tural niche wit h the authors of, and intended audience for, most of the texts thaT
provide our written documentary evidence for the ninth century. Though words
and images communicate differently, here each can legitimately be used to help
understand the other. 17
As eKprcsscd in written form, most Statements abom image'S throughout the
ninth century appear in anti -Jewish polemic (Iale! recycled intO the anti-Islamic
dialogues) or in t('XIS generated by the iconocla.st debate and ils aftermath. The
iconoclast deoote, in parti cular, subjected one crucial componem of illustr:ated
manuscripts - the relationship bcrwcc:n text and image - TO intense scrutiny.
The miniatures in a manuscript usually presuppos<: a text; a text accompanied by
them may presume images. The two can interact wi th each other; whil e miniatures
woul d not exist without an enframing book, the w:l.y that they interpret the worru
can have profound implications on subsequent intcrpretll[ion. Such interaction is
evi dent in illust rated manuscri pts prc:scryed from the ninth century.
In addi tion to Paris. gqlo, the manuscript$ of concern here are the copy of the
HomitiC!l in Mitan, int roduced in the Introduction (figs. 48-H); the Pari s Sacra
Paralkln; the marginal psalters now :l.t Moscow, Mount Athas, and Paris; and the
Vatican 'Christi an Topography'.
lI On Byun,ineli'erxy, Browning ('978). J9-14 nd Mulktt ('990), '5ii-,8s. The promin<ncc: or
,;, ul; ;n Brunti ... paiming may '"lIP''' widnp,.ad p .. ,nmic litcracy; ;t may likely, Uld po ...
ibly at ,he: Ame , ime, india the: symbolic po ...... of ,he: written wo.d _ an avmut profitably
nplon:d by Kholal'J doling "';,h .he: lotin .... , (e.g. C>mille [19851. McKiue. ick [I??OJ.
197- 3.8). thou&" ill applia, ;"n to Byumium is problema.ic . ince: a brood". spltum or ' M popu_
lac. 'p'p"'entiy rod th e ,han in the WOt. mo.e div .... li, ...... ,.., """ and silent ading
$C'Cm. to h.ve di..! out: ..., Moffa, ('9n). 85-91; ratl.gean (' 968). 1"9 and fl979) 164- 178.
" Sec: Low<kn (1990). n Cf. Di.bold ('991). S".bakc. (1995).
Siring rlK miniarulO: imag.ery in the ninm century
The: Sacra Para/kk contains a callenion of quotat ions anribured
to John of Damascus; li ke the Milan it includes marginal illustrations in
which thc predominant colour is gold (figs. S8-60. 64. 88, 90, 9t. 94. lOS. 106, 113.
114. 12), tS!. IB, [60. (72).ll Also like those of the Milan manuscript , the mini
atures of the Sacra Paral/t'" include a large proportion of portl'1oits, often in medal -
liorn. and usually reduce narl'1otivr scenes to their essentiili. The miniaturist of the
Silent Pam/kkwas, however, lessconstl'1oined by the text, and was a more proficient
painter. In faCt, the Sacra Pam/kla is stylistiaally related to Paris.gr.po. and for this
reason I am inclined to attribute it ro Constantinople, and date it to the third
quanerof the ninth century.!?
The Khludov Psalter in Moscow (Historical Museum, gr.129) , like the Milan
Gregory and the Sncm Para/kk, contains margi nal illustl'1ot ions. though in the:
psalter they are in full colour (figs. 57,8S. 10}. 104. 110, 118, In, 12S, I } I . 141. 143. 151.
166).1O Some pictures iIlustme the tCXIS directly, in a fashion analogous to
the Milan minia(Urc:5; others provide inm:ad a visual commentary on the text. and
in Ihis anticipate the Paris Homili es. Unlike those: in me Paris Gregory. however,
the commenrary miniatures in the Khludov Psalter are: usually at least partially
cxplained by accompanying inscri ptions. For this reason, among ot hers, the psal ter
is believed ro pre-date Pari s.gr.FO: it was probably produced between 843 847
in Constantinople.}! Mount Athos, Pantokrator 61 (figs. 69, 101, III , 120. 133, 144,
145, 158, 164, 17J) is closely reiate<i , and was evidently made: sl ightly laler bUI still
apparent.lyearlie:r than Paris.gr.S lo _ also in the capital.
3l
A third. now incomplete:,
ninth-century marginal Paris,gr.lo (fig. 146), was probably produced in
Constantinople as well.
H
The 'Christian Topography' was compiled in (he middle: of the sixth century,
apparently by Constantine: of Antioch, known since the eleve:nth century by the
invented name: ofKosmas [ndikopleusles.
JoI
It Ke:ms likc:ly that the text was ill us-
II Rq>roduad in colour ftproduClioru in 0 .... ])0 (' 921), figs. 4j<J-46J;
Byu,.....(1?91). 170 with lir . ... ure.
" On me stylc,....., ch.!"er t. W';.ZlT\,Inn 10-13 n,ibu,a ,he s.n.. P"",{kIA to
Pal"";n . G ... b .. (1971). 11- 4, 87-88 and C..all" f06-soS .. gue for an hal;';'n, . nd po:m'f
Rom.n, origin. Jaeger ('94'), '01-10.: Wrigh, (1980). g, and Cormack (r<]Ub), 6J! nOI" J9 :usign i. to
Con ... ntinopl . On the d',e, O.bolO. (19810) .
... Reproduction. in S(cpkin. ('977). C"rrig.;an ('991) pro. ides [he moo< ,holOugh " udr, wi.h
urli .. litcra.ure.
J! The >.<Wei",ion wi.h p ... i. rch Me,hodios, fir!( p, oprucd by L Sevtenko ('9'6S), b .. been
.ndonN by WoI,., ('91i1), no nd by c.,lIig.;an ('99' ), 114- 1,..
J1 in Dur .. n"" (196/0) and, f>c,kb nid .. n "t J ('979), figs. lSo-"7. On ,he
ob.ing. w",h., (1987), no; fOr diK\W;on and Iior li,em",., Corrigan (' ?91) and An<krson (' 994) .
.. Reproduced ;n D"f .. (966), Byu"u ('?91), ,.<J-no "";, h ca.lier li ..... ,u .. : on [he ob, .
W'!tc. 1' 9 .
.. WolobConu. ('989), 18-JO p,,,,,;d ... he ,.identifica, ion. which i. b ... d on ,h. writings of
An.ni.ofShi,..k.
"
Vision and meaning in ninth-century Byz.;lntium
trated from its Constantine/Kosmas was convinced that biblical and
scientific reasoning demonstrated that the world conformed with the shape of the
ark of the covenant, an argument clarified by the use of diagrams, maps, and images
Ihat arc in the te);t For his thesis, Constanti nel Kosmas was
taken to task in the ninth century by the patriarch Photios.J.6 The te);t was nonethe-
less copied and illumated at thi s time. and survives as Vat.gr.699 (figs. 75- 77, 138.
' 50, 156).J7 Close formal ties with the Paris Homili es suggest that the Vatican
' Topography' was produced in the capital during the last quarter of the ninth
century.'S 111e miniatures themselves are eclectic in both subject matter and
format: all are painted in full colour. but may be framed or unframed, full-page or
insetted in one of the two columns of text that run down each page, and they
pn:sent both isolated figures and developed narrative sequences.
Two Job manuscripts - Patmos, Monastery of St John, Cod.171 (possibly of the
late eighth century) and Venice, Marciana gr.538 (dated by colophon to 905) -
should also be mentioned here.
l
? Though they will be only ran:ly cited in the fol-
lowing discussion, which focuses on manuscripts with a broader range of subject
matter, it should be nOted that their marginal miniatures allow the same kind of
interaction between text and image that occurs in the marginal psalters and the
Mi lan Gregory. 40
'lbe range exhibited by the manuscripts JUSt is not terribly surpris-
ing, for the Byzantines WrOte (and presumably thought) more about imagery
during the years immediately precedi ng the product ion of these books than at any
other time in their hisrory. Byzantine writings about images, some directed against
Jews and others concerned wi th the iconoclast controversy, may resonate with
deeper concerns: Averil Cameron has suggested that the controversy surrounding
the use of sacred images formed part of a larger intellectual realignment, a battle to
determine who had access to the truth.
41
However we interpret the debates, ninth-
century miniatures illuminate an actuality: how painters really formed images
whil e, and shortly aftet, Byzandne theories about images were being expounded
and while, perhaps, the B)'7.antine world was redefining itself. Taken together, the
words and the pictures allow us to examine the interface theory and prac-
lice; between what the Byz.antines wrOte about images. and what the images them-
selves communicated.
"sc t41. IS9, and 197; W<>I.b (1961) .
.to In hi, Bjh/j.,htltd<>n which chapter S). <<><lex )6: ed. I (,919). It; trans. Wilson (1994),
)I_ p.
J' Reproduced in Swrnaj<>l<> (19<>11); al", W<>[,kaConu. (1'190). 151- 191, with tarlier lircnturc.
On SOme of thcd ..... iationsof Ihe Vatican manuscript from ito modd. Bruh.ker ('977).
}O Julien Leroy ('9H). 7)- 78. argued fOI .n halo-Greek origin .
... Wcium. nn (19)1). lip. )11-)49; Cavallo (1981). 106- j07 lip. 4Sl- 4H
.. St. Colligan (1'192) p. 104-111. ., Cameron (1991h) . $0. al,o Dagron (1979).
,6
Siting imagery in ninth century
tCONOPH1LE ARGUMENTS ABOUT IMAGES
The preserved cighth- and ninth-century texIS that deal with imagery are almost all
iconophile,n and they conCentrate on four issues, the definition and justification
of images: the role of tradition: the funClions of images: and the relationship
between images, teXls, and speech,
I emphasize thest issues with caution in the following discussion. The textual
evidence has the adV",l.ntage of providing words, which we think we can understand,
about images, the understanding of which is mote elusive and diffuse.
H
But the
written word has its own distinct type of cultural imprint. What Janet Nelson has
claimed so neatly with regard to the Carolingians - ' Literacy is a kind of technol-
ogy, literacy is also a frame of mind, and a framer of minds"" - is, I suspeCt, equally
true of ninth-century B)'"lamines, and particularly those Byzantines for whom
minialUres were televant. A change in medium the message: it also
reframes ways of thinking about Whi le the visual and the written are not
ant ithetical (mi niatures and {(xts were normall y directed by, for, and at the same
p<'ople, operating within the same cultural and formation), they arc
different, and their distinct ions, weI! as their shared features, are important.
T he definition of images officially proposed by the iconophile Council of 787
reads: 'The [sacred] image resembles the proWtype, not with regard to essence, but
only wit h regard to the name and to the position of the members whi ch can be
Council's diSTinCTion between image and prototype relied on
earlier arguments:
16
coupled with the argument that Christ's incarnation had
effectively destroyed the whole nodon ofidols,'7 it was meant to defuse the charges
of idolatry levelled by, in this instanC(, the iconoclasts by demonmating that the
Christian image itsel f was nOt divine, because it did not partake of the divine
., The mon 'en' ,heological , umm .. y i. G;akali, ('994); at.o e.g. J e ('974); Rouan
IAudpy] (198,); AudrY ('990); Purr (1996b). lconophile refuta,ion. of am;-ilmg< !Cnets at
lean dimly, the othe r ,ide of ,he argument. a. does iconod"" imagery: G .. bar ('957) . 115- ,80;
M .. ngo ('972), '5'- ' B, '16-,6j; Cormack ('977a); ('9871.); ,he Je"",ip,ion of
how ,he iconod"" Emperor Const.ntine V m"ny allowance. from the public tr . .. ,ury' on 'a
g .... number of arti ... ", ,ki lled in conmUct;on' in Nikephoros' B",v;arillm (.d. Mango 11990b].
t60-,61); and ,he P,olemy of 7H (Wright {1985] , 355-J6 .
" 5 Mile. (,98\), 29-J5. .. J. Nelson ('990) , 261 .
., "1>n,i X!lT, 2pD. 217D. 26,D; tr.n . Sah .. (1986.), 77. 84. 89. 9' .
.. E.g. by John of D.mucu. ("'. note 61 btlow) - 'An image i. onih eh.nete, wi th ito prototype
1"1"'-'.6'''''0.1. but with .:em;n differcn",. "i. nOl lih its .rchecype [a.px'n,,"o.1 in w:ly' _ in
'Ag:l.in" th""" who .... ek di.i ne imag"-I.9: cd. Kotrer (1971). 8J- 84; ,ratlS_ Anders-on ('980). ' 9. Sc<:
furthe, Aleunder (1958). 2J-SJ.
07lconophile telltS u;ually credit thi, formu l.,;on 10 rhe pa .. i.rch Germanos. who .... ,igna, ion in
no co;neidd with ,he in .. eduction of konodas m. Sec: Grumel ('911). 165- 171 ... p. 169-171: .nd
Schonborn (1976). '4S. John of D.m. """,. among mh.", r.i,er.ted , he differences bttwecn idol, and
im.ge>: 'Again" th"", who .ttack imag .. ' t I. 4-11 : cd. Ko". r (1'I7S), i'-7\. 7?--80. 96-101.
'7
Vision and maning innimhammy Byzantium
essence of the prorotype:
08
Further, divinity was adored, and received i4trtia, but
images were only honoured, and received pros/ryntsis. The Council that reinstated
Iconoclasm in SI5 obligingly dropped the charge of idolatry,9 but - perhaps
because the point was important in contemporary argumems directed against the
Jews and Muslims, who aim opposed religious images - around SlO the deposed
iconophile patriarch Nikephoros continued to n:but the charge, arguing that idols
were fraudulent images becauM:, unlike images of holy figures, they had no arche-
type. SQ Nikephoros also countered the arguments presented by the Council of815
that a picrure of Christ either heretically circumscribed both his natUres, human
and divine, or M:parated them by only represeming his human by vehe
mently refuting the equation of circumscription and paiming. S!
The iconophile separation of the divine essence from the image insisted that the
viewer bridged the gap between the visual reflection of divinity and its genuine
contemplation. The viewer, in other words, participated in the meaning of the
image. Modern image theory has devoted itself to demonstrating that this interac-
tion is inevitable - it is, for example, crucial to Ernst Gombrich's 1956 concept of
the 'beholder's share' and to Victor Burgin's concept of the 'seeing subject' thirty
years Iater
S
} - but that the Byzantine viewer supplied the essence of the image is not
a figment of modern specuJal'ion; it was acknowledged by the Byzantines them-
selves. In Byzantine terms, 'the power of sight ... sends the essence of the thing seen
on to the mind' .so h is no accident that recognition of this process and an emphasis
on 'the power of sight' (to which we shall return later in this chapter) coincided
with wrinen definitions that demanded a M:paration between the essence of an
image and its form. ru the ekphrastic textsofPhotios and Ignatios the Deacon have
already been used to demonstrate, ninth-century BYlamincs charged the
beholder's share with singular importance.
The force of the beholder's share in the viewing of images is implicit in another
major tenet of rhetoric. Following in the footneps of St B.asil,
iconophile theologians continually insisted. that 'the honour given to rhe image is
... S of 11.1 Synkdl",: Cunningh.m (199'), 68-71, 76-79, L.dner (r911), ) - )4, ""p.
.. S Altlander ('9jJ),
)0 Anrirrhni,,,, J. 18- 19: l'G 100:177: Mond""in-Ibudine, ('990). '09-110: = .lso Abander
(r9s8), '99, and T Ilwi. 140-'41. In ,he ",me p .... ge. Nikcphoro .. rr.,scd thot ,he image and it>
archerype differed 'in ..... n". and .ub"r.uum. and added that an image w.I.S 'an . rtifact ,h.ped. in
imila,ion of. pot'ern bu, differing in sub,tancc and lubjt; for ifi. doc< no, diffe, in ",me ,espect, i,
i,no',n image nor an object differing from ,he m..dd'. On Nikcphoro. ([tfi .. eh 806-8lj), ODB
). '477. S also a letter from Theodore of Stoudion (I'e nOI< IIj bdow) '0 Plalo: PC 99:joo; If'n<.
Mango ('97l) , 171- Il4. On ,h. nCcc<sity of ,hi, in .n,iJewi,h and an.ihl.mic polemic,
Corrigan It991). 37- 40. 9'-N. II Alound" (r9jJ), 40. Cf. Schonbom ('976), 16'-168.
" Alexande, (19j8). >06-111. O,h" . ",iicono<1: ... polemics - . g. an .nonymous refuta.ion of
John ,he Gtammarian: Gouillard (1966). '79 - nOle ,h., 'r=mble' does no, mean rhe ",me ,hing as
'be idemicoJ. Ij E.g. Gomb,ich (' 969) (hi. '9)6 Mellon lecm=) and Burgin ('986). 69.
Photiu Homily 17.): ed. Laouru... (1919). '70-' 7'; (r,n,. Mango h9S8). 194_
,8
Siting in ninlh
to i1s proto[)'pe','l for anyone ' who swears by an image, swears by the
one The image rcpresents'.l6 The viewer prays to an image, realizing at least in
theory that it is not the painted or scul pted form itself that receives veneraTion or
supplicating prayers, but the person that the viewer understands is represented.
s7
The association between image and prototype made by the beholder was intimate.
TheCouncilof787 asked, 'Who does not know that when an image is dishonoured
the insult applies to the person who is depicted?';'S Nikephoros tdls us That the
Emperor Phokas' son-in-law hated him because ' he had been insulted on account
of the removal of his own image [from) alongside that ofPhokas';'9 and the mini-
ature in the Khludov Psalter, visually equating the iconoclast John the Grammarian
whitewashing an icon of Christ with Stephanos and longinos tormenting Christ
on the cross (fig. 57), expresses this same idea pictorially. 60 As Nikephoros' account
demonstrates, the close affiliation between image and proto[)'pe did not apply only
to religious images, and the iconophiles were careful to observe that 'dishonour
shown to the emperor's image is dishonour shown to the emperor himsclf'.61 The
iconoclasts' denial of this quality of images was, we are fold, resled by SI Stephen
the Younger. According to his vita, in an attempt to unmask the hypocrisy of the
iconoclasts the saint threw coins bearing the effigy of [he emperor on the ground in
the presence of [he coun and it was onlywj[h great effort that Constantine V, com-
prehending the trap Stephen was laying for him, restrained his attendants from
anacking Stephen forthwith.
61
The iconoclast argument that an image of Christ heretically divided his divine
and human natures by representing only the was apparently a favourite of the
Emperor Constantine V. As the iconophiles quick to point out in return. the
disinclination to distinguish Christ's two natures impli cit in
Constantine's thCliis smacked of the Monophysite heresy,6' The distinction
between Christ's human and divine was, indeed, stressed by iconophiles
from Germanos (patriarch 715-730) onwards, who saw in the incarnation a
"John ofO.mucu" Ag. inst ,ho ... who mock divine imagcs' 3! (_ 11,31, tII ,,.S). 1l1.4" cd.
Kour, (1971). 108, 147, 'i): lIOns. Anderson (980), >9, )6, 89. life of Michael Ihe Synkello.:
Cunningham (1991), 9'--'.13. fur Nihphor ........ T .. v;, (1,84), lJ. 50. fu"h. , de Maff.i 1'974), 4[- 4S
jO John of Damascu . 'Against ,ho,. who divi ne im.ges' lI.u: cd. KOller (197S), no; IT.m.
And.,son (198o) . 61--66,
)' In pu.,ie., .uch d.,.duncO! was nOI .lways Ih ... , and individual, wmcrimes responded dirdy
'0 Ih. icon', m" c,i al presenc.:.ce funh., Au.ery ([987): D.gron (1991).
,.. M.n,; XIll, )l\D; lrans, Sah '41. .. BTroiarilim 1,1: cd. Mong" 11990b), ji-J7.
"" 1, i. aJw polcmi""[ " ",emom . ",u.ing the i",n"dam of denying Chri,t'. hum.n o",,,,c,
.. John of Dam.scu" "'gainst Iho ... who ,{lack divine image. 11,61 (ei,ing Chty..,,,um), 11,66
(citing Anastasio,): cd. Kotter (t97!), 16)- '6S; tran . And.,""" (1980), 68, 69-70. Sec Lo.dn.,
h9jJ), W-U, .nd n"'e \9 .bove .
., PG '00: IlS6D- 1l60B. Marie-Frana Audpy' diti"n "f ,hi. 'n' i ptcd sholtly,
., For di",m,i"n (rdying primarily on Thcodorc of SlOudi on: not. "l below), Ott Henry (1976).
21- 11. cr. Sch<l noom (1976). 17'-171.
Vi, ion :utd m ~ n i n g in nimh-antury Byuntium
Fig. 51 Mo<CtJw. HUI(Jrical Muuum. cod.129./ 67r: C/"U'ifoOo" .. iC(J,,(}(/mu whiuwIISh a" ico" (Jf
Oml
3
Siting the miniam,,,,: in the ninth
justification of religious images.
64
Both points were well expressed by John of
Dama5CUS (ca. 675--ca. 753/4), who WrOte, on the difference between picturing the
incarnate and the divine Christ, 'I do not draw an image of the immortal Godhead,
but I paint an image of God who became visibl e in the flesh';65 and, on the incarna-
tion as justification for reli gious art. 'It is obvious that when you contemplate God
becoming man, then you may depier him clothed in human form. '66 It is difficult
fO assess how familiar the Byzantines clustered around the capital were with John's
corpus (whil e the 787 Council defended his name from the abuse heaped upon it
by the 754 Council without actually citing any of his iconophile writings,67 thi s
cannOt be taken fO imply that his works were and certainly some of his
writings were cited in the third quarter of the nint h century by Photios);69 bUlthe
ideas that John expressed are echoed by contemporary sourcc:s wriuen in
Constantinople and its environs. The Council of 787, fo r aample, argued the
incarnation thesis even more slrongl y than had John: 'by making an image of
Christ in his human form one . . . con fesses that God the Word became man truly,
not in conjeerure'. 70 The iconodasrs' denial of imagery was therefore seen as a
denial of the incarnation, as aptesse<:l by, among others, the 787 Council and
reiterated in the Synodikon ofOrthodoxy.7
1
The force of tradition and the witness of the Old Teslamentwere alsocalle<:l upon
fO justify the production of religious images. Such sratements derived their author-
ity from the strength of Byzantine belief in the importance of the past, as
exemplified by the Acts of the 787 Council: 'The making ofimages is not an inven-
tion of the but an accepted institution and tradition of the catholic Church;
and that whi ch excels in antiquity is worthy of respect.'ll Old Testament references
.. SecGrumcl (1921) , ,67: Henry ('976), l l-ll; notc 7' below.
oS John of D.m.Ku.<, 'Against who alUck divine im.S<" 1,4: cd. Kotter (1971). 76; ,u ",.
Ander",n (1980), ,6. On John, see ODB " ,063-1064.
" John ofD.m .. ,,, . 'Ag.insl lh"", who divine im.s",,' 1,8; d. 1, 16, II: 1. Kotter (1971), 81,
89.154: Ifans. Ande,,,,n (1980). 18, 2,. 40 .
., Mansi XlII. }l6C-D. "aJU. SaIL" (1986a). 168-1]0 .
.. Sec Cameron (1991C) . 87-88; San"e ... W9-.13 .
.. St. Amphiwhi4. qu."ion. 80. '30. and 135 5 119861. '39: 6. 1 11 9871. 18)
and I and 161 (ed. uourdaund I [198 JI . 15; J 19).
70 Mansi Xl II, JHE; IUnS. hlu (19860.). 160.
/I 787 Council; 'thry ,poke iniqui'ic' as.in" Ihc n>lure of hi. in,:.m>lio,,' (Mansi XIJJ , >Ol E;
Iun . Saha. (1986al. 10): see fUlIher Parry (1989). 177- 1]8. and Babe, (19'.11), 17-60. who lrae .. ,hc
idea back 10 who built in ,urn on ,he Quini sexl Council. Sec aI", c.S . lener from
Theodore of SlOudion 10 John ,he G .... mm .. ri.n (Grumel [19J 71, 181) and ,he Life of Michael ,he
SynkelJo. (Cunningham [1'1911. 88-89). Kalavrcwu (1990) h ... uggested Iha, Mary. identi n",!ion ..
,hiftcd 10 mtlf, Ikcu in Ihe nimh bccau.e rhe new emph .. i, on Chri,,', hum.nity
"ui' cd a." ... on M.rya. mOlher.
' M.nsi XJ!I, 1\18 (cf. 117D, noEl; Iran . S.h .. (1986.), 84 (}9, 61). Ste .1", John ofD.m"",,,,,
'As.in" who m ack divine im.gei 1,16 (. ]1,11), 1.60 (. 11,16, 1I1.1l), 1.66 (. 11,69): cd. Komr
(,971), Ij8, ,6" 166; " .n . Anderson ('980), 4), 47; .nd Nikephoro" A"li"hrti, ,,, m,l. PG
100:380; Mon,bin_B.udinot (1990), )86: A!c:. nder{ 1958), 44; T ,,"vi, (1984), '14- 11).
3'
Vision and in nimh-antury Byz.:mtium
were cited to demonstrate that God condoned imagery, as witnessed by the cheru-
bim on the ark of the covenant {Exodus 25:18-20}.73lconophiles also latched on to
the visions of diviniry recorded in the prophetic books of the Old l estament, and
argued that the ability of prophets to see an image of divinity was extended to all
humanity through the incarnation, whco ordinary people sawChrist.7""
Many of the themes that run through the texts in defence of images were also
communicated visually. Perhaps the B}'7.antine work ro suess the
significance of the incarnation is the apse mosaic at Hagia Sophia (fig. 56); the
Virgin and Child mosaic Ihal replaced the cross in the apse of the Koirnesis Church
at Nicaea around the middle of the cemury also had the incarnation as its main
theme.
7s
The inclusion of many scenes from the infancy of Christ in Paris.gr.5iO
(figs. 6, 18, 21) may parallel this interest. In the Khludov Psalter, a sequence of
scenes pictures David attesting to the meaning of the incarnation; still others visu-
ally demonstrate that Christian images were not idols, for idolatry had been ren-
dered obsolete by the incarnation.7
6
An emphasis on the witness of the Old
Tenament, and especially of prophets, also runs through the ninth-century mar-
ginal psalters,n and may have tecurred in monumental form in the mosaics of the
Church of the Holy Aposdes, redecorated during the reign of Basil ].78 Similar
interests appear in the Vatican 'Christian Topography', which, unlike othet
Byzantine copies of the manuscript, includes an unprecedented group poruait of
those who witnessed Christ's incarnation, and a full run of Ihe prophets; it also
incorporates a .sequence of images of the ark of the covenant and tabernacle found
in other 'Topography' manusctipu, but which had obvious relevance in the ninth
century. Finally, passion imagery that stressed Christ's human suffering prolife-
rated in the ninth century;79 ali did visions of divinity. which were transformed
from timeless liturgical images into hi storical scenes.1lO
On one level, this collection of images reproduced Ih.: ideas of the texu defend-
ing images in visual rather than in writ ten form. But even from this
spective some of the between the ways words and images can
communicate are PicfUres anathematized anti-image morc
" E.g. 787 Council (Man,; Xlll. >.8SA: 'Un,. Saha, I '986a], 110), and .IOf,", from
ofJ .. u .. 10 Uo V a'quod in .h. ufMich.d ,he Synkcllo,: Cunningham ('99'), 60+-6\.
86. " :itt futther chap. 7. n B.rbc. (1991). '" Corrig.n (1992), J7-40.
n Corrig.n (1992). 6'- 77.
" So Iftmu, (1979), but comp= N. Sevtcnko 164 and no 24. Th. Church of
Holy Apostles Apostol.ion). buil, in ,h< foutlh an.ury, ",buil, by J ",.inian and fu"ho, dec
orated by Justin ll. W1.> and "Ppa",ntly by 8 .. ,il: Vita &.iilii, 80: cd. B.kker
(,8J8), JlJ; Iran . Mango (1972). '92: on thi, <t. 4 nme 47. On .h. history of ,h. church.
see Malicltij (",6). "3-'1'; Mogui", ('974) . "'-127,Epn.in (' 982). 79-8'; D.mu. r ('984),1J1- 141;
Mango (19900). A tcn,h-an,ury ckph .... stic account W", w. ill.n by Con"on,in. ,hc Rhodian (cd.
t.q; .... nd [.896], , .... "'. Mango 1'9ni, 199-101): IWdf,h-e<:n,ury on. by Nikolao. M.sarit'" (cd.
Downey r '957]). " Stt ,he discussion off. lOV in chapter 7. 00 :itt ch.pter 7.
ot :itt further C.o,mack (1986.).
Siling in the ninth
actively {han any text ever could: thc:ywere self-validating, and they had the power
of immc:rliacy. Ninth-century Byzantines might know from texIs thaI Christ's
incarnation had entitled them to venerate his imageor toshare in the visions of Old
Testament prophels; by dispensing with the intermediary of the written word,
images enabled them to venerate and to panicipate directly and intimately.
N I NTH- CENTURY I'AT TE RNS OF IMAGERY
is no homogeneous 'ninth-century manuscript uyl e' , nor are there consis-
tent principles oflayout and organization. There are, however, three panerns worth
remarking. The first is, in faCt, the heterogeneity of ninth-century manuscript
illuminations, both as a whole and within individual manuscripts; the second is a
general tendency to avoid elaborate setti ngs; the third is the material splendour and
brightness of so many of the miniarurcs.
The tendency to avoid compla sett ings is overt in the Milan Gregory, wheu
most of the marginal scenes prcscm figures in a minimal setting or without any
backdrop at all. While there are several cona:ivabl e reasons for this - among them
the technical ineptitude of the painter and the possibility that a model with equally
minimal settings was followed - the Sacra Para/Ma and the Khludov Psalter, of
higher technical quality and with many scenes created for them, show the
same lack of interest in backdrops and supplementary detail. The three manu-
scripu all comain unframed marginal miniatures, which may have constrained the
miniarurists. However, two nimh-century Job manuscr ipts and the Paris
all with framed picrurc:s, display the same features. Though the mini-
arurists did indeed include backgrounds, these are normally flat washes of colour: a
green strip for the ground below an unmodulated blue field. In the Paris Homilies
and, still more, the Job manuscripts, the miniaturists also usually placed their
figures in the front plane against this Rat blue ground, which is only occasionally
enlivened by a buildillg or a columll. The frame, in other words, may in these
manuscripts be held responsible for a coloured backdrop to the scenes, but most of
the miniatures in the Paris Gregory and the Job manuscripts arc as lacking in
supplementary details and complicated settings as arc: those in the books with mar-
ginal illustrations. The same is true of the framed miniatures in the Vatican
'Christian Topography' , sav.: that h.:re the miniatur ist omitt.:d ev.:n the colourc:rl
hackground: ligures and essential objects appear against the neutral parchment.
Though The execution differs, a lack of inTerest in background and supplementary
narrative detail remains charactcristic.
83
Ninth-century miniaturists seem intent
" The Job manuscripts (occ: notc J9 above), c''''ption.l1y, cont.in f .. mcd margin.1 minian"', .
OJ Wh. t rem.in, of ninth.century monumen,,) ut in Comtantinopk rc.st:mhl", the miniature. in
this re' p<: ch.ptet 1 .
JJ
Vi,ion and in ninth-antury BYl.:mlium
on displaying action or portraits witham distracting p3raphcornalia: thcoy conccon-
rrarcod on communicating the core content, not filling out the narrative with
supplementary detail.
The various formats wcod by thco miniamrists demonstratco that no single frame-
work enjoyed hegemonic status in the ninth Cent ury, and the Paris Homilies and
V3tican 'Christian Topography' indicate that formal was acceptable
even within a single product. The miniaturist of thco Topography' used virtually
covery format availabk, from framed full-page picturcos to unframcod figures inserted
columns of text. The eclecticism of the Paris Gregory reveals itselfleM in
the rangco of formats uscod - though here we do find great varkty imposed within
each of the invariably full- page framed miniatures - than in the absence of any
formal homogeneity; several distinct approaches to representation are inter-
mingled, apparently at random.
84
Even the usually consistent miniaturist responsi-
ble for the Sacra Paralkln abandoned flat gold figures on occasion, as a series of
paimed and modelled fishes and animals in the manuscript
Formal unity was not , it appears, of prime importance.
Neither the emphasis on the C$Sential nor the lack of altcontion to formal unity
can be unilaterally attribUl ed to matC'fial or technical limitations. The amount of
gold used, the parchment-wasting preference for marginal illustration, and the
sheer numbcoTs of miniaturcos arguco against matC'fiai constraints; while the continu-
ous production of painting and architcrture in Constantinople during Iconoclasm
prcosumably consured technical continuity at least in the capital.
S6
The status of
nimh-antury painters seems to have been reasonably high,87 and thcore does not
seem to have been a critical shortagco of talent. The Ignatian Council of 869- 870
banned paimers who did not adhere to the canons of an earlier Council- a move
that Cormack bdieves may have been intended to expd artisans who had earlier
worked for Photios - and coven if the ban \comporari ly rcomoved all skilkd painters
from the scene (wa ich seems unlikely), its conactment implies that more than a few
artisans were activco in the middle of the cemury, and that they had sufficiem status
to be noted by the Council. With the possible aception of thco Milan Gregory, the
patterns we have isolated within ninth-cemury stylco cannot be attributed coneirely
to the usc of an unskilled labour pool. Coherent landscape and architcrtural set-
tings, and compb poses, do in faCt appear sporadically in Paris.gT.51O and the
Khludov Psalter, sa confirming that at lcoast in these [wo manuscripts it was not lack
of ability that conditioned. the miniaturists' prefcorcona for reduced SC'ttings.
It is arguable that what underlay the miniaturists' (or theit patrons') choices was
a prcodilection for unambiguous presentation. G:rtainly each image is, in itself,
... Sec chapter 2. . \ P.,i'.I\'.91j, fr. '99' -V, l00._V, 2..47'-V: Wc;tzmann (1979') , fill'. 146-558
.. St" note 4' .00vt. ., Cormack ('977b). c.p. 160-,6,; Corrig.n (199' ), 6-7 .
.. E.g. P i' .gqlO. fr. jf. 14.1>". 4.18v (fill'. 6. 19. 44); Mrurow. Hi ... Mu . gr.n9, fr. 46>". (fig.
IIl): Stcpkina (1977).
H
Siting imagery in nimh
diuct. While format and composition often worked with, and underscored,
meaning, only rarely were stylistic elaborations introduced that might distract from
or dilute scene. Perhaps because the miniatures often participated in
comp[,:x dialogues between image and image, or image and word, or image and
idea, thei r presentation remainro straightforward; in their formal presentation,
nimh-cemury miniacures provide a functional imageryofclear purpose.
Asimilar preoccupation with purpose (and literary
cri ticism and ecclesia.ltical debate, where purpose became one of [he uhimare crite-
ria. A5 explained by the Seventh &umenical Council in 7ltT 'One should think of
the purpose as well as of the means through which art accomplishes its result. If the
purpose is piety, the result is acceptable; [if nOt,] it is despicable and to be
rejc.:ted. '
89
1n the same paragraph, we read: ' The same principle applies to books. If
onc describes in books shameful stories, these books are shameful and to be
In rhe ninth century, Photios took much the same lack in his lirerary
criticism: the correctness of contenr remained, for him, one of the most important
factors in assessing a given author.
91
Thus, Pho[ios sometimes observed that the
content of a book made iI worth reading, though the literary style was deplorable.
n
Photios praised books in which evil was punished and 'many innocem people
exposed to great danger [arel saved'; while he condemned for their salacious
content even works he judged well wri llen.?l Phorios, in other words, reCOffi-
m.::nded monllIy edifYing books: Ihe purpose, expressed by content, of the works he
considered determined wh.::ther or not they were acceptable. We find the same
privileging of comenl and effect in rhe text describing the stacues of
Consrantinople, the PartlSttlSl!is, which focused on the subject matter, and the
statues' effects on the populace, to the almost total exclusion of remarks on form.
94
Purpose and were also important. and linked, during the 7lt 7 Counci!,
when participants took earlier iconoclast councils to task for distorting the purpose
of the church fathers by quoting them our of context. The same text could be inter-
preled either correctly or it followed that the same image could be
either acceptable or depending on its purpose. A5 expressed by John of
Damascus: '[God,] who condemned the golden calf, now makes bronze serpent
. . for a good purpose - to prefigure the Ifmh.'96 Personal responsibility was
.., Man.i X!II. D; ,ran . Sah" (1986a). 76. The iconophile, he,e follow.d John Chrywstom; s
futth., T ... s;" ('984), 46-4lI , '" MallOi XlII. '41C; (fans. Saha.. (1986,). 76.
"Stt Ku ..... (1961), p. Ip.
" s"e, for c""mple, hi. Commen" on Maximus ,he Conf""", in cooic,," '9'-195 of JJibliMMlt<
(on which s 5): W. Henry [II 74- 89, "'p. 80-8,.
" QUOl"ion f,om "od.", 166: cd. Henry I! (1960), t49; ,,,,us. Wil",n [,994), [jJ; s abo T rc,dgold
(1980), [01-101. .. and H.rrin ('9K4), 46', P - ll: sec note 11 above .
.. SeeTh. ,.f.,ences in not< 202 below.
M John of Damascus (quoting &',,",nu.), Again.t tho"" who mack divine image. 1. !8 (. 1I.!4.
11I, !1): cd. Kon.r [,975). 160; 111In . (1980). 45.
"
VISion .nd ma ninl; in nimhamury Byz.mium
assumed: \:oncerning images, we mUSt search for the truth, and the intention of
those who make them. [fi t is really and truly for the glory of God ... then accept
them with due honour.'97
Such beliefs put a premium on purpose and function; the merit of an image
resided in its content and use. Literary advocates of this perspective cluster in, and
dominate, the eighth and ninth cenwries: the spare and functional imagery
characteristic of ninth-century manuscripts promoted (and demonstrated) the
same attitudes in a concrere fashion. Practice and theory, in this case, were mutually
reinforcing.
The third formal pattern observable in the ninrh.cmtury manuscripts is the
material splendour and brightness of the miniatures. The dominant colourofboth
the Milan Gregory and the Sacra Para/kin is gold, and though gold script appeared
in deluxe early Byzantine manuscripts, the abundant use of gold m illuminate ini-
tials in the text - found in the Sacm Paraikln and, especially, the Paris Homilies-
seems to be a novelty of the post-iconoclast period. The palettes used by the mini-
aturists of the Paris Gregory, the Varican Job, and the 'Christian Topography'
included gold tOO, though it fails to ecli pse the other bright and inten5C colours
favoured in the.se manuscripts, As Nikephoros' punning reference to the icono-
clasts as 'the peT5CCUtOrs of colour [chromaromachOl], rather, the persecumrs of
Christ [chrisfOmachOll' suggestS, the potential use of colour as an
concept was exploited in ninth-century Byzantium.
98
Liz James has recently pointed out that the imponance and the significance of
colour to the Byzantines has been underestimated and misunderstood. Colour, she
argues, was dement in giving an She aiM) notes that,
JUSt as Byzantine perception of the visual was different from ours, so mo was
Byzantine response m colour. We concentrate on hue (a leafis green, the sea blue):
the Byzantines, following the Greeks and Romans, concentrated on brighrness (a
leaf is bright, the .sea wine-dark). James concludes that this was one reason why
written descriptions of colour stress words like 'glowing' or ' brilliant' .100
An important aspect of colour m the Byzantines was what James calls its ' Iight-
bearing qualiry' .101 This had theological implications, for light was <::quattd with
divinity. k P.seudo-Dionysios wrore, in a text well known to iconophilc
sympathizers: 'material lights are images of the outpouring of an immaterial gift of
lighr' , 101 It is perhaps not surprising, thtn, that bright and clear colours character-
71 Ihid , H,IO (. HI.9): Kouer (1971). 99-100: ' rim . Anderson (1980). 100 Pho,io. ,
Homily '7,7: cd. Laoutd':l$ (1919), 17z; mn . Mango (1918). 196 (,For it i, thy [God'.j won! '0 look not
. \ ,he ddiciencie> hu, '" ,he in,en,ion . , . ').
Ag. in .. the konod .. ,.: cd. Pi,ca (18\8), 181: u.n. , Travi. (198. ), .1 .
.. l.m<"$ (1991). 8 ... Compote. however, Ko.hd.n .nd M.sui,. (1991l, 8-9.
,,", lamcs (1991). 66-94. e.p. 68, 71, 80-87. ' 0' Ibid .. 80.
"" Quo'ed ibid .. 80, 0" ,he ic<>nophile use of Pseudo-Dion""io., see C.meron (1992b). The
Hi.,."hy, fron, which 'he quoted I"'''ogc <orne>, w:u cited, for enmplc. by the 787
Council: M.IISi XIII , lIJE; lI.n,_ Soh .. (1986.), 87,
Siting the imagery in the ninrh
iz.e moS( Byzantine manuscript painting (and mosaics), of whatever century. What
is striking, and appears only in the nimh cemury, is the use of vast amounts of gold
the ultimate representative onighT and sign of divinitylOl _ to convey this bright
ness. May we assume that the miniaturists of, especiall y, the Sacra Para/k ill and the
Milan Gregory meant to infuse their scenes with material expressions of divin-
iry? l().1 To a cenain extent, I think we can: to invert and expand Nikephotos, as
friends of colour (chromatophilOl), t he friends of Christ (christophiloi) may wel l
have found it especially appropriate [Q be friends of gold (chrysophiloi).
The lavish use of gold [Q express divinity fits a ninth-century context part icularly
well, and seems!O correspond with the imroouction of icon revetments which also
associate precious metals with religious portraits.I{I'i But it must be said immedi-
ately that no simple equarion can be imposed without caution or qualificalion.
Since good and evil figures alike merit gold in both the Sacra faral/till and the
Milan Gregory (although not in the Vatican Job, where gold is reserved for the
good), it is the sanctity of the whole book (the manuscript ali an object) or, more
likely. the validity of imagery itself that is being given a divine imprimatur.
We cannot, however, impose a single meaning on the use of gold. It would not
only be naive!O suppose that the Byuntines ignored the material value of the gold;
ir would run against the evidence. Nikephoros, for example, approved of images
that. to imitate the splendour of thei r prototypes, were 'made from the purest and
most splendid material' . 106 The physical material (and irs value) was an integral
part of the object, and what we would call superficial appearance could convey vit al
meaning.
107
Nikephoros praised artisans who used 'the brighter materials and the
dearer colours, which Rower the appearance {of the prototype] to the utmost, and
are artist ically appe:lli ng and give glory to it' .w/! Material splendour enhanced
immaterial glory, and this concept too may elucidate (he ptofusion of gold in the
Sacra Parafl(iIland the Milan Gregory.
t CONOGII. ... P HY ",NO THE t SSU E OF TII.AOITION
Much ninth-century iconography falls into one of twO rough categories: 'unchar-
acterized' imagery. by which I mean apparcllI ly gcneric iconographical formulae;
and images that demonstrate 'single-instance adjustments', by which I mean
motifs that serve such a particular purpose that they occur only in very specific ci r-
'., See J.m .. ('99'),
,OJ Sec Anderson (1995), 37- 38.
, .. Logor: PG roo:772, 11.8: PG ,oo:ll:l; Mond .... in B.udin<t ('990). T .. yj,
(1984). 37. See . 1", John of D.m .. cu<. 'Again>! ,ho.sc who att .ck divine image. HI. ,)8: "d. KOll"
(197S), 100: , .. n . Ander"'n ('980), ](>6-107.
' 0' See further I'atry (1989). c.p. 169-170. ,81-,8): Cameron ('99.b): Oni.n. (1980); Roo.n (198,).
e,p. 41S-4)6; Canlcron and Herrin (1984). J7 nOle 96 (,he amho ... of 'focus on ,he v.lue
of ,h" in '1o""ioll). '01 [ot01: PG 'OO:7'S: tram. T .. vi. (1984), 44.
J7
Vi.ion and m .... ning in ninth-century Byzantium
cumstances. The uncharacteriud images are the more numerous, and show partic-
ularly well how the ways that miniaturists treated subject matter are related to the
ways that they dealt wi th styk.
Uncharacterized images are represented by many of me marginal scenes of the
Milan Gregory, the Sacra Para/kia, and the marginal psalters, where the absence of
supporting figures or objects often results in images so reduced in content that they
are sometimes incomprehensible to those unfamiliar with the more expanded nar-
rative. These shorthand images incorporate only the material essential for their
interpretation, and rely on conventional formulae to facilitate recognition.
Sometimes, but not always, the full narrative was supplied by the adjacent text.
In the psaltets, where many miniatures act as visual commentaries, meaning is
often dependmt on the interrelationship of the psalm text, commentaries on it, the
image, and its inscription:
I09
the picture itself carried only part of the burden.
Recognition of the subject matter was, in these cases, important, and conventional
formulae fal:ilitated this. When this generic approal:h was interrupted by a
characterizing detail- as in the caricatures of Jews - it stood Out and thereby carried
particulat weight, often without any supporting inscription.
110
In the Sacr4 Paral/(Ia the majority of images confine themselves to a portrait or
to a single episode of a longer narrative related in the text; when narrative sequences
appear, however, they repeatedly overstep the restrictions of the aa:ompanying
quotation. The Jacob and Isaac sequence illustrating the citation of Genesis
27:6-18, for instance, includes the episode of Isaac identifYing his son that is not
described until v. 22. 11 t This charal:teristic feature of the Sacra Para/kla has been
!:ited as proof that the artist relied on a varietyof visual modds:
112
more important,
however, is the attitude toward narrative. When sequential scenes occur, the mini-
aturist of the Sacra Paralklawas interested in conveying a coherent visual narrative
block rather than in providing either a detailed correspondence of text and image
or an exegetical commentary. Particularizing iconographic detai ls were less impor.
tant than the completion of a recognizable narrative progression: and, even more
than in the marginal psalters, such details were omined in the Silcra P4ralkla.
Though fo r different reasons, the Sacra P4r4lkla confirms [he evidence of the
psalters that a generic, uncharacteriz.ed configuration [hat signalled a parricular
episode - an iconography reduced to its essentials - was often desired or at least
sufficient; details for their own sake were superfluous.
The avoidance of particularizing iconographic details goes hand-in-hand with
the formal insignificance of background and supplementary details: when such
dctails appear, they are usually one-offs, single.instance adjustments to an estab-
I .. Corrigan (I99!). " Cf. Hilin "p. 12, '-4.
' " Wcinmann ('979') ' 4'; for mhcr oxamples . ..,. ibid .. ,8 . .of,. 76. 88. 92-93, 95. WI, 107, 116, 1)8,
117. 159. 167. 169. 171. '74. 178. 18,. ",6.
'" Ref.rcnc .. in p.eading nore and ibid ..
,8
Siting minialura: imagery in ,he ninth century
lished formula. As such, they are important indicators of meaning, and we shall
tum to them shordy, It is perhaps less obvious that the essent ial conservatism of the
unchatacterized images represents an option; the use of traditional imagery, unen-
cumbered by formal or iconographical flourishes, can convey meaning that goes
beyond the subject matter itself,
Since simi litude between image and archetype was a major feature oficonophile
theory, conscious use of traditional iconography deflected the possibility of any
criticism that the image was deviating from its prototype. lr also provided an
impl icit defence against accusations of idolatry: as we have SIXn, orthodox
Christians argued that Christian images had archetypes whil e pagan idols did not ,
Condemnation of innovation as 'pagan' appeared already in John ofThessalonike's
seventh-century dial ogue with a pagan abOUT the difference between idolatry and
the veneration of Chri stian images, John observed lhat 'we do not invent
anything, as you do'. John's remark was incorporated into the flori legion read
during the fifth session of the Council of 787, III and this Council later expanded
his semiments: 'As for ourselves, we gain nothing but the certainty that we, who
have come ro a reverence of God, introduce no innovation, but rather remain
obedient to the teachings of the apostl es and fathers and to the traditions of the
Church ,' II. Further reactions against novelty range from John of Dam35CUS' 'stop
your innovations' to Theodore ofStoudion's 'we have a command from the apost le
himself which says that if anybody decf<:es or orders us 1O an contrary ro tradition
, , , he shall not be acceptable' , to Photios' 'the memory of men who have used the
brief time-span at their disposal for innovations is kept fresh by the eye of
justice for the censure of their crimes',IIS This attitude, joined with the insistence
that art was not the invemion of the paimer,116 led to Theodore of Sroudion's
condemnation of innovative iconography: 'this deed was inspired not by God, bUI
surely by the adversary, seeing that in all the years that have passed no examples of
thi s particular subj ect have ever been given' . ' 17
The importance of these condemnations becomes clear from echoes of lhe anri -
image response, Descri bing an attempt to persuade the iconophiles to meet with
the iconoclasts, Ihe ViM Niutat attributes w lhe Emperor Nikephoros I the state-
ment ' if they [the iconophil esl are persuaded by you that their teachings are innova-
'OJ Man.i XlII , ,64- , 6S: , ... n., ' 40,
," M.mi XlII, 108e; 'WI<, S.h.., ('986 .. ), 5" Th. Quini'n' Council (69') bad earlier .uggcSlcd
,h.t bi. hop. ,t udy th. chu,ch f,nh." ... , h .. ,han product new ICx", ... Parry (1989). '70 and note )6,
"j John of Dama.CIl., 'Against th.,.., who .<tack divine images' 1.22: cd, Koll .. ('971), m : , nn .
Andctwn (r980), 3[, Theodore, leller ro Theok,iSlo. (.pi.de I.l4: ca, 808), PC 9.:98<!A; ,nn.,
Alnandcr 90; on Theodore (759-8,6), ... ,. ODB J, 2().H-I04\ , Ph",io., Homily '7,1: cd,
(' 959), ,6. 1. ,S- 16\1. t: Iran., Mango (,958), I87, Fo, an earli .. example, Stt ,he Emperor
Juli.n', fourlh.ccn,ury of p.g.n im.g.ry: 'Innovation J abomina,e .boye.1I things' (Opmz,
cd, T.ubner, 4Hb), ",; On which ... referenCe> in note ,0 . bove,
' " un .. to Theodoulo$ of S,oudion (cpistl. I,19)' PC 99:917, tr,w., M.ngo (1971), ' 75,
39
Vision and in Byu.ntium
tions, let MOp their evil teaching' .118 And Photios wrote ot the iconoclasts:
'Accusing us of introducing daring innovations into apostolic teaching, they prided
themselves on being, of all men under the sun, the only ones who had not deviated
from it:
119
To some, Iconoclasm was a battle for possession of the authority of the
past, a battl e that polarized the distinction between innovation and tradition.
Underlying this battle was an al most fanatical insistence on tradition as the best
proof of trUl h.l2<l John of Damascus eulogized tradition at least fifteen times in the
course of his writings against Iconoclasm, often in rhe same breath with which he
decried innovation: ' . .. stop your innovations. Do not remove age-old bound-
aries, erected by your fathers'; III or ' We beseech the people of God, the holy nation,
to hold fast to the tradition of the Church' ;122 or, quoting Paul, 'stand firm and hold
to the traditions whi ch you were taught' . I l' For Nikephoros, toO, tradition is the
best guarantor of truch, 124 and one of his highest accolades is 'it bears che seal of the
fathers'.I1S Further, of the three requirements for orthodox clergy, Nikephoros
ranked preservation of the holy tradition second only to fear of God, and before
honouring the sancdty of ordination VOWS.126
Faith in tradi tion as the best assurance of authority was widespread in rhe eighth
and nimh centuries, and iconoclasts and iconophiles alike insisted chat tradition
supported thei r point of vicw.127 The iconoclasts claimed that 'the images of false
and evil name have no foundation in the tradition of Christ, the apostles and the
fathers' .' l! The iconophiles, who had recent custom on their side, universalized
from this - Nor can a single opinion overturn the unanimous tradition of the
whole Church'1 29 _ and exploited iconoclast attempts at change: 'Let us not allow
'" Comlnontary and ct.n,. Aleunder (19\8). 130--1)2.
, .. HOlnily '7, 1: roo LlOurda. (19\9), , 6\ 11. 1J- 1j; ' tam. Mang<> ('9\8), 188.
no olso 71 ,bo""; c. M,tein ('9)0), ')<>-'49, '9'- '98; Gnn' ('960); x h3nbom (1976),
'H-'4j, '48; ('986h), 61j, 637 noto SJ.
' " John of DamOK"", Ag. in .. those who .. im.ges" 1,u 11 , 1\, 111,41): roo Komr
(197\), III (108, '41); !ton . ('980) , 3' .
m Ibid. 1,68 (E! !,7'): roo Kotter ('97\), 168; !",n . (1980).
'" Ibid. ],23 (d. 11, ,6): roo Koner (197\), " }; ' .. n . Anderson (1980), J'.
' l< 'Everything, ,herdOfe, ha. ken handed in ,h. Chulch of God, b",h w.inen and
unwrilton, i. veneronro and honoured, .nd .. nc,ifi" bodi" and soul.; and ing 'hinS'
ther< i. no doub. among tho f.i thful.' LOVS: PC ' 00:617; tnn$. Trowi. ('984), n\.
III Anljr-rhn;rl II1,J: PC '00:)80; Monduin_BauJinet (1990). 186; Trovi. ('984), 114- 'Sj.
,>6 Sec Tuvi, (1984). 107; d. ibid. "4-1j7. 17'-'72.
'" Though ddl.,cs eonduc'ed aIm"", entirely in ttadro quo tionl ""'m '0 be a of
,he I>",iod. I do no, mc.n '0 imply ,hat ttadi,ion W1> ignorro before the century (0 e.g. P.
Gray [1981]. 6,-61), 1 am highl igh' ing i" .;gnificana in debOle abou, im.go .
Al ... (1977), 1}8-1.40; .nd (19\8), >\7- 258. on ,h. refu ... ;on of'.purioui ,ex" by
quonng p .. uge .
M.n,i XTIl. 168C: Han . Mango ([971). ,66-,67: Sah .. (1986a). 97. For rdi.l ... ion.
Alex.nd (19\8), 1.4\.
,n John ofD.mOKU., Ag.in .. ,ho,., who >tuck divine image. 1.1\: roo Koner (197\1. 117; mm .
Ande""" (198o), )1- JJ.
Siting the mini:llu""" imagery in [he ninth century
ourselves to learn a new faith, in opposition to the tradition of the falhers'. lJOThc
measured tone of these Sratemenrs could, howl'ver, slip easi ly into mild threats - 'it
is no small matter to forsake the ancient tradition of the Church which was upheld
by all of those who were called before us, whose conduct we should observe, and
whose faith We should imitate'l'l - or, as it did with some rl'gulariry, blanhl abuse.
One of Ihe great insults levelled on the iconoclasts by the iconophiles reads:
'Obviously they arc unaware of what the fathers say.'13! Or: 'It appears that they
haVe never what the fathers say. If they have, they done so in passing and
not diligendy.'l33 The iconoclasts are accused of 'rejoicing ... at distorting the
tT;lditions of the Church', I.J..I and characterized as 'like swine who have trodden on
pearls - I mean the tradil ions of the Church' .135 For 'the fabrication of [sacred]
images is by no means new and recent, but was transmitted from the beginning and
from on high, and confi rmed in both the old and new oovenams';l;\6 most
definitively, the 787 Coull cil assures us that 'all our holy fathers accepted the paint-
ing ofimages'.137
The ringing testimonials in favour of tradition and diatribes against innovation
indicate how determined was the struggle for control of the past. Visual repercus-
sions of this suuggle can perhaps be seen in the uncharaClerizcd iconography and
the lack of formal embellishment found so often in ninth-century miniatures; in
any evem, these attri butes reject innovation for its own sake. The rhetorical Strat-
egy employed by the churchmen does not , however, converge seamlessly with the
visual evidence. Most of the manuscriptS wilh which we have been dealing had pre-
iconoclast ancestors, and the miniaturists of the marginal psalters and of the
Vatican 'Christian Topography', and probably of the Paris and Milan Homilies as
well, had before them illustrated early copies of these texts. Nonetheless, with the
possible except ion of the Milan painter Ihe ninth-century miniaturiSls did not fed
dury bound to duplicatf' exactly the subject matter contained in these witnesses to
n. Ibid. (d. 1.>6 and It, w), ed. (1971), (117, " 9): Ir. nl. (1980), 89 (3j.
64)
' }I Ibid. 1,1: Kotter ('975), 67; t .. n . And ...,n ([980), 14. cr. 1,,6 (ed. Kom, [1971j, <)0; tran .
Ander..,n h9tioj, 14): 'Either do .. way with the honour and veneration [he.e ,hin!:, d erve, or a=pt
[h. mdition of [h. Ch'lTeh and the vene!>[ion of im.g : John .Iso ""mr.SI.d imp<ri. l.dic" with
church mdition. and found [he forme. wanting (l I .16: .d. Komr [[9751. 1 11-(14): so [00 Theophanes.
a. no!Od by Sah"" ([986.). 1\. I)' M.n,i X!lI. 1\7<=: [ran'. S.h .. ([986.). 89.
'" Ibid.l.4lIC, Ir.n . S.ha> (1986.), 81.
1,. Ibid .. 16SA; trans. Saba> (19860). 96. Sc<: .1.., Mansi XIII. 1110 (where Epiphonio. i m.gine. [he
i""noel"" .... fu,ing 10 'follow faithfully [he t",di,ion which flOm ,he beginning'), 117C (where:
,he iconoel.o. ... 'do nul "Orne dose to ac,,"pting ,he "adi[ion admiucd by w many $.ainu [hrough_
ou, hi"o,y'J; u8C (whete [he i"onoe]""" td u..: It.di,ion 'wi,h con[emp" )' 171E (when: the icono-
do,,, >te a,,"mcd of"p<aking flOm ,hoi, "wn belly' .. [her th.n flOm ,radition); 17 jS ([ he i<onod .. ,.
h."" , .. ""h.d again .. [he f.,het<. [hCY"PI""e the !tadi, ion of the church'): Ir:lnS. Salus ([986a), 5\, 59,
66.100. TOI. 1)' Ibid., pjC; trans. Saba< (1986. ). [4\.
'''" l ife "fMich.el ,h. Synkoll"., '" od. Cunningham ([99')' 66-67.
'" M.n,i Xlll. 169A; [rans. S.ha< (1986.). 98. Se. oJ,,, "",e 71 .Me.
,.
Vision and m ~ n i n g in ninth-century Byzantium
pa5t tradition. Whi le the iconography of individual scenes remains traditional,
images not in the older versions of the text were added in the psalters, the 'Christian
Topography', and the Paris Homil ies, and new combinations of scenes appear as
wel l. Nor do any of these manuscripts copy the miniature style of the earlier
models, and most of them appear to have al tered the format. Although all illus-
trated ninth-century manuscripts (except for the Sacra Para/uM) were traditional
in the sense that they copied early tens, the minialures in them actuall y reframe
tradition.
Another way that the miniaturists reframed tradition emerges in the second of
the iconographical categories that dominate ninth-century miniatures. Smaller
than the unchatacterizcd group, it consists of scenes (or details within them) that
appear to have been invented lid hIX in the ninth cent ury. Nearly all supplement
rather than illustrate the text they accompany; and nearly all can be classified as
'single-instance adjustments': the miniaturists insened derails or scenes to make
precise and time-specific points, railoroo to a particular audience. Only rardy do
single-instance adjustments become sufficientl y generalized to enteT mainstream
ninth-unturyor later Byzantine iconography.
Examples of single-i nstance adjuscmems arc frequent in the marginal psalters
and also appear in the Vatican 'Christian Topography' and Paris. gr. p o. For
exampl e, mOSl of the specifically anti-herClical imagery grafted imo the ninth-
century marginal psalters was omitted from later copies, and even within the
nimh- century group the anti-heretical additions are not consistent.ll
8
Single-
instance adjustmems personal ized the manuscripts in which they appeared: they
fine-tuned the miniatures ro sui! the raslt:S of the patron, miniaturist, or expected
viewer. By virtue of the fact that they supplemented the written narrative, the
single-instance adjustments essent iall y reinterpreted the text to reaffirm the beliefs
of their creators. Such alterations have less 10 do with long-range rethinking of the
significance of the scenes themselves than with the interpretation of certain epi-
sodes in a particular and time- bound context. They depend heavily on a three-way
symbiosis between miniature, text, and informed audience; and the critical neces-
sity of the latter is d ear from the enigma that most of these images posed until
recently, and that many sti ll do.
We will examine a number of single-i nstance adjusrments in the following
chapters. liere, howevet, I should li ke to speculate on how we are to view them
against the wriuen strictures condemning innovation. Mosr obviously, the single-
instance adjustments confirm the diffcrence between the rhetorical strategies of
textS and the visual strategies of images. Beyond this, however, Paul Magdalino's
observation [hat 'new' did not necessari ly mean 'innovative' to the Byzantincs,
but rather ' imitation of' or 'superior imitation of' (as in Constantinopl e the
' " 5<:. Omig.n (t991) .
Siting the imagery in ,he ninth century
New Rome),139 suggests that what we frame as new or innovative in Byzantine
iconography could have been viewed by its contemporary audience as superior
reworkings of old themes, as clarifying improvements rather than :is radical
. .
mnovatlons.
It must, on the other hand, be suessed that although miniatures exhibiring
single-instance adjustments are among the most fasc inating products of the ninth
century, they are far from the norm. Most of the pictures in the marginal psalters
and the Paris Gregory. and nearly all those in the Vatican 'Christian Topography'.
the Milan Homilies and the Sacra PardlkIJ, rely on iconographical formulae
typified by their lack of characrerizarion. We are confronted with a basic pattern of
miniatures that arc essentially pragmatic in their style and iconography, set against
a small but significant group demonsr rating single-instance adjustments.
T HE O F TN TilE NINTH CE NTURY
The ways that manuscript images were used to construct meaning in the ninth
cemury show considerable latitude, and the results suggest considerable thought
and effort on the part of the miniaturists and their patrons. Initially, it thus seems
significant that the writings of the eighth- and ninth-century church councils and
of the major proponents of the iconophile cause - John of Damascus, Theodore of
Sroudion, Nikephoros and, later, Photio! - stressed the function of images. When
we look more closely, however, we find that while the uses of imagery listed in the
texts rarely deviated from earlier theory, ninth-century mini atures often play roles
quite differellt from those desCfibc<i and, sometimes, from those they had played
before.
Byzantine religious imagery provided a visual interprerarion of rhe past and on
this level can always be defined as instructive orexplanarory; even so, ovtrtlydidac-
tic and polemical appear to have been singularl y popular in rhe ninth
cenwf)'. The anti-iconoclasr scents in the Khludov and Panwkrator Psalters are
probably the most famous examples, 1<0& but both manuscripts arc rife with pictures
interpolau::d in the ninth century that instruct the viewer in the proper interpreta-
tion of the psalms. In the Khludov Psalt er, these interpretations are usually eluci-
dated by concise inscriptions; following Kathleen Corrigan, we may identify most
of the nimh-century additions as anti-heretical polemic, directed against the Jews
and Muslims as well as iconoclasts. I. I The miniatures in the Paris Homili es have a
broader focus, but most are equally intent on providing a vi sual interpretation of
their accompanying [eXI. Si milarly, Wanda Wolska-Conus has argued that the
I)' M.gdalino ('987), jJ- S4; >C ho Alexande, (,961), 349-)1'.
,<0 See the d ... ic trio I. Scvtenko ('965), Grab .. ('96S), and Duf,enne ('961).
'" c.,rrig.n ('99').
4J
Vision and in ninth-ccntury Byzantium
miniatures in the Vatican 'Christian lopography' expand and explain the of
the TeXt.
14
! The strength of didactic imagery, and especially of its offshoots, visual
exegesis and visual polemics,IH in the ninth century is clear.
No eighth- or ninth-cent ury text known to me, however, includes argument or
exegesi s as a function of images.
144
The numerous specific funClions artribured to
images instead fall into three traditional groups: remembrance and honour, inter-
cession, and instruction. The iconophile writers were not, of course, trying to clas-
sifY images into function-defined groups (as classifications, all three of these groups
au overdetermined: they encompass vinually all rel igious images, and certainly all
miniat ures in nimh-century manuscripts), but rather to explain the ways images
worked within the structure of orthodox belief.
In discussions of honorific or commemorative images, the iconophiles
particularly the concept of imagery for the perpetuation of memory and as a
reminder of hi stori cal presence. John of Damascus wrote that this 'kind of image is
made for the remembrance of past events . .. in order that gl ory, honour andeternal
memory may be He also quoted St Basil's sermon on the martyr Gordios
to authorize the us<: of images as memorials 'when we have his memory before our
eyes it will always remain fresh' - and commented, 'obviously sermons and images
are the best means of keeping it fresh' .146 The idea of images as memory runs
through many iconophi le teXTS; 'Things whi ch have already taken place are
remembered by means of images, whether for the purpose of inspi ring wonder, or
honour, or shame, or to encourage thos<: who look upon them to practice good and
evi l, '147 For, as Epiphanios the Deacon told the 787 (;Quncil, in reading about
saints 'we are reminded of thei r zeal' but ' looki ng at their sufferings, we come to
remember their bravery and thei r life inspired by God' .148
When put on the defensive, iconophiles sometimes restricted the legi timate
roles of images (i n response to the iconocl ast (;Quncil of 754, for example, the Acts
of the 787 Council claim that ' ttue worshippers .. . have iconographic repres<:nta-
tions only as a means of explanation and remembrance') 149 bur normall y the linked
functions of intercession and salvation were not only included, hut emphasized.
The salvawry role of imagery relates w the redemptive value of ,he incarnation; as
John of Damascus wrot<:, 'I saw the human shape of God and my soul found its
'" Wolsh-Conw (1990), '91. I;} On vi.ual ClI<gai" Ott 1.
I .. Di'Cu"inn of typologies 010"""0 ,hi, funoion. John of DamaKw, 'Again .. tho ..
who im'g"" Ln, Il ,W, 1 11,11, 36: ('975), 86, !!9-no. 1>9, '40_
10\ Ibid. 111,13 (cf. 1,19, 1,38 [_ 11,)41. 1I,. 0-!!): ed. Kotler (1975), 1>9 (94, 149, 99, 101); ,ran. _
Ande"on (1980) , 77 (16, )7, 58- 59)
1<6 Jbid, J ,40-41 (_ 11,36-37): (d. ('975), ISO' .. ,n,. Andot$<) n (198o), lS.
10' Ibid_ I,. J: Kotter ('975), 86; 'rano. Andonon ('980), 11. On imagery", encourage imitalion,
.. e below: on the emotional imp.e, of imagery implied in ,he fitst d au.e, "'" above.
l<' Mansi X!lI, J48C-D (cf. 149D-El: tran, . Sah .. (l986a) , I6J (8 J).
l<' Ibid. , 177A: tran . S.h .. (1986.), 104.
Siting in nimh mury
salvalion.' I5<) He are a source of profit, help, and salvation for us
all, since they make things so obviously manifest, enabling us to perceive hidden
things'. 151 Intercessioo was an equall y important attribute: Nikephoros, fo r
example. credited imagery with 'acknowledging memory and entreating
sions' .112 Later, Photios described the Virgin 'depicted in painting as she is in writ -
ings and visions, an intercessor for our salvation'. In The intercessory power of
images was, in faCt, one of thei r trump Gi rds, and references to it are multiple,
appearing in the tenie Synodikoll V(fUJ.
I
\4 As intercessoni, imagcs were called
upon for protection, 155 and cited for their ability to terrify demons, l:.6
t
heir effic.acy
at which is attesred by miracl es. IF
The intercessory power anributed to religious an depends for it.s fo rce on belief
in the relationship berween image and prorotype, developed by 5t Basil, that was
held by all known iconophile writers. It pres umes rhat the image was, as Gary
Vikan has put it , tf:lnsparent - that the image bridged the space and time
ating prototype and viewer.118This personalized and intimale conduillO the divine
promoted, and in the orthodox church continues to promote, communication
berween human and divine that bypassed instirurional control: by the eighth
century the sacred pottrait, which one could carry as an amulet or hang on the wall
of one's puc access to divinity al the disposal of the individual. Pet er Brown
suggested that the ability of holy men to intercede with God on behalf of the popu-
lace, and thus divert power tradirionally comrolle<l by the state and instituti onal-
ized church to the individual, was partially responsible for their persecution during
lconoclasm.
119
If we accept this model and apply it ro images, we may understand
one of the teasons why iconoclast bishops and the iconoclast Emperor Constantine
V denied the power of images TO inlCrcede with God.
l60
The thitd role that treatises to images was instruction or
explanation. The churchmen did not mention visual exegesis or visual polemic
under this rubric, but determined that an image could serve as a material aid to
,,. ",s.in" ,hOK who divino im.g." I.u:..d. Kouer (1971). 111: '''In,. Ande'so" (1980), JO
[with mooific;"ion.l. Se Iso Ih. Act> of ,he 787 Council: M. nsi XIIl . ,..,IA. 249' , .... "s. Sail ..
('986.). 76, 8).
,,, John of D.mu.:us. i\g>.ins, ,ho"" who at<:Kk image. 111,17: "d. Kotrer ('975). 126: tran>.
And ... on (1980), 7<4.
'" L"to>: f'G 10'):589' , .... no. Tr.vi. (1984) . 10..,. Sec ..J.o. on im.go> of .ngd., AmiN',,,,il;lj, [1.'0-1':
PC 100:)\3: Mondu.i,,-Saudi nct (1990). 164-167; Trni. .. p . .p.
' " Photio., Homily '7.6: ed. uo .. rdn ('9,9). 17" , .... " . Mango (19,8), 195.
, 5-+ Sy".Jihm Vm". I,D: .d. Duffy and Par k" (1979). 114.
1 SS E.g. Inhn ofDam.",u., 'Ag:r.i"" lh"", who mack divino imagd 1.)6 (. lI.p): ..d. KomI (1975),
148; , ran . And.rson ('980), )7.
,-" E.g. ihid. IT,!!. '7: ed. Koner (,97\). to,. III: I"''''. And" ... n (1980). 19. 64.
1 P E.g. ihid. III ,! 15: ..d. Komr (1971), 198- 199; Iran, . Anderson (19&0), 101- 106.
t" Vik.n (1989). SO-51.
, .. Brown (197J), 11_1 J, j); see fU n he r Rnu.n (19g,) , 431.
,'" Gem (1977'). 147-'5', and Wortley (19K:), 153- 179; on ,h. bi.hop., Au,.py (1988), )-11.
Vi,ion and meaning in ninth-century Bynntium
understanding immateri al concepts, as a model for imitation, or as a uaching
device.
an the fiTS[ of these themC'.l,John of Damascus quoted Dionysios the Areopagite's
'we are led to the perception of God and his majesty by visible images', 1M and argued
thac 'It is impmsible for us to think immaterial things unless we can envision analo-
gous shapes,'16l Nikephoros made the same point, and concluded that 'knowledge
of the primary form [archetype] is obtained through thefi gufe [image)'. 1M
The second theme, imi tation, was a critical point in the iconoclast debate:: both
sides agreed on the value: of imitating the lives of saints; they did not, however, agree
on how one was to lc:arn about the life to be imitated. John of Damascus asked,
' Shall we not make forms and images of things which arc visible and perceptible to
us. that we may remember them, and so be moved to imitate them?': 164 Ihe icono-
clasts promoted verbal or written understanding. In the so-called ethical theory of
images, the iconoclasts denied rhe efficacy of visual aidf-mlmoil'( and admitted
only [he imitation of the virtues of saints and the eucharist as acceptable
'images' The iconophiles replied ThaI the eucharist was not an image ofChTisr,
but Christ himsdf. 166 Nikephoros argued that virtues are secondary actions of the
(pri mary) bodies of saints - virtue cannot exist without a person to enact it - and
proposed that whil e: virtues expose capabilities, images reveal the saints themselves
and are thereby more worthy of honour.167 The critical disdncdon was between
imitation of a life known through written and oral tradition (the iconoclast posi-
tion) and imitation of a life known through bot h words and images (the iconophil e
pmition). The significance of this difference is clarified by iconophile arguments in
favouf of using imagery to teach.
The Seventh Ecumenical Council praised 'images placed inside the churches ...
for the purpose of teaching', 168 and championed imagery 'for the purpose ... of
,6, John of D.mascu., 'Again" Iho .. who mack di.ine im.ges' I.)o-)J (_ 11.16-7): . d. Kom,
('97j), 1+4- '4j; mil>. And. ""n ('980), ).4-)1 (with modific;uion.) .
m Ibid. I1I.>1 (cf. Ln. ',ho mind which i, (0 igno,. co'po,eal 'hingo will find i""lf
and f,usm.,.d): .d. Kout, (197j), u8 ".ns. ('980). 76 (20).
, .. A1lrirrhtrin" 1.,0: PC ' 00:177. 289; Mond .. in B.udinel (990), no-n2, A1ex.tndor ('958). 100.
Cr. I'G loo:7480- 789B; tran . T ""vi. ('984), 49.
,M John ofOarn.scu" 'Again.{ tho .. who mack di.in. im's.'!,)J (- 11,17): ed. KOlle, ('975), '4\;
(""n . Ander",n ('980), H. Se. 01", '47 above.
'6, Anasln. (1954) . l\l-l60; G.m (1975), 4- U; P.ny (1989), 171-t71 and noto 44; Cunningham
'9-' ,; and urn. ron (J991b). John of Dam""", agro.d ,h.t word. - but not only wo,d. -
could p!ovide imag .. : 'i m. g .. ar. of twu kind,; .i,h., they arc word. written in boob . , . 0' e1 .. ,hey
.n: male,i..! im.ges'. 'Again., ,ho .. who .ttad. divino imag." !II.>,:.d. Kotte, ('97j), ' lo; WlIl'.
And.,..,n (' 980). 77-78. , .. S.., T.f, (1980/, ), 71.
'<7 On points .... A1.xand" b9jJ). 49. On Ih. iconophil. respon .. ro ,he ouch. ,;" os
an image ... S.h .. (1986b).
, .. M.n.i XlII. 241A; ... n . s..hos ('986.). 75. Se. 01", John of Oamoscu . 'Against ,h"", who .".ck
di.ine im.gcil.,8: .d. Kouor ('97j). [lans. Andelson (1980). 16; and Pho,ios. Homily '7.1:.d.
uou,Jas ('919). ,64; ,ran . M.ngo ('918). 186-.87.
Siting imagery in (he ninth a ntury
rem; ndi ng us of the gmpel and expla; ning its Story' . 169 Whil e the explanatory rol e of
was somedmes grounded in the traditional topos of picture!; as a text for the
illiterate - ' What the book is to the literate, the image is to the iIJiterate't 70 _ not all
iconophiles accepted this formula; 17l unlike many of their we!;tern counterparts,
eighth. and ninth-century By.t.antine authors never endorsed what Parry has called a
'two-tier system' dividing the el ite book-Iearnet from the simp!.: picture-learner. In
On one levd, in fact, those iconophileswhowrote that images functioned as a book
for the ill iterate simply conveyed thei r homage to earlier arguments.
A more prominent iconophile argument e!;pollsed the even older topos of the
equaliry of texts and images.
17l
Nikephoros, for example, noted that 't hrough calli-
graphic genius The teachings of divine history to us ... by the excellence of
painting, those same things ate shown to us',17' used the word 'graphe' for both
painting and writing, and argued thai only the scri ptural wtitten account and pic.
torial impressions represent 'what is factually true' . m Another earlier idea ThaT
recurs repeatedly is the bel ief that painting fulfils the purpose of writing: John of
Damascus observed ,hat ' images and sermons serve the same purpose' .176 and. in a
famous lener, the iconoclast emperors Mi chael 11 and Theophi los wrote to Louis
the Pious that 'those [images] that were displayed in high places they permifted TO
remain, so that pictuu mighr S(fV( as scriptuu' .,n To Nikephoros, it followed
'" Man.i XI IJ. Iran . Soh", (1986. ). II J.
L10 John afD. ma",,,,. "Again" Ihase who mack .. t. '7 (d. 1.47 11. 431, n, IO): .d.
Ka".r (1975), 9) ('j I. 99): Irans. And",on ('980). >5 ('9, 58). Cf. ,he Life of Michael Synkdlas:
Cunningham ('99,).66-67. and (or Travi. ('984). 48. On ,opos: Kcssler ('98ja), .'p.
75- 76, 86, Kc-.. I., (1985b). ,1>-10. 17-18: and. , hough hi, ,.ntr.l"rgum. 1lI foil. 10 canvincr,
DUff.n ('989). '" E.g. Throdo<" afStoudion: :ICC r o"y ('989). e,p. 167-170.
, , r.tty ('989). p. 166-,67' $tt 0.1..., San"er," (1994). 109. For Ih. walerll po.i,ian. :ICC
M"Ki".,ick (990). 197- JI8: J. NcI>Cln ('9'10). esp. 164-165, 195; .nd Hahn (19'10). 7-10.
"J E.g. $, &t.i l . .. quoled by John of Dama",us: 'Bor h pa;n, .. , of worill; and pain'et1 of pi n ures
illustr." v.laur in h.ttle: ,he form. r by Ih t! of Ih.l.,,", by do .. u'" of . he b,u.h. and
bolh encau"'g. everyon. to be brave. A .poken accaUlll .difi" U f. a pic,ur. indue ..
imitation . 'Ag.iml th"", who mackdivine image. 1,46: d. 1.31 11. 18.1Il .+4): .. I. Kotte. (19751. '5'.
145; tran . Ander,.,n (1980). 11>-J9. Fa< 787 Council: Man,i XIII. 177B C: Iran . Soh ... ('986.).
IN. Sec.l.o nale 148 .bove: Kes.l .. (' 98Sa). 84-87 and B.rnord (1977). tt. '3.
' " AfM/ogeti("W Mllior: PG 100:748; !fan<. Travi. ('984), 45. Simil. , ",n,im.nl> appear in John of
Dam"",u . 'Again" Iha", who "tt"ck divine imagd [. ' 7 and m.ll Ka" .' [1975], 9 J. Ill; Iran .
And .. ,.,n [1 9801. >5. 72); Throdorc uf Stoudian (l'>.rry [19891, 1]1-(71): ond Am of 787
Council (M.n.i XIII. l1oE-u,A, lj1e, 19oA: tr.ns. S.h", I '986. J, 61, 69, 10j). Correspondingly .
Council caunt.red inveuiv .... ag. in .. paimjng by no' ing , he illogic of cond.mning painters but no,
""ibes; Man.i XI1J , 149A: Inn . Sah ... ('986.). 81.
17\ III. j: PG ,oa:J81-J84: ('9'10)' IR8 - '90: T ravi, ('984), 411 .
17. 'Again" tho .. who m ack im"ll'" 1.4j (. 11.4' ); cf. 1. 56 (. n, 51) : .d. Kotter ('971) , Ij I, Ij9;
'ran>. And.""n ('980), )8, H. Sec >.I,., , h. 787 Council: Man,i XIII. 169B. 180A. :l IlA (wriling> are
'.nimale icon,). 348C-D; " ,n . S.h .. (198601). 98. IOj . ')1. ,6:l. For . fourth.cen,ury eumpk,:ICC
Grq:ary "f Ny .... far wham Ih .... crcd image i. '.ilcnl ",ri plUre ,h., . peaks from the (PC
46?37C-74aA).
In Letter af81
4
f'om Mich. eI II ond Theophila. m Louis ,he Pia",: MGH Con";!i" A,vi MTo!ini
Ih. 471>-479: heeman ('9R5). 100-105
Vision and in ninthuntury Byzamium
that 'who accepts the wri tten account will necessarily accept the pictures as
wdl'. 178 PhOl ios later continued in this same vein: ' Does a man hate the teaching by
means of pictures? Then how could he not have previously rejected and hated the
message of the gospdS?'179
The specific rdationship between images, spee<:h, and texts thus became a
significant issue of debate during Iconoclasm. ISO Iconoclasts such as John the
Grammarian Slressed the primacy of writing over sight,181 while the iconophiles
found images either equivalent to, or more powerful than, speech or texts.
Superiority of visual over written witnesses was implied early by Cappadocian
fathers sueh as St Basi l, 182 and reiterated by. among others, Anastasios of Sinai in
the seventh century, 183 and Nikephoros, Theodore ofSlOudion, and Phorios in the
ninth. Nikephoros argued that ' we all know that sight is the most honoured and
necessary of the senses and it may allow apprehension of what falls under percep-
ti on more distinctly and sharply [than spoken wordSJ'.IS' He held that while
speech could be dislOrted, visual representations remained dear and distinct;
images, therefore, were the more rrustwonhy documents. ISS Though less con-
cerned with arguing this particular case, Theodore maintained that written
accounts were of necessity based on what the author had seen; the visual thereby
implicitly took precedence over the written.
186
Photios, who drew extensively on
earli er discussions, presented an impassioned plea for the primacy of sight in 867=
Martyrs have suffered. , . and thei r memory is conuinNl in books, These deeds thq
alw seen performing in pictures. and painting the martyrdom of
men more vividly to our knowlNlge ... These things are conveyed both by stories and by
pictures. but it is the spectators rather Ihe hearers who are drawn 10 emubtion ... Ihe
comprehension that comes aboul th rough sight is shown to be far superior.
He continued:
indec:d much greater is the power of sight .. , . it the of thing sc:c:n On to
the mind. letting it be oonv.:yed from there to memory for concentration of un&i1
'" Anrirrhnir .... IIJ", I'G to<l;J80; Monduin B.udine{ (199"0), 186-187; M. ngo (1971). 17k
"" Homily 17.\: .d. Llourd .. ('9\9). '70: \ ... n$. Mango ('9\8). or. laru in ,h ame
.. rmon: 'if h. {reat< ei,her one wi,h reverenCC or with he nt<:c .. arily .he .. mc on
the othd (Homily 17.6: e<l. [l9s91, 17': ,nn., Mango [19S81 . 19S).
'''' Se. d. Maffei ('974).
'" Gouillard ('966). '76. The l ib,i Carol ini m.de ,hc .. mc point: Gcro ('97J). IS. Sec alro
"I<under (19SJ), 14 not<
111 A. nou,d by iconophilc: e.g. John ofO.mo<cu<. Ago.in .. , ho .. who .... ck divine images" I.H (.
11,)0. II 1.46): ed. Kottcr (1975) , 1'16. For o,her cady cumpJ ... ..., K=lcr (198ja). 84-8j.
\0) Sec Kamoni. (1986). 41-44. 57- 18.
u< Refuwio' (unpubli,hed): ,nn . Alcundcr ('918). 111. See .1.0 Alu. ndcr ('9SJ), 49. No'e .ha.
Nik.photo. her. dose.ibc. text< ... heard.
II) Anlirrhrricu,II1,5: I'G loo:,8'-J84; Mond",inB."dinct ('990), 188-'9"0: Travis (,984). 48. Set:
.Iio Purr (1989). 179-180. ,116 Pa,ry (1 989). esp.lll-In 179-180.
"7 Homily 1M: cd. Laourd .. (1959), '70; " .n,. Mango ('958).
"
Siting in nimh
ing knowledge. Has the mind seen? Has i! grasped? Has il visualized? Then 1I has
dfortlessly lransmitted the forms lO lhe memory. 1M
Ninth-a:ntury arguments for the primacy of sight were, as Jean-Marie Sansterre
has noted, par( of the iconophile rhetorical arsen;.l; they should not be taken to
indicate that images had more authority than the is a
measure of Ihe power of the visual in ninth-a:mury Byzantium, and of the fora: of
the image-prototype equation, that images were by definition authentic; in con-
trast, texts (other than were susceptible to change, misinterpretation,
and altel";\tlon. '!IOThe emphasis on tradition and the authori ty of the pas! fed into a
concern with the authenticity of the texts thar transmitted that past, and philolog-
ical interests rose conjointly with the steadily increasing rdiance on tradition as
proof of truth. The Constantinopolitan Council of 680-681 has, indeed. been
termed a council of antiquarians and pabeographers beouse of the zeal with which
its members collated various copies of the same tel(( to expose interpolations and
determinecorrecr readings, a proa:ss that also involved verifying the signatures and
handwriting in. and carefully noring the physical properties and age of, relevant
manuscriprs. '91 Demonsrration of the veracity of a text was a major concern, (or
falsification of documents was rampant in Byzantium: indeed, forgery seems
almost to have been a closet industry by rhe seventh century. In
Certainly forgeries continued in the eighth and ninth a:nturies: Cyril Mango
has cited an inscription fabricated in 781 purporting to convey the selllimen(s of a
pre-Christian pagan and prophesying the luminous reign of Constantine and
Eirene.
l
?! We have already noted the letter forged around lhe year 800 that pre-
tended to express (he pope's words to Leo II I, and Marie-FranceAuzepy has argued
that the legend of Leo's destruction of the icon over the Chaike gate was invemed at
ahout rhis same time. I ... That rhe Council of869 could (apparently slanderously)
accuse Photios of btibing people to forge bishops' signatures using both fine and
coarse pellS to vary the handwriting, and thaI Symeon Magister and Niketas the
Paphlagonian could state, correctly or not, that Photios fabricated a false genealogy
- intended to demonstrate Basil's illustrious lineage - in such a way that it 'looked
ancient', demons[rares that spurious documents, and carefuHy crafted ones at (hat,
rcmained an acknowledged fact oflik 195
Problems of authemicity haunted even the authors of the secular ParaJttlStis;l?6
they obsessed the Council of 787. Participants brought whole books with them to
'" Ibid. , .. S.n>!.,," (1994). ". So . g. Anastasio. orSinai: ... Cameron (199Ib).
'" See V.n den Ven (19j\117). JIB-no; a.rdy (19)6). 19Q-Z91. I., Bard)' (19j6).
'" Mongo (1963), 101-107. , .. Auu'py (19?O); (or ,hele"er. nme 11 abo ...
'" For rhe Council, Mango (1958). '99; Symffln, Annaln. cd. Btkker (18j8). 689; (or PG
10j:j65--8. Other nimhcenlury implic;"iolU in MeCOImick (1986). 191-1". 195. .. were nm
",,,,ieled 10 BY7..mium: ..., e.g. FJ/uhungm (1988).
, .. and Herrin (1984). 87. 180. 199;'" no .. II above.
Vision and meaning in ninth-a:mury Byzantium
accuraty and of their quotations, and a KCond copy of
text was In corollary, the Council condemned the
iconoclasts for violating the textual evidence. They accused of effaci ng and
excising pasS2.ges favourable 10 images in books avaibbl c 10 them (or even of
burning the whole offending manuscript);ln and of falsifying and corrupting
texts.
t
'1J Tlu: iconoclasts 'are fonified behind forged and int rusive writings'; they
were 'forgers of the truth'.lOCI The iconophilc:s clurged their opponems with dis-
toning,lOt quodng OUt of comext ,lOJ inveming,lOJ miS<juoting, zo,j and plagiar-
izing;lOS they ' twist the of divine and true doctrine according to their
own desires'.206 The iconophi les claimed that the iconoclasts relied on heretical
to buttress their arguments: they 'have ordained as their own fathers and have
SCI up as teachers, [those] whoofold had bccome defendersofimpietyand atheism,
and were driven out of r(:llch from the cathol ic Church'.1fT} Nor, according 10 the
.. ('9Bb), )9: Vln (1911117), ",: SP"'Y'" ('97' )' In. Documenu reM;! durin!; .ht
.hird ..... ion _, 100 confi. med .. aumemic by wi."n" Mansi XII . U4SC-IIS4B.
". Sec Van <kn Ven ('911117), JJ5-H6 .
... Mansi Xlii. llj8_116C. 137D: .raru. SahOi 6S. 74: Council ... ponded:
Chris.i.n, .h ... ro,e. when h.ppeni ng .0 hear of spurious boob, muS( _pi. upon Ihem and no! .ccepl
.hem in any w.y': M.n,i Xllt. 193B: ''''no. Saha. (I986a) . "S. For .imil .... nlimen .. from
Nikepho,o<, ...., G.umd (' 959). T v;. ('984), '44 nOl. 17.
- M:uui Xli[ , 191. Ju8E; Ir.uu. sm.1$ 117-118, 'lJ- IH. Fo. o.her """''''tiotU of
fotp;<ry, JCC AkuJlder (1 958). lS4, 1S9 .
, E.&- 'olthough they UK.M .. me word., .heydccqKivdy oI,e. <Mi. meaning' : Mami XIII,.,.A
( .S,D. 288B): Ir . ... , Saba< 6} (,08, ".). Fo, Nikephoros, Itt Aknnde. (I9SI), .n-.\6.
>60-.6, : T .. v;. (1984).147,
101 E.g. 'a ehan eleriui( ofh ... tia is to p.rKm ... ,.menll in a f"'llmen'M form' o. '.hey cu. off a
whole phraK dcai .flllly in orde. III lu,", ,h impler one.: Man, i XIII . 3".1:. 185D (d . lODE-JOID):
" an . Sahl$ ('986a) ,,, 111 s) .nd romme", y "1lJ- I34 not. S4.
"'. E.g. fabrica.ed .he ,,"u.-.ed slogan ... wnuld . hat they h.d pr ... rvcd hi ... achi ng<, 1$
_11 .. . hose of all om holy f"hen, unbroken': Mam; XIII , lA, cr. 19)B. '96D. E, 19]B-JooA;
u" n . Sabu (' 9116a) . 14 8. Uo-' ll. John ofD .... ucu i'lpin .. <hose who .".d: divi ... inug"i ll 8
(ed. Kt.nCl' {197S1, 116-117): fo, Nikephoros, ...... WI> fond of demon .. ",.ing .ha. a p . ... &" .... an
io,o"1 in'crpola,iort by ronl ..... ing i. with OIh., quora.ion. from <he .. me author. Itt
(' 9s8),1S7-'S9 61,
- E.g. 'fo hey ... k as ronf ... ioo, wh he o.thodox Q.i,,,ians have n""" ... id: M.n, i XIII ,
16oC: .",n . Sahu (' 986. ), 9' .
10) E.g. 'hning Itolen ,"' emen" from <he f.,hu$, which Ihey put forth .... h.i. own, .hey .. y .he
f"lIowing . .. ': M. n.i XliI. UIC: . .. nl . .. ('986.). 61.
"" l>.bn.i Xli[, >.8.8: cr. 192.AB. JooAD, SA: ",0,. S.h ... (1986.), '07, "4. IIf' ",-11.4,
'44. Stt also T",vi. ('98.). '.7. On .no<he. fron. , MusIinu .nd Chri.,i.n. flung .he lam. ch:ugn b..,k
and fotth: ...., Corrip n ('9'91), e.p. 711-10).
'JII1 Nikcpho' M. AJN"tnina M.;.,,, l'G 100:81) (h.", 100 Nik<pho<Ol condemned .. uden .. stud
ying he""icaI .em: ibid . \6. -16S). Stt also T ,,"vi$ (' 984). lJO j6', 140, .60-161, 169-170 and, for
simila. a. gllmenu in N;kpholOi unpublw..:d Alexander (l9S8). l SI, lIS. The 717
Council recogni ...... his probl.m ".,Iie" M:Ulli XIII , lsJA. 3'lA-J2.4C; ":lJU, Saba< (t98b ). Ss,
IJ4-'4). In <aponK he Council ordered .he dnnue.ion of all but one or IWO '"""mplH' ofi conoclOl'
wri.ing>. and recommended ,he .ame ".>lmen' fo r.1I h .... i.col",o,b: sec Van den Ven ('9SS'S7), 333.
Siting tho miniatu,..,s: imag.ry in th. ninth c.ntury
787 Council, was this innocent khaviour: 'When those who dn'iate from the
catholic Church are about to say something wicked, they begin with what every-
body confesso. By king right on this, they hope not to k disbelieved on the rest.
Thus, having slated a few things properly, they now mix gravel with the pearls.'l08
T he problems (real or p<: rceived) with forged and adulterated tats, combined
with the emphasis on tradition and the corresponding interest in tuts Ihat accu-
ratdy conveyed that tradition, g;ove rise to authori tative lists of patristic ci tations -
the florilegia . As early as the Council ofChalcedon in 451, a SOrt ofproro-florilegion
emerged, and the form was in full bloom by the 649 Lauran Council. W'J The
florHegia kcame another of the critical nodes of the iconoclast debate,no and each
side created versions promoting its own vision of the truth.
ll
I As his fin;t overt step
toward reinstating Iconoclasm, Leo V convened a committee to compile a
Rorilegion of passages ag;oinst religious imagery.l ' l On the other side, lists of patris-
tic 'proo/i;' supporting images appeared in the Acts of pro-i mage councils, and in
polemics against heresy.213
The Sacra Para/lad of John of Damascus is the only known illustrated
Aorilegion.
21 4
Thai iT was produced after Iconoclasm is nOt, [ think, coin-
ddental. The ren reproduced a collection of patristic and biblical citations, com-
piled by an iconophi le hero, thar had kcome the authoritative versions with the
so-call ed restoration of orthodoxy in 8.U.
llS
Nonetheless, the vidssitudes of the
iconoclast conflict, which had favoured first one side and then the other for nearly
110 yean;, camioned against complacency. The shape of intell ectual dialogue did
not change fOT some while; indeed, iconophile sentiments continued to k voiced
until rh. early yean; of rhe lenth century. Long-standing and still intense pre-
occupations with tradition and, concomitantly, with Aorilegia merged with a con-
temporary reinterpretation of rhe role of imagery to make the Sacra Paralkla a
particularly appropriate text to embellish wirh pictures.
Ninth-century arguments for rhe primacy of sight joined with concerns about
aurhent icity to fuel a growing consensus that images could confi rm the historical
,.,. Mo. n,; Xlii , n",_ S.h ... 89_
"" See V.n den Ven (1951'17), }tl- 318. p. Gray 61.
". On which .ce M.ngo ('975) , B- }4; Cam on (,990), "'p. t06-107, 109, 117; C.meron (199)b);
('99U), 101_'0}; AIe .. ki. ('994). ", 5 ap. C.meron (,991a), 154- 1jj, 167- 168.
2" On .hi. group .nd ,heir W<)rk, sec AI""andcr ('918), 16-a7, 1}7.
ll j For. coll.r;on of .he li,u, .ee Morrin (l9}o), 146-'49, '94- ' 91, '97-198; for a particularly ",, 'en-
live sequenc< of twenty.,i . in Nikephoros, PG .00:8,.--83>. 5 a]", Al"".nder ('91) ), .nd. fo r
the Ilorilegion of Theodore Crapto., the I.ife of M i,h.eI the Synkello., }O: .d. Cunningh.m (!99' ),
"0-'" .nd .6S not. 100.
,,, ThOugh J- R. M." in (1950), 191->91, ' f'CC"I.t ed rh ... hypothetical iIIu.tmcd copy of Ihe
s"'yingo of thc Fathc .. was one ",ur", for the ili",,,", ion. in ,he Sacra P"ralkt...
" s On .h. pi". of ,h. s"..,.,. Pa .... fkt.. within ,he ,.x, .... I,radi,ion of iconophile Ilorclegi. s
AI.uki, (' 994).
I'
VISion and meaning in nimh-amury Byunlium
truth of a text. Thu a could tae on the function and purpose of a '5C31 of
authenticity' is clear from a number of preserved passages. John of Damascus
quoted Maximus the Confessor's 'they touched these [images] with thei r hands, in
confirmation of what had been s,aid'.116Theodore the Stoudite wrot e that true
argument that Christ is a man is that he !;an be- pictured'.117 In his sermon of867
inaugurating the mosaic of the Virgin, Photios noted: 'Christ came to us in the
flesh. This is sn and confirmed :Uld proclai med in pictur, the taehing made
manifest by means of personal eyewitness and impelling the spectators to unhesi-
tating assent. '118
Images authenti cated reality; what could be seen what could be- or
hc:ard.
119
In 1958, Paul Alexander noted this line of argument in the writings of
Nikephoros and John of Damascus; he traced il 10 Aristotl e, and s,aw it as ,In
example of ' the scholastic type of reasoning' that, for him, characteriz.ed the last
pha.K" of the iconoclast deb:.J.te.
uo
Aristotel ian in ui Lim:.J.te inspirat ion Ihey maywdl
be, but the references to the primacy of sight were not only scholastic exercises.
Though the frequency with which the topos appears suggests that it had become an
iconophi le rhetorical device,l2l the numhcrof references to it also argues that it was
an important indicator of meaning. Ideas about the primacy of sight were
ingrained in ninth-century Byzantine written culture, and conveyed to a wider
audi ence through sermons.
MINIATUJl. ES AN D AUTHENTICITY
The Sacra ParallTlo includes several hundred isolated portraits of the biblical and
patristic authors quoted in the text. These are essentially author portraits, and as
such find numerous ninth-century paralJels.
221
In the Slum Para/uta, however, the
authors pictured are presented in an unusual way. About half of them art enclosed
in medallions (figs. S8, 59, lOS), a format also used to isolate portraits of figur
menti oned by Gregory ofNazi:UlzUS in the Milan Homilies (fig. ,,8); as Corrigan
noted, this formula was probably meant to evoke icons and provide a visual
to tht bibl ical or patristi , text quoted or paraphrased in the accom-
panying As interesting here are authors who, on over a hundred occa-
:Against (no.., who . 1tKk divi ne inugcs 11.61= (' 971), ,64; '''' M. Andenon ('980) , 69.
f or ond diSCU$$ion, f Kessle. ('981"). 86- 87, ond Kcoder (19Sl b). 17.
m Epistle [1.6.: PG99,u8IA.
111 Hornily ' 7.1" ttl. laourdu ('919), ' 70; I ...... M:lIlgo (1918),
lit Sc.:: '00 Co.mack (' 9'1), ' 74- ' 76; and. on . ... ,d.,flI uSC of .cal ' 0 valid.;"o tho
of lo ... e ... Mulktt (' 990). 181. no Alexande. (' 918). >.!I cr. S-anm, ... (1994).
m E.g. in the St." .. P .. ""luw itsclf 11979.1. figs. . he Milon Homilico (CnN'
1'94)']. pl . Il. VI, [X, XIl, p;wi.,.). ,he Khludov P",h. f. ' v) and 1':o.6'.gr.IIO (/ig.
41 ). "'Cort igon (1991), 118-11\1. 1)8.
,.
Siting dIe miniaCUlft: in ,he nimh century
sions in the SDcm Paralle!a., poim or gestu re: to their own words (fig. 58);ll4 others
hold that they di rt(: t toW:l.ro the te):1 :1.5 if they had physically just written the
passages quoted (fig. 59);m whil e still others hold a book open lOW:l.rd the text
column. as ifdisgorging their words into the ninth-century manuscript (fig. 60). 216
Such figures ate not unique to the SDcm Pam/Mil:. the Mi lan Gregory retains thir-
tet: n figures pointi ng at the ton , and in a temh-cenwry lectionary at Moum Athos
Matthew and Luke put pen to meir grupels while John poims 10 his.
ll7
1berc: arc:,
however, far more: eumples in the SDcm PamllelA than in any other Byunline
manuscript. Why?
The person who commi ssioned the Sacra Pamlf,.la. and the miniattJri5lS who
ill u5trated it, were faced with a particular situation. In a world where questions of
who had access to the authority of tndition. of correct usage, and of what consti-
fIl ted the truth had been the focU5 of acri monious debate for over a century, the
producers were faced wi th the task of pre.seming authoritati ve tens. But in the
cli mate of debate ,hat characterized ,he eighth and nimh cemuries,ua how was one
to demonstrate concl usively that the tons qUOted were: indet:d the aut hori tat ive
venions n ther than forgeries. excerpts taken out of context, misi nterpretations. or
worse? The makers of the Sacra Parafltla call ed upon the authority of sight: the
images provided the 'seal of authent icity' that demonstrated the accuracy of the
quou tions.
m
The poiming, writi ng, and book-holding fi gures visually confirm
the text; meir prototypes spnk through them to veri fy their words. The authority
of the text 'is seen and confir med and proclaimed' by the pomaits. and iu lesson is
indero 'made manifest by means of personal eyewitness' that, il was presumably
hoped, would ' impellhe spectators to unhesi taringassem'. Gol d, the sign of divine
II< Woitzm.nn h979a). figs. 5 (john of D.m"""U' himself); 66 (M.,....): 19<'. '95. 198. 101. 107. '09
H2 (ZOpl .... 125. '30 (job): 'JJ. 'H. 255. (Solomon); .68. 171.
' 77-'79 84. 21i<) (S;r.(II): 191. 198 (Ho!lC>.); Jo6 (Micah); Jll (jod) , 319. H' (Zcch .. ,iah); }w- HI.
" D. In. }S4-JS7. JS9 (iRiah); j6' _j6: Uw:miah); In. }79 (wkici): 400. 404. 41 ). 4}6 (M .. uh ...... ):
4!J (Luke); 414 Uohn and 49J (Prtcr); SO}. 50'i-SoS. 1" -1' 40 S. 6-S'9. 111. 117- 1" (I'lIuI), 'iJl
(jam ... ); m (Peen); HO 569. 171- 171, 174. U6. ut-sB" S87 (lIil); 601->' (Ocmonl
of Rome); 611 (Didy"",",); lhe ArNp;toglto): 6}1 (F..,.,alhi.,. of Ant;a<:h): 6411-649.
6j t- 6n. 6S1. 661-667 (G. rgory of Nui , n1u,); 67' (Gregory of Nyua); 698. 70"'704 Uohn
Chry>o. lOm), 7)8--74' (Philo).
m Ibid .. figs . 6 Uohn of D,mucus): ,87. 101 (O.vid): 110 (l'>.uI ).
'" Ibid .. fi gs. 7 (john of Oam, u.): ,86 (D.vid): 481 (john); 6!0 (Gregory of N07j.n .... ); ..,0 .1..,
fig. 1'1 (P.ul hold n open book and loolui 10 the >I of Pari . gr.9i). Authors ,I ... ut<nd doS!
booIu loward ,he manuscript: 'nt: ibid,. figs. 4' !' 4J7-440 (Ma[lh"",); 460. 46). 461-466 (L .. ke);
Uohn); soo. 1' 0 (1':1. .. 1), 541 (Al h ...... in.); 173 (&..;1).
m Moun' Ad ..... .... y .... cod.86. If. 94' . Ilor. 154" Wei,unann ('935). figs. Jo6-}08. In ,he MiLm
Gregory. two of ,he poin, in& po" .. i,. sho .. Gr<:gory. on sw.ding and Dna in a mtdal1ion; ,h.
ttmoindrt:uc otandi n& 014'1"'0"''''" figutco (mO$dy p' OpMU) holdin& inscriMd feroll., and in fo .. r
.dj=nl 10 aboloi marking Ihoi. q ........ word, in ,h. 'UI: Grab.a. ('941")' pl . III" - J.
IV"-J. V.j. VIlJ .J. IX.). XV]] .1. XXV.J. XLVI.1. 1..,.
UI And had ill '0011 in sevomh centu,y: l c;..m."", ('99U). p. 91-94. j/8_100.
m On Iho miall ion po, ... i .... seal. """ Co,dg;on (199'), H-71.
"
Vision and m ~ n i n in ninth-ccmury Byzamillm

Siting the imagery in the century
,

,

,


Fig. f9 PariJ.gr.92). f David ",nting. HOWl. Micah. andjn-nniah
"
VISion and meaning in Byuntium
vur r '''' ..
'\ fl.t ) .. '''.
I \, .,.,,, . oJ 1111./ '1"'11

.1n .'III ','If. 1 \ ' 11I'
1(.I1'''f .. '' " . U Y
'. "'fill I 't," r '" '!>fI'
11111. \"
: " ', ' J ,l flIII/III ., " .
I ' .,., , ..,,,.11. II /" .. .. U
1 \ 0 . .." . /11' "

"'. \, / lIt"" 11""' A
f ' .\' ,,,,,, , '111' II
\. " 1111 r ,,,,, , ., ., \' ..
,.
, '0 " ,,\'1 '
:'/", ('0,, 1'11' : _
,, 1. ";"'" (A" " \ "11',
'I" '.,. ... 1 ( ""
II ,' \11' 11' '/ ""
/
" A" ,"'f "1.11." .. ,.
'u.II' ... "f
F
o'I ""
: 111 '/ " "'''" f(."" 'II'
"'/\flr!JY " .11/'1' ., .\.
'\. -':11 , ,,. ," \ ' \ ."'("
' " I II/II '" , '".VA.
'/, ,,'/11 (" " ' " I '" I' V'
M ( 1111. ( ,' '11.1
11 ' .,,11 II .\ 1111 .,.,,,
,- '
, . '"

/lit '1'1 ,1' 1"1\ '11
/I' II,\,'

,
"'.'
II
'1 ' "1' '"./1 \'/"'IiJ'"
.
<\ .' "r ,' " ""',",
.,,1" ,. ; '1" "'" \ f.'"
U " /III" ' . '1.11""
Aft II . II .' I,.," 1/ 1 fl
/ ' ' I "" "',' \ ' ",,,,,."' ,
','",n " " If' .. " , ' (1
1111. " , " /1'1' " ,,, \II
1 ... " , t " ,'II" \ A' II
, .
,\J" If.ll t '1 " .'If, .... "
' A' ", '1" " '/1/ '( !'I</""

ur
I , " ". ,
111/ " , . " .,., \ '
"II .,.,irt ri,tI; ,',
' N. H , II .1 1(." II"nV
N(t.,." .t''''.'-'' ''i''
r "" (.,t, "".1 tI , IIUu ,
., '
.V
,6
Siting the miniatures: imagery in the ni mh century
light, marked the images as infused with God's approval - as well ru; theconnivancc:
of a wealthy patron.
The portrairs in the Sacra Pamilrla exemplify one form that the symbiotic rela-
tionship between words and images could assume in ninth-cent ury Byzantium: the
lext generated the ponraits; the portrait s validated the tC1<t. The mutual reinforce-
ment word and image could provide wru; expressed by the 787 Council thus: T he
representation of scenes in colour follows the narrative of the gospel, and the narra-
ti ve of the gospel follows the narrative of the painting.'lJO As we have seen, the rela-
tionship played itself out in other ways as well : miniatures authorized
interpretations of tens, and could provide auronomous visual commentaries o n
them. In the Khludov Psalter, for example, an author portrait of David was placed
beside many images, accompanied by a capt ion wherein he explained the relation-
shi p between the psalm verses and their illustration. These images do not authenti-
cate the text-in-itself (the psalms were evidently not in need of this); they verified a
part icular interpretat ion of it .l} \
The symbiotic relationship k tween text and image continued in the Paris
Gregory. Although they lack \he explanatory captions introduced in rhe marginal
psalt ers, we shall sec that many of the Homilies illustrations achieved sufficient
authoriry to function as nearly autonomous exegetical commentaries on the text. Ir
is probably signifi cant that the autonomy of the pictures in Paris.gr.510 extended to
their li beration from thc confines of the text: they arc among the earliest full-page
miniatures in Byzantium.
Nearlr every 'single-instance adjustment' to traditional iconographic formulae
appears in the exegetic or polemic miniatures in the Paris Gregory and the margi nal
psalters. But in the Sacra Hlra/kla and the 'Christ ian Topography', too, images
supplemented the texts in important ways specific to time and place:
1
.
ll
they
changed, in fact, the way onc interpreted and underSTood the tcX[. The conse-
quence of thi s chain of developments is that the texts of the manuscripts we have
considered, as thc Byzantines read them, cannot he fully comprehended without
taking into account the pictllTcs (hat the Byzantines saw at the S<ime time. The
miniatures document a reassessment of [he texts, and reveal an attempt to visualize
how old words could have mcaning in a changed world; they exemplifY how
meaning was created and recreated in ninth-century Byzantium.
In the second half of the ninth century, words ahout art continued to focus o n
issues that had been raised by Iconoclasm. Whether or not various individuals had
personal reasons (0 perpetuale thesc iss ues. acrimony and its progeny do not die
quickly, and Iconoclru;m was anyway symptomati c of a larger cultural realign-
'''' M.n.; XI!1. 169B, Iron . .. 98. HI Corr ipn (J992) .
m FOJ ,n.l.l<o<, s nOf< J7 .bow ond 7.
Vision and meaning in ninlh-c.enlury Byzamium
rnetn. Z In this realignment, words about images were a prime vehicle through
which other ideas and conAi(ts could be aprcssro. T hat arguments about images
ofrc:n masked other issues does nOI mean that the images themselves were non-
esscntial; indeed, it indicates their symbolic signifia-ncr. But the talS in the end
tdl us less about ninth-c:entury Byzantine images than about the thought system in
which they participated. $orne of the ( haracreristic ways in which images commu-
nia-ted through and with this system have been explored in this chapter. How \he
prOCOll playro iuelf out in Paris.gf.pO is what the rest of this book is about.
l)) Dallron ('979); Cam.lOn h991b), p. )5- 41.
!.
2
The Miniatures: internal evidence
Paris.gr510 contains forty-six miniatures (figs. 1- 46). Their contents arc
listed folio by folio, in AppendixA. and by topic in Appendix B.
TYPES OF SCENES SELECT ED FOR ILLUSTRATION
The subject maner included in the miniatures ofParis,gr.5 Io ranges from iconic
portraiture to enensive narrative sequences picturing bi blical, hagiographical, and
historical episodes. Such iconographical diversity recurs in many iIlusrrarcd copi es
of Gregory's sermons; Paris.gr.SIo is distinguished by rhe quantity of its images.
The iconic images:m restricted to the frontispi ece s<:quence (figs. and to
portraits of Gregory and his family (f. 43V; fig. 9), ofGn::gory, Basil, and Gregoryof
Nyssa (f. 7tv; fig. 13), and ofHdena and Paraskcv( (f. 185r; fig. 29). The portraits are
formal , with passiv( figures confronting th( vit:Wer in snict frontality; all, aside
from the emhmned Christ on f. Av (fig. I), stand; most wear clothing indicative of
rank and sums. The interest in surface appearance reRected by this dignified
display was at home in ninth-cent ury Constantinople, and the emphasis on
formality and hierarchy. signifYing poW( { and presrige, recurs in lat er Byzantine
portraiture as well. 1
Narrative images - hiscorical, biographical, hagiographical, and bibl ical -
appear both as singl e episodes and in s<:qucnccs. The biblical scenes ilJustra{( Old
and New Testament episodes in roughly equal meilSUre, 1 with isolated incidents
and extensive s<:quences drawn from both. T he most significant difference between
the two lies in th( way that the narrative is assembled: Old Testamem sequences
tend to be longer and rdativel y s<:lf-contained, while New Testament sequences are
shorter and inclined to be grouped thematically.3
The miniaturists mixed disparate events and gentes with abandon. Iconic por-
'S Appendix B.
59
Vision and m ... ning in nimh-ccmury Byunlium
traits abut biblical scenes ( 71'1; fig. (3) and hagiographic images (f. 43'1; fig. 9); Old
Testament and New Testament sa nes are often joined (fT. 3r, 143'1, 115'1, 164v; figs.
6, 19, 15, 18); hagiographical scenes coexist with episodes both from the Old
Testament (fT. 51V, 67V, 414v; figs. 10, 11, 41) and from the New (ff. 87", 149r; figs. 16,
10); history is injected with hagiography (f. 409'1; fig. 40).
The variety and juxtaposition of scenes in Paris.gr.po demonstrates that rhe idea
of isolating genres was never eJltcruined; !lor were there 'appropriate' combina-
tions. Instead, the over-riding consideration was evidently the meaning of the page
as a whole.
THE CONCEPTUAL RELAT I ONSIIlP BETWEEN TEXT ANO IMAGE
iT is possible to isolate four different ways in which scenes included. in the text mini-
atures relate to their adjacent texts; they illustrate the historical circumstances
under which Gregory delivered the sermon;' they picture the main theme of the
homily as expressed. in its title;\ they depict scenes sele<:ted from among the epi-
srn:ks mentioned in the accompanying text;6 or they parallel the theme(s) of the
sermon exegetically, without relying on an example adduced by Gregory.] The
scope admiTTed by these categories is1arge, and there is little attempt to segregate
them. Only ten miniatures - all illustrating scenes never mentioned by Gregory-
restrict themselves to a single calegory; most blend two or even three ways of relat
ing to the accompanying sermon. Folio 52V (fig. 10), for picttlrcs the hi s-
IOrical circumstances that inspired the accompanying sermon ' On peace' (the
re<:onciliation of the Nazianzus communi[)" pictured in the lowest register on the
right); an episode mentioned in that sermon (Moses re<:eiving the laws, on the left
side of the same register); and an Adam and Eve sequence totall y lacking from
Gregory's text. The only generali1.ation that can be extrapolated. is that the theolog-
ical orations ami personal ruminations (including letters) usually received
ical illustrations. while miniatures accompanying the biographical or historical
sermons tend to picture dC5cribcd in the text. The Homi lies corpus includes
five panegyrics (to Kaisarios, Gorgonia, the elder Gregory, Basi l, and Athanasios),
Foliol43v, pro 67V. 71V. 78., 104'. 149<. 185'; "&,. 9-1" IJ, Ij , 17, 10, 19.
j fu lio. 78,. 104'. IJ9'. 185" JOIf. JJIV. )40'. l67'". l74v, 409v, 4}8v, 452<; fig . '5, ' 7, >7, '9-30,
}3- H, )8- 40, oH. 46.
Folio< J'. JOV. 51". (>"Tv. 7'v. 87'", Il7', '4JV. 149', 174v, 115v, u6v. 1J% 164v, J60', 4"6,,. 4Pr: fig>.
6-7,10--11.13.16.18--20. I}. I)- IS. )7. 41, 46.
1 Folio. }2V, 4)V. )2V, 69'" 7)'. 87'". 1371. 14)V.165'. '70r, '74v, '96v, lIS", n6,, 164V, IS)r, ;IOV. ;16r,
H7v. 355'. ;60 409v. "'''V. 4lIY, 438v, 440.; figs. 8-10, n, '4, 16, ,8- 19. 11_16. 28--19. )1-)1. 3S- }7.
40--41. "3- H
Folio< 3'''. 69". 7\'. 165" '70" 196v. }IO", )!6r, 35)r, 440'. II i. po$<iblc that If. 347" and 4Jj" .houJd
bt .dded to Ihi, group; Ihe Ploblem. with these: tWo P"SC' will be con,id .. "d ble. in ,hi.

;nlernal evidence
four praises (to Mamas, Cyprian, the Makkabees, and Heron), one vita (of
Gregory), and fWO sermons against Julian the Apostat e, The sermons dedicated to
Athanasios and Mamas are not illustrated, and the miniatures now accompanying
the funeral oration to Kaisarios and 'On Heron' are both on inserted leaves and
may be misplaced, Of the remaining eight, only the miniarure accompanying the
funeral oration to Gregory's father pictures anything bur episodes drawn from the
subjo:-ct's life,
The significant conceptual relationship between image and text, however. is
dialectic: how each miniature worked with its accompanying text, and what the
combined message of word and image might say to a circumscribed ninth-century
audience, This can ncver be a simple relationship. When an image introduces a
text, it predisposes the viewer/reader TO think in certain ways about the words that
follow, and that same audi ence sc:c:s an image embedded in a text. Effons 10 decode
the image--{ex{-audience messages are obviously necc:S5ary when there is no overt
conno:-ction between the sermon and its illustrati on, but even in those cases where
Gregory specifically mentions an episode that appears in the accompanying mini-
ature, we cannot simply presume that modest pictorialization was the goal.
Gregory's references to the scenes pictured range from the rare explicit description
(as for the scenes ofBa.l il's life on f. lo4r; fi g. 17) to allusion (as when 'all must come
inw the net of God, and be caught by the words of the fi shers' receives the calling of
James, John, Peter and Andrew as an illust ration on f. 87V: fig, 16). Often one
episode of seemingl y minor importance to Gregory's narrati ve receives illustration
while other more central themes are ignored. The selection of episodes to picture
was not, however, whimsical, but seems rather to have been carefully thought
through, Ju illustrated by the examples that follow, the episodes selo:-cted were nor-
mally chosen to make a particular point , and they were frequently combined with
scenes not mentioned by Gregory at all in order 10 focus the visual commentary
even more sharply.
T he inscri ptions appl ied to individual miniatures do litde to expl icate the sense
of the page as a but we are often guided to this point by markings in the text
itself. At; noted in the Introduction, Paris,gr, 51o is the first preserved Byzantine
book to incorporate painted initial s, and it retains over 1600 of lhem (fig, 47).10
While rhe quantity of decorated letters - nearly 90% of which are gilded - was pre-
sumably meant to underscore the luxurious quali ry of the manu.scripl, lhe panicu-
lar circumstances lhat shaped the manuscript also made enlarged initials an asset in
another way. Because the mini atures of the Paris Gregoryoften serve as visual com-
mentari es on the sermons rather than as literal illustrations of their content, the
connection between a picture and its text is sometimes not obvious, and at times a
short digression -or even a single phrase - determines the subject of the miniature.
r."" """"p,ioM ""i ll "" no .. d, <tt furr h Bmb.kcr (J996b),
,. (1991); <tt al", Appendix C.
6,
Visioll and mcallillg in lIillthcclltury By:z.:m!ium
These cfUciallilles are signalled, almost without exception, throughout Paris.gr.Fo
ei ther by marginal quotalion marks (ob%i) or, more commonly, by enlarged ini-
tials. Thirty-five of rhe text ill ustrations certainly their original location; of
these, three are exeget ical images with no direci connection to any specific passage
in the accompanying homily, and one has lost its sermon. A relevant text passage
could be marked only for the remaining thirty-one illustrations, and of these
twenty-seven include annotation in thei t accompanying text to aid the reader in
interpreting the picture. II Two rely exclusively on oboloj to mark the crucial lines,
two use both oboloi and ini tials, and the remaining twenty-three: depend entirely
on enlarged letters to signal the vi tal passage. Some of the painted initials in the
Paris Homilies thus have a speci fi c function that is, to my knowledge, unique: they
play the role of ummata, tying the miniatute to the text it interptets. It should
nonethel ess be noted that the ummald initial s conserve an older scri bal practice of
using marginal signs as a of index. Further, not all initials serve as /t mmali/: the
distr ibution is often governed by the layout and content of the Homilies rext. !!
The interaction between the mini atures and the sermons is straightforward in
those casCli where the illustrates the circumstances under which Gregory
delivered the sermon, or die main theme of rhe homily as expressed in its
tide: f. 7Sr (fig. IS), for exampl e, prefaces Gregory's sermon on a hailstorm and
shows him delivering it below a representation of Ihe s\Orm; f. 30Ir (fig. 30) intro-
duces ' On Pentecost' , and duly depicrs the biblical event. Miniat ures that present
scenes selected from among the many more episodes mentioned by in the
text of the sermon invol ved either an dement of chancc or of choke: I shall argue
for the latter, and u.se f. 137r to provide a paradigmatic exampl e of how such selec-
tion could be used 10 provide a visual commentary on the text . Di scussion of the
fourth type of interaction, quasi-independent exegesis, follows.
&kction as commmtdry
Folio 137r (IS)1.I (fig. 18)
Folio Il7r shows scenes from the infancy of Christ : the adoration of the Magi
the first register with the Magi 's dream; the massacre of the innocents pairs with the
flight ofE1i1.abeth and the martyrdom of Zacharias in the second: and the presenta-
tion in the templ e spreads across the whole of rhe lowesl register.
IO
The miniature
introduces Gregory's nineteenth homi ly, ' To Jul ian the tax the text of
II A11 .. e nmed in the diocu"ion. of individual mini.turn.
"The numhcr


Ii!
following the fo lio number indicate> it> placement: f. tpt i. the
I .. it i. nowprncrved.
Morey (1919), 91; Shorr (1946), '7- 31; D., Nersc"ian (r961),
6,
The miniacur",: internal
whi ch begins on the verso of the miniature and runs to ( 143r. 15 The pinure is thus
assuredly in its imended location, and Gregory mentions two of the illustrated
scenes - the adoration of the Magi and {he massacre of the innocenrs - in his
twelfth paragtaph. Both passages were signalled by the scribe: the only marginal
obowii n the homily mark the citation from Luke with which Gregory begins hi s
brief account of Christ's infancy, whil e a gold initial introduces the passage on the
massacre of the innocents later in the paragraph. The remaining scenes on the page,
however, are not mentioned, and even the adoration and {he massacre were selected
because they complement the most important theme of the homily, not because:
Gregory devoted much time to {hem in his sermon.
16
'To Julian the tax collector' concentrates on sacrifice and offering. Gregory
counsels his audience to ' render unto Caesar those things which are Caesar's'
(Matthew 22:21),17 but admonishes Julian: 'you who are the regist rar of our taxes
.. . enrol my people in justice, in sanniry and benevolmce, taking into considera-
tion nothing but the faCt that our Lord was born during such an enrolJnent'.ls
Gregory then briefly relates theevents surrounding the birth of Christ, endingwith
the massacre of the innocems; he notes that most p<:ople cannot duplicate the
cosdygifts presented to Christ by the Magi, but argues that offeri ngs from the spiri t
are more significant than material ones.
19
The theme of offering reassens itself in
references to the parable of the widow's mite and in lists of appropriate gifts to God
paraphrased from Exodus 2j and 3j. 10
From among the infancy episodes mentioned by Gregory, the mini atur ist pic-
tured the two most relevant to the theme of offering and sacrifice: the adoration of
the Magi,ll and the 'sacri ficial' massacre of the innocems.l1 The Magi's dream and
rhe Elizabeth and Zacharias episodes continue the two narratives; more impor-
tandy, the slaying of Zacharias reinforced the theme of sacrifice, and linked the
middle with the lowest register: foll owing the Protevangelion (which identifies
Simeon, the priest at the presentation, as Zacharias' successo(
13
), che conjoint
images present successive priests of the (em pIe at Jerusalem.
The fits well wich the scheme of offering and sacrifice expressed in
the first twO registers. I( rcpresen!S {he ritual offering of a firs(born male child to
1\ PC 3pO-H-!064: on ,he G.II . y (1943). , .8.
" ror ,hi. "',",on, nei,h.r ,he Milan Grcgury nor the liturgical edi,ion. of ,h. Hornili include<
any of ,h. "'." .. picluted Oil f. IJ7" d. G,..bar ('94Ja). pl . XXI_XXII: Galna,i, (1969). 42-46.
" PC 3f"Oj6A9-10. " Ibid . ,,..n . Galava';' (,,6,). 43.
" lbid.,lOj7AIO .. -C,. >0 Ibid., 10j.B,. ,,_20.
" For a cl .. ,ic ""p, ... ion .... John Chry ...... lOtn' ighlh homily 'On Matthew': PG 17:81-84.
" PhOlios. for ",,",mplc. omph ;ud the .a.:. ifieial role of ,he 'n ...... crcd child",n (Amphiflllhi4.
qu .. , ion >.6, PG 10'''9'- 197; cd. We .... i" k 4 {' 9861, 9"-99) while Throdo", ofMop. uestia compared
,he m ..... er. with ,heerucihion (Reu .. {1957]. 99).
" P'Olcvangc!ion 14: Honnede and Sch n",mckhe' I (1963). 388.
6,
Vision and in nimh-umury Byumium
God, and the sacrifice of cwo turtledoves (prominently held by Joseph). The
episode consummates the idea of offering and sacrifice inherent in the upper tWO
registers and supplements the underlying theme of the homily, Visual parallels with
the rest of the page confirm mat the presentation was meant to continue the ideas
expressed above it, Not only do the high priests and the temple of Jerusalem unite
[he lower two registers, but ,he presentation is also connected wit h the adoration at
the top of the page. Joseph's stance is the same in both scenes, and he, Mary, and
Christ line up in the third register direcrly beneath their portrayals in the first:
though Mary sits with Christ in her lap during the adoration, the positions of the
figures arc otherwise virtualJy identical, and Christ turns to gesture toward the
Magi as hc reaches toward Simeon in the presentation. These composi tional links
parallel commentaries, such as one written by Photios, that related
the offerings of the Magi to sacrifices in the temple.
14
Liturgical associations may
also be relevant. The presentation was celebrated on 2 February, with supple-
mentary readings from Hebrews 7:7- 17 that include a passage which dovetails with
thc sense of the homily: 'Here tithes are received by mortal men; there, by one of
whom it is testified that he lives.'2l
Folio I37r illustrates how scenes were selected from among those mentioned by
Gregory, and then combi ned with other scenes to ptovide a unified visual com-
mentary that supplemented the main meme of the accompanying sermon. Details
widlin the miniature itsel f add densiry to the meaning of the page, and communi-
cate a different series of mes.s.ages as well .
As in virtually all Byzantine depictions of the adoration of the Magi (Matthew
2: 1- 11), f. Ij7r shows the enthroned Mary holding the Christ Child.
16
The exotic
' Persian' dress of Magi conforms with srandard practice, while the
configuration of the uio, with {he first Magus half kne.:ling and the other cwo
looking at each other, recurs in an eighth-century fresco in Rome (Sta Maria
Antiqua; lig. 61), and in an early tenth.century wall painting in Cappaclocia (Old
Tokalt).27 Sta Maria Antiqua also anticipated the mOSt unusual elements of the
composition, the ind us ion of Joseph and the half-figure of the angel hovering
above Christ;18 both also appear in (cnth-century Cappadocian frescoes that are
,. Ampbilo,hw. que5!ion J06: 1'(," 101:1I48- IJ 51: N . Wc.rerink 6 ['987], 104-10j.
I) M.w,. I (l96j), U<>-l2j.
" For 1W0 of ,he !":lre e. c.ption., s W.it:r.rnann (19j,h), W-61, fig>. 6, 10; and Florence.
Llu,.plut.6.2" f. 6v (Vel man. [19711. fig. 12). In Pari . gr.jlO, , he Ke n. i.l><oni""Uy titled in rcd on ,h.
f,arn. >i "1"'''''.1",)",,, 7"'. /lay"'" ('the wo"hip of the Magi').
" G'lineiscn ([911). fig. 8,. 1'1. XXI; Ep!fcin ([986), fi g. 20: s al.., ,he rnargin.1 p",he" London,
BL Add.to. 73t, f. 1 [jV (Dufrcnne [1966). 1'1. jt) and London, BL Add.19JP, f. 92< (Dcr Nene>,i.n
(1970J. fig. Ijo).
n On ,he . ngcl . 'n[icip:"ed in John Chr)'SOstorn', ""'enlh homily on Matthew (PC 17:78). -'
B", gli (198 j/86).
6,
evidcnc.
Fig. 61 Romr. Sill Moria Antiq"o: Magi
considered to be reliable witnesses ro slightly earlier Co nstantinopolitan tastes.2'.i
As Charles Rufus Morey observed long ago, the Gregory adoration virtually dupli-
cates thai al Sta Maria Anti(IUa;J(I irs painter was evidently familiar with a tradition
current in eighth-century Rome which, as the Cappadocian wall paintings
confirm, remained fami liar in the By7.amine capital in the last quarter of the ninth
century. Most important here, such dose analogues suggests that the visual paral-
lels drawn bCfWttn the adoration and the preuntation on f. 137r were not achieved
through iconographic manipulation of the adoration; instead. modificati ons were
imposed on Ihe composition of the prc:sentation in order to unify the page.
Unlike the familiar adoration, the dream of Ihe Magi (i dentified as such by Ihe
legend 0 XPHMATICMOCTON MArON) makes its first preserved Byzantine
1'l jO.ICph rccun at Old Tokail and ... ,h. h.lf-.ngeL ar Tobh (.lCcond qum.r of ,h. " nr h
c<nt u,y): Ep.<tein ('986). fig . W. 64; R .. t1. II (1967). fig. 169. Vel;n ('9S0). 8S-88 .nd BU",,&li
(,98S186). 42- 47 catalogue eumpla of th doration that i ndude th. (nor molly (ulll.ng,h) .ngcl.
On the f",m.l.nd rdation,hip bc,wn ,h. paiming.> in Old Tokah and sligh<iy earl i ..
ptoduCts (rom Constantinople. Epmin (986). 'S-19; on ,h am. relation'hip b.<ween New Tobit
and c.,nstantinoplc. ibid .. }9- 44 (though Thi . rry [19891. e,p. ,ugg<'" in>lead linb with
Grotgia). "" M<>rcy 9j
6,
Vision:md illll illrh-untury ByT3mium
011 f. 137r. Magi uncovered and in a vertical pile on a hillock,
as angel strides roward its warning. The bibl ical description of
the episode (Matthew 2:12) makes no mmtion of an angel messenger; though this
is a standard of apocryphal such as the Protcvangdion.
31
the Homilies
version of the dream hru; litde in common with eithncontemporary western rendi-
tions or the few middle B)l1.anti ne images that survive.'l Instead, the dominant
figures of the angel and the central Magus dupli cate a formula associated with a
different dream, that of Joseph. Joseph's dream immediately follows the adoration
and dream of the Magi in Matthew's accoum (2: 1}) ; illustrated gospelbaoks, all
laI er in date than Paris.gr.slO, insert it between the adoration and the massacre of
the innocents which follows on the next register off. 137r. JJ It is possible that the
Homili es miniaturist knew an infancy that anticipated those
from later periods, with an image of Joseph's dream precisely where the dream of
the Magi appears on f. 137r, and adapted the Magi's dream from a representation of
Joseph's.
The middle register combines the massacre of the innocents (H BPE<l>OK-
TONI[A]) with Elizabeth and the infant John the Baptist hiding in the mountain,
and culminates with Ihe martytdom of Zacharias. For the massacre (Matthew
2: 16), Herod (HP06.HC) sits, Ranked by two guards, and directs a single
Though in its general morphology this group remains fairly consim:nt in
B)l1.anti um, earlier examples (fig. 62) anticipate Herod's gesture, and incl ude barh
attmdant guards, whi le show but a singl e guard, or none at alJ. YlThe
response of the mothers - who do not appear on f. 137r - and the manner of dis-
patching the children varies considerably. 3s In Paris.gr.slO, the sol dier raises a
sword with one arm, and - unusually but dramarically- suspends a child by its hair
with the other.
36
The gospels omit the middle episode of the second register, but [he
}I P' otevangdion Henn""kc and Schn .. mdch" [. 386.
" Sc:c Yc,in (1<)50), 'OO-'Oj. [n ,he WCSt, the Magi no,m. lly huddle together und" a .i ng[e blanket
in large bcd: Schi ller [ ('97')' 99-'00; bu, compare .he Men ivory of Ca. 8so diucd by Oc.hman
('989).55, fig. 29. The middle ByT3ntinc go<p"lbooks Florence, Laur.plm.6.'3 and Paru.g'.74 om;,
the episode, no. doc. i, 'pp"ar in ,he Magi quen"" in Y.,.g,.IIS6. Mount A,!!",. fuphigmcnou '4
and Jerus.o.lctn. raphou '4 follow ,he Pro,evangdion .CCilun, .how ,he Magi awake when ,he
an{:,l . pp""'" ..,., Lafon, aine-Dosogne ('915) . 6-"7; Lafontaine-Dosogne ('987a) , U'-U4.
Sec e.g. Flo,""na. Lau . plm.6.1j. If. 6v- 7r: Vdman. ('97' )' figs. 11-'4; and, for a simil., dream
im:1;e, the cuhed .. of Maximi.nn" Voll>:lch and Hi.me. (' 96,). fig. 2JO.
E.g. the R>bbul. Go,p"ls of j86, a fifth-antury ivory in Milan, and ,he sixth- o ...... en,h-century
fr=oa .. 0.,;, Abu Hinnu (fig. 6.): Fln.en"". Laur.plut. I.16. f. 4V (Cccchdli tI .. I. ['919]);
('976). no. "9: Cl<'d.t, ('902). 9; Grunei .. n ('9<1). pI. XXIX. For btcr Millet (,9t6),
'j8-16J. l! Sec S,.vropoulon-M.kri ('990). "'p. 366-J69 .
.. The mmif .ceu", in a pos,-Byantine go.pclbook and, at !Xi, Abu Hinni" Dcr
Ner .. ssian (19261'7), fig. 17; Grilnci .. n ('9n), pI. XXIX; LafonraineDosognc ('97S), fig. 57. The
hair-grasping iuelfi. common: e.g. Volb"h (,976), no.,86; By"""" ('991), h...Jl3; Vel ma". (' 97')' fi g.
'4; Omont (n.d.), pI. 7; l.afomainc-Dosogne (197j), fi g. 600; ('99""), fi g.).
66
miniatures, internal evidence
Fig_ 6] [kir Abu Hi""i.: massllt" 4 rlu i""ocmrs. lind joh" Baptist hid;"g ill
mO""I4;". Zuharias
Protevangcl ion descri bes the flight of Elizabeth with John the Baptist in detai!. 3? As
is onen the case with apocryphal material. images of Elizabeth's flight appear with
some frequency in pre-iconoclast and Palaiologan art, but more rarely during the
middle Byzamine period proper, e:tcept in Cappadocia.
JB
Two major variants
appear: Elizabeth fl ees,39 or, as on f. 137r, she hides in the mountain. The latter
episode differs in the number (if any) and weaponry of the soldiers pursuing
Elizabeth, in Elizabeth's position (standing or seated), and in whet her she is fully
exposed or half hidden in rhe mountain. Folio 137r shows a singl e soldi er bearing a
lance searching fo r Elizabcth who sirs, half obscured by a rocky outcrop, safely
within the mountain. "
o
The closest comparison appears in the si:tth- or seventh-
century frescoes al Deir Abu Hinnis (fig. 62) ; a si:trh-cenrury p)'ll'is now in the
Louvre is also similar, but shows the full figure of Eliza beth.i I
Parallels bctween f. 137r and Deir Abu Hinnis continue in the fina l scene of the
middle register, the martyrdom of Zacharias , which, li ke Ihe flight of Elizabeth. is
missing from rhe gospels but appears in the Protevangelion.
42
Unl ike rhe tenth-
century Cappadocian wall paintings at Old Tokab and which show the
discussion between Zacharias and Herod's henchmen, or rhe Menologion of Basil
" Pro'cv.ngdion 11: . nd Schnee melcher I (1963). 387.
'" For. 'UI">""Y of ,he monuments, >e<: Ufon .. in._Dosogn. (' 975), 1)0-13' .
'" E.g. GlOb., (' 918). pI. LVI; Moun, A,ho E.phigmenou ' 4, f. 4' OV: PeI.bnid .. t (197). fig.
392. See "I.., ,he Sin.i i<:o n r<produced by Lafontoine Dooogne (1971) . fig. 10 .
.. BOIh FJi'i.Obt, h .nd John "" identified by inscrip,ion" !'MORET . nd 0 n pO<l.[PIOMOC
(,he foreru",,) .
.. (1901). 9: on ,h< pyxi . Volba<:h (1976). no. ,86. u ter eumpl .. such ... the Rockefelkr-
MeCormick New Tes,amen' ,how . half_figure "fEli, ... bt,h. but no soldier: Chic.go, Univ.Lib.96j. f.
9" (Willoughby [1 93']). ., Pro'n.ngd ion 13' Henncckc .nd Schncemckhe. I ('96j), )87.
6,
Vision in ninth-century ByZ<I.ntium
II (ca. 1000), which ponrays a convenrional marryrdom of the of Isaac'
Paris.gr.Slo and Deir Abu Hinnis picture a lunging toward a kneeling
Zacharias (ZAXAPIAC) stat ioned before an elaborate architectural backdrop in
the forecoun of the temple.
H
A simplified version of this same formula recurs in
the middle Bruntine tet raevangel ion in Paris, where Zacharias' martyrdom is used
to illustrate one of Christ's parables.""
Relatively close iconographic parallels with a single monument are unusual for
the narrative sequences in Paris.gr.51o; and the ties between the SIXond register off.
137r and Deir Abu Hinnis, coupled with the adoration's parallel at Sta Maria
Andqua, may suggest that the narrative of Christ's infancy spread our over the first
and s<:cond registers followed a single - and relatively old - source, heavily depen-
dent on the apocryphal Protl'V:lngelion. If so, however, rhe later witnesses to iso-
lated scenes that we have seen in Cappadocia and the Paris tetraevangelion indicate
that any sequence drawn on by the Homilies miniaturist continued to have cur-
rency well into rhe middle Byzantine period. The coherence of the upper twO regis-
ters is, in any event, underscored by the manipulation of the composition of the
lowest register to express visually the thematic and exegetic relationships among all
of the scenes on the page.
The bonom register devoles itself to a single theme, the presentation in the
temple (Luke 2:25-35). The composition is asymmetrical : in order to line up Joseph
(lOCH!!, Mary and Jesus beneath their portrayals in the adoration of the first reg-
ister, the anion in the lowest tier shifts to the left . Simeon (CYMEON) thus stands
dead centre - beneath the Magi of the adoration - and an ornate altar set before a
structure evidently meant to represent the temple occupies most of the right side,
beneath Zacharias' temple. The bottom register has been arranged to complement
the scenes above it: the holy family redupl icates itself, Simeon's outstretched arms
parallel those of the Magi, and the temple - outside and inside - lines up on the
right.
The presentation does not M:Cffi to have been celebrated as a great feast by the
orthodox church unti l the eighth cemury, and representations of it before that time
arc rare."s Dorothy Shorr argued that the elevation of the presentation resulted in a
shift of attention from the narrative account of the priest Simeon recognizing the
Messiah with greal joy (the hypopanu- which is in fact the legend attached to this
scene on f. 137r: H YTl O n ANTH) to a morc hieratic and symmetrical image focus-
'J Ep<lcin (1986).1i)\. II (1967), lig. J<>7; Va' .gr.161j. p. 14 (Mmo/8gio (1907)) ; Griin.iscn
(1921), pis. XXIX_XXX. ror an unformna[dy f!":Igmen,ary .inh-c.mury Co"".minopoliran
scnm i"", L>.funuinc_Oos<>gne (1975), 2JI.lig. 59. .. Puis.gr. 7<1. f. 46" Omon, (n.d.). pI. J8.
' j 11 islil"lt in . Ii" drawn up by J"hn ufEuoo..a: ('916). 10. 1J. Thelifth-ctnmry
., S .. M"i. in Rome i. ", bt" I.ng<'miilly prescnwions (Karpp {19661. pl.
Tj, for diff .... :", i"'"'p, .... io". Spain [1979)); ,h. f!":Igm.n,ary .. v.",h-ctntury mo .. ic ., rhe
Kalcnde rh."e Comii in Co""aminople, how"" ... generally .micip"" Ihe im. ge on f. Il7" Striker
. nd Dog.n Kub.n ('97r), 1\1- 1\8, lig. "; Dagon l!l-I'4, pI. '4S.
68
imern"J
ing on the presentation proper. A group of enamel reliquary crosses demonstratcs
the existence of the symmctrical 'l iturgical' formula, with the figures grouped
around an altar, by the ninth century, and it remained the most common way of
depicting thc prcscntation thcreafter in Byzantium.
46
Folio f. 137r cannot, howcvet,
be slotted into this dcvelopment as an example of 'archaic' retention of an earlier
formula, for apart from the skewed composition the presentation in Paris.gr.SIo
corresponds clo$Cly with a group of roughly contemporary works. The ninth-
century Mmvili tr iptych, the Khludov Psalter. and two CappadO(:ian churches of
ca. 900 (Kili"lar and Goreme 6a) are striki ngly similar: the Psalter even duplicates
the somewhat lopsided disposition of the ciborium over Simeon's altar. Of these,
all but the Kili"lar fresco join with the Homili es in portraying Jesus nearly in
Simeon's outstrerched arms. a motif (hat nnds parallels in contemporary $Crrnons
and, according to Shorr, reveals the first tentative impact of the new liturgical
importance of the presentation."'s It is onl y the position of the altar that dis-
tinguishcs Paris.gr.5iO from thcse examples: the figurcs are pl'actically intcrchangc-
able. While other ninth-ccnruryversions emphasize the central altar in accord with
new liturgical requirements, Paris.gqIO balances the presentation against the
adoration of the Magi and martyrdom of Zacharias to consolidate the visual
themcs of offering and sacrifice.
Neither thematic nor compositional coherence, however, required the dream of
the Magi, rhe flight of Elizabeth, or the stress on the temple of Jerusalem and its
high priests. The dream and the flighr may simply instance narratives continued
despite the faCt that the additional scene no longer sustained the point made by the
first - a type of expansion familiar in the ninth century from the Sarra ParalbY9 _
but Elizabeth's flight, and the emphasis on the temple and its priest, also introduce
twO currents that run throughout the manuscript. Thcse stcm from, and rdue to,
the audience rather than playing against or with the text, and they shift the ways
selection may m: used a.\ commentaty to a different level.
Elizam:lh provides the female component of the middle register, a balance to
Mary in the top and bottom tiers. Her inclusion fits a broad tendency in
Paris.gr.po to counTerpose images of women and men; 5(l Elizabeth's portrayal with
the infant John the Baptist also conforms with a general on family rcla"
.. I(,,,,,,,ni. (19g6), IN_IO). lig>. 2\ 16 . I'm i .. e, eumple. see Mount Atho . Iviron j:
l'ddo.nidcs l't III I I ('97f). fig. 18. Furthe, in Town.ley ('974), l J..-)O. For .n early .. ymme,
ricol composition .ec e.g. the (now 10>') f'esco from St. Mat;. Anti,!u. (70j-707). Ann. joined
Joseph behind the Virgin (Crlincisen [19t d. pI. ICLXVII. >); for tWO rare la,er one . the Bri"ol Psal'er
(umduh. BL f 163v: Duf",nnc ['966]. pl. 60) and . ll cic>'e",h-.:ch'ury ivory pl.quc in 5,
I'c:,e .. burg (Goldschmidt .nd Wei,zm.nn II [t9)01. no. \9). both of which omi, Jo ... ph alld Ann .
" I(,m.oni. (,986) . fig. p b; Mo.scow, Hi".Mus.II9. f. t6Jv ['9771); ksd. II (1967). fiS'.
j8. 59, 97. .. Shore Ott '00 Maguire (1980/81) . 'p. 164- 167. .. See ch.p,., ,.
\0 Concomi!1n!ly. nlcn .nd women are rarely prrsenrod in opposition, which rn.y be one re.ron
why ,he mothe .. have be. n omilled from ,he m>suClc.
Vision and mraning in nimh-amury Byzantium
tionships: mothers and children (especially sons, as Mary and Jesus in lhe envelop-
ing registers) or husbands and wives. themes will be considered in chapter 9,
but I Rag the patteTllnow to indicate that the significance ofEli7..abeth's presence on
f. l}7r probably goes beyond a desire 10 sustain coherent narrative blocks.
Folio 137r also introduces the apparent impact of the patriarch Photios, who
stressed the sacrificial role of the massacred infants and linked the offerings of the
Magi with sacrifices in the temple in a chain of connections that unites all three reg-
isters.
51
More idiosyncratically, Photios was interested in the high priesthood and
Ihe temple in Jerusalem. As Michael Maas demonstrated, his glosses of Josephus in
the ignored huge chunks of the texts in question and instead concen-
trated on Hcrod, the pricsls, and the Thc priCSIS and thc tcmplc are, of
course, exactly whal receive exceptional emphasis on f. In r, and it is this curious
mess that suggests the guiding hand ofPhotios.
Photios was interested in these particular sections of Josephus for a specific
purpose. In his summaries, Photios not only isolated the sections pertaining 10
Herod, the high priests and the temple; he also rearrangcd thc material he selccted
in order to rnah it corroborate his argument that secular amhorities should not
intervene in religious affai rs." Photios was, in othcr wotds, using (or manipulat-
ing) older texts to buttress his own concerns. This pattern is not unusual in Phodos'
indccd. he was simply exaggerating a familiar characteristic of the
eighth and ninth ccncuries.
55
BUI his interests here go beyond Ihe use of past
authotities to justify his own conclusions, for he reveals an almost obsessive fascina-
tion with the temple itself. As Maas put it, 'he lays on with a trowel technical
speci fi cs about its rebuilding. He loves numbers and precise measuremcnr, .
[Phorios] includes lengthy descriptions not essential to the development of his
theme but nonetheless revealing of his own predilection for detail.'x; While the
focus on Zacharias and Simeon could be interpreted as underscoring Photios'
interests in the status of religious authority, [he emphasis on the templc - which,
along with the alignment of the holy family in the first and third registers, resulted
in acomposition of thc prCSCntarion rhat is withom parallel- is both more unusual
and more overtly reRective of the personal interests of the patriarch.
s7
The writings of Photios have strong bonds with the miniatures of Paris.gr.po;
the nacure of this relarionship will be cofl.lidered in chapter 5. Here, one additional
point dcscrves mention. In his synopses of Josephus, Phodos was not only selective
of the material he summarized, he also added historical details. These induded, for
jL s." 22 and 14 .bove. " Mus ('990) . ,8'- '94. On the Bibli.,htluStt ch.p'" 5.
" M ... (t99O) . ,8, -187. "Iso Aloxandd. reported by ('9&6). '''9 nol< '5'
and ch,p'" 5. s.-. .. g . ,h. di",us.;on off. }55r in ch.p'" 5. " s.c. ch.p.er r.
,,; Mu. (1990). 188.
" "p ... m.y bt drown with PhOlio' in".",. in Chri,,', .omb. di<cus...J in connection wi,h f.
181' ;neh'r' 5.
miniatu, .. : internal evidence
example, the fact (omitted by Josephus) that Herod authorized the massacre of the
innocents.
58
We shall fi nd precisely this SOrt of almost oflhand supplementary
detai l rampant, in visual form, in the miniatures of Paris,gr,5Io,
imagt as
Exegesis literally means 'leading OUt' , Practically, it means interpretation, and
usually the interpretation of biblical or patristic texts. In the miniatures of
Paris,gr,po, image as exegesis - visual interpretation - worb in a number of ways,
Most basicall y, the miniatures interpret the past: like virtually all other Byzantine
images, those in the Homilies creale a visual memory of what pas! events looked
like, Some of the miniatures not only construct or reconstruct the past , but envi-
sion links between [he biblical past and [he ninth-century present, Agai n,
Par is,gr,'jlo is nor alone in this: page in the Khludov Psalter that juxtaposes
Christ's torments on the cross with the defacement of his image by iconodasts (fig,
57), Also like the Khludov Psalter, the Homil ies miniatures interpret the text that
they accompany. AI; we have just seen, the intnprerntion may be conveyed by the
select ion of particuJar passages for illustration, It may also, however, be conveyed
by scenes not mentioned in the text at al l. While all biblical images can be consid-
ered visual exegesis in the sense that they re-interpret a written narrative, and all
miniatures sanction a parti cular reading of their accompanying text, this group
presents image asexegesis. The following miniatures exemplify the process.
Folio }6or (J7) (fig. 37)
The miniatures that parallel the theme(s) of the sermon without rdying on the text
for specific examples are often among the most difficult 10 understand, and can pose
methodological problems for modern scholars. Sometimes, however, the visual
analogy is reasonably dear, and seems 10 have been based on allusions made by
Gregory himself in the accompanying sermon: such is the case wi th f.
Excision of the prefatory headpi ece to Gregory's third oration 'On peace' on its verso
has muti lated the upper register, which retains portions of the construction of the
tower ofBabel;60 the lower register portrays Noah's ark. Though Gregory mentions
neither episode and the Milan Homilies includes a different sequence of images,
all of which stem directly from the texr6
1
the beginning of 'On peace' I [J on its
verso demonstrates that the minialUrewas intended to introduce this sermon. (.l
sa Stt M .... (1990), c.p. 188. \. Omon, (19'9). 28. pI. L1; Ocr Nem:<si .. n (196.),
'" Bottli .. (1885), 8;1, misiden,ified ,hi. <une .. Noah building the ark, an error ,h., ha, betn
rectified in mOlt. bu, nOt all, $u!,s.,qucnt li ...... 'urc.
" Grab .. , (J9W' ), pis. XUX.>-3, L,I, L1.4. L1L, .
., SC >70. The .. ,man i. somer im incorrect ly referred ' 0 .. ,he second o .... ,ion 'On
P'''''''. following an erro, in ,he MaUl;" edi,ion replimed by Mignc in PG'I.
7'
Vi,ion and in Byzantium
The loss of Ihe headpiece means Ihal we do not know the precise tide given to
Gregory's oration by the ninth-century scribe; in several medieval copies, it is aptly
subtitled 'to the lovers of discord',6J The sermon contains a lament o,-er the per-
ilous condition of Christianity around lhe year 380, which Gregory blames on
malice and trinitarian heresies.&1 He lists the disasters ensuing from God's dis-
pleasure at this stale - 'countries devastated, myriads of fJllen vicdms, the earth
covered with blood and ruins, people speaking in barbarous tongues' - and
wonders 'Whar person of good sense would not lament the present situation?'M
But, he continues, even sensible Christians now &n [he fires of discord, and he
exhorts his li steners to strive for unity and peace, and to avoid that refuge of the
enemies of orthodoxy, superficiallanguage.
66
Gregory reminds his audience that
[hough heresy rends the church, there is only one true battle, the struggle against
evil, and thai Christ he<:ame a human man in order to die a human death, be resur-
rected, and thus save them alL67
Gregory's complaints about the misuse of language, and especi ally his reference
to ' peopl e speaking in barbarous tongud, evidently suggested the image of the
tower of Babel (Genesis 11;1--9). Beyond this, Sirarpic Ocr Nersessian argued that
the image provided a visual parallel to Gregory's accountof the destruction of unicy
within lhe church;68 in othcr sermons copied in Paris.gt.5lO, the tower of Babel
appears as a biblical analogue to fourth-century heresies, in contrast with the
onhodox trinitarian view in which 'all speak the same language' Der Nersessian
observed that similar oppositions appear throughout Byzantine exegesis and in the
liturgy for Pentecost, where the bestowal of tongues on the apostles thaI enabl ed
them to unifY the world through Christ is set against the- confusion of tongue-s
imposed by God to disperse the gentiles. The tower of Babel acts as a visual
encapsulation of the perils of ecclesiastical discord and particularly, in Gregory's
wrirings, of discord brought about by trinitarian heresies - lhe subject of the
orallon.
At; Oer Nersessian noted, the pendant scene of Noah's ark complements the
tower of Babel; while the latter symbolized discord, Noah's ark represented the
concord of the unified church.71l Most Byzantine commemarors saw Noah's ark as a
prefiguration ofbaptism,7] bur in the nimh century Phorios appropriated a less
common reading more relevant to f. 360r. In ' On the Annunciation', Phorios
addrcs.sed Mary as the ' living ark of God, in which the second Noah, having come
to dwell, took in and saved well nigh our emire human race, that had been sub-
SC >70. >06-.08. .. [bid .. 222. ' j lbid .. 111- 22.4, "'Ihid., 1)0, 'H. 141 .
, Ibid., >46-' 48. '50. .. .. ian (196,), '09-210. .. sc '70, 1.86 .nd nmol .
.,. D., CilM John Chry..,,,om'. 'The ark il the church, Noah is Christ, ,hc dove Ih. Holy
Spi,i,. olivo b"'!lch divino phibn,hwpy. A. the ark in the mid.t of tho watell prOlected ,ho ..
it . 0 d"", tho church prOfec, ,ho.sc who have ""'yed': In L"uN> ctmno Vl.7 in PC
48:10}7-I038. "Stt (1956). 75-115; ('960), 69-10:.
evidence:
merged by the storm of sins, and afforded us models and examples of a second life
and a more divine eonduct' .n Here, the ark is a fYpe of the Virgin, Noah is a type of
Christ, and the waters of the deluge represent human sin.
n
Noah in his ark
prefigures the advent of Christ as man, a rheme that recurs in Photios' sermon 'On
Holy Saturday', where Noah's ark is contrasted wi th the 'world saving ark of the
saviour's body' , the incarnate Christ.
7
'
Photios' use of Noah's ark confirms and augments Ocr Nersessian's modern
interpretation off. 360r. Through the incarnation of Ch rist, prefigured by Noah in
his ark, Christians escape the 'storm of sins' represenlcd here by the tower ofBabt:1.
Belief in Christ's human nature remedied the discord caused by the trinitarian
heresies railed against by Gregory in the third oration 'On peace' . The miniature is
thus imcrnally unified and, though evidently inspired by all usions in the text, prc-
sems a pictorial commelltary on the sermon Ihat relies on ninth-century inter-
pretations of the scenes pictured.
75
Folio 143'1 (19) (fig. (9)
In addition to scenes Ihat visually pick up Gregory's implicit allusions, some
exegetical miniatures incorporate scenes indirectly inspired by Gregory's reference
to their main protagonist. Folio 143V does both in its upper register, which shows
Jeremiah in a pit and the penitence of David. The lower registers, with the parable
of the Good Samaritan above two healings (of the paralytic and of the woman wirh
the issue of blood) and the raising of ]ajrus' daught er, provide an independent pic-
torial commentary.76
Folio ' 43'1 prefaces 'To the people of Nazianzus and the prefect ' (Homily 17),
which begi ns on the facing leaf. n Gregory ddivered the sermon in 373/4 during a
di spute between the citizens of Nazianzus and the provincial government; he
assured the crowd of the relief the Lord brings to sufferers,78 urged the prefect to be
merciful, and likened his sorrow over the conRict to Jeremiah's suffering for hrad.
Gold initials signal both sentences on f. '44f that deal with the prophet's trials,79
presumably to link [hem with the opening image of Jeremiah on the facing page.
Following Henri Omont, rhis scene has customarily been identified as Jeremiah
bei ng lowered into the pit Ueremiah 38:5-6) . In fact , however, we see rhe prophet
" Homily 7.7: ed. uou,d .. (1919), 81: 'ran$. Mango ('91H), 148.
oquorion app"rcntiy rdic< on Revel .. ion 17:1j: sec D.nidou ('960), 71- 76.
" Homily tJ,7: ed. uourd.:u. n8-. 19: I",n . Mango ('918) .
7"l On Iho iwnography of tho tWO ",.n'$, sec 8.
"" MiIl.1 ('920). Omont (1929). 20_21, 1'1. XXXIII: Morty (1929). 36, 95; Buchth.1 h9j8).
'7-30; Gallay (194J) . Dcr N .. (196,), 211_216: W.ilunann (1979') , '75- '76, 181;
Ishizulu. (986), J-n ; Nuki .. ('987). 4' S- ... 6; Brubilir (1996a), 11- 13: Brubalr. .. (1996b), IOj-I06.
n PGJS:964-<;1h.
71 E.g. ibid. 969An- 16. marked wi,h "bolo" on f. '4Sr: num.tom .imil" sentim.n .. " .. ignal led in
the "",i. lext. " Ibid .. 964Bi....,6\A6. 96\ B6-tJ.
Vision meaning in ninth-amury Byzantium
raised out of the mire by twO youths at the dircction of King Zedekiah, who
watches from a (Ower Oeremiah 38:7-(3). The inscription - 'Jeremiah in the mire'
(IEPEMIAC EN BOPBOPa) - neither confirms nor denies this rcidentificadon,
which is based on the presence of King Zedekiah, who distanced himself from the
lowering of Jeremiah into the pit bucdirectcd his release from it, and the 'old rotten
rags' held by the twO youths (one of whom looks w the king for directions), which
replaced the cord that low.:red Jeremiah into the pit during his removal from ir.1IO
We have, then, a portrayal of Jeremiah inspired by Gregory's teXl, but instead of the
prophet's trials, we sec: the result ofZedekiah'sdemency. The substitution res ults in
ascene that augments Gregory's plea that the prefect ofNaziam:us should be merci-
ful; it supplements rather than ill ustrates the text.
The penitence of Davi d shares the uppermost register with Jeremiah's release:
fwm the pit and, like it, ill ustrates the theme offorgiveness. Gregory docs not refer
10 the penitence directly, but his frequent mentions of David's grief and release
fwm sorrow by God's patdon - nearly all signalled by gold initials or marginal
quotation marks
sl
- presumably encouraged the image of David's confession of,
and release from, sin. While Bathsheba (BHPCABEE) watches from behind the:
king's empty throne, David (AA[YI ]t..), prostrate at Ihe feet of the archangel
Michael (0 APXHCTPATHfOC), confesses to Nathan the: prophet (NA6AN 0
n rO<l> HTHC). Although the image agrees broadly with Byzantine iconographic
tradition, its exclusive emphasis on David's admission of sin finds few parall els.
S
!
The accompanying inscriptions - 'J have sinned against the l..:>rd' (HMAPTlKA
Tn K[YPI ]O) next to David, 'and the l..:>rd has put away thy sin' (KAI K[YPIO]C
A<I> HAE[N] TO AMAPTHMA COY) before Nathan - are unusually extensive
for PariS.gr'51O, !3 and the (wri tten) spoken dialogue brings an immediacy to {he
episode that makes explicit the theme of peni tence and mercy.
Because Gregory did not specifically describe the episodes pictured. the Mil an
Homilies incl udes neither.!H Yet the Jeremiah and David epiMldes reinforce
Gtegory's descriptions of the relief the Lord brings to sufferers, and express the
virtues of leniency in a way particularly appropriate to this sermon. Gregory
to No comparable eu/nple exis" [0 . emem thi, reidentification: f. [43V show. [he only pre""rved
Brun,i"e version of ,he pit epi,ode in ei,her of i" version . while [he few medieval wes,ern namples
(ON A. Heim. nn . v. 'Jeremi.,. in LeI!! 1[970]. 390-391) are far la .. r. and do not ",,,,,mble
Pari . gr. 1[0. Je ... miah. wi,h long grey h<J..ir and beard. d"" . however. confotm in rypc wi[h hi. pom. i"
in othe, n;n,h-cc:n,ury Gr.ek books (fig. Ip), '"'" .1", Weinmann (1979a), 361- 17" Gf:1.M,
(194)'), pis. IV.j. IX". XUX.j . The Iypc p ... i".d in many larer Byz.a.mine ""ample.: Lowden (1,88).
10 .... ')"1, figs . I' . 69. 71. '''7. ,oS.
" E.g. on f. 'r. which m.rk< PC Jj:961C9-11 (ob%,) and 968A1O-l1 (i ni'ial).
" Stt ch.pte, 8.
" Sec Brubaker ('996b) and ch.pte< 9; for latOf Wcstem cumpl .. of ,hi. typ< of di.logu
(198\) .
.. Instead. ,he miniaturist depined and {W(I pr ching portf:1.i", Gf:1.b>., (19 .. ).), pi .
XXII ... , XX!lT.I-l.
The miniatures: intnnal n<idencc
exhorted rheddzensofNazianzus ro obey their but he was most concerned
to ensure that the prefect was mcrcifui,85 and both scenes selected for the upper reg
istet play ro this theme: Zedekiah listened to Jeremiah's friends and freed t he
prophet, while God, through the intermediary Nathan, heard David's admission
and delivered him from sin.86
The second register illustrates the parable of the Good Samaritan (Luke
10:30---37) in fout scenes set against a unified Iandscapo: background. Gregory does
not mention the parable. but its point - that the Good Samaritan, who showed
mercy, was the beSt neighbour - underscores his message fO the prefect. Iv; depicted
on f. 143'1, the parable also graphically demonmateS the relief God brings to those
who sufter: to emphasize that the Lord is the source of comfort. Christ replaces the
Good Samaritan in the miniature, a substitution accented by his central location
and the unusual placement of Christ and the rescued man on a separate, fore-
ground plane.
Two of the scenes derive from Luke 10:30: 'A cenain man went down from
Jerusalem to Jericho, and fell among thieves, who stripped him of his garments,
and wounded him. and depaned. leaving him half dead.' The miniaturist visual-
ized. the journey by framing the register with walled cities, Jerusalem (nO[AIC]
I[ HPOYCAIAHM) on the left. and Jericho on the right (TIO[A1C] IEPIXO). The
'certain man' departs from Jerusalem on horseback - a detail found in no other
version - and in the ensuing scene. stripped of his clothes. he is beaten by thrc:c:
thieves. S7 Next , a priest (lEPEYC) and a Levite (AEYlTHC) pass the blc:c:di ng man
by (Luke 10:31- 32); the two men, identical except for the headpiece worn by the
priest. look back at the dying man and gestUre in consternation bUT stride vigor-
ously away toward Jericho. Finally, the Good Samaritan, as Christ, sets the
reclothed man from Jerusalem on hi s own horse: (Luke 10:34). Wh il e most versions
of this episode show he Samaritan leading the horse on which the wounded man
sits toward an inn in ]eri cho.
88
nei ther the Rossano Gospels (fig. 63) nor the Sacra
ParalMa(fig. 64) follows f. 14}V in showing the wounded man clothed; on Iheother
hand, Rossano provides the only other instance where Christ stands in for the:
Samaritan (a detail perhaps suggesled by references 10 Jesus as a Samaritan such as
0) /'C lS'976--9RoA2 .
.. Ano,h levd of ,ignificancc migh' he attached '0 these im. ges. Photio, huill. and """-. later
bu. ied in. a Mon .. ,,,,y o{Jeremiah ,," ,h" outskirts ofCon"antinopl" (Herg.nrilther II [t8671. 7!J). a
commi"ion ,ha, sugg.", a rondn"" for the proph., on ,h" p. " of ,h" p.tria."h; Pho,ios al<o linW
B .. il '0 David. h " .hown peming (se. chap,,,, 4). The conjun",ion of th" rel" .. ed Jeremiah
.nd ,he .epenting David (a .. il ?) i,. th ef" intriguing. ,hough its possible i"'pl ica, ion,
go beyond ,he confines of ,hi . eh>pm.
v n (1979a). 176. erroncou.ly c.edi", ,he G.egory ilJun ro. wi,h uniqud y .howing both
the mipping .nd ,he bea'ing. The "'en. i, i"",.ibed 0 llPIflEC!lN EIC TOYC AHCfAC
.. fu. [h. s""" Pa",!!,'" and Ro, ... no im.g ... Stt nm" 91 below; for ,h. '.<f.n-angc!'a
(uuo,plu . 6 . ). r. l18v and Pori,.gf,74. If. !J!V- !Ju). Vdma'" (197')' fig. 111 and Omon, (n.d.). pI.
11 6.
71
Vision and in Byzantium
Fig. 63 Rim"no 7": /"lTilbk Good S.:mtlritan
that in John 8:48),89 and the Sacra Parafltla is otherwise the closest comparison to
the sequence in Paris.gr.5IO.
Weinmann isolated seven distinct moments of the Good. Samaritan natrative
illustrated in the five manuscripts that include the cycle.
90
Within this group,
Paris.gf.5IO and the Sacra Parafltla (fig. 64) favour a distinct manner of repre-
senting the parable rhar shares neither scenes nor derail s wirh the OTher versions.
The two ninth-century sequences alone include [he representation of both Jericho
,6
fig. 64 PdriJ.gr.j23, f 320V: OriJ! difmding IlfrOi/&.; Chri'l rt:lAting ""rllblr Gcwd
Samllrilim
and the trio of thieves (brandishing identical clubs), the priest and the
Levite, and the man straddling the Samaritan's horse rather than ridingsidesaddle.
Though the Sacra Pdralkla does not follow f. 143V in replacing the Samaritan with
Christ in this last scene, the weight of the other correlations implies that both mini-
aturists adapted a sequence familiar in ninth-century Constantinoplc.
91
The heaJings of the paralytic, the woman with the i.>.sue of blood and Jairus'
daughter in the bottom register continue the theme of salvation through Christ, a
connection visually by ChriST'S placement in the Centre of the
composition, where the healing Christ's halo extends into the top border of the reg-
" !'ari ,.gr9lj, f. 3l0Y: Weinmann (l979a) , '71- 176, fig. 417a. Jerusalem. bu[ nOl J<licbo . ppears in
the Ro ... no Go'pel, (f. or): C.vallo .. l. ([987), '4)-[4); Weirrm.nn (1977), fig. 32.

77
Vision and ninth-ntury Byzantium
ister to meet the feet of Christ as Good Samaritan as they protrude down inro the
same frame.
93
The miniaturist presenrs the first mi racle simply: Christ blesses a man with a bed
litter slung over his shoulders, who looks back at Christ as he wal ks away from him.
The: scene includes none of the narrati ve derails that distinguish the healing of the
paralytic at Bethesda Uohn S:2-IS) from the he:a1ing at Capernaum (Matthew
9:2- 7, Mark 2:3- 12, Luke: 5:l8- 2S), and no identifying legends remain; but f. 14}V
probably represents the paralytic at Bethesda, for the Capernaum healing appears
on f. 316t. The: abbreviated image reptats a widespread formula, and exemplifies
Christ's healing and redempt ive powers.
94
The healing of the woman with the: issue of blood and the raising of Jairus'
daughter form part of the same narrative in the synoptic gospels (Matthew 9: 18-26,
Mark 5:22- 43, Luke 8:41-56), and they are visually linked on f. 143V. As Christ turns
to speak to the kneeling woman, Jai rus prostrates himself at his feet: to the tight,
Jairus' daughter lies, apparently dead, surrounded by mourners.
Two diffe:renr momenrs in the accoum of the healing of the: woman wi th the
issue of blood were pictured in the ninth century. The: Sacra Paralklaillustrares the
first, whe:n the woman crept behind Christ, touched his hem, and was cured
(Matthew 9:20-li . Mark 5:25-29. Luke 8:43- 44).?S Paris.gr.SlO illustrates the
episode - of which Mark n O--H ptovides the fullest account - when Christ
turned, asked who had touched him, and the woman fell down befote him and
confessed. Like the: heal ing of the paralytic, the confession of the woman finds early
Christian parallels; both also surfaced in anti-Jewish texts.
96
This connection does
not, however. seem to be stressed on f. 143V, where the selection of the confession
sce:ne rather than the healing that preceded it suggests a return to the theme of the
top register: compassion and men:y.
Christ, sutrounded by Peter, James, and John (Mark S:37, Luke 8:51), fo rms a
srrong cemrai axi s that is anchored by the prostrate woman on (our) left, and Jairus,
in proskynesis, on the right. fu Jairus begs Christ to save his daughter, the man
behind him ges(Ures as ifro indicate {hat she has died. Again, an unusual moment
was selected fo r illustration, for although the daughter and her attend ants occupy
the right quarter of the register, the actual raising of the child is not shown. This
omission, coupled with [he portrayal of Jairus in proskynesis, indicates {hat the
image is less a heal ing scene than a visuali ZOItion of the 'rul er of the synagogue'
" Jai,u' ""d the Good Samaritan >te 01.., tangentio1ly linked in the liru.gy: Luke 8:4'-56
Uairus) _, on twenty_third Sunday arre, Pent"'''''' Luke 10:25-'7 (Sama,iun) on the
twenty_fourth: Ma"n, 11 (1963). 160: Brubaker (19'96. ). 1>-13.
"Sec Schiller [(1971). t6jl: Underwood (19n), 190. The episode was $Omel imc$ interpreted a$ an
allu.ion to b..pti .m, but t he abw:ntc of a healing pool on r. 143V ,uggcst> tin , thi. meaning w ... no'
here. 'I Pa.il .gr.91, . f. lilt: Weinmann (1979a). fi g. .
.. Schiller J (1971). 178- [79: Hcnncck.c . nd Schn""mclchc' I (' 96J). 4S7. On . nt;-hetctico1 imagery
in Pari . g . sIO see ch. p<'" 6.
"
mini<otures: evidence
kseeching aid. fu in David's peni tence, the accent is on the humility of
authorities before God.
97
The concepTual link between David's penitence in the top and the
vignette of Christ flanked by thewoman andJairus is cemented by thecomrosition
of the page. T he twO receive precisely the same amount of space, and Jairus lies
exactly below David; the balancing females, Bathsheba and the woman with the
issue ofblood, are also aligned. Vertical al ignments bind the second and third regis-
ters as the last scene of the Good Samaritan narrative reverts to the central
foreground in order to associate Christ as Good Samarit an with the comforting
Chri st of the lowest ti er. Folio 143V presents an exceptionally unifi ed composition;
its images of mercy and humility provide a coherent interpretation of Gregory's 'To
the prefect ' that supplements the themes of the sermon.
Folio 196v (14) (fig. 1.4)
The fina l two examples of exegetical miniatures indude<! in this chapter incorpo-
rate scenes not alluded to in the accompanying oration even at second hand. Folio
196v, the simpler of the two, devdops a coherent linear narrative that supplements
the text on several interwoven levels.
While most mi niatures in the first third ofParis.gr.Fo are divided into Ihree reg-
isters, f. 196v opens a series of len miniatures preserved in the middle of the manu-
script that show full-page pictures or, more us ually, pages divided into fWO
registers, as here. Three interconnected episodes Chri st raises Lazarus, and
eats at the house of Simon, above the entry into Gregory mentions
none of these in the accompanying sermon, his second homily 'On the Son',9\1
which concerns the relationship between God and Christ, and was comidered
obscure (and imrortant) enough in the ninth century for Phodos to devote a
lengthy section of his Amphilochia to its darification.
loo
Gregory's main thesis is
that Christ acted as an intermediary between heaven and earrh; he rcdeemt"d the
sim of the world through the sacrifice of his crucifixion, and so reconciled human-
ity with God. It is precisely this theme (hat the miniature addresses.
The thrce scenes pictured were d osdy connected in li turgical and imperial cere-
V ] am grald,,] loAmhony who me IhOl pr"'kyn"'i' can imply forgi...,.
no.<: ]oir .... humili!}' will be hi, .. I tion. See ,I", Cuder (1971), IJ-' 10.
n Omon. !), pI. XXXVIl1; Morey (919), 96; Der .. i.n (1961), 104-10\:
(IlI70), 39-40; Weinm.nn ('971b), 616: Brob.ker ('981) . )-4; Brub.ker (1996,). II .
.. SC '50, >26-175. lX. Ne"""i.n (1961), 104- 10j connected f. 196v with ,he Wl"ong lermon; Ihe
mini1ture i. none.hek ... certainly in its in,endllocation, for the end of Ihe precling homily con
clud .. on its .ecto. The Mil.n G.eg<>' y ill"'''a1'' .hi, se.mon wilh ito "'oal preaching "ene, medal
li"n "fPaul, Adam, and Ch.is . nd ""<> Old "I"" ... men. g.oup> in p ye" Grab (194} , pl .
XXXIII,I_XXXV (excluding XXXIV,4).
,oe Qu .. ,ion 78: PC JOJ:489B-491D; cd. W .... ri nk V (1986). 101- 108. On Amph;{ochi<t ...
chaplet \.
79
Vi,ion and mOoning in nimh-umury Byzantium
monial, where the raising of La7..arus was associated wi th the Palm Sunday ,elebra-
Tion of the enuy into Jerusalem. The cypikon of the Great Church (Hagia Sophia)
entitles the sixth Saturday in Lent the 'SaTUrday ofSt Lazarus'; readings fnr the day
commemOrate Lazarus and anticipate Palm Sunday, celebrated the next day. WI The
same combinat ion appears in the Book of Ceremonies, which entitles the cere-
mony for the sixth Saturday in Lent the ' Vigil of Palm Sunday'. I tll Pho!ios, among
others, explains human salvation depends on Chrisc's resurrection,
and 'the resurrection was because of the deaTh; and the death because of the
crucifixinn; and the crucifixion I a13rus came up from the gates of hell on
the fourth day' .11IJ The Palm Sunday service itself describes the supper aT Simon's
house and the entry into Jerusalem and, in his two hymns 'On lazarus', Romanos
cemented the connection between all three episodes pottrayed.
1
o-1 In aggregate, the
scenes form an introduction 10 Christ's passion sanctioned by numerous sources
and provide a fitting corollary to Gregory's .second oration 'On the Son'.
This interpreTaTion is reinforced by the presclllaTion of the individual scenes. As
a revdation of Christ 's power to overcome death, the raising of T azarus Uohn
was frequently depicted. lOS The image on f. 196v is unusually simple,
showing only Mary (MAPlA) and Martha ([MAP9jA) prostrate at Christ's feet as
he commands Lazarus to rise from the dead. Nearly all other examples of this
scene include far more detail: even the abbT<::viated account at Old Tokah incorpo-
rates a spectator, and most include a group of apostles and friends of J a13rus (fig.
65).106 In {he Homilies, Lazarus, wrapped in graveclothes, stands within a rectan-
gular opening cur into a hillside, and the .selection of such a gravesi te is also
uncommon in the ninth-century: contemporary (and later) versions normally
substitute a narrow gabled building or a small mausoleum.
107
A final unusual
feature of the scene on f. 196v is the siu of Mary and Martha, who in other ninth-
century and Byzantine examples are almost invariably presemed as diminu-
'"' Th. 'ypi"OD, which [h. daily ,.,vict, o""".,.rd in Con.un';nopl . has bttn publi,hrd
by Mat.,", ([963) who dates its <ompo.>otion W [he lat< ni nth (pou-878) 0' arly ,.nlh 'emury; 0 abo
ODB), 1tJl- lt 33 See cop. t he "op.,ion and the ev<;n;ng b:,ion (Maleo. II i t96) i, 6!-6s1, ,he laner
oi,;ng 7 ..... charioh 9'9, a pa .. agc abo quotcJ ;n tho go.pcl "'<ounts of ,he enlry into Jcru,.l<m.
'0' en urimoniis 1.40 Utl: rd. Vogt I ('967a), 158-159.
'"J Homily 9.2: rd. Uourdas ( t959), 90: ".n . Mango (1958). ,65.
,.,. M.teo. II (196J). SC "4. 160. "4. On Rom.no,. who died aftc! 555> $ ODD j,
180]_1808, .nd on hymnography. ODD 2. 96<>-96. . 101 Stt. c.g .. Scholler I (1971), 181_186.
,0.; Fo,Tok.o.lt. Ep"cin (1,86). 64. figs. " and. for th. Now Church. 79. O,h., .""rupl .. : Rossano.
00"",,,0 Mu . . f. If (Cavallo U III. [1987 j, ,,0-1>,: Weitzmann 1'977]. pI. '9): C.mbridge. Corpus
Ch,i"i CoII.ge. rod. ,86. f. U5r (ibid .. pI. 41): Mount Amm. Panmkr:l.tor 6,. f. '9' (Duf,cnn. [19661.
2J. pl. 4; Pdck.mid U III. J [19791. fig. 18\); london, BLAdd.'9.'P. f. JIV (Dc, Ne, .... iaD [1970]. 2\.
fig. H): Flottnct. Laur.plut.6,'j, f. 19Jv (Vdm.n. [19711, fig. IlI8); ""-,i,.gr. H. f. '921 (Omont In.d.l.
pI. ,6).
to' Even ,he SIIerll PII",lkllf, whioh omi".11 detail. of ,he KeD. except me mummifird Lu;"u .
pl.eeI him in a .m.li gabled building: ""-,; . g'.91J. f. 188. (Wc;"mann [1979al. fig. 4111).
80
internal ""iden""
Fig. 6r R9"I"'O Gosprls. fIr: f>lu;ng offAz.JruJ
8,
Vision ami maning in ninlh-mul)' Byz.;omium
dve figures. 10& While the hill-tomb and the full -si1.l,'d women appear in earl ier ver-
sions such as that in the Ros.sano Gospels (fig. 65) , it may nonetheless be
significant that both Romanos and Phorios emphasi u: the role of Mary and
Martha in the LalaruS episode: each slresses that Chriu performed the miracle -
itself indicative of his divinity - OUt of mercy and compassion for the twO
sisters.
109
Christ's synlpathy with suffering humanity. his divinity, and even his
powe'r to r.lise the dead arc all evoked by Gregory in the' course of his 5CCond
ol";1tion 'On the Son', though not in relation to Lazarus. The image in Paris.gr.SIo,
with its emphasis on Mary and Martha, provides a visual parallel to these traits
withom relying on Gre'gory's te."<t for its particulariling exampl es.
All four gmpel s te' the next scene, Ch ri st 's supper in the house of Simon , here
brieRy identified by the inscription 0 C1MONOC ('the supper at
Si mon's'). IIO The episode was invcsted with tonsiderable importante in the ninth
cenNry: the f)' pikon of the Great Church cited it on five different occasions, and
Photios devoted two 5CCt ions of his Amphilhia and twO texrs now preserved as
CItena fragments to it.
lll
Photios viewed the occasion as an antiti pation ofChrisr's
death and an exemplifi cation of the remission of sin through Christ, I 11 both themes
that correspond with Gregory's text. Though the' supper a! Simon's house appears in
the middle B)'lantine tetraeVOl.ngelia in a form generallysimilarto that on r. 196v, the
scene was nO! offen illustrated; only the detail of the woman washing Chri st's feet
recurs with any frequency. I " On f. 196v, the miniaturist suggests the' interior of
Simon's house by placi ng a triple portico in the background. Before this, Christ is
seated upright at a semi-elliptical tabl e' shared by four other men, one of whom sits
in front of the table in profile. A woman, her v;uc of ointment before her, kneels and
dries Christ's fcct with her hair; she is identified as H n OPNH (' the harlot '), but as
her ochre robe duplicates that worn by Mary Magdalene in the preceding scene it
seems reasonabl e to assu me that r. 196v follows John's identifi cation of the woman as
Mary, in a passage read during the liturgy fo t Palm Christ motions to his
'- In , he ,ho- " Om(n are drpict"'! mo.e o. Ie>:> normal,i,e; ,he
eompooi,ion i. from f. t?",v.
I .. Romano<. ' On n . ",f"'in (SC t '99--:19); l' ho'ios, 'On Good Friday", ) (cd. u ourd ...
[19191. , 6; ' .... n . Mango l"n8). 19).
" . Mmhc:w 16, 6-'j. Luke 7:36-10, John n:t - 8.
111 MltC<l. [('96j). )4- )7, )36-JJ7: II, 64-67. 7l- 79: PGIOI:JI7- 368, J93-)96 (td. V
[19861, 7- 14 . .H-JI); (1917). J!7- JH. Th. Amp1!i!1!iil i. di$<: u<scd in , hap", I.
,,, S ""p. PC lOI :n7-}68: cd. V (,,,6). 7-14.
,,' Fot the ""f"KV:Ingcclion. LaU . plll, .6.1,. K. 118v, 194" VdJ1'L:ln< hn' ), figs. 106, ,89. fur
d>e .. oman wuhing Chris, ', fttt ..,., e.g. ,he KhludO Psalter (f. 84" Sttpkiru. 11977JI 3nd the
r. nlOkr:l.lor Poahe. (f. IISr. Dur"," ne ['966], pI. ,8; Prlek.:onid .. "L ['979]. fig. 111).
". M .. ,em II (' 96}I, 6. -67. Matthew.nd M1.k 'imply doc.i!>c an unnamt<! wom.n pouring
oint me'" on Ch. j,,, h d, .. i\lu"..,ed in Florcnce, [.au . pJut.6.1j . fr. \Jr. 91f: V.lm.ru (197tl, fip.
109, IH. L"ke d.scribes ,he "".". ;t.S il ' 1'1''' '' on f. 196v . nd calls ,h. wom.n a .innct:..,., ibid. fig .
. "'.
miniafUfOS:
dinnt"r panners, named in John's gospel as Simon, Lazarus and tWO apostles; the
figure in profi le with whom Christ appears to cxchange ge5lures may be Judas, who
queried the woman's rash wasteofanoint ingoiL
As notN earlier, the entry into Jerusalem (Marrhew ZI:l---9, Mark 11; 1-10 , Luke
19;29-38, John 12:12- 15) in the lower register forms a liturgical whole with the
scenes above it. Christ's capacity to redeem sin and to reconcile humanity with
God, TWO significant themes of Gregory's sermon, were also associated with the
episode by nimh-century authors, Photios, for exampl e, wrote about the entry:
' Blessed is he that cometh to offer himself as a sacri fice for our sake, to expiat e all
our sins. and to reconcile us with the Father.
As one of the great evelHs of the liturgical year, the ent ry into Jerusalem was
depicted from an early period. 116 The iconography of the scene v-JTies lirde; rhe
v(."fsion on f. t96v distinguishes itself primarily by the ab5Cnce of the extra-biblical
details common in many versions.
117
Christ, accompanied by a cluster of apostles,
rides toward the walled ciry of jerusalem, where a group of citizens bearing palm
fronds (John 12:13) awaits him; immediately before Christ. a youth spreads a
garment on the ground as described in the synoptic gospels. The mOST norable
feature of the scene is the inclusiOJl. for the first time, of a small child tugging at a
woman's hand in the far right corner. This detail - perhaps inspired by rhe empha-
sis on chi ldren in the gospel accoums - had a long history in o ther contexts, nearl y
all of them. like the entry into jerusalem, represemations of processions. The
Augustan Ara Pacis rrio.e provides an illustrious antecedent; a more di rect conncc-
[ion may be provided by Exodus images, panicularly the crossing of the Red Sea, in
which, as Erich Dinkier nored, the 'Frau mit Kind' appeared o n sarcophagi from
the fOUT{h century. 118
Folio 196v provides one of the c1eare.o;t examples in Paris.gr.510 of an exegetic
rarher than an illu.llrative accompanirnem ro Gregory's sermon. In rhis case, the
exegesis is grouJlded in a of contemporary interpretations; indeN. the
composi tional grouping had such resonance in its period rhat the selection of
scenes almost
Folio 16sr (21) (fig, :u )
Folio [65r prcscms a themati c rather than a narrative selection of scenes, and
are USN to underscore a parti cular motifin [he sermon thaT follows. Tht" top regis-
ter pkrures the young Christ among t he doctors i n tht" synagogue at j t"rllsalem; the
second illustrates the remptation of Christ; and the OOllom presems the multi -
I . } Humily8.\: cd. u ourd .. I[9\91. &&. ["m . M.ngo ([9\8). [60 (.s Homil y &. 6),
, " Sec Dink] ([970). On [h. ,d'fi"n,hip bc:""n [he <,nlfy .nd ,h. imperi.1 .dvem ... ec><emuny
- which ;" I believe, offen ove,-emph.,iuJ _ s MacCormack ( 198,) . 64-66: C.ufygio'u. Toppi og
(1977)' 1Plo add;,;,," [0 D;nkJ .. ,.,,. Schiller II (197'), ,8- .. : Lell ( 1968) .193- 197.
I" Dinkier (1970).
8,
VISion 300 meaning in nimh-nlury Brumium
plication 119 Though thiro paragraph of the accompanying $O:rmon,
'On dogma and the of bishops', 110 contains severaJ allusions to the
al pi ctured in the upper twO registers, I!1 Gregory ment ioned
none of the epi sodes presented; he concentr:ued on of doctrine
; nd the prOJN:r role of the priest. The text in supplies few n:Hrative details sus-
ceptibl c to dirttt ill us trat ion, and the' Mib n Gregory includes only ; pretching
scenc and the death ofOz;. , ;lluded to e'ariy in the sermon,I!! The Paris minialUre
is. howC'Ver, as!uredly in iu original lOCH ion, for the text begins on its verso and the
scenes pictured upon the theme of the $O: rmon.
Christ's wit h the doctors is considercd to mark thc beginning of his
ministry, as it W:l$ thc fi rst occ:l5ion on which hi s knowledge was made publi c. Luke
1:41- 49 explains Ihat Mary, Joseph and Jesus went to Jerusal em to celcbrote
l'assover; when his p;rents departed. Jesus rarried behind. Mary and Joseph
noti ced his absence, returned to the city, ;nd after thrtt days 'found him in the
temple, sit ting in the midst of the doctors'. exp13ini ng the word of God. The
episode exemplifies one of the major themes of Gregory's sermon , the COnt f:l5t
between tfUe knowledge, given to humanity by God, and the fa lse knowledge pro-
fessed by ' the improvised sages, Ihe self-el ected theologians who, in placc of the
possession of wi sdom, are content with Ihe simple to possess it' , IlJ Christ
among the doctors purveying true knowledge provides a visual antithesis to this
condemnati on of false wisdom which. hen-Ided by an enlarged and decorated
ini, ial , opnts Gregory's sermon.
Three distinct moments unfold across the register from right ro left . On the far
right, the young Christ walks from two jagged peaks toward the central
t ... sits amidst the doctors; thi s portion of miniature has fl aked
badly, but its identification is confirmed by the: inscription on the frome: above: 0
X[Pl c ro]c MECONTON I1IJlA.CKAAON (, Christ among leachers'). On
the left , Muy and Jesus embrace at their reunion while Joseph ([l fl]CHllJ)
watches. m The core componentS of the register appeared early; in the Augustine
GosJN:ls (fig. 66), ; product of sixth-century 1t; ly, the young Jesus sirs from;lly
between two older doctors while Mary enters from rhe Though f. 165t pre-
serves the earliest recorded instance of the semi-circular grouping associated with
ChriS[ among the: doctors, the compositional formula had long signified a forum
'" O mont (' \11\1), 11, pI. XXXV; D. r N . .... .. i. n (961). UlJ-r06. ,. SC "70. J6-BJ .
1>, Stt Mosur in SC 170, 61--6j 00" , . '" G,.I.. (1\l4P). pI. XXX.'_l; SC 170. 60 U"-lj.
I1J SC 170, )6( I;I- }). '''' TO on EZHTOYM[EN CI E isin",ribnl . 110..., ,h.i. head..
,n CLA 1 h91S), "0. 116: Cambridge. Corp ... eh. i..-i conrg<. cod.lI6. f. I1\1V; 'IX'';nrna"n ('\177).
pl. 41. Th. Gospel'. omission OfJOKph w> .ln">O c .... inly due .0 , he li mited >pac< .vailable .... i,hi"
,he confi nnl "l U.!"t of ,h. compo>i, ion, fQT h. 'ppeu, in "illu.lly . 11 or "', U.piclio"s of thi> scene;
. g. Florence, '..aUl.plu,.6 . ). f. 106v (Velm.n.< 11971], fi g. 188), ra.i'.&1.74, f. '1()V a" d iu .ela-
livco ([).,. Ne.",,,i.n ('9.6/71. fi g>. 48- 5).
8,
The mi niawrcs: internal evidence
I


,

"

,
~
Fig. 66 C,mbridff. Corpu, Chrill; C o l l q ; ~ rod.286. f U9V: Luk. wi,l, ,unn from his gos,,1
.,
Vision ffi<=ling in ninth-century BYl"n,ium
for learned discourse; it ultimately derives from semi-circular groupings of philoso-
phers, and was appropriated for Christian use already in the cataoombs.
126
[ts
retention here is panicularly appropriate, and serves In stress Christ's rol e as the
source of true wisdom.
'While the image is badly damaged, what remains finds a parallel in a related but
differem episode painted on the walls of New Tokah in Cappadocia during the
se.:ond quarter of rhe tenlh century (fig. 67). m TIle l okah scene immediately
follows the presentation in the temple and precedes the calling of John the Baptist
(if is thus located precisely where Christ among the donors fits in the narrative
structure), and it shows four figures arranged in a semi-circle around Christ. The
arrangcmcm, and even thc posit ions, of the figures correspond closely with the
image on f. 165r; however, rhe Toka!! Christ is represented not as a child but as
middle-aged. Christopher Walter identified the scene as a representation of mid-
Peme.:osl, for which service the gospel reading Oohn 7;'4- 30) begins, 'Now about
the midst of the feast Jesus went up into the temple, and taught.' llS The two gospel
accounts of Christ teaching in the temple have evidemly been conAated at Tokah,
but f. 165r and the fresco are nonetheless related; in whatever guise, thc composi-
tion was apparently familiar in the capital and is unlikely to be a de novo compila-
rion by the Homilies miniarurist. l1?
Mary and Joseph habitually enter from the left to find Christ in the temple; f.
165r repears this convention, adding only the twist of showing Mary embracing
Jesus. The embrace, described in the apocryphal gospel of Thomas, appears only
rarely,uo Its inclusion here furthers the (right-to-[eft) narrative, emphasizes the
emotional relationship of mother and son, and, with Christ's approach [0 the
temple on the right, frames the central scene in the temple.
Christ's first teaching is followed in Ihe second regisler by what lrenaeus called
the triumph of divine pedagogy, the temptation of Christ in the desert .l3I In his
Adversus Htlereus- a text now preserved complete only in Latin but available in
in the ninth century, when it was read by Photios Ll
2
- Irenaeus (among
others) also saw Christ's struggle with Satan as analogous to the struggle of the
Ll6 Hanfm.nn ('9S')' WS- I}}, ('99}). '<>9-"'. .lso the rda .. d mOS>.;c of Mosc. and
the Egyprian sag a, S,a Mari. M.ggiore: KorpI' (,966). "I. 8).
m Ep>in (1986) . 70. figs. 66...07.
' '' Wah., ('979). 'S-,6; Eps.cin ('986). 70. 86; M.,.o, II ('96)). lIo-m. I ,hank F.,n .. W.h.r for
forth., di<CllMion on ,hi. IOpic.
'''' Th. daoon,c cxedr. behind ,he "'''''nl glOup on f. ,61' ('IlIicip ... d in ,h. Mo, .. Ilw ... ic .. S",
M .. i. Maggiorc; nOle ,>6 .bovt) dots nOlo "ppear n .... and n,ely ,ecu," in I .... ex.mples.
which i",3d ponny Ih. group ",."d on 0 ,yn,h'onon lik .emicircul .. bench: "'" . g. MOUn!
A,ho . Diony,iou S87. f "I" PeicKanidc, "al. , ('"7l), fig. >1 t.
' 30 nenneck. and Schneemekher 1 ('96,), W6; J ... fontoineo..,wgne ('971), In-1J8.
131 S"iner (1961), 196.
m 8ibliollH"kd> chop", I), code. 110: ed. Henry Jl ('960), 94-9S' ,rom. Wilson ('994), '10.
86
The intern.l
Fig. 67 Nrw Tukalt: pmrnlillion .. mid-f''''Uto,1
chu rch against heresy. IJJ Such an lInerpre{OItion probably conditioned the decision
to picture (he temptation on f. 16jr, for i! doverails with the accompanying
sermon, wherein Gregory posed hi s definitions of doctrine as oppositions to the
great heresy of his own day, Arianism, Beyond this, Chris! as representative of the
victorious holy wisdom of the orthodox church joins Christ among the doctors, the
source of true knowledge, to form a unified paralkl ro condemna-
tion offalse wisdom,
The three temptations shown in Paris.gr,510 follow the order of Matthew
4:1_11.134 Satan, standing on a hillock before Christ, challenges him 10 turn stones
into bread; following lrenaeus, commentators interpreted tbis temptation as
pining a preoccupation with material goods against the virtue of being satisfied
with divine nourishment.
135
This temptation is not often illustrated, but the
1. S'einU ('96,). 20j_106.
' J< Though innocen' of BY-L>n,ium. Squilbc<k ('96617). "S- Ij1. provide. discu..,ion ond 0
loguc of we",n <nmplc<.
1)< Steiner lob. Gregory ",uShl)' p.",lId, ,hi, ""n,imen' 0, ,he hcginning of 'On dogmi:
SC 170. 56 (l:j--7).
Vision and meaning in nimh-amury B)l"l.:lmium
'./ 'r ... . " .. &.r " . / . "
"Hca&rTOO .... 1:1/1" .b . r-"CLI
""' .
- ...... ' ... _. , ..
6 1 """' ... ttJt.rTU!> I 0 ::hi .... i"-- .,.... e . '-t 0 Co e . -ro u-fU . e . -nt ' i CD'
" . -" {" ' - ' .- -'
/"\' "V""""'" 15" 1UJI I ... -..,- r"'""T ....... 0 .... .. .:ron c--n-E:,-/
Fig. 68 Flormu, uurmziana pIUI.6.2J. f 199r: Innpwliom ofChri'l
composition on f. 165T generally resembles an example in lhe middle Byzantine
Florence terraevangdion (fig. 68), save that the later manuscript shows Satan next
to, rather than on, the hi II. I J.6
For the second temptation, Satan placed Christ atop the temple in Jerusalem
and, with a mocking quote of Psalm 91:11, urged him to cast himsdf down, a
suggestion represented by the devil 's sweeping gesture on f. 165r.137 Christ stands
on a squat grey temple, its pinnacle rising high behind him: a thematic connection
be(Ween (he young Jesus teaching in the temple and the temptation on top ofil
was made by aligning them verticall y. The second temptation is, however, dis
tinct from that in the Horence tetraevangeHon (fig. 68), which shows Christ
and Salan planted firmly on the ground gC5tuting toward a tower, In this case,
other BY'_antine examples exist, for Satan's quotation of Psalm 91 assured for the
second temptation a place among the miniatures o( the marginal psalters (fig.
' ... f. '09', ,hows ,h. ,hrec tcmputinm in a .ingl. <omp<ition: VdmaM (1971). fig.
191. In Ihe Sarra Pa"'{/'M ,he ,h",. temptation '" .., c<>llap$<d ,hat compari'on with Pori,. gr. STo i,
fmil.: Weinm.nn ,6" fig. 398.
"' Th. insc,iption _ 0 X I PICTOjC II EIPAZOMENOC EN TO I EPn - is m",ely descrip,i'e.
88
infern.1

-

,
.-
."

Fig. 69 Mount AlmH, PamoJmlfOr 61, f [Jov: umptation ojChrirl
69).13" The psalter illustrations are closely interrelated, and share some features
with the image on (, )65r, notably the position of Christ, his location on top of the
temple, and [he aClive stance of Satan. The marginal compositions are nonetheless
far from identical to that in Paris.gr.5Io: Ihe psalter miniaturists placed Christ on
fOp of a large temple, omitted the backing tower, and located Satan at the base of
the temple rather than beside Christ.
Finally, Satan took Chrisl 10 a mountain, and offered him ' the kingdoms of the
world, and the glory ofthcm'. On r. J65f, ChriSI stands frontally, while Satan,
looking back at him, strides and gestures toward a gold caske{ represeming the
glory of all kingdoms of [he world. Thc Gregory composition again differs from
chat in the {ctracvangclia (fig. 68), but it resembl es a mid-tenth-century wall paint-
' ''' M"",ow. Hi".Mu . cod.1t9, r. 9tv ['977)), Mount Atho., 6,. f. J30Y
1(966). pl. London. RI . Add.40_7J' , f. '54' (ibid .. pl. 56), London, Bl Add.I9-}P, f.
12JY (0 .. N<nes,j.n 11970], fig. !O' J.
8,
Vision aod in nimh-a:ntury Byzantium
ing in NewTokah (fig. 70):139 though the fres<o reverses the positions of Satan and
Christ so that Jesus strides away from, whi le looking back at , the devil, the stances
of the figures are similar, and both images share the squat gold casket.
The lowest register illustrates the multiplication of loaves and fishes (Matthew
14:1}-21, Mark 6:}1-44, Luke 9:ro--I7, John 6:1-13). In the centre of the symmetri-
cal composition, Chri5t stands frontally, arms outstretched to bless the two fish
(Matthew 14:17) held in the draped hands of the flanking apostles. Despite the
ins<ription - 0 [XPICTOjC EYAO[ffl:jN [TOYC] ri ENT[E AjPTOVC K[AI
TjOYC lX6V[AjC (,Chtist blesses the five loaves and the twO fishes') - the
miniaturist has not shown Ihe bl essing of the bread. Rather, the twelve baskets of
bread that tcmainctl after the meal (Matthew 14:10) float against the deep blue sky,
above the multitudes grouped in clumps on either side of Chris I. Though even the
often conservative wall paintings at Old Tokalr (fig. 71) present the episode as a
linear narrative of the type familiar from the tetraevangelia versions of this scene, f.
t65f retains the symmetrical composirion which was standard during the pre-icon-
ocl:m period.
l40
Those responsibl e for these early represemations - and the
designer of f. - apparemly favoured the static format because they valued the
miracle less for irs narrative potential than for its symbolic weight as a eype of
eucharist.
1

1r
On this interpreration, Romanos' hymn 'On the multiplication of
loaves' is a typical informant .
ln
Like most commemators, Romanos conneCts the
miracle with the eucharist; the constam refrain of the hymn is 'Christ, the celestial
bread of immortality' . For Romanos, the essence of the miracle is not the procure-
mem of a meal for the multitudes, but the nourishment of all humanity with words
of truth, knowlcdgeofjustice, and spiriwal food. ]43The hieratic composition on f.
165r suggests that a similarly non-narrative interpretation, linking the miracle with
the other scenes on the page and with the sense of Gregory's sermon, was envisaged
here,
The theme of divine nourishmem unites several scmes on the page. Jesus with
the doctors opens the miniature speaking words of onhodox rrurh, the 'spiritual
food' of Roman os' hymn. The victorious Christ of the temptation may implicitly
the themc; although the words are not inscribed on {he page, all
Byzamines knew Christ's response to Satan: 'Man shall nor live by bread alone, but
by every word {hal procde{h our of the mouth of God' (Matthew 4:4). The
eucharisti c nourishmem- and the loaves and fishes that symbolically represent it -
provides a literal equivalent to the divine 'food' dispensed in the uppermost rc:gis-
'" For (he Florence (eff3e ..... ngdion. see (J6 Pari . g'.74, If. 7' (M,tthew) and 6jr (Mark)
in Omont (n.d,) , pis. 9. 19; forTobh. Epstein ('986). fig. 70.
,.., ForT ohl" Epstein (1986) . figs. fo, ,he t<1= .. (1971).lig. 21 J and Omon'
(n.d.), pI.. 16, 18, 70, 71, Ill. 'll. Khludov . Iso .how. an a'ymmeltical wmpo>i'ion:
Mo><ow, f. JOV; &epki na (977).
'" For commentary .nd examples, Underwood (1971) . 60, I8S- I88.
'" SC " 4, It o-I )l. ,., Sccesp. "rophe 9: SC "4.1t8.
The imc.naj evidence
Fig_ 70 Nrw Taka!.: third frmptaliM oiCIJriil
9'
Vision and meaning in nimh-century Byzantium
Fig. 71 OM 7;,k,,": mw/rip/i("rioll qflk Jq"WI "nd folm
ter, a connection stressed by the vertical alignment of the young Jesus in Ihe templ e
above Christ blessing the fishes. In a sense, the word bc.::omcs flesh as the viewer's
eye travels down the p a g ~
folio 165r provides a coherent and multivalent commentary on Gregory's
sermon that is literally independent of rhe ten, although il parallels Gregory's
concc:rn with the nourishmem of true knowledge. The miniarure relies on analogy
and metaphor; it functions as vi sual exegesis, rather than as illustration. The mini -
aturist ;lCcomplished this by juxtaposing and aligning scenes, and by sdc.::ting par-
ticular but apparently familiar iconographical formul ae.
The lext of Pari s.gf.510 is stable in the sense that it is a copy of Gregory's fourth-
century sermons; nonetheless, 10 the extent that the s.cr ibe marked passages rele-
vant 10 the audi mce's undemanding of the pictures, it wao; made ro work explicit ly
with the miniatures. The miniatures also work wi th ,he text: though they would
not nist without it, and though their ultimate inspiration rests on their role as
9'
The miniatures: imernal evidence
adjuncts to Gregory's words, the pictures in an important smse have a li fe of their
own, and infuse the words with new resonance. While the sermons provided what
we might now call the contro!' The miniatures told their ninth-century audience
how 10 read them: they imerpreted the text for the viewer, and showed what could
be gleaned from Gregory's words. The paradigmalic examples considered in this
chapter demonstrate that, as Ocr Nersessian noted in 1962, the miniatures often
complement and supplement Gregory's texr. Bur I think that we can now extmd
that formula, and question its implication rhat images arc necessarily subservient
to words: in Paris.gr.51O, the miniatures arc active creators of meaning. I
Thr imuud minialtlrrs
With one exception (f. 3r), the inserted miniatures occupy the verso of the follo so
that the pictures face the opening paragraphs of the text they preface, and LO that
extent they arc physically coordinated with rhe body of the manuscript. However,
these miniatures arc the only ones in Paris.gr.510 that could be moved without dis-
rupting the text, and it is dear that some of them were. Given the often compli-
cated relationship befWeen Gregory's sermons and the picrures that accompany
them in Paris.gr.51O, the group as a whole thus presents a special set of probl ems.
j;ortunately, some of rhe inserted miniatures certainly retain their intended loea-
dons: ( 3r (with the annunciation, visitation, and scenes from the life of Jonah; fig.
6) and f. SlV (Adam and Eve, Mos!':s, and Gregory preaching; fig. 10) accompany
sermons that refer to one or more of the scenes portrayed, as do f. }67" (the persecu-
tion of the orthodox; fig. 38) and f. 374V Oulian the Apostatc; fig. 39), one of which
has been inserted into the problematic quire 47. Two more arc probably al so still
wheIC they were intended to be: f. 3lV (fig. 8) prefaces Gregory's funeral oration to
his brother Kaisarios with the deaths of [he apostles, 4 ~ while r. 43V (fig. 9), pictur-
ing Kaisarios' funeral and thr death of Gregory's siSTer Gorgonia, appropriately
linlu The eulogy 10 Kaisario5 with the funeral oration to Gorgonia. Folio 30V
(passion sequence: fig. 7) originally prefaced the first sermon; it was moved -
perhaps because its location caused considerable wear and [ear on the page - to
introduce Gregory's third homily, which has lost whatever mioiaTUIC (if any) it ever
had. The remaining twO inserted pictures pose more difficult problems.
Folio 347V (35) (fig. 35)
The three registers on f. 347V comain five scenes from the life of Samson in the top
and middle bands, while Gideon praying joi ns the martyrdom of Isaiah, sawn in
two, in the bottom TieT. The miniature, painted on an inserted half-leaf with a
blank recto, now prefaces Gregory's ' On Heron the philosopher' in the damaged
'" Sttch. pt<r6.
93
Vi,ion and in B)'7.:Imium
forty-fourth gaThering. [I is, however, difficult to any relationship between This
text and Ihe images on f. 347".146 The sermon focuses on rhe tole of the Christian
philosopher, eJ( toHing Heron as a stellar example, with a number of digressions on
fourth-century church history (these chiefly (ondemn heretical Se(ts) and a long
excursus on tht" Holy Spiri t. Gregory mentions the Nazirites (a group, though
Gregory docs nO! tell us this. whose members followed Samson in allowing their
hair to grow untrimmed) bur he neither names nor otherwise alludes to Samson: he
speaks several rimes of martyrs (in the abstract), but never in a way that might
suggest haiah.
'
<8 Nor docs the internal logic of the picture correspond in any
obvious way with Gregory's theme. Samson, a well-known type: of Christ, was also
occasionally lauded as an early martyr:
l
" hi s story might thus be linked tangen-
ti ally wilh Isaiah's martyrdom below. Gideon praying for the dew ro fall on his
Reect", meanwhile, was habitually interpreted as foreshadowing the Virgin Mary, 1 'iO
with whom Isaiah tOO was consistently connected by Christian wriTers. lSI Gideon,
the sixth Judge of the Old Testament, and Samson, the thirteenth Judge, were also
connected in the New Testamenr. ISl Hebrews tt: 3Z-40, in fact, could be read a5
weaving all three proTagoni sTs on f. 347V togetht"r in its listing of heroes of the faith
and the suffering they mdured.I Sl Verse 31 reads: 'And whaT shall I more say? fOfthe
time would fai l me to tell of Gideon, and Barak, and Samson, and Jephthae: David
also, and Samuel, and the prophets', Verse 37 returnS to Isaiah: ' They were stoned,
they were sawn asunder . .. ' Gregory docs not cite this section of Hebrews, but
as he coJlStantl y extols Heron it coul d be that the illustration suppli ed a catalogue
of Old Testament herot"s to complt"ment Gregory's subj e<:\ by providing bibl ical
parallels. Such a connection, however, seems tenuous, and given the disruption of
the quire as a wholt" I suspect that f. 347V no longer retains its otiginallocation.
1

Of tht" eight sermons now lacking illustration, only one suggests a pl ausible
affiniry with f. 347V. In 'On Athanasios', Gregory paints a sympatht"tic portrait of
the bdeaguered bishop. I\{; He compares Athanasios' sufferings with those of
Chrisr, and. in a paf<1graph introduced with a gold initial, explicitly connects him
, <6 Other ... peets off. )47'" willl>c con. ider<:<! in chap,. " 4. 6 and 8. '" SC 284. 156-205.
1<' On Ih. Nuirit . SC 184. , \8 and no' _ 1; ,hi ... ,,;on of ,h. ,ext, along wi,h .ny m .. [h ..
might Ona h.v. aided in the miniature', inlcrpret.,ion, i,lo>l from P .. i,.gr.51O. Grq;ory .. fe .. to
m.ny" ,hroughout , h, .. rmon. ,., s.., W. A. Bul". , .v. Sam,on . LeI i (1971). JO>--J8.
'10 E.g. John of Damascus, 'Ag.>inSllho>c who ><I.ck di,..in. image>' !II, H: .d. Kotl.r (1975). 1>9:
tr. m. And."on ('9S0), n. Pho,io Homily M: .d. I.aoUld ... ('959), 59: ,rails. Mongo (1958). 119. The
text dC$C'i bing ,h" 'Pf'Ca" in ,he Iypikon of the Grea, C"urch as 0 ,e.ding fo, Epi phany . Iso
One of ,h. p'incipal day, ofbap,i,m in ,h. orthodox rite: Matcos I (196j). 178.
'j' Sec H. Hilll ander . . v. I>.ia.", LU 1 ('970), 354- 319.
' )' And by G'''gOlY him,IClfin hi, Ii", owion 'Again" Jul i.n': PG )S:5iSR.
' '1 So Bul" (ntH. [49 .b,,,.). ;5.
'M Oil ,h. un;v.,,,,las,oc;., ion of , hi. pas.age wi,h ! .. iah. sec Bctnh.im .. (J9P). 31- 33.
") Sec Apf'Cndix C.
,,. SC '70. "0>--'9J. PhOlio . 'IX). f""tld Athanasi,,; not<,.,..,rthy: sec "'I'. his .. mark. on the vita,
"odex 158 in [h. Bib/iotl"I" (sec ch'p,e, S) : .d. Hen'y V!II (19n). J1>-40, tran . Wil$on (1994),
')'-144
The miniatu ..... : internal
with Samson and likens trials of his church to the cutting of Samson's hair. 157
Following this lead, the history of Samson may originally have provided a visual
biblical anritype for the sainr. 15R The marryrdom of Isaiah might also play 10 this
theme, but as Athan:lSios was well known for hi s 'On the Incarnation', it is also pos-
si bl e that Isaiah, and the episode of Gideon and the Reece both exegetically asso-
ciated with the Virgin - pay tacit homage 10 the bishop's famed text. 'On
Athanasios' begins on f. 319V; f. 319r remains blank. The same si tuation prevail ed
wheTe f. 347V now sits: a blank side (f. 346v) preceded the opening of'On Heron' .
The blank page before ' On Athanasios' appears in quire forry-one; the next
instance of a blank page was that preceding 'On Heron'. It seems plausible that
during one of the manuscript's later rebindings the inserted leaf carrying the
Samson miniature was relocated by someone who remembered that the miniature
had originally accompanied a sermon prefaced by a blank page, bl![ missed the
correct location byone slot.
Folio 4}SV (43) (fig, 43)
On f. 43)v, Danid in the lions' den, the Hebrews in the furnace, the prayer of
Man:lSSCS, and Isaiah with He""lCkiah are arranged in a regular grid, 159 None appears
in the accompanying It-tter to Evagrios, l60 and no typological or exegetical link
between the letter and f. 435V is readily apparent. 161 An inserted leaf with a blank
roxto that now appears in a disturbed gathering, f. 43'!V may well no longer be in it s
intmded location. Bur it is difficult 10 see what olher teXI it might have been meant
10 illustrate. Elsewhere. Gregory mentions each of rhe episodes pictured, but never
all four together and always in a sermon that retains its ilJusrracion.
161
Nor do any
of the sermons currently without illustration offer an obviously appropriate home
for the four scenes. More than for any other miniature in the manuscript, the
connection heTC remains opaque.
fORMAl. CON5 1UEI<.A"1"IONS
The stylc of the ofParis.gr,,!1O is not homogeneous. Miniature; display
different ways of composing a page, of creating figures and thc objects that are, in
'" SC 170, '71. ,64.
'''' The Milan Gregory and l;,urgical Homil i", preface ,he "'rmon with a port ... it of Athan ... i",:
Gral>o.r (,9430), pI. XXVII: Gala",ri, (1969). 1) - 17
1>. Orher ... peets of f. 435V will be con. idcrcd in chapter 8. ,60 PC 46:1I0I-no8.
,6' So'oo ('947). '49 and Ocr Ncrswian ('96.). 218-219. The Mibn Grcgury .how.
handing 10 a G ... l>o.r( 1943'), pI. LXXVlIl.l.
I Habakkuk bringing food ,0 Danid and Hckiah', rcp<ntanc< app<1r in Gregoty'. ... l
ora,ion 10 hi, (PC W,ol,B, ' 014'\), illu" ... ,<:d on f. S7v: he cite. ho.h Daniel in . hc lioni dcn
and the in furnace i n hi, fune .. l or: ... ion to B",illhc Groal (PC J6'596C), illu" ... tcd on f.
104'; and he ,de," to Ihc conr.: ... ion of M.n1SSC. in hi. ""mon to Ihe .u-<ollccror Julian (PC
Jj:!051B), illu,"ated on f. 1 J7'.
Vision and in ninth-century Byz':lfltium
the Homilies, always supplementary to them, and of arranging those figures and
objects in relationship to one another. This formal complexity makes it difficult to
supply any coherent descriprion, let alone analysis, of the miniatures taken as a
whole, but the established date and Conslall!inopolitan origin ofPari s.gr.5Io have
more or less compelled its inclusion in studies of Byzantine pictorial styl e.
In 1839, Gustav Waagen produced the first detailed formal analysis of the manu-
script.
'63
He divided the miniatures into two groups, one influenced by classical
forms, the other less fluent but sometimes more accurate in irs details. Waagen
amibuted the differences to the individual styles of two painters. In his description
of the painted manuscripts in the Bibliocheque Nationale published nearly fifty
years later. Henri Bordier simply summarized Waagen's remarks, as did others in
different contexts. 1M In 1891, however, Nikodim Kondakoff reacted strongly
against Waagen, and argued thaI the Homilies miniatures were stagnant; he sug-
gested that they were painted by miniaturists incapable of new creations, and
explained any 'antique' qualiti es the miniaturistS managed to achieve as details
grafted on to old traditional forms.
16s
Kondakoff continued to divide the Gregory
miniatures into twO groups, but while Waagen segregated the classicizing images
from the unclassical ones, Kondakoff drew the line between sacred images and
'vulgar' picturesque images: he perpetuated the two-tiered opposi tional
classification, but shifted Ihe taxonomic basis from classicism 10 subject matter. In
1911, John Herbert merged KondakofFs and Waagen's approaches: in his assess-
ment, the best of the miniatures adopted Waagen's classical style; the worst exhib-
ited an archaic style - Herbert's English transformarion of KondakofFs 'vulgar'
genre - 'lacking all of dignity' .' 66 Herbert added to these, however, yet a third
scyle, rhe ' decorative' , to which he the imperial portraits. In France nine
years later, Gabri el Millet made the first altempt to the characteristic fea-
tures of miniatures as a whole, which he defined as si mplified compositions,
admitting few derails, wi th large-headed figures all on a single plane.
167
The twenties ended, however, with Rufus Morey revening to the bifur-
cated classification scheme, though the two strains now bore the appellations
'Alexandrian' and 'Asiatic' . 1611
In Kurt Weinmann produced an asscssmem of Ihc earlier sources and later
I., (,SJ9) , s.
64: Vogt (r908), 411 L; and Schou.. (,869), 4L-14). ..
accente<! Waagen', appreciation ror the by including it .. hi. only ilJumaJion. ,hu. ini,;-
.,ing an emph .. ,i, on f. 4J8v that h .. con,inued un.b.,ed: K(: e.g.1ikhncn (1933), 89, who ,ingloo
out the page .nd 0PJ'O"'d its 'pseudo-illu,ioni, m' to the '..,lidly mooi",,!" ch.ractet of most of the
remaining mi ni.ture>.
!OJ I I (,891) , 5ko. Paradoxically, the m.nuscript> that Kondakoff held up
... rling example< of 01 1 ,h. quali'ia he fclt r .rj.,gqIO lacked (for exampk, ,he Vienna Cenaisl are
pr.d. cly thos<: with which holow ('96!), '74-276, la'er adduced os dose pa .. llcl. wi,h ,he P.r;.
G,.gury. " .. Hcrhcrt ('?TI) . 40-41. " I Mille, ('920) . '41-14). 'os Morey ('919), 9<>--97.
,6
The evidence
followers of Paris.gr.ilO that considered neither bifurcation nor quality, but dealt
morphologically with specific formal features of the miniatures.
1M
In his 1936
review ofWeirzmann's work, however, Ernst Kj rzinger revived the interest in 'hel-
lenistic' el ements, and noted that the Homilies was not 'a fitst-class specimen of
this tradition'; he concluded that it was 'doubtful whether the Paris Gregory repre-
sents Byzantine nimh-century art in irs best form' .170 Hugo Buchthal, in 1938, con-
centrated on the transitional nature ofParis.gr.5Io; in [962, Anatole Fmlow focused
on the classicizing demems. but linked the 'rohust humanism' and 'second hel-
lenism' to Aristotelian theories of mimesis that, he argued, resurfaced during
Iconoclasm.
171
Recent scholarship has looked at Paris.gr.i IO within the context of the nimh
century, and has tended to homogeni1.c its style: characteristic formal features have
been identified in order more easily to compare and contrast the miniatures with
other ninth-century paintings. Gary Vikan, for example, noted in 1973 that 'even
the least accomplished miniaTUres of the Gregory codex show illusionistic tonal
drapery modeling', and went on to comrast Paris.gr.sIO with a group of manu-
scriptS characteri7.cd by drapery conceived in a more linear fashion., n In COntrast,
Robin Cormack defined the Gregory miniatures as portraying 'stifflinear figures',
and characterized the pictures as 'bold, linear, and flat '. In In the 1980s, the Gregory
miniatures continued to be rdied on for comparative purposes, and treated in a
fairly monolithic fashion, but a new fearure - the gestures of the figures - received
emphasis. In addition, Annabel Wharton (then publishing as Epstein) poinrcd 10
the lack of interest in spatial depth, and the contrast berween moddled flesh and
'gcomerricil.ed' drapery;1i4 while Anthony Curler noted the promincnce of
'isocephalic' groups, and suggested that Paris.gr.sIO represented 'what might be
(;t il ed the DemonstraTivc Style of [he late ninth century, in which motion and
gesture serve to present complex narratives or single figures in an eminently legible,
didactic
Thar some of interpretations summarir.ed contradiCl each other illuminates
the subjectiv(- nature of formal analysis; as important, their diversity suggests the
inherent prohlems of defining the style of Paris.gr.slO. The heterogeneous style of
the manuscript does not lend itself easily TO generalization, attempts to
isolate hands, or typologically 10 classifY the individual miniatures, often tacitly
that personal expressi on was valuable to rhe Byzantines, which is not neces-
, .. .. ' mann (r9JSI.
11" ofW.irzm.nn (r9}1) in 56 (936). , r8-119.
", BuchrhaJ (r9381. 7); Frolow (196:), 176-177, was inAucnc.d by Lemerle (1943). 96. 98.
", Vi"n (r973), r6, 14. cr. Weirzrnann ('979') , ,86, who . uggc>tcd , h .. the Gregory mi,,;.rureo
nhibired .. it<><ral;C r .. lrai nr" rhan those of ,he ."",,,,, Pa",I/,Ll.
", Cmmack (r977b). 'll: Cormack. 'Byunrine An, r-14U', in J. SlTarer. cd .. Die/j""",] lIf/l"
!djMw l (r98 JI. ". Ep>!ein (1986) . 40. 17\ Curlc<and Oikonomid .. (t988) , 8\.
97
Vision and me:ming in nimhcemury Byzamium
sarily a productive assumpdon. r have attempTed (0 circumnavigate these problems
by using a somewhat different approach, and will consider the style of
from the outside in: from the relationship between the miniatures and the other
text decoration, 10 the pages as a whole. and finally to patterns that criss-cross the
vanous mlllJatutes.
Comparison of the miniaturcs with the decoration in the manuscr ipt - head-
pieces and painted. initials - reveals a sharp division of labour. A5 we saw in the
InTroduction, the scribe(sl did none of the pai nting; a group ofilluminatofS, com-
posed. of at least three people, created the initials and headpieces; and another
different group paimed the miniatures. Modern Aaking allows us to see clearly
that this group began by blocking out the scenes and then painting the frame:
the borders stop to accommodate large dements of the composition that overlap
the frame, which must have been planned fro m the OUtset; the miniaturists,
however, evidently expanded many of their compositions as they worked, and
smaller protrusions were paimed over the al ready gilded frames. It is possible that
the illuminators were called in to decorate the most elaborate of [he Ten frames
(haT are paimed rather (han gilded (ff. Av, 30V, 71V, 78t, 104r, 149r, 285r, 30Ir,
351r, 438v; figs. I, 13, 15, 17, 20, 29, 30, 36, 44), most of which portray Gregory or
fourth-century figures associate<.! with him. There is, however, no evidence that
rhe miniaturists themselves subdivide<.! thei r task along specialized lines. Each
miniature is internally coherent, and nothing suggests that backgrounds, faces,
and drapery were the responsibility of differem painters; nor is there evidence
that particular types of subject matter were selected by or assigm:d to particular
artisans,
CompOiition as d of
A5 the tepeated figural groupings and significant vertical alignments off. I37r inti -
mated, the suuc[ure of the page is a crucial component of Paris.gr.5IO. The siZe,
location, and disposition of figures and obj ects were habitually manipulated in
order TO make visual points. The care raken over [he composition of (he page as a
whole is one of the most striking characteristi cs of the Paris Homilies, and rloveals
the coordination of process, form, and content.
176
Folio 3f (6) (fig. 6)
A5 Paris.gr.510 is currently bound, f. 3r is the first narrative miniature of rhe manu-
scri pt . Painted on a hal f- leafinsertcd into the first regular gathering, and with a blan k
verso, the miniature of the annunciation and visitation above a sequence of Jonah
,,' We might see a fai nl anl icip.tion of {hi , emph .. i. in , he maTg;nal p'.lr .... where figur are
of,en :lrr1l\g<tl in oppo.i,ional pai ,,: Corrigan (1992), JJ 1- " J.
"

scenes177 is nonethel ess certainl y in its intended location. The homi ly it accompa-
ni es, 'In defmce of his flight to Pontos', delivered at Gregory's reappearance before
his congregation alter a Icrnporaryescape to POntOS, rcfers both to the incarnation of
Christ and to Jonah, whose flight from Joppa and subsequent rerurn ro Nineveh
inspired Gtegory 10 accept his responsibility to the church and come home: 178 the
relevant passagesare marked by decorated in it ials. Nei ther the Marian .scenes nor the
Jonah narrative appears, however, among the TWelve miniatures to this sermon in the
Mi lan Gregory, where only a portrait of the prophet carrying a scroll ill ustrates the
paragraphs on Jonah.
I
]') As Ocr Nersessian observed, the decision to respond visu-
ally to these particular passages in Paris.gr. SIO was apparen rly motivated bya desi re 10
illustraTe Gregory's overriding cherne ofhesi ration or denial followed by acceptance.
Gregory provided the Jonah analogy, but did not mention Mary's hesitation befo re
Gabriel. Thi s was, however, a familiar theme in ninth-cenTury sermons: PhOl ios, fOf
example, has Mary respond" am troubled ... rhe messenger's rank and manner, and
his seeml y aspect indicate that the message comes from God. Hi s words, however,
which give the impression of being those of a suilOr, prompt me 10 refuse assent. 'I80
After a lengthy examination of this problem, in the courSl: of which Gabriel tells
Mary that Eli zaberh has 'conceived a son in her old and rhis is the sixth month
with her, who was called barren: fo r with God nothing shall be impossibl e', lsl
Photios finally allows Mary w consem, saying 'Be iT umo me according to thy
word. '1 82 Folio 3r thus pictures scenes analogous 10 or drawn directly from the ideas
expresscdin thesnmon, selected IOconfor m with its essent ial theffieas it Was under-
51"00d in the ninth century. Even within the Jonah of
shown is explicid y described in the sermon. 183
The Jonah narrati ve is apparendy rhe densest or Byzantine
enaorj l8-i its circular composition is unprecedented and
I n Mili". (1897), 7<r81; Omonr (19)9), 13, pi XX; Weittn .. nn (19'9). 18S: ([938). 40--4"
Nordslrom (195\1\7). SOS; Der .. "i.n (196,), >1'; N"ki" (1979) . 64- 6j, 69 A later hand h"" 'tan
",ribed [he inscrip'io,," in d., margin .
171 SC 41. 84->4' (NPNF. >04- 117). For Chri,t, .. "'p. par>graph. '4 and 36: for Jonah, pa,.
&,aph' 106 10 109: SC '47. 120-IIl. [14- 136. " 4-130 (ef. p"'g"ph. 7, IS, 38. 98).
L7"I Gub., (1943'). ph. 11_ Yd. rhe 1 .. , of which reproJuc"" Jon.h; [he [exl accompanying 1'1. V.I
. houkl re.d PG Jj:4,0--, j; mi ni .. urc. un Pl'. H. 4J, and S7 hove bc"n .. The limrgi""-] .di[;on
omi" thi .. c.mon. , .. Homily j.J: ..d. Laourd .. (19S9). Ss: .tan,. M.ngo ([9\8) . li S.
LII Homily S.I' cd. Laoo,d .. (1919) . 60; ".n . M.ngo (1918). no.
' " Homily \.6: N. u ourd .. (1959). 60: IT.n . ,I.hngo (19\8). 110.
' OJ On rhe iconography of rho . nnunci.,iol1 .nd rhe vi, i,,,;ol1. $C' d" p,er 8.
Il< For , h ",ensiv< bibliogrophy on Jon.h iconography. S N .. ki" (1979) . "'I'. 71-]1 not >-1'.
' " V.gu m.denu m.)" be $Cen in .. di.lly pl aced m..d,lIion, cnc .. ing Jon.h scene<
on ,h. ccil ing< of. few catacomb, which ,h. Homil i., p. inl., Sm' unl ikely [0 h.v. known, or in
ce".in mini .m, ... of [he Vienna Gen .. i" ,uch ... [he picture of R.bea: nd Eli,.er ,hat prog'esses
.Iong. h.lfov.] groundl;n. (conveniemly rcproJuc.l in W.itzm.nn [1977), 1'1. 4). W.it,m.nn
('919) Iha, f. 3' '.p",,,,nts a ph .... in ,he developmenl froOl column or >!rip pict"'"
1() fllll p'g' mini.lUr .. : [doubl , hi .
Visioll and ill ninth-century B)7.an(ium
and is not repeated in the manuscript. The sequence begins in the upper left corner
with Jonah lcavingJoppa, shown as a walJed city, for the shore, where he intends to
board a ship .<.ailing for 1arsis.
l86
Sailors. approximately half the size of Jonah but
still toO large for the city gateS of)oppa, struggle to unfurl the sails of the embarking
ship Uonah !:!-3). A boat in full sail, slightly above the boat in !">OTt at Joppa, is
manned by four sailors who appear to watch in some dismay as Jonah dives over-
board toward the Rickering tail of a sea-monster Uonah 1:1'j). The arched body of
the monster disappears into the frame; its torso must Ix: imagined to complete the
curve to reappear in the lower right corner, disgorging a fully dothed Jonah with his
arms raised Uonah 2:11). The lower left quadrant pictures Nineveh (flO[AIC]
NINEY!): citizens peer from windows within the walls as their king bares his chest
in grief and repentance at the words of Jonah. who stands between him and the
shore (Jonah p-61. Between Nineveh and Joppa, the slt""Cping figure of Jonah,
compressed into a near-sitting position, rests his head on his left wrist (Jonah
4: 'j-6?) ; his position recalls the sleeping Constantine on f. 440r (fig. 45), rotated so
that Jonah's axis is al most vertical.
Though these scenes all individuall y appeared earlier, rhe details do nOl coin-
cide. Jonah is lUually bearded; he is a beardless youth on f. 3r. Jonah and the
sailors are normally nude; all arc clothed in the Homilies. The impact of Jewish
texts has been seen in early Christian cycles; [here is none Nor does the
sequence correspond with the ninth-century miniatures in the Sacra Panlllda, the
Vatican 'Christian Topography', or the marginal psahers. \88
On rhe OIher hand, later illustrating Jonah's Ode in the Paris and
Vatopedi Psaltets arc clearly related to Paris.gr.'jlo. \89The mid-tenth-century Paris
Psalter (fig. 7l) shows a Jonah preaching to the Ninevites who is almost identical to
the Homilies Jonah embarking; the city itself, with its inhabitants peering from
behind the walls, the Nineveh of f. 3r. The miniatures share the
configuration of jonah emerging from the sea-mOnSter, the boat from which the
sailors hurl Jonah, and the clothed prophet. The twelfth-century Vatopedi Psalur
(fig. 74) follows f. 3t in its depiction of the king of Nineveh, though, a5 the later
miniaturist ignored the chcst-baring of the Gregory image, the killg's hands hover
ineffectually. In a second Jonah image, the Vatoped' miniarurist included four
figures in the boat from which Jonah is thrown overboard (fig. 73) , as in Paris.gr.'j1O
but not the Paris Psalter; here too Jonah reclines beneath the gOllrd. The Jonah
T n.\Crihcd JON AC I1oEyrON EIC TAl'CJC go .. to Torsi, ) .
.. , 5 further Narki.oo (1979).
'" 1',.i,.gr.91j. fr. Ijr. 19V (Weit>.mann fig.. 316-,'7): V ... gr.699. f. 69' (S<omajolo [19081 ,
1'1. j1): Moscow. Hi".Mu.<.gr.129. f. 117' ['9771); Moum A,hos, r.n<okmor 6t, f. lt7V
[\966], 1'1. Jl: PdchnidC$ "ill 1 ['979[, fig. 1,6).
''' I' .. i'.gr.I19, f. 4}'V .nd Moun, Atho" Vatopcdi 760. If . 82 . 831: Buch,ha! (J9J8) , fig'. 11. So.
Rt; Cutler ('984) fig . 1\6. J89. )90: Christou (fill 4 (1981). 201- 20' .
' 00
intunal .vidence
'"
Vi,ion and m ~ n i n g in ninth-century Byuntium
Fig. 73 Muunt Alhos. VafOjVdi 760. f 282V: ,rmN from tN tift a/Jonah
'0'
evidence
Fig. 74 Muu", Alm." \'alopdi 76u, f 2Sjr: leniN from lift ofJu""h
.oj
Vision ""d mnning in ninth.qnUl ry Byuntium
s.:;enes in the three manusai pts are dosely related, and quite distinct from earlier
examples.
Each psalter sequen.:;e finds parall e!son f. 3f that do not recur in the other, but we
<:annot assume that the psalter miniaturists independently and exdusive!y .:;on-
suited the Homilies wmposition, for the psalters share details not found on f. 3r,
notably the location of the prea.:;hingJonah and rhe indusio n of two sea-monsters,
and neither replkates the drwlar wffiposition. It seems most plausibl e that all
three miniaturists presented versions of some now-losT sequence, though the mini-
aturist of the Paris Psalter seems to have studied [}r as wdl. l!)(l
Similarities between [ }r and the psalters imply that the scenes of Jonah thrown
overboard, his propulsion from the monster, his preaching to the Ninevites and hi s
repose under the gourd appeared together in some form fami liar to all three mini -
JWrlSts. If Jonah's flight from Joppa was induded, it has left no Hace in the psalters:
the Homili es miniaturist (or the designer of the page) obviously understood the
importance of the episode to Gregory's analogy and, what ever the vi sual inspira-
tion. induded it. Aside from the tucking of the rediningJonah behind and above
the walls of Nineveh (a detail that re<;urs in the Varopedi Psalter, whi.:;h apparently
preserves the le-JSt edited version of the composition familiar to the three miniatur-
ists), the formal of the putative source seems also to have been radically modified
on [ Jr: the circul ar composition, as noted earl ier, is unique. One effect of this
change may be seen in the omission of the sea-monster about to swallow Jonah:
while precedents for such telescoping of the narrative exist, the indusion of two
monstets in both psalters suggests that tWO appeared in the version that all three
miniaturists independently knew. More curions is the displacement of Jonah
preaching to the Ninevites from the left of the city to the right. The miniaturist off
3r did nOI reverse Jonah's body- he turns, as he does in both psalters, to address the
Ninevites on the right- but as the Ninevites are on the left in the reviscd composi-
tion thai appears on f. 3[, the painter portrayed Jonah looking back over hi s shoul-
der at the .:;ity and his audi ence.
The composition of f. 3r emphasizes and centr;J,li7-Cs rhe two episodes most
crucial to the rheme of Gregory's homily: Jonah's Right from Joppa and his return to
Nineveh, antitypes adducrd by Gregory for his own flight and return. Jonah does
not rise alone along the central axis of the the Virgin annunciate stands
directly above Jonah as he flees Joppa. The miniaturist has aligned the three figures
most rdevant to the main oppositions devdopoo in the sermon - hesitation and
flight and - to highlight their imporlance as analogi es to Gregory's
,,., Though sequence i. iconog .... phically dOKr 10 P.,is.gqlO. fo rmal d.tail. in th.
p .. I,rr """I>oora .. loli Kal.vrcmu'. ob.ervation ,I." i" illum. tor .lUdi.d, and ootrowed motif.
flOm, the Pari. Gregory itself: Th. Pari. p, ... nle<l . 1 ,h. Eigh'h Annual BY"'ntin. Studies
Conf."nc. (Chicago, 1982); h .. Study of the m. nuript i waited.
The mi nia[ul"n: imernai evidence
", In Ihe Jonah sequence, smaller figures enact the monster and sleep
episodes, which, ahhough Ihey had been the moS! frequcmly represcnled scenes in
the past and wc:re apparently included in a readily available source, were tess impor-
lant in thi s framework. The eireular composition the illustr.llor to central-
ize and focus on Ihe twO scenes rnose imponant in the comexl of the Homilies
whil e ret aining the expected narrative episodes; and it was the desire to single OUI
Jonahs Right and re[Urn fo r speci al emphasis that evidemly occasioned Jonah's
placemem 10 Ihe right of Nino:vch and led 10 hi s peculiar twisting form. I would
argue, tOO, ,hat the desirc to align the Ihrce crucial scenes vcnicallyon f. j r inspi red
,he development of the circular Jonah composit ion.
Folio 414v (4[) (fig. 4[)
In three registers, f. ,P4V illumll1es the fall of Jericho, the defC3t of Ihe Amalekites,
and Gregory writing. The miniature relai ns its original location: Ihe preceding
homily tnds on its recto and, though [he scenes are not reIXated in the Milan
the illust r.llOr nonetheless drew dirt1:dy on the accompanying !eXt.
This sermon, ' On the consecration lof Eulalios bishop] of Douris', exalts the
faith of the prieslhood.
19i
ln a seri es of passages, each marked with an enlarged gold
initi al or wit h obowi, Gregory argued thaI though [he struggle may be difficult ,
faith overcomes all adversari es: 'Armed wilh the shidd offaith, we shall quench the
fi re of the fall of Jericho and the defeat of the Amaldcires represem
the powt r of faith over 'the wicked', and Gregory refers to each mort spt1:ific:.Jly:
Through Ihe calm stretching OUI of his hands he defeats the Amalekites. Whal
many thousands of hands could nOI do, is done 10 the city through t he pr .... ycrs of
the r:.Iised hands of the priests. Without struggle or attack, he demolishes fonified
walls.'l%
Gregory carefully selected his exampl es of Old lcst .... menr figures who were
victorious through the intervention of God: he cited Moses (who dcfc31cd the
Joshua (who captured Jeri cho) and David, all of whom were habitu-
ally interpreted .... s antit ypes The episodes adduced by Gregory and
pictured on f. 414V reinforced the chri5tologi cal interpretation: the battle ror
Jericho prefigured the spiritual Struggle of Christ ians, and Iheci tys faU represent ed
Ihe final victory of Chri!!; the victory over the Amalekites signified Christ's victory
over S .... tan. "I
I" Jo ....... u an of Ckri, . (cf. 1::3\1"""41) p..,...ida. kvd of
mun;", 10 rki,
10/ Om,>", (1919). 29-30. pI. LV: \1('cillmann (1947). '97' 0." NCIYMian (' 96') . 14. 'U.
,,, 1-1 two pr<:"king oeen Cfabaf 1'1. LXXVI!. I_ I. , .. f'G 3j:8j l-8j6.
," Ibid., 8J6C; P"u.gl jlO. f. 416 .
,,. JbKl .. SjJ S, Ih. lm two oen!<ne..,. f .. 10 rhe f. 1I uf J. r;.;ho: occ ibid., 814 not. 14.
10' $(e e.lI. O.niClou ([9J6). 9J-96. [Ol-IOj. ' .. Se. O.ni<'lou (19JO), [i l-'48. '09. 146- 'J6.
00,
Vision and in Byzantium
The fall of Jericho has been placed at the top of f. 4l4V, above and before the
viCTOry ovu the Amalekites thaI preceded it both chronologically and in the narra-
dve of Gregory's sermon. 19"9 This arrangement underscores Ihe scene's signifi cance
as a visualization of the ideology of victory; but the important here
is that the st ructure of the page itselfis used 10 make the point. Though in a slightly
different way from Ihe Jonah cycle, placement on the page nonetheless conveys
meaning on f. .P4V [00.
The fa ll of Jericho provides one of the rare symmetrical (or
cal) narrative compositions ofParis.gr.51O. in the company ofIsaiah's vision (f. 67v;
fig. II), the transfiguration (f. 7St; fig. 14.)' the mul tipl icalion of loaves and fishes (f.
165r; fig. 21), Pentecost (f. 301T; fig. jO), the ecumenical Counci l of 3S1 (f. 355r; fig.
,6) , the communion of the apostles (f. 416v; fig. 4!), and the Hebrews in the
furnace (f. 4}5V; fig. 43). Nonc of these .>eenes is exactly mirrored, side to side, but
have a strong middle axis with roughly equal flanks, and the overriding impres-
sion in each case is of a focused and composition. What they all share,
toO, is scene in which it was important to signal the presence of the divine. On f.
424v, the symmetrical composi tion indicates rhat God is on the side of Joshua and
has given him a divinel y approved victory: the image here is one of the few
Byt.amine examples to show the city falling without human intervention.
2
O As in
the Jonah sequence, composit ion reinforces meaning.
The author portrait of Gregory in the third register was not derived from the
descriptive passages of the homily texc. Its inclusion was probably meant to suggesr
Gregory as the embodimem of rhe fuilh of the priesthood. In a sense, the portrait
cominues the chri srological theme of the upper registers, since the prieM is Christ's
on earth. Even were Gregory not the author of the sermon, the por-
trait would be particularly fitting in this COnteXT, for his medieval epithet ' the the-
ologian' - shared o nl y with John the evangdist - singled him OUT as the
paradigmatic example of a priest able to transmit his undemanding of the fa ith
with clarity.201 This is precisely what we see him doing: identified by inscription as
A[ rJ OC] rPHr OPIOC 0EOAOr OC (,St Gregory rhe theologian'), he sits
in a high-backed chair ours ide a church and writes in a book suppon:ed on a lectern;
behind him, a pedestal holds his inkpot. Curiously, though nearly every sermon in
the Milan Homil ies is accompanied byar least one mini ature of Gregory displaying
his words on an unfurled scroll, (he Milan mini aturist never showed Gregory
writing. Such portraits appear, however, in a number of copi es of the liturgi cal
,'" On the iconogr>phy, >co ch'p,e, ,,; on ,h< rda,ionship bc,wcm fr. nbv .nJ 4l4V, , re 8.
' '''' Sc.: .. 4 . nd
"" Buchdul ('96)). 81--90 ,ugge,rrd thaI ,he . harcd <pith for tho
pom. ;1 'YP' ofGrcgory in Pui' .g' . )'0 and comrmpo,ary po,,,,,i,, of John. Sec W.lfe, (!97<1. w.
nOle 70. and Wah., ('978), '4>- >4).
,,'
The miniatures, imernal evidence
Homi lies,.!Oz and one is also fOUlld in the Sacrd Pilralkia (fi g. 60). In their basic
configunlliuns, these aUlhor portraits all follow convemions goi ng back to ami-
quif}'. and numerous ninth-ce:mury examples still survive:.l(I, Only the:
5C'tting on f. 414v is unusual. This follows formulae found el5C'Whe:re in the manu-
script: the: two cypress on the: Ie:ft recur, for example. on f. 4}iV (fig. 43) behind
Manasses and on f. 438v (fig. 44) behind Ezekiel; the church conforms with Imny
ot hers in the miniatures and, in iulocation 10 Ihe righr of Gregory. adheres to the
pattern Clitablished by Basi l wriring beside a church on f. I04r (fig. Il). Whether this
ehurch is mealll 10 represent Eublios' new sear at Douris or Gregory's owo church
must remain a moot poin!. What most st riking aboUl the structu re is its 5i1.1::
204
it
takes up the whole right-hand si de of the register, pushing Gregory off centre to the
left.
After the symmetrical composition of the lOp register, Ihi s asymmelry nrikes the
eye. 'Ibe prominence of rhe: chu rch, and ilS dispbcement of Gregory off to the lefl
of the central axis, skew the internal compositional balance of the regisler and add
nOlhing 10 it<; iconographic coherence. The and 1000lion of the church seem.
however. to have been motivated by the design of thc page as a wholc. Gregory
could nO! occupy the centre of the regisler. for all of the main protagon iSIS - Joshua
in the top regi ster. Moses in Ihe middle, and here: Gregory - occupy the Jefl half of
I he page. The ill ustrator h:.ts arrange:d the: Iypes of Christ in desce:nding hie:r:uehical
(rather than chronological) order, along a gentle diagonal from Joshua, amitypc:
par txufltllu, ro Mo!tO, slightly more IOward Ihe ce:mrc: and oflC$SC' r lypologiC1.1
value hefe Ihan Joshua, 10 Gregory. who reprcscms Ihe priestly and mundane repre-
5C' nt:.ttive: of Chris I on e mh t:uher Ihan a true: antitype. As in rhe presentati on on f.
Ij7r (fig. 18). Ihe bot tom registcr Sttms 10 have bc:cn internally unlx\tanced in order
10 make::.t visual point verlically.
CrOj,l-CUT7(IItJ bmwm
The commenI3rY-lhrough-compositiolllhat is so important in Paris.gqlo (as we
shall see. the: JUSt are: the: lip of thl: iceberg) and lhe
formats u5i for its miniatures - from futl-page to five registe:rs 10 grids - impose:d
formal require: me:nts that varied from page 10 page:. Nonelheless. the miniatures
exhibil a broad in thcir sf}'Ie:. and I should like: 10 continue: rhis chapter's
.:t, (1969). fig>. 61. 711. '17. 98. tj6. 1710 In. 4>.8. '11'1. 'In. 470. 'I" .
.:t, (1'117). "1- 1'1': (19n). '14- 49. Fa< tx.mpla of aUtlM>D oil""
Ihan Crrgory. '" f. 1041 (lbsill.n<! , he .ow,,,, P4",1I,Lt: W.i"m.nn (1'17'1')' fill" j10. n'.
,... Anoth.1 I"ge ,h""h. ,hi. tim " vdupi"8 Glqlory ppears in on. of th. li,u'SiC':lI m."u
'" G. lav.,i. (' 969). 11- 11.
I 1 Ih.n" Ann. m.,;. 'X'.yl C." for p"rcep,iv. Comm.nt. on .n rlie. d",f, ,hi. "clion.
'0'
Vision and mnning in ninth-<:entllry BjlZantillm
progre:ssivdy narrowing focus by looking at the features that link the miniatures
before wnsidering those that divide them.
In the miniatures of Paris.gr.slO, backgrounds rardy impinge on the action.
They range from unmodulated expanses of deep blue 10 landscapes 10 ornate
arch itecture, but invariably function as backdrops or frames for the all -important
figures, who almost alwa:r-; act OUt their rolcs in the immediate foreground. The
figures vary in proportion (wme have large heads and squat bodies, some have
small heads and long legs), but they arc almOST all active participants in whatever
drama they enact, and there is very little repetition of any figure type on a single
page: when such repetition occurs, as we saw in the di.lcussion of f. l37r, the
replication carries meaning and is worthy of note. The enlivenment of the figures
seems to have heen important: complicated poses were fav':lUred by the Gregory
miniaturisu, as was the intermingling of figures seen in profile, from the rear,
turning. and, less often (and sometimes awkwardly), en fou.
206
Accoutrements-
such as th .. saw used to martyr Isaiah (f. J47V; fig. 3S), tbe well with a pulley-driven
bucket at which Christ meets the Samaritan woman (f. fig. 25), and Cyprian's
occult paraphernalia (f. 332V; fig. 3) - though never fronted, receive detailed
anention. So do changes in Status: when Cyprian and Basil (f. 104r; fig. 17) appear
as philowphers they are bare-chested and togate; when they appear as rdigious.
they wear dIe aposlOlic chiton and himation or ecclesiastical garb. The concern ro
provide each figure with appropriate dress coincides with a vigorous approach to
drapery, which emphasizes line rather than tonal moddling. [0 general, th .. mini-
aturists describe drapery in three or four rdated rones, witb the base garment
colour shadowed with lines of a slightly darker hue and highlighted witb sbades of
a sligbtly lighter hue. Sometimes, though . the cowrt/ CMljunCfdsystem - which jux-
taposes different hues - appears: on f. 43v (fig. 9) , for .::xample, ochr.:: and white
modd Gregory's ice-blue garment, while the purple robes of Christ ami the Virgin
normally show either red or midnight-blue shadows.
107
Though loose drapery
such as the cloth between Abraham's legs on f. t74v (fig. 23) and between the:
archangel's on f. 438v (fig. 44) frequently appo:ars as a mass of swirls, the articula-
tion of drapery on a body is usually angular. with body parts segmented and con-
mained by the: cloth/OS Highlights and .hadows arc often abrupt: there is little
sense of modulated rounded forms; instead, parts are broken up into ever smaller
geometrical patterns. The overall impression of the figures, however, is not harsh,
and this is in pan due 10 the cafe: with which most of the faces were painted; the
fare ineptly painted face, such as Solomon's on r. .!;ISV (fig . .t5) or those of the two
apostles on r. 310V (fig. 31), stands Ol)t and jars. JUSt as contemporary Byzantine
mosaidSl s used smaller lesserae for faces in order to achieve more subtle
'06 Comp'''' IG.bvr""OIl (r989), ,80.
Coni""" m.y be more evident [0 us [h. n [0 [he Byzan[ines; ... Jam .. (1991).
'''' Again. compare Kal. vrczou (r989), 180 .
.08
The mi ni1l ura: inrern.u n idcna:
rions than was possi ble with Ihe larger cubes found in Olher parIS of a mosaic,2O'l $0
tOO Ihe faces in Paris.gr.Slo arc more smoolhly moddled, and paimed with smaller
brushsrrokcs, than the drapery. Animarion is achieved almosl entirely through the
eyes. Some figum; look at us, some interaCt with eaeh other, but only rarely do we
encounter a blank stare; all of rhe techniques used to paint eyes ensure a li vely ga:u.
The mini aturists sharply contrast the whites and the pupils, emphasize the upper
li d, and either smudge the area berween the eye and nose or do not ler the upper
and lower eyelids meer as they approach the [1 ose: both ahernatives ach ieve the
s:.tme result of enlivening the eye. [n shan. the miniaturists join together in their
presenrati on of aerive and differentiated figu['('5, who are themselves invt:Sled with
internal [(' nsion through the Cl)ntra5t between the csscnti:.tll y line:.t r drapery :.tnd
the modelled f:.tccs.
Notwithstanding Ihis body of shued fo rmal characrerini cs. rhe minialU['('5
exhibil considerable variery. No emphasis seems, however. 10 ha\'C been placed on
rhe individual 'signature' of a miniaturist: the Mordlian method, which suggeslS
thar a painter's identiry is revealed by st udy of small and seemingly insignific:.tnt
derails such as rhe structure of an ear or of a hand - and which was used suec;:essful!y
by thor in his analys is of the Menologion of Basil II , painl ed a century
later
lQ
- hits a bri ck wall when confronted by Pari s.gr.po. This is perhaps nnt sur-
prising in a century dominated by a Thought process that subordinated the ski ll of
individual painters to divine inspiration, and from which the si ngle named artisan
known 10 us, I anTOs-the-painter, w;u recorded primarily as asymbol of iconophile
m;istance.
l11
The manner of paiming eyes demonsrr;ues some of the problems.
The mOSt b;ui, variam is the or absence of a lower lid; when present. its
defi ning line may be either straight (and thus leave a gap in the contour of Ihe e)'C,
especi ally on the side loward Ihe nose) or curved to join the upper lid. In either
configut:ltion, lower lids may be depieled with a blac;: k line (e.g. f. 4 3V; fig. 9) or
wirh a red-brown one (e.g. f. 104r; fig. 17). Upper lids. meanwhi le, ei ther
outward beyond the eye TOward the CH (e.g. II. 78r and 143V; fi gs. 15, (9) or STOp at
the edge of Ihe white. Such derai ls, however, do nOI allow us to isolate different
hands: though a preference for a part icular rype of C}'C may go along wilh a set of
OIher characterisric features. mOSI miniatures mix the variants. Nor do particular
eyeeonfiguralions dislinguish different types of figures or d ifferent head posi lions.
The only consiSICnt partern is generated by the size of the figures. SmalJ figures.
such ;u Ihose which coaer the Joseph uory on f. 69v (fi g. 11) or Ihe boarmen with
Jonah on [3r (fig. 6), vi rtual ly always hne a strong, dark, and :.tl most straight line
for the upper lid. and omi l the lower lid enri rely. Large figures, on the ot her h:l.Ild.
display all eye types. seemingly almOSI al random. In this insrance, at least, .scale has
more bearing on formal derai ls That any miniaturist's ' hand'.
lO! On which""" No.dbogcn (196j) . " I Su OI)H 1. 1197-1198.
""
Vision and meaning in BY' .. ndum
Another indication that the analysis of small details does not tdl us very much
about the process of painting Paris.gr.slO is provided by the depiction of haloes.
Here the bas.ic range of possibilities was. more limit ed, and, with one exception (f.
239r; fig. 27), nimbu5Cs an: painted in one of two ways in Paris.gr.po: in roughly
halfof the miniawres they are surrounded by a white and in the other half they
are no(. Folio 143V (fig. 19), however, provides both versiollS: the Old
figures of the upper register carry haloes without a white ouriine, while Christ, pic-
wred three times in the lower two registers, suppOrtS a nimbus framed in white.
This suggesrs an ;lnempt to differentiate Christ from Jeremiah, the archangel
Michael, and Nathan on f. 143V, and indicates that formal details may
iconographical functions. But, in the case of the framed or unframed nimbus, even
this type of distinction does not always hold true. Folio 174V (fig. 23), for example,
has many other formal features in common with f. 143V, but here, while all of the
figures enact Old Testament narradvcs, all also wear the nimbuses oudined in white
associated with Christ on f. [43V. Further, on f. [96v (fig. 24), Christ - the only
nimbate figure on the page - three times supports a halo without a white border,
while ff. 3r (fig. 6) and 21SV (fig. 25) combine Old and New Testament figures all of
whom bear the same type of nimbus.
We are not, in other words, dealing with a group of painters each of whom felt
the need [0 work Out an individualilCd personal style [hat encompassed small
details. This apparent lack of sdf-consciousness coincides with the larger panern
evident in the manuscript as a whole, for despite the numbet of features commoo
10 all of the miniatures, and despite the variations in a particular motif that criss-
cross rhrough these miniatures without any apparent discrimination, no one has
ever claimed rhat the miniatures of Paris.gr.51o present an entirely homogeneous
formal ensemble. The miniaturists may not have felt compelled to creale their own
persooali7-cd styles, but neither are we dealing with a unified collecti,'e: there is no
'workshop style'. is much variation within the broadly defined common
framework.
The heterogencous nature of the miniatures is brought forth clearl y when we
look at how of features were combined. As we have seen, the decision
to incorporate miniatures was apparently made only a(ter the first seven quires of
ten had been written. The formal diversity of the early miniatures suggests that a
group of paimers was assembled at this point. and it seems rea.'iOnable to assume
Iha! wharever distribution system was sel ected was initiated during the assignment
of tht early miniatures. The miniaturi sts would, in this hypothetical reconstruc-
tion of evelllS, ha";'e worked on the sheets to be inserted at the beginning as the
scribe and illuminators eonrinued with the text, and then picked up later mini-
amres as they finished their earlier painrings and as the text became prepared for
them. J have sdected the well-prtserved miniatures at the beginning of the manu-
script for analysis here because it seems most likel y that any system-
'"
atic apportioning of the miniatures to individual painters would no! yel have
broken down.
The first miniature in the manuscript proper, f. 3r (fig. 6), does indeed share
various architectural. physiognomic, and drapety details with other miniatures in
l'aris.gr.51O. The manner of constructing rooftops, doors, porticoes and furniture:
the squared heads with heavy jaws, prominent ears, and slightly sad features sug-
gested by the of the eres and the shadows under them; the large expanses of
unarticulated and body-hugging drapery bordered by thick fold lines empha-
size the groin at the expense of the waist and are set offbr agitated folds berween the
legs: the sling-like drapery that constricts some of the arms; and, finally, the three-
tone system used for drapery recur on fr. 78r, S7v, 170r, 3[6r (figs. 21., 32) and,
in somewhat modified form, on ff. 67v, 69v, 137r, JOU, and 310V (figs. ,8,
30-31). The second miniature, on f. JOV, is TOO to sustain detailed formal
analysis, but the third, on f. FV (fig. 8). is reasonably well preserved. Here the apos-
tles seem to Aoat in front of a green strip of ground and a monochromatic blue
landscape or architectural backdrop. Their heads, with t)'es that glance to the side
under heavy upper li ds, are too large for tht-ir bodies. The eyelids. limbs, fingers,
and toes are consiSTI:ntly outlined un one side only. Drapery, mostly conceived in
twO lOnes, hugs the figures' bodies. A head in profile appears in the quad-
rant. These features recur on ff. 69v and 165r (figs. 11, H), while ff. 67", 104r, '371,
226v, and Jon (figs. II, '7, 18, 26, 30) display related formal motifs. In the fuurth
miniature, on f. 4JV (fig. 9), the miniaturist arranged the figures on a rwo-tone strip
of ground against an unmodulated blue backdrop. Excepting the idiosyncratic por-
trai t of Kaisarios in the lOp register, rubbing or flaking has obliterated most of the
The however, is srriking. Dark garments, such as the red tunics worn
by the foremost two pallbearers in the middle register. are barely modelled. Instead,
simple dark lines define conlOurs. lighr drapery, on the other hand, shatters into
harsh geomelfical segments differentiated by thre<' or four tones, the darkest and
lightest of which contrast sharply. This same drapery system, and many of the
specific fold motifs, recurs on If 7St, ISsr, 355r, and 426v (figs. 14, 19, 36, 42), and,
somewhat modified, on ff. FOV, 316r, and 340r (figs. 31-J2, 34).
The problem is clear: ff. 67v. 69v, 137r, 301t, 31OV, 316r all appeared twice in the
foregoing analysis, and from within the group already adduced we could include
funher aPllaremdiscrepancies. The flat-headed women off. 3r (fig. 6), for example,
rc<:uron f. 137t (fig. 18), hut the drapery patterns used in thl."" rwo miniatures are only
generically rdatl.""d. Details aS50ciatcd with one of images recur in another
one, and this ill1erpenetration of motifs appears thlOugholil the one
miniatlile can be con nected with another, llZ yet no clear formal patterns emerge.
'" Relevan' examplos willi", no,d in .ub><'lu<tu ch"p"rs; .. . g. ,h. disc"ssio", of If. n6v .. nd
4I4V, and of If. )IV .nd '74V. in ch. pter S.
'"
Vi,ion in Byzantium
Though it would be useful to be able to determine how many painters wen: assem-
bled to work on Paris.gr.\JO. it is simply not possible to group the miniatures by
' hands' in any convincing fashion without access 10 the manuscript.
It may be more practical to define the two extremes. the two most distinct
approaches by the miniatures, while emphasizing that the majority of the
i mages in Paris. gr. 51 0 fall between them. The first of these 'eXtremes' su rfaces i n, for
example, the martyrdom of tho: apostles on f. }2V (fig. 8), the Joseph sequence nn f.
69v (lig. 12), and the legend ofConstaminc and Helena on f. Hor (lig. 45). Folios
32V and 69v share a number of details, and though several of these similarities
resulTcd from the small scale of the ligures included in both, they were nonethdess
apparently painted by the same miniaturist; this painter may also have executed f.
440r, where the ligures arc larger. Whether or nOt this was so, the three display a
cluster of similarities that m:ur throughout the manuscript in various
configurations. All share a two-tone green ground beneath a blue backdrop;lLI
background features are confined [0 elements essential to comprehend the narra-
tive-slIch as the Milvian bridge on f. Hor
ll
- or 10 a monochromatic landscape as
on f. }2V. m Figures arc stocky. and have large heads. There is a distinct preference
for either frontal gazes or pure: profile, though, as often in Paris.gr.s[o, complex
poses arc attempted. Neither the subject matter - in these examples we see an Old
Testament, an apostolic, and a historical sequence - nor the iconographical sources
of the: miniatures arc related: we arc dealing neither with a formal 'mode' dewloped
for a particular type of subject nor with images that faithfully copy any kind of
related model s.
Instead, we see in these miniatures a version of the sryle found in the Sacra
Paralld<1 (figs. 58-60, 64, 88, 90, 91, 94, TO'j, T06, 113, 114, 123, IS!, 153, 160, 172).116
Though we past !he technical TO SCI' them -!he gold leaf uscd
throughout the Sacra Para/uk made shadi ng virtually impossible - there is a
remarkable number of similarities between rhe Sacra P(lmluk and this group of
miniatures in Paris.gr.jlo: heads arc large, and while gestures are expressive, the
bodies themselves are stiff"; drapery is simplified and segmented to define body
pans: faces show eyes made vivid by emphasizing the upper lid with a dark slash (in
the S4cra ParalMa lower lids are rare); mouths are formed of a single, and often
swallow-shapc:d, line placed high above a prominent chin that is accented by a deep
clefl. The Gregory miniaturistS painted Their scenes, and thereby minimiz.ed the
m "oo-,on. g .. en ground aho ' P!""" on If. jr. JOV. 4JV. Jrov. and J40C (lig>. 6-7. 9. 3'. 14).
, " Compare the el aborat< !.ndscapt .. "ing fur ,he bridge on f. 4"9" (fig. 40).
m O,ho, monochrom .. ic (us ually blue on blue) background. 'PP"'"' Oil If. jLV, 7'V. 78r. 239'. 426v,
. nd 4JjV 10, 'J, rl, 27. 42-H).
"0" rhi, .Iylo. rome,ime, called the double-fold "ylo. "'" (1981). ' 90-19;1: (,978) ,
74-80; ('979a), 17- 18. Scr al>o Brenk (1971). 408-411. who no,", [he widespread diffusion of ,hi .
lin ... h.ndling. and Bergman (1974). 16,}-17[. who nOle; ,h. 'double-moke mOlif" in ninth .. crnlU' y
Rome .nd in cont inu.tion into dove",h-crntury Am.lli.
miniatur.,.:
linearity tMt the Sacra Paraflad emphasized by relying on contour
dmwing fined in with gold leaf; but there are nonetheless fundamental similarities
in the handling offigures in both manuscripts.
At the other extreme, the Homili es miniatutisn re:vealle:ss inte:rest in dramatic
expression enacted in front of a neutral stage than in the interaction of figures.
While the miniatures in this group are not in any obvious way united by discrete
' hands', the diffetences thardistinguish them are better read as indications of varia-
tions on a common theme rhan as distinct formal statements. Folios 30V and Jf6r
{figs. 7, p.}, for example. were almost certainly painted by different miniaturists:
the proportions of the figures are not the same. and the painter of the crucifixion
page displays a propensiry for fussy drapery that anticipates the so-called 'dynamic
style' by three: hundred years. Yet the common denominators outweigh these
differences. Figures arc placed bcfore asettingand interacr with each other; drapery
is modelled in a three- or four-tone system (it is in this group that all examples of
c"lura C"njullctd moddling appear). and is articulated by very angular fold li nes that
produce ge:ome:triC;lI shapes, many of which the two painters share: both, for
example, combine a triangular shadow under rhe knee with twO diagonal slashes
across the: thigh. Material dings to the: figures' bodies, especially to their thighs. and
irs folds contain and constrain them: arms are held dnse to the body in sling-like:
folds; legs are restrained by a deep upturned hem. The miniaturists following this
approach also employ the arrow highlight: a peculiar manner of a fold
by outlining it, in a lighter colour, on twO sides with converging lines that meer to
form a poinl.
As was true of the miniaturi5ls using the first approach. those following this
avenue find cohorts in contemporary manusctipts, and especially in the late ninth-
century Vatican 'Christian Topography' (Vat.gr.699: figs. 75-77, 138, 150, 156). The
portrait of Peter in the Vatican manuscript (fig. 75), for example, shows a triangular
knee shadow surmounted by two diagonal folds outlined wirh arrow highlights
exactly as in Paris.gr.Jlo, while the angel feeding Isaiah his burning coal (fig. 76)
displays the fussy dtapery swirls between his legs so familiar in Ihe Gregory mini -
atures; on this page in the 'Christian "'opography', Christ's reveals c"lura
c"njullctd modelling, and elsewhere in the manuscript sling-like: drapery con-
strains arms and uplurned hems re:strain legs as in rhe Gregory miniatures (fig. 77) .
We also find many of these features, though in forms modified by thdr medium, in
the contemporary monumental imagery of Constantinople. At Hagia Sophia.
mosaics from the early 870S in the room over rhe vcstibule _ evidently the large
sekre:ton of the adjoining patriarchal apartments _ show facial types quite similar
to those in Paris.gr.51O, though here the drapery is more linear and the mosaicis{
larger areas unaniculated than is usual in the Homilies.
lt
? In the chapel in
UJ
Vision and mcaning in ninthcclllury By:untiurn

f::' vllu UI1. {'I IJI !!I"''''' J,! ,.!!A''>. ,
O " N ' ... ,"?,,, '"I A of,. ,. .. XII ,{O",., .. .JJA

"'''r'' '''-''-r " I'. Z. " '(; "" ' ,.


c ,"









. "
"
Fig. 7S Var.gr.699, f 81': Pttn'
southwest bumess of Hagia Sophia, which was apparently dcmratoo shortly after
the large sckrelOn, the drapery displays mOTe segmcntarion,1I8 but it is in the
mosaics of the north tympanum that we find the closest formal corrdates 10 the
Paris (fig. 78).m Head types find virtually identical cournerpans in
Paris,gr.51O, down 10 such details as eyelids prolonged beyond the outer side of the
eyeball , and upper and lower lids that do 1'101 {Ouch when they come together
toward the bridge of rhe nose; here too the d rapery shatters into geometric shapes
with strong light oudines. When first published, the mosaics of the north tympa-
num were dated to tht" last two of the ninth century; more re<endy, they
lit M.ngo . nd H.wkin. ('97!), 3-41, e.p. 36-37.
I
,
L
"n.., rvi<kna
" ......... ... .
. . "
... ,,'
' ...... ... " ..
' P""
"
..
,
Fif,.?6 1"',.p.6n. f 11": ,>ilion of lS4.iah
ha\'e been assignro 10 the late 870S or early 880s - precisely (he )"cars when the
Homilies W1IS in production.
no
Paris.gr.S lo reveals rwo approaches (0 painting Ihat inu:racfed fluidly; Ihe
exTremes Ihat I have described. were hardly mutually e"el usive", they simply illumi-
nale the range offormal e"pression found in the manuKripr. Neither approach
'"
Vision and m.:.ning in Byuntium



Fig. 17 Vat.gr_099.f 83": cmwmion of Saul

limit cd to the miniatures of Paris.gr.5iO nor even to manuscripts, but instead both
form parr of {he broader picture of ninth-century imagery. The loose and flickering
brushstrokes that somctimes surface (the so-called ' illusionistic' dements) date
back a long way and had most recently appeared across a sea: chronologically [hei r
closest pm:ursors are to be found in some of the work done in Rome between 705
and 707 for Pope John VII at Sta Maria Anriqua. Bur the Roman frescoes do not
show the hard linear highlights or the segmented and angular drapery folds that
distinguish even the mOSt 'painterly' of the Homili es, 'Christian Topography', and
Sacra PaTaflrla miniatures. Later eight h-century frescoes at Sta Maria Antiqua are
more linear lhan lhose paimed in 705-707, but even they do nOI display the almost
,,6
evidence
Fig. 78 /mmbul. HIJgi" !Mph;,,: nortl! tympanum mow;'. Ignlll;OS Throphoros
quality of Gregory minialures. nor do they share any uf t he furmal
vocabulary used in the drapery; for this, the closest Italian parallel I have been able
lU find is provided by thewall paintings at 5S. Martiri in Cividale. roughlycontem-
porary with Paris.gr.5tO (ca. 900).!li The schcmariution apparent in the Homilies
images, which in a predictable and regularilcd approach to drapery, appears
in eastern Mediterranean works already in the eighth century: along with ourner-
"7
Vision and in ninth-<;enrury BY",,",ium
ous other features of Paris. gr. 510, it is for example found in the Vatican PlOlem}' of
During the ninth century. the most emphMic tendency IOward schema-
tired pattern produced rhe 'double-fold style' of the Sarra Para!uk, in more
modified form, it still proved influential enough ro affect the most 'illusioniuic' of
paInters.
Despite the fact thai lWO approaches can be isolated in Paris.gr.slO, it mmt be
reiterated that the manuscript cannot simply be divided into the rwo 'sryles'. Too
many miniatures show both; 100 many are set, somewhat ecl eaically. berween the
rwo extremes. The two approaches 1 have set OUI are better seen as ideal types than
as Ihc distinctive signatures ot single, or groups of, miniaturists; it is not even to be
exdudn:! that one miniaturist could, tor whatever reason, usc both approaches. To
understand the production process of the Homilies, it is perhaps more useful to
return 10 composition.
The coordination berween scribes and miniaturists evidelH in the bmmata ini-
tials and marginal markings, the commentary role of many scenes, and tbe use of
composition to convey carefully wrougbt meaning contrasts sharply wilh the
almost haphal.ard combination of formal details in Paris.gr.5Io. The nructure of
the manuscript seems at odds with its execution, and this suggests that just as
initials, and miniatures werc the provinces of different groups, 223 so too the design
and layout of the manuscript as a whole was determined by a specialisl who con-
veyed requirements to various teams of scribes, illuminalOrs, and miniaturists. The
study of Byzantine manuscript production is in its infancy, and whether or not
such a degree of sub-contracting was ever common is unclear. What is evident.
however, is that Paris.gr.5Io relied on meticulously directed teamwork, and it seems
reasonable to suppose that the designer of the miniatures took on that job.
'OJ .see the r n(rOOU<1ion.
u8
3
The biographical miniatures: toward image as exegesis
The episodes from the lives of Gregory of Nazianzus, his family, 51 Basil and S1
Cyprian illustrated in Paris.gr.;iO were, wilh some notable exceptions, motivated
directly by Gregory's sermons; in this r(speC(, they resemble the miniatures in other
preserved copies of Gregory's Homili es more closely than do most piclUres in
Paris.gr.jIo. BU11hc group is nOI monolithic, and within it we.:an chart changes in
the: ways images were used as the production of Ihe manuscript progrcS5Cd: more
dearly than any other category of pictures, the biographical miniatures reveal the
growth of a system of visual commentary in Paris.gr,jlo.
GREGORY OF NAZ1ANZUS ANO HtS FIIMILY
Folio 4}V (9) (fig. 9)
The dlrce registers of f. 43V portray Gregory with his fami ly, the funeral of
Gregory's brother Kaisarios, and the death of his sister Gorgonia.' Painted on an
inserted leaf that separates Gregory's funeral oration to his brother (homily 7) from
his funeral oration 10 his sister (homily 8),
2
the miniature provides an appropriate
bridge the two eulogies and almost certainly retains irs original location,3
The top register portrays Gregury flanked by his parents Nonna and the cider
Gregury, in the place of honour on his right, and by his siblings Kaisarios and
Gorgoni a. All arc identified by Although the only other illustrated
, Omom (1929), Ij, pI. XXIII; lx, .. "ian (1911). HI; Der Ner=>i.n (196.). 117; Bu,h,h.1
(196,). W.lw (1976. ). 120, I :4; Wc;,,,m.nn (1979'). 2j\-.,6; BJul>.ker (l996b). 98-99.
J 180-' 4) (Homily 7; BHG ! 86; NPNF. 2>:9--.,8), :-l99 (Homily 8; BJlG704' NPNf;
IJ8- l 41 ). On o..,ion <0 Gorgon; . = .1 ... C.m.lOll (1989) , 197-198.
' Fo' ... gumem gainst rh. rh i. th., the ha, bttn moved. se. the di>cuss i"n of f. J1V
(which p"f.ct, ,h. fun.w OUt ion '" K.i"" ;,,,) in ch'p,er 6.
4 Nonn", in<c.ip,;ol1 h ... n.ked "ff; the oth ... 0 AI"!OC rPHrO[>IOC 0 n[AnHI' TOY
)EOAOrOY. 0 AriOC I'PHr Ol'lOC 0 8EOA01'OC. 0 AriOC KAICAPIOC. and HArIA
I"()PIONIA.
"9
Vision and meaning in ninth-ccntury Byzamium
copy of the funeral orations, in the Milan Gregory, lacks a comparable the
Paris miniaturist has responded to Gregory's frequent mentions of his family in
both funeral orations. The family portrait on f. 43V could in fact easily have been
compiled ad hoc, for the painter has replicated details that appear elsewhere in the
manuscript and [he facial types of the ma!.:: figures adhere to contemporary formu-
lae. The gesture of the two women, for example, is repeated by a man on f. J04r (fig.
17), while Gorgonia wears the red and ochre in which she also appears on f. 452r
(fig. 46), where Kaisarios recurs as well with the same facial type. On f. 43V,
KaiS<lrios - a member of the imperial court until he quined his post under Julian
theApostate- wears .secular official COStume that consists of a white mantle embell -
ished with a large gold rectangle over a green tunic; when he appears in the Milan
Gregory, he wears a simple belted tunic, bill both the Milan and the Paris miniatur-
istS portrayed him with dark hair and a short dark beard. Gregory and his father
both wear bishop's veStmentS,6 carry jewelled books in theif left hands and gesture
toward these with their right, have pointed grey beards, and grey hair thaI dips
down over their foreheads: throughout l'aris.gr.5Io, the twO arc, in faCt,
physiognomically indistinguishable.7 The Sncra ParalMa depicts Gregory of
Nazianzus in the same way (figs. 5&, 60), and sometimes in exanly the same
BOIh manuscripts differ from later middle: Byzantine ponraits of Gregory, but
resemble an eighth-century re:prescntation at Sta Maria Amiqua and drawings of a
ninth-century mosaic at Hagia
The: second registe:r shows the funeral of Kaisarios (0 A!rJOCj KAICAPIOC
ENTAlpIAZOMENOC), with four youths carrying his body - still clad in the
white: mamIe, which now covers his hands - on a bed toward a church. Gregory,
swinging a censer, the proccssion; his remaining family follows, their hands
rai scd to the:ir faces in grief.
10
It is possible that a similar image: has been excised
from the Milan Gregory;ll hut in allY event the composition on f. 43V presents an
adaptation of standard fune:rary iconography. I !
In theuppeTtwO registers, the miniaturist arranged thcfigurcson a two-toncstrip
of ground against a blue backdrop; this format is retained for the death ofGorgonia,
which is nonetheless pre:sented ru; a domestic scene: . Gorgonia li es on her deathbed,
! Grab" (194)'), pI. V.4 (Gregory and Koi.nio. g .... Nonn.): VIi.> (I<..isario, romr"" [0 hi.
p>.rcn" during .he reign of Juli.n), Vll.l (I<..i",.io.-. urvive, ,h. Nicac ",hqu.ke): VIlI., (G"gory
tb.nk.! God at the .nd of I<.oi, ... i",' funenl ora,ion), Vllb (a parri.lly oxci,ed mini.,ur. in which
only G,cgo.y. dclive.ing orotion, . u.vi"",); VIIl .J (Solomon .peoo in praise of women);
IX,t (Gorgoni. on her deothl:oc,t al,o p.rr i.lly excised) . Th. Ii", mini.,,,re '0 Homily 7 (p. 71) h ...
been ,emoved but . ... the tcxll>cgin. on p. 70. i, unlikely to h.ve been. prd'uory f.mily "",,..it .
Fo. ,h. garmen" worn by ,he [\00'0 Gregorics <hrougho", P.ri,.gr. jlO, see Thierry ('966), )08- :\ 1 S.
, Stt Buch,ho.l (1963). 84-86.
, Wcimn.nn (1979'), c,gs. 648...070, e,p. 6jl, 614, 6j6. Th. po><: ru" in Gregory'. port",i, in
Venice. Marciana gr. f. IV. also .",ib",ed to ,h. n in,h c. n,ury: Fur!.n (1978). 6-7, fig. L
Buch,h.l (196)), 84- 86: Wei",m>nn (1979' ), ',j-lj6: M;u>go jl, fiS" 57. 59
'" Stt M'guj", ('977), '41-14'. " &. note S above. 'l Stt W.lter ('976.). 11;- 114.
murmuring I"" 1" .. word, (a p .. lm YO c) to ,he ol!ici.,ingp,"'" here Klen,i!i<d ..
G "'t"'Y ofN)'UO_ I j Gregory tell. u. th>.t Curson ii, fomi Iy .urro.mdc.! her . .. 1.. l>y
<.lying. ..,<.1 .ing\<> ou' he. hu.h.nd . nd children fOr .p:il1c men,io,,_ C..,,,,inu;',S
,he <mph i, '-'" Gregory', o,.-n imrnli>te f..mily <videm in ,he '''I' r<go" ... ,
however, Go,soni" i, omi .. ..! in t,,,,,,rufher p,.,.:"" . nd mrviving bro<her,.11 of
whom .. ond '0 ,he k/t, in fron, of .buildins preoum,bly meant tu .-.:p.<><:nt tt><
houle in which , he did. Nonn., .. ill d.d in g=n and pink, ""rries tI", h"rden uf
,he grid": , he I<>n, ove' ,he bed and rai "" her c<>v.m1 hond. to her f;u:<: the two
Gregoria, other.nd ",n, ,,.nd _ only >.I igluly ,,,dine.! _ behind het, c..ndla in
dc<o",ed '""'= bu,n to tI,. tigh', befo.e .".""urewith a nt 1 dorn< ,h., m.y
repr...,n, ,h. church in which Gresory deliveml ,he rune .. 1 o iun. The IC<".
adap ... Common Byzantine formula to ,he ""lui",n,.n" of Gorsooi" cirrum_
".110:> . nd a i" .. II<I c<>nmuction oPf'<oml in ,h. MiL.n GgO')' befo", mud. of
,he mini.rure ... " noised (fig, .9). " ruide ftom tb. ",,"<"-ill of Cu'll"ni., who Ii ..
wi ,h he< head .0 ,he Id", in ,h < Mil." fr>gmen., ,('" comp<i ,iun duplic.t .. ,h .. on f.
with the Itof t hree: figure> '0 'he kfr ofGo'goni" h..J, and ,he kS"'['
before the mb" ruaure of a building!O ,he righ" Ho"'''''cr ten"",,', ,h. >h..-eJ
Jc;isn .. b .. hin" 'h" the "",i, mini .. u. i", may h"" hn
infiu<nce.! by an illu>tn,od Homili .. th .. , recollod ,he Mil.n manu,..;rip . "
Folio IIV hoi (fig. to)
Fuli<> '" ili um" .. G"'t"ry', fin! or .. ion 'On p<"'" (homily 6). which celeb ... od
,he """n(ili.,"'n of ,t>e mun."i< communirr of N..,i.nzu, in 11><- ","'0
uPI"" regi"e" ron,.in a Ceni, 5C<Jueoc< 'hat pmvid<> .n n<gotical
<omment on the oc",,<>n; 11.1""", """,iving I . ... " ,he fi"t >O:: ne in the low", reg.
i" ... ill"ltwn the 'a' di,tly. " In , he "",ond ",eno <of ,he (;. ego'r doli,"
.... '0" poe",,", 1Onll",ni<xl b) hi' f .. l.et, The ",ir. ni mb<d . nd I.oldi ng gold .nd
j"wdleJ book. in ' heir cowmlldi band ..... nd in c"""'oKI .. ";,,,,1 f'<"<> b<hind
aR .1 ... d",poed in pink .nd , ,,,mount..! by 0 To ,he righ' , four I"i" of
mon embrace in mponl< '0 Grego. )', emre.ry to ,he monlu '" hug anJ ki,. one
an",h, .nd illu .. ",. G. egory', oboe,"";on 'u hi, f..,f>e, ,h .. 'All you. children
h>V'erom< to)"lu; ,hey ,u,round ,h 1",.""
Th< Mi!..n Homi!i ilt""' r:iI' 'hi> pnug< wi,h. pon",;, of ,h. "", Grego,i ...
hu, ,he i""g' doa ""' .... m '0 be .d.,l '0 ,I. .. on f, jlV: no . 1"", 0 . ' 1'1":;"
,he g<>m ...... ncl , ... ,,,,.,,,, diff", tho /ism'" hond..r< not """,m;l, ,h. f<>ung<'
Gr<g<>I)' !wId. . .. ",n ",.Ilt, ,hon icw<lIod hook, . od hi, f.t,hn h"W, n",hing,"
n" f. I" '. tho phY'i"K""mi. tyr<' di.pl.rl by .nd hi. t.,he, conform
with ,hoo< used for ,h.;, po.u.itS ,hf'O<lghou, 1'.ri'.IV.1''', .".1 the fUlnitu,," lind.
"<1m,,,,,,, 1"',.11.1 ... ""IP'" wi,h tho f. mily pun .. ;, on f. 4\>, tilt mini.tUli"
could wdl I. .. ,. compil...J ,hi. im.g<
Folio 67" tt)
Thr upper regi"" of f 6.,. d.pi, I""i.h', vi,ion; " tho luwr how, Gr<g<>ty'.
<o""",.tion a. hi>hOf' of So,i ..... " Aj>prop,i.,c1y, ,h. mini., ,,", introducn
Gn"!;",)"', ninth homil)', 'To hi, f.t,n. in tho p ..... oc. of Ruil, ,m hi, ,,>t'>e<r;ti,m
.. bi'h'-'l' "f So.im' ."" In tho <Cnlf< of tho regi"". Grrg<try . .. nd. wit h ,l ightly
bownl Ilt.d Ilt,...n rwo hi.J,,'I" who hoi,! ,,, open bouk '''''' hi. h<><I; in front of
G,rg<t.) ond ""r>"'...J from him hy.n .1 ... d"ped in m;l, ,hin! hi'hop _ p.-oo .
bly S, &,il " - ",,,,,hts G.osory', rotCh.,,! in bl""ing, A gold boJd .. hin .isa
brhind ,h< figuf<., and Mmi.,;:i",u!.. ",uem", ,It" p ..... . iguin ... n
' I'''' ,ndo ... ,I", S""'P: on 'hi' .r< four gold Gmdk.. icb. two on c;,het .ide, TW1)
g'oup' of mon ".nd '0 ,he .,f" ,1.<< d",e., .0 ,he """m""y. J .. con. dr<O.S<J in
a-r.mcoloud robe., .... ;ng ren .... onJ "'''1' c.ndb: ,he mcmbr .. of ,nc "",,,old
group .Iso a..')" ",,,,dl, bu. >l. jn brown, .pp>rrntir '0 " gnol ,hci. ,um.
'" monk<. On ,n. .igh, i 1\=0 h." iliC1 wi. h. mruin<d door .od m;l,il<d roof .
M"" d ... ;I, <o t"'pond wi.h 'h< on!.oJo,I;,urgy for ,h. con><t:."i"" of a bi.<hop
... l'OCO.d<d in ,Ilt <uchologion, which .pecin<> ,h..., nffiei"i"g b;,h,,! . nd
d=tibo ,hom hold;ng tilt <>p<n g<pelbook ""or 'hc he..! of ,he now hi.hop ..
,hC)' "",d in ,h< .. nem.')", I'
Wltik G,rgo'y', oon",,,, .. ion 'pp;lrrndy rrcun in tilt Mil. n G<q;<>'Y (,hough
,Ilt", i> """hing '0 connm, ,h .. ,he . i,. ,. bring pet!o.m<d, &sil flanked by
G.egory fils . od ,/'ffl"<cn.in1r .;oj ... hi> hond ."",,,d ,he f<>uogrr G<q;<>'Y in lib. .
.. c, ...... {, ..... ). pl. X. "
" Tho roI.mn <10. ..... ,,0.1. .-dkk"" <.1. If. 7"...J ' ... 1 .... ", wi , do< 10 ... , kfi "'.m"
J"'"rr>< .... ,.", ",,",; .... ...1 'on I, ,.,... (fiJ, ,,' .. it Jo.. inro G""", ........... , ... dnip .... <10. .
io. oi , ... b.ldock;. u, S' ... dr:.- ';mJl.o" [, 10"..., "1"'" ,I.. ";.k d, .. .... ..t.,.",
..... ...... d",...J t..kL<hin "..It . .... <1, "" f. >67<" (fos. ;I), s.. roo "" baId.d",,, Oft '>7'. 'I)',
'"", ..... ",dip. , ..... ,", ,,). " On ,,",,;.I. """....." 7.
0-." "".), ,. , .... XXV, [)." 1'",..,;" h,,6,) ... ,,-''' ' N. b',nk.> h, ,,), ... ,0.-,,,
Wd,,, h,7II , ,_ ... " 1' . """""hoi,). h.
" S<: <'>\, _,,,, Coil., (,,.,). "J-"' , 10 ,,", .f. tn, _ of 110m"", .........
I " .. ;, ........ ..t,.. f. , """"" 5C..,... ,.,.
"Soo....., (,.,, 1. ,., """, .. '" .. f.
" r ..... 111)0). ,_. u. s.. o!.o 1'. Sffl", ko h,.l ,I. I"
ing lfig, \oj)'" and aPl""''' in 0c>"",1 I.,,, ... rnplcs, " .h,o coo"".:"i"" ,,1><1.,
go<p<lbook fir>d. ""I)" on. 1'".1101, . nd .ha. 1 0. in 1''''''8 . \10 i"d( ((. fig_
4/i) " ron""mion i, .1f ,1 onl)' b)' ,ho ,wu Mok.holding
bi,hop< and t he bl ... ing ... unu.u. II)", omiued.'" Tho dilforcncc> be<wn .h. "'"
mini.w"," arc , britKJ by ,h.i. occomp>n)'ing tn ... nor . ny w.i".n
KCOUnt or G"<g<Iry'. Ii(e kn()Wn ." mo. l're:mrn.hly . 1>< mini.om,"" ",.ied ,h.,
<om!"i,;" .... i,h.r '0 dis, ingui,h ,h. """ <>Calion. ,..bon Gregory ..... om.ined
hi, horo"o . ""id monOtony.
Folio 7" (I)) (fig. 1)1
Th. wI' r<"gi".r off. 7" ri", or m'onomou. po" .. i" .... 1><. Iii f, 4)V
(fig. 9), hut in .hi, ",.h., ... G'ego.)' - !l"'1 ,ho C;",,,, "nJ
Gw>'Y o(Ny." _ . rc no' mom be" ofh i. (.m i I)' .nd .rc "'I" ... ed from e:teh OIher
by ""Iumn>: J<.>I, on hi' dungh p '1'1""'" below, " Tho mini .. " .. im it< o.igi.
n. 1 oo. ioo: .1>< prccrding .,,,mon .-ondudos on .h. ='0, .nd oI"",n.h
homily, whieh f<>1"-s on If. 7" - 74', i'''rim.! of" ill""r,,i'm. Gregory <kliv<<<tI
'To GW>'YofNf''''' b.otl><.ofR ... iI ,hoGreat, ,..ho miV<>! .l1er hi, COM<""'",'"
oI>""ly .r,., h. hi,hop of S."im. in )7' ;" Gf<'JI'>!Y of NY" '" ."iyol
pmmp.ed .h. 'mon, , od con"," ,,,,,.,. on hi, gr<>< I,,.,. ""
him, C:;'.gory ", . ..J. hi. f,imJ'ooniy H. w '" be ,h .. h. wiV'! ''''' I". '0 hdp wit h
,b. dc.;i,ion ." 1<:COp' .h. epi""'p, 1 ,."" I>< ."""Ii he wo.d. of Job ,0 hi, f,iend
Raid.<!, who . .. iV! '0 a>mfon Job .. h. "', ,ovcrul wi,h >ores. on ,he dungh.-.p
Uob 15- .6). The only m"si ... 1 .""ID; ."ach<J '0 ,h. !>omil)" "" off ,h ... Icv:om
quo",i"n (rom Joo,11 which dc.rly i"' pirul ,he inug< in .h., \mo.'" ''1:i" j,,,, '"
,n. ,i,k m<>ti""ed ,he po"",i" .bove:.
T"" clourcJ. f.,h .... """I in. got.! . nd jewelled .read . Al,hQugh . Ch.n..
Ru/U. Mo .. r poi n,ed oU', ,hey .... mbl e figum; . m nge<l "" mlun.o .. ""--orh .
glU, ,h "ocobul"y employed i. no, SO ,",i.n'. o. .. il. ,udJ .. ,h.
columm w;,h .hi band, of ""i.hle Rming, ,h. q" .. ;. ionic "'pi"l ... nd ,b. jow.
cl led framing 1tt\I, in ,I>< pic,u .. <>f Gregory and a..il mini!t .. ing 10 , h., .ick on r.
(fig_ 10), wni!c ,h. '!'lociI'd "'".mor", in ,"",<leo ofbl ... wi,h white de .. i1 . j
.. ..... ,!...- " .. w_ pl. XI,", ""I,,, 1.<0 "'. n. ;. "''''''., ..... , .. of t ' '''I'''>' p.... ....
,HI< of .... ><nnOft: d ..,.,., "'", ... , ;" "1"."", .........
" Ie,. ,. m ... " .. td rom .... "', ... C"Pi ' "' .... , "',,<0. 0,- 1'J; j>h of ...... , .. " "" __ ;.
Baod (B,bliothtqwJ. ru.;.,,,, ... " .A.N.I.I , I. n.' W,It" (,.,,1, "'.Iis- ' .
.. ,> K Sn<tnk.>,. .. , I , ,....., .
" s.. "', 1,,, ,,"'), no. """" cor,! ,10< "m< """ipoo<o. 0 6EO.\Oroc
IXEIPOjTONOYMU-lOC .. ,10< ,.d; .. , ... of ,10< ' ........... " .... ,t.", ''''' . """ to..
bt= ..... "MD,tttd .. 0. ,/,n'..-<4, OW, to .. ,) . " .
" "M., ( ..... , ... " 0."."" .. ), or, pi , U'l', """'" It .. " . " "'"""""'"" ( ... " .
... , ..... to".;,). ro-" 0.. ""'-(, .. ", UL On rio< ""' ......... ' Mf"<' I .
" St:..,.. !,,-,, (0,,,) , " ... ".. St:""" "..IJ. D. ' 7-<' )
'"
\ '";.,,, .oJ ..... ni"!! in nin,h_",,,"? IIr""''''m
["""d on f. H ). Mmy of ,b. mo, if. .njoyed wid< e"'''' ncr _ ,ho ""I"mn
form, ['" =mpl . '1'1""" in Rom.n m"",)' of the >Ofld hzlf of t!.c nimh
cen' u,y" S. Clem.nte . od., ,he ",-call.d mpk ofh)M"'" Vi,a;, _ ",d ,h.
1"'"",i[ [yp<' of Ih< ,n"", church { .. hel>, .11 id.o,ilied by ime.ip[ion, oonform
.. i. h <ontempo"'ry I'rK'lK,. " Even [nO .,..,i<gzt..! h.ockd",p, with ,h. """" ,]
C'T',}' ofNyuo .goo;lI>I mJ !""lnd ond figutC>ofB...iland GrT'ry
of N" imm. b:u:kcd wi,h g"",n. lind. ,n,low<, d ..... h.t< in P,,;'.gr.IIO: Ih.
m.flrn,l""" "f 'he MAkro.-c.on f. HO. (fig. H). for =mpl<, "" ...... gooin .. , g,id
of alt<.n"ing 1.10< ,od .ed "lll'''''-
Tbc<kv<nln I>omily formed pm ofoh< tiru.gOaI , .. dins> fi::,[ Gr<guryofNy."' ....
f.,,, d.y (to )onu.,y) . nd w:u incorporz,cJ in ,ho li,o'pal edition. of the
I 10m iii", wi,h iil""""iom ,I>., sr""" ,h. fti.nd.hip br:no.=n ,h. IW<I Grq;OIi", by
picturing [h.m ,alking, .rnb=ing. 01 p"'ying 'og",he" " Non. 01 the li. urgical
rn.nIDC.ip<> " .. ch ... ny biblical ""n .. , .nd "olyollcdon B..;il juLn ,h.
""0 Grq;ori<s ( to form I"''' of, hino,i .. ed ini,ial n"ed on G.cgOfY of
N"i.mu. )." Th. Mil.n Gr<g<>ry (lig. \t), Oil ,ho urh hand, rncmblcs
I' i' _gq,o in it< ind ll''''n of a "ipic pon .. i, of [h. ""'" Gr<gun.. with s"a, will,
Gr<guryofNy", in ,h. n,,,,.rod .. i,h lIz.il pofl r. )..J" )"lung .. ,h.n hit brother
'M the Ro,h oin,h' e<mury minjam"", m.y n.", b,. ;"tltpcrod.ntly
in'pi,..! by tn. ,;,k "ftt.." .. tioo. but tt..y or< joined in Ihei, >.imil., in ... p.et.
[;onofil.
fu!;" (. \) (liS' 1\1
Th. mini'IUt<, wi,h in om.,. ri bboned f",m<, i. in ".mpicl. h'''''on) w;,h tho
.ccompznring ''''''. which hegins On ,h. "',,.... of the fuli ", ... Grq;orydd i,..,rcd 'On
,t.. rl.gut' "fh, il . nd hi. f .. her' iknee' (Homily 16) in nJ ,r,., . wi"", h.il
"Olm ruined It.. h.",.". of N.ti.n",,!' Gr<g'N):' f .. t..,. who .. b;'Mp .Muld
I." .. <pokeo. w .. '" ", .. <whelmed by [he n.g!y ,n .. 1>. could n .... respond ,,, tb.
,h".......! ei,ik'" wh" flocked '0 [h. church. A> hi. f .. hor', . .... "'n' , Grego.)
dcliv<mi,n" ... ,mo.,. " oJ ""'0",111 pcnil<OC<' znd przY'" [0 >1,,1>< fOf
the 'im ,I. .. h. d p",,'Ok..! God', w' Zlh and , he "o.m_
In rh< ,op "gi" . ,g.illlt. blll< .ky. bz.i), uf .. " i .. h. il dc. c.md from. grey.blu<
' SOO,bo .... {, .. ,b '71-
.... {' ''J!. 116-1", .. .... I,.I.). >0, ""'" I" W,,""" .. {,,, .. ,. " . ' , ,,. So<
of 9atil.n v."K<. M'Ki"". IV.". f. '" F.,Ia. I'.,.... ",; ... ,. ... " I ,,,"). II. . I) .
- f. 'H. t n'",,), ;toOl .. 16 . 0<1 r.- "", W""",.nn ...d ... ;, ",.,.,).
Ii,. " ,.
r It . . .. ,. rI. Xtv .. Tht '"pi< 1''''''''' app<>H" ,,,,, ..... of,,,,, .. , ..... " ,,,,, '1 ... ; ....
i""V_ .n'oo ..... i'" ,,,,, I;, ...... "mo"" , .. two C ..... ,;.., ,h;", ."n"",,,, p"" .. ,..
M_ .nd ............... ,;.,-t ;n """"" fWop.oph: ;/,iJ .. rot-. X" I .' ..... XI V.I .
{In."" " . ",, ". rI. XXIX. Dn N'" .; h ... I. ' .. ' B.d,,' .... "',I< .. {"m) .
"' _' ''. .. I'G " ,. " ...... \NfNf. !<7- " . ), C. n..r!<<;<JJ. ti .
'"
r< onto. I. nd..:. p< pl.ntrd with ,,11 t ( ... " tl", vi"", (" n 1.,(. ). ,nd
.10,,,1>, (.I""S the hm;.on li,,<\ .10 .. ,-; nom, ",-;p of S""n grou"d. A <k>c.iptiv<
.ioul" . ', he pl.l$"c of h. il' (H 11.\ Hl"H THe XA,lAZHC). 'PP<'" 0" ,hc gold
bm. brrw ... n .hoc .tgi " , ... Signik .m .. on, of the few Brun.inc imogc> '0
depic n u 1 Ji .. "".'" ,hc "",n, follow, Gt<"gOfy', J ...:rip1ion. in,.",(u"ed hy
gold ini, i.1 .nd .-.p...,...,.J in ,hoc ,'oi ofG<>J, 'I brough, .he hoil upon you, " I
uprootl you. viMY"'!> ond .hrobbe.i ... ",.I crop . b", I (.ill1O .10."" Y'''' '
wickedn ... :"
"'1\;"" ,),""'., G'ego<)'.<><I hi. f..thcr (iden.ified by a nagmen . .. y
iru<. ip,ion) .... <><I ing in (,ont uf.n ...Jicul . r .. ing. cc"",1 g"'up .<tI\,po>r<l or
",.I<:< n.!. """"nd group, on .be .igh., o(fem.b," As .hown Iry' hi. h.nd go"ure
and . hoc inlC. ip,ion ',he 'hrologim 'p<>h (0 tl EO,\Or OC <l. HMIl'OI'ON)
Gregory iJ deliv<ring ,il.< ..,m,on; Io i, f .. h .... ,iknce i. indica,ed Iry . he conceal
men. of bo,h arm. "'i,hin hi. cloak, The gn.ure of ,he ce n,,,1 m.le encap."I .. ",
,he ciri",m' <km ....J for .n offiei. 1 response to, ,he ",lam;,y. whil. ,h. gu .u", of
,,,,,row m.ok by m.ny of .he group demo"", ,,,,, .he communal reacti"" to tI,e
"Ofm.
In it> 'pifici,y. f. 7ij . to<" w<ll bcy<>n<i ,he ill""r ion, '0 Homily .6 in orl."
monu""ip" of G"'ll"ry', HorniliQ. Tbough ,he iocipi. .hi. >em",n in ,he
Milan manuK,ip' "'" bn cxei>l,') of ' he ,;" <upo.. of tI", )ill"g .... 1 Homil ...
,10 .. ill"",:" he scrm<>n onl y on< picrUIa h.il." The fourteenth.mu.}"
P"i',g',j4l (hg, 79) Grego.y preaching from a KroH (.,. 10.. no.m.II) Joe> in
,h. Mil.n G.tgOf)') wltil .IC confi"", .he hail.bove tnc head, of .he S .,ianm,
ci';",n" .I>c compo.i. ion bea" liltle ."",mblon"" '0 f,
'On plogut of i, nO! biographical sc.mon, ItO. did irs m.in .heme
p.<!Cn. iok ..... foreign '0 nimh-="'ury Co",un,inopoli,,,,, .10 .. i .. me",ing
could only be " ",.bted ... m..tim ",,10... ,b.n <ummcnted ul,,'n; Grego.y, ,hosi,
,n .. n.mr.ol di ... rs ....... G....J'. l'<:<f1<'nsc 10 commun.1 , in, ..... comp .. ible wi,h
niIHh.""mury .nough . nd ",ferenee to God', us", of n .. u",1 ",lomi,i .. '0 pun i. "
.innen rem. ined. romm'", response 10 Ji"" ..... Indeed. i, i, li kely ,10 .. ,he
se' mon ,,,'ICk , ",,,, n,n. chon!, fo<. "".i .. of n ... ural di.., .. " (prim.rily eanh
qu. k< hi' the capi .. 1 du.ing .he reign, of Mien.cl ill ....J 11.0,;( I." The .. ,,10-
.. Sa Bru ...... , ..J ' .. d .... I, .. , !. " ... ,,,. " Fu!io l,,,, I'G" .... ...... "
" Omo., ('9,,), ,I , folk-..! by ''''-I'''.' ... ;.ko, ;fK,.! ,t.. """ It ....
, .. F" .. p.,.. ...... .. ( ;' 'l'''Y'
o.lp pOo'u.n of "" prnpho' J<>d ,nd , f'K"" ;'" "', .. 0<1 ..... to. (."" "",..., 0( ,t..
"' .... " <.;..10., 1, ;.1. pl. , XVl. , .. ("41 ...... ;, 10,.,). ,.. " 11>0.1 .... , no ....
.. s,.., (",,,...,.,.., PIoOOoo, Homily ' 0' (..I . u.,.,.100 Io.,. l. , I, u,." h"Ol. ,.,) ....J
"' .... tk libid .. ,4) tI>o, ""'lo;nc """iJ ...... "". fun .... ... ,t,., ... ';, ... __ .... ,,,
.. ,., ,,,,..1 , ..... .... ,." .... """ ... ".,'u., ..... foe..." .... bq"W>,
j, ""I , proOOn ..... r f""h<""mpk> of tho 0"1 "'" of " ,,",01 d;"'t< ...
'" r..., ...... ,,'''' .......... ,,' m'''n.l ..... M, ... Io .. ' I., "'.< , .
.. ,
Vi,iun Jnd in nirul ,-"rnllry

--
I
,
-

I-i.f- nlfis,gr. f4 j, f j4 J": GrrSQ'Y IIf NtI:';'lIIzlIS 111111 his jilllta 11'111, "Ii'
Grrsory pm/rhillg 01/ /"r b.n'hrorm
1!6
ill 81>9 wu .uffid."oIy mem",,,hl. he il\"'''I", ... ,ed i"to ,h. <),ek "fli,,,,-
giClI mmm.mor .. .nd, :n c,rq:ory h.d done hefo", ,I>< '"""_p.,ri.","
.... ,I","d1 ,,, i, wi,h . "",m,," (n"w I".,) .Im,,,, """.i"l
y
"'1"'.,1
Grq:Of)" pointl," Grrgory', 'p<'Ci!ic , ub;c.:" 'he pbm4>'ro)"ing "Ofm, .100 pre-
. um.blr ,poke to n;nth.century Byzanti ne>, The iJo. of the coro'ruct<tl lond-
"'"pe, "'1"="'00 by g;>n!.n nd .vet\ fidd" had g"''' .ymbolic i"' I",",nce in
Byumium, both ... rom.",ic c""cu ion of God', .-"iOll (,hi. prim.,,;ly f<:>r ,h.
POP"!.' ion I. n d ... mean, of demon"",; ng hum. n con",,1 <>'>'" ,h. u"fuiy
W<)rld of n""",' d.",ucrion of ."I,i, .. , ... 1 veg<:",iot\ brough, in,o '1" .. ,iol\
God', in'en,ion. God', ""pon .. ro tl>< agric ... ltur.tl'!l who a"emp,ed ' 0 r1<'
",e " p.",Ji",1 ,"W ",J.",d I,,\J""I><' u"." ..... " fm,d"""",.1 kv.I, i, lIed
into GU<1tion IlUmm au,hority <>vcr n"u"" n.. h. ilstorm f, 7gr, .nd
n,uJ rp'm'" "f (;r"l\0'Y', flock '" ir, illu"",ed .n i.,u. ,h .. "' .. h ", 1nd I"'"
. " ni. 1 '0 ,h. I\yu.n.in<>, . nd rem. ined .. impom.n, in .h. nimh .. in ,h. fourth
cen,ury,11
Folio 87" (, 6) ,6)
Folio p",f.en (;"11",)" eightn'h ""rmon. J eliv<rcJ in IH on the de.,h ofhi,
f"h., " Om;u;ng .n)",,,,,.,,,;on. 1 fun.,,1 """"', ,h. m;n"m,;" i""".J filIeJ
P' g<: wi.h .. cD<> of Ch,i,,', mini"'r and <pi<O<l", from .h. lil'c of Grrg<>ry'.
f .. her. OI'I""m<>Stofi" ,h .... ...... .J,,, .... l:hri .. ""!1i,,S ,h. '1",,,1 .. ""'<t.
And",w, J.mes .nd John f,om .heir bo>" (M.tth .... Ch,; .. co",..,ing
wi.h z..:hiu, 1"" ..... i". ')'C1mor< '''''', Wo'" .n,,,,ing).rich,, {t uk< '901 - 1)'
. nd .he coiling of (M.tthew 9:9, M.tk Luk< P 7-1S), n.. middle
r<gi"" c" n,inu,", wi,h l:hriu "Iking." ,h. rich ""''' (M,,,h,,,,, r9"6--11.
M1M: 10017- 14) . nd Chr;n c<>"vcning N h",.d (John Q 7--48)."' Th. """ ... , reg_
iot .. <hmnicb tlK ..,,,,,,,,ion of Gregory', f..he, " Jcscribcd, in .he fu""",)
.nbrgcd ini.i.l, in ,h. tc" highligh' ,w.,of ,h. .
... Gnu",,1 (,.,11 .,.. M .. "" 1 (' .. ,,. '." lli&ron {,,,,,'.,,,,,,,,. "," Vmi<ym " ?!11. "H01
M .. ..,. .. ",I 1.1. (, .... ). ". <t, .. s.-. ,t.., ....... ""'" in .... " .. .t.....,
.. s.-. B, ..... , .nd lJ""'""",, ', .. >J 10.- .nd bibOOp .phy.
" Cf. 'r"" 10 .. " , <I ... "', flo,,! ""''' k> ... ,. """"" . "''''' """ """"""", t<.>v<h.' ..... _ ..1
bmc< kH", ""'.,.. "';,h _f"' .... "'Vo' oiM.m.d III', "'.";,, ..... , """.10", t.
s,......,. ,t.. . l"<1irul...J, fwl , ..1 1t ... illo.J dilll<.hr """'''I ,II< .. ,"" t. F' ro ,II<
poIou IC/'''..,..,-...'O. r .. "'" C ........ ,,, I IkU", h',,]' .,,.....,, ; ... TobU. 1''''1.
,,,-,,,,.
PC ..... "". { 8I1G,,<, NrWf, '''_ . .. ), '-;,[1.0, """)' n4-n, . I<-.f", ,I.. "''' tu.
--.....I; ,I.. ""","" """ M, H, "." .... , , h"""lVr ,I.. ........ ..J .. n''''''' of I"'OU",," (".u 10..,
Apptndi. q. n.. m,n",." K.df ... oi .. i" ",,,,nol """ ...... <h< """ ",-,I.. "' ...... '" ...... ;1, cuo.
cho;Io, .. in""' ....
" {, ... ), pl. xxx, 'l',""","" (, .. .1. ,1. II, W"i""',n. ,'."" """ On
N<n""'" (, .. ,), "">-'''''' N. So,rn,nu 10,))1, _"" , .... ", W"''''''''nn I,,,,,.). ,'" ,j,. ,I"
_ .. ,10"'0), .6,
" On ,h< . phy of .h< ppd ""'''''- "" 'h'l"'" .
"7
The "'P-"Cf "1'<'" w.,I. 'the , i,"on "f Jr m, .. (jnd of" .... ,"'"' ul"''' ,,,,,,I
worthy of ... k,,"oo," Gfcgory ,oil. u. ,h .. hi. fa,h., cnnvcrtl to Ch.i ...... lty
.ft ,,,.h . d.com. in which he he.rd the word, 'I wa. gl"! whe" .h<y $Oid w me. 1
u, go inw the ho,"'" "f the I ..... d' (r..lm m oll, when i>c .woke, he "'p<>led the
won!, '0 his wi!'c. The miniature . hOW$ G'gOry', f:. tI>c ......king from ,he Jr= _
it> divine impi"''''n indico.I by. h. nd "f(rt,d emerging from an.r< "fhe .. e .. in
ron",,,,ri. ",",1<1. "fblue - and !Wi .. i"g n:tI ...d '" speak '0 Nonn . he ... in red, Th.
ime.il',io .. wri"en on the fume ("he "1.,, of ,he ,hrologi. n I. Gregory of
N.,i",m,1 ,",ying '0 hi. wif<. I W", glAd when t!.cy .. id.o me') "'pplies ..... di. _
logue, , !>ough ,he vi""",. i.! lef, '0 cOOll'kthoc poalm V<I" <, " Th< building behind
G'K"'r', f"het m.y "1"<><'" the house in ,,' hiet. .... a",,*e, "', ., ,lte ""hrc ",.11.
.nd .1 fil. "",f.pl'<" on cimKh in [h. following occne, ',he !>ou of. he Lord'
,I. .. figured in lhe d ... m. 'IX'e nex'", ', hoc wonder' ..... n G'K"ry pmfcll '0 hi.
kne .. ""h" [tun ... ...ding during hi ..... '1',.,, .. , ",,humen, ."d was ,I.".
>cridenull)' ord.ined. p'''" .'' The oflic;'ring poi"'[' Kcomp.>nii 1" ),omhful
. ,,; ... nt, .und. brlo .. . chuK" wi[h hi igll, hand .. i.e<! in blening' hi. kfi i.
open in , ges''''' of ''''p,ise G'egor)' senior "umble> 'ow ..! him, .. m
.. nJ.d. Fi n.lly, G'gOry'. f .. her _ "0'" nimbed _ r=i,..." bap,i.m from [he >arne
p''''' (his omol'h"oon ,ucked ov.' hi, left arm '" kp i, 00' of ,I.e .... , .. ). who
".nd, Of[ da[k g'<C1l ""l'" and lowcn hi. 'igh' arm to t""",h [he elder Gregory'.
hcod .. it emcrgn from.n "d .. crucifU[m fUnt that hi. IOn tell. us ...... ""iKlcJ
hy A .. .od glory, h .... tq>f ... n,ed ... p"",ise ci,,,,,b, hond of whi th ..
... ., ,Irowo w'th um!'>>>' I" the I"''''' "" .. '" ,he 8"'["'. of
,u,!"i .. wi,h hi. kfi hmd: nccdl ... m ")"' ,hi. gesm ... doc. no< f'CCUf in OIh h>f>'
. i'mal Ittn., in rari',y,llo (e.g, f ,,>liv, fig . ), SUI'<<n.,u,. I- 01' ., I ... , unu,u.1
- det.H, ,h", mark .11 th .... episodes, in (onfirm .. ion "f Gregory', ...... m.'" th ..
hi. r he ...... '",..JII [0 hi ..... lfb)"Gnd',
Unlike the SCCIlCS ofG<q;<>'y'. r .. hcr'. lir . ,hose of ,he uppe' '"IIi ......... only
"ng.",i.lly .. 1 .. 1 '0 (j'cgory', fu"ero.l "",ion. S<ill, .. Si,.,p" O<f r.; ........ n
ob.crvro. ,he th<me of con"""ion uni, ... much of th.!'>ge ," . nd th ... ".xi .. ioo i,
\""le"""'rcJ by ,he ,wo ,;,,,1; in .. , i .... d on ,h. gold of ,I.e f .. m" [he I"""". one,,,
we >aw, invou. Pulm ,''', whil. ,he top om: rum 'the a iling of the . po>da (H
KAHCIC T!!N AIKKTIOII ONj). 'n..- ,heme "f 'po>tolio; conv ... ion wos ;n
" ",;",,,,,,,,,,,,,,,;.,,,,",,,..l f.,-. pi ;.;, .. 1) .
.. 0 Il IAnHP my ttEO,\OroY AHIlN II PIOC) TIIN I YSf.KA AYTIOY] . [Y"' PAt<
ttllN LIII TOIC t:II'HKOCl MOl,
' . 1'6 '" ,0008. , --O lio"""""" ",. pi ; ""uJJ, no. in>a'p'''' "" "'" nO";"",, .. "",,"it-. 0
I IiATIHPTOY tt w .\or OY tU;mXOYMENOC,
I'G ""ooc" ,-&9. no. ;n><rip<ion 'I"""" ,h< .......a.n . "" 'mply odh", ,ha,..., ... ' ....
bofo"m of"", f.", .. of"", "'ooJop.. .. 10 !IlA'l HP TOY .
..... dr,,. 'l'P"m .. f. 7'1' "I. n", Ntoru<.o. I, .. ,). '...-....
I"'" [he =mon, ... 1><,", in P"""S' ,ign.lkJ hy." . " brg! goW
ini[ i, l. , rgued [Iu, hi. f..dl<l, hlpt"m came .. M mrpri, for ',11 mU51
ro"" imo [h. ,,.. of Go.!, .lId f,., a ugl" .ho ,.",d. "i .i>< 1i.J, ... , ."
Luke po. 1"" of thr n. rr.. iv< d".oibing ,h" ailing of J.m ... John, 1'>:., .nd
Andrew from ,i><i [ oo..t>,"Th. d"min>nt "l'i<oJe of the fi ... rq;i".r, t haallingof
!>.Imh.,.. Ii,. "",eoll<Cto[, do-,." 1\0. -.""inti< ,h. h,h,r"" " ",,,,.pI.,,, Jiotly, h"t
ron[empo"'!}' cx<'go<i. confirm. [hr obvious conn"",ion b<rwft,n ,h. con"""",,,,,
Ph",i.,.. for .,mple, quotN M.lth.,.. - 'Come. he ... iJ, folio,. mo, .nJ I oh..l1
m.x.)",o 6,h,,<> of m",,' _ . nd imm"! i.,cly .dJcd '.mong ... . ""1""'10,,' . od
other worldly but mi<guid..! prof""i"".!,,"
.. , .h. 'ich )",u[h, . "d N .. Iu",,1 we .. ,..-.ne of them .I ..... tl.,; " .. " did ,he
rich )'" ung m.n con"," ... 11_ On on. I<vd, ,hc trio """ [h.o", who .cup''''' eh .i
"S"in>t tho .. ",h"did not. Bu, the gospel> Ii" many men and worn.n who could fill
ci[h .. of th ... .oJ",,, i[ w .. 'PI' ... "tly'f,., ",,";<ub, ,.I ..... n .. of th ... 'h"'" '0
Grego!}", n .... 'i,-e of hi. f:.th .... lif. ,h .. ougg<:>tcd [heir indillien on f S:;v,
G",go!}, pn. w" not bot" onhoJ",,: he <onve rl..! I .. e, in lir.:. Hi, >On put i,
more elegantly: in . ph .. m .. ked by.n enl.[gru ini[i.1 hr ",,,,.e .h .. hi, f .. her
'w., not pl.nt"" in ,i>< hous< of Co. f.'" Crcgot) "'." th .. cfure.t lOme p. in. to
,ugs"'[ ni' f .. hcr', i",ipicn[ goodncu .nd rSC<I ,h .. hi, "',"'hi ...... vin", ll y
p ...... ""i"N hi' ron ... >ion; 'E""n btfOf< .. of ""rfoiJ, he "' ou" , .. Wh ..
. nd rnOK 'pknd>d [ .. ,imo ny con [h. be ' 0 hi, j,mi"" ,bon hi, ''''''''",of"
po>i, ion """'nd to rwne i n thr "",e. wi thou t en tieh i n & him ",If by ,in gl. fanhi ng.'
r ___ I For ,hi, do J ' <rm umight""'" w i<h_ .... Thr cider G'cgo!}"'I'.!i lce,i,," fm
am"",nion, and hi. imrin,ic wonh. mO)' h .. e ,uIll!O<' '''' ,he p".!leI ... i. h
Nath.n.eI, pl. """ ditrttl).hove G"'!;O!}"t b.p,i,m, wl>o.sc 'imil" '1".li,,., ,,-eK
imn-..Ji.,ely """'V'izcJ by eh.;" (john " ,*7) - W. migill .... N. ,h.n .,I .. ,
.,..rallel '0 Gf<1lo!}". f .. hrr . hr Kene of hi, <""vet,ion ...... l':[[dy pia" ...... in
Il),,,n,ium . nJ _lido th.matic li" k """"Id htlp puin it> indu.ion h.."
GKgO!}", .1l",iOfl .0 nil f .. hrr' igh.<OU.I " .. of mol><}' form. I"'" of . di>cooN<
on .... lth .nJ its phil. nthropie di'po;al ,hat run. throug/>ou, the homily,'" In
.,.. .... gc m, rk..! by an enl.,gru gold ;n;,;.I, G.<'g<>!}' d<.crioo hi, f..[hrr'. mimdco
.. I'G ", .. """_B,, f . .... Rnu,","1 ,001", .""1'","" G"!"'Y _, ..... lo . ", .... ',
.... ,h .. ,h.- ... ,,- '"'" . '" .. ....... "'"","" .," 1'(; "'til", ........ ', II, 0100""" J .......... ""'.
lot" io ,t.. '" ,,_ (iI>id" to'! 5, I. i" f""'C' tt.., in,pi ,.J r''''''"' ofbot. ;" "" Milo. HotrUIin,
,.J,;.h ........ ;K ... .. , 1",.Ild ..... ,h f. I"" ,;,,!,.., " ,.), .... XVI_XXt . 11..1;, """" .. .,j;,'"
omi" H ... ,I.
" f\'i><k ,,,, I. .""'...., "', '_niu....J II ".hl. ". U." " /'G
,0"",.-,<:,.-.0_ 00 [I>.- A .. ,..."",,,,,, ... ,Iuj><" ,_ " /'G", ... U,_ " Ihid .. . "M-7.C,_" .
.. , .... ,_ri-p<;'" .. ". -ck,'" 'f"'" ... dI N .... ""!' to X(Pl(."TOI<':
r OMFNOC HI of ,I>.- ..... "' .... .....,., of ,I>.- ...... ,.,u,,, '''''''r '" ,h"
on" ... dur<<< I. ., s.. f"'t .... CouIid 'old .
. "
'WI,o ...... , , , , mo" """n.rom in 1I."d t ........ 'o ,h. p'''''! I ' , , ) 1'0, II. ,""u.lly
".,"'0 hi, pmpoITJ-'''' ifi, we", ."",hcr'., of which hy, ,h. >w:"o. ",Ii.,..ing
I""''''Y'' f. .. ., he oould . , , more pic....! '0 di,f"'S'< "fhi, wnith th." othe .. """
k,,(JW are to rei '" i. : '" Grwry', moth", ,II. m! II i. '" i, uJ., 'She no< onl)' oon,id
om!,11 tho pml'''''y wnich thO)l "';g;".lIy , ,., un. hk '" .ulli"" h .. ow"
longing by, ,hc would . , I h.,.., oftcn heno her ")', II.,,,, gI..!ly ",Id he .. df . nd her
children intu , I.vcl)'. h,d ,I>cre boon ' '' r mc;tn, of doi(ll:"" ' 0 .'I><n,1 'h" pmcd.
UP"" ,hoe 1""',,'" . nicul"ed Ch,;"i. n .... pon"" '0 w<'.lIh, and ,hi.
,hem< fU" in ' hr epi!Od .. pictuml on f, On m,ingCh,i". M."h"", th-c-
,. ...;oH .or ,;mply '1.1l .11. """ up, . nd foHowed him' (luke 1'28) dum .. ;'
invcnioo ,;,u.o.iizcd bycon, .. "i ng M."h .... as ... --0011,,.,, hi, h.oJ, prottinga
I'rg< pile of guld coin . wi,1I Motthe ... tll< <".ngdi>!. holding' book ..J ...-.tlk;nB
''''''Y (",m ,h" mo"0)1 "hl" ... i,h ehri"," In ,hi, gnphic 1"',,,.y.1 of , h. "'i'ioo
,,( we. I,h, )'I."h .... _m, '0 .mOOdy ,hoe ",i<ud .. of G,'1l"'Y' 1"''''"'', Th. ,ich
)'O",h, 00 tho othoer h.no, wuld not bUT to 1"" with hi. k..!ing Ch,;'t '0
<ond..J< tn .. 1t is <.,i .. for .comel to IS" thruugh 'h< <)'<'of. o=lle th." fo" rid,
m,,, ,0 e",.r ,he ki"gdom of hoe.ve,,' (M."hew '9'''- '4),'' H..yond ,he 'implc
<On"," ti>< con","ibl< . nd th< uncon''''rtibl<. ,ho< rich J"'''"g tn." P'O-
,OJ.". ' p:i flc t" M."h ..... . "J II' ,hoe eld<, 'Il,,, ,hi,
.... , ;nrcmion.1 ;. corrobomcd br "i,u. 1 con, fot the rich youth, dimctly . bove
Grqtoe)' .. h<, th< routh, <ntm tn< mu,m, replicate> hi. h.lf"um-
biing "....ition in "" .... , Abo ... the ,icl\ ,I." '" colleaor 7"""hi., l",ho
11"'''' h.lf of hi' good, to 11>< poor; Luke 19:8). complrtn th. ccn,r .. lilOd .. i.1
1 ' p" .. hihl;al !",.,lId "' (;''1l''f)-,'' f .. ,n ...
Tho< rw<> rcg; 5t<f, both pbilm'hropy ..J convc"ion in th.ir
,i,u.ll"n<grric to G'<g<>ry pi,.. th<m<> th,' w,,,< bo,h 'pp",!"i". to the ""mon
. "d imm. Ji"ely c"mp",he.,. ihl. ", ,h. mini.m .. udi=: ,h. <mph.,;. on
mnvcn ion dov=ikd wi,h imperi.l.nd p ... ;'rd,.1 pf<OCcup .. ion. in 'h< !<Cond
1I.lf of th< n,n t h """ t ,,'y." whil. ph; I.", hropy w .. .... nd.nl oomponent of impe-
ei.! .... Leo VI Wf'Orc;n hi. fune .. 1 omion fo, lWil J. ' Who bu, hecould
II",.., h><l..., much <OOO:rn for ,II< poor! Sot> much ... th .. , fot. linl. whil", ,I>ey did
(<<I ,heir f"., .in<:< ,hoe dillicul,'" ..-hi<h .. 01< from;, h><l boon ... -cp<
. ,ide by hi, g<ncro<iry'!' Th< , i",ol in1<fpm.uion of th< dd G.-cgory, lif< drew
K'-" '. )()'C'-1, "'_II, ., I bid" "",,8,, , .. ,I., ........ mut.d .. ri"pI<! ;niti./,
'" n.. """" ......... _,;1,- ... "-.,..,,,,, , ...... _ (MA','tlAtOC 0 't'MUNHU .,..! 0.,i6
(lC XCI, d .. n "II", "",, ' ,,,,, " ...... ,e<.,. 101 ..... , 0';', (0 lLI.llNHC AKO.\OH' IEI I Til
XlrIL"T'IH .
.. 11 .. inocrip<;"' .. .o.I. \"" ,kh I"",h all"" (0 (MOYCIC Ell fJ'IlTliN
TON Xl l'leTO)1'i). .. So. d.ap< .....
" f..l, \ .. ... , oJ H .......... " .,.".." 0. '"' ... ,,.. .... i ...... "'P!' ,nd i,,,hif,; .. """"","" M ......
"'76), >-'1. "P' .... ". wh<oc< .... "'n>, of u.,', ,""-,,,,",
'"
from ,h. ""m"", , ... " ,""In<> f.m'I'" ", 'he nin,n-e<noury Brumine <'lit<, . nd
d.bo ... ed ,hem '0 pr,,.,.ide. mini.ru ,I. .. euloW,ed G"'!\"rr', f"ho. i[ ",in_
fum,d am,e",p<>"ry idoo\ogr
Foli<> [i91 (fig, 10)
A p",,\ .nd j<wd bme e"",,,,, [h. m' n'>lUI< on f ' i 9', which ,!,""" 11",,;1 ."d
G"'!\",y he. ling [he "ck ....,.,.., "'luen .lim'''''ng [he I'-'"bl. of Louru, and
,he ndt m.n (Lulu: ,6"9- J,1." 'On ,"" 1m', of ,I., 1""" (Homil)' Ii I mn. OIl 'he
mi" i>turc', """"':, ...J in.pim! 'he JcpiiOll of Loum nd ,h. [ieh m. n,
GI<tO'r', fffe"'ncc '" " -I",,,, is i,",.,J"cc<I b) gold ini'i.!." Though no ",1.<[
cop ... of 'he Homil,,,, iliu.",,,. [h. p .... ble:' i[ .... , p",.um,hly .. I.ed f",
illm,,,,,io,, in p,.,i" S',\,,, beau", it d.mOll",.,.d bo[h [he ".I",oft.'"i"', n phil _
.mh,"I'Y .nd the " ''''''l",ncc. of und..,it.hle .... h,,-;oul. The mini.ture brwdly
fOllow< lulu:', :occoun', 'hough ,hc rich m.n _ iden,;fied by in"r'p';''" (0 nNW-
GOC), in ,he 'OP cen"c of ,h. regi,, _ ,id .. t",..-"d Lo"ru, . , "II'in" ,i.e "'"
which d...:;rih.,. 1 .... '0, , i"ing "u"id. ,nc 'ich m.n', g" . '. I .. "" (0
AAZA!'OCI. c""f"rm' with lulte, dcrip[ion; h. "di"", on , i.e S'''"'
whil. a J<>g lidu hi, ..,"". To ,h. 'igh', ligurc il\ g .. .nd I.id
ou, on hill.ide "'prexnl> Lo"ru' de .. h: below, mgels dep<>,i[ him 'i n'"
Ab .. h.m', bosom', "7 M .. ",,'hil<, i" ,1.< upt><' left, thc rich m.1I I ... on , bier
backed by.n arcaded buildi ng ie fron, "f ... hieh ,unJ ,w" moun .... ' [h. p, imcr
",r<fullycom ... '" Lou",. Lond)'d.misc on m empo)' Ioill in [h. uPP'" kftw',k ,."
'ich m.n', more comfort.bk J.>th Jirccdy "pP<"it<, ."J I'-'i" the Ii_ ing . nd d .. d
men, wi,h Lou,m (.Jiv nd de..!) on [h. I',efm! ,igh,. [h. 'ich ""n .nd
.li",1 on the \cfi , Continuing ,he bifu[""i"n of ,h. rq;i<tcr, immedi .. dy below hi.
bi ,1.< 'ich m.n ,i" in h.lI," lif" hi, <f"S ',nJ ><CIh Ahr .. h .. n .f .. .,If, .nd I ..... ,u,
in hi, """'m', He poin" '" hi, p .. ,hc-d mm"h, rcqu<>' ing .... ., A f.-.gmcn'.ry
[di.f &om Anl.""h oul!I\csl> ,I. .. , hi> k:Cnc 'PI",,d in Ihc Ch,;""" us. by . he
.i"h c<"tu' r, ""It l'.ri',g'-l10 ",",.in. ''''"diClt f ull) pmc[vcJ ... mplc, " A po.k
rd!cc,iOll in"!!,, _ ,h. 'ich m, " s .. [u,ing for "' .... .,10. w,,,h.,. I->Y->nl.
0 ..... " ( '.). ,,_u. rI WX!I': ,..., 1'1, ........ 1< .. ". ,""" .. ,.
-, PG""" __ , C.o..,-I .... ,, " PG ,,,,.,, .. 8,,--Cl, o.d . 0",
" .,-.. M >lo. w.p.-, ...... _ ill"" ,,'" """"", ,10. )'n"p",II.oo." ....... 1Iy p,.,(""';' ,.-"h
. n ,_.,.. f"<>'h,"C ..... r"''''11 '" P""P 00" 1 + d .,.. ,10. ,..,... .oJ ..... , Gw.-"u
,'069). 01-4, .
.. "" f. .". lfos. .,1 ,'"' ............. <h< <or ,n .... puabk of.1o. Good s. .... ,,, .. ,idH an
.... ,,.-;,,., h<_, ....... ""'-kn,1y f,,, .. ...t , ... "",.n. <I ''''''p''''. p<m.po
b<ca..o< 8ooil, ...... okilkd hon< .... (I <hap, .. , .
.. ,,'" dol, ' t .... ,", ,., , f.< to ...... of At.-'''m' (0 ,I..QAP\)(; w.: TON
KOMIOSTOV A8PM\lJ.
"'" '"' ... ,oIJt., , .. ''''''''1'' .... , \) [1' TH KMIINII.
_.4. ..... M d, in to, .. ,,.". ,'-n
'"
in lh. b.,,,,m of Ah, .. h,m _ ' "ro in 1.,0. im'g"." bu, no <oml",.blc
>tu.nea '''IVi, ... 11>< e.rdul ond babne<d ., .. ngemcn[ of figur ....... . h,,,,,,,o,
i"ic "fP i"K[,I'O, ,ugg<'" 'h" ,h. n.rrOlivc w;o,rompik<i f", f
In ,he "ppe' [rW"<" 'S, \;,ry .nd St l\;tJil 1=1 . he .ick (0 A[rlOq
r PHrOPIOC K[AI [ 0 A[rIOCI BACIAEIOC TOYC
AC6 E:-l EIC), f"", >n<> o( h""ling . nd nouri,h"",n, "I'pear o.,W<'<n [h.
column' o( b.,<li",,_ Though G,'1l0')-' m.n"oM ""i,h., &t..il "or .oy h"'pi"') in
'0" ,h. I., .... of ,he p.,.,r'. the mid-t.nth-:ntury &.il Eben,,,,,, ,oil> u. ,h ..
Cr<;,'<,,)-' del i .. ml ,h. "'rmon " the hO'pi' al buil, by &.il ju>t o""i& Cxu= ",
hoY$< the ill, o[ph.n., I<p<", .nd the .ged. ' l'h. scholi. in !':It;,,gr, j'OM mlf .. fer
to to. .ir<um!t.1>CC> under which p"".chl, .t><! ,h. mini.,,,,,,
,,1<1 B il h""ling r.ther tn.n ,h. fO,mcc p ... ching, hu[ [h. mini.,,,,"
nOfl<thd"" micil"'''' Ro.' ] Ebeni,..,,' ....... i";on of the homily with S. R",ih
ho.pit.l, which i, dc.cribro lWicc in bri'_g' _I'o, one< in ,h. ";'A "f Grq;orr of
N .. i.mu, Of ,he .. 1<1 of tile m.nu><,ip'," .nd ona in , p, ... gc from Gr<g<>ry',
fun ... 1 owio" fOr B .. il. H ... G'gOC}'''Wl< ,h .. I\;[jil
0]",01,]'" .,,"> of ,00,., who ,h<n', ..... 00, OClo,di"x 'u ,]", .. ,ip'''''' .bl,
[,>O<l It. ,]", ......... ,i,lin! ,h. roo' ",i,h b.d ...... fn! [hen\ in ,h. ,im< <>f ""m h,
..J filll ,h. hunvr ".ul, w;,h go>O<l I ' , , I Obl>ining IDllllibllfio",o{ .11 "'''' <>f
(00.1 which.,." ",lin-< ('mi"", ... ]"'f,,,,, ,I-.,:", I>.";n, of """9 .nd lOch row .......
found P'''''''''] "" "" ",hi,h ,]", 1""" Ii"" l']",n. ; ,]", m in of (:hri".
"'00. ginl! "";,h """,I, did """ Ji,.Lin lo, w. >h ,h. Ji..:ipb' fw ___ h' .",oded to ,h.
b...J;., .nd ,oul. ,,1' ' ........ 00 n<k<l i,_"
0,\ f ' i 9', w< > Bas il ..... hing th. fcct of on. m.n. givingJ.Qup [0 ,h. n<>, . nd
"''''ing mr" ' I)' g""'p_ Onl)' ,he I." viglt"'''' w1tich .how. R",i l (<l ing. m.n
OOV<',I wi,h "', .. (p..,um.bly. 1<1"" )' .. f ... dir:dy.o 1\0,,1', ho.<pi"l; the r<>'
co"'" Ji, dy ("'''' G"W'<r', pmq;y,i<:, Fuli<> 'i?r provide< [h. only pr<><:<Vl
ill"''''tion'" ,hi, I"'''''g<, .nd [h. onl,' 'm.go of 1I,u'1'. no.pi,.I, The .n.i .. 'op
reSi" .. , pr "'" t(, h ... been <," .. I "" hoc in ordc, bo[h to "'ppi<m<n[ [h. [heme
of ,he or>. ion, cornl"'''io(\, .nJ ", illu",. wh., w<n: I:o:IOcvcd ". 0. ,h. hino,icai
cit<um,u rn:" t h .. promptl Crc-gruy', ""rmon, relying on Gg<>l)", ...
,ceo" ,It "f]i, ,ii', c h. rily, ..
rolio 1)9r (1, ) (fig, >])
Th. uppe' regi"" off. 'J9"hOW1 'con ... "ing' with the Emperor Th<o-
do.i .... (0 !;I EOAOr OC CYN[.l. IAAEf IOMENOC IlACM[1 6 EOAOCI!l);
" E_" . ,,,, f. ' " '' ""-n.I,.,,), ... " J.
"!wC .. on IIWI FJo<hi_ 0/)8. {.,..), 16,. " f'G)1",.3C.
.. lbod. . .. .c-"",-(N{,NF . ""' ,
., joI; ..... . {""" (,.,,), ... - . lI, , __ ,od ,h.!. ,II<;""" ""'r h.!" bn ;""n&d '0 rdka r\
rn ,Lon," "'1')'_
.,.
the lowc,.hOWl hi< W:l"'rture flOrn Con," n[inop/e n[er f>< "'j<c[a! lh< p. "i"ch11
1<0< in Jh " The miniam'" ,upplem<n" G'<g<>ry'. ' F"<w<o1I o .. ,Oon (Homily
'0 the [jO bimop< P"'l<nt I! tM Ecumenical ('.ouncil of ,.a l ." which hocgin. on i"
vcr"' , In the fin.1 """ p".sraph., C,ry bid, f'l<'W<lI t<> . long li>1 of prople.
induding, in 1 "' " t<n<:< ",,,I.,,J wirn an ."urged i"iti.!. ,h. ""1"'""_ n,., Kene in
lhe Upp<' pictUre< tM octu. 1 fu.-cwdl. after tho ",,[mon. w!>cn C,ry
r<> [h. 1"1.<:< ,0 .. 10 Th"oJ.-..i,,' I",rmi .. i(m to b ,'. ,he ciry; h. "k .. hi, fi",,1
le.ycof the bi<hop<. just bcIO", .. iling fOf 1'.:.,imm . bdow."' Though in.pim! hy
the 'F'I<'W<II ""'ti"n', ooth ""i...,.j .. cu,m! . ft" (j'<gO'l dcii,...rcJ 'he "',mon .
00 h< d.scr ibed ,he ."di.", .. with ThcOOOIios in .n . utot.iognphical potn'
... !>cr th.n in [hi. . mon," Th. inform .. ion .... " h"",TVC'. ",.dily .... ilabl . fOf
the mcning i,; oJ", recorda! in the "'''' by Cr<g<>ry the thl! 'pp<.r> I!
,h nd of P .. is, g', 110," Both 'I' i...,.j .. ..... '" >U fa m iii .. '" be i IKO'PO"t<J
in I .... iliustc.,.,J Homili .. nunuKr i!"'. [hough no, in [h. fo,m [h .. [hey 11k<
on f.1J9" "
Although mru, of [he hiog .. phiul mini .. u", in r,,; . g',I'" aPl"''' in ,he Ii,,,
qu. rt .. of tbe m. nu"'.;pt, the int<n",lr p<=n.l lOne of t!>c Fa, ..... -..ll ontion' <vi
d.ndr iMpircd . murn ,0 [n .. g.nt< mid"' a)' ,hrough ,h. book, ,h. "PI"" Kent,
too, h.arrnonized ... i. h I" .. nimh-century ime",' in the ",I .. iomhip !>c<wn
emI"'ro, . tId pmi.":h.,, by rhotios,"
"11 .. ul' P<' I<:<n. is "" agai,.., .n archi[<Ctu .. 1 h.ackd,op p.in[oo in hlu ....
blue [hat . " end. acr"" [h. "1list ... nd "'p,cocnu . !>c imp .. i>.! p. I.. G, egory,
fuUt>w<:tl by t w<) hi'hO\, f .... , fron .. 1 Throd<><>m Jist;ns,,;,hoo . I"'.rI<J
h..lo ,h .. 1""1"'[0.1," 0 motif mo", common in ,"1) Byun.illC an . nd may
'''lI8'''t on .1Iempt to pnwide hi"",i<ol fl.,."",." Th< empc"" """'"pic> th<-
ccn, ,,, of ,he composi,ion, on ,he ' igh'. on <1.00""< gold ,hroll< i. H1nhd br ' ... 0
" Om"'" ".,.), 1<, '", xn ",",,"m'"" (, .. ".)) , ". "" l.,!om,n" 1< .. 11. " .. ' I)",
""' ........ 10",1. ".' "', ",-m' , ;>1, .. ,;. _ ..... ,.. .. " K 1<."" .. , ".,..,. ,.--+",
"-,,, W.d ... ('011). '-<'-'-<" JoI, .... t..ry 1 .. 1/). <6 nJ ..... , 'j .
.. K. .. '" ,.. " (;..1..,.1'.,,1. "Q ' '' .
" Th< ..... , .... "'" ti """,01 by ... knJ, 0 .. w.IOr(x:
JlO.IlN) . I}" Nu ...... , 1,.6. '''; Ior''''po<m, I'G '7, .. 60-",,< .
.. I'G W !""C-"'"., ..., I.n"', ".n.
r
I .. , ))_ u,-,.." ' . "'<i""",," (, .,>1 ,,', ' U_" " .,.....I ,h"
,'" """,..!.po, -moi'"'" """",.0 lor on 011.",,,,.0 ,hro,Od<, n., Nt"' .... " 1, .. ,1. u. m<_
,,,,.0 ,h" bYl"""""" ...J "" """ 0..", bttn "" "..,/ by N . . W<nk" (' mI . .,0 .
.. "'""""'. Topboo ". I, ... ".00... ,_" '" .""" "';"1 .... I ..... .u. "'. _
... ;.v-,.), ( ,,"v roi<ru'''' '''''!<''Y ,oJ 110.00...,., ,;w ...... u-", ., ... " "7-"'. ti".
nO, "'7, Th< Mil.." (;"",'1 jl"",."" '"" ,........ ((;,,,,",, 1 .. , ,.1, pb. UV,o-lVlII) ",", ". d..ko
''',,' "" """' .
.. On I'hotioo' 'W""",1y """1""10.",,,1000.. of ,hu .do, ..... h,p, "P' '" ,'" f;' i'i" "" 5< .....
\, ... 1, , ,,-,I, .... " ...... , . "'_ . 1, ......... 1'1 ... .,10..,." ,_,,{ ,"' ... .....- ..-"h R",J ,
.... b", ""'"1"-",;, ,'" "1"" .... kf< "" v ..... ho i" ,h;, ","Ho""" .
., s.. M"W' , .-.I flo .... ,"' "."" .n<! .,," , .. On ,t., .. , .. ....".".. """"'" M .... ,"'
1, ... )-
'"
h<,.!rgu .. d, . AI"" I'mm ,he I"'"kd h.lo, 'n."oo""", i. I"'",,)"l .. d..whc", in
,f,. mmmcrip' (f . .11\1: fig, J6) od . he ,hro= !=>Cnt!. "'fiuion on 1
')'1'" >Cen in o,l>cr min;',urn .s "",II ," TI>c .hrun. >i" bc"" h j<wclkd cibo.
ium. ,uN'<'"ed hy g<m""'><tu"ed rolu,",,, wi,h ""pi "I, ill ,he ;h'I'" "f ""Sl ... ,n.,
,ml"'.i.1 .nd .",mologiol .igllilion of ",hOeh long .go no.ed hy K..I
l..,h"" IIII,'"
An arm..: ofhlu. S'" nwkcd wi,h d .. k<. blue w."'" occuri m"". of ,n.
10"'<f ..:gi>t: i n'<If ,h. harbour of Om''''n';n""i. from ,he upl"'r left, .nd ;,
<I., nneiled b<,wn 17""" ,!.urn .IMg .1., lOp.nJ kt; ,ide of .h. f .. m., M in .I>c
inug< of ""'go",', dCI"mo" fmlll hi, "mity If. 41''' 6g. 4'1). wh ... ,hc >c 1",
"Ita up ",.II m' h.lf of .h. rompooirion, ,f>< Com .. n,inopoli .. n d""k '1'1""'''
On the right 'ide of ,he p>g<: " .. ",I '" .h. opi,,1 hy ><". i pr=n.ed ... Ien
r.-..riv.r ;Om",,},. Hc"" ,he ,ho",li", roulld ro m= "'<to.y, who !l"'''''''
f .. , .... dl'<>. <oml'><t group ofbi<h"l>' . nd I.it), b<tw<"cn him .nd 'he
,igh, f .. mc. R<nilld him, ,h,,,,, ",ilo,", "'''' ,he 00 .. Oil ",h",h h. ,",'ill d,!",,, ; "".
"<I" .. no to hdp G..:gory cmNfk. on< >I"di", ,he rudd . nd rhe ,hir<! i,
'0 unfurl'h< .. i!.
Folio .8\. (.'1) (lig. ,,)
The mill;"u", ofH.b.kkuk', vision i""ludo. I"'".-.i. ofGt<gory. wf>u d .... ip-
,ion uf ,he ";,ion in ,I ... ..Jj"""n. """""d or.lti ..... 'Or, E",t<r' in.pim! ,i><- im.g.,'"
G"'SO'Y i,," ":li,." pmi.ir'''' ill ,n., .,,.11" .. "'ill b< diocu.<>cd in CNp'" 7,
rhlOuv. hi, gfU1< h< jnvi,,,, rho '0 !,"'icip'" ,hc "i.i"",
of IldCfl11r>ci P:..-..k""'f'< .10<> incOfp<>med: ,hne, .. we ,h.11 s in
d'.Ipt<r j. in,ruJ"", 'lK intc""" uf ,i><- 1'.10 .nJ !"'tri. rch ... into' mini.,u
rh., orhc .... i ... IU ... rhc . ub;CC' of rn .... mon .nd ilS deli",,)' in, m.nn ..,m<_
wh .. f<mini><cnt ofll", jtv .nd 78, (fig<, to, 'j).
Folio (fig, 4Il
The I<>we>t rcgi!t,r off, 4'-'1V i, devoted '''.n im.g< ofGW'<)' w.i.ing ,h .....
"",ed ill ch. p'" " ''''111, .11 i'"<gI".1 P'" o. ,n., com!""i,ion .IId ,,,,,,"illg of ,h.
P'g<'" wl>ok.
Folio (fig..)
The fi".1 tII;n'''u," in r ";"iI""O pr=n .. enn frum GrC);l>r)-'.life in .h"" regi.-
""" j, rhc "'-'a hy ""1l"rphc ['""hylO<. which !><gi,lS "" i" ", .. , .. nd ,cr_
., IV,," D .... on f. .. " .. ... ,,;<h ,I>< ,1, "" f. '''' {lip. ' . . .... H "'" ,I><....calkd
Iy"..!>.t);..! ,h""", ...... ; .... .-..,1 ",th ,0. ""f""<"" ' ....... ,Iu, f<n- .... found oupK<! t.,-
Ch, .... " f. , ,. ..... to,- lui ... ,I>< ..... ,,,. "" f. " ,. ,tip, u, ,,), .... t.., ,0. J""u ..... Jr. A ...
th.f<" , . "lLh""o" 1t."I. "_,,. ., ,..-;,.,6,,_, (NfNf, ,,,-,,,).
min"" in ,he miJJk...f <n'ene-<" ,he enJ of qui jS, ,h, I,,, p,..,..,,,,,1 in ,he
m.nu"" ipt."
In 'he '01' 'gi>ter in <pi>eop.1 "l\"li., 'urn. """"'! hi, f,,, ,ily., he
" <p> .t..,,,J . ,hip in<t;>ti"g"i,h,hlc f,,)m ,ho", un ff. Jr >tl<l 'W' (ri g . b. '7)"
",j im hdp. him <mh.uk. while . nother '<1ehe. om to unfurl ,he .. iI, 11>< famil)', .n
n;mbro, ".M on .llOrdin. d", u"dubt .. "'rti .. ny tow.N ,h. fOl' f,..m. ,
K.i>:>r;o, h ch.ngM in,,,. pink m."d<ov<' . hlu. robe: ,h ... " a .. dr<>O<d id.n
,ially '0 th.i, ponn)"d. on r .)V (fig. '1), TWQ-,hird. of ,h. w.)' .. to .. ,he 'gin .. ,
,h. rippling W"e< >hif" '0 rolli"g ,",',1'0 ,0 ,itul, eh,mg. of ..,.n . Hm" in [h.
right .h.M corner, G'gory .i" in boa, wi,h , .. ilo,. who >om' [0 ""-It ,h. di,
uno:: : ,h. boa, h.., ius' ", .. nII.,,<I, ,I\d. lisu .. '" ruhhc<l ,h .. ",,'<" i"
g<nde, i> indetermi nabl. g'''['> ,he prow.
Thi' "'ll><nC<' doe> no, ill "", .. ,. "'y ,,"''''ge i" ,ne >ccoml"mying oild. i....!.,.,J.
" .nyone oufficiemly im<remd in Gregory to pion . deluxe: ",Ium< .ueh ..
P",i',gr,\'O wt>Yld h.v< known from re.ding hi, """rk, i, i, buth hi"o.ically ",J
S""Y"Phia.lly inace"", . N"i,n,-", ... " .n inlmd ('--1l'f"'dncian [{"!'n,.M.he
"l\ly jou,ney> ,ho[ C;g<>ry m><l. by "'. <i,he, before hi. ",din,,,ion in
,6,1, or .n ,!.r doo. h, ofK:oiuri ... (in ,)69). G0'f;0ni. (in the .. rly J7"') .,><1 hi.
f"her (in J7i)." The reg;"" i, ""t,.,hc1 ... ,1m.,., "".0< '" <vok<
Gregory'. journ"l' in )79 .0 Con".minopl<. [he mo>[ impon:.n[ 1I\d di".nl ofh;'
bishopric>, .nd ,he only ",)(" ')\li,i'\g' SC> "')I.g<. R\" i. i, ... mrt._
photical journey. [00: b .. ving lho donge" of ",vol .nd "'. ,.-.",1 ""-' run.idrrcd
e<pi.lly h.".rdou. by ,he Brumi".,. Gregory bv,," ,n.., .ubilit)' "fhi. f. mily,
md 'heKby demo", . .. ,,, hi. mo,,1 !lreng,h and hi' intrll=u.1 (.nJ ph)'>icatJ
rouragr,"
Th. middlo '<gi"" G"l!0'Y" cons<cw ion, pr,h.p' {.ina: f. "]V lfig,
If l, .buw. hi. ronswion .. b;,hop of s."im. in 3711 hi> ><ronJ, .. hi,h"p of
... 1'(,')",.,..,... {BHG / .,1. Omo., " , .. I, )', ,., 1,X, " .. " ...... , IX. ........... n
II .. '), '"0, '",, .... ""', '0,. ''', WJ,,, ["7>1. ,,,;, "'''.H,.,O. I. "'_"" III' .... 1'.;11), ,_""
K W,.k<> 1'''Jl. h , 0.. N<'K ,;to (I' ... ], !t. """ roll "'-'vN ... P=;"lt ,tu, f, 41" po<-
ooW ,h ... ". ... II, I<ft W.ok t." I.", wh" ... 0, ... ,,- .. , .... " .. ), ,. r .. , ..... ...", f.
."'" .. , ..... ,ho <no! ohho...,....... "" ... IUI< f. "', .......... P'C'- u 10 .. , .. "''''''' .... Kob of
""''''' ... hI< 10<"" " H' " . 00 .,1. h ,"",,,i .. ,ho """"Ik-d '" i",..lifth hom il.,. ,...,boNy 'f'"h'
.... "", ,,,,,,,. ; P.Io"",- haooj ..., C. lby {,.,.,l. "}-''' '
.... , t" ...., ....t ... . .. ... . ",J .. ';... ... n'; ........ n .......... "' ".'
1l.<.J,o ,o.;,o>! h ........... ;n c-.,.,;nop!<, .... , ,od> , ow. ""' ... '" i."n<kd ho", .on h ..
brod, .. l>id. fum f=--d!. 0. ,ho (d;,.p..tniJ Ioc ..,. of N"i .......... <,;.n., 1" . )1 , . ... " .. d . .... .
""t '<t. s...nu, '" ......... <too< ,. N""", .. ,
0., f .. n of K. "''''' ..., f.:.oth<io ..d C .... ..bk " ,,,) . ,-.,. ,..! (' .. j ), "I'.
"6. On ,ho ;m""".n of fom;I;.,., ..! '"" J; I!;cul" .,ft., .... ,'" &._ , .......... c. ...... ,'",,"""'..,
,ho M .. u....., i. ""''''' fomily ... du"' .... f"''''' of phyUcol , .... "' ,. , ... , .n<=tn ooub (f'(i
j"" ' o\)"": Mo,,;, (.w.).,.......,.
'"
Con, .. n. i"""l. in J8 .. "1" < two COMC<r:iltiorui dille, not only in the number of
attending bi,hop>, but .1<0 in the ".nC<> of the figure> .nd in the .r<hite<", .. 1 >Ct.
,i"S' . On f. 6;"'. ,10< ,it< "It<, pi""" hcfo'., ciOO'ium I'!,ct<! """ t(I ,he church; on
f. 4P', and.he bi.!wp. m.nd within a bern. (indic:uod by blue '<rnplon
Krru1 A.nking. low gold doo.) .hat <xtend.. outward from the apocd church
hchind it. white a blu. rolumn, ,,,,,pod b," c",",.nd with rd drapcry,
oupi .. ,he '1''''''' ... m. inins ,>II the tight , TWO) g""'r< of men - 0'" ,,,on. ,,ic and
0"" cbic.l _ wi,n .. , con ...... ;"n on f. 67>" '''''' group _ rl>< m<mben of
which at< ton'lOrd and , h.,dO", p .... urn.bl) mon.stic. though tht')' do no< wo.
,h. b,oW1l robe. no.m. 1 in r., io ,gr.\10 _ .ppc ... on f. 41H. Wc h .... Ir<ady on
th.t on f. 6;"' the officiating b"lIop. c/fect oono,,,,,,n IIoth by hand
nd by 000/.:, whil. on f. 412< ,I>< ronSK",,;"n by boGk :tIon. ' pp'''''_ t"Whil" i, i.
poibl. t h. t ff, 67>' .nd -1 \1< Ae<t di!fc",nt ,i.u. 1 ""utee> rathc< t hon (or well
.. ) pKru,i"s diW .... n' ron"",r.,"'n, '" .... p"nding ,0, d.,ire fo' .. .,i.,y, "' . m""
di""nl >p:U1" ion ,10 .. ,h. col umn ,m ,10" righ, of ,I>. 4." coml""i, ion w
i"",,,..! to Cltl"nd .10. im.g o fiJI . wid .. . pa<c th.n it occupi..! in ""m. hyl"'""
th .. ic.o l rli .. mOOd:'" ",i.hin the CO<tt< .. of p",i . gr.I ' O ,I>. """i", to align
Ggory'. p"""Y"b v.nially p...mdc mo rompelling ju"ilic:u ion fur it<

Th. lowo. regi" , 'Th. bu'''1 of S< Grcgo<)" ,h heol<>gi.n' (0 A[rl()(;1
nrHrOp)lOC 0 8 EO.\or oc ENTAI <t> I]AZOMENOC) . how< twO mcn
i..>w<ti"g Ggory "l'OJf'h>;; ... hold. 10 .. f.t, ,I-.: ".1-.:. gr.>.p.
h. lo '" if it were.n at.n.iOll of hi, i><ad _ whilc a third >winS' . c<n><.
' C'"'' it_ Ch.i.tophcr W.lt di"ingui,heJ Bp.tnt in. t<p ..... n .. tion. of tl-.:
dCl""i,;"n, .... hich ....,..., h-c .... from imag'" of ,hc final il1n< { .. "fCmgoni. on
(, i J"fi
g
, 9). and thc fon .. '! prope .... fo.- Kai<a.io.on f, i)" and !mil On (, Wi'
(fiS' (7) , Th. rem.ining >c.n", of n.,,, .. 1 d ... " in !';t,i' _Sq.o. M."h ..... nd
)00<. OIl f. p > (fig. 8). mow . h. moment afi .. tI.c body 10 .. been pl .. 1 in ito ... .
ool''''go" I ing Ggol)", the only """.1 d'1""i,ion in r .. ;"S', Ito. Hi, bOO)' i
lignod wi,h hi. rwo p""nY"l. in ,It<- "'P regi'!<l.nd ,10< chUleh of.he middle
ticr. k .. ing room for m.ll..dKul. in the Id' CU,M" Th;, . tt .... " ... , which h>l
.nen ,he column "f ,h. middl. gi"". m.y ''1' ...,n, m<l'I)" ,h,in. " .
Grcgorr' m. u>ol<um. A group of mourn ... ",,,,,Id, . h."" prtwid..! both
, mOf. ", u.l...,.,mp.nim.n, .nd """ ical unity with the fami ly du .... of tho top
,i nd ,h. crowd of d.,ia direcdy abo>", ,h .... mol' ,1-.: ... (" ... be' I ...
is'' ifiClnc< a"ochl 10 thoc ..dicub . hm '0 ,h. tnI .ictod numbe'r of ,force
mourner< ... nding .round Ggory'. bi<., .... 100 0 ... c.rd'ully onu,wlly)
cl iff.",n,",..!" beardl .... )'omh, 1 middle- agI m.n .nd .n . 1dly pri ... wi,h
. "
long grrying "'"d'" I do nO! how of . ny p ... lleb from. coml"",bly e.rI)'
re.iod, bu, it dO<"> 5m ,h., ,he ,hree ageo of, in ,hi< co"', m. n.re he.e gmupcd
wi,h d.,.,h.
lbc K<um"l .. ion of deuil.on f .j1., npi.lly in 'he ,op . od bm,om !,<!!i<''''',
p"-'vioo , ""i..,,,,,,IiMng in,p","';,," "( (;',,!!,-,f)'> life. Th. w.y ,I>< 1"11" ;" COm
po...! fQlI""" 'I"'''em well ",ublilhed in I'.,;',g',j ' ''' but i, <qu.lly lugiog .. phic
The .11 ..-", .. li""l, wi,h ,h. e,..,,,,,,,,,,1 Gf<g<>'Y plxed in
,f>< middl<"f ,he ""ond ,ho de.d G'g<>'Y "",,,hcd om I><no .. h ,hi ..-"' _
mooy in ,h. bottom ,Oof, . nd ,h. tw<> im.gd of ,h. '",,,,llingG'g<>ry pl..:ed .bo'"
,k d<>,J "",n', f"", .",1 hooJ . Other fi g",.,. (,,' o."""n", ,I", \of, .nd
Igco of ,Ix folio, In ,h. "-'I' 'h"" .re .... re 611cd wit h 6gum bKlding
f.w<ll .nd w<lcnming hi m, in ,ho middle wi,h ."ending
. nd tk column wrrnountcd by . eros<, in the wi,h ,he . edieu!' .nd
p ... icip,lm in fun.r.I. Th. p.-.Jilec,;"n of ,h. G!'<!!"'r mini"u,;", for
.. i.1 j">('p.-.si,ion, "",n" "n..- .g.oin '0 h,..., >"di, .... nl ,he .. ,mpo.i,;.,o, "f ,h.
individu.1 ' egO""" i, . 1>0 " .iM ' k guo< OIl ",h .. , he dc.ign of ' he 1"11" <on'id_
.ml to be . h< "'n'i' .... n.1 "",m<nt> ofG'K'-'"'Y', lif.,
Folio '<>if 7) (6g, '71
Th. milli .. ",. I'r<r .... fouy,h i,,J .. ,m,,". ,he 'ft"", .. 1 Or .. io" '" I\"il
'he G.-c-., ', which wn proh.bl)' deli-.ml in )8, on ,he >ond mni",,,,,'Y of ,he
.. in", de.,h. I., I. i, . moog tl>< I""g<>' OfG',,!!,-,fY', SC.mon' _ "",,..,,J only to ' he
fi,,, homily again" Juli.n _ .nd ",'", on< of ,h< m.,.. infiuon,i>I, ."",nJ 888, ro'
=mple, leo VI modelled hi, eulogyof ,he I'.mrefOl 8 .. il I Oft i" ' ..
G!'<!!Ofy p ..... " ". ,J . .. il.J .u,J , !fec,i"n". >ox.,."" "f Ro"I', ' if<. 1'< .... '" in
memo'Y of ,hei. n udent d.y> tosc,her in A,h.HI. 'p,inldcd ,h. o ... ion
libe,.lly with . 11".ion, t(, d ... i". 1 Th""" 'OS<th-cf wi,h ,h.
i<>l ttft <<< in thett ",he. oomilin. impid a ,i"h_"' OIul}' . utoo, now k...".,.n
['udo-No",,,,. ,., wfi.n <>pl.n.,0'Y romm. n .. 'Y th., Ryun,in. manu
",rip" "''''<timn illu",,'01 In P i, .gr. jlO, m .. gin.1 numbe .. ,I. .. cOf'npond
wi,h "". i"n, of ,hi. <omm.m0'Y 'pre" "" If, 'Of". '''7', ,o8v, tI)._ v. ,..,_Y, . nd
'Ij"-, we m.y pfob. bly .. ,ume ,h .. ,he i\<udo_Nonnos <ommen,,'Y o.igin.llr /01_
.., 110"" ( ....... r d,,,,') ",",. _ ,boup 1'., from """ro _ .. ,;" ; ... '" .ol ..,.. .. , ....
bwi.l .... " 'Q, 1'hup' ....... __ ." ...... ,ho- "i.",.l"1"
'h",,_ , .... ' 10. ... "" f. .,,, n, hown--H, "',., oprbc ............ "",, ... O"io" .n .
... s.." It ... ), _. ... f'(; .. " ', NP,W: ,.,-..d,
, .. Adun" It. ubi, ""- 1 " . .., s.. I ."oJ.",,,,, ""'" .0.
'"
........ .-.j foomil><s, > nO! """"m",,,,, ..... "g."'"", If ,ner< "'", cv<! ' "Y ,;,u.1
,dkc, i"" of ,hi. comm'fl u ry, howeve" i, ''''' h., bttn 1"'<0 .he pref.,ory mini_
", 'he .. 1 O"''''n' <"nn'm<> ,n' ;rely "" a..il, .nd .preod. ron epi_
.00", f"'1n hi, lif< "'.." fum rq;i>rm "'" w;,hin , mul.i->lo",1 froID<, , 0;
The Ii", "I""" wi.h BOl il, R,,,kl h)o hi, I""''''"' hidi"g Imm
Mu,n';u! p<n<CU,ion in. CI'''' in 'he Pon.", m"um.in" .he .nfC'< vi.ihl,
f,um .he w-.i>! "p. look um ftom. d.rk Clvcm f .. ml in pink rock ,h i. ><t in.o .
s,n MI . , .]" ,he ,igll,. fQur d.", mi"" ro pm"ide food h-" ,h. , .. ",ing fugi, j" .. ,
'he .n ..... ref<r ........ ", .hi, 'l'i><><k [><!;in wi.h gold ini.i.1> in ,I>< rari, !<ln, , .. ., Jo
.he."", reforene,," ." .I><c,,,,o. ,., AI.hougli ,ho ;mage illu,,,,,,,, childhood "'r<ri-
enCc. b.,il i, ""<><thdn' p ...... n.cJ .. h pp<." d'c .-here un 'he P'g< . nd
<1"-.",110,,," [,""V 1'0 (If. 7". liS" 'J 010 >! "i",bcd. n,;J<,lk-.g<J m",
wi.n .ho" d .. k h. i. md .Iong p<>in.a! bc-. rd.
Iky'md 'he dt, gfC)-'- blu< C)lind,i 1 "'Uer"re ""ting un sculp' ]
"go.l, , h; ft i" t i ,'" , ,><I I, "",I" ; t ,"' y > H.M ti 0""-",, ' ," I>c m<"' n t to
",ok< . .. mplc. for " i".""'uea >c""" of Grczo,y .nd b .. ;1 .. udy,ng mg<.h,. in
ArI,.,,,, ,h'-"" II ., p;nk-.... II.I ci ty frum ... ithin "'nieh p<>niro<d f.ad.,
doma! . nd [W() ,," LX> pm"ud, . G"W' ry ,nJ 11,,;1 , .h.i, gold nimh<
int..:t but ,Ilei, (..." rubbed .I m"'t b<yond fC'<o/;nirion . i. on I""" plin'h in 'he
(0"-&",,,,><1, .Iley fl,nk . philo.oph, iJe".;Ii.hl< h)' ,h. 'OS' ,]r.p<d .-. "'1" .... h.l (
hi. eh .... hi'lons g'ey h.i nd I>c.rd . nd hi. 5<roll. I\ .. il >tru.o I>c .h" figure
.,,.,.-.1 f..:;ns f..,'w-.. d...., the H, in. b"",t\ "w"k ,"c I>cigc t""ic: GrtyUfy,
with hi. h.ck .,......d .1>< ... eo" V""0. Bo.h oold ", ,,,It.. prnum.bly in
ref"",,,,,,, tu ,I.e d ... ieolle..-ni"s they .h<orkJ in At),.,"" Grcg<>.) ..ksctibd thi.
h"I'!')" 1"'.-;00 .. I,ns.h: .k m",. imp<>n.nr r"""go enm",."" .. wi,h .. gol..!
in;ti.I, ' "
m. ",,;',00 "'Si"., h<tin. ",,;.n BOlii (0 Anoc !lAO ,\ f lOC >. "lod ,
bMop. -'<>ra! On m;l ove gold I><nch, ",.iting in . h<><>I: .upp<>ncd on
&nk! 1.".". G"'g<''Y .d." ", 1\1, ;1', ",.;.ing .""",1 ,;n,.. in p .... ing, ."d .. 1.,,&,10
in .h. (of'Y . hird I"r-agr>ph. '" N"i.he< .k im.g< nor .h. 0 ... "'" ,uggn" .10 we
're ,n n t ,,, """ 1\1,;1 " 'fi, i" S >1>; ftc 'e": t he ""'!I. i. 1",,10.],> """ "nJe "lOud ..
'"' ( ...... , " '0,,.1, XXXL w,;",.",", hwb,. '", I)" r-:."",,," ",.,) .... , W,,,"',,
10.,0>1, ' ''. " " WoI .. , (0,1>,." : K","'" 10 .. ".
""I"'" i...:"I""'" "" ,,", pIJ 00nIn- -.1< ...,. _ m. "" .. "'"' 's. I\uil.,.;m bio F"'''''''
i. ,..,. .. to Afr OC 'UCI .' ,,-,e ( VI< TOtC rON ' :Ye'N F_"nn op.:n.
, .. Iy; ,.",,,H,_>, ",d',-><><A' , _ ........ r. .... " ." " If. '''''-T,
, .. pr; ,.",ooC. ",.A. tf, ' _ ". ,....." ''''' .... ,_ on ,,., ,no,,,, m,O"'
""I" " """1"'" m .. .... ""', ",. .. ioi,'" - '" "Jk.o,'" of..,.. ,ml""'''' i, """ '" ,;p.1 "'"
,.-..,. , .. 0...." \,.,.,. , ... "'.
'" /Y; 1'" ... " ." " If. '''''_''''ilW"'V ..... '' '''''"' ."h m.",aJ ,.Ki.oI).
' " l"-J" ",1'., ,,"" ...... ", .. ' ..... ,," """11, ..... m 1'" .... ,''''' 0 1f, ,,,.) . ,.j in,'"
.loa.l ""h.pd 'on ... .

rommemo",mon ofl\.o'il', pfOlifi< . "tho"hip. Behind lI.o<il, pink b"ili"" lad.
'" t!>Ocrn[n.1 <nc, which Jcpi<" the dfO;t "fll.o"I'''''lwdo.< SCMuon the Ari,n
Ernrer<>' V,len" .. <ks<:rilxJ i" ,he of " ... 'h" ... r.1
0"".,,," ' -' 11,,;1, in full =bi.",,,,1 pli', ".nJ, bcfo, gold.ro! ;cwclkJ
<ioo.ium, 1Ccoml"nicd hl' ccfIK,.,winging d.""",,: hc i. "1Iki.,,ng in ,h.
d,u), d", b;.:k> hi"" The emr<,m. in ,he I'OIrpie ""n,1o embdli,hcd ",[10 SulJ
f.milu, ffOm mh imreri.1 "I'"""",,[io",, "" .. =<con,< by giddin<>< .. h,
'pp",..:hcd ,he .It.r, he twi>" " if in[o. t.l1 - ,he I.o<onie i"""ip[ion,
OYA,\HC .... d)' ",,,01.,,, V.I,n, ,,,',m round'
.nd Gtq;Of)'''Y' fha, he "'o"IJ h.Y< (.lIen h.J not '" 'ttend,"t. 10,,,, 'cp"""ntro
... )'o",h in , hlue tunic. '''pporccd him.
V.len. ,hen N.ni,hcd I\.o.il. hOI, I!>O nigh, bcl'ot< hi. a'Ie ..... [0 begin, ,he
emrer<>r ..... n G.I" .. , (ell ilI . nd B,,;I w-" .... """'-",,,.1 to.> t1 ,..!.cc '" P"'Y (Uf .. "
=,,<')'. Tk "ehu oh.iJ."J ,," 1\0.1,1', ",i\",1; hut \',I.n, ,1,0 ""1'''''.,! ,Il.
p"')'C" o( [he Amn., 're<fidy , h .. mult.,! in ,he hoy'. dath. lnl! cntit< q>i<oJe,
wh,d, ,h. ,.'" Iligloligh" wi,h '"'' g<>ld ,ni,i,I, 10<1. ',,,,.-.lu,ing ,h. n,,,.,,i,,,: ,ho:
Ofho:, m"king ,he I""'ge ",h'r<:in G"'8"'Y 01'1.,,,, [h .. G.b",, &"h """
c-autcd by V.len' <'Out'" to A,i.n r"')""l. ' '' ;, ,1",,1 in II .. mini"ure ["
G,I"i ... in purple ",d gold, Il'ing Jc,J on ,gold .nJ gem.en .. ",,I1xJ tI", h ..
been ,wk".nJly ;""""oJ ., ." .ngle t."""",,, ,he pf'<C!;ng "w,! r"u, .... inS .,,.n<:o:
[he kgcnd r<:.oJ. ,h. de.,h of ,he >on of V.len' (0 \' IIOIC TOY OYAAI!
TE6 NHKfl C). Fi ... lly, V.I<fl>, ",,,oJ on gold I)'rc-b. dcd [hru ... Jcco",,1
,,jth p .. r! ... ignn ord., of " , ''l'""",,[e.h .. 10"S ><mll ,I.", ""f",I, down
["", . 1 ,he ground, ..J ll .. iI l! in,,, ,he bonk,of ,be mini'fUr<: by. )'outh.
ful <o.mi .. , Thc I..-ge pink .nJ Kold "ru<ture behind I\.o,il m.y repKO<n' .he
['-'1>.
l\.o.il'. pro'fi"l'On of ,he widow ;nu<>dOC<'> ,he ,hinJ "lli" .. ," The ,,-idow,
wI""", j,.,jge " . , ' ''''''p"ng '" f",,,,, ,n,o m>rri'g', ".,foe <h,,h .od I""
he""lf unJe, lI.o.il', protri",,: on f, lOV, co, .. lopcJ in . n odrc rob.-, .he kn<'r!.
b<fu .... n .It..- dropcJ in ,oJ on wh",h ,;f> gold gos.,<lhooO: . lloe .It..- "" hdQ
the .hcd opening of. gtc)-.blue building; B.o,il .... .,J. behind i[ onJ .. tu ....
,ow.nJ ,he ",dow. l\cIli..,j h<t, ,he jodge. in . ,oJ .ftJ hi"" go,,,,,,n, <."h,oiJe,oJ
wi,h whi,e, '<a<he> hi, h. nd, ,ow..-d her. we , t< me.n< '0 undcn"'.,J [h .. the
""';0" '''''''''' in ,I.: ",J ,h .. the i",lge h ;,,1 .. 0<1 -"n<""'r G'T"y
e.p= ho,,,,, .. t he judge', disrcg>[d fOf .ali."ic-al P"'I";'<)', bu[ [he im<rip.
,i .. " >c.m['-'''ying ,h. secn. 110 o. ''''))' ,h .. ',Il. w ....... " A..,. (or ... fuS' , .. $,
'" I boI., ,KJ. w, ' .. ' _' , .. uudU<Cd ",. p:<>IJ ;.;". 1,
" . ,b.j .. .... R" ..... 8" "",;,.p,,"" or .... ,. "" .
.. , n.o..p. Gp><>" ""'.,""'" "" "iI< QOIy 0 ,K, ",<UA",,.. "'" ;""''''1''""' "'pbd,1y
,J.,n,;f". ,h, """" u .... "",'d"-'O. \ t,;N(X.l ,
" Ibod . ,6&AC,: 'M <Int'rip'''' "f""" ""'" J<OId ,"" .. W '11<).
'W
I\.,il' (H Ilroc4'\TOYG\ ITNH An n BACIAEUI), The Km.i nde. of
fillcJ with a.,il', ,,,,,front. tM,,, ",i, h the who 'it< in the OmtK of
,10< h<h;nd. "hi., dtal,cJ;n. who,. doth ,h,dcJ ,",,;,10 grry, ;t> . who,.
"cJ ... pr<>urnably Kp.n<m.ng. >un. The judge we" ... p. le bl"" g.>,mem w;[h
purple in<n, h.it .nd beard .. e ju" di.arnibk. '" & ,il .. on'" to tbe
,;gh[ 'jjkt: my leoti" h<f.)f<: .he judgment .u[ of 1';1..., _ ph,.,,,, in",,ducal I>y.
gold initi,1 in the t .. t, 1 ,. i\ n " ten<!.nt. 'pp'Kn,l)" the <Om< fiS"", who I.id hold of
,he widow in .he Ii ... ICOne. now ",,,,,,IfIl,,jJ', p.II'um, I"""ng.he ... in[ ",ippcJ
to hi' long blue.p<) "nJcrtuni<, a..il ulhcJ to to WnUK and de .. h bu, .
pi<1urcJ ;n the fi",I ... ". of ,he 'ogi"'" ,he ci 'i .. n.orc.... ..... ru.h ... 1 '0 hi .. id
h ... "di>hing dub., ". The epiwde i> 'n.<fiOO:! ',he p>pk 'g.in" [he ep.rch (0
AAOC KATA TOYYl IAI'XOY).
Th. oori,,1 ofSt lI .. il" (0 AriOC IlAClAE10C ENlM'lAZOM ENOC) !ill.
,he oonom "'S' ''.'' 1Ia.:Ily A,W . nd l.>eking i" Jow". '!u. ncr, "nly . he .. .."d "",.
tine< of.hoc rumpoo<i.ion Coin be: di>rnl. A crowd , .. ml> bc:fot.e the city "",It. at
,10< I , .. lI.>,i)". h,>Jy _ in the ""n .. n" of, h;,h"p .nd wi,n j,w<lIcJ honk on iu
hrc ... _ i. o.n gold litt" by fOur )'QUth. tow,rd. b .. ilic. on the rig!." two
ligUle> nolding I"go: gold ",nd"",idu p'=de ,he "",rq;.. ,,. Though mL><;h 10.,
!>oen I",., ,he Kmn.n" fOllow . common Brun,ine p.ttem d .. ,ilied W.her .,
,ho, iun .. j" ,ho, '" ,n;; in, _ '"
The min'uufC on f '0-4' C(>1ln" as cko",lr wi,h '0[" . ny in ,ho,
m.nu><"ip', .nJ moro JirtlJ' .h.n mo ... 1 ",Ii.na On t"e "omil). empt, .. iC>II)
underlined br ,he gold in;[;.I, ,h .. lign.1 nc .. ly .1I iliu ... , .. od.
com,,,, .. ,h' rply wi,h ",he. a.,il ""I"''''"'' C)Tb o((I",il'. lift: .urf.u with "'me
f''''lll<"n0' io> n,,,,h. ,,,,I ,.",h..,. .. ""y "",num.n,,1 .. inn. hu, the I'M'
gn.mmn at ,hoc "'-<:AIled Temple off..,,,un. Vorili. in Rome. at New Toka!. . nJ at
R" I k, '" O""",i '" <:"1'1",1,,,,.. ",Iy nn t he p<><' )'Ph.1 I i f<: of 1I . iI ,<t ri\>,,,cJ ,n
P1cudo-Amphiloch,,,. .nd offi:. no 1"' ... 11& [0 f. '0-4','" Tile s"""
inch...!e> the epi'od ... f R",iI pn><=,ng ,h .... ;<10, .... h", h .... t"" . . ", Kurr
Weil2m.nn 0""''''''"'', ,he ;m.ge i, unfd"ed [0 .10 .. in P.,i"g'_ 110'" Even ", he.
m.nu><. ip"of ,he Homilie< di!!l: . Tho, />.Iil, n Gr<:g<>!)" indudc. twO imOSt:' rd .. cJ
" . <>mo,,,, """"""",<d ,t.. "'''I:-' IoJohl< ,nornP""" .. 0 YIIAlrIXI(Xl f.lllrnrEIUlN
lAIIOlIYI+INt: A[!"I IOIN
,,' PG ... ,,,,,"<.c,, ....... , ... R" '-' tr. "'_ ".,. '''lb.I_.
'" (..."..,..""" "" .".."j,,,,,,,, ,t.. ho",,,I, .. '"', ..... ,.10< .,'".,"'" Of'<'" ,,",b. pi
,.,j ,n , .... , .. " f'(; ",,00-0"" -""""'-' .......... " 0, II "'_ ''''. '" w>I, .. ".""" " 1-"0 .
" 0" '''' R.>n.... ..... , ",), ,,_4 T """,.", (, 971), ......... " . On "" (:.pp.docun
.)<In< """'n'" " .... J, /<,,.1.0._ ".!*"J. 'I> 'n" k .. ,J".;k.! ... ...........
n.K. "" """ ",I< in 1IJu---' 1,.,'1. ".-,,11, f.f"'<'. (_1. >6. )0-11. n-71. fip. ,00-00,'
1<''' ... 1...,. ""'). <>f' n'. A' .... ;.;.., m <II< .... c....k..,","'!""" "' .... .... ;t '. 1;1,- <h.<
,t.., "'r 1o<",ll''''' r....b-Ampluloch_ ,"""'" '""'''' ..... "mo,,,,. ,10<...., "'''" .. , .. """ ""'"
"';""l" 1'''' <Yi . n ,,"""""' .... """'" ...... " '" "'" 1Inob."', ,.,., ,.
, .... ", ...... "._1. "',
'" a..il'. lif<. n.;,b found 'm f, ... nik ,h. liturpc.i "",n,,>c.ip" of
G.tgu'r' Humii;'" ,..,,'" .0 1"""')'11 "flla!il', fu."",,1 ,I. .. i ...... , in
.nr .isniEcom W>)" ",1.,1 !O ,IK K<n< in P i' ,S'.I'''' ' >' Th. I\o,il cycle on f, ' ''
i" in .h"".@;qu mong.n. pictOfi.1 in it! <los< ><lh.",,,,,, '" Gr<s<>'Y"
occ"',," of .he .. int', lif . 1.., i" ,IK ",.",,,.:rip' , f. H'" """.J, dill.r<m
... pome '0 it> .ccomf'-'nyin8 foC.mon.
Folio ))1' Ol) (fi", )))
Rtl;" JjlV 1' .... ,," pie,,,,;,1 ni,'t"'phy of $, "f ,0.",;",,1. ... pr<f_ '"
Gr<tO'"y', 'T" Cyr,i.,," '" C"'W'Y diJ nm know Crp.;,n _ ind<l. IK intc"
mingle> ,hooct;.it;'" of C)pI;' n of Ant ioch and C)'pri.n of C",h.gc'" _ b<lt ,be
homilycn""p",loted ",eh. ";,,inS ..... o.i"" n' ,,,, ,, ),,,1,,,,, ,10" it ,,"" ;nduJcJ in
,1.< lifUrgi..--,1 Ii,;"n" ,pf'-'rcntly fm rculingon the ... in" f"," d.), (1 Oc.obcr). In
G"'W'Y" ",,,ion of Cypri.n, lif., the .. int I><g.In OS p"",.i,ion of the oo<ult
.. ", Wh." he f. 11 in I"", wi.h , hUII.if,,1 Chri"i,,, "i'lli", C)'p'"" ""11,,,( on
demon> to .id in f>< .lCJuion, Th. (unn.med) "ifJ;in invoked ,h. pmt.ion of
[h. V;rg,n M"y, ,h. demon w., ,h,... ned, '''' ."d [h. f.OI"f< co,,"'" Cypri.n ["
bum hi. oo<ul. ,OW"",,m.,,!> ,nd COnv.rt to Christi.ni,y, Hi n.h"""m inci tl
[h. d;'plc"",,,, of [f>< 1;rnp<lOt lkei",. ",10" h.d Cypr;'n', lOng"" cut 0'" .nd
aikd him, Th . .. ;nt continued to (i n "'[iting), and DKim ul';m .. dy
o,J.r<J j,i, .. "",,,i.,,, hy
Thi, oeeoun, m",iv>1ed [I., min, .. "", <>n f. Jj2>', ,Io""glo de,,;h from ",10
"'ur<:n were ;nco'ror.ued .. ",dl. '''' Th. upp<' regi>! , h,w.-, tn. Cb ,;>!i", vi ,gin.
d,=I in and pink. nimbed, i"sc,ip.ion '" J""in, ,' ''
befo",.n alt"d",p<d in .nd pm<ec,I by. gold h.:tld""hin: .n, .-.,,.. hcr h.nd,
. nd gn.c to gold ml.llion com. ining a by>! of Ch[i whik de""",.
cuJ ;n , ",;ndo. h, "'''''''' ,(."med '" Crp';''' ' ," Crr';'" (KYI'i I'IAKOCI, dod
p.gon p/l ilo"",f><. in blu. tog> tlo .. k,,"" It.lf of Iti' ci>, .. poo.cd. ,its
.m;d" h .. ,><Cult i"d"dc Bold cult "II",," (,h. 'WO"" [be
bo,in may rq>ta.<n. ""m"nculi) . nd, bit .. globe h.:tnded ;n gold. A
.,;"ing h. ",111 "" .... 11. ,i" ;n [h. tow" .;gl .. M< of .h. mim!<. ("'og","nd
." 0... """"" ,I ..... n, .oJ : n, """, ,,-;, ........ ....-k..J ( 1'(; ,0, 10'(:' 1_ ,. 1, ,n
J",i",' mol """"i..J diif,m1vf",m ,k "'-Y< """" on f. 'we ,k ...... J>""<n". '" of ....laI1"",
!"'''''''' of, .. po :" <;, ...... 1 ,.), .... XX'V, . _, .
'n G.W,.,ri> ('''''', , <6-," "1-',0. " r..,. ok .. i!. _ """bey ,k Gpo ... 'M'P", ""don _ <Off<--
.... -1, 10., ,h.y_of ............. , n ''' SC: ' .. ' ""." .
" fr >to, 6, .
'" ,'." , ..... ". pl. Xl,VIt, A." .. (''',j, " , 0 .. , ",",..,.an "1<-'" 'oi, (;.1.,. .. "
{,,.,I. ,0.-"'1' N. " ",), ,_. , ...... " W.h", ,,", ), "" W.oI", " .. , ) . ... ---.: 11< ..... ",
hoi,), " .
' ''' 0m0n, .. ..J 11 MlA IIOYCTINIl I EI'XIIiIN 1\)N KIVPIOIN, I"" inf"', .......... , ... T of
IOYCTINIl " ..... bI<.
''' n.. .....bll ..... ".,-O',." "",."...-,,, .. f, .oj; _""-''''''' ,.
'<'
v ..... ,od """n;"!- ,n n'noh..:no,"'1' 1Iy""",,um
,h" '1'<'" '"",miu.", d"t'Xl.ti""'"fr.,i,p.I,,,.pp .... in ,h. ...
.. . ",..,11 g"'l' p,,,,iro <"ding in ing!< coIumn_ ,"
Th. I" .... , gi.t p,<n" Cyp,ian,Iif. aft .. 10;, >n'"r<ion ", Chti"ianity. To
,I'e ch'''I;<:. he " ";",hc.I.,,d hi. h,,, ,n,! f.o,,,j h,,",, 11'''''' !!""y. 1" ,ne
,hi,d of ,h. rqtO"'" <CJ>" .. ed from ,he =, of ,h. r<"gi".r by. dill" . . aun.
Gf<l,"'<)'; pr;"" h..p""" (;YI";'" hy i",n",,,,,,,,, ;n. b..Jy (Of u..-p blue
....... " ooid. ,h.m . rcJ Ii,. mnm ...... erp,i.,,-. m.gic roll . " . Mind ,h.
"" 'upof g<n 10,11. ,it>. ,..hit< ",",ilion chutch. A O<rofld lUI>< ,ha'
,lel"'" from (j,'t."'-Y"' " .. ... """"pi<:! ,he W, ("'tgn>"nd, in ,h. of
nl>n who we-." m.1l whil< li lb in hi. h.ir .od i. <;"1.1)' d.....ro in g<>kl .nd rcJ,
,h ... ".n' .nd noo .... in' boils in. bl .... a uldron , urrounded by R.mes. ' ... Again .
builJirlg '1'1'<".r< in ,he b..:kglUurld, ,hi. ,im blu . 'pp..-.n,ly >01 .. ,
,IIO"U'" wi,h an ;r.hed Joo,w'y_ Th. ",I. ro<, .oo"",,,ion ""'". dirccrly
by Gn:-g<>'y'. I"n<"g)"lK rondud .. ,h. SC<ju.n<:< in ,h. I<f, bxkground: .n "",,",u_
,i,,,,,,, in mil i",)' dm.< behead. ' he .. in' .... 100 kn.d. wi,h bound h.nd, on a hill_
,iJ" bcfo p.>k blu< huilding embclli>hed wi,h ",lief ulplUl<. = .gains< ,
""i<s"ted blu. b.ckground th .. inclod. kaA ... 'f<"<. ' "
While -1" e yp,i Jc.c,mi"aJ ,he . uhjec, "..,n ... f. JJ'";' cI ... ,ly "m baS<:d
<"dmi",l)" on ,hi. ,tlt: Gn:-g<>ry "",,,r .... m .. jw;,in . dcsctibn tI,. wom.n ..
to Virgin 1"",y .. h.r ,h." '0 (;hti", and f. it. '" di"", ... i,h.r
C)'p",,,', b'p'i , m 0' ",nu,", in ,he could,."n_
Only ,he Ii", of ,h< deni" recur> in mhe, illu.mued oopies of ,he Homilies_ 10
,toe Mil," G'<"g"')'. a wo" .. " d'"..."j .. a 1Iy>.>mjnc emp' ..... holdi"S' crown of
m."yrdom. i, i" .. , ibed jUi!io", ,,. on< ropr of ,he li,urgical ! lomil'" pC'" . he
iJ,",;r""",i",,_ "-"h. id"ifi"""(O,, of )""io, wo>, "",n k"",.. ", in ,he
typjkon of ,h. Gre .. ChUlch, C)"l'';'" . nd ,he yi'gi" JUSl;n. (n. med) m..re. fc .. ,
thy: .. , ThroJore "fSt""d",n ;nvuW ,h.;r , id for ,h. pro'tion of ... ffcring
ic,,"o .... i\cs. ,-" Orherwioe. ""i,he, ,ft< Mil, ,, "'" ,he t;'urgictl Homi!i .. demon-
Slm .. ny .ffinity wj,h I'.ri . gr.\,o. The I.tt., group i"dud .. Ii,,, n.mu;"" .pi_
..,J", from C)"l'ti.n". lif. _ Cypti.n', .".mp,ed .<educti"" of . Ch,i"ian y;.pn by
jny ... de"""", ,he ",,;n, bd",,,-,: 1>:i",. Cyr,i." wti,;nl'> hi, m'''yrJum, .nJ
'" A ,..., '"'''' ""f. 'I<' I,.. ,,'.
'" 1 .... ;n",;po",", "ad ' ,,", " n>lli bw.,., (XAI'TAI MAnKOI k IAJ] OMF.NOI) .oJ
',,", of ... C w;. n ,0 n il r<OC M IITI f.f< lOCI I .
M " '"' ._tiro<;". " .... ' 5< C"",WO i. ,,", .. ,\ol, .... 10 KI1I V1Ar<<)C I f.NI 1"
.IEBII11).
". TIw ;"""p' ........... 's< Crr'''" oly,,,,!!' 10 AIIOKTl-:Ir<()Mf,
:-.r'X).
,- Two ' ........ of ..... ,,10,"5- ..... .... e"..;... ,,, ... . oJ... ,",'(Om,..n, '1"
Crrrun" in M.""' G,otw ... .,.1. rIo- XXVII .... , _ XXVIII . _ ' GaI""' ........ ,. " .
t>. M", ... I (,,,,,,I. Ab ....... !t.nI. ,., . 0. ,o. ,n'kon . ... m.p.n 1",", rot; '"'
n ........... <h""" , .... " .. ,
'.'
,h. "in! f'<",humou.I)' ........ ;oling h;m",l! ,,, wOm. n ;n d.nm _ but .11 fon" ...
Grego.y, ,." drudy . nd ",m<1;m e .. du.;",I)'.'''' None rrquirn . !.OCOM ,,,,, ... al
,0"",., "0"< durli.,.,., <i,b .. of ,h, episo.,J., pico "",J 0" f. ))1' ,h". a nnu, , h.",
",Iv" depend on '1" Cyp. i,,,. :-'0. do ,I>< 0=0<> ,harc.i by ,I>< li,u,sial
Mi.ions.r><! "",i"y.\,O _ .h. mo.tpdom .nd Cyprim in"'king demon. '0 .Od in
hi, sod "",ion ofj u"i n. _ d<""", " .. ,. ,n y .ffi nil}".
In .hon , ,h x<,. homilic enn come '0 f. JJ1V from 1 """' nO! "S<J by
o.Itcr Hom;li illum:"" ... Thi' "'". w . "" Omon. r<.>gni:ted, .:tlm<. .
roilll)' ,h h, ... ,'Olum. "' .... acc.,un, "rcyp';'"'' lif .... ,itlen by. c<n.i n EuJoI.i,
Aug""" p". "hly ,h< wif, "f Th .. ,J",i". 11. " TI>< "', , urvi...,.
;nrac<, hU1 i, i, 1[1<,",.1 ;n ,h. n;n,h n,u,) h)' Pho,;o" ""M w., ,uffi ciently in,.,
".cd in i, '0 provide a lens,h)' tumm .. y ;n hi, iJib/i.,,,,,,",, '" l'lt",i",' de .. ikd
Jeso:t1p1i ...... of the tnt 'ugg<sts tit .. it wo' nO! well e,,," in 'he ni nth
cen. " <y. for he ra,ely men ,ion. ""n,'en. ion.1 work. no, co: ren,ivd y dosc ,ibn f.m il
i .. on ... Ik th,t .. i, m,y, 'he ,eI"".n' de"iis of F.uJ""i,, poem, .. we kn ..... ,hem
f,om 1'1>0';0" d""" .. il perftly " ';,h ,he e""'Mmi""ic f".>fur" of f. JJ"'.
i\o:Q,J ing to rhoti!, the vulum< or EuJoitii , trilogy <onme.! 'he many'
Justin . Cyp, i,..,'. '''''''pt to """ )' ,he ";rWn by di'p>fch;"g demon', ,he
ing of ,be demon. 1' ,he <ign of ,be C""'. md, mo" imporra",. ,he burning of
l>ooluon mag;c md hi. b. p,i. m . 1", . pp .. rc.i io .nc fi .. , volume and a ...
duly d .... ;OO! in ,h. Th .... ond ,olun ... Ph",i .... """' i" .... ,
,ecounr.J ,h< )'OU,hf,,1 Cyprl.n', P'ow", in m.gic.M ,n., " ' n", .,. ron_
""fi e.! Christi. n, . nd ,he ' hird !Old of ,n., rnanyroom. ofJ,,i .... md Crprl.n. In
,hi, """"""" Crp'''''' wa. Ii ... thrown i,,,,, , brom., n"kl ron lille.! wi.h ...... ,,J
S"""" ."J "" ,"'., , Ii: hi. forn .. , f,i.nd A,h.n"i", .";,,e.! tn ,he ,ono..,.
A,h.".";,,.' impiety W"; puni"),e.! : h< I"u ne.! in ,I>< A.",. . ... hik Cypri. n mir..:u
I"",.)y <=Ipcd ,h. Milins CluIJ". " "n""me.!. H"ing ,ho. f.tle.! '0 de , ,n<
.. in . Diock,i.n (nm. " in Cregory' .... mon, Dr.::iu.1 orde.ro Cyp,i.n. bel><.d
i "g, Ph, i,,,,' ,,,mm.,y ,of Fo,l" k ,j. ",,,, <Iou, "". ""I y i,I"n' i r..:. thc ,,,,hi) d r<>J
m.n , .. nding ""'ide err';. n', ". "IJ,,,n ... A,It.n.,i"" hu, .1", inCO'l"'",,,.11
epi>od" piClu.ro on f. jj 1V _ b",1t ,ho>< "m;ne.! from Grq;o. y, p.nq;y,i, .nd
,h".. d<>eribeJ in il. Whik i, i. in u in.iall) unlikely ,h .. Eudoki., ,'i'aofCYl',i. n
was ill"Slr ... e.!, we c.ntIQ, <o,,,,I""I'\"ly di"",,,", ,h. P<"'ibili,)' ,h .. >1\ ill""",e.!
copy of ,h., """ ,h"'nHoen<",! ,h" P".;, m;n'''o,' '' . h i,. how""", (., mo,. rim.
,ibk ,ho, the poem it!elf pr<>mp'e.! 'he im'!;< OIl f. J)l>, . ,u!;l:.ion furtifKd. 1'
"" ,"'>: .... .1,... "" ., h .......... , ofC,.,.,;..,: N. .. ('."1.,.....,.
,6-".
, .. fon .,.,.;...;"'! or ,hI' """ .. : oJ, 1.uJ..;.-t, "",i, " " .0. f...Jok; ..... .Ioo.>h'r,
,.. .... Holum " .. , ). "f.
'" C ...... ",: .... Ilm,y II ' ...... ' '''. " .. , . IV,I"", I'",, ). '7<.''''' on ,I>< B,I""I"" ...

'"
V;';"" . oJ ,n mnth-<n>'"'1 11,-- ,,,,",,,
,he of a com?, .. bl< in .ny "'h<r r<!'rnoo",ion of
Cypri ... ', !if. ,
In i" ;ncor!",r>!ion of <1';.00<> nO.( m<mionl by Gl'<lI"ry, 'h< lill: "fCyprian i,
q" itc ,he h,gi<>gr>phi",1 "I"''''''' Jevo<<<l '0 Il>'il "n f. 104r ' 7).
,hough, ,i mi!." I"",<, n "Ppun on on< of t l>< f"g<' ,he hi"ory
,h. Apo>"'< (f, 409" fig, In ,hat c.t ... ,f,. oddi,;"n,) "",nco con .. ftom.
te., ",iddy .<I", d ,h!OuSnou( .h. 1I)'U",jn. wo<lJ, f. JJ", on ,h. ",I><r I"nd,
p(<)Video the uniq"" .i!...!iu,ion of Eodokia', ""r5O . bou. err,;'n. Th;., rar<1y
0"",1 "",n. wa< of >U{'h in'<rn"o I't>o,i"" .hat i, i, one of only twu poem> <ven '"
I>< rn<n,ion...! in ,he BiMi6,brh. Po><iblr bi, f""in,.ioo ,.," ;n",ir! by 'h<
..,....;;.,i"n of CYl',i.n .nd JlU<ina wi,h .u/f<ring ioo""phil .. K<:ordl by
Throclo ... of S.oudion, bu, what<>er ,puked Pho,io' rn,h",i"m. i. >m. li kely
,bat ,be Crp,i." cyd< w.,; muJili..J .r.J <>p;n.kd "n<k, hi' di"",,;"n '" indud<
d.",il, mmi.",l by Eu<loki'"
T O"' ... o I MAGO A. U EGUt<
The biOV'l'hi<>1 >con", in , ... by J.f. ",,;"n prin,",ily ill""""i,-. '>In""
,b", n<l\i<>I: in ooncq>f. ,;..y <=mhl. "'(l" n. ini .. " .... in (l,h .. Ho",iliel
manu.",ip'" Bu 1>< bi<>gr>p/lical ><Cnc> a ... awIly h like ;11""""iom in o,het
m>n"",ip'" onJ mo ... like ",h<r in ,h.n ono migh, .o,;':ip;'<,
n .. r< .... ".ini), """",;'m.1 oon""". ;oo< w;,h ",1><, iliu" .... 1 Homili", _ .....,...
no .. bly wi,h ,he triple I"", .. i, of B.uil. Cr<g<>ry . nd Grq;Ol)' of N,.... ill ,I><
Ma.n G ... gory. ,h""gh p",I.,p' ,h. d . .. 1t ofGorg<'lIi, md ,It. """'-<>C'-"'<l im'g<>
of ,he fun<"l of Koiuri"" and G'g<Iry' "mon on .IK h,ih'",," in . hat mon,,_
><rip. """< . I .... "no< ,eI .. ..J - b". ""or mo ... "",n .. lir.J n" colln'<'p;ru in o,n,
G,l'$or)' """,,.c,;p,,. CV<n wl><n ,h .... m. p; ... gc r"";, ... illu." .. ion, In ,he .nd.
m ... , of ,h< im.ga "",d .Ione: m'or 5m '0 haY< bII c ... atl
'p""ifi",II)' for ,I>< man""'tip<: ,oJ lI<>rlr al! fir.J """"",. Ip;t,.lId, wi,hin. "" her
, 1t.II ou"i&, l'ari'.8'.1'0,
0..:, holf of ,h. 'hat indud< bi"llr'pnical ;mag<> 'PP"" in ,h. fi",
qua" of ,he ",-,,,use,ip' (If. 43", I'v, 67v, 7' Y, 78" 87v, '1"1>< g.n be..--.o
d ..... in&lr favour! .. won. on f'ar;"g>",SIO ptogrn>cJ, and bi"ll'ophial ""'<><>
hecomc m" ... i,.-,i.,u..J : wh'l. iI<V<" of ,h. fi n, ..... tv. , .. , mini.m", i""lud. h;o-
g" pnical ><cno (mini .. urn ortl. I), 11-17). ,I>< "'moining ,ix P;g<> wi. h bi.,.
g>"apl.ical '!,r<Old ",or ,ho ful1 '''''illg """"Y' "i ''' mio;.,u .... (If.
.81'. jJ>v. 4'4v. 4jlr: mi n;'!U= 20, ' 7. '1, jJ, 4', 46). Ai, . h. numl>< <><1
de",i,}, ofbi"ll"phic.J <cenes dimini.J.c.. ' he ,d"N>o,hip be t ..... 0 ,h. bi"ll"'ph-
,
icol im'g<ry, [h. [<X" .nd, wh<n 'h,,>, _1'<"" o'hot >n<S 'm ,he I" SC .1", g....;u .
lI phin.,
Six of [h. [hi" ... n hiogf>l'hk.1 mini.,uro r<>!!iet ,heml<lvc:< '0 b;.,gnph)'.nd
.... , no' combined wi[h biblicol o. hi,,,,.ic.1 ><.n<s_ Th. nn., ,h .... of ,h= .r< ,ied
dOldy '0 G'"!;I>I)'oJ<Sc.ip,ion . f"Olio 4)" (fi g. imrodt>> G,,"o.)', f.",ily ,,1<1,
inoe<ted hc[w<= nlne .. 1 ", .. ion, fo[ hi> 'ibling>. pic'Ur<1 Gorgon",', de .. h .nd
Ka"' ri",,' bmi." f. 7Sr (fig, (5) p<>nn)'l.il< h .. it"ofnl ,h., on-..,ionro GlC1\ory',
I<rmon .nd .h""" him delivering it: f '04' (fig_ ' 7) ill"",,, .. ,h. life of S, B" il
wi[1I '1'i"",1 ,J..."ibcJ in 'ho ' w>mpmring <ulog)'_ All of [h"", 'rt><" wi, hi" ,ho
den .. du"ot of biOV.phicalolSC'" 'he beginning of [he mmus.cril''' ,h. 6n.1
,hI biognphi ,,. ks< d'l"'nJ.", on ,II. ><Ii<ICon. ." ""100 1J9' (fig,
17) pic",,,,, cpi><.><k. ,h .. "",[[[!cd .f, 'he >ccomp.tnying .mon wu Jdi""ml
.nd .h .. . ,. no' da.c.ibcJ in II .. , ,.<1; f. 'J'v (flg_ HI i"d..J", .Om'" . h., COn' '''
di<l (;''11'''1'', ei",.,f CYl'ri.n .nd Ji,-. in>!.w from. ""pa .. """O<In, of ,hc
".in' , life, f"lio (fig. 46) mi . .. cpi,..-,J", ",e"on,ed in ,h. lifo oI"GlC1\o'r wi,h
Ken"" in""n,ed '0 di.pl.t), ,h. ,hrologi.n, ,inu<> and wi, h deui), des igned m uni
"", ... Ii", hi. ar<.ioncc, ,he p>g< "' , whole i. ku info,,,,.,i," . bolL' 'p<Cifi.c ioci
de,,,. in (;fOgUlY', lif< ,h.n .bou, how [ho nimh ccnmry vi.u.li."d ,he '-'''>1'' "f
<onai ty. The fi", [h[ ... ili .. Slr ... Gr<g"fY" wonk ,he 'h"",
, upplo"",,,, ,hem Of. in tho cos.< of f jj2V. provide ,n .he"',,'" il\torpl .. " ..
Th. r<m. ining biog .. poiaJ "",no< or >i""oc<s fu,m I"m of Ioug composi.
,ion . Whon joined on a olg<. [hc hiog"rh",,1 .. "I hiMic-.1 Ken", fOfm inm.lly
ooiI .",n' mini"ma: 'he two g<nln h:ovc b<cn nude ", wo,k 'yn,hio,ic-.II)', bu, ,hi.
proc"".oo <h,ng'" <Ne< [h . cou"",.,( , ho ",""u>crip<. On ' he fin' p>g< [0 mi.
gomc (f. j1V; fig, 10). [ho imag< of (;''11'''1'' deli,,,j"E 10;, "'f"",n p.ovi<k
'YJ"'logie>1 condwion '0 ,I .. bibl",,! . "., ,h., pr:lo if, '" H"" ..... r. h=,e
'he doci,i"" ", illu".-. .. J,>.i' _gr_j ' O "'" evidently m.Jo , n ,hi,oemwn hul b<cn
oopicJ b) ,h. "".ib<>. 'he prrti>< chronologiClI [d"'on.hir be,,.. .. " f. jlV ." d
o[h hiog.-.phic1I,nini"",,,, ,h .. mi, SCm i, u,,<:c .... in' I[ i. <e",i" '''''p<C''
mOf< ,imil .. '0 f. 87" ,h. " ,0 ,h. i"'orv<ning If, 67" . nd ,"" f"lio 67' (fig. ,, ) <om
bin", (;',"o'1"'s com", ion 1! bi'hop of S .. imo wi[h Is.iah, vi,ion. ,, hich .up-
pi ico a hi hlic>1 I"nlld '0 ,he r .. l; "g> of hai ,., ion .. nd o<<<p,."ee [Iu[ GKgOfJ' ,01 I,
u' h. unJerwcn, .. he p<>ndc!cd , he <alai ... i",) olfe!cd ,,, him, On f 7" (fig.
I,), Joh . nd hi, f,iend. p""'id "",ho. biblk.1 f". GIC1\"'Y', fl ins>
abo .. , G"1l"fJ' ofN,..., .nd lI .. il. picm ...... 1 wi,h him . bov<- Job. Both If, 67" ."d
7" ,h", u>< bibliaJ ocrn<> ' 0 undef>COf< [he mcaning of [he hiog.-.phic.1 ",,<s .
nd in <><h cos.< .he Old T .... men' p.rAdigm pictu!cd w., provided
himl<lf. By f. 87" (fig, (6) [il< f<1 .. ion"'ip brow .. " hiogr.oplt y .nd ,ho biblo h.,
hoccome 'Mr< oomph. Whilo ,ho cn<> ofCh.i, min;,' ry continue 10 .. info",.
"' .1 ""1"" ,.
'"
'he meming of ' he biogr:ilphical ..:cno. of the ron"<' ... ion of Gr<g<>I):' t"hel, th<y
",kctl by ,1>< de.<igner "f 1';t' . g,.j'O w"I..-.,,, ,h. 1""'''I'''''g of G'ego,},',
""",>on, _00 go beyond .imple l"'ulkJi,m to become , commenu I)' on [he liva of
"'<g"ry', 1' . ... "" .. 1<1 on Ch""i,n id .... ,1><"" ", .. hh. Th< .. ,,,,,,n i, G'ego,y'.
fune,,1 "'''''on '" h" f .. ,he,. bUl diI<'C[ iliu"",ion of ,he de .. h _nd bu,i.1 "' ...
>voided he,. ( .. it .... , not on f. 4Jv) in f .. ou[ of '" e"1;<""') in >cwtd
wi,h m.oy I" .. I"'g'" of 1':>.,i, .g'.I'o. '49' (fig . .0) r<wmk. ,hi. 'YP" of jllle[
.",;"n, bUl with .. diffe,.n, 8.,,1'. charity [ow.,d [he po<>< ... im.liy i>uded
througll th< p>,.ble of , he rich m.n .nd I ... , ru' - but het< ,h. bibl,,,.1 p, ,,,('le
>PP<>" in ,he .. ,m"", whil< ,he h;.-,g,'l'hic.1 ""n< i" .nd ""m",tu
.Iiza thc ddiv)' of , he lC<mon i"elf. Folio , gl< (lig_ 19) in .. m Gregol)' into .
prophetic "i,ion: lhe bibli",l . nd the fu>l to promo, p. rti.-u
bel)' nin,hconfU']' inl<'P",ion "f "i,ion, of f. 4' 4", ,h. bi<>gr>phic:tl
!iCC"" h becomc compkrn<nu l)' to biblical n .. ",ti .... : he,. .goin [h< bibli .. 1
""'".., pict"ml COme from th, ",,[mOn wl,ile til< p"rtr. it of Gr<gol)' J"",
""', hu[, ,hougll we m.)'],., m<1'" '0 in,p"'< ,h< in>1g< " G'egor)' w,i[ing ,he
[d.vm, Q",ion, [hi, mi. i, not "'p,<>K<I .od [he ICCnc i, g<nic: it> prim_I)' fun,.
,ion i. e,;cg<tic:ol n,h th..n <Ufl ,,,,,tu. liling,
It i > , .. , inJ ''''''''''' "f ,ft.: '"'I''''''' "at ><."rJe.j ,he b,og"l' h ,,,,,I ,k,. "" ,..,1 Y ie
,h. m .. nu""ip[ [Iu, ,he bibl""I.,,.n,,, ,,;,h which ,hey were ioincd , ],.,
';gni!i". n<c of ,he biog"'ph,c:ol on,,", ,.th ,h.n 'he [<Vet.,,, ,hi, ,.I .. iM
fw 1'",.-.iI. umi' [be I." ',,"0 in ... ne<, of mi...l g<n'" (ff. , SIr, 4Q'-). Th ..... y ie
which [bc hiblicol complemcn,cd ,h. biog<>phi<o1. h"",C'>'C<, 'hangl f[om 1"'",1.
kl, .lte.dy oJJoceJ by Grq;ory to mof'< independent exege,ic >C<!uenc" '" 'he
m""us:c" I" SI""". The ,hif, ,ow;"d oom",.",,,y m;ni" ,ul'C< _ . d"",lol'"
mc"[ from illu"",,,,n, [n .... uppkment (bm temain [Kd to) ,he 'at, [0 v;'wl
g<>i. - broad I)' documen" _n inc,." ' ngly .. ,.lied uS< of in !':ori,.gr, jl O' i,
at", "'ues" ,he J igner ,he p .. il\,'''' ..., .. leaming "n ,h.
,,'
4
BdSil J and viSllnl ptl11tgyric
The mini""." of 1':o,;,_S'.\IO ""pond '" [hc ",,"uoer,p", om!"',;,1 """ picn" <II<
Fmp<mr B...ill (R67- 886). "'i,n ",,..,,,,i<oofim'g<><h,, i"ro,,,,,, ,he icW'imocyof
[he now M,crdon ;:in dr".,'Y ,od d """ fl, "ori" g rn" n,jo", bel"",," ,he .. n
."d 0,,,,,,,,,;,,, ,ncCr.,.. ,. nod "i,1I ",,>,n II ... "l""' &..i l ,,;tn Oldl ...... mcn'
fig" .... ",,,n .. 1"'"'1'11. S,"",m. D, ,-;d . "d ),,,11,, . Tn"", . re f.mili., them ..... nd
the ul< of im.g<> to pc,p,,, .... ,' them h.d long 1I;',<>ry in Il)"l.ln,ium. ,,,. v;'m.1
, -"",1,,,1. ry W<J ." exp => 'he i m r< Ii, I m<SMg<>. how...,.. r, i< >om imn u nu, ,,,I.
Foli<> Av (. ) II
As we 11 .. ,< sccn . ,he fronrj.piroo mini .... r in ['"i . gr. j l0"l"'"1 ,,-;[11 ,n ;""),,,,0/"
Ch,;>!_ followcJ by . b;f..,j i"m ,h .. r=mblcJ, romm,morllt ;'" dip<y<h
wi.h ,>< .. iore.o."" 'nching impc,i.1 ponr>;". The in,rnJ"",,,,), mini.,,,,,, " " f.
Av Ie" t he tOflC fO, ,h< Though pmi.lly r<Wmhd in 'nk _ (>OS',bly in
lk f""" .. mh OW!)'. ",h,n, o(,h< poem on f. B, ........ ,itt<n at
,k 'Of' "f ,h< p.g'" - ..,,,'" of ,he "' ;);io,II";'" rem.;n . ,oJ ,h. , hl<ton of 'h<
nin,h..:. n'u,), mini. ", can "ill b< dipkrrd; Ch,",. "",red on > jcwdlcJ ,hmo.
whi<:h m. y or;g;n.II) h.ve f<s<mhlcJ ,h" oa;uri<l hy HeI.". on f. #0' i ll.
bk>k> wid, hi. righ' h.nd .od hold.;n h" kf,.n op<n booko" wno"" ,no """niog
W<)ro, of Joh" i"" ""iN" Ifi, "" 1>><1 on . 'h< 11;< h .. I .... ' its ronjuS',<
]<>f, .nd i. ,i"pro in wi,h i" "uh I"ed '" f. C '
r.ri.,gr,!"> i. ,he oIJ .. , .Xl.", m."u",.;p' '" "I"''' d o"",,])' w;,h , m;ni."", of
' Soruk< (0",1. 6" Mill" "'P-'.w' Eh",,,h 1,.<61. '" 0...,., 1,.,.1. ' .. ... ,W, I'"
(''';'\. 1"10 "",. ,. "+ C .. dn('11! ', '" II<k,"rnv ".110/,1 . ,. '1'. Pm
ofd.<foll""i"llJ"' ..... "1'1" . .... '" "' ......... ( ' ... 1. ,,,_,,,. s... ."'....i"".M.
, I)". :-< ........ " (","'). ,"", -""" ,t.", "" I<.f ............ m .. <,n"l" 'f"""<n .... 'M
\e,"' ..... b....N' .
'"
me;ming in nil1lh-cemury Hp.l ll!ium
C hrist . I Thl' promi nem 10clIion of an iconic imagcof theenthrotll'd C hrist may he
understood on one level as a ... islI ;11 conhrmarion of rhe validi!}' of sacred images
:lIld rhl' Iq;it imacy of represeming Christ. S Certainly, the of imagc5 of
C hri5t duri ng ,he Ilalf of the nindl c{""mur), wdl auested: t he seab of
Mi chal'! III introduced [he bust of C hris I, :IIU.I the type continued under Basi l I:
bmh busts and standing figures of C hrist al so appeared on tlw p;uriarcha! seals of
Ign:uios ()l 47- RS8, 867-877). 6 An i[l1:Ige of Christ W:lS placl'd above the Ch:llke
Gate in 843. and in )164 PhOlios nOIl: d :1 ChriSt in The dom.' or the
n:cent ly completed Churc h of the Virgin or tbe Pharos. Images of tlw enthroned
Chri st also prolifer:l.l cd : [hc imp:lCt of a mosaic \'ersion set !x'twcen 8s6 and 866
:Ibo\'(" thl' throne in the Chrysotriklinos (a room [esen'cd lor imporr:ulI Sial(' cerc-
monies in [hc hean of Ihe iml><:ri:lll iving quartcTS of the in
royal commissions for s(:\"eral gener,lIions.
fi
Basi l I replaced [he bust of C hrist,
reintroduced on coins by Theodora and eont inul-tl by hcr son Michael Ill. wi lh an
im:lge of ChrisT enthroned (Ilg. 80); all presumably ind icate a sel f-conscious r{""lIIrn
to pre- n u m ismat ic iconogr:lph y (specifical I y 10 (hl' coi ns of J li st i 11 i:l n II )
Ih:1I may have bcen ;lSsociated with Const:HHinc: J legend. pe rsislent throughout
tltl' nin(h cenrury :Ind :tpp:m'ntl y by t he pal riarch Nikephoros. cI;limed rhe
survival of Conslantinian coins he:lri ng {he effi gy uf C hrisl ." Thc dcpi ction of the
'Th .. Khludov indu,k. a h"" "(Chri,, m ",i"i.uorr
of but '"'' full-I .. ng,h PO" .... ;1 , 10.1 0\0"" ni'I. Mu . I;" 1 :9. f. I": !;ccpkin. t (9771); ,i .!y
r .. l,r . nd on th .. "..,.1. Ih .. Lui" C,.,J ... nk 1.lion,,1' of j"ST-7H \ ,r "rI!, /IN. J. f. Jr:
M "Ihr. ic h and .. hd .. ("rbl. 1'1. I) 1(K" .. r, A ,,,,,tuil of Ch,i" .. mnng Pler"I"')" pi"".",. h,u IkI'
" n I h" 0t",,, i" g folio. The """uil of Chml in [h .. l;.rrell c""I",ls O',;nc .. ",,,. Unl v.! il> .. cod.G" KII
6. f. 10': Vik. n [19-11. .noJ \'I;'e, wn;o"n It 9111. 1'1. LXII I .Iig. ,,Inch rnl)' he- .ligh!ly ..... Ii ...
[h .. n 1'.1;'.1;'.110. h., httn i"",,,1 i"'l> .. IJI ... book And j1> u.ig;,ul WIlt ... , lIl1k ",,""n.
, !wo .. ch'p, e. I. to 7 ... ,'0, Veglc.,. (197:). II",. I6-U. j\I. pl. 18: no. 6. 1'1. I .
Frol" ... (1961). l07-Iw: for I'h ... d",. H"mil y 10.6: rd. La ... ",d., l OZ: "a" .
18
7.
',' "rlm/"KIII g'(u", 1.10(,: ,ran,. M.II'f:" (197!). 0 " Iilc i""p.' ': I. we .,"0.1
]-I",k i". (19771, 14 \-144.
, lI .. il". coi",,: C"ifNI>1 111 . 1 (1?7\). 1.16. IH- 116 J"d III .! (19-1). 47(, . 1'1. XXX: C",ler
11'}7!). e'f" 7-9. ThroJn,i"ml MkhJrl". ",i"" eri .. ",," iiI. I (197)1. 1-16. 11\ (,.llle (6). 414-4\1
418. pI. XXVII I. nm; . I '1;(11<1: (1969), 10; ( ; ... ha. (1,/17). 110.
,.,
BJsil I and vi.,,,al palwgyrir
Fig. S, IHmdJ/.t. Hllgill Sop/,itl: room linf ' rslil",/c. "10M;,. oj'CbriH
ent hroned Chri st persisted ar the and recurs in two mosaics :It Hagia Sophia
which arc closely fdated to the Homilies Christ. [n the earlier mosai c (fig. 81).
assigned to the g70s and associalCd wit h Phnt ios hy Robin Cormack and Ernest
H3wkins, Christ forms pan of a Deesis in t he north ty mpanum of the room over
t he vestibull,: lu (he la!'er mosaic (fig. 82) shows Christ before a prost rate emperor -
apparent ly Basi!! or Leo V!- ill the narthex. II '!'he three represenl;ltions of Christ
are vi rt ually identica l saw for the of the book held by Christ, which is
dosed in the Deesis mosaic. but open :1l1d inscribed in dlC nanhex mosaic and on f.
H' Curmack a"d Hawki n. (1977). e$p_ 4!- ! -H, pis. 10- J I. A "",hn pomry "'pie "PrearS
i n ",i nialu/L' on,",i,}" , "i,ion in t 'Chri>li'!l Topog"phy' (fig. 76); Iwre. hm':e",r. I ho I hronc i.
hackkss ami ,he h"ok d",ed. S.,.. aim "hi u,lov I'",, ], (/l.lnscuw. Hi,'!. M",.);r., !9. f 90r:
[J977IL 3 die 9001] ('onl Pres"" Ih:H shuw., Chris! .., ... d on" lyre-bock"" [hro"r. h", will\ .Il
"ppa d"",d book no' cv [. J"J fI"'Jgmen""y p",h"bly o( I ht n in [h
cerHu rf. V;,_, (O'llken .nd OMerholll iI9H.) I. IJ1I---14l. fig. 6. 1'1. XXXIlIr: I th.nk Kober!
Ousterh"", for p!Ovidill g III" wil]' w lou r J.
II For a cr;,i cal Su III mary ofth, Ii rn,,,,,e. ,ee Cnrmack (l gR, ). I IS- Z4' ; M'" al,u Cormack (19Mh).
6!,---6l!. where [he mmaic i, i" le'I"c!<',j a, Ch riM forgiving Leo VI .
' 49
Vision meaning in nimh.cellwry I\p Jlllium
Fif,. 82 hUIll/ml. /i'lgi" Stiph,,,, lIar/ht,x 1II0SJlk. Clm s/l'lltlmmrd btfOrr &mll or Lto VI
Av, The n:mile)( is the st:mdard ' Peace WHU you: I .11ll dll' lighl of lhe world.'
' I'hl' text inscrihl'd in Pari s,gr,Slo reads ' My I gi\'" unlO you; nOI ,IS Ihe worlJ
gi\'clh. give I untO rou' (JOIH}
John q: l] is 311 un usual tl')(1 for Chrisl 10 holJ. blll il conveyed IWO :tppropri:m'
mcss:lges!O nindl -cemury COrl suminopolirans, For whil e the p:lssage inscribl'd
on Christ's book W3S not norm:lll}' associ:ucd with images. it appeared on wcdding
rings. and j( was I he closing gospel reading for Ihe binhd.I)' of thl' Cif)'
011 II Ma),, 11 On wedding rings. as Gar)' Vikan has shown. it marital
harmun), and procre:llion through Christ. I ' an appropria le preface 10 the drnastic
portraits thaI follow. The birthJay cclebr:ltiOl1S of the capil:11 wcre appropriatc. 100.
10 signal: Ihl' refC'fence inrroduces the Constantinian rncssagl's conve),,-d br Ihe
fronlispiece st"quence 3S a whole,
I, "lu.l, ofd'e fi,.! l'a .... ge;1 Sli llltgihk I,)n A" (I' )PI-INjIlNI TIIN EMIlIN
YM I N J) : for the rrSl . J rdr on 0""'111 ( 19L9). 11.
I' As cued in ,hr ' r pikon of,hc .. ...-Jl Church no!e 1011: "b,("OS I (1961). l8g. Thr
J! on ;"'''''ph;l" XIII. Inon" ' 04.
I' Vih" (1990). <')1" ,61.
.,0
From ,1.< ,im< "fi" inccp,;"n unJer Co""""ine , he , he binI.
d..y >p",d, h,,1 rombin! ";t< .nd imp<.i.1 " In ,1.< ni",h
,k dry', hinhd.y """,;on! on, of ,he only ,1., ' ........ ni.r
""remoni",) cckb .. ,ed in Con". n,in"l'k. I nd 11.< cdd... .. ..,n. focused on ,I."
r",,,,,t,,;,,,, "f Ch'isti,,, Cipi .. ], ,he ""I<b"";",, "f tl1< f"un<k., Con". n,;ne . nd
'he p<<v<",.,ion of ;mp<";. ] >!<w.rd"';!'. The d ;. ,,""1 pro<<<>ion d"",;bcd
in ,1.< ,)'pikon 01,1." Gre>! Church m"..ro from ,1.< , h,jfch '" ,I." [0".", . "d ,h."
b.ck '0 ,he church. "owing"" ,"uu fO p .. )' fo, impe,i. ] cominui.,. . nd di,ine
I'"".."i"". "" "n< uf 'hoc 'lOP" i" oil< f"mm, , d<"",," inlOned: 'DeIi,ct. Uml,
ou'my. . a",sc",:: .lw. )'I ,he impe,i,1 !.CCp,rc, hy gnn'ing U'. IhfOugh ,he
Thro'ok .... ,he '<pulsion of b",h"i. ", . nd di."ncc from dmge".' :" While ,he
depictiun of Ch,.;" r .. he. thon the Thco,uk" pp.rcntl) rnpond, '0 'he nimh
CCflOU'y belief ,I." Ch.i .. g"",Jed (A""' ''';''''I'I. "'i,h ,It, ci ,)' 'r.d;,i"".1
pm,,,,,,,,,,,," hi, pmmi .. of pe'"'" nn f. A\' """ .... "'i,,1 wi,h '"'''''r Ii,."
c>!ried ",;,1. i, . !I ",iom '0 ,1.< .neien' .nd con,inuing ""Iu,,,of ,he imperi.1 eopi .. l
."d it< ,ulm. The in,<.wo",,", ."i. of ",f<"'nco, """ked h)' J.J", '+17 ron" Iu ..
iml . p.n icul. rl)' '1" comhin .. ion '0 . noeh '0 &..ill. on 'mpemrwho hul no,
""I)' u.ull.ro ,1.< ,h'on< _ .. ><I "''''' ,hu n,;"", ,,, im II, hl,J ill,,, ,he ... ,ml"",
How of imp<,ial .occ.....ion implil b)' ,he . nd rimal of /lrun,;un, but
h.d .100 wOn , ignifieo," ,i<",.i" ,,, b,ing " "'PO""Y peiCC '" ,h. cmpirc. " Whil.
,he ",kc,ion of Jolin ' 4:>7 dors no, invoke Con",nrin" in ,1.<
binhd.y <deb",ion., &..il' ..... ,o .... 1on of ,he church ofS< Mok1o., li nk,d in ,he
nin' h '" Con.tan,i".. and 'he round .. io", of Cun".n,in"pl<.'" ,ug(;<'"
, I. ..... oci .. ion ... -i,h ,he Ii m Ch ri"i.n <mpero, .1.., fo,-mnl p>n of II>.< iI', .gend>:
,h., 'he api",r. \jOlh ..... y ..... ... nl ;n ISo m' r in rm have . 11",,-cd
/I.,il 10 foeu, p.ni,ul .. , .. n,ion on Con",",in,,!,I., found .. i"" ,,1<1 "n
Cu"",",;"" . nJ ,,, ' pprop';"< bo,h by . """i .. ion, /I", whether ,>< "0' ' hi '
connce,ion w:u <mbl. zoned on ,he conociou,"", of ,he ,ity', inh. h;I1"", i, i, fur
,her.d by ,h. fro n, i'piece ""1"''' in P:.ri,.gr.I'o ... -It"" ' he po" .... i, of Ch';',
"ref""" ,he iml,.ri.I I",,,", i,, of 1I.,il."d ,1.< Em]> .... [..<loki> K.nked by ,I._
""'" ofhcr "'"' who w<'" in lin< nf ,,,,,,,,,,,i,,,,. In dr1, W< i Ch,;., bkui"g d",
city, &..il, &..ir. 'ucCC<;Q<>, Ch.i" '''U1 ' he of P:.ri . gr.I' O
,I. .. ,he "'pi,,1 "'Sf' in good h.nd" ,,,d ,I." iu ,"'""Ie hcri .. g< "'ill be " ..... ,,ed .oJ
by ,he new bou ....
" 50< ",_ ... i ... , [ ... ,). ....d. ;".- _""";.. of ,f.. ........ _ , ...... .. rW".
""'",,". C.""''''''....! H",'. (,,s. ,. H n . m- I?) . .. H.
" M" "" I ( .,.". ,II. ,. i. """'""" ..., \\ 'h,,,, {',.." . I, .
,. s." C ..... _ " .. , ) ...... 'H-'H .
.. I"'" ""'Wi. I" I'G ."",,..,8 ( .... "''' .... ., " "'",,"1, ).tol. ........ cu", ____ n1 ""
eo..,.""""",,', n Moy (M""" .. I I .... ], ' .... '9.). Tho: _OH .... "d. C ........ , ....
'PI"'''' " ..... "'_ ..... ,..t. c-.-"", ,nd H.m. ("hI. \ .... / . s.. M.,.,.!.I;", " "'71 . .. ond ""'"
"
'"
VISion and meaning in nimh-cenrury Byzantium
Th( text inscribW on Christ's book projects :J S(ri(s ofint(rlockro m(ani ngs: it
connects bdi(fs aoout marital harmony and procr(ation - which, in an
COnl(Xt, may I>e- equatro with dynast ic aspirations- with id(aS aoout th( Christian
capi tal and its found( rComt:lntin(. l! Thi s ch:lin ofint( rn:ll r( f( r( nc($ the
meaning of the image it-self. and of the frontispiece sequence that follows it. Foli o
Av seems to duplicate both the form of the Chrysotriklinos mosaic and ilS associa-
tion of the temporal with th( heavenly ruler.l! Though in the ceremonial space of
the throne room the visual demonstration that the rules through and with
Christ relies on the vertical alignment of the emperor's throne l>e-neath Chr ist
( n{hfonro, while on the fI.:lt pages of the m:ln uscript the associ:uion is $C<Iuenti:ll
and linear, the miniature of Christ enthroned, li ke the mosaic 10 which il appu-
cndy refers (and probably drawing upon that association), introduces the ruling
emperor :lnd gui des the viewer's response to him. Even withoullhe ICJ( t inscribW
on Christ's book, conti nuity, tradit ion, and th( relationship between emperor and
Christ rei nforcro by imperial ceremony stands l>e-hind the im:lge on f. Av. The lext
brings the sequence down to earth, for it grounds Byzantine imperial ideology in a
speci fi c rit ual. Though a lale entrant to th( governing class, Basil has been affili:lled
with Constantinopl( by th( birthd:lY card held by Christ. All Byzantine emperors
ruled through and with Chri st ; the swarm of meanings clustering around John
14:17 singlro Basil and his family out :lS legitimate successors to ConSl:lllline. The
frontispiece: $((juence inserted:ln upstart intO the continuous river of tradit ion thai
Byumine rituals and ceremonies insisted upon, JJ bill il also indicaled Ihal he was
special. Folio Av minglro religious :lnd imperial chem(S to l>e-nefi t one p:Jrticul:i r
(mperor :lnd Ihe fl edgling M:lcroonian d)'nasty he did nOt know would succc:c'd.
Folios Bv and Cr (j , 4) (fi gs. j, 4)
Folios Bv and Cr, which once encased the portrails thai nowenvdop chern
on ff. Br and Cv, arc virtually BOl h show a jewelled cross wit h fl ar ing
ends terminating in teardrop scrifsj 2S gold cords and gems hang from the cross bar,
JUSt as they did on contemporary and earlier Byuntine processional CrOSSe5; U half-
" ,i>!ian-n ... of ,.foundllion of city W:;lS cmphuiud from ,he Kvcmh
nUlrY. iU no,I by (1990), 117-118, .nd c'uncron ( I')!IU).
II5Connodt and H.wkinl (' 9n). /.4). II S ('987), op. fll-,)hnd. for 8ao.i l, ' )s.
N Mil k . (1910), eIp. '0,.- 101; bNwl. (1916). u, Omon. (1919), It- I J. pt.. XVII_XVIII ; Morcy
(19)9). C",b,.r (19J6), ToJbot Ric, ( ' !1S0), 71; Frvlow (1916). Iff; 0... Ntncui.n h96:). ' 98,
u o: G",b,.. ('')69). II I-II) no.e I I; Killinge. ('974). ' 7; Velm.,.. (1974). 5p.athoraki, (1974),
101-101; Sp . .,haf2ki, ('976) . ji'6 99; K:Il.vrnou_Mu..il1<:' (1978), 5p.a. h.raki. 19'--9);
T C'I"""'.nil:ov ('99. '0)-' 0,.. 1':1. .. of It.. followin& diJ.c .... ion originolly appurM in Bruhaker (, ,,..).
' J9-141
II Go:mmcd (fOlkS "ppcar regularly from a. leo.$1 Ih ixth cenlur)" ste. 0.1:., london. Bl
Add" 4191. f. Is rv: Jul ... Leroy ('96. ). " 4, ,, 6. 1'1. J.I. Stt no.e)8 below. and. for umm.ry of em ..
<keor ion in I\.n ... .u t..,wec" the (oyu h .nd ninlh ntu,i . Cormack (, 968), . 9- S4.
U Stt. c.g .. Wei" m.nn and Scvtcnko (1 96,), )8j; Jule. Leroy (1 964). 114. 1'1. J,l .
, "
".Im,,,", ,pring fsum tho ,ppl b.s<, Tho imeriptioo Ie xc NH KA fl.,,1u ... "h
el'O<l .nd ,,,,,,I, o"t 'g, in" > dp bluo ground, r
rolio Bv h., H.kl uneo"",,ring pm of. de .. ill undenlr>wing;'" he .. ,
i>ow<wr, i, i. ,he cm .. ,h" "<"",,,m, "', Whon r ,ri',gr, lto"',' motk, im.gc<"( ,he
eto" CilrrXd thl comploment'f)' m"'s:>g"', . 11 of ,hem "preocn,l ,m If, Bv"oJ
0 . ... t. ,he co""", "p .. ><n' tho ' Iifo.giving CroM' of Ch,i,,', e,ucin,ion, , .. n_
d.,d fmmul. vis" .. li"'" h)' ,he fmnd. ,oJ flo ....... tl,., ,p,out f,om 'hoir b..\<>,
which embody .ho bclid t h .. thc,..ood of the e ..... W gi",n life '0 'pmm new
V""'th try' 'he toueh ofChri .. , blood . t hi. erueifi.ion,"' .oo "'I"'" ,he c...,.. wi,h
,he ,10(life."'TII, p.lm.", foli.g.of tlteo ;n r . ri . gr.I'o find. man)' 1' .. ,,1 .
101., p .. ticul"ly (rom ,he nimh con,,,ry onw.nl " """",.d, the c' ..... ,ign.lloJ
GOO-g;, .. n ;mperi.1 ,riumph, " a I'''''''''' b)' ,he in""ip,ion lC Xc. NHKA
("vic'ory ,hmugh Chti,,') , "'hict. " fo" 1o ,ho ,'oi "')'ing 'in ,hi. 'ign <onq""r
th .. , crompm><J Com' .n,in<. vi.;oo of ,he c",., h<fore .nJ during hi, vi" ,}, at
,he b.>"Ic<>f ,he .. ,oci .. ;on of .hee",,, wi,h ;mpe,i.1 vic.ory .
rommonpl.ocofByunti"" tho,o,ie, w., I'-'tI;cul .. ly de>rly .. 1' .... >eJ ,he ninth
"'",u'}' try I'ho<i",. whll 'l'<cihC'.liy de""ibeJ the "OS> ' " ''''!'lion .S"inn.1I
evil. " Fin.lly, ,foe g<>ld and "",cllcJ h-Inn of ,hec"..>n, . nJ tho .p.on ""'ich 'hey
.it, .. for '0 ,hec"", ,b .. w ... h<licved '0 h.ve .," up .f,er ,he v;ory,
Though I J,,,,b, ,h .. ",.ny a,'Z>n,ine> """"Id hoy. cOflfu.oo ,die of .he <to<,
wi ,h ">n ofi' i n ."y f"'In, ,i,. "" mplcme n'ory mo.n; ngo of wri "en .00
piao';.! ,he <I"", . hi fil e .. i Iy haw""o """"". ",n, of, he '"ue cru:;,' "f ,1.0
<,,,,,in,i,,,,, ,he en ... <>f the ;n' l"'ri.1 vi,ion, .00 Co",,,n,;n,, ... \'Oto eco .. in rl><
oighth ond ninth muri",. The ""onoel. " I""''''' ,nd .. m' rollec,ed try
TIl rodo .. of S,,,,,dil)n, Wh,,",Cf ,h.i. hi"",;C'. 1 v.llI<, do .. 10,,' record <00'
vcn,iun,I." i'oJn ,,,,, .. nl 'ho ,roM. One ,<:>d in 1'-''', '0 Wg<>< . .. I,h< c",.,1
enlted y<>ur own gl",y, .how;"S ,h'l',on, fow, of f.i,h , Tho ruler< ' .. ne .... e i, in
""""hy m. nnor; 'hoy m.k< ,foe .ubj<cICd eoemi", fco, h)' 0' ..... of li"I IJ<'W<';
.. ,," hcr, wrot, el\ ;n .he ,h, pe of "',.. .... .i m 1'1)' .] tli "mpls <YVCf ,,,,,rni .... .d .I:.s
r
,. no. n ">n' N H M ;, "'" .""""""'" 1_ F """'" I ,,,'1, ,,,,10 ).11M, .. .-v,;, . .,,,..-,,,
"" , ....... "" ( ..,. I ... . 11 .. >n, .. di""' ...... oif. c ............. , .. 1",.00",,;"' .
" frokro ("',0) , "7,
"nu. "",n, ; ....k 0,-, .......... h<". !'I.. .... ,. ... ' of , .. A"'fhs.miJ' <d. "'"".n.'
VI,' " .. , 1 .. , pr .. """".At C" .. ,to. A""",J.ohu, ,h ...... II. Stt c. ..... ".' ,., ...... h .... ),
,,,,,,,,,", FlO,.. "",), ... , K;',,"F' ('''''1. ,....
" s.. Shtw>hl ,' ... ), ...... " ..... ".. <>. f""" !(u" ....... M ....... , I"""kI.. ..,....
..... ,,><00 ..... pldhUnco .nd I' .,,1, ; ...... ". f.t! . ,,,L 1";"';"$" do. Our" of
So ILW, ....... S; ....... ;. (;...,...Iocio . """"Iy .... ,o"" .. .,. .... , ""
Thi,,,y h."), , .. -106, ... ,_ t......." 0/",... ... ,...,.,. [po,do Um), ,"'_ ,""
't' ;" , ........ ; """; ...... diocuo .... .,. I'>l'" {,."I, "I'- ,11_" . 5 .... ! ...... h07f). "f' 11>-,,\,
A .. ," ."""pI< 'W" .... "" ,h< bork of , .. Sinai iron B . " w"'''''''"" I,. pl. CV lEI.
" W ... IV (0,.6),., (PG ,,,,,,., 11 .. ,,,-" ,1. s.., .... , ... u n"s 1.." (..t .
V ... II h .,. I, " ..... , .. " G, ..... , (" ,61. ,>-,,, C,"(,.,,l.
'"
h,""";",,',, ,h;,,1 ,.11, us; '0 I.<>go<. ;n "rd., w ,h. p;yor mo"..t,. and
[0 .how , d"" ."d comp/< pie,u I'< of y<lu,...,1 f, )'ou I}'''' 0 I. W IIu[ onl)' ,n. e...,.. ho
dcp;e. o,J . , . Behold. .. tolm <l<p;a it .ign,' 'J Imag .. or
[II< 'vic"''Y-b,inging ,igll' wh",-h l'"",iJoJ ho.n ... ,,, .. 1 .. I,..";",, ""I ,np'm,l
'ne .... ' PP"" [hrongbou, .ho<igllth . nd ninth n'm"", in m ... ' c ........ on If, By
",d Cr, Con .... "i"" i. implici. itt ,h. int.g. wi,h"", ,""u.II)' t..ingdcpi<toJ,
Th" ;1\,,,,,,',,,,,,1\ ", .., il\gs of ,h. uos,.. "" If. By .I\d C. ""'I'< 1\0(, .h"". fi",
intlooucoJ in 'he r .,i. The ero .. ;n [II< form ofCon>!.",in" ". VO[o -
rogniubl< by it> "'prod ba<c _ w., in fKt ign of ,,,,,ory . nd uiumph
dn..,I)' .-; .. 1 wi,h ,h. impcri.l 00u<c f"'nt . .. ,h.l .. , .. ,. 57!. wilen l1t..rit
in...-,.jucoJ i. on hi, e<>in .... Th. """"" I;on "' j[h ;mpc,i.1 "icr",)-' .nd eh, ;"i. "
!fiumph - joinoJ, pcrh.p;, by 'he imp'" of ,II< . nti-J...uh .nd .n'i_Mu,lim di. _
log=< ,II .. ch.mpionl ,h. cross _ p ... um.hly . u.hionl [h. iconod." "'''1>-
' onccof .h"-,,,, when mru. rdigi"", im. g<'< ""'I< c"ndem....! .. idolo,rou . " n..
in!Crip'N'" Ie xc NHKA, ... hieh .. inforcl [he imperi.1 ."d 0>o"""io""
impli<a[ion . i, fi", documented during Iconocla.m: i, . ppe.red in on inscrip,ion
cummemo[.,ing the I<'<ont;"n or tho " .. Ii. ofConstonti""ple in Hel<
[he . pot""",ic .ignifiance;, cl ('.on,," o[;n", ClO" helrod [he " .. Ii. ,he
<nomi of tho city. Th< im.crip[ion .Is" ' pp",red wi,h tM st<pped c .... , on iron".
d"" roin" Ih ... by linking ,lie rrI .... nt <ml"'''-''' with Chri .. , Co"".n'i .... anJ
yi<,,,ry" .. , ;f "" hoi",,. [h. Con".m;n", monurn<m of
,riumph " ... duplic .. cd in ' .. ri"", mli. Ihroughou, Con ... ntinopl< dUl ing til<
)'<'Or< ofloonocl .. m ...
Thoologic-.I ' <gu"""" in f.vour of [he """" J<vcl"rod duti"S ,h. <iSI"h
ccn,ur). ' pp'tr<:ntly , ugrncn'oJ [he "I<ngth of ' he ClO>< cult in ioonoel",
Con"""inopl<. " In odJition <0 ,h. "0"" th .. 'PI"', m.l 0" ooi", ond , .. is.
monum<m.1 "''''' ... ;[h .. i"..,,,cd " 1I"",oJ '" ... nd ;n ,he op .. mo .. i ..
" AJI...".., i .--.. ", I,,,,,..). n6, ,,,.;)0 n...,oo.. .... <!up<" , .. M. n,.
" G,,,,", I ,.", . ,.. ,., f ....... h"",. , .... ,,,. Ci. "", ... ""1;' h"",l o), ''P. ,_ '00.
" So< n"C. ... H ... h., .. I, ,o, ..s" [, .. ,) ..... '7< ' '''. ,.)-, ... . 0. ,h,
'"'I"" of ...... cij<wub . o<I ,"n_M"";,. d .. ""' .... "" .i.,h .... ,"'1;m g", Cotripn ll,..,,,, "p.
- ".,'_.
. bbt"",,.j q,: ... ""1, ",",,,,,, ..... boo" ..... at ,,,.,. u ,I>< mY' of1l,,,.,,00., r_
".,''1. ,,,,. ,06, e" .... ",,,I. p, ,..s.
" 50< (;''''''''" III" ",n), <n, pl. XXII, ..... " .He." (;""'" (,.,,' , ,.,. ',.-'", md. k.o 1""
",""",J",", ""'V." ,.,. /'0. So< .... ,I>< ,,,nd...J. 1>0, "., 0., "', Mil ... to., 01 , "'" ,- <i illm .. I ... I
I><to", i"""."", i."'!"" .. ",, of ,I>< "'f" .. """"of . ........ n _" dIU . ... u;.""". I, .. ').
,',," c....-.-.. ...J " ",;" (,,,,1. .. 9<, ''';-11' I,,,,,, w"h c....""'i ... ,nd ' ).i- I)!
" I>< " .... _r<J ..,. '--.-". nu",,: i, dw from m. "" "'- """ "' ...i17 .... ..,.
.... ,","""of ,f.: I'>_),d. ><>I, ' .0. '-'-,",7, On .... 1'>"" .......... dup>., J ... , ...
",,", ,t.. I"mm..t ... "".1 iAJ<m>,.km .,. Th....Jo.ooioo II woo '" ..... "'c....',-.n.i ... .,.k;.
Ow on <h"-.,.,. """"N",,,.,, in ,...,,1, ... F,%w "06,b), 'J--7O: h'oI'-{ J.,., I, .1..-"".
On JI>< ,ok of ,I>< < ... ,.., . .. Gno (' '''1' ),'' """ ". ,0.- ,..,
"""""lI" " .. ,to), C . ... _ (, .. !hI. '--'-"''''' ''''''',. c.-. .. ,; .... 1oo ... ;.."..,,.,j
I"'f'"lo'i? or ,im,,, ... Wi,"'""n. (' , 111; M<-h<",j [,"d, IYdMlo. (, .. " ,
".
panegyric
Fig. 8; Istill/blll, fI'lgill Sopbill: It'k .... flJII I/Iosair, milS
Hagia Eirene in Constantinople and the Koimesis Church at Nicaea, while crosses
replaced figural decoration in [he sekrefOn at Hagia Sophia (fig. 83) in the capital.
40
At least some of lhese - like the frolllispiece crosses of Paris.gr.510 - had multiple
agendas, and fused references fO Constantine's cross and the Hue cross of the
crucifixion within a single image. When, for example, the crosses inserted in Hagia
Sophia (fig. 83) replaced medallion portraits of saims, the encasing medallion was
retained and filled in with concenuic spheres of variously shaded light blue,41 a
configuration thar signalled a vision of we may presume that the icono-
clast insertions invoked Constantine's vision of the cross along with the cross of
Christ's crucifixion. The ideological importance of the cross, with its complex map
of meanings, is clear from its immediate absorption by thl."" new orthodoxy afler
.. Scr Cormack (19770.). Jj-44. "Corm.ck and Hawkin5 (1977). !04-2O\. !'!-H2 .
J J .. mt. ([991). '"'po 81.
m
Vu;.", .. .J ...... n'.." in ninthn'"'I Elyun""m
,h. inug. nrCh. i" nn 110'" i",01""""ed a . ", .. , ,h""gh do ..."
knO'W in what fo. m:" tM "cppro Cros. of icoood. " 1,,<1 ",al> mained, in the
_rJ, of Nicola, OikonomiJn, p.nirularl) rommon bctw:n the middle of the
nioll, .n.d . M ekv<n.h and roin . mo, ", .. ined ,he im. g._" The
<I.Ppro c,.,...,. "f If. Bv .nd C . wi[h .heir in, im.ll ion, "r impcrul 'riumph r",n,
ofCon". n,in<. hoJ hewn>< con .. ntionA! impc. ial .. "ibu, .. ,
TM ""nlbi"",i"" "r <I .. st.ppro ""'" ""i,h 'M fuli ... li"i"g c",", ... m. '" be
lim p'n<n,ed in p..ri,,-V_ po_"Thi, twinned o, ..... g. of 'riumph ."d P"'Y lind. a
conm""",')' 1"",1Id in .h. m",,-,ie decora.;"n of ' M K.in""rgiOfl (a mue. u
btJ ilt by B"il J in tbeC.oot Pal."" tn., i. ""'" kn"""" only ,h",u&lt "".1 <lac.ip.
'ion). where . 1.rge ',i"OM'" .ro." domin"ed ,he $OW ceiling, ",hile ""m. i" of
'M impc. i,1 f.mil)lined tM walll, ,n<! "",mod '0 b< ... ying, in ,h. word" of [he
Vila &sili, ',0.11 ,It i, .00 pl< .. ing to God [pi<I)'1 h .. bn oc<ompl;.hcd .. d
.. hicvru in ,h. do)'> "f "". ruk through [hi. vieto.",u ymhol [triumphl_ "' Th.
,t"",. ')' mbol of 'Ktot)' and pro .,. ... ..... "fCud', 'pp""-.I. i> li nked, again, wi,h
po'''''''' of lI.;o.il 0<1 It i, f. rn ily_
Wh il. 1 M erusoe> pcrp<tUU' 0100 Klrol<>gK. on .ho on< h.nd . od embody con,
mpo"")' P"'I"'sanJ.. on 'h< o.he . he basi, Kl .. "f introducing . m. nuK. ip'
wi,h . ....... <kv<.>1.",1 from a ,impler 1"", I't-th.op> 11>11" of .ltri, .po.",p.'"
. ignilicnc. _ .rod pouiltly in emob[;"" of go.>pclhook rover> ""h . lih [he
'''''''''' On Ilyun. i"" doors. mu<t b< I"' .ed m .. 'he koowledgc
'" .. I ... ;..," - , ing!< ineipi' opcn mH" .. "II. prc,ic<>n-<.>d." m. nll=il"', "
-n.e I"'i ted .MU<:> of P ;ri" g', I '0. h"""e>'<!, , ro ' 1'1"'''''' ,Iy ""P r<eed .. " ed_
Thi, . nOfl"lf w <xpb ioed by Ch.,]", !tufu. MOf<y" i"yem;"" """he.-..l by
.. ...... ""," ' ... f'..-.I.", {,.,,;,I ,,,-,, d ""* ..... ..J '" ,n ... , of i ....
... ''''m ",....... "Oi ....... oIto 1'01,,). " .
" f...- ... m ..... 11.0 ..... ,,<po. (;,;,-, ..... III" 11'7)1, . 11,"' , XX-" to.- "''''''''''' mn .....
... .1 .. III" lo."I. ''', pl. nil, ....... ,.. '""''-'_ f...- '''''''''''''''''1 .. It,,,,,,,. '" ,.{". of ,'" ""'"' ,..d{,
"" h","", I,,,,bl. "'- .. , ' .... on "" ronoi n""" .. ""''''''' of "" ' w .. , .... " (0 .. <1. "f'.
'"-,,, .
lk ..... ".1<, ......... ,,,Ii,,, poi ...t "f'f'<-'''''' "'", boo, .. fouod ,,,I,,, , ..... 1""'" "" """
,., ....
" I 'i .. 11..UI.', .. , N . M .. , 1,1,.). ",. Tht -"1" ....... dot K ....... 'V'" """f"'" of ,hapt"
., 1K.'oo,,.tIII-I':k ,,.no, M ., It.,,!. '16_''''. 0" ,t.. 11",.. /10,.1" . m.l",,,th,,,,,,,",, "'''
....... '''''' .. ,,;;.,,,. '" 8".r.I"od.<.o Co ... ,...,;", VII""""", ...... "" .. {bu, ...... b)-
"'""'_ '" ,t... ""I'""'" ""k), ... UlJllIlI (, .. , I. "I" I . I"'''' .... I .
"1",,1. "I' ,1.-,1, ,r., .. V<"" f_ 11 .. ..... 1.,"" ..... " .. oW .... of .h.
ot" , " 1'" ""ruI>lUh<d. f .... On duo book dm"" ..... I . m IT" .... '"
f'r<>f" ..... .... to.- ,.....-;J'''It tnt -i,b , trr<><'''' of ,he "''' '" oJ "", ,of ,...,t.l;,-., .... ...J
d,""' ...... , ",' , .... .. .
.. (;"r." II I ' ..... ' . ,,..., JW " .... " "1-"" Ki"i ... , ",,.1. 1-". Vdouru ('mi.
" 1-,,0, .... 1 ,h", , .... '" ,'" """,'''It " oft." """',..J ... ,t.. "'"""
,r.J "'"'''''' r .. " 1!1." ". 0. J,."" , .... h.I .... ''''''' _",I ,'" ...... of
...... f""" .'" .... , ""'1' Frau, ",W, ."-.,,, ''I' '''' T .. ji (, .. ,), '-". II, .... 00Kfip'''''' ;"
" ..... o",,,,t.!>,,'" <on'" " ... .d, .................. ""' .... m.""",,'" ...... ...,J hN ...... '
"I"'...,J "."" ''''''' W,,,,,,,,n. (,.',), , .... , ....
'.
n<CcS>it),: rejte.! ""n .. ,h f, Ilv h><l '0 be oov<,.,j U!' , 10.
ems.< w., l"in,I . Bu h.r< . "" obviom obj<c.ion 0 thi, .h"i . The
und .. d .. winson f, Bv mu<t h.", been prod...:ed bffl,,,, the ",,'of <I", bifO! ium wo.
,kndlc.! 0'''. f
o
,h. vi,ih!. in oth.cr mini.m..,. of .hi. bifi>l ium
eor"";",,nd with the l"'in,aI im.g., .h .. C<>\'Cr ,hem. which th.rwould [KI' do h.d
,h.,\"" of .h
c
hifoliun, been d .. ignl before f, Bv.nd ,hen .It.m! , he unda_
d .. wing on f Bv ..... found " .. " ,ing," Nothing bu. ",pem.would h;,,,, prcv.n'od
,h un., i,mwn "f, f""h .ht of l"'",hm<1lI ,lIould hunk I"g< luvc oo.n
dc.i,.aI wh ... ,h. ><'Condoo" now .i,, _ .Dd co".cutting i, ""' . no"bk f .. ,uof
p .. i,.gq,o, Furthcf. <vc" Sr.",i"S MOf<}\ ""lief ,11" """,,,lIill& h><l '" "" p.>in,.,j
on wh .. w .. ,n.n.he I." ,ide of ,I>< opoening bifi>lium. i, nd no' h.", been,
,,,,", . he do"bl "",, h.d m.,-",ing. , P""" "' I'.ion <einfo...",.;l by ,h.
poe. i, i"" of .h. mo.ifi" .h. Lro Bi!,k ,ix<y )'Ut> b r, '"
The ... re in f.ct '" m' ''r """ible ju"ifie .. iotlll fo, ,h. Joobl. c ...... >eO of
p.,i'.Sqlo ,h., the p.i ti"g .1",,,,, , ... .. ..J .. .,"'i,"','- Th. ""''"1'',,, .. i.,
pot"",i ,--<=""" ""'{""""" emub,.d ,h. pr=de", ... ,.hli,hcd by o,h .. .. " of
im.g<', .""h .. coin, th .. rumbinl impoeri.1 ""rtr.i" on ,h. "bv .... wi, h ... " ..
on ,h. f<"I.r>< 'n. moree<>mpelli"glr. diptych, wh .... em.<> .",,<.<J Th.
d""hk cm",.. .1", .mph., ic:dly ,ign.lIa1 ,h. uhimate 'ign of imperi. 1 en, i"i. n
'riumph, ,hey might r " .. ib!y <Ven .!lud, to lI.o,il". d,fw of ,h. 1'o."lie;"" (.
h<r<1icol It tl ... d.nie.! the ."""i.y of ,he .""') in 87" .n >ccompli,hmcn
nnoun",d ... i.h rckfcn", '() ,h. vi<totious .to>" ... hil. ,I"",,,, .bou, tn.. c"'"'
were oJ;,ion.1 Br, .. n,i". b.mk <rio. Ily,-""in .... ,, <=0 !""",,ulo<ly ",..,., ,I",
,h. ul,im ... "ianf), qv ,h. P.uli<i. ,.. W1I 1Ccomp.nil by the .hou, Co"'!u ..
1'0, ,he <rotS'." Ccn'inly ,h. doubl. imogc p,ovi<kJ . n .... m ;ign " f ,I ... Ch,;"i,,,,
"f the """" .nd nude .i;ihk ,h .... "'''' 1<>, ,h., ven<mion """'" """ .
Fin. II),. the rw<> " <l<' r<p< .. aI ,ymbol of .0 imperi.! ,hcopn. nr, ..
Con.u ", i",,, vi'ion ..... ,icwcJ .. the ,ime, " ."'\ ",i"r .. ed il>,i*", (Ot ..! ,h. ,,....
dyn",<y',) link. wi,h ('.on,,,n.;n<.nd his ,riumpru.
Wh"cvCf the w.)' in which 'hi' <ombin .. i,," of 1"'"",i.1 mw'ingo ...... ,ni.ed
in Poris_g'_po, ,,,", doubl. cto>"" demon"",. ,I. .. ,h. ,"'" h.d .hal i" brief .od
mpo"'Y mi ... . b. romew of ic"O<>ocl.t.st or irunophil ... <><l.nei<>_ h w.,
in' !'''' n< .n <",hi.", to "" limi,ed by ,h. iconophik "",i. ion. which held ,h .. ,he
crou 1.><1 ,.In ..... ymbol. bu, ,h>l imog'" .ooulJ be ""'o,Jl c<J". 1 '" S''''''
ho'''''' ' .'' Th. ,ub.cqu<nl fron,i'piea: ""lucnce d<p<ndl u""n .nd "infofced
,he m<U<lg" di.",lv.,j wi,hin 'he im'll" of ,h.cro<>cs .hemtd"", .
.. 0. <k o....ko.!,'''' ... "" f o" .... ,lot I "'fi.I"" '>n.
'" ,., M, ..... " (<9<><I. ph. ,. " Duf .. "", , .,0 c. .. " h.nJ. , ... .0,
" s.. (, ... J, ,_lObi., (I,,,), , ... , ,, "" ,i>< ...... ,," ".J. I<""I "'! 1.--.0-
{""I. " F"""" h.,.l. '0.-" Th'=1 I ,,101 ,i. >0<\. 0" , ...... '" r" ... " . 1<0. ..., m.p.., I .
f..C- I"M"""""" A."""'i.-,, H" Mo,-.I .... . 8.<"" ; .... 1<_ 1. '" " ', J;.c ....... ;. T"m
('''.). ',HI).
'"
Folio C .. hI (fi g. II
Foho c., o,igin.lIy ,h. hI<[ of ,h. imp<,i.1 po",.i". p,,,,,n" R.i.i! I H.nko..! by
lvi""..,,, kfr) .M C.h,id (, ish')," Thoush tl.< iJt.n,ifri"S in><,ipoi'm' . r<
"m log'''I . lil. m,i,,, or ,I.< 'n .... nimb! ... 'g>iru, gold
g,ound un , jewdlro podium: it i . fo.. cumpl., ,mp""ibl. '0 dCfmin. ,,hI.<,
,h. ron .. it of R., il wi,h PkuJo.Symcon ).l'gi",,,, of
h,,,, " V'n, ... Uy n()(hing n"in, of ,ohe .. '.., f"", ILk .. of p.l, bill< ,,><I
whi,e I"'inl. hu, .n""sh "''''', ... of Ih mp<ro' . nd .rch.ngel ,n J .... min. flu,
they.", do,h.l in ,h impl. "''''' fO,m .tw """n Eudnlti . lro, . nJ Ab,B<k,
un f. I" 11. which 0''';< ,h"(>-IS<' Elij.h "' .... . I'b><"m ,0 1l.>, i1. while
G.b,iel <10"'"' h,m ",i,h hIS 'ish' h.nd .nd hold,.n Ofh in hi. kfr. n.. po, ... i, i.
f,,,",,,, , "' . .. , ,h. "p<"mg ".-ortls "f whOcn ar 1I"..ttJ: ,I.. m.i nd., ",,,,,-,
fJij.h promi.., >'ic.o.1' 0',,, [11,,,,1',[ .nemi<> . 1111, G.h,i". p'!i .. .,.f;or.
crown, )'ou. 11,,,1, SO'.rno, of ,he co. m .... .. A lore, h.nd h .. t .. "",ib! 1"" of
,hi. "', .. in the m''1\in .
G.h.",I', I,il " a",ong ,he . .. Ii.,.. p,,,,,,,'.,.f " ''''1'1 .. of
!>yun" ... <mpelO' '" no!>O"d by membe, of the ,da,i. l hi .... chy.' The
,"On",,",r.t"m on divi,,,, ", ,,,,,i,,,, (," """ I', ,,,I. '1'1""'" in ,h. im.g nd ,he
inscrip<iocr ',cv'd.nr .. ",ell f",m.n inne""u",n inlloJocro .. Elml' . .. iumph. l
. nll'" in'" Con, ... ,,<inopl. in ",J 8;-" On.ing <h. k 'V"''''' hdJ at
s"phi ... pm of ,h ... eel"""""n" ,he ("",.,eh h.><OW<>l ,n. ',rown of .;erory
un S .... l. Mich .. l M,Cormi<k '"gg<>'! ,10 .. 'the eitcum",nce. offl.i r, .. i,"", of
p"''''p,l t!oi, an"m,I), 'Sin", """, .. hie "adi,i" " h;d lo"g """';'I.,.f
<lown, .nd .icmry. ,I.< uiumpn, of 87) . nd 879 m' r well h".., >ttmcd 'p'
mom.nt< for , n ..... public di.pla)of the .pprov-.l of ,he Up''''' .mpero,',
""h,,,i,y. " Th. 'ng< on f e,' k<n" '0 p"icip". in 'e>m",ign d .. ignl 10
demon" .. " 'hat fl.ir SC.n' to ,h. hOI .. nctionro by rcp .... n ... ;.-a
"f(;, .l (;,h,,,,1 i" the mini . ... ",. ",d tire I"tri.",h on .. "h.
lr h"",,,,,cr, ,h... fl.il rul .. """.gh(".od, wi,h the "",iv< '''''''I'.
.. ,ion of God', ",h .. ,op .... ,. .. ,i, .... > rone<p' elru<lr .Jl>\ ' t) ,I.< belirfi
aprn..J by Pho,io. in .h< E;",l"t', Thi. work . Iopl compilation, ron.aim.
>J.<.,..!, 10.,.1, ' " 0..-., "" .... ... , to,.,;). <t.,,- " .... ,," 10,"1. ,",
0." N.H" .... " 'of, ' .... "" ,;',II. nd I to ... l. _, ,.", "0. '''' Srodunb t,o'o), .,-;01:
C ..... '&'n {,.,..., . .. .,. K.b,",,,,,, M .... ,,,,,, (I"'), U- IJ' joI" ... l<ry (,,,,,). ' ''-0.6,
t, ... 1. 1>< ....... 10",,1, ' r'" T", kao_ ' ''' f".m .. " .. '''' Mr;o""i"ll '" '''' ..... oIe
k,I"", Bru""" , .. ,,", ... , Andt .... 1<.,,1. ,.,_,.",.It. u...,.l<o'ol, "J.
I. t , .. , ). _ . o. r.n..Jo..>,_, "" ) l , .. ,I. , .. ),
"0.. ,to. .. ..-, to.; ""'''1'' .... , 1',,0;"; . " .
" Tht rw ... ""'T, .. loch ,,,,,," IbW .. nd E, ,>;, """'" lor Ch"" (&s- ,.., M.Jy,,,,
1>,"11 . ... , P ... ;. ...... '" ...! ....... .,Iy R,....,,,,,, ..... ...,., .. ,t.., """;f,,, oIk_ ....
""P<"" ....... "'" ..,. t..nd "(;nd k!o M...::on..xk 1''',1, ., ... ",). Th< i" 8<,li"
.-.-. , ... ' -' ''';0 ,_ .... t..., Vt , ... I""<"" nf.on .KIu.,.,o 1"'- "') dipdy t.",
<>am"'" Cmnso" h.,..U .. ,1n t, ... ), ,00---..,. . M<Co.m"" (0"'), , ., .
",
rcm .J..bl< inuuJ"",ion which "",its I.", lh< emp.ro< . nd lh. p",,; .... :h
.s GoJ'. ,h, ... gen" on ... i, ,h", bo,h ,eI>.ves ,he emp"'ro, ,,( "",.,.in p<tI' .. ...
(which he """" .h, m; w;,h [h. p ..... "'h . nd ,h. oon""p' 0( """",,).I><l d<Vil''''
him .. one ock<:.1 by God to l>< ';ni,i .. 1 ;"'0 divin. ,ru,h." An .llu.ion ' 0 'h"
' ni"."...., p"'[h.p. 'f'I'<"'" on f. C. wh .... , '" 110, ... 1 by hI.gui .... lI .. il full y
.h ..... ,h. di.i". 'I"'" ... ,,' ... Hle<! by G.h,i.1 .nd FJij.h _ .11 ".nd on [h. ",me
;.wdll plin.h _ .nd ,. ,.; .... Ily tu.>,1 ""i,h Gab,id nanee . nd co .. u""' .... h i
1", p""iblcth., Pho,;"' nC'W <on<<p,i"" of the kI"ioru.hir l><twn thmp"'[o,
.ml God Ii .. behind ,h. lW<> .. ,h .. , nonnum'.m.:llie "1',..,..,n ... '''''' of.n
empc>' wi, h di.ine .gem: I\..o.il with G,briol hm: . nd w;,h Ch[i .. on ,he
p .1..,,,, Vene";, ",.k (fig,
The belief .h .. Ba..il w., GoJ', eke, ev<n befOr< hi. coron"i"n " ... >I", pro
moted."' A, i ... <II kn<rwn. s...il "'>.< .n <mp""Ul ... ithout an ;mp"'ri.1 p"', He Wa>
00", of (prob.:tNyl A,m.ni.n p"""'". 'I'!"r<n<ly en .. red ,he """" mili.u ...
smom in [h. ",!,Ieo of Mieh .. llll, .......... d. ",,ruler in 866 und .. ei,mrn.r>l"""
[h" . r< no' du" .nd ><hicvcd wi. ,ul., yc .. Luer by murJc[ing hi. P'"on, B.a.il'.
a." P',h".. .. unonl>o.lo ".1. j"" .. h" """,,,.,i, .. , ... i,,,,i&'l,ed by G.briel (On f.
C . '" , 0 0 hi, , ..... to I"""" "'., kgi[,mi"'\ by 1CCOun" 0( .i''''n,.nd p<>'lCn" .h ..
(0","01.1 hi. rule, th .... along with .nd gcn<>I<>gi .. , ><crued
."",nJ R>,iI in h" own lif .. ,,,,., .nd ""n,inued '0 he ""mposcJ f<., .... m. "m"
,her<.f .. ,' "
Tho Old T"""m<n' prophet Elijah rok in ,h<><: ><cuunl>.
'11 .. Vi", &,il;;, r., . ... mple, describe., J.Cri"o( ,,'hieh I;!ij,h 'pp"" '0
B.a.il'. mo.IK, . nd .. U. h meh . hing>" 'GoJ ,,';11 h.nd "' .. " 'h< oocptr< 0( ,he
Rum,n <mpi", t<, you, bdovd >on I\..o,il; y"" pcr>u..Jc him to Ii" to
. ..... lI .. il', ;ocr,,,, "''''''''''n of [h. I"')ph ... ,h,ougho",
. he V;, ... which al.., "edi" [h. <rnp"''''' wi, h .. ! ehu",h.cs ded;" ... 1 10 Eli j.h.
Of ,t.c... the mot, "'>.< the Nn Ekkl ... i . ""cr< Elij.h, ,h"'p'kin "'"
"..'" kep' ..... h,,'ln. >u,ho. 0( [n, &wlii.J"'l<C<>gIli.cd I\..o.il., '''ponsi.
0. ,II< .... OVII, "',.. _ 5;""", (,.,.1, ,6-,1, ""P"" (<?-I, ! . ,,, !oo"
(,_I. ,.._ ,'''''' ...... of .... ... od .. ,..: d. (,,,,,,II .. .!{,,.,), ... ';""f"'" ,II< pn .... ,.,
by """""",110: ",i, ... ,,",, .... ) mop<roH ... '" """1""1 ,II< ,,,",,of ,II< I"ui"",b
,nd do.,,, """' ...... {<<o71'. S<b6.oboxn . .. .-,,,,. ,_'O, .
.. 10.1'"'" " .. , ) "",,1..J.d ..... .,. m "'" ... ,II< i""P ... , .. u.ol rind"' ...... of.....,, ",""", ...
10.1_ Ill, and ..... ,II< ... pd"""'byCabOd io ,II< '''''"'"1 """' "kn<4 oo.b Oodo i" " ...
,II< ,nn " "''''' ""', ...... ..... i. ,;_ ,. I!.uol', "'''l'''''''' ;.", 11<" .".
" Stt"""" ahow, ,nd ,lI<d;""""", "'&..;I,nd 0.."", la, .. io ..... """"' ...
" Mo..oM (,.o,) """'"' ,II< d...i< ".,j" "" "" I),
. ' On ,II< kg<' I, ... ;/H,J .. ,,,,nO, .. ;"'1"''''. ;. "","".u "lB.,;I, 1;0., .... ... 1,,.,):
(..,. ,II< V"aIosY. """ ,,,, "'low. On tho ""', ""',...! """nd "''''' .in ,h-n,.,. ,,,,,,,"
,..,.,.;,J., <"",,,,,, ... ,,,-.... .... h 1I.u.iI, _ G,., t , .. d , .... 1)-011,
";,. &uii. I, ..!. ..... k h.,.) . .,. "" ..... . ; __ Foo '""" ...... (, ..
'''" .M ToI);,o, " .... " .,..." . '''''' , ... I, .. ","'"""" ,,",, .u..m i.,"'1""',,""' ..... .. , ,t..
..... of,lI< "'."'="",". ""CoIofonoo(Oo*<I,I . .... , ""'''9. .. MapIa';"" (,,.t/).
'"
Vl.,i"n ~ n mClning in ninth-ccntury B)7-'1ntiuIll
,60
ble for ,b. ",in"ooL.",ion of ,he fe." of Elij.b in Com .. m,inopk. and d"". ibcd
.be m"..k p<ntr:oit of S .... il in th ... ne' U1!Y of the Church of 5t Elij.h," fJij>h',
.1"".!Cd " .. u. in dlC I .... nimh mUlY i. fu"he. co.robon,ed by ,be app., .. nee
of ' In I'ui", of Iij.h" w,;" en by I'hmi",,' all)' l'brophm .. of c."",!'<>," In
rari . gr.j[o ... the f"mins VCr$< .. pbin . fJij.h p",mi ... lI.,il ,i",,,,y. Thi, i.
eonfi,med in the mini>!ure. where ,be "md"d th .. Elij.h I<..,d, to I\.o,il i.
Con".n.i",,', I.b.,um. In the fi", > ... ion of ,hi, ""n,. ,k,,,hed hen."h ,he em><
(In f. IIv (fig. JJ, Iij.h WU alfC";y p<<><nl , bu, he dH:l nm hond ,he lililrum '0
fu.il, ,he de .. il . dded to ,hc nn.1 prod"", 'hu kes (In ",,..in ,ig>linc>n<c, In
bo.h ,crsiom.lJij.h 'opreoen" ,he divine fo"", ,hot .. ",,I "".il', ",10: ,he .hef'>
,ion in ,n.. fin'! "'py. <ecm. '0 .. In> I\.o,il'. aMOci .. ion wi,h
Co",untinc." Co",.mt inc'.lob.arum ""'" <,,",'cn.ion.1 imperi.1 .. tribute on
coin., but by .h"",ing GOO', rel" ... nt;"", fJij.h "",u.lly p"""", ing i, [0 B...,I _ ..
if .micip, .. ing ,nc PlOp n..,'. " .. enocn, ", B .. il', mmhe, ,h>!'God will h.nd """
.n.. <eel'''' of ,he Rornon empifC to yoot beloved <Of] S .... iI' in the Vi,,, &#il,,' _ thc
mini.m,i" "'. ,hc '''011' of di"inc app"" .. 1 Of! Ela.!il ... dir= "',,,',."", ,,,
Com .. mt ine,
A I', ... g. from ,h. Vit ... &,ilii ' 01;1\"''' ,ho, ,hi. m.y """n ev<"
more OI'cnly I'"""",ed. The Vi,,, i. a panegy,ic, w,ittcn in thc tenth cent"!)' prob-
.bly .. the "'un. io" of Ela.!'I', g'''''''''''' ,h. f,ntl""" Con, .. n,;". Vii . So"", of
,h. "'",.!,, con"in, 'I'!"'".I io ",me<> ronrempo"'Y wi,h Ela.!il, and ""mc
oe<u .. in no o,hcr pra.crv<d ""ufCc. The following belun!? to the 1 .. 1<1 a.t<gUI),
.<1<1 m. y cfu", be m'If< ...... ling ,n,,,,, ,h. mh oemu!}' .h,n ,hc oin<l,. Ik
,n .. ., i, m.y, ,he Ela.!il"V"0dmothC! ... noblc . <I<I ""'mly "",moo
wno Jwei< in Mri.norlc .od h.d 11. en"", 1,1< of w;d".,hood "nce ,h. d."h of
n", hu.iod (rel"''''' nor qui .. un<di.ble, eircul"ed ,ho, oh. " ... d n", li =os<
had . o Con". n,i"" thc C. ",.)' , In the oa' ><o'enec. 11 .. ;1', moth .. 'prouJly
cl"med dn, from Con".",in< ,h. Gre" Ion .heonc .id. l . ndon ,heoth ... id.
bo. "ed ,h plendid .nca.!}' of Alc .. nd.,'." 11)' ,h. ten,h centu!}', S.,;I', link.
with Con<t.m;nc h.J n..,.."j from ,h. cotlt',,,.1 ,0 ,h. ,""u.1. Th. on [Cv
an,icip" '" ,hi. I .. p offai ,h. nUl i, ellCll"ul .. ", 'he .. me m .... g . In 10 doing. tbe
mini .. ure rei. elOLt .. ,Ite mconing of 'hc opening portr.it ofChri",
G,h,;.I, '00, ..,.rn.1O hal" hun f.:l\'ourcd by ,h. eml"'''''' '['bough ,ltere i. ",me
doubt on ,he poin'. B.,il . pp.rently dedica,I ,he N .. EU k; .. <0 him, .Iong w;,n
.. fl. c...-.," '- '-'I',), .-d __ "I' I {,.-;",I. ''';, "": .... 1., V"" 1 {,,,,,*,I, ".H,.. no!
{,till, ., MiG"", F .. ,,,,,,,,- {19*o' . ...
1M ...... " "",,>1, n o, cr, I(ili,,,,","-Mli<i<>('nil, <>-<r.
oO I'i .. s..-iIoi I' I, IIrkM. "'_"." .. no!<.7 ........ n ........ , .. ;." 01' c..-.",i"" t
..... "" .. ' '" """" '''''' .-",aJ ""k C<-r . .. i", VII .. wdl, ' .1- ,n 0. ,u .. ,.""., ...
I .. ,.,.." (r.l. .... j<nk'n, j'''''l j. _ , I, Co.m.n.'''' ""' .... "'" ,u .. I ... I ......
,'" .,.,_ , .. , ,J..,- ., ...... ""'*',"' (' ....... n"'" ,,,"
,;..,,, i>!'on """I, "' .... S""I'."J "", ). ,_t.!O: M",oJn(,..,>l. ,66--><;7.
",
fJij.h . nd Chr;" .",1. OKOnd.ray, M.r)' ...! Nichol". Th< Vi", S.mlii inform, u.
rio., in hi, of rhe Nc>, Buil I'<lUrnro,., i, w.re, [he f.your .h<>wn ",
hi m brChri>l ,he Lord, by G.brKl, ,I.e fi", .m""g ,he .ngelic I. ... " , .nd by Eliioh
[1.< T"hhirc, ,he vO" 1}' _ [he one who h.oJ .nn(lt1ncM [0 hi> "",,[I. .. her IOn',
. "'em '" 'he imp<. i.1 [hrone , , . "' weil .. ". ,he Viwn .nd t<, Ni.hol .. ,,1r.o h"W.
[h. r,,,, k among [he hi<meh ..... r .. i . gq,o ,1.0' ' 1'1"'''''',1), picfUreo ,h. , hree
prim' I)-' I"[ron. of ll.o,il'. Nco Eld:lc<i. in i" fromi'piroo >iu<ncc: Ch. i" on f. Av,
FJij.h .nd C.brid on f Co, It >c<m, unlikcl) th., thi, "1'lic.otion i, roine;Jen"l,
for ,1.< m.nuooril" ,.... in I'r<><iucr .... n when rbe N .. w d<dic>[ro in M.), Uo,
Folio 0.- (1) (fig. .)
The mini .. "", on f. Kr p, .... ,," ,he Empreo. Eud,*i. /Unk:J by her cldc<r >n I .....
(<>n he, rip,t) .nd hi> y<><"'gc' I"oth. , Alcx.on<k, (" n hcr leftl. on " ,der of prctt-
denee tn" ,<Ilea. numi' .... 'ic 1',;><,;""." AII .. .-... r the in'l><ri.1 /Q,., in iu .;mpl."
fo,m, a I}' P< anric;l"[ed in [h. hem. m""iCj of .ngel . .. [h. Koimni. Church ..
Ni<-...,. and ''l''''ted in Ak .. ...! .... mo>aic ro,,,.i, of at Hogi' Sophi., "' . nd
e.eh .""d. 0 " f<v."lled t... ... holding an om in her m hi, Icfi- hand. F.udoki. ,1""
.uric> a ""'pt'" will. . Irc/"oi [ fi orol tip, ",""ik he, 10M boll. g ..... p . m! oUlio .
cyli...! riol ron"i ... , of du .. carriro by emr<"'" un ",,mon;,1 ocoo,iu" . " The
three are fron"l, nimboJ, . nd ,urmundcd by fuming """'" ,hat ",IOSi ....
Eud<>ki.: B.,il. cmpc[o,<>f ,he Rom. ,.., pl'CCcJ )"'U, thc _1Ibranched oincy:onl
the of tho: empire, the gc"tl, ,In""" .. With them Y"U ,hine fonh,
light.bearing l'.uJoki. ,"
The Hom;!"" I""t<,it, h."" hcen ...... i"ro " 'ith ,"' ..... ,he I(;;oourt",n,
w!.ere m"..ico prc>cn,ed the emr<">r 'ond hi, .pou ... Eudolci, <n,hron<:<! and
d.d<cd ou, in im!"'. i.1 .. .be. and . T .... children of [n. roupl. are Jcpicr!
. 11 .round [he ch.mbe , if the}' w<:re brig!u ",," thC)' too .... , .. plcndcnt in
.. , 'i .. /10 ... , ')' .,j, ........ , ",,.1. !II' .... _, ., .bo .... f ... l;'-' it> ,t.. ... ' ......... ", ..... it>
..-" .lI< "" " " J.,j .... nl ' M .. o..J .... ....,. '''' _ ...p', . nd FJ,,.h 1 Vu.
tJ,u,J,', 7<>' ..I, I!dl.<. 1., , 11, , ), ... . nd ... " m 1"""'" ,lI< .wo:.. ... g dnu;bnl .. 100;",
,., Ui;.t. . ..... ,k 'o,;,.t" c..m ... ",,", ,.( ,k Il",od, H<oo<' (Vi .. /Io,;J.i .. , 001 . ...u..
I,!' [. 1""-_1. ' n.... Mi<f .11 .. ion, ... , rdIK ..... <ItJhoion of .... ....... k )'ito &..I.';
... , bu lI< r..n.. ........ """,I in .lI< ... , !"ObObIJ ", ... oIy =-I lI< 1"''''''''
... """" ' . , ___ ...J I .... , V! _ ...... "", .... " ..... 111" ..... , on.! ho-
... ;, ..... ...--y ,b d,. . 1= ..... b _ ......,... ,lI< d.,Jo ... from G.bri<! ... M _,d.
f.f"'' { ..-;1. "' ..... " .
V"" (, ..... ! . ,0, Mil ... (0.><, ' .... ' .... [I.""."" ".,(J. '" Omon, {.,,.). n . " . XVI,
(0, .. 1, '" \:. .... (0, ,.,. '" c.,""", ,''''-''1. "" 11";""'00 .0 .. "96'), - I)n-
/ok' ...... n {, .. ,). '9/_'''' Gn.n.n m,. h.,,), " ', " I h ..... ",Gr. "'" , .od III,' h"r.l,
.,,-.,6, Spoo ....... i. "0;'1. ... "'" "",1, ,. , .... ,,: K.oIo ........ M ........
"9?tr . " 1Ir ........ { .... I, .", U..J......"j h ..,l. hp. , ,' , " So< QD81 1 ....
"'11>< fiorl 1" "-;ml'ood,. to"'" .k '"' .... " with v"'" ...... n. I ....... ' It"N ... PI.om
"""'...,t. ....... '''',. _""..,j """., .. ,... .. w in <h.,... " f..- ",. mpk, .... \ r.-po "po"
" in.Iw ..-.yofl.oi. ,lI< ..... ,,'" ,,, ... ,,(,,.th' IM,,,1" 1'9111, ,...,),
,.,
impe,i.1 rooo .nd di.dem', ... In the m.nu><,ipt. ,h. IOn' in lin. fu,
flK<<uion >"mpm)" . giving f, Bf ',h h.tXt., of.n "ffici.1 impe''''1
r'pm.<n,.,ion ""her ,n.n of . " arondl f.nlilr po"",i', '" A. "' ... r<>gnizl by
And,. C",b;or. ( H. i, m un.b. ,hlly Jyn .. ti,
l'olio 440< 1,411 'IIi
f"Olio H or pm.<n" Co,,"mtn,<' dr."m, I", "i,i,,,, ,,f ,h. <,.., ... t tit< M,lvi."
briJge,'O><I HeI.", .Ii"",...,,)" of ,he ,ru, em<> in ju",I,", ," Tn op f<1\is<.r .
.1""",1 '0 .he d".n, . ,hows , ninlheJ Con, .. n,in . """ing , di>r.!,m ,Uf'
moun,I ,n"lI pt.rW <<<>s>, .,I p on , red cushion bid on. golJ heJ d<>p<."d
with. purple .nJ gol d doth, Hi. purple m.ntlc i, dr .... " up ",ound hi> opper
body. fn"<,ling' pal. bhx und."u,," ",,;th golJ rkco ... wo,n "'.r purpk Iq,.
ginp. Con, .. ",i",,, p<j' .... n dupii""'" ,he .nnd .. d ,I"""ing furmul. fuund
throuKhout l'.ri . g<.\'o: he <lin'" "';,h ct<><>l I'll" hi. "!)ht . rm .hrown..,ro<>
hi, boJ y .Il<l ""i,h hi. h<>d "",ing on hi. I<li h.nd .. lik jOll.h Ofl f .Ir (ltg, 61
and J.cob on f , ']iv (fig. 1)), On ,h. two you.hful g",rd . boIh in pak blu.
<Un; .. Jca, ..... ,d with SOI,l ,,"<It. red c1"k.<, , .. nJ i" "'I .. cdl ....... , I .. "ing '>II
,heir I.n> . nd red ,hield,. Th. i"""ripcion '" ,he "'.r><. in ,he upp<:, kfrh.r>d
corner .gain .. ,h. blu ky. has bn . Imo" .n.iI)' d f....d: ft:ilgm.n .. of
Co"".",i,,,,', n.m. ,r< ,I I ,h", ",m, in, I" ,he m>.l,lle r<gl." (;on".",i"o, "'\w
........ ing purple and SOIJ und ,I m.n,1c ,h .. , su."",, behind him. chars<'
'ow. "; ,be Milvian bridge OR hi, w!r it< nor . oJ l.nttI Mu<ntiu . in blue .... hl>
f,ll, from hi, hot>< ., hi ... mr /\0.,. olf '0 ,h. riV'" "' Th, rom!""',;"n pli.
"'''''. in """'. ,har in ,he Iowa, "ll''''' off . O<IV (fig . 0) .bowing M<rIcou,;'"
,I.y;ng j"li.n tho At""''',. $;I", th .. , ,he jul i.n !'''.ut< ladu 'ho b.idge ".J. of
rout><. ,he gold eros. ,h .. 'ppc>" jus< aOOv<: ,he head of (" ... ",un, i",,, bon<. A
.imil .. hridg. don, howe",r, app'" in ,he '01' rq;i .. oH 4""" . nd. ,iVCf, de.r: p
bl ue with 1'.1 bl"" >i .. i"Il>. !lows 'm .i,he. ,id. of it. Th. ti ... , "" f. or I ..... k,
"' 1'; ... 1<.,.1.'1Io,..J, MI. .. (" si). "', ... '".,., ,'-<. ""<ill...!" k.,. .... _ (<:0 ... "." .. 01
. nol proNbIy . .... """'" (Anouo,o.) by. r ............ " ..... M . ..... ooM. E, ..... ;, ..... 10.., .... ..
"' ...... >0, ....... ", rrr, """- .. ",,".,., h,M ....... ' .............. ...., ... Hd. .... ....J
M,," ""'" "' ..... oIuKJ SaOI , nol 1..JoW "".""", s.q.Mn, '''''''P> old """ """'...!n .... ..
p-...Ifo. "" <II .... ),..,., ..... ,,,,,,",,,, ..... ;""I...J.<i ;. , .. J,... ... " 1""'"'' ;n r.".,IP"'''o. s...
Mo. .. "."bl, "'"i"(""" K"'",V"''''';...J .. I, .. II.",,, r. .. "
" Kolo,,,,..,..M ... ,,,,, ",;1'. ". n. :, ... , .. ...,1. ",.
, E) "okl,.o6I. '" ('j" )' ",rI , llX, '11"..;"""""" .. 11". ,,...,,1,_("';.,. ,,..;
u.. Nn ........... ",., . " ..... " ( ;".....,,],...J H ...... ,"' ... m. ,_'." II' .... , ..... 1. ' .... '.,;
S<hmi",k (' .." , " ; ' n" ..., .... 1....." " ""I. ";. Pm '" d., foItow;", ",,,,...uy .."..K<I ..
0. ....... " (0 ... 1. '.7- '.,.
" I .. " foil- """,o'",od 01.0""'''_ of , .. b,..,....J .... , , ... :.,,""' .... '" , .. M',,,,
idtn,if", "';,!.n, .... , ,,,,,..d .. ,,,",, .s< eo-",,;", ,0 "11"100.;
KUINCT"N"TlNOC l"' IEYrn N T10Y\.:1 A.I.I(UI(l\t:J). ()" f. ,..1" "" 1'11;1;";""
"', .,. So"""" ..,. J.ah.Ik.j .. ...,. ...... , ... .. ' .. .
. .,
\'irioo .. ..! in 8 ...... ""u'"
.;ml<. but "ot><;Iw" at ,ne raint. <Lt,\; 1.1 ... unJul .. ing lin .. ,h ..
' 1'1"'"" '" ,;0< from ,h. b'idge ,ugg<>< ,h .. ,h. mini .. m;" m.y o";gio..!ly NVC
inw"lcJ ,.,..,nd 'he .ive, in ., the '" on f . 09'. Th"..,... wi,h pnrl
.. ,if . oj .. 'g.<in". p,l. grn om .nd bo ... ,h. f.mou, in .. ,il"ion EN TOYrn
NI KA." Th< 1"""'<1 twO lan<>. On 'M left, Helen i" on. ;c....
d lcJ ly",.No\; ,hron . Sh. i, clld ... lIy .... n'i" mp""" .nd .. io. ,h. coiffu ..
;", .<woven wi,h pn'l, ",",.. .. h a <ampl .. <rown [opjd "",h 1 pn<l eros' ,h., ohe
wun on f. ,!iI' (lig. >9)' on r 4-4Of. h.owcvt:., , purpl<do. k with gold and iewdW
boIden hide. hCf unde'1\.umenn. Hole ... ,e"'. blucO!b ""moynwl by. <ro .. on
he' I,p. ,,,.I SC.w .... '0' group of men who ",nJ in ,,,," flo, left corner. Though
IUkcJ. [he f<,remost of ,hoc men [ow .. d ,,hom ,he !l""'UI'C> 'W.n to weal
<k,icolg .. b .nd m.y be iJentificJ .. M,lc.tio . bi'hop of Jaoglem . ..no l.elpcJ
Helen, d"e,,,,ine which of ,he ,h,ee <ro<s<> <he uM.nh.d b<IOflgcJ '" Ch,.;,,- "
Only II,kn. , how ..... " i. idomificd by iru.c,ip"ion: II ... n ... EAENH. To the righ[
of ,hc cmpres., '.,.0 men conying ;.w.,IW b.o,on. , .. oJ g .... rd, thC}' dOKly rncm
bk ,I>< S" , ... J, ",.nding Thcud",,,,, on r. lJ?' (fig, 17). In ,r.. fin. l OCCM, ,he
.. .,kling Helen. g"'''''' ww.rd. pit;' m.n ideo,i<.ol wi,h 'he one idemificd os
)'1.10..,,,,, in 'ho I'r<ec<ling ""'n<C meel, oIoog<idc md ... <h .. 'ow",l ,he <r""
",ithin it. while. g<>ticu!;"ing !\"'Up of <>n\oo\; . .. , h, him on, The occne
i, hy in>c,ip,ion .. [h. 'nding of ,he ,,.,... c"",' (I:YPECIC. TOY
TlMIQY CTAYPOY) . oJ the .. me kgooJ ;, "'l""ated On 'he oute, m.orgi n of the
1"'11" in whO! appc_" '" I.e ninthoUn' ,,!)" .I. nting o,>ci.1.
Dcipito hi. CUflccp",.1 import.nce. Const.ntin< d""" noot .ppc .. in
1'>'''' .V_ 510_ Helon,. on ,ho mb., bnd. """''' on f. (fig_ 191 wi,h P .... k" .. in
,he vi,ion ofH.ob.okkuk. Thore. although he, ph)'l'iogIlomic typc rem.i", 'he S>m<.
hcr <o<lum< i. mo.r< <i.oo",,, On f, 181'. hc, J.,,,,,doS<ly , ... mbk. ,h.it WOrn by
,h. Etllp ....... f..udol<;, Olt f. Br_ Folio< !S5f .oJ 4-40f .,how diffefe", tyl'" of"",,, .. ;
,ho fOfmo, prncm, . n ironi nd fmm11 I""",.i[, ,he lau.e portra,.. Helem a
I"'rticipont in . ,imal "",roti....,. Th ffili.tionof hcr 10=.1 ro,tr. i,on f. !S\, wi,h
tI,,, "fEI.d..,ki. "" f. /l, "' .... p, .. ,,,,,,hly in,e",i,,",I, .".1 ""<>'" ,o ... ,lidify ,he link.<
he["""n B..,il ..,.1 hi, f.mil)', .nd ('.on .,n,in, .nd hi,." On f. <". ,h. min",",
in ""'m. more wnoerned ",i,h ronncaing Hden nd I><' ...... n >on:
1"',!,lo g.<'m<nl . uimm.cd wi,h icwdkd m il" of gold, ,h., .n. "".or> p,,,,,ide. a
.... ri. nt on Com,.ntin,', clothing in the "'1\i"., Hd.n" I"""'ion "n
,ho p'gc complorn<n!S ,he p"'i[ioning of he, loOn_ Th mhronro Hokn. ,i"
...... ' " ,""i"m"'. (' 9<"!), ,>6 "I.
" 1nJ...!. n." Nr. ........ {,""I. "', , __ I ,h", f{"" .. -, p""""""" p.ru.p.,,,, .. ,,,,,;.,
"rI><o<d .. ' " '''''''1'''' f"'HD"" t.., ... pro><, ... of E..!oO'" ..... "' ....... 1 by joI .... -l<ry
(, .. " . { ... nu". 1Iyu"" ....... 'M ... .,. """"I" .Ik.! . ....... Ii<Ir ... _ "J- ,to.
l..,i" " ...... of ,to. """ of ,to. .... ( P( '>9" 10) - ,,", , ..... "'r bo .. I><,
"""", ,;""li...! to.", .. ...Jl, ... m .h!ru ..... of f. <f" '" ' ....... ' ,. Nou roo do .. .... of ""
,,,,,pI.-, "" _ .. ",m! tM""" .... , " .!.w..
'"
di"",tly b<1ow .h. "iumpl"n' c."",,,,,,,., '" [ho[ [h. IWO m<>![ _rdy iml"',;. 1
1""'''';<;< 0 0 . xi.lly .Iigni: .nd, i" ",d ", jun. ro'" [ho .I""ping
Con,un,iru: ;n til.. '01' '<);1,1<, wi,h ,h. m""n[I Co",,,,,[;,,, ."d ,1.0 omh.o,,1
H.k" . [ho d, m ><qL""'''' ho. bttn pud,I to d ... 1di: half of [h. pag<.
'<qui.ing [ho mini.mr'" to fill [h. ';ghr with , ... <><I ing ..,ldi.D, A. ,ho:.c m.nip"I
,ion. migh' . uggnt. f, 0. i. an "J 1-. ","1';1 ...... ,,, '''' co"vi",,;ng v;,,,.) 1",,1101.
to . ny of [h. 00:" .. pic",roJ i", .nd, w< h,,'C "",n, m",,' of ,ho mini,tul'< ",Ii ..
on 51""k <lail. found dscwhc", in t he m.n,,<cript , ' .>
The [n..., episod", picturoJ on f, _'" inatt", .. bly io[."",o",,, ill
B),untin. [hough[. B)' thc ,i"h .. "mry. Co,,,,.,,,;n., mnve"io" and Hoion"
diro:lV<ry <>i ,h. ,rue C"'" were, for "umplc. plxed bKk to b..ck in ""'!lila [8.,.J
of Rom ...,.' hymn 'On the .do .. tion of 'he cro." ," By the >.nth. whcn [he
v.,i .... " .. of Om.un,;". "",m '0 h.wc bttn d<veloped. [he ninory of
('.on.umine alm""t in .... ri.bly indudl . n ,,"ount "fHden nd her di><ovny of
,I.e !rue coo .. ," [m.g<>. ["." [hoLlgh mo"ly p,<s<rvl from. I .... 1"'';<><1, ....,'m
all).now.ho mmh.r .<><1 ",n :u a I"ir," 8)' . round til.. yo .. 800. ,IK ron"dl.,"'n
of Corn .. ntin., hi. vi,ion, hi, .x , .,to <""" . nd [he ,01; of ,h. <Ill< e"", di""",
.roJ Hekn, h,d mol, ... ) ;mo 0'" ronp<, ronccp[ <:luei, 1 to iml"'';al >mho.
tty nd .. pec .. 11 y [0 t h. [';umph of, he eh,i" i.n Byuminc ""c, So ltrong w:u ,I.e
.. "",i .. ion bc:lWn thesc <pi"",";rnd By'Untiun,', ,,If;n1>&. ,ho, Gf'Cek .u,h""
klm;mes """,I ['o[h 0...,,,,,,,i,,o. vi,ion ."d hi, drum ..... y from Rome. and
,010",,,1 ,hem 1Ilp<'<ioc .i ... in Com,.n[inopk."
<>iCon, .. nti., .nJ Hele'" ,1", rem. i,,1 0' were m.d. during [he )'C ...
of lco"ocl .. m, .crord;ng [0 [he thei, pon .. i", u, uany til..
ero", 'l'p<>.roJ [h,oughout Com .. nt;n"!>I . " Bu[ ;e<>"od .. , "'''''p'' '0
' pprop,i'l< Com .. "tin. w.re >unt.,1 ;mrned ..... ,. h)' .he;, "prone""." The
KhluJo. ""'Ite, (fig. prov;J""." e mpl. from .h<y<-'" foll""'ing
!conod"m, hore Con"antinc. in<cribct[ as > ",in,. disp>tch .. h" ... ",i .. wi,h.
c ..... he:oded I.no:,'"' Th. ><'''''''1'''';'''' r",lm 'Th"" ho" ,
.ign [0 them [h" f ... [h",,'. The WOld ',ign' - [d.,...,d .. '[he imprin' of ,h. life
giv,ng croo, in ,h. ""holi. at [h. bootom of the pag<- tn., ;""g . " ;ow;) we
"" Con".n[;n. ";umph.",,. de.f'''''ing ,he ',ign' 'g.>'"" heKOY, I. w no' tho
1""'1,<1 min" mru, ... ho m.de ,h. """"""n the I""'lm ' .. ,,'" ,"J [h.
,;<><y"f . .......,, I.<.-oY' 'ThU" h." gi,'<n 1 ,j&" ro , l.em ,ho[ f.,. [h...,' " .
"s.. "'"' " ',it .. Ir ... ), , . 0 "1. "-' .... _ .... On R-u..,.. ... d,,!,,,,,, ""'" ,,,. .
., lI'i.1ui ..... nn ".,..,), K..JoJ.n (, "1:"" for , """"" .... , I"" ... " t g , 100).
"en"', to .... ). "H '" Thi<n. ('''''''' ), ''''"' ,>I.
'-1'<1. c.""""".nd!--km. (, ... ), ,>I. 'w,.oM """""n,,,. ,."
"IW .. ....... ' ' .... "7, , .. -.,,,,1. wi. ,""', , ..... ,., .
.. On ,", >>n<><Wu.nd Con"''''"",, "" 1UzhoI.. ",.,). -t... f""'""In ....... ,,1 .. , 1WhI.'!!'"
.. ___ , 1l .... M"""', ' ... f ,I" .. ('917)' lI'd"",,.,). "'", "'- , .
. , w.h"",.,), "",.nd n<N"" (,Wl) , " ,
'"
Vision and meaning in nimh-ccmury Byzantium
,.

Fig. Br M01COW, Huton,a! ~ u m rod.U9,f rBw Canstmlt;r/,
,66
B..,il13nd vi.u:J l"'ncgyric
ci ted in the polemics against heresy that proliferated in the eighth and ninth cen-
turies, the preserved examples of which are fairly indiscriminately targeted against
Jews, Muslims, and iconoclasts.
92
In the polemics, the psalm verse: forms pan of an
arsenal of documentation rne3nt to prove the authority of the cross and the author-
ity ofimages. It is only, however, in the psalter image that Constantine reprc:sc:nts
the: orthodox position. Here, in a miniature: created almost immediately after the
end of Iconoclasm, Constantine has been removed from iconoclast control, and
used to exemplifY orthodox victory. In the Khludov Psalter, the triumphant
Constantine champions the
During the reign of Basi l I, more: static portraits of Corutantine (fig. 86) and,
probably, Helena were incorporated into the mosaic decoration ofHagia Sophia.
The surviving fragments, dated to around the year 870, seem to have bc:c:n pan of a
fairly pointed visual statement directed against the old iconoclasts.
94
Certainly
Constantine: was shown in the company of other champions of the: faith, some of
whom - such as the: former patriarchs Germanos and Nikephoros - were famous
for theic opposition to Iconoclasm. Like the cross, Constanrine had bc:.:n re:turned
to the fold: he now served the: iconophile orthodox.
The Khludov Psalter miniature: and the: Hagia Sophia mosaic provide a context
of sorts for the sequence in Paris.gr.po. But, in contrast to these twO works, on f.
,,",or Constantine is not explicitly set up as a champion of orthodoxy, triumphant
against heresy. Instead, the Homilies miniature: presents a visual narrative that
emphasizes themes interwoven in earlier texts about Constanrine and Helena. As
with the crosses on ff. Bv and Cr, visual polemics have bc:.:n abandoned on f. 440f:
ronher than promoting a particular cause, the miniature internalizes the ideological
importance of Constantine and Helena to the Byuntine imperial system. Folio
4-1-0f provides a narrative: version of the message conveyed by the crosses of the fron-
cispiece sequence; the relationship between Constantine's cross of triumph and the
true CfOSS is here: made: manifest.
This relationship was demonstrably important to the imperial house under Basil
1. But f. ,,",or has sometimes been singled out in altempts to link Basil I with
Constantine for reasons that do not sustain detailed scrutiny. Its presumed impor-
tance has been based on two assumptions: first, that the miniature is unrelated to
[he [en it accompanies, and hence can only be interpreted as imperial Hattery: and
second, that it was [he penultimate miniature: in the manuscript, followed only by
Gregory's vim, and hence provided a snong visual conclusion. The first assumption
is incorrect; the second is problematic.
" 'I'h. '''rophie< of Damuc,,'. which ci[e< [hi, ... w'" specifically agailU' the Jews; ill
rdev""cc to the Khl"d.,.. Pul,,, h.., hccn demon .... ' .. ...J by Corrig;on [his image at 71 and 17
g
not< 14.
'J On tho o .. hodo. redam3,;on ofCOn,,"",;n ..., . Iso ,he writings ofPhot;", di",,,,sed in M.ngo
(1975). 4[. ... Cormack and Hawk;n. (1977), o-lj[, 13)-'-46.
,6,
VisiQn meaning in ninth-century IIp.antium
- .

Fig. 86 IUtmblll. Hi/gid SoplJ/',,: roc'" or,(r vrstiblllt. /IIomi,. of
The mHl t<l ture on r. 440r imroduces an extraneOllS ten. the ' Metaphrasc of
Ecclesiastes' atlribmed 10 Grego ry Thaumarurgos. ?1 On first glance. the
' Metaphrase' slIsmins no rel ationsh ip TO Ihe Const:1ntine and Helena sequence
spread over its fronti spiece, and yet Ihe picture is su rely in its in tendcd posit ion, for
the text bcgins on il"s \'er50. Si rarpie Ocr Ncrscssian argucd that the sel ection of
Constanti ne's vision and the invcntion of the relates to the programme of the
manuscript as a whole, rather than to the 'Mctaphrasc in' parti cular, and func-
tioned as a compliment to Basil I. She linked f. 440r with the prefatory crosses, and
suggested thai thcse miniatures formed a unified opening and (more or less)
TO the manuscri pr. % This last t hes is is appealing, bUl unprova ble, for the end of
Pari s.gf.S1O has perished and we have no way of determining the original extem of
the rnanuscrip!. 97
More import:mdy, t he scenes grouped together on f. 440r were 110t included
merely 10 promote imperial interests: they also illustrate their accompanying text,
though by analogy rat her than by providing a lit eral picture of t he report. Thc
'>l PC 1O:987-t OI A/II,-Nirfll( CI";>1;" ,, Libra'} 10 I Jinburgh. 187J), 7- 29) .
.,., Ocr (J')6!). 197-198. 07 In, roJ""i"n.
,68
nm .. ,OO by Selomon in fi", pe"on . brief
pt."U!", pro .. soniSf enjoyOO bc/"Of< d"".ing hi"""lf to
God. Upon . w. k.ni"g .nd """""<ring my how""". Selomon ""pl,in. ..
he g, .. h .. ,oo from I".",ui, of "'''-''''' pl.,.ur< [0 po"ui[.,f {-;.,.l., w' '''''rn. ,!-.c
"'n.li" of which M "'plo", .. length. The d;"ion '0 ill""", .hi. t .. , with
im. ge> ofCom' m,ine". df .. m ..J vi,ion k<m, to h ..... bttn m .... iv.,OO .h.
ch ... ,et .. of the 'Met.ph ... ",. proug<>ni " n id.,1 rul., ".". who >Ow [h. IigtH,
.nd .W1>kc '0 for..kc tn. prof.ne f .... the GoJfc.,ing lifo. Co"n.nti[",'. ",,,,,.
,ion ,uprl"". ""'"""'''''' 1",,11,110 [his [wlSligu .. ,ion . nd Con<tm,ine . 1>o
proviJOO the moot ,ignih""nt Christ;,,, ... mpte of, ,ul .. who '.wol.:c (I' .. "lIy ...
I"'M<>yN i" ,h. "'i' "Il'''''.,( f. 44"') [0" life beli .... ...!. in the nio[n O[U,)'. '0 be
[ne>ft .. one of unblemi,hOO orthodoxy .nd [ig!.trou,,[ .....
s. .. the fat, Ih .. the CoMe'"'''''' MW"'"tt lI ... il . nd ("""",umin. , upp<l'l [0 he
<1<""'''''''''00 by r +40r h .. ", bttn OY<, .... cd don nOl m<on [n .. thC)' do no,
<X;.". Ccr .. inly conn:.ion bctwo a .. il. Co"stan,ine . nd the .<u<. of "jetoty
fits ""nmpo"")" impct;,1 ;urology _ "'" h,,< .Ire.dy =" [his <<<mplili<d in d"
ffOn,;"p""e ><quen _ . nd ,h"'n 10m pr"um,bly h.d .n iml"" o" . he "k<,ion
of >O<n<> for (, Iltrt i,;., " '0"" ", .. ing [h., ,hc imper 1 prosromn>< m .. in
mplie., !'>,h<! dun bl ... m. '.on". n,i", .ppe. n b<anlcd .... ",.I both M .nd
Hci<", "",.r imr<,i.1 """umo, hu, CO"",,,[,n< h>.l no, .. ,um<d fu..iI', fc.. mm; . ,
know ,hcm from ,he <GI'" "",",im of the fron,i'pie pon"' t. the r.luro
Vel><Zioc kct (tig. Or eoi". (fig, 87); nO[ dO<> HeI.n. elmh .. id.",i
... 1 ", Eudoki"" ,hough .h. Jo in nor 1"''''''' on f. (fig. ' 9). 11>< "><xi .. i"n
of com.mponry wi[h p' " rulen h.d fIO(),<' lC><hed the ' .. ge ob.crnble in .he
ICnth cen'ury. when both Co,,". n, ine the Grc ... nd King Abgaros of Ed ....
'PI", .. "tly ''''' f.ci.1 ryp< of B.a,i)", gnnd;o". Co"" ... ",ine VII
Porphyrogcnnc,,,,,. '''The imperi. 1 .lOo<i .. ;on .,( the episodc-s pinuml on f, +40t
, no, .. thd .. , . k .,ly pres..,! in [h. Homil"" mi"iam, .. ,!-.cy ,.."e . l>.o ..
boor ,he ... me [ime b[ought out in the typikon ofH. gi. Sephi, in the P"y"" for
,h. r .... of Con",n,in. ,,,d HeI.n. on " "t.y: H.ving >n in [h ky [he im",!!e
of )'Our ccoo> .. nd h .. ing <eivcd. like Paul . ""II n<>t hum,n. )'QU[ .pos,k .mong
empe",n, ktd. placed It.. iml",i,1 ci<y in )"U' h,nd" gu .. rd i, .Iw.y> io 1">. by
'M pr' yo" of 'M t'hrolOk< . nd h.v< pi".'on u., .,.,
If Co", ... ",in. pl",,<d the impe.i,1 city in the h. nd" ,,,,I C,><l gu.,dcd i,
.Iw. y> in 1">, 'he or<ning mini'N"'" of P"i'.gr. \'" ask . 1;0 [0 heli<v<: thot
Goo nominated B.a,il, . nd hi. he.". as _nby .uce .... '" '0 Con".ntine.
..... .
.. Coo-_k .".j 11 ..-10., {""'7J. '-<0- ... " ,.-p! .... , , ............... '" .. . , .... Con ...
'mf'<"'...j ..,...
"'" s..- W";,,,,,,,,o { .. rd. , _ W";" .. ,nn "_,, ,0,..,1" 'O."' ''mm, I"r-'}," .
... t 1< .. )). ' .... ,., . o. ,,,. ... ", dup''' , .... ",-".
and meaning in ni,llh.cenlilry A)'7.an!iulll
Fig. 87 NoltlimUJ, m'nrf (DIIIII""rIOiI Od! ...IV /) Qf 868(?); B,uil {
Basi!. COlISt(lIlIillr. (Illd Ib(' idm of dyl/aSly
The COllS!an!inian 1ll00ifs are pan of a larger fabri c: the idea of dynastic continuity.
The empha5is on imperial ponrailUre is in this respeCt nO!cwonhy. and was nOl
resrricted 10 Paris,gr.5 to: the inclusion of a standing portrait of for example.
parallds the fcin!foduC! ion. after a hiatus, of a standing figure of
the (' Illperor on coi nage (fig. 87}. I02 At the sa me time, imagery produced for Basil
consist(' ntly reiterated !he themes of family (a nd mmilial sai nts such Elijah) and
lIictory: the juxtaposition of crosses wilh family port rai ts in Paris.gr.'j!o and the
Kainourgion seems designed to cOlll1ey the messag.: triumph. Ihe
Cons!aminiall herilage, and tilt' new Maccdonian house were mean! to be irrel'O-
cably linked in the t:ycs alld mind of the ble nin!h.cclHury viewer.
Tht.' Kainourgion mosaic and I he frontispiece sequcnce in l'ari s.gqlO accenru-
;1ted. and attempt ed to lcgitimize, !he dynastic aspirations of Basil I. but Basil did
nOI inVClll Ihe idea of dynasriccontinuity.' OJ nor was he the firsl emperor to give il
visual exp ression. Rather. he continued Ihe consciolls (and temporarily successful )
e!Tons of iconoclast emperors to sustain heredimfY dYlllst'ics. e!Tons thai
wcre also reinforced by the use of imagery. 11>1 A clear example of this is provided by
coinage. lkrore the eight h cemury. emperors had sometimes sharrd the obverse
wilh a portrail of Iheir heir-apparent. III 720. however. Leo III (7 t7-741) issued l
new type of gold wilh his own portrail on the obverse and a port rait on the
reverse of hi s young son (crowned before he turned two). replaci ng Ihe cross of hi s
rarli er coinage; the practice of depiering Ihe junior emperor on rhe reverse of coins,
whi ch increas('d I he lIisual autonomy and authority of the imlge. was followed by
' "' Grinw n Ill. l (197;). 47(>-477
"" Bu, see Sch,eincr (1991 ), 18) - 184. 186- 187. whu 11m ,he ide. uf a dyn:l>ly wid, fOOI5 in
I Jin an I , kvdupcd b)' I'hodos Leu Vl for Basil.
Sec Herrin (1977) . 15- W: l ;,Jb .. r (19'i 7). 1!1-116. On the ,,_e of numisma1i c I),p<"_ to PW"'''1C
dynollk succession hy ,he [conoelaS! rmpc""s and Basil I, Beliingcl ('956). 7) . 79: and , on
usc of names by Ihe Same 10 :lchit'vc ,he , .. me end I'dtlagran (1984), 17-18.
' 70
.uh>c<juem KOClOd. ... emp<",n.'"' While 'he mini"uri", f<1I><lMibk fu, th<
fron,i,pi<u po<'''''' m'r h.Y< , .. ru.I"cJ .loog .... nJ'ng num;'m",e roneei, ;n,.,
[emp<". ,he dyn. "ie Pm;KCul"['.m, of former empe""" .. I" " ,uggn[ [hOI
p. in,I offici. 1 imp<ri.1 po""i" m. ) h.Y< . n,i<il"',1 mOK Jirtly.
l""""phil< 1<,,' ",f ,,, ;':'''''0<1." 'mp<".1 'm'Se.,.. h." wi,h.M S"'"
>p,lie,[), fo. , .. mple. ,he pro"m.s, (".<)uoc,1 of 787 m.de. 1'"ofimp<,i.1 !Cene.
.11"","", br 'he i>noel .. " (rortroit< '" ,ueh .r< nm mentioned) bu, f,ill ro
",,,,,,j,,,, ",hod .. " (0' """') ,ud. ",on". . ... lly "",,,I: '''' Nil<.or"""" .cc:u'"'"
[he ieor.od", Emp<ro, Con,,,n,ine V ofb<ing. n<">' Ncbuch.dncz", b.u\< he
rcpl><eJ ''''''SO" of O,ri" ... i,I, i'''I"",.II'"",.i". h,,, N:l"ph",os ... "" ,t> he
.pe.king of o::o,,,,_.r Impert.1 d""", po""i" in mos.>ic w<re, hov.'CVct, cen. ,nly
producl during 'he ""'ro .... "'n ofim"l\f'l "mk, Eine 110<>-8(1) ... "''' Irno::ow
('om, ,,,1th-a,,,u,y J...:,il"i"" "f , he- 0",,,,1> "f ,II< Vi'1:i'" of ,he t .. .. >J
",I"" tn'" of >,,1., 1"''''';''''' .1..-. .. 1 ,hJrj"g k.,nocb,mo ,ho: of ,h"
;"-onod. " Mo,u,,,.,.. fo, enmplc,'& .. '0' (non.imp<,i. l) b,iJ.ll"'nf'1i,. ''' The
P'''P'''''' tiot> of o,he, .,-, ,lie< i '" \". "I I""",i, 'n> i. ' ''Rl'''' cJ hy I' ..... I!" f "''''
,he &iilii ti", J""",I,... pK.o, 1 iluen", in [he K.i""u,sion [h .. po<'
, .. ynl D.,il". nploiu: ' in ' he iling'bov< .. " depictl the H"""lcan labou"...r
,I." "mp<t"ro I. .. <If""" on h<h.lf of h .. ,ubj<>, I. .. ",'nion. in ",: .. lil<.o
d [nC ,i"<>,",, g .. mlto nim by G",f. n heroic non1ti,c ,h. , "'mH" full_
pm:c-tk .. " ..... 11 .,. 'hc .."" .. <of ,he En'I"ru' M"",<:o". tk-cJ, l"in,.,J in ,he-
K.,i."", I"'nico .. IIh"h"",,,, ,,, 587.' '' I .. "y e""nt. w,. no, e"in
gui.hod during lconocl"", : just .. [he dyn.,,'" "mph. ,i, of ,h.c fron,i'pico< 1"'"
tnif< ,<li.,J on COflC<P' ,h ..... ., ( .. fnom n<W, i, m')'1>< th .. til< Jp, ... ic I"'rt' .. '
"," gent" ,,'mil\uoJ iconocl." p"'OIn, .. "dL
The u,,," Con,unt'n;'n f<kf'm""< in ,he mini>! .. "," of P"" 'S'.IIO b;,,1x 11.,,1 ito
,ne golden gkr.. of eo.. ... n""c". Ic-g.>'}'. The", coml"'ri",n, b<gin wi, h .he
min;"ur<"f ,I>< m.n_rip': ,lte 'm>g< o(en">1 on f. }'" frinfur< ... tlte >""ien' .nJ
""n"nuing Con.un"ni.n ... 1"" nf ,he 'mpe,i.1 ""p,,,1 .nd 'mplici, ly ,,00<''''''
,hc.c ... Iu wi,h &',il L [-ufln" implico,ion' Of< wo.tl Out in 'M
f",n,i'pice< vi,,,.1 ;"'''POl;'''''' Jem<>n" .. , .. ,I. .. bl......J
"Of o"ly (.;.,.,,,,,,, i,,oplo, hu, .110, "" ,t." following P'g<>< 11,,;1 ."d hi. d)"U' , ic
.ucc.""". The """"" ,h .. enC'.", ,he pom.i" ;nforce .he Co""'''''ni.n
" , .... ". (" 171. ,1-." "' . IoV,I. ", . ..-.l ... .,.., ,.., "" ,t.. ........ " P''''''' .. '
00 .. .., . ..... "" dt<<ao<J f ...". _.,to<,,- , .....d< ... Jy ...... """"" .. d .. " ..... """, .. uN "oJ""
",.;I , 1_ 'n' H.I,,,,.,. I. ... 'r , oJ " (;,,!,., I ,,,,1, " ,. ',0. ' 00-'.'.
'" s". (; .. 10.. (.",,1 . . . .. . >---., . 0.. "" clufr .... , \'>,
... , .... ,*""" _.,.I .. ...... h ..., , . .... lo<.-.J '" M_ I.V". " " 17
- I . . (""'1_ "., .... ,,01""" f .. "' .... """ .. i. ""I"""" ." ...... oi.aI ...
( .... 'i, .... ,,*, w,!l. ... Vi", fl,.,;/iil-o, <OJ, .... ..,<I".n ''' , ..... """'7 olw. ....
'" It.po!.nlh) .... tl" <OJ. H.H .. ,,,,.l. >6" , .. ", . M ..... (.wd . " .
'"
m<>$.lge. .. _ ,t.< , ""'" who ruk through poin"
mem! ""me in ' he fi", pour';, 'hrt>ugh 'he pm.:nu,Km. "fGabrid E1i jili.
r . ri,.gqlo i. no' the only pl.e.< "'" c-.n > ,he f<'Wooong of ,I>< Con'''n,i ni .,
""""'I" [(, l<gi, imi,,. fu<il . nd h., n .... d)' n,,'Y' 11.,.1', ..,n, bo .... n long hofurr
Mich..,III !", de .. h. w;u calkd Con.un. i"". Thi.;' wu.lIy uken .o indica[e [h .. he
h>d b..:n '"' n,ml ""foT< lI...iI'. n<v.>,ion to ,he ,hron<; i, k'<m. a' loa .. pbu.i!>le,
"""''''''''' , ha[ lI...il, like [h. Em!",ro, L<o V hd'OT< hin', ",n.m! h ..,.,
Con ... n. i"" on hi' roron. ,ion "" co",mp<rot, to, The eponymous bond bo:twa:n
1I".il". "'" ,nd the c.,li .. SR"" cm!",ro, ...... in .n)' <<On',
)"'ung 0110 w o< rof<fm! 1<," .10. 'n<w (".on"'""nO: ' 'J .11., 10 " J ... h ,n 4il
hod him hu,i..! in ,he m. usoleum 01 Com' .ntine ,he Gre ... where "" inlp<,",1
b",i.l, f.aJ uhn ploce ,inc< the d<ath of "",. " .. iu. in \]8.'" B .. il ,",<om!.he
,dj,,,,,n, Church of ,h. Holy .0.1",,",1 ... . 1.., conn""..! ,",'j,h Con"",,,;n., .. wdl
[he Church of St Mokio>: ' " ,n hi. " . ge .riumph . he <n.e ..! [he cit)' behind
Con". n.i" gold elOM ( .. hi. im.g< dUC's in 1':0';"'8'. \ 10), " . Hi. dfun ':le
, ..... rded .nJ ,ol\niud in hi. own lift'im' hy ,ho pope. wlm duly >dJrn;cd Ba.il
as ', 10. n<vo' Con." .in . '" .nd I .. " by hit b;"g.-. ph.r who .. we h .. 'C k'<n f.bri,
<>,1. g<, .. ,I"gy ,h .. 1''''1'''''..! to ;how 11,0,;(', Jir. I" .... g< f .... m Con"'n,in'
.nd Akxmd<1".
Th. "i,wlliniu be ..... n . nd Com .. n.in he ... 'U!I',i.ing ""Iy in
th.i, ntcnt onJ in th.it .mph""i. on .h. fUund..,ioA 01 Con ... n,inopk. !n oddi,
,ion '0 promo,ing th.legi.im"")' of ,h. "p'w, [m!",ro, d,. numbe, 01
.IIUI;"'" '0 Il....il .. Co","",in., , nt< .nd legitim. 'lKca><>' demon .. .-:un [h
,h ymboli. [mpun." of Cun, .. n.in on OJ .. I imp<.i.1 mood. nunum!
,hroughou, ,he <igh'h h.>d by !\OW o...n fu lly ,hoorkd wi,hin
llyun,jn. tmp<,i.1 iJrology, In "'m. woY' , hoth ,he ,lIili ion of 8.,;1 .nd
(".<m ... ,ltd on dyn,,,)' ,{,u,liud in ,h. mini.m, .. [h .. .....
ju .. ron.idem! repT< .. n, the culmi"""'n of proce .... ini.i .. ..! .. 10 .. , . n,ury
.nd. h.lf ... liCt.
'" s.. 1'0<..". ( .... l ...... ) ,.Ii"""",,, of Lro V .. . ,... ... 1'>< ...... .Ion ... Rio, ' " mr
;, ....... 'n" ...,. n" ,.,.;1' .... o4<n, ........ ", ""n,'" ,,-;,h C, ... ",.,''''' "
'" Ii_ . .... ;." ' ';' rom""-" N ,. ,,", ' J' ... " .... ond.,.... ... ;. "'" _;""J . ';,h
h" ".ndf ...." ... t, ... ) ,....6,., H ...... to...,1. ,.., to,", '1",,",, om;"N from
,'" "".,J.", ..... on '<' I ,oJ ' '" bilol"-'s>->ph,.
' ''C ....... , ' .. , ,,..,,,. s., ,,.,MocJ..oI''''' ,' .. ,,. ".
'" s.. ... , '" ""'="0 ,,", .\poo<oI< .... , loop<", , ..... I'o,..k..""", '" ,,", "" .don oW;.
.. ..-..I '" , ;.,.." _,;'" t..,," _ ...... ""J hy "' ..... ..1; On I " '71, .... < ..
'" s.. I ,..." 't<-"" 1I>IOOn "...,). "._tl,. "", _ ......... 01 .. , hy ,,", ,",nob
c.:."" .. ,;,..', , ,, .. w .. ""';. ,'" '-' ....... rob, """ ....to, ........ of;'. ;m,.rn.a
...... w, ..... , ...... kh '" i.on,"" Thom"", I,,.,, j , ,..-.. " ,
'" f".- """ s,<pIo<n' ...... n. M.no; XVI . , .,1.0<1 K.vM., "..,), , .. ,d . Pl "." .....
. " s.."", .. .." ,
B.uil
Folio 69V (u) (lig, .. )
Folio 6<}v pr=n" > detailed hi.un}" of . he Old T","ment figu. e l_ph, , .. . he
peculi""i., of which .re ""iden' from ,h. "",n", inmrpo",ed. The firs, four rq;i .
",n; ;ndoo. t<n "ron, all d ..... n from Gen"';')7, In ,t>< filS! ocgi>te. ).cob, """'m
panied by hi, young<>' child Benjamin, ""nJ. ,""'ph to hi, broth, (vy, , 111
)"""Ph (IUCH'! jO\l m eys in "".rch of hi, """hm (vy. ' 7- 'S): .nd )""'ph', b,oth
e", .... ble, _loin, "'Oling . nd "IO! hi. humili .. ion (vy, ,il-10),' " In ,he >000,
l"""ph', bru,her. l<>w<ct him int" > ,i"ern (" ' i)" " hloody hi, , ...... k (XnON
m CH<I wi,h kid', blood (v. 3d, 11\.1, in > "ene inscribed ',he ",r""" of ).cob'
(IAKflB I1E:o-J HIlN). , how 'heir f .. hor 'he blood) lI",men' ( ...... , Jl-Jj). tn the
third gL"", )_ph', hrorh .... ",mo," him from rhe c,,,em (v. 28), '" . t><n, .g. in
.. ,mle, 'h<JI plO! '0 ",II )<cph '0 p."ing merchan" iikn,ificJ ., 'Ishm.eli,,,,,' (v,
1, ), '" In til< fOurth, _ fin'! "he ",Ie "fl""!'''', ," .nd 'jO"'!,h IcJ ,0 hy [he
m,,,lu,,,, (ho,h v. 28)'" While [h. H'I' fi:,U[ rq;;<t ... jllu<tf:Ue n .. ", finn
"' ..... (Gene>i. P " with [en ""n<>, . t>< finh .-..I fi nal I' .... n" a mort:
<ompr....cd ""Il>Cntt: ' !'u,iph., buy> )oxl'l,' (Ge nd;' JTJI .nd )9:1) ;'" )""'I,h
R..,. 1'00il'h." wife (Gon".;, 39''' )'''' I' h1f2()h ;m'.,." )""'ph (Gen.,.i,
i"il- i ')" " aoo l_ph (lflCH<l :tppc>,,;n triumph, ".ndinK in > chariot
(C<n<>" i ' :i l ).
The h;"orr of )"""ph w., 11-:.n,L.lcd into oncn in Byuntium, but f, 69,
omi .. m. ny of the mo>l f. mili " ,pi",,J,,, - 'I<ith J' '''''l'h', -.bil;,y ", i,,",,p'"
,j",.m. "or hi. rcu" .... " wid. hi< fuh", . nd b""hcf>, for , .. mplc, . rc inch><lcd _'0
f<>cU! on one p>rtirula . .. pt ",f)_pit', lif", ,he oO.t;ICb he w" m.de ,ouve,
<-Orne ;n o.der to ,,,,c'1;e triumph,n" iot 01" I .. , r",ol >cen. 1'01;",;.;,> ",It
'"
""n". t'" (}fJ I_ph', bctr.y:ol by hi, brot!>er> .od hi' foKed exile. with, brid" . ,ide
on tho t'<"..:hery ofl\otiph.,, wife.
"!"hoc mini.,,,re prd""", Grego'y', mh homily. 0" " him,df. hi, f" h., . od 1b,,1
th,' c'<"" ,fte, ni' flight ."J retum' ''
JO
and i, """. inl) in it< ""f<"(t Ion,ion. fOr
,he 'lui "",><I i"",btJ ."d ,hoc 'c., of ,he p,<C<J iog >e'",u" .",J, un ,t> ."t .... n ,e
<ono"""oo ,h. hi"ory nf I""",h . nd Gnogury'. , ... ,n homOly Iu
ho",,,cr. ,..i",d problcm . Ih r I">,,,,,,,im found no link b<:twn ,or, and image.
",J on thi , mo!t .ub<..j"en' CommentotorHonC", _ ''''',,!;h " Ir., b<.n '''gg<>.<"11
rh .. ,100 I_ph q-dc m,gJ\! be ",.,1 .. "'ppi)'ing aO Old l .... mco' .mi,),... '0
,h. idc-,I bi,hop. '" If ><>. ,he ",I,ion of secnes i, rurio",.r><! the
j''' ''I'",,,,un of .. ><1 ,,.,., !trained: .. "",gil the homily is . utoh'''K''plr ical in
rhe hroad ""'"'' rh., Gr<.-g<>'Y ,!",.koofh',own " ",.,iol\ . n,l hi, f,d inp. i, d ..... 0\0,
",,""rn Grq,ory', ",i.ude rowanJ ,he pr;",!.ood '" ,,,,,,,,d being. bi>hOV. Wltik
", .. , oni ""' ;. ,n "f ,he "'"""" ,or Ud" ,h" ,he ",i ni" " '" ill"" r" '" i, hy. '" I, 'IIY.
Dcr Ne<!CUi,o" >< ruplco . '" und ..... nrLbk. for, he piau rc '1'1""'''' I)' <:om me""
.. much on ,he rel>t .. .",lrip hetwn I<<ph .nJ B.,ill .. on Gregori' lromil)"
C"1l"')' dclive,...,J ,he >t'"!o" 'n )71 to'" fonh hi, re<>n. for tire
h,,hoprrc ofS. , im" ch,d 'mong ,hem hi. ,!f,ion for lb, iI ofCxs:>rn.'" Much
of.be omio" conrn. delini,ion. of friend,,), ip. ,nJ the rnp"n>ibilit;" = "i ll
I.,. brotherly """, '" C""K"ry dcocribcs the pct;l. of ,uch ret.uionmip< in tho
!<Wnd p""'8"l'h wi..,,,,. for ,he .,k< of depot ,heto,ic. he ,,,,,Joron> f,icod,,), ip.
<>nly '0 condone i, in ,he .n,j,hc<icd ,hird 1.1ion: 'J >aid: No ",ore .tr,11 J believe
in f"<od'hip . r><! wil y ,hoLlld I pi"", my "pee'"'''''' in ,,.,,,n' For """ry m.n pm-
,<"Cd, deitfull)' . nd cv<. )' bro,h ... bring< down ",he ... , , , Now I h ... " ch,ngl my
i,.rr. ' ' .. II I, .... ,,'1Vt th;, I'''''"'l " nut '" ,I.., ta'. the >en' i me"" of tire
p .... g ... ph p>r. lld ,he J""pn >Crj ucn", pn:><n,r:J on f. !\<Jv. wh,ch P"""rb. elmic
eumrle "f brotherly d<:i ."d rrt in 'he eoo co"ooo,..,o Gtcgo<y', cond",ion
rh .. ,h< >d,.oe,s .. . )fftior><!,hip ... <=l iro !""iI .
The im!",";,1 co.nnou,ion,,,f ,he 1i".1 twO iCC"". <Cern dco ignr:J '0 do
more ,h. n provide. titting fi, .. le to .he rom"",n",y on Gregory'. rmon .... 1>-
li,hcJ hy,he 1,r-<UJjng ...,0<S. Th. nu, ,01><. im,S" 0&,.... ,h. <OI II",ned PIu""h
fo",."J '" f",ten ,he purple mhe of Sr . mtioe em!",,,,,, ,",'cr IO<CJ'h',
.... j" ocwrJ -" [.1<: , N .. "", n vb,;,:"r:J - with fir",,,i,,. ,1<>Ctir<iu,," of
," !'l: _. " .... J ,,: ( :..liar' , .,1, ,.". I. , .. M w. tI", """ H ,",,00"'''' ...,'"
,_" .. , h" I,,"', . oJ ...... : (" .... rO,
." "rlrt. i .. ,. ""'. " ......... , .
I. hi> "-" 1,,, .. _ h ..... ,.""S"'J'<llkd ", .. ', "".oJJ_p" ............ , do< l",aIIri"
""'" K. """" 'I"'w'f'lo jbl. Th .. o+ , .. &_ .... ,.., ... I." ,hi, (; -.-..JJ",,.(
i. , ........ ,1 .. " .... '" "'" ''''*l'''''u...J .. 1. '-9>-, " ... v ... , .... ''"'''''1''''''''' ......... '""""
,,,," Jo-roI> <r<k w .. '1'1"".,....... ....... '" On ,h" .......... ... .. """ Mw .... (,oM'.
_ , H"Ii., 1_'. , '" u,. -o.
".
B..sil I and visual

IJ;' !
, .




.

,
Fig. 88 l'aris.gr.9lJ. f llT: jos(ph and PharaQh
imperial This detail, which grounds the image in Byzantim: imper-
ial appears in no other Byzantine versions of the scene, l.J6 though the
Sacra Para/kin represents the as coronation of a co-emperor (fig. 88).07
While demonstrating that parallels between Joseph and contemporary rulers were
current in ninth-a:ntury Constantinople, the differena:s between the Sacra
ParaJ/r/a and Paris.gr.po suggesr that the means of visualizing the concept
remained ad hoc; the designer off. 69v chose 10 interpret the 'fine linen robe' of the
Genesis account as the Byzantine imperial purple_
The final sa:ne is usually omitted from Byzantine Joseph cycles; the only sub-
'" up<c;..!l)' promotion of Conmn,ine PorphYiOgennetoo;, Dr um11aniis 1.43 (11);
ed. Vogi I (,?67a). 28.
t},; E.g . he Vienna Gene,il $how. g ... uring loward JOleph (Vienn., NOIion.lbib. cod .
1...,l.gr.3', f. I8r: [I9}1[, pier. 36); the umsnminopolit.n Ocweuch, (e.g. ,he twelflh-
""mUf), Smyrna. Evangelical School A.I: Hcssding [1'}09]. fig. 130) .nd we!lern relalive. of Ihe
Conon Gen .. i, (= .nd K.,.Jcr [19861, n}) port .... )' Pharaoh givingJo.eph 0 ring.
,,/ Paris.gr.9'}, f. 11r: Wcirun. nn (19790). 46-47, fig. 46. For imil.r im.ge at Sopoiani, sec
Ljubinkovit ('96S). IU_226 and, on COiOnotion', W.hr (197\) , 4\\.
,,,
um,;.1 c>occp.ionl n. ,he middle Byuminc ac .. ucru, wncl< [he mini.mri, ..
stuck", ,he biblia.l w:count .nd PO" ")...! joKph, in ;mrc .... 1 rtyli., .!one in
imrk hig.> ""'" !'mm . he The ,om!""i"on on r 69'- i . howeY.r, more
d05<lr ,01 .. 1 ' 0 B)"Un';1l< impe. '.! pon ... ;!> .b." ." nnn';,.., Gen .. " ill w" ,,
tion . Aft ,he p<cccding <ne, it ;. ,,' he: aptl ,h .. j<<ph "',mld wear
Ill''''''''''' impe, i, l . bY! h ... h 1,., hold. the urb . nd. "!'p .... 'ntiy
uniqL1<I,'. ('.()n .... ",in" I.!>:trumo'" rhc I"'" ... i ... dmdy . Uied wi,h ,II .. of Ruil
on f. C,-, ' .. To ",;oforce l-rh'. I"'ullel. ,..i,h Byn"ti= cmpc<or>. he " .M.
,lone .nd in > qu.urig> . mo,if wfll kn_n frum impc,i.1 ",fiJi.'" .fu><pIJ
is R,,,hd by hoJygwrd., ."<1. p." of , on.1I fig", ,, kneel. ixf"", him, ,h.,.. .!e.
rnent<, , .,." we borrowed from Brunt;"" impc.i.! portrait!, '" Within the mll m
"f J""'l'h K.>nog"'l'hy. ,he .... t enmp.,.i, .. " ,..i,h ,he -'I>< - .n" it i. n .... ape-
, i.lly ,imil., _ ;, provided h,' ,I.. ' po<hto.i, ofJ"'"!'!. indll<kd in ."o<h., '''''m'
aIou, >Iu.ncc. th .. on ...... Ifth 0' [hift <><n, h nt ur)' ivory co",'" now., Sen.
(fi g, 891 "",n. which. pc,h.po .ignificontly. h .. b<cn linlud ",ith imperial
1''''''[''11''.' ''
WIlil few otn..r cycl .. 0. i ... l.reJ images of j""'ph cunllC<' hi m with ,i><
S)'Llntine emperor. in no ".>c i, the imperi.1 accent", Itrnsro .. in l':"".gr_ jlO_
Th. <i " ... i"" i. ,,-hh tn.. imperi. 1 det. iI. "'.f< irtCU'P"llIteJ only to .. Iut. , i><
imperiol ' ''[lli of ,h. m.nuo<rip'' reeipion!. 0' wh",h w<.", rn .. n[, by < ... n
.ion. ro .i<w ,h n,if< ><quor>c< 1m f, 69 .,.n on.I"K!' ofS..il'.lifc. Whil. n" text
known 10 me d" .... ,n .."ie< of (>11:>11<1. herw ... " [hoe 1< ... of Jos<-ph .nJ
11 .. ,1. , ... ".,.1 r"",,,,, ""nhd ... f.,"u, ",eh , cun nr ion,
j""'l'h "' .. ,i"",'eJ .. a" id"..1 ruler by rhi\., . nd., , moo<1 .dminj"r>r"r hy
num"u arly utin f.t h.", '" A, hoth Dcr ",d M"prrt RMidl.
<>b.c .... eJ.' .. ,h .... """""""'n, " ..... , <urtent in Gr .. k lite .. , ur< .. ,I.e
I"'" ing of j .... ph .nJ Chri,,_ Tni, of "nph." ", "'" ncu>rilr <""i.l. fUr
JO><'f'h', . bili,i., .. a rul .r< clurl)' .. pre! in Grnc>i,_ >;('. con """"', .nywoy.
f-t. ,ho ..... SooT"" If. W': Itn .-I"., I,.,.,.I, lie.,,,,, Tho """' ..... ....
.1PI"''' '" <h< v"" to.- ill .. " ii"",,,"" i. m<m ..... ..- , ... ,;.. ..... C ........ .... ,f]., ...
W,i""""n .od """', b .... ). ",. ,,. So .... G .. ,h",, W",,, to...,). ".
h' Oa 1, e.-IIi,:. oj U; ....... .,.j, "";1 ,"'I.tw"mJ"I...! . "f...-J , ...... : ;, .... f ...... ,
", s.. So". (0,,,1, ,,0-,,,, Roor I,,,,). ".-",. Tk< ""'mula '""1' .I""''''ir f_ <;01-
I.';",., im",,,,. ". w.",h ... 1:0' .... 1, .),), I, _" ...... <om""", w .. '" hI li d' "n.mr"'.'
, ... ,;.,.,. ... ..... "'" ..... ..... ""'"' fomd .. , '" "".r C-.... ,i""f"'li, ... (,"'" .. 'W''''''''' .,.
, ... Not. of ........... "I' . ....... , ... '>wOO"""" ... v"";.-, (, ... ): AI. C .......... Io,n)
4 -<7," n, ,.7 " .
'-. G.ld,,".,iJ, ..... w.o, ....... I 10."" . .... '4,. Vikao 10."':1. "", ,k< 5< Mid
".1<_1'1'-. 'rorooH . .... . rrolokm ... "" dWI "'. ,. i. ch.p, I . I ..... 1: Jolon II.""," ""
fn.<f.I ""' ..... , ..... .l.,., , ... , ..... ", .. ""' .. h..., ..... .. d ,
,- A. , ... ".m homily ..... .iI".1ud ,. pa .... II.WI , ... C ..... "'" m"", """""" '1""."" .boo,
P"1'" ... So """I ..... ""ill .
.. , Phi", ,,, i-fJ>< <>1_ F, II . C.oI><>n, I,whO ... ocoll .... " l' ,c."",-W_ ,.,,1. ' .... 'I',
,',. s...boS<hor' rn "." I ..:l hl",d, ... ",. '.s", _, ,,, ..... .
Basill .IlJ vi.".1 p.ncgyric
. -
Fig. 89 Snn. Oubrdraf ht'll-'ury: i/Jory (flsJ:rI , tlpOibrosis of j ourb
rely exclusively on surviving tens (0 tell us the rull ~ w r y or rypological awareness:
the visual association or Joseph wilh Byzamine rulers is clearly expressed in both
Ihe Homil ies and dlC Sacra Hlral/elll (fig. 88) and the concept or Joseph as ideal
ruler w a ~ ramiliar to at least some later viewers as well. The thirteenth-century
Joseph sequence at Sopoeani has, fot example. been interpreted as a parallel to
Stephen Nemanja's lire. and the ivory casket at Sens probably Italian but demon-
strati ng strong Byzantine connections ~ pairs images or Joseph and David, Ihe
' 77
Byuntil>< id",,1 of. rul ,... ".""', '" 1" "i,,,h-,,,,,'Y Con",."[,,,,,,,I. [n.,.
"-''''' .1>0 '" ,v,il,hl. ,h,. ""d< , he c> .. , I'Il ilo', Lk ].rpb6, [ho <om_
men, .. y ." onumeute -",,,,, ph', qu.lil>a. io", ideal tlIkr, i> Of>< of '''''' If"";"';
1",,001 '" <0<kJr 'OJ in Photi,,' lI,b!;",kh , ..
If, h"w",""r, ,he co" n"",;"n oo-.,n emp<fOr . nd Old T",,.m.nl pmi .. ,h
mom, ". heamli nal '0 p ... lId cumpl<>of g"''' ",ION, i, _ m' oJJ ,h .. . pi....,jeo
J ... il ing Jopl'" .bili,;" w". tIot "/'Well on f. 69v, Adminoolly, [he "" .... of
)''''I'h', hi. h""h ... """ n<m[y ' 0 illu"'.1< (by .".Iogy) GfCP"Y"
homily, OO[ [hi im could haY< bn .. hiOV'Cd with 1';" S"''' b"",i,y: !\tri,_IV_"O
I"""""'" d .. "",., .... ",i'" hot,..)"'1 ""'I"encr in E\yunline ... , lbc ",inLatu['"
>m, [0 h .. 'e dwel, intemwn. lIy On J_ph', p<I>On. 1 'r.".j], hcfo", he .",i t,..j
1"""<1; ,he p>g< m:aU, > .,,,,,i ,,, .. ,, .,,,,,,,..,,1 .. 1 j" Rom'''''' "'nh_""ntury h,'mn
'On Jo><ph' : 'W1u, "'" ,,1'00... i, ,he", for ,he m.n "ilo "ruggln h ... \. if "'" to
Win em"'n
Wh" C'o'er 'he truth "fhi. background. &t..<1', '""''' , ',, forc-igJ .. r who w .. p"'"
,1cs'inoJ '0 " ,Ie ily",,,,io",, .od <w<rc-. 'n< IOllg oJJ, <0 do ><>, i. ,he ur>derl)'ing
[hem< of ,he 'Ulvi"ing ,<x" [h .. ",n. te hi. lif. , ". A> iIlown on f, 69>', J'-"'<ph . 1 ....
I,""",.",j II . ,,! ,g,in" >millgl)' in,mmo.",,.hlc oJJ. for ,he imp<,ial .itle in >
di". m Imd; hi. life wa.! wdl.ui,ooI '0 p[ovide, p ... lld for &>i1" ... "'_ or
.wn 1",,,Of <I"" _ ,h. n .. ,,,, "'\1>1 id .. 1 rul<n of iJyun,ine m . nd 1i1C .. D .. id
.nd Solomon. wi[h whom B"il .... . 11<1 ",u .. oJ, '" The Joseph 0,,,,, in ,h. !\tri<
GtcgOlY <on he under<tood .. r<pT<'S<n';ng ' gener.1 ,hem. of ide>l rukr; hu"
heyond 'hi1, ,he 1n >m '" h"" hc<n sel<c'oJ to p<[>onah", .h. n,j"i.,u .. ,
.nd '0 impl y, 'p<"<ific link hetw<:<"11 I\;o.il ,,,d J'_I'/'_ The wo!l.:1
ou' (IT( f, 69. ' he (I"mi",n, [h."" of [he "",[(en 1CCQum. of & .il'. life
p<>n ... yingJ<<rl>, like B""iI, .. . roreignerwho f05<' from agr>,;.n >lock to he m.de
ro--rub . fter """,i""roble pc"on.1 "'''!;Sic. '\' )"",,,h, o"lik l\;o,ill, n"""r mloJ
.Ione; )'<[ h. i. shown " ,;,h".", hi, ",.,ul<! <>n f 69v, where Ph. noh "",Ye<.n c<><n_
m<ni>l function: I that ,hi. i. bn .. usc 1\0;;1 mlllJe..-.J hi' 'Ph."" h'-
.".1 Jo><pl(', ' Mi.:h,d II r ... e<,,,rdjngJy Uowll pbrod_ '" whed[ ,,, nOO I .m
CO'f' on ,hi. p>flicul .. d."il, f. 69>' p",.ide> on im"lle , h .. funCl io""J "" m'
h' i,","nlomil h_, ..,....-.1, .. ,' ........ ,.
fAJ , ...... ? " """'I. "" ,", ,t.. ,UI;, ' <-h'f"" " h>< ,,,", Ol<onli<",;"" of ,10< '''', ...
T .. .J.,M ('''''', 'lI , ," ,." SO:: .. , "', 0" """"""" >m.r<'" """ ,c,.
, .. s.. 'Ob", 1 ,OM). ,_ ,,6, ........ t> I "j ,", ,w, .. " ",,, I.
'" 0., _,u,...,."'f .... a ..-" h Pmd .J s. .... ""'" __ ...... '" ;. I"G 10'''1._, .. , ,10<
off. "" L"" .. ,h" ch.po" . ,.jon lIf' ,. "'" ""n. "-"I ... ,, ,(,.-,,, ........
,"Coo"" ,;",.
,.,. R;J.d]. l ''', I. "..,-;, II .. " ,,,ocip><<d ,10< ''''' of","h J-ph'" tt.,ij "
boo- dIU "",nm_ "'" ...... '"' . ..n. .. ..-- .. ,,",1"" d"""" 1"""""""
.,. .. "" "'I k" """,, ... ' M"''''
'" h , ..... 10 t... ... ..1. ,,,,,,,,,,. ,h .. J-ph '''''''''' '"'- i. , I...- ,,," .,.....", ,k ... _

mcmU}' 0" ,I>< ,emh homily .nd 'p;o'I<8)"',i< to ,he ""'pie", of ,I>< ,'Olum . ,,'00..-
"'uggle<. Ii"" j. ... ph. <m r. Ii9v, ""'''' "l,im><.l
y
........ ,Jed wi,h ,h. imp,,,,,l
d i.d.m.' "
&sil
f o\;",.7" I n ) (fig. )II
Folio H7\"contoin' fi,.., enn I' TOm ,he lif. ofS.m!On in ,I>< ,op . nd middle "1\".
, ." Gid<.,n p .. )ing join, ,hc m. rrpd"", of J,.i. h in ,hc hoom . i. ," '\1Ic
S. m",n ...,,,,,nce besin. wi,h ,he .I.ying of ,h. lhou .. nd Phili"ine> ijud"..
'l"I- ,6\ ; s.m<o" (CAM'llNI - . nimbi"". btonll .... )'Ou,h wi,h l<>ng,l>r\ h,i.-
""' .,. "'on tunic enli,'cn..! wi,h gold b.nd uoo. m:i .. ,h. which Au"c"
bdtioo him., he ",il high ,h. j.",honc in hi. len haoo wt.ik gmping ,I>< n.i, of
f.lkn I'ttili"i,,.. h. i, ,bou, ,n J .. ",h. l'hili"i". h., . Iready f,lk" in
,h. f<,cq;round . ..d group Hoe> ""."nd ,hc 'igh', ' .. Al,hough II>< fl ing
Phili"innovcrl.p if ' bi, .... 1I.nd rock)' moun .. ,n .i",.lIy eo,""n' tl>< -..e. iun ro
,h. 1.1', ,ide of ,h. "'8''" On ,he o,h ,ide of ,he "",unuin, Sam"", ,<cu.,.
f...mro by . >ond outcrop on .he f .. tight , Hm, he , .. nJ. c..lmly. d'inking ,I><
",,,e' th .. . >LId ", flo", f .. ,", ... , ign of d"i"" ,:','our; in
m;pomc. I>< ... ioe> bi> ' igh' h. nd ,.,....,d h .. ,'cn (judge> Thel<'g<nd od.
'Som"," d,in\;' fron, ,he I' ''''''''''' (CAM'O:-': I1lNON 10K THe
C1 AI' ONOC)
'1"1>< "'SiSl.r 0r<n, wi,h 1:I<libh cutting Sam,.,", h.i, Uudg<> '''",).
Delil.h. he, unC<)Vem:i he.d india'ing he< " .. u .... ,,'Om.n ou",ide ,he ",,,01, of
km.le dc..:orum u.u.II) observnl by ,hc min",",i"" .i" on 1 10 ,lor< in from
of.n e.<t<n>i..- h ........ p, .... m.bly tu ;nJia. .. ,h.t ,hc "',un t<>ok pl> irtJ ...........
He. fxc hi hocn .1""", ",uUy .hraded. perh.po , 'i<tim "finm;"n.1 <houge.
Deli!.h wo" Je.,p bluedrcu Je.,u ... ..! in gold Ofl $,m<on <l in .. in d<ep
, h. _ .. >d ,,(>I ,h. ro.n Jeo<:,ibed in ,he .<;op,u'gi"' , .. , _ uim, hi, h. ;, wi,h,
10'8" I"i, of $Ci..., ... , as Jeo<:,ibcd by .he i"""ipt;"n Delil.h >he." Sa""",o'. h.od
(.1A .... I,\A<": ;;: YI' I/DYCA TON $,m",". "",,,' wi,h "cry .h"" lui,
indeed .nd wi,n hi ... m. bouoo behioo him. 'uppe'" in ,he cen",: of ,ne 'gi" ...
... 0. , ... " ""''I!''I'''r off ...... .... < tuv"'" I. ,,_, "" u.o<\r (,,...,h,,,,,..,,,"Io,, , .....
JrJmJ .h,f"'" ..... " ;" , .", ... ,.,. __ n, .0\>0<0, , ... '."'1""""'" of {
{ " ,. >?_ .... pl. XI.IXc 1'9' ,1. ''', 0., 10,..1, .. I. ""
W .. ,,""". (,,"") . )<01 ...... 1"1 (0" ,). "" . O. , ... _ _ "" ....
Ioat.,. of ,h. """"',.". and , ... "" ... roh<",,,,,,,, , ... ......... ;, 1""''')"' ' ... <h>fM'" " "" ""
"""",,'('lor of "'" I ..... """", .... do",,,, ., , ..I .. "'" <h'f"<' /..
' " AlI ."",.....nl by , ... t.Unh< &.<,,"' ..... _ .... ', (,O. ,\ . \()<IoV, \OIl , , ... ........... uonl "'
oJ.".dj- c...u.", un<', ..... on I . ...,.. (..., .... , ,..,. ....... 1 ,0<1 .I .. ....,. 'j .. he. mom ... "", ...! on ,I",
..... , .... "''''' ." h.I.-)

Vision ,md in BY'.antjum
walking toward ,he righl . Behind him, Delilah, here with a brown mantle eovl."ring
her hair and f.J.lling over her hlue dress. lays a hand on his shouldl." r. A Philisrinl."
accompanies her, and four mol'(' confront Samson on the right. One of , hem raiscs
hi s hand in a gest ure of speech: another gouges OUI Samson's cyes wilh a large pin
Uudges 16:11 ).m Thc final scene emblematicall y illumal cs Judges 16: 16-30.
Samson. now withom hi s red sash bUI with ncwly grown long hai r. stands frontally
be(\n'cn (\\' 0 pillars, resting a hand on each. T hc pillarssuppon an arch. on whi ch
rem rhe house full of Philistines. ponraycd as a dimil1U1ive conglomcration of
buildings. As indi caTed by the inscription accomp:lI1ying ,he scene - 'Samson
brings down the house' (0 CAM1.J.tnN plriTnN THN 0IK1AN) - but IIOt
shown in the miniature, the Lord granted hi s suici dal wish 10 destroy the
Philist ines by pulling out the foundations of the bui lding undl."r which he stood.
'and the dl'ad whom Samson slew in his de:llh were more Ih:1I1 those whom he slew
in hi s life' (v. jO).
The five scenes from Samson's life included on f. H7V were incl uded in orhl."r,
more ex tensivl.". Byzanrinl." narrative c}'cll."S, notabl y those on a flfth- or sixth-
century mosai c fl oor ill Mopsucstia and in rhree of thc middl e Byzantine
four also appear in rhe $acra Partll/t'/" (flgs. 9C>--91). ,hough 1101 as
parr of a single The thirt ccnth-century OClafeuch (Mount Athas.
Vatopedi 601) is a copy of ,hc twelf,h-ccntury Val.gr.746;lbO OIhl." twise the
sequences Sel'n1 to be largel y inJ('pendeIH of each other,161 NOI surpri singly, ,he
Samson scellcs on f. H 7V find only loose affiliations within rhi s group. and then
with the ninth-ccnnt ry images in t he $arm
The Stlem /{md/tfff (fi g. 90) provides a parallel ro Ihe first scene all f. H7V:
S3msol1 is nimblt'ss. wears boots 3nd a short tuni c wi th a sash that hlows behind
l'" lmcribni. on .. blind (01 A \ \ O<" Y.\ OI TY" '.\ONON.
TEe '1'01 N I CAM""U Nl: .< I 16
I" Fu. Kininge. (197,). wi.h urli .. r hibliogr:lphy. in [h( IWO
OClalellch Imnllsnipl! - V" .gr.747. II'. 147"-15I r cenl ury) V".gr. 741>, fro
(Iwelflh C(llll"Y) - full), Ihough few inugel .. ed in
lowden (l99l), ligs. 71- 78: for Ihe ,hinunlh-ccntory cop)' (Mount A,hOi . 601, fr.
i Jlv- H jT). > Hub.-, (l97J). fip. lii- II9: rI al (991). fig>. 169-.8!. The
School A.I and l.unlHlI. ' lol,hp' MUI.n;' gr.8) nevcr
included tho' S<c'lucncc.
I" Pari .,g"lP). 11'. 10SV. ,6,v. 146v: (19791). 6K-70. figl. 96. 99-100. 101. Three Sam,"' n
,SCcnc. (none rd,,.", 10 di ><:u!'I<ion) also .PP<'u in Ihe nl>comh JSo):
(1960). 1)1 . XXX. I. CV. ClX. I ... I..owdtn (1\18:): 1 ... "'P"a,ro in lo ... (199").
I_I mOS>.ic is in ... ch a condil ion iconogr..phin l comp.It; ...... is
bUI fi.llowi!1g Kiningd. of tI,( so:enes i, i, [he ",,,,,,ie I.' n
Ill" P" arc mJl ,d.loo: I hn Me Ihe Oer.ucllch IC'lucnc<'S with the S .. ",on in
I he S.lrfil (Wci lzman n 1. 67-70), NOl is Vat,g"'.7 n:btcd '0 Ihe latCf it
cont"ins , ix SCC'nc) om itt ... 1 from Vatoproi 601 and Vat .gr.7i6 and lack. foonern cpilOdc. pictured in
IhC><' .... hile ,he .\Cents . hued by all thr only the mOSI
gcncnl.imilari,in.
,8,
,
,

visual panegyr ic
,
. .
,.A" '( I ft II 1,\ \t' '1", \ ..
10" " \ ' /( \ 11 111'1"/1 \1
, .
''''.\:
' /" " AI f l,'" 'I" ' \
fiN / 1 ' f' 1,)1' ; \ " ' ,11,\
.. . \ 1. 1 '; '11 f ,' .\l t\' 111
, ." , fI I 'I'/ ' A f( Ir I ,,,"
\ IIVII/'I O .. ( tr\l( \ -'
\ ,\/./ / 1.1 ,\' ,\<'. I {\I
.. ""' r {-/-r II " ",/ U I /I
"
,,',','/1 1" n I ' ItAI


'", " . \, \ . I I " I r /0'. " II
"' 1,\ , 11 I AU i'/
. ."/11 1\'/ / /1'1'., ,,
I'," 1,\ ,' /// ' 1,' " f ill
" '( It I I / "'1' \ ' r ,' " ' A
" ( '{' II' II \ \ \'V I'
,,' / 1 \ \1\ ''''(
II " " '/ " \,\ ." ., ,1/.,. ...
I( \I t' , ''t ,\ \ 1\ '
,
, ,
",-HNrAV rHN' kA. 1
. . -
N VN An "#oN H (
;NJ.Jrll' Kl.liNrU

,., \1'.' A,",r Ef '."
r r ,
-r .... H Anlll7'" A,A Hr.,
I< AJo'; HI "-':1 AI ;",,";'
'J:? 7",4v44,"'-;'1N"0
(7'" N ' foe
-#or loll
'T'A./O.ltn, IN,l(J. 1
( nlr;r! , if r;T,f1i . \
"- v.,., v 111.1'7.'" n N
.' '!'lfy+m"A
I
iN/ ' l l \N' II" ,,,,, iN
i/o' f 11"\ 'N -41 f ,' ,11'"
IVHN '" "/ I , ff \-t ' '
, '-iJ ': '
,
rot 1"" \\ " I' ll N. , ,' ,lI
\ n ("f / "'" /I " ' 1 11'1 '
l t1 , lf ldl'I II 'I,'
Hlf / ( \IJ+41 I NIO
I,' If ll . , ' / <A.tt ti& ,\
,. \l U V f l , rl\' U N
' ! ' I N .I'\H/ 1'/-1 'oJ',
1/1" 1 f N ' ,'HII \ ' \
' ,'J lfn' . ,HI C I ,' \
,,"d,f \" .\HI \ If J .
N J 1( '" \ . \(, 'II JJ 'I '
CI '( I / \ { .\\'(fl'/'
I I NI \ ' ''f,J
\ \ tiN' ! P, I,""
,. " , U.A'! " ' !".;II I
.'" I ( \ ' If ' ,. n,, ,,. \ 1
N I l'i'lf IN ri 1.4 11 :
' / 'H( ;"" \' If 'I 'N, If'
I , I " A ' j'" ,/'1' " 'I V N
-'.
Hg. 90 Paris,gr,91], f N-6//: Smmoll Illld S"ml OIl 51"Jf t/" /'!Jiliu;',N
" ,
Vision and in ninth-century Byzantium
him. grasps the knecl ing Philistine with his left hand and raises the jawbone in his
right in both pictures.
l61
The two miniatures are, however, far from identical.
Throughout the Sacra Parai/(/a. Samson wears a beard, and here he loob up at the
jawbone rather than down a1 the Phi li stine; also unlike Paris.gr.sIO, dead
Philistines litter the ground behind Samson in the Sacra Para/kia, and none Aees
the scene of carnage.
The next three scenes on f. 347V find no dose Byzantine parallels: only
Paris.gr.Slo, for example, shows Samson standing a5 the Philistines blind him. and
only Paris.gr. jlo omits the Phi listine included in the Septuagint account of the
hair-cuning episode. [n rhis, PariS.gqlO echoes Josephu.s, who described Delilah
cuning Samson's hair: and the omission of the Philistine may not have been qui teso
unusual as it now appears: it is repeated in at least one later manuscript. the Arsenal
Bible. a mid-thi rreenth-cenrurybook illuminated in the crusader states at Acre bya
painter who may also have worked in Constantinople.
16J
The final scene again
resembles the Sacra Pami/(/a (fig. 91). and also rhe eleventh-cenrury Octauuch
VaLgr. 747 (fig. 92), in showingSamson between columns that SUppOf( the house of
rhe Philistines. Both the Sacra Paml/da and Vat.gr.747, however, show a slightly
later moment of the episode, when Samson wraps his arms around the columns,
and in the &,cm Para/kla pi eces of the building and corpses already surround
Samson. The novel formulation of this scene on f. 347V has two results: by halting
the action at the moment be:fore: Samson brings down di e house of the: Philistines,
rhe illustrator borh implicitly stresses Samson's prayer to God and allows Samson to
continue as a living hero. The emphasis on Samson's prayer for strength ties the
scene to its counterpan in rhe top register - Samson's earlier request for water,
which God fulfilled by making water iss ue from the jawbone
l64
- and both of these
scenes, in turn, relate to Gideon's prayer in the third register, an affiliation corrobo-
rated by physical similarities shared by Samson ana Gideon. dct:isi on to
portray Samson as yet umhreatenoo by his imminent death may also have been
conditioned by factors beyond the internal coherence of the sequence.
Though Samson's usual biblical antitype was Chris\' we have already seen
Gregory linking him with bishop Athanasios, praise thi s mini ature may
once have accompanied.
16
' Samson Wa5 also with Herakles and
Constantine, 166 and hi s physical strength and ultimate triumph over lhe Phil istines
made him a suitable canaidate for certain imperial programmes of decoration a5
wcll: tor example. Samson joins Achilles and Joshua (among others) in the deeora-
I.., Weinm.nn ('979'), 96; S<:e :>.1$0 the ,olief :>.t Aght.mu: Ocr Ncr",,,i.n and Vaht:>.mi.n
('974), 82-83 (no. 0 - 1), Sam""n 'utance ant icip>lcs that in Vat.gr. 747, but h. docs not gr:ob the
h.irof. f.llen Phili,t;nc.
I., J,wi,h IIntiqJ<iti" V, 3t 1- 3'3 (.d. Loeb. '40-'4' ); Buch,h.1 (1957). pI. 68, Fold. (1976). 1). 67.
",' So too Bm,h.u",n ('980). 19S. The Septu. gi n, aCCOunt implicitly links .pisod.s; in bo,h
S.m ... n wept before th. Lord', "I SC 170. '7', 164; ICc chapter 2.
, .. Sec W. A. Bub., . ," Simson. in Lei" (' 97')' )1- p.
,',

Basil! and vislla! p:U1 cgyric
' 4 .
... . 110( .' ..... 1 " (r d''' .1 " ',yll"
).;.: l'oI# .v N- ,.,iJ'r ' itY' .... ';
.,.J.' .. "" ,/,,1 ":' tr I
: 1,1' 'i. I. , "" ,"1 (/.1 '.r, " .'
(}If ( VI' \ " "'nil
f:-\" il '" '.' V<fl.,
. U t V' " ..... .

'/' .'\ Y'"" 'UI

\ , Ii:;' '.' ,,,, , : ;,,';;-;
/( , " " " \. \.,' I " A / '-
'r , .1 11..4 'T' i\ ",. ' 1.' 1/
... II V" V 0' 11 '.111
., ' " , " . ... 1 .. " / " " .1' ' " I'
, 'J' .. "','" \ If' .; .. r': .... ,
". "", ." , \ ""1'1,'.' I "
\ . I " ", ' ,',11 1' , / ".,
. , , iII , /.f' '' ..
, t ,,'J ,"r \ ' \ .. \' f '''1 \ . ,'
/ ' /"1 '." ' 1/'11'
,. 111.",.'11110 '1" 11 ' /0"
I I II}, I , .1 " .. , ,. .1 I " " ...
o ,j, \. \' " "'-N \ . fl. " ',.,
." , ; . " .\ I I I I \. \I " fl.
I ( " ,." I : ; 11 ' ''' 10".
".." ; . ... I ff ,., ... . /1"
- .
,


I/ f
"


I .
(' 011 ",' : // "
'" ," ,, ""'0k"
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)",11',.1.
N .H
.
. ,,/lf I 7"''''''.'''
,,,,/oI IUJ. / ",,
1 ("",1. ' " 11..' .1. ""
,
Fig. 9 1 />'Iris.gr. 9J j. f 16/11.' /110m prilJillg: Stili/SOli dmfOJ1 lbf bOllif oflbe /'bilislinn; Elijah
plllyi"g
,SJ

I
j
1





Vision meaning in ninlh-c.,mury Byz.anlium
(ion of (he palac., described in Digl'1lfl Akriftl.
167
In ,he Vitll 8l1Si/ii, Samson is also
connected with Basil : (hc author records Michael Ill's remark 'all he [Basill has is
lIatour, as did Samson of old', 1M Basil's k'gendary physical Strength may hallc sug-
gested ,he comparison; it in turn suggests a consideration of the Sa mson scenes on
f. H7V as potcntial ntellphors ofB:lsi l's life.
The visual history of Samson has been carefull y slrucll1 red: il opens wi th a scene
celebrating Samson's early fears of strengt h. followed by one demonstr'lI ing that he
was f2voured by God in his ),outh: next come the tri als. by scissors and by nai l. as
Samson loses his hair and his sight : and. fin:lll y. in a scene which manages to impl y
Samson's victory wi thollt actllllly picturing his lccompln)'i ng dealh. he triumphs.
[t is perhlps not 100 farfelched 10 see in Ihis sclection of scenes allusions to Basil's
famed strength l S a youth. the prophecies held to demonstrate that cven then Blsil
was favoured by God, the set backs he encountered on route' 10 !lIe' dHone. and hi s
u It i mate success.
,.' tli:ritn VJ J. I. J. (O.furd, I')S6).
,(.II I'il" Basiliil" I. Bckk.,r (18 J8), 1H, SC"<" n."" -4 7 all .... ..,.
'"
&I.,ill and visual
Fig. 9J ROlliI'. I'ala= V(1J(V"; hoory (",,,kef. roro"ario" of David; Dm,id mltl Golillll!
Basil fllld Dllvid
Davi d was one of the ideal- ruler types of the Old Tesramen t most frC<Juenrly associ-
ated with the reigning emperor in B}'1.anrium, and Byzamine writers dul y likened
Basil. al so, 10 How this equat ion was gi ven vi sual form has been slUdi ed,
and attenti on has focused especially on an ivory box in the Pal azzo Venezia in Rome
that depi cts an imperial coupl e on its lid (fi g. 84), surrounded by scenes from the
life of David (fi gs. 93, 95).1 70 The emperor and empress are unfo rtunately not
named in the inscri pti on on the box, bur have been convinci ngly ident ified as Basil
and Eudokia. l7I Like the history of Joseph in t he scenes from the life of
16. Mor::o.voik (1960). 69: aho Tobias ('969). 12. n.l. MO'1 rxampks, e.g. PG lOt; \81- \84.
from Pholi", who was responsible fot an ,m;.P,uli ci,n ro<'m dro;ca,ed ro Ba,il
wherein ,he comparisons wilh arc e'pially prOllOuncro: ,ec ODB I (1991), t6,; M,rkopoulos
(1991) ; and chapter j.
170 CUller and Oikonomidcs ('988): Maguire (1988), 89-9.1: Kalav",lOu (1989). 391- .196.
m Guillou ('<J79): Maguire (1988). 89-91; and esp. KalanclOu (1989) . .191-.196. Cutl .. and
Oikonomid ... (1988) argne for Let> VI; d. Cudet 101.
, "
'
- < > / . - - 6 0 ' " I t / . 0 " . " . . i l o " . . . . . " l ' U O ' " - , ! >
. p o . , . . . . . . . . . , ' " . . " . " I ' ' ' ' . " " , . . . . . . . . " I ' . . . " . . . . . . . t . . I . . . ' " C k .
" " " " ' l " I " - . l s ' " " ' ' I 1 f t 6 < ) " ' I " ' . . . . . . . . . . . ' O p o . . . . " , 0 , ; , " I ' p o
. . . , . . . . . . . . , ' , ! ' ! ' ' ( J J " . . . . , 1 " " ' 3 . . . . , ( , , 0 . ) . . . . . . . < J " ) 1 J > , , 6 ' [ " " 1 . .
" " " " I " o t - ' ' ' ' ' r " 1 l
, . " " ' ' ' ' . . . . " ' ' I " " ! ' . . . " ' ' : > J " ' I ' ( \ M O l " i " " f < j . . . . . . . ' . . - d " ' ( ' ' ' ; ' )
. . . - x " . ' ' ' ' 1 ' ' ' ' ' ' . . . , . . , - - . ! . ' ' : I " ( , . . . , . J " , , " . , " ' I ' " " " P . . , . . , . . . . . . . . . . " ' I " ' " ' ' ' ' f ' > " , d I
r - s , . . . . . f " " " < l I ' ' ' w ' ' ' I ' > I i ' p > ' W " ( 0 1 _ , 0 , . " ( " " l . , . . . . . ' I " " I . . , n h K ' _ I
L I T I f ' - J = p u . ' , n l ' l ) o . n o ! " " , U ! - " 1 r o p
' 0 ' " ' ' f ' " ' . p ' l n u " ' I ' U I I I ' ' ' ' ' ' ' 1 ' ' ' ' ' ' 1 ' . P ' A < O J " . . . . ' _ 1 ' " ' , r " " ( l
: : w > q < . 1 " . . . . , . . . . . , 1 ' ' U ! O X ! ' I ! " J " u , o q P l o l l ' q ' ' 1 ' 1 " ' 1 " ' I , I j l ! ! , ' ! q
' I ' ! " P l o i p m ' " 1 ' 1 ' ! ' 1 J = l l j i ! ! . . . . . " " ' 1 " ' ' ' 1 p > W W L l I _ ' 1 ' < > . p o ,
" . q S o c , , , , S " " ' I ' < , m . [ ' 1 " M , m , u o . : > < . , p " . , u d " ' ' I . " ' ' ' ' p u < : i I " " 1 " " " q " "
' , " " w o s : . , , " < m . f . b . ! 0 . ' . " . M n ' l " " " 1 p m > n S 1 . ( q U ' r u < " " " ! l d > J
" l l ' u " " , , , , ! , w m " ' " " I " " l p u o ! > . ! ' " ' . . f ' "
d u . t i ' l o . ' > : > ' ' ' ' ' ' P ' O M ) " , u n l P I < > \ ! p u < : > l ' t ' ! " ' ' ' ' ' ' P ! ' ' " O , , , , , ! : 6 ,
" I ' J O I " " ' l W ! U " l u O ' ( V l I A O l ' l V " J ) p o w ' S 1 " . _ ' P " " " O j ( - r I I A ) " ' \ " !
P ' A < O S " n " " p m 0 ' " ' , , " ' H - " ' 1 \ , ' , ' " ' 1 " " _ " " I " " ' "
" ' " " " q ' > p " n ' ! U O , , n l q ' 1 . . 1 , U ! ' ( 1 " ' : : : 0 , 1 1 ) " " 1 ' , P " " ( ]
, , - , ' P ' ' ' O
1 " " ' I ' ' 0 ' u , , , , , " " ' U . , . I " ! d o ; o ( > ' I " ' ' ' ' ' ' ' '
" I ' J " " ' I ' w O J J < > r " ' ! d , " . ' l S n l l ! ' J u o ' " " , > < I d n ' ' U .
I " ' \ i y l ( h ) O ! I " : !
' U ' ' - ' I O U _ . . " , " , , ! U ' W ' ' ' ' ' I " 1 '
Y ' > 0 0 U ! j = , > d d - . . , . . " , , , , , , b J o < I ' ! A ' O > A ! ' u " " m " ! < > A ! l
" " " ' l I ' " ' ! " 1 ' 1 1 " . . 1 " , " " u m > < > d J " > 4 ' ' I ! > < \ I > < i 0 ' w _ . . J Q
' P ! " O " , ! , b p > d ! _ J : ' ; " " < ' " " ' I ' U ! ' " ' u > ; " " . . . , ' l u O ' I " ' , n w
1 ! S < i j p u . P ! " " < l u = " " " ' I " " ! " ! " " ' " ' p u , , ! J J q > o " ' I ' , , 0 ' o r ; - , \ i ' ' ' ' ' c l
" " , > < I i l l ' j W l r u 1 " " P ' ' " ( ] u ' ' ' ' ' ' ' 1 w o " " " u < o " ' I ' > ' > J o : > < J , ! " ' o p " . " , ' I
I " ' W J U u i , , , , " I ' i u u 1 I p u " " o u " " " " J U . . . ( t , ' " " 0 ' , , , , " ' 1 1 0 ' " 0 > f H '
- o . o d l " u ' l " = ' d , u n j . u " " , ' ! " ' ' ' A " ' ' ' I ' ' ' ' q > 0 0 P ! A ' ( ] j < >
u o , , " u " ' o o ' q > " q > , , , , f i m P I " " ' " 1 ' ( i - f f g ) A : ) J 0 0 I " ' W 0 " ' q ' f f O ' I t I O I > ' > q
J < > . . d ' q ' < > 1 " " ' I , . u ; u " " ' " . " I ' ' 1 ' - ' J u , r " " ' ' f ' " ' ' ' q l j < > P ' I ' q ' u o
, r u J d w , ' q l 4 ' ! " I ' ! ' " O J < > u , , ! " u " " " , , , u U , " ' " , U " , i l l . . , . . 1 " " " 1
J < > u " ! " P P " " ' I ' ' p - " - ' ' ' ' q o " " n l i . W . . . . ' I ' ' ' ' ' ! ' A l u > p p n ' q p u . ' q ' o " ' I '
' P 1 " q ' ( 6 , , , 0 : " u ' , ( l u O " ' 1 . - i . . J " " , o u t d W l w > < l " "
I I 0 J " " . . . . I ' ! A " O ' A l a , ! ' 4 ' u O I ' u , " n ! . . . . . 1 1 1 1 ' " 4 " 1 " J < > ' > p J n w
' q ' . " j d W ! ' I n " $ J o . i S o 1 " " s " " n . ' q ' p u < I " " 1 3 ' 1 " , ' " < 1
I " " 1 " " $ " ' l f ' > , , " u : ' - : U ' ! I I ! " ' I I r u , u " " " ' ' ' 1
' 4 ' J " " " , < . J " ' I " " ! ' ! " " ' ' - I " ' n i J . - " , n l ! . W ' ' ' O ! ' . , , . , . . . . . \ q " ' I O U 0 1
P " < ' J ! I ' . 1 " " 1 1 J " " " " " " l ' U " . d " , " I , u " , . d d . " , . . . . . . w q . I , , , , , , u - o
W O " U ' " , " " ' : l u , u . . . . . P ' "
.... ,d ""hind ,hei , (.the< j<>"", -n ... i, I"""",.r< -.ril, and the
com ..1 brothe., N .. h.n.d . und. wi,h hi, b>ek '0 ,he "iowe", hi, f> i"
On tI ... ",I ... , end of ,Ix ,q;i"'" I'"" of. bu,ldi ng;' . ',ibk. The di ...
[inc[,,'< fo. m of [hi, .. ruC[Ul'<. with only one column .i,ible, famf.KCS 0" f. JJ'V
(61;, ,)1 and ><e m' to fo.m ",rt of 'he ... nd.n! 'I'<h'tC"Ctu[.1 .. )" of 'he
Gr<SOry mini"y,,,,,, ,he emph" ' . "11 'he ."lun" . which .i" ... II. plinth . ",1
'PI""" .. !"we fro", ,he to,,, of ,he b"i l.ling '-""<"II " i, .... "" , .. '''I'f''.''"' ,h.
cmni"", nor, ho,"""",,[. ""''''.
Unlike 'he Gcndi .. cc ..... . I>o,e it, ,h noin'mg i, no< mcn,ionl in [he . W>m
!"nrins" """"" but . like 'he iJcntiC".lIy eJ.J I< ... e . nd j .. "" ... f . he upper
I) id w., .icwM " 'YP< 0'- Ch,i" 11)' commen' ....... anJ Oel
Ncn" .. i.n pl .... ,ibl) . ... th .. the design" off '7'" .. 1[1 [h nolnting of
I) .. id .. <Ix eulmin>ling ",ene '" pt'{Wiol
c
.no,h .. . Ch.i,'" ' In,<Id
of J<pie<ing j..:ob tI .. pill ... whieh ... Gtq;o.), .. ,he rod
tI,,, ,,"" '''o""ed f", ........ k - 1,1 .. mini.""i," I h .. p. ;n,ed ,h. ,""in'mc"' of
I),.iol, .. hieh h., <he ",me n'<".ning. .., E,'<n so. ,he do;ci,ion [0 respond '0
men,ion of j.cob ,h. pill.' (. I' .... .;gnolled with. painted
ini,i.I). h ... , with difl"enI ICC"". tI,,, ,Il< .uh., i""'",, (""I",rcJ tloc
I"',m of ,he page in 10m" ,h" ,he j.orob lCet>< could no<: Dc[ Nef'>CS!IO"
.f};\....J tn., 1)"'iJ', .""i",iIlS 1'''''''JcJ .n e"' '''I'I. (Or ,mpe, .. 1 iconog .. phy
iru.cned f(,. ,be I>cr.dit ofB .. i! J.
AltI' ''''SI. Ch,i""ph W.I,., f .... "d "0 ele-. i,,,, 1 , ,,m,,,,,i .. ,,, I>ctw<"<n
O,,..,d', .n"'ming . nJ imp<[ul uoction bcfor< ,ne dn'<nth a mury.L" li,er:t ry
,.,,,,,o;c, i,,,,, .. i,,_ [)",';.J .",[ ,h, eml"" '" .... lfo li".,J Of' ,,,'"
f",Ol ,Ix middle of ,he li f[!. """tu.t'. '" . nd by [ne cign[h [Ix ,nnin,ing .. h"",sIt,
into 'he "I"" """ Th. lI.roc.ini (c . 79\) de .. i!! . C(" on" "'" r<.
mO)ny in wh'd, . during tne pr,) .. ' 0'"'' ,h. "hI.m),>. ,h. P""i.t<h '0 Lon! 0 ....
(; .-..1, ,he Kingnfkin' ""I I.o,d oflnrd<, ",n;';h ,h ..... ,gh So"" .. 1 ,Ix I""ph .. did"
ehoose o.,;.! .h)" ... unt '0 be king""'[ t h)' propl< In 1, 01 , do [hou !\OW .1", nc..
,h. , urriiC' "i.", of I"" " .. ) __ . vtM",h.-...f. , .. :on .. in, hin, wi ,h "iL"" A. it h.ppen .
a.,il i, Of>< of ,he emperon fo. whom [h noin,ing of O.vid >m, to h."" h..l
p.n.ml .. ",,,,n>l' . ' Dc. N<f'>CS!i. " hOI . 1",..I
y
"""'IV'i..,d ,Ix ,ignin""n", ,,(
'he m<>S.lie '''''ted by 1I.,il in 'he Kain<>"rWon, in ,.." ieh, KCo"'ing to ,he
&.ilii. lI.o,il', 10m held Kroll> in.ibl 'w" . r< ,lunkful ro [It, 0 Won! of GoJ,
fo, h.ving .. ,sct! Out f.,hcr from o.,;.Jie 1"" ''''Y'oJ hoving .""i nted him wi,h
,he ... nion <>f Holy Gn,..,' _" R_ E. B.igh,m." "",I ,Iu[ on< of [he .. '"
... . ..... " IM.. N MtA NA H.\, ACOM . ...j PAll-'U: .1., ...... , fJ ...... s..-
Cb"",idH ,,,,_.,. ,., 1><. N<n<W ! ' ... ' , . .... ,.... ..... , .
'" s..- .... I"",,,"" (.060). ro,.,....,.... m. '" {,.." ,. )So.
"' On l N ..... "'f' "'-,,t.
, .. Vi .. "",,,,,.,-..l ""'kohl,.,. ) .. - )Ol ' .... _.7 ........
. "
"Won .oo m<On,ns ,n n'mh-mu.,. !ly,.""um
Brun,in< rokr.ntt> ", >n<>in.ing apI""" in >1."., from Pt.",i", ,,, ,h. >nuin,/
.nd hI<,..,J king' 8",iI,'" .oJ I':Iul M.gd.oli<><> h C1lkd m<mion '0 &sir,
rjUW 10 Pho,,,,, ('" in(",m .. ion on Do..;.!', . n"'nt ins. On ,h. I>o,i, of which h.
'<gucU tI ... 'i ...... un l""'il"1 in;,; .. ;.., ,h .. ,h. [N., Ekkl .. i.] acquired ,h'M'"
f,,,,,, which S.mlte! h.:od .M' ,,,.d l)"id'. , .. Th noin,ing of I),vid . eoolveo ,h.
typ<>logi inomdk>C<d by ,ho uppe' ,wo rc-gi"<rS in. mon,.., ellc,,!.,..! '" mi, ,h
mpe'Uf, .nd .... iJ.ntlr i""",,/ in o.der to <ompkmtn, 8".il' n,hmiasm for
,h. ,hem . Thi no",,, j,,m "/1' "'" di. ino ..... ,..J. Jw ... , ho co",n .. ion of Rl.il
"in"df. 00 f Cv.legi.imized hi> . Ioim [0 [h. [hrofl<, .., '00 'he . noiming of Basil,
like til" of hi. pm:ursor DAvid. r.i5<'l! him from 'povcr!)" '" di"indy .. n<tiuncJ
mle,
Th. impo<<>ncc of ,ho ",oin.ing in ,h. 1>".[ port of ,he nin'h <cn'".) ><em,
,I", ,n n .., .!f"",cJ ,h. i<,_og ... phy of ,h. Ken'. T'" mOOifi",.iollS impoocd Ji<!
no<, ho,..""er, [Quch [he co !\,ouping of D.vid . nd .'i>rnucl i"df. which r<plic., ..
f..mili .. cornl""'i,;., ... 1 typc found in ,II< Mil", Gr<"gOry (ng. j') .nJ t he.1:..mr
Pa,-,,11rW (nK- Th. s,,<Ta CV<'n i""lada ,h. bfO'h .... crowJ..!
behind Dovi<!, bu, ,he .,p,n.i", <:umpo.i, ion found itt l'>,i . gt."o ="f> O<1lr on
[he r.luID Ven .. i, ivory box (fig. ?,) .nd in , ho I"., mini"u .... of ,ho I':ori.
r.. 1t (nS' 96) . nJ ,h. leu Bibl. (fig. 97), ,ao Thou&" D.viJ bends ,ligl,,!y mort
",w.n! s"mud in ,he- 1"-'1 .. , ."J bib!< mini.r",,,,,, [h. ,noin,ing group i. ",I>cr_
w;'" v;"""lIy iden'icaI . 11 th[, f"lth.r. J<< .1.""" ,h ... m. phy>i<;numic
[ype, ,ho hm[h.fi .11 w ... !.on mnic<, .nd ... Hugo Buch, h.1 obs<,.-cd, [he- J'''''
,ine,iY< "n<-"",I umned ""ilJing un ,h. for ,i&h_ of >"<>< in r"",g"" o ="rs in
[he left h>ekgrouM "f both I" .. ""ion . , .. Th. conderu! 'f""" of ,h. psal'
",.I bibl< <:urn!""i[i"",, which.", even mor< do.ely r.b,..J '0 .><h oth.r ,han
,hc:-' ... '" P .<i . gr, 1'0. l<>u l in .tn .... ping d,,".r ofbro,h." ,hat non.,he-
1<>-, , ... in< ,he ...,,, fmm '." wi,h h.,d of f,
Notwi,h".OOing di!f<r<ncn mel. ... ,h. ind".ion o( on ..,hi,:", .. 1 NeLl",!" a
_,i,,1. bMh.r, ."d ,he ,,.,,,,,ninc.It',,n uf de-n,.,IC)- {I' ..... ,'''') i" ,I>< 1.,.-, ",ini,,,,, .. ,
[he 1':I.i, l'Silt<r. l<o Bibl<, .00 I' .. i, Grc-gOf}' ",R= ingle , ... di,i"" I.,e.
r<pc",,1 in ,1.< ci.V<11th-n,ury V"i""n Book of Kin);" '''' Th. 1'.1.,..., V.n.-.i.
" ... . . .,. ....... ; ... -.. $0 .... "',., in """It "", I. ,:,.J. ]_,o4<.onJ W",,,,,,nll
(,.a,). "" I'G '0"1'("<:' On rt....,.' ... .,( ,,", ....,j, _ .... _ .......... "" ""'" \'olo,b).
" "' ....
1,.,a,I. ," '"""" I>t ..00 ..... , ... "",, rt... ... "'., .. bnUd lIo,il .... (h,id.
.r Milon. Amb. I,o ...I,. I' ,M ,Guh" h J.tI. pi, XUII." , P";,,p, r. (W';'-...n

... (A,,] ...... ();konom .... (,9'>1. "'- " "'m,,,",,,, f. ,r. V",q,p,', f. .. ", Bodo,"'1 (0,,.).
,. u. tW. " .r. ' ... r,m"" ..... C.""" \_J." 17 ,
.. , 10". u "'" ho ........ ""'"" "",k ')1'< ....,j by ,,", m;"w .. iM, . ...
, ..... 1>,- "'"h., ....,""'.,( ,10. "n .... ; ..... liol.. lo.r-n ,I.. r" ...... 1< ..
oJ I .... B;t,It h rup... , ""'" ",01.
"' V ... ", m, I . " ., 1=., lo,nl, """> ", "",00 """,,, pt.
,"
,
,
I
I
,
I
I
I
,
Ibsil I and visual panegyric
, .

.-
6g. 94 fa,it.t" 9l J, f 8or; prllJing; Sa"",a with II Iniftr; Il"ointing of Dm'id: At '''I/'
s,,,,/1
Vi,inll ,,,,d lll<':lIling in Brlarniulll
Fig. H",,,r, Hd,,= I huzi,,.. 11'(11] O/it'(I. U,N'ld fill' 1/),' hrm Jrom S,llIli IIIl1i,-; Illioimi".'?, I!/
D,"'Id; f).",,'j 1'/")'> brji,rr :"",1
ivory belongs wi t h thi s group as well: some changes lhal may be in pan
at! rihuted to I he difference ill medi um, Ihe ivory nonethdt'ss with the mini-
alUrcs a bro.ld horizomal composirioll that allow$, as in the Psalter ;md Ihe
Leo Bible. all six brothers to be included: here 100 we find the saJlle arrangt'nlelll of
O'lVid. S:ullud, and till' upturned horn of :moiming.)q) Wharever Ih .. prt"cise
irH("rConnections hetwe(' n lhe$(' fOllr versions of the anointing. lhey form a coher-
,'" The .' '')lk ",,1""'0 >1,' "n th" ti)lht wJS. hown-n. "I'llorcnt I)' urigi nony accompanied hy
second one, bose of whi ch i, "i,ible berween D""id Jnd SJtllnd: I dunk ),,1"1 H,Hl"'" ('" th;,
"["ernt;",, ,
'9'
Basil I and visuall'anq;yric
Fig. 96 {"Iris.gr. f )9. f ) 11: iI1lOintillg of /J(IIid
enl and diMincl ivc group. In The formu la that they sharI.' is not found in thr mid-
ninth-cent ury marginal thr expansive composition may have been
developed around the time of [he l'alaz7.0 Venezia box and l'ari s.gr.51O. inspired by
Basil l 's interest in [he ana; nti ng.
,., S Ihe discussion or lhe Jonah c)"clcs in manuscripl . in d uprer l. As indicated in nOle
190 above. lhe lalrr ican Book of Kings ol so hdong' with this gmup.
Muscow. cod. gr. 1l9. 1f. 79r. (S<'epkina h97711 .nd MOUn! AdIOS. Panrokraror 61. f. 1:5'
(Durrenne [1966]. pI. 19) include only D"v;d and Samuel. who holds rhe horn upturned and gazes
toward he.ven.
'9 ,
,
,
"
I.
I'
,
j
Visiun and in Ilinth-ccmury BYlamiullI
"""'"I... ,.;!, .. ;,:,:::, .. ,.;" 1 ," .... :;,;-. , ...
.'Qh"'" -..
,
,
'9'

.', ..
, ' 1 . ,
,
"

I
Folio 14J" (fig, '91
On f. ' *) .. .. we .. w in chapter 1. the penitence of D.vid an<! the aJi>nt "'ene of
Jeremiah', relcasc (rom the pit the the me offorgivcnc<5 dc-...:lopcd in the
accoml'.nying .."m"n; while G"'toty did no< mcn,ion ,hc I><ni",,.
he aUud<d '0 David', grief an<! reI" se from ..,rrow by God', p .. don in ><'>'e",1 pD'
"'g<> th.t at< 'ignaJlcJ in 'he text, n .. in"'tiption', """.".lIy "i.id for r.n,.gr, 5tO.
'p<1I om l).vid,amf""ion of . in and N .. ,h.n, .. "ur .. nccofGod', fursi,'cn",,; .nd,
while the p<n i.en imag< i t.d fh .. b""J rofOll. rin i n Brun. iu m. the "'ene h .. i t
n",m .. lly Wllml""in. N"h .. "', ooking "fl)""id, h., hc<n omi,,<d. The .inglo.
minded foeu, on God', pmlO1l i. <moly unUlu.l. ' .. . t>d i, i, powble ,I." <II<
image ..... '"""'. to imply. b) exn,ion, divine fu.givcn"" for B.,il', .i n . no,.bly
the m"rde, of Mi<had m, I"' If ><>. N .. i .... ,'. rule intc,mcdi.,y - tl .. I'tol'h
'hlUUgh whom G.-..l '1"" 1<.< _ fcll ,o 1'1.01"", .. ,hc F;"'t"P"dcmotU"" ... , ,he p .. i .
.. eh would have fd, , he I"'t to be entirely awropri"e. '" The image may aloo
>po" d to B.t..il', ow", fotn,,,I.ti,,n "fD" 'id', I",ni tcn ... he mo<lc-I fo. itlll",,;.1
h"",ili,y . poi '" ,hat ,hc e",l"'ro, d"",I"I>I in hi, ><Id,,,,, .0 ,I." G,unci! of
869,'"
B.t;j/ /DIm."
Folio u6v (16) (fig, 16)
The upp<f ' eg;',e. "f f, 116,' .how> M""" !"iking w .. or fru m a rock; ,he I""..:r
.h""", jo,hul "opping ,he MIn and moon. and Josh,,", coII(runtcJ by ,I>< angd ,,'00
i. ',he cap .. in of ,he 1.0" of ,he Locd' (jo.hu. l"41, ''' The fim of ,he jooh ... ><eo ..
"''''''' the nimbI"" hero "'idi ng tow.,d the kit hefo..c . green mounuin that pro-
vid .. . <ornpo<i,io.,,1 penda", '0 ,I." rink p",k fronl which M"... d .. "", "'a! in
the Wf' l<')I;i"e,. '" J<>shui' ,;ght arm i, ,..i",,1 to gr .. p . he top uf I."",. and hi,
I"f, folloW! S""''' he !Urn. luck ."",ar.J ,he ,un.n<! ,he mnon, oo..h <" m m
p=ct! by an a", ofh",en. "'l'r<><:ntcJ .. coneen"ic b.nd. of blue at the 'op of th"
"",ne. J<hui . cui ,,,,, i. gold .... lw ,re hi,leggi l\gs .11<1 ,h. bo""1n ofhiJ holm .. ;
it> "'p. al1<l ,I." !Uni, und", hi <mom. arc hlue; ,he f..b,ic hand p'Olfuding from
hene.,h hi, min gua<d, i, grecn, A mJ mantle. ,icJ .roul1<l hi. <>k. blow> out
behind him and accent"",,,,, hi. turning mov<ment. Two fall.n Am",it .. lie
hene .. h h;, feel; ,he ""It of ,hem Ike on oo""bKk ,.,.,..r.J ,he len. In h;, I .. k of a
nimoo.. . he Grrgory j",h"" folluw. carli. , .uch a. the m ..... ie at S.a
M .. i. Maggio and rho Rabbula ("""pel" ,h""" """""'<t. omi' ,h. Am",i, ..
" , 'itt,,,",""'. .... on d raw", V ...... =k, Map"." ... I ......... m .......
, .. St.f'f'. ,,1.-"9 .b.r... ' " XVI . ... II"'" (,.100). !" .
... Mm .. (,.",1, 4" 0.-.. 10,_", 4 . pl. XI, Moo.y (0,,,). '." \O;".;' ..... n" (0 .. , 1. "'r. f>H
s.n...w. (''',j, """"<' IInobol.., I,.,.M>1. ''''''''''+'
' .. ft.k<! 0.",,", ,-'<I " ... ok<; ....... tlH<x nK 101 ' I'OK (NI"VIHI
'"
emirely .nd I..:k tne.re end"'ing tne .un .nd moon.""' M"'t J.tef e .. mpb. on
fne <>tnef nmd. ind...!e tne Amofita .nJ the but ,how J(O>h"" nimbcJ. '" No
CO< he, "." .... " d" pli"""" josll" "."" .
In ,he ><lnd ",.n., jo.lo .... _.ring the"m< ,,,,tume.,,d lIill nimbi .... heel.
.nJ look, "p" .n .ngel w!to .und . biLl< "",rd in h.oJ. On m.1I rocky"urop
,II., """.J. fmm ,he moo",.i" of ,no fi", $C''''''. 1h. '''g<I, IiI:< .lml>u . .. mil
iUf)' COOtumc. witn gold ...... nJ gold leggins" it> undettunic ."d the
m,,,,,,1 n.n .. tI, i" l<uinS'.rc ",d . oJ ilS m,n,k pu,p!<. A rN ,oJ 1>1" hidd.
pmunuhly lmh"', , lie> in ,he f"'<groUnd. WIl ile ",die, , .. ,,"'''' of j",l>u nd
the .ngel port"y -""h"" in civil;'n J"",. = J.le, By""ntine e .. mpk< fOllow f, ,,6.
in p'dcnting him .. , mili"rr figore but, unlike P:"i . pi<:ture j",h ... t"'K:c-.
Ii "" ... nding (often bofurc ,he ci,y nf ).ri<h<>l . "d ,hen p' .... 'r ... hcfo .. ,h ngd,
.1", "nl ih f. u6,, in ,he J.f im.get j",h ... ".".11)' looki., ,he grout>d <><n
,h.n .. ,he .ngd, and h. i, no,m.lIy nimbcJ."" In p.rt bromIC it pre""n" , SCene
",nJ<nsN ' o ti Iimi.oJ ' Pl, ,h. "", i"n "n.he .". w.tll .. ';;"vu)in (lig. 98)
(,om ,he ,hiro of ,he ten,h century m:.JI. f. ,,6v mu>t closet), 'hough
Joshu. '1'1""" !Wi"" he look> up . nd jorich" do<s n", '1'1"'''. Th. C..1pp.oJ",i,n
><en. h .. b<cn li"koJ " .. itn vie,,,,",,,, lTI ilit.!J' C>ml'>ign. .... . "d thi. mili .. ,y
fI.t"""" ""icil'''oJ em f, ,,6-,
n ", mini>!"", ill""", .. G"'C"ry', .hi,'1' ..... " I<,mon,"" hi , ''''''hiognph",,1
poem d",aihc.j ,ne ,ircum".occs .... In Novemn.f of JIk> G'egory ra:J.imoJ ,he
Chrch o( the Holy Apo>tI (rom lhe A,;'no: unde, orde" from the Eml"'ro.
n ..... ;J."i ..... ...-.Idi,,, .00/,: of ,he ck"",h ,nd gu,,&.:! ,he p"""""ion of
.he ""hoJo., ",hieh p<o.:coJoJ ut>dc, "Ofm)" ,ki .. whil, ,he di'pLu:cd Ari.n. ,
'he ...... h,' .. . 'ign of di,ine di'pl"",.rc. rejoicoJ, A, the mom'''t
G'<go'p" ivoJ at ,h< Apo<da. h"""""". ,h.,un brol:< through ,hedoud"o
S...,." Kd.i'n, Th, <pi" ......... imm1i .. dy pn .. l"in>oJ. mi""k,.nd ,he
p<>pUJ.cc d,n",wloJ ,h .. G'egO<)' bo muk !.i.hop o( Con ... n'inopk WIlen ,he
dem.nd. bca.m< 'inged with , "'kn. Gtcgo'y Jcli ... rcJ the ""tIDon. AftCf
rep"' .. ,he <Mv.f. boh, .. i."" Gregory wond<r<d why ,h" popul"". f"""d him
'" =<p.iO(l.I; ' I h,vt: no, .mi"COl ne,.. foun.wlon fO, )'Ou, hi""", did on .he
journey oot of Egypt, ' 11" The >en .. "", ;. m.rkoJ by ini,i. 1 k,t<" .nd
... {10M) . ... "!' ..... c...xIo<IIi ,,-,- (<9If!' Ie< . 1., tt>. s,.."" 6Obi. in
P., .. 'l"'. "'), J ..... 1....,-" ..... , pl . .... .
,.. E." ,,,,Oc .. _h,,..,j ,"')00.10 .. t\oI, ""ri ........ (., .. ). fop.)1.
'" F. 5 .. Sr. M.,,, "' ___ ' KuJ'l' ! ...... , 6
1
, ' 1). T""nod .... "" K,. , .......... "" .... n ,
.......!, ....... bKh ... K" ..... ( ..... I,j . 0"
.. ' For.'" ... tt. ,[j (.h.m ,I ."J ."'0 .......... "'ri" .. ". ","I, ..... )-." M.'" (,,..) .
, . For.", MmoIop>n 01 ..... , ft, V"." ...... f '" M. ,"';'(0,..,', ""';/). Os- ",.
'"" ..... ,fr. ....... S. ..... ",1< ... 1 anoiG- 's- .. '
"'sc "I, , .,.. , .. , t";rJt., ( ... , .. ..... _ . .... 1'(; ,,.,,, ><>-,,,, !w. ' J" """ )'
.... 'oC ,.f, '-<' . Tht ""PY Jo<. ""', .......... , ill ... , .. , "" rpOOJ<, '-iOJ ;",,,ad "'"
r"'.ct., "II "" ..... , .0 p,,, ... i. 01 .h. 1",,;.,,10 ""0 '''''' (;,_ 1<, . ;0). pi.. U, J. U v. , ("" in .....
p""" hi"lt " ..... "P" On ,,,, "-'''''' ' ... , ..... " I.
'.
Ihsill and visual panegyric
Fig. 98 (.;WU,iIl: rail UlIlIf, joslllull/IId llir Imgr/; lIor/1i liP$(, NikrplJoros PlJOkm. TIJropIJIIIIO.
GUlar Bard"
."
Vision and in B}'lJrttiUIll
directly inspired Ihe scene in Ihe rop register off. 226v. Gregory, followed by ninth-
century audlOrs, undemood this biblical episode as a type of Chris I: Pholios, for
example, drew general between Moses and Jesus, and t:quated the rock
with Chrisr.!tIH The chrisrological typology continues in Ihe second registt:r:
8yzamine exegesis cited Joshua as a rype of Christ more frequendy than any other
person; he was, in ;[ ddition. often contrasted wilh Moses as on f. 116v.!fI')The image
of Joshua sropping Ihe sun and moon may also have been imended as a veilcd refer-
encc \0 Ihe miraculous appearance of the sun juSt before Ihe scrmons delivery.
I n the sermon, Gregory mentions the Gab:tonitt:s. who, though Gregory docs not
say so ht:rt:, submitted to Joshua wilhout a b,mle. ZtOThe tWO Joshua sct:nes selected
for illuslration in the second regisler Wl'TC, however. probably chosen primarily ro
provide a visual interpretalion ofGregory"s long exhortation to emperors, 3 passage
of sufficient importance (and familiarity) to be quoted in the Silcra PllrtI/lr/rr. ! ll
Emperors. respect your purple - for Ihe word (0 logos) bys out the laws even for Ic!;i .llators.
You knowwhJt high mission has been conferred on you and what the grand my5l ery thaI
concerns you is; Ihl' whole world is in your hand; ,Ill 1I1significant diadem and J pit:ce uf
cloth control it. The things above arc God's alone; those below are also yuurs .... T he
kings hean is in as it says in the scripture and as you know. For your pawn
comes from that, "nd nO[ from gold or armies.':
11
I'hot i", is pri mar;ly i in ,he crossing of R.,..r hut also oh",,,e, ,hat the nUl r<1("k
is Chti,, ' . AmpllillJ("hil1. queslion 26S: ed. Wcmrink VL, ('987). 56: PG lo!:wS8A-B: on ,he
Amp{,ilD,{,il1 ",e chapter 5. I:or com mem.ry. Danielou (1960 j. 19 , - lOt.
I:or commentary. Dan (t<)60). u<)- :.u. SC J ,g. l \6. See Jo,hu. <): 7.
1lI f'G 91"289C. D; see Murcschini ;n SC ,,8. 164 commentary. accompanied ,he
wilh a medallion pormit of Gregory (f. <)6v): Wcitznll" t' (1979'). 2 J4
ill SC J18. 164; quotation from I'roverh, 11:!. In Paris.gr.sw ,he passage is >I,"IJcd with gold
initials. ThaI this pJ,sage would have found favour wilh the patriarch PhOli", is dear from hi,
iJilgogr: sec note S'J .hove.
,,6
"'CS> the of ,fK.mr<"" toGoJ; ,h. mini""", pr=n" >
co>mrnon,,'l' o>n G"'S"'l'" word. ,hot ,hif" ,h mph"i, I<)m ..... h. L !\c"h }.-..hu,
"'n an..! moon .,.,J J<I>u. wi,h ,he angd link di"in"!,!,,,,,,1 mil-
i"".. , uc<s, hUl ,h. lim giva comrol,o )<hu., , nd onl)' 'he oo"d J'r<nd<
<n,ird)' GO G<><I, meJi"",1 ,h""'Sh ,he '''goL The p=en" di.logue
OO"..,.n J",h" nd ,he divino. Puhap' for ,hi, re...,n. ' he comb;n" io n of """n<>
i, unuma" cmainly i, apre ..... ' ,h.m. ' ic ,.,bet ,h.n ch",,,,,,ogic>' link.
Com"..,;"'n of 'he biblic>1 rel'<'''' of e,d. <v<'" m,k<> ,h.i, diff<renc .. cI"" .
'n.., "t"""'"' of ]o.h". ""rrin! ,ho .un ,nJ moon (jo<hu. ]O:lt-I. ) '-'>Crt! quit<
cI .. rly ,ru., ',here w;o. no d.y like 'h" bcfure i, 0' .fr., i" ,h" ,h. Lord hc>,ko...,J
un'o ,n.voic. of. mm: fu, ,he L>rd fouSh, for Jo . .. d '. Au",,,c< , h., ,h. Lord w,""
on ,he Ii,.,.!i, .. ' ,Kl." . 1", ,no ,h.m< of ,he >CeOnJ <pi....!. Uo.<hu. \: I)--J\), which
chronologie';I)' pd .. 'he h.l,ing or ,h. ><on .nd m,x,"'. lIut hor. ,h. h, un", of
""', .. ,, h .. u.ifrl, i, d .. , fmm ,h. i""", il"ioo, '0 ,ho .c.n<. ,.k<" Jir<C" )' from
,ho biblic.:ol KCOUnt, )mb ...... I<.. 'ut ,hoy fu, ,I>, , " (," 00' .d", ... ,O<."
(HMET[Ej rO[C Ell H '1'11(:-' 1 YIl IEINAN['IlIIlN): ,he . ngd respond. ' !,m
,h. COI, .. i" "f ,h. h"", of ,he L>rd' (Enll l APXI[ClTPATHf O[Cl K[YPIO[YJ.
Thougl> not '" idemine<! on f. 6., 'he copuin uf 'he hult uf ,h. 1, ... .-.;1 "/3', fm<>'
,he founb c.ntu. )' <m. b>.bi,ually idcntili.J .. ",bnge! MOeh. d, wnom
.mperor< i,,,,,, .. ingly CLHeJ upon for.id in bUlk ,hem.elY<>. Wheth
0' nU' we "" ",.n, ,0 ",,.j ,h. m:ru.ngd .. ).l icb.d her<, ,n< 'copu;n of 'he bo" uf
,he Lord' ;. ponuyd .. , <>ully in eh"g<: ,."Im" ,igu',,'" f"""<'" II< ru.1" ,he
moon COn" .. " ""-"'sly wi,h hi. knling po.i,i"" wi,b ,h.
fmn u l and imp ... ive angol. Theron"'," i><lW:n J",h" nJ ,hoe- .ngcl in ,hi.
""ive " ""'&ht "'" j" ",,,,,<mpo"'y ,ex" wdl, Ph",;'" ci,e<! ,he .piood< '"
.n ... mpkof .h< diffor<nc< betwn 'gre .. me"' "f ,he Old T .. ,;"""",.nd divinifj-'
in.n .. reml" " , .xpl'in how ,h. F.d"" >lod Hoi)' Spi. i, _,< bo,h .i mil .. ..,d
d;l(,,n,."'
Folio "6vwn'",,,, :o .ce"" in which )<>.hu. comrn. "J. ,,,.. Lord wi,h a """ne in
which ,he Lord romm.nJ, J",h" . Th. _"'" 'otetn ",,,,.1,,, m unuou.lly
<quiubk .... 1..""" of P""-" I-.:-twn God .nJ. I.-.d ... ! . ",ume ,h .. Ro.il,....,
m n, '0 be irnplic .. cd in , b" .i<wJ ""'''pho', 111. ,-.;"ir of ,h ymb." ic rel.-
tiom"ip 1'00mrcd "" f, .,6., "cw'y f", (;.,d', . h....,n r'pk. w cerui nly.n
Lm!""",,,, ,h<me ofB"i!', "';S'" n."ir. , uc<>ful mili ... y cam!",i!,,' ""'''' .. ilr
prum..,1 in hi. lif .. i,,,,,, ,hey we", of cou.,.. .ingle<! "m for 1'''''' in ni. fun.r.1
"' ..... " . nd 1<f1 t heir .ump on ,b. ''ita &,ilii .. "",\I ,'" Th. uS< of imag<> "f
)",hu. tu 00"""",",. imr<,i.1 mil irafj-' "iumph. i. no, ""dla" .. ,1 un,il ,he nth
c.",,,,,...'" hur '0 ,he;, Byun'inc audience , h. underlying mCa1l" "fbu,h of ,h.
n,
' .. T ...... 10, ,.1, -,o-w Md:"-m'" ('.,ab). '''_'<7' Vi", 11..01,; 16-... _ . ,,_ ;'O:..J. I\tll=
("}l1. <61-'/<' ' ''-... . ,I"' "" "" no" .,.,.t-..
,,' , ....., '*' 'OOCon .... ('91 1.
joUl .... ,"oes piem,ed 00 f n6,' " .... m,dy ,h., '-' C.od fought fo, ,he !,'>cIi,es. 10
tl.e lotd n",,' fought fu, ,hem . od the Lord fought fu, ,hem umle, ,he bmrxr of
B;o,jll , victory.lcp<nded on ('.oJ. f.mu, _ ',n< L.,..d h<,,"'ncJ onro ,n< "<>ie<'
of }o>hu. - 00.1 we or<, J ,hmk. meant to th .. J<><hu.1', ",icc h., 1>0
"",1.im",1 in ,he nin,h """"'ry by ,he Fnlp<m' Il",ill ,
Folio 4i 4' ( .. , ) (fig . .. oJ
The f.1I of )<'ficoo. ' he third .nd I .. t of ,ne )<><1" ... '"!><s, occupies the upp<rmrt
of ,he tn,C<" tq;;"m "" f. "' '' v.'" The eitr occupies the ceotr< "f the .
1<<0 buA'_c"I"",oJ ,""",. .nJ Io,io'" oi .... 11 ""Il'I> >lorr,..! ,h< """,rol COl'< of
,moll (;fry_hlue buildingo ",i,h roJ mob, Fou, ngurn , .. od on ei.h ,ide of ,h.
, i,),_ Th,,>< on ,he . ><,IJ ief> hlowi,,!; "'"',,.' "uOII"'''; on .he k{,.
thn-< rrump<t_blowing wldi." ;"iR Jwh .... id.mifi.ble by hi> mor< d.bo,,,.
""rulne, ]<><I"" ;, "i",bcJ . nd in thi, . , well .. '" dc",I,ofhi, ",i li .. ry "ti.he
.lilt'"" fmn' hi, .... Ii .. ,," f. 126v,' ,hif, ,h .. ,h .. ,he jo,huo
$cen<> in r.ri . gr."" ei,h ""ry differen, ryp<' of or r<J>o<m rvro di,_
,inc,
The OM 'I .... mcm " .. ,,,i,,,, of ,he foil of j<rieh
o
u"h,IJ, ,,,'cr n"", "f,."h", 6_
For .cv<n rLp. on'en pries" ",i,h "umpc", men be.,ing ,he 11k of .he .;ov<".n, .
",Idier<, ond the prople <i",led j<richo: on tne sev<nth d,_v. 'the priest. sounded
",iti. ,he "U"'I""" the pcor\< .nd <I" ,,-.Ii, of 1<',;40 fell f" wi, On f
4'-4' ."Id",,, ",h .. ,h.n pr""''' blow , he ,rump<IS: ,he milJI1'Y h .. "'I'IJCC<I ,he
h"j), ... n ;n" 'I,m,,, t "f ,I i,,; n< """ "",i",,_ Th;. in, e'1'''''"''' on "f, he ,k" ",cti""
"fj<'KOO lind. nn B)'Ll",ine 1"",lId" ,he()c",,,,,,h. and ,he J,..huo Roll (hg_ 99).
f", ",. ml'i<. fo1k>w the j" indlOdi"s tl", 1"",, bl..,...inS P'Oest, bu
eopting V'f.!V_747, .11 .1", .how. pifeh.c.J bon k fOf ,he ei,>" in "0000, ,be ",1_
die .. u'urp God', p""'Cr. '" The Cregory mini.,ure i> p",h. p> diller in .pi';. to the
OlIo..,i, ., St. Mori, M');gior<; ,!>oul\h ,he on ...... ", .. ",,,i,,1 ' .... h"" ."d the (fUrn_
p<I" ,h" 1"",,1 .h""", .. 'ymm""",.1 com!""i. i"" . od ,I.. eiry. H.nl=! by empry_
h.nded .... " io ... f. lI, ",;,hom human eon'><1.''' On f hOW<",'Cf. u"like ,h.
hfrh-n,,,,y n,,,,,,,i, 0' '''t' ",h .. 1',,, .. ,,,,,1 """io" of ,n< . pisod . ,h. ,,,i!;"I")-' ,od
irs leader en, God', "ill. but without .rm;;'" di.ine .gr:ncy " .... k, through ,he
tr\lmp<I-bl_inS ""Idie" .. th<, ,h.n bein! dq.rndcnt on mu"d,ne wc-'pon>. Thi>
.pp.mly uni,!tIC m.nnc, of "'I'<=n,ing ,Ito f,lI of j<fieho ' J.!<)Ci.,,,, ,h. id .. of
,,. "'" , .. ,h<, Jnau."", of "'" .,"' ....... ' """ ,I>< """"V"I'h, 01 ,h< ""..,. ..... ,h<
... ""'1''''''
,,' M..,.ll,,,,l . , : " '';,,,", .. (''''J, lip, ' . ' .... " , u.,.. .... yl'''''''' fitr, 1)6.
,h< fol' of ,,.,,,, .... ho"I<, 0. ,I>< "1.o"",,,"ip ......... n ,I>< O' .. , ....... ...J ....
J<oI<., """I,,,, ",.,j,nh ,) , " .... "J, ......... ,."'I.!l .. ",-.".
, .. K ...... I00661, ,-.., ",. 'n ,t.... t< .. ... 'mt..!. "" ,I>< 'y'"_
"",,,,,,l 00"'1""" """ , ........ nuocnr< _, mDm<OH of di",", , ...... 1"''''''''''' a..p.n ,.
". , ... ,t,., ; .. ".,... ; ..... .... or ,t,., ,'011 of ",.,10,," ,t,., , .. ," """'''y, .... 10 ... J

divindy pm!.t.rmincJ vicrory with "ronK miltt .. ), lead .... hip th .. wori<. with
God, roth.r th.n promoting viet"'}, "",I ... (;",1', pmoe.:rion or Ie.dership, f. 4L1V
<mph i= m;lir.ry ,,;umph ''''''''# God, Though rhi. is oot pl';ldy tIK , .. i-
tud< fu<<<m! by m"'t Brunti"" .mp<"'!> - ."d. indeed, d;If .... ",r".....h" fmm
the """ '.'ge """"<l"..a by rho Joshu. """CS on f H6v _ if coml'krnentl the
m .. ning of rlt< ron' ;,piKe >ju.nce .nd m;p,t pUulibl)' be in,preted., . ref,,_
.nCe to B .. il', .uc=>ful.oc;.,io" with (;oJ, Folio u6v m.y, h""""""" h', mOf<
ro do wid, I'h01;"" c<>"eel"i"" ",- ,n. ",I"ion,hip be.w" (,..,J .M en'p<ro. ,han
1I .... il', _ h", rh" i"h. ",hj"", of ,be """ICh.!"",
In the v;,u.lall'l\""Y d,,,,,,t,,,,t" "'I''''._sr. lro, .. hid, ",,,,.,imcs "'" .. " biN;".1
in,o ""''''pho ... o( ""ntempor.ry Ii( B...il has been m.d. to .mbody ,h.
p<,ket mcdi .. ing I.od" who rub both with and d""nglo G'MI. 'I11(1' r< .1",
",h .. h.,i, ,,,u<fur.1 ,imil"it;" <n" run rhrough the Ii"" of ,h. Old Tn .. m.n,
figm ... :woci.ted with B...il .. th.y.r< p<,:,''''ted;n 1"',i' Vl rn. On. ,J,.,'iou.
them.;, the "",b.od.' ,h" ,h. h.ro Ius r".ndur.on rho w.y <0 ul"m ... victory=
dv< ... ( .. in . h. Joseph >juen on (, 6<)v, 0, Sam""n on f, }47"). I ..... " ,,,,,,I
beginning< loti '0 urom 'u<<<<s: o.,iJ . ,h.pherd, bc-<:..,te king u l\.:I,il, , ru .. 1
Armmi.". did; Bu'1. as .. ",ng" San""", .nd lik him f.mum!wh,k. ru",1 youth
hJ-' ( ioJ. w., d"rincJ 1<" uro.n .ch"I'<Omem; .nd)_ph', jooumcy
(rom h,. (.,h,,, ho"", !O,h. p"rum., .nd lin. lly '0 the Epl't'''' <> pit.l, ;, ""1,1" .
iD:<! for IDOr< th." i, """n.1 in <,.d.,. of Joseph. h(" like Som",n, Uavid . M
Jos<ph, 11",1 WU' provinci.1 oU!lid ...
c....,romi'mtly, .nd .g;tin like D"vi,I .,.! Jos<ph, lluil w.,. ruk, who rose from
"unide rhe ".dition.1 power "",,:ture- !O becom. tit< o"hoooor rub of on ..... t>-
limed and great empire. It i.< ",ident from the th., now ob.cu,. l\.:I.il',
dC\.,i,," '0 ,he ,hrorl< ,h,,, Gues,ioll' .",rounded h,. ,i.., n, 1"""'" .nd ,h. im.ge>
in P"i.<.gr. l ro .h .... """ hi, conn""r;"n. wi,h gre->! rulen; of ,he p><t (o.m pan of.
concenl ". mpais"!O p ...... id. &.il wi,h . n illum'ou.line'g<, both 1i1< .. lIy .nd
mcnphOfi<-.lly, As is ,.<11 );,,<>wn, both Nike';u , he r'phug"ni,n .r.d I'><odo-
Symeon "",oored PI""",; rccoocili.,ion with &,il in an to hi.<
f.b,ic""'n of puriou. g.n .Jogy, m.de t ... 'look ancient'. th.t purponed !O ,r.te.
the <"' I><ro,'. I'''<>g. n..ck to ,he A, ... .d,; '''' ,ne I.", &nilii . .. " .. !u.vc """.
odded AJcx.nd .. , he Gr .. , . nd Con ... ntine ,,, R .. ,i', ' .mil y ,,,,,_,,, r The mi"i
.,u'es in Pui, _gt'_jlO rh .. pa",lld 1Ia>,I wi,1I Old T .... ment ligu",.lit int'" l.rger
pattern . ppm:ody "tchcs,,,,,ed in >orne w'1 by ph""o<. of ,."" . rod in"s<>
designed '" I'l\i,i", .. e rhe <mp<"" by m . .. phori<:>.l1) providing him with . n
illum;ou. pa",
... 1'...- N ;""". PG 'OJ,,,,''''''' "" .I, ...... : I. Mk<. 1, ') . ... , Oft ..... " .tw.-.-..
"' s", ...............

1':"i'.8'.\'0 h Iw,,.. ,lIrrro through I"!le< .n. ly[ial ,uuem"" [0 .. n,.in .n
",,-'m.ly, Y., it i n int<nl1l1y .:ofment p",Ju<t. The mini .. ",., th .. w< h.v<
<"-'-mined [h", f .. h.ve p'<o<n,"" wdl.[lIo"glll'o,,[ conl!""i. io"., and h.ve pro-
vided a Kt ofi nter,extu. l.nd intcr"i .... 1 CI"" referen""" th,' . IT " tim<> ' ..
ingly )mpl". The: ,h" h"I<I< ,he mini.,,, .... in ,hi, eh,p,,,, ,,,s.,her i
w:ru.< of how to di.pl.y [he Emperor R...ill in ,he bes, pouible ligh[, .nd [0 ,h ..
end un".wl imperi. 1 antitypa .re KcOfdcd .pparently . typiad promincn"".
whik "odit>On.l impcri.1 p" .. lkl. r<Cei,,, ...uf>. It i. hard '0 believe , hat
,h. e,,,,,"fmill ... ,i,,,, ofhihlic.ol.nd iml><ri.I.t1-d pcr m,1 ref ... """, w.,
eoineiden .. 1 produ .. of , he: conlempora')' [hough, nctW<>fk.
Th. mini .. m ... in l'.,i,.S'.\IO do no' .dd ...... commun.1 audience; ' hC)' urge'
",,,,i,, .OOien.., .. > 'J'<'<iri c ,ime . "d in > pri", pia. '11 ", i . no doubt ,h ..
'he ,,,,,,,i.l . udience foo- the m.nu."ip' w1l R..s.il: the fronti.pi=: mini ' llIrd make
thi. "'pliei, . nd tho foeu. of the mini"', .... If ... we h.ve: discu...J in th;, <h.ptlT
;, .",indy . xplic::lhle """n if h. ,he: 0,,1)' PC""" wIIo ""., -",w ,hem. 8cyon,d
,h. v;'ual pimq:yric . mhe:. fn'''," of the: mini .. "fCt ;tl", iCCm [0 rnpolid [0 hi.
pc,..,n.1 intern ... I .. "",oJ .li , B"il origin.lly Clme inro coon circle, a
groom. H. WiU "Iw,,.., ",,,(>\\,, ... 1 110""""'" .nd ,,hile ,h mph .. i, on hi'
"Lan .kill, m. y play in,,, [h. imporunceof [he mounl"" h UIlI in iI)'U",inc imper.
i. 1 i, "",in> true ,h .. the prola,,, i,,,, of ho ..... in 1', .. is.S'.! .o is
... m"thblo::. I" .&Ji,in" ,n ,he lI"me",'" depiCfio'" of 1>0, .... "'.H ..... m."y or
which .ppc .. ,,, b< h<K "p'mion. "f ron'"ntio".1 battle .... n.'" we ...... in
, h.p[" 1 ,h ... n Uflpar::llldoJ ho""m." w:u in .. " oJ imn [h. p.r::Ible of lhe: C.ooJ
Sam .. i,.n "" f. (fig. 19), in ch.pter ,. we found t he: -"'me '0 b< '"I< of ,It.:
p,rabkofj)iveo.nd "n f. ' 49' (fi g. ,0). 11", I do ,kink ,h .. lI., il had
,he [oot. .. hi, di.pow [0 dnign !'ori'.gr.\. o him.df. '" lbc Ofl ly peno" who w:u
Cip'bicof coordi<U.ting ,he i"te.text",,1 .Iid i" te.,,;, ... 1 ref.nc woven i",,, the:
Humil ... mini11u,,", . nd of di"",.ing thi' d.1" to", .. d. quite p.ni""l .. end. was
!'h",i"" , he: p."i.",h of eo ... un.i""pl. at 'he t ime !'ori . S'.j[" ,.,... mode. He,
'''''. h.d ,he: . ""-,,,10<> '0 .... mmi .. ;..." .. .en. del,,'e prod"", . nJ ",.,,,n ,,, du ... ,
It " [0 ","",i", ,b .. w< ",.II now rum .
.., r"I ...... "9'Id.
UI .x. . m.d '"' ........ [[ "'1 and " . ' ,,,. ,,) I. duf<n- I.
'" So.: run!... ""r,..
5
Tbr patriarch Photios and viJuat ewgesiJ
!'b0[;'" w .. I"'<ri. r<h ofCon . .. n.;oopl. twicc. fir from 8j8 unti l , f.only an the
dnth "f Mich.d II! in g67, ,..hco &.,;1 r pI",,,J him with Ig"";"" .nd then
again - with B il' 1'1', .... 1- from 8n ",,, jlll .. il'. de .. h in 886. whcn Leo VI
romQvoJ him.' Though many qu,ion. about hi. backgrounJ lemain. Cyril
Mango ha. ",tabl i.hed ,n., rho,;." "'<me from.o <m;ncnt f.mi l)' ch"oct i=ll'
i" i""nophile .. odenci.,., hi. m",h<f [i rene w .. r", .. tal by m. "i.gc In ,h. tQrmcr
Em" ..... Th><l",.., unJer,..h<< ><gis Iro"",I"m <n<k<l in 84)"od h ...... I<I .. ed
0" hi , r"h,,', ,ide 10 ,h. form" I",ri".h 1 ..... i'" who """
the <ouncil t h. t !<'l. om! ,h. "'" . .... ; .0 of im.ge'> in 7117.' Pho.;". him...lf ...... n
;mporunt civil functio.",)', and hdJ th ...!fie< of l',"w,*m,, (hc.d of ,h. im."ri.1
""."cor)') h<fo ... hi. rapid dev .. ion w ,hc p'!fim:h.r< in 8\8.
Ano, aDm,i" of donigr:uion b)' ", ... ,orn (mttly ca.holic) au,ho" _ r", whom,
l ... gdy brom of hi. oppo>i,ioll to ,ho jmrod""ion of ,I>< /iii",!"' eLm in .h<
Nio:,,< CrJ,' pj,mi< . n,hoJiod wru., "'.'" "",n by ,hom., ,he <'>';1, oftheo"h.,..
G....,k .. " _ ,h< modern imclkcm.1 app,i .. ion of Pho,io, i .Jmo" ""or
whcl mingly politi>" P.ul umork wrote , h .. i'h".i< m,," I>< '",,,n.od .mollg ,he
gr<'"'''' Ifigo''''1 ;n .h. hi"",yofBY>1mium ... who 1"'.ru.I" mo., ,rul y '"1' .... ,,"
Byuntin. civiliLition': Dimitri Obol.",ky caU<tl him tho gr< .. .,;t ,hrologi.n .nd
phil_p/l., of hi, .g" . nd on. of ,ho g"""'" Byumjn. ",hot.." of .1I ,j"",': fo<
, M"'I" h." b) u ,!..Ion, ,," Lon .. 1'1-........ ,!.. ...d"{ ,.".. ... < ...... , "'"
'r,+, ,. H,'1I'."" .... ('i/;,_' .... .. J<.... hoop ..... , . ... ,
",it, """",,,", .nd ,...., "",,,{ J"" .nd ...... ""i _ ...... "" ..... m:.;-, ,,.. l><", ..-""" ;,
, .. " ..... by, . IV _"Y.w I ,.,.1. ''''''." (, 11 ff""i .. ,to. "",J"..! ........ ...
"""' ... ,. Eolii .... "'rrk"""'"j b, ..... row ",,,In ro,,,,..,;",,,,,,lk,,,d ,. 0...-."
( .. ,.), "''h,t< ""'" ,,<E.,. ifhopo,;;>ph" , I)M <>f ,to. .OK' ........
'I'P' ...J 0. l< ..... ' . " &,,,,,,,,,ho_..,_.,...';'" oddKioool lHNioa-
''f'Io,'''!>om .... "'p"' ...J io ,to.""';''''> t"'sl" .... i''''', ,,",,,,,, 10"" , ..,.. "' , M< .. tu".j.
I. ... ", _ . H"_ 10"'1. "'o-'Q' _ '"mm ..... """"' .... I;". , p<>hl" ...... .1<11,01 ,,;,h
""'" >P'''' "f"'" ofl'!.orioo' , . .... , will _" .. '. ,t.. ....... ;"" .. _
' M ..... ,'mhl, ... .d ... i __ ,""....,. .. 1''''', "7-<", ,_"'_ "'"'"'''''''''''" ('017), "'Q,
foIIo." th, f>mi1r"" ....... iohod ... M. """ ' o..wID<h "" t1w d"""""'.<>fr. "', bd--.
",
:-';'b"<1 W;I"ln, Ph",i,,,, Wib ,h. m"M impo,un, ligu", ,n ,n. hi",,'Y <tf ct. ... a l
"L><l"", ,n Byumiu", "Th",h"", hulk of Ph",,,,,' p,,,,,,,val work ("""",h of <:<>II ....
dcmo"S!r:u<> th .... 1<. .. !<)mc pte.mod<rn, ,,,ed hi, w'itings highly, 100)
.""u,," fu, 1'''' of .hi, <".hu.i m, but, perh .... .. imp .. ",o".I)" fo.: ,he om<"t
'I'P""';"""" <tf hi> .hili,,,,,,, I'ho<ios "'as 1 hi''''''.n, ,I"."gh f .. from 'd.",,,,,I -
l'h""", f<'ronded from 0 p<nio" bounded by the si,'e" belief, ofhi, ch"'nolog_
icol .nd "",,;..1 n,che - hi' .ppro .. !. tu tI .. on,i.;p"eJ inte""" .nd
81 hi"on.", h."" f<1ed .ymp"h.<ic:olly.
h i . hm .... " ... "fn diffic"I, 'co de,""" .. to ,,'h>.t .. ,tent l1<ot",,' ... ,iti"gs ho
mOf< go",,,,,1 ,,;nlh.a"Nry <li .ilUd", "', C<)",ersdy. "'1"<><'" hi, 1'<""".1
''''I'''''S< from within ,h" f""""""k, lcpl hi,,,,ri'n! '"!If<< ,h .. hi,
<l<:p_"'oJ from pt"!"Vious I .... eoJ ... in it< fo,mul .. i ... n of th .. ,d., io n"'ip
bot,..n Goo, ,he <mp<m' .nd ,I>< I""urch,' .nd Ph",i",' 1',,,, .. ,,1,, 'PI'ffi1Cn '"
hi"o<y ."d r;:m .1.., ..,mi""" I>< i><>l"eJ. Ilm whl><, "'" n=! hi, w<)fk
.. g .. ncne 0' idio'yne"",e, Photi'" >v<m:I. huge "nil" of m .... riol: ,I>< W>J' I><
F ... ",., tl,. topia d"t h. ",""",,,,,f ... " .Ikrw< ," '0 <pceul" .. "" j,,,",", ,. .. IIi"(,,,""'"
nin,h.."nm,y ,'OW CO<Ild diph ,I>< he-rw."n 1 m'"i.m", . nd i"
o"':o"'p ... yi ng "'mon. Hi, vulum;n.m, ,,',itiug< i"du<l< . ... ,i<1 "f book rq><>n>
..... ",, 11..! <I>< H,hiJ.,kU. , ),'11" numh<, of ... ,mon, of ",hich <igh,,,,,n
""in of qL1<Stiom ond .n ...... " .booJ, moor di!km .ubj<cu coll<co..! .. ,I><
. Itookl.oSd, dUe ..... o" "f ,h. Holy Spin' (,h< MJ""t"ti.il. d",
;;"P!',. huMr..!, "n,., . nd . r>ng< "f ",I><, """S m<>s, of which .ur,,'''' ""Iy
,n .. n", Ph","", provide> ,I>< "!OIt ex ... n,i"" w,i" .. " Jox-u"",,,,.,iOf1 from ,h ..
.e.-mJ 1"lf <tf ,he nin,h ""''''''<y. ,t>d 1! I.,,, on, ,umpl<- from ,.eh orh" w.)!ko
has .Ioclr t....:n ci,oJ ", ,,iln ... , " .. rha.I fo,mul"i'm' eum: nt ,..he" the mio;"turn
"fl'.,i"St-l ' " _ p. int..!,
The " ,he moJ",,, n.m. ' ,, ;gned '0 collo;:,;"n "f 1<VCr>1 hut>dred
,,,mm";'" ,nd m".< 'Of Ie>. c,;t"",1 ..... "f book, e>eh now comm""ly
rcfem:J .0 as .code:. _ ,h., J>h",io, h.J "od! In in o,igin.land ..,mcv.'h>., .hone,
. h< fu, Pho.i",i broth ... T.m;""l'rot..blpround
w .... h""""",, '1'1"'"",,1)' ul,.L,l 'I",ru!ially by Ph",i", . "J ,h ..!"i""
,h .. now ",rvi"", inco'!"',.t .. cOIn", ,h., Yo .. f< wriuen I., .. in ,he nimh anm,y,
. ,-",,<"" ,.,ab). "''' (>bolo""', ".,, ). ,0,. ,,', IV, ..... (,,. ".
' s... S. ...... ,' .... " .> ....... (' .... " , ..t, ...... "'., !oft _. , ........ .
f:.l. HHo'! . .. I ""' . ... . f,,,,," ,,, ... '''''''$ "" c ..... '''''' ...... , ,. ,,", ,., .... orr<"
'" ':OJ!" '" '0;''''''' " ... 1. n .. ""'" ,100""'" ,,""'" " Sch ... p 1'",,7'. I,ofol _ ...
"d,t, ... _ .... ,,", '"' ho,d<. ,,", 'I" lioml",.J""" """, "" J"""' ........ no.
"'" 1WIi-"""" "'" "",ii,,", ,,,,,,,,,,,b mo'W'C .",","" "" M) Mo ...
'1'1'<>",1 i. ,,", .......... ,b , 1'10. .......... ' ..... o;>IW ,,", .",k , ....... ,...! .. " .... ".,."i ,,",
...... I .... <001 ho<lo mr b<bo..J bro.'"', T.,. .... ukI "" ,0 nW< .. .. '"' mop" ",;n ",""or
'1'-'-;"_." ,'"' .... " .... 1. ".' ..t ........ "."" .,...J ""'" ",""...,.,...
,." A ....... m.p., h.. .. !ottn ,n""""-! ,n ,,", .. "" '" ,,", """" ....
du,;"g Ph"."" I'".;. " h".' Th. fI,b/j",l,rt, ..... wiJdy 4"..,.1 br I .. "
1I) .... ".in. ,\1.00 ... bu. i, unlikdy '" h."" had . 1>'ll" aud"ncc br i. " '" no<
origin.lIy ron.rived fo.- publi. dirib",ion . nd m.y no< iu.vt b<cn prep .. ed (Q'
public I<"k.,., un.il .n Pho.", nforced ,im<n' in 886.' The Bib/j.,I,,*, i.
non., hd ... " .. f,,1 bo,h for it> india,i"n of "II" , .. " we ... , ... il<tbk ill
Con ... n,i""pl< in ,h. nin,h mu'Y. md fur i" indica,;"n of how Pho,;"" rood
'h""" te.t>. W. may u Phot;"' .cling li>< a!. t<, .. h .. the infurml.nd
diligent Co",u",i""I)OIi"" <Ii ...,..td<r could h,,'< k""",n ,..hen I'>n..sr.po .... '
produced . nd fur it> indICation ofh.,.. one p. nirul., reader int.,pr<[i [he .v.il
able "'"I<. ,. W. anno . ho .... ev". ,,"urn' <1,., th. !l.bii",lwlu I''''''i'''' .... IOI;u.
of l>ool< .... ily ,,,iI.hl., or "'i,leiy i,mili ... in (' .... "".",in"pl . I'ho.;." hin, .. lf
d .. iml ,h .. m.ny ,,( <I"" hoolu h. Ii""" """ n(K rc-odily '" lund, he "'rot< nm ..
on ,h. hook, ,h .. hi. brother mish' no, k""",. Apl"t<mly unum .. l d. "ih not"" in
,h. we", no. uni ....... lly famili ... n .... ".t< !'!to.io" in'.rpu,ion' of
,he te"" rlu, he h.d r .. d """"'''''ily "i';"p,o.d.
n... Amphj"""'" con,i", of .... y . 'PI"t<ntiy ..,.iu.n before I' hot io>' ><cond
,,"Ur< .. p.n;.reh. f" m ... 1 .. ""1"'''''' ,0 '1" .. ,ioll.!"'O<'1 by A"'phil""h;"" met
ropoliun of K)"likos." Th. 'opics covered .. from minute di"!ui';,;',.,. on tI ..
pro1'<";'" of m.gn .. '" h,,,,,,1 """,iJ .... ,ion. of "rio ... . heol"llia.1 '1UO"""II" "
Like Photi",' o[h .. 1<lI.", 'he fapon ... collte["" i n ,he Am philh .... mix ref.rence>
.h .. !'!to.;'" a pt> Iti, .uJ" '0 "n<k,,"nJ ,, i.1t expo.i,ion' of 1 ...
hown iJe .. , ",,,,.of ",hieh ... n, ro "'p"",enr Pho,io' 1'<",,,,,1 ", min"",,, . "
Of .1I Pho,;", p",><rvcd .. ri,ings. hi, ."",,,ns p .... id. ,he OO[ in';sh" in,o
public exp"",ion' "f ni n,h-anturr 'hinking'" .nd, in Ofte furm or ."",h<l, 'hey
W< I< h ... d It) f., wiJ .. ,uJi1O: ,1,." h.d """"", ,,, ,he /ljb/",tio<itf Qr .1..
TheY' f< u .. ful ioo;c"o" of ... 11" ..... cceptahle p",i.I<h.1 rh.mri<:
i'WI. , ..... , .... o.l., ,ho """'.","" .. f lo" , """"-! .......... 'V'" .,,"
M,.", (, ..,,1, ' hI"n.! M ... I,,,,,,), "" . . .... , VUion, ,.,.) oddi,,,,,,, """, ..,.j ,10"
J'I.ot"" ....... in' .... ...! ,. f"tn.m..l O . h.,,010 (,,.u). _ "'"' '" f>dump (,.,.,I ... p.
'N' . ,.., "f"""n ,.., ......... "" ... ...,d . .... 1.0", ' n .. "'no. I )JI .. 10,.,1 .
.. [.,. ,.., ,,,",, I........., .4.0',,,,,," If ......... (_f"""...! """pin, .... ,
in "" nth ,,,,,,;.s.. I. .... ,. ,ho in".,,,,,,,,,,,, of ,ho ,,"' .... ",," of .. f. ,6" . _ ..
w .. Lohl< ;" (;"",,, I" ,ho ,"",h """W}" , ... ,hop''' ,), , ..... ".".ti..l " .. "j C"", ... " IN"" 'n ,..,
m,.,","" "" f H' ...... of ", .. w",.., ,.,"'''' '" 1'1."",. ("'" <h.p',," ,I : -' .1 .. ., Ph ... , ["
.... ...,'w " .. ..11,;. ...... , .. "u", _., .&.> ... ."
""" 1_ , h'l"" .1. """"'" <_ ill b< ,,,,,,.<1,, ... ;. ,h ... ", 6, ... "" d ... ....... of f. ,,..
" f,J . '"",,,,,,", IV. VI ., , h. W,I,' ho ... . I,.;. ... ..d ,ho .. _ .... 4.0 .-.11>0. __ 1, ..... _ibl.
..di, .... in l'G.o.,.,_ .. 6<o ,".....p.o., dUo 0001<. ,"""'" i ........... , .. <I""' .u '1""' ..... A ""_
ofln ..... "'''''''"'' """ .... "" "I"',..d .. in .... , ..... "",,,, ",,,, """lk<I "
............ ., fo.. J""-"'"oi ,,,. A..,... ... m... ... ! .......... .... 61. ' ..... "'.
, , fo.. ,n mmpk of .... b"", "" .". Rm ..... "" ,ho "'1'1'" " .Ii " .... in .... dioawioo oi f ,;.ov;'
""'I"" . rb. A .. of ,.., .. Ir,.t. ..... J'I.ot .... ., .. ".n,I, """,..I
i.""I'"""""" ... ,,,. d,,, ......... 01 f "" i. ,b.!""",,, . 00 off. ". Lo,,, .n , ... d.,I"".
" f,J. I...,.,J.. { W" ", .... M,'W' ", .. ).
;n ,h n;n,h ,nd nr,n ""m '" ..,mphfy con,mpowy ;n'tp'ta,;on"
mony of ,hem ",Iev>m '0 ,he .. "
The lef, by Ph",i ... olm"" incvitably ;ntcrxt ",it h 'M .. urc< of
r . ,i,.&>'.\IO: ,hoough wu,",h.nd im.g<> "ommQn""tc Jilfer<ntly. th< production of
Pon..gq,o . nd of diJ.oou"a "",rlof" chronologically, .nd both Pt.",;.,.,
.nd tlK propl< mpon.ibk for tb< m.n"",ript """",I "'" only from within tho
... me ,y,,<m hur .1", from w;,h;" ,he ",Ill< ,moll cdl ",i,h;n ,!u" .y"om, To "'sue
th .. PhOli ... pcr<Ofl .. ly in'oIvctl with tIK P.,,, Homili<;, .. opJ>O'<'ll to .t. .. ing
.. , id.mic.tl n,iI"". i, mo", Somni", .. , ho", .... , ... l'h", ios deal. wi,h
i .. "n f.m;li .. from ",hCf I'f'<OCrvro ''''00.., .nd we can > how hi, ,!.ought
differ!, WMn Phor;"' .pp.r<ndy wi",)""""i, . ppc .. in th<
",ini>tum in P.r' . gr, ItO. I the pm"tclI', d.,te. in,,wntion,
N.,ly ,lIl1y,,,,,,, in. romm.n ... tn.., ",J .11 of ,h.ose ,",i,inS wi,hin , h centu'Y
of 1' ;' ,g . \IO, inlCfp""ro N""h', .. k .. . nf "'p<;,m, pl>o<i"" did
too, h< . 1", r<pc .. .Jly ... prc>O<d. f .. ks, rommon r<..ling of the cpi...de _ fur
him, rho . rl: ..... , rypc "f ,IK Virgin, No.h w .. , ')'pc of Christ, ,nd ,I>. w ... .., of
the deluge fq>mcntl human .in _ . nd this interpreta, ion dcfinro .nd cemcntro
tI,< ,,,,, neaion bctw" Gt<g<>ry', ""ronnn .nd the mi ni.,"r< romhilli ns N""h',
.. wirh ,I>. ,owe, of Babel 0" f)""'" " ']1 .. comhin.,..,,, .nd ""nlig"u r"' n of rho
ador"i"n I.I"I!i. the m.sucrc of tire innoccnu, t M mOltyrdom oiZadlol""
th< pf<S<n .. ,iun in tf>< tempo, on f. ')7t follow <l,bor"e ,hi, P"'<tTt.
1'00,;", emlllt"".J the .acrin,;.1 of ,h. m...acred iflf","" .fld t!lflectl ,h.
"lferlng' of til< M. g; with .. in ,Ire rempk. tlrefeby p""';ding' <yp<>I<>gical
link f><t" ... ,, the .,jout;"n, ,,,. m.....,.... ",d the p ..... nt,t;O", '1''''' m;ni.mri.,,',
emplr i, on rhe high I"i<>tho<><l and tM temple in }<1U"'km .Iso poin" '0 the
p",i,,,,:h, ,,-!W high p,i .. thooJ.,. hi"o,;.,.,I .. empl" ,n hi' "'g<tmcnu
rh.., ",",ubr . mJw:"i,ics no' inlCfVCnc;n .lfoi", .., d b<r.-.yI.n
... 1 f .cin.tiOf! ... irh the SrructUr< of 'M temple. P The>< ,wo ""r>CCr.I! arc
d,lttrcn,. hut both <I .. i."ic .w,," .nd 1><""n.1 p"""",up.,,inn, m",f."" in
mhe. min;""lC' Thi, !,""ern mllSc", a p",i"chol ond.n individ
u. 1 in,..,lvcmenr in'M m.nu.cript . nd ,h" ""mbi"'ti"n implicare> Phoria>.
The <mph ... , on the high p,i.,." on f. ')7' vi,".liy rolludt. with quit< ' I>ific
.rgumen" . oom ,he rcl .. ionohip between ccdaiticol . nd >ccub, .mhruity: to
<kvdop the: .rgumefl tl.l'trntios m.nipol.t.J.n older hy Joocpno . l'trotios
did no< in""nr ,he id .. of e.,licf rex" '" hi, own en"-' _ . h ... cOllecir
was .nt ici p,,l ",tho .. . nd contin<>llong.fter rhoti", " - nor i, Ir < tire
fi..,.- PC""" 10 he . """,i.,e<! wi, h. poIi,;c.1 usc "fimage>, w. y ,h" rhe
" s... < , .... J''''''''''' .ff. 1,0. ,. """'" . , "" _,t., .",j""""",,,, "-1'1._ ' """ .. On""
.-..J...,.. " ... ;" ___ , ....... ok .... "'-", " s.p. ...... C""",,,,,, 1 ,.'61, ., ,..,;'.'
.. , . " Ibod.
" s...'.''f'''' , on , .... OK '" ,,""" ........ ,,;., to ....:,;0" f"<'<"' "","," ...,j , fot.n "'''1'.,,",
"'" oWo' """ 'r-i>'"" ,", "" ",I;" "'" .. " .... ' " ; ", r..1Jw," 10 "", f' ,,..
argumen, i. ,,=, ur! boll. in P. ri . in ,he wri,ing' of Photio, is <Ory
'imibr . 00 ;, u"lik ..... n..r .,," .. mpor ... y pm ... " "f ' /,&um<nt; ,h. mi"im ..... of
p.,i . g,.\,o.M [nO writing> of['l,,,,iO\ "'I'.....,n, ,Ile "'nl< .... ofide . [n""gIl
,Ion< n.<O d .... dopod in two di,,;ncr mcdi . Th .. poo,io. w .. !Omehow
i"..,.,lval wi, h 1'>.,is.g'-5' " i, >uggc>,al by'''' "'"CO,,'" of , ... ,i, ... 1 .. sumen,.
whKh "",,,,lid he ",uelUre of hi, ,..rillen ''I\""",n1; by ,he nOlUre of [ne [opK.I
m ..... g ... whicll"fica .,.,,,,,,,m, "f the p.ltri.rct"tO";.oK! by higll!y p,'''''"'! i""'r
[ion ueh .. [10.[ pr...,n[a! by [h. <wo inug .. "f [h ... rnp!e """i, .. lIy . lig""d on f.
'pro r-oli" ' )7rdoa p"",nt the only cum pie of [h. imp..,t ofl'hoti",,' p<""na]
in .. mt. or =" the only compl. of hi, il\1<mt in the .",hit="", uf the 1101)'
l .. tK!; imil .. ['Ittern m.y be,...n "" f. >Asr, w ..... Hd. " . 1",ld "",..iu" of
Chris,', 10mb [n .. vi,u.II)' pliC""'" ph",io" long .nJ d"""ip,ion ofi, .
Folio .BI ' ('9) (fig. '91
I'olio l.8Sr ill om .... 'On f .. " ... with H.b>.kk"k', vi,i"". ,"" ...tal b,' the fi", ['1"-
gnph of the ><rmon; ,he miniature the Old 1 .. m.nt prop/le nd Grcgo.y
tog<' ru:[ pfO<n,i"g , .... i,iun '" ,h. vi",'. " G'gWy and "and in tho-
.igll, fOrq;rour><!; [hC)' arc b..lmeM on the left by "''' ,""omen, iJen,ifiM ..
Pa, .. kn- nd Hel.n. (H AriA IIAPACKE\ l'! KAI EAENH) , Th. ,""umrn do
no.. !.ow.,..". ,,","Kip'" in [n. "i,i"", unlik< Gn-go..,. . nd H.l>:tkkuk. ,!.cy .und
in front.1 immobility. Pu",k"". ,he I'monific ... ion of (".ood FriJ.y, w.o>t,
impk brown gum.nt and bold, ,h. i",,,ument< of Chri,,', p.> .. ion: ,he bncc.
'I'ong<. 'I.il . "<1 C\l1' "f vin<s'r wi,h which h<- w., t",m.ntM on ,h< <""".
I!den. we,,, ful! iml"',ia! rcg.>1;' .nd hold nul! modd "r Ch,i,,', ,omh.
d<pictM a, a j.gged rock pitfccd by. door.r><! .u,m<>umM by . n oute"'!> [n.t
' l'I'ro,;m>< ... cr\lcih"rn, ,h'p<. :!J Both "'oon." ... "imbed i" guW,
Th. Mibn C. cgory indud ... a medol!ion poltT.i, of H.l>:tldcuk .ffiOflg it< fOu,
",."gi",1 il]u .. ",i"", ,n ,he homil)'. >od ,,f the Ii".,]!",,] cJi,i,," , p""m.
HIDald:uk showing C,<gO<Y ,he .ngd ofhi. vi,ion (fig. ' (0) " N" ",h<-, Homi)i",
m>nu>c,ipl. hO"T"<r. inro!pO""'" , ... figu= of Pa, .. k""..,d Hd<n. , Hckn.
I. .. no .. pliei, ront"", i"" with (;"'lI"ry', ICrmon, . Itbougl. .. ,h<- di>cov-crer of
the Cr0s.5 ,h ...... implici,ly ."""i .. "'i'" ,h. crucifi,ion, ... J on f. >III' .I"
!.old. Ch,i ,, ', lomb, P.[ .. kc..'c. hc m, king hc, fi n< """,r<I<d "i.", 1 ' PI""'I0", "
i. ro"r.tyd ... r.tthct g<nie fem. le, di"ingui.hoJ p,im.rily by he, .. "i ... ,...,
Thtough h """",i .. ion wi,h G<>OO F,iday. ,he rei .... them .. ic::ollr '" G'q;o<i'
"p<";"g I'-'r.gr>ph. ",hieh ""I.b""", F t<, wi,h <1. < ... g< 'Ch,;" i, ri><" from
the de.d, ri .. )'C ""ith him, Ch,i .. is ft<l from the tomb, be f..ccd of [he hond of
,in." The ,omb h. 1d by H.kn. "' ... preswn.bly i'''I,ir! hy ,hi, I'-'''''SC; "'C
.. Fo,...,..d"" .......... r. d" 'W", ;n <Mp< ... , .oo ,.
" 0 .. "", ' .... " " , It"') ' '0
" (;' ..... 1' "). pl., XXX1X,." XU,, "C !,,.,,,,{,...,),,, ". u" .. ,.
n Ii. Knobm ... 'I'u"k ...... lCl, ... I .
,.,






,
,
-
,
I
,
,


,

Vi-ion :lnd m c ~ n i n g in ninrh-ccnllJty Byr.anciurn
--

,
4- 1



~ .


,
j




'.
I
Fig. 100 O:.ford. BodI,i,11I I.ibmry. IHS Hw 6, f 4 r: Hlillkk,,1ti /'Ision
The pllriarch I' holio,; and vbuJ.1 exegesis
arc also !Old by Epiph:lIl ios Ihe Monk (ca. no-!too) that three of the rdies of the
p:lssion Ihat Parlske\'e holds (Ihe vinegar cup, t he lance and Ihe spongel were krpl
in Chri st's tomb. !>
Christ's 10mb is normall y represellled in the guise of the Church of the Holy
1 formula ignored on f. 2Ssr. The rock-hewn form piclUred here
il lSlead follows the prescript ions recorded b), Pholios:
Tile $;lI'ing lomb of Ihe Lonl is all of onl' howshol away from the ancien! Jerusalem.
I ndl'Cd, blessed Helena, when visited Jerusalem nd e!carl..! thai holy pbee of t he pill'li
of ruhhi.\ h ;Llld filth tI' l're. extended the :lnd the city wall .. . [n faCl. this tomb.
though il is a nalura[ rock. been formed inlU,llOmb by m:lsons. The ruck has hcen hol-
100\"ld out from casl 10 west, forming a narrow Ch:Ullber ... Whal one misht the
entrance-or mouth of Ihe tomb, when:' the workman b,:gan to CUi in. has its ol', .. nin flCi n
eaS[ ... What we arc nowde.scribing we Icarrl<'(t from Ihose who have lak('n the trouble 10
n:siJe in Ihal
Photios probably rccci\'cd his inform:ll ion ci thl' r from emigres from Palestine
attested in Constanrinople throughout the nimh century, 1(, or from Ihe Jerusalem
delegates who :lIIcnded t hl' Council of879-1180 ca rrying let rers (addressed bOlh 10
him and to Basil I) for funds ro help reslOn.' their churches.
r
While I'holios
was presumably not the only person ro have T('n' ived Ihis inform:nion. he was cer
tlinl y in a privileged position lodo so: in any lovent, he provides the most ext l.'nsive
written descri ption of the romb eX[3nt.!8 As we have SCl.' n, PhOl ios' inrel"l,.'St in the
monumentS of the Holy bnd estendtd TO the temple of Jeruulem well as ro
Chri st's 10mb; in bolh C:lses, Photios recorded hi s f. lscinalion in reXls and,/ bel ieve,
in the im:lges of Paris.gr.Slo.
Folio 174V (2.J) (fi g. 1))
Painted on the verso of thl.'lasi leaf of lill' precc<ling oration, (. 174V cerr ainl y rnain-
millS il s originalloc:llion: il introduces 'On theology' (Homily 28),!') tlw second of
II rhe Mnnk, City and ! roly I.r6--11., : Wilki"wn (1977), 117.
"""rr held in [hr Chu " h I)f the Virgin Ill' Ihe in Comlamim)l']", ,
cunmuctiun uf M ichad III : Jan in (19691. 1 Jj.
" 5 q;. Grabar ('965). 69- 70: (1991). 11- 15, 66- 68. 96.
, \ Ampltilt>d,ip. 'InCSlintl )[6: N . Weoterink VI.I (19R7). Ill- I Lj. 11.6--L6. H - t f . )0-3!. j9-f.o;
Wilkin..,n (1977). 146. Thr [eXt dun nOl .PIlC"u in I'G. il h, ho,,n..-r I ...... n IWl)c rihM. of len
labdleJ question 107, in numhcr of ,,it!. [he si[n ofJenll ... Ic" .
)to s.,., n()W Conigan (' 991). lJ. 96-97.
l' ... i XVII. +l1- -H4 , 461, 1>bg.blino (1987). 14-11.
For OIhe. d ... Wilki"...,n ([977). F ....... John rdtrrtJ (0 'Iomb I h"
WlS hewn oul of rock by JO!<"l'h. bm Ih i. ,akes u, lil1 If f"rtl.c, I hll 1 he aceou", in MJIl h,w's Gu:spcl:
'Api"M I ho,", who allOck d;vi li e i 1. 13 (. 11.16); r.1. KOller (1971). II J: rr.nl. Ander..,n (1980).
J" d. Corrig.n (1992), 167 nOlt 67.
!'O SC 1jO. 10<1-[75. OUt lexl allheend of Ihe J(' rmoll i. los(.llong "i,h mi,,;aluu (or
I he bj"CC fur on .. ) 10 , he foll owing um ion. Though Gall ay and Jou,jon (SC 250. 19- 10) .n ,ibmN (he
g;.p 10 sctib;ol n ror, '1";'" Lj (If. [S7- 19 J) lack. a leaf prn:i ... ly hr. e: iitt Appendix C.
G"'S",y', Ii"" "",Iib",,,,,, ,1-..0"'1;.",,1 <w.,iom, r. ,h.1" I><ou>< 'On .I>rology' i,
,h. onl)' on< of t ho.< omOo", ,h .. d .. l, .Iu.iv.ly wi. h God ,I>< F"h . 11 ,hI
''!l;''''' ." ..... ""'n<> from the Old T .. ",rn:nt: tl>< n .. t "'"'0 illu,,, ... <p ioode, from
rh. book ofG.n",i, _ rl>< of 1"""" .nd j.oob', "'u!;!;l< with.1>< .ngd _
whil. the 'hird oon,.im ,h ..... ointing of o.vid. \0
In p",.lgo int",Ju<<<l by an .nlug! gold in;[ial, ,h. ;e,mon <vol. Ooo[h
G<n<>i, 'ri,."j""
AnJ """h.no, 5""" I", .... "'h ,h.. h, wU iu"ifir-d by f,i,h , arod olfmd. """g<
.",in., ,t.. 'YI'. " f ,10, .. ' <>e,'."'. y" I>< ..... no.- \..,.] .. GOO. but otf<rcJ him food ..
m.n, He "' .. b<au>< ..., "'m.>hippl" f .. "" 10, <omp",h.ndcd. Arod j.<Ob
of, Iof,y ladJ ... nJ ... i, of .ngri., . oJ i" , m)""Y ,n.,'"'cJ, pill ", p" .... p' [<)
'igo;fy [I>< r<>d ,h .. ..... ,noimcJ fo, 0<1, ..J:. , , , .. >oJ ... ""tlcJ in hum."
. __ 1",1.."" ,hi, "ft", , .. ,I>< ,nmp',i..," of hum,n .i"", ... i,h GOO'" .nJ ..., ... '" un
body''''' m.rk. of ,10, 'ort'ing f,"'h ,..., ,kf< .. of,,,,,1 ""UK."
F,'.n ,I>< v;,,,,,II)' I"",,,i. Mil.n p,<>c,va "n echo of Ah,.lw,,, 'gr< ..
,-""incc . M )1<oo'"on[<>[ wi,h 'G.-..J in hum.n forn"; ,hQugt. med.lliQn buS! of
Abrah.m plK<' the .. crifi of I ... c fouM in p:',i,.gqro,.n inoc,il'ri ... " 1"<--
;ervl bo;M , 1.'1;< <",i,i"rI ;ndi .... '" th .. the Mibn mmu",,;!" ,I", "n
inchuled ,he ..".,."fj""(", with tho .ngol."
G[ego')'", of [he Ah .. h.m <pi..-..! .... of ,he <,,,,i!i.ion
f"lI"wed I'.ul', int<rp ... ion in Ir i, IWet> to tl>< llob ...... (""7- l t) . nd Rom.".
.nd ",m, ;" ed " .. d .. J in Br .. n'i ...... <1; ..... Th. cxp. ndcd n, ... "ive on f,
'74 v, which ,n""", Air ,.h,m lOki ng I ",,,flo;' ,..,v.n" whi I. I"""" <"" i ... the wood
fo, 'he ... ,ilX;'l nre up . 1>< moun[.in in addirion '" [h. ""u.1 ""'''c uf """if.,
v;><I.lIy ""g,l\en. thi' in'erp, .... ion, fo, luu co'rying [he w .. ..",n as .
pr<fi gu r>[ ion of eh ri" '" 'rying ,h. ctu>. to Culgo,h., '-'
But if G[ego,)', commem.ry on [h. ",,'ilX, "f I","", .",;e;I"'t<> )"er Byun,in.
<o",,,,nt;on, hi' "<cu",,, on J. oob d"", not, The difference hcrw<en G"'S"ry',
i",erp"",,,i,," .nd ,h., foJlowed by ,'''''' od, oomm<nu,ur> con ..., on:n by rom_
poring Gn,!!o'r', ,,,,ding wi,h ,h .. <Of john ofD.m.", ... in 'high'h ccn",ry. -"'hn
f"II,>W<:J ,10< " .. ,>Jan! <quot",n <Of th n8d wi,h God, bu. ronc<;,-ro thpi>odc in
'<lIm of . M .. im 'ypoJosy' Jamb ,"uggll wi,h God, 00 ,he Virgin 1><0"".1><
l.Jd" hy which C...,d . .. CIr,i>!, "' m. to .. nh; I>b ry uni. I [ha, which h.d t..."
H ..... II ",, 01. u. pl. xv." 0"" .. , (,.,.,), ' J, XXXVll, .. ' _doal h.}i),
, ...... , w"",""" " .,), 'H-''' , '." [l N" ... "" ".",, "" _ . "" W,i,,, "".
0, ..; " " . '''''Y \ ..,....,." eu.ln .,.. Oil..-._ I ,.nl, '" Kak ...... I ,..,1.
0. ,I.. ... hr "'- ,10, ""i"", "f,....., .... ch..,." j , on ,10, """",i,,, ofD...-id, chapr" -I"'"
Jorob .... , ..... crl-o,' "",M,d.,I"'''- " 'iC ,,0. 'Jb-'JO \,1., - ,11
Mil.n. Ambro. .. u ... <od.f ..... '" inf" p_ -I'" "'" in><ril""'" I AKUR IIAMI I!lNI. .01.,
"PP'W' ... _ "Q, CO" ........ " ,10, .. of (;, ..... hiM).>!. pl. X.XXI V""
" E.I- lor R<>m ..... ;. 'On ""...,,"".of A"''''''m' , SC .. , , .... ,6<, "I' '.'_1". s...bo
d,."".I , ..:Ill,.,""" 1r_1, u ... ,"" ""_ "._
..". ..... <1. " Grq;ory', chri"ologiul .. 8. i,,0 i. qui .. dilT ... ", f.om John',
ma.ioIogial .. oding: and i[ i. [h. lanor which .nal"ula,..! ,h ... ,nd"d Brun,in,
vi""", [he 'Yl'i kOfl "f ,he (;"'" Chun;h, fu. c .. mpk, "mif! ,.,r<",nc. [0 J.o>b,
... uggic with .he .ogd, while ind..ding four ",.dinp.,f ,he p ..... ge on hi. d<nm,
"""h of wh"", f.l!. on r.. .. <kdicat"" to the Vi<gin." Ph"'i .... on ,n..oth<f h.nd.
folio .. "'" G.<gory', Ieod, He "'l'plil. "1""'" conllnenwy on exh <Y<!1l[,.00
proviJc.d achristologi<ol .... hcr thon MOli.n in'efp to[ion in hOlh c ue>. !n '1uco-
tion >\9 of the Photi", wrt>le th .. J..oowrad"" ""ith the
t.n ."n, th .. i" }eo .... ,. .nd in,!",,,,,," .)6. Ph"ti ..... lik. (;rq;u' y, i<lcntifi", J.cob',
.[}Oin. ing "0"" wi.h [he ' "",k [h .. i. gIoriou, Chri", uniting """ prop!"" "
Wb.cthcr 0. 1>0' !'h.otio> chri"o!ogic-.! ;nl<.prcutwn of tn.. J.rob ep;soda "' ...
in.pi"'" by ( i",!\",y, .hei g.mem und.,...,.-,,,,,.h.< mo .. unu,u.! iCOOl<>gr>phic
f .. tu.eof the
the bib!H:.J "'CUunt (Cc" ... i. llI:1o--'j). J.ooob. "", .. ing. pink mantle
hi ... ,unic ,,,ip! wi[h g<>ld , ""lin", .. ,h. foo< of. moun .. i" , ProM"'" up
by adp pink rock. Hi. right leg cro> ... ovcr his tef[, hi. let, arm cush",ns hi. hud,
and hi igl .. >1m d.ngles in fron. of .he n><k, All mgd " ..d. hcfof'< him: .....,
more "'SCI>, "Il( """,nding .nd on. dcoct"Jing. ".nd on .Iadd .. 11(,\ l"fA: ). All
[hT.f< nimbed in gold .nd we .. gokl m.n.i<> <JV<. blue !Uni",. 'll>c.< dc ib co.-
' eipooo <lo.dy with ... nion' ofJKOb', dloom the wurth-ntury v .. Latin. OOt
>comb p.iming> .nJ ,he "",If[h-mury O<: ... cueh. (6g. '0'): -'" ,""ugh o"ly
r.ri. ,gr. jt" in ...... thir<! . ngel .pc.king to J..:ob (, Jer,il which Tun in "", .. I
r.J.io!og>n =mplc.)." .11 show j.omb in ,he .. me ro>i''''n, indL>dc fW<) .ng<b on
'he loddcr, . nd the bU>l in In . n or the top of'he l.ddcr fuunJ in
oth .. ''1'"""" ... ion. of ,hi, 'l'i<ttJ . No ",h" 1IY'""i ,,,, "-r"""",..ion of ,h.
dre. m, however, indud" .h.< 01 ... ,h i .. .. the far ,igh'. direcdy 1.01""" ,he ol".
P"r>rW by Abr.llwn in the to\' Thi' ("'me. plc>um.lbl)' .ddeJ by the
Homil;" mini'fU,i" in 'pon.." 'f.$O<u,ion hcrw""n the d, m.""
[h. pill ... h .. J.cob I .. " .noin,"" ( . [8). l'h",iof in .. "", in [h.< =oin,c:d
" one ... . 'ypc ofCh,;", .nd tiei t he J><ob image !>Ot 001) to the <Krihee of l<uc
>hov. i, bu, .1"'.0 [h noin.ing oflhviJ which 'PPC'" hel"",.
As if to cern.n, [h. ","n<c[ion he.wn [i.em. [h. mini.tu,ist clorhcd I .. ..,.
J.wl> with ,he '"gel, .,,J D.lviJ ;t1 idcn,ica) 11"'"'<"'.>;.1) .... " . P'k bhoc t""ie
hemme<! in with. "'" ,..,1.. "'" legging> . nJ hlu< boo". On "'''' I",el. ,hi,
p."e.., info.ccd .h< <)pologial '-"OCi .. ion, of .1I .hm: Old Tc.umcn, figu","
,.. ".w } ..... , t ....... ....t ... ,.." ....... "'y' t)n- ............. h..,d, )lo- m 00 .... , "",'*'.,..,
, 000f&, . ,. ,-\""", I hoOd . -" " -". n ",-nJ ..... m. 0. .... ""1<00. "" rn.p", I ... ' ,0, .
"' 1:4, W",,,in" "1., " .. ,), ..... 1' "';,0<"",,,,,
F:4. w .. "".k VI" 10....,1, ,t: /'G,ouo,.B.
" 1'<, .... (,...,), pi, XL.11 . oJ , ... Sm,T"" SdKd (, ... (I-l00<1 ... 10_1, ...
.. I "' <;..,1:0..1\\ ... , ,;'-10,,,1,"0-"'.
i ~ i o n and mt"Jning in nimh-ccmury B)"lJnti,"m
widl Chrisl; on another, it suggests [h:lI we are mean[ 10 view Ihe page as a con-
nected whole rll ther than li S a collcct ion of disparate scenes. A christological theme
is certainly present. but so [00 is the modf of anoinrillg. Inspired bY;1 sentence in
Gregory's text. the decision to include Jacob's altar unified the mini:lIure visually
and [hemati cally.
Photio$ is implicated in f. 174\' in a numbcrof ways. but always as a reinforci ng
lIoice 1":1Iher than as an insl igJ[or: he followed Gregory in h is chrislOlogical inter-
pretation of Jacob and in his interest in Ihe anointed pillar; and (as we saw in
chapler 4) his wri t ings on Ihe anoillling of David were impired by a request from
the Emperor Basil. The conAucncc of Ihese interprc[llIions. howcn' T derivative
each may have been on ils own, nonel heless suggests Ihat I'holios was involved in
[he planning off. 174".
Folio j5Sr (}6) (fig. 36)
A fuJi -page image of the Council of 381 prefaces Gregory's thirty-fourth homily
whi ch, in Paris.gr.5Io. is incorrectly titled 'On ,he landing of rhe Egypl ian
'"0
.41) I n [\Ct . the orat ion in honour of group of Egyptian
sailors who. landing in Constant inople with" load of grain at t he height of the
Arian conrroversy in 360. ,Ivoided the Ari :1Il 'lIld out instC,ld
Gregory's slll:1 1I ortho(Jox church. praised the Egyptians for I heir
ing loyallY 10 the on hodox posi tion, :tlld conclem ned the various interpretations of
the t ri n i ry current a mOil g co nrelll pora ry heret ical grou ps:
the Ellher, the Son. and the Holy Spirit lare] neither so separa ted from one another as to be
divided in nalll rt', nor su con I racted as to ci rCll mserihed by a si penon: the
native being that of tilt" Arian madness, Ihe uther the atheism of Sabel Ii os . 1
T he ill uminator of Paris.gf. 5tO slressed the laSt cbuse ('the olle alternative ... ') by
introducing it with a gold initial Y Without this due. \w would be hard pressed !O
explain the r:lt ionale behind the inclusion of the miniature. lor Gregory made no
reference to a council. much less Council of,81, in his sermon. and P,uis.gr.5JO
is the only illustratcd copy of tite Homilies to pref:ICe the oration wilh a com:iliar
piCt ure.
4
_
1
The inlage of the Council of 381 was of obviolls importance to the designer of the
m,lI1useript: il occupies, exceptionall y, til(' el1lire p:lge. and a fr,lll1e with rainbow-
p,l!tern corncrpiece5 enamel-like the gold The
lIlilli:llUfe shows Theodosios Ihe Grtat (0EO.lO( CIO] C 0 M Er AC), '' nimbed
and in full imperial rega lia. wilh :1 crowd ofbisitops on a sigma-shaped bench
againST an architeCTllra l backdrop pai nled in shades of pink. green, blue, ,Ind ochre.
A throne and an altlr dominalc thecentrJI axis. The Ihrone, gold :llld jewelled, with
,I red cush ion 0 n top of a rcd a nd green pro lect i vt' clol h, bt"'ars a n open gospdbook.
The blue altar suppOrtS ,1 closed rcd bOtlk lied with dUI is A;mkeJ by two
rol strolls; I hesc p r('slt mah!y re"resen I {h c' acts of I he ti rSI COli nci I. held at N icaea.
Ahovc ehe eh rone, agai nST a variega ted hi Ill' hackd ( OP, Ihe 5te Ill' is I i tied 'I he Sc"COIIJ
synod' Makedonios condemned
by Ihe COUllcil of 381. crouches in the lower left corner: he has a shon dark beard.
closely cropped dark hair. and wears pink and bluc-. Apollinarios, also condemned
by ehis co uncil. originally mirrored him on tlll' right: a
dr.lwing (l'aris,nollV"tcq.lat.2H3, p. <)6) shows the inscripTion Arr OAlNAPIEC
and appends a nOte sayi ng Ihal the page was already dalllaged.
4
\
T he miniaTure 011 f. 355 r provides :1 fai rl y straightforward image of a
T he semi-circular t Ill:ty, as Christopher \Valter suggested, derive from
," SC liS. 198- 117 (N/W/,: JH- J 1S ). Om",\( U')!91. !R, 1'1. l" GlJlur (19J6). 90-9!: W"imllJnn
(I H!IJ)' Iq- 1!6, G"ll.ty (1943). '7' - '13' lJullyay 119M). \9. pI. IV: Ainalov (1961). "0: l)t'r
NetS""i.n (1962), lo6, HI, W.lln (19701,), JI- j7, !jJ, 262; Brubaker (19H,), 4-6; Cormack (I?H9),
'Add, I io"al Nmc. and Com me"", '1_ .. SC J I S, !l 2. ., I'ari,."r.llo, f 157'.
'J The Ii '" rgical edt lion. om il ,hi s homi Iy: Ihe m iniat uri 'l of 1 he I,,! ilan Co,egor)' i",rotl"cod il ""ilh
a pracht II); ","ne: G,,,[,.r (t94 Ja) . pI. XXX!. J.
<, ,\ dalhr ink has Slrenglhe",.J Ihe Il.lm. Theodosio. . " Omo", (I 12 .
.., Se," \VJiln (I.qol: Walln (1970"). 40-49.
mtiquc Ken" ofSocro,a.<><I hi. disciple.." from e, .. ly Chr;,,;'n rep"""n'.';"""
"fChri" a<><l hi, ' p"nle., but i,.!", "",m. '" reR"", con"mporary ",Ii,y, .. d""i
d .. <J in ,ho Lifo "f So.phon ,ho Younger, written by S .. phen ,h. o.-.c"n in
T"_ on, hron! go<pdbook hoc. nimh-n'ury procrice .. wdl: .. x"
document .he ",\cmn en,hronemen' "f .he g<pcL. " ' he Council, of [pha u. in
4)1. Ni.:.e. in 787, ar><!, mu>< im!",""n' here, Con ... n,i""pl. in 869." n..,ugh i,
d ..... no. ,I .... Y' 'ppc.' i" 1I)"",n,i". '"p.....-n .. ,io", of """"eib, ,h. mini .. ure of
,he iconocl .. , Council ofS!1 in ,he Pm'o"""of Psalter . 1so indod", ,he g<pc1 (hg,
10')." which ,i" ... hef furlomly on, .impl. b..och; wh .. nef or no' ,he mini .. ",
i" w .. n .. king 1 ,'i.".1 <om"",n, "n ,he 'pi,i", .. 1 poverty " f 'he BI) Council, ,he
indmion of ,he gO!pclbook in .uggem ,h ... ,h. Gr<gO!)' mini"ur
i" fo11ow<J pic'''';.! .. ",ell .. hi.rorial ronve",io"'"]'''. cn,hmn! g<pclbook
p""iding OV<I ,I>< rouneil .ymboliz<J tI", guiding pracoccof divinity (.nd onho-
do. ,...di,ion) in much thc .. me w.y as. po" .. i. of 'he cmpcrof gu.,.n,e<:J 'he
.uthority "fI, ... to",,,; " m"," 'pccilially, the book ' ignificd ',h. I""'''''' i" ,h.
",,,,neil of ,he Holy Sri,i[ who h>d in'pir<J .bo",ripm",, '
I !<>WC>"<f kgible [he min;',u,e, it f.iI, ttl illu",.,. 'he ,hifty.fourth homily in
'''y d irec, ""'y 'old, ,inee (;'<gO' Y w" nO( hin ..,lf p.....-n! .. [he )8, Council, ,here
;, no b>.-.graph ... .! iu"ific1!i<m for ilS inel.,';on. A. devOl'" moch of [he
, mon .o.n .!t;o<;k On Arioni,,,,, 'he p""r .. y'! of "''';or chutch co"ncil on f. JW
w., ee,,.i,,ly '" .1'1''''1'' .... ' ''pplemem ", ,he teXl,
"'<gOry. on. would ""PC<' '0"", 'f>< Ii", um<n;al Council (N"' ... I)
,nd ,h. downf.oll of Ariu . " Thi, i. m.nif ... ly no. [he = .. , he in",ripti.,n. m.k.
da., w< "'" .he >ond Cou !Kil (Con.u noi ""pIc I) condemning Mak<J"" i", and
Apollin .. i .... Though ,h.re i eelttin am""nt of unn.inty on .he poin.,
I>t;,k<J.,ni", 'l'P-'ren,I)' ''llu<J ,h .. ,h. Holy Spi,i, ""'. I.., impo ... n. [!un [ne
fune, .nd ,he Sotr nd [h .. i, <><cupicd. po>i[;on mid"",y bc",=n God .nd f'
rc",i.1 humani,),'" Thi' ... as. in .ny eve"', how nin,h-..:e,ttury 1Iyt.a",iu", imer
rlCl<J [h< I>hkodoni.n h<=Y' in I"'",i",' word., Mal:odonio. 'fought og.im[ 'he
Holy Sri, i,'" Pho'i"' ...... '" toneernod wi, n M.kcdon;"' h<""",,1 P"'"""'>--
" I )'ob), '" I!>, ... .loo G .t... (,,)6). '" "'" :;.,,>1><. ,!" ,,,,,,,,,,. /'G '00:< " ."
.. "" ,<'" . oJ " ... ....."",. W..r", .,,,.,.,), ", .
.. Moo., Am.., !'a.rob"", 6" flo" o.&r.u.. .,,,u). JO . ,. I'dok.oMdn".1, ) I'"" ), ",,
Fo, oom .... "',. "" dUo .. inuv, G.o!>.. 10'17' , .."_"',, r. \r-.m, .. rr .. lI,
10 .. ,), .. , . <r';, O. ,!" r,., ... "kW "-'I "'. "" <lur<<< , ." .. " .
" s., .... (" ..... , ,' ... /). ><>"...J ........ Cor,"'" (0 .. ,1. .. , .
" s..C"b", (,,,, ), "''' W.r,,,,I ,"""I , 'ii , ,6.. " C ....... n (r,u) .cit"",,, IOQ.
" ". w, !;oJ in V<IT<l! i, J.I (",.... .. ,a", o.,J.Cl.l<V, f. >Y, " ..... ;..01, ...... C .... , .....
lo .. rJ. "I. rn .
.. s.. G. [l .. J, . M .......... " In M"IJon;,n,'. /--.,.;" '" c.n.I.o.., ,x
10.,6),
" Homa,- rd. I .... ..!., ... ,.1, " ' ; ''''' . M...,., <'''').lb, (or .. .6, ') . .... , ...
'''''''''''Y'''-,'" ... ' ('.......,il .. od " ,'" "("s" t.t.ru. XIII, i): u '"'- s./ur, (o.,u.). 7< .
'"
The pat riarch Pho(ios and ex<'gC5is
"
WI! II ou,." .
.. 81;
,
.-
Fig. MOIIIII Atlmi, P,wlOlmllor 01, f tor: COlillcil 0[815
>OJ
.'
"
, .
,
meat< th .. , ia Iter l<' (Bori,) Mich..,1 of Bulg."i. Jc.c.ibing ,he
rou aci 1>. he <kvut<tl mo' t "fh i, d; ><u;on "f the Co" ncO I .". <0 adem n,,;o" of
.... ",d i""ifiation of ,It. Of,l<oo"" position oa the Holy Spi'i' ....
Ajloll i " .. Oo" " n 'he o,he, h. nd. den;ed Ch,i,,', humaa nom"" Forthi,. he too w ..
"ill beiag ro<laJly ,,,,,JcmncJ in tho ninth nfUfY: the 7tl7 Council menti<>ncJ
fl>< "I"'"i""i.a he''''f h, ie8y: I'll",,,,, c .. tig':lIed him twice in . 1>< A"""iwhi4
",.I "Pi " in two "fhi< lt,; Nik .. 'he P:.phlagon"'n (ca. '/(0) ooati"ucxl the
mxk" The """i"ul'< on f. J5I'. in mh ,",'oro., .... ih, j " foc ... ,w' f from
condemn .. i,," "f Ari",;,m to empfu..iK im ... d .he o"hod"" in!ef'
pret.tio" of ,he Holy Spi,i, . n<! Chri,,', hum. n aatUf<. Gi""n eigh,h. and ninth
<e"'u,y ."enti"" to ,II. Ari," I>< .... y which i"",ophil .. ci,oJ ... bi"",iol
pr=Jcn' ror 1"""""I m'" _ i, i, inte .... ,ing ,n.. tl>< opp<>nuniry." condomn
Afi", vi, .... lIy w.! not uken. But vi,u.1 aT''''''"'' '!!"im' differea, heray ""''''
,",ing m.,..n.,lIoJ he .. , ,,,.j ,he r<>lignme'" """,.d. w;,h ",he. nin,h-c<n.ury
occu",,,on .
The oou"ly and r-ttti.tcl..1 circle for which P:.ri . gr.sro w"., innd<tl 'pcnt
much of ,he """,nd half of ,he nin,h nfU!), in .. truggl< wi,h ,Il< "",,fn churd.
for OVCf ,he newly ronvc<t<tl Sul!!"' ''' n,, '' F ... nki,h. Roman nd
Byu",ine mi,,;"n.r;c> romr<t<tl w, the lUi<. .nJ the ten .. >i, .... i,," mogni5td
the ,Jiffe",""" bc<w" I..,in .nd G.l duct.in,," II "",jof bone of ' ''''ten,i""
b<c.m< lho w<>ro ing of ,'-0 Niceno C......J. Th< orig; .... 1 fOrmu!..;"n, fOllow<tl hy
'he Byun. in<>, " ipub'<tl tit., ,he Holr Spirit pl't>C<lcd (rom 'he r .. ,'-of, F<>t
of f'ca"""', h"".......,f . he Ffanki,lt mi<,;"na.i in Bulg''';' ... ugh. an ;nt
1",1" .. 1 Ctc.:d in wh>ch tho Spi.i, p"""",d<tl f,om ,h. F.th '.nd the Son'
Iji li"'l""" "
The """. oJoq""'" Brunt;" ...,ie. '!!"i"" ,h. I..:";,, po<i,;"n bolonS.d. as 0'"
migh' p"!. ' 0 ,he p .. ,i.Kh Pho.i.,.. In hi. encycliu ll". (8671. It;, letten ' 0
""r< :-<ichol .... n<! ", the aKhbi,lwp of Aquiki. . aJ bi. (f'U"t
.. [,_k " <01. , .... ,do< . ... "'"""ok, " 91,), ,_ ... "" do. U. n , _)" f'G
' 0"' ....... )7B, " . ... W},,"' .... Ikm"" h.h,. h .. . ..Iy.i..,j ol." In",. "" .. (,'" ., .
,. ,," , ... V>o .. J, "',n,' Xtt t ... ,8-<"< s.h .. " ..... ). ' 07 ,," 'k '1""" '. "
<01. "'"""ok, V (,,"1 . ... .,., 11 . h ... " II'G ' O"l9--o'I' '1""'''''' .1, <01. "'",,,,,ok V hW01. , _'.' I .
,_u (I'(; ",,,,,?G-,..,...,. fo. l'hoo"" ,,.; .... ' .. , ..!, Uou.d.! . ... "' ... ", tt ('101 , ), ,_,I,>
<P'"'' ... , W"" "''' 01.;.",. ,.,."""', ..!. , ...... ,J .. . ... ", .. ,..ink ' " ['91,). , ... , . "" NiI<n ...
Min." . .. h" n" ,0,1. On <Js<>,,' , "'''''''' >pi ... Ap>ill .. , ..... ill."' ....! wKio .n,; ........ ,,>I
""-",,f ,,6<, ... " I . _,!up<.... So< ,,,", Ji,,_ .n "'" 10, .. in ,h. d..ro",
On .to. """ , ......... ",1, .. 01 bo<kp<>unol. "" (,..,,,, !\woo.i"" h.7I), ..... ' ''_,'',
'><>Iv< 1 '.,,), C .. " .... " 0761' ,; o-l<v I ,.,..1 .
.. s.. .. ",,, " ,"I, H ..p . ... .to. <In.,,. if now ,"' ........ <Cd. o...m .. ("" I I,
"l .... l>.oi< "n," ',j ,I.. !I,...wJ.t"" ." ,.., ,,,,,-, ,,,,",;" '''''''''''''''' , ....
"""'" . .. .,.{"I . " ROO, ..... " .. 11, J.,p (, . .. ), :leh.I", ',.hl, .... D. Gan,;' NO/If
7" -1',
''<
Pho,i", ju>,ilied ,he onhod<;.x p"',i,ion., I,"gth,'" H< 'he .. rip,,,ta,
pnn'ided logicol ",b"tt.I" .nd !'<View! <ccksi","",1 """ 1""",,<> '0 d, .. .cdi, 'h<
Lat,n ,o,erp"'I>"oo of jili",!"'_ Th< "" I,i,w,io 0. OUt PUfptC>, m"" jn,.,.
<s' ing. !'hot;". ",med ,I>< l""in "aching. ' .. mi-$;obdlim mom.ct', 10 <pi' h
,h., 10k .. ,,,, "'m< .ignificonc< in li&h' of 'h< cn"'fgcd ini.i.1 ,I. .. ;",,, .. 1<=
G'gOI}'" rckt<ncc '0 ,hc Sabdli." hc"-,,y in r .. i, .g'. 1'0." EV<'n mot< imf'Oltam,
,,",-VCf, Pho,io. t<lied on hi. knowledg< of ,hc conJem""'io" by
,he Council of JS, '0 pmvide . hi"""cai p,,,,eden' fOf hi. 0"'0 condemo,,;"n of
,he Lt,in p""i,ioo, which he duly l,kened ,,, ,he M.krtlonion he .... y, .. I'ho.io.
f"und .....,Iu,ion '" the con'rov<''l' wi,h Rt,m< .ho<" tho Holy Spifi, in ,h< act>
of ,he )31 Council. .nJ h, ,,>c<I 'he 0ounciJ', condemo";,,o of .. ,
juS!ilic.. ion fo, hi.awn """demn",,,,, "f ,I" l .. ,in po;;.ion on jili..,."
i"i"f;.n conce'"I, ' PP'''PfL:t '" ,he k>uf[h ceowl)' .oJ clc.dy
ap..,..cd in ,he homily >=mf"'''yi nS f }jj<, "'ef< bn>.JCf ,h.o ,1"", of ,hc
""hod<;., chuf'Ch during ,h. patri.rch". of Ph",,,,,_ The "'n,h...",,,,,,1}' o"hod,,>
church w ... i"",lvcd io, d"pu,. .lwu, onl)' one " rc<' of 'he ioity, ,h. roI<of ,he
Holy Spiri' , It i, in ,hi, ,,,n' .. ' ,n" ,hc mini",, of ,he Coun.cil "f }K, '"'''' be
unOO"oo.l ,h, P""' '"prlemen" (;'<g<)ry-' a.-gume"" a!;-iio" trini .. fi." he,..,..
, ie> .upply;og . comll , ,,., ,he condomn,,,i,,,, of M.kcd.>n;"., 'ppropfi". '"
nin,hn'ul}' problem., At ,n" ,;me. '00, . 11""00 '0 .nr "I""" ,,(,It. Holy Spiri,
WI> l'",icuh,ly '1'fI"'I";' in ,h. COn',,' of G'gOI}'" 1 lomilic>, fot nin,h.
"'''''''Y .mho ... ci.cd GregOI)' of N.,i.n,,,, .". m. jof .u,hoc;f), on ,he dmn;,ion
of 'he Hoi)' Spitit: It " .. , Gregor)' ,lone .nd fi ... , hefo '")'0'" el" who dearly
,nd mo hoIdly p,,><loimed 'he Spifi' '0 be Gnd, "Iu,1 '0 ,he l' .. h" .nd ,h. Word
IChf;" j."' The min; .. u upd" .. 'M 'pr'op';", , .. "
The dec"io" to ,,,d,,de, <onJ h<r<tic, Al"'lIin3l;oo, in ,he min .. ",,,, w.,
proh.bl)' 00' b...cd .imply on, d.,'t< fot _"mp.,. i,ion.1 .,.mme" ), 0' hi"",;col
>ccur.>ey, Ap"'lIin.tim denied ChriSt', hum", n .. ut ,nJ ,hi, ,,.,one of ,h. m.jor
'" ':";"1, I oJ, uooru.., .... W",,,;nk I lI,h l, ..-". "1'-., ' 0' ''': .,."'''' ", ..J
''JO f,o fup< "0ch0401, a). 1 __ .. t....oJ 'l' ""';,' III ",.t 'I , " ... ,,,,- ">-,,t, <pi"", '9' ('0 'M
",h,,,,,,,,,oI' .\q.iItioj,<,j . I ..... "J .. ,0.1 ttt "",,1, ."s."" !'G,on".,,,,.
'" .... 1"", 1_ ........... '''f'Irml M,,,hno', ph",, ', t.luph<m, _"" H ..,. Sp;<i<
""" foop ,,,. , WIt;" I ' .. ' I , n s.. .... ,;'" "",llto)6). """ .'" ,,,,,
" """o,,,'.B, I'i>.>t." ""''''m ......... u/',M """ s,.",{I,.,
.i<hou, ..f. .. "", ,. m. i. H. .. ,l
r
,6,'"' <d. I ... ",,,,., I,."" ,b, .,'" u, n,.
( , ,,01, >r< ,,.. I .. Hom", ,6," l.
.. EO<)"licaI, <d. Uoo"J", ,0.1 "",,,,,, , ('''d, II, ,,,. ,,, (1'(; '0',7,'BI, " (!'G
'Q" I, s.. ..... (,.,11, " . 'j6--"': ... an ",I", ..... .,1'< ... .", of, _ .. '
, ....... m. l,ik"'Mi.;h.,l ,.., s,-.c.1t..,..t, <.:w.runp.. .. h .. ,), ,,-,;_
" :-,[; 'n .. ,I>< Papbt.p .. " , Rj,,,, I ,.;b), J7 !I,.,... ",I. N ...... ""'" ,0 (;""",y', """"" ' 00
.... $po,,, ', S(; "" ' I ..... ' I. I'hoo .... "'" d ... G ..... Nr '" N .......... b",,
.i'"A'h..""., ...... ,!.wi" ., 'M IWys,.; .. " ........ OJ . _ .
'"
h<=;.., with which tl>< iwnop/lik> h.d ch .. gc<l the K:onod .. u. II> w<: uw in
clul'''' t. bec>.u .. the iw""d .. ", deni .. ;! th .. Ch,i" wuld I>< rcpra<nted in
m.,i..! wlour'. the i""""phila accused . hem of denying ,h .. Ch';" had ",i"ed
in truly hum.n f""m." It ,hu .... m.l ik<I) ,h .. Apoll in.';", .ppear> on f. Jllr fOr
the lOme "'...,0 ... 00.:. "bke""o;"", '0 provide a hi"oricol p=eden, ,h., ,u"ilied
"""ICmror.'," onhoJo, pooi,ion. To. een.i n "'ten,. the en,i", im.gc pl.". to
,hi. antiioonod .. " ,heme' .coonling ", rhe l.ife of Sr Step"." ,n.. You"gcr. ,Ik-
image; of ,h. council, 00 'Ik- Milion in Con.unti""pl. nul bttn ",moved i>y rho
iwood ... Emperor Com ",ine V and rcpbO<d i>y hippodrome ><cnco: f. )II'
implicitly ted ....... ,ni. d.f>e<m."' ... I\o,h ,n... p.ge ... wlml nd ,h. ind",i<>n of
Apolli" .. i", .. nClinn.i>y . ".I<>g), ,n.. """'''' ico"nl>ftik '""o'y jun .. 'h< indu
.io n 0( M.kedoo;'" .mn",i"" ,h. ortOOdo. IW ... : on
Thi, mctnnd 0( ",iog ,Ii .. SOU""" '0 , ""Oemo curtent hemic< w"" , f. mil;.,
one in ,he nin'h centu,). n.c P:lUlici.n h"coy. fO, . u mpk W>..I roumeted by ,h.
rei ..... of a fo;,nh-ccn,my ,<>t, by Akutld .. of Lykopoli. ' g>in>' ,he M.nich.:m
h.rc<r. brough, up '0 d.IC b) on in"ndu";",, dediCl,ed '0 B .. il l du, wa .Jm""
"", .. inl) writt.n by PI>o,io,. pJ'ining how Ak ... ndc", WOfk wo. relC>":lll ' TO .h.
ninth-nmry prohl.ro .... Ph"""" n,.d. ,,,. .. me poim in ,h. ol><ning I"'rogr.ph
of hi, vm'", " The p ... lldi,m I><""n Apolli ... ,i", .nd lcoMd .. m,
.nd /o.bkcdonios and ,h. Ji1iMf"' dchate thus in eontem!"',: .. y
.. , ,, . ThO"g\. more ,",crt ,h.n in P, ' ,",gr,IW. >cv<:,,1 of 'hc antiK:or.ocl .. , im.g
in ,he mo'!:;n.l 1' .. 1, ........ pply ,h ... m< kit><! of polemiaJ p,mlkli,m: in ,I><
r...1t ... fo ..... mplc, ,h. iconnel .. " whitcw .. hing." ;ron of Chti .te
,im.lly '"'1,,",,1 wi,h S'q>h. nos and longino< 'o""",tting him on ,he <to<.
17): I"., in tI,. .. m. m'nu,crip'. Pc ., , r.mpb Simon M.go .. bcm: on iconophilc
, ... mpling.n iconod", _'"
The im.g. of ,he ,81 Council can. ,h.n. be inte'preted., . vind"",ion of ,h.
orthodox posi,ion on on k onneJ..,m, It m.y 01><> be linked
wi,h ,h. Synod 0(8;9/80, which rein" .. ed ,he..,,, of ,n... PhOl i." Council o{g67
,h .. hul bc.:n repudi.,ed bpn. Pop< 000 Ign"i'" .fr: .. I'ho,io' diW.K:< in
A. the ].Ill Council ..... caUed ' 0 reunite ,h. chutCh .fi .. the Arion schi ,m. ,h. 867
, -"uncil cd.h, .. ed ,he 0(,1 .. choreh .f,., ,h. ico"net.. ..
The , 8, Council ,.,ilied the Nian. Ctd: . h. 867 Council communicated ,h.
- ,,,- .. "I f,,",,,,, il< .. _,'/' ik "p ...... , "'" M ,; XIII, ,.,.1>.
" ..... !aha._), ... ,..,. " /'(;,,,,,,,,,"'.B: "uu .. M.."",,,...,<l, '<J-
- 0..,,,, M .. ., '''''''''' J",.,..,_ 001. .... (,*,d . ...... D ... , s.. ru.tt... <I"p"r "
M .... .. ' ): V"" (0001), " m: ',. 0 ('fl.,. .. /'(;"'0'''' .
.. .. , H"'.M .... ood.n "', '" I'm I) "'" """''"'"'''Y. c",,", (,9\7).
'9l-'OI:Coni",. (I",)' ' 7-)0, 0. ,t.:lJ.ludo. r...I, .. , ... ""')0.
" ,'." ,. '''' ')0: !!._", m"","): M""'I'..,"
., 0. 'M .. , C ..... OKiI, ,0.1 PM..,.' .tt""", on .. ,lieu ... ., ....... \1, "1:" ",,'1. ,.,_,.,.; .
...
h.nk;.), miuio"".i", fOf "hing .n 'merpol .. 1 vernon" The 867 Council, in
mh woN" oond.m,>I p"",i .. ly [h. two h,,,,,'" by [he J.81 Council
olludl tu in the Humi!i .. mini'lUre, Iw,\OCI .. m .nd ji'W<f"" (;en.ini), the
i""8" of , he J.8' Council could be ",1.,1 [0 comeml"'''uy Con>"minopo!i[m
<o!>Cern" i, may also h . ... ,i.u.lizeJ. hi>to,ical prkn' for ,he rho,;'n c.,.,.ncil
of867 or, mor< likely, ,he "')"f' o.! OU]1/80 .h .. =10,1 ,he "" .. ,,( th .. ("".ouncil!'
Who[".r o>r nOl (, )\If wa. 50 finely dirce.ro. howcvt:r, the mini.tur< vi,u. II)
the "nKturc of Photi.,.' .. sumen .. , i .... proc ..... "'" kn()W it frum
.... ,., .nd use, ,hi. "ruct,,,, '0 wnd.mn h.,esy of p,in"')' co"C<'m 10 I'hot;':"
himself
Folio ,64Y (,9) (6g. 1.S)
Folio 164Y, unlike .ny othe, mini"ur< in r .IIi . gr, 5t o, ioin. t"!;<1he, two "'1"'r."dr
fum"! piu=.'o b",h of which h ..... in otldit;"" ,"pplem.n[. ry de"il ou .. ideof
the fume iudf. The "pper pictUIC. bordered in gold !..ndcJ wi,h ml. i ubdividcJ
infO ", .... individu,lIy f"ml." .,,,,,,, b<fo.rc the hurning bu.h, [he con"",_
":on o(Soul (Paul), ."J ,he a>crmion o(Elii"" towm h.o"J of God th .. emerg ..
from .n . ", ofh.,>,." .bov. the " 11,. ",-, pic'''r<, iwl.",d ft(lRl ,he "WC'
by, .. rip of I><',,!t.1 I"Khme" nd di"ingui..h! from i. by.1>< blue bond, ,h ..
frame the gold border. ;. <witt ... I. rge . nd Ikmt"! to. 'ingle ,",e!>C. the ."" .. ing of
the R..! S.,. wi,h ,h<:d."c<:of Miri.ro. Oncc ' lY'i", ,It, ",i"i.t",i .. pl.occd. h1lK! of
Go.! ,b.::wc ,he f .. j[ co",inue< ,ho di.gon.1 h<gun ht , I>< ,.)', <IIl>n .. ing from
the hand o( Go.! . b.::wc the top
The mini.", .. prcfacos Gregory' .... ,roo" 'On h'p,i.",', ",bieh o.,;i,,,on ,h. f"l
lowing !"g<, . nd ,h. pic'u,e< .... lirmlr linkl ",i,h Gregory', .. XI, " Grq;ory
CCl"'unJI the convention.1 <qu.tion Mwn Npti,m .nd iliumin,,;"n or
."Iigb,."m.", "..,me I.ng[h: h. "m..! lh .. [ 'God i, ligh,', and ', ... ""J ligb. ;" ,he
.ngd, kind of outAoworcommunication of th. t Ii ... , lig!"'!' .nd ,hen rcm .. kl:
And '0 men,ion moe< liJh" _ i, ..... liglu d\., .ppnrl .,.[ of fire to M<<>, ..+om i,
burn! ,h. bu,h ioo<l, bu, d>d l\O! con,um< i" ",.how in n.lUre .nd ro dbre d><
1"""'" ,h .. , w'"' in i,_ And ;, ,.., I;pot ,hoi Wll in ,h. 1';11., "flire , hot led h .d .n4 .. mI
" , ... " .... " .. ,), ' ...... ,)..",, ", ('''I'' , "'"., .
),Iod< ..- , ... "",ffi.oI 1""".,1 i. , ... "" ...... d;"'Woo .. ",ully 'pp ... 1 ... "' ....
(''',) , . - 0.
" 0. 1'I>o< ... .M cl,"'p"'''' modd fo. .... '",,, .. , ... .bo Kou .. '1_".
"" ,,,,,,,", (' ... ). ,.,..". pl. xu!, .... ,,.,. ""9) .... 4'.,,, "",",,,h>l (""j, _". 67' ,"'""nUnn
" .. I ), ,.7; W.wz..w. ...d S<v<m ... h"';,l. ... , ... , 0... No, ....... b ... ,). __ w., 0.,
II"" . " "''''''. '0" ,"''''''''''. jO. "' ........ (,,.,,. r. joli..; l,..,. ""r) ........ "
K-lal,...,). '7' I,,,,h). ''''_'<>1_
............ cl ...... 1 Mp" , ...... , .. """""""'.'" ,."..., "cO' ""'"",.,,'" .. idt, , ...
mOld!. ... " ...... , ...... "51.; "I. 'n odd" ........ p< ... ""homU,....!. .. ( ,6",
"'SC"'.,,,,.
!' 7
,h< Wi!d<f ....... II .... Iigll, ,Iu, c.orrial up E'.Iii.h i" ,h.",J. . '-;' .. "(6, r<' JHl ... " hum him
" i, ,,,,,,i! him, , . Lt,h, ... " ,I\< ."Ko" ,h .. bI.,oo "'" "PO" [,.,,1 .nJ by """,><Ii,'11 h;,
h.,.kd ,I>< J,oo.<SII "fhi' 0001.-
He eond"doo: 'Light bnidcs ,h<>< in, 'pi.1 ",m,e i. ,he illumin" "'n o(bap,i.m
of which ........ 'lOW 'I>c.oki ng. fur it con .. in. , g"''' .nd m.,yellom "","men' of
OUf ... I, .. ,ion:" The ,I>"", "",n", of ,nc '<>f' piefUr< ""'fC ,hu. 'pific>lIy mcn
ti,,"oo by Gf<I;<>f)" . nd th., ugll ne n<vc, rtfc,m! dircaly ." ,he <"",ing"( ,he Ri
s. . he r<m>thd ott ,he pill ... of lif< d ... I<ad, tit. hr. d i,<> in t he I ..... ", "'ene,
Tn..., ""i..oo<> 'Y<, foo..",,",,,,,, ,,{ "oly ",iMt imp''''''''''' i" the o ... ,ion: ,h. mini .
m,i .. of ,he Mil .. G.-ogof}" ignofed ,hem .11 't) moc<",,.. in" .,d on ,hc fW<)
",tr.,i",," di"""....!., leng,h, ' he mi".de" Can. and 'he t>caling.,( ,ne p'''''
l)'Tic .... while ,hc li, urgic-. I edi,",o, ,I,,,,,, ci,h" (;'og<>,)' p, ..,hillg 0" ""n< of
b.pti,m.' " B)' ignofing [ne ol",.;"u" [he d"'igncr o( f. .64V w., not .!!cmp,ing [0
imp<<. ,,.....' d'."',on G"'J!<'f}"" " .. tOon. (Of, ., Sir."l'ie [k, N<ct>cS>i.n <>b.crwd,
.11 ,he Kcn", ","nc n.",,,o, I ... di= <I )' to bapti,m,"
S)"l.;(",ine COmmen'''o'' h.bi,u. lly cited both [hc "'cn,ion of FJijah and ' f><
<..,..iog of ,h. Red St ... '11'<' "{""pti,m," Neither the conv<o"i<m "f5.oul (I':.ul)
!>Of 1.1""" b<for. [he "<I,ning hu.n, h"""",,cr, "'.f< ",,,m.lly ci,ed in ,hi. conn",-
[ion; me epi.ooc W1!, in rm, intc'l"Cled .. a .. ion of
vi,gin bi"h." T" rIo ... i ... , though, 5.oul'. com""ion c .. mplilied t he rebirth of
""p[i.rn , (Of, " he "pb ined in .. Icng[ny a m,idc,..,i,," ofb.opti,m included in ,h.
A",';'il/,;". ,he old S.ul 'died' .nJ ,..., rnu'l':[ed .. P. uL"' PI><;., .... did ""r Ii .. ,
. lIy COnnect tne burning b",h with bap,i.m in ,he .. me Ct)ncl'CIC m.nncr, bUl h<
did d", , .. "" in .uch w.y 'hot , I .. <qu.t;"n II<'Cm. in<>C:ipabk." Agoi" in
[he Ampbil/N4, Ph",;.". linked ,hc hurning hu,h wi,n ,h. Holy Spirit,.11<1 fOl -
lowed ,hi, immedi .. dy wit h . paf:iphra..: of)ohn 'f>< B.op<;'r: ' I indd you
wi.h "".ote,. but .. he will b'p,ilC you wi,h 'he Holy Spirit . nd with
" Ibod .. .-,<4 : ___ of, ..... p.,< """,.l ...... ;o"i>l. " 'hjJ" """
Cr.tw (, >iI, pl.. Xl., ._" .1>< .. Ion ... .pn.a iI .. ,"'o ..... " >II ,...,,,,,.. non< of ,I><m ,.....
van, on "'" ibid.. ph. XXXIX X 1_1-'. X I ,t."
"!n "'" 1;,.<p<>I "ji, ..... , 'Onb.p< .... ';, HonUI, we>l",,,, 10"'\, ,,---t,.
1.1., Nn-.... ..., (1.,; ,1. 1.00-1(>[,
., "'" fJi;'h, 0...0&. '0,_,<4, Tht '''''''", of "'" IILJ s.. ..... ""'P'""j .1 .. oJ, ...
""'" oft..",.,.. i. , .. 1" .... 1" .. ""' .. ("J- ,,,,d, .o,.. "jOloo of ,I>< G ... ,Clo.Kio
i.d .... J.1>< E=.l", ."' .. ;"" ''''''''' ,I><...do"" fo..- ,,,", r.....i..l oft,,,,",,. ,,,", pri""" d ... ""'K.
,." ........ Io.po .. m '" , .... M",,,, I (, ... ,1. ,,.._,1, .
.. Sttc", "'''no t " .. ,I. " .... "" tin N,,-,," (".,,). J"-"" . J'-!jl,
,. Qo, ... ., \' 0. """ ....... ""' ...... W""".k IV [,,..), ".-.It), "I', I .
HI-jM, ,.,......" (f'(,' 00"' ""_,,,,,cop. ",D, ",8) ,
.. _i .... -. "",............u.- " -....1 M ............ ,,,", t.".""' ...... ,.;t!o
IMnh .. wdI. Qu<>< ... """J' ,,,", \1'.'''' .... ,,1 \1" hol,l. _" I'G .""'''! .... ,,,,)
"",,1M ... bo<h i.,,'1', ... , .....
.... , ,,.,,.,), W,,.., .. k VI " (",1). ", II. ' I- " (I'G ,,,",,,,6GI.I), """I"'''' Wlo", (091' ) .

,,'
Howl'ver indirrnly. PhOl ios here (:onslrUCted baptismal intt'rpret:uion for the
Moses episode. and this re.lding of the scene bri n!;S it inro conformity with the
visual typology expressed throughout the rem:!inder of the
The message of f. 26" v is nor. however, ca rri ed by Ihe Typologic !1 sdeelioll of
SCl' nes alone: subsidi :try themes to the emperor and the patri:lrch
le;lk into the whole page,
The way thaI Moses ;lnd I he burning hush bn:n preselHed is 1\<loses,
his pink tI1anlle flung over 3 light blue lu ni c. sl:H1ds behind snull green hillock
3nd has rotised one leg to resl his foot on it : IlC 1o::111S forward, twisting his nimbl C'Ss
he:ld ro thl' side (perhaps 10 :I\'oid looking ,II Ihe angel on Ihe righ I, Ix'rhaps to
:I\'oi d hilling hi s on hi s r3i sed kned, ;1m] umies the laces o(his S:lIlclal with
both h:mds at the inSlructi on o('lhe angd in Ihe bush' (0 AIT [L \ ]OC EN Til
BATH) who tell s Moses 10 ' unfasten the sa ndal s of your fed (,\ YCUN TO
TON COY), The scene illustrates Exodus ;:l-5 , when all
angel appeart'd to Moses ' in a offire 0 111 o( the midst of a bush' , and God told
him ro relllove hi s shlX's. 'for Ill(' place whef{'01I dllm slJ.ndest is hol y ground', The
gold-nimbed angel , in a pale brown mantle o\'er a blue tuni c and lVi th one wing
l' Xle11l1 i 11 g over Moses ,HId I he (){ hl' r t ueked b:rck, holds:1 lance in ils righ I hand 31ld
st:Hlds in a relaxed cotltr:lpposlO that COlltr:!sts lVith Ihe cOlllortt' d position
imposed on Moses. Rt,(] flamcs mingle wl,h gr('('n twigs abolll tht, angd's calves:
both undulat l' up toward it s waisl : Ihough following the Septuagi nt aCCOUIll, Ihe
pre5Cntation o( the angd 3C1 ually in ril e bush SCl' ms 10 be unprecedent ed , Moses is
largel y obscured by hi s posirion and his placement behind rhe hill ock: it is the angel
who domin3tes the scent' :lIId participJ.tcs in the composi tion of the top regisl er as a
whol e: il b;lbnces lil(' idemi cally clad Eli jah on the right. and Ihe smaller and
slightly 10IVer h:llocs of dI e :lIlgel and Elij:1], in turn frJlllc tilc I:rrger :lIld higher
medallion that surrounds a portrait of Chri st in Ihc emlral scene, ' l'he chevron
shalx' described by Ihe thrce haloes is coullIl' rbJ laneed by the more exaggerall'd
r('verst' chevron formed by the repet il ion of costume colou rs: Saul, \\' ho kneels in
the middle scene, lVears the same :IS do Eli jah and tht' angel , T he
scenes are funher linked hy Ihe green hill which recurs in all three. and by the
manifesration o( divinilY !l1:I1 appears, increasingly elev;lled, on Ihe right 5ide o(
e:lch vigllerre, Th .. , form thallhe divine takes, however, differs,
In tlu: middle SCl' lle, Saul , inscribed Palll (rIAYAOC), kneel s hetl e:lI h a gold
medallion Ihal encloses a POrt mil of Christ. from which a stream of li ght blue light
hcams down to Saul . Christ's face has Aaked off, bill he is identifiable by the v:rrie-
gated blue mys thai form a cross behind his head , and hy the purpl e g:armem O\'er
his shoulders. A green hill fralll cs Saul, and behind it ri se the pink w3 11s of a city,
wilhi n which \':lrious blue bui ldings are visi bl l.', A small green struct ure wirh a
am! n;mh-u"mur}' IIp.am;,,,,,
door sits at the far right of the quadrant: tWO cypress Irecs rise behind il. TIll'
closely follows Acts 9:3-5, and Chrisl's queslion inscripTion
beneath his pomait: CAYAE. CAYAE. TH ME t.IOKEIC ('Saul, Saul. why per-
secutes( I hnu mc?'). The CiT}' behind Saul is presumably D:!masctt5: Ihe smal l green
building before him may represenl a rural shrineY! The conversion is f;u and away
Ihe most commonly illustrated ewnt of Paul's life, :md the versioll on f. 264V
follows the cOl1ventional Brzanline formula, certainly establi shed by Ihe ninth
century, <IS bot h this iJ1usnatioll :lIld the Vatican 'Chrislian Topography' make dear
(fig. 77). '>t Th is does not, however. mean I hal I he con "efsin n in Paris. gr. 51 follows
The " Iopogra ph)" P:ltlCrtl ill ,Ill Both n i n Th-cen til ry min i,1 m res show Sau I
with hi s raised r:!lhn tban prosnating himself in full proskrlll'sis with his
forehe:ld on the ground; in the 'Christian 10pography'. however. Saul :tppears
I>vice, once sl:lnding and once (dlen to earth:
JJ
,I common duplication that was
avoided on f .1..6 4" - presumably because it was more important for the b,lptismal
typology of the page to signal what l'hotios Gilled Ihe 'death' of Saul than to re-
enact visually Ihe of the conversion story. The of depicting divin-
iTy also differs: the 'Topography' miniature shows divinr rays emanating from an
arc ofhea\"en: OTher \'ersions inseT! a hand of God.
ThesekClion ofa medallion of Christ for r. rather than a hand of God or
an arc emini ng rays. apparendy conveyed meaning. Andre Grab:H argued Ihal the
illll/go dip(lludound here (a ponrait in which Chrisls halo is enlarged to aCI a cir-
cular frame that hi s shoulders rather than simply sining behind his
head) W3S a symbol of victor), : Kathkl'l1 Corrigan, who studied Ihe frequent
appearance of the formula in the nurginal psalters. has th,1I it signified
'a 11 ico 11 of Ch risl ':).1 Ch ristopher \X'a Iter. howe\'er, m a i llIa i ned t h:t I I he use of t II is
in m,trginal psalters was meant to indic:lte that Christ 'physiC:llJy
preselll and visible', and propose.1 that [his same meaning, which is linked with
visions of divinity and has iconophik resonance, applied to f. TheSl' inter-
pretations hav" obvious relevance within l'aris.gr.510, but a second hyer of
meaning seems to me equally important, and this layer lie'S not in tile torl11 of the
im:lge but in its content. The decision 10 depict Christ, r:lther than an arc or ;[ Iund
of God. allowed the full p,\I1oply of the ninity 10 spre;td across the top register.
Following l'hotios. Ihe :lngcl in the burning bush represents Ille Hol y Sri rit. Christ
obviously is Ihe Son, while the hand of God rhat rises above the ascension of Elijah
in the next p:mel stands for God th e rather. This hrout is surely imemion:ll: 1101
only docs it provide a finallOuch 10 the delicately b;llanced top regi .,ter. it ,1150 and
(juile appropriately brings The trinity into the baptismal typology of till' as a
whole. In addi tion. the formal of the regisler visuall y confirms the of :III
., Ke"lcr J 7. ,h i. '" a mile,,,,ne . rc,di ng h), lhe .1 .... " .
, VJLgr.699. f. 8,v: S(O""iolo (!9oS). pI. .,8, n Fa,,1 appe .. {wicc;n {he wel l.
." Gr,b.r ([ 917). l{ 8- :! I: Corrigan ({ 99 :), H - 71. ." \X'.li{n (19H7). ! LJ- l{ (,: d. Kn,kr ([9,)0).
mcmbers of Ihl' Hinil y Ihal , as WI.' saw in Ihe di...cussion of f. J5Sr (fig. }6). was a
pressi ng concern in the jilioqllf debatc. I suspeCt thatlhe to portr.JY Christ
rathcr than either of the ;llrernat;ves was the prin, ary onc: once thc choi ce to COIll -
plet ( till' Triniry was madc, til(' form of Ihe porrrait lOok on il s own weigh!.
Ulilike the scenes of Moses and SauL the ascension of Elijah and Ihe crossing of
the Rcd Sea had cOlwentional baptismal Iypologies. and ,Ire presc: ntcd in a rela-
li vel y conventional WlY,% Ihe prominence of I he crossi ng of Ihe Red Sea, however,
maits brief mClIIion here. The equati on between Moses, who led hi s people 10
fr('celom :KroSS the Red Sea. and Constlmine, who kJ his peopl e !O Chrisli:milY
across the Tiber on the Milvian bridge, was an nld and f.Jmiliarotle:'1" e\'en Photios
ilwoked Ihe crossi ng of , h,' Red St'.I as all analogy lor orthodox Chrislian \'iclOry, ''Ij
The scene on f. l64V had, we may assume, imp.,' rial il has b"cll
lrgUl'd, in any t'ven t, t hat I ht" rod held by Moses t hat fe;1I u res in I h(" Hom i lies min i-
alllre was kepi in dl c palace a, Consr:ullinopl e r:uher dian ,u du' p,lIri:Lrch:w: pre-
cisel y for th is reason. (1)(1 The sli l'cr sizt" oft he represcn tat ion, whi ch d wa rfs t he Ot her
Iypologiol pictures. smacks of prt'(erenlial l re,lImenl and prt"s umably respeels Ih"
doubl e layer of significance ,hal Ihe crossing of Ih" Red Sea bore wiThin i{sdf: il
pl ayed inln Ihe bapt ismal {heme of the scrmon ;I!ld {he mini anm', and it
TIl(' rdigiolls importanct of dLC emperor hy calling 011 wiTh
Constantine dl(' Crea! - associ:llions IhaL as we saw in chapll'! 4. WeI(' nOI OUI of
place in Paris.gqlo.
Folio 5l.V (10) (fig. (0)
Folio 52V shows sc(' ncs of rht crt'alion and fa ll in Ihe upper IWO
receiving the laws and Grt'gofY pre:lChing occupy the 10wl'sr.III I ' l' hl' folio is
i 1l5ertOO oclw(:en qu in.-s six ami seven, bu { no lIe( hdcss ceria i n I y rCI ai ns i in lendt'd
place, for (as we ha\'e seen) Ihe scencs in {he third f"gisler arc d osely rd a{"d 10 rhe
following sermon. Grt'gory's fifSl oraTion 'On peace' (Homily 6), wriliclI 10 com-
Ill "rlloralt' rhe r('conciliarion of the Nal,iarlZltS communi!'y aft(' r :I period of
strife.
l n
.:
Gregory did nOI. however, wril" aboll! Adam :md E\'e in fhe sermon: and Iht'
se(lm:nce Ihal unfolds in Ihe upper registers is in fael a curious one. 101 Ii opens wilh
... 0" ! ......, ch.pler 8 .
.,., I'ur d; :;.: ,." i{)l1. wi ! h .. . r1in h,hl;ogr .ph)'. >c,. -"du" inck (, 10 I .1I"l 1.
''" ".g. M '''g'' (' 9S8). 3' 3. .. So 100 J,,'i\'cd ..... ,) (1\187). 46'-46 J.
'W Schminck (I\lK?). 107: on rcfcrt' ncol'.< (0) Ihe slJ/fin Ihe Iklok o( C.-rcnlUnic5 Thum ",d (199l).
11}- 114
Omonl (191?). IS- 16, pl. XXIV: Morey (19!1I). J6. liS: D ... Ncn.cssl.n (196:). !08-l09:
(196, ). r86-J87: ... (19-8), Brub.kcr (193S). 8-10: Brub.h.

lu, SC 405. IlO-17'): t;.I I.I) No-Hi. St ... chal'lrJ J ,i,r addi, jUlul d; ",II,.;Oll "f d,e h'''!!.fJ ph.
1c.1 8 (," '"' A aC. lll e'" of iB",,,!;,.ph)' JPI",a" i"
211
Vision 3r1llnwaning in nimh-et"mur}' B}'l..1nlium
the cre:n ion of Adam. fol lowed by thl' creation of Eve: ralhl" r Ih.1ll Ihe {('mpt.lI iOIl.
the nex l s((' n(' shows God's cursing of Adam. Eve, and Ihe serpent (Ccnesis
j: IS-20). :and this is by Ihe expulsion from par;](liSt', Thl' St'cond regisH:r
wit h a reprCl>e ntation of the cherub guarding Ihe tfCC of lifl'. Normall )', fol-
lowing Ihe of til(' bibliC"dltt' xt . Ihc cht'rub I)(' fofl,thc expul sion: were
I he top tWO rl'gistCfS of f. S2". cotbPSl'd il1lo :a cOl1linuous tine:lr n;lrr;ui "c, Ad:am
and En' would be propelled Jirt'Ctiy illlo Ihe I ree oHife r;uhl'r Ih:lIIllU! of p:lradise.
An archa ngcl handing Ad:Hll a Two-prongcd hoc follows Iht" cheruh. in rtfnencc to
j :l"r 'So thl' Lord Cod SC Ilt him fonh {Jilt of the garden of delight 10 culti -
1',IIe the ground OuI of which he was taktn.' A body of lirenture
el.IOOr.ll cs on Ad3n1'S roil s olll side par:ldisc, :and al least twO apocryphal text s inti -
mal e dUI the archangel Mi ehacilauglll Adam how 10 till the soil. Hfl Rdcvalll visual
parallels 10 thi s image do not, howe"er, se(: rn 10 cxi st. ICI-'> Genesis j:!-4 is norm:ally
by :a dcpiCiion of Adam ;ll ready at work or. dOSt'r in spiril 10 I he Grq;ory
scene but hardly identical. shoulderi ng a matlock or spade a5 he is expelled (rom
pandiS<'. IOf. TllOugll the archangel 's pr('sellct' may pH.suppose knowl edge of tex ts
describing hi s mit" in thl' ('venl. Ihe pi ct ure of Michael handing AJ:l!l1 I ht, m;l1tuck
W:IS ev identl y cn::atl'(1 for f. 521' 10 STress thaI physica l 1:l bollr an import ant
rcpl' fcllss ion of thc (al l. -I'he final o( lite r{'sist('r, the 1:lmC1l1 of Adam
and E\'c Oll t si de par;ld ise. rct'll fil S 10 a SIa nd3 rd iconograph ie ll form u 1:1.
How('\"cr dct :lils, the:: inclusion of the:: Adam .lIId Eve sequence::
was not arbitrary. Ill' On one level, the history of Adam all(1 Eve signified schism:
the {('mplJtion and f.ll1. responsi bl e for Ihe: original break OctWl'CII God and
human iTY, in th(" li l urgy anri illCl>es to themes of and uniryYIIl
JUXIJ l)Oscd wi th the scenes of the: 10w('sl regi ster. representing rcconci liation, Ihe
min ialure as a whol e thus provi dl'd a visual analogul' 10 Gregory's sermon. and Ihe
.'" I"h( '\1,,, .... 1"1'''' 01 1\1,..".-, (('I',M Iliff (I Ef"U) n;z i. 010>\ sp.-cific: ',' "d ,he l ord God
.11,,''>( .enh b)" [he af("h:lI1lld J'''( .. \' e Ih,'m w Ad,m and .howcJ him )"'W I<> work . "d lill
the g[U\lnd' ((' h,lIb II It91 II. t IS; ."" th"I\,,,)k ofJubil c .... \:1\ . 1!-I\I ,hni.. 16- 17)). The !Uul
., l'pcars !" he J "n d"d, >t:e Br)'c' I 70.
I"' 1'" ulI h ..... lIm')" .arwph.gi on " hieh eh JI;I d ;51 ,i blU .... a or wheal w on "",I . 1.",[, w
I,"" ( "" ... , i. R-91. ph. 3' 1.4. 38,.\. 196, 1- 4) (011''''1'",,11)" ..... n,hl.- f. I!\" in ,how,nj: Ad,",
'''g,n of hi. n ;>lr" .. b," di'''':1 Impl.",iblr. Thr do",">!
wmpJ",,'n' '"'''' III g.oup l(l.,ed I..;tl;n ,n;tll,,>("rol'l' - Il>e \'(Iine h ... l\:.thcl (\"('o,nuld
11\1711. -0. fif(. 44) . o(S, I u",. (Omoll' 1'')1.>:1. 1'1. ,) . lId SI $""hlll', J'saher IN. era)"
1'1 -;-1 bUI .h ...... hght on .n}' p",,;bl.- .ntc<:cdt"lIu (01 1' ;,.1;' .1.0. An .ugd olfc ..
Ad.m "- h ..... 0" ,,,dr,hct"ulI"Y b"'u, .... d"ou .. Mon, ..... I ... (Bo"dk. 1' 91.11. 1'1. \.). and ' I,.d ... ill
.ht" '"Uti ""'I" ., ,\ 1. IIIl",bu,\" (G.lb,a'tl> 119(,11. 1'1. XVII . but botl> o( Ih.-.c- con> I"n ,onl d,ffe.
nw h,,'" 1 hd' on f. p\"o
''", h;n Adam d' t,;..",I ... , fig> I .\. !9. JI' DClIlu. pl., !9t\, Add"'
'111: Or huc. ;t't" Dc"'''' r I 1'1. 12' Gold.,h mid! and \X' ... i!Un.nll (I,) 10) I. 84C. 86 .
,,-1',,, "I' t (0) low; " g urig; n,ll)" "Pi"' . "'.! 111 II,,, bah, I ,?SII. 8-10.
"'" S<< " .g. Ih,' ,cadi ng. for I."", ill M., Ie, 'I 11 (I ,(, I), 18- 19 (",hr" !;!o-J:!O i> coupled wirh
1'",,"e,['! .1:! I), and ! 4- ! \ (",herr Gcncm I:! 1- 4:7 i, {()''I,bl wi, h [" Me,)', 4: l).
lH
. rrangrmen, of 'he Ad.m .n;! [ ve >juenee infOl thi' interp",,,,,ion by .ban-
doning II .. chl'Ofl<>logiaI >cmun, of(",,<><>i, to><, im'gc<<>f un<ulli.d p" .. dis<, on
tho 1m. 'g>in<t im.go. of di"",nt - the cur>< .nd ""pub;"" - .nd it> wI .. (t.bo",
.nd t.mentl on ,ight. 11." the mini""t< ...... int<nd.d os. oomm<nu'Y on
.mi" .. .tnd t<>n<' Ii""'n i ig",lI.d by ,h. rwo P<""'S" ",.",.d by m.,gin. 1
in the texL Th< fi ... of tf><>< p'r>phr>.a EphW,n, ' I'or he ;'ou, "",,<c.
who h"h m.de both One . nd h"h broken d,,"'n the middle .... 11 of enmi ty." "
H()W ,hi, pus>g< """,h wi,h f I'V i, ",,,,.Ied in, ",rmon dcli",m! in 86j, whon
l'Irotio> Cltp>n&d on it to writ< ' Fur CI,ri .. ;, 0'"' pea who 10 .. broken down the
middle .... 11 of enmity . 00 througll him .. .., h,ve been r<eoncikd with our F.,hCf
and '"Of. from we h.J ",i,kcJl)' p.ncJ ot"",Iv<> in fOron timn.' ''
I\cy1>nd the gcner,,1 int"pre,.,;"n of ,h. f,II".n im'g< of ",hi,on. ,h.
Adorn .nd Eve >juencc <m, '0 h.v< bn mo 'pifieall)' "imul"ed by the
p ... ph,.... of Eph<> i . .... ron .... nion tI)' m. rkl to. lert he rnder to ito 'ign ificancc.
But .lthough tho b,kbctwn God .nd hum.nitr i. unooubtcJl)'e.prrncJ b,'
,h. M.m .od b.., >juc""" .t.. mom<'" of ",hi,m _ ,he f.1I i .. df, ",hich do<> nm
'pp.,.r on f. P" _ w .. I ... impolt.m tlun til< opJ>OSition bnwn oon<otd .nd
di",,,,J .. <>pr<S><d through the verti".1 bifu", ion of the ....p .. m. Thi. no< only
p,lf.llel, tho domin.", ,h.n,. <>f. t.. hornil)'. bur .1.." ,hrough tho medi,,;<>n of.ho
1CC0nd p .... gr m.M in the te>t. tic; the <Ju<n to .. of Musn ,ced.
ins ,h.l.w,.nd the N"i,n"" pri .. " md monks in In. tow... "'giSt", The """"nJ
m"kcd qUO<1Iion, from Rom.n, j;l.O, [,,.d!: ' whe", .i n .OOuooed. gr"'" did much
mOle .bo.mJ, ' " In the Ne", T .... ""'n . ,hi, p .... gr fUln>. P>" of, di"' .... ion ( .... ,
11-U) in which P.ul no J [iu, ,in ."t<red [t.. wmld tnrouglo M,rn,,,.. ... unde,
"ood.,. .in onl)' wi.h the immduction of the I.", [0 1.10'" (. he fin. ><ntenc. of
" ,10 .d. 'the I,,,, en.cm!. thot "lfene<" migllt .bo"n;!) . nd .... , mk<m<tJ by .he
' .... M.",. Ch,;". I'>ul'. WO<d. pnwoked nome,om mediev.l """,m.m"i .. on
origin.l .in nd the v<.", mut ed in P,ri.,gr, jtO .,",...! '" pringbo>nl fur I""
.. <gi' <>" M.", ... n ofCh,;". ' " Mos. , ignir.c.n, i,. ro"'"><,,t,1)' Oil
Rom. ", po. now pr<O<.....J onlr as. lengthy eaten. p .... ge. ,,-I><"';n Mo ... i""
used 1.1.,... r<iving ,he i;w. ... pi",,[ .round which h. 'I"''' [h. ront .... ..
Ad.rn .nd Ch,iSt, '" . n "sumen, h. returned [0 in ,he JI. .. phiM;"""
- !'>,i.,J""o. f, "" _, '.w u. ,... .
''' ... ",,>ly I ., . <d. I_oW. hOl,), I" "."" '-I ...., h.,fI. ,,.; I .. II_ily 1.". So<.a. Ilomi.,.
. ,oo, <d, '--..... " ... t , '" " .... M.."", "",). ,,..
'" r.. .. " ."", f, sc ...... ,. , ." II . H)
'" w ...... hoi,), w ...... {, .. ,) ...... ., ,_ "t? r... !'hot .... F<x rom ... ",",,1 >piliully ""
............ j ,W .... "",(;" """" ,.1, " . " .
,, ' IIH.I.. ,,",,: ct. C,1I . T", .... , C"" Pa""", Com ..... ,,"" "" ,k< r .... i .. f .... "'"', .. A
.d. ). H .. """,, """ mi. n'J;nl>ou9. ,_I, "9-,,'"
,,. QuHo"" ." oJ. \I;'.,...;,w. IV (0",). ,,_. M . --,1, ( PG .. , ,,,, ,.0. 81. T...JcoIJ (0....,),
,04. .I,.,-.cd 1'Io.<bo. '",n><-b, ,n"",,' i. ,hor ....... in , .. ,.10, .1.1 ..
'"
Phot;'" n"'od th .. until"n w" thc M""" H: !.tw, it """Id n", be """'t.
niud; only ,in h.J ....... 'e<ogni,.td could ',1.. king , .. ""ui'" i, ,hroogll hi,
.. crificc. th" ,11 migl" be rek2scd from thc laho",i"", .. i".n imp<! nn
Ad,m. In , h.om;I) on tbe annu"';""'n. Ph.o[;'" ront;nuod;n th;'
..-in. J .... ' ibing the rtdtml'tion of origin,l.in by Ch.i" .. . "'Ie . ... from .n.. 'toil-
,,"',. lifo ,,,,,rd..! Ad.m f<>. hi, [ ... n<gInO"'''' _ a r<W. rd pH:[ur.J ... how "",n,
on f. l'v, '" Wh;1e M""", t.w wa> nnsory . o unde",ond of;!;n,1 .; n. it
' UI"'..cJ<41>y Ch.;,,- ' ,.
Th. conr><cr;on bctwc<:n Ad.m .nd Ch.;. . ..... a f..,,;);., on. [0 nimh-nrury
C, .. k.. ht it ;. not ;. ical to f. \lV. thclink. brtwKn M""" r=;ving th.
low" .1.. 1"O<Onc;li"ion of ,he N .. iomu. monx. _ h"'ft d",wn f.nm G'''1\0lY',
",I"",n _ and tI,. Ad,m and he >C<Jucncc K<juire a more deuil..! ch. in of an,lo-
!?n' But while ,he wnnt",n be'"",n tnc m;ni.ture and Crcgo<Y', quotat",n of
P,ul', Epi .. l, to the Rom,no is ,ign.11ed by margin.1 .HIe;. it ",m. ;n. the
... pon'ibi liry of the [0 in'<'Pre! [he rd .. ;"ruhip bortwttn the marl=! ,,,,,rd.
and the mini.ture: the ,,,,,I. tn do .( .. p"",idcJ by rhot;"' w.iting> and bphe
compo.i,iOfl of In. p'ge i[self.
To lI),,",n, in" f.mil i .. wi,h vi,u.1 hiSlo.i", of Adam .nd E .... it w p,..umably
'pp're'" immedi>tcl)' .n. 1., ,",,,I,, of .h, f:oll mo", .igtliliom "" f. pv .h.n
the core <pi,,,,'" wIoil. fou, .nes detail <>'1On" th .. occurr.J ,ft .. the fall. ncith ..
the temptation nn. the fall 'r!""'''' Furth ... ,he e;gIIt incident> ;ndl>dcd .rc
grouped in ck.rly dc/ir....J p.ai,..: "'"0 "" ..... of cmuion. twoof ,II<- immedi ... pun
f,n " ' islnol .in. tw<.> of p.ar>di,. lost . nd .....,,,f the del,)'td
of ,he f.lI. Thi ",ngem<", deni .. ... riet ohrolKll"IIY' and Im. [0 hav<
been imp<! in orde. to nuke ;",a1 <quat;"n bctwc<:n ,he twO rep"e" , The
",." .,i,,,, one<, re" .. ling Ad,m.nd 1'." "ill in, "',. of gr> . rc direuly
above ,hoc [t "flift: and [he cherub ;n p. ndi. wIo;le the cune.nd cxpul,,,," , re
vc"icaliy ju".po>Cd with God', .eonJ c", .. - .h. impo><i, ion "f ."il..,." i ..
"nee _ and ,he brncn" Groce infot:m. [h. Ief. h,lf: ,be right ,ide rd.)"' the con>e--
que""", of otigin.1 'in. Thi' bifurca.ion con.in" ... nd i, ....,Ived in ,he third
rep"". Below the p.andiul ........ Mot<. m:<i\'U.be laws ,h 6"" defined .in
at>d th" ....de p<mibk mkmpt",n; wlt ik bel"... the puni'hmcnt> " f A.Wrn ""d
t ... f<>, th.i. tr.nq;"",ion, again .. God, unity i , .... oreJ .nd tcCOncili.,ion
><hi .. cJ. I'<>lio j1V communicate< w;.h im'g<> ,h.c in """,;"n "f idc> 11..
Phot;"' w,i,;nW' cornmunicat. with """rd .
", H ... ,.,. , .. '.,;. 1 ... ...,.! .. (' .. 91 ... : " ..... M .... (, .. II. , .... ... ""_
,. )oji ...... ,,", ... E ... ""." " ""q'"' [ ....... 1 .. "".od ;m""",01
...r ,oil ..... .r.:"h' (,""'. R ..... I '.,.]. " ).
[>. V',.o{,w.l. " . r:." of ,hi, m. .. ...,. ""'" ..... rm"""" ..d ... , Ip"' ... Vi ..
'10 ... ';;0;"' ""''''' 'pm.i., .... .... ''''''"''' of .... """" .,th MoO<o """vi"1 , ........ U. ..
[,""]. " ... ,h.....,., ..... ,OJ.
Polio J67v US) (lig. JS)
Thr<'< mini .. u= d<'i<lted to hi"oricol ,uhj<ca ' 1'1''''' in ""!""""" ,,,,,,,,m . he enJ
of . he m.""""ip<, Th. fi,..!!, f. )6]>,. ilIum.te> Grq;OI):' ",rm<>n 'Agoin"
Ari.m" , '" The Ari. n . who rcg1t.kd ,h. Son .. I.,. impo,ut\' ,h.n the F .. her
in.ido ,he (lini,y, Rou,,,I>cd Ju. ing ,he fuurth century (ca. and provided
Gtq;or)" with hi, chief od, .. "",ie>. Th ... ,mon con.i." of. II .. ny of At;.,,, "i!'t><>.
n,.".r for ,he ,h"", ,<gin,!> off. )6]>,.'"
Th. fi ", "'S;"ter .how> > 0.0., onJ f,,11 .. il in d, . mid" of . Jrcp blu< ...
""rc.,.ly Ji"ingui;h.ble in wlour from tl>< .... y behind it. Six men _ 0<>< > be,rded
bi.hop, 0<>< > young monk in. brown tunic. one huddled in, btu< <to.k. one,
hooded monk wraring hi. hmwn 0.", blue ru"ic . nJ twO ""nde--
"'til" figurn _ c<:iI m the ",wi V<1OCI, which i, engulfed in ,I R.n ... I""", b.dly
fl, kl). The insctip.ion . he scen. "" .he orthodox burnl in ,h';r boo, by
the Ari, ,,,.' ,. and correspond. wi,h C"'gory', ,h<>,ic>t qu ... ion; 'Wh., pti .. ;,
hove the COf1t .. ry .Iemen" of fire ond w.t<r di,iJcd, <:iIi,ing ' " .... ng< b"...,n ""
. nd burning ,hem up ,"Serh wi,h the .hip in whkh they put to .... 1"'"
Gregor)" rd ... to . n ..... nt th .. . ook pl> during ,n., ign of ,h. I'.mp"'''' V.l
e
"-, ,
who. .. on o"no..\o. ddcg;otion. "" ...J hi. prefoet to set nre !<, .heir boo,.
lbc fi fth.cen tury hi"o,,1O' Sokn, .. , Sommcn, ."<l Theodore, .11 "'ITote thi>
"o'y in rying . moun" of deu il, and i. was 'ho.o cert.inly f,mili .. in ,h. nin,h
cen,ul)" I' t-o.ios hod not only ..,:od tb thrcc . uthOfitia ""II ve<...J
cnOl.lglo in ,he do ... il, of ,f.c Ari.n heres) to comp<< four (ponibiy fi .... ) ,",COI1"
",m',", un it him .. lf, '" l"<lrcd. Photio" interes' in , he Ari.n oon.rove"y _ pr<-
,unubly f",, 11 I by t he icoooph ile equ .. io n of, he 0. rl icr heresy with IcoDOCI"m' "
- m.y account for t he doci.ion '0 illu" .... c,regory', 'Ago!"" ,I>< A.;on' in .ueh ,
'''' iglo'forward f.,hion , But whil. th= hiori"" gi .. , d.tailed ron .... for
Gregory', . Imo>< ofFh.nd qu .. ,ion .oom p, j""" in, hu,ning t,.., .. , ,hey tcll w no
more th.n Gtq;ory . bout the det. il, of .he ICC<>< "" prc>cntro on f. Y;]Y: ",,<><', for
.. 'mpk. idcmifics ,he cunou, group of figu,,, ;n ,f.c o.o.t. Th. mini .. uri" sccm.
," SC p . ,,6-'J] I NPNF ' ..... ''''' , I.y \' ,.,). " , _ '<6.
'" Omon, (0"91, ii, pl. UI, Wd" ...... (09<"')' ,0-000: G,""", 1""" '7' '''' n .. N ...........
(0 ".1, ' .. , A,,,l<,,,,,, {, .. ' I. ; .
'" 01 Ol'tlOl O:OI 11.\OU) VIIO ArEIIANtlNI KAI IONTAI I . Th<r,'P""'''of , ... w.
....,.] ....... ' """'"sO< of , ...... a.
' " S(; "I.
,,, <,,.j,,,,, ,I (Su'"" .. I, JO (SO ...... I,.oJ I' fllo<od,oml,aI, H",'l' I h .. ,I, ,6-,1.
Two of.to. ........... rn ... , ..d. t-.da. (, .. ,I, ,_." "'"' . M."C" (''''), ,. ,,.. ( .......
M .. p>', """'....,,' .. ,. '16- ,., . neI ),10.1>' 1,.,,1, . ,). (;'<f?'I" ..., .... , .... , ... ..,..00. ,IN .1", <.
Oft """-h;., ,n SC "I, ,0, """ , .
'" """oJ .... on ... ",--...<1,.1"<' "" l c. ... ron .... H"". I, ... ). "-60: """m",,,.,
. Dd add .. ;....] .... ""' ... , " . ,
'"
h .... '0 h.". furnish.d ,h. ,und",1 00..., type ofr.,i',g>'.\JO (iC'< lig>. 6, 17. 46) wi,h
, "I're><",,,i'" ""mpli"J; of cbi .. ,;cs . 11 in gormen" f,milior , nd ,,,,,,,I in
,he nin,h ccmuIY' ,I>< bi,hop .od ,he yow'S munk <ur in 'he P.ri, Gf<1IOIY -
i"dC'!, ,I>< bi'hop rn<mbla PO"";" of G"ll"'Y him""lf - wh,t. ,h. h<><><ll
"WInk lind, p.r.lld, in ,It< Samt PMalkla, nd 'he Milon G'<g<>'Y. 1lJ AI [h. cd",,",
in ,I>< Mil." <Of')' h . .... b.en '''''oed. 0' ;, '><:>W impo"ibl. ", dOfOlminc
... h .. hot ,he >Cene.,,, f, )67" p"""'" f< i"'OIp"'['on <>f [h. tel" or wh.,h .. i,
onoc fOUM , nin[h-an",'Y p, .. HeI,
The in""ip[io" in [he f.-.me .hove ,I>< """,nd 'egi"., .. pl'i'" ,b" ,h. middle
,..,...ne un f, )67" prn<nts 'he Ari. ", dc.uoying ,he .h' n of [h. ohod"", (0 11
Al'flANOI K.o.:rACTPE1>Ol'-'TEC TA HYCIACfHPIA T!lN Ol'Wl.lO
:=:!IN. c,<q;<>r)' .Ion 11",1 .. [0 [hi, .pi .. "k in. P""'l!e intrudocro wit h . gold
ini,i.I, he ref.,. '0 ,h. iCCne in , [hClo[K.I qu"",ion ,h .. e"",, .. '" hi, own \.:'uv
,,'" ",i,h ,h" of 'he Ari. "", Wh .. hOUK of p"yc' h."" I m, d. in[o, hUli.II>!"""
, .. Ah", hel",,I, .. ,h ... , ip"'" "')'S, no", ddikd.''''Th. pa<.<>ge ..... , 1<0 ron-
,idem! .igniflcan, .nouflh [0 be ill1", .. ,1 ,n [h. Milo" (;''1l''<;-'; on<.< .g.oin.
hQW<v , ,he ",kv;,n[ '''''8in h .. ""-" .""id, On f, )67", 'he 'egi"01 open> wi,h .
'igholy m. ssed group "flaymen, 'h""" in ,h. hockground "my pik ...... hik fOllfof
,he ligu"" 10 ,h. ntr "end long "f'CD ,0w",l. fk pink church (wi[h,
"u,u.1 in P,lti,.gr. jlO . ..... roof ,iles) .nd ,." fire ", T_ ,m.11er bui\ding>,
iJcn,in.ble . , by [he ' p'" <lUI ."end from .a<h of ..... lraJ), in
R.'n'" in ,h. fu,eground: . 11 . carefully alignl wi,h [h. burning 00..., in [he fOp
.-.gi"er. n.. alia, memionl in ,he in"";p' .... n 'pf'C'" '" ,h. f .. 'igh', cuvcmi
wi,h ,ed d",h .nJ 'u,mQun,I by. gold j[ i> endod by,
ICmplon "' .... n wid gold <1<>0,. in , p<ioCl ,boo, h.lf ,he ,ize of ,he <en, .. 1
church. Karl Wei "mann ,ugg .. tl ,/u.[ [hc ccmpo.i,iOfl w", lifil from. <Of')' of
So-romcn', 'fubi .. ,icl Hi"o,y' ("" "1"", .. 1 copic. of which exi" 0' arc
", ... 1) th., il1u", .. 1 )u)i."', order ' 0 burn [hc <bueche> in Mile(u,. '" Thi' i,
unlikel)'. 10. ,h. mini.,u,i" .:ompo..,.j ,he ",ene on f,)li7" from IIock groupi"g>
found dlC'Wf>crc in P.,i'.gq,,,. In<ked.,11 d ... ;I, of ,he ....... finJ p.,oJleI .II<'
... hcre in ,he m>nwcrip" ' hc , ighdy p:u:kl group of Arion, conf("m, wi," ,he
",,,><l.rd ron gar.,i" n <>f grouj. . nd i, I"'rlirul .. ly d"", '" ,h. h udd I. <:>fJ=pn',
b,oth..,. in [h. founh 'egi" .. of f 69v ,,); 'he . h .. dupl"'t .. in oJl ....",,;'1
b,ures _ induding ,h'CIJ,iow f'C"p,iv< rcnok'ing _ ,h", on. fO, ... mpl., f 51>
'" ()o , ... .,. ... , .... .... """ I, .. ,), ,.. .nd .. <"'P< ' ""'''' "-'f' "" "" 'm , ...
' .l- Grabu h .... ), p. XII .nd in r;< ...... ,I-.< W., ......... (, >1,), , ..." , "'!lU' ....
,h" ,I-.< m'."''''-;'' rop;.d Arl, ....... <>p<, ...w by ..... "'. fro,. Akund". from, (k,...,."'"
o j OI,,,,,,, .. d oopyol'n ".J. .... ', ' F.ko.."K.I 11"".,' . 50_ ,I-.< .,""" ",,,,,,..-.I of .. odd _
,""", ,j, ......... O"_,;'y romp",,,,,-
." K "I, ,_, . 1 ... ,J.,; , ... ,,- of tl..",hn w ..... <00," of 1'1.000., who
,<>- 'ro' .tw """'" "Ok ' Thq "" ....... ,'of God, ..... ;do w<!.oJ fo< ,I-.<
"""""",of"., ... , ... WIo,<r (,.lil. u" '" W,;,,,,,,,," ( .... ,1,) . .,---91 .

TIl<' p.llri.m,h and n rgcsis
(Ilg. 10); the church sust ains the tiny mubuildin gs lhal arc such an eccentric knurt'
of Paris.gr.)10 (sec. for ex'lmple. lhe top register of r 1 .. 3V; fig. [9); ;md tht place-
ment of an altar alongside the church [hat we :Irc mea nt to it co be
inside recurs on f. I04r (fig. 17).
The l:.OtCOm registct is l:.adly flaked. bUI one can still make out the nude body of
an elderly man being dragged along with cords by tWO soldiers toward a building:
the inscription rC;lds 'the Arians drag 'ilong a s;li mly old onhodox man' ([ OI J
AI'EIANOI CYPONTEC An ON I' Ern[NJTA OPHO.:l O .=ON). Tht' scene
illustrates a nother of Gregory's rhero ri Gll (IUCSt io ll S - a lid. agai n. 0 Ill' in wh ieh he
incorporates an episode ignored by other writers - wherein he SCt S the hthaviour
of the orrhodox against that of the impious Arians: ' Whal aged flesh have
we carded with hooks ... and a[ I:lst dragged away to death, to be crllcified
burit'd and glorified with Christ? I!1 Based nn thi s pass;lgc. we might speculate
that the badly flaked building on the right. lOCI ted dirt'ct l}' heneath the ;llta r of the
second registcr. represents the tomb desti lK"d to receive the s.1intiy ortho-
dox m;l1l. Unfortunately [he rclevam image ill the Milan l1l:anuscript has heen
excised.
Fol io J74V (}9) (fig. 39)
Folio 374V presems till' early history of Juli;l1l thl' ApoMate.
IP
and corresponds
closely with the sermon Ihat it. Gregory's firsl ' ! nvecrive Jg:linst Julian' . 1!8
In the coursr of the sermon. Gregory aliudt's to a nlllllbn of llIrlhol ogical figures.
marginal numbers collated with Pseudo- Non nos' COllllllemarr Oll them
:appear in thr The miniaturist. however. ignored [he mythology :and
cUllCe n (fa led i nSI cad Oil even ts from [ht' I ife of J ul ia 11 t he A pOSmtl'.
The WI' register shows J ulian. in imp,'ri:ll red heneath J long-sleew{1
pale blue tuni c decof;Jted with gold that stands OUI against hi s purple mantle, led
away From a ci rcular pink :and white building toward a cavt' hy a man with wavy
grey hair and a short beard who wears a hille tUllic belleath an olive-green man de.
Juli:all's head has llearly all Raked awar. hllt it is still apparelll lhal hc ,werts his ga7.e
frolll the man; this. along wirh his retractl,d right arm and gesticuiat'ing left one.
make Juli:all appear to he resisting the nUll. who Ilollelheless strides forward grasp-
ingJulian firmly by till' wrist as Ill' looks back at the emperor, and gestures toward
thl' cave with his left hand. Within ,he cave sits a large winged demon. painted in
shades of while and grey. hehind which Roat s("wral pale heads; a grey sarcophagus
re5ts on a pink Outcrop of the otherwise grey-blue 1lI01lIHailliop ahove, A strip of
SC ,18, 164. The'" ini", ure i.' 1,,11), flaked. b", Weilzman n (194</ ji. 98-100. ,,,,,ms to be
it) seeing ,he corJ, auachcJ '0 the old man', rarS. 0 ,,,,,,11 did !IOI . howewr. nOle fC;J(ur, in hi>
19<9 Jes.cri p[ion.
,, - Om<>1H ([919). !9, 1'1. U H: W .. ir'.mann (1941/ J) . 100-108: Ocr Ncr,essi,,,, (1961). 198, B,,, b.lkcl
(198\), 1. ' 1& I'G 1\' jj 1-664. I'" 111 t rod""iol1 ,,,lIe 10.
" 7
Vi siun and ",eani" g in nimh,c<' mury lI)"1.Jll!ium
green ground forms the basi s for the whole 1." 1 wh ich Gregory dcscrihed in

IJ u liJn J des,'cnd,'d int o one of t hose uari n wh ich :ore i for mosl people :\IId
regarded by Ihem wilh kn ... accu'llpanicd lIy Ihe man who is worth ahoUi as much as
1110$1 Ihe 'wise' man in such lhings, a 'sophist ' : aillhi s is a kind o f divin;lIion
:Imongsl them, a meeling in a certain dMkness and wilh slll); rranC'In ,k11l0n5 abolll ,he
fmure . . . Bill as Ih(> nubk 111:111 protl'cdecL ,erro rs dashed Jgains, him, continuall y more
and nHHl' 10rll1 idahle 1;1 ng<: no ise.l. as ,h"y say, II n pleasan' smells, fiery a pparil io ns.
and I don', know wha, kinds of nonsense and !rifles. Hcing strlld by I he Un"xl''''''''!, for he
wass,ill a ' yro in dws<' nla,lns, h" lakes refllg<> in Ihccro as :In ,,1.1 rrnl<:dyand in the sign
I hereof aga ill s, ,ht 'errors and, h li S makes an assistJ 111 of him whom II<' persecllled. I "
T hough Gregory's I ext docs nor ex pia i n every dcta ii, the p:l ssagc reVt':!l s th :11 t ht m:! n
draggi ngJulian is :1 sorctrcr, :,lId the cavt a pagan sanCrll ;lry filled wi,h apparitions.
Julian's Jeseent inlo Ihe cave is portrayed once of l'ari s.gL5lO. As
Gregory provides the sale description of it i ., 10 be expected that thi s
second appC:ITJnCe should occur iuthe Milan Gregory (fig. 53), whi ch :lceompani es
the sermo n with thirty- one marginal images. eight d epicting el'el115 frol11 J ulian's
life !1:! rrat ed by G rl' gOry. I.I! J ul ian led 10 the ea I' t I he un I y scene to d II pi ica t l' an
. d d [1 I I!
e]ll so l' plClure 1I1 ans.gL5t o .
111 the M il :l l1 Gregory. the figures of the emperor Jnd the arc reversl,d, so
that Julian seems 10 be dragging the reluctant magi cian in\() the cal'e. Despite this,
the two versions of The scene share tdling det ail s. Both show winged demon -
silling inlhe same position and exttnding il s :Irm toward the visitors - and both
show di slllc'mbutd heads behind the (lemon in the shadowy recesses of the cave.
Withi n the Julian- sorcerer grouping, the position of the foremost figure is
different , but as t he sorcerer in l'ari s.gr. Slo repeats a fi gur(' type found ,hroughoul
the manuscript, ' Ihi s di stincti o n seems less sign ifi cant th :1Il the (tet that both
i mages sho ll' the leadi ng figure gr;lspi ng hi s follower firml y by the wri st . As Gregory
detail s none of Ihest fea t ures. till' miniaruri sts of the Milan and Pari s Gll'gOry
manuscript s cannot have dnived thelll independentl y fro m the text: either the
designCf of Pari s.gr. slO adapted and corrected Ihe Milan compositi o n, or hoth
miniaturists presc ilt ed wrsions of a formula t:l!nil iar to I hem from another sourcc,
presll ma bl )' - si nee 0 111 y Gregory recoil 11 ts {he epi sode - ani 11 USt rat ('d Hom i lies.
IIU Th,' ;nsc';p, ion "''' J cc;plwrr,[ hy O"' on , J> IOY.\I ANOC XH!',\rnro y
MENOC YI [0 ... B,\ CKANOY . . _ R,\ EII ON TOY(: .l I: MONAC.
I II /'C .I5:H - C-\SoA, It J"'. Wei".","nn (194.' J). 10 1.
'" In ,ddili"n 10 Ihe S1a nd" d 0l", ,, in); "",,;;llur how;ng t,;r"l;or)' I'",,, h"'g. Ihe illuSl'.1 ror
depicted fi "r 0' drJ",n fro m I h,' Old T{""I I. """' , ""en m)'1 hologi<'al figu re" .nd eighl '
.rl1 h ;' lnr; L,,1 '''tiles; eigh, of ,he I. n{"" , ,how Co'eg'" Y Jil l," n, onr pOri ' '')'s Co rq:or )". IJmenr
Me' Jlll iJn', crimes, and one Ff<S. I] " ,1 ,( r n'I""nr (If Indi,: Gr" bar (194IJ ). p\" LX, ,-LXX II (ex,ept
ing LXX][,l). ' " IbiJ .. pi. LXV!.,
, " E.g. I he ,," f. 174" (fig. '1) and El , iall on f. !64" (fig.
A>id. from tn. ",,,, ... 1 of tne pro!>g<>nim, of ,ne . nd )..Iibn
m;n"""'" """.1, tw(O ,ignificant diffe",nce!: building DO' the
' ppc'" in the Mil. n '<!lion, These do not deri,c f,om tf>< fi,,,
' In""'t '" .goi,." Juli.n', but both we,e da<,ibcJ in hi"oncal
XI. , ,"
In Is" 'fubi. "ical Hi>tory' , Th.,.,dot<, II. ""h.,l"li." 'm wi,h m.n who
promi.<d '0 pmlict thc<c thin!l" <ond"ctro him in'" "r>< of ,he id<>l ,en'pb,
inu".h ... ,d hi m within .he ,hrine, .nd callro "pon the demon. of decei,'_'
.""""n" ,hough mot< ,bllrcvi ... d th'" G,egory's, '''@#S'' th .. the
round building" ,he f., Idi of ,he "'1"<0<"" ,b< ' idol r<mpl' in ,he pl<'
. ill<'! of .... hieh Juli,n vi,itro the demun. Otlser hi"",i."" ""'''' mOK """,ific.
Soh .... wrote ,hat 'H"'ing O,demllhat ,he p>gon mpb .t Antioch ;h""ld I><
op<nro,IJul;'n I,.... .,"}' "ser to ob .. in an ,,!WOk rrom Apullu"fD'plme. But the
demon ,h .. inh.bitro the temple rcmo;nro ,ilen' rhmugh 1<" of hi, n<;ghbo""
&obyl .. the m.rtyr: fUr ,he eollin which oon .. ;nro 'he body of .n.I .. int w., cl ....
hr"" Sorom.<n rd.r .. , I>< .. murory ;n grc" .. det.il, adding ,hat
The .!emun did n,,, ,>!",n1y ><Imi, ,Iu, ,I.. h,nd",,,,,, w'-' ,><a;",,.ro t.,.- ,he pr<n Qf
B.byI .. , ,he ... ,,)'r, b<lt I.. ""ro ,ha, ,he pi ... "''' lillro ,.-i,h de..! buolic<, ... d ,h>, t!.;,
PI"<"<O,ed ,I.. or>ele from 'p .. kin&- AI,ho"f,h m,or i"'ctmm" h><l ultcn pI>e< "
[hpj",e. ,he ""'1"'''''' I"'"eived th>t it the r'der> of .. , me mmy . aIot><
..... ich fwl ,il,nd ,he u,..:k, .nd I., wmm, ndcd hi, ,urn!, w he ",moved'"
Th. his,oric> oL\ol.:r .. ", .nd Sowm." . llow '" '" iJo"'iry ,he mpk., d,di
cotro ", Apollo ., D.pht>< . nd they al", expbin , he "'copnogu> mo<!nrro . 00...,
the d.m,m, cove: it I><lonp to B. byl ... the e n,i,.i ... m. rt}"! - I"",ibl)' the .. me
B.hrl ".1. .... bon ........... hr the nimh ","'orr, I><licvl to.> h,,'e wo """ ferr ro
to ,he Chon ",on". ,ry in Con,tan, inople'''' Th, ecd .. i."ial hi"o,'" of
ThroJOfC'. Soh., ... and Soromcn apbin <erroin d .... i!, of ,he KCt>< that could
no, II.", 1>" known f,om Grego'y', .. nnon .10''': only Grq;orl. howner,
dc.<,ibcs.he cave at><! ,he >oteerer ... bo d",!l' , he incre .. ingly 'imid Juli.n in,o
i,. ,oO Whil. Kurt , ugg"'tion th., the ""n, ,.," cOf'iro from an ill".
,mro ropyofSoromen,' Ucle,i."ic-.1 Hi""ry' i, ,h,,,,(ol< improbahle, '" ,he hi,
,,,rial te." cI."ly h.d , n imp.><' on ,he miniature. Knl7Wlrog< of .he>< text. in .h.
nin. h ccnmry i ue"ro by pbo,""" " "'bo .1", h..! rc- ..,,, ", he pmirubrly
f,mili" "'i,h hi"o,ic-.I accoUnt, of Juli .. " ign: h' "'"ro .n ..cwunt of that
"'So .... " (,,,,,,,. _ ,of. '" III,,, tr. o., NPNh"",.IIo*",), v,.
"'wl,"'"k..l Hi>o:ry' UL,', " ..... IV""'f",.,., II .
'" . "' .... H""",=,'. V.," ",n" NPNF.eu. , I,."),,..,.
'''c.-I''''-("''' (r .. ,), '" ,no! '" .0" ",";'" I," ,), " J.
' .. Th...do<H rdtt. '"lui .... , ",>It, r,.., '0 ,I>< ,,,,",,,,,...-.ca.>i ,'" ''''J'<'' K'' ..... ' ........ I><
"", it>.....-I .0",1><,4<" ," of,1>< KC..,. .. , \1'",,,,,,", (,.,>1,, , , 00-"," ,
"' So,,,,,,,,, '" .""'_
n.
''''I'''''' which i. ""fo<"",O!dy ""longo' I'ro<M'<l. '<! I, ...,,,,, likd)' ,h .. , he
la" ,hem""k", ,.,he, t h.n "'m< hrp<>the,;aJ il1u",..;"", of them, iml'im! ,h.
ind u,i"" of ,10, "mpl, ,nd ""-coph,!",, tI .. f",m ... f B.hyl., """'\'''' gu>, in .ny
"".no, W1.) 1"" of til< min"'ru,'''' pc"oi .nd duplieo, .. in .11 d""I, ,h ..
found in ,h. "",ne <>f ,h. demon,,,,. in ,he <em ... ry on f. ,,"0' (fig. n).
The ""'ne p. in,I in tbe miJdl. u-gi"" of f. 17,.' " leo .. 'ightly bound ' 0
(;'''I\ory', '"" ,b.".,,, ,heorll .. rI'''' imag on ,he pag<. It .""""jul"'''' d.d i"
im!". i.J repli., ..... "'hing ,he .I, u&h'" of 0 bull: ,h. mini" ur,,, ,hen depic'ed ,he
""" ifiei.l.nim.1 burni ng before a . ireul .. Aoming .1"" on w"hin , ni.he '<>ppcd
by ,h"", gold ,,>r ..... 'IWo ",enJ."" ".t><! behind juli.n, .nd ,he "'''''re' of ,he
top u-gi"'" "ill w<1,inga ligh' b,own m. ntle ov., a blue ,unic, " , nd, nu' '0 him.
gcs'ming ,.".,.,d til< ",".rili.:c, The "",te ili uSlw" Juli.,.', rein,roduc,ion of pagan
,i,u.i .nd, J"pi" i" gt"Cf'" ,;,,,It .. 'juli." ... ,ifices to ,he idol!' (lOY AIANOC
"YON TOIC EIM1,H)IC) . ...,m, in jrs ."",ifi '0 h.ve in'rim! by one of
,he cpi'hcn G"'I\'>')" "",,,.,...1 on ,he em!""", 'bu"'" ofbul1,'. ' .. A),ho"gh ,hi,
epi'het i. onl) one of m. "y th .. Gregory u>cd. i, epi' omized .n "pee' of Juli.,,,
'<ign Iuhiru.lly norl by 1>, .. hi"MUIl" Sok,., .. "I'!;int<! ,h., juli." '<>erinccd
bull. con,inuou>ly in IWm of .I .... of >doh', .<><1 Sowmen d.imed ,h .. 'Th')' .. y
jookingly ,h .. ,he , im, of hi' <<is'' ,he "",cld ;"dfhad been datrnycJ quite ..
",w:h .. ,he "'pin. bull . '''' Nei,h" ,he ""d ...... i .. 1 hi,,,,, ... ...." Gregory,
. p,ovid ." of .ny ."",ifi< .... rite, The pidu" on f. )74'
.hould l>e .. . 11<', ..... 1 im,ge rep""""'''''' of Juli,n', pm!iiec,io" fm
_ a vi.".l i .. ,i"n of G"l!0ry'. '1'i,h" 'burner ofbull>' _ wh .. ,h." .. ."
illu ..... ,;oo of. I""kul., <pi"""',
No ocher of Juli." oo..rvi"g' """ ili .urvivn, ."d ,h,.t,ck of
vim.1 <omp=ond., coupled wi,h ,he <""vcn,;"n. 1 n.mre of ,he de>c,ip,iv< ''''',
mok .. i 11 hu, imp""ibk '0 dete. mine whe,her ,he Homili .. mini .. ",i" adop,ed
,he ""ne from .n die, ;m.go or >mp;lI i, frum ", . .. eh, , .. P . .. lkJ. ",;'t,
how","". fur ,he""iou, compon<" .. of .h. oompo.i.i<>". 'In< figu .... ohscrving ,he
.. r !u ....... by l .. ",1t 10'''1, 'B .... ' 7>, Phoo-iooo .......... '" ..... ,It "7. which i,xlf
"""'" <M<r"....! ";,l\ rd, t..,o.., ..... ,....! "'''''rink II (191-<), *"" (. ...
'"'' /'(;,,,,,.,...,;,,). PI>oo ....... ..,....".. i. in .. "" in ,,," .'\po><"'" fur ....... "" .. ...,.., J.(w,
..,. oti .. <.1 ,. """"""'iIt poIo;' . no! w ..... noIl. oonolrmnl;n ,"" I .... Co"""",
.nd _. 1'''' 1. " . "'-'n, '.'- ml ..... ;,J, ,n <1>'1'''' '"""n,rd iii> ......, .... "" ";,h
""""1'....! iod..w I. ""''''"' "" ,,,,k .. iw OO""' .... m .,.0.00. piu,'" "" ,,," .......
rq;i.moil. 17," (ib.!, ' ..... ",1.
PG n"""- 1hr L; lr oiMicl..rl ,hrs,..,k.rIoo< .. bu,..,,,"" ."" .... no
Mn, ,lu, .. rl"" ........ )w, ..... " i ... noW, .... C i"""," ('<'1" , " .
". Sok",,,. 'E.ock< .... ic.d 11...,.,.' III . ' 7' Sowmrn, Ec. ....... i<aI Hi""')" V" . S ""''' ',,'00
'.1 ............ Wril ...... (, .. iI)'. >0. Phoo ... ""'" th.t .... """'W"''' L"""""" .n; ... 1
"".i'" _ .u (. ,"OJ, od. l......,.j .. rnJ W""nnk II (, ... " ,u_u" .
' 0)_''''' IPG ,,,,,' .. 01 - whodo ""f'I;" 1"";1 .. ".,,, w;m I"';"" "I'f"'OV'I 01 inon-Cru'"irnj
,",utiti.l ","01. , .. 8 ..... W,,"nunn ('j<".I.I0l-'''I.
.crih"", rd)'on ".ndard typo throughout r.ri . gr, 5'0: Juli.n' ",ndant ..,\.
d'e", Jupli'Oat< tf". poi, &"unJ in ,1. < '<l!i"<ll>cl"w . nd of tho .ml"'''>'
mirmrs ,I. .. of Sr a .. il on f. 4"9" (ng_ 40) , Th. .<,;n"" ;"df . ",id. ,h. ".nd .. d
Bruntin. &",mul. of thrw.t-slitting and p,=ntl inst."", , .impl ifil ",,,iun of.
socnfi.i.ltyp< f.mil i .. un " oman imp<,i.1 monom.nt. m.h ., ,h. Arch of ,he
Atgtm .. 'i in Rome (AD l04). which .hows ,h. hul l" h d hcing I><t.l dow" while
the ,>CUI;on .-.i"".n au ,ha hi. turning body ju>< ., w<: 0 in l'.,i"g<.\lo. '"
The!en< of ,he low." reg;"tc, i. <V<On more do.ely .ffiliated wi,h GKgOIJ", ..
,h.n w"" the or<ninS im,s. of I"li",', v" i, '0 ,h. J'mO" _ juli,n . itting on , ;.-w .
1100 J)'J' b.ack ,hrotl. in fron, of. pink ,nd blu. building .pp.rently mlnl to
rep"""'" ,he imr<,i.1 p.I ... , diminu,,, eoin. '" hi. olfu:t .... A 1'1};< pot of gold ro
,h. ,mp<ror'. righ" guatdcd br t WO h.nchmen, "'1"<><"" ,h, sou,cc from ... h;ch
Juli,n picni!hc> the ,m.1I 00..-1 of gutJ <oin. he hold< in hi' lap, Th mp<">'
ctadks. badly R.ki gold o-bi<'<t - pmb,bly . n idol", m.t - in hi' .,,">; 0 q"""
,,..foil gol&n hrui, imo which .ach ""';ricn, m"" ,hrow in"'""'.M 'h=hy
implicirly honour the p.gan god,. oblOJr<> hi. fcct, A grotlp of ",Idi." ,nd digni.
t.,i" erowd ,h. rigllt h.lf of the regi"", ". Gtogorr n" .. I<;;
I, w" ,h.d.oy.,( ,h. im!""i.1 sir. m"ing _ , , .M ,h. """"om.mi '0 I,... 1''='" '"
,h .. ,h<y iv< ,ho Jon."vum """'nlmS , .. ,h. m<n, ,,, "nk or <><h "f ,hom _
Now h. pr .. id<J in >pI.nd,,",. >p.L"tI I'",y.oo 'hinkin! .bou, hi>
cunning oontri.-.ne, _ n. "-" pi""'" 1,...(0", him 5"kI. tho ..... pbceJ ho(n", him
in""n"". Lho Ii"' ..... ck"" hr ,nd ,ho .. han." n<o" AM Lho ",hom< w., '" pI . ... ihk
beau i, oml ", "" ,h, "'1"",1 ,,r ,ho "",t< . n,",n, .oJ ,ho <nO)'" hunvu"hk
.;.,,, .. i,urn, Wh .. ,h.nr Each ..... ,uf'P""d '0 ,brow il>o", "ro" ,ho Ii", .nd '" ,-tj"
from ,ho ,mr<"" ,ho '""'pcn", fu, ,h,i, dn,,",,;"n, , ..
GregOlY', ' .. ' fu ll y ourpo'" ,he .... ,ion, ., Wei,..,,.nn oh",,,'I, " mini""ri"
could I. ... , mad. up the compooit;"n from ,hi, I<xt' ,' '''' Howe, .. r, boca"" n.
bel;""i ,I." the ""."1'""",,,1 ;. ,he upI'" 'wo ..-gi" ... _ "',"owed flOm.n
ilhut",,1 cccbi .. tic.:tl hi"olJ'. \X'.icrm. nn .u!lll<>d <I .. , .inc< Sowm", . nd
Thcoxlo.-c, .1"" d<oc,ibeJ ,he <lo'''';''u''' ep'''><.Ie. iu ill""",;"" w., pmh.bly
copied from O!lC of th"", . ",,,. ' " Since. howeyer, w< h .. , ><en ,h .. hi, Ii",
."ump,Ktn i. unlikely", be cur"",'. th.t< i, no ",,'''''n to tr.cc .ny of ,he ",.n .. on
f. 3HV ''''n <I"'",><ic>i hi"o')" wi,h piclU""_
n.. MiI.n Cregory pr=nu ,he ><que! '" ,he "",no ,hown in r"; ',IV,j ' ''' wi,h
' " 0:;.",.-.0 "",I,- pro<I",,,J i. St""" "',
... 'In< i."',,"'''' .... 'Y' . .1<..;"",,.,, l'W.\lANOC pnrfVfll-: fN F.xON KIEIK.
PI"ME.NON E.N TH XE' 1', TO
PC",_--' 609R, , ...... ,,' .. ,,_nn " .. >1,)_ "", ', .... "n'"". ,1.., 'n .... " ,t..<\",y';' r"<'
, .... Tho".'U pIoa<IbdQ", tum p>Id " '_u ,;p.I""",. ,"i,"'.
' .. .. ' .. f' .... " ( , .. >I,), ,0<;.
' " 'un 'd, V"" n..ooo..-., f.<dni ..... , Hi",,,," 111." , ..., "0'"
...J ' .. .0....-" "',,,,m,nn 1, " , )' '0; >c,
,,.
-
the (Christian) soldiers bclau:odly recogni zing Juliall's duplicit y and returning the
coin5 (fig. As in the Paris mi niature. rhe Milan page sholVs Julian scated on;1
jewelled [hronc before his palace with soldiers ellt ering frolll Ihe figh!.
CUllvcllIiunal though they are, tbe compositional similarities bct>vcclI the Paris
and Milan sccnes hint that if, as the cavc episode seems 10 suggest. the miniaturists
of bmh manuscripts WCfr f:1l1liliar wi th an earlier illuslralld Homilies tradition,
thi s might have induded two pendant scenes - one of Julian di stributi ng [he Jona-
(ivurn and the olher of soldiers r(,fuming the coins - from whi ch the' two nilHh-
cClllUry rninialUrislS Ill<ldc diffcrclH selections. Since the Milan Gregory cXll'llds
the GIVC epi sode, restriCted to l singl..- scene on f. 374V - over three miniatures, a
shorr narr;ltive sequence cannot be excluded frOIll co nsider;J[ion ;IS of an
earlier illustraled Homilies reReclcd in thc Julian sequtnccs of the Pari s a nd Milan
Likc tht image of Julian's desccnt irl\O the (ave, the donarivum
scelle 011 f. 374V may preserve vestiges of;1I1 earlier narLlIive herilage.
Folio 4 911 (40) (fig. 40)
Fol io 409v i 11 Grego ry's second ' I nvecrive aga i nst J u I ia 11'. I The fi rst regi s-
ter shows the emperor adllanc ing againsl Ihe Persians al Kt esiphon. Ihe second por
trays 51 Blsi l prayers againsl Julian, a nd the third depiCis 51 Merkourios
slaying him.
AI rhe top Juli an , in omalcgold mililary:utirc' :lnd astride a pale blue horse, leads
his cavalry toward a bridge spanning deep blue river. A w;l li ed city fJees the troops
across the river. and before it Hand the defending Persi;lns. The insc ripti on tells us
Ihal ' Juli :m arr ives in Persia' (JOYA lANOC All EPXOM ENOC EN rr E[ PCl 6 1 Jj,
:lI1d the image illustrates Gregory's ten:
Now. advanced in rh i5 way wilh rhe arllly and passed along the river's bank. with the
ships on the river transporting corn and carrying bagj,>:tgc. he approached Kt csiphon afler
no sillall dHll culty; so was his longing for rhis cit), thaI cvtn to be ncar it ht considlrtd
as al readr a pafI of the victory.. Kl t"Sipho n i5 ;( strong fortress and to conquer.
fortified with a wall ofhllfm brick :Uld by a decp ditch 3"d by lagnons cuming fmm the
rker ... I\\
II is unfortunate that the miniatures once accompanying thi s passage in rhe Mibn
Grc,'gOfY have been exc ised. IV, An image of Julian's firsl manoeuvre afler sighling
the c i ty, I he burn i ng ofh is sh i ps 10 c nsu re a dcspera te figh t for K tesi ph on by h is sol -
diers, surviws; m poss ihly Juli an's arrival inlroduced Ihe Kl csiphon campaign in
I" C",b., LXVII.,.
,,, Ibid" 1'1. l.XVI. 1-2: [he [hird un p. 716. is almost tuMII)' exti,..<i ",,,I w:" not rcp,,,,lu, ,,,!.
'" f'C JI :66;-7!Q. Onll'III (19!,)). '9. 1'1. LlV: \Vei, ,,,unn (1941/)), .. i, ([969),
1-16- 1-17' \Voll er ( r97&). 247-248, Wolre. 9'I--9j: Dcr Ncrse"ian (19S7). 1)8, An<i rrson (1991).
74. '" I'G' JI,676A !3; Ifon . Weimmnn (19-11/;), 108- 109.
''><> Milan. inr.. PI' . 76; 3,,,1764, ,I' ... (' 94Jd}. PI. LXXI II,I .
one of the I<t pi","r<'>. Ik th .... it m.y. the b'idge "",nning ,he Togri. on r.
co",""' im Greg"'Y', d ... of Kt<>iphon. natm,l "'" iMaoion . md m.y
pe,h. p' be 1n an ironic inve"ion of ,he M;fvi." briJge on f. +4'" (fig.
which it closely r=mbb. The Pc ... i.". quicdy f.cing [h. ,dv.ncing RtH" .. m
p"",i<l< .M,he. cu.iu", det.il . nd We;"m. nn i. m,ely CO'rI in ""'ing in [hem.
vim.1 corolb'Y '0 Sommen', descriptio" of juli.n, h. 1t .. , ,I>e .igh, of hi. enemy
rang! along 'he ,i, .. rbmk. ". Wi.h .10. I ..... of ,he Mil.n mini. mre. how ..... " _
will ...... , k ............. 10 .. 10 ,hi, hi"",ia.l de .. il h..! infil" .. ed the Homilic> ,ooi,io"
mo",widely or wherhe, i, ... .., imcne<! into f. '9v.
Dc.pit< ,h. b'idge ,nd 'he paui, .. Pe""",,. 'he "'!Ii<l",on ,he whole
t<"1ruIin. IIue '0 G'tgory', J e .. rip,io". Th ... me <>t nn'" be .. id of ,h. low<, <w<>
><ena. wIlich dep. n rodinlly from ,he =mon. In ,he middle regi"er. So &t,iI. fuI-
by 'M, nor . n . colyte 0' )uung monk . nd <wo dUl''''' "f m"nh
.. ",nged ><cn!ing ''''go wi,h (he eldes, d"..., (u Ro.il. P"'r> at g<>ld .nd S'n
.1", = bdO ... pink .huKh within a pink.wolle<! .".L"" ... Only O<>e element of
,"" Ken' co.respond, in .ny w.y wi.h 'he oerund !nv-e<. i",,. Gre-go'Y ref ... , in
I ..... ing. ' 0 'he W<lro.. ofR.ui l .nd G,c-go'Y of NY'" >g>i"<f jul" .... nJ ,II<: ill"" ..
'0' of ,he Milan Humili., . upplied .hi. p''''ge wi.h on ;m.g. of ,ho "'u .. io"
.peiling '0 ,he emperor (fig. "I.'" 0" f. ,I .. oewnJ "'!Ii"" be ..... he
;n;crip.io" 's, Ba,il og.>i n .. Juli,n' (0 Ar!OC 8AClAHOC EYX
OMEN(X KATA IOY.-\I ANOY). J"" h< ... "" ,he mini.turi ... two
hi.hop>. ,be 6 ... wi.h 'he d"k hoi nd hc-.. d . """rded B.:t,i' in 1'.,., .1\1.\'0,
,he second wi,h ,i>< SKY h.i, .nJ i><. rd "urn by both G"'!Io,)" of NY'-'-' and
G"'!Io,)" of N.,.i.nzu . , .. On (he ba,i. of ,h ... ,mon ,nJ the Mil.n miniatu,... i.
><em. likely th .. ,he lO,mer " d>own h. . nJ i, m.y b< .. (he I'"i, mini.,,,.i,,
.. g .. f,oJ > p.i, o,iginall y po"roy! in """,he, COn' .. ' in ,n older Homili ..
m"""",rip< into . I><W ""'"" nJ "ne horrowed from 'no,he, e".i.d y.
8 .. il kadiog P")"'''' agoi n" Juli.n "'llowo 0 wideopread h.g;.,gnphic>.l n., ...
, iv< in which Me,houri", .pp< .....J '0 8.>,;' in. J",.m or , . he mediwed
before.n iron of .he Vi'ginl '0 . ell him [h .. be h.d d, in juli.n: "I"'" ...... kcni"g.
8.,il '"-I>Crnbled cle,gy .nd loJ ,hom '0 ,he church fU, pro)"" _ .he ""'no
depicted hel<. In .he low"" ' egU"r, .he mini1lu. i51 h ... JepicroJ juli ... , <I< .. h. A
."pl. ine<! by ,I>< in""ip';'''' Juli.n ,I.in by 5. Merlto",i",,' (!OYAJANOC OI>A
ZOMENOC yno TOY Arl OY MEpKOYIPIOJYI, M .. k"",io.. in mili"'Y
d ...... ,peed <>wa. d .h. empcro, on hi> wIl i .. Juli.n f.lk f,om hi, (N.d.)
'0 ,I>< groo"d in de"h. Though .ha"lou,ofhi. hO! chonged from ,he
pale blue of.he."I' nog"' Cf, '" .he mini .. uri .. h ... ,,01\10<1 ... . Iigned .h. <mpew'
$.,.,,, .... f .. , ' VI." W, ... ""." (, .. tJ ". ' 10.
, .. I'G "'7,M; G"b.d, ,.1. pl . LXXV ..
... Alf "':." I. " . ("'s- .,f, ... ,10. ..... ) .
... .... '''''''cion. rfflupo. 01"" ,,,;,ch from Cd"I<"Y' "''''''"' '" , ... t.., .. .. ..-"'f,,,,,1 'f..!
'"
Visioll and mranin!: in Ililllh-crniury Ayzanli LlI!1
in death brllrath the living and posi ri ond the rwo prayi ng bishops
exactly be[wel'n rhe two, as if t heir prayers werL' in truth responsi bl e for fa ll.
This is l10t how Gregory descrihed Julian"s in the second 'InVl'crive";
indeed, Gregory admits 10 having heard re'purt S tht ("mpl'ru r"s
dt' ath variollsly to une of his own soldiers. a harharian jester, or ,\ Saracen, If,! ' I'he
legendJ ry aecoun r i 11 US! r;1 ted in f. 409v h,ld Slt rheed by [he six I h cen t ury. howevn,
when it was recorded in Ihe Chronicle of John Mal:!bs. H.j Ir recurred in the
PaRh:11 Chroniclr :l nd the Cit ronicl e wrinen around the year 700
by John of Nikiu: in the eighth cent ury. John of Damascus paraphr,!sed tht Jegrnd
as part of his Jefence of 11(1), images: :IIlJ a fu lly developed form had appeared by
ca. 800 in a Life of Ba.,i! anrihutd w I'seudo-Amphilochios.
IO
>\ T he principal
d i ffcrenCt' between ! hl'sc aeCOlt tIlS l'onCetns Basil's SUt (. (d ream i ng or i fa ti n g)
when Mnkourios appeared to him, a mattn nm l'iueidatn l on f: 409V, 13m rhough
"II arcounts IIOle dl,lI Mcrkourios WOrl' 'shilling iron armuur' ; IS set uff ro dis-
p,Heh Julian, of the prl'sl'fwd texts only thaI of PseuJo-Amphi lochi os Jc'scribes
Metkourios 'unhorsing' the c' lllperor;I ';\ it rhus seem." likely that. :lS \X/alter has
al reaJ}' ugucd, th" Li ti: of Basi I art ri bll red to Pseudo-i\ m ph i loch ios u 11 derpi ns the
represl'tlt:ltiotls in the lown tWO registers orr. 4091'.1',,(, An eighth-crlltuf}' in
Ronl<', two .sn]llCllCrS in Carr;ldoeia, and ,11l icon in rhe de Ml' llil
collection of ca. t200 am'sr the visual impact orrseltdo-Atnphilochios' Life, none
1)( these, howL'wr, incorporatL"S either scene pinurd on r Nor did the Life
af/en thl' Mil.lll Gregury: anJ, th'lugh an deventh-n' nrury copy of thl' lilu rgici l
Homilies shows :I nimbed horseman killing Julian, G"orge G:!1avaris bs argulJ
thar the im:lg<' visual izes another tr,! dition that creJi trd Julian 'os Jcath to one uf hi s
own (Chri .,tl;H1) suldieLs. I 11 short, whil.: the Kene Oil f, 409V Sltggl'stS kllowkdge
of t ht' I'd <:rko 11 fios kgl' nd as it was l'xpressed in PSL'UJo-" m ph i loch ios' Li fl' or Basi I ,
th .. rc i.1 Ii tde t"l'idence ')Ile way or ;l11other as to wherhcr ;1 ('XC or an i magl' cOllwyed
thi .1 knowkdgc. As I'hmios wrciy summari zed saints' lives in hi s RiU;odJfk .. , thl'
absence of allY ref<:rrlKe to J Life of St Basil therr is inconclusivr: W! he docs.
h owewr. d iscltss til<' de;H h of J u I ian i tl a man n cr t ha I migh t Stl ggt'St fam i liari t)' wi t h
the PsclIJo"Arnphiloch ios :KClJlInt: people :Jttribllled his de:tth to onr of the
",' /,(; ,\:6SoA-6gIA: j). 'q.
1 '" 11.2\: <"d. p; ,ut"r( (, H I I ). lll - IH: ! r,m,. Jdhn" .1 "d S, on (I 181- 1 S 2.
", I .k< Hi "0" (I J - al. N_,;: IIi""" (, ph) , J '-2'). I'm .I"h" "f [)J nu,i.u" 'Ag:<in'i II",,, who .11 (.",k
d;,' ;"" ;m"g"" 1. 60 Ir 11.16. 111.'11: ".1. f,;uHn (197\1. ,61: (fJIl>, ,I'. .1,,,
W"';,w,",,,, I, '" _II 7, ' "' /'(;
''', \XI.I"" ! H - ! 48: Walln (I I.
IV' Fm til<' ,,, c.dlcd Tempi<: V;r;li. in R"m,' and 11,, C 'PI' ,,,I "";n . ec {he d ;Km'
, iun .. f t. (D,I' H' ,h.,p"" , .... id, Ep""in .. 17. Fu, ,h" ;WI(' Fv, i,altp,:nd"'H
; nl"t:'"' "f Merk"" ,;m ,I.'ring J "I;,,, (n"", ",1,11<"<1 to> f. \x/"; u m""n 11976). 7S- 79. rb. XXX I.
crv: [),,'
",' Co",p,,,," l;fabJ, (1'143'). pI. LX..'1,]!i,2, ."d, I'm fhe lin,, ;:ic,1 ill"","" "" ('\i"un! A,h",.
(; . f. L4 2 v). t ;,' I,,\" ,,,j . (t9('9), I 7. I;;:. 177. "." S,, T,,'adl;old (19801. 107- 108.
,,, ' P(; (f''''. \'(1';1"lm.I"" 'J.j.
I" , C/""""X",/Ioiil Il, ! \: ,'.1. 1"1; "<1,,r( (I 11) , .Il 1- JH: """ . jdr"T' .111.1 Sec'u II 181 - 182.
II" St.< 1(;(1"(1 ;-;1), N-,\: lIin"(1 1 '917bl, )'-2') . Fu, J"h" "fn.,m,,,,,,,,, II",,..: wh" "tu"k
,
di";nc 1.60 11.16. IIL,!), ,'.1. !\"fln 1197\1. ,61: {fan" ""do,,,,,, ;" ,Iso
(1 (") ,pll), '12-" ; . , .. , /'(; 29:Ct",i,c,,,'.
I, ., \hl{," ! ; 7- l ,!S: \V dltn 2 I.
' 0' F", ! h" Tempk uf 1''''1 un;! V;,;I;. ;n R"n", ""d 1 h,' C'pp"d(){' ;"n M'" dO<" d ;.,n,,-
, i"" off. "' "h"p"" ,wi,h lOp",;" (I')X61. J7. 1'", ,h" ;0>", Il",h"h, F<>, ....
i nl"l;e, or /I.k,ko" ,;u, sl.'r' lIg .h,l ; ,n (11"(1, to I: \Vr;mn;("(1 11'17(' .1. rls. XXX I.
crv: De, Nt""",,,,
"., Cmnp .... '" l;r:lb" (1<)4P), pI. LX..XllI.2, ,nd, fic" !he ;1I".m.nio" (MOUn! A,hm.
1 'a mOn 6, r. "J. C" 10",, ,;, (1,)6,)1. I 47, ht:. 177. ",,, Sn' "I""',,,ll;old (19801.
...... ian descnc". o,hen ro. me<Cc<lU}': bu. ,he g<ncnJ d""" ,o.he ,ru.h.
infornu no .Iu. he w W '0 .he d.mgluer by God." " s.c.UI< the composition of
Jul"n', <ko,h rq><a .. """,k !;gun,. found ebcwhe", in .he monulCrip. _ i, is po-
cialJ
r
(ond appmpria.ely) clo&c 10 ,he occ:ne ofConstan.ine unh""iRg M ...... 'i ....
on f. 440r (fig. 4j) - .... ,bued knowledg< of .h
e
'pioode """'" inninsi".Jly more
likely.
!':aris.gr.jIO is no he only iII ........ ed ropy ofGrq;ory" Homili .. . o i"du,,", histor
ical minum""" ,her appeor throughou, rhe Mil2n Gregory .nd .Iso !'<Cur in 0 f"",
vc""' ... of ,he li turpcal edi,;"n. Wh diningui.hd ,I>< hi.ro,ial min" tu,," in
P.ris..gr,jl0 i, ,hoi, incorp"",uion of .uppkmen .. ry "",.il, '" ... hulelCel'l<S.
Such oddi,ion.'''' ch.ne ... ,"'''' of .he !':ari, Grq;ory. ond unde"""", ,he concq>-
nuJ uniry of [he min;,uu"",: rheq ..... ion of rn <II'''ruJ yisual ""'''''' fo, ,he h"m.
icaI mini.m ..... would RO' <Hn po: itldf ....... i. ItO. for Knn Wrirunann'
..gum ..... in the '5I<4OS th th<y p""iJed <'idenC<" for nuwlos. eopiofd .. i ....
icaI his'o.i .. wi.h illu"""io",.
Bu., os w<: h. ve krn .im< and ,ime again, <kvi. ,io ... from Crcgory ..... mon. >Ie
ItO' pn_ /"";'<'id ... o: for .norhe, viwol source. While .h
e
,. is .mple .... Odcnu
t hfOughou. the mom""rip' tho he Jcs;gn..-of ,I>< min ... u .... knew other 'at>. in
""'" ca:.c:o it.lC<nu mo,. pl.wible ,hot it was.he .... IS thC<lU<"I .......... he hon .ny
possible illu" .... ion' .h"" ,hey m. y h" .. Iud. ,ho. pr<eipi ... ed ,he "",,,,OOmil .. ;c
""rurn ofindiYiduol min;"rurn.
In .ny .... n., ...... n of .h. Rine historical occnts "'" h.,... jusrcoruidetl find .hei.
fulb[ .. ph"'''on in Cregory', ",.mono: all "'"'""I" rl><llos[ two <pi5odc:I n.:.m ,I><
life of Juli.n .he Apo<t ... dcpc:nd on ,hem fin most <>f .hei, det..a .. While the
"I'<,;,ion of "ock figu,. ')ope< and n""ifo ,hn>ughou, ,he hisforicaJ mini>!uta
'''W''' .h.t many <>f .he >un .. W<f< compiled '" """" for Pario.gr.j ' o, I would
nonhei ... argue ,h., oome of [hem we,. odaptl from .n jl1,..[ ... [ed
Homili .. m' nUS(,ip' "';,h pic", .... ha nricipated thokof tho MiliUl G"l"I)'. '"
S..ch. hypo" ... i".1 HomJi .. manllKtipt .. IWIJm< lfIO .... ibilit)'
ror all ,he d ... i!s in ,I>< h;storical min"'U'" of J'ario.gr_l'O. which incorporo ..
oupplcrncnrory demen ... ho. n.i.her in .h
e
Mil:on ropy flor deri, .. from
G'CSOry'Sfe<t.
Thr "' .... ' co'" mon , .. nuJ ""ufCd rot ,h ... deuil, u< ,hr =1 .. i .. ,i .. 1 histories
... ritlrn by SoI. ... t<S, Sowmen, and Th"""ol<1. [conocl.sm had .evi>'<'ll intct<Sf in
.1>< Ar;"",.oo in Julion. '" and ,hough Pho.i", w ... mo"" .. ,.ful ",.d .. man
m. ny ofhi.cot>tcmpon.i .. be ..... "'" alone in h;, knowkdg< of corl ... <Cd .. i .,i
'''Code. IjI' ..... H,..,.VIII ('m).," " .... IV" .... ('ml , .....
m Ao G ......... ' ....... 1'- """, .N ..... I; ... <01;,.." ... "'" od>ttd .. """-,,.,'0: I
un-. """"""'" _,,"do .... , .... Onupul .10";""_ ill ...... ...!
..... oria. "'s..."""'" ........ )._.
'"
Vision and meaning in nimh-century !\yr.antium
cal histories.
173
There is no evidence that of these textS ever received illustra-
tion, but it seems likely that at least some OIher members of the elite
Constaminopolitan circle with which we have been concerned, as well as rhotios
himself, were with these histories. While only "hotios, of thi s group. left
record of the books he had read, was demonstrably fascinated with hi story, com-
posed a treatise on Julian, and wrote sermons on the comroversy,174 it is, in
the end, structural parallels between the way meaning is constructed in his writings
and in the historical miniatures ofParis.gr.51O that provide perhaps the most com-
pelling hint of his involvement in the manuscript. Just "hotios. in his synopses of
Josephus in the Bibliothtlu, was seleClive of the he summarized, and added
historical details, I, 5 so too the designer of Paris.gr.510 seleCled scenes
from Gregory's sermons. and inserted historical details into them. The structure of
the and visual summary is the same: in hoth particular episodes have
been excerpt('d from a longer and then augment('d with historical mi nu-
t lac.
Tht' ideas and thought patterns of I'hotios pt'rmeate Paris.gr.)l o. If the paniarch
were nOI involved in the manuscript's production, we would han' to invenl his
done: an anonymous who had with Photi os. the books citt'd in the
Bibliothrke: who was thoroughly familiar with the twists and turns
Photios filVoured: who was :IS concerned with promoting the court :lnd patriar-
chne :IS Phorios was. and was as intimarely associated with both: lnd who h:lJ
app:lrentiy unlimited resources. It is simpler to confirm Oer Nersessia n's
speculations. and to identify PhOlios as the (mil/mer grist behind Paris.gr.5I o.1 76
The patronage of imagery was a prerogatiw: of Photios' position: we should nOI
be surprised that he exercised it. Many previous studies have, in fact. linked Photios
with other programmes, notably the new mosaic decorations installed in Hagia
Sophia. pan of which he eulogized in his sermon on rhe apse mosaic of867.
ln
Whatever his role in the Church. we know that as patriarch Phorios COIl-
trolled various teams of artisans: that these artisans may have been in sympathy
with their fOriller employer is suggested by ont' of rhe canons of the councillhat
deposed him in 869-870. which forbade any painters who refused to go along with
its decfees the right to work in churches, and thus seeills [0 target Photiall loyal -
ists. 17g This canon may have some bearing on Photios' remark. during his (xile. that
I" E,g. Smomen. and Thn><.loret all cited (though often incorrectly) by Ihe authors of
the see C .. me,on and )'krrin (1984). 19.
114 <,.g. K U5t:lS (1964) .nd 11'>les H[ '4J .bove.
1 ' Sec a"d chapter 1. On Photio, ,irn;l .. approach to I'hilosto'gio,' History. Nobbs (1990).
z 12-256; "n hi , i nco'por.n ;(>" .,( tbe him>'ical material he had 'ead in", h is Mango (I '15M).
1 J6-24J; Ma ngo (1971). 41. 1](, Ocr Ncrse ... ian (196l). H7; alro Brubaker (198\). 7-[3.
f.,., See t .g_ G rob" ([957), [96---t9g; Cormack (1986). 614- 61\, 618- 610.
1'10 See Cormack (1977b). 161.
,,6
church .. ""'''' now being .bandor><d: em. inly h. compbiD<d th .. church .. ht
had commi<sionl ""'I'< being d.<troyN.''' A. .,.trurch. Ph",i"" u,ged Bo,;"
Micl>xI of l:Iulgui. to build churches; SOmet;me ktwom 868 and 871. during hi<
ail h. wrol'< '0 G"'SO". .... bes<oo. biUlop of S)T>C ..... <t>COUraging "im. ' ''''. to
continu. to <=t and dcro .. chUld .... LOO M.ng<> .... in "'ioed ,"" poaibili,y
du, Ph.,..i"" and Gregory coU.b.".,I in tit< d.<isn of Joco ... , i>'l: f""Vlmn><S.'"
GI'<'g<>I)' don sam to have bn [n",fcnal from Sicily (Syt'>OU<) ", Ni"""".t
aboo..t , ht [im. "",tlo. began on F, .. i<,gr,sIo:'''' he .ns th.,d01'< in ",...,n.bly doK
pl'OIIimi<y 10 Co",ran[inopk. lIu, M.ngo', in"iguing hypo,htsi< mWl. unfonu
n. tdy. r=Illin in .ht n:aJm of 'p<CuJ.[ion, fo, we have linl. funh .. in/O"""rion
abo.t t ."" bish"" of SY"'CUk.''' Another of Photi",,' 1<I[<rS wri.n in nil. ""'Y
.Ih<dt ' 0 po"""i, p.ointcd of himsclf: 'Did n", ,h .. p.oin, d<linc> OUI
iJrulgt with bc:ou.iful colourS. ht who m.innin. ,h., h. h .... id hOIhing b:ad abo.tt
us!''' lf i .... rhetorical Hourish ... ,h .. ,han. m<1'<n [ 0 on >e' ual imag"Photi",,'
", .. nee.t I ..... indicate'S tbat It<J ..... "' .... pl>otS ftom the "",,1.1 of ,";"0$.
Phot;/)' :woci".,ion wi th. large .nd Ioruhly produced roda fit> wi," ,h, o,h.,
i .. fomation "'" can glan .bout the: patri .. d>. Hi< detn<lon pon ... y<d Phon... ..
luving oold hi< soul to ,ht d .... il in ordo, ' 0 lJui .. hi< 1\"'" ko'ni <>g.'" .nd the
conutJYttSy bctvo=n Ignati.,. and Phot;"'. :os pr<>Cml by tha, p>r<i .
...... .ns often tlued ,o.n oppoo:ition cultu", (Photi",) .nd pi!,
Ug""Ooo).' " Th<>ugi> ,he ",nAic .ns pJ.yeoJ OUI on oth .. kvd.s os .... 11 - fin
cumpk. each side bJ.ml [h. ot"", fo, m. &""" <>nh'l.....u of86?t07 - .ht basic
p.orodilY".t I""'t >n6"", the potrntiol o1'P1>ot;'n .,.tro",&". W< know [00. Wove
all from t"" 8ib!Wd!</u. ,ho. Ph",,,,, ... prl boob; .nd in J ...... 01'870. when ht
.ns in ail, flOm Conn.ntinoplc . nd wrot. to ,h. Emperor E1nil compl.ining
about hi< ''''''men., h. "mocd ,he d<priva' ion h, felr flOm beinK d..til ,hem.
Indeed. c:t't t;'" ktr .:onee", .. ',b, facr th ........ h ... bttn dq>,ivl of ou,
books;' """,l aRd unnpr<d ond , new puni,I"""n, con.rived 'gains, u" and
include< .ud> SCnr<nS .. E.. .. "hi .... . ht admir.bk . ndur<d .ht .. m. '=ch,,,.
."Th< .... .-- 01 .. _ ... ...J ;n, 1,,, .. G"'S"'Y -.....';!<d ;n ..... foik-int.....-. fr><
................. ""', ............. 0'. M.pIali .. " .
... f.p..l. to! l.oounh..."j W ..... ;nk J 1>9*,). "0-.,, I/'C .od,.D). s.. .... WbK< .....
So , .. ,." .. ',.W. '" '''''' d. O"f). " "
'''c.,.-I(,,,fl._I''. '''s.. ....... li . ool .... _
, .. .pink ' 14' od. Uourdao ..... w...:. .... II I."'" 474'. U. ""..H" , .... Wh ... h ... ,. '0<.
_ .... ... y 0. opm;n, .. ... ""ch' "" ..r.""" to {'.....,.., -... on d .. io.
&po. ...... -. .. I. ... oa<>nliaa to b;, ...,.;" . pilio. "",,p.n4Ol W ..... _ "'". ....
;" odd_ ... ......... "",-, N;r.,.", .... v-... I,..m. I'G "",,..,0, ...".. "'_
1 nt>I, ... l . 7. NOk<"i pr;o; rh>o ..... bm..'b .... d;p.<y
of . loOohop).On (''''P'' .... ""'.... ............ 'ns..(' .... iIWd ('97')'
, .. 110 .. .J<opior I.,... .... j ""i!" of .. Ie ... r...,. G . , ,,,;., ..... "" ... prtioI -rr ...
"".wi;! tt'.:t;: ;,,:, :7,".':',:."-K.pIao ... ). " ... "'-
'"
.. d", h.nd, or <he Ari.ni..,,,, bu, hi< boob we", no', .. in our Clll<, .oken .w. y
(rom him:'" .... i. well known, Ph",i",,' cn<mi", d.imed d"" I..,W2.!I wi,h
,I.., produCfioo of 0'1..,. nunw<ri!,," 0... or ,hcse W2.!I ,I.., r.mow .... rudy or
Ign.tio&. li k<ning him ro the on'i-Chrut, .h .. WOO ... ppoo<dly ill"'tra'c,J by
Gt<gOry Nbeotoo. t ... AnothC1"was. &pUnou. da.igt>l '" 'look
,ho, ",,,.,,,,' d"ncton .... "'" he hod COntDCl'ed in ordC1" '0 win hod.
R,uil', r."" .... '" Wh,,1Ia Q. no, 'hn< O."UIa,ioOl hoy< .ny bo." in ...,Ji,y, ,h.cy
,uggco' ,hO!, '" minds contemporary wi,h hi<, Photi"" was usociotcd wi,h book,.
.nd ... j,h books , .... , indOOcd pi"' ...... !';,i" V.S'o. I beli","" providn , I.., sum.
ing cumpk. Why Photi"" coo..: '0 get ioV<)1vtd wi.h nunw<ri!" of
Homil i .. is, ques,ion ,owhich """hall mum in ,h. cooclwions of .hi< book.
," F.p;"lt oJ: I. W.."ribk I ('ji ll, '}1-,,.U.t7-" , !.l-." ....... Who .. (,,,,,). ,6"
, .. Dacrih<d by sou... ..... ... : PG ' OH,ol)_ .. ,A, G_ (,,}6), .... 019">; <nDI.
......., ".,). '''- ' ',. s.. ,_. G<.w (0'17). "1_' ''. ,,....,;01, IbIdwio It"")' 0. '''''''''' who
,..,., ..... to> Iu .. f",,,,,,;.,,J cb_...."."""- _ Kaolin. H,,,,, ('V71. _ " J' ..... -.. ,10 .....
,f. -.. rt.o<"" ..... ,..,. """ M of ';"';b,. """"" ' 1'1'*""01)- ..... ""' .. 1. "un. "'-If.
(" "",;JWd ' Otl 0).
' ... Nilo:rw ..... v,.. tp..ii A._ td. !I.'d..<
h''*1. . .... s.. """..,., Gooa"'d ('j)1).
",
6
Mission, martyrdom, and visual polemic
MIS"O" "NO MUTHDOM
IIo<h ,he Empe"" !\os;] .nd ,he p."',,ch Ph",;", .I><OU"g<J ,h. 0011"',.,;001 nf
nonCh,'''''"'' . nd .pomomi . ,,<m;,'. miMion .. ), . eli,,'}'_ The 879-1180
Om,,',] 'l"""ific, lI y pr>i>l rhot;", fur .hi,. while Con,un';". PurphY"'II"nni.o.
d"",1 ."." .... ". of ,h. 1I.a,ilii ", hi.< gr>ndf.,hd, >m"rsioo or J"""',
Butg.uian . and Ru"im . ' Th. other ,ide ,,(con_ce.;on rhcooric. mri-heretic:'! di..-
ro,,=. b.d !\ouri,h<d foc .<orne time; thc .rguments tn .. will Con<em II< here ""I<
"fn Ii,." u"te.m.J in ,I>< .n,i.j.wi,!, di.l<>gu<>, f.m,.,a hr .",iim'mel",
polemic . ..,d krpt .mouldcring by thc an,i]>l.m b"",d<id . nd the con"",,;,."
,,,,e,, ,;,,,.d " ,I .. But ,hough .. of co,o .. ,,;"" and Ji",ibd
'Vi"" ,II< ""-<;<>",,.,,1 ... , .... ., ,;d .. of ,h .... "'" <:<>in. in .h. mini .. " ... of
P:ori . gr.5JO rd,:rcoca (" mi .. ion.ry Ktiviry rucxi" mher ,h. n minsk ""i. h ,i..w
pokmic Jiltt,od "I;'ins, hemy, ,he tw(> proj;l> wore kept p.Me . rxl
mi",ion .... "" .Iignod ""i,1t m. nynlom for ,he b i,n , .. r..-, ,h. n wj,h oond.mn .. ion
ofin0Pl"'n<nu.
Folio ",If (jo) (6g. )0)
Folio }Oil oon .. in, ""i'hin its j<w<ll..J red fro"", 0'" of 'he five ... , mini
>lU= in l':t,i._gqm, . nd, '-' i, ,rue of ,h< mh .. four.' ,h. f<"n", , ign.l. , oc<n< of
I"ni<ul .. import.ne<: here, mini"uf< of Pen'o>! introdu< Grq:oty', ,mon
on ,h. ",-m< lOpi<, whid, ""Si", "" in """'.' -I'b. Byn'i'''''' hold ' On l'<nl<O)'"
, 110..>;0<0'" ('9hl. ,0. Vi,. ,,-i.; .. "', .... 1I< .... Io.!l l. W '"01' ...-oOIu,....,-. .,. s..
i.nbn!hvo>o (, ... )- )01'-"",.
' 110< u.",",,,,,""" (I. ",I, H. b.rkkuk (I. , I "i, ,k< <;""",,1 .. ,s, (f. "" ). ..... [ubI {I. .,t.-) ,
li,> . ... ,.. )4. . An bu, i. 7" .u..."' ..... ,I .. ,.I.," fI"Id I,"""" ......... l'Io""'p."o';""""'" ..
-
, sc ,)I. " ... ", (NNo'F. ,)'$-.... ,. Milk! "" (,.,.1. ')-7,. ". ,." Il<;u,",oo
{,,.,, , . "'" l it' N< .... ! ' .. II. ' ... '" '",.. " " W .Iod {' o; ,,_ 10'_ 10): W,;, ...... "" (,,,, M. ""
W"'''''''"" (0,1,1, " .
in "'''' <S'm: in ,h" ' )'pikon of ,h"G",,, Chu",h. fOr =mpl". Grq;ory', ",(mon
i, ,I>< p",,,I<;. - 1IO,,,,.lIy d.,ived from ",rip,,,,, - f"r l'e,,,..,.,.,.' Th
jgnilicaru:e of Gf'<llory', 'n, pr<>umably account> for bo,h it> "pam .. ", iilu .....
,ioR in Pari . gr. 1'0 .nd . 1l< inciu.ion of imilM imag< in nc>,ly all o.ll<rcopie> of
Crcgo<y'. Ho'nil'" ",j,n I'ict",." .... n in ,h. Milon Gf'<llOfY ' min;"wn: of r . n ..
CO" (now e. ei,...!) "'placed ,he w u.;d imrodoclOry p=ching 0CCf>C.' Folio }"If .in
rmly .. ithin coh"",o' e.r raHomilio f'am"wurk '" ... .,11, fur imag of
I'''Rl CCo;" .... bcfor< 1<0",0<1. "n, ' WC>rcJ with .,""'" f""l u'n,), in ,h. I ... , nin,h
nwr)' . nd ""n,int>! iRIO ,h ... mh. Th. mini.m,i" of ,h< Khludov 1'11 ..
..Jded the ""'Re to iliu"'",e I\olm 61 (jig. '0)1; ,dr.wing . ,""" '0 it> inscn >on in
H'gi. S<'fIhi, ; .nd Jeocrip1i,.. ,.". ,(oeumen,.n i,n'g< "f , h. Pen,,,,,,,, in ,h<
Chur<: h of ,he Vi'llin of tn,. Sour," renth"",n'",), enmplo. pmlir. .... in
Gpp.adoci. !
The imag< of I'<ntc<o>, on f }"" pIOca'<> in m"'t ""roc" on" of , h< two .tan
dard f(,rrnub. used for ,hi, ",.n. i" It),u",i". rn."u",rir" Following ,!>c-
occoon. in Ac" "'_I" """Ive '(>0', 1<0 ,Il< 'do",n lOng .... lik<., of fire'.
b..dly R.keJ but "ill ""ible along "",am, of light iMuiog from. throne ... ithin a
cirek of blue Ii[\hr. Th" gold ,hron b..cklcu bu, richly j.wdla!, ,uPP"''' rcJ
cu.hion on ",hich ra gold .r><! gemma! book. ,Il< d"", of tbe Holy Spi. it, and a
crown, ,bi, crown, ,,' hi, h i. ,Il< only ,,"common f IU'. of,,,. hoim .. i. im.g<,
w:u . pparently meant 'to .igoify IGod'.) royalty', a ph .... from Gregor)" d"'Clip-
,ion of !'en,,,,,,,, th" ,h .... ,ib< of P "".gr.llo m .. kcJ wi.h .n initi.l.
Fom of . h-< .po>.1co (p=um.bly tl>< fOur cv,ng<I"t hold b<>uk, witb jewcllcd
gold c.,. .... ,. hi, phY''''tnomy .. P.uL CO" .... rcJ book. Th.c
f'Cm.ini ng!CVCn hold "'rolk Thi. m.n"", of diningui.hing [he 'po"l<> "I'PC-'"
f""luently in ni nth .nd rcnth",entury im.ge> (in tlK Khlud"" Puh"" {fig. 10))
.... n ,h. 0'110'''' of ,h., hook.< !>c-Id _ gold f<:,r ,h ...... "gel; .... ,a! f<:" P .. d - Q-.nf(,rm
.. i,h f. j"lt) . <><1 .por.dically , h-<r",lier. '" The manner of di.po>ing tl>< .po>tlc. U.
n"""""", "no",a1. !'ete' and p. ul norm. lly .Jr.,,, the pl,",e ofbooom in I'<ntcro.t
im.ge> _ in ,h" Khl"dov Pulr. f(" eumple. ,her A. nk ,he <mpry ,hmn" _ . nd in
p .. i,.gr.jlO 'he ""ir July ,it togcthe, dir-cctl y 1><1"", th" netoim .. i., Bu. on f )Olr
,Il< axi. i hwod ;lightly in I'.ul'. "vour . r><! this imn.l.noc i, <mph .. izal hy ,n..
M",,,, It I"',). ,,6. 0 ..... ,ypOkon, X< ch.pm-, no ,",.
' <h,l, .... ", ".,'<."' ... "" " '" ",m. ;"" .... ,",,,, ... 'M""",,,,,,, , . '--'" "'"""" .-.....
..... , " .. ,.1. piJ . XU\!. XI.V!. Of d .. I'," ,,,.,., 0>1" ...... .01, "", .... (P"",y .",1 "",.",
f\on,oro." ..., G. I ...... t,,.,). ' 9. _h .
M_. U" .M .rod." . f 6,. .. 1,,,,,1), M,., 1'9<1). I< .... fW-. ' .... 1<.
Sou""' . ... \,_1 ,...,,,IDIy .1.0,,.. m.. .on .... "h """"I, ....
, c .. d., ".hl .,....,,, th.m .U, ..., <." """,.;. (,,,6). 60. ,*, Ii", _ ... " ,"".
' s.. , .... .,...w.Y "....,1. '5(; 'fI, ___ .." f. 006'
" 1:." .u .,.th . oo! '<nth-"'"')' .... m ..... ,id ._ boo! St .... ,,"'"'J u , .;,,.. , ...... "
r..tl._ , ... P''''' ..... J.,;''' ow' Iulf of ,t.. 'm .... ;. ,1ot1;, .. so<>I H ... "I;"'.
j"
'r. It


..



,
... \ .
....
Mission. marryrdom. and visllal





.'" .' ",I . ' .


,

, .




.. \
'"
.>
, ' ..
" '
.' 'fl
". , .......
. . ,.' .
Pig. /OJ MOI,ow, HiS/orirdl Musfum, rod.J29. f 61/}: 111m singing in prais( olGod; PrnlrrOSl
' 4'
Vision and mu .ning in ninth-cemury Byumium
fiaCt that while Paul holds a book, Peter {on Paul's left} and a second apostle (possi-
bl y Andn:w, on Paul's right ) hold long staffs. They thus frame Paul as guards frame
emperors, and ensure his dominance. Byzamine images of the Pemecost habitually
give Paul the more important slot on the rigbt side of God as represent ed by the
empty throne (the viewer's left), and for obvious reasons: he was the apostl e of the
eastern empire, while Perer was associated with Rome. I! What the Gregory mini-
aturist has done is make the ranking oven. The acceor on Paul notwithstanding,
the aposdes otherwi se sir conventionally on a semi-circular bench against an archi-
tecrural backdrop, a habitual format found in numerous later examples.
12
The
composition has suggested to some that f. )Olr foll ows a monumemal model
designed for a curved surface, specifically a dome mosaic from the Church of the
Holy Apostl es;!j no account of this church mentions a Pentecost dome. however,
and it is anyway naive 10 think that curved shapes on a two-dimensional page were
mean! to repliolle a three-dimensional dome: we sec here a synthronon like that
used for the church council on f.)W (fig. )6). The wide distribution of the formula
(without the slight realignment off. 301r) docs, however, suggest that it was well
known in Constantinople.
Perhaps in response to Gregory's reminder that the tongues offire descended 'in
an upper chamber ... because those who were [0 receive it were to ascend and be
rai sed above the the apostles and the he[Oimasia - whi ch extends above the
frame of the miniature!6 - occupy the upper two-thirds of the page. The space
below [he inner curve of the semi -ci rcular bench is filled with a green ground; on
eit her side stand dusters of the 'devout men from every nation' described in Acts.
The men recur in some later versions of the scene, 17 but thei r indusion was never a
prerequisite in Byzantine represcmadons of Penre<:ost and f. JOlT is the earl iest
image to include them. These 'devout men', many of whom chose to be baptized
(Acts 1:38-41), emphasized a cerra in aspect of the penrecostalliturgy. the conver-
sion and baptism of the multitude following the descent of wngues on the apos-
tl es. 18 The theme of conversion and baptism [hat underpins the episode narrated in
Acts - reinforced on f. 30lr by the inscriprions ' races' IlYAAI) and 'wngues'
(r AnCAI) - was lIot a motif that Gregory emphasized in hi s sermon, but (as noted
above) it was a theme of considerable importance during the last third of the ninth
century. wi th Photios' contributions officially lauded in the year that Paris.gqlo
liOn Byunl;nr rCiponscs 10 SI I'rlrl, 5r<' von Falkrnhauscn (1981). Clp. 6.1-64) (for PhOlios) and
6S1- 6S7.
II E.g. SI I'rlr..wurg. Public Lib. coo.lI, f. 14V (u.hiollll'yjl'J9.); Morey h?l?l, fig. 8j;
I 1?7Ib]. fig. 4), many nf Ihe cil "" above. and ,he ,,r Ihe Sophia dome
mOi.:lic (nOlt 6 above). Il Sc:e (1969), 110 nOlr 178.
I. Weinmann (19H), 3S, fluhr r in'probably JUSI!Cllrd a lenionary mood. SC )SR. H1.
I' Sec too the hands of God on fr. 1Sr and 164" (figs. ' 4, 18).
11 E.g. thc lemh"cenmry Itnionary in SI l'tlcn;burs (notr 11 abovc); scc al.<O Gfllbar (196Sb) and
(1969). 11 On Ihi s lilu rgy and ill rdadon 10 early Maudonian arl. $<:( Corr ig:t n (197a).
".... . pp .. mtl)' <ommi .. ion<d. " Both And'" GraN' and Si ra,pic Do.. NCr>a<im
I .. .J=dy thot the men ..... i[ing bopti.1n on f "'" compt.nvn' con
[.mporary """' ... ion ctmp;ligm,'" inclllSion echoes , [bern. of ..
em .. 1 ,it. th ....... .ppropri ... in tM 8800.
Folio 416v (4') (fig. 4')
Folio . 16. piau...,. tho u..di'ional m"'iun of ,he .poo;tln o.bu.t tw<1w .moll
vigno" .. ,hOI .... 1. "'ow ono .po.do Np,i,jng 1 now Th. miniature
broadly illu" ...... the opening p;lr:igr:iph. of tM :oomp;ln)"ing .. ,mon. On 'he
Word. Gospel" (Homily J7); ) .. u, whu .1. ..... the fi.hernvn. him .. !f .1...,
u .... h 1 n .. ... ,hat I>< m.y d",w up [h. fi.h fro,,, [h. d'1'[h . ,hat i n,." who;'
owimming in ,I>< umeulod .nd bilt.",..,."" oflif<.""
1lKx opcIIing word. h.'C. huwever. liltt. '0 do .... i'h the m.in th"", of
Grcto,y. Mmily,.n "'enJed <:<:>mmcn<>'Y on Malthew [9 ,h., conce"" .... Oil
,he ,<I.rioruhip bctw.cn women and """n. !ndn-d. ,he Milan Grcgo<y igt>O...,. [h.
fi,hCfm. n theme altogether. intctrupting the 5<rmOfl only with it> "",wId
p .... dling ""'"..M on im.ge ,ugges,ed by Gr<go'y' .i, .. iOfl ufM.uhow 19" 9. "
In P"i'.g'.I[O [M <kci.ion [0 ill"",,,. [he fim par.graph, mh [han a p.> .... ge
mort <enl ... l '0 Gr<gory'. th.m. was >.Imo" ".inly Ji".,ed by Bruntin.
invt>lvcmcnt with mi .. work dunng the ><coM half nf the ninth o;cntury.
wh;rn (as we I.,,,,, j ... , ""'nl ,fucd the Pentecost compoo;ilioo .nd ",hich also
infU,mcd & .. il 1". rcdt<:OI"iun uf the Apostolciun .nd tho mini .. u ... of the m ..
gin.II""I .. "."
GraN I ..."ed 'he ,,",ICy of im.goo of 'he m i .. io n of, M poo[ I .. in, ><C<>t\d
Iu.If of [h. nimh . nd 'hroughou[ [h. tenlh cemuI)". " All 01 ,h.c .a[lr m.rgirul
poWt ... th .. ret.in r...hm t8 and ?l include yo!>i"n. ofit. as do lhe tcn,h-<co,ul)
c..ppadoci.ft dluh .. ofl""I, 1nd [he Apo"ol.ion po"")'Od ']>inc
mi .. ion.ry "",ivitia of individu.1 'po>tb.'" None of th .... duplint'"
[h. fo,m .. nff. 4,6v. J)"",,,m ricr.IIOllgi,udin. 1 compoo;i,iOfl . with Ch,; .. in
the centre of (!) ..,.",Ico ordaining th<m 'U Co ,herefU", and .. ad, all
notions, Npti1ing,hem in the namo of the h,ho . nd tM Son . nd ,he Holy Spin,
(Il QPEIYt'lENTEC om MAt'lHTE\"CATE llANTA] TA UINE BAIIll
ZONTEC AITOIYC EIC] TO ONOMA TOY Il IAT]PIOIC KIA!] TOY
Y(JOIY KIAII TOY AJ'IOY IlNIEYMATO]C i"",.ibcd in r<J o n
"So. ", .. , ....... "D<, N<, ....... h",I. ", ..... "<' G"t.., 1, .... 1. ,...,.. ,.
" Omoo, (., ,,1. 10. pl. lVI , .1.10..,. 1,.,, 1.", I,,.,). no. N< ........ (' .. 'I .
...... ""'. "'. ,," Gcabo,h_l. ,""'06" Wrinnwuohn.b> ..... 0. .... 1 h ... l . ,,>-... ,.
" S<: ",. , ,.,... ,'. INP.W: ',... .... 1, ............... 'Ie ", . ',.,..m .... , .. "''' '" , ...
_;ay rondo&. .. '" >"<00. do< ml";""",, -.,<dJy <aU", m.nc;"" I."' .....
", ..... , (, .. "'). pl. tXXVI. r .001 ..... i"""' .... _ , ..... ... '-"..,;1 ...... it loll. f" . " '
bo. I" "" ..... ;ay ",Iu .. ",,-do;,,!! ...... . oM.
"So. po ',7. G,.!...(,,,,). '.... .. So. oom', ...:1101>.'-.
4 '
f"mel . opo . of .n, c< .i<f"S offou, sana e><n.VThac noorly idon
ric;d "...11" f ... ru ..... h po<'''Y'.n 'po>,lt Nl"izing in ,he p ...... ""'" of. whi,.-
rob..! figu,e. !,,<,umablr' c:uechumen ..... i'ing hi. or own Np<i,m_ lbt
' p<,ko ore no' iden,ified, ,hougb "'me con be named by virtu< of thoi. phyoiOZ'
(I'.ul 001';" the """nd ,.WI "f the phy.iognom)' of tflo.. boing b.p. iud
(.hc hl.<k ,kin of ,h. fig"" .. ". i.ing hap,i.m in ,h. fin,1 grid >uggeo<. M.tthew.
< .. di.ed with ,he ."""""ion of .he "'hiopi.n.) , Dut hi"" building> >gai""
ligb, .. hi"" gfO<ln,J I'mvi<i<- .. , unob .. u.i"" hJ.:kJrop ", ,II of ,h. h>.1',i.m., wIIich
them.dws rop<"" 'I""n. "'I' kll. ,)", Ii,,[ ' PO>[1.. """.h .. hi. arm
,,,",,,tI .he anlfe'o b.ptil.< an ini.i.1< .. hil.. the whi .... ,>bcd ", .mumen rae ..
him ><"'''' ,ho funt , Thil fO,m" i. '""""" in the ... ond g,id. 50 t h ... he g,ech,,_
m." ... ,Id. at .h. I.ft. f..,ing the 'po"l. ><""" the pool .. ,I>< fa, righ . n.. fo,mu!.
i. "l'rodUtt<! 'hfO<lgh""t ,n.. !"g<, , .. uhing in lin .. of al"'"l .... nging ... rtkoll),
.Iong ,h<-I.( nd right tn.rgim ",.I down ,h. ='''' of [h. <om"""i.ion, wIIil.. tl><
'" t..oh umen, " . ntl b..: k." brl . Iong the In.c, ""rti",1 ax<>. The .hape of the font>
p.ovi,J", .. ""n'''poin" in [h. "pp<rmott of h>.p[;,mal ''1li" .. " h. Mn" .1 .. , _
n.tt. bro..,.n crucifO,m .tnd round. in the middle ..-gi>t .. bnwn round with.n
j"",[ qumdoil and "Iu.n::. o"lr in ,he J.ow.", '''Ili" .. i, [hi, ""'etu,,1 org>niu
,iOft . bandoned. While .he Ii", th .... rom!"rtments of this . i "'Ilow .he "', mul
.... hli,hed in tho tOP ..-g"'. 'h,lt rt';lrn<- .)",ad, di" ingui.hcd by it> ir.du.ion
of hl .. k candid .... for Nl"i"" _ olr""" oqu." fon,_ Th, d",itlCTion. of ,hi
.... ion notwi,h,"nding, compooi,ion.J hormony domin .... f. 416v.nd ;...! ....
1>< Homi)i"" mmion ""1U""'" from o,h .. lI),,>n[;n. manum.n,,_
No othe, p .. ,.,,,vd llyun,illC,ondi'Oon of t he mi .. Oon of , he ' po>[kr &VO[ .. '"
much.p.>tt '" its unfOldin!- NOt. unl ... fUu, Npt;,,,, = .... we .. "'Iuccud in'o
exh of [nO 'h,,,,, f= I)'mp.na of ,t.. .... t<m orm of ,h. Ap<[oltOon," did an)'
"'h'" Byzantine: cyck <onnm,< "" actu,1 b.p.i,ma) ><ena, M",. depicti"",
conteflt [h<m",l"" wi,h , he ,n< '" [h. ,op rrgi ..... off. 4261' _ Chn"
wmm.nding the "l""'.b ro so fOrth and b.p. ize' " _ . nd mos. early """ion. of
.,:.n. .n :uymm""kol .ompooi,ion, wi,h eh,,,t to ,he ,id, of.
romp"" group of apo"b.'" 11>c Gregol)' min'"u, ''' app.rcmly uoed ,1>0 .)'tn
m""ico) art.tl>g'rn<n, to ",..,.. ,n.. impo"an of , he <vi""' nd ' " m.intain ,he
bala""", of ,n.. rag< -con.id,,,,inn. ,hat .lre otn..f<ompooition. in Pa'".!'.I'''''
_ bu, ma)'.J", h."" been nudgd in ,h;' di=,ion by one of .he .... a d;", aam
" '1'1 ....... hK ..... .11 ...... , .......... ",..l _;p'. w .. .. ,to. """,,"",,",.I
,I.<.,.,.,.,. onf. , .. [iiI. II . f.oo- ............. " _n,,,b.,,.d), ...... J .. , _,.,.
" h" ..... 1 ... .,1 .......... I ... " ...... ,h. 1"""""""'"""', .... "",.rin (,,..), " .
4'1.< ... , ............... ' Moo"ow, 1J"'_M"4'." " f.,.. (<.1"","' 1,,.,.,11, ""'un, A, ho..
r"roO.-..... 6., f, ',7< (",klo .." 1" "1, hI- "" [)uf.m", l' oM). pL to), Uonoloo, 8l
"'"' .... " ,[ .' (ibOd.. pl. HI , ' '0. ........ , .. """""" ...... " "'"",.,. a..;.. ....!.in.,. r...,
... r,uI .... ,. whik , " rn ........ .1,1.< """'" "'011 ............... ;"1 """ ..... " ..,. .......,
londoo, Bl ,\.dd" "" f. " .0( [>" 'IUK ; ... (,,,,,1, ""'I. J' So< ch.r<""
pJ..wch .. d,e (_Iou) 'j< of [ho Aub Leonin. in Rome, which 'nlicip.u."J ,he
symmetriul fo. m>! off. 6. hy .hm" eigilly ) ..... "
Th. m.,gin .. 1 ps>ll'" ilium." Psalm [ ij;l j with im.ga of tl>c 'f'<tlo p[c..:hin!
to the '1""'I'1e of ,II " ...... n .. ; while no, i"onog,.phially "I .. ."J ,0 r .. i, .gf.\'o, the
"oni"" in [ho Khlu.dov Pu.i!<. "",m. to 1' .... 1101 [I>c in .. n[ of tho. G"I\"'Y 1"11" ...
.. ,hok. While tho. ekvcnth-<cntUl}' (!) Bri>!ol Psahe[. which tend. to . ..... id the
I<)piai fe .. u,cudd."J in [he m .. gin.1 !",hen. PO""' )" 1\:, ..
and Pmlp" "ching [0 IWOchut . .. of propk. " the Khludov min;uuri" .... po..dcd
I<) con .. mpo,"t)' ;n<a, in mi .. ion .. ) Klivity by Jepic<ing all twdve apo>tk<
p,,,,ching '0 dioc<CIe group' ,<>.).'" The n,,,,,ico in [ho Aj><,okio" ,1,1
.b.....d the mi .. ioRal')' Klivil)' of [h. apo>tb: Mcu,itc' da.<.il"ion HO'"
1.1.,,1. .... ""ith the SY'''''''' Luk. p.....rning" Ant""h, Simon .mong ,he P ... i.n,
,..d .'U=.ns, lIanholom<W p",,,hing ", ,ho. A,moni .... , ..d Marl: in
Alcundria." Th. da.<.ip<ion. given by M .... ,i,,, .e",,11 [h. apru,ln prach;ng '0
0.11 n"ion, in the J(J,1<><krv ""h, .. 1<1 both 00'1<)00"" the impo<t>r><:t of mi ..
,;onHY in"sct)' in the nimh ccnmt)'. II i. oJ", """i ble [h .. , he ApoolOlcion
iocludcd few ..:cnn of 0j>U5. 1n b.optizing, " ... of which m'1 be reftc<:tcd at s..n
M,rro. ""hore M,,,h,,,.. i oo""n h'l'[;zing [1.0 (whi,e) I'lhi<>pi.m. ... Bu" in
Byzantium, f . 16. ' PPC'" '0 rem. in ;",I .. cd in ito emph",i. on ,he ><1 ... 1 .ite of
Np,i.m; ,I>c only ",.oJ par.Jld .ppcan in ,h. m ..... it dec",,,ion of . mHl fou,
, ... n,h.nrury dome mouic in ,ho. llap,;"e.,.. " s..n M.K", which l)<b, .. Pi""".
,ugge",. m.y h"" bn irupirl di"",ly by r.ri . g'.I'D. "
Folio J' V (I) (tig 8)
uu f. . .,/iv. f. J'. ;' .1", <onmue,cd ... grid, wi, h four rowoof ,h= "lu.>In, 0><1>
ronuining the m.rtyrdom or de"h of one " p"'tlc', !'ncr. r.ul, >ltd Andrew;
j,rn .. (son ofUh."J ... ), M"k, ,nd M."hew; john, jude ( I1 .. Jdeu.), .nd Siroon;
.nd Phil ip, B .. rtholnmew . nd TOOm ..... All .rc .," ,&,in" mnnochl<)m"i<
Dmo.W<)'<' 100/>6). ".-"" '" , .
I.....a..... Md . .."" . f. )'" 1M",""" h"""). pl . ' 1M"" .. ",_.Il ....... " .. ..,
...., ,J,. Anoitnoo 1, ... 1. ",..",. "II"'" riuo .... Briwol ""' '''' _ r..n..u .. .,. 0" r .... "V"
10 .. , ), bd ..... du,....,.1<>IIo.. d ........ .....!tl.
M_. 1l".M ... p."., f. '1" SI<pt; ... (' 1'77); , ......... Iw b.. ..... 1_ i'>ntub_ 6
no! ...... p .... IV< .... ','INvoIuo. "-<I ... , ...... .. a" <vn>poo;.;..... If. ' .... _ ....
l' ", No, .... ;.o ('no, . fiao . )<- )j. Ed. 1""71.
"o.m",I I,"')' '>G. ,)<_,. , ..... 11 10"", pIr.. ,.., .... ",.
.,;""" hff6l, 0)1, r.s. .. T.,,; (091)1. 44. /ic. 6.
- Mm. , (""". 4'X 0-.." 10, ,,1. ' 1_". rI XX", Jtrf>OonN {,. "'). ,.,.....,." '''', Nor .........
h .. ,). " 1_"', m , FNd., ,,", 10 ... ), . " 1Iob;< I' .... )' KtooIn 1'01>)' " .-"" o.m .. .q" n __ "'"
(",.) . , ... , ( ...... ,,""'; ....... ,,"'-" 'n A" _ ,I I '''<;1. ...... " I, ,,'.;',m, (.",.). '."
o.m., I (, .... ). " .... "" Br.boio.n Hah. 10_), 11>< ... ""fK.u ..... . I< '''''''F
,t.. ;""",..;..., t.. "" oft"' ..... ph,..;op..m"' oIn,;b,no! ,t.. "'P'" of m ......
00.. "'-n ........... , .
"'
Vision and meaning in ninlh-ccmury Brumium


I
.1 . ,
Fig. 104 Moscow. Historical MlIsrllm. rod. up, f 11' " apastln ,"arhing
ImkgIound, with darke. blue trcn and V1gucly ",hitectu"J u,>p<> on slightly
ligh.er blu. ground. Simil" ba.:kJmpo"f'P"ar 'hrougho", ,h. manLllCripr and
",m .. int .. , .. on f. 7tV (fig. tjl, indic ... th .. the octnc rook plaa. .,.."iJc rhc city
walk
Like . 1I rhe ta' mini.rum; in 'he Ii", .ixty.,i. folio. of ""'i . g'.I'o. f. po i.
pain,I on. half I.af wi,h. hlank h.:ock, .. "J i, app<a" in ,h. di"ur\>cd f"""h
quire." Beau", ,he m1rty.oom of ,he al""'lc. h .. n,,,,,"Crt ,rx,u.J ba>i. in ,he
funcru o .. tion '0 G...-gory', hrotl>c. Klli .. rw. th .. it introducn." G.briel Millet
,ugge>,1 II .. , ,he mini .. u", picturing K.Nrio" fun ... 1 (n-ow f. -.lo) ono: .. """\
he"" while f lLV migin:t.lly prcf:u:I ,h. homily ,h" pt<d .. it, "1" ,no.. who hod
in,i,I him' (Homily J)." Thot te .. i. now p.rcll by a mini.tut< of ,he
(f. JOY' fig. 7) ",hieh Iu. alm"'t certainly bn """"'" fu ..... ,d from ' he
fi,,, ",'mon, ito ,heme" i, u""'I'f'''''i .. I pre",ning, .nd ,he de .. '" .nd martyrdom.
of the al""'\co could boo 5n '0 vi.uali"" of rejrc,I pro.dytizing.
Di"" p,ion of ,he rn.I 0 us<:rip' here i. demonstr. ,I by ,he 10.. of ,he fi .. , leaf of !hi>
,hort ... mon, mru' of ,he homily i, lou _ the remaining .. bcginJI wit h 1""W'ph
6 _....d wi,h i"or ''''' ",.ukinp ,h .. migh' luve mgge>,1 .. pccifiqw. .. ge
.. ,he min;',u ... , in'pim;"n, Other cop ... of ,he Homilies p..".iJ. no hdp: ,he
o ... ;on i.omi,,"" from ,h. litu'gic.alli.ion" and ,he Milan G"I\"'Y aocontl"n;"
it onlywi' h a preaching .... ""." Bu, 'he image Mille. though, more . pprop ..... 10
Kllisa.ioi fu""f1ll orotion - hidi..n<f1ll on f. "JV - . h..,. .. a page with an imageof the
J .. th of Grcgoty i"e' Gorgoni" and pref;w;eo hcr fu"",,1 o",ion: ,here i. no
In>On'o 'hink that ,he would more fittingly p,rccdc ,han link tM ""'''
... Th. J ... h-<>f-,h .... I"'.tl .. migu. in f"'t , be on apprup,;'te
in,..,duction '0 a fune .. 1 ",ation for Klli .. ,io<, a high gOV"<fnrncn, official who.
public <leba,.. dcfi"")uJi.n .I>c Apo.ut< in ded.ring hi, Ch.i .. ianity, and w., ban_
ished fOf hi' faith, Grcgoty', ... mon n .... r .pecifically connoru hi' bru,h .. wi,n
the al""tla. bu. i. i, full of ph.a>c> ouch .., 'Such then W1! the ucru. and '"
equipped the du.mpion of godli ...... " th., .heto,iooaliy imply I(.,;...i",' affinity
wi.h th. muggl .. of .hc ... li .. t Ch,i""n . h ttmai"" a. k ... plau.ible th the
miniuur .... tain, ito OIigin.II",,",;"n."
fi .. , "lua,.. ,h""", !'.. .... ,radi, ional r<v.n.I crucifi.ion" An onlooke
.... nd. behind a ba[",,,><k ro ,he I.f" hi' offici:t.l J ..... suggest< eith .. the prefect
Agripp., who ordcrrol'<tc,. ""<Cution, o. N<ro. du.ing who>< ign ,h . .... in".
" s.. I ",roJ..:,'" ..,.[ Awmdi . c. .. S<.: 401. ,ao- .. , (.'I '10-')1).
" K ..". ""_'11 (NPNF. " 1- "91. " G .. I ... " .... ). rI . VI.
.. SC"",. ,It " ...... "I'm: 'HI. oipuIlrd ..;m ."w ;";t;.j on f. '1' .
.. ir,J,ou "'" iodU<k ..,,_ [,.., [{,,....;,,,' ik ........... I did ... Jio<...,,, ;.,!up<"
.. , . ;._ mi.",...,. i,. "OK .. '>cu';'" u ,...., """"' ... .
,,,,,,,,,,1;. ""[ Sd"l ... kh.. II (, .. ". }t., x ..... """" (.""') . ..,Q ,<,.
"'
.... ut' Y' 'W' .... " ", .. ,," ''''
Vision :l.nd muning in nimh-century Byzamium
crucifixion occurred. A round snucture in three tiers balances the composition on
the right: this represents the mausoleum of Hadrian, known in the nimh century as
the CaSlrum S. Angel i, ncar which Pt-ter was said ro have been martyred.
46
Peter
here lacb his familiar curly hair and is instead shown with a close-cropped light
beard and straight shon hair that dips down over his forehead, an al ternative
formula that also appears in the Sncm HiraI/tin (fig. loS).7The composition resem-
bles bter images in menaia, menologia, and monumental but I know of no
earl ier dt.'pictions of Peter's crucifixion. 49
Rather than the canonically correct Matthias, Paul appears as Judas Iscariot's
replacement in virlllally all Byzantine lists of aposdes. On f. p.v, he' kne'ds in the
second grid with his hands bound behind him: following the apocryphal Acts of
Paul . he is about to be beheaded by one of Nero's soldiers, who raises hissword with
his left arm while holding irs scabbard with his right. W Paul's head tylX' is standard:
in the ninth cenlUry it recurs, complete with the tiny lock of hair on the otherwise
bald pate, in the Sarra Pamlltla (fig. 106). 11 ru Hugo Buchthal observed. Paurs
martyrdom anticipates a conventional Byzantine f. J1.V however.
ro preserve the oldest example.
The third martyrdom, an upright crucifixi on. is Andrew's. Contrary ro the
account in Ihl' al'ocryphal Acts of Andrew, which specifics Ihal 'Ihey came and
bound hi s hands and his feet and did nOI nail him ... in thi s way ro torture him as
he hung in Ihat he would be eOi ten ali ve by dogs', Andrew is nailed 10 the cross.
u
The figure 10 ,he left speaking with the apostle, however, suggem Ihat the mini-
aturist was fami liar wilh an extra-bibl ical narrati\'e of Andrew's life. On the basis of
the preserved Acts, he might be identified as ei ther Stratocles, Andrew's champion
who conversed with him as he hung, or Aegeates, Ihe proconsul who first con-
demned Andrew and later made an attempt (successfully resisted by the apostl e) 10
unloose him from his Once again, there seem 10 be no older examples
...
. J l'ni . g'.91), r. 9:': (I919a), 19H- 199. fig. 114 .
E.g. Sophia a< Oh.id, Mon.nk . noJ oflb.ill l: ('969). , ,6, Jig .
80--81; o.,mu. (1949). W} , 191, pl. 811. oJoors., San 1':1010 {uori I .. mur.!.. (fiS- 10/).
1010 in eoll.l.mioople, indude .he du. h ofl'.:.er, bUI here Oil" ",,"u,ioner holdl l'.:ler"s {<'<'I up wi.h
while. sn:ond in the naill : rlff/. (1961). pI. !Xing p.lI .nd pk 1- 4; Frau. (197 J). fig.
II; C"'allo rllll (198:), 41/, Jig. J18.
+'! On the I.ck of m.nyrdom ill u.l), aposwlic !;a K=ler (1979) .
... Hrnneckt and Sehnttmekhrr II (l96j). J86; Sehnm."" (1907), 190-191.
ff . 88v, 17OV: WeiQm."" (1979'), fiS". 4'}6.\01.
'I Ruchth.1 (1%6). 4J. The San doors (fig. 107), hawn'cr, apin differ from P3.io.g' .1 10 in
.howing 10 hi, .. h by. .;ed aroun<l hi! ned (referenu. in nO'e 48 .buvd ..... 1 Obri<l,
he ... 1 tumble! to Ihe ground: B;.bit (1969). Il l. fig . 78-/9.
IJ For the Am. Henneckc anoJ 11 (1963).419. MIJII a.:counn "imply .pecify a
crucifi. ion: Schermann (1907). 147- 1\3. !. Henneckc and Schneemekbe. 11 (t96)).
Mission, martyrdom, and visual polemic

/ ' 1" , 1'11"
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Pig. 10J l'ariJ.gr.f}lJ.[ f}.? r: MallfxUI, John. "rur
' 49

Vision :and meaning in ninth-a:mury Byzandum
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i. 't ' UNI
"'''--l,'V'
Mission, martyrdom, and visu;tl polemic
served, though Andrew's crucifix.ion (with nails, as in Paris.gqlO) surfaces in
numerous later menaia (fig. 1(9) and menologia.';'j
James, the first apostle to be martyred and the only one whose death is descri bed
in the canonical New Testament (Acts 12;2), appears fourth. Y; At the direction of
Herod, seated on the left, an executioner pulls back James' head to expose: his throat
to the knife held in the soldier's left hand; James kneels with bound arms betwec:n
the two officials. Though in the Sacra ParalMd James has longer and more curly
hair, his middle-aged physiognomy and dark hair are conventional attributes. ';7
Later parallels to James' maryrdom appear in the Menologion of Basi l n and in a
twelfth-century Acts manuscript in Paris; reversed, and with the executioner's knife
held to James' throat, the composition also recUts on the San Paolo doots (fig.
107).';8
Though not li sted among the apostles in the New Testament, Mark, like Paul,
habitually appears as one in the Byzanti ne period. The fifth maryrdom shows him,
prone before a colonnaded struclUre and a group of trees, bei ng beat en (Q death by
a young man br3ndishing a wedge-shaped club. His physiognomic details arc stan-
dard, )') and a similar compositional formula recuts in later images of Mark's death
(fi g. 108); f. 32V again provides the earliest preserved example.
The sixth apostle, Matthew, is simply shown in a sarcophagus, on ro which two
youths lower a lid decorated with a cross. This format anticipates the mOSt
common manner of represc:nting Matthew's death in lacer works: for example, in
the Menologion of Basil II and on the doors of San Paolo fuori le mura in Rome
(fig. 107).60
John, the seventh apostle on the page, did not suffer maryrdom. According to
the apocryphal ActsofJohn, when he knew his death was approaching he requested
men with shovels to follow him outside the ci ty wall of Ephesus, had them dig a pit
and, after praying, lay down in it. He was then transport ed ' 0 heaven - the episode
illustrated in Paris.gf.5lo, where twO angel s bear John upward.
61
The tradit ion of
John's ascent is based on an interpretation of John 21: 23, 'that disciple [John]
II E.S. a Palr.s..1>a f. 9" (fig. 109): (1971),
lOt: Baumstark (191617),.,... The s..n doors (pand '9; liS' '07; reference. in note 48 above) and
Ohrid (Babic [,9691, !l6, fig. 80) d<'Via from Paris.g'-SIO by .howi ng Andrew nailed to a y .
h. ped 11', v.rian. desc,ibed in 'poc'yphoJ a<:counU nf Andro:w', dealh.
!<i ApocryphoJ .ccounU add no details: Schermann ('9071,
17 Pari . gr.91), If. I .jv. ' 71', ,87": {!979. ).IiSS' j1<)-jJ' _
S. (1973). 1IJ- 1l4. For cnmpl ... (1977), figs. 9, 1<)-J1.
E.S. Pa ri>.gr.91J. ff. l4Bv, JO'Y: Weinmann (1979a). fig . 6, 8 .
.. Va'S,161}, f. ,86, (Mmof4tio [,907)): for ,h. doors Itt 48 above. TheJemsalem menaion
(Sab.108. f. 91v: fig. 109 and Weinmann 119751. fig. j6) he", d<'Viates from Paris.g . j.o by picturing
Manho:w', d."h by >loning as described in .pocryph.o.l ac<:ounu: xhwnann (1907), x.
abo OemiU} ([9841, 114.
" and Schneemdchc:r II (,9-6J). '56-Lj8; (1907), 157- .66: and Duncan
Flowers (JlJ9o).
'"
me.ming in nimh-ccnlUry B)7;;II1I; Ulll
should not dic . Apocryphal aCCOlIlIIS frequently compare John with Enoch and
Elijah. who also escaped but John's ascent appears only nrc1y in later
works. one example being [he original mosaic (now destroyed) of [he apostle's
martyrdom at San Marco. whi ch may rcRect a mosai c cOlliemporary wi th
Paris.gqlO in Ihe Aposw1cion in Connaminopie.
M
The unusual depiction
l>c!rhaps echoes iconophile illl{'rcst in John's ascent , mani fest in the Acts of the
Counci l of 787 and reiter:!led by Photios. who recOUnt S Ihe episode in his
BibiiotlnKrf
04
La,,' r images sometimes show John without a beard, bUl in
Paris.gr.s [o. as in the nimh-centUry $ilcm ''tIm/Ian (fig. [OS). he is bc:lrded.
M
Jude (Thaddeus), brOl her of James. is ranked among the aposll es by Luke and in
Schermann (197). lP- Ij8.16t- 16J. I (1984), tu.
M For lite Coundl, M,ns; XIII . ,681); for ,he codu U9, t il . Henry IV (196\). ' J9-'4 ' .
d",where di .. pprovingly , ile! of John'. (in ,n Acts of Peler, John,
Andrew. Thom>i, ,md Paul) which he w;u ch.mpioned by ;( onoclam: BibliolfH"/u( o<lu "4,
ed. Henry II ('960). &4--ll6; .nd Schnccmclchcr II (1964). 178- 179. Wibon (1994),
,:6. .., . gr."l), If. 6 Jr. IS, ,,: Weil'lnrann 199. liS'. SJ6- U7
'I'
Mission, manyrdom. and polemic
Fig. J08 Romf. Sa" [',/010 Jim.i I, "I"m: bromu floOT>. drlail, martyrdom of /I1<1rk
Acts. but is usually replaced by Luke in Byzantine limf>li On f. J211. however, his
funeral appears in the eighth quadrant complete with a censer-swinging attendant
and a mourner. He was also depicted among the apostles at San Marco, where he
has a YOUlhful appearance as in Paris.gr.510. 61 In the SIICrt/ Part/fit/a Jude
twice, once as a youth and once as middle-aged; the rarity of his porTrayal perhaps
militated against the creation of a standard type for the apostle.
66
The last square of the third row contains the crucifixi on of Simon in the presence
of a To the apostl e's right is a small square structure on twO steps. As for
Jude. no standard type for Simon dominated Byzantine portraiture; a similar image
appears, however, in the thirteenth-century menaion in Jerusalem (fig. 109) .7
0
66 Scherman n (197). 202- 203. 282- 283. 67 [ (1?84). 124- 12j. fig. 362.
61 P.ri<.gr.?2J. if. 49' , 67r; Wcirzmann (1979a). figs. 5;18- 539.
'" Apocryphal accounl. vary in ,heir descriplions of Simon', dearh: one Ir:ldilion docs. ho .... ever.
specify crucifixion: Schermann (1907), 280--282.
70 Saba 208. f. 91V: Baunma.k (192617). 72; Wdrzmann (1975). fig. j6. The San Paolo doors (fig. 107)
,how Simon', crucifixion berwcen rwo buildings wi,h.n uecutioner dri ving nail, into ,he
reer (nme 48 "bovd.
'H
Vision and meaning in ninth"century Byzantium
Fig. 109 JmlJillnll. Gurk l ~ l r i a r r h l l l Library, rod. Siibll 208. f 9/!!; ,t/i/TIyrdom, o/Jolm, Lukr.
Mlirk. Malll}ffl!; Bartl/IJlomrrv. Simon. TJ/lJmm
'54
l'hilip, ,I>< .. n, h 'p"",k >hown, ma= hi. ok.,h hy being ucifi<J he:>J <I",,'n'
ward, .. 'pocificJ in m ... ' .pocryphal oo;oun,,. " Accomp.nitd hy .n nllie;"l. h
ppe . ..... a boo,<lI ... yuu.h, hi, ".nd.rd ph)'Jiognomic da<:rip,i<>n in Byun,ine
.. ". "mil., m.rryr<lom t<CU" on ,h. don"., S.n bolo fuoti I. mm. (fig. 107)."
Following apocryph. 1 KCoun". ,he penultim .. e ";n., Bartholomew, 'ppem
bef"", ,n ."hi.:,,,,,1 backdrop. n.iled ro. cr<m." Like IT!',. B. rtholomcw,
I"'rtrai. in P.,.;',gr,j'C> .how> him wi ,h """""h ",her .h.n wi,h .he m"", LUU>I
cu,ly h.i,! ' B,anholomcw'",rucifurion figuto in numerou. b,., prog"mm", (fig.
' 091 in .imib, fo'm_n
The martyrdom of Thorn condud .. . he.rn.. . A pi ..,.. him wi.h.
l.nce ... dc.c,ibed in ,he Act. of Thorn ... " lhom .. ' Pf',,,n, as . Iwoy<. b<.rdl ...
and you.hfuk hi. m.,ryrdom i, ,imil.,l)" dCVicted in .he Menologion of Suil II
and, cornpl= wi.h .h. <kI'il of .hc ' p""tk holding .he I,nee .. it enten hi,
mid.iff, on .he S.n 1 ..... 10 door< (fig. 'OJ)- Thi, se'''''' p'n"mably refer> bad t"
Th"m .. ' doubting prob< " f ehri,,', ,imil .. ly Ioc:ued wound; i, rn.)" . 1", v;'",li""
Th"", .. ' ""("'" '0 be lanced."
The .. Icc.ion of 'P"",I<> on f. J1V i. unu.mal, . nd ,he oroer followed i. 'PP",
""' ly uniqu<c it deviates from biblical and liturgic.lli,,,. adhere> 10 no cnrot>Ology.
eithe. ocru.1 ([he fUn of ,I>< 'P"",le.' ok.,h,) o. li,u1g>cal (the oroc, of ,he fc ...
d.y, "f .he 'p""<I .. ), . nd find, no vi.ou.al p .. alld. (cv= the mi .. ion of II>< "1"", 1",
on f. fullow .. <lilftren. order) ,'" In f.o<t, few ' p""tle =luen.", coin
<ok" Son M.",o, fo' e .. mplc, only !WO of ,he oumerow .. ,in of 'p"".1c. ""tc
'1"'00." AnJ whil. mon middle Byuntine Ii", '" d'1'icrion. of ,he .po.,l ..
",I,.,i.ute the <Y.rngcl ... luke fO, Jude, Jude i. ci.ed ... n . pou:le in the go.pel of
luke, Act" O>d ,he ,ypi koo of, he (;rc., Church;" .i n<>: 'he I."e" .... rom po=<! at
about the .. me time [he H"", ilico. it .... m. d u, ,h .. Luke h.d no< y...- en,i,d)"
",ppl.n.ed Judc."
Evidene fo, [he vi.ual in.pir:"ion r>f [he marryJ<!om. 0<1 f. J>V i. cloudy. At.
n",1 e.rlie" the marryrdom of J.m .. h been """"i"ed wi,h mini.ruMS in II><
" S<hn-moo" ('007), , u---,,;,.
" ""ad .. (,,'''', .... i" ""'" of .oov.). So< Wo &oM< i , .... ), "7, Ii&- h r..- ,. """""; ....
_,I. i. rio. "",,...>om <y<k " 01" ..... urUd< down '0 riO)' ,,>lb in . .......... m,n;""'" of
pt,il;p', ' '''''''' , '''" .... , "SdI., ... n. 1,,0. '1<>-'1'. "So< Dmo .. ) I,,,.), ,;rI,
" r.w.., ....... , of , )im. ..... .. , .. <UM ......
,. ) ) .. Md< .... S<h""owk'" " (, ... ,). " . 'rho..ch ,I.e .." .... " ... _;1,0 <1< .. " ..... ,,",.,
' ........... , onn "V"" ,t.., n.om .. "I .... tor rIo. .. ...., ScIor. ..... (0 .. ,) , '7t- >7>_
" "' ......... (0,0. ",-'71' Up,; .. (oQI),
" So< ,,,", I ... , """drd .... S<hn-"""n (0,0, ' ...... "" Jrh.onoon 1,.JOl: oM J4oo<'" (,Q , ).
, .... ". " o.M .. I(, .,), ,,,,,
lAo ... h >- : Am "" mph" >oR"..! "';,k J 001<, indudN ;. M." ...... ""._ 0.:1 M.uk
p .... ,.): MOl""'" ('''I), I" {Jo ju .. l, n.. .. Iy .......... ;0.- ,in<"" ...... tinRinc f1d<
..... ;. whKlo Jurk ""'..p.cr.I ........... ....,.." .. Son M.,,, o.n.", 1 ('!>hI , on . ""
...... inti"",..1 in ,t.. pOOo>' -., -...., lAo ... ;' k!o,,,..! .... 'p".dd. M",';,.,' _"p-
,ioo of ,t.. Oo"t<h of ,t.. I .... , ........ ,1<0, ..I. D<-,,<!" (,.!?), "" (r,""",
'"
M.""logion ollla>il JJ (co. 1000) ",,<I in Acr. of Ihe Apoul<o
(Pari,.gr.l01), Bu. if thef< w:u <l i=. (Of f )1Y i[ i. unlikdy to h.v< bocn .n
illu>lro .. ...! Act>. Hlu",,,...! Byz.rntine ..... tn.nLl5Crip" ' f< me, alld .he pic.um; in
,h<.>.c ""ieh 10,,,,, hoen p ....... vcd ... "",,,,;nudy a.nO<licol and bound 10 ,i>e New
T .. ,.men[ [<1<[. ""ieb ignon. [h. de .. 1u of an.po"Ies .. Jam ... "" FUllh ... ,I>e
mini,,",,, close .. in d ... ' " p ... i . g'.\,O th .. p ...... t" n"rati .. >etn describt:d in
A.;: .. _ [n""" of [he s...= ,>"",lkl.r _ pon.-.y John .. ,wkhai.rd in .he Act< illu",.
.iom and Iight.h.im! ... i>e i, in P"i' ,&,.\IO, d ..... h .... l<>'l)'" if. ""IU<OCC
of K< .... f,om Acr. wo' f.mili" in ,h. 80$ in Con",n,inopl., i, rvidcndy dcvi .. ...!
from, h.. mmn of J.ricting Job n .. p=-n [rd by [h. i",l .. rd po" .. i .. i n ,i>< .v=
p",."JkL, and by [h. m .. tyrdom K<11C in r.ri . gr,\I". Bu. whik- f. J1V demon" ... ..
littk ,ffili .. ion wi.h Brun.;n. Act> >Iu<:ncn. i. K<m. """".hob", . ".ici, ... "
ico''''&''phi< furm"l.., fuund in I" e)'Ole.. I" closes. P"''''rvcJ r>" lId. ar. ,h.
mid_de""n.!....,n.ury f ..a><S of H.g;. Sophi . .. Oh.i<l. ,he doors of Son Poolo
f\wri Ie mur. m..de in Con ... n.inopl. in .h. 1<>7<>1 (lig. 1<>7) nd the ,hin ... nth_
nlen.ion in Jor"",lem (fig. AlI. lik< 1''''',&,.\1<>. iJOl ... 1I .. <I ... h. of
the ."",tles from othe, even" in thei, liva to fum, ' pootolic martyrdom >(uencc>.
Wl .. th .. 0' 'lot f. JlY w" ;,,,,If . n .. ion, .imi!., ,i>em.,ie scq""n ...
app"arcd .. : i[ i'poo,ibl. [h .. [h.,.""" ... I .. od
y
in exi"e""" by [h. 8Ko.."
No vilual .. Klen", !<In.in. for an 'po>tolie martyrdom >(""nee e .. I;', ,han Of
rontempo .. ry with ' hOI "" (, "" an<l ,ince the ' poc'l'l' h.J Ac .. <I ... n ...... the
de .. h.. ""'f< .. identiy f. mil"r in nia,h-<CMUfY Co"''''''inopk .he min;",u",
boca i"'l'ircd by [cx[u. ! ratba th. n pic[OIial ..,coun ... " Tcx[ual corol_
!.,in """",h.bo f.l'1}u, - b .... ann", confi ,m - the "''' .. nee of .ueh ..... ""n"'.
Imag<> of(unspinro) lJL1'tyn ,""f< often inwl=! in ironorhile polemic. pre-
.umably in J'o''' beau", ,h. icollOphi"'- portrayed ,h."""I ..... tt>O<lern
m .. ty'''"' ,he Acr.of lhe 78] Council. for enmpl<> bq;.J1 '0 ocpt ', he I<produc_
[io", of the I.bour> of the martyn. ",J not< .h .. image> of martyr> p_KIe "dl ..
.,mpl .. ,0 imi .. 1<." Ao "' ... W in ch.p,., I, ,h. d..c,ibn.
"<:,,,, ( .,..( F.I. ('m). , - ,.,. n .
'J,_'fW' 1l',,, ...... (0"",. ), fop. ,,.-...,,., ..... 10 lip . .. , .... .., . , .
.. f.,. O!.rid. llom ... nn_.'!"''''", ..... 1I.JlmoklJ... I, .... l\.b;/ (""'I , "<>-" 7. Fo.- ...
J,.N, .. ,... .' "" .. " ho, 01" .......... "' ...... ,k 7' - 7). .,j 1l' '"" ..... " ' ''', ,.". "-- '"
"WM. N H 1"" 4 .. ,ho, d .. "'n<O.,.,. ,,,,,,,,..I fro ... n .,..,.,.,tOo lH';'" qd<
,ho, ",i(i...! ",t." U""I" oi _ulK i"""", - Oft 0.""" ( .... ) . ,.,. ,;6.
0...", 110"'1. "'. "!-I.&_ . .. ...ty ..,...daly..t.....t ro ,n ,t.. .............. ".
..ok from ,I.. ... ",,-.10 ... oi .... " .... I'>uI in r.';"f""" .,j M __ . 11;.,.1>1 .... ' .
Mmr: p .. ",. i" ""'""'''''''''' ,t.. ... ...... [,,,,,,II S _ .. tbow .
S . ,t.. .". oi So s,<pI>m .... ,'''''F'' writ". i. ,t.. .. '" <i>.k of ..... i .. h <no,"",
..t>.mo s,<r>t... ,t.. "'''''''' """ .. " .............. "",,", ..... l"" ['(;""'0" .. 8_""",
_ Ro.w. 101"'). Mt .dd"iQn.oI ..... rI- l. .. u. (>on). " .... , "" r ..... illo>d (,,..,):
A ..... """ lo.n), ."...., .
.. M.".; XlII , 4011. )01t;-,.,.U, ".n . Soh., It,. .. ). ". "1-"'. Th ....... 'i_"" ..&.-0 oW
'''"'"''', . ... " ... ' .", M'''I'' l'r,,). ,.-... ...
. ..
martyrdom <yclc that Igr .. ,i05 the Dc..:on daim ...... <ommi"ioned t.,.
",od . ,h. po!!;""h Ta .... i05 (784-306)" I.;,cr. Nik.pI>"..,. condemllcd ,he end
icat,,,,, of picture of m,nyn' oct. from mmrn<rip ... 1"1\("1.. .nd church<>,"
Though ,he im>g<> h."" p<,i,hed. and dlOUgh NilccphoID5 .pok< in gcn<.-.l 'erm.
and IS"''''O< rardy .pc<ified who wa. ohown ""hin-ing m"tyro"m. evid<ntly ,he
ide. of pi<:,u,ing m"'yNom. w;U ideologia.lly ",ul\d. h ... m. pl,u.ihl. ,h .. "",h
imag .. MSurfa<ed in ,he years b<rv.=n rho Ii", and ,"",on<! Iconocla.m. (7!17- lhS),
That ,heir impo"ancc <on,inued i, ... ""ed by ,he m"tyr <)'tIc ;n ,he po"ico of
&oil', N Ekkb", whid . , ><XONinS m ,he Vi", &zJilii. 'com.in. ,h. srruggb .od
rom.m of ,h. j , bo,h offm ""u,imm.n' '0 ,he eye and 'ou'"" ,he...w '0
'he bl"""'" and divi,.. 10>'<, fo, 'he p.-.:>W<: of 'he m1l'y" d,..w, ,ho "ml 'ow.,.!
,h .. I0>' " M,rtyn .1 .... 'rJl<'red in ,h. nl(,,,,i< doco .. ,ion at d Ourch of ,h.
Throtolro. of the 1'),.,0 probiliy rompleted in 86.; whr'her thc>c im.ga we
port,.i" or om .. ;"" occn i. nor, how ... '.,. "",ed by l'horios in ,he i",ugunl
homily ,fu, ,ul'f'l'" ou, informati"n on t he church," Linlcing m .. tyrdom with
,h. 'J"O',I m.y h."" p."II.1cd , 010 .. gen.,,1 in,., .. , in d .. '1"""" ,n., i.<
evidem in monum<mal program",,,, at H.pa Sophia _ wh .... bwu of ,he 'I""d ..
ac<omponied .he four ironophile p.Jtriard" in the mo .. i< dUr>.ion of .h. I,rt<
.. k .. ,on, pmb.bly ... in rite 87"' - .nd ,he Apo>.olei<m." and may .. pcc .. lly haV<'
=lIooed wi,h ,he rmpn..i.< on apo>.oli< mi .. ion th .. J.c.gan und M'ch .. 11II and
""ntint>! 5 .. ill: """ . inl), ,he conn.<t;on he,ween 'I"".olic mi .. ion and
i, vim:tlly en,ured in Pori,.gr.\", through the shored cO<nl""'ition:oi
format of H, J1V and . U;v (ng. ), The I.t<, apo>.ol", m>rtynlom ><qu<n= inti
m ... ,h .. f. J1V did no< .. iif in i .... !.,io". and i, i, likdy ,10 .. simi!., bur more
:oa..,i b!c ...,<>ion, appeared during the la" h. 1 f of .Ioe ni n' h <en' Uf)'.
Folio Hor (H )
The other mattYNorn ""'l""n<:C ;n r.ri . g'-llO. ,h., of ,h. "bkb ..... on f. HO'. i.
:tl><>aHllpo<cd ... grid: 'he r'" op<n. wi,h the death ofEku.r ,,><I
d""" with that of Salomone. wloilo the dc.,h, of th-c: ""en .... n. ,..ngo between."
Appropri"ely. ,h. mini.,urc p,ef.= 'On ,h. M.k ....... '. which hegin. 00 in
V'NO, OJ He .. G'gOty concrnn., .. on ,he cul,ed , .. m, of m .. tyn. and celeb", ..
"Ed. H"UI (0", )" " " ",,'901' .... d>.p< .. , .... ,'. An ,,""" f""" ,h. "" .......... I. ,,' ;n ,hio
mop'" ;n ,h< di........" "if. .. Of. T" ..... w .. bon! ;n ''''r<' .w" ..... to .u """'" ;"
"""',,',,' h< hod ... ""'" "" ,h< """""""" .... " ... ) .0.. .... , i, ;, """' .... ,ku ,.,
""I< dn<rlb.ol br I"' ..... """",<d ,bo ...
.. PG"""" III. Mo .. 8""".Ilr:r, ... io('9f.o1, .. ,, ; . ..... _ <I .... ", ",.
" V' ... a....Ji' '<d. 1I<UoH( " ,,) , , .... , , ",h.p, .. < """ <I.
" Homily '0.6, ..1, u... ..... '0'' ,,, ... M,"!!"(,.,,) , '",
" M"F' (, .. , ) . ..... " C..,."..d.oo .. (0077), 'J>. 0. ,bo Apoo.,oId.ot> .... ,bo V; ..
&';u,1o (n!, I!dk 1,.,1), ''', _,h.pt" ...... ' 1); <1..1"<' , .... ;t,.nd ........ ,
.. 0. ... , ('9")' '1. pl. XI.VIII: 0., -....... 1'96>1, ",: "">-"1'
1,.:,,). "''' ''.01 .. , (0,101. " , - ,,,,, 8_ (" .... ' '0-'" .. PG l>'."..,U,
'"
VWon . nd ... ",n'''II ,n __ tu.,. J!ru.<t'um
.h. rabbi FJ.-.u . d,. 1>1> ... 1> bro.h .... and ,h.ir - all of whom per;.heJ
du,ing Antiocho,' pers<Curion of the J.w:< in the Ii", century _ .. pfO.omany"
wh .... impo't2Irc<. in mind. ju.olled .h., of .h.li", m .. tyr. S. St'1'ncn.
<pend. no ,im< <Iet.iling lh. n.,ul'< of lh. d ,!". [hough he ohliq..dy
.1Iud .. [0 them in a Ii" of obstacle. tn" Chti"iam mwa ignore in their .ffort> to
uphold .h. true f.i.h which indude> cords ", di.m joint> . onure .. 1>1,.
,h., rack. iron n,il ,harp ,word<. hoiling <auldmM. iiI'< a
'h",,,cning 'Y"'"" ,hccrowd. ,he 'ight of ""C', "mily. and m.ngled limh.. .. Somc
<of th ... i m. f ... u", in the min;.,u", on f. }l0[. bu. the d ... iled viru.l ""'ord of
,h. M.H . ben d",.h. on h,,<llr be ... >d a. an illu""" ion motiy.teJ ""d"'ivdy
hy Ii", Thc [heme of [he picture ctl'Uinly ron-d.tes with GI'<gory',
.. ,mon. but .h. min;".u,;', It .. &.hed out the t""tu.ol aeroun'.
Th""gh pietu ... i. ""dly rubbed, .nd ,he fO<:el of ...,u,io" ... ..,.m '0
Iuvc I>n damaged delibc .. ,dy. the >alien' drtoil. of eod. com""",ion . re dear.
The iiI''' ,ungl . in ,h. upper I.f, haod ro, ....... h""" Eleazar (0 A[J'!OC)
b\I:.ALAP), [h. eld ly .. bbi, being [ftrown ro ,h. ground and be ... n with a duh
before Antiocho, while. bdtiru! a halu>t,adc. a guard pull. the hair of one of the
M.khb brotbe .. in ,he p .......... of ,he oth ... i>.. Antioch", (ANTIOXOC
imperial reg.Ii, and. gold diodem; h. ,i" "" a j.welitJ ,h,o",
.n<! toward [h. F.,lI,n Ekal>r wit'" unlik. [h. hrod .. ". i, nirnW, Th.
hHkdrop of this ""ne i. blue: on the rei' of the f'"8C the miniaturi>t .alternated
be' ... "n blue .nd pu,ple groundJ. produci ng a cbcckcrbo.rd pm"m 1tCro>< the
grid. Thoush Hrn,i Omon., followed by Cbri>toplta W.aI, .... found link mnr<;
,ion bet ..... n ,he: ""I"en"" and ,he: apocryphal hoolo of tho Maaobea," th ..
piood< app<>" in 11 Mal:.bbc... hll--Jo .nd IV Mallobc... ,'M:JO: Ii,,, mhe,
>C<n<> follow the bcJok> of ,I><: Malloben '" well.
Th. middk 0"" of ,I><: ,op reV,te, pot'''')'> fWO ...,u,ion ... Aaying wi,h iwn
d.".. ,>t'" of [he Mallol> b .... hen. who hang. " .. pended upoide down from.
c. .. _pult in ,iI-< ""n'te (IV M.kbb. 9;.6--10:<). H."" in .11 m.ining ""neo,
,iI-< ,o"ur\ Maklub i, nimbed and W<1" ,hon blue loindmh.
Th. fin.al..:eIK: of the top rq;i>te, <kpim the ><eond Mallob .w.pended hOO
",n,ally berwen "",0 pow, '" ... hich he i, bound hy cord. Wl1ppeJ around hi,
w,i, .. and ankle.. Tw<> cx=.iona. b<:o. him with large dub.. Th. image praum
.bly vi.".I,,,,, IV M.kk.obc... 9:1H1: ,h. gu.1rd. bmught up the eldest "f ,h.
brothe ... and .ipped olf hi. tunic. and bound hi. hand< .nd a(lm on thi' ,ide >nd
.hat with ,hong>. . l.nd) &gged him with until they we", ..
Though .he , ... docs not opecify a ho,iron,. lpooi.;on, .hi. formula recu .. repea,
edly in Brun.in. K"ne> of martyrdom and ..... app ... ntly . cOfll"<n.;onaJ vlliul
i nterp ..... ion of AogzinS'"
"I""'., ,.;A. "0 ... .,." (0.,,1, >To ,,l-,,..
" E ... tho,- .... ...,a.,p.. n, v . .,..,.". rI' ".".7'.,.. "7IM. [r. ([....,II,
,,'
The m;ddle rrgi!!er open. with.n im.ge cf cne of ,ht Mall.ob bro'henhting
broken on the wheel (IV M. kLbecs I:J, bJ. 9: " - 11. ""-'J). wi,h ,he en!.
pullro by two men in ,he .!tort ,uni", h. b;,oul fur =,ionCf"SOtr f. ,.01. In tht
cem .. 1 KC,,", !WC men be .. , f,lIen M,ldub wirh ilOfl m'''oclo.. , form of
nurryrdom mentior>i ""ither in the booksof the J.,!.khbec. n", by Gr<p>ry. The
lao, ..:cn. of ,he middl. regi"., l""'Ur ... oound M,klul:>c. Rung diagonally ac"",
rhc yid: rwo cucurioI>C" clU.h hi. ch .. t with a he"")' pl.nk while a third hold. the
marryr'. heod and appea" to poke noil in hi. CJ'" Agoin, this tormenl appca" in
".ithcrof the .. I .... m ,. ..... 1 aceoun".
Th. ,oeungle oom,in,. Maldub, .,ch WIi" to a oq>a"t<
ankle. boeing comumcd by A. m .. (IV M.khbc .. 8:tJ. 11:t-Jln, Th"o foil.,.....
M.kLb nu,htd bet""",n 'wo) p!.nks, bo.lly, Solomon., rn",h of rho
J",p' in,o the Ii", (II Makbbca ]' 4t, IV M.khbtt. 1]:1), SaiomOfle
(H ArIA COAOMONH) "'., no . .... n.rned in ,h. booksof ,he Makhbecs, hu[
he, n.me " ... ",,,.inly wid.ly known: >he ,"'" li"ed in [he typikon of [he Great
Church and .pccifically ei,OO hy ThrodOfC ofS,oudion, who aJlro on her _ along
wi ,h JUl.i n nd C Wri.n - to .id ,ulferi n g i<onoph i 1 .. ,"
A< Omo., nored, ,,'h .. liul. info,m,,,i,,,, p",,><k< .hou[ [h. mnty. _
dom of ,h. M,kk:ohce< W:1S largely igr.orOO by .hc illw . .. tor of!':ori . y.,.o. ' .. Nor
did the mini .. u,i" rdy on a pictori.1 scq""r= th .. t .. ",llod wi.h the 'ext: tht
other Homili .. pre><nt quit< diff.",nt im.ges. In ,h. Milon G,C'J!O"", IWO ",.n.,
h,,,,, bn <xci"'; from [h. <=lgi ... : wltat remain, i. an inuge ofGrq;ory pr<><:h.
ing be:.id. tw<> "nks of ... nding figu ... _ Th. I"""., "'!""""I< (;regOly"
,udi<nc<, whik [he upper .ic h""" FJe",", al><l Salomon<, both nimW. fol _
k.w<>.l by.he brothe,., in its iconi< p .... m.t>on, .hi. formul. rcalls ,he.,,!i-
.. , xn",",'n im>go: of ,h. group, [h. <ally eighth_",ury f,<>.<o" Sr, M"i . ... miqua
in Rome.' " The liturgical edit"'"' foHow P.,i..y., .o in ,upplying ;ma".. of th"
m>lryrdom . '01 but of tbe .... n lICen ... h ... ppe;o. mong .1>< ",riow m.nu
K.ip" only fou, dupii.:;". 10"" .... Mwn in [h. !':ori. Greg...,.. and . hen [h.
m.nner of "'p""'"''''''n diff .... ,., While ncithe, (, }-40' nor tho lim'lli",,1
Homili .. relied on G"'lI"'Y" 'ext for ,he;r vi,ual enumer.,,"'"' of the tonu'" of
,h. M.kLbecs . hey ,h ..... in diff.",n, ""'Y"-
S<.:ondary .... ual description<. too, demon.""e """i<knhle ,..,i"ion.
Gen< .. l1y, ,he .... 1 notion "f tortu op<nro 'pc<:ttum "f p""ibli,i", ,h.,
dilfc:mi:o<""" ,im<, al><l oon'<mp" ... yop<iom "",m often '0 ha,.. w'brume<i .. ak
to ",al IIOt ion, of "o-Ionge. horrifie "inul" ion" ,h. '1"' .... .,.. of Con".n, inopl<.
for ... mpl., list> , b .. ndi ng iron among ,he impl<m<nu of 'ortu re _ a dcta.il mo in
line wi.h Byuntinc puni,hmen" than with tht MaU.bee tCle'. , .. Giv.n ,hi., ,h
.. M" .... II ,06,), ,<'-m: """"""'k< (0..,.,). ,..,. 00 n..",jo ... "" do,!"" ' ""'" ttl
'''0..- by,,). 11, G .. bu(,,..,,,I. pi, XXIX; 11.0 ...... 11;....0 N .. ,,"'I, pl. "
"'<>01 ... ,;, ..,.."" fic<. 1, )1, no. ><>I. m, m, ... .
... tl ".I""aI, It, Dd.h.,.. (8' ....... "'til, 1,7'""",
".
dcgr " f adh.reHcc ,,, ,I>< Makhb ocroUH' r<Y"II "" f. )40. i, "", u,lIy mh.r
,."pri" ,,!, ,II ,n., ""...., '" "nC<" ,I ... ""'gin.1 1""\1", ... preo.:rvc ",h
piur",,,f ,I>< M.khb. ,h" d.rvi>1< morWl
y
from ,hose in ,he Homilies. ,., Su,
,h. m.rtynlum .n .. on f, ).-I" r.1", ,h ... a ""i" curiou. f" ,ure> w;,h <ytk of
monumen,.1 p,in, ing> ,h .. , hi, ";" . .. 11. "' , ,h. r-,,;'reh T., .. .".pon",ml. 1n hi>
Lif. ofT, ... ." Ig"";'" ,h. tI.>>n indudo .. !'" followi"! dnc,il"ion,
.wn.nlly of , p'og .. mme ponl1yi ng marty ... nd PfOj>l>< .. ,
WQulJ ,.. "'.n ",p",,.,,,n! in e.,I""" ,nJ fu, '<u,h, di.J. ini"ll 6 ..
IIC'"' 71 ' , . .,d woolJ "'" bo Jr<n<hn! in ",,,m , .. " wJ ""'" wi,h oompu"",iont
\1<"ho. oceing . m.n ... fin. lly ,o""rn! . d",II, wou", no< I .. "" ,he .ne i>n<i"ll II;,
h .... , in ,he ,m;,;,;"" nfh;, 10..:.,,' .. . m.n, b<;"11
"''''l>i ";,h in'" d.,., b.c-",,,, h< h..! rd"u><d <u ,,'''' .,....,.-J ""wQhyof p;'<y I",,,,,, 'I,
would no< \0< """in",j wi,h ,\0< ." ... lien, <>f """'paooion t Who ;, "'" fi l In! ";,h oppr<hm.
,ion .no ,,,,,",,n! by fen' ... would..., ..... " ,;..j 10 . oo.rn. hi, inn
OfS'"' f'lling "'" h<a"", oflo'''''Y ' M h;, ",Ife,i"ll <kpin<d in ", .. "i.1 colo""
1"",",11, ,oJ w",,1J "'" bo ... ",,..kJ in hi, IK .. , ""
[gn .. io, did no, name ,I>< .. in" wt.o.e p.>inted martyrdom' h. In<. iW. for hi,
m.in guoo l w;u "o! "or .. ,i", biogl1p/1y. 'o"; BUI W.J", 'rg"ed ,n ..
Ig'u,io.J,.. .. u..." ibccl .pi..,J .. foom ,J,.. rn"tynlom of 01,. M,kk.oh<-os, ,lid he
ronl><Cwl ,ne !",,>age .... i,1o r }lor, Thj, cOfln:,ion ;, >j>paIing "'" ""Iy Ixcaux
,10= _ "., dncribcd by [gna,;", >PPC" 'in on f. }l0f, bu, more ;mpor-
.. noly h<c:ou.. ,10. b" ''''''''' ... ,ed i, .. , .. moly unu.u.l, 'ppc.r> in noid, ..
,I,. , .. " "or in .... mon, .nd ... m. '0 ror .. ",i,n ,!,..
pcnuhim". m .. tyt<lom pictum! on ,n. I"S' . W.J .. , wgg",,1 du, bo,h
,h. im.g<'> de.<ribcd by [s nat"":ho. "..,dord "" .... of "",no> 1>0
10"8'" , ,, .. ,I <1 ..... 10 .... Jf, no'",,,,,, ,he """"i"ion of ,h. '''''' ""-l"0""'" i.
ro":', ,he Gr<g"'Y P'b'" may "'Iu.lly "..,11 , and moo. ,imply, .d'p' 1 .... ;.,. pm-
s",mme, which, _uming j, .urnl'd ,he ><roM w.ovc "fkOflOCIm. w"uld h . ....
h.d p,<" icul., 1'''''' is'' ... "'.mu,".-II, to ," idoli",.,j i ... _l'h ;1. 1''' ,i, ",h .... h" w
1", I'hmio' unci .
(II) (fig. ill
A fi n.l, i",I .. I im.g. of martyrdom 'Pr<""" the kowa. >Gen. on f. ).-17". ' 00
Thi, . hows ,h. deallo of I .. ioh, who .inks '" ,h. ground", ""0 mon ...... 10" """II
in h.lf .... i,h. c.rdully r-i",1 rw ... h,nJlrd '""". a. da.crih<J in ,he mini.1Ul<''
ti,ulu. (0 HCAIAC n rIZOMENOCl. ""io ... vi"" of ,10.- pfOj>h."
' .. ...... , U .. , .M ........ " . , ( ". ... ['<m1), .,Iou .. , A' ...... r," .. .', f. '''''
,o.f,."", 1',,661. pl . ,., Mrun .... 'I'.,.,I, "" ",),
," f:.J . H,;! ... (, .. , ), '" - " f' " ..... !i.v.: "" (,.a.). So. _I>opo" ' . "" .. ,'"
olf ' " ,..-I;" on "" $0< B.uboI.<r{' .... ), ' ..... ,
... ', .... ,""",oGom of CI"I""n on f. B'. ),) w .. ;n <h.p< ..
ryph. 1 M.,tyrdom of h. iob . nd. I.t. the mrt.ph, .. ti." menolog;';'n, t .. E.rlier
e .. mpk. .ufVi"'. b..t these shuw b.i,h " .. .ding up,igh,,'" """. I ... ,,,,,.ions
follow l': .. i"gt.\lo in .bowing the plOph Iu>:ling, It ;, I""'ibl. ,h., the
Gregory mini.ru.i" i> r<:>pon,jbl. for ,he .hif, in Is.i.h, I""i,ion, fOf i, r<pK-
><n" impl. """" on II", ... umed 1' John in .he t .. n.figu .. tioo on f. 71t (fig.
'41- lihly, howcv the Homilia p.inte. uo .nother oout .I .. >dy
f.mili .. in the "'I'i .. l. fur> .. ry .imil., illu"" .. ion .ppc-n. in [.nth.century
Co"".n,inopo/il1n Book of I"".h. the p.ainter of which 00.. !\Ot...-m !O h ....
be= r .... iliar with Puis.gr.ltO, '" On< think., 'g>in, of [h ... ri .. of nurty" .M
proph ... the pmi.",,, l', ... io. i, .. >.I [0 h."" hod painted in Con.unlinopk
.round [h. )"<,>f 800 ... "",.ible in>pir .. ioo fu, bo<h.'"
The im ... " in [h. ,po<lb m.nifnt in P.,i,.gr.llO. ' he .. k .. ,on m=i", .. H.gi.
Sophi nd the mlcu",,,i,," of ,h. AJ>o<,oleion wh .... imp<,i..! funding . nd
.ncicnt ,,,,,,,,,, .. inn, mode linb J,.""'Nn ,he orthodox .mp<ror .nd lhe ,,,,,,tie.
explicit _ ... p....,n" mother .,,"mpl. of onhoJox ""lam"ioo . response w ,he
iconod",t daim tI,., theit emp<rors ..... ,he "'W ."",,1<0: 'os in [h. pa" U .. ",I
had >en' funh hi, m"'t wi. diociplc .od '1"",1 .. ___ '" now he .1", ,.i"'" hi.devo
t .... our f.i,hful [iconod.,,] kings _ ,h. onn comp . .. blc '0 the 'l""tk.'. '" "-lid
[h. in[<ln[ in morrytdom oo..",.ble in the Humili ... nd in 'he po"icod:ou[ion
orB .. il', N .. Ekkle.i 1", h.d it< 10>0" in ,he iconocl." d.b .... '" Both. h<>w<-v<r .
1.., joinro m .pp. remly ......... ntl""i .. m fu, m;,,;onotr "",i'i,y during [h. "'ign.
ofMichod III and B .. ill. r-.. " icul"l
y
und .. &,il, ,h. <><w.nd rcoolutdyonh<Hi<>x
M,eroo<>i. n dyn"'y implemenlro lhe ."""olic ",k of con",,,ins '0
Chriuianity with 'ggreive mi"i"" ..,.. ""mp.ign .od ,h. p<f>ution "fhere
'ia. ' "
C .. b.or .nd Dcr N.,....i= fiat obocfV<'<llh. imp"'" "f Bp.n,in< mi,..ion.ry
- T. s.. .... ,...., . ";'" 'M 1", .. .-y....,. .. vm,....,...".., 0...;';
Il _ _ F",fh-'''' 11k.,.... Vi..l.-.", '007) . ..,. OJ. ,,., a...;,. II ( ... , ,.
'w-"'. n.. """""'Po" .... _, woo "", ",,",,'" t.y 0.-."", (,,,.1. " . 0. , .... probI< ... ,,, r0.-
t""''' ; p ..... -" .. M"''''''''.on.! C "'I"'i' "''''''', "" ch.p, " ....... m.;o;"";"",,, .. , ....
I"f.' ... (>..""",,) .0<1 (G"",," I
.. s.. O', .......... d .. " ). ''P, 1"- '" St". (,...,)_ .... ,. roo- """pin of rio" <n" of ""<r'-
.!om ""f'""'l"" wno ,""" ""n I .. w., > ",.1 ... (0" .1, 'to.
". IV< 'M .""""" ... ,1. (V"-I"_11', f. n,.), Wdamon. 1 " " 'H,. fos.'" .......... (>,... 1. ",
Iif;. J7- n.. """<Oml""" ..... Or< .. do.. ,ho, W"'"",nn .. W" ........ , , .... ,,,,, ",.n;',un..<pON
rh< GpT ........ ;"",1, . tm>o< ..... " ..... ,od t.y u-iM. A umilo, ..... on . bo opp< .... in
"" .\.n>rm. (E..,.-lkol School t, (, Hr), ""' ..... nn,. "I' .... in
1_ (.,...), lit ... , . ." s..",""".no! ,,.; """"' .
., Council of7,., ......... br , .... O""n<i! .. -,e" ...... XIII, ,,,0: moo. ,..... ( ..... ), .,. s..
..u., Sd>I>nbo<n 10",,) . ," K. ... , .... i ..... (091,), 00. 6" .... (" ",) ..... .. , . 0 .. , ..... _ ....
whido .hp' I"";,ro,, .. d '1""'1n, ... '"""., """"'. '" fur ,I>< N ...... """ .00.-..
'" fur _1', ...... , of;o"""';" .... ;"')' ....... to "'boIw< ............. robO..
,....,,-
",
oaivity on tho mi.i.tu"," ofl'.ri . g'.IIO. " . Both citC<J til<: imOt;el of til<: mi .. ion of
,h. apo"l .. (f. 426v) =d ,II<: inclu.ion of thr '""n of.lI n iorn' in the 'q>" .. nu_
t;"n ofPcn.o", (f. ",or) .. ovidcncr of 'he imp<>rt2IIc< of eoov=;"n ' hrma in ' he
Pari> Homili .. ; ,h. many"lom. ,lut ,he .postle., ,he Cyp.ian, and
].,i>h .ulfe"d in of ,hei' pm.<elyti"'ns couk! hr ..JdC<J, Bu, ,he
emph .. is on mi .. Oonary wo,k h><i al\O,he' f""" IOm.,i", .. I\en::e, .nd nearly
alw.,.. defen.iv<, atuck on h<tay. Several miniatur .. in &.-is .g.-.IJO vi.uali", ,hi.
o,he .ide of 'he coin.
Someof the wnve"iOfl im>.gery in ,he I' .. i. Homili .. ;, b. positive th.n 'he -p""
tolie &eel><> w< ha"" jm. ron.id .. C<J, for ... hr, ,h.n atolling ,h.u-.l of ,hr apo<tb
O. rq>r<><:ming 'h= awaiting it rondemm 'he unh.ip,izcd and
'p<Cifically the TIwugh thr .n,i-Jewi,h polemic w .. "''''<limo hinly
V1'i led mack on ironod .... , it ",., not ju" 'h<lo,ic; thr """",i,y of ,hr anti-jewi'"
campaig"" du,ing a u il'Heign ..... "",ed in con.cmporory . 1.<. '"
In gene,"!. the .n.i-j.wi,h mini1lum oocompany G'egory' ,,,roo,,,, .gain"
herny, ",hioh a" ked fOUflh -n,ury hrrni .. ,Iu, \V<re, in ,hr 1\0 longe. in
'he (.,.-ofro'" of 'hrologi<al deho, by ,hen, GKgOry', prime ,,,g,,,, Ariani,m, 10'''
nOl a ,hro. t - it h..J bc.:ome ins,cad. pejowiY< I.hrl th .. wuld b< conY<n;""tly
attached '0 cMmponry oppo"en", In common with many iconophile polemi_
ci ... , w, ... ",ple, PhOli .... equated ;conoct. .... nd Ari ..... nd ref tamed the
fou"h-unru.y hr,,,,y into 0"'" ,.,,,,,l>Iing [hat of hi, <tWO c<mury. '" Gr<gory',
"gumenu \V<re 01", "'n.formed, .nd m.dc relcv.om '0 nin. h""en'ury inrpreta_
tion, "fhere>y, tor 'he picture> that .uppk",en,ed ,hem. In Pa.;',gr,\,O, the an,i
Jewi'h mini .. """ ""n,ntu. li,. In. XI; [i><y wor!< wi,h anclaug""n[ Grcgo<y',
an,ihrrctical !Crmon. '0 duify their meaning for a nin.n.ccntury ..d;'!>C<.
'70' (11) (fig, 11)
Si. of Ch,i." m'.acb p,ef.oc< Gr<go, y', ",-.nl)'.""""n,n homily, 'Again"
Eunomi.n,'. '" In 'OP ''1li>'<I, Chri" 'h< I<per, man wi,h d,"I"Y' and
, .. (j,.t.., I ,,a,), '_'01' 0., N ......... 1'9<>>), "', J ,.,
. ,' S ""'" , ....... .uod S .. n I ,,,,I. 1-' . ",...,.,. ..... 00II,;"" of <o'''''''l'''' "1 Itt" .M rom_
"".".,..
" . 1 .... ,of rh<o< .... """"I;" """,;...ll, op;." ANn;, .. ,"", ;" " .. h .. ,0<,1;'''1
.. m..,..J. Uou'<W (0",,), 'J'-"' . ,<-<oJ I ... p. ,,,-I,.), " .... M.ogo (0.,.), ",-'1I1p,
... ) ."J' ....... n"" 'Jt-c1.,. .
... SC ,,0, ,.,...,.., ,m..-.., .,1. n, pl . XXXVI, 0<.- (' '''1, "''' (, .... ).
'r'"
MiS5ion. martyrdom. visual polemic
the [WO demoniacs; the middle register shows the healing of the cenrurion's scrvam
and ofPcter's mother-in-law: finally, Christ walks on water and rescues Peler as hi s
doubls cause him 10 si nk.
110
T hough f. 170r is surely in its int ended location. Gregory menti ons none of these
miracles in the sermon rhar begins on its verso, III which defends the doctrineof the
trinity against the assertions of Eunomios, an Arian who denied e hriu's equality
with God.
1ll
Der Nerscssian, however, pcrsu:L'livcly argued that the miracle'
sequence' functions as pictorial exegesis meant to corroborate Grc:gory's polemic
against the EUllomialls by emphasizing Christ's divinity. As she not ed, almoS! any
ofChrisr's miracles could serve this purpose; but the examples selected for illustra-
tion on f. t70r seem nonetheless to have been a refully chosen: the use of Ariani sm
to condemn modern foes by analogy poimed to the come'mporary relevance of
Gregory's words, and this pointer was exploited in the miniature. Gregory's ami-
Eunomia n and ami-Arian text acqui red pi ctures Ihal seem 10 have been scicrled for
anti-heretial imcrprerarions appropriate 10 the ninth century.
The combined sense of me miniatu re as bolh expressive ofChri SI's divinity and
anti-heret ia l is introduced in the first register. Following Old lesramem indi ca-
tions thaI leprosy was rhe punishment inRicred by God for the worst sins, Christ
healing the leper (Matthew 8:2- 4. Mark 1:40-44, Luke 5: 12- 14) was broadly inter-
preted as signifying redemption. I B More specifically, in the' sixIh cenlury Romanos
made a point of observing [hat the healing proved the Arians wrong by revealing
Chri st's divin iry. IH Photios rc:Rccted a ninth-celltury transference of anti-heretical
rhetoric when, in a longscclion of his AmphilorlJin (quest ion 60) thaI deals with the
healing of the leper, he used [he miracl e as an excuse to harangue Jews.
os
The
middle miracl e, the healing of the hydrophobiac (Luke 14:2- 4), was also associated
with invectives against the Jews, for it was a Sabbat h against which the
le.aders of the synagogue Finall y, Christ's haling of [he demoniacs
(Matthew 8:28-)1), ovenly revealed his triumph over the root of all heresies, Satan,
for this healing was seen a5 analogous to Christ 's viClory over [he devil during hi s
temptat ions in the desert .
1l7
The scenes of the first register dlUs do double duty:
,:II For iconography. sec chaplet 8.
III The lui conlainJ W lillie biblical nuratiyt IhallM Milln Gregory don nOI iIIuslralt ;, all .
11.1 Tht wri.ings of Eunomios wc:re Jl ill in circulalion in 1M ninth cenlury; Pho. i ... yehcmenlly
refuted Ihem in hiJ rd. Henry II (1960). 101- 108: p,mial mns. Wilson (19'94). ' )1-.)6.
IlJ E.g. by Romano!: SC "0. )60-)79 and commentary in SC 110. 2S1 and SC 114. 41.
'On the lep'" (,hlnlrd on Ihe third Wedneway after F..aSler): SC "0. 160-)79. 176 (wophe
(6). On Romano!. sec chapter 1 nOle 104.
Il;j fA. WQlerink V (1986). 4S-S0. Sec also nOle 118 Mango (1918).ljl-ll).
Stt e.g. John Chrr-.om. ' Homily on John' J7: a (PC S9:10?-lIO). Commentary ;n Milk.
(l916).6S
m E.g. Romanos. 'On .he (fur the fifth W..dnnday after Eaotcr): SC 114. j4-n. 61
and 70 (strophes 9 and (9). On Christ', temptation (f. 16sr). schapter 2 above.
'"
,hq' demo",',,'e tho divinity of Chri .. wIlik "r<ing hi. v;coory
over he ... i ... The mi,ode. onmed m ,hi, m .... gc provide.n .ppmp"",.
,0.,,11,,), ,,, Gregory', ''. and ,lie fi ... , and OQnd of d'em . 1", visual i ... n,i
Jewish ,",emen" of .pi lie re!cv2n.cr t 0 the ninth""'n tu ry convernon am p.ign .
The ><=<><1 ',!i,, .1.., p<<><nu healing>. but of <iCUtc ,athu ,h.n <h"",ic di ..
.,s<>, The rcgi"" op<n' wi,h ,he he.ling of ,he ""n,u"",,', ..,""", (M.nhew
8:\_1)). he,., mi,idemified a> ,he daughter of the leode, of ,he 'yrugog"" (H
!'nTATHI' TOY APXlCYNArUnOYj), Omunt th", li"ed 'hi> ..:ene a. tbe
he.ling ofl,i,m' dough .. " illu ..... ,ed dijf.",nrly .. rI .. , in ,ho m.nu",,"!" (f
'.)V' fig. .... the m.in mak figure i. ... centurion. and the ill figure i. a
",.Ie you,h, 'hi' mi.idemifi"",;on Ira> been correc,ed in mru, ,uN.equ<nr ",fe,"
e""", '0 ,hi, 'ne. he.ling of ,he <emur;"n', "IV."" is foil"""" dir<C1ly, ..
i, i. in the ppel ofM.rth .... (B"4- ' \), by the healing of Peter'. motherinlaw.
th<>USh the <k"il. of ,h. K<n. com. (rum 'he v .... ion in M.,I; ")0-)'. ',n<i be
come .r><! ,ook her by ,he h.r><!, and immediately ,he f""", I<li. her", " The rwo
mi .. da ar< conn:ted liturgically (f.r lling IUptivdy On the fourt h s",urd. y and
s"nJ.ry of Lent),,,,j ':.q;rrially, as examples ofChri,,', imp;.rtuli,y ,,,,,,ard men
(,he "'''''nt) .nd women (,ho """he,. ;n.l.w), ,n Bo,h of ,h .... h.,ling> . nd "pe'
ei. lI)' ,he fi .. , of ,hem. rt'rord ,he power of f.i th in Ch,i .. divinity. ""ll>< .. IT><
""ph .. " "" ,h. po_t offai ,h in Chri" pl. in> ,he .. k<, ioor of Cirri" w.lking on
water .nd r<Kuing Peter (M.tth .... in 'he 'hird rcgi.m, for Pet .. could
only wn, inue w.lking On .... t<1 Iong he hI" f.; ,h in Chri .. , ,he mOlINOn' h<
doub,ed. he .. nk .nJ hod ", he r"",<red'" .... . uni,. ,he low .. r...-" "'lli .....
p""'id< an . ntith .. i. '0 ,he an,i.).,..i.h >C<n<> of ,he t"p ,icr by Jcmon .. .. ,ing ,he
r<a!pcro,i..- btndi" ofbtliefin Ch,i".
Anti,h<ticaJ im>gory W1I not , b. ra<<<ri"ic of the pokmieized m>lginal p..J'en
m.<k c. rlict in 'he ,,<n'ury, m The: .n,i.hem;""l min;",u= in ,he psalren m ....
"fICn relied "" i""' ;p,ion> '0 ro,ke ,hei, poin,,, when ,t... polemic w
in fully vi.u. 1 rm . the puite" n<led '''''''rd paralld ;m' ge> "'Iuatin! <onm
1"'''''1 .nd biblicol .. 'mng"""""n. ",d .. , .. ,med .0 ""tico,uIC, '>J The mini.rur .. of
Pati.,IV,!'o moved . way fmm ,he dil"<C' ,,,,,fmn .. ,ion .h .. ch. no; .rized hooh .he:
ronnt of ' ne r..Jr miniatum . nd 'heir m.rginal .... ult on the tnt. 1X'!u, we
...,m ,,,..., in".,.d on f ' 70' i he intern.li .. ,ion .,f,he pokmic pro: , mof<
'H Il'd ........ ('.m). ' ... , .... ,",>lingo"- ,,", ""'.N .. .. ' "",."",' . .... of).; "'" "><Wo"''''
....... , .......... 1 Dt" '" .. ,h _. k" .. N .... T." .., E"f>urio {''''l, Ii&. 71), -.. ..
, .... "'or .... ; ... ,,", >it..! "' ... s.. (u'"'" ,ho d;.: ........ 0( ,j,,,,.. i. ' ......... "
". M ...... !J {'06,), ' .... '." Molin h" o!) ... , .. i"ll K.. .... , ' ''- f'r. "",,-,, 'itt .boo s,"",u,
(0,....). ,,.. '.' , .. s.. ..... M.H ...... . "O,",
"'(", ''''n', .. u, '" ,.,....., "', ... __ " ... _ .
Coo-,;p., (rot,l. '" I .... ... mmpb. boo, "''''1''<0 ',",m, ,n tI.. .... .pn.d ru-Mmo, ..
""'r.... ", .....
'" e."ip' (, .. ,1 ..... n (i""'.;"' ..... 1, ' /-" {p ... tld oe<nJ, .,,-.. k"""",, ... J,
,ubll. form of vi.u. 1 >rgum<m, ami[heoi., h .. replaced [he brwtl.iJ"" of [he
PU!I<B,
Fol;., 1Ir-" t\) >\)
1'01;., lI\V ill ... ,r;"eo Gregory'. [hir'Y . cond or .. ion, 'On moo",,,io,,', wid" [he
judgm<m of Solomon .oo,'C eh, i ... puking '0 .he .. i .. n WOm.l. n aD<l
healing .he ten .. , ' .. The >:nOl a<u:>rd ,..dl w;.h . he homily,' " wh",h h ....
ito inu'ooll<!Orr d,.m. [h. qu .. ,ion of wlt.o h". ,he 'u[hori,), '0 judge <rini<1ri.n
;"UI'I; ,he body of .h. omion .h. n .. kn up the i",,,, of .. i.Jom in mo ... g<",,"1
.... y, Rd', .. """, !O Solomon, pliei, and imli' i', .00und: G"1l"'l' ... .. odly
invokeo .he ' .. i.dom uf .h. divine Solomun' .mi m. ny of hi, f<renc<> .
m. rl=! wi.h pain.ed ini,i.)', ,,,. Grcgu'l' .1,., "h .. ,Ye< .h", G,,,j .10'" imp''''
pcrft wi""'m; ari", ,hi> wi.l<>m '0 [h. world, i. hum.ni,),'. only
hope: '" hi. wi.dom .hould uni .. [he ehUleh through 'One G.x!, 0"" f.i , h, one
baptiun',''''
Th. comhin .. "'" of ",.n on f 1I1V, duwn from bot h .h< Old and .h. New
Teo,am.n., <chon , he <On"," bclW<><n .he w;.Iom ofOldT","men' meh
$olomon and ,h. knowledge !Ii"''' by e h,.; .. , Th. jt>dgmcm "fSo.,m"n W2> .n
obviow <andi"",. fur indmion, .. cvi<kn' ftom G[egory', rcpc .. i rderence>,
S<>Iomon cmhoJird pcrfdy [h. ' pi,i[ of Old Teo[1men[ wi.dom, 11K jodgm.m
of Solomon (j King< )"6-:1.7) ...... , nowC\'C" rard)' pi<tum:i; i. don no. even
in .h ingle iIlu ..... .J Rook of Kin!;' from .10. Byu".in. I"'rioo. On f.
1IIV, Solomon. Jr..,..j .nd <",h"",1 .. a Byun' i .... fae", ,h. IWO
"".",." a"d [h wo[d,w>clding oolJi., who hold. [h. di<pUlcd child alof, by OIl.
arm, '''Th. mongrontcmporary A ..-ou[ of .he >:"" i. m"
Solum"n h. d .ymholi< .ignificancc in !\yu",i,,. iml,.", 1 .. "ric. il;o>il l .... m., in
f>c., '0 h"" s(m. fUll h .. ,h.n m.ny .mperor> in hi. a" omp" '0 i<kmify hi[rudf
wi.h _ and. IOllowing.he modd of)u .. in;'n, '0 'U[p'" - Old T", .. m<n. king:
"Of only did h. lih bring oompaml wi[h Solomon, bUl he uk<d Pho.;'" 10,
infO[mali"" on hi . ... isJom, ",d i ... id to b.VC'b",ieJ ,Wue of .h. ki ng (<<moved
f,om a ..... ili'" "<or Hagi. Sophi.) in [he found .. iom of hi. Nco l'.ItJ<Jcoi.o. , .. At.
Gi lbr" DagJOn hOI poi n.I ou', howcvc" .he . """inion. ,h .. boIn Ju>!ini. n and
so.:: "" "_,,,. Omon, h".I, 'r" . pl. XXXllt 1 .. ,,1, "'_"" w,'''"''""
,<6, '.1: ''''' N" ....... I,,.,,, <0]-><>1,
F .. rio Iuf ...... ;" .. ""''''" of ," _"'""...!'"" ,II< fa ,t..< ,II< prN"", '''''
.nJ, on ,I> mow, ..... " ... ,f..< f. ''''' .... , ... , loa""". n.... .. """"hti<u .. '"', ..
.... h ,II< M ..... G"I"'T ""G" .... I' ..... I, ph, lIl ,,_ .. llll, "
,,. to. .n <>f>4;.:" "r"""".>(; ",. "" impl"''' ,..,., fi(; " ')0. C..-.IJ i.;, .... ourl-. ""h.
"' sc ,'I, II', ' .... ' .. : pd i.i,.." ""rl-.I<h P'" g .
"I, "l; .... rl-.n!wi,h . p.I ;. ;,;.1.
, .. , ... kl<i ... ,II<"""" II Krl(:lCTOY(x).\OMIlN'TOC
" . PG '"""M'" <riuk ' " (n!, u....w.nd ,",',,'<r". II ,,91-<', , ... - ,611, 5<. D_
(0 .... 1,...,. '." )o;>-M' M .... I' "..,h9f:r), If ", KM.uo (,,,,, ,.,,
8 .. il mod. wi,h Solomon were weigh'od in f.vou, of tho Ch,i";.n empero .. ,.,her
,h.n ,h.i, Old Taum.n, prceu"",,, Solomon', wisdom. like hi> ,.mpk, mw'
inevi,.bly be ,u'p.s.sed by God', new chosen people, emhodiod in ,he onhod",
.mpero,. ' o1 It i. this umknon< th .. links the im.g< "fSolomon. ,u8&<O'cd by ,he
tat. with the New Te",m.nt "'cn of the t<'J\i" ... wh Kh .uppl.men,
G'<'gOry', or.,ion ,nJ we'" .. I,cd ""i,h ",m.c.,.,
Nin,h-:ntury Con".ntinopl. knew ,ht ... int<'Prct>tion. of Christ', oon",,'-
, ion "r ,I-.. So..,,,i, ., ""vm.", ill'w.iJnl a type ,,'h.op,i.m, i, rci<,,.,J ", CO",'01-
P<""y ,ni .. i"n"y ... "k, .IId it fu"ct"'uod in .n,i -,/<'wi,h pol.",,,,, Th. "",.,
Common in"'P, ... ,inn p,cd .. od the ninlh mu,>" alf<'.Jy in the .i"h, Rom.n".
" "" ,he <piooJ ... . type "fb'r,i.m: ,h .. ,hi. ",oding run,inun! in' o thc nin,h
c.n,ury i. ck" (ro'" ,h. w,i,ing' of I'h",i" . "r Gt<'J\'''Y'' conciuJing rc,n,,'" on
,n,. ",i.do", uni'ing ,1.0 .hu",h ,hrough God, r",h, 'n,1 h.p,i.m ,hu. find, .ue-
,inc< illu",.,;"n in ,h. ,ingl. i"1\" "f Ch,i" .nJ ,I., S,." ... ,i,," worn,". Thi.
inlerl're .. ,ion w .. rength.nct.I by ,h. Kon".;r.phical formul. u..d by ,he
Gt<g<>ry mini.,,,,i,,,
'1'1.. im.1\" "fCh,i"'ron"",,;"n "f the Sam.,i .. n wom.n Uolm . :1_.6) i. m",'
,.I.,cd '0 .1.. illum:u",n '0 (,Im in ,h. Khl"dt ... . nJ I'.",ok..,,,o,
1'>..1<,1> (fil\l' ,,0-, II). ,., Iloth Jupli". ,h. ing. in l' .. i . g'.IIO ... ith only min'"
.. .,i,,<On: Ch,i" .i" "n , j'lIIIcd o'''''n,p "f..,<k r .. her ,h.n bench, ond on u."
.it> by ,ho Sa ,,,,,i .. n WO"",,'. f .. ,. All ,h ..... h .... di .. inc';", of Jorub'.
well, .nJ f...,.", ,h. oct;"n .. ,he mom t ... hc. ,h. wom.n I. .. J"""n ... or .. (wi,h
hcr kf. h,nd (In ,h. pullry ""nll.nd i, .pill< ,,,.., ,h< .id" "f,h. bock ... '" Th.
<",ph .. i. "" ,h .... dl i. !lot. pe.h.p>, .y'p,i.ing, f,,,. ",lie of,h i. 'holy ... dl ... os
k.p Iong ,he l",h Ix,.....,n ,h. p.I.C<' .nd Sophia: i, woulJ h.ve Ixcn
f"niii" '" ,h. vi....,,, or ,h. I""h.".nd I'.,i . &,_"o .iik<, ,., Ku, ,h. "".rl\ow'ng
bock<, '''Iuire. furth .. "1'1 .,10". Th. p .. lnl ""M' illu"r.llcd begin. 'Fo, wi,h
,h ... " ,ho foun,.in "fliro', 'lId ,h. odi".n, in""il'lio" in ,ho Khh,dtw ""'It .. ,
'10) _ 'D iJ .. y Ch,i .. i, the \<},,"'. oflif .. _ m.k .. d ... it> .ignifico.n, Th.
prall .. ""'M' I. .. btocn int<'Prc'cd ... 'rpoI,,,ic.1 .lIm;"n ,,, ""p,i.m . J
'pl''''pri .. dy ' 11""""od. (," Chri,,, itl.n,ifiod him><lf .. ,h. well "fli.ing w-.... ,,,
." 1'_1 ..... 1. "1" ' _ .... ' ..,.,.1).
Ii>< """"""". SC III). "" fo< .......... , "" .... "' ... V .,"", {f'(i
'.'_"7"".1,
'" lI i ... Muo,uoJ ... , . r II' 1St"",", I' ''I\)' ),1, ... , M,,,," r .. ...a.,,' ... ,. <I'
(I:>.! ...... I' .... I. pi, 0, r.t.L ..... , ['mi. r... ",I, ... ""'oJ,,, [,,..1, " ,_ 00 [ "'" d .......
i"", ...... U XlrICl'U[C lIMlf_ll'IlMEN(X:: TIl ('0., .. ""'I,,, '" ,t..
s...." , .. _ '!,
-0....... ... I""'", .... ,'" ,ho '0001""" ..... oJ dr...-."", m ... ..Jr' ... nJi'" uI' ,ho
1,..100, r. '" (I'" No '. -I .. ,,,,,,,I , OJ, ,,),
n.. 1"""" ''''''''''''''' .... ........... tIu" "',IK..,Iy. ,,,....It
b .......... .w.bo.i., . r" , ,, 1v...... I't7',. OJ '1\1.
,,, ,"'.". F""'1""'" ''''..,.!1, ... c._"", {,""), "1-"' ,
Mi!lSion, martyrdum, ~ n visu3l polemic

-..
,





Fit, I/O MOJaJw. HillonrA/ M"sn.",. rod.n9.f JJr. DaviJ wilh Chrill Alld r//r Silmlln/1I11
womllll


,

Vision and meaning in ninfh-century Byzantium


" , ..
, . t . ,

..

, ~ ... '
'.' .

. "
Fig. /11 Moum Athol, Pamokralor 6(, f 4211: Chrisl l",d ,hr Silmarilnn Iw""m; I/}r jrll.1t foil /(!
r/u ground INfort C/Jfisl
the Samaritan woman (John 4:14); the overflowing bucket in the psalters and
l'aris.gr.slO underscores the typological reference to baptism.
On the Sunday of rhe Samaritan woman, the fifth after Easter, the typikon of t he
Great Church pairs the gospel account of her conversion with verses from Acts [[
narraring the missionary activit ies of Barnabas and Paul. ~ 6 Foll owing th is associa-
tion, the scene on f. 215V could also be seen as an example of the spreading of true
wisdom through conversion, an apt interpretation du ring [he intensive campaigns
Mission, visual polcmi.;;
of conversion directed at the Slav and Jewish popul ations th.u marked Basi l's
reign. 147 As an image of successful missionary act ivity against the Jews, the conver-
sion of the Samaritan woman was, in fact , particu larl y appropri ate, for the New
Testament consistently contrasts the 'misguided' Jews with the Samaritans. Photios
detailed their differences at length in vari ous commentaries on the relevant New
')c,t:l. ment passages, and continued the unRanering contrast. The image of the
Samaritan woman should probably, therefore. not be .seen simply as an illustration
of conversi on to the true wisdom of Christianity, but also as a stat emem that some
are more susceptibl e to receivi ng thi s knowledge than others, In this, the miniatur-
ist followed the lead already provided by P:Ull okrator 61 (fig. ItI ). The Khludov
Psalt er portrait of David ex plaining the significance of the scene (fig. 1 (0) has been
ignored by the Panrokrator miniaturist; instead, below the Samariran woman. who
recognitt<! and accept ed Chri st , is an image of the Jews who did not.
An ant i-Jewish inrerpret:l.tio n of Christ and the Samari ran woman finds written
confirmation as well , Byzamine exegesis habirually identified Christ as the
Samaritan woman's sixt h husband and Romanos. as Augustine before him, thus
saw 1he woman as a rype of fkklnitl. 1)0 She receives 'the bridegroom who has come',
and it is in this role that Photios used her in hi s eighth homil y, where she is con-
trasred quite specifically with the Jews. The rclevam passage appea rs as part of a
lengthy discussion of {he difference between wisdom and ignorance , hat shares
numerous features wi t h Gregory's 'On moderat ion',!}l BUI while Gregory con-
demned the ignorance of heretical Christi ans, rhot ios condemned the Jews:
ThOll sillest with long labour by the bridal chamber, but thou dost not reccive the bridc-
groom who has come, seized thou art by lovc or harl olry. Veri ly is your synagogue
husbandless, brooding alone senselcssly on bare words, Verily is this p-c'ol'l e roolish and
unwise.
11l
Rathe: r than pairing the Samaritan woman with an image of the Jews who did
not rccogni1.c Christ, however, the Homil ies mini aturist combined the episode
with Christ heal ing [he ten lepers (0 X[PIC rOIC 10MENOC TOYC aEKA
aEnrOYC). The scene may underscore the differences between the Samaritans
and the Jews in a different way, for the gospel accoulII of Ihi s healing (Luke
17:11- 19) Otl ct' again singl es OUt a Samari tan - th is time a mal e:, so that the theme of
Chri st's impartiality 10 gender seen before on f. 170r continucs - as the only one of
the: ten lepers who praised God on being healed, IconographiCl.lly, however, the
,., lhorni" (15170); (1958). '5'- '51.
, .. E.g. in qllntio n 74 or hi, Ampl,ill,ill: ro. Wnlet ink V (1986). 81-8\ (PC 101:457- 464) and a
Gucna on John 4:1 J (PC 10/:1131). On Ch.ill as . ...., ,he di).(lIllion uff. '4 JV in
1.
, ' So 100 Corrigan (1991), 6S: Ih( page provides a I1I rceumplc or visual anli,hcsis in rhe psalters.
rw SC " 0, )l9-J51. Dp. }J.4- )J6,14Q-J41.
1)1 Homily 8,1- 1: ro. I..aOllrdOU ('959), 8}-116: In nJ. Mango (1958), I jj- 157 (ou Homily 8,t- J).
IW Homily 8,z: ro. (1959). 85: ,nn5. Mango (19S8), In (;1.1 Homily 8,, ).
h .. di"ingui.h<d [h. S=uri .. from [h. mh bur h ..
imply I'<'J'roduoo:! [h t>nd.Lrd Byz.ontil>< formul. with Chri" g<>turing t ..... Hd
the huddled rna.. offigures. '"
The ;mage "" f. 215' ili". "", .. [Ilt .. " .. ofGrego<)" ,.[mon in ma"l><[ ponic-
ul .. ly 'W",!>ri ... to tnc ninth century. While b"J.n<ing tilt wOOom of tilt Old
.nd N .... T .. """,nt., tilt mini.turist dtp"'" from Grogory, "",rds to depict
0C<f><' th .. """S<"d [Ilt found.a,ion, of Dlthodox helief 11>< Sam"i"n "",m.n
funct >om ... ryp< ofb"p[ i,m . ')1>< of ,Ilt onhodox church nd ... piKe of .nti
Jcwi'h polemic .11 .. once; tilt healing of the ten leI'<''' m.y .. infor th" I."., rnk .
nd [hw fu"Ilt, [Ilt Lll< of visual.o[;th""is to cond.mn ,h. Jew< by compa,;oon
with [h"", woo ><cqned Cn,i".
Folio ,.OY 1I,) (6g. , .)
Ch[i .. h .. !. the man with tl>cwi,hcml.,m .nd the """blind m.n ofJericl.o in the
Ii .... reti"e' off. j[ O'{; h. Ilt.l, ,h. hen, "",m.n .od deli,"" ,h'l"",bl. of ,h. "'i,b-
.mllig tltt in [he KCOnd. "'Th. miniature rem.i", in it> Ofiginalw[ion ([h
ndof the PrccrJin8 tnt occupin in =tu). hU",";nt "" dim:, ronn<C,ioo with
,!>t '"'' ;, ill",,,,, .. , Grego!)', Ii", I",m to Kledoni"" (<"pi"l" tot). [" C .. go!)'
wrote to cooMmn the Apollin.ri.n h"""y. ""';ch h.1d th .. [h. inc .. n ... Chri ..
h.d. divine ... her dan, hum.n ,pi,it. ["'Thelhr he-aling mi,ades un f. ) IOY 0<,_
"inly funCli"" .. vi,ible proof of ,h. du.1 n .. ure ofChri" _ Ilt is .h"",n in hi,
human lQ,m. perto.ming divine mi,.d .. _ bu, th; ... the, ".n<rie conn=ion
""" .. ..1 im"8' ",i[Ilt, il1um;n.,,, why [Joe,." mil.><l", _" odeaed nOl
.ncom!"""" the p" ... bl. of the witl.crnf lig 't. Towa,d the .nd of the IClter.
h ........ ,. Gr<r;<>'y hi"I> at tho .ub,nt ,h .. lIlQur episod ..... m to comple",,,n!;
.pp ... n,]y ho:a" .. oorn" .dh"",o" io""ed on h" lil:" ...
ApolJin .. i""i.m ,,, '. ""ond Judaism. '" Photi"". too. wJ..,.. in' ...... in
Apollin.riu> i . .... 1I.,,"'tl ....... him ... n imitato< of ',Ilt m.d ..... of thdcwu"d
([h<i,1 f.l ... ,uch;n!>,.' ''" Th m;.}<wi'!> 'mplie,,,"',,, of [h ... P'''''g<>. ,..,h ..
'hon ,heiranti.ApoIlin.ui", m ..... g<>. >om to Iu"" "imul .. ed the illu ..... tion on f
"uv.
Th. h .. lin& of the man with the with.t<d .. m aPl""" in the 'y""p<ie goord'
' '' Sr.'.," fi<K<n. t..",-pl"' .' .'J. f '.,,., Vd ..... ('.I'I. Ii&- ' ...
''' 0-, 10.",. >6. pl. XLV, (0.,,1. ,,; [).., N"" ;'. (0",1. "'''' W";""""n 10"",,1.
,.,. ,0,-."; I,!'OWI. .. p4no, .. , .. """""", """"P"";" ..... """*, 0
X/PlCIOIC IllMENOC fIll"'l ?:IIMN EXilNTA TI llS 0 Xj PICfOIC
TOIY\.: JYO rr-P.IIOYej, 0 XIPlLTOfC IUMENOC Till"< CITKYilTO"r.
UN; ... IO XIPICfO]<: KATAI'llMENOC TIiN L"YKIIN.
'" >iC .... INPNF . ........ Jl. I. ,,.. M;]',. ' ""Pl'. C.......,. ... noIo ,,.. 1, .. '". """_ .
.."j ,,.. row;" ,,,," .... 1,,, "" ,. KIodon_ C_ I , .. ,...1. pi. UX., .
,,. AfoIli .. ,"" ..... ""' ''' ,,.. ..... kmOco ..... f. ",, ( ... 101 .... , Io.po<, ,.
"' SC ,oa ..... n.! .... , ' .
,,. Et-.. " ..... u. '!6 ... , .... ; .-do looomI ... nd W"",ink III (,9'1". n. r". I'l10< ....... !on ,.(".
""" .. Apon ... , ... "" ,h.po .. , .
(M.uh,ew ""<>--'3. 3"-j. I.,,". 6;6--,,,) P;" "'. go"" .. 1 condomn,,'on of
,h. Ph.ri.e." ."i,ud. ,<:>word ,h. So\>b .. h, oil .he<dO .. "In< .h h. h",!,ng
"""".ted on .h. Sohl>;o.h in cun,c"".""on of]" ... ic I.w, for '<I", S,,,, "fM.n" L<>rd
.. .n fin ,h. Sobb .. h doy' (M.uh .... a,8). Immedi.,dy below .he man with .f>c
wi.ho,<d ... m. the mini .. ",i .. _ ol?in jUX!1ro.ing gomlc ... .. on If. '7'" (fig, u)
and 11\" (fig. 1j) _ pl.cd hi. f.m.l. OOU".""',,. ,h. ben. W(lm.n. Again, eh,i
hcaJ<d on ,h. Sol>b"h . nd "'''' cl>."i,.I by ,h. ml., of ,he ryn.goguc' (I.uke
'p,_,6). ,II<: I.od of ,be go'pcl,. Ch,j"jm poIemicim. Phooi"" among
.hem. used tbe Sobb"h mirada ... n == fO, invc<1iva >g>.irn. the Jews, '"
n.. C<H>Ccp.",,1 uhily "f ,h. twu h .. li"gI on .h. k/', .ido of ,h. mini .. " .. i" m
on . " .n" confirmed by ,hei, conll""'i,ions: b",h h" .. bcocn teduc<d '0 ,h ..... n
.jaJ component> '" Ch"", . ... itne<>. and ,be pc""n '0 b.: h I.d. The top rq;;"'<f
.how. Ch.;" gr"'pinS ,h. m.n, ,,i,h.,ed.,m (h. 'Om; .. a "olf ,h. wr", of hi.
he.llhy ooe) in ,he of . Y"",hlUl diipl. holding. KrolL'" A ,imil",
""cion of the heal ing 'PI""" in .he mid. '.n,h-ccn'ury ... ..JI ",in.ingo ..
Tok...J. (fig. Il.).'' wh ... ,h. man .. nia, ... lfin hi, he.l,hy k/', hond whil. Chri"
grasps hi. wi.her.cd "'",,; .. ' lobi" '00, ,h. rn.n ..... "' . ,h"" ,unicoverd<cor .. ed
leggin&, ",min"".n' '" .h"" be we ... on f. )'()y, Chri .. , ro.i.ion i. vir!\wly iden-
ticol. ond h. is ..:romponied by . )'Uuthful d""iple who, .. Tobh, dupli ..... ,h.
d""ipl. immedi.t<lr below Ch"" ... ho wi'n<="> .he be..Jing of t be bent ""man,
down '0 .he .Iing fulJ of his ,;gIl, arm.'''' lIo,h m.y h" . ";<ly
promi""n. Con,um;n"!"'li sou,co.' '
The ><elK of .he b ling of ,he ben, W(lman "pea" ,h. yuu,hful d""iple of ,I>c
lOp ...p"", here .. ,,,ding ,n In .. ",oee, ,h. mal< and fcnuk I>caling> arc
m;,ro, imaga of eoch o,h.r . n elke, "",ngtbenc<l by .h of .h. P'g<
whCf'C eod,.oke. up proci><ly .be .. m mou'H oft".,,! Th. ", i",e h-erc
gc>'u,," over .h. head of ,he ben< worn .. " who I?'''' up '0 Ch,'''' Ch,;" m",,
<.Iighrly .ow,ud tho , igh., but ge>tura and Ioolu left, .he ,Unee i, fomili .. on. in
l':o,i.,I'.\' O, .nd rocUr> throughout .h. m.nuocrip . t .. """" "p"""n.,,"''''
of ,his ",."e,'" ,he ben, woman docs no, walk 'ow>,d Ch"", bu. knttl. on ,he
g'ound, indcrd. ,h. racmblco im.ge> of .h. worn", wi.h .h. ;"u. of blood more
closely ,h. n ,he docs I"""oyol. of ,be ben, wom.n, md ;, occm. pi>u,;blc rim ,h.
Gr<gory min;"mi" mooiMd til<: . adi.,- of .hot healing (f. J4)V; 6g. ' 9) hel'<'
." E..I. Joh. <:1 .. ,""' .... ;. I'G " , ___ ,,,,, Phoo .... 60, .d. "'.,,,rink V
(,.u). " W . ..,.. _. 1.4-" 11'G."" ....... 6).
"' Thk"" MaImS' off "" GO, on "'!"<"'" >pad ",v_,,,, of d ...
(he. ",),,0.. l>..li"I of ,0.. mo. d."..;m....! "m "Ia ... t W';'"""n, ('91901 ,
,"" lip . " . " .... , . """ u, ,,,", .. WO""''' l.ou,.pI",-o.", f .,..{Vdm .... I'.,'). lis.
,,,), Puio.V 7., "'. <h. u7"< I;kt r";",,., ,(), dod.n to.. ...., i ""'" ,.""' (0"""" In ,d.l. rb-
" . 6j. ""<.I. .., p.tri. 1'0161. 71, .., Tok>L. "'" .,"';,)W ,. oI.lt.- """'J"'."".
,., s... ch,!,,<, ' ... " ... E., "" ,,(Jonah), t7v (a. ... ). '7,. w.-wmJ, fig. , . to. 'J,
... E.. I !'on. ,"', .. ,. /, ... " .... ,.. ,'"m." I ,,,,.,. '71. lit- .6 .. 'l<hilln I (, 07' I, ,;I , d<.<,ih<.j ,,,",
"'" ... .dud of K<"- _ both of,,,,,,,, with 'h< """"D ,w./m,
.,.
Vision and mc:-aning in ninlh-cclll ory Byunl ium
Fig. III Nrl/i 1Okall: o/t/Jr mnn with tlx "'il/x"" a m i
the women rescmbll" each OIhcr doscly- cvl:' n their garment colours are Ihe s,1ml:'-
and Christ stands similarly in both.
l66
The scenes on the ri ght half off. 31011 al so form a Ihemati c p:lir. The uppermost
shows Chrisl healing dl(, rwo men born bli nd. oUi side of Jeri cho (Mall hew
20:30-34); t he lower pictu res the fi g tree that , as it bore no fruit , Jesus caused to
wilher (Manhew 21:18-11, Mark 11:11.- 14 , 10-25). This laner (, pisode proll ided an
ant it hesis to the opening image of the healing of the man wi th the withered arm - a
connect ion lIisuall y emphasized by rcp('at ing Ihe- :lfrangl:' mem found in the
opening scene. with the withered fi g repl aci ng the ma n wi th the withered arm -
1"- oS JI50 l'at i'.gr.91J, r. !Ilt (wm:rc ,he- ( ..... " he-Jlings o"erlap t,e-h o1her): h919a). lig.
414
'7'
Mission, Imnyrdom, and vbuJ.1 polemic
and comribuu:d furrher to Ihe ami -Jewish lo ne of Ihe min ialure, PhOlios, in his
sixth homily, specifically e<Jualw 'Ihe fig frce tim has remained frui dess' wi th ', he
barren and harsh synagogue of Ihe Jews' , If Ihe wilhered fig n ee signifi es Ihe syn-
agogue, Ihe rwo men of Jericho represent Ihe triumph of compassioll :llld fil il h in
Chri st. The usc of this episode as pari of an anlithesis, setting those offaith agai nsl
Ihe synagogue, is nOI restri cled !O Paris.sqlO. In his hymn on Ihe oorn blind. for
exampl e, Romanos too opposed the rwo men who had filith with the Jews. 1(>8
As were the two healings on the left side of the miniature, the rwo scen('s 011 the
right arc compositionally connected, In Ihe upper register. Chrisl Sl3nds as in the
heal ing of the man with the withered arm. save Ihat he now gest ures toward the two
blind men wilh his ri ghl arm. The IWO men, one in profi le and one squatting /'IIftrr,
si t 10 the right and are separated from Christ by :ltree that unifies Ihis miracl e with
Ihal of the wi lhered fi g n ee below it. Not surprisi ngly, olher versions of the scene
lack the tree. bur Ihe Sarra Pamflrlll (fig. IIJ) duplicates the sq ual l ing position of
olle of Ihe men in Ihe Paris Gregory, :Uld thi s posi tion. somewhat more elegan tly
rcnderl-d, recurs in the Florence tetracvangelion: in all th ree. Chri st's ]}Osi tion
remains the same. 1(,9 It Ihus seems likely that Ihe Cregory miniaturi SI added the tree
for composit ional unity. whil e otherwi se repli cat ing a standard B}"lalli ine formula.
In conlrast. the miracle of the withered fig was rarely illuSIr.lud: when Ihe sa' I\('
appears in the densely packed mi ddl e Byzan tine leHaevangclia, only Ihe most
general similarities surface. 1;'1) It seems mOSi likel y Iha[' like Ihe adjacellt healing of
the bent woman, Ihe miracle of rhe fig (f'('e was compil ed from stock figure types
visible Ihroughout the manuscript in responsc 10 Photios' polemic irucrprelation
of t he episode.
Folio J I6r (32) (fig. }2)
Like f. 3IOV, to which it is themat ically relat ed , f. j l Gr presents four chri stological
scenes in two registers. Each regisler maintains the babncc of mal e and female;
each combines a healing scene with an episode involving a widow: the upper ti er
pairs Iht' healing of the blind man at Siloam wilh the story of ,he widow's mite. lhe
lowcr joins the healing of rhe paralytic al Capernaum with Ihe raising of the
widow's son at Nain.
171
1.1 Homily 6.): nI. (1919), 6S: I r31Ui . ,., bngo (19.18). 117-1 ,It ". SC I 140.
,''' l'a. i g'.91). r. :uv (Ch.i,, , "'. 011 i. omi"nI ): (19793), 169. lig, ,US.
l.:ou . phu.6.1J. r. 41v: Vdman. (971). lig. 8'). Tht hNling of , ht 1" '0 bl ind mn ro.med of ,hr
mi",clt cycle'l Ncw Tohl" bot i. now ' '''' 10 fK. mil mmpa.i..,n: Ep"r'n (1986), 71. In
1'3.i'.1:1.]4. f. 18r, Ihf two mfn nand: OmorI! (n.d.). pI. II).
''' Thc 'ftf i. lu Re .. in Flo.ence. Laur.phu.6.1J. If. 4J'. HS' (Vdmam 1t97ll . fi gs. 94, 1( 4); In''cd in
If. 41r. 88v (Omom In .d ,l .pl . J6. 78).
", Omon, (19'9). 1\. pI. XLVI : DCI i." (1961). lOS' Brub.ker (1996.). , 6, Th" i n.criPI ion
rr, '!;'Iin. 0 X[I'ICTO]C IUMENOC TON EK r ENETHC TY'MON .nd H
KO,,- VMBJ6 PA TOY CHAOAkt in ,h( upJX'r I(giur r: H XHPA BAi\AOYCA TA .1 YO ,\ EJ'I TA
10 Xl 'I CTOC Er El l l'flNTON Yl l OIN THC XHPAC EK NEKI'ON in .
'7)
"
"
f.

Vision meaning in ninth-cent ury
,
; 11:" A f ' II, ,,'y " '. ill'"
.A. i' r Hii' N ItlN._
NII" -.f"
:<.' "r"" A,." If f( .M q))'-
- , A' U 'N' l, 'I I. IININ .
J p , , fI.- ILt
' 1'IVAAf U INI 'i wi. ,(
.\ " r ' f
lV
.1)H:r .yr;.:
t; A' IIr " ""N'

--
,
Fig. II) f'.lris.gr.913.f JlI/'.' Chri!llmllill,( Ihl d/ll"b mall poJJrISld bJ ,I drlllOIl, lIn 1>//111 with
tin 1, itlKrrd arm, fimr 11'fJ1II"I, ''''0 b{illd mtll, IlJr {un",ie. Intd /},r woo 111111 hom blilld
'74
Mi.\.S ion, martyrdom, polemic
None of these events features in the accompanying lener. Gregory's second 'To
Kledonios' ; wi th the firs t lener, the Milan miniaturist restricted illustration to a
portrait of Gregory handing the lener to a messenger, who forwards it to Kledo-
nios.m The Paris miniature retains its intended location, however, for t he text
begins on its recto, and the illuminator indicated one level on which the miniature
should be understood by signalling a phrJ.Se with a gold initial. Most unusually, the
initial fall s in the middle of a sentence, t hereby underscoring t he importance of the
marked ph rJ.Se, which (again) characterizes the Apollinarian heresy as a 'second
Judaism' .173 Indeed, like the min iature accompanying the first letter to Kledonios,
that accompanying the second also includes anti-Jewish imagery.
Both of the healing miracl es illustrated on f. 316r provided fuel for anti-Jewish
pol emi c in the Byzant ine period. The Siloam healing, which appears only in t he
gospel of John where it occupies most of chapt er nine, is another of the Sabbath mir-
acles for wh ich the Jews condemned Jesus. It thus fa ll s into the same grou p as two of
the healings on f. 3tOv, a positi on confirmed by both Romanos and Photios.
174
Similarly. the healing of the paralytic at Capernaum (Matt hew 9:1- 8. Mark 2:3-12.
Luke ):17-26) evoked a vitriolic ant i-Jewi sh passage from Photios, embedded in a
commelHary on Mauhew now preserved as a caIena fragmelll . m The allli-Jewi sh
impli cations of the twO healing sccmes connect the miniature prefaci ng Gregory's
second letter to KJcdonios with that accompanyi ng the first letter on f. 31OV. Aga in,
the anti -hereti cal slalll of the second epistle has been redirected and focused on a
specifi c 'heresy' of parti cular concern to the coun and patriarchate in the 88os.
The two healing scenes sel ected for f. 316r were, in addition, both associ ated with
baptism. From t he time of the early church F.uhers, the Siloam healing exemplified
the remission of si n effected by that ri te. The read ing from John 9 formed part of
the baptismal liturgy- a co n nt"ccion rt"iterated by Phot ios in hi s Amphi/ochill - and
[he episode commonly appeared in the decorative programmes of baptisteries. 176
The miniaturist responsibl e for f. 3t6r stressed this J.Spect of the healing. While the
left side of the scene closely the gospel narrative, showing Christ anointing
the blind man's eyes with clay in a manner thoroughly consistent with earlier, con-
temporary, and later Byzant ine vcrsi ons of thc scene, I n some dct ails on the ri ght
m SC 208, 70-8) (NPNf: G,.bar (IH)a). pI. L1X.2.
PJ SC 208. 76: Parkgr.j lo. r.317".
m Rom.nos, 'On born blind, SC Ui , 140. Photius invukC"d Siluam the end of
iongdialti!,(, againsl Jew51hOl he puts in mouth of Joseph of Arima[hae., Humily 11,4:
!...:>ourd.J ([959), [09-112 {for {he Sil uam rduencc, ({ () ; (tanS. Mango (19j8). 198- 202 (200).
Reuss (19S7). 287.
176 Commcn,ary and dilcm,ion in Underwood (1975). 2j7-26{: for I'hu[iu5. M. Wc .. "rink IV
(1986).)3- J+
In E.g. lhe Ross."o Gospd (Ross.no. Oioceun Mus . f. {)r: Muno', 119071. pI. XI: Cavallo (/ nl.
Ie 9871. (40-14J), Ihe SIIC'" (l'ari'.gr.92 J. f. lllr: Weitlmann I (979a I, 480). {he freKOt"< al
Old Tuk.!. h9861 . fig. Jl), (l..ur. plm. 6.1J. f. 188t: Vdm.ns
{1971]. fig. 284).
'lS
<ide!l" bc)'t",d Jolm', ,"oun'. The m.n le.n< Ove, to ,.. 10 .war the d .y tl ...
Ch,i" . ppl i...! to hi, blind e)"e nd ... i. cb, from hi. opc" <ya, ,<ceiY"<> .igbt.
Acronling to butlt ,l<>1,n "rId ,he l<ll<nu ""otnp',,ying , '" In<, the n"n w .. h ...
hi, <ya " .. I>< pool ofSil""m'; on f. J,6hi. pool i. .crucifo,m b.ip-
ti.m.1 font i<knti",1 to the one On f. S7'" t61. In thi. drtoil, the ClCgo' r mini_
'lU,ilt tkvi.,., fmm im>;;", .. ",h .. ,I,.t in the IV", .. "" c;..>5pel. ", " Old '1,,,,,h,
whKh.no..... = .. ngul .. pool, bm m.y 6nd . roughly contempo':"y r.,..lId in
the $,J"" .. "I ,<,t. inl 1' . ,,, i,il''' ''' ",;cldl. Ryu,,,i,,.. ... IS;"'" "",10 .. the
,e,ru,.ng<l" mini .. ures, which rcpc .. 'he font. ,', The l>o",i ..... 1 impl""-,i" n. "f
the Sil<><rm he.ling "e funhe, ernph til< i,\d",;"n of ., .,&<I.I""",;n&
, .. e, ,I,. (,"" .,..! """":.IN i, wi,h . long ... . Th ng<1 '""ublins ,h.
Won<t' I><1""g> wi,h .n e .. l i .. epitod< in ,l<>hni go<pcl, ' lre h<::rlingof ,he l"",l)'Iic ..
Iktlr<><io Uoon \: >-91 n"the, p .... g< th., figuml prom;nen,ly in tire Bruntine
h'pti' m.l ri'e: "",,,me,,"';'" .pc,Ay th., <I .... ngd rq'''''"'''tcJ the Holy Spiri,
cl<$LCnd ing .. h..p,i,nL" h, .rw:Io"", i"i, inoenion in ,h. Si!.,.m 11>< k .vcs
little doubt tlr .. ,t...<kiigl><.of ,t...I"g< intendcJ the mitocle." bc m.J ""'. t)1'< of
I>.pti,,,,.
The h<>ling of ,Ire p.raJ)'Iic .. c.pern.um no. (01)" join. the Sil",m OC. ne in
p""iding I'i= ,,( v;, u,1 ,nti.Ju.d. L<m, it ,l .. , d,,,,,,;I. witl, ,h. h..ptimLl I
, .. ding: ,n. fulles' gosrd ' ceoun, of ,100 <"..>penLlum "<MY (M,rk ",_ 11) ... hich i.
fOllowM cl<>I)' in tne Homilid mini .. urc. ' ppc'" in the <ypikon of tire Gre ..
Clm",lt .. ,he imtncJi. td1' l' rcc<:J ing ,he a ll '0 II ... ,,,' the
>onJ Sund.y of Len., ' .. Clt ,ist, , <romp. nied ",. tl>c )_thful di",;pIc who
'q",."eJly l"i"cJ him,,,, f J'O>' . i" on ,It. f .. kf, hero ... . pink ho."k!ing ,h". in
,he con',,' "fP.,i,.g', \,,,. provideo . n unu.u.lly <lobo .. T"", men
lowertne mm.id witlr p.l<ythrougl. hole in ,nnuul"" 'ith I""g curd. ",,,It,,,1 to
h.mmock lih . ling; '" ,h. 'igh'. in ,he middle of ,h. reg''''', 1 group of .hf<"<
men, p .... tnce,i.i 1 oc';bn. ,und bchind their .... cJ b d . n.c 1Ur>< i,
f .. n"''' """,ifie in if> d. "il, ,10,,, ,I>< ,,,""0,... .i,h., .. S. Apollin, .. Nu",,, or in
,he middl. Ely",,,,il>< 'mK .... ngd i . '" bu. i, i. r<m.tLl>ly .0100< '0 . n eiglrth_
<entuf)' WlIIi p;rinting ... he Chutch of 5..n 5..1 in Rome. ' 1.> .. h;"h . h.m. .. i,h f.
Jtb. ,h. 01><n"",W building !!'rouglr which ''''' l''' u,1u 10 .... ' ,I>< 1"",I)'Ii<, the
di .. iples .o ,h. Idi . bchind Cit.;,. (fOlIoweJ . in .h. more <lIp;rnoivc f ..... o. by .hr
more Ji..:i ples) . nd the rh"i>> to ,he "gIr,.
"","-",", t...-l<"" ..... d . w," .... . . ,'01'! .....
,,. r....w..... in U..J.n. .... l'. "'. ,,,_,,;,, 0.. ...... (.,..6). ,,,_>r,.
,, ....... 11 1' .. ".'" .' .
,., o.O:lrm.oon (" II), lis- .,,: __ n ..... " p!w< ). f. ,,'< ,'.-1 ... ", hr.' I. lis- J). Tho: . n:h;
"",,,,,,j 1..;<.1"", ,n 1'1" .... ,70. (, O;t( _, 10,.LI. 0.1. "".11> ? ........ ,'Q .
I,., , !. til, " : aI o. (r' I". J" n.: P"""'T on: "'" L'Ir'"
....... in ,I.: wall "'",;"" ..... ,I.: ",..1,-,", ........ ,.,.....,.,.j ,,,.,.. wi'" ..... 'w
...... Id.".
n,.l inbg< "r onti.jo,wi,h .nJ h.pti,m. 1 imagery in ,h. "''' haling !C.n .. ,m
,h.l.f, h.lf off j16. !I1gg<>, .. n impli,it<o"'m' brtwttn tl>< trn< f.ti,h of m.
,izcJ Chri"ian and.1>< blind"", of ,he unb.l"izcJ j""". Th ...,. >C< no. on.t,c
.igh.-hand ,iJcof.1>< folio ar. a]", .eI,,"; rooKh other _ ., I\Orod ."Ii.,. <><10 1" '"
,r' Y' . n .piwd. fron, Ch.i.,. mini<try .h" c<n.rnl on a widow _ hur "nb, rlrq
.re m.am '0 I"ovi<k. pOcm,i.1 .",i,hi, ,h.ost ''''0 """,,,, ii,,,,, no ""id.n. ronne<
.ion wi.h ci.Ir ,n., an.i o. ,n. h.!p. ;';mal programme of ,he I<f. ,iJ. "f ,I",
pag .
In .h. upper 'gi"'" n<x, 10 ,n., Siloam 1><.ling. ,no pa ... nl. of ,no w"I_', mit<
(Mark <1: . ' -.4. Luke '1:,-.1 appear< a.! a na"ative on . Chri". "'1"'"ing hi,
.,.r",. in ,h Jioining Silm.", >'Ccnc, ".nd. ro .n., kft of an arch plami hehind
gold, ,h<fi.rcd .1,,,- Th. wido,,' .ppro.><h from ,h" righ', and Jcp<><i" h ..
coi",on ,n. ,1< . No ... mpb of ,ni, """. >I. P""'''....! hd, .... ' hc nin'h <-<n'''fY,
when i, 'ppe'" bo,h in Pati" g',lroonJ ,n ,h. s"m. "41. "' Th.I.",,,
manul<.ip" .. ,,;cirating ,n., fur mul. ,h .. I .... bc<"m<> domin.n',.how> ",a.ro
Ch.i " "'pl.ining ,,,", ,ignilic.&n<-< <of rho wid"' .. ., so:"o,iry'" hi. opo<,k>,'"
\1('I>ilc ,n., , .. nding Ch,i" rccu" .. New Tol<.oI, and in on. "''''''n of ,n. """"" ,n
tho middl. Bfl-'min. ,,,,,...,vangcli. (fig. III). '" in h",!' CO"" .h<- m.in grouping i.
ofeh"" .oJ ,I>< al""01"" 'ho widow i, ci,h .. rekS,,,.d .0 ,h. m. <-gin of . he """""
Of <<<<pO ro ,he al .. , on h<-' knees, Unlik ny ",h ",,,;"n of th<- "'"nc, the imag<
on r J16, p,<><nn Cn.i .. wi"'<s,ing ,h. widow. ac,ion ,bn = .lIing it fOf
hi. """,. in: ,n., rol. of t ho widow i, <o.rcsp,,,,dingiy incftl>od. Hu, if ,h. focus "f
,h.Crcgory .(:tn. lind! 1\0 p.r.lld . " I",d.lOil of thc .110 e" b.:fu.r n .hi.octu",1
",u<m rocur> in ,h . ""'" I'dnl{t../.J1frS' H41, ,h .. thi., at I .. ". rep'a"
, f.miliar nin'h-ccmury motif,
lid"", ,b.: widow', mil<, thc mini .. u';" p.inttd 'f>< raurKC.ion of ,h. wid"w',
>on .. N. in. G,'E"'Y . lIudod '" Ch,;,,', Jl"""<" of " ,I\rrrc<.ioo in hi. !Ond ku
'0 Klroon'"' ' ,hough ",fred 'pir.c. lly '0 tho rai'ing of Lo".,,,,. '" Th.
,.."ing of LoufU' had. howtve" .1.",.1,' hn d'pi"od in r .. ,i.,gq,,, (f. ''I6v, fig.
'41, .. had .11 otl,., ">ample. ofCh.i rai.ing the d .. d, the .. "ing of ,he w;d"",',
>on .. N, in (UJJ", "'. , "nly rcltva", mir>elc m.ining. s",." . h .. thc
b"" .it> on tn. gmu"" mh .. ,h.n being c,,,icJ 01011, ,h. im.go of ,hi, """ . on f,
J,6, fullow, l uki. aerount faithfully. Ch.i" " . nd o ,he f .. righ', 'h<<<b,' Im_
pit-<inS. wi,h hi, 1" "t"y.1 on the fa< kft of tho c..p'm, um "'cnc, a (,..m. '0 ,h.
low., '<#-s"" Ikhi"d him. ond ""tending """ .. tI 'hc middl. of t hc 'I\i .... ,\oom
,he nu"i"" ciry woJl, of N.in; .h. hi., 1,<> hd'"", Ch,i><, atld bctwn i, and ,h.
w.lI. ><and. tn.w;dow. veik<i h.nd, tai"'" to he. (ae. in 0 g<>1Ur< of mourning. 1<>1
'" K. W<Ud. ' Gkoch.,,,, Oui,,;-, NIJK, 10.101 . ,.. ... , .
H,w ..... .. ' .pI.',6.'j, f . ... (Vrl ..... 10.,,1. m ) .
.. ' [po,,,. (,""'l . ... ;<;, fl .. """", .. " f. '''''' ",1m, .. , 10",). H6.
, .. SC ,"" I .
Vision and meaning in ninth-century Byzantium
-
-
\ '11." .
- -
Vl'/t
fIJI., \ .
1111( _'1
Nt
-
"""'
I Al'f l'
'r'I
NI
;
"I( 'r .

"Oli tA
' I' A I ' I'

X/ I t
'1'1'1';1
" "I f\'
Fig. 114 /ltris.gr.91J, f )Oll'.' Christ rr/(/In t'" of widow's milt
",
Mission, mmyrdom. and ViSlllll polemic
, .
. ""'1
(' _''' 'II '' ....
I .... .
,
.. .... f-Jr' ''' '-n-r .... , .\ ' , t i t" " '" r
,
r "
.. .. -, .. . j - , .
' ; 1 ' , '

Fig. lIS l-1or{//{t, wurmzi{/l/{/ plut. 6. 2]. f 114": Chr;JI rrl"m fhl' p"mb/r ,1 till" Il'idowj milt
lowed by a group of citi:wns bearing Ii! funeral torches. The scene no convinc-
ing parallels in B}"Lamine an: the Fiorell cl' tcnaevangelion, for example. shunts the
city walls off to the si de. and pi cturt:s two carrying t hl' bier as Christ touches
the dead boy.
While the teXl of the sl'cond Il'l(l'r to Kl cdonios may have suggested. however
obliquely, the inclusio n of the rai si ng of the widow's son al N:lin, Ihere is no tcxtual
justification for Ihe widow's mile above it. This, apparently. served as a themat ic
balance to thc aligned episode at Nain. for thl' IWO concl'rtled widows and Ihrough
their rypological connection with the Old '1estament widow:1I Sarepta, helped by
the prophet Elij:th (3 Ki ngs 17:8-24), provided l'xampl es of true {.1ith.
The ami-Jewish miniatures arc nO! IIll' only an ti -heretiCal in
P:lfis.gr. 510 but, with r. 355r (ng. 36). Ihey arc ti ed particularly closely to COntll1l-
potary missionary and conversion campaigns; in this context, the emphasis on
baptism in the ami-Jewish pages may bl' associated with the unusual image of thl'
apostles bapti7.ing on f. 426v (fig. 4Z). What is perhaps most striking about the anti-
Jewish miniatures, however, is how differcm Ihey arc from other ninth-century
examples of the genre, and pani cula rly from rhe ourspoken anti-heretical mini -
arures of the marginal psalters. t'Xi While the psalters, especiaJJy the Khludov
Psalter, presenr expli<:ir artacks and confrotll ,lI ions enacted through coordinated
inscriptions, textual notations, juxtaposed scenes and caricatured figures, the mini-
aturists of Paris.gq!O - who, though the), 100 relied on scribal notations 10 signal
.. , 1..:lUr.pl UI.6. J. ( " 7V: Vehmn> (1971), lig. lO4 .
... J . Jnd W. Busch. s,v. Wirv.e von', LeI 4 (1971). 4\- 46: and e.g, John
ehrysosfOm '5 '0" Elijah and Widow' : 1. Bareille, Orrwrr/ {IJII/plhn d, S. jt"" CbrylOllOIl/ V (!865).
Sl4- j l S. I'ho(ios COnnN:I5 (he Sarepta widow wi III all WOmen ni sed b) e llri'" AmplJifodliil
140: ed. Westerink VI,! ('987) . '0-1), II. 96--<)9. ' '''' On which Kechaptn s.
''''' Corr igan (1991). 4J--6I .
' 79

v,..,., ..... "",no"" on nonth-ntu'Y 1I,.,.,,,,um
rele",m ". ... ga. p.iml im. ge ... a remove from ,he 'ex' _ o",i<kd aplo" .,ory
i""" ip,i"", .nd "..,;"..,,,rc, Tho Hom";e> p.;nte" relied .I m"'" aclLl<i.dy on
ill'''I''''; ';'''), hu, ""h., ,h.n d'pi<fingO)nf"",,,,"''''' ,hey compi led .. "i,h .. iol
eompo.itiom, In ,J.c eM. ,he on. ihcretical im.ge> ofP.,i,.p.I' o are Ies. engaged
ill ,h. i""ic.oci .. of deb;o,. ,h." .rc ,hoe romp.:tr.,i", images in ,h.e margi".1
p ... lten, and ,hey rei)' b, Ieso Of] ,he "."" ,hey It" .. bcrornc quo.i,.",olKlmQU.I
viou.1 <ommen .. ,i .. "n hemy ) ~ t c m _n frum I.,. nin,h""'n'u!}, p.:t"" ... hal
>1..1 rn<Jnly "l"'<>.
7
of divinity
Imag .. of di,-ini,)', "'f"'Ci.lly ''' gd nd v;,io"., ru' ,h' Qughoou, 1':o.;'.g'.\ ,O, and
.re inv,ri.bly ""umpmi...J by po" .. y. 1 "f . h,m', " ,,,,,,,,",'or, "f,,,,, ,n< hum ...
,,& ,h. divi" r. "'0"'" il\ con!>CI . R<I',.,..,m. ,;"n, .,fhum .. " .i,io". of
di,-ini!}, (.h>prumicsl , ... ,,'< recognized as imp"'nmt by And .... C .. b ... ' ",n, .. ,gu<d
the>< ><o'" f.,,,,,ml im,t><Ji.,d ), .. ft., b<a"", '"<1' demun"""",] ,n.,
II""",,, 'old""" . h. di"i,,<, .nd ,h". "'''ClioncJ rdig;ou, m. In .. s". or vi"(",,
.. .r. nor, h"w"""" ;nv<nrod in .h. nimh amury: n,,, .re lilt ,-i,u.1 m. "if ... .. ;on.
of human int ... ctitm with divinity in the Humi.;"" . ""tr;noJ to throph.nK:<.
G .. b.or'. ,h,,;. r<m.in> fundamen ul . but the ",.1 .ignifia ncc of ,he im.1;<"
,howingh"",." co",,,, "'i,1I diYini,), in I'.>,i'_gr. JIO;, flu, ,h'1'-af'< M, p<=n,e.;I 0,
i",b,aI,nd ,;mcloso Orons: [hoy a", nuwivcdepiio", ofhi"o,icol ",ali,i<1,
Folio 6]>' (t I) u)
Grogory Ol"'n! h" n'nth homily. 1" his f"h". in [nO p<<><n<< of 11.0,,1. "" h"
con=m,on .. bi.hop of Sa. im' . ".; ,h n m. logy N<won h i, I""",on nod b. i..n .,.
who>< '<1ponl< to a ,i,ion of God en,hronod and by I<,.phi m "'$ to
<kcty hi> ....,"hin ... I",i,h', .i""" (OPACIC HQJOY) '1'1><'''
i n [h. "'P off. 6 7V .00-." .n im.ge of Gf<gO,y"w;>nO<'C",.ion,J ,"" m i oi "Ul'O
;rnm the two ocrn<1 t., en.::iIp,ulale ,he ""mo". <en .... 1 theme of a m. n prot",.i ng hi.
unwo"hi<>< Imt uitimmi)" ""cp.ing God, <hoi. E.en [he M Llan G,e'go. )" pro-
vi';" , f.,'nt ""h,,, I",i.n, PI""'" n [he "",of PO" "'ilS aa:om ["nyin! ,h. ",rmon,
'(....,.,.{'m . '<7-.... .
' s<.: ..,.., 0-"., ( '9,.), ,., rI. xxv, 0", '"", ....... (, ..,,,. ,,0- ,," 1I<vt.. ....
..,...., ....... __ Qf d poi." ....... 11)' 'W' ..1.
' On .... ron "", .... ... d>.p<t< , .
' (;,.h.< Io.W' )' rI. ""' ..,jJ;, .... .1 1u ... 1.t. .... -;...I f, ..... ,o.. <W>' ."",.
puI .I",," 00.. "'" ww. "'io I>o"u'y.
..,
A[ doc ["PUr [ne compo<i,ion, , niml><J Ch,i" ,i"<,,,[nmn<J on. gold .nd jew_
dl<J Iy,e-b""k J"I><J with cloth. The h.ad i. '-II)' .braded, but
comp, .. [ A,' I): di",,,,,;on of ,h., folio in ch.pt<, i in,imotes h"", n .. !ly ,h.
ro",. i, on f. 6]> oontemp'''''r im'g<SofChri" .nthroned. <:h,i"o.";es
cloJ gold book, , ... ,." . J""p hlu< numl. ""or. bluc-viokt tunic, . nd i, >Ct
""in" goM mI.lIio" fr.ml hy .... inbow borde . ' Below, curving [OW of ,ix
""uphim, e.on wi, h ,i. gold . nd ,,-hit< wing' f .. mjng ' ." .. 11 ",-hite is l"int<J
'g. in" . cU!Yed >trip "n which fl.ming ".1. .. 1, 1I .. , ....,n d .. "",. Iklow [he
"".-.phim . f. U. ehetu!'im, ,heir ''''''pl ir gold . nd whi,.w;n&>
oovcm/ wi,h , m. 1I Cl"" ... wdl " hy ,hci. head, . nd ,he h.nw .nd I< t h ..
<n""ge from [h. ,id", .nd bonom. ,>""". i,,<ly. of their wing>. More ."gel"
nimhcd in gold, du" in the <entre Only ,no fro,,, ",it i. fully vi.iM",
""h we" whit< m.mb ovc. 1'.1" blue tunia .nd ."end th,i, ' "",red ,n".
hcn .. "h ,he m<J.Jlion of Ch[; .. . 0" ei,her ,id,. in ",; f", n,.li'1' , u nci four
niml><J fill""" in dcq> 1.1" nJ gnld mm.b over d<cp blue leggin",: 'hei' whi
mnie>. exro><d ().flly Ofl ,hei, right . rm . ,.hien ."",tgC from [n"i, ""nd", '0
g ... p the long gold lance< tn" iJemify ,h. fig"""" , ,,,h,ng.1s. On [he f." left,
im;><t>! on [h. gokl fr.,me, k,...,t, [he prophet I .. i.h (HCAIAC),. ,,hite m .. "k
tw<'[ hi, 1',1< hi". ",nic. I .. i, h .. long >od .... "Y grey h. i, . nd' !;ICY bc .. <I: h..
"i,..,. hi, h.od nd g:o= tow"d Ch';>t . The eherllb ro II" proph., extend<
oJ pit><cl> ,,,,,,,,nJ hi. m",,,h, we I'o, ific-,,;"n .,fbi.h', lips wi,h burning
" .. I ,10., .1I,.wcd ,h. prophet h"noo"nh '0 .rca w;[h.,..[ ,in. The in"-:,;p,i<>n ,h.t
H,,,h Ch,i" _ IEI.lON m TOIN KYPIOJN KAa HMENON f ill
tl PONOY Y'i' HAOY: '!I #.hel .. w l<>nJ ,i"i"so'" high ,h", .... ' (l .. i.1I 6")"
_ .. m"" of ,h. det. ils of ,no .en<, <o",,,,di<tiy from ,It. I .. i.!t
6"-7. Th. ,uh,;.Ji><y d" .. il, , It .. emhelli ,h the Homi!;'" mini.ture -- "",.bl) . h.
chctuhim .nd [he whl. of b"," of which d.ri," from !"-[h .. [h."
l .. i. II'. , i,i.". _ >I b.cnt f",m ,h. 'w<> mini"""" of I"i.h', vi.;"n d""" in d"e
'0 !':>.i . g . j'O, one in ,h" .......... PamUA .. , the Othe, in the V .. ic.n 'Ch,;"", ,,
Topogt>phy' (fig. 761, both of whi,h ... ,,-ie, Cn,;,,'. ""i nue <0 <W<> "' ''phim! The
<KIdi",,,, or ,I .. "",um"Io,<J h"" in ['.fi, .g<.jm prnum. bly 'dpood, to the ",'ht>-
do. liturgy. FoHow,ng the ... d of John Ch'Y""'om (co. :u ."Iy .. ,h.
, ,h <en' ",), "" .. phim ."J <h<rubim beum< liok<J . nJ bcpn [0 .. ke on <..:It
",he<'. clur:oct<.i,,;". Under the infloc""" of Cltty>O>'''''''' li,,,rg)', m"" of ,h.
1\, .. ,,,,,," 'h" cur on f 6]> h<KI >.l rcady been combin<J to form , 'lit urgical
' On d.. ",nb<- ....... , .... J.m<> ('09').
0",,,., ,I>< 1-0 "'II .......... ,I>< f" k/',dHp<<< "" bod !bku.,.. ... ,.",,,,,,,1 Ii
,I>< N" ,I><,no! .-.(K . .... . nd 'P'" fo.- ,I>< 0 )'0; .. d.. md of ....... _. n.. o<c ... ,i .. ..,.['''l<'
,,., odo!i,",".-.( , Oio. (., ...... li.h .. "I", ,;I, .. ,1><tq;.n'''I oI,'" ;""'.;,. ... .
I'>"'p . .,). (.,.. ( V;'.-;,,,,,,", ,.,.. 0,; . ... 1, v".p .... , f " d s..,m.toIol,..,. I, pl. "I.
'1'>11 .. (017' 1.
M.p",' before lcunocl .. m; 'pprop,iatdy. """I of ,I>tsc .... "ion. dtcor.ul
chor<h 'p"". ",h.,. [hey ,uppl>l a lining bKW",p '" [he lit urgy i",df Similar
cn5Cmblcs ..... h;m Cyril M=go T .... ""'n' lh..,ph. ni ... ,'o conlinueJ
.f, 4 ). One apl'<,rtd in I.,e ninth_ or .. rty 1<n,h-n[ul}' """"'''' in ,he 'o\"h
g.ollery "f H.g ... ,""rhi, !\OW KlW)Wn only t hrough dnwings'" .. ound 8?<" in
SCfmOfl dcli",.eJ .. . dm"," built by S,}i i."", Z.<m .... Leo VI d=ribc<i .nothc.
,uch rompooi, iun. 10Th""&,, by lh. 88< ... n lhe indo.i"" on .. i.h had Iimrgia.1
<nOn.""" _ p.mi. rch ('",rm.utQI 17[1- 7}o) hM i"""kat ,i.< of
I .. i.h', lips in hi. "<!lai. on ,h. "nh"""" li.urgy, likening ,h. prophn',
I"'ri6a.iol\ wi,t. Ii.< .. ,,ilica.ion of ,he , ,,,,hari .. " _ ,n.. pr<pOndcu""" of
monumenul =mpb of 'he cor<: ftnmul ,n., ,be mi n""u. ;'. of
P"i . gr, 110 m.y hove 'ramp<! ,h. ',"",pooi,,,,,, fn, m ,he ,,.11 10 ,he pago ",k.
waNly i"-.. ,,ing I .. iah [he l,fT f",me in nm [0 make a monumemal 'Ii'mgi_
col' (o[m" appropri ... to ,h. ninlh humily," lIut .... be'll .. or no,. mono"",n,.1
im.go .upplicd fo.m.1 "", .... , .h. indo,io" of ,h. pn'phc< chango i
,he ,ignificaoc<of ,he image.
Cuba[ ob"rveJ .1"", Old T"um.nt p[ophnic vision. am<>ng the min"'lU, ..
of r"iI.gr.\lo. " H rgued, .oJ hi. ,heo, i .. ,,-ere I"., d,bo""oJ by J""'ludine
! .. ,. [h., the frequent men''''" of Old Tn""",nt vition. in
iC<>flOphile wfiting> prtdi.po""" poot_ .. """d." . n i .. m to dcpic. tMm.
b",n,i.Il,. t he .ft"oJ ,he pmph,,, .. w.n im,ge of oliviniry, [h"
thi> p.ivilege w,", exw>deJ to all humanity through the incarnation, .nd .hat wh"
a.n be _n an be dq>ic,oJ, " John of D.",...:u" f"r , .. mpk. li"oJ ,h.., vi.ion.
,..,..W in ,n.. Old 'I",,,m<",, [hen quo<oJ H<b",,,,, .". , _ 'Tho>< .II died in
faith. not hing fciveJ wh .. was p[omi""", hu, having _n i, an.! gt"<"<toJ i.
frum .f.r' _ .oJ.,kat, Sh.1I1 oot m.ke.n i"",1I" ofhim who w'"' ... " in lh,
n .. o .. ofA",h f". """ Sh.1l 1 ,,, .. w""hip.r><! hunour him, t hmug!. ,be honouf
."d '-e"ewion of hi. im.gd'" Th. i.onophit... in,i>toJ ,h ... vi,ion, ""r<: hi<to'ial
' 11".(0_,. ,'-1'. " MUOf/> (o"' '', J.<.
" Ibid .. ''-'" for. ... -It. of ...,.."ofbd"rl, r-ot+Q"p.wiyf"""d ""to T..ub .
. "'.,.... ..... " It., , .... """" ...... th. 11 ..... 00, (om) ,", "".
,,_ 1'ht """'"' "'" boJI, do"" ... '" r<,m;, i"" .... l""';';""
" 0;.., M",,., (o07' )' "'>-",<. " 0;.., T 01, 10"""" ,. >,-" .
" So,..., <; .. \.., ( ,,}, m, ...! 'I'''; .. (o.,opj. ' -' , ..... ,;, ","."", , f 0,.
""'",..... irom .. ,II ..... , ... p"'f'/> 000l0, 'I''';,,,,,,,,,, 1,,,,,, 1, _" . Tn ... Vi .. 7 ......
J ....... ,). 10""'" , ... J)"" ...... ,""" -.. of '.!.. w.J""..r ,Iw "" ...... ' , h." J.,.._
lirild (0",0), .,0,,, , " .... I. &,,,,,u 1001, ), ... <Nr<", ...... ,6.
"G"bo, " !>1), 1-,.1, If, tl"...! "t. _, n,;.,I, .,.. .. ....... ) .... <1,"' .. ..,...(
o.t--, " J,fo"" .. ,._I_"",I'''')
" C",HL"d 1< .... 1, 1-" [b"" "0"), .ro, v...." of ' n'. r"""; ..... ..... f. 0,. . ",
itocl ...... _ ,I>. ......... ..r JMMrin """""" ..... ".....-. ,.,..""', ' 1-1.
" ''vi." ,'-< ....... ""k d,."", n,,'S"' 1lT.,6 Id . III,,, ..... " I, I. t:o. ... ("",). ,,,. , ,,. ,""
I,,...,),..,, N. ' 7 o. foho .... ,k.,...., " ... 0, .
.nd ,i,ible ",.Ii,i",. no, ,ymbobc i",orhil. p"'lemic. Old 'I""men,
vi";on, iffillg. In o.dc. '0 make ,hi, poim vi ... .!ly. ,t.c prop/>ct hod '0 b<
pf<'Scnt: ,h. ",ion w:o. imporn"' be.:a ... c .!ivinity w:u [<corded by humm cya.
The i., .. " .... ., " fI.,i.h on f. 67", h"",,,, wh,'.n! i, m.V look, , ... n.form ,im ...
bs 'lim.gic>1 I>"j<,.,i in, > hi"oric.1 <Ven,. 1<:>.,h', p""'''''''' <h.nged ,h.
m .. ning of ,ho <nc. md ;ol teml 'hc Lo,io",hip between.n im>geof. vi,ion:md
'" v, ..... ,.
FoI", 11\T (19) (Iij;. 19)
Fol", 1lI1' (o,m. pm o( an ." .. ",bk whe ... . 1",,. ill P"i . &,.j'O, the min;"''''''
.nd il lu min .. o.rooruin.,e.J [he p,cf"o,ypicturc. [hc h...Jpi""" [0 [ht [OlI[ . nd i"
Of><ning in;ti.l, . 11 tq><" the "., motif ,h." in the mini .. urc. ,urround.
,i.i"". n,. m;ni"u" i, .. lf i, "",.,ely fr.n>ed. wi,b .. ;"1:>0.,....1' .. ,,.
tern! "''''<ll'i<>: ,."."'Ie.J br whi .. """-bl ... he", """if< 'g.>io". ml ground.
All [hi. introduc", a p"tticub,lr homily, G,cgory', ocwnd o"'tion '00
b.,.,' .'" h'I""".,fn] "I><ning r>"g"ph in.'l'iml ,he mini.w .. n" f . .as' ,,\d,
hefo .. J>..i . g'.I'o, John o1). m.sc,,' ". non fo, ","" .. : through John, .. "'n
of G'q;oty', text. the >ermon inlluenced much I.,,,, li, y,!!;ed imagery _11."
Th. b<ginn;ng of ,hi. p'-'<>ge, introduced by . he mo;<[ mn ... ini[i .! in [h. wholco
ra'; . g',I,o.nd n"dded wi,h ", he, p. in,ed ktt .... rcods:
I will " ,oJ up"" my " '".;1., .. i,h ,h, vnoe"bk H.t...kkuk, .. ><I I ,,illtol, my I"" hcUJt
hi", '''';')' .. It ,h< .u,lw,i, pnJ ,,,,,", .... ,,,,,. "'hich ..... si"''' "', hf ,I>< Spi';r: .",J I will
1"'* fo,th . nd ""ill obo<tv< ,,h .. ",.11 b< .. id [0 mt, Ilieli. I h,,,, ,oken my " .d . oo
1"oIt<d (",,1\, ,nJ m. " ,idi "& "n ,)", nJ ht i. "'''' hish, .nJ hi. <t .. "t<.
""" ,. i, tiK<uu .. , .... mOt uf.n ' ''Wl, ."J h" ""'u", " ,h< b,igh''''''' of lig...
n,nf,; .ltd he I,f" h"l>ooo "", .. J ,he ... ".oJ "i<> ..-i,h .Ioud I'OK<, Hi, ""K<" lil< [ht
".oc< nf, m'mp: and round .ho"t him;' .. it "<<<. m"l,i,lKk<:>f ,ho- h" ... nly 1>00.: .d
I.: .. i'h. .d.oy;' ,,1"''''n en"" ;n to ,I.: ""',Id. 'h th .. "+';<h ;, ,wblt:. and 'h ,h,., " hid> ;,
iO"i"bk, Ch';" i, ';KIt frum ,h< <k-.ul. ,iK Y< ",i,h him. eh, .. , i. ftud (wo, ,I.: ",n,b, b<
)'< ft<l <:>f ,ht hood of ,in."
The full.po!\" ill"m,;uion '" ,hi, I""'-'g' "" f. ,SIr picfUIn Gl'<Ory - who wn
fotm. with hi. <>th dcpiction. ;n !'ari . gr, 1'0 - " . nding in ,he 10W10' ,igbt.h. nd
""",., holdil)g' gold .nd j ..... lled boo&: wi, h <I p. gcs," H. 1oo1u "m .. ifh.
"'or< .'p<>king '" [ho viowO( . nJ ",i"" hi, 'igb[ arm. porn.p. '" iliidd h" "Y'"
f,,,m the di"inc light of ,hoe "i.ion. G<q;Q. ), i. >ccompmied by a )",uthful
' 1-....... w'"' ....J ...t .. ;, ,,,", oj;,.",,,, ; ... If .. ..- ,)" ........ ,,-,lot "'"" ...J
"''''''''H . .. ,,,,.d bt <I"" """""f,(' .... [t .. ,), " . to I.W'NF. ....... ,..1.
" )""'; . 'N'","",q .... ""i"'W'" , .. ,,, .... , '" ,h<m.d"Ch"" .... (;.i...."
"';<1, ",,","' . "",.,6,..A-B INPNf, .,iI
" Mill<. (0.",), 0 ..... , ( .... ). ". pl. XUII , G,,t.,, I! 11")1.1, ....... ,,, On- Nn .......
11"" , "" _""" "'"!>oU, I "I, I. >-'" 11'01 .... 1<0191. ",.
H."'kkuk," . 1", nimh<.l, in. pink momlc ov. bI"" mnie "ripl ... i, h gold.
'l1>e p<oph., gt:!fUrn ul"""d t"""rd the m.n riding on [iI< dot .. !.'. h", "p"'
.. nol .. an .ngel ... ruling witnin m.ndor!. forml of con<en'ric grn b. nm,
The m.ndor!. >ecrn, [0 H"" iu>t .oo.-e [ne gfttn hill tn .. provides. b.ckd[op !'os
. od H.b:.llu\c ,I.e blue <1.:)" .pin" ... hieh it i. Ie. h .. been di,ided into
,"," h.>od" ,h. d."'<1 of which, bd<>w, i, .tud.kd wi[o gold " .... The .nscl. in .n
""0,, nun[k av . bl"" .nd gold tunic, c'lIfi . Iona: in i" kf[ h.nd: it> ou,
" .. tcbed w;ng<.r< p.linted in ,h.d .. of purr*< ,od hlue, higt>ligh,I wi,h guld.
The angel 'Iifu hi, h.nd [",. .. d [he .. ,,' (ou, lef[, ,he mgel'. right), . nd 'he multi
tude of the h.,,-cnly h"", ' 'ppar<., tOIl ,"gel., .. ,iowl) d..J hut.1I gold
nimn. outlined with ho-.,.d red h.><><I" who , und . mOllg [he " .... P' f1Skev< md
Helena, iJen.ifil b)' in",rip,iof]!, ... r><! in the left ""not ",d provi<k h.>t",oo to
H.I .. .Ir.;'u;' .nd G"f;Ot)'." 'l"he red insctiption "' pin" .h. guld bord .. of the
f., me .1>0>', .h. h.u! of . he .ogel .. .>d, Tod. )' i ... Iv:ltion <;orne in,,, Ii,. world'
(CHMfI'ON CflTHPI A TO KOCMfI), T.ken dirccliy fn;>m G' <g<IfJ'" ""moo
. oJ marked with . g<>IJ ini.i. t in the , .. , ofp,ui . y.llo, . hi, til>< was 0<>< of th_
"",!'OWed by iohn of D.n"",,,, ,ho, I., .. ' 1'1><.red in ""mmcn",i", ond im.gt:!.'"
U nl i k. b.i.n', vi''''n, H.b..kkuk', w" nCl'ct n .... ,"" by [he prophC! hi nud f, he
im.ge on f. 181' fi nd. it> on I)' xtu. 1 eo,m' Cfl"''' ; n G'<1I".f. lermon. The .. ren gt It
of ,h. opening p .... S"'ph gwr.nl=l H.h. klub puce in m. ny ill">tution. ", [he
", ion: the Mil.n Gregory indud ... med.II"'n po" .. i, of I !.h.>kkuk . mong i"
fQur m.,gin..t '1Iu;". ,iom to ,he Itomil)'," .nd .. " ... 1 of lhe liw!lial ",,;.ion,
picou,. H.l..kkuk ",d Gn-go')' wilh [ho "'gd. 8u[ .I. hough [he lim!lic.II!omili
arc h ... : gencr..tly .i mil .. [0 r"",gc,lJO (fig, [(0) _ <><h of tne ><ven ..
th .. ind..dc the fur ClI.mple, plnCn .. the .ngel io m. nd",I" with (;kgU.).
g .. ing uI'" if _ no"" of . hern durl"'''''' H,b.kkuk', :tel;V< p>n;';il"',ion in [he
evem:..tl "'I"' r.f< Gregory and Hab.kkuk, rno ... how ,he prophet , .. "ding 1"', .
i.ely <0 on, ,ide, .nd on. om,,, hi"' .".irely:' Th. m;ni"ur;" ,"",p""',ihk fOr f.
,8! r i, >lono ""poo, ible fOf d.e >c[;ve in [Cf ,,! ioo of Ililia.lm k . nd Gregory."
H ....... k ha.;I no .. .pt <> ...... .d F"""U' 'Yf" ;n Byun,i.m. b.n ,I>< ",",bholl""1''''' ,if.
.. " , ... .rot... .... "';,b doon .. '" 11"", folk-. _'"' , ... ""'"' <onunon .u .. .... nJ.d .. in , ..
Vo<;"" l '-'fq,.q ..... , .. T,,, .... 1"--' ..... "' . I. ... ""I" " , ind ,I 1><" i.
V . .... . !I'., '" If. ., ,,,, tis. oJi . V" .!I' ..... , i. 1S,,,,..;oIo> 1'''''; , pl . " ,: Tw,n 11<1>. 1'1 ... R. I.,. f. '"
( ... .... I' ... I. pl. v. "s- ' 71, t_ 51 ......... "".,." f. "'" 1''''1, pl . .... f .. " .....
",,'''''' C .... , d , 9'1<), lV ,.,. ..... " .' "' , ..". 5 .... W"" .... n (09""'), ' >' w (0019)
5<1"....-,.. .. ,,.,,, .. ...
" G ...... l ' .. " ) , polo. XXXIX". XI.I" (Il ...... kkuk),.,
no. .... uo<rif>< . . .. A ...... 0;.",,,,,,,, 6>. f. <" .'1",,", A' ..... 1(, ........ '-', f .
i"i,,,"", " .... M."..,.., H".M ... "., f. '" o. ..,J, iI..l1. ( ,iI>. ........ I. ., l"s- ,,,,,I.
r.,c, l'ao-i,.!1""" ( m-, and ;;; .. i,,,.' >9 , 1 . ..- (;.J .. "i, 10 .... ) ........ ' '''''''''' "".
'4_" " ..-..l "". " , . ), . , <17, ,,. . " . ,no
" w.h 10 ... 1, " ,. '''IW'' ..! ,II", ,k< v"m" of ,Ion< r."" .... , h< .. Iot<n '"'f'O,..;I
''''W' uf ," "C""'"",.
.,
The "". iyil)' of tt.., twu m.b ";ngles them forattentiOfl on f :ijjr: while all of
theoth 6gur<> OIl the p'g<.re fronul .nd imp..,i"", . he.< ,wo Iook"u, .. ill, . nd
H.b.ikk" k', S"'tu ,<lead. our <yQ to the an gel , Gregory and H .halluk do not them
",Iv<> I""k .. ,he yi ,>On: i n" d, ,hoy inyi wh"",,<r...,. ,h. P'g< to pmicipot< i nit:
tt.., y;.iOll ;, pr<><" ,od ""i,h., m<t.phor nor. 'ym 001, hu, h., ., ..... 1 <Y<:n.
i n which we aK .. ked '0 in..,l"" """"I ..... , The >1J.p'" of ,ime ,h ... 1""", G rogory
'0 ,h .... ,h. I' "'I'h .. ', y;,ion cn>rnpo""" v>cw '00, On m i<kological b-d. tt..,
romro.i. io .. demo .. " ..... ,h., w!.en diYinil)' m.nif .,. i,,,,lf in .... yo yi,ihl. '0
hu"",n. i, can b.: ponr.)'Cd in thi. gui<c md m><k >CUMihl., ,hrough im.S'" ,h.
f. i ,hol nuy krom. full 1"" ",i p. nt> i 1\ ,h. I' "'ph .. ', "pc,ionc<.
Folio 4)8Y (44) (6g. .... )
On. "f ,h. hes,k.JlOWn image. in r .u;' ,gr,jlo. f .I>ow. tho proph .. Ezdcid in
,h. ",,1J<y "f ,h. J .. bo""" (h . k",1 37:1-1 .. ).'" The mini .. ,, in.rodoca the
Sjpi/iwjo ;M uch;,um, ,h"" di""u..., on F.2Ck .. I', yi'ton of God by ,he rj"",
.nd rho Ii, .. of ,t.., .n ......... nOl w,itten by Grego.y .h now do",
P:lli"IVI"" " Whil. rlt. Sip .fi,"". oo" n""<> 00 diffe",nt <pi.oo. in tire
proph .. lif . n .. ...,od in Eukirll . 1 'ido iR.pim! .he d..,i<e "f pm
u SOOli" on f, for, '-' .h. I .. , Ii"", "f .he ptcding homily 'PP''' Ofl it> fCC"'.
,he dcm<>n""bly "".iR. i" origin.1 .nd innded loc"i"".
IVI i" .. J&v cattia .!.e mo>t cI.oor1te frame of .n) mi num", in Pari . gq"'. (",,,Id
."d g .... n e" ,nlOCOpi.". jo-wdlcJ roundeb . nd foli .. e mMir. form.n donga.od
"""I .urrounding ,ho <entral image' gold hand. of the >ort r"', no,m.lly oorder rho
min;",u"" ifl 1'.";',11",1""<1""" oIf .ho rorn< ... Blue 11 k Corner 'I"ndrd .,
and . g=n ,,;"ngl< (oor&,od in whi,e .nd t<,min"od by "iw-..,,) .urmunding.
gold Hellrette 'it> in .he <en.re of each 'I'. "drel, Though G.bo-id "filb .. gucJ .h"
, ni> unu,u. 1 frame indiu,cJ ,h .. ,ho p""o<ypc fO, ,he whole p.lg. w", monu.
mon .. 1 imago or .n icon. the t.ck of my >ml",able cumpb in c,the. of ,he><
modi. _ >upkd wirh rhc ,imil .. , if I ... , ,,mp'''''u., f ... me .]'pliod '" the top tq;; ..
tcr off, 71. (6g. I)) _ ,u!;g" in" .. d tlut the Gregory miRi'lU,i" cmb<lIi.ncJ ,hc
f"m< ,oeml'..,.i", rho i"'I>O'I'"'' of tlte >0< i urround . "
Thi, central <;<>ml"',i, i,," >mhin .. two di"i ...... nom.n" of .h. n"""iv<.
which _ .. in 'he JOOlah ""lueRcc on f.). _ How 'oseth" wi.hin. 'inglc unified
"'!ting. A yn ground. inremrptod by .p;trc ' ren, ri"" ",diff,on cirho ide rh.,
cnu ,h. Ii", p'''''''yal of Eu kid .... nding .gain" pink .ky .h .. ><gU<> to blue
... "'" top of 'he P"S" At ho prophet', kor and conti Ruing up thc mount.i ... ide .r<
hum." .k"II, .nd fullowi"!; F;,,,kid )7:1- 1. On .ho f. r I<ft . two cyp ..... trea
.. (,.,,1, ,", ,n, Milk, It.><. "" a._I< (oy,6), >(>-,,,COmo", (,1'.), """', pl . LVllh
Mo.ry (0, ), '" W .. " ... "" (0 ... ,). '." (; .. 0., (,.,,), ,,>: 0., N,,,,,,, .. n 1,06.1, "' m;
W,;nm."" (0. "",-" ,", N.rm. l,"". "-,-.,,, 8rWou. , ... <" Coork, (,,.d, " _'"
Brubol.n h .... M. " " Milk< ('9'01. '<t,
.,
.. -
of divinity
ris<:, as if 10 underscore ,hal the prophet stands in a valley of death. Ezekiel (I EZE
KI HA), dad in blue and pink. and with shaggy hair c)[ lcnd ing in wisps agai nst hi s
gold nimh. r.liscs his arms 10 a hand of God that emerges in a geSTUre of blessing
from a deeper blue arc of heaven SCI wi thin ,he upper blue of sky. Between
the twO li es the inscription 'Lord. Lord. will these bones live?' (K[VPI]E K[YPI ]E
HZHCETAI TA OCTA TAYTA). Ezekiel. in Olher words, asks God ,he question
dla! in the Scpruagilll the Lord asks him (v, ;).
&.ckicl (IEZEKIHA). dad as above. recurs in the lower ri ght. Here he stands
next 10 an archangel. which wears a white ribbon in ks hair and the fumi liar white
mantic: over a blue runi c s[(ipcd with gold; it also c;! rrics the longsraff always associ-
atcd with in thc Homi[ies and is idcntificd, as usual, as [0 APj Xl -
C T' PATH roc. Thc scene evokes Ezekiel 37:9, wht'n Gud instructs the prophet to
call upon the winds to 'breathe upon these and [et them Jive'. The dead, re-
formed from the bones of the valley at Ezekid's command, appt'ar as a group of
small figures fO the [eft of the archangel; paimcd in grisaitle, they evidently have yet
10 n:ceive the life-giving breath. Ezekiel docs Ilot st-em, howc\'('r, to call upon the
winds sptocified in tht" Septuagint to fill the sPCCl'rt"s with hreath; rather, he poims to
his own mouth and looks to lhe archangel, which, whi lc looking back roward the
prophet, st rides forward and gestures downw.trd to the grisaill e Ezekiel
appears either to be requesting that the archangcl breathe life into thc dead. or to be
receivi ng this instruction from the angel. Finally. a small and badly fl aked building,
reminiscent of many others in Paris.gr.5 Io, apJX'ars at the bo([om of Ihc fr;lme, This
may represem the tombs of the house of Israel (v. Ij) or. metaphoric,tl ly. the house
of ISl"'Jd itself 3.1 The la tter is perhaps more likely, for the le:tRess tree that rises
behind the building seems to underline Ihe dry and hopeless naIl' of the bones that
are jden t i fied wi I h I he house of Israel (v. I I ).
To rhe Byamines. Ezekiel in the valley of the dry bones signified, above all,
resurrection. and had done so from the lime of the early church f:lIhers:
J4
for Ihis
reason, mos( images of Ihe seene produced before Paris.gf.S1O - none of which
bears any resemblance 10 the miniature- were cuved on sarcophagi.
3s
The episode
was invoked in ,he Illorn ing li rurgy for Holy Sarurday. following a chant exalting
Christ's resurrection from the tomb,j(, and preceding one of rhe four baptismal
JJ So 100 Cutin (l9"9l).
J<I 5 IX. (1961). ll6-u7. Grrgory himsdr pruenl! Ihis i,l(ctpreUlion rlscwhnr: SC
184,190-191.
l! An imagr moddlcd on Mil"" slri .ing (,om ,he rock "ppars during Ih" u ri),
prriod (NnlS!; 119'11. 141- IH) and rn.:urs in th" Syriae Bibl .. in l'. rU (prolubl y ca. 600): Omon.
(1909). 9S. fig. 10: Julcs uroy (196 .. ).110. The more hroadly nur.lli,'c al Our.! Europol
(third ,,,nlUry). Dna (5ixlh and ",-en in Ih .. Grrgory arc "<jually um"bl(d to f. 438v.
For Dur.!. Stt Krading (l?f6), pis. LXIX- LXXII: W"i ltmann and Krsslcr 134- 13j. For Dara.
Munddl (197)). lQ9-1l7. For ,he Milan G",&ory. G .... (194}a).1'1. LVI, J. 5 al>o Cudc. .
... IX. NcfKOSian (1?6l). 117: Mattos II (196 Jl. Sl. Brubakn (1996a).
'"
Visiun and meaning in nilllh-crmury a),Z'lnlitl!ll
ceremonies performed hy the p;J(riarch each yearY When Paris.gf.5l0 was made,
baptismal impl ications had become intemvined with the interpretation of the
episode as a prefiguration of resurrecrion:
38
as Ezekiel, long understood as a type of
Christ, saved his people, so Christ saved orthodox through baptism.
The typological use of Old Testament prophets to dClllol1srrate The remh of ortho-
dox ChristianiTY is EUlli liar from the polemics against rhe Jews and the Muslims,
lnd was "isualizoo, above all, in the marginal psalters;19 we may see a continuat ion
of that deb;Jfe here.
40
It is nonetheless surprising that the miniature presents this episode rather than
Ezekiel's more famous vision of God by the river Chebar; the Sigllljicittio concen-
trates on the larter. and the Chebar vision WiLl' more colllmonly depicted than rhe
Keneshown on f. 438v: at least Twoversions arc known from the ninth century. one
(now lost ) in Hagia Sophia, the other in the Vatican 'Christian
Whatever the reason for the sclenion of the miracle ralher than Ihe vision. Ezekiel
in the vaHey of [he dry bones has bct'J1 modified. in a way tim finds 110 Byzaminc
para!!eI, to make a point.
The Ezekiel miniature has been claimed as an example of the prophetic visions of
God believed to have been espeeia1!y popular in the years immediately roHowing
lcOlloclasm.
4
! Unlike the prophet 's vision by the river Chebar. however. the narra-
ti"e of Ezekiel in the valley of the dry bones does not describc a theophany: it
records, inSTead, a cotwers,lIion between the prophet and Cod. But the minialllre
in Paris.gr.5 Io makes the same point as an image of lhe Chebar vision could have
made, for by incorporating the archangel- which has neither biblical justification
nor visual preccdclIIs -the was able to show a divinc being appearing to
rhe prophet. Ezekiel corn mliniclICS. if mutely, with an obviously corporeal figure.
Folio 438v, whatcvcr its other agendas, perpetuates a theme fJmiliar rrom the previ-
ous two miniatures: the archangel confirms, visually, rhl"" orthodox dictum that the
prophets saw divinityY In the miniatures of Paris.gr.5Io. it seems to haw been of
paramount imporrancc ro portray human and divine figures act ing rogether in hi s-
rorical narr.nives.
Despite the importancc of prophetic visions in [he rhltoric of the eighth aod Ilinth
cellluries. Jacqlleline Lafontaim:- Dosogne and Jean Couillard have both pointe(j
,- (1963). H4.
," On ,hi, common 5r-c discu,sio<l of f. ,. i n ). and Kanson i, (1986l. 17)- 175.
'" Corrigan (19,)2), esp. 62- 77 .
.., For a differem i n ,erpremion of a len u ry ivory dlJ! dq,iCl, I he see Cuder {l\19l).
' 1 For H .gia Soph i . /<. bngo (1')6t). 2')-3). 8)-86; ,hi, ....... , I ilUrgi",1 M .j'Sf", but curu" ned
mCnlS ur vi,ion. Va,.gr.69? f. 74 r: Sturn.iolu (1)l08). pI. .1)1.
As ,uggeued in (he introduction 10 Ihi , section, such an am"np,ion i, we 5h.1I
rei urn 10 il in (he remark, im medialdr follow; ng our diI>ClIs,;on of th i. p.ge.
o! See nute 17 .00v,.
Despite rhe importance of prophetic visions in [he rhl-toric of the cighth and nimh
celHuries. Jacqueline Lafontaim:-Dosogne and Jt:an Couil!ard have both pointed
r II (196,). S4.
3' On ,hi, COmmon linkage. Sr-c the discu"ioll of f. v i n ,hap,er j. and Kartso"i. (1986). In- 171.
l'I (I')')l). tip. 6z-77.
-Hl For 2 d;fferem ; n ion of a u r)" i"ory ,h depicts , he . (I\l9l).
II For Hagt. Soph ia. I\lango (196t). S5-86; ,hi, wa, a I ilurgic.1 M.ie.tas, bm conta; "cd de-
fS uf Elckiel", vision. Va,.gr.699. f. 74 r: Storn.iolo (t)Kl8), pI. .1)1 .
" .uggeued in (he introduction to Ihi s section . uch an ump,ion i. problematic: we ,hall
reI u til !O i, in (he remark.. i m medialely ful1ow; ng our di<ClI"ion or lh i. page.
'J See note I; ,00v,.
,""
ou, ,h., ,h.r< w., "0 ,ignificon' in<"" .. i" ,he Muml><, of "i,i.-Ift. d<l'iI," Ru,
whil, ,h. of "'P=<"",ion. of vi,ion, ",,,.,li,,1<. ,h.;, ... ,ing and fUIIC'
,;"n d.iftl in 'he nin'h ccn'U!y, "'os, eanie, OIdT ..... nen, vi,;"n' ,ila, h,v. bn
1'""",.vl.I'I'<"' in m"'lUmen,,1 (li'U!gic..Jl - ,h .. is. chuh 'P""," .fte.
,h. nin,h ",lIur)', mOl' Ilyu",;n. o<>mpl .. ,,,, (ounJ in ""'''11''''1'''''' n""ns
'he nin'h cen,ury i, .. lf. book im. g W<f'< On ,I>< ,i ... In ><idi,ion to ,I>< Pali,
Glt'g<>ry. ,he San.t inro.po"'''" I .. i.h', "i.i,,", ,,,d ,10, ";,,,h'cen''''1
ropy of ,he 'Ct.,i " i. " Topog ... phy in ,I>< V. ,;"'n odJI ,hmo v;'ion. _Io.i.h, (liS-
76) , F""l ",r".oJ O.oid', - ,h .. do no' >'<em '0 h.", bn in in ,i"h.cen'u.)
modoL" Unl ike Old T .... mcn, vi,;on, p.a imro in church .1''"'''' ,h. njn,h-<:.nru.y
mini. 'u ... . im.g<S: ,ho ",lev.", manmip" wc"' no< producro
for dtuh _ . oJ, ""hil. p.iconud." ' hropilania' ... 1)' indu<kd
,h. p"'ph ..... Im "'w ,he vi,i"n, I"""i,on,,d .. , jn,.g .. "f vi,i"". in ""'''''''''1'1>
" rly Jo. AI'hough ,h. numl><. of '''''''ph.n;", ,lid nOf j""" ...
icollr in ,I>< nin'h cen.ury, .h. ron'a' in whirh ' hC} .... '" v;""1 . hi!ttd from a
'0 a hi"o,ical (na",.i",) OIlO. By indudil\g ,h. t\imh. mury
im.g .,,<>Oed the R.'flI'i .... and hi"o,icoII"1IMli,y of ,h. pmph .. ', vUions: in ,h;'.
,J.cy colludo ", i,h ""hodo. ""i",,, 1'"I.m><.
The .nih from monume",al '0 miniaru form., du.;ng ,I>< course of ,he "in,h
cn,ul)' i 1"" ,ignifian'. 11)' v,,,ue of ,I><i' , m.1l ,i". and ' he do .. ron'''' ",;,b
,hr v;"""", wh><h ,hC}' mini>,u"" of 'hropbnia .nmvi ,he I><h"kl ..
10 wi, ..... ,h. vi,;on individu.U), along ", j,h ,n.., p"'ph. Th. "imh.",ury
Brun,;n .. ".-h .. hod actt<5 10 'hr Homilia. s..ml . nd Ch,i " i."
'Jopograp/ly' pr<.umahl)' knew ,h., Ch,;', inca", .. ,,,,, h,d <",i,1ed ,heln ,,, p.a"
.i<ipa" ;n the vi,iom of Old T",umen, pmphe", hUI whh .. 0. nor .t,,,,,,
viow'N J<."mul .. ,cd ,hei' dogm. "" .,...oIy. ,hr mini .. u ... of prophic .is"",. _
di'pen>;ng wi,h ,h. inIC,mroix)' of ,h. word _ invi,I ,hri' panicil"';Oo .i,h ..
impl,cid),,,,, bl".",I)" M ,I>< 'is''if.crrlC< of. 'hcophm)' rh.ngro, and .. 'he
m.,,,,s ,h."" ;mag< of, pn>ph.,i, vi,i"" "" uld ""'y ,h""en...! . .., , ...... (0'1<
asm"",) dt.! ,he ,,,,,,,,'. '"POR''' '" "",h imag<>, In p.n,.g"j'O, ,I>< hi,m<iciud
vi,ion. ,hal invi .. 'he vicwc.-. parti<ip,,;"n and emph .. i". 'he in' ..... ion of
hum.n ,nd di"in, ;tg"'" .Im" i"eviubl)' h,d ",,,,h .. con""!,,,,> w<1I, ,J.cy
rolou.ro 'he vi ..... <lI'<.&, r<>p<>"oc '" ,ho ,ex, th .. followed. Whil. nafT.';'"
;""go'''' n .. rl
r
depend<", '''' ''''''' f", ,he;, 1'10'" "rIC< >on, 'he im.g
,hemselv .. ,hape ,h. w. y ,h .. a v;"""",I",od .. <ei"", .nd rem.mbe" ,he de,.;).
,,( ,hat I\"",';V<. The vi,u,1 ,n, .. p, .... ;."n pn).iJeJ b)' 'he mini.""" in
1106-11 , '" " ' , ....... ,11 ..... 11' ... ). , . s..m. oi ,II< 10li0.-;''11 d ... " ......
ippt,d i. ,0-... " 5n-lhm {',..." , _" .
Foo- . ........ ""ci"'..tort ... of =mpln. _ h. N . '<6-'.;.
" f. ,'" 'I''-;"",,." IIm.l, Ii" ,.. . " ... p, ..... If. "j . / ... , "" s..,,,,,joIo h,otl.
pH. ". ". "".
Vision and meaning in nimh.cerJ{ury Byzantium
Paris.gqlO charged the texts they accompanied with new (and in these cases top-
ically relevant) meaning.
PERCEPTtONS OF DtvtNtTY
In Paris.gqlO, visual manifestations of human inreraction with divinity are nO!
restricted to theophanies. [n addition to imeractions that form an established part
of the Byzanrine repenoire - the angel propelling Adam and Eve from paradise on
f. )2V (fig. 10). Christ and a hand of God respectively directing Saul/Paul and Elij ah
on r. l64V (fig. 28), and Constanrine's dream/vision on f. 440r (fig. 45) - there are
several less common conjuctions. [n chapter 4, for example. we saw that f. Cv (fig.
5) mosl unusually presents the archangel G3briel and the Emperor Basil as equals
(f. Cv): they sund on the same level, and wear the samccosrume.
Another example is provided by the second register of r. 174V (fig. 23), which
opens wilh Jacob's struggle with an angel (Genesis 32:l4- 30) .48The gold-nimbed
angel like most other angels in Paris.gf.5lO: it wears a whitish mantle over a
blue tuni c miped with gold and suppons a while diadem in it s shon dark hair.
Here, ils wings. paillied in tones of white, blue, and pale purple and ringed with
gold. are fully extended. Jacob, in clothes idetllical to those Isaac wears in the top
register of the page, stands with his back to the viewer and grasps Ihe angel by its
shoulder and elbow: the angel pulls up Jacob's right leg. The major distinct ion
between pictorial accounts of the episode li es in [he manner in which the two men
wrestle: Jacob and the angel either lean tOward each mher and appear to embrace,
or the twO physically grapple and the angel puts its hand on Jacob's thigh (as
specified in Genesis) . In no other image known to me, however, does the stance of
the angel on f. 174V, coupling a striding position with a sharpl y rai sed right elbow.
recur. Th is position, which simulates the effect of a real struggll"'. appears elsewhere
in the manuscript; 49 its application here emphasizes the physical ity of the struggle
between Jacob and rhe angel and dist inguishes the scene on f. 174V from all orher
Here toO thl."' active stanCes of both figures. but especially Jacob. arc
highlighred by the way the drapery has been painted: ir sel."' ms to sharrer into small
whorls and jagged pieces.
The angel appearing to Joshua (f. 226v; fig. 26) could nOt replicat e the physical
contact of Jacob's struggle with rhe angel, but the relationship between the human
Joshua and the divine messenger was stressed in another way: the twO have a
conversation. recorded in one of the rare inscriptions in Paris.gr. stO that goes
beyond a simple identification. 51 There are, in faCt, only nine such inscriptions in
i ! or Ihi, arc wnsiderc-d in 4. 5. 8. E.g. r. J74" (fig. 39).
Clo,",," i, VaLRoss.ljl. f. \r: Man in (19\4). 108-109. 184- 185. fig. H7. jl See ,harrer 4
the Homili<S," and fuu. uf tho nil\< or< JCVUt<J to <kmon", .. ing di.;ne-hum. n
""mm"""""ion, i" >ddi,ion '" ,h. """ .. ,.."ion herwr= j",hw .nd ,no .ng<l on
f, 6v, ORO;' fukid ', que>!ion to God un f . .. J8. (ti", ), ,he ",he. ,,.,.,1 .... G...J
,elling Mo ... ,0 unf:",.n ,h ... nd.:ol. "n you, ft '. 11\.1 Ch,i" .. king 'Soul, Soul,
why do you p,,,,<cut< mr?' (both on f. l6 .. ", liS' lS), In.1I of ,h..., cases. of cou,,,.
di';nity i. pi.:tum! ... "",II .. "'pm<n,ed by w<>rJ .
Mos, of ,h ...... mpb _ B.a.il .rwl G.b<id , Comun,inr and the eID<5 . nd
S.ullP:.ui . nd Ch, i" <xccp,l _ fOeu,on OldT"'toment wi,n"" . Two mini .. ", ..
,h., we h. ", not Y<' con,ide,ed pr<><n' Now T"'tament "'''' .. ;''' ... ,i.,ion. "" ,he
,he",e,
Folio JOv (7) (fig, 7)
rolio jO'I, among ,he mo" ."en>;",ly di,etmed piau, .. in P.,i'g'I'O," .now.
,h. crucifix;"n in ,he 101' [hi.d of [he p'g<. the de"",i,;"n md en'ombmen' in ' ho
middle rq;;,t , . nd ,he ch. ir<t< . , ,h. boo",m, Though i, i. ""lIy unly ,h." I."
KCM wni<h pl.)" [0 , he [hem. of [hi. <n"l'I<'. the eh. ire can",,' he divore...!
Nom 'ho p'g<'" whok, 'he full picture ;, ,h .. erot< pr<><n,eoJ he",.
11,. mini.""e """cr. one ,ide of -"ngl. 1 1', ,he 1<<<0 of ,..hi<:h rem.i", bl.nk:
i, h .. be-<o in",,,l in the mid of 'he imgul .. foy"h quire ... rron,;,pie<e 'u
Gregory'. ,hird homily, The l""i(Xl "'luence.loa "m, !>ow ...... " ..,,,,in .ny link>
wi,h ,h .. sermon, .nd Siurpi. [)e, N."."i.n, foIlowl mos' reoently by Ann.
K.. rt",ni . pl.u.ibly '''gg<>,l th .. 'he mini"ur< oripnally prcf ... d ,he fi",
hoomily (ff. "-lV). which no Ionge. arri.,.n ilh ...... ioo." AI[hough OIh illu,_
tr .. ed oopi of ,ile Homi!i ... rc no nell' here _ 'he Milan ropy calf;" no illum. _
,ion. '0 ,be fi", bomily .mI ,he li,urgial edi,ion Im.-.., ,",';,1l0Y' e",ep,ion
pref. ce ,he .. ,mon wi,h . n im.ge of ,he .n. " .. i." _ Dc, Nc ...... i"'. [hni, is
. Im"" cert.inly <Olf" tho [home of [he fi", homily. 'On Ea.", ",d hi.
IGregory',j .clU<t1J>CC ito pr<..:h umil no"'r. i. of obvious .e1ev""", ,0 ,he
><:que .... on f Jov." . nJ ,h """,i.,i"n =m. 'n hr , ... of
P,'is.gr.llo, wh.", [h. two p .... gc> mo>! dim;:tly related 10 'he >Cene> pie,uml .r<
in'rodu<ed by enl.tgI in;,;.I>. The fi", of tll<'>< ",1" .. ,0 ,h. I"" <n. M [h.
P'g<, ,he ,h.i""., .nd i. [h. opening Ii ... of [h crmo,,, 'It i. [he d.y of [h.
,esu",,,,ioo.'" The ><=<><1 'PI''''' in ,he fOurth p.ragraph, '",,,J.y I died wi,h
him, to,by I .m wi,h him; y<".N.y I ....... bu.i...! with him, [oJ')' J ri",
8 ....... " I' ...... ).
"V"I" (0.,.,.). ,m 0-, (091,), Wo<, pi. . "" Uti, ), . " .. , M.rt;. It.,,),
l,r-o,1.; ",'';am (,,*,). 47'>-"'" (kt " '_"', "" .. " ..... {,,,,b), "0:
(,',.,.,). ' J)' M,"i 10'77) , ' .. ' 'W, ,'" """'" (' 0111, ""' .... u 10.161. ,."..., .. ,
K.Jhdan . nd M"",;" i , .. oj. '" "", ... ktt {''M), ,,.; Ikub.lo" {,,,NJ, "_'I.; 8,..t..I= it ...... , ....
.. 0., i'I<""';"n i' ,o,), It 7- " I: K. (.,..). ,_'... "C ..... (, .... ). "-, .
"sc 4 7, ,,-1, (Nf>!lF. "''''><>41. P S<: I", 7': I\o,;, .p." o, f " .
".
wi,h him'." 'Il,i, !" ..... I';< join' 'ogerlt ... 11 .h...., pho.><:> itl"", .. 1 - Julh. bu,;.! .
nd =u,<.;on _ .nd W1)utd ro e<nt<m . fli ti"io" be""",,,- ,h. Ii",
>ltd f. JO". Th. d;,t""",;oo "f. m;O;"" 1"< c. rty;n lh. ",.nu,,';p' oc<ord.
wi. h codimlos",. 1 <vi""""" ,n .. ,h. i,,,roJUClO,)' g;o,he-ring ..... J;""rhrd . Imtdr
in ,lie Brun.in. p<,io'P' it m. y It .... ba:o at lhi, ti m h" ,h. initi.t ' "'" piaUI<'
w., rnovl. p<, h.p' b"c,,, i, wu .... n ,hen dilj>l.yinS ,h. fl'king p.int th" m .... '
. tlo"", w to d;o<ern tho uoo.rp.in,ing.
Whil. 'On Lnt.r><! hi, ,due .. n.r' <c<:m. '0 h.y. ;n'p;m! the .d"",iOfl of
"""<s. G"'I\O<Y', , ..... '"""'" m"ld h . ... Uy h.,.., ' ''U<"<tl deta;l, of indio
,idu. 1 <err=; .... h. ,h. mini"",i" CYidrn<ly .d'p,al cu".n, fo. ",,,I ... 11,.
P"-"'< ,of .d'pu,i,," - . nd . It .-., ioo- i, !"" ""t.riy obviow in the uppe,m""
.ne, ""h . .. ><CIion. of ,be "PI"" I.ye' of pai", It" .. fi .. k<:J uIf '" "",.I . n image
Jiff'l"<n, from ,be fin'! venion,
rite "I'P'" '''ll;,r pr=nt<.n "p.",i" neili.;on (Matthew >7;))- j6, M.rI<
Luke -"' h" '11", <:rUCi!i<:J Ch,;" domin" .. the
compo.i, ion. 'The mini. ru';" ,h. figur ..... c<ly in ,h. ",m .... . "d PO""ycJ
Ch,i" on .1. '1;" ... 1. ,h.n tho """,';ning lig"''' in the "'Kiner, h. ".nd, n .. rly '"
.. II ." ,h. in ... i", pic",,,, 'I"'C<'. Th. c"",, it>elf ....... , I.p. ,h. from<: the ba.r of the
,upp!. ncum on which en,i" , u "d, """ on ,h. ,,'ip th,o, ,1",,1 .. t"" ,up from
.100 ... i<kllo "'Ki,trt: bdo ... tho ,upp!m.um, tho CroM iu" ;"' " the middle
wh ..., i. """ on ,ho- Ho.,i"g g'"'' hill ofGolgotl .. with . A.ked d,uk h. lf-dl ip"';n
its n' ", ,10 .. p.w.bly origin'lIy mn .. ,he . kull of ""bm. The- UPI"" portion
of.he C""'. C:O ff ying' c,o,sh.:o, ",i,hout l"llOl,d, , Iso .".nd. ,t>o-... h. 'op frome,
... h"h c'm,i ... of . bond of gold ,immal with bill< and g=n "'ip. 6111 wi ,h gold
di,mooo .
CIt,i .. I"<m.im .rc-c, wi,h ""igll' .. .". on ,h. cms<, ' hot>gh hi, h.><.! ,iI " 10 tho
Wt, Hi, h.><.! i. badly , f>ough hi, era "PP"'" '0 Ix- dO>!, ,,'en H.n,i
0"",,,,. " ioo .... '" .hl. to ... min. ,h. m. n""'tip' do,ely at ,h. b<:ginoing of ,h.
,..-.mi.,h ",u<y. could nor ,.11 f", "" .. in wh.d .. , or '10' 'hry ""t .... lly """", A>
.0 inJ iation of Ch,',,'. condition, ,hi. poi", i. of leu ",I",. n"" .h." 00. migh,
"'''''''', Ii" ,h. !IJ,>.ntin<> "",,_II .wal"< .h. t ,h. <y<> of ,h. d.ad ",m.iolop<n,
In hi. KCOtln' of Joocph of A,im.l.h..,', ",mo,,:oJ of eh,;,,'. h,>tJy from the <to"",
for ... mpl", !'h,,, ;.., ",-""""e!>. monologue fO, josrp/l th .. l>rJ!ins: 'Sh. 1I J do><
... i, h my ""nd. ,h ynofhim wf>o by mran. of d'J' , nd '1"'""10 pI.",Icya ill ,h.
l>I;od' .... Th;, i. "u, ,uo.:"y the ')'mbolic v. l ... ofChri,,',doscd era'. bu,,, Ie .. t in
,be c" . of l':o,i . S'. ! 1O _ SO closely """",.,1 ,",'i,h !'hmi.,. _ wh<th., '" 0'" Ch,i"
' PI"'''' wi ,h Of><" ryn;n tho top rrsist" m.y not Ix- of i. icol impo,un fo'
,Ite inro'p,,,,,,iOO1 of ,h. ,cr,t<. If eh"" i, loon: I' ,,,,,,ntl '" .I".dy d .. d . be
" 51: .. ' , "', rU;'''' '''Q, f. , . 1)," .... ...". ..... ,"I .. "',.I . nd .... <On ......... i<k .. >+-Iox
F ..... , ",..mo, S,,""k lo."" "I'- h ' "",aho K." .... "oUl. '<L ,t...r><" t .
"",.d, u....-d.u (,y",l. "0: "'"'. ..,.,.
'"
.... , ............ ....
I'ercep[;uns or divini[y
inscript ions on either side of him - which Omo nt could still decipher as Christ's
dying words fa his mother (1.6.[ 0 YIIO] C COY) and ro John (I.6.0Y H
MIHTH]P COY) :15 recorded in John 19:26-2.7 - are anachroni sl ic. but conven
ti onal: the same legends Rank a cl early dead Christ on an early nimh-century icon
al Mounr Sinai and in the lenth-cemury progrnmme al New Tokah in
Cappadocia.
61
Chri SI wears a purple kolobion. mosl of which has Raked off 10
reveallhal ori gi n:llly he wore a white 10inclOlh, shaded in blue. This alteration was
apparent (0 Albt' fI Vogi in 1908 and was nOled byOmon! in his [929 publication of
the manuscript;/'! it has occasioned a great dea l of commcn! since. As is wel l
known, earlye:lSlern Christian represemations of the cruci fi xion usually pictured a
living Christ wearing a kolobion, and we may guess from Gregory ofT ours' sixlh
century account of an image of Christ in a 10i ncl Olh which asked fa be clothed that
these oldrr venions cl ad him in ;I kolobion out of respecl. (,j
As Kansoni s drmonsnated, Ihe christologi cal controversi es of Ihe seventh and
eighth cenruri es made expli cit representation of Christ's human nature imper-
at ivc; he was increasingly shown dead, and in a loindolh Ihal f(,'\'ealed his corpo-
real body, on the cross.M A5 variants of Ihis argument - directed againsl
iconoclasts. Jews, and Muslims - proliferated in the ninth century. M it might be
expe([ed thai by Ihe second half of Ihe cemury images of Ihe living and kolobion-
cl ad Christ would have disappeared. But they did not. Instead. nilllh-cemury
reprcselllalions of Ihe crucifixion exhi bir nearly all possi ble variations on Ihe
theme. The living ChriSI on Ihe cross wearing a kolobion, the Siandard pre-icono
clast formula, conti nued (/ig. 57). comerminously with pictures of the dead Christ
wearing either a loincloth or a kolobion: indl't'd, in Ihe Khludov Psa lt rr all rhrre
rypes appear in the same manuscript.(06 which suggests that the diifeTC'lIl
iconographical rypes did not simply correspond wiTh diSii ncl dlcological posi -
lions.
61
It is. however, cl ear Ihat Ihe Homili es miniarurist originall y palmed the
semi-nude Christ on (he cross and Ihen lalt'r covered hi m with a kolobion, a
process also observable in the second regisler, and on a or eighth-century
icon nowal Moum Sinai. "'" Perhaps the station of the aud ience - imperial in Ihe
ca.sc of Pari s.gr.Slo. monks in church in Ihe caS(' of Ihe icon - suggested a more
.. , For ,h .. icon. Sinai B. W .. (1976). 80. 1'1. XXXII ; for Tobh. Epslf in ('986). figs.
II J- 87. On [he of "'orOi in ,hc nimh ccruury. KabvrrzOl1 ('<)90). ,68-'70.
Vogl ('98), 412; Omont (19l9). Ij- '4.
O! Gregory of Tour!. Glory oftb, A/arty,.,. ,,,,,,,. R. Dam (Livnpoul. 19HH) . 41 (Lib" ill G{ori,t
Martyrrmr H: fii. B. Kruoch. MGH xn';norn Rmim Mmll'i"gi(an<l" 1.1 11!anmer. 188\1. II) .
Kamoni5 (1986). 'lll nOle II. and Corrigan (1991). 48-49. al$O d [e this ,",coun!
.. Kartsoni. (1986) . U-68. "' Corrigan (l99Z). esp. 11 ' - 90.
Moso:ow. fI' .. Hv (de:>d. kolobion). 67< (aliv ... kolobion). 7lV
(1977) .
This posirinn. by Kmsonis ('986). ..... 00 o[her by Corrigan in
a rnoiew ofKm.{)ni s in Art Buflni .. 71 (' 989). 311-Jlj .
.. Sinai 8. )1: We'tlnl.nn ([976). 17-!8. pl. XXIII.
[...Ji[ion.1 approad!. [0 [h. image aftc-r i .. initi.1 <ini", . Dd on f. 3"".n emp'-i>
on CliNt. impc:n..I purpk ltoiobiOfl might .... '" on f<'fkaion "",mcd bn ...
choi"" in m>nwe.ip< dcs<ined for.1,o empc:ro.t."
On f. 3"" . he crucilXd Chris. i$ A.nh<I by twu men. 0"" pOe",ing hi$ ,idcwidt
lance to .h i. spout> meam <>fblood (John the othe. proffi:ringa.po<Ig<
laden wi,h vir>epr (M."hcw 17: 018. M.rt. ' S:J6.1.uk.: 1J:J6. John '9:li--19). All of
,h.,.. fe .. u .... <"<cu. in ",her nintlt..::entury depictiotu. including d .. min;'1UfeS in
'he Khlud<w Psalr mention"! .bov.:. """of which (f. 67" fig. j7) in foa providQ
the dox., parallel to .1,0=",01 pouringon f. )"". Mary. heod bo.v.d and """,red
Iunds oUflfretched . unds on ,1,0 left-; JoItn, .u.ned toW1rd [he rish' bu. &>ring
Christ .... ndton 'he rist ... A m1nm hangs aoo.-., Mary. a bI"" moon Boa ..
above John. Maty, Jolln,.1,o sun,.nd me moon appc:o. in n""",1OW nin,h-o:n,ury
",nioruof ,he crucifixion: the....., im>g<$ On the"""" of.he Fi<$Chi_Morg:tn rdi-
quary (fig. ,,6). and ,h., on ,he obft ... of the rrlated Vicopi<ano Klioqu: .. y ""'"'
(booh made in BYUIlI;Um e.rlier in .he ""nNry) pL'O'lide do.. parallels ... ", th
Mory . .. i$ """ of 11\0$' ilttOga 0<1> dun ..... [ in ' '>rio.gq .,. do<. no<
cow. h", .... nd, .0<1 raisa onc of .hem ro he. .he iflKrip''''ru 01", ...... r
h.re.'" A .imiw pooping. complne wi.h th,1ance- .nd spongt-he-uing !Oldie ...
ppc: ... in Old Tob), h"""gh h.re Chrio .......... loindo<h) and many o<her
(UmrJeocould be odd"" .. !." Fitu.lly ... dtel>.",rol ends of .he gUrer. fWO women
- presumably M y Mog.ulrne ond Mory mother .,{Jam .. (M.tm... 17:j6. M ......
'1'4<'. JoI>n '9:15) - ... ...1 in an vcl>ed ",,,,,,,ure behind ,1,0 Vittin, .nd ,wo men
."ide .0000ro .M edge of.he mini .. ure on tlte f; .. righ . The m ... babncc . I>e .....,
M .,.. on.he Ic&, .Dd, liu mem . und before.n .n:hirocturol backdrop. wbidt
11<1< apparently rep .... n ... basilian muctu'" .plining inro ..... hal ....... i .. gold
I<'U "",. ion apsed. i .. bl ... ron:h frooted with >lumru. Tho...,.nu '" pictorial;'"
,he ..... n .. ;mntedia .. 1y followirog Ch ...... de"h, .. n." ... ted in M."hew 17'\"
Luke 1):4\ .nd. '1uot\ he ... Mark 1\:}8: 'And thc .. il of thc tempI< .... ,..n. in
...... in from the top ro ,he bunom. Th, ..... men ..oo flee ",hile looking hck at
Chri> 'pp"Kn<iy to M.nhew 17:j47' .hey.oo recoil >po<ryphol OOUOI
lut ",fer tu the hcakd panlyric dcknding Jesw befo", Pil .... M.1,o f_
m.n , mall diadem """ile d ...... in II>on tunic, COl.i",. K'd pall ..
un hi$ The .. is ... ",ly room '0 ind...!. atldi''''nall>gu .... uch .. ,h..., in
o.h.e. llyun.ine reprcoen .. , iOM of .he crucifixi"". ... mil><iy ""pansiYt
compoo:i,,,,ru a'" no, A, New Tokal. (fig. 11 7). fotcumple. twO women
' ..
['uccpl iuns of di vi nity

Fig. 1/6 "1i11'1II,]; lid. n-urifixion
'"
Vision and mcaning in nimh-ccmury B)"Lamium
,
, .
,
,
Fig. 1I7 N,.w 7ok,,(,: rrucifixion
.'
,

,
. ,
, ' ..
, ...'
. " , ...
.. ... ,. ..
follow Mary, as 011 f. 30V, and the cent urion and friends huddle before the split
temple on the right.
74
Though more extensive than many exampl es, most features
of the crucifixion image in Paris.gr.Slc find thematic parallels in nimh- and temh
century Bp:amine an.
The same cannot be said for the fWO images spread across the middle register, the
depositi on and the emombmenl. John 19:38-42 recoums both events, Telling us
that Joseph of Arimathaea and Nikodemos 'wok itheyj the body of Jesus, and
wound it in linen clothes with the spices'; they then laid it in a new sepulchre in a
-. Epstein (t986). figs. 8J- 86. Thr t""o groups rfCU! in thf l:uer Florence. Laur.plut.6.lJ. R. S91.
r6!v, !08r (herr onl)" rhe crmmion companion 'ppt"Jr. but thr midr as in . gr.Sto):
(197r). figs. Ill. ,64. '97.
,,6
'!;-, ,hi, >:oun. , III< , )nol"K:. (I.!."h.w '7'\7-60, M.rl< Luk<
>no-H) .dd em!y . h .. [h. IOmh w .. cu[ in[o ""k
On f. ",,', lh. Jc"",i.ion (H KA6 f.AKYClC) ",,<upio <1>< kft n. !f of .he rcgi. -
te,. Cnri". hi, he.d "hl '0 ,he . "ill h .. h .,d n.ik<! ,,, ,h. e",,",
Nikodemos. ".nding on [he ground and IUming ."", .. d [n.: left, ", .. -..n ,h. n,i!
from ,hi, h. nd whil. }os<ph of A,im.,h .... >UPl"'''' eh,;,,', body b)' V ... ping him
.oou, [h. hip', A> in ,,,," lOp "I\i"." Ch,i" w.o .. a ko!OOion. which h., fl..kcJ 10
='<o! tn.. o,igin. ! loinc!oth undeme.th. T"hc Virpn, "il! wi.h .-.ii<J "",..,m!
h.nd" ".nd, ,0 [he lef. , ><comp, ,, i.J hy John, wI", oc<up;'" . he C<I1[rc of ,n.:
con'l""i[;on. john " , od, in [h ... m. "",i,iOf! " n.: dod in the tOJ> <eg;'te!: . h.
<mlpignificant dilfc,.oo:: betwn the tw" "the di'l"-";tion...f dr.opy""ef
In. .. ;m', arm. _. ,linS! ike fo!d !>OW e"",,,,, hi, .igh. urn .nd 1 , w .. h of ",. ... ,,1
hi, kf[ hand. AI! I"";':il"o,, arc nimld, .nd ,h. , un and m<>Of! of [h.
crucifixion remain "'.." .he Cro,"", Th. >Ceo. < .. "fie> the bibl>a.l n ..... i". hy pl<>-
>o<n. l"I;i"i.'. 1 u" .. ;!, ig""T<J hy ,he go><p<t .u,h .... " .lId h)-' .dding
. ndJohn.
Th. de"",iti...., " b..-dy mentioned . nd n.v '<!, .... "ted. befo", the nin,h
""",u,y' f. JO" P"''''''''"" [he o;ord<d inug< in llyuo,ium. An.J whik . n.: lim,
gic.1 impon.n of [h. depo.ition w" fi", dcv.lorcJ by c",m. noo in tb. <>rlr
eighth <entu.y.>l it is "nly in .he nin,h .. ,h. ,hem. became ." impu", n, "'pic
of sen"on" Ph",iO$. for e"mpl<. devoted. !oog paragr.pn ofhi, o!rv=[n homil)'
[0 [he del""i.ion, .nd in ;[ cooo::ntmed oot On .!.c .!.coH>gica! imp! ication, of.he
event, on )<cpn', <lnotion.1 ... i",,, ,,, Ch",,', body.'" Anoth .. IIinti,
<enlUry aecoun[ '1'1""'" in ""mily on ,f.. de"h . nd of Chri"
Gro'1\e of Niko<lemi . who "r .. "'" the rol. of the Virgin ..,.1 d<sc, ild he, 1' ....
en .. ,n.: Je.po.i,ion.- Th. nin,h' c"Hu,y eI .. oo,"[;on of oo,n vi,u.l .nd w,inon
de><. iptiorn of the <kpruitioo ,",em 10 rev<rb<rate from ,he iml"ct of onh""""
.<gume" " .bou, ,h. , ignifi<ana of [h. iocom .. i,,";'" ''1', ... ming pc. h.p' ,n.:
maot mun<hnc mOment of the pa"ion """""n<e. the J'1"-'>ition emph.,i"'" ,n.:
mlity ofCh[i,,', hum.n nat ure.
The cnlOmbm.", . .... hich fUlk>wo ,h. <I'po,i,ion on ,he righ. ,i..!. of [he midd!.
'cgi"<" "'OW> Nil:o<l.mo, (idcmili<d hy imCfip[ion) .nd jo..eph , .. rying [n.:
wr>preJ Ch,i" [0 hi, .omb,)"t Nikodemo . "..,cling 00 1 rai"'" grouodli .... bend.
""et Ch,;" ,,,J g'''P' h;nl ",nunJ ,he ,hig!u. J_ph ... ,.,. QU' .. 'N- ,;.w... .nd
d"!,, Ch,i,,', ' or><> ' o hi, OWn <",",t. Ilchind the ... loom' "mgh, h .... n 10mb
<,,,ed int'" hill.ide, Th"ugh P";'.S',I'O p"" "'"""" on. of 'N- ... Ii",,[ known
"*">I,), np. h ,
" 1'''''';1)0- ",,' 1. I ...... , .... IE,,,), ",ru. M . ... ... ). ' -....
- X. M'I!O'R (1.0.). ",- ' 0 ', . Dd Rot ......... 06.+1,
"s.. <:;.., ..... ""''', .,.." . I,...,., ..... 'M .. ' )Y,
" n.. "'01 ... _<ibn d """" .. 0 EN'T A <f>I ACMOC. tt .. L.y;., out ('" buNI' ,
Vision and meaning in nil1lh-ctlUury BYlan!ium




Fig. 118 AIIJs{ou'. HiIwriud IHlIsmm. ((It/. u9. f 8,r: rlJ/owlJlll f/it
'9'
e",mpl, ,hc icoo"ll.>ph)' of ,he rnmrnhmen, m. y h.", <kveloped in
.. "emn omry . Io>og with , I>< .n." .... .,,<1 ,h. dC2d Cn"" "0 ,no c...,... in
""1""''' to Monophy,itc den,.], th.t Ch.;'t "'., fully hum.n." But whcthc. 0
...,[ "'= In"", !os. ) . mi_M"""phy>i im>g< ".nJ. I><hin.! i, . [b., .,,,ombmcn,
Of[ f )<>V oo.rnponru w;[h carlic. ninth.mu.y depiction. in ,n., m.rgin.1
""'h .... In ,he Kh]uJ""l\ah., ,,8). ,h. ,w" m.n. diff ... n,i .. ed b)',s< ,nd
hai, colou. and with. os on f, '''''. Joocph Icoding. ca.ry [he wupped Cn"" [0 hi.
,,,mh, a, , '''\lgh.hown "'>'<' in m""" .. in," l "c mo .. n .... hlc
diff.,,:occ bcrv.=n the "",he, im.ge .nd ,h .. in P.,i'_&'_IIO i, [ne ",I .. i"" po<i[;"n.
of the ... d the tomb: by piKing tlK trio of men in front "f tlK e .. c. the
H",,,il'" p.i",.t h., """t.-.1 the n''''ti,"" ,nJ Nil ooem ..... nd J<oo;cph di>p!.y
Ch.i,,, body ro U', ,hilt undenco"'" br Jo><ph', go"', .iml d,,,,,,<ly OUt .. lhe
vi....,. , A .imil .. rompo.i,ion, with Nikoocmo nd ,.,..,ph holding and .Ii.
pl'riog Ch.i" in f""" of t he (he .. minut.) tomb .-..:,,['$ itt Old T"kolt (fig, "9).
whcre it i, p.i"'" wi[h [he dep""'['on .. in Pari,_s,. jlO: i[ .1", 'pp""'n ,he oJigl"I)'
1" .. Iti"" .. y in 5t "'t"""u,g, " A> with thedcpo>i,ioll, the Homi!i .. mini.tu.i ..
.. re .ru [lte human "P" of Ch,i,,', d ... h, e .. he .. h. n glossing over [ne emom!"
ment .. put of . "",,,ti,,, ""IllCrK<, it ;. mode into.n import.nt, indc.J almo"
ICon IC, """ne,
'In" '''''go OCCUl'i .. ,he ",nuleof ,he bou"", "'lIi" ... IlJ ,10""" the ch .... "
(XAIPETE). t he .iscn en,i" g.C'C[ing M.l)' . nd Mat), n><Hhe. ""J.n=
(M . .. h ... :8:1-to). e h.i ..... nd. in CCnt re of tno rompo.i. ion, llmW by tho
pros"". ligu"" of ,he!W<) ",omen_The _ne .. 1m pi_ in ,h< gorJ.n ,h .. nolUed
Ch,;,,', lomb. piet u"'" below i .. counlC'P''' in [hc >ond rq;i"e., L,li o ... rn
p!n of lhe cJ,airc ... which are numcTOU'. "".mally .!>ow the twO "'''mon huddll
in pro<k)' .... i, boll. on the .. me ,ide of Ch.;,,, I"e. im.g<' f<jyomly t><>' [n<
symmc<rical 8TOUpinS off, )0 . ..... But fow other l<'J'f<scntation. indooe lhe tomb
di.pI1),1 SO promi""nt l)': [he only OIh roughly conmpo"ry version [0 PKturo
ti>c t"mb _ i>cre r<pl<'><ntl .. . ""ikl ing ",h .. lhan .. . <1'" _ illw;tr:it<$ ""'1m
Stt 10",.;, " ... " ....... SI>< '"",,,,' I,. """'.,) ,k" i. '1""'_ , ..........
... r"", .. "'''flo'' .... """ of"" ... i.Monoploy>i .. ,""""', ..... k" .. ",...Ily
., "" ...... f_ ,,,,,,", "., ... , .. .... """ of Lh.."....." .. , "'''''''''': <d,
W ... tti"" V (' ... ,. ,,,_,,,,,.j. H,",.V1I! 10.77' _ ., .
u M_,l!o . M ... r ' ''': k .... i . . ... 77),
q....i. 10,..1, .. : tAr"""h_): Mo<ry 10".1, . .,.,.
" fw .. .k, .. ..... ri<" .... mpln from of ,...;I", ........ IW>bulo {fl<K<n<,.
u",.pi",-,-,' , f . ,. Co,:do .... /.,,,]1. 'k< rid -nioc< ri",,, [ho ..... .,.. 0 , I ll-b" .. ,
. ... , ..... M<On S,. 7 .. M..o", So .. , (W';run. n" 1.,741. _, . pi. XXI) ; "'" lo." l)'m ........
aI , .. ..,., ... ,I>< '-r di ... )'h f", .. I .. ,.",.""dy .. pruJ.-I b)- K."" .. " 1,.,u;I. "'" 70)
..... ,I>< S. r...nt..'l' ka......,. (1 .......... 1 .... 1: Moy 1 ,.1. f>s. I,): ... , "''''' .. ,... .... ,"-01
,,,,,,,", _ "'t, ! .. ...... ""'",),. j>.l" of ., ... 1< ... .., ",,,,,i .. <)<It "'" >'10<= .
u".r>i"'_' .", f. ..,.,.IVd ...... "., .
Vision and in nimh-cemury B)"l.J. mium
Fig. 11'1 Old Tolfllh .. dr/Msilioll; .."Io",b", .. ",
77:6} in the marginal psahcr. Panrokrawr 61 (fig. T he Panrokrator image
relai ns a more narrative Ravour t han we find in Pari s. gqto: t he fWO Marp both
kneel to the righl ofChris( and (he s1l<epingsoldiersst ill lie at the base of the mau-
soleum. This latter del:ai ] m:akes explicit the signifiGlncc of the scene: it is, as
K:ltIsonis poi11lt'd OUI, a narrati\'c analogue to the On r. jOV, t he
.. Folio 100r: Dufrenne (1966). 1'1. 16. The ch. iretc fro m Chur,h (1f,ht Virgin of, hc Source
(I'<:gd i510n: . discus.;"" in Kart"""i. ('986). , .. 6- ' .. 7. j ' Kart """i. (1986). I t. t 4 J.
/\-n:"plions of divi nily
,

(4. ... - J" t
,

-


Fig_ UIJ A ' '''UI' Afl __ /III//I)lmtln, 61. f IlJj)r: rlMi","
miniaturist could of course hal'e evoked Christ's resurrection by picturing the
anastasis - and in faCl rhat image pflfaces nearly copi es of Ihis scrmon
H
(, _
bur dcucd to prcscntthc chairere inSicad. T hough Karlsonis l' iC'ws rhi s as indica-
t ive of a conscrv;uive approach 10 imaging Christ's resurrecrion.R1 odler consi dera-
tions more important. The decision 10 pi cture rhe chairet e
responded at least in part to imerest in Chri st's tomb found clscwhcrl' in
Paris.gr.sto; it also complemented the composil ion of the page: jusl as the crucifi ed
Chrisr of Ihe fim register is aligned with the risen Chri st of Ihe Ihird. so Ihe 10mb
awaiting Christ's dead body in Ihe second register and the lOmb emptied of it in the
rhird axially correspond.
The decision 10 pi clure the chairele rather Ihan Ihe anastasis may also respond 10
the impact of cont emporary liturgy, where Ihe crucifixion, elllOmhmcll! :lnd
.. Sa ""Ie j:j: ab'''"t.
J"
d.p<W,ion, .nd eh. i",,, figu", in f.,.. whil. ,n. on ....
.i, doa 0(1"" Anoth<f dilfcron I><twn ,h. eh.iro, nd ,n. .n. " i, i. ,h., in
,h. (o,m., , .... " _men wi,"cued ,no ti..., Ch,;" on , hi, .. ,,10 , whil. ,h n . .... i .
O.lCI"J in H,d<., h..J n<> ,.,rou,i.1 wi,,,....., No we h,,', ...,n. ,h.re i., ron" " ."'
. mph...<i. on hum,o reKept,<m or, .<><1 'n'.r1Ction wi,h, divi oity throughou,
r.ri.,gr, 5'0. for ,.,cl, <piwJ ... ,h.;., divini,y could ,;al. on tangible """.rial
fo. m . nd "'mid - ind=! . .noukl - ,h.",(",. be d.piCl .. 1. J '0>1"'" ,h .. ,h<
c .... i"',. 'I'P"''' 0" f. JOY" I .... i" 1"" benu j, maJ poin' ,h., .n., .. ,;'
rould nO!: t he abi!itrof human w;,,,,,,,sa '0 5 divinitr. Th. imro"'n attxned
'0 .hi, roin' ""y be., k ... , p,,,ly ",.poruibk for ,he ......,n, of ."""".Ik,,,ed
to ,h. ch,i..,. on f. JOY' .... nile ,h. <", i .. pusion ""1"'= i, crammed in,o ,h.
uppe'''''''' f<l!;" .... ,n. eh.im ".nd. 0Ye. the whole low third of ,h'!'Ige.
A, . n opening , ... im'll" f. JOY would h ... been p,..,icubrly _ lI ,ui"d '" ,he
poli,K-aI elim ... of ,he o" b"""" <hurd! in ,h. Iond IuJf of.t.. oin,h om,u.,..
Th. 'm.s< as a ,.-hol. conclu.i .... ly J.mom."" .. ,t.. hum:mi'r"fChri". ro. " .... n if
. Ii .... in ,he ctUcifi.io" ",.n. h. i, ",inly d .. d in ho, h ,h. d'l..-..i,io" .nd ,he
emomhmem. Soch.n <mph .. ;. on ,1>0 humm'<)'orCh.i " ace",,!. wi,h ,he ortho
dox in.i".nce .h .. ,1>0 inca,""i"n justified mipou. image.,.. fo., .. we h.,." ...,n
rq><.rcdly. ,hi, po>i,ion d.m. n<kd ,h .. '0 d"ny pi<tul<'> "feh,i" "'" to d"ny hi,
hum." n,,,,,,,_" n er;.;,ion. of ,h ..Ie.d Christ ,h.",1>y """Ii,med and ""ofor<!
,h" onhodo. I""'i,;"n, . nd to this ex"n' in<vitobly fuOCI,oned in pan .. ,i,.".1
p<>leO\""
Th" im.ge abo m.)' h.v< been ",,"gcJ ,oro=<rond wi,h root<mpo",'Y Ii",,
gial ida._ Th. CCI"",I .xi. of ,h. j><>1';" foil""" domin,,,, Ii .... rIO'" ,h. crudfied
Ch.i" on Golgotha '0 It.. liguro of John in ,h. ccn,ru ,ic., ,nJ .t..nCl' '0 ,h. ,i",n
Ch,i" o(,he bot,om 1'3001, The rain'- .. wi,b tlte aligned 'omb., and in m.nr
",I,., mini,,,,,-,,, in p,.-i._g'-ltO_ .... ,.,).id ,110 h""'-"nt.1 n""',i .... striP' wi,h 'C"
, ial rommen,- No K:m""ni. Ii .... ohsc,,-ru, 'Il<- ligUle of John ,i", ,ogothe-r ,h.
erucifi. ;on .00 ,1>0 ro' ''''Clion, the 'a",,' and 'h" '.ff ... , St.. .rg..cJ tI .... h ..
Iign,n.m w" pmicul.tir ;tpt. bcc.twc Jolin'. g"'pd w" _" .. . . ignifi.e,n,
. ccount of . 1>o =", m;:,ioo and p!.yed. m. j", role in ' he E..s liturgy. jill' ..
G"Ir"):' ... mon 'On East'" did.'"
Folio 7j' (0 4) (fig. q )
U"iq",ly .""'tlS mil\i.otul<'> in p,ri._g' _t tO, ,he ,,,,,,,fig""',;o" 00 '- 75' siI .....
!'ISe with .t.. I .. , lioe> of ,be pm;:eding homily'. ten. Th. twdfih ",'mon, 'To hi>
f. ,h. wh"n h" h..! , ntfu"ed to him ,h" <arc of ,h" church Nui.n",,', begin'
"M.,,,,, 1111"" . 11-'1" R",JW,,, 11*'), " _,,.
Th. " .. "'1-' .... fo. ''-'mpl<. ,t.. of ,ho ?l7 Coutocll, M.,..; XIII, ""Eo
,,, .... s.h.o. ",. hutiwt, M. rt;. 11."" ...J. fo. , . ___ .om' of..".. '''''''' =""
""'"'r """"w- fluo.:, (0 oil) . n .. (0".) . ... -.".
"n i " .. rw; b ... cke11 by th ...... t.xu, the im.g< ... r.uin, ito origin.lloeo
. ion."
(;"'ll"'Y Jdi ... od tho OMi ... " . ft.r Ic.' ing the bishopric., .$.a>inu to r"..urn ".
t-: .. i.nzu, .. bi,hop..:o.djuror. H. h.gi'" with ,II ir"'""'tion to the Holy Spiri',
.nJ rontinu.,; ", fottr to the Spirit .hroughou he homily. I" I"''''''g< m.rkcJ by
.n ."I"<god ini,i.l "n f, 76,', h ..Jmi .. th .. he i<:
,nm .. ,,,,,k, "'i'" <'<Sf .r><! <mn".ium. Th< one '''IW''' ' . , ,h" ,he mind "",,,,It! <if<
in,o ,,,,,If . nd KOII it> from ><n.ihk.hi np. in"'&', ti,...,1t! I""'" " .mmn,,"," ,,,,h
C..,.j .,><1 .,. , k.,I, ,lIum; .... <I by 'h, R" hi .. )' of ,he Spir'" wi,h "" oJ .. i>t" f< <>< d i ..
,,,,,,", ,,,,,,d ,h,di.i"" ligh, by w,hly",d"u.k.i. , , Th.",I .. , "ill, ,b., I .... M,kI
rom< forw:tN . , . .,..t puhli>l. th, J,,;n, IOgh' "
Though h. n,,",'.r fo" ,!"",ificall
y
t" the t"n.fisuwion, Dc, N ...... ,. n 'ightly
<onn..,tt:d G. cgory, rurting us< of ligh' im .. g.t")' wi,h ,h. i""g< on f 71'.
Furt her, rho n .. ,..,i"" of .h. ",. .. "w,l'h .... i' - wh.n doud O'Vmh.d",,"ro ,h.
divi"" ligh', '" pfO'toe, 'sen.ibk ,hing" kg. Luke 9' -lie> b<hinJ the '<K ...... I
im.s<.y of the P"""ll< m"kI in Pari . gr, j ' ''' Bu. if we c.n un .. ",,1 ,h. ""no<a>On
I><.",n r ... 10d mini"","" wi. h rd"i ...... he 'r .. ",fi!\U .. ,ioo ""nethel ... ill ,,
min .. et ... het ,h.n iliu", .. ", Grogo,)', ><, m."" in ,i>< Mil." ropy m.rgin. 1
im.g<' ..ccoml"nying ,h. s<.mon or<: =rric .. d '0 """ ]>Ort .. "., <>f G"go, )'
hoolding' i"Oct,i>I with the ..Jj. c<n, ,,'o,d. "fhi, I<,mon."
On f. 7\', ChriSt ,und, ,kong ,h. , .. ",.1 .. i, of the p.g. I>o:"..,h <>f ligh'
, ,,mi,,); r""".o Of< <>fh.,,,,,,n; h. bl<o<> wi,h hi> righ, h.oo ,nJ hold, . 1< <011 itt
hi, kfr . An ''''cok of ""h .. ligh, (""hi,h, liko <1", on f t6). ddc,iba luch
I'<rf<Ct ,i,d. ,hat it mult h.", been r=ro wirh, romp"' ) ",nound, him, , nJ
.nromp ..... mo>' of tho )"OUlhful Mooe> (MOYCHCj on ,I>< I<f, .nd ,he .tJ ..
Ui j.h (H .. \IAC) on the tigh' , Though ,I><i, >fm' .r<: conlin! b,' cons;"";ng
sling_lik< d"I""Y, M",,, ,,,,I El ij,)' turn ",J JS<" u to".-.,d Gfi" . All tI .. o " . nd
on, ligh' bmwn moum.in. ,,-hi,h ,10'''''1'1'''''' .h wo d.tt. ".Im. ,h .. f", ,,.. ,he
"1'1'<' !"tf <>f til-< mini.tu. Below. on >trip of g,on ground . 11-< ' I""rI .. 1'<<<<,
John, "..J J1m .. . 1"",. ",;,h t;ny <>utero!". P<ter (lI ETPOC). wi,h ,I><
unu,,,.1 ligh,.brown " .. ight h.ir h. a1", """" on f '" (lig. " ",," ., ,h.l.fr.
11. tum. ,ow"J ,nJ look.< "1'" eh,"" r.i,i<lS hi ' 'ight >1m in grcrting, John
(lIlA:-<NHC), 1><<< bc.rdl .. he i, on (, ,"Ioor not on f. ,.".). i, I'I>ero Ji' <c, ly
below Ch,i", h. f.oi l> ID,w"d wi,h , ,,mJt:d h."J" hi. ' ight kg II
UI

S
behind him,
J.m .. (IAKIlBOC) II .. f.lIon on Ono he f", ... fO""",,fd, bu, look.< n..ck "P"
" s<:.,... ", ... .06' {MI';. NfNf', Milkt h.,ol. '." Molidn; 1,.>61, """<':
0"""" 10".), ,,..,l, pl. XXVIII, M",<> .. ) . .. , It,,,), "'", W.", ..... " .. ,).
[)., Nu ....... (,,.0, ",_m, Wd" ...... h .... ). "'_<'" w.o., ...... i 'n,b). M_ , .. I".,.),
"'- " " 11'",,, ...... " " 0). H' U. .... {'onl , <.,._.". '" >C "". ,,,.
"G,oba, h,,,. ), pi<. XV, , _" in m. ';"MH. r;,...,.-, -, ("Ion- ..,_p.o .... "m, no. (j,",p:.! I .
,;"',Jo_ ;0<1..k 110nU/y " .
Vision meaning in nimh-c.:mury Bp:;lIlfium
f,X. UI MOWII Simli. (JISt "P" mow;r; mmsfix"mrio"
Chris!. raisi ng hi s right hand 10 shield his face. All fi gures arc nimbed in gold. The
disli ncl ion between Ihe Old and Ncw TeSlamenl figures is COn\'eyed by coslll me:
all We' dr a pal e blue undenuni c, but rhe mantles worn by Moses and El ijah are
beige hi ghl ighted with whit e. whil e those worn by Christ and the apostles are
whitc sh.lded with pal e grey. The scene is identihed as ',he holy mel amorphosis'
(H AnA METAMOP(llOCl C) on the gold frame; the identifi cation H META-
MO)l(llOCIC is repeated in white below Moses' feeL
M:mhew 17:1-10, Mark 9:1-9, :md Luke 9:28-J!. recount the episode. ,md r. n r
conforms to these accounts. Nonethel ess, the Gregory transfiguratio n differs in a
number of imporrant rcspt'CI$ from the farnam sixth-cent ury mosai c at Mount
Si nai (fi g. 1lI ).9-0 where only Christ occupi es the aureole oflight , Eli jah (in skins
father than chilOn and himation) and an older Moses are reversed. and, though
Peter kneel s in an exaggcradon of the posture assumed by John on f. 7Sr, the apos-
des arc :IrrJnged differcndy. The differences berween Pa ris. gr.5 Io and the Sinai
mosai c suggest a changed conception of the
The transfiguration, as proclaimed by the Council of Ni c lca. in J!.5. proved
... Wt';tzmann (n .d.). pI. Clit For mht'. t'ul}' t'umples, = r .g. EI.nN (1988). i H - 4 77 .
... So 100 Elmt'T (198S). 474- 477.
)0,
Ch,;,,', di,';nily: import.m in [he aSos. i, .1", dernomlr.,ed [n .. [nO divini,),of
'h-< .so., could be >n me m<>[[1.," The n ..... 1 .ignilian of [h.
' ... n<!igur:""'n [C$ulta! in >p>t< of im.gc.: of [00..: Prci<,vl, ,he Khlud .....
""'1,;' ;:I.....", in <i>te to Po.,i . gr."o . nJ onticip" the Homil ", im:lfl< in m""t
d.,.iI. (lig, 1>1).'" ChriS! ... nd, on , moun .. in,"!' in , "".,i)' ci=ul .u",",I<
which . 1", end<=<. y'mthful "'OS (kfi) ond olde[ Elijah (,ight);'$ on f 7\ '. the
Khlud"" mini .. ",i" ".ro difforcnl-Coiou,a! "",,[omc. ro,hor [n,,, diff .. "nt 'YI""
of ",,'ume [0 dini ngoi.h [ne Old .nd N<v>' T .... mem figu...,., The J'ul<<< mini
oturi" nos ,ner>cJ ,hupo><b. ht r<t .und, ...J gntu...,. up t.,....n! Oui ... nJ
Jml<> rope'" [he po>< he hold. in ,he Homil'" mini'N"'. Only John d iff.,, : in [he
Psal<<< he h"ddb do>< '" [he ground.
Fo' oth toughly ",ntempo ... !) imag<> of the tr:m.figu ... ,ioo """ h.v< written
.... id<n. h", [he only dc .. ilcd :0""'" ro<>urn, ,he ,<",:1\0 i" the Al""'t,d<>On.'"
Coo".n,in< the Rhodi. n .upplied mh-:mUl)' d<S<fiptK"" " ...J . round
" 00, N;,hoLu M"",;, .. l''''''i ..... 1 full., "'1"'" ,," ,..11 .. ;, '1'1"'",nlly ,he "'me-
m<>Ai.:, ' W FlOm [h<><: ... " .. i ..... , i[ 'PI''''' [hal [ne Ap,,,,,,le;',,, di><ipl .. loo/.:cd
th.,.. do in r.ri . gr.! ,O '" the )(hI..Jov Psalt<t (the d...:.i p, ion i, nO! wffi.cienfiy
P""' u. ,0 indi .. " . )01",', ..... e. I_i[ion. ,he m.j", differrl'" ""'W<'<n the ''''''
mini'IOIn) .od, ... uming Mes .. i[", dc><,ihcd [hc di"';pb from 1.,(, ' 0 ,;v.,. fol-
10" .. 1 'he order off. 75' .... he' [n.n [he 1"-'1<<1, A,>p.r<nfiy, [00, M.,... . nd
"ood to tl .igh,. ",.ptivdy. ofCh" ... . 1I .hl of .hem in the b' igh'
cloud, AI"" .. in 1',,;,.g', 5'0 (bUl ....,[ ,he Khl"d",' 1' ... 1<., ) " YO ofligh', . ignil}'ing
(;00', voice. "'<:om,,! d ..... n from """v<n. The majo[ dilfer<n >om! ro I>< in ,he
.,,,ibu' a of ,he propheu: the Apo..oleion M05CS a,ricd .nd fJ ij.h WOl<
."in" On" i thi. d'",,,,p"".,.. r .ri . y.S'o. the )(hI...! ..... Psalter. ,<><I the
AJ-rol.ion n"",ic .,,, mOl. 01"",1)' I .. cd to ... h ,,,h., ,n.. '''y of ,hem or" t"
the .. <lier Sin.i mo .. ie. '. ' All >Cern [0 reproduce. wi[h i<>div;d".1 ... ri".,n" ........
f",m"l. fu, tb< ' ... f.mili" in tbe api",1 from , he midJle of the nin'h
e<mury' '''
T"", det. il, on f. ]j ' no",,[hel .. , , und out, l10c d..,e ",,1m " ' nicn rcplia [he
" .. in;:l"Je,J i" ,h. A<i;m .nd Eve ""i"enee (f. \1..-; (0) .nd ni<kntlr rtfer to
the 'I oflife. ' 1'1'''' in [he Khlud"", 1 .... 1,., no, in [h. d<o<, ip,ion, of ,h
.. 10"" ..... ',0; '17 , ...... ' .... " ........ n ,-.-,-."j,,,",, d"" ,y,., '*'''' .. , t-.
, .. w" in """" .... OK < ..... ...,"'.
H .... M " .... , f "" .\l<]>l, .... "9771 .
.. 0. ''''ApoowI<_, _< ........ ' , ...... >I. l< VI', ..... , ... .-1. n ....... ' .. .,. i. ,Iw ,hu"h.-l
s.,.."""" 7 ..... , ... )i,,1o: io"' .. ,,''''.: ... M,o"" h'7". "'''' '0<,
F.J . Uv,Ad (, ... 1."" "'.,. >QO-"" .
... [d, I:townq (, ... 7) ...,....,.,'. ",., . ' 1'-1;,
h .... i. ,.". bmo "" to! , .... , r. n>.J'."o . ..... ,Iw KhI ..... l'ul,., .. ...-II, ..... 1<.1 ... ,to:
........ "';.,., ... ,", ..... " .... 1: ,f P ..... 1 " .... ). "'."J, r." ,hio ........
MolKtii (" ,.1. '<1-''' .
.. , f.4nt, 10"'): "pl .... ,,,. i,_, "-=<. ,",i,.!yrooo,,,,u.,.
'"
Vision ~ n meaning in ninlh.ccnlllrY Byz;lfllium

)06
Apo"ol<ion mosaic Th<i, indu.ion wu r=um.bly in,ended '0 imfM" .n
roch"ologicol lhvou, '0 .he mi"i .. m ... '' _ eh,i,,'. di"ini.}" w on unn
'" ,I,. .po"Ie", i, will he '" .11 .. ,10< S.mJ Coming - (,mili" (ro",
e .. l y Brunlint' oommen' .. Ol> .uch . , J<>hn Ch'p,.""", ''' 1'''i, .. "",i .. ;':m "'"'
artainly oo:<pt.,.j in ,10< ni .. ,h a n'ury. when PIw,w. r<p<.,.,.j i, in Ioi.
Comm, .. "ry on M."hew.'" Bu, ,I., vi.".! (ombinati,," i. "nunul: ""hil, ,I.,
r ..... m.y . ign.l. p."i.reh.1 imerven,ion, i, i. as impon.'" ,har ,hei, p.o,><Ii,.1
implicotiom und,,,,ol<d Ch,i,,. divinity. 1"', ' ... n.liga .... io" visu,li:=! ,he
",,00d0. beli.f , har div;,,;,), ".", =n .nd oould ,h.r<ful< be pictured; the ,,=
unde""",. ,he l",inL
Th, h.nd of God .merging from.n'r< "fh .... n '0 lill Ch,i..- wi,h ,h. Holy
Spin, p ...... ,d .. , I<>nd unu.u.1 r..1Uf< uff. 75'- N", unly doe:. ,I.,. """if p.-.:w;Je
.. '" in".OC<' of. rom!"",i,io",1 dem<n, 'I'f'<",ing o ..... id. ,he miniar" .. ,
bu, h. nd of God hardly ever 'pp<><> in im.g .. of II.. " .... .. tion at all: God',
p""'''''' was ..... Kl.ntly impomnr ,,,, uugn ,10 .. d<>igner ofl'1r; . gr.sro dC>";"ed
from ,he convemion. bo,h of ,h. m. na.",ip' . nd of ,rodirion.1 Th.
"')"1 ,m, n i ng from God.. h.nd oo:ord wi. I. ,he ,mph .. i. on divine lign r rna .. ib.
in G$Ory', """,un, . nd we ",ignr .lso_God imbuing Cion .. with ,he Spi';, ...
divi"" p.or.r.lld '0 ,h. ,,,n.f,, of fron. G,<g<><y ",.. '0 Gr<g<>ry jilt . 10 .. ,1.<
.dj.om' h(}miiy oommemo",' ... As importan., howcvr:., the hand of God .. ....eJ
,he divini,yof ,h.
All of ,IK im.gc;", ... id.ortJ in , bi. ch.pre, h.ve .!ro..-n human . (}n e.rth. viewing
... d inre<><:<ingwi.h divini'l" in """. c .... ,h. vi""",r i.< invi,.,.j '0 ", ,, iei,,,,,.l n
.. me, on, could .rgu, ,h., all of ,I., mini. tur<> ,h" pictul< Ch,;" 0' .. inu "'tend
,h .... m. in .. ;,.,ion; ,he ",look oo<>!" of figu",;"" ,digio",.rt rerugni= ,he
.biliry of ,he .mh_bound behold '0 ",'irn ... "'p"""nu rion. of ,he holy. 1'k
m;ni.,ures ""..,;JertJ in ,hi. duprer .i mply .. kc ,10 .. cq u"ion link deeper . nd
.how ei,he' ,upc-m1lural divinifj' - '''geIJ .nd v;'ion. "fGod '" Ch,;" - 0' ,he
incam.re Ch,i .. rcveoling hi. divine n .. ure ... in ,he d .. ilrt, "".I the
,,,,,,ligu, .. ion. All d.mon"",e ,h. num.n .bili' r '" P'"ri diviniry; .11 d.mon_
""re ,h" ... h" put hum."' ..... nn be vi.u.!izcd an<! "'pc-n,nc.,.j "' ..... 'hmugn
, h. rnr:.:Iium ufim>g, Th .. ,10, .. of ,h. full-I"ge mini.,,, ... in the bodyof ,he
m. nu.",ip' . 1< k>und ""i, hin ,hi. group ,ullll""" ,10., rhi ....... "8" ..... ;mpo,,,nl.
,., \ott [);n .... (.96-<I , t7- roo,
8
lconography
'k'>Doguphy' i ""';&h,ed t.rm, .nd the baggage Ih., it c."ia depend, on onc',
rime .nd pl..,. of , ... ining. and on ,ht'!;.''';plinc in which one " '" ".;,,1. II i. u...J
he", . s. , h""h."<1 .<fcr<oco ." ,1l<<<>,,,,dl.. iOfl .Il .. d .... mincd how.
.. <piwdc "' .. dopictt<l . Th<>e fe.tura ;..clude, by. arc no. !atrine<! to,
rno'1'holog)' (, he ""[>< of [h. _ .t. < ,ndi [ion.1 ohjec. of tconogr;oph ic SO oor.
The prim.,)" aim of thi> book ho> bn 10 exam;M how image> worked in
I'>,i,.gr."o. Hen. iwnOV.phi< .n.I",;,. h ...... f., f"",,1ed on elucid. ting how
(.nd ,01'><"1;"'" "'hr) appaT<mly hmili .. fi;"mul..., " .. '" modilird oo on isol .. ;ng
f",u= ,Il .. >m tu h.", h..J ["" icyl" m"ning .,ound S80, w!,cn t!>cy _te
<;omhi...,.j wi.h Gn-gory' ... rrnon . Thi.no",;", a roc". on wi .. , ' u",ivinS
,""n:<> ,u);ge>' w-., ,,,,,,,,,, ive I\;,,,h..:<,,,,,'1 konog"'I"' r in "nlet 1<, I'",.ido.
gcncr<l1 picture of ,.,h .. [he m;ni",u,;", '""'" likely t" h"" known, ,here Iu. bc<n
",,..,emp! ", pi"p<>int pr;i>c ""uK<>,
Th. vi.u.1 .... ufe .. ,",'i,h which the Hot"il .... mini>!"rim were famih .....
i"'p<>runl '0 our und<",anding of ,n., manweript .. a whole. Th. precisi"n,
aboo t image.patt .. ", poIrntia.l ly .... ilable in Co"" ."t;""!']e tl"" un be wlUng
f",m ,n ... ><.><i .. i"n, .re Ie:<o ;"'1"''''''' f", an .".ly.;' of roru.gf.5' " ,h.n 'hey
are for an undemanding of Byun'in< y;,ual culture in gen<m. Since chap''''],
which pi<f",ed ,n., """, ... , wi,h ".,ieh Pari . !,.!." '''' ...... ed. I h'l"< oonccn1l.,ed
on lhe internal ....,,\<inS' of the manweript. Thil chapter i. obou, wi"" rui . gr.jIO
tell. u bout ",h", wu,k..,
1Jr.< OIJ r",,,,.,m,
(,,,,,,",i .
In Pari,.gr.j' o, twcnry ... ight K.n<> from [he I:.0oI< ofCcn i, ale V,hcm:l imo four
mini.,,,,,,,. T"" of ,hoc pal;"> pinure the d<n><>, n. m'i .... ""I""n<;a in 'he manu
scrip" .nd "''' .h.11 'hemore rely on rho G.n<>i, >r><> mood fur
di,c .... ;.,n,
n,ree of ,I .. p.ge> com,ining Gcn<>i, sc.n.,; (II'. ,'Y, 69 . nd )60" fig" 1<:>, 11,
J7) I""","r <1<'t"icol ill o"""i",,,,!ll< foouh If. r7"v,lig. '}I p""o'"" sc<n"" '"c'"
,io"'" Om no' d"" riW by Grq;ory. Though rhe .. ,mons connor h.w provid""
,I,. di""" .11 d .rip';w in'pi,.,i"n f", ,h. (;<n" """ n .. in 1'"i"W.,IO, "".
would <>0' expf th.m to h.v< in any " se: Gcn<>i. 'I"wn"" m"re narw;""
,"",,,,,nen ,h.n . ny orhe< Old T. ,. .. mc", book, in.n impon.n< seno< d vi,u.1
".,,,,,iv< <>fC." ... i. h..J .Iif< inJcp.rn.l.n' of ,h. bil>l;.:.1 chronick,
Folio l In) (fig. w)
Th. 'OP regist" off. 1'. ,h."..; >Cen., in par.di,." rq>mcn,"" .. . wn m .. dow
,,,,dded wj,1t Ml flowen ."d gold I.,ves; ,h. background i, of "'r;<t',ed blu . Th.
Ii", .en., rhe <",,,,ion of Adorn (G.oi, ",1>-1], 1,]). p, ... nu ,,," e .... "' ...
bar:lly hand of God in thc uPf"" lei, co,ner. n.. nud. AJ..m Ii ..
wi,h h;. ey .. dO><d 0'" di.gon.1 in ,he lefr com.r, s.,...,,1 d;.,i"", .piwd .. i"
Ad.m', au,ion 'Pf"''' in .".n,i", <),<I<>, r .nd hoth ,he illu",,,..!
o.:",<uch, - h. lf40,cn inte,rel"..! m.n",aip" doting from ,h. ckv<mh,
rw<I H .nd ,hi,,mh a nmn.. ,h., ron .. i" rho li m <igll' hook.< of .h. Old
T", .. mcn, _ .. nd. of WOlk.< oomcrimc. c:rlled ,he C,,"on ('.en",,, f. mily
iDClmk . ,imil. , prorr. Adorn .m<rng .h.i, ><enn,'
In ,h. n"". im.!;", > n..d. Ew (ErA) .nd Ad.,," ' it .i<le b) ,ide the
g>fdrn of p.r:adise. Thi. i, pmhohly mcan, '" f<pr<><m ,he c, .. ,ion of Eve, wi,h
the CI.ativ< furce <-umi ns ftom the h. nd of God u.ed in ,h. prrtcling >c<".,
Though E",', <,,,,,,,,n i, mo" indica,..! in Byunr iurn by ,he cr.,.""
drawing a of .. worn.n Of. ,ib from Ad. m', . id., tf>< fully form"" Eve
' 0" i n the f""rr .. f,csro " 1) ... i, .nd I""'ihty in ,11< badly
flaked mini"uf< ,howing E",,', < .... ion fro", the mi<l-fourt<,<n.h.crn.ury
M." ..... Cllronid<'
Th. 'hird >Cen< ohow. Ad.m and Ev< ([EY]A) ,,,,Kling nex,'o . n
up,igh, '<If'''"' , """"ing ,f><i' ... l. with I"g' grocn I ... c>, The: ,I<DC' of.
, t .nd bck of frui, indica , har thi' i, 110" co"",,,,;o", 1 im'g< of the mp,.
,ion o. ,I.. fall, rn. promin<",,< of ,he O<'f"'n, ,uggo" more ,h.n ,n. covering of
' s.. ,"'';ttm. no Ut<7). ' 7+-<71,
, Th< "blOosnPb, Oft d,,,,, _","" ..,;fi< .. 1 v...". """ooiw. Moor of ,lot o" ... ""b ... "".1
.. ooikrt<.l .. ..... 0.. ... (;.".,;,_ ... "'rinm.o.non<! Fo.- ,lot
IW_ ""' ... , t,,.,,.l, "', . . ", I ....... "97'01. Ii,. p. "1" "" ...... 1'.;11. ",. IV, Kndn
(,ml, " p, ',>,., ...t K<Kk-,,oo), ".
, Fo.- '''-<.n'. l..,l.w>I (, .. ,j, pl, a : lv, M .... ...;.< ..... ,,_), "I' I .... 1. 7_
G""i ....... r.;.. ..... 10., .......... ".!k;pr .... _, ,lot 'ma'!"""' ..... ,Iot ... o< f,\...t (;"d
"""'9' "",', "I"'" ,w"", ..... lot ...... ' , , .) , .. ,i....,."'""" ,.' .., I
(' .ur<" .,. "'Mlo,; "I ,lot s.m ... i.",,,,,,,,,. Fo.- ,lot d. ron.<I., Folo. 1 ,.d, " . .. ""d, ",. <.
".ked" ... , .h. ,h, .. l"'"",ipan" in .h. drom. of migin.! ,i n ", "".iv'ng
.h. CUrK ofGooJ (Gcn .. i, J"I- W), cnl1n .. ing from ,h. hnd in the upp<r left_
hand romer, ,h .. a",demnro hUm ",d Eve '0 life of 'oil M"idc p .. roi", .nd
doomed 'he "'ren' ,,, , .. wl on i" belly <Ver .fr.,_ Th. ,.,m. ",om.n, i. ill""",ro
ill rho s"..", ''''",IIt!" (fig_ HJ) wh .... '" in P.,i . g'_I'O. Ad.m and E .... ru,n roward
<>eh ,,'hcr. g<',u,ing, .nd 'he lO<rp<n';, "ill uptigh . ' Sot,,,, i'd",lMR.ho
,n.k. i. i"",,,.J hotw .. n the t'Wo "Su .... hu. ,h ... yonm",i, .. 1 grouping of , he
I' .. i, GrtgO'Y '""un in ,h.< 1<mn-anlU'Y.!om<" I"intingo at Aght'amar and in
..... "'..J I.te, m>Iluscrip" rueh f<>unccnth-:ntu'Y ropy "f the litur-pc.1
Homili .. now in Pui . '
n,. "pre' r<J\i>t"' ... i, h Adam a"<l f ..... ,,<I I cW in I.,v .. "'M' , han ,he
garme",. of fur ,h., ,he Gc"..i. na",,,iv< h .. given ,hem by <hi ime, ""-'. ou' of
po,ro;,." by an archangd . An .ngel areller i. no, .poei&.! by Gc...es'" bu. i.
common in nmh 1i .... 'Y and ",i", inl<rp" .... ion. of ,he ..... ing OU" n ..... cd in
Cen .. i, PI, The anKhroni", relent;"n of ,h. fig leaf S'rmenl> i. I"" ron"""-
' .... n.l, nu' ""'"'' on """,n.In,h-:nlU!), Byun,iM ivory b,no. in ,he I"in,ingo
" Agh,'.""", and in nume""" m. nu.,,, il'<', including the dCVCnlh-:"!lrry
Vatic-, ,, Kli...-, oo,h ... df[h-,.,"u'Y 'f'i .. of [nO Homili .. of Jam"" If
Koklcinobaphm (fig_ . "..). In. Man .. ",. ehron;'le. and. fOuneen ,h-un,uryli,ur_
giw roll on Moun' Ath ... !
The >onJ rcgi>'" hcgin. wi,h. r<pn:se" .. tion or ,h. ch.rub gt",rJing .h. tree
of lik (Gc"..i , ):1\). As no.eJ ch.p, .. I, m .... "a".,i,. >]""""'" I"", .. ,h.
eherub bcfoK the expul.i",,: but the Kokki,IOb'phoo Homili .. r<J'<ar [n. p;o".'"
u" f. I" .,><1 ric'"'' <I ... h,rub guarding ",,,.Ii ,. 0<1 I .... I"S' from [he
cxpuj,ioo"'
The , ... of li k, ;" lo""" .... n in p."Ji,. cI.,rty indic>.,ro by word. 0
IlAPAt. ElCOC iruc,ibcd above j, on 'he gold fr=e. ;, reprncn'ro .. a dole p..Jm,
Ge"esi. J"", not iJ.n[ilY .h pe<Oes - . nd moo[ 'po<:ryrhal ,.." >r'ilY
r,,;,.,,.,,,, f . .. " w,,,,,,,,,,. (,.nol, ..-". Iis-.,
1,,,,1. ,. G,uhi. 1'1"',1 , ... rly ....... ,._ "d." ,!un "''''-0''" ""',
... ,I>t <10m< I",.,i"" 1>,,, ,hi. n.. "'" "'" "odt "''''P'''''''' I d"nk y-. Jon<> fo, di"",,'" of ,log
poi ... ... ... ,. f. " .. : (;01....,;, "" . .. , .
'Tk ' .......... ;. ."",1 ,. ""I> Mo ... oJ f", ">tn, (""b' in C ........ "'. ,oJ '"""
"",' ; ...... 'I' .. " ...... , ""'P'''', ""' .. oM I .. "" 'om, "",I>' .. th< ''''''''' ... " __ "",'" on
.,n: Of< K ...... lo.nl, " ; 'I',inm,"",nd K ...... {'OUI. ,,_,., f", ,k 1i",,', .... _
, .. ,k ..... "I""", ",,0..,""11 (",,1. '." ' .. .
UI.l .,.,;.......,. I ( .. )OJ ....... 67<1, """, 7J. "" n. ... 'r h"hl' MOl" n h .,4l . ..,..I\s.
_ : rI. fl . [_n, h,n). rI. v, . nd " ",,,, ,oJ C ...... I,,.,). _,I; m,. (""I.
,,_j< ind h",1, rI. ': 11< ..... ... ",,1, rI II" ,oJ I'd<kan .... "",- J ',.-"". Tho
"""if, .. "I'P'''' in _;.v,. Rom," _u: "" ... wId, t, .... ), I\s. '" ISo. I'ookol : Gu,,,,,,, {'''').
c..n .. ", ..... "' ... '77-'''", w .. hC..",,,,. h .. ,) .
'Yo,.".,,""!' HI ("l"'b""),,M (,,,,",0): Stor .. ioIo ",,0), pI.. u, '): If,.;.-
' ''''I'''h;,.,.: lis- ,,,;1. "'" (,""""): 0.00 .. '" 171, rio. v. v, .
, ..
Iconography
,
,

'rll / ,Afr
,
N '/ 'Ilf f 1! t:'I1If
7 AU ( ) d.rn


,
7, ""!. H rr ,
!rA I T

'fA fI
)( I f TI"

\JIff Y'
N. A. lr
p
7 ( 1"
,

,.,.. .

Fit.. IlJ PllriJ.f;r.9lJ. f 69.-: ror'U' of AMm, E,.or. and liN
J"

-

,

Vision and meanlllg in ninth-centu ry BF.:lIltiullI
-------
~
', .....
,
Fig. 124 nlris,gr.l)o8, f 41r: smll'S ftolll llir MIlO,] oj Add", <md t ~
J"

1

fig - ,!.cd.,o p. lm;' "nc,ione<! by 'ho IIoukof F....xh .nd, more iml'''''.n,lr. by
m;"ie eon""n,ion. "
Ttl< gu.rdi,n ".nd. "!l.in" , red bKkdmp ,ugg<>,ing H.met, .. , ,..i,nin
bl".-srey d' M''''''Y ,1", "'1"<><01> ,h. g'l< 'n p,r.Ji"" Th. ch.mb h..o, ,;, 1,10'
"'ing' cm' .....J wi,h O)'<'S .nd i. ,,,, ... mmphie in .ddi,ion.o i" hum," h.,d,nd
!, . lion', ho..! at.nd. to tho kf" b"lr, h .. d to the .ight. ,nd ,n e. g\< <n""IP
from behind ,he .h.ruh', gold " imb. The <r.,.[u .... tO ligh' bmwn; [hcy . Iong
,.-i,h ,n.- O)'<'S on ,h. "'inll" denve fmm E.zckid', de<cnp,ion of ,!.c chorubi m ..
, .-.motph, 'full of .,.n' ; t be number of ,..inp (..01 ...... h.i.h, 1' .. "t.-.y.1 of
"''''phi ' n .. ,i . winge.I " Thi, <onR.,i"" c<mf""n, wilh nin. h-", ul")' I'r;coi<,e;
the V .. ian Chn"i." Topogt. phy combine> tit .... , ibu,,, of chorubim .nd
,.. .. phim ;n ,h. ",m. ",,"0., ([,1\. 76) , l"O""".bly i" ""1'(JnI< ,n ,h.i, <o";oi,,.
d...:.iption in ,h n. p!>or. of [h. Ch'} ..... [om lit urgy. " Dc<pi .. [h. insen!"ion
't he fiel")' .wurd' (H t/' ,\OI"l NH POMtIoAIA) on 'he g;lt<, ,h. cheruh ",ni ... .....J
1,,,,,,, ... ,h.r [h.n ,h woro "fG.n",i, PI' . hi., .nd ,h. g ... in wIl ieh [h. <!.crnh
.... nd . dupliCit< the im. go in tho Kll lud",' Ps.ltcr (fig. Ilj ). wIlik the 1.00:: rttul>
in tho r .n. KuUinob.>.ph .... of the " -",,," U.".II)'. tho IS" " ' 1'1''''' bdu", or
wi,hin ,h. VnJe" of "'mli .... but ,he i,.,l"ion of ,he '''''' of life Mund in ,he
Homilic> r<'Cu .. . , s..n M .. eo. "
To the 'ight of the cl. eruh. an .",h. n8d, d. J .. in tlte lOp rq;i" .. , h"l<l. A<b m ,
""".prong! '-. T"ougb ,h. se<ne . lIude>.o (i<n",i. ",.", we .. w in eh,p'" I
[h" it find. M Brunti"" vi,u,1 p,r.oIld . ,
The fi ",\"",,,. of ,h. Ad .. " . od Ev. ""'IlIe""" ,I>ows ,Il. roupl "'m.", OI",kl.
P".di .... Ad, m, .. ill ,..",rinS onl), hi. gr" fig Ic.f, .i .. on I"go gY rock res.ing
hi, It .. d on hi, h. ".! with hi. "'''pf''''l.ruuOO hi> heard: [",,', h.,.J.nd
.!>ouldcn ' ppur !.chind him. G ....... do... not d<s",i!.c ,Ilo bmom. bu, [h.
episode 'ppe'" in numero," .po<typh. lt<.t> . including, venion of the
Ad..,,, E"",; 'A"d wgolber bef"", If>< g'" of P ;odi>< , Ad.", weeping wi,h
hi. fac. !.cn, down.'" The J' m<n. wa. !.cing picm.....J by [h. fout,h eemul")' .00 i.
ron. inucd to!.c repr .... nt..! throughout tho Byzontino period, " Um.Jly Adom
.od F. .... , .h.own in go,m,,,u of !\i,. bu, ,I<'V,,,,I ..,ri.,,,, - group of i,'my
ca.skc". , he KoUinob.pho. m.n".",ip" (/ig, ,,6) . nd. copy of [h. lim'lli.-. I
I-I.,mili", - fOllow P.ri',g[,I'O in d ot hing the I,mont ing couple in fig I .. "",. or
AM ....... Ii, ..... oi" Apo<>lypo<oiM""", C ..... <ko II "" J), "_ ",M' I, ><4->0"
'" s",j. .. ' ....... , 11. ...... .. 1.Ct, (""), .-,'-<,
" &dkI "I_I" ""1-,,, ( ...... 6a_"
" V ... I', ..... If, "0",, (St ... "' ..... I ...... ! , pit. ,.1: r. lr.. (<n' ) , " .
" " '1' , " f. " ... (S/<pk'" ['.n)), T ,.,i (, .,1. I}- ,,, AnJ<. _ .... ' I .
.. W.i ...... "n.'" 0.-.,,,, II " . rI' , " . ,,,,. "0 .... 1 .. 11(,.,,). ".'
.. s", "I. ,r., ""-'"h .... ....,. V;" t ;", """" ... h ",i'''"J> (I;,,,", 1,_]. rI. ....
s..-,. o<",N</o (11 ..... ,,'8- [,,,,,,I, ">, ". ><1.
'"
Vision :l.nd 111(,:l.ninl: in ninth-c(,ntury llyuntiul11

I

,


".

,
,
..
,
Iconography
, .1(. .:. ...... ... .; e.;..;: ...... , -t -.l);.,;;
4: t -n'1 un' '-

C\ ... '

.Wt .. I. n J .:-
,

"!,l oc

Fig. Il6 Paris.gr:uIiS.f 4911: SCmts from tht hhrory of Addm a"d E'1r
3'5

vw.",.oJ """"'''; '" ni",h-<m'u,y 1Iyz.."'mm
.h"", ,h.m "",k in.1I " f oJ""" e mpl." .. on f. I'v, Ad .. " """m '" lUg h ..
b<>,d"
Th. Ad..m and Eyo Sju<nc. on f I" pruvi.k:o. vi",..! ,I><
"'",,'m i, ""',,"["',,;., . ",1 ,pedfic '1,;".J .. fron> ,he o"n,i",,,f ,he e""'KJO .. ,d
f. 1I c-",,," i, i, pe.haps oot ""pn'Lng ,h., neifl,e' ,he .. Iea;"n "r
Ken .. I>Or [h.ir .",mgcm.nt ;. p=i,dy duplico'cd d ..... t..r<. NQn.thelcso. ,i. of
[he cigll.l ,,:en .. ,d., .... "d ... 1 ,!.em<> or ,h. G.:""i, n"n,m. many of ' hem
i"H ... ,,.,,.j b)' Tt, ... do 110' c"''''rood ... i,b <II< n .. w;""
""l"eo,<> ;n""" .... ,.,'ed in illum,,! ...... m.""""ip", Tt..",.rt' vinu.lIy no
"", it.,i[><> bn ... n f. \'v .nd ,h. Vienna Ge"..i" .nd ,he h.lIm.,k of.he Co<[on
G.n .. i, group. ,he .,,<1''''1'<''''<>'1'ni< ""''''. j, 'IO' foond p"i,.&,.\ .". " I" ,t..
O""'.uch:. E .,,', ."" ' .... n i. rq""""n1<d by h.lf-Iens,h ''''''<ging fn>rn
A.:bm, .ide. and both e<>rr<crlyd.d in .fto, .h. expul,i'>n; ' he cu ... 'PJ><""
"nly io V."gr, 7i7. wh.r< i. h .. t..-.n SO heavily l<'J"in,ed that it> original fUrm i.
unno;n, " R..,h<r ,h.n """",i"ion, wi,n i1Iu,"",ed oo.:.k, of Ge"e,i>. ,t..
H"mil .... ",end .i,u.1 in "",mi"sly div""" .,..-,nn,.,,, of ",h ..
worlu. o""hly ,h. I<i>kkinoNpho. m.nu",rip" . nd group Qf i""'Y C1!kct
which ,h.,,, wi,h f. !1v . he iconog .. phy of ,I>< .. tn. ch.rub ti,.
lP't< . nd ,h< 1,"'<<1, -" All. (i.e ,he ""l"en 0" f. F", 1''''''''''[ .. Iec,ed ",e" .. from
,he hi"ory of Ad. rn ,!>d E"" divorcC<! ftom ft.""i,." ...... 1 COnt< ...
Fol io 6-!rr In) (6g. Il)
!'.,UrI""" SI\<S 'p",.d "' .. " Ii"" "1li"'" d",ail. hi,,"'Y "f J_ph ,h., co,,<en
on )""",h', "i omp/> over "'ve"i,y," I" ,he or<ni"g image. J.rub in"'''''u
J""'Pn to ioin hi. broth. in S),hern. Iktwn the 'wo ".nd. a ,m.1I figu ... ,,-hid,
H<<I,i 0",,,,,,. r"H"wn! hy ",hoh". We",il\ed .. a fem,le ." "1"1",
unc",""red he,d. ,h"" brow" h,i, . nd ' imple rcJ runic ""i,h gold coil ... h"""", .. ,
<isniry a youthful m.l. in "",i"S'."". Cornp.>,;"m with the ntu,ion', "run' ""
f '70t 11) Q, 'f>< tich )"",h no f, (li
g
, ,he ,.,..lJemili.;.,i"" "f ,he
ligu", .. Iklli,,"in, J",ob. "''' , wh" t<n,.ined ., hOm< wh.n JO!<flh
d.pmC<!. G.:ni. do not 'p<Cifr Ikniamin', p .... nC< h .... , bu, h. 'PP<"'" fre--
" ,;.,u,.kmoJ. .oJ W""ma." '1',,.,, ...... 67<. 6k , tIod, 10 ,"" Ml.kiDoNpb<>< """"''';..',
"'" I, m,,""", """" 'f'I""'" ,..-..: . ;" .. I.r ,m . 1 ._ '" ..... .: "'" ... ,,",- f. It. I s...m> .....
("'01. pl. ", II "', ... . oJ C ... "", (,,., I. u_ )!" p,,,, ." .' ,"" I. . ... (tic- ,,' "'" Omon, pl.
VI!. p"",,, ... ,. f. ,,6>0 ( ... .pn.1 ,"""'" {;.!o ... ,,, '16" cr, il>Ol . "' . Mom
"'1':'::'"'''' in J<"""l.rm, T .......... '" f. "'. "s.,. . ..... " , .
1'" ...... ......... "- ..-.1.,""" . .,.", Of. " ... oc ..... "'S'" (,,,' I. 1"" . H), W""'."'A ....
K ...... i ''''')' " . " s", ........... , H",,.. (",,,,....r '--'" It,,,). tic- p. ,)6.
" n.. hm ...... .,. ,I., ,,,,".w "" on< . n ' k._ ....... ," ",ok ,"" k....r of
,;.-.I "" ,I., ..... '" >OJ<!'PP'",;o ,,., K<Mtkinobaphoo I "" "", .. "...,.j",
"'" ""<>OM _;.""" of.1on< i""", ,", 0><, f, .. ,1y. .... "'".""".oJ K ....
,.9It> I . , . " So< ' '''r'''' .' """po;"'" ..J ...... .". .;"'."., .",...,...J .
" Om."" h.,.}. ,6, """'" "" mwdm"IKo,,,," ofd ... .... f<W<lm .. [,,..., ... ,
"
Fig. I lJ Sill Mllri'l AlIliqwI: }lImb 'Illd }oirph
quentl y in works as di spar:l!e as (he Vielln;l Genesis, lhe Ocrateuchs, and Ihe
coes ar Sta MHia Anti(]ua (fi g. 127) .!.j Though badly damaged, rhe' laner rel ate's
closel y to the' Gregory image: rraces of a figure's 1001 and rhe sil houette of a long
garmelll appear bern'een a se'aled JJcob Jnd sl anding Joseph vinuall y idenrical to
their counterpan s on f.
The remainder of lhe register shows Joseph. walking behind a donkey, gre("(e'd at
DOIhaim by his brorhl'rs, who sit around a semi-circular [able. Donkeys rarely
appear in depictions of th is episode,!G but evcn more' unusual is Ihe portrayal of the
brothers feasting. Genesis 37: 17 does not specify thr circll msmnces of lile brmhe'rs'
reunion, but Jacoh had sent hi s elder sons off to tend the Hocks, and Byzantinr
represelllations of Ihi s scene almost wi [ilout exceplion presenl Joseph coming
" coJ .rhen!.gt,]I. r II' (Gcminge. 119JI]. picl . .10); Smyrna. Evangelical
Scbool A.I. f. sor (Hc .... li ng 1199]. fig. 120); Grunei""n (1911) , 36 3- fig. 89 (idem ifyi "g Ihc sccne
as JO$C"ph Iclli "s Jacoh hi s for Ihc correel idem io". Vilei,j, 1'9791. 58-6,). See also ,he
Conoo Gene. i, (Weinmann K<"SSk r [1986]. 103: Vikan [19791, 101) and s..'p<lClni (Ljubink,,.,it
[19651, fi g. 1).
1 thank John Osborne (or allowing me u", .. mined . cccs> ) Sla Amiqu3 during [he
summer of The si milarity lxlWttll I hr 11 fresco and Park gr. 1 [0 wa.< also nOled by Vilci,is
(1979). \8-64: d. Kessler (J986). 17.
16 For .nmh" <"umpk. "" .. Ihc po.l_ Bytami ne Rumanian min;at u re where. howe,er. Joseph rides
,he donhy: Piid" and Pach[ ([914). 38. pI. [1; Vi b n (1976). H- j9.
)'7
Vision 3nd me3ning in ninth-cemury

-
-
, ,
" .


-- ,
,


J
.,
Fit. 118 s"m. Glf/miral Tm/Sury: il'Ory {IlIlw.jl11<'piJ appTrMr/1n iJi! brorlNTJ ,tt Dollmim; Dmid
alld III( lio"
upon them in a palifUre;!7 the feasting brothers depart from a widespread and near
ubiquitous tradition. The same anomal y recurs, however, on an cleventh or
twel fth century By-zanrine or halo Bp;anrine ivory casket al Sens carved with
scenes from Josep hs li fe (fi g. [n both versions, Joseph approaches from the
IT E.g. [hr Vknna Genesis , nd .he Oct1.ellchs (rderences in 14 and ,,"orb '0
Ihe Conon G(J", esis: \"('eitzmann and (1<}1I6). to}. also Vikan h\l7\1). [01.
!, Gold..:hmidt and Wei n mann I (l\ljO). 6i-66, no. t :t.4a. 5 al:;o nOlc J7 below.
u,
left, supponing himselfwith a sraffheld in his right hand; the brOlhers si t around a
sigma-shaped lable supporting a large plmer. BUI ,here are differences. On ,he
c.askel, JoS('ph leans back on this siaff and geslUres in greeling mward his brothers.
who remai n unaware of hi s presence; on f. 69v the brothers gCSlUre or gaze mward
joseph, but Ihere is no indicalion Ihar j oS('ph has yel sighted Ihem. More impor-
tan t, in each Glse the scene echoes :lIlOl her: on f. 69v. it dupliGlles almost exactly
the brorhers at table in [he third register (even the curi ous position of Ihe righl fore-
ground figure is idemiGlI ); on [he casket , it replicates Joseph's banquel. carved
immediately above it.!9 In both cases, internal compositional pairings seem 10 have
inspired the unusual banquet at Dothaim. On f. 69v, the feast was included primar-
ily 10 secure the link berween rwo episodes involvingJoseph's plotting brothers.
The S('cond regim'r opens with Joseph's brothers casting him into a cinern as
they remove his cloak, thus telescoping the cvelHs of Genesis j 7:2j- 14 il1[o a single
action. Such a compression appears 10 be unique in Byr.antine art, if only becausc
the removal of joseph's cloak was rarel y ponraycd. Di\'orcoo from Ihe descent inm
the wel l, it may once have appeared in the Cotron Genesis;.Ml it recurs on the Sens
caskel - which, however, differs utt erly from Paris.gqto in showing Joseph on his
hands and knees as the brothers unfasten (rather than pull off) the mantl e3
1
- and
in rwo later manuscripts, which also differ from f. 69v.3! DepiClions of Joseph being
casl into the cistern (or the sometimes indistinguishable scene of his removal from
ir) are as common 3.S images of the of his cloak are uncommon. The
significant features of the Gregory version - the irregular, almost conical mound of
earth thai surrounds Ihe cislern and ,he symmcrri GlI groups compoS('d of an active
brother backed by several passive ones thai Rank it - anticipate the composi tion
found in the Octalcuchs (fi g. 129). jJ
The middle scene of Ihe second reginer shows one of Joseph's brot hers cutli ng
the throar of 3. goal while a second brot her holds Joseph's cloak before the gushing
wound. Genesis j7:jt does nor specify Ihe manncr of dispalehing the goat. but
mOSt representations follow Paris.gqto in showing Joseph's brother approaching
19 Goldschmidt Weitzmann ! (19JO), no. n,.u. "Weitzmann and Kessler (1986), 103.
j' Goldschmidt and I (t930). no. tL4b. For late western exampln uf thi) forn,.t:
l.ondon, BI. ROy.ll 2,B.VII . r. t4V (Warner ]151111, pI. 26) and Rovigo, Academia dd Concordi,
cod.lll. f. dv (Follcnaand Mellin; 1t9611. pI. s6).
).! One if a (ourtmh-nlUry Engl ish paraphl'llK' o(Gena;is in u,ndon (BI. qcnon (. 18v:
Janln it911]) that Picht (1943)_ esp. 61-66.';m assoc:iatnl with IheCollon Gtncsis family. The other
is a post -Byumine Rumanian copy of lYudo-Ephraim's Life of Jrurph (Virginia IkKh. Helen
Grlq Coll<:(lM"n. cod.M IMcKelll . f. lit: Viun 119761, 6t-61). Both obscure head benealh
his mamle.
jJ F..g. the now-de.troycd Smyrna Ocllteuch (f. 10v); HdKling (1909), fig. tu. Many of the fu
tures .hant.l by l'ari . gr.jlO and ,he Octatcuchl re<:ur in the Sopoeani Joseph cycle. though here the
p;usivc brothers lUnd to the left; Ljubinkovi, (1965). 1,,.-2t5. ';g. 2. For the ci$fern preS<'nlet.l as a
.. ;$1 well. sre and Kessler (t986), 'OJ- 104; Goldschmidt .nd Wti !zm.nn II (1930). nO.
94; (1900). t ' 0-111. !n ,he s..rra l',m,lIrla of 1 his cpimde. tWO brothtfl I'ut hallt.l5 on
he.d as if to push him down; the form o(,he .bbreviated cistern m.y .lIude to. moulld:
l':uis.gr.913, f. 39' r; Weitlmann (1979a), fig. J?
1"
i ~ i o n and mt":l ning in ninc h-c<."OIury B)'l.;un ium
)'0
,h nim.1 (r<>'" Ii ... , .... n.! it> !>e.d b.d , .... rd . g>insr hi. Im '0 "po><
ill ,n""". tn ...wod broth., !>ending rorword ..,i,h JOiIq>h', clu.k .1", m:UIl in
,..ClJ. di,!",..,e moournem, . , ,he Oc,.lKh. (fig. .t>.d ,h .,h ... k. of
M,,;m;,nu . >'
Th. bibliGlI " .... , i"" &..:., .... ,h. blooJy,ng of Jo .. p/l', d .... k .f,., I,i, ",I. 10
,h.l>l1m .. li, ... an 'l'i!O<l. th .. "...i" umil ,h. bc-ginning of ,h. rounh 'ogi""o" f
69v. '1)". " "",,.,,"" " ,w, how","" unwmmon, Mon"""il''' wh.",in the ,.I. tOo"-
.h,p ,h ..... . "d '" ,lIu,,,",""" rem"", 1, .... 1 and '!rung - ...eh .. ,h.
eI<V1On, h.c.ntu. )' O<"'ctKh in the V. tieln _ u. uolly ..... in ,h pi!O<li<: Old .. p*
""ibed br Gon .. ;,. " But ",hen the bond be<WKn word .00 im.g< w<.ken .... ,n
wofl" p/l YO'e>liy <I ,vo",1 from ,h. biblal .. " ,uch .. M .. imimw.' ,,,tiled .. 0
group of Cop,i<: .... ,k, ohow,ng JOiIq>h """><S. ,he ",d .. foli,,,,,..,.j '''' r, 6110
vail .... J .... l imkcn M.uhew> hu .rgL>C<i ,h .. 1'Il ,1o', LH fs,..pho m'r h.:ovc
;"flllen<l ,he re>', ... I. fo, h .... too ,h. oru<r of ,he Sq>,uogim na" .. i", i<
'n,-ened."
'n.. fi",1 "'''< "f 'he o<wnd r<gI,,<t <It"""' ingle broth .. dilJ>laring J_l'h',
bloody d""k to J.--oIo. who ,i" .hin_'n_l1.oo in h. "", .. ,;",. Brunt'"' p"""re
of ",.mw." I"'><" th., <><cu .. in m.ny im.g<' of thccpi><><k _ ,hough "'" in <wo
wOlh , h., h .... d"pI.ycd ",he. "m'!ari,i .. wi,h ,h. p.g . ,n. umon G.n .. i nJ
the Scn,,,,,k<t ,'" JOI<p/t, cloak, . here . nJ ,hroughou, 1 6jIv. I""
",nted. wit; .. tunic witn g=n col !., . nd h.m,
11>< ,h,rd nog'"'' """'" wi,h cwo b""I.." po,lIinsJ_ph - doth"'! in wh ... r<
p<umwly mem' to be .. d:u h,. by h" ..,n, fro." ,h.
ci" .. ", P"P"""'Y to h" purch ... br the Egypti.n m.n:h"'t>, ComOOi,ion.Il)'
,h. "' .... r=ml>l .. the d"l'iction of Jo><ph I<n' .. eml ;n1<' . h ;""n J ,rectly .[,0.,-.
,h. min .,,, ,, h, OOwovc., w"",,,oJ th, hill""k whi<:h the ci ... rn .it>.nd
' h" Ilowed mo .. of Jo><ri> ." he _n_ l><>p,t< ,h. '1'1,,,,,"<1)' ,,,,.,,,,,.., .. 1 u .. ..of
cooing im.g ... the >ond c;"e ... ",.n. on f 6<1" """ethel ... find number of
vi.u.1 cornll,., ... nd ocem, to >d'l't ..,n.[,I)' f.mili .. , pm .. n,"
,.. Sm), ... O",",,,,,b (f. _ 11<"';; .. ['OO'J]. ",I: ("_".11; 10'+11. pl . XVII . ...... ..,
"'"" ..... 'n .nd ...... ('j'U). ""' , n., (<0'''' of ,,.,. ,m.v io . ,,. ( '''' IW.i" .... ..
I'" ]. ,,--I,. ",. ",I .1>odIy K"N",,' ,1. .,'''''' .... "n' .. , ............. ,,11.1. f.
V" V,", , f. , .. (."pu\>li ...... ). [, 1, pl. XVII, V,b. (' om). ,a .
" {,,...,I. "1'_ ..... ', wn._ , ___ .... , ....... ;a.., ,..r."lo,_ w., L_'n ,h,""f? '"
;""-"1"'"'''' ;. ,J.. M' ''''''' .. """J,..,. _ ... t..., ,h'f'<"" " ... "w d .. ,
<hi"", _-.. "m,I;" , '."-.'.'r C .... " ,i""f'l< I. bu, ""r .'"' ,'" , ... Ih"-o",..,. 0. ",,,,,,4
.... .. 4< .. "" f, .... (....., .. (.ne! V".".7 . 71 '" P"""< ,n., ""''''' .. ..t;x.., ,...., ""' ",. Snor""
(f. ,.,.), H....ti .. b"",), fit- "' . .... M""""{,,,,, , """,0.
",'n,,,,,,,"",'" K ..... ' b,Ul , .0" Il''';'""",. 1 "."'), no>. , .. I.
.. f_I-' f.....,,, S .. A.' ...... ,n.""," h<" ,J.., 0""" J-ph """ loom, .... w& (;.0",,,,,"
(0,,,). ", , - ,Mo. pl, XX!!. Tho, H "" """"",I from ,n., "'" ... ",I<>< from "" P""'" "I,n.,
' .. ....ti, ... ""'- .. ,;,-.1 "",",,,,.J ,.".,.1" e<k .... n.. Smo " ,On .. , in ,,,dopK,",,, of ,",
'YfOmt<",.1 of "" ,n., 1''''''.''' of )"'J'I> I'""",,, "' w, ... , 10;0<10<" on '"'
'"
Vi sion and m..-aning in nimh-century B)'7.anlium
Fig. 1)0 Venia. 50111 Marco: joupl/s IIIVlbrn fiasli"g
The feasl scene that follows Joseph's removal from the cistern finds parallels in
lhe and in works somelimes affi li ated with lhe COHon Genesis; il also
recurs in the 5acril Pllrill/cUI. '1 Closest to Paris.gf.5IO. Ihe San Marco mosaic (fi g.
(30) shares wilh f. 69v Ihe sigma-shaped table supporting an ornate oval dish. the
peculiar posrure of both the leftmost and rightmost brothers. and rwo Ishmael ites
astride camel s rather than the more common si ngle figure 011 foo[.41
What is mOSI unusual aboul the third register is that the scene of Joseph's
removal from the cistern precedes the feast and ar rival of the merchants. In the
biblical narrative followed by other pi ctorial cydes, Joseph is cast i11l0 [he cistern.
his brothers then sit down to feast and whil e eating sight the approaching
Ishmadit es. after whi ch they remove Joseph from the cistern and sell him to the
merchants. On f. 69v the narrative has been adjusted in order to provide a visual
correlat ion berween the twO cist ern episodes, best achieved by their vertical
J uxtapOSltlOI1.
ivory). ,he low rim ci"l'rn from wh ich enlerg'" GolJ,ehmid[ and Weitzmann I
(1930). no. u4c Wcimmnn 44 nore 61. la,er suggesti panel rcprc>cnn ,he de'CcllI
into ,he oscent from ,he pit. The Cotton Gene,i,. followed by [he Marco 1lI0.aics.
differs from f. 69v: Joseph throws his leg OUl or ,he well", he (Wcil lmann [1986].
104). Neit her , hr Vienna Genesis nor rhe OClateuchs incl udes .
.. Hes.sding (1909). fig. Ilt: Weirzmann and Kessler (1986). I Oj - I04: (' 979a). fi g. 39.
The Vienna Genesis lack. thi ucrne_ .. Demus II (J9S4). colou r pI. jS and pI. lj l.
J"
1"e .. e '<'giIte .h""" J_ph', ""I. to [h. I,hmod;[ .. [h. jou'nq
[0 4:Y1'" J_ph', ';gil[ b,ml>< .. crow<! [og<'Ih .. by [h. loft hm" . 1>< fom .... loY'
01>< h=d on Jooq>h', .houlder .nd g<:>turn tow"d the ""'0 Ishm.eIi .. merch. n"_
wea,ing g,um.nu.M t urban"'M [WO e>mel. _ wj[h [h. ",he,.
[h. tw<) groupo, Jo>eph ,u ndo p"";,,,ly, galing o;,dy ou , [h.
Fo, ,he iou.ney to Egypt, , he G,,!!ory ilIum.to, dop;'" )<><eph .i' ting qui .. lyon .
amd 11 by tu,banl l.hm .. I; .. ,,ho kook. b.tck at hi h'rg<.M gestures
f"""".n!, .<:<:>nd .. mol ;nt<'1""" ;,,,,If I><ow" ,h. viewer .nd J_ph, OM 0
<ond [ .. de, follow, behind. Th. Homili .. i!IUS" ", .. in seno .. I, imilo,;t;" with
m<Kt oth .. ,,,, .. i<>mof thi, epi>ode,'" .00 tl>< entire wurth 'OP"" is .bo rel.tl '0
""1"000: r.-=r....d ill ",m. of.t.. m"gin.II""It ..... >0, illu"'>["'o of P.ulm
104"7 'J' )' 'He 1<nl. m.o h<f..,. ,hem, C'o",n )<<ph, who w:u ",Id for
,.",-.nt.' ".,;"gt,10.M ,I>< IItisrol ""'Iter .how unly 'he te"". lt y iwtil'.ed .. Ie ,,(
Joseph, hu, ho.h [h. Khludov [J[l 10d Throdo", r",h .... ppend ' M[he<
, .. de< leming 'W' comd," The depictiOn> of tI[ .... 1. aye-< wi. h the Hnmili ..
imogt in >11 de,,.il,,.M ... n th. tr.<k, 1.><Iing ,he .. mel 00\. '0 be . highly
.. d version of. he ;"u,noy 1<, f""nd in P .. is. gr."o, .hough Jooq>h i,
omiul, ,I>< rd .. ion>hip beI""""n ,he comd .nd the , .. d who g<>,um; fo( w .. d
,..hilelooking b.ock .. iden,ical in .11 ,hree-."m!,I .
Th. fi",1 '''lli" .. COfl .. in. fou, "",n"., [h" of which i. J<=ph', .. I" [0
Pmi ph ... J ..... ph ".nd. p",.iveir berw n two hh moel ite trod ... A.kl) .<>d
I\oo iph ... who <"<00' hi, 'igh, .,," ,"vet }n><pn', h.>d ,0000nl thc
[.-uk". Whil. moo' ",,,ion. of [hi, epi><><k.how P",iph .. en, hlOnl," . I"nei on
M .. imin.nu' .. ,hod,.! . frt>Co '" St. M"i. An,iqu' (lig. [p), , m""io:; .. S>.o
/1.1 .. "", .nd p" .. ihly [h. Cot[on Gcne,i, >II"", Pmiph>' . .. nding,- !'o[;ph.,',
g<:>""e, =en.ivd y a.k<d;n [h. mini",u"" i. prnum>bly One of !",ymen',
'1", tleX' "","e wow.< [h ".mp.I ..doc[;"n ofJoocph b)' ""[iph ... , wife, who
.i", on gold 11001, bning on he, leli .. m while gr .. ping joo.eph' .houldo, wi.h
her righ' h.nd. Thc in'iption ''''ph', mi ....... <ornlr.in> him by fOrr<',
implifica,iM ofG .. >i. J9'" r .... od .h'''''gl" hold ofh;m by hi, do[h .. , \\d .,'d,
Li. ", i,1\ m< . . -'l [hOI ",,-...ro. hen", wid, [h. picm", dun does [h. hibli".1 [<XL
., """"" in Son M.roo (I>< ..... II 10 ... 1, pl. "" <f W , n<! Knoln 10 ... ,. ''4- ,od.
,h< Iii< ofJ-p/l (Viw. 1,.;0;1. d. ' ..... '" "".",':.uooI.'" "" ..... ....,.. 'k< miJolIt
llrun,i ... (X"taoJ" I. J' IlnKh", 1[_1. '''. " .1, 'n.. s.... c .... .. ,,,
r.old""'", i.lo onJ W';"m.nn 1 I ,.",1. ... ",.d.
M-, H;",M .. ,,,.,,.. f. ,06. 1>1 .... ,'" 10'7711, ,..-", ""-"L,.,"' , r. ,..,. I .....
Jo:.,,, '; 'n[,,,,,I,,,",,,'.
" r_ do< ...... -<\n'I'O) ... Son""", 0<." ...... If: ",1. 110 .1,"11 " """,. ' 4 '''' SopOl',tU.
L;uh<nlwo-;/ 11,....,. II!",'''. "" " .... s.m, ..... '>.'""""nn t "')01. no. ' '''1-
,..."",11; II .... ). pl. XVIII: "oil ...... (0,,, ) , pl . XXIU, o....w II i,"'), pl . <OJ, 'I\';" ... n.
ond 1>11 10 910). ,..,. "n-,(>I. n.: I",.,. 1><1 i<v< ,Iu, ,I>< Co., ... {;....;. d;!f=n, ... 1><,. a" ""
",hid ""'""" .. ,'" "" in (:....... ,; ,)\.ond .. ,' t,- ",".!ins"tu 1<.-_ ... " ,n<!,
... <1 "tu'" lot ,I>< "' ......
'"
i ~ i o n and meJn;ng in ninth-ccnmry ByL.:lruium
. . -.. ..
FiX' IJI ,11001<'. Hiilorir,,1 MIIIl''''''' roa.1l9. floor: ll"t>ln firml '/}r lift OIJOifplJ
)'4
Iconography
Fig. 1]2 Sltl /IIII , i' l Allli,!"" : j Olft" sold 10 /'olipllll r: jOifP" ,IUd I'olipl"" i wift
Most depi ct ions. however, foll ow Ge nesis in showing i'oliphar's wife clu tchi ng
Joseph's cl oak as it screams behind him while he runs from hcr.4
7
In rwo of the
Byzantine Ocratcuchs, the st andi ng woman exceptionally holds Joseph's wriSIS; 48
even cl oser parall els are provi ded by Maximi an us' ca thed ra, perhaps t he COHo n
Genesis fragmcnt s and, cspecially, by a fresco at 51a Maria Ant igua (fig. 132), in
wh ich Pot' iphar's wife, seal ed . cl asps Joseph's shoulder as he nees, looking back al
her over hi s shoulder cxact ly as on f. 69v.
The iconography of the 1;lS( twO sccncs, whi ch devi ates from all ot her known
Byzan Ii ne va ri a nts. has al ready been considered: 'iii presumably nei ther the i nvesti -
nue of Joseph nor hi s tr iumph finds cl ose parall els el sewhere beC<l use each carri es
addit ional imperial meanings linking the life of Joseph with that of the emperor .
7 s..c Weinman n and (1986). loH-I 09; Gcm ill s"r (193 I) . pin. 11 .
Val .gr. 7 46. r. Il lv (unpubli shed): lmll bul , Ser:lglio r. I! 7" (Usperl$ky I 1907 j, 1'1. XVI) .
WCilLnUnn and Kcs.k r (1986), roil-ro<); G,li neisen (1911 ). J69--J71. 1'1. XXII I.
")<l Suchal" .. r 4.
v...,.,.nd m,,,ni"l in ninth..: ... ,"'}'
Non<tnda&. , o.ignibcant numbe, of ,h" "",no. on f. 69" find <-uun'<fJ>iI'" in
o,h., "" ... '" J_ph ""l""""": hOW<Y<, moeh ,d'l""ion .nd modifia,io.
<x<um:d" -,00 wn .. be, the ""Iucncr uhim .. dy .din on a p",c; .. ooU"'", Of> ,II<
vim.! memory of i p.in,." or on ,combin"ion of ,II< two _ th< min;'",,;"t did
nO! inveR' ,i>< io>nogr.phy of ,h. ""I".n .ntirely from "", .. do. Thoug. tho
mini .. mi" ""kcrcd <pi.odc. . ..,d .djusted ,h. m." .. to .u".i n tho <>q;<t.
ic. 1 funcrion ,,( ,h. i(l .... ,.'io" ( .. in )u>eph', in"""timr<) .. "",II .. in com"""i.
[ion. 1 col><r<n ( .. in , I>< duplic .. . nd ,n.. ci"orn epiwdu), ,I><
imnogr.ph)' of m.ny ""'nn on f. 69- did "", rjuir< , hi[ <yp< of mo<li&,,,ion. "11""
illrn""o, hod f';rly .impl< ",b: [0 piero.;"!i", [h. con,,",,, ofbro,n..,r/y <ke<it_
.chioved by ,h ... I,i"" of se<n<> from within :m .. hliohed T<p<"Ory or J""f'h
im. gcl)' _ and to ""log,,, Il.l>il I, >ccomplioh.d by tho .d<C. ion of ( . ... od.rd)
><>:nn.od by It...,.ing imp<ri.1 fo,mul.., in ,n.. fi",1 [Wo .pioodn p.-ntod,"
Wi,!, f .... 'xe<-p,ion tho "",no ,!.awn on f. 6<11' could h .. 'C hn adap'..! from
ClI;"ing , nd apl",.ndy (,mili., im.ges.
Bu, .. ", .. [fU< of [h. Ad.m .nd b', _''',. on f. j'''. tho}ooq>h "",nn ad'p,ed
,0 f 69. do not 5<'<m to h..Y< hn f. mili .. from an iU"", .. ,ed G.n.,i, or ",h Old
T"umem m,nu""ip' ... i,h mo"oli,hic n, ... ,iY< ,,\u<n<:<> r<><mbling . ny $till
p""".-ed tod. ). M.nh<...-. d..imed ,h .. f. 69" 'adh.m f<) tho Ooatcuch
,,,,di,io,,'." I'<',h.p; brtau>< twd"" of the thi" ..,n episoda. piem=' in [h.
Oc"'<tlch, .... hich I,d only ,h. from ,h. ,,<il, Only hOW<'>'1O' , rcscm.
bk ,he: .n.!oso"" im.sn in l':a,iI,gI.\I{I: ,,,," bf<)[hcn bloodying Joi<ph. cLoo k (fig,
n9).Jacoo', ",''ow on being ,hown ,h.-co.a"."," ''''0 I'it ol'i><><b "9) . od tl><
l;!om.elite k><lingJu>cph in.o Egyp' ",ho .pparl in ,comp"'i,ion ",""rwi .. d;....
,;nct. Mo" of ,h...,.te f.mi li" " 'mp"'iriom, not the c.dm;", prop<,,!, '" [h.
Oo" cud ... In ,he end, f 69" ;h, ... wi,h ,h. Oc"I<""h, only one unmate"""
de-!.;I, ,ho <k;>""iOf1 of tt.< ciSfcm as . hol< "1Ok into a mound of <."h nd ,h.
coodcn.ro mini",,,o '''U<>f> tn .. <v<n .hil motif hlId .n ;nde-
1'<',\11<", ",i"<nco." A ronncet;"n wi,h [I>< ,-""on C ...... i. f.mily. "'gg<s.i by
Min hiod""". ' ! ,off." ,h. ,,,,,,,. I'",hlorn>. )0"'l'h', .. Ie '0 til< hhmodi",., hi,
j"",1><)' '0 Egyp', hi ... Ie '0 l\Kiphar, .nd [h. bloodying of ;o..ph', do.t k.",
.imil." '!}lin, "Iwll)'>mp<lling pa .. II<1> f", the ... K<n 'pp< ..
in wo.1e. ,h .. ho ... "<V'" ht<n .....,0., .. 1 wi," t n.., Cutton Gon ... i, ,,><Iition, Only
tho iCe<>< of "''''ph'. b<oth." .. .. hI. .i gh ,i ng ,no pp"""h; ns I>h "1 ,di te> cxhi bi"
'n 'I'P-',o",ly unOtju< ti< with , mcml><, of this group. ,he m"..ic "1''''''''o, .. io".,
S.n M m (fig, 1)0).'" No<, 4npire ,h. co""'l't",,1 o.i mil.riti<>. do .h< )<<1'"
seen .. in P.,i' ,gr,5tO demo" ",,,< >pilK io>nog,,,!,hic liob wi,!, ,h. Sm.
" ,.. Vi k. " "'7<1 """.-.. "" 1"'1"'1 .. "" ... J<-ph <)'<k> .... ,",h ,h .. '.,...wu... ... ", .... ,,""
,po,oj, .......... rI<'..., .. " .. ,........ " ..... , ..... " ,. " M. ...... (,,...,1 . f
s." no .. H"""', " f,iol ... n (0,1",,, _ .. .. Stt, --.,.. .. ...... , ..... _ .
",
",,,k" Of tb. thl >Ceo><> th .. , <,,<>1 <.,rain f .. tuln in rommon. )<q>b',
from the pit .u".in J'>u.,n ,..icldy f"und <I ..... h ...... hil. Joor;>h',
a"i",,1 at Do,h.;m to fi nd hi. bro,h", fca"ing (fig. ,UI) a....! tl>< condudi,,! I<.ne
of Jrucph in Iriumph (fig. .It.", only their un ...... 1 ",bjt matt.t. the
iconog .. phic-. I d ... ii, of which dil1 ... "'Th. e\o=, 1' .... 11.10 ""i,h f. /.9' com. from
,I>< J=ph 0C<j""""" dMC<. in d.te '0 !',ri,.gr,j'O: in ,I>< ftnmc. Of s.. M"i.
Ami'lu, .nd in ,I>< mupn. 1 piten ....
The eigh,h.n,ury G.n,,;, f"""un" S .. M,,;, AntOq ... m.in SOen >Cel><>
from ,he life of Jo<cph' " of ,hem r<CtJr in 1'.,i'.I>'-I" .11." , ,;m;l., rCl ,heir
<oun,e'1'a",on f. ".,. . nd twO p,ovide ,he clo",,, 1'".1101. ", .. nr, The "",,,,,y.J of
J>COb', in",,,,,,i,,,,, to J<>;orl'h (fig. 11;) i. vi"""lIy idemical in both; .nd 'hory .1 ...
.... '" the nonbiblic. 1 motif of I'o,iph,,', wife gr ping )""'ph', .houlder ",I><r
,h.n hi. d",k .. he Rca from her. S",inK b.ck 0' .. " h" ,houlJcr (fig, .p). )_ph',
.. ",ov.1 from ,I>< ci".m, ....! hi. 10k '0 lmiph.,.' .... 1", ,dat...J. ,hoItgh in ,I><
f<-"m .. . low "" ..11 'epla""" ,I>< e."hen moo,ld "f f. 69' .nd in ,he l1ft<l ,h. f""""
,I>< <ompo>irion, Furtl><r, in both >Iuencco ,I>< epi!<>de wi,h ""'iph.".
wife di,cnly full","" withoot in<cning >Ce .... , )o"",h', .. Ie to I'o,iph .. ," The
.. Ie ui' J"",ph i, =n mu .. do.ely ,d"eJ tu ,I"t im'g< in the midnimh...:c ntu'Y
margin. 1 p...Jn (fi g. Jill, .. 1><", ",mnanl! of J""'1'h', ioumey "''Y .imibr '0 ,I><
lCene on f, 69v .Iso 'f'PC'" Bo,h , h. freoroco .nd ,he m'<'gin.1 mini .. u .... or.
eo,lie< ,ban Pari . gr,I'O.' ) .nd 'ogcrhCf ,uggc>' .. ,I>< Homil'" miniaru,i .. "".
f.mill" with " 1I".n of epioodc. from ,h.lif. of J_l'h ,I. .. w,,,, once mu"
widely ..... ,,,,j "" now. '11 .. ,.,I",,;"n and "ung<rnem of ,I>< ""' .....
however. "'1tU.in, I"tticul" '0 Pati . gr, jtO, and tl>< Homil'" mini.turi ... hould
.1", i>< cmliteJ with the im.g< of Jo<cph', broth", feo"i ng'" Doth.im. f"',h.p>
" 1IJu"" b .... ), >6.,->6" ",,,k _ pt."" V,k... " ,,0), "")-"" . .....,.,.." Iy ........
GoIdodo ..... and Wri,,,,..,,. I j '. ",--M . nd ronriy """' ....... """"'" ;. .to. .... 1;.,
""l>h< .. "", fo< ,tpo>oI",,;..-.. ibid. ..... ,,,.....r, f, r: ... oIk> \I'';, ."""" " .,..1, ... io<w oJ , ....
...... '1' ..... ' ....... f.,. ,,,", I,f< oJ Joo<pk .. "" '''''1 "f'!'<" lrondt ..... i .... h .....,,) "" f "'"
J<-rIo ............ . .. k 1.0 .......... J-pIo' ...... 1., ....... ..-; ... ki, _ . ....... " ......
nki", I<-r" ou, oJ"","' (rio< Ion" .... roU' p.I ... f 0010 ,. ,,,", .............. J"""""
...... "'. !l><ipk. ,. ,",""-of 1-". . ..1 J-pk ,n ..... ,....." ....... , , ... , Vi>. n .... ........t ,I" .... .
a1kh: I d .. nl. hi .. r... a11o<o;",""",.....J i. 'fP<"''I'' k" 1o<N .. ........ RK..,..., i ...... ,
CuI""a1 Sn<inp' , Jri"=<l 'n ,""" ...... Un""''''' y,.n<! r... ....-""" """ .. bI. dioc,,,,,'"I,
I ,"".\ Joh" H,""", "" , ........ " puhli.,,,,,,,, of .. .J, J , .... i. _ . .. .d.
" Nn!1In "" ... " .......... , I 1'><101 ..1 I'l<\" t,."I, 1,,,,"1, .n<! V.I. ,. I ..
'O n. ,,,- b<t_ f. "' .. ol St, M . ... .. "" .. ""'. _",( ..,. c"""' .. 'o
1,,"1. )6b-.... and ViInW 1,.",1, , '-'I , . .. GoO",,,,,, (,.,,). Ii" ' " pl.. XX II_XXIV.
" So,..,bd .. )6b-"',
., n. s .. M" ...... ""I""'" ...,. '" Ji" ... ". ..u,,,, '0 ,'" c.., ... ,;.-.,.;. Vi"".
(_,. ".1 ""'" '''' '" do. ......,co"' .............. In \I'"""""",on<! Modn " ..... " .
' v.mp. ".,.1, >G. "'W"''' , .... , '"' """'" .,,"'" ...,. .......... ""hodod i
poaI ...
'"
\,;,;.".,.oJ m<ani"ll in nin,h-n'u'J "rumium
,",';[n ,h. romh'n .. ion of ,h ... """ .. I of JOOC'J'h', elook .nd hi' d<SCe!l' inw ,h.
ei".rn, .nd with [h. rnodil>c..tion. irnpod "n [h. fin.>1 ,wo "",n",.
Fuli<> '7i V (')) (6g. 1))
Tn. top "'" '<!Ii"er> 01 f. '7iV iHy,,"'t< ,I>. oa<,ifi.tt of .nd J.cob'. "'"ggl.
,",",n . k .ngel ," G",l!<'ry briefly ",.",;On. ood, ...... n ... bu, ,hi. in no .... y <i,eum-
",riM rh.i, d'riaion" both we widdy pi<[urro in Brunti"m =<I [he p"""nta.
ti,,", hen: >dnc ' 0 ,,"fl<l.,J ' rl""' . "n .. "fl", .. ",,!"Cnee
open. wi,h Ab.-.lum (ABPAM.IJ . hown with long g><y h.i, . nd , """-g<<y
k.n!' ;"",u"" "g hi, ",tv,,, .. '" rem. in b<lIin.d while- hoe .nd I"",,, eominu .. ""
'k>nc (G.n",i. >"1-6) . AII"h.m, nimb<d in gold .n.d wearing. whit< nnd ..
"' .. " hi' blu. tunic .... nd. , um...! sJiUI1ly to, til< ,ight. gc>,u,ing ... ith h;, left h. nd
to .... n! ];;w:. bu. I ....... ing .nd motioning boek tow. n! hi, tw<> "'",.nt>, drad in
.nOff !Unie>, wl>o ". ><.,ed "" ,It< ground hofore. no .... , .. n .. red [0' ,ree. bUe,
y<>urhful .00 unnimb<d, we. " h<>" hlue runic " irnmed in gold.nd Wtal'pcd
... ith ml ... h, mll<gginSS . ..J whit< boo ... PI.occd in til< centf'< of til< '<!I;" '"
hoe 11 >.< ""fled "I' [he n"""\I.in ",ith. bulldle 0(",00<1 on hi' b .... , Thi' m",,"
uin, 1".011 in .h:adnof g<<y . nd brown. I""rru up in [he b.a<:kgmund,.n.d
"'d .he ".-., ""'''e> ,,( ,he ''Ii;'"'''' F.:>, ,he .<;>Cti!i<e. Ah .. h,m (ABPAA"' ) ".n.d
Imo" in. ",.ding !""i,;"n . nd look> hKk.,. .. hi, .nouldcr at . hmJ oiG"'!,
p.oin."! ""t>id h. f .. "", .h. moun .. in ... to. pull. hKk .. h ..! by the
hoi, 10 1>.. .. ni, ..,n', ,h,,,,,[ for ,he knife poid in hi, righ, h.nd. (ICAAK)
.,,t.. (.dng ..... y from hi. f.uh< . ",i,h hi> h.nd> bound behind hi, buk. A,..I(
grey ,I ,.r """''''''',..! ci,.... <I,. "'ti"" 0" [h .. 'igll!; , h ... m ol[im"oIy [0
he "",,;fieed on i, 1'" Out from hcnind ,he moun,.in. 'il,i m .. ge diff .... in
num.roo. d<uii< (,om the ,"oont in G.:l1C!Ii, 12:9-'): the Homil;'" mi"iator;,'
,h""'ed ,,,,, .. ', .,m ...... her ,h." hi. f"",. oound '''t"n ... pl.oc:eJ I""" hefo,..
""h .. ,h. n on ,he . Iu , . nd wb..itu,..! .he h.nd of God for the . ngel 'f'"'ifil in
Gc"",i. '
Th. Homili .. formula of ",ilia: corn .. ;ndi=.ly from . n. ique .. hemes. but i.
en, .. ,..! ,h .. ,..,Im of e h,i"i." i",.gery .. "IY' i .. h-",,,,)" py, i. ill l.onJon. rot
e ... mplc . .now> Me"". undc'soing hi. marryroom in P""'><'r , he .. m. !""i,iOll ..
tn .. hold Ii .... , .. luac kn..,ling on ,he ground .. ,hcr th.n on ,h It .. also
'PP<"" .. tly in rcpr=n ... ion, of the "",.ilice >s, fO, ..amplc, in .h. Vi. La.in.
"" .. omb p.in[ing','- The .arly eh,;"i ... repmcn, .. ion, da nO!. durli.
ca Abroh.m, " . n< . Fot- .hi. the do",,", parall.1> octu. in ,h. m"ginal p>altm
."d ,h. ",j.Jdk Br"nti .... Oc<>reoch .
Th,.., 01 .he illw.r:atc r....Jrn '04 with ,he ...,ti6ce of I.".., (fig,
.. So< I.nh <"'1" , ",,,b .... J=>b, cIupt 1
"hN ... ' .... ' s,..,-." ... ""_1, .. ". ""<1(:.,,,,,." I, ... ,.
W';"" .. nn (, .. ,). ,,._.-,,' 'ffiIhacb h " . ,I, . ., hma (0""' , p. XC IX.
,,,

-
'"'
.
J.'
. . .F. .
.!.' ... .. ...
.
,

-
. ...,: ...



, .
"
,
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Fig. IJJ "fmml Ati!o$. i'llntokmlor 61. J IjlV; mimrlrs o/tI]r man"" and 'f""i/s: "IO!N ttrikts
Willa from" rock; wrrifire
133).(>11 The versIOns differ sl ighrly, bur presflH Abraham striding
forward and grasping Isaac, who kneels before the altar, by the hair. And while the
Khludov and Theodore Psalters show an angel halting {he sacrifi ce, and Abraham
brandishing a sword, PanlOkralOr 61 (fig. 133) duplicates the composition found in
"" Muscuw, His!.MLl s.gr.ll9. f. rojV (Scepkina [19771): MounI A,hos. l';,.nwkr::uor 61. r. IllV
(Dufrenne 1'9661. pI. lJ; ]'dei<anide. rI "I. J (J979) , lig. H7); lundno, III Add.'9. 351. f. 140" (D",
Ner"''''an lr9701, HI).
"9
Paris.gr.Slo: Abraham gazes oller his shoulder al an arc of he allen, and poims a knife
din'cdy al Isaacs exposed Ihro;II ,69
The composition recurs in the rwdfth-century where it forms
pm of a three-scene sequrncr that is closely linked with f. 17411 (figs. J34- (35) .1
0
The preceding image (fig. JH) shows the two servams seat ed before a tethered
donkey to the left of Abraham. who is securi ng a bundlr of wood on Isaac's back.
Drspi te illustrating sl ightly different moments of the Genesis narrative, the
Homilies and Ocrareuch images share selleral fearures lacking in other versions.
The servants si t (as direct ed in Genesis); Abraham has not bt'Cn gi\'en the textually
prescribed knife: :lIld Isaac supporrs the wood on his back, secured wi th long
thongs that he holds in his hands. P:His.gr.s to, the Palllokrator Psalt er, and the
middle Bflantine Octateuehs ultimately perpetuate the same formula. variants of
... Corr ig:&n (1991). 10, nlO$I o( illusTraling Ihis
(rom 3 nOlc<.i some impo.cd on Ihf
Khlu<.io,I';IlTcr: il seem. [hal here I';""ukra")!' 100, [he lormula.
"'0 E.g. Smyrna. Enngelical School A.I , ff. H'. 1St: He.seling (J909). figs. 711- 80: al so Weinmann
(l947). [41- I.p, fip.1l6- Jl8.
))0
lcon<>gr:lphy


. -,
Fig. 1)5 v..r.gr.746,f 8).: . . c r i f i c ~ o/IlMC
which also appear in the mid-ninth.century Khludov Psalter and the somewhat
Jater Vatican 'Chri stian Topography'.71
Jacob's struggle with the angel, in the second register, was considered in chapters
5 and 7 where we: saw thar while the core of the composition replicated a conven
tional formula, for which the closest comparisons were provided by the eleventh
Century Vatican Klimax and Octateuch manuscripts, the Homilies image was
distinguished by its emphasis on the physical interaction berween Jacob and the
angel.
The second sane of me middle register i1Jusuates Jacob's dream at Bethel
(Genesis Ul:Io-IS), and was considered in chapter s. AI; we saw there, the altar was
added to a core composition that otherwise corresponded closely with vetsions of
the sane in both the founh.century Via Latina catacomb painting-; and rwelfth
century Octateuchs.
l ' Val.gr.699, f. 19r: SlOrn. jol<> (1908) , pI. 11.
ll'
Folio J60r (1)
The '''''''Cf of fubd . 00 N""h' .. ,k """Ie juxupooro on f. J60r '0 CK>tc prtc of
pictOfi.1 CJI<gt"Si>: lik< 'he Ad. m aoo EV<" "'"'Io<n<:< on f. \'V and ,ho hi"my of
J<><q>/l OIl f 69v. [II< Kcn", Ofl f j6o, w",e nm men. iat>! in [h. ",.:omp>nying
"",mo" 'On peac.'."
Aho", ",,<_[hi,d of [h. 01'1"" w.l, do",""'" .. 1>tn ,he ho>dpi<a: on i"
, .. ,oo w:o. acioed. What rem.in. of ,h ower offubd reveal n incompletc ""II
'h" .. ,.nds "' ..... ,h. p.g.: ,ho p>in' h a.ked t..diy. and lina rulcd fu, ,ho 'a'
on ,h. ",no no,.. .how 'hrough, . llowing '" '0"" ,ha, ,II< uoed tll<m ..
1<->-.1. on ,,hid> '" ii, .. up ,he ligh. b"""" "" .... of ,I>< ,...11. Stc, i(tnJ of . brown
>.igug laddtron which .... now rn""ly ",,",. originany .. <:>O<l ren"in '0 ,h. lef,
of ,h.<1<Ci.ion. lIo, h the bdd and ,h. pi"mi",,", brick w>lIlind pa",lIel> in wo,k..
. o<:i.,1 wit h th.Cotton Gonai._ notably the m"",it< at Son M .. <:o_ th .. . lhJw
o. '0 ."""nUNet ,II<- im' g<" ,ho building of [ho "",'or, r<>Uowing the Vo",,[;,n
mM>ic, the Ltddtrzig_ug> beau"" it ... , onO< .upportl by scaffolding!' Abo",.
rcmn.n" of. n ><cofh .. von p .... on .. hIy once cnfram! ,he lund oH;.-..! .... ""n.i.
bk fo, the to .... ,'. ul,im'" roll.po<: [0 ,ho 'isht of the rut-out <t;"n . b.dJy
",bI><d 01"1>< ,h .. ;. 'Pl'.t,."tly' b.ick killl;poo" red ft.tm ...
Th. inugo "fN.,.h. "k (Go"",i. 8:6--11) ;. honor p ..... rvl. In [he ccmrc of [nO
sccnc. insc. ibcd 'the flood' (0 KATAKh YCMOC) th<=-ticrrd .n. H<." OR ,
""" "rcwn wi,h fi .. corp""." No.h', .n. (KHBOTOC NnE) ;, m>de of brown
.... "-"'.n "g.<'n. """,.1. th .. ..,mo . ", .Iigna! wirh [ho M< ruling<.
E..ch "fit> 'hree . .... i, topped by . dan. ,,,,,f. WhikGcnn" 6:1r' 7dcsaiba
the .. k Of Iu" ing tovel>. few ''1',...." .. ';.,n. follow ,hi, p,,,,,,ript,,,n: nor
moll)", ,ho .rk ""pe'" .. a monolith bo. lih "'octUr< 0' .. . ro" .. ntiona!
00.,:' CLo.nt 10 1'>,i . g'-ll<> i. tl .. vm;"n found in ,he Vi.nn. Gon"';, (fig, .)6).
wlst", . he ark i. pre .... '1 .. . ""inof fO.m uperimpoo<d OIl ."k othe,, '"
o..ho, der.il> of . ho G[<g<>ry mini' lUre _ notably N",h'. rela", of dow . nd it>
""urn flOm ... II);f<'tn moun .. in in the ,ight.haM co.n . olive branch
in in ho.k _ ... omi,,1 from [he Vienn. Gc"n; . " thoosh ,hey 'PfX2r in nomor
ou. O[lstfVCf.ion. of ,ho KC,..," The ,,,.n (rh. bird o,igin.lly "'HI by Noah) . h ..
f<oed, fi n 0", of It.. hodi.,lIo;,ting in , he ...... e< ;. not d"",rihcd it) Gen .. ;', but i.,

" , ,"',,,uno"" .oJ Knokt " ,16) , ,"" fis. ' ''' u.m", II (0 .... , . 1 ,. '", ,10. 50< , I .. ""'''''' ("101.
pl. ' "
"' """Gut"""" ("" ' ,'1 ""', I" ,!on. '''' .... ,t.."",,, "" .,. J.J i" MOd, .... ;,com .. """in ...
(;. ..... ,. h" .. t..1"" tor '.., .... b..oJ .... ,!''''n.,.. ...... k.
" L!- 11.,..(;"1 1 ..... 1, fis. '" F.n ... (,,,,,"I, pl. CXVII!: \11"""",,"" and K<Wn to"'), ,,--66,
lip. ,_,,.. ... .1.0 ,t....,;dn "...! in ..... '" t..J."" -' t>.nt'''I'''(,,,,I, f*:t, ,.
" lI.ooJ, .... ( ,11"" )' " . _,,,. '"'rl ... iooIIy.oJ "",.ty ... in ,., ""'''''''' ... ( .. ,.,,"
,.., twO m,., .. ,,,,- F_I- '11'.;. . ..... and """" (''''"' ,--66. tis>- " ... ",.
'"
Iconography
fit. f)O Virnna. Nalior/albibJiolklc, coJ.lhrol.gr.jI, pin. J: Noah'r arlc
m
comrnnnpb nf I""i"i< .nd rnli",,1 e'og .. i, ,nd h.hi,,,,lly .ppe;or1 in
&enwion. of Noah rd ... ing ",.dow." In .hoM, n .. fir all dernen" nf ,n..
im.ge fi"J I"rolld. in .,lie, r<p,,><n ... ,ioo. of No.1" ark _ bu, 'he pr<'CUc
comhin.,ion do<s ""' . The e.;leaH;combin.,;"n offe"" ... '''gg<m ,h., 'he .n.
w .. .., b mili" tI.., ,heGrcg<>ry mini. ,u,i .. nei,h" nor .<lir<! on "poeili.
model. bu, im, .. d comhil\I bm;t;" m<>,if. "" 1..<.
The mOO, - ..J pcrh .... 'he only _ uncon'e"able <<>ru:imioo '0 be d",wn from ,he
(''''' .... i. ""'''"' in P";"gqlO ;. ,h., ,hey do no, .11 "'m from, ungle ""'Itt. O . ..
b. no. from nne mn..rwi.<e ." .. ,1, N".h', ... nu '" "" .generi< ""mpil.t;"n;
,he kt.m and E ... "'I""r><C du"cn wi. h a diw ... asoonmrn. of .hoM oeqllCO"",
,he hi"ory ofj .... ph real!. s .. M .. ia AntNju nd ,he margin.1 p>->It< .. , .nd wn."
'em.;", of ,he '''''''I' of S.bd <m. reminiscent of the Cotton. Gc .... i . n..
e,;ficc of 1 ... < find, d""" t;" wi,h 00< of ,I>< marginal p"r.e ... <>d ,he "",Ifih
n,ury O<t.teuch>. to which j...:oh', dre.m :ilio ... m. to be rd ,,I, whil. Jocob
and .h ngel may n,ooiEy. wml""i,i"" of ,I>< 'ypc I<:>und 1;,.1' in the V.,ic;m
A1; ... ",n<>d V",gr,H7.
The mi. of ico'mgr'l'hi< pol"''"' ,h .. It,,,e be-en ..,rtl int" dilfcrcnt f.milic>'
(",mim .. cdll picrmi.ll'('Cen,ion,) by ..,me hoI;" ... , ,h., "",n fUr bit..
lied n .... 'ive> which >te .. .Uua.lizd .. Gen .. i>, ,he icon"ll"phic
t.-..J itiom ad.pt<Xl in ra'; . gr,j'O deri......! not from monolithic vinul cycles bu.
from ,maneI', indcpe<>d.01 n .... ,;ve ""l1lCru:cs. It;, . Iso evident ftum Pati . gr, j[O
.. moder" ocllol."hip h defined .. diff<",nt i""nog .. phi< .... '"
no< ronveyl ",i""n', tr.ining. The mini"u';" ""pon,ible for f, '7. ' (fiS'
1)) h ... J ist;nn style ch ...... rizcd by a I .... offu"y dn.pcry with .uin poeuliar
do .. il,. While til, , .. t<lrop hightigl"" on ,h. kn= .nd .ngular white highlights
d ..... here are f.r.mili ar f .. lUra ofbl< ointh..conturyarylc, .he ,,.:m,formar;"n of ,I><
loop of d"p"r ,h .. f. lI. from ,he w;l.i>t ""'I' .he rear hip into a .Imply
drfjnl narrow ,..:u np. i, un",,,,I, .. i, ,hi, p.in,e", pmJil<'Ction 1<:>, <wilting
po.i. io", that enable. high proportion of profile ligu= ...J ligu ... v;.w<Xl f'on>
,he "''' wi,1I bunocks defitlCd by a n .. ,1y .ph-crico.l swi, l "ff.r.bric, Th Genesi,
K<n", on f. J7i V are m<)" cloly .,sociar<Xl wi,h ,n.,,", in ,I>< ""'gin,1 ps>h." ...J
the later Onarcuch., but all the char ... <';"i< of thi> min; .. ur;" _ plw
o,he .. ,uch .. ,he way ,he I.ndseapc i. ,,,,.,<Xl ,od ,he UK of oli"" .kin ,,,n .. fur
'ngelo;n co", .... [0 the ruddy ilah "fhum.m _ fttU, on f jlV (fig. '0). in the
Ad...m.<>d Ev< sequence ,h .. h bUl one Kene p ... llcll in ti" m'rgin.1 p"'l<e ..
oJ ;" ba,d)' rd"cd '0 the o.: .. ,.u<l, im'lIn "all, Wh" we Ji>1incdy dOl "'" lind,
,hen, i,. , .. dition, c",il into Pari . gr, jlO by ani
.. n, lI'::tinl in dilfe .. n. w.y>. Wh" we h.ve in ... ><l i. ,n ;ndiat;'," th .. the
'"
modem ron<:.p! of pKlOri..! ..! i. iom .... , ""i,h ",kv.", no< oI:wiow '0 .n..
Byuntin" wlto mad< .nd l':ui,.y.!IO.
Before . urning to ,h. &too"'"",n". on, fitl.1 f ture of the Gc"",i. im.g<> rote>
bo:id" romm.n<. o..pi fx. ,h ... he "",neo 'Old <e<1".n= pi<ou""j in
I'" i, .go-. "o COn<>ot be v>cwro "tonomo" ....... ion . ""Iy ,h. m",il.d f. }6or
Ixks d ... ,1. 'l'1'"",,,ly .pe<ifie 10 ,h. m'nu"",i ",. Th. im.g< of Miclr.><l . nd
Ad,m on f. ,"' . h. compo.i,i"n 'Old .. I"",io" of ""," eo uoeJ on If. ,1 nd
ironogrophy of ,he I .. , tw<> .<en'" on f. 69v. ond 'he <mph .. i. Of! ,n.. ,It .. in ,he
l,or't:oy.1 ofJ:><:<:>b', J ... ", on f. 'Hv.1I "'pmen, impo>! 'm and fo,
I': .. i,.gr."o.
u odu,
The uodu.o .. I.,.,i"n. "e I"" c"'cn,iv ,h, ....... '" ,ho .. flOm G."eo" . Ku"
Weitzm. "n n",..! ,h. 11m< II .. numi><, of G.""", .nd
&00 ... ><cn .. in ,h. s..m. P.",Iu.. ond in ,h. 1.l<r Oc .. t<u<h mggc>,eJ lI ...
both ,h .d"ive "'or ...... ofhodu nd i" Ion& p ....... ,p,i .. p .... ges mad. i, ks.
,u"",!"ibk '0 ill"m.,ion ,han Gc""' i .... Thc ,hc.i. ;. problem"ic .nd in f..:r do<s
"01 .I,...y> .pply: in ,he Ch,i"i." TOp<>gf.ph)." m.nuKri"", for cumpl . here
.... mo", loUn" dr.wn from !'.rodu. ,h.." from G."",i . I" I'.,;'.g'."o . pi...&.
from Gon ... i, .ppcor on four pas", '" too do cpi.oo.. frnm Exo:iu. (ff. ,,,. 116v,
.64v, ond 41 ... ). bu. _ unl".. """ i",I .. <> ,he .L"", ofMin,m from ,h. em<>inS of
the Rrd Sa into whiclr. i, i , inc<><p"'"ed in I', ,;,.S" ,10 _ nOM .... developed i",o
multi ... "" "'I"'""'" I'\"h.p> beau", the . cpi>Od .. picou""j hod .ufficiently
f.ro il;" ">q;ic .. ",,,",nee ,OJ conver point .JJitiona.l n . .... ive
,mhell i.nm.m, fi," .pi.oo<> from lxod". ".nd On ,h.i, Ow". Throughout
,hi. ""Iucn"". 1.1""" " pKS<nled ron.i"emly, he ""' ... a ligh. hi"" chi.o" u"J .. a
white him"io", h .. <00f[ d.rk luir ..,d " i>c",dlcu: cu.p. on f. he i,
nimhrJ.
MOKI rri.inS the law. (Exodu. the pcnui,im ... im.ge on f. P'
to)," 1.1 ....... ni",heJ .IId wi,h hi< h.od '''''"..!, "riding up the .. in '0
rcttlvc. in hi. outstretched .od cm"C",d h.nd . ,he tw<> uhlo<> by h.nd
of God. IIchinJ him . au,.-d ofh"clit" ""toh. The mo>t unwu.J f.atu", of tlte
K<n. ;. rI ... ,h .......,r i. p"""n,"" wid, the hock of 1.1""",' he.J: he <un" hi, f...,
.war r",m ,,, .. h. Jdl""", hi, S:II<: from God. Mo ..... h"" l'f'C'umabl)'
.n ."Ii .. episode. when. confro".ed II)' ,he hurning b< .. h, M"..,. hid hi!
f"",. fOr he w fuid to look upon God' (Exodu. ):6). The imag< i. rom
p.""j wi,h i" coun"'P>M, in the I.e<> Bihl, (fig. lJ7).nd ,t.., Pari. I's:aJtcr. with
.. "' .. " .... ," '''',r.
, . "" .... I"' .... y J"" ........ ,10" ...... , lu
t
" .. , : .... of ... "Pl"'"'-
...p...n ..... di ... -.wod ' ......... an.! , ........... >o:<n< .......... ,,,,,,-...J;n
' ...... " ,.
,


,

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,

Vision and mnning in ninrh-anlUry Byz:uuium
,

-
- --
,
-
,
;
Jl6
"'hich i, ,n."". 11 f"!Ufn <.ccp' ,h ...... oJ tIc.J.'" nl< G S"'y .a,,, .1,., ..... m
hi", [h" "n . "Xlh..,onlU')' CroM .. Sin.i "",",ro. whil. [1.0'" i , no ""'''' for ,1.0
I.<xli,,,,,. M""" duck. hi. h d to ,mid looking at God, IJ Th. fOrmul. <un in
[h. nin,h-c.",UlY "'P)' "f [1. 0 Chri"i.n '[QI"'S"l'hy' l lig. [j-lI). which ""i",.in,
both Ih. l,.-xl i ... and M""",' .,.."cd gal<. though tlcr< tt.. p."i.,d,. fK<. is
vioihl. 10 [he w. hov., ,""n, [><"i".m imnogt.p/>i""l fo.mut.. "n.
vonan' of which i, wl>rthcr o. IW' I""",, .. God: in ,Iw<c O!C> wh.r< h. don
M'. ,h. pmi[io" o(hi, h..J i, i,,,,I( """.ble.
M"", miking ".. .... from ,h. rock (b"<h,, ITI ""7) """'"pi .. ,h. "PI'<' rogi"
off. 116v (lis, ,6)." M""" ".00. '0 ,h. righ' and lif ... b .. on ,h ... nd. wi,h . Iarge
"",nd knub ,,,,,,,nJ ,h. ''-'I>"f. pink hill ,h., ri><> .. pl)' in ,I><: """,,,,,,f ,h. rq,;; ..
.. ,; 11 in b...., i,. ,m.lllI .. o",cmp [h .. in ""I nd Ioca, i"" """,II. [h. minuscul.
forq,;roond builJinp we h.,.. >n , hroughou, ,h. m. ",,,,:rip" A "r<.m "fblue
\',,1<' P""" down ,tic hill and cu" .. "ff " , ,he lef,. wh.", , hr .. me" in p,m,,,,, of
",lid blu., hr< . nd grcen. 1'<1[><'<'i .... I). kn<'<1 [0 d[ink from i, wi,h <upp! h.nd .
A m. le lig""', d,....,.j in ligh, b,own d o,l ove' r"nl .hi,,,n ."d ......... 'n in
profil . ".nih behind M ..... aI , n., Ii" Iigb' "f ,Ioe rq,;i"cr. and , crowd ofl" ",li, ..
- wi'hin which four m.l, f..:n .nd ,h. '''I'' "f k><" .. 1 ""'r< h.,..d .".y be <1;.
I'tIc,oJ - pee .... ,tic ,hink." from behind ,he rocl on ,h. f" lef, . The hl"e sky
hehind , t.. .ne;, badly . b. :oded, O"",nl w.o ble [" deciplorr [h. in" rip<ion.,
IMjlllYCj He InTITJlNl THN !I I EITPAN (' M<>scs "'ikins ,h. rock' ).
Comemp<tra,)' comr"";"'''' fo, ,tIc .<eel>< ,,,, provided by ' he margin, l r ... I ... ,
(lig. I}))." .. hich .h.l< ",i,h f. H6v ,h. pink hill, M"""' klKlbbcd . .. !T, and
(u'''.illy) ,h. [n";e,.,,, of ,I><: number of drinking I . .. d i, ... '0 ,hI m<n, who
often k"",,1 OIl ,lor ground. 11>< rel"ion,hip i , no< 'igh' _ ,n., .. ,,<v<,
<un in ,lor piten. wh.r< ,h. I.radi, .. J [ink frum g<>t>1",. and "'., .. often
[<>'1" in.n " " from [he [OP of ,h. hill _ b", i, i, d ....... [han .. ,yorh"."
The ""'" "'ikillS b ,ur< of 'he im"I\Cof"tO><'S . nd ,h. oo. ning oo.h on f. ,64V
"f." by Moo.,- (,.,.). \""''''1." .,. f. ,,,v{M,..., . ... r'''''' I. pl . ,,,, 0..[""", . oJ .;.ru"
[,.,III. J'-l!l' ... f. 4'" {Bud" .... r .. ,.!. "'" ,<oJ. Tho ill."", .. ,,", Ioo"b
t-'Iywith .. '''''S'" ofM, ... <.;.-;., II.. """ .. ... _, '"" .. f, " " .;,,t.,,
{, .. ,.." pI.l.J({{{, I . " Wd" .... nn...t .. _",.
"V",p,o!ooo. l, "" 10 .. ..,.... 1...,.). rI. " . w, .. ,y .... ," "mn,n, of Moon' dorl.-dh<>ol ..
,10. ... ,...l,,,,, M".<. _ , H;.,.M ...... "., I, >h. >Od !'.m .... 1, I, 'k II"' .... !to,,). >Od
[luf". n< (,.66), pi,.,. .
.. n.. 1"; ..... , ... of f uo. >PI''''' ;0 ,...". .. 4' .. )0.10 ... .... ,to. _, _ ...... ,..."." ; ,
.. Moooow, j( , M. "< ,.".. .!<q.I.; .. 10.'1). Mo.., A,'-- I'on,.u.." " . 11".
'''<'' "". ',or. !'tkl.,.n ..... ".:. ,( ,,,.1, 0,;.. ,,< ".' " r. l)uf .... '" """,. pl. ". ' 7, , . I..<-J...
Sl MJ"",." " f. ,.7'<' ;boI.. pl. ,.. I'M;'." . . f 01*1 . pl . ... Tho """ obo "I'P"'" on """" of
,10. ''-'''rio,,,,, bu, ,ho>.., ..... ... n ""'"' unl,k< I\'" ,. P,,;',p.;tC Ih.. O "" ,'-;n
,to. ...... n.oI
" J d .. (ku,...m" .how ,to. dn"ku., from '"i'f'Od hondo, ""' ,to.
.,I/,." ........ ("hl ,,,, . p . ","J ' .
m



,
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- -. 'v_

"-
. ' \

,
in nilllh-cclllury BY" .... mium

. .' , .
(fig. 28) is IhC' inclusion of t he angd. an unusual add ition dm responds 10 nilllh-
cemu ry concern with the dist inct narures of the th ree members of the Hinity.u
Moses himself. who bends down 10 remove his sandal s. sust ains general similarities
with the figure in the mid-Il' nrhcenrury Leo Bible (fig. Tlu.' relat ionship
between th is manuscript, Paris.gf.5lO. and the Paris Psalt er is convoluted: on the
basis of OIher shared scenes, we can only say thai sometimes the Bible seems IOcopy
Paris.gr.Slc directly, while at other ti mes the fWO adapt a common source. 'II) Whi ch
j . The 'p,""'" in .!)me I.'er \,eDio,,> of ,he KCIIC. in ,he
Kokkinob.ph", (...., .nd 119911. .
., So (l9j8). 67. V"I.rq;.gr.l . f. ISSV: Minh,,"" h90S); Durrrnnc .lId unul (1']88),
OIl Stt cha,llcr t nd nme 91 below.
)).
.her",,;.., ;, pteft .. bl. h, ... io difficul. to say . .M prdik<. i<Kl of .he
Homi)i .. .. fo, compli",ued pores " l",m wggeo .. ,h.o. ,h. .... .,f
"losn ':,<A.ed fur f. 164v.
The ."",ing of [he Rc.:I s., (bOOLl,\ [.'''-J' ) wi, k [M do""" of Miri;om
11'10-11) .he low<, rwo.,hird. of ,he p.1&". md 'he 1' '1;e fo,m.'
,elloa he I)IpctlogOe>.I .od iml><,i.1 .igoifinn"" of ,r,. ""'''e'' Nume""" v".i
.n" of .hi. epi....te coni"ed in Brun.ium . nd the ..,,,ion in P:or".gr.)lo.
<on<n.ion.Jly en.ided _ dnpi ,h. pr<><no:: of Mi,i ." md >cv< .. 1 WOmen _
',he , . OOu. of ,he .... n. of be. d (H E:::::O.l.OCTflN YlflN IICPAj H,\). can be
[ie<! [0 pmicul .. group [h. li=gc of which Hugo Bw;hd,,) [ne..! had '" .. rly
Qri"i.n .. The "once ofMooa " the mO>l immedi.tely r<w'iubk
.nd di"inguUhing fe"u" of .h .... , I>< ",id .. '0 ,I>< ,igh,. f,oo. leg f"' .... ,d.
whil. g,,,ing down.1><I h.ck toward the drowning Egyp. i. ",. " ,.rd whom h
1", .. ,end, . long ".ffheld in hi, 'igh' .. n. , H. W<lUld he h.rd to
mm on f. >.64v . nd" identihcd b)' in .. ription (Mfl CHQ, A ' igh tly m"sed and
I. ,&" do"" of brodi .... ccomp.1nies him, ,he f(Wo""", of whom ".nds in
prolilc, facing righ' wi[h bo[h m. extended tow:"d the column of li re
(idt:ntifi..! 1. inscription: CTYAOC I IYI'OC). The drowning Et;ypti:rn., among
whom rt .. roah (40APAfI) ",d hi' ho"".re ptomi"""" occupy .h,I",,'", h" lf of
.1>< picru ... dt:sccru!ing OIl. diagon.l from 1m [0 righ. , A p<nonifia.[ion of [he
Rc.:I s." port .. yed a halfnL>dt: fem:rlc COlry;ng a ruJd .. ova her .houldt:r,
oupies .h, ro-, ,igb,.han.d co, n" , The v."';o'" of ,he ""n, mos. closely
,d .. ed." f. 164V _ in ,he l<o Bibk (fi g. ')9), t he r ar" Puhcr (lig. [4< . 1><1 in
d .. ivativa" - .11 po .. d ... P U,g'.110. hut do "". blil><lly cory .h, (;.Cf;t>1)'
picture. Mi.i:rm (MirIAM). for cumpl . who >pi ... with ,imbrel. held above he[
h .. d hctw<t:n the I" .. <li .. in profil. and the column of fire. <un in ,h. l.ro
Bihl. but n", [h. I'::i.ri. P".h .. , The br m.nu>crip' .. l", slta", deu i!s ,h .. do "'"
appc.or on f >.64v. Ne;th" of 'h= p<>im. dt:mo",' .. '<> cond u.i,,,,ly ,h .. [h.
mini.t urim of tn. P .. i. G. Cf;t>ry. the leo Bibk, .04 ,r,. P:ori. !\.ih .. inJe
.,...a.n, ly CO"'<1he<!. [hird imag<o ro. .h", ioon"llrapl>y of ,he coOW:ng of [he Red
Sea wu being revised in the nin.h cen,ury . 1><1 iconog .. p/ty in A .... i. >USC<'f'.iblc
to random "",,,,00 .... Whil, ,h. compliated .. b.ion,kip he.",,,,," ,r..,.., th ....
manuscript. <loa nor .1 .... )'1 unravd in ,he .. m ..... y, I "'SP' ,h .. in [hi, .....
[he b .. , lWO followcJ.he lead provided b)' p .. i' ,g',\,O, bu, u!dt:J ",h"" do ... i!
.1", k",,"'n in the ninth OC", ury.
Tb. coos.ing of [h. Red Sr. ' PP""" as wdl in ,h", "'''ginal pul .. " (fig._
s.. ct..po" , .
.. s..dodul to.,. I. _", "'''' , .. ,""""",om""",, on f. >J;.v, ,0.1 ., '""', ..... ,p , .....
......... ...d lL<> 1W>i<,
f. " ... ' h"lI, _" . ..1 1.1, ._ ""'''''P''. f. ,,",, ..... " ,
Du' ...... ...de",..,. to,lIl. ,._,6_ "'" oW Mo..ylo".), " , ". ,,_
'"

., .
\
,
. ,
V
,
\
r

,
.,
Vision mCJn in!> in nimh-century Bp'lIl1 ium
"

" I'"
,
"
,
fl f ' ,\
,,0
I
\
"
"
,
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Iconography


,
,

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-
Fig. '40 [',lris.gr.!}? f 41f)/!: crossing th, Rd Sen

r
t. ;
..



..
,

VilOioll and in nimh-l:cmury Byunf ium
,
,
I
I


,
,
141-146) and ,he Sarra PtmlfMIl,'Yo and the psahers provi de a beneT comcu for f.
264V in some ways ,han do ,he I:ucr Psalter and Leo Bible. The BriS101
Psalter, an eleventh-cenrury manuscript rh:n ofren omits ninth-cenrury additi ons
to the psalters. preserves only one image of rht' crossing of [he Red Sea (fig. 141):
Ihis differs in most rcspecrs from that on f. 264V, most notabl y in its absence of
Egyptians :lnd personifi cations and in the location and 5('allce of Moses (who
leads hi s people and looks forward), hut docs portray an unbcardcd and nimbed
.. Pui . gr.91j. f. ,69' : Wdumann (19791). 54. fig. n. I'"u \t'"i ll.mann, tht Kenc i. 100
10 compa.e with mllc. romposi . ion .
M ..... who to.d> hi, I""'pl. ,,,,,,,,d ,he a .. nioS Th. Khlu""" I .... l<<r
i"dud .. [,,,, d'pi-eti""" of ,I.. ""' ..... ,h. fin. of which (fig, '4') gtncnlly >em_
bl<> ,I. .. in ,h. B[i01 PnJ'e[. bu, omi" , f>. column of .m] ,dJ. "'"men t"
'he ",uwd ofl ... di,es. on. of,h.m ( .. [he f .. toft ) in ''''',p profil. ,nd 'he ",1.
[ow;ng . Io"g child, t he 5ond (fig, 'i) indud ... 1.. d,nee of Miri.rn.'"
P,..."h .tor 6, ,1..-. ill""",., ,h. <p<.oo< twice. The fi"t J'1'icrion (iig. '-H)
moJifi", "pec" of both the B,i .. 01 and Khludow l'>:.oh.", t!>e ""Ium" uf fire
,""un h,re" , do<> t he profile figure.o the toft . but now ... m,le;;n .ddi,;o" .
p'"onification of ,f>. Ro.l $e .. _ P"'tr. y<>.! .. , fern.l, h"d c,u,t1cun
crown - ' Pr<>"" ,he f,,,,,, of ,I .. .... "t., The 5ond , .-.;on (fig. 'ill ,how.
M<<> behind ,he J ... d ;[, ."d Mi,i,m d .. "cing." Th. fin. 1 ninth-<cntury
1' .. 1 ,. l'>,i . gr.lO, re .. in> onl)' one picmf< of the R<d Se. cmo,ing (fig. .nd
it diffe" oom""h .. f.nm ,h. o,h.t "l>" uoc, ipts of it> glOup: ",hile ,be IW1>
women f,mili" from ,h. KhluJov !\al,., =ut, [h. J"","ing Egypti.n. 1t. nc-w,
M ...... m"d. bclt ind the 1""li,<> . nd ' urn. bock toward [h. R<d Se" .nd 'he
profile figu .. _ 0'" of .he two women. ,,-!w Y'-'P' the Iu...d of . child _ <>OW to..!.
tho crowd. The ""ne h .. heorn <topped, 00 i, i. iml"-",ibk ". detmi..., whethe,
or not Miti. m 0' ' k column of fire were included: ,h ... m.y h,,'. heorn f",
,h. I,u, b", i[ i, unlihl)' ,h" ,h. fnrn .. , could heorn in5<,,I ," WIt .. we
_ h.ppcning in ,he ninth-ccntury p .. h,,,, ,h.n,;. on or detail.
""ching ,hern5<lves '0 <T"",ing of the Ro.l So. _ ' k column of file, Mi,;,rn,
,h. child, ,n.: women, ,h, profile figu ... ,h. Egypti,,, . rcr>onin<ation of 'he
Ro.l Se. _ in v"iou. .. i<>n . WIt" <v<' [nO pMei- .. 1.,"'II,hip be,wn
,h. p .. I ...... it is cI"" th .. the iCOIlog"phy of ,he "" ... "''' Ruid in ,h. ninth
m",y, .nd ,h" ,';"wlly , II of .b. (",t it , ... indudrd in p .. i" II'.\IO WCf< I""'ibl.
dement>, Wh .. ,."in, "'iking .bo", f .6 .. ,,;. tho ",,!,>n,ive <om!""it;"n
i<><o,po,,". th"" d.uil, . .oo ,ho" .. "'< h.", _n, -,nl>!O he, ""ponl<: t" its
imrc
ri

1
"""""g<.
The fin.1 5ne from &odo. Ii ll. ,h ..-ronJ "'st'''' of f. 4'i" i ll, .nd
show. the deei, i," momen. in the Is,.cli,,' "i,to,}' <>vet tho Amoleki,O>. M On ,h.
lef,. KComl"'nicJ by J"""ip, i," in-rip,;"n (MOCHC YII OCTlpH_
ZOMFNOC YIIO AApnN K(AI) 01') ...... "'" . nd I I", "'PPO" [h. (,n"hru,,_
i"icolly) )'<lung M""" .. m tof" .. J ... riool in &oou. '7:S-IJ. Th, hill on
",hich M""", ".nJ, in ,h. biblical n"",iv, kre ,j"" ":ply behinJ him, .ltd
'" u-Jo., ... lJ.""7J'. f. "''' l >.f"""" 1,066),6" pl. 't,
.. H ... .M p ."j, ,01" ,...., f.:<pki.,{,.,.,.J.
l'.,lio 'QJ'" ". pl. ' " "'kbo.ioIn ".J., (",..1. ",. m .
.. Fulio _" Ouf",.", It...,) . pl. '9: IO<klon.,.. ".1. ,It,,.), ,,, .
.. Fulio ,od>.f"" ... (10661. pi , ",. I, ,hi, ...... ,."'. of . n ,t.. .... """"'"
of dot K'n< i .... , ..... d <I)' 'W"';""" ,"" ), t<, ;m_" ,"" Pot;, 1'J.oI, ...... ,"" l<o 8,,*.
'N' IV .. "",,"" ,,"'h<d.,dot s..,. "" """ ..........
"1 .... prim .,. .. 'n ..... " ... of, """ 'PI"'. n '" '"Of"" oJJ;, ......
ci"""""", i.ct..pm- .
"'
Vi5ion and in nimh-cemu')' BfL.amiurn
. . / ,. - . .
A\'V'"';l' ;' fm'*t tt ,Ac ill .,.....
,""Tll r I
T f i l! t UTN..>:: r!4
.,A.fk,.- f' n'\' : ""'v i \I i:t> ,w f " II .... II
-nt
*"". .... f-I f",,",ntf JQvl
-' .
. ..,.
)44

, , . .





Iconography


,


I
Fig. 14) Hi,lOrical MU$rum. rod.u9. f 1,,8,,: mmi"K tlJr Rrd !KII. /IN dallr, ofMiriolll
'"

Vi,iun and ",caninl; in ninrh.cent"')' B?J.aruiUIll
., . .. - - .
- 1"1'IODe .--- .



J. ,. , I 4./."
; ..
? ,,: .. .a.MrlJ aJTni&.r ,
I ' , 1'7 - " .. !, . . ... J
. "'-fi 'f1I at" '. ""v .
.. ' r<' - ..,.. .
N Vrr'l l


? 't ..
from il .Ifmy pour) fonh toward I hI.' fleeing Anul('kitcs (AMA. \ H KITAI ).
two of Whlll11 have already (111ell to thl' ground.
The group of Moses. AJron. and Hur admiued \'err liule varialioll - espe-
cially as till' "ross fornu:d by Moses' ;ums became:1I1 IOpus of \'xegl.' t ical
lilt' r.l l ure - and exampl es from the fiftil -ccnIury mos:!ic :11 S' ,I 1\ laria MJggiorl.' 10
the middk and b tl' BYZJ lHine Oct:lleuchs presen! rhe trio in much tile 5;lm"
(ash ion they ,Ippear on r. ,P4V. 10 1 The c;I\',llry chargl" 011 rill.' other hand. seems to
have hel'lI all illsenion of the Gregory mini;lluri st.
llI
" Indeed. the Gregory mini -
<l I Url':> on Ihe \\'holt include caV:l[ry ski rmishl.'s of one son or Jnmher whenever pos-
si ble; I hl'Y appear on ,he e;nl ier Joshua p:lgc (f. 116v; fi g. 16), d u ri ng Juti ;1I1's ass;! uli
on Ihe (and at his ;\1 Ihl.' of Merkourios) on r. 4!l9V (fig. 40) .
and in Constanti ne's vi ctory al the Mil vian bridge (f 440 r; fig. 45). This laSI
exampl t, provides ;I reasonably close p.lfalld 10 the attaCk 0 11 f. 414V - both fl' l)ro-
duce vari:lt ions on , he compositional formula - .1 11<1 tht're Jrl" even t ics
between f. ,,14 V and defeat of ril e ' \moril cs on f. 1l6v 16). IWO
pages sharI.' a predil ecti on for sleep hills dial ri se almost verti call y in jagged ti ers;
101 Karpp (1966), fil;. I J" U'I",mky (1 9011. hI;. I Il emli l1 g (1')0<)). tig. r SS.
I", So H'''' Caehde (I?N). 179.

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Iconography
I

Fig. 145 M(lIml Atbos. 1',lI1/(1kroro r 6r. f lo6r: rtoSiillg b ~ Rrd &11. tilt dm/rt ofMirill11l



..
the attacking soldiers emergt from behind ,he hill s, and chase the enemy toward
the frame of the miniaTUre, over which the legs of rhe retreating horses extend into
the margins of the page. The renears on both folios are represented by four horse-
men, the foremost of whom looks back at his attackers, his profile face foiled by a
green cap that itself contrasts sharply with his red garment. The twO folios were
almost certainly painted by rhe same miniaturist: in addition to rhe shared detail s
evident in the scenes of attack, drapery on both pages is presented with little high-
lighting except on light blue and beige garments, and falls in angular pleats. often
with an unmotivated TUck over the calf; funher, hands arc emphasized, and smudgy
'rouge-spots' enliven flees bereft of cheekbones. The addition of the cavalry charge
that supplements the conventional grouping of Moses, Aaron, and Hur did not, in
other words. require great powers of invention: the same miniaturist simply
reversed the formula used earlier on f. 226v and inserted it into the victory over the
Amalekiteson f. 424V. This insertion may be in parr explained by the desire to align
the protagonists (Joshua, Moses, and Gregory) along a diagonal moving from the
left side of the page. which necessitated the expansion of the compositions to the
347
)
~
,
,
,
,
and mC;l.Iling in Ilinth-cemury BylamiunI
>- ....
>1 MWtl II ,II M II I" M fUK'" I Ie \I ,toMI;
, . .. - . '
' In ,ult MW N HUI f' yn 't' IN I 'V /I II
I ' '(
,
:'( 'f uhlll t.t . k 1:
I!f
Af I At\' " . " 1"tlfl l '1li r'f ... .. _
+ AAAIIII Jl
,
- , . . ,
\t.\ lllwtfNAV' I ' ,,'! ti l I I U N"" V '
. , ., .
I I 0 """,. 1' ., ... V ' I" \': ' I' 'VI"' NWt' n. 1
,
II.,A. V I' A (,'"I" ' .... N ,\\' '1'' t y" "
. . '
J(" f " f II I "" tf "rr " A
\ a.t fl' I UI'f. .. '(II .... II ' IUI
W
..... U
, '}1 I HI f flU t!w W ,fill
f"1'o.1 W ; " '
,
... . , 10; "
CHIAV ' I' tVr f '\' .fl r " "-11 tf'V"
.. . - .
' I:H:
, 11 ( \" .. ..
G \ U ' Nj ,l,".'1 r.,.w
l' " r l y ",vr : flll 't,AV' I' wH'V"1('

It;' , .. fI' (' I ' llr'_U . I'I '"I'WA , 'W i. "' f' 'v I
... . .. .. ..
' U . I MU. 'I'," IIIAI" f tl ll .... V r.J:I_
, 'I
,
,
,
"
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right. The $cb :tion of a victorious caval ry charge - and the proliferation of horse
warf.u e in P3ris.gf.510 in general - may al so respond w mil itary pract ices in the
ninth century.IOJ But as noted in chapter 4, the equesrrian emphasis evident
throughout Paris.gf.S1O may res polld to Basil's sratus as a renowned horseman as
much as to contemporary mi litary practi ces.
Three of the five Exodus scenes in Paris. gr.Sl o- Moses striking water from the rock.
the viewry over the Amal ekites. and Moses recei ving the laws - rt' tain earl y
composi tions that remained standard Ihroughout the middl e Byzantine period.
Excepting the addition of the caval ry chargt' to the Amalckite scene. these are essen-
tially convent ional images. and it is difficult to slot them inre some developmental
scheme of Bpamine iconography. The fourth scene, Moses and Ihe burni ng bush.
was modified 10 suit exegetical requirenu'ms to such an CXlent thai iconographical
affi lial ions arc .sc:l rcd y tenable. Only the depi ction of t he crossi ng of the Red Sea
SCC'ms 10 parr icipate in rhe shi ft ing Row of Byunt ine iconographical revision: with
the margi nal psal ters, it demonsrrat e5 a changing conceplion of Ihe scenC', and in
th is case the version adopted by the miniaturist of Paris.gr,s1O had famous progeny
in Ihe Leo Bibl e and Paris Psalter.
Joshua
Three scenes from Joshua appear on twO pages in Paris.gr. jlo: Ihe two cpisodl.'S Oil
f. 226v (fig. 26) bracket that on f. 4 24'1 (fig. 41) in thebihlical narr:l.li ve. The iconog-
raphy of Ihcst' SCl'nes was considered in chapwr 4. 1\'10 poims are worth reileral ing
here. First, Paris.gqlo documents Ihe increasi ng importance of Joshua in imperi al
viclory commemoralions, and may wdl provide one of rhe earl iest \isual i7.ations of
Joshua's role in imperial mili tary Second. dlOugh the same m;ni ,lIurisl
painted Ihe rwo Joshua pages, this docs not result in iconographical consistency: It).!
on f. 424'1, Joshua is nimbed. and hi s red leggi ngs. white bools. blue clo:lk, red
shield with gold border, and lack of a hclmt'l:lll contrast with f. 226v, whert':ln un-
ni mbcdJoshu3 w(' ars no leggings al :111 gold boots with;1 green lOp band. a
fed cloak, carries a red shiel d wirh a blue border and is helmeled.
Judges
The two selections from Judges both appear on f. 347V (fig. 35), and Ihis is not coin-
ci denral: as we saw in chapter 2, , he passage thai links them toget her wi lh , he Ihi rd
image on the page, the marryrdom of Isaiah, emphasized Samson's and Gideon's
roles as judges.
' OJ This JUts nOI. of that Ihr ni11lh-crmury Bywuinr
nmy:,;c,r r.g. r ..... irw of miJdle BY(;l lllinr warf. re in which .uggt>IS
Ihal. in Ihr lell111 cClllUry at any ""c. ",i!ilary were concrrn.,.j with d,e liSe uf
infantry. '''' Thus rrpt'ating the p.ucrn in thr miniatures.
)49
G Hl ron <rE.4 En N) "l'1''''' Gn [hc Icf[ ,id. of hi ,.I ,eg,,, , .... nd ing ben, .. h
'n .r< vfh<.v.n, A k .. dbs yuu, j, Iii s..m><>n, h. aoo "",a" a . imil., .h"" bill<
IUn;c dcm' .. ...! wi,h gold, s'''lUo n', ted .. ,h h ... bttom. a ted numl. , A
whi,i.h lump, now badly fi.W, ris<> Ift>rn [hc ground: inrib<J 11 0 KOC, i, 1' [<'-
.. ,," 'h< Thi, ..... h. bi,WLlly ... n .11,,
,ion [0 [h< Vi,si n M" y, .n >.<><>ci>,,;"n .. .......d;n ,h. unly ,,'hcr n;n,h"'n',,?
,..,,;on of [hc sc=<, ,h" in ,"-' m"gin,1 psah P. n,ukr><o, 6<. ,., Th.c 'wo min;
.. ",..,. I' .ese"" ,he "<1..,, known imag of G idron .nd [he fi=<, bu[ ,he po" "y .
h ' ''' 'lui differ.",_ I" ,h. I""h . mall blu. hilloci. .upponi ng. mcJ.Jlion
I"'" .. i, of lh. Vi[gi" f"l'I ><<> , he ft=< Gn. J.47" . ".1 GiJron ,,,Io,,,..n .u m .. u
""''', wi,h h. i, . nd. "''''' d". beard. in long pink g.>fmenu; mh .. [h.n
,.i,ing hj, lo.nd, '''''''o,d h ... CI,. h. geI'u,,, tow" d ' he Virgin. Bo,h ,h. psalle, and
II>< Humili .. im.g<' arc commen ... !), piclUffi mh ,han "",..,iv. il luSl, .. ..,ns of
j...!g<. - i" ,h. fo,o><, . M., i.n typology pr., .. ih, ' .. in ,h. 1.11 .. , Gidron ;. vi,wIly
1"" lk l...! wi,h _ hu, .... n tI" n. " "ive aa<p" inco,po"'...! in ,h. Sounr
PO""Y Gidron;o differen, w' y" 0",,' wi,1> , hOf' d.". \1.1 h"n
d."k bc.,d, and twice .. . n old nuo_'''' None of ,h"", ,h"", ><en .. 1'Of''''Y' 1"-'
ft= <p;." .. k bu, [h<y do .. 'v. ' 0 d<lMnSl"" Ih .. the nin'h cen'Of)' allow...!
con.iderable I .. i IUJe i n f'O' [n) .. I. of Gid.o" _ Dr' h. cl<vc", h 0' ,w.lf! h """ 'u 'y. t I><
ufGidron.,. an old m. o wi,h ... hi h.if .nd bu rd >n" ,,> h<.:om<
"md'HI . nd be .ppurs in thi, guis< in ,h. . nJ KoUinobapoo.
,,,,n",,,ri p" (fig, which indude ,I>< H= .piOO& '" 1"" of t"-i, n",,,,I<>gi,,,,1
p"'!l",mmc. ' .. Th. <ompo.i,i()n of 6", of d .. ,hfCC GiJ.,-,,, "",n"" in , he
Kukki".,],.p"'" m.n .. ",,'p" m:.Jh ,h .. ()n f , )-17" GiJ<Ofl . .. nd, h<forc ,hc lump
Gf . nd .. ,,.. hi. " .. 1<1, t() an .r< of " .. vcn, The ,,,,dnh ... e",u,),
Kokkinob.ph", mini.mf"" unlike I'"i. _g'_po, ,dd ,h. dcw ,..;ning J",,-n Of[ ,he
]"" d .. pite . hi . and ,I>c min in Gidron". >g< (. nd [hc",for< ",,[un ... ). 'h<y
non 1>.<1.., provide, h. do ... , eomp' r,""" wi,h , n. >Cen. on f . .l4]V.
A> WI: ... .,. in ch. pter 4, ""G of fi,'c ICC" i"oo'1"'''''...! in ,h. Sam",n
""'JOl ' ''ce ,h .. """pi,,, tho "PPC' twO rcgi!tcn off, ).4]V (Joogel !j"I- [6:Jo)
, .. " . in ..,me . fli li .. ion wi,n ma'!!;n.1 imag'" in [hc S..,.", 1'",,,U,W, h." , h. rema;n-
ing ,h"", I<,,,,in J ,,, in from .11 ,,'h ElF""'"';"" po" .. yal. of . h. Somson
""'Y, Inded, '" wi,h [h. in"geI of Gideon, no con.ren, tr.di. ion of Sam"'n
ill"", .. ion prcdomin .. ...! in ElY"' m;um: <wn [h. Oc, ... ud>. d,lf" "". froot
, no<"co_
'" FoI""" ])ufo ",l''''').''.,.t '" i'd. ... ;Jn "",- J t'.",). ","", r ... J """,""" "" 0..
...... " (0,,,,; , " 1"<'.10., (0"'" '7<- >f, .
... s.. '1'.1,,, ".u), '/<' ,",,, c..-"". (, .. d, n .
.... r ..... _ , '0<, '-"''''' (.,ml. i1-U. tip. .... ",
... v".",,.,. r. '"'' " ... p,1", r. ,,.,. (u.publw-I). "''''.p_,,''. r. ....... {o... ... pl.
,II: v .. . " .".,. f. """ ,s."'''''' .... , [ ,,,1. pi, , II",.., . ... <.:.0 " 10 .. ' 1,

,

.. .

-
konography
" , ' - ....
0 = 110 /l('OC ' ...:It..t.K-..o _.
, 'T ' ........ , ,
?\.fnl ' K .... ....a,.C. i
. .. .

,
f

ll '
Vision ami meaning in ninth-century BYlanti llm
On the basis of the adminedly limited select ion of scenes from Judges in
Paris.gr. 5Io, it appears that the creat ion of Judges imagery in the ninth century was
esse ntiall y an ad though smaller narrative units susuined images F:lmil -
iar enough 10 be repeal ed in several works across Ihree hundred years.
Kings
There are four scenes from the books of Kings in P;lfis.gr. SIO: they surface on four
different and one comes from each of the four books of Kings. Following
biblical order, the Kings episodes appear on ff. 174V, [43V, ;? [jV, and 264v; I shall,
however, consider Ihem in the order in whi ch Ihey appear in Pari s. gr. SIO.
The penitence of D;lVid occupi es two-th irds of the top register of f. J43V (fig.
[9).1(),) The second book of Kings ] 2 narrat es t he rebuke and penit ence of David
rogether: Psalm 51 ('a psalm of David, when N;nhan the prophet came to him,
when he had gone in to Bathsheba' in most Greek ed itio ns) . is David's hymn of
repenrance. The el eventh-century Book of Kings illustrat es bo[h the rebuke and
the penitence; the SnCrtl Pan/lie/II presents Nathan's rehuke. 110 All Other Byzanrine
mini atures (asi de from Paris.gr. 5JO) that pi cture either event appear in psalters.
l ll
Few rest ri n [hemsdves 10 simple illus[ rarions of [he bibl ical [eXls: li ke- Paris.gr.5 Ic,
nearl y all incl ude an angel menti oned in neither Kings nor Psalm 5[, and mos[ show
David prone before Nathan, though David's prostrJtio n is nOt specifi call y men-
ti oned un[il 2 Kings whi ch descri bes David's soli lary penance. David's
proskynesis visualized Byzamine confess ional praGi ce and need nOi require an
extra-bibl ical but the incl usion of the angel does: bot h of these derail s in
fact come from a nimh-century (?) paraphrase, the P,1fllia historic/I. I I! The broad
outlines of the penitl' nce image 0 11 f. 143V [hus fit comfoflabl y ilim ninth-celltury
Byzamine iconographic possibiliti es; the exclusi ve emphasis on David's repen-
tance, however, fi lids few pa Talle Is. llJ
The penitence image begi ns with Bathsheba, peering over t he back of Davi d's
emply throne from wilhin a gold and jewelled ciborium-like SITll cture. Though
David's desire for Bathsheba unleashed the events leading to his repelll3nce, and
H .. How the 1'enile"ce ,,(D;lvi,j work"d wi lh ,h" Olher on r. 143" 10 a commemary
on [he ... rmon wa, i n chapi n l: lh imperial impli cal ion, ..... ere eumined in
chapler 'l.
, ,0 V''-gr . .lJJ. r. JOV (L.: ... ,u, [197;\), /ig. 92); l' .. i,.gr.92J. f. '.II v (We;ll",,,,, n h?7?j. fig. 132).
, ,, E.g. Ihe Theodore London. HI. Add.I?;)'. f. 6Jv: ner Ne"."ian (1970). fig. 10l.
lshiluk. (1986) provide, Ihe moSI comple[e lisling "f I Ihan k ,\1 r. ("r .ending me
an olfpr inl ,,( hi, article, whi ch is diffi cult 10 fi nd in Ihi, commy.
'" Cutler ('976). '48 .nd nOle 47 (neJiti ng l h", s.,,ccnko); ;I fu ller considn:uion 'PI" >rs in
bhilub (1986). esp. 8--9. 14-lj.
'llThc Bristol Psalter (Londoll, HI. f. g, v; nuf,.nne [19661, 1'1. Il), I\\'a 1' .. 11 " .. an
Mount At ha, (S[avrani kila )7, f. jl v; V.tapcdi 760, f. ?6,-), ,he Spencer Psahcr (New Yor k, Pub. Uh.
Spcnar gr.l. f. Il6v) nd Ihe Psaller o( Basi l II (Venice, f. IVv) provi de ,he onl r alher
example" Cutler (1984), figs. 6a, 377. 208. '1 13 The group doe. n", form Haheren! iconagraphi c SCI.
'"

,

Iconography
,.
Fig. 148 Loudou. British Library. Add.40.1J1. f pmil(llC( ofDmoid
. ,

,

"
she is specifically named in the tide of Psalm 51. aside from Paris.gr. 510 only the
marginal psalters include her; the Briswl (fig. 148). Theodore, Barberini. and
Walters Psalters follow Paris.gr.510 in showing her through a window. Structures
similar ro that in which Bathsheba stands recur throughout Paris.gqlO over impe-
ria! thrones; here an empty throne sits in front of the ciborium. and the structure
, .. J n Khludov. stands Ix-h ind emh ronw David: Moscow. Hi". Mus.gr., 19. r. jor:
(1977). Corrigan (199l). 16, lha{ Khludov miniaturist omiucd {he
f",me presem in earlier I'", her im.gel. For BriStol. see "ole "3 (or [he Theodore I'&.hn.
III .bovc. III On. fo r example. If. 104" (fig. 17) and lJ'Jr (fig. 27).
J5J
Vision and in ninlh-century Byzami um
apparendy docs double dury as a representation of the imperi al palace, theoudying
buildings of whi ch extend to the ri ght and behind Bathsheba. The empry throne
and ciborium return in the Psalter of Basil II. though h("re they are separated by a
wall;116the empty throne recurs in the Bristol Psalter (fig. 148).1 17 Both resemble r:
14JV in showing gold and jewelled throncs padded with a cushion: Bristol even
shares the lauiced throne back with Paris. gr. po. On f. 14jV, the archangel Michael
is simply idenrifi ed as lIr(hNtTaugor. in a manuscript destined for Basil I, wherein
David all egori cally stood in for the emperor, the archangel chastil.ing David could
hardl y have been overtly idenrifi("d as Mi chael, whos(" namesake Basil had mur
dered. The fi gure exaggerates a type found in Pari s.gr.po (see, for
example, Habakkuk on f. 285r: fig. 29): the turning pose may havr bern sel ected in
response to the Palnia hiuorica, whi ch tells us [hat the angel deAccted irs sword
from David at Ihe moment of his confession. Over hal f of all preserved images of
David's rebuke :md/or repenram::e incl ude the angel, but usuall y as a small figure
hovering berw n the king and Nathan. Large angels planted firmly on the ground
appear only in the later marginal psalters, Dumbarton Oaks 3. and Yatopedi
760. I The prostrate figure of David, however, admits only minor variat ions; sri ll ,
the version in Ihe Bristol Psalter (fig. 148) is virtually identical to that on f. 143V.
Betwcrn David and Nathan sits a small building, variously identifi ed as Rabbath
(by Omont) or David's palace (by lshi zuka). h could equall y wel l represcnr the
'wall s ofJerusalem' that David prays for in Psalm 51:18, m or. more likel y, the dry
Nathan mentions in his parable (2 Kings l2:t) condemning David. The final figurc,
Nathan, differs from nearly all other pomayals: his shorr dark hair recurs ollly ill
the Vatican Kings. the Paris Psalter (fig. 149) alld the rdated Tapholl 51. Ill) Indeed,
the Paris Psal ter Nathan resembl es tht' Gregory propht't in nearly evt'ry derail. from
hi s $lance down to specifi c garment folds, The Psalter illustraror here, as eisewht' re,
seems to have copied directl y from the Paris Gregory; 121 unusual detai ls shared by f.
14JV, (he Psalter of Basil II and Dumbarton Oaks 3 suggest [hat tht' Homil ies may
have been more widely avai lable to the upper helons of Consrant inopolitan
. . .
mlnlaturtSts.
Fol io 143V presents the earliest known !!yzanrine image of the penitence of
David; the Khludov Psalt er and the Mml preserve the oldest extant
rebukes. Lat er, the rwo episodes bccomeconRarcd, but distinCI forms for each seem
to have been maintained in the ninth century: the Khludov Psalter, for example.
Sr., IIJ cibori um wall iccul in Washing. on. DumNrlun j, f. 17r:
Cucln ('98-\1, Jl J. In Khlu.!ov l' ... . dbo. ium (.arnn -.:cnr.
I ,7 17. Var0!K'di 760 and Sfl"ncer I' ... hual so show. hacklfi> covered by a
swag of drapery (I<:e nnl e II) .bove), rhel<: imagel a'C reblc.! 10 each othe . bUI nUI.n pa.is.g' .l IO.
1,. See note. Jl l and II J
I" If.so, divngn from Ihe rcprn.c'nncion ofJcru:>al cm in the nu! .rgisle .
, ... For the fo. mer, Jet' nOle 110 above. l'uil.gr. IJ9. r. IJ6v; Jnu .. Jem, Taphou Il, f. 108v: CUll er
(198-4), figi'. ' -4S. 111. Il. Sr., chapter 1 1']0.
'"
Iconography
Fig. 1<19 P./ris.gr.lj9.! Ij(l/): /'t'"lIilrnrr ofDa,,;d
lacks a developed penitence scene bU! shows an isolalCd and humbl y dressed David
prostrate in the left margin, far distant from the rebuke that appears to the right of
the text. 122 Further, ninth-century depictions of the rebuke arc in no significant
way rdated to the penitence in Paris.gf.5lO. The distinction, and the formula pre-
sented by the Homilies miniamrist, were evidently short-li ved: later versions unite
the two and those that share telling details wirh f. 143V nearly all seem w
bortow from Paris.gqlO d irectly. The Gregory miniamri st docs nor, however.
seem to have invented the scene de novo, but rather to have adapted an earl ier
versi on of the penit ence to include new dements introduced by the Palaia his/oriCi/.
Foli o 143v's closest rel at ive appears in the Bristol Psalter (fi g. 148), an insuffi ciently
s[Udied manuscri pt which appears to retain older motifs than the ot her marginal
psalters but adds an overlay of ten[h-cemury details (as if it had somehow skipped
'" Mosco ...... r. jor: (' 977),
tbe nin"Hentury ""ret;"n. on the group): '''' the only 'ignifi""n' <liifCf'Ct><c
hctwcen ,he twO i. thot 0 pmonifiat;"n ofMet.noi. _ puibl)' impim;! by
tn. 1'0'" 1.,.,1,., (fi g. - ftplactS tI ... rehongdMich .. l, It " .. long hctn .peeu_
ule<l lh..l .."". bYp<>lh<'1iul King> <)"Ie included (WO d" . inct im.get fo, , King<
n: tit. "",,uk nd the pmit.no<, '" Botlt tit. B,ist"ll'AIt." . nd Pori',!!,.I]O do
indC"<d secm 1<, " . ",fo, m ,he .. me im.grof ,h. pcnil<l\C<, while ,he Sot= P4",,1bl..
. nd the Khlud", Pulte. prtS<f'I' the "",,UM, Brutol probobl)' adJc,;I ,he
I .. of M .... KIi >: 'iI Pui . gr.I'<>' under ,h. iofiu.t><c of ,h. 1'"1..,,, hi,
M.iN, added the arehmgd MKhxl 1\011. miniOlu,;,,, imp<! modemi .. ,i<>n,
on the , I..kwn of. dying iwnOS .. pltini uni. ,
rhe .noi,,,ing of D j,j (, Kings ,6, )- ,)) occupi .. ,h. \owe>, of rq;i" ....
on f. 'H" (fig, ,). The mini.,u,;" <Xp"nJcd .nd modified. compooi,"'n ,h.." on
the witn.,..... of the Miuo Gftgury .tld 1'4",11tI,,(figs, \>, SCCttlJ '0 I.,,,,,
been widely kn<>wn in ,he nin.h n,u'r. The cnlnge<! for mul. fouod on f. 174"
found 0 p> .. lkI on 0 contemp<>r .. y ivurya.l.ct.1w m.de IU. Bo,i! 1 (fig, i. """
pK1um.bI)' i"' r im;! ,he imp""oncc of D .. id', anoin.ing '0 the emprn:t', The
fo,m.t <u,m;! in two I.,., G...t, .. n.ioopolit.n produ",., the Leu Bibk..,d ,he
P .. " Ps.olt.r (figs. 91, 96>. ".
The judgement o{Solomoo <.t Kin!\, ",6-17) on {, lI\Y (Jig, '\) w .. .., ... rely
depi<:tcd in By..ntium thot it;, impoible ."Jete.mi"" to wh extent r.';.,g'-!tO
ronform, with, m.-.jin .. , or ,J ivcrg .. from ... ,1 ... I""""io<.
Wi,h ,I>< .. cen''''n of IJij.h (4 Ki ng< >,"_1 J) on f. ,64V (lig. ,8) "'" ",m.n ' 0
ccn. ,I." rtpIi ... , ... ""mm"n ";,,,h_nmry fo. n"II . Th ...... 11 .ig""''' h .. '.
mong d;ogo",,1 Ke.nt, running from Eli<l,. (EAI0'..IOC) in .he lower left
through Elij.h in hi. """"ding m;! <au..!ti!?, .nJ in ""n..! of God
,It .. e",erg from a blue 0'" " u"ide ,h. f..mc. Th. di.go ... l i.
VCC" In .... ", .. i" tI,,, fill> ,h. tight .iJ. 0( ,II<- CO'''I" ",i, i",,: .lti< i".elf oont.i". , ,,-j.
mgul .. blue body of WOI .. ,h .. hoi"', in .herom .. , a nude rruJc rc""",iJic .. ",,, of
the ti"". l olon IlOTA[MOCIl , The upper Ief. <orne< of.he Kc"nc
alii", ,h. ' fJij.h', a",.n' (HAIAC ANAAAMIlANOMENOCI.
Eli,h. ao<l !'Jij.h .rc bo,h "imbro . nd we .. identicol blue .unia dcco .. tcd wi,h
bond. under ",hi montld: .. he a>oC<nJ., Elij.h p>.i<d ",I,., Opp<1" .0 be.
hh' nJ) m.nd. '0 hi, folio ..... on ,he ground.
1'h< a"",n,ion of Elijah ..... , of,en pi.crum;! in B)'un.ium, ..d ....., .. 1
"""y """io", ><,<vi,<. Th. V.,ia.n 'Ch,;" ... , T"pogtapltl (fig. 1\0) "".in, ,he
diogonol oxi. of the Grrgory ",,,ion: Eli,h. , nimbro onJ d,=cd OS in r.,i' ,gq lo_
.... n ,h. " ,,,1. Au" .... hchind him in ,h ... m. "'.y _ re h .. up '0 ,he
m.n,le p. "'" to him by ,he nimbro Elijoh, who hue ,ida in. brown big.>..,d
",,,ili be""",,, ,I .. , ... " "',( h",,.. ,I. .. pull if up f ...... nl the h.."J "ftrij,jemergi"g
'" s,. ,Iuf><" 6 .. .. s.. c.., .... ('9,, ). ')9" " .
'" ... ). , ,,,I, Bock,baI (,. ,.), ' "5.<<10.<1'''''''
,"
. ' . .. .' . . .
of, ""' ''Y' &Y''''Y
.
",' , .;;
, . ,' '10" . ... ,,', ... ;, .......... , -
..



Iconogl':lphy

" .
" . .. " .. T."
from a blue arc of heaven. I n the lower right. as on f. 264\', is a personifi cati on of the
river Jordan; the mountain, curiously. is tucked into [he corner beneath the
personifi cation. 'l7The rwo versions are closely rel ated. and are joined by that in [he
Khludov Psalter (fig. 151), where the fi gure of El ijah is identical to that on f. 264V
even in its colouring: four red horses pull a red quadriga up toward the arc of
heaven; Elijah (dressed in a white chiton under a blue himation with a piece of
loose fabri c blowing like a rai l behind him) rurns back to pass hi s mantle to
Elisha.1lK The minialUre in Ihe Saml Alnlllt"l (fi g. Ip). gi lt as normal in that
' r Vaq ;r.6yjj . f. 66v: S. ornajolo (' ?OII), pI. 27.
I!J Moscow, Hin. Mus.g . 119. f, 41V: Cl9nl.
Vision and meaning in ninfh.cenf ury Byunt ium
-
Fig. 151 Mo,rou\ HhlOrirnl ,,","Y"III, rod. IJ9. f 4W: IlJWlSioll ofElijdlJ
".
Iconography
,
,
( .

359
I ,,"'''l' '/"1" II/I" /("
.,., f If 1'.' {"N.' fli ' ,
,tfl t ,. I I ' ,I t' ' I' 11-, ,,,1, \ I
I ,.f \ ,\ tVI!" \' / " ' I'li f
, ..
, 'I"
'11f' ,' " If '

(
'I "'.
i"1I(. ' A"tr''/.. .. fI.I
f l ' '' ' \ ' 'I' lt t i i lll"
" .1/ ' \''(
t: ' rI( ll 1 A r "' Al II'"
OMit. ' "'. {'.,"" , n';
, ' ,
././1, r fl llt( U .. " " II
;
. ,
.... " .... JA.lJ/. ,.." '" " ",,.,
/ // .1 I' ll. /' ff . \ / 1.1'
. ' '
,: I'lIf,I,: S'Y',"! .' ""
.' ' /'<I ,. ,,,. , UUI'.f.VI'


I " I' .. , ' II
( ,I nII' 1 r I' ' I' .
. \1 'r. ;'l')""'" 'j' j
'/:-' , \'V II V
"" "I. " ,'fI (U.U .. ,. ..
All " \.1
' I'll.' "" I f It '
t I "
" 1' 0

Vi_,ion .nd in nimh-century HY""-1Ilfiulll
nunllscripr. preserves the sam .. configur:uion of quad riga and propl\("t, hut here
Elijah lacks a halo and, correctl y but ulligucly, wears only hi " chiron in rhe chariot.
as he passes hi s himation on to Both the psalter and the Slem Ptmt//{'/(/
show Elisha wilhol!! a nimbus: in olher resp('cts h(' his counterp:lrr in
Paris.gr.slO S:Wl' th:lt hi s hands arc not cQverl:'d in thl:' Khludnv Psalter. :lIld. like
Elijah. Ill' wears only his tunic in the Sacm Parlf/fdfl. The 1l101lnmin up wh ich Elijah
:lscends - gre('n in l'aris.gr.'jlo. pink in Ihe psalter, green and brown in the
'ChrisTian Topography', and indicued by twO sketchy lines in the Sacm I'(/rtl//{'/'l -
the whirlwind descrihed in 4 Kings 2: 11: il stands above The river Jordan
bcsidl whi ch Elisha stood after th .. ascension (I'. 13) 011 r 1641' :lnd in the Khludov
manuscript. The personification of the riVeT in the Homilies. the Kh ludov Psaher.
and the 'Christi:ln Topography' r,Heiy :lppc:lrs in olha Byzamine images of the
ascension of Elijah. 1 \0 Its appearance in dlr('(' ninth-century miniatures confirms
so me con neet iOIl betwel:'l1 them, but the mOl nn er of dep ieti n g rhe persoll i lic:l I ion
dillers: the Khludov Psalter shows huge male, the 'Chri stian Topogr:lphy' a reclin-
ing figure. ;lIld P,tris.gr.jlO:1 torso emerging from the water. The striking similar-
between other features sh:lred by these three versions or the scene. many of
them evident in rhe 5aaa l!lrtlllf'/ilas wel l, suggest Ihat the cOlnposi lioll as a whole
replic:Hes a slanJard formula; the imposed on Ihe
personification, 011 the other hand, suggest rh:l( this deLl il W,IS seen as less 'c:1I10ni-
I!' ,IIHI was Theretore amenable to modificaTion. Psalm 41 :] . which inspired the
picturc in thc marginal psalters, specifically mentions the Jordan and presumably
sparked the addition of the pegonification. 1.
11
In Paris .gqI Q, its inclusioll was
perhaps recommended by Ihe baplismal [}'pology visu:llized throughout the mini-
:lturc. whi ch cncour:lged an emphasis Oil the riwr Jord:H1.
By now il comes as no surprise that the three scellcs from the books of Kings that
appear with suAicient freguency in Byzantium to iconographical
ie;lsible are 1I0t icollographic:ll1y tied to a single sOllrce. The pcn itence of David (f.
143v) Jinks most closely with the Bristol Psai{er: the anointing of D:wid (f. t74V) is
rehted 10 a contempor;Jry ivory panel and ro mini:lIurl's in tl1l' [I"lilan Gregory and
S"ml {,,, "dle/lr, and Lhe :Iscension of EI i jah (f. 164 v) Ii nus its closest rebt i ves in I he
Khludov Psalrer. the Vatican 'Christian lopography' and. again, the 51I(T"III'(l/"{d/d{l,
As J group. the Kings mini;lIurcs in Paris.gr. )to provide no evidellce for an earlier
i II usn;) ted Kings ma ri pt: the twO i mages em p h izi n g D:l\'id h;l(1 grea tim per-
ial resonance and h:ld btl'n depicted in this COIHCXT for cl'l1 turies, whik' the :tscen-
"ion of Elijah was <,<plall y important in typological cguations. Whether or not
JdTrcy Anderson's lhesis th:tt. apan from illustrated Genesis manuscripls. dense
lurrative cycles ill BYZ;UlIiul1l only bcg,1Il to appear in tlK' early ekvelllh c(,lImry is
1"'1' . r wr' _ I I '
- oV; "(01"" . ..,,, ' 97<).'. 9,. ng. 17,.
'"' h don "o! 'PIX',r. ror in Vdtical ' King" \ld1.gr. HJ. f. 10<) (I.""", 119731. fig. 104).
I \I Cf. l.ondo". Bl A,!J. ' 9.)\!, f. \' v: D,'! N .. ",,,,,iJ" (['no). fig_
00.=,.'''' ,h. ",KI.ne< """KII by p.,i. ,gr.\.o cerr.inly lUgs"" rn .. ,h. Ion.
G=k KinS' man""'rip' wi,h _ V . g'.Hl _ .lid "'" ropy $Om. MW,).'"
e.,l)" acmpl .. , hur .,uhe. mrnp;ll iu ""1"'00: by , uppl.m.nting ,hen,!",!,ul ..
cycle.. ,udo ,h., ofo..i,j, wi,h . Mi,ion.1 oeenco f.mili", from e.,h .. '0'"''''",
job
I\:, we .. w in ,h. p'" J. the image of Jobon f. 7" (6g. 1)) illum"",1 Gr'W'ry'. rcI".,_
.ncc '0 the OIJ Ta t.ment figu", and ,uppl.mcn.od rhe "",<""'po"ying "".m,,",
Th ..,.ne i, .. lf oornp""1e< "", ... 1 ... ,,1> ".",uod in Job , in'o" ' ingle con'!""i.
,i"". Job (lUll) . il> on the dunghcop .pifiod by ,he Septuagin, (job "hid , i,
di"ingui.hl from ,h. grn ground by it> brown <oIou" it . i ... g=luaUr .""" .. d
,h. 'igb' f .. me, Job i. " imbed. '" nude and awer! wilh ooil" he ,um. hi. h...! to
.M"", hi. wife. Sh. , ido-n,ifiod ,I> ,h. wife of Job . (H r YNH TOY Inll). <0"'''' he.
1>0'" wi,h hcr pink m.nrl. in ""I",n ... o ,I ... .. ench, . nd Cltl<nd, , ...... 1 fob" .. iek
from which dangle< a po"herd wi,h <wo h."dle., wi,h ,hi, he wilT '",rap< . way ,h.
dischall;' ftom hi, hoil. (job >;8). Behind ,h.m ,ioe . he w.lI, of. b'g< I>ou ...
f"i ml. monochronu,i<: btu.< ,Iu, hl.,>d, wi,h ,n., b.dgroond, lIcfv.=n Job',
wife and ,h. frame ,ito f ........ ndi" g pi" ,upponing ,n och,. ,,,n.nd ,;.d ,bou,
i" mi.ldl. wi,h ...... g of pink dr.pery, Th ... motif< <ur doowh ... : in ,n., manu
>Cri p,,''' .. ,h ... :, ,hey arc , W'rcnti)' indudod h.", to, , ig"if) .Jo>b', ""ik from the
ei,), ,old . .. bcw.ilcd bl hi. wife (job >: 91 , To the Ief, ,und, 3 b..dly
H. ked group of Job'. n i"".l . Ot>",,,, w .. ,hi< to, m .. x. .i. figura h ... :, 'hru of
whom h. .. the king. of fob "", in I",S" p .. tt hcco" .. ,h. forcln"'t.
who we ... r!1cgg;ng. . nd an ;nlpe,ial purple . nd gold m. ntle 0VCf . bhl<: .n.l
gold tunic, ;. idenrifiod by i""" ip,;,-,n ., c nwAP 0 MINIlN BACIAEYC.
's.,ph", King of ,h. Minan' (job "n).
llyun I mini, 'u ,;'" <kvclopcJ .wo d i>ti net w. y. of .howing Job , i, ,i ng on h i.
dunghill , Th. V .. ie." Job . nd ,n., rcl .. 1 im.g< in Ih . w"" 'HI
piem", Job en", .. d by ,h. hill. cloohcJ in. I"indoth . nd ", .. I fron .. lly hi,
1m..., d r.,..." up. '" P"i . g',I'o im ... J foil".... ,he h>no\ulo f, ... ",1 in the Palm",
,nd V.n"'" J,-,I, ,n'''u,"" ip.-. 'HI:.II .how Job .. ,,Ion lh. hill, u.ually wi,h
.".ncleJ Icp; the Venice man"".ip' . .. ,he b .. , lro lIibl. (fig. ' HI l<o ,esemble.
l'ari'g' lro in ponraY;"SJob nudc, "" Thi, group .lso pl.ceo Job'. wife .o II. ighl,
,W """-1<," ", {, .. ,) ........ , ". s.. M. 8udd., 'Job', /.0 II h, ,..,l ..,,. .
Tn. _"""-,,k hi .. ",""",-,",,1 "",!oJ,,,,, '1'1'<'" r ... " J- f. ,,.
I) , ""'"' ;, i...!a,,, du, <h< "'-"'l'Mom """' ",,,,,,><4 ... ,oid< ei 'r .... I . A ' '"'"
on f. ''''{tit ,.! ",,"to ''''--' ;",,,,"" .. f. " "{Iif;. " I. Cf. Wrio",,"" 10.,,), 1<>-1, .
.. '.', m . , ..... )0<, "or, ,<6<, "". "I", 'l7'. ,,.... ,...- I"""'w ","",""", to. '''''''
Jir dy.....t .. "...." ,,,,;, i", ""'"' <on.,., ..... 1 f . ....... , If ' ...... "", ,'"I, "" .... h .. , ..
W .. ""unn h."I.1ic>- m , ,,, . .... " . .,. . ,. f. >U" \II',;"",,", {,.,o.I. "," II, .
f . .. r"""" 101 ... 01"5<.)01> 0, rod.'7'. PI' ". " , JO<Of" ('9,>1)1 OW ,,,,. , ... , (:0 .... , I', ,,,.
.,. V""",, M""'y.,}I.f. ". 111'",,,,,,"" ... . V", .">; y,d. i.'''' M'.;'''"I""".I.
pj . " . pur""' .... ..J c...n , '-<0.
",
and meaning in ninth-century Bp.antium
"

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,
I.'
and sheexlends a potsherd to him on a stick as in Paris.gr.Slo. u7The PalmosJob is
of uncert3in Jail' and origin; it has most recenll y been assigned to Italy and placed
in the ninth Ar rhe lIery leasr it is conremporary wilh Paris.gqlo. and it
maywcll be earlier. The Venice Job. on the other hand. is certainly later. for il bears
an inscription daring il to 905, though again ils plaee of origin is not specified. No
one would argue, however, that the illustrator of the Venice Job was influenced by
Paris.gr,s 10. and so we may assume that Ihe Gregory mi Iliaturis! knew the image of
Job and hi s wife from the tradition represenred by the Pannos and Venice manu-
\X'e may. howeller. hold the Gregory illustrator responsible for the inclusion
ofJob's friends . for thi s episode is never conflated with the scene of100 and hi s wife
in the Job manuscripts proper. The addition was almusl certainly suggested by Ihe
accompanying sermon, wherein Gregory acknowledges the support of his own
alli es, Gregory of Nyssa and Basil (pictured in the top regi ster). by invoking the Old
Testament parall el of Job and his friends. Only in the Leo Bible (fig. (55) do we find
a similar co mbination and. ;IS Buchthal has already remarked, the whole miniawre
1J7 in pre<:cd;ng nOte; Jampi (t9 ,1/ ,), fig. toj.
' ... Gralw (197,). 14-1\. wit h further bibliogr.lphy.
,6,
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,
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.,
Iconography
-
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Fig. 154 Vrnict. Mllrrillnll gr.5}8.f J r : Jobi u'ift with Job Oil hi! dllllgh;1I
Visi on :l. nd ill nimh-ccnmry S}7.aruiu lll
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....:j' ..!L:""'''''' ,', . " -..: ,' , , " ..
'r; -; ....... "' .. , I .... .. " . .
. .- ,,\, , .. . ." .. ', ....
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-
Fig. ISJ Vaurg.gr.I. f 46/11:jcbi u'ift IlIId frinuh ujrh Job 011 1Ji, dlwghill
)64
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in The Bible resembles that in l'ari s.gr.SlO so closdy that it seems must likdy that the
bter pai1ttl'f drew directly from The Gregory page. t.l'J
Prophets
Th( thn:e sn:nes portraying lsainh recall conTemporary Constantinopolitan work.
We saw in c h:lpter 7 that the on r. 671' (fig. tl) may modi fy a formul a origi -
nally devised for mural decoration - it may echo lost wall deco rations at H;lgia
Sophia and the (btn) ZaOUrl;}S church - but, as with all visions of diviniTY in
Paris.gr.5iO. Isa iah's stressed The mediating role of The prophet as a means both of
involving the viewer ill the theophany ,lnd of stress ing the hi stori city of propheti c
vi sions in ways 1101 obviously appli cahle to wall painTing. The seco nd Isaiah scmc-
the prophct with Hezekiah (fig. -H) - finds it s clost:st counterpart in the S'Ii"r;/
I }mtf/(,/II and recurs in the P;}ri s Psalwr; it wi ll be considered along with Ihe rest off.
4351' latCf in thi s c hapTer. The Ilurtyrdom ofls;liah (f. 3471' ; fig. }j) docs not depend
on Ihe biblt" but comes instead from t he apocryphal M:lrtyrdom oflsaiah. Like til{'"
previous two seem's, however, Isai ah's m:lrtyrdom may repli c;jle a formula standard
in Constantinople: we saw i 11 c haptt:r 6 th;H it recurs ina I:Her ;Hl d apparently other-
wi se UI1 related prophetbook made in the ca pital.
The single scene from Jeremiah, which shows til(' proph!: t f<lised from the pit o n
r 1431' (fig. (9) . finds no in \3p.:lIltme :Ift. and we saw in chaptl'r 2 that it
seems to h:lv(' been compikd :IS part of till' vi sual commentary provided by the
minialllre a whol e. The lone E1.ekicl page, presem ing the prophet in the va ll ey of
the dry bom' s on f. _U8v (fig. 44) . was discussed in 7.
Two scent:S from the book ofD:lniel :lppe,jr 011 r. 4}jV (fi g. 4.1): tht: thrt:e Ht:brews
in tht furnace (Dnni e! 3:26- 88) and Daniel in the li ons' den (Daniel 14:31- 3<)). We
slull sn Liter in thi s chapter tha t both scenes find parallel s in (olll elllpora ry
Byzantine miniamrcs.
Finally. as discussed in chapter l. rht: Jonah st:qu("ll ce on r. 3r (fig. 6) is:1 pasti che
that rearranges a compositi on t hat influen ced tht: Pari s Psalter and Vatopedi
760 whi le introducing a new scene UOllah's flight from T:mis) in the process. The
new composition was compiled in order to augment t ht: accompanyi ng sermon;
whil e many of its const itue nt pans had a long history. the combination on r. 3r
. .
r( malll S ullll.jue.
The prophet miniatures in Paris.gr.slO almost:tll relate more or less directly to con-
temporary Consr:lminopolilan products. While J mural cycle may underli e some
compositions, the proliferation of scenes from the lives of tht: propht:ts set:ms pri -
marily TO offer a visua l corollary to the increased inTe reSI in them that we also find in
)6,
'an .lul ing ,he .M nin,h nmri"', ,h."me ,h., h .. been ""n,idem!
.I....-. dy in ch.p. 7.
Old T", .. ""n, Aj>ocrYI'I,.
Th. M>llabcn f. (fig.)4) rn. ) h.v. hn inspired by.n .. ,Ii ..
.:yel. hy 'hc p",i"en T .... ".,., i, w., Ji.scwscd in .h.p'c, 6.
flIro.t' "" OJ. ",",,,", isriJUx,,",i<" "",I""
Folio i Jf' (iJ) (fig. i l)
The fOUl .. e .... or .. ng"" io. r<gub. grid on f. 4JjV _ Donie! in .he lion. den
by H.billuk, ,he ,n,.., Hcb...,.., io ,he ficry fiunKe, ,he "f
M.o ..... , .nd I .. ioh wi,h King H=ki.h _ bc-t .. y no oOviow <ono<"<' Mm wi,h
mr ofG'<f;0'r', homilies. ' " It h" bn gcn.,.,jl)' . .. [h., ,he in,.,n, 11ogic:
of ,he mini,tu,.." .. I.,,,, i, ""oc,hel ... "...;&h,r........-d. for oJl four ",cn ... pp .. r
in Sy:uminc "",h." .. ith,,, .. ,io", to ,he Odes , h" fUllow the I\.olm . '" n.c
p, ,.,jld, . rc, however. "nly mrcriici.I, ,h., ., .... iou. problem.< with ,n. 'Ode
,hc.i. '.
Th. apoc. yph.1 I ... ch.pte, of Dm'c! i' )'-)9) n .. ", .. ,h. cpi""'. of
H.b.klmk bringing fOod ,0 o,nid in ,h. Ii"",' den. In I' .. i<.gr.jlo. 'hc omit
D.nie! (.l."NIHA) ".nd. in 'he cenuc of [h. qu.adr.m amk"" . .. '" norm.1
Span,in. P'>CIi<:<, by !WO ... ,hcr ,han 'he """n lion. dc.criW in ,hc te ..... 1
aa:oUnt. The I'ml'h .. '" nimbed,'M dad in "...dart! 'Pc .. ian' """' umc:. white
"'I' wi, h ..,.j .. rip, m! c""' k wi,h , gokl ""11,,, [,1uc ,uni< doco .... d down 'he
flUll' wi,h . of gold, gro Iq;ging>. ond whi,. boo" wi,h golden ""tn. H.
"'".!. in fron' of , .1,,1< .,. ... < .. T>'<Xl in'o a green hill, wIlich (","a [h. cen,,..1 trio.
"hod I)' rubbed .ngel in Nu. ,,><I heig. g>[men", bovc .. abov.: ,he den. holding
H.b.oklmk _ hi, pink mon,k bunch"" .round hi. neck ovcr hi, blu. ,unic _ fi,mly
hy ,h ... n,1f of ,t>c n""k. Only H.b.kkuk'. uprcr ' on" ., vi.iblc: hc 'l'pc .........
d...k_b.im! ),<>u[h. 1nd emi .. . lusltc, Fun " f I"""P: on hi. Idi .1",,,lder, > gold
ow., in hi. 'igh' h."d.
Danid in 'he liom' den wo populor mOlifin By:un[iurn, in ,h. n;n,h o::n,ul"y,
,i"u.lly iden,ic.11 ..... ion .pp< .... in tl>c 'eh';"i.,. Topograpny' (tiS_ 1)6).'"
Hcr<, hOW<'V<r. H.h.kkuk . "d ,h ngel h,,,, been ,hough . n un_
idcn. ifi.cd routh....tb tI,,,, .. ,d D.n",I.lId fUUlI>c"" [n" ,h. V"ia.n miniaturist
'" Mwkt 4" Om " "".1, ,." pl . 8uo:h"'-'! 1'9)1) . ,.. ... OJ: OW';."","" (,,.,1,
,. , "'. ,6, . ,.,.: ll., (096)), "1_,,,. ",_",: 11"".1"" (0,1.1, '''_'I<' .... '01." """'I ....
1>_ B",bUn (0",",,1, '''l-'''''. On ,h< ,d. .. ioruh;P ,. ,h< " " .... <i>'f'<" I.
,,, M;a.. (0,.01. '." 8",h"'-'! ( .. ,1),61: .... 'douounn " .. ,). ' . ... "'. 'OJ.
''' n.. """" .. of ,h< "w"P ..J u..J.-V" .... " """ t-.. b.ot ,to. ...... '''''II''' 0/,." all
0< ...... "".; ... i .. d ... ;"" "",...r ... 0"'.00 ,to. <h<n booo. V".p ...... ( "" Soo""joIo "",,"I. roI . '"
W ... ""' .. {' ... 'I . ,,,.
Fig. lJ6 Val.:r.699, f 7Jr: iI/1M lions' dm
rransposw. from section of 'Topography' nand below. After the
early Chri stian IXriod, when the pair appe3rW- as an of salvat ion,
Habakkuk and the angel are in fact rarely In the tenth eemury, they joi n
Daniel in lions' den at Aght'ama r:
14s
in the they appear above the
14J The accompanying leX! is Book V:(7)- I74 (SC Ij9. 161-26S); the beam descr ibed in Book
11:66-67 (SC 14' , ,80-38 J).
, .. DACL 6.1. 55 to-iSl j ; H. Schloi",r, s. v. LC/, ('968). 469 and Joromias (1980). 45- 47.
J lo-I)I nOle ,61 collect and discu$S Ihe rdevanl uampla.
I!' IX. Nel10tUian and Vahramian (1974), fig. 14.
,6,
Vision and meaning in nimh-ccmury B)"t.amium

1
Fig. 1)7 1'IIris.mppl.gr.6to. f 15211; H,,f,,,k/ml/s Od,
)68
prophet in prayer as an illustration of Habakkuk's Ode in tWO psaltcrs. one of
which (Dumbarton Ootks 3) apparclllly copies the other (l'.ui s.suppl.gr.61O: fig.
157) .14(, Thl' angel and Hablkkuk resemhk their cOllllterparts in )louis. gr. 510; lhe
combi nati on with the praying figure, itself a familiar componeJl{ of Odes illustra-
tions. is howevc' r otherwise unknown. Habakkuk's Ode (Habakkuk j:l - 19) makes
no meJllion of the angel episode, and Sirarpi(' Dt' r pbusibl y sugges ted
that the motif was ins('rred infO the psalters because it reprcsentcd the only known
evelH from Habakkuk's life. 14' Thefe is nothing 10 suggest that the comhi nation
was lInything mher than lid bor.
Conversely. an image of the three in the fiery furnace consistently
appears in BY-lantinl' psalters, and accords fully with the relevant Ode text (Daniel
}: 26- 88), Ve ry nearly al! of the psalter images share with Paris.gr.s to a symmetri -
cal composition, wi th the angellJt'hind the central J-kbrew and extending its ,ums
In encompass rh(' two flanking figures; as on f. 435V. the psaltl'fs normal!} show til('
Hebrews as oranT YOUThs in 'Persian' costume. Without exception. howevcr, tlJ('
miniantrists of the ari stocratic psalters place the Hebrews in a r('ct:mgubr fllrn ;lCe
which obscures their lower bodies, l4'1 whereas in Paris.gr.510 th e Hebrews arc
shown in full. surrounded by Aames. with only traces in blue monochrome behind
The embracing angel to hint at the struct ure of (he furnace itself The two ninth-
century marginal psalters tbat preserve the Ode, Khludo\' :lnd PanlOkralOr 61 (fig.
(58). follow rhe pancrn of Paris.gr. 510, and locate the fu!] fi gufes of the Hebrcws
and the angel within a furnace fuJi of flames. with no obstructing wall; the
i'anrokrator im;lge is parri cularly close to That ill Paris.gr. 5iO.t SO Like Daniel in the
lions' den, tht' Hebrews in the fiery furtl;t[e preserve a nimh-century iconograph-
ical t}pe. Tbey also rep r('s(' nt an iconographical varianr that. even more
ddinitively than Hahakkuk and the :mgd. foreign TO the laTer 'aristocratic'

The third quadrant pi ctures Manass(".\ (MANACCI-I!C]), st anding orant in
imperial gold and purple reg:lli:1 behi nd a bull: painted in ocbre wirh brown
shading. [i ke the lions above, the animal is representl"d as a living creature, The
monochromati c bhtl" background shows tWO cypress trees on thc left and a circu-
lar columtl ld building on the right. Mallasses appears in 4 Kings 21:t - 18 and 2
, .. ' CUllu 7 L, 94. tillS. 261, ;29; On (1965). 1\ 8. 171. I" ;t n Mil the.i.
(l'mnsylvani a University). Judi[h c,"c demOnSlrd[ed [hal [he WashingtOn manu.crip[ reli.d
.Ii reedy on ]>"ris.sul' pl.gr.610. ..- D"r NcrSCl;,i .n (t96,), 17 J.
.. , L S' Cutler ( I l . fi g . [8. 86. 96. 1.6. 'Jj . 142. 1\ I. 1 S6. 279. H2. ;\6. ;19',
, PS'lltor diRe, 1i!;111ly Ixc.1uSC [he apIX' fl; hi swrialed ini,i,!; CUI kr
(1984). fi S. l,8. The "Iou", ,\,ho, . Lavra jl (f. 4Jr) follows psail ers: N. s.-vcmko
('990) ' 97, [00. aIM> [he Sacra I'tm,flr/" f. J7;lv). though hC'lc Ihc angel i,omiuM:
W.it"lmanr, (' 979')' fi g. ; &5.
'''' M<>,,<>w. HiscMus"l9. f. 160v 11977]); Mount Alhos. I'antokraror 61. f. H!r
(Dufren ne [, 966). pI. H. n Ilf. J 1'979). lig. l 31).
,6,
Vilion and mean ins in niruh-cemury B)"l.amium

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Chronidl's }):I-20. bUl no known to me descri bes Ihis image. which seems to
rc: prc:sen[ rhe king's l)Cn irence aft er yc:ars of sin, and 10 foreshadow hi s sacri fice: 'of
peact' offeri ng ,md pnise' on 'Iht' ait:lr of the Lord'. represclHed by rhe bull :l1lJ
[he ci rcuL,r hu ildi ng res pc:ct i \'d y (2 e h ron ides 3]: 16). The: i Iscl f is :1 pp:n -
enll y in a fwclfdl ,cclllury psalter in At hens as rhe illustration to the
Ode of lYb'llSSt'S (fig. [S9).ISI The Athens and the I',ui s mini:uurists may have
", ErlHI,h Poib, 7, f. lj6\': CUlk. ('984). ,6. fig. u. The OJe I 1'91JI. 6!o-6!I)
"pp<"" "' 11,,1)' a r ...... i, no,,"ally illuS!fa,ro by Ihe k"'1: in prJ) ... : /1.\ 01(:0",",
Hi ,!. /0, 1m, g'" !9. t. 'IN\' (.'ccpki II. 11977 J). I.ondon. BI. AdJ.40. 13" , (" ,. (Oil r.ell Il. 11966J. pI. 60).
WJ.h ing'''''' [)"'!lha,wll O.k, ), f. H1V (Cutl eT fig. JJ9). A, hem. fknaki 14.). f. ,'),\' (i ni.! .. r.g.
Jf7): the ,am. 1'}fmul. appeJ" in 1' ... il.l;',,)1;. r. 1j'" 1'97\MI. fi g. !O')). The
!'\.Ihcr f"l ln",. ! lI.n "ch 6.,: 8 (CIl.lti,! 11 r '')1) I. II,). a ",I . how, l\ lJna.s,es p yi ng in, ide of a b.d'"
N,'w Yn,k I'"h. Lih. SP<" ".c, g' ". f. J9IV' Cutlet ('974). 146-148. fig. !(,; Curl,, ('984), fig.
HJ. C""'pa'e 1'.1 m"kr.,,,, 61, f. HOI. t p.aying king is bOIl"d wi, h "'p'" (1966).
17P\. jl.
po
bc<:n independ<ntly, ,n<! ir>diltttly. in.piml by images of ma"J" in
bull . which ........ t>f .. int< <merging from the bull', back ,u,rounded
by A,n, .. ;'" in , ho ",ru,n, 1'<:o.Ir. h<)W<ve . M.n ..... i n elderly",." .nd , ...
.. iocial bull =Iin<> on. A. ming . IUI.' \} 1r.ough boo h mini. turn rooord
" b n'''''' act, of penit<nce . he I""lt<r I'<'<t"')" .n oklo. 1 1., ""'men,
in ,ho n. mll ive.
Th< ..:ene on f. iliu"' .... I .. i.h )8:1-). A. dcse. ibcd in the titulu.
w,i" ... 0" ,ho frame .hove ,ho ",,"e _ 'Lui.h .,id '0 Give 0""''' ""n
ceming thy hou",' (HC1AC AErON Ttl EZEK1A ' TA=:E n EPI TOYOIKOY
COy) - ,he Prot'het odd ...... ,he .id king in,ide hil ]>ll"" . rrp<=nt..! by..,
.",hi,mru backdrop. Sm.11er outlmilding. Rank , large gold door p,<e<dcd by
two prominent "<P>, """ieh ... idently allude '0 the "ep' along which GOO 1, .
cau.cd ,hadow. '" m"" "go d", H" .... ki.h would =>ver (I",i,h
I., i ... (H(:AIAC), who.., Aowing d ... k h.i, oddly ccm[u ." wi,h hi< g"1 h<>.rd,
... nd. to ,he for loft; hiocO'f<mllcft h.nd m.y once h"." held. "'roll (d. r<. "
tlOW ft.lJ l, while with hi< right h .,d he g .. tut<> ""w.rd Heuki.h in ,]><h.
HaW.h (EZEKlACl !'Kli"..on. ml and gold mm"" in 1 richly.!""o ... ..! bcd:
hi' ,hoa ",t "".Iow foo"lOol. He Iran, hil head on hi< =emllcft hand .tld
[he '''''''' _ pern. ", in =ponsc [0 ,he Sep, u,,!!in' da.cription of , ho king
tuming hi. f ... to ,he .... all - .. he ge,,"= '" I .. i,h .... ith hi> .ight hand.
A .imil .. compo.i. ion 'PI'''''' in ,ho s,."4 /'4",/kW (lig. ,60) _ which ili .... [he
obliquely .Iigned bcd. the ki ng', .vted I>c:od, .nd the .rehiteau .. 1 .. tting ;nco,
po .. "ing' prominen, "" of 'P' -.nd ,he Khltl""" .... 1,., ,h.ows H.,. .... h in bed,
g" .. uring ,ow .. d [h. Ode ' <ll[. but by f .. ,he ck=o[ comp ... i>Ofl i. provi"'" by [he
Pari. p ... ft" ,61) . '" Whik."." from Khludov all ",hcr illu", .. 1 ps.a1tc ..
rol",,- ,h. Ode of He .. ki.h (Luj.h JS,?->o) .t>d.how ,he king in p .. yer,'" ,he
mini.tu';" of [he Paris I\al tcr .d"'" '0 ,hi, ,ho IICC'" of t."iili...d H""kiah. 'The
gntuping i< "rikingly ,imil .. to ,h., r""nd on f. nd e.e" ,.,Ii der.il. OIr ..
<pOnd, . ho proph .... rwo-[OnN hoir, tho ,;ny bed finial. ,ho king'. A.nged gold pee.
",,.1, hi. dilCOroeJ rcJ and gold oil"" . ' ''' .nd waddod .round hi' kf,
h.nd .n =ur in tho 1 .. In bo,h mini.tu"', '00, gKY. blue "<P> ri", '0
]>ll .. e door. ru wi,h the . noin'ing of Ihvid ...d the h",ory of Jon,),. the ps.a1tcr
mini.,",i" ho ... goo in 'Pl""" '0 h.v. con.ul,ed l',ri' _g'_j[O diedy_ ,,'
' " E.I- V".p_'.'" p . .. and Mo. ............ UpO'!"""'" '0, f. "., M,..wp.Io.,..,): _b"d ..
".J. ,,,"" . ".,. <;.f. C.tl,. {."Ol. '-"'.
'" 0,,\0, (obNL) _'" tIu, ''l'''''nu , """""" -.. M ........ "?<""""', . n.l 0l00'0-,
hi .. .... .,; ... hi,,," U;,IoI' ..... ;" ,t.. ""', .. , ,.' ,t., .... i".",,.1 ,)0.1, ;,..,If, I,.. .. -ori'" '"
God """, ...... Ii...,..
'" . ',. f. "'r. ... ,.;" ..... (,r,W. ' , ' . ', ...... ",.. "",..;ow. " .... M ..... " . f. """
I',n) f. .. .., C ....... (, ... ),_ '" ,", B .. d"ILOI 10,,,). OJ ... " ...
,,, s",'.1- [>,,("'"'" 10,,"). pl.. !"",,, c." I,. (, ... ). r"... l . "'. "I.
". nu. .... il ,"-"'" i" P .. i,. " ., '" no f. .. '" ' .... ,,). i. dot """",,( c. .. ".n';",, d ......
'" So 101, K.d.o, ......... m.p..., ,.,.. '!<I. s...bodupt"" "'" O.
'"
Vilion meaning in nirHh-cen(ury Bp .amium
Fig. 119 AIIYlli, Cod. 7. f lf6v: w.rrifirc Df M DlllllHJ
37'

,





J7)

I ,',<I ' f'
" .
fl .... ' fN
(" "",.t'.
'1'/>1' ,


1'\ 1' 1111
, -
Ilf"
'I' t''! A'
"'1M

il, l
,., f , :"
Vision ~ n meaning in ninl h.-<enwry By'l.'lfllium
While all fou r scenes collected o n f. 4.!5v appear as ill ustrations to l he Odes in
B}'7..3nrinC' psalters, only the three Hebrews in lhe nt"ry fu rnace recur with any fre-
quency, and here Paris.gr.s1o is con necred with the margina l rat her than with the
'ariStocratic' psalters.
158
Far from being convC' mional Ode illustrati ons, fhe
remaining t hree scenes do not Feature in t he Ode texts at all , blu were more or less
one-off pi ctorial suppl ements to them in the rel ated psahers in Washington and
I Sec tOO Khll1dov. p1113tive affiJiuion wi th 1 he Hczekiah ",ene, noted above.
)74
Iconography
Paris (Habakkuk), a psalter in Athens (Manasses), and the Paris Psalter (Hczckiah).
The Habakkuk and Manasses scenes reReer middle BYllntine daborations rather
than su rvivals from earlier and unattested models. and though the image of
Hezckiah in the Khludov Psalter indicates that pomairsof the king in bed were nOi
unknown IU illusrralUrs, the conneCfions hClWecn f. 43j:V and the marginal
psalters repeat a pattern found throughout Paris.gr.Slo that seems to have more to
do with the niruh-cemury iconographi c vocabubry than with any distinn genre of
psalter imagery: certainly the miniaturist of the Puis Psalt er borrowed the
Helekiah image directly from f. 43S\'.
But iff. 435V is nO! really an 'Odc page, what holds it lOgnher? Der Nerscssian
nmeJ that the four scenes all concern royalty: cruel kings victimized Daniel and the
th ree Hebrews, while below we see two rulers saved through faith. She suggested
that thc combination in some way wRens the imperial dedi cat ion ofParis.gqlO 10
Basil I - although. if so, it was not entirely complimenrary to the emperor. But
OIht'[ features, 100. link the scenes. First, the Upptr tWO scenes both derive from
Daniel, while family lies conneCt the lower two scenes, for Manasses was
Hezekiah's son (4 Kings 20:21; 2 Chronicles j2:33). Second. the four scenes empha-
size salvation: through faith in the upper half of the page. and through prayer and
repemance in the lower half. The miniaturi st seems, in f."1Ct. to have snessed thi s
intcrprctation by including derail s oftcn omitted in parallel imagcs. By far rhe
majority of representations ofDanid ill the lions' den lack Habakkuk. but to focus
on thc theme of sakation through faith the miniaturist portrayed him coming to
Daniel 's aid. To highlight the themc of salvation through repentance. Manasses
prays with his peace offering before him; while the laSt quadran! shows Isaiah fore-
casting Hezekiah's imminent doom, from which - as the viewer is reminded by the
central steps - he will ultimately be saved by prayer and tears.
7ht' N('IIi .,,;((//,,(///
Gospels
Nearly snenty scenes from [he gospels appear in l'ari s.gr.s to. and the iconography
of man)' of them has already becn di scussed. Three sets of scenes that have nO! yet
been analysed will be considered here as paradigmatic examples leading to the
assessment of the gospel icotlogrJ.phy in the nlanuscript as;1 whol e.
Folio Jr (6) (fig. 6)
The top register of f. 3r contains IWO scenes: the annunciation (0 XAIPETIC-
MaC) and the visitation (0 ACn ACMOC). l60 The archangel Gabriel, in a white
Dn Nersc"ian ('96:), la- aJ.
'"'' prim"y di,><:u<>inll or ,hi < Illi n ialll" appears in chdp't'r l.
)75
V"",n ...1 "",,"i"ll in "run".",
"",mi. <h>d.! with h<ig< 011 .. ' hi"" tunic dcco .. ,ed wi,h gold. en'." from ,be
left. Nimbcd in gold. wi,b , ... hite b.ml in hi< ;hort d.rk h, i, ,nd wid, wing>
p..tntcd in ,h.Un with gold higilliglt ... G.b,iel hold ionwi,h tKl. h.nd
and 8"',u, .. r",'nro [h. Vi,sin with rhe o,he. , Mary, ..... ,bed in p1.1l1'Ie (bu, wi,h
red .hO<'l)'oo also nimbed in gold. m um. ,he ,,,,hanger. g<>'UfC with hcr righ,
hand, ,he nold< twO knittin& n:dl." in hcr lef., EI<t ... ,h. fWO ,m.1I
&"",n plin[h ,up",,"" bowl cono.a.ining b.alt. wuol. The Vi"in ,und. on
gold .00 100 ... 001, se, bcfofC. gold !.<""h w..c..."j wi,h , ,ed cu,hion. A
white building with' rcd roml, ilS doo, lulf ,,,,, ...,,j by. S' .. n cun.in. fo>rm. ,
lud,mp:'..."j cur .. in do.ated wi,h , m.1I do .. h"'K' from ,he roof ,"d .... nd.
"" .. a >m. 1i ochre .nd red outbujl,hng wi,h, , hutt.red window.
Th. g"'l'"l <i<scril"ion of 'he .nnunci,,;',.. (luke t:16-}li) Nlen,ific:, .he
'h,ng<1 ,nd indOe .... ,h" ,he building in ,he b",kgrouml i, M.ry, how<, 1'"
I'rotevangdion aJJcJ the drt,il. ne.rly ubiquitolll in Il)"l'nl inc d.pia"""" of ,he
e"i><><ie. th.t M"y "'AS ..... d .pinning when G.hri" mivro: '' ,nough .hc ... ".j,
on f. J', ,he wool .nd r>ecdb indicate f. miliarity wi,h thi, ,"""nt 0. rep .... n ..
[wn, de. ivro from it ,
1', .. "",.1>1)' hcc.u .. of ,he impac' of the Protc,-.ngdion, the ... ooing Virgin of
r. J' i, .... <ommO<l in ><en .. of the ... nunc;'"o" ,h,,,, ... ,,.! figure . '''' beep[;"n.
,,,,h,de ,he R:.oh!mb Go<pc15 of \86. , .. and, p>nicul .. lyclo .. [0 , he ", .. ion on f. J'.
twO WlI1I poi,,' inpof the .nnunci .. ion .t S .. M .. ,. An,iqu. ,n iU>mc, one p>in[ed
co. 650 ,6.), mh .. befWn 70\ 'nd 707 (fig. ,6). '" The nin,h-oentut)'
Khludov ""Iter . nd P. ntuk .. to. 6, ,6.) ......... ... "f M,ry ,nd
(;.b" <1 .nd " mi, ,h hi,eem,,1 brlJ,op. bu, r.ntok.ato. 6, in p.rtiruw
.-..I>.,,,,,i .. f. J'. ,., COI",ant;n be Rhodi .... , ten,h.ntu,y <be,irtion
of ,he nowI"", rnouiccytlc at tlu: ellu",h of the Holy Apoo'"" in Con"'n,inople,
prob,bly'" Juring , ... reign of B"il !, ,imply d<>crilx. 'G, b,id bringing to.
,;"in m.iden j[idingo of] , ... i"' .. "atio", but M .... i,<>' rwclf,h.crntury<kph,,
,i, indiClt .. 'h" M.,y .toOd. interrup,ed from h .. spinning. when Gab,iel
.. ri,ed. , ... Such on imporlant mo numen,,1 .n.logu. m;g., pl .. ;n why ,halo ... ,
..-cll.p"'''rvcJ V'fOlle! ro f. J' ""u in '->pp:odoci., in Nc-w Tobl" p. inted in the
miJdk of [he tenth ccntuty (n!. ,(1). '" He .. , G. briel ."lde5 more roefuUy ."d
......... .,.tioo ' " It,."",,,,, ..t Sth ....... kl.., ", .. ,), rto. ... So< M;II., ", ,6).6, ... , .
" . FIo<"" . ' -, u,.pI", . '. t'. f . " ':;..rl.tlli
"",""",Wi ..t h"' )' po. u>-,,-
'" Mooro.., Hi ... Mu"" .... , ( '" 10,,.,11, "'""", A' ..... P .. ,.I ... "" 6'. f. II'
1I>.f,." .. lo oMl. pl. I, I\-I<l.."id<, ".d , [,.,.). foe- ,,,I .
,- r",<;o.u.,.""" I. ,.."...t hJ, ,I; '"m. M_ lOW')' 100. ';K ....... '''''' <01. POt ",;'
I" ,,). _ """"', "'R>, t-n, '" ,I.. fl,."", .f fYy """"IH, ... wI"" ' ""'" -,1. n.. Cbu"h of
,he Vi T o of .... <;0.0"", ..t .... of s..J ...... u....n.. IIU_"" .h. in<l..kd ,I..
u"' ...... , ........ n' oIn<1il""- p"" .... M' ., .... .
," .... '.;. ",uJ, .... ", ......... II, ....... , ... ,,"'" "'"' ' . Ci. <Iupd ". to .... Goo. ...
..po.., 111 "",).ft&.1l',
[oonogr.lphy
,
,

. ,








,
I-i'g_ 161 o m ~ _ 5111 Al,/ria Anliqua: RIiI/Ulicia/io1/
Vi$ion and meaning in n;nlh-ccmury BYL<l ntium


-
' ..
,.
,..,.
. ,

Fig. 16J Romf', Sia Maria Am;'1ua: annu'l(;at;fllI
Mary lacks a throne, bUlthe archangel carries a staff, Ihe casket of wool rests 10 Ihe
left of Mary's jewelled footslI)ol, and the Virgin's gesturing fight arm is remained by
a sl ing-like garment whi le she clasps her knilling needles in her left hand exacdy as
in Paris.gr.jl o.'bft Whatever irs relationshi p to the Aposw1cion. however, the 5ta
Maria Antiqua frescoes demonstrate that the rype was inaugurated before
''' ' n Old T"hJ, (fim quane. of ,he lemh .xnlU.Y) 1he annuI\Cia1ion I ('CUIl, bUI hefe Mary re"u.s
from Gab'iel (E. p .. dn 1'9861. fig. _6); _he of two iconographically different annun..:i;,,;om in ,he
sam. elul'd confi.mi Ihe inuoounion of a new Iypc. and o,hers have argllcd in f,vollr of a
Conmmi n()polilan i mpo'" 5e< nOle 167 above and Cormack (1967).
,
,
.' '.

Iconography
.''(
, .
V .} t I 1Itll\,;( ....
,
(/L' L
,
, .'
'.
"
\,
Fig. /64 MOllnt Athos. f'.lIItukmlOr 6[. f 551'-' ,lIIlIlIIlri,lIioll
6
,
"
,
,
Iconoclasm: and Pantokrator 61 indicates that the annunciat ion in Paris.gr.j [O
replicates a formula familiar in the capi tal in the second half of the ninth century.
The annunciation is followed by the visitation (Luke 1:40-45) . As in nearly all
Byzantine examples, the min iature shows Mary and Elizabeth embracing before
Eli1..abeth's house. 1M Mary, dressed as in the previous scene, is placed to the left of
Elizabeth. who wears red shoes and an ochre mantle over a light brown robe; the
house, with a half-drawn Ted curtain in the doorway, is beige with a red corni ce.
Close parallcls include the Khludov Psalter (fig. 166) and Cappadocian wall paint -
ings at (ca. 900) and Old Tokall (fi rst quarrer of the tent h century) . 17() T he
, &1 s.:hillcr J (1971). 15- 56.
' '''' Moscow. Hi.t.Mus.gr.Tl9. f. Sir: Scepkina (' 977). (1986). fig. ' 7 also chapler : nOle
Z9): Iksde II ('967). fi g.
Vision and meaning in nimh-, .... nlUry BYUlllium
Gregory vi sitation is particularly close to its cOlllllcrpan in the psalter - even the
colours of the women's garments are the same - suggesting that. as was the case for
the annunciation, the visitation drew on a contemporary source fiml iliar in thi:
capital.
Folio 87" (16) (fi g. (6)
The gospel episodes on f. 87vappear in the 101' twO regist ers: the uppermost shows
Christ calling the apostles Pet .... r, Andrew, James, and John from their hUllI S
(Mauhew 4:18- 21): Christ conversing with Zachias, who perches in a sycamore
tree, before entering Jeri cho (Luke 19:1- 5): and the calling of Mauhcw (Manhew
9:9. Mark 1:14, Luke S:17-18). Christ talking 10 the ri ch young man (Mallhew
,80
loorlOgrnphy
)8,
Vision and in ninlh-nlury Byu,uium
19:16- 22, Mark 10: 17- 22) and Chri st converting Nathanael Uohn 1:47-48) follow
in the middle regisl('f. t71
Christ calling the four apostles from their boats all at once apparently represents
a new iconographical formula: though rhe calling of Peter and Andrew appeared
rarlier :H S. Apollinare Nuovo in Ravenna. James and John firsl join Ihem h('r(,. 172
Later versions, however, share only parti cular details wit h Paris.gf.Slo: the verti cal
pil e- up ofboal5 recurs in Ihe tenth-cenrury frescoes at New T okall (fig. 167), while
", For prim.ry bibliog"'phy . nd rd.tionlhip f. S7V .nJ iu ,ext ,
ch.ptn J: the not tr.nJiCtib"d there simply idmt ify the figurt:t: lC XC for
throughl>lll . WiTh UETT'OC, AN.!.PEAC, UIANNHC, IAKflSOc' and 7..AKXAIOC.
,', Schiller I (1971).1\S.
Iconography
"
, ...... ' ... , . .
If " "fJ.-,-, .. O l t 1" .. f .. ' .. "
, - .:..;. I u"
, .
. - . .I ... ....... ' .... . ..... -..... f -.. ,'
.... . r&<.(. .. - - I
". . ' II ' ' , '"'''''' ,L': . f ...... L I\'; v, . \
.. ,.r, ... (,. , ... u trt-.. ............ fl .. .. yGY\, - j ,
, . '. ; ' >1' /'"
Fig. 108 Flormu. plur.6.lJ. f 9r: callillg ojf'''", A"drtu\ }anm (JIIJ}olm
in the Florence tetraevangelion one figure in each boat replicates John's raised
hands and backward glance (fig. 168). 173
The Zachias episode that follows in the top register often appears in Byzantine
compositions as pan of the emry into Jerusalem. but only rarely stands as a scene in
its own right. The sixth-century Augustine Gospels provides me earliest example
(fig. 66); two nimh-century marginal psalrers - Khludov and Pantokrator 61 - use
it to illustrate Psalm 84:3; and it recurs in the Florence and Paris tetraevangelia.
m
Paris.gr.po follows the Augustine Gospels in the main lines of its composition:
Christ, accompanied by a group of disciples on ( 87V and a single representative in
the gospelbook, gestures to the youthful Zachias perched in a trcc. In the Gospels,
however, Zachias grasps the branches of a bifurcated tree dotted with random
leaves, while in Paris.gf.510 he is encased in the trcc's leaves. The marginal psalters
17l Epsttin ('986), 7'. lig. 72; L.o.ur. plut.6.2). f. 9' (Vdmans ['9711, lig, '8); bmh r""t ror [ht
compo.ition and locatt the shordine on [ht 1t{[. Tht mhtr uttnsivdy illustrated Bp,mti ne
book, is qui,t difftrem (Omont [n .d.], p!s. 10-11, is (f. '45V; Wti[zmann
{t979a], 16t- 16" fig. 399).
Cantbridgt, Corpus Christi Collegt 186, r. 129" (eLi I [19)\ 1, no. [16; Wtil"lmann [19771. pI.
4l); Moscow, Hist.Mus.gr.II9, f, 84" 1[977]); Mount Athos. Pantokralor 61. f. 118t
(Dufrtnnc h966]. pI. 18; Pdthnidts n aL , 11979], lig. lII); Flore-nee. Laur,p1ut.6.,j. f. '49r
(Vdmans h97[]. lig. 149); Paris.gr.N. f. t49v (Omonl [n.d.]. pI. 119).
)8)

Vision and nK-.ming in niruh-ccruurr
repeal the w:e form initi ated in the gospel book, though they difll'r from th is
manuscript (and from Paris.gqtO) in showing Christ unaccompanied and Zachias
as an old man. The tetraevangelia [eUlrn 10 a YOUlhful portrayal of z'1chi:l s and
envelop him in leaves as on f, 87v; though the miniaturist of the Florence tetraevan-
gel ion omits the disciples, Ihey appear in Ihe Paris copr. wh ich seems to be [he
Gregory sCt'ne's closest rehtive.
Th .. call ing of Man hew fil ls the ri ght hal f of lhe top register, and is presented as
a tWO-scene sequence. The fucure evangelist. idelllified as Matthew t he tax-collec-
lOr, sits before an aed icula. guarding a pile of coins heaped on Ihe dra ped table in
front of him wi th his hands: he [urns to face Chri st. who stands nearly frolllallyon
[he right and gestures [()ward Mauhew with his right arm. The miniaturist has
crammed a group of Pharisees between Manhew and the left edge of the scene.
The second scene, inscribed 'dle [ax-collector follows Christ'. shows Mauhrw,
now carryi ng a iewdled gospdbook. doing exacrly that; both move off toward the
righ!. Byzan[ine painters depicred the call ing of Matthew even more rarely than
the preceding twO scenes. The earliest known representation appears, once again,
in the Augustine Gospels (fig. 66), wh ich shows Matthew, accompanied by a
second disciple, following Christ: later versions mrf:lce a[ New T okal[ - wh Ich pic-
tures only t he cl iling ofMauhew (fig. (69) - and in the rlorence terrarvangclion
(fig. 170), which includes both sce nrs. l7S Though the dnel' versions of Matthew
followillg C il risl arc generally similar, the scene reprod uces such a simple- composi-
liol1 tl1<11 the TOugh p:1fall ds tell us little. In contrasT. the preseru:Hion of Mallhew
Ihl' tax-collector incorporatCS a wealth of detail, nOll e of which recurs in {ill'
Flort'nce [('Iraevangelion: :l! lobI!. however, an archileclUral backdrop (unusual
in these frescoes) sugge.m an interior. and Matthew sil's behind a 1:lble backl'd by
:1 crowd of Pharist'eS, As the Nrw Tokal[ painters appa rently orten followed
COllSuntinopoiitan models, 171, rht' parallels .mggest rhat rhl' Homilies scene repro-
duces a composition f;mli liar in!l1l' capitaL [77
The second register opens with rhe rich young man asking Christ about the
kingdom of hCJven in Ihe presence of Philip, a Kenc [hat finds few para lids.
Surprisingly, [he Khludov Psalter dcpi crs Ihe rich youlh with Chri st twice. once as
an illustration to Psalm 1J:2, and agai n with Psalm S2:3-4:
17S
here, however, the
youth is bearded and stands straight. As with the scene ofZachias in thc top regis-
ter, Christ and [he rich youth find thcir dost'si rei<nive in [he rl orence terra-
evangclion (fig. (71), which follows Paris.gf.510 in portraying Ihl' beardless youth
leaning forward intently as he lislt,!lS 10 Christ's words. ["9
I" Ep,lcin (19&6). 4J. 71. fig. 71; Florence. Lau r.l'luI.6>3, f. ' 7' (d. r. "jr): (1971), fig:<.
'99, ,,. (1986). 39- 44: iCC .Isoch.pter > note >9,
I" Though neither Con>tam inc I he Rhodian nor mell! iom tile sc( ne i n his d.script iOIl of
the ApoS10kiol1. Ihe a pOille cycle Ihere prmiJcs "possiblc ondidale for ils loution.
' 7' MOKUW. Hi" ,Mus.gr.119, fLllt. Fr: Stel'kina ('977).
, 7" Flo",nce. Lau r'I'I"I.6.13, f. J9" Vel mails (1971). fig. 84.
'"
lconllSr:lphy
Fig. 169 Nt'" 1Okll": (/fllillg of Millllu",
Phili p recurs in the next scene, where he is a central character. Inscribed 'Christ
talks wi th Nathanael', the image illustr:ttes John 1:44-49. To the lefl of the figures,
dividing this scene from the preceding one, srands the fi g tree memioned by John.
Nat hanael n ands under it, looking at Christ and gesturing his amazemem at
Christ's recognition. Philip, nimbed and wearing the blue tuni c and green mantle
of the precediogscene, stands froorall y but turns his head to look al Nathanael and
gestures in speech tOward him, as he points OUt Christ with hi s other hand. h r i ~ {
smnds on a small hillock and extends his arm tOward the pair in blessing. A few
OIher versions of this episode arc known, but - though the Florence tetraevangclion
and the SI1CfII Pnfllllria repeat Nathanael 's gesture of surprisel H(l - none relates
'OIl I:!ortnt t, Laur. plul.6.1J, r. 170' (Vdmans (1971). fig. 170): "ori'.g'.92j. f. 171' (Weinmann
I '979a]. ,8, . fig. 477). Cumput Paril.g'.N. f. 170r: Omonr (n.d.), 1'1. 147.
,',
'"
-
Vision and me:lnins; in nilllh-cenmry BYl:lmiullI
. .. ..... .
'1 1) ' ' .: ... r ....... ..., . .... ' -t'-v r ... ..,.... fT"
. - '

.-



Fig. IlD Flormu. L,wrenziana p/III. 6. 2). f Il r: calling Df
.'
'''-. '
closely!O Ihis one, which conflates two moments to produce an image rel evant to
the theme of the min iature.
Foli o 170r (22) (fig. 22)
Folio 170r concentrates on images of healing: Chrisl heals the lepeT. man with
dropsy, and demoniacs in the first register; the centurion's servant and Peter's
mOlhl'r-in- law in Ihe second. The third register contains a si ngle scene, Christ
walking on the waler_ lRI
T he t hree hea lings of the top regist er are presented si mpl y. I n order to accommo-
date all three, Chri st performs alone. without Ihe accompanying di scipl e(s) famil -
iar in other healing sequences, In each case, he stands to the (viewer's) left of those
he heals, clad in purple robes enl ivened with gold; the men to be hea led are barefoot
and wear pale blue loinclot hs ti ed at the waist. Each is accompanied by an identifY-
ing inscripl ion: 'Christ heals the leper' (0 X[ P[ C l"O] C I[O] MENOC TON
AEn [PONIl, 'Chri st heals t he man with dropsy' (0 X[PI CTO]C 10 MENOC
TON Y[ .6. ]POn [IKONll, and 'Christ heals the demoniacs' (0 X[PICfO]C
10MENOC TOVC MIMONI(ZOIMENOYC).
The gospel accounts of the healing of t he leper are hrief. Matthew 8:2-3 tells us
that Jesus healed the leper by touch; to this. Mark t:40--44 and Luke 5: 12-14 add
only thai Ihe leper knelt down to beseech Christ. On f. 170r. Ihe leper stands and
turns toward Chri sl wirh his arms hanging at sides, outwards, as if to
display Ihe red sores which cover his enti re body; hi s face has flaked, but he appears
I" For funhcr discussion bibl iogrnphy . .<tt 6,
,86


Fif..171 F"fllrl'//(t. lAII"IIZillllll J9r; Cbrill blmn I", ("ild",,; Christ ,,it" II" rifh
}'Jilt"; C"rist ((II! tlir Il/,mrfrs nbolll til( ki1lX""'" 11[11,111''''
[0 be a beardl ess youlh. Christ gestures roward, but docs flor [Ouch, rhe leper with
his fighr hand; he holds a scroll in his left . The heal ing of Ihe leper is, in laler
Byzantine examples, ofren presenred in a broader narrative conrexl.
181
Ciosesl 10
Pari s.gr.Slo is the equally abbreviated im:lge in the Stl(ra Pan/ I1,/a (fig. 172), which
reuricts rhe scene to the twO figures found on f. {70r and, except for (he slightl y
more acti ve stance: of Ihe leper, preselllS them in the same way: Christ, on the left,
geslUfes [Owafd the leper, who wears a loi ncloth and stands with hi s righl leg
forward as he displays his arms. IS}
Luke 14:2-4 brieRy relates the hC'aling of the man wilh dropsy, in an account that
stresses its enact ment on rhe Sabbath rather than narrat ive derails. SavC' that rhe
man with dropsy h;u, instcad of lC' prou! spotS, an cxtC' nded belly, the weight of
which he suppa"! on straight legs, and extends hi s right arm [Oward Christ, rhe
twO fi gures dupl icate Ihose in [he previous healing. The scene of the heal ing of the
man with dropsy in Paris.gqlO anticipates. in its general oudincs. the versi on
found in the Florence tC'rraevangdion. The image on ( 170r is, however, simpler
II, E.g. Epmi n (1986).lig. 7j; (1971). figs. lO, IJl.197.
'I) f. ll lr; Wdnmann 16J, fig. .
... E.g. Vdm.m (1971). fig. 1J6. In Ihe !'. tis version, Ihe man wilh dropsy lullS over
ml'l'oned by a !lick, Omonl I n.d.l . pI. I H.
'"
,'P ' ,
.' . .

Visioll and rneming in nimh-century Brtantiurn
''-101 ' '
Ii , i "


".,
i



Fig. I1J II,risfT!}}}. J J II r: Chrisl Im" illg tlx lrpu. Ihr rrll/Miml i Irn'IIII. l'ttrr"s moth, ill.
"'II', "",llw'O blind mOl
J"
JconogrJpJ1Y
than most later versions, which normally show Christ accompanied, and the: man
with dropsy supported either by a st ick or another fi gure. 18'1
The healing of t he (wo demoni ac! must uhimatdy rel y on the oarr;lIive pre-
served in Matthew 8: 28-32. as Mark 5: 1- 14 and Luke 8:26-36 describe only one
man possessed by demons. The (Wo, hands boull d behind thei r backs, eml'rge from
the tombs, (WO of which - ill pale blue 10 simul ate nlJrbl e- appear behind them on
a grey-green hill. The rea r demoniac stands fi\Cing Chri st, but the foremost lunges
forward and bends sharply down from the waist so that his hair Ai es (Ow:lrd Chr ist
and hi s f; ICC is invisible. An identical figure throws himselfbefo re a standing Chri st
in J>alHokralOr 61 (fig. 173); Ill'(, and both features recu r in the Florence tetTaeV'Jnge-
lion (fig. 174), which also shares with Pari s.gqto the tWO IOmbs resting on the
mountainsi de.
IS7
The healing of t he cemurion's servant (Matthew Luke 7:2-10) 01>C. ns the
second register. In Christ. depicred as above, add resses the centurio n, a midd le-
aged man with a short dark beard, who - visualizi ng his own self-descript ion as 'a
man under authority, having sol d iers under 01(" - wears gold armour and boots and
is backw by four soldiers. The cent urion's housc appC"Jrs as a rectangular ni che in
the centre of the register behind the soldi ers. Within the house, the cen turion's
youthful male se: rv;lJlt lies ill on:l green ma ttress set into a golden bed hung with red
and blue undereurtai ns: he is fan ned by another youth dressed in red and gold. The
scene recurs in the Sncm Ptlrnf/rin (fig. 172) di rectl y beneath the healing of the leper,
precisely the same venical iuxt:lp(>SIion thM obtains on f. 17or; below this, the
healing of Peter's mother-in-law h:ls been depicted. lIN Despite the si milar
combinatio n of scenes and (he shared derails of the leper heal ing. the healing of the
cenl urio ns servam in the Slem Pllmllrl'l dOl..""S nOi resemblt {hat on f. 170r: in
cOIllTadiclion to the gospel account"5, the S,lml P.lmllr/,I shows Chr iS! :It Ihe
bedside of t he scrvalll while tht centurion. here an old man in civilian clothes.
by. Nor is the scene closely relaled to the versions in Ihe middle nYLamine
tetraevangeli:l .I\I(1 The p:l inting at New Tobit (fig. 175) . on Ihe other hand, incor-
porates the group of friends who accompany the centurion in l'ari s.gqlQ, and
locates them in an architectural franH' simil ar to th:lt enclosing Ihe servant on f.
I]or. Funher, the next scene in the church - the healing ofJ:lirus' daught er (fig. 175)
- is very close in composi t ion to the following scene on f. 170r. rhe healingofPeter's
mother-i n-law. It is conceivable Ihat both the wall pai nting and the mini at ure
,.1 For $Iick. fOI allOlhrr figun. Nrw ]"kal.: Epslein (1986), fig. 78.
'. Fol io '44r: Dufrcnne (1966), H. PI. U; K<" aJw Vaccaro (1967). ,,6-118. Olhel nill , hcenlury
.!cnloll;ac from Ihi. KCIl ...
'"7 F1orencr. Laur. plul.6. : j. r. 16v: (t971). fig. 16.
II. For Ihe idem ifiu,;"" (Jf Kellr. a".! ;1. ; "correCI sec chapler 6.
,,. 1, is.g'.9!j. r. UH: We;tmm", (1979_1. 16 J- ,64. figs. 408- 409.
,,.. Vclmalll ('971). figs. !1. !OJ; Onion, [ 0 . .1.1. IS. 107.
,89
-' "'
:t'''1l,
a:c
....
rltV

,
a fJO'DOu(.




, UfQU,
,
f:7\' "

Vision and meaning in ninth-century Byzantium




"

,
11ft .11.
,
Fig. 11 J Mmllli A/hos, 61, f 144r: Christ lira/ing I", dl'monillCtmd 1lI'() mIx"
TcACCI a visual account of Matthew, where the healings of [he cClHlIfion's
and of PeleT's mother-in-law were conjoint:
'
? ) if so, the Tokah paimcr used the
composition to ilhmrare J different female healing.
The healing of Peter's mOl her-ill -law (Matthew 8:14- 15. Mark 1:3D-}1) com-
pletes the second r('gisler. The woman, idcmincd by inscription (H n EN0EPA
nETPOY), is dressed in brown with a white headdress. She leans against a red and
gold pillow; her lower body. wrapped in a grecn blanker. rests on a gol d bed with
'"' Cr. chap"" 6 118.
390 ,. .

Pig. 174 Flormff. ulIIrmzilllll/ f 1611: Christ hMling lIN tUlIIOllillN; J},rplJt'rtis "'Dum
rhr rpiSDdr lIS Christ and Jigip'" Jll iI IlU! 4J
red and whi[(' Ul1dcrcurtains. A gold stepping Slool sirs next to ,he bed, which
eXTends at a forry-five degree angle from it house in the background - presumably 10
indicate thai th is is an imerior scene - and thus parallels the bed of the cen[Urian's
servant. Peter's ffimher-i n-Iaw t,"x lends her hand to Christ. who touches herwri sl in
accordance with the gospel account: he is otherwise indist inguishable from his
other portrayals on the page. Petcr, shown as usual in Paris.gr. 510 wi t h a short li ght
beard and hair t hat dips down ovcr his forehead , stands between the twO in it pink
robe. As noted earli er, the episode of Peter's mother- in-law shares a margin with the
healing of the le]Xr and of the cemurion's servant in the Sacra PlIrnlltlll (fi g. 171),
and. like the healing of the le]Xr, [hal ofPeler's mOlher-in-law dost'ly rest'mbles the
version in Paris.gr. slO. 192 Though Peter has been omi tted for lack of space and the
furniture has been simplified, the relationshi p between architecture and bed is
identical. the bed extends at the same forry-fi vc-degree angl e, Chri st stands in the
position he adopts on f. 170r, and he grasps the woman by the wri st exactl y as in
Pari s.gqlO. T he middl e Byzantine tetraevangeli a cominue the pattern found in
the two nimh-century manuscripts. 19.1
." So tOO (J979a), t64.
(t971). figs. H, 1:10, 194: Omont (n.d.l, pI. 15.
J9'
Vision and nwaning in B)',.antiunt
Fig. 1Jf ToI",,/" C/'riSllmdillg tlir >lit/II lIIitl; dropfy t/nd ,lir , mturi(JnS u n .. ",,,; r/y Mifing
(Jf ;Ilirus" d,IIIX/'tu
The lowes t regi ster is devOIcd to an expansive composlrion showing Chri st
w:,lking on water and rescuing Peter (Ma tTh e-w t4:25-}tj. Ele-ven apost les, Ihe fore-
most identified by his curly hair as Andrew, huddl e together in a bO:lt Aoating on a
dark blue sea, its waves indicated by overlapping spirals, Ihal melts almost
imperceptibly inlO Ihe blue- sky beyond. Christ stands 10 the f.u left and grasps
Petcrs wri st jllS! he had his mother-in-Iaws in the preceding scene. Pefer, now
clad in a pink himation o\'cr a blue- chiton, has half sunk in Ihe waler and gestures
toward Christ with his free hand. The inscription above his he:ld indicates tha! we
see 'Peter sinking into the sea' (0 n ETPOC EN TH 8AAACC H Byel -
ZOMENOC). As noted long ago by Otto Demus, the depiction of this scene did
not :ldmil much variation and irs iconography remained stable from the e:lrly
Iconography
Fig. 116 Romr. Sa" Saba: /'rlrr mcurd by C/;rllt
Christian through the late Byzantine period.
1
'M The moment is il!usrrated in the
Florence teuaevangelion,195 but the composition closest to that on f. 170r appears
earlier, in the eighth-century wall paintings at the San Saba monastery in Rome
(fig. 176).
Folios 3r, S7v, and 170r are represenrative of the gospel scenes as a whole, and illu-
mina[e rwo patterns found throughout Paris.gr.5to. First, compared with the Old
Testament there are fewer examples of gospel iconography that have been
manipulated to underline a particular visual argument: instead, vi sual com-
, ... Demus (1949) . 278 . also pI. 8SB.
(1971), 6J.
Vision meanin!> in nimh"Cenlury B),Z'lIlliulll
mentary is provided by the juxtaposition of scenes. A themati c arrangement
gov('rns th(' sdution of sc('nes on f. 87V, wh('r(' we correspondingly find onl y one
scen(' - Christ and Nathanael - that seems to display morphological revisions
dt'Signcd to complement the point of the page: the same is ITU(' of ( 170r. whete
scenes interpreted as ant i-heretical are grouped together with only o ne evident
change 10 hi ghlighl the connection: th(' garments of the men bei ng heal('d ar(' iden-
t ical. Whi le Old Tesrament narratives tend to remain intact . wi th commentary
spun by alt erations within an epi sodic sequence. New Testament narratives frag-
melll illlo themes.
'
% Perhaps for this reason, there arc fewer :Inomalous New
Tesrament images in Paris.gr.Slo , though t he call ing of Nalhanael (f. 87v; fig. 16),
the dream of the Magi (f. Il 7r: fig. 18), perhaps the Dives and Lazarus sequence (f.
149r: fig. I O). and the heal ing of the bent woman (f. }I OV: fig. 31 ) do appear to have
been invented for the mamucript .
Some gospel scenes - notably the of the paralyt ic and the woman wilh
th(' issue of blood (f. 14lV; fi g. 19), and the miracle of the 10avt'S and fis h('s (f. 16sr.
fig. It) - replicate early formulae. Some- the visitat ion (f. 3r: fig. 6). Manhew fol-
lowing Chri st (f. 87v: fig. (6). Christ among [he doctors (f. , 65r: fig. I I). Chri st
s:lving PeI<.'r (f. 170r; fig. n). and Ihe raising of Lazarus ( 196v; fig. 24) - present
generic iconography that changed littl e over the centuries. Bllt a second pattern
evident :Imongst the gospel scenes in Paris.gr.Slo is the appeamnce of transitional
forms. On f. 87V (fig. (6). the scene of Chri st and Zachiu exemplifi es this: both
Pari s.gqlO and the marginal psalt ers ultimately rel ied on an ol der composition
represelHed by [he Augustine Gospels. but modified that scheme in different ways.
and the version adapted on f. 87'" prevai led in the middle Byzantine tetmevangel ia.
l wo more scenes - Christ calling the four apostles and Christ with the rich youth -
also find comparisons in the middle Byullt ine gospel cycle in Fl orence (fi gs. 168.
(71) . and the first of these. along wi l h the image ofMatthcw as tax collector. recurs
in similar form in theCapp:ldoci:ln church of New Tokall (fi gs. 167. 169). Whether
or not :111)' of these scenes existed in monumental form. the mi niatures wc have just
exa mined suggest that gospel imagery was being revised. and new formulations
germinated, in ninth-ceill ury Consrant inople. The frescoes at New Tokah inti-
mate that some of t hese modifi cations were widely familiar by the middle of the
tent h century; they were col luted into Ihe terraevangelia in t he eleventh.
T he l:lrgcst group of gospel scenes in Paris.gqlo is related mos, closel y to ninth-
centu ry Byzant ine work. Some scent'S follow pancrns apparendy formulated
slight ly earl ier in the celltury. Two imag('s - the parable of the Good Samaritan (f.
143V; fig. 19) and Ihc healing of the leper (f. 170r; fig. 22) - find their closest count er-
p:l rtS in the Sacra Paml/t lll (fig. 64); t he healing of the twO men born bl ind (f. 31OV;
fig. 31) also resembl es the S(/(m Paml/rla (fig. (1 3). though a si milar scene recurs in
I.,., S Hrubaker ('996a). 17- 19.
1'7 It Nelson (1980). 97-107. ).;lme for the or prefatory illuil r;lt ion, to ,he
gosp<'15. 5 aiM> F.<)low M iii heri ch (1987): Ebnn (19BB).
,,,'''''S' ' '''1
,h, middl, (\yun,in, tc, ... cvmgdi. , 11>< vi,i .. ,i"" (f Jr; fig. 6) mJ ,h, con"" .. i""
or tho $.am>.,itan worn>." Ir. ltjV; fig. 1,) " I",at ...... bh.hl in tho m>r-
gin. 1 p..Jt, (liV' "0, Ill, 166); tho d<p<it;"n.n<! ,ntomb"",n' (f ",v; fig. 7) .1",
r"llow ,h. p>o1l,,,, (fig. Jon ,II< rr<><o .. Old Tobl. (fig. 1191. P>fi<. p, j'O
groups wi,h ,he nurtin.1 1""11<1'" Old T"bh . nd ,h .... fl y nimh-<;<mury reli_
qwryc",,-,<:, in it> im.g. of 11>< pr<><n,,,ion (f ' )7r. fig. ,S) .nd ,I>< u<ili.ion (f
JO>'; fip. 7. 116). ,fwug/l in ,ho I ... " .... n< >om< mol'< <tn, de""" 1.1<, (;. . ",d "
New Tobl, (fig_ " 7). w.'" .pp<ndrJ_ rn. ".n.ligu''''''n If. 7lr: fig_ ,...,mhb
i" p<<><I. n" in tho Khlud",,' r....1. or (fig. t11) . nd . pp ... ,ntly. tl>< Ap<tol,;"n; tho
temp, ... i"n. ofeh,i" (f. 16,<; fig_ LI) """II ,h. m"gin.I""I .. " (fig_<I9) .nd .",,,,.
ip.1< N .... Tobh (fig. 70). Th. onnunei ion (f.)r: fig. 6). 'hough .imila, to tho
e.<lie, ""II p.o;",i " V" S .. M"i, A",iq'" i" R"me (fiV_ ,6,. H',)). w.' 1""h,1"
mo,.. immii"dy inKu.neod 1' tho Ap<tol.ion, ffOm whonce i 1>" "",m, to
h" .. "" .. lIoJ ", N .... Tohh (fig. ,6,), Ano,h.e, 1 ...... 1101 ",i,h ,h. Ap ..... ol.ion
'1'Jl<'" on f. "',. (fig_ 7). wl><", .... 1", in ,h. Church of ,h. VII'gin of ,h. SoUte .
tho eh.i"". 'l'Jl<.ml .... ho, th.m ,h. inc .. ingl)cummon "", ,, .. i . A numbo, of
. ddi, io".1 gospel ""',,.. dirtaly .tlIicip'" No.1>' 'lok.(" the col lillg of 1'<1<1,
Andrew, j.m .... ,,<1 joh", ."d ,h.coll i"g (f. 117'" fig_ ,6): ,he h .. lingof
,h. con, ufi",,', """"'RI and of Po'. """h,,ini.w (f. ' 70r, 6g. H); .nd ,ho
of , n" m", wi,1I ,he I>' i,h<ml ... m (f. pO>'; fig. )11.11 fi"d p".lIdJ ,h ...
(fig>. 112, ,67. 159, ' 71) . nd OC"<m '0 tdkc, ,he n>o" k ing
prudoccd in C,n".n,inople. ,'"
Finally . numbo, of g<>.p<ll<:<n ... how gen.m ,imil .. ;,,,,, wi,h ,ho middk
Byzantin. m"' .... ngdi . Th"" ind"de Ch,;" .nJ 1..""hi .. , and Ch, ;,t .nJ ,h.
rich )",,,,h (f. 117'" fi)!;' _ ,6. ' 7'); ,h. h .. ling of ,I>< m.n wi, h d"'f"y .nd ,h. h .. ling
of ,h. domoni"", (f ']<)<; figs. 11, 17-4); the "'pp<f " Simon',.<><1 the entry into
J.ru..J.m (f 196v; fiS' the healing of the 1<n kp<<> (f. 11\V; fig. I,); .nd ,h.
h ling of ,hor blind m.n .. SiLo.m (f. ) ,6r; lig_ ),) . Though P.,i>.gf.\10 inRu.ncl
fow Ia,., Byza nti n. m,"uKnpt" i" go""",1 imp"'t w., m;nim, l; p.1.ralkl. with
, he I .... ' ........ ngli. imim ... ,h .. ,h. Homili", p.i",." h"d f.mi li ... i!)' in 10m.
,....y wi,h . F...irly oxten.;,.., r<p<no; of goop<l Kcn .. and.uggrn. th .. dorumontod
monumen .. 1 go,peI >I"en<o, ><,.h .. tl,.,., tho Chun:h of ,he Vi rgin of 'he
SoUl. did not . ... d in i",I"io .
'""
Tho 'h= imago< frum Act. I"vc alr<><ly boon Ji""u-l, ,he m."ynlom of j.rna
(f. '''; fig. B) =d "'"'''''''' (f. ,01[; fig_ jO) in ch'pf 6; the ronve";"n of S.ul (f.
fig. o.lI) in .h.pte" , The fi", twu w<" ... f,mili., .nJ li,urgically impo".n,
IIttn<S ,h .. ' l'Jl<.ml in div<N< COflX" t hrougho .. , ,h. Byza",;n< prriod; ,n.,.
.w roo-" .. rl, .......... ,<>f .... ....., ........ r ... "-,_,,o.nJ I'.<wT"""' ..... )ph>n ....
(","'I. s.. ahocluf< ... I ,.,,, I,.
'"
VisiCln and meaning in ninth-century Byzamium
set:m to have existt:d independently of a text-bound narrative cycle. The last scene
appears as part of a martyrdom sequence that was also detached from Acts, which.
indeed, relat es only one of the twelve martyrdoms piccured.
New Testament Apocrypha
The Acts of the vJrious apostles (f. }2V: fig. 8) were considered in chapter 6; the
flight of Elizabeth and John the Baptist, and the martyrdom of Zacharias (f. 137r;
fig. 18) , both from the Protevangclion, were di scussed in chapter 2.
I'ARtS.GR.SI O AND OTHER SURV [VING PROGRAMMES
ll" S/fT/livl1! of (ilTlieT iml1gl'Ty
The part crn established by the gospel scenes conrinues throughout Paris.gr.Slo. A
few isolated scenes repeat early formulae thaI look qui Ie different from their
convemional middle Byzantine renderings, ['.l'J and two narratives dupli cate early
sequences otherwise unattested after Iconoclasm: the scenes from the inf.IIlCY of
Chrisl (f. [}7r: fig. IS) sccm to have come as a unit from an early source heavily
influenced by the Protevangelion (fig. 62), while the Joseph scenes (f. 69v; fig. 12)
find their closest relatives in the eighth-century frescoes at Sta Maria Amiqua (figs.
[27, [}2).
There are also a few images in Paris.gf.510 that seem to echo Byzantine develop-
ments during the period oflconoclasm. The frontispi ece crosses and portraits (figs.
2- 5) Jssimihucd and perpetuated iconoclast ideas about tht: importance of the cross
and of dynastic succession. The lIil(l of Constantine (Ilg. 45) also SUMains pictorial-
ized ideas that would have been familiar to iconoclasr emperors, wh ile the image of
the martyrdom of the Makkabees on f. Hor (fig. 34) probably follows a fresco cycle
commi ssioned during the period berween the two phases of Iconoclasm by
Tarasios, patriarch from 784 to 806: the martyrdom of Jpostles sequence on f. }2V
(fig. 8) may also h:lw been inspired bya work from th is period.
Finally, in addition to the gospel scenes alre:ldy mentioned, Moses receiv ing the
laws ff. pv; fig. 1O),J:lcob's dream (t: 174V; fig. 23), and the towerofB:lbel (f. }60r;
fig. }7) resemble early counterpartS, but also find parallels in later Byuntine art; the
Homilies miniaturists evidently replicated a living tradition rOIl her rhan con-
sciously reverting to old forms.
Nimh-cmlllry flmllllatiom
Most images in Paris.gr.51O, however, are ti ed vel)' firmly to the post - iconoclast
ninth century. Comparisons between Paris.gf.5iO and, particularly, other ninth-
~ E . g . ,he f.11 ofJcrkho (f. 41.4V; /ig. 41).
.. .,
Iconography
century man uscripts indicate that familiar Byzantine scenes such as the three
Hebrews in [he fiery furnace (f. 435v; fi g. 43) acquired specifi c and shon-lived
ninth-cent ury configurations (fi g. [58); others, for example the healing of the two
men born blind (f. 31OV; fi g. 31), suggest the existence of a nimh-century gospel or
chri stological cycle that no longer survives. The similar co mposi tions shared by
Paris.gr. j ID and later extensively illustrated gospel cycles in Paris (gr. 74 and 11 5) and
Florence (Laur.plut.6. l3) intimate th:n at least part of thi s ninth-century sequence
was ultimately incorporated into middl e Byzantine compilations.
The min iatures ofParis.gqlo hint at the existence of rwo additional cycles oth-
erwise unatt ested in the ninth century. The martyrdom of the apost les series on f.
32V (fig. 8). which recurs in later monumems produced by artisans unl ikel y to have
been famil iar with Paris.gr. Slo (figs. 107. 108, 109). probabl y indicates that thi s
cycle also was current in the ninth century. ;md later parallel s with t he epi tomized
Adam and Eve sequence on f. SlV (figs. 10, 124, 126) suggest that this grouping too
might have existed and circulated by the 880s.
Til( laur impact of Parii.gr.Jlo
The later impact of the Homilies illustrations was. on the whole, restri cted to a
small group of Consrantinopolitan manuscripts. three of whi ch. like Paris.gf.SIO.
demonstrate secure links with Byzantine court circles. The miniaturists of the Leo
Bible. probably produced around 940. and the Pari s Psalter. which apparentl y
represents a slightly later reworking of a mid- tenTh-century original. seem to have
consulted Paris.gr.jID directly, 100 as, apparently. did the illustrators of the Psalter of
Basil II and Dumbarton Oaks 3. Evidently, and for obvious reasons. Paris.gr.Slo
was not available for consultation to a broad audience. Indeed, aside from the mini-
aturists responsible for the manuscri pts JUSt mentioned, who may be assumed to
have had access to the imperial library, the only other work that may demonstrate
the direct influence of Paris.gr.5!O is the imperial ivory of Leo VI, which. just as f.
ev shows Gabri el crowning Basil in the Homilies (fig. 5), shows the Virgin accom-
panied by an archangel crowning Basil's son Leo (fig. [77).
THE TRANSMI SS ION 01' ICONOGRAPHY
Once the scenes to be presented had been selected, and the specific requirements
imposed by visual exegesis had been worked out, the miniaturi sts bl ocked out the
page; most of the time, they replicated, with modifi cations, convent ional and
familiar iconogr.lphy. Howwas this iconography famil iar?
!OO For lilt con hClwcen ,he L..., Bible and S I h< di$cussi ons orlf. B,,Cr. 52V.
7TV. '74v. 264V; on rh" rari. Psalter (Paris.gr"J?). """ Ih" diICU5sions of If. 3r. 52V. 174V. 264V. 4HV .nd
ch,pler 2 not " 190.
)'}7 .
rnn,,.,,,ht,,...t M"t ... ,,,1
Vision and meaning in BJ"l.antium
Fig. 117 &,fin, Slallllir/x MI(OI, ;'lfJry uilh I.ro VI. Ihr Ilirgin Mil? Imd IIl1llrr/N/J/gri
Paris.gqlO pol ms {he -..vay to several responses to (his ques{ion. both negative
and positi ve. The most obvious nega{ives that we do not find here evidence for
blind and umhinking copying of some canonical model (s); nor do we find evi-
dence that work5hop training. whatever that may have consisted of, indoctrinated
paimers with a set of particular iconographic formul ae that they then reproduced
regardless of cont ext. The Homili es mini3IUrists nrvrr provide us with an obvious
example of straightforward copying; 3nd we have also seen that the same miniatur-
ist was qUilt' capable of producing iconographies that we have bttn taught to view
as having distinct pedigrees. Such versalil iry was not restricted to the miniat urists
)98
Iconography
responsibl e for Paris.gr,slO: even within the coherent and self-referential family of
the marginal psalters there are differences, and sometimes profound ones, between
picture sequences. Funher, when it can be demonstrated that one manuscript
copies another, it is clear that revisions were normaPOl miniaturists who
speci fically intended 10 copy a picture cycle did not view 'copying' as mechanical
reproduction.
202
But Paris.gr.SID did not 'copy' any monolithic ea rlier cycle. The evidence that its
miniatures - and those in the Vatican 'Christian Topography'. the marginal
psalters, and the Sacra Paralkia - provide primarily supportS awareness of singlr
images and occasionally of small thematic or episodic sequences.
Though the exegetical role played by the Homilies miniatures allowed few
coherent iconographical sequences 10 appear. those that exist display a clear
pattern. There are an equal number of Old and New Testament narratives, but the
Old Tesumrnt sequences are, on avernge, over twice as long; New Trsrament
imagery tends 10 be collected IOgether thematically rather than episodically. Old
Testament and New Testament scenes were apparently viewed differently. were
joined together in distinct ways, and played contrasting roles in the ninth
century.205 Despite their usually thematic arrangement. however. the New
Testament scenes suggest that gospel imagery in particular was being revised and
reconsidered in the ninth century.
Many of the scenes we have just considered find their closest Jinks with other
ninth-cemury images, but relatively few of them present the same episode identi-
cally. This suggestS that The scenes in question were familiar, and therefore mutable,
for familiarity encourages inclusion and modification to accommodate a given
audience. It also suggests that painters were far more aware of what their comperes
were doing than we might think; rather than looking exclusively and passively at
older objects. as art historians must, they had the option oflearning from each other.
There are two implications enmeshed in the foregoing discussion. The first of these
recapitulates a familia r [heme: there is a symbimic relationship between artisan,
image, audience, and text , The second is that there also seems ro be a symbiotic
relationship between images and images. Miniatures exist in a complex dialogue
with their audience and the [ext they accompany, but just as the audience has a life
beyond that shaped by texts or images, and textS exist independently of one partic-
ular reader or picture cycle, so too images and their makers intersect with each
other in ways outside the confines of text and audience, To put it in literary terms,
images speak the language of images, not the language of texts. Attempts to cir-
cumscribe the relationship between pictures and words roo tightly ignore both the
painter and the language of images.
WI So Lowden (1981). Ander",," ([991) , and Lowden (1991) .
.',,' So funhtr Vikan (1989). WJ r u b ~ h r (!996a).
399
9
Conclusions
min"ttul'eO or ,h. P .. ,;, Homilin r.im<rprctod Gr-ogory', word. in ""'Y' ,h ..
!t">,,:01 nin,h,ce"'u')-' eo", .. ",;'>opoli .. " .u;,uOn, and in .. ;Iom:! to (or by)
individu.b wIl<> h..! [h.i,own >I. n, on too.. .,,;lUd ... n .. mini .. urn runm:tu..ol
iux! the 1<"" but often, too, ,h. ""rmon ,,,,,.1 :os 'p,ingl>o.o,d. fo<
><"",,,,,,,..", vi.u. 1 <ommenu.ri<> Jir'cJ [0 ,h. <}'C' of null <1;[0. and so,,*
,ime. fo. two men .1,,1><,
Mmr of m""",gC> layerc<l imo ,h. minia,ula of l':ui . gr,\lo, .1><1 ,n., .j
ud<> [h., undpin ,hen._ ,,"predict.ble, oomc"f them.", not . hoY< 1001=1 ..
'he eh' pte, d.uilc<l the .... ,.. ,h .. [he mini .. ",,", of I'.ri, .g', lJO
vi,y.li,eJ imp<,i.1 p.tnegy' Oc nd moulded it to ,he Emperor Ba..il J: eh.., ... j
de.l, primarily wi,h the v;'o. 1 <>p!a.iocl of Photi",' p>tri .. clul COI>C<rn., at><!
",me of hi . prj .. " P'<' o!",;,,,,,, , h.pt<l 6 .. >mined h_ , hoc p.t,.m<.m of [he
holy .<><1 tn. hor."icU ""'I'< ddined pict<>ll .J1y in tho I". .nd
d p'" 7 c<>o.id.rI ,h. ilnl'"""'o of showing int'f1l:fion b<twc><n tho divine
.1><1 tho hmm. V:'. [0 [h. I"'rsonali=i di.IOjlu. ", .. d>cd OUt in ,h<sc
.. ,Ii ... ch.p" .... ... t , tI,""ugh. I .homld lik. tu look at """ of th< Inoe ..... """'.."..:
the ru!tUfal 0".. th., tr1nscrnd I"'""n.litirs.
Th. InOS[ obvious, ov<l'1rching. m ..... S" c<>"V<)'ed by Pa,i._gr.!,O i. 'hot imaS'"
m.".red: "",,.,i. 1 ptn<n hod m Th. importan.cc: of m".H.1 pr=_
.nd ItUt<H. 1 rep .... n .. [ion _ w'-' no<. of io",,",ed in the nin'h <:cntury.'
Tho '",u. toot. t>n.I>owOVCI, <en';n amoun' ofidrologOcal N@V8<"'hoh.nd<of
;ronophik ,hrologim . who>, .n<>ugh. followed M imoo tho
(' ... nb,,, "SI,,,,,,n,, ,I. .. ,ho .piri'",1 w:u fu...! '0 [h. rna",i. 1 .. th< roullo t ho
body.' ru. w< >ow i" ch>!'[., I,joho ofD.m ..,,.. .rgued that 'It is imp<n>ibk fo. .,.
'0 ,hinl: imm.".;"l ,hinl\' unl ... "'. (:;In .nvi.,ge .""k>gou h'I""','.nd he .L",
noted th" the mind which;' dclminro to igflll .. rnrpt>>1 'hinl\' will lind i",lf
,,'c.unro . M frum.,ro',' Bu, ol,hough .imiL"ly poI<rnicoJ dcfcnco> of m.,aiol
r<1>rc><nt.tion continuc<i to be m.4: - . nd by Photio>. epcci.lly _ .. ell into the
""",nd h.Jf of [he nimh century.' [he polcmicol poim i"df w ... n..." "pli.i[ly
m.de by the mini""",, of P.,i.,gl,ltO. which in"cad demon", .. eJ the .. Iue of
"",t.ri.1 pocn by c:c.mpk,
Thi,...J1lt """ demorutnteJ fIlI[ only by the profU,ion of mini.,u"". he.d-
pic.:n .nd p.inte<! initi.!. _ which by thei, pT<>COC< .1"". kgi.imizod the .... 1 ... of
m.,.,.;,,1 im. gery - bu, . Iso ... 'Nt ",w in ch.p,., I. by the .mph. ,i. on ",tour aM
apen.iv< "",'aw . It w .. also dcm"nst"uro. though in a 5Omev,h.t Jilfcrcnt WoIy.
by the in,mingling of h"m.n .nd di.ine figure> in the mini .. ""," con>i<l<r! in
ch. pter 7 . nd by the emph .. i, on phpi.alappcorar>C< in 1"";"8<.)''''
The po<tr:tit of ,he .rch.ngel G.briel wi,h ,h. Emperor B..il (f, Cv, fig. II. with
,he fWO figu"" "anding "n [he ... m. kv<1 .nJ ,.""ing ,he ",me "",urn., .ugg.",
ju .. n- imp<>n:rnt phpi<>l.ppeu.ncc. or phy>i.aol praauation. "'" in ninth
otntury Byz;rntium. Thi . .... not r><W COn .. rn: phpical 'ppe."n .. h.d h.d
meaning in p''''roing <;emuri", aM ,""uld ""n[inue 10 Iu..., i[ in Jar., 0"...' II
.... implica' ro in the thcom:icol b."" of im.ge ven.mion. for the ronccpt on
which 50 m"'" Iconophil. ,h>ry IV .. Iu>l _ ,Iu, h"""u, given ". ,he i""'g'
1"''''' to it> proto'YJ>< _ <Iuir! the viewer to r<'CopIirc the ".in, dcpicte<! . nd
[h .. .... dq><r>drm on [h. .pp .... n of the .. in, 1"'"
".ye<!, ' 1"""<>ph;l. pie .. 10 ",,",inue ".d;,;<>n.J "iswi rormuL>t do no< ""Iy m.rk
[h. imp<><uru:. of [..dition f" '" ,h.,..1>0 undc" .o ,he .ignilla.oc< of phy>ical
prc><ntatKm.
A ,imil ... mph .... on ph)"""J .ppe ... t> wrf.ocod in oo<:i.1 imer""tio",' In 1
.ultu .. th .. r .. in df" col""" f", ,he imperi.1 heu, .M th .. d .im<d 10
m;'t.ke h:m.k .. in" rol m.1n when the)' 'imply .dopled ""'"" clothing. we
.hoold no, be ''''pri..J ",h.n. 10 denigt ... monlu. ic,,"ocl .... d.niV.rcd m"n ...
tic clothing: the dothin! alone .r!ite<! with the power.o evok. lut,ro,' In 1
, ...- t ..... _ .'' .... ,,-_,,,,,, .1; ..... """,,,' ", _, ,, ..t. Ko .... I..,..), ul: ,,""'-
"", N;LoFhoo .. prinwyfomo l .. dKt,,.. 1
""' ...... ... 'r ,t.. 1 ...... 1' ..... .wII.o ..... '.J"" .... ..u... . B.<..! .... 1,,..,1. ".,..""
Ako . ...... 1,."'1, ><><>I .
Moo ...-0.""",,", 'At-i ... ,k<- . ....... "ld;.; .. i""",,' I." (d. III."), ...!, ","'n (097". II
'''t' " ..... Ad .. '"10",1, "'. ' 50 ." TOil",..! """I: aoio!;, ....... d, ...... ioeN ..... '-
50< " ).Iapoi", I<"'), So. Dopoo ,,.,.,1: M""i .. ".,.).
Tt.. om,..,.",..,.", rh'-.i<.oI.N"'."""'w .... , ........ <1 ,. 0<." .... I}"", ""'d.
--
O'.k .. """ dyo, ""'rio .... to dK ......... .. k ... 'k Mot .......
10 .. ') ..... ,.._ ., . ),. { ..... "1""" 01) ............. " .!t<.-I .. ..... , ""<.,, It"ri" ("'il, '17.
""' .... k '-.I r ........ ... to), ""' ...... "" ,k ,_",n of <Io<hi .. ... c......... ""').
')0-"'. "'" M ....... ("hi. <>p_ !<' ("', ....... oJ """"."., !.k .. "o.k, jw<i.;.., ... -.. _"
dod<i"J! , ... I""", ""'_. "' I ! f .. to,. .... ;., r",a.. ,. , ,.,.,..1<,,,,1,
...
<uiture th .. beiieved that f .... i di.figurement di.bo.rml ,me frum the throne. we
.h""lt! nOl be .urp. i>cd by puni,hm.nt mcd "". 1(> .h. it:onnphile b1<><he"
Theoxlo .... nd Tlleoph ...... in 8)6 by ,he ""'noda .. E.mpero< Th.rophil"" ,h<i.
f""" were t1Itoocd with an intul'in&lY illwritten tex. (t bereby endowing tbem
... ith thei. epit M[. [he G ..,toi), " At punishment for ironophil. bning>'. monk.. .
..... orc tok!. W<fe forced to p.l .de publicly with ""men. and dive>ted of tbci,
"""" .. :d .ign. of .. octi,)" .hei, mks .nd he.,d. , " h. germ of .ru.h in
.Itnc oeroun" may be. i. i. de .. [h .. ,J.ci. autho .. wet. rom'ioced of ,be p""" of
clo.hing _ ""'m. >ti< g;I.men" .... ,.., 'idi<uk<! ..; ,..,m"....j _ ",d of ,II" o.h
,"<tn.! .ign of mon .. [;rum. luir, Fot. our info", .. n!> tdl w. nOl only"", ... mon"
forci bly "' ,vcd, ,he i<OI.od .. , b"J><"" (;"n ... n.i .... V ".d<ml all ci .i=. [ 0 .n.v<
.., .Iu. [he monk.. " ill hinme If""" Ot.Lt J .. ""'tically," Even tno..: who did no<
"""I" the J'O""<rof religiou. im.gel}'. in "th<tword.. ut><k .. wod .nd "",nipul,ted
,he J'O""<' of v;'u.>I ,pJ><'''tlO:. wt. .. h .. '" no< one""", willing", , .. n,f,. ,h.
impo'"'''''' of phy,icol .pp<'"'''''' '0 [h. impo".nct of m ... ri.1 p .... n' .. "'n, [h.
fOlm<f ... ;u '!'I'.rentl) u niV< ...Jly >el"ed ... 1 LK,
A> ",,,h, .he ph)"ical1f>P<>"nC<'of th.figurn in the mini. turnofr.r;'.go."o n,
indeed . ignifian . " . nd '" ,he pr=ding dilem.i<>n migh, l.otI u. [0 pea. go,.
memo ue impo[ .. n. irsd;.-"" .. of meaning, 1':1I",gf.\1O goes bcrond ,he con .... n
tion. of pon .. ying the imperi,1 family at><! women in ml.boa . nd of d.....;"!
O ri .. in pu[pl.: ... h ..... lrndy ex,mined .h ignificoncc of [he .h.red ro"ume
"""n the .. <h.ogd ,rsd the empero, on f. Cv (fig. I)' Ikyo<>d 'hit. ,hift. in "' tw
br .hift, in d ",nin!- TIwugh the min;" Q,i", ofl'aril.g[,I'C ""' .. J><'.
f<c.ty clp>bkof """ .. yiog childl'<o, on f. ["'4' (lig. ' 7) $[ &>il luo.n. ...... focc ..
child hiding in. ClI VI: in [h. P"nt ... moun .. in ... he dna .. . n .Jult ckric: the
inle. iW n= . ...... pp.rently not, in ,hi, a..c:, oon.idcm:l.uffi <icn. to en.nre
r:<>gni,ion "fRo.il .. d, ik!, Hi> <h.nge of .. "", " indiated oot by phY>K>g""my
hn. emj,dy h)" <lunge of eIOlhe>. from .ivil;'n gortmn"." occ1e<i .. ,ieal ..... ,
rocnt>. CW'''n belOK hi> oom",,;"n -. .. a 'ogo (i ''''' the '<>g.t< philo.ophct
"f A[Iu:n.on f. 10.' ): .f[", hi. Mp<i.m Iu: .If""" .n. ' J>O'",lic chi",n.t>d him ion
(f. J)l.; fig, J)). CIo<bn b bel ... ,u. in more g<:n<nl way> .. well. Gregory', brothe,
IC.i .. ,ioo, who w.,.n imperi.1 offici.l, we ... d o[hio, a .. fully di .. ingui.hed from
,h .. of hi' occk.i .. ti< b[oth .. . nd f.ttn., (If . ,v . "r. hZ" 9 . 6); ,h moli ligu
... nding ne .. t" J""'*' on f. """ (fig, n) . nd ,n. )'QUlh lying on bed on f 170' (fig.
u) .. ,' iJemifi..d.,. )'OIIng m,l., hy ,hei' ""' umes (.nd Ul\COV<red h.i,); <h. nges
.. So< , ... l;k , ... S,.,,1.dkoo. >0. 'J' .... u,,"i.p.... h.,,),l<-'9. ro.-.
.... mpb .H.d .. d,,"p<rmO<. Md;o< .. H I ' ..... '4'- '<) ....... -., .... 'f d""..,. .. ,do ''''
1m""" f.c.' with , ... "'",,( ","",
" ,\ ..... I) , .. ..,....,,( ..... ,..,.,... .... ,......,t ;. , ... I.'" "(5,_,->, , ... V._ ....... oJ 0.
"""'. (0",),
" Ildn-uo, ,Joco,. ..... " ... ..n , .... ", . ... h ... t-. ,01"'=,.,. ond by, ''''''''' om....
<J.ro ho,.,o}, (""'c,,,,,,,), (om), " Cf. Bn. ... I"" (,,a,b). n-i"
...
Conclusions
in Joseph's in the last tWO scenes off. (,9v signal the imperial
of the miniature. Colour can have meaning. too. even when it is not applied to gar-
ments. In images of conAict. the horses of the good are whitl': those of the bad arc
black: wimns Merkourios and Julian (f 409v: fig. 40), or ConstalHine and
Maxentius (f. HOT: fig.
Fin,llly, JUSt as Iill: physical rei;niollship offigures within the composition of any
one miniature has been seen w carry meaning time and time again, so too the phys-
ical position of individual can he an important indicator. Sleeping heroes.
for example, look the same: Jonah (f. j r: fig. G), Jacob (f t74V: fig. 2j) . and
Conscancine (f, 440r: fig. 45) follow the same pattern. Bur whi le cen:lin
configurati ons recur throughout given figure type r:lrely recurs on a
single page: 14 when such repetition occurs, the replication itself carries mean ing-
we need only fecalL for example, the duplications of figures in the presentation and
the adoration of the Magi on f. 1j7r (fig. 18). We saw in chapter 1. th:lt backgrounds
remain subservient to the figures, who act 0([( their roles in the immediate fore-
ground. The neutralized span' - which keeps the senillg firmly in place as a back-
drop or frame - JlIows the viewer to focus on the physical appearance of these
figures and to concentrate on details of their clothing. hair, and position [hat evi-
dently had considerahle significance in l'ari s.gr.sto.
AND
One of the more striking feJtures of the <lnti -Jl'wish images in Paris.gr.sto is the role
of women in them: everyone of those miniatures balances women against men.
The healing of the centurion's servant joins the hl'a ling of I'en:r's mother- in-law on
f. (70r (fig. H): Christ and the Samarimn woman is paired with the healing of the
ten lepers below the judgment of Solomon, <llso :1 ,nixed-gender SCl'nc, on f. 1. 1 sv
(fig. 25): the healing of the m,111 widl till' withered arm b,llances (he healing of the
bem woman un f. jlOV (fig. jl): Ihe healing of the blind man at Siloam is lin ked
with the par<lble of the widow's mite, and the healing of the paralytic at Capernaum
with the raising of the widow's son at Nain, on f. 31Gr (fig. 32). As we saw in chapter
6, the miniaturist sometinl es man ipulatL's the composi t ion of the page or devi;nes
from established iconographi cal formulae to achi eve this balance. Attempts at
gender balancing arc not, however. restricted to lhe ami-heretical miniatures: a
related pairing on f. t4jV (fig. 19), in lhe lowest regislerofwhich art: joined
the healings of th e paralytic and of lhe woman with rht" issue of blood, which.
although sometimes linked in ami-Jewish polemic, do not seem to function pri-
,; or courS(:, ftOm the fi,'c p.ge, ,h.t pre,rlll formal group PO"";!,' on r[ fir ,nd Cv {t hc
i"'l'ni.1 2. j}. r. 4Jv (Gregory>nd his fami ly: fig. \I). r. 7n' (Grrgory. Basil. .nJ Gregory of
Ny'''' ; fig_ 13). ,,,d f. 285' and Para,keve: fig. 29).
m.rily in ,hi, ap.oei<y he",. ,\ Though i, W<)uld " 'U<fU .. Uy 'idy to lind """""n
.. """i"cd primarily wi,h .mi hereti ... 1 im.gc> _ for BY"'minc wi,,,, ""' .. 00"';'"
t.ndy charge<! with m.in .. ini,,!; pioWi Jom. ic """"ph.re . 1><1 were held
""pon,ihk fo, ,f.t. mor.I,.1><I onhl><lo:cy of ,hei, hou><hold.
'
_ ,he mini,l<u,im
do no' hcl'< oblige u . Throughout r.,i' ,&,.!IO .1><1'< i, grc.,.r .mph .. i, on
Wfi"",n lh.n onc migh, I""" fmm ...,.jing >e<:<>U"" of I\(lwI"" mu,,1 p"'"
l7ammn '" from through. o,h.r ronl.mporafJ" m.nu'Gip": n ... I)' tw<>-
,hi,d< (If ,he mini.,u"" includ. ,h.m." Unl ik. o,her ... mpl", ofll)'Z'l n,ine vi" .. ]
gend.r b.bneing (whi ch .re in any CO>< later, and Ie.. Cl<lCn,ive). r. '; . gr. doe.
no .-..t';c, i.,.lf to d.mon",.,ion of Chri,,', imp.oni.lity '<>word women and
men. " Crowd = n-<>, (ot ",,'mpk. virtually ,Iw.y> inrorpot'" both ... 0: ""m<fl
form. di"inct group in 'he ""diene. fo, Gregory'. ><fmoo on ,h. h.il"orm If. , 80;
fi&- 'S), anJ mingle with men .. Ch. i,,', mul,ipliu ,ion of loava (f, ,6j<; fig, >l j,
.0Id., hi.cnt,y inw j,,,,,,,km (f, lig, ".1; men .nd wom.n toge.hrr app<ll'
well in Old T .. ",nen' &eel><> of ,he exodu. weh :u M.,= miking w>!<' from , he
"",k (f. 116v; fig, 16) '" ,h. <maing of the Red Se, (f. fi g, 18). which ,]'"
indud", Mi,um d'Ming . ..,m .. hing ,h .. nm .11 nin,h .... n'ufJ" rep'escn,,,;"n, of
'h, =<le Ju.
Th .<hee' "ff,m,l., i''<''rpo .. ,ed in ""';',g', 110 i. "" .. blc; i. i. ""Iu,lIy
"riking ,h ... in. I.rgo' pc=nug< of"""", _men rlay. promi",n, rok, .nd few-
Poti ph .. ', wife (f 1l) . 1><1 Iklil.h (f. H7>" fig, Js).re 'he lon'CUInpb_arc
cast .. fu""" or ""ii, " M." ,lid women .Ire. in f.c,. r .... ly preocntcd in or"",i'M>O in
r.ri . gr,j'C>. whKh m.y help .. plain the omi .. ;"n of the w<cping """he ..
ill ,h. rn .......... of ,he inn"""",, (f. 'n" ,8) , m.l.lf.m.l,cunRie< w> V<)idcd by
,howi n g h. ",ldia. killing ,he children wi ,hom .ny fcm>k '1"""""'" " .Il.
B)'Z'I ",in, vi.u.1 conven,ion. bd ". '0 P' ,he Vi'gin M.ry in Ken .. of
Ch,i,,', inf1lK}' (If. Jr. ')1r, t6jr, ligs. 6. 18. 11) . nd of hi, de>!h ( f JOY: fig. 7). Even
h<r . her rol. in r"",g',jl0 som.,ima ov,,,,,.p' conv.n,i"n. 1 bouOld,.
Th. ".n. of Ch,;" in ,I>< .. mplc (f , 61r), 1'0, ... mpk, repc-." ,he ,..,>d.rd
Byumin. formul. of ,howing M .. y . nd JO",!,h cn'.ring from ,he Idi: ", lind
Chri .. in the !Cmpi<. II", the Homil "" mini>!u,i" in .. " , 'he v<ry ,ne .... ne of
M.ry emb"eong j .. u.,'" . nd ,hill "'''''''' ,h. <"""ion.1 hond, bcrv.'n mother
" 0. f. ,.,v, ... ' ..... " . "'" '"' ""of,", L .," ..... ,.11' , ..,.;. /<..-;'" roI<"" .... It.., _ .. ..,.j
Sdo ... "ddg, 'b"',l, .,r .
.. "'" ",mhn," oy .. jw ....... , 01' ,h" .... ; .... , "". -$- r .. ,";II"J (, .. '). "I'- ....... Q.
" f=Wn>pp<,,;n ..... <r-...... .. m.,- ... ""n" from n' .........
"00 ... M",.,.-. ("I'j, "_'1.
,. 0.. , ... Brunu .. ''''''''''r'' "'" """"" '0 ,mIoody mt . ... "p. c ... , ......... h.'.oI,) ,."j

... "" .... in """"" , . ,h< ,,,,," ... .Ion _ ".w .nul,'" t,." By< .. , , ... pniod. oM ... 0 ......
" ....... I, ...,. !u. .. opp<arN " ,h< Com" . ... " P' dU .. d " ,h< ........ rodo .... " M .. , "
I AOO,.;",.,,,,,,- (,,,,I , 'r.. , ... , .. t .... p",lkl 'f'I'<'" ;" ,ho. ""-fd on-.... .... ,
Jk."",L,...,.! s.:h_",.w.., 1(, ... 01. , ... ,
. nd >on. Tbc mini>turi" oJ", included tbe ofM.ry...d Joon tbe "",ogd;"
in the .ane of Qri,,', dcpo>;tion (f. JOY). [n thi. CO"", howev<o., the Homilia
",,,;on of .no >c<nc fOtlnJ mn.<mponry .. . n'[ogu<1 _ in, pi.lly, Gro<g<
of Nikodcmi., homily on t hc .btn "f Ch. i .. , whim <mph .. i=!
Mary'. ,he dtpo,i.ion" _ .nd ...,nl< .0 h .. e be<n pm of. wid Byu".ine
development: tw<>uightly [. " ..,"';"0> of the lCene, thOl< in Ncvl'Tok.ol"
in<",,,, ... the eOlpl,., .. "" Morr' th. gro<tping ..... 1\,""lIy was ",n,fo.med into tne
I.men,.,i,m "".r .1.. de.d hodyofCh,i".ll A< we.,w in 7, .he .pp< .... "'"
ofOOth vi,....! .nd written dcocription. of the de!""iti"n in the ninth <entDry f"[.
[""'....! the ic"nophi[e io>;"e"'" "n Chri,,', hum. n n>tul<." lndd, [o[i
K. [",,,,..,u convineingly .rgllCd th., M.,y', rli .piln.-., l/w'..t .. (t n. bc."" of
God), shifted ,., ,'.,," (rhc mother "fGod) in tn. ninth century b=r.uw: tn.
ic"nophi[e cmph"i, on Chri ,,', hmaniry .uggested. p> lld It ..... "n M.ry ..
mo.h.t; ,h .. ,he indUlion of Chri,,', W1>nh ." hi, mOfhe, on f.
JOY _ one of the . nom.k,", in""iption, in Pari',gr.5t o ,I." S" bcyond 'impk
d .... ip.ion _ wa.! mo,i, .. ,ed by ,h ... me d .. ;I<." Tn. mini' fUrn in l'ari . gr.\IO
that .how n.tw . w.t<t .... .,f Mtty'. emoti.,n.1 bond. wi,h I. .. ><>n fi nd, in <>ther
WOld" ",lid conlCXI in nintll century ,.,]igiou. ' hough'-
Out "'. ry " not ,n. only w"m. n cmplr"izcJ in Pari . gr.5tO, nor i, .1.. t n.
moln.,. 'pp<ar, wi[h ",.k.,be<s (f. }tOt; lig. }t ): mOIl..,
.nd ';<1., .re p"n raycd in IWO of ,he bi"graphiu.l miniarm", (if. 4JV, 4),t; fig>.
46), .nd the widow wh"m 8 .. il M.t>Jed i, . hown in .... int', pteto,i. 1 If.
104 " lig. ' 7) . Whi[. non. of ,I. ...... mple> i'l"t!icu[arly unu.u. [, ,he indw;"" of
Sr B.a.i[", mlKn., in [h. latter >juence i [m"'t unpil...Jlcll. Eve may nominally
bc th. cent"l /igu", in b., own . , .. ,jo" h
ul
... w. h,,-. """, she noneth<les.o
wru.al[y "I'p<>" ... Iu.lf. hgul< emerging from Adam', .ide tath., than ,ining na,
", him, Icp and .. II, on f. 5'V (lig, ' 0)" co'\hgumion f." ,,hi<h tb.", "'" pt<cio".
few p . .. 1 [ell. Simi[,,[y. h l.ry ",d hi mho ore norm.n r pIden' .. [h. "i>i ng " f tn.i.
brother Lau",., but thC)'.r<' u>uon), minim.li,l., tinr Iip'fC>' in
,hey .t<' porr .. ycd '" (.Im",. ) fun, jud If. [96" fig. '-4) . He[en nd
r.pr=nt f.rn..J. incu"i"n into . m.[. vi.in" (f. ,SSt; fig. '91: Justi""
", k .. up """Iy. qu."., of tn. 'I""'" d<-vOfed to ,k lif. ofCyp,i." If. JJ>V' lig, Jj),
The pom. ilOfEud"ki. wi[n he, son. (f. Dr: lig. ,) furthe .. [nO Jyn. "ic emph.. ... of
the ff<K1ti'pi<o< ""Iu .,ce, h<rt Hckn. did nut need ,0 he indudl in the h",O<), or
Con>!"",ine (f. or; 45): the Right of El i,.bcth w", mut iva,ed ne ither by
" s.. M'S",,,, l,"')' '/-"''' odd; ...... 1 bOW"", arlo)'. "'" app<" ;. m.p...,.
us.. "f' "'""moo" (,06, 1, ",",01. r... T<A.l" f......- i.I,>,,). foJ. .)I . ".
:.o s", K.on .... I' ...... ')1, ",.
" (,,,,,I, ..... '''-17<>, Oft furth., do"l"" ,. 1 ....,ioj .100 "'W" "'" ,t.. .n ......
.... of ... ,' ......... P"'V";"" ;n d,. v .. " .. ' 0"",;'" 1,_ .... , luI;;u dot .....
" d<moruu .... 0"",', '''' "" .. "Ie ..! ,n "' ..... '" .m ......... hu ........ ", . od dot ,mI"'"
, .. .,.of ,lot " .. ,,, .... , .... V"'I""" {I" s..w...;oJ.o I ' .... ). pl . ,.
Vi$i<ln and meaning in Byunlium
Gregory's sermon nor by the internal commentary suppliw by the miniature as a
whole (f. ' 37r: fig. (8): and there is no traditional grounding for the indusion of Job's
wife in what is essentially an image devoted to Job and hi s (male) friends (f. 71V; fig.
I) : as we saw, this combination is unprecedented in B)'7..an rine Job manuscripts.
What nearly all of the gender-mixed scenes - those that conventionally included
women and those that did not - stress is family relationships: wife and husband. or
mother and son. Even the anti -Jewish images, which already balance a female
healing against a male one. reveal ", tendency toward mmher/son (or. in one case.
son-in-law) or husband/wi fe images: the healing of Peter's mother-in-l aw (f. qor:
fig. 11). the raising ofthewidow's son al Nain (f. .I16r; fig. p), and Christ the bride-
groom who has come to the Samaritan woman (f. 215V; fig. 25) perpetuate the
theme offamil y rc!ationships.
The ponraits of Basi l, Eudokia, Leo and Alexander on ff. Br and Cv (figs. 2" S)
show this overtly: they are. however. dynastic portraits and, as such, Slress only a
particular SHand of family ties: children outside the line of success ion were not
included. Helena's indusion in the history of Constantine miniamre (f. 440r; fig.
45) furthers the motherlson modf. as does the introduction of a small boy tugging
at his mother's hand in the entry into Jerusalem (f. 196v: fig. 2,4): so. too. does the
inclusion of Elizabeth in the cave with John the Bapl ist (f. 137r: fig. (8) and this
image is paralleled by the image ofSt Basil and his mother (and father) safe in a cave
in ,he Pontos mountains (f. I04r: fig. '7). In this laner case. as in the front ispiece
miniatures. we can see rhat Ihe importance of fa milies runs in tandem wi th the
femalcfmale pairings of mother/son and wife/husband.
The last miniature still preserved in -the picmriallife of Gregory on
f. 4Slf (fig. 46) - has already demonstrat ed anot her way that the significance of
family ties could be visually expressed. We saw in chapt!.'r 3 that Ihe scene of
Gregory leaving his family on ,he shore and sai ling off [0 an unidentified
ri on 011 the right side of the regi sler does not illustrate any particular moment in
Gregory's life, but is instead a symbolic encapsulation ofB)'7..antine ideas about the
Strength of family des. Gregory's sea voyage away from his family metaphoricall y
signifies his moral strength and illlellectual fortitude: the mi niaturist shows us that
for the sake of the church. Gregory gathered the courage to leave the securiry and
comfort of his family.
Fathers. of course. appear in family groupings as well: Joseph is included in all
scenes ofChris['s infancy (ff. t37r, 165r; figs. 18. :tt); Basil's parents both accompany
him in the calle (f. 104r: fig. (7); Gregory's father joins Ihe family groups on 1f.43V
and 4Slr (figs. 9. 46). Though there is only one instance of a father/daughter group-
ing (Jairus and his daughter on f. 143"; fig. (9). F.nhers and sons regularly appear
without accompanying women. as do hrothcrs.
2s
Non-familial forms of male
lj Grr;gory and hit farher kfore monk. (f. 11V; fig. (0) and before commu-
nity afltr hailnorm (f. 78r; fig . s): Abr:.hanr and lSOIaC on r. (fig. lJJ. Jacob
Conclusions
kinship are visualised on If. }2V and 426v (the apostles; figs. 8, 42), f. 71v (Gregory
with Basil and Gregory of Nyssa), and f. 149r (Gregory and Basil).
Male communities thus appear with some regularity.!6 To this, however, female
parallels are virtually non-existent. Aside from groups wherein the entire family is
porrrayed, the miniaturists ofParis.gr.5iO nevcr show us mother/daughter relation-
ships. There arc no female kinship groups (unless we count the cluster of women
attending Gregory's sermon on the hail storm on f. 78r; fig. IS); there are no nuns or
gtoups of women in any way comparable with the apostles: and sisters appear
together only in the visitation, the chairete, and the raising of La2arus (If. Jr, JOV,
196v; figs. 6-7, 24).1
7
Women, with rare exceptions such as the portraits of
Paraskeve and Helena on f. 28Sr (fig. 29), arc visually valued primarily in their roles
as wives and mothers of sons. 2R In this, the miniatures ofParis.gr.5iO duplicate the
conventi onal Byzantine attitudes expressed in legal codes, hagiography, and other
texts:
l9
but the accent on women as mothers and wives only serves to highlight rhe
extraordinary emphasis on family groupings in the manuscript: well over half of all
the miniatures pl ay into the fami ly theme . .IO
On the strength of these examples, we can scarcely avoid concluding that family
lies were a recognized and important attribute of the lives of ninth-century
Byzantines. The visual evidence provided by Paris.gr.510 finds a strong corollary in
the findings of social historians: Evelyne Patlagean in particular has observed that
the real family - or, perhaps even more essentially, the meTaphorical family - had
become the fundamental social and political model in Byzantium by the ninth
cenrury. Jl The miniarures of Paris. gr. 5[0 that picture family units appear to corrob-
orate Patiagean's observation, but it remains the case that other ninth-century
manuscripts do not exhibit Ihis visual recognition of contemporary models 10 the
same degree. The dynaslic emphasis evi dent in rhe opening pages of Ihe manu-
scri pt suggests that the miniaturists responded 10 a micro-climate wherein family
currents were likely to be picked up. As imponant, however, the full-page formal
consistently adopted by the Homilies miniaturists permitted the inclusion of rele-
vant social details in a way that the marginal (or text column) format used for most
orher ninth-century miniatures did not. The relatively loose conceptual relation-
shi p between Gregory's sermons and the mini atu res that accompany them - which
and a,.., joinC1.l by 1 ,..,51 of Jacob'5 sons (f. 69v; fig. 12); David and are accomp.niro by all
bUI Ihe of Dnid. .... (f. 174V; fig. 2)). Olher of brothers Gr'1lory and
Kai ... rios (f. 4)V; II); and Basil and GtcgoryofNy .... (r. 71V; 13).
,6 On which (t9SS), who almosl male friendships. for the gooJ
rea.on thaI male alliances Well: whal (maId By>.antine authors tdl us abaUl.
17 Br01he .. and . isle" together fa,.." and (f. 4)V; fig. II) and Mary.
Marrha, and (f. 196v; fig. :4). !II Sc-e Harvey (1990) and Bynum (1984).
1<) For ,he nimh CentUry see e.g. Gouillard (1981), and Beauc.mp (1977). 164-176: and on the
low >ta!Us of unmarried daughlc", Grosdidicr de Maron5 (1967), 28- )1.
-"J Twenry_nine of Ihe forty-six of Pari . gr.po (63%) have been considerC1.l in 1his
discuss ion. JI !'adagean (1986). e.p. 427.
Vi$ion and in ninlh-cc!11ury Byt.an!iUl11
is presumably connected with the decision 10 adopt a full -page formal - and the use
of images alone to communicate complex messages (rather than images explained
by inscriptions) also freed the miniaturists from the need to produce images medi -
ated through words_ Having dispensed with the conslraints imposed by rdying on
ideas that could be formulated using familiar patterns of verbal conSlruction. the
miniaturists could communicate different t hings. One thing thaI Ihey communi-
cate is the importance offamilies and kinship groups.
TEXT ANI) IMAGE
The int eracti on of image and tcxt has been one of the main themes of this book:
discussion of the relarionship berween a miniature and die leX{ rhar il introduces-
which. in the casc of the frontispiece minialUres. meam the rdationship of th is
scquence to the whole book - has in many respeers dominated the way in whi ch I
have SCt OUI Paris.gqlo. T his approach was intentional . for while I believe thaI the
images in the Homi liC!> communicate differently from the text that they accom-
pany and from OIher text s as well. I also believe that whenever we deal with a
medium Ihat iuxraposes images and words we must respect that combination. and
this means that we musr comc to terms with the way the rwo interacted. There arc a
number of levels on which this relationship seems to have worked in Paris. gr. Slo;
perhaps the clearest way to summarize these is to compare the combinat ion of
images and words in the Homilies and in another ninth-century manuscript
closelyassoci aled with il, the Khludov Psalter (figs. S7. 85. tOj . 104. 110. 11 8. 12l. Il5.
I}I. 14l. 14j. 151. 166). These two manuscript s. as we have seen. are alike in several
imporrant ways. Bolh bear wiUlcss 10 a re-thinking of the relationship bcrween
text. image. and audience. Kathl een Corrigan has indiC3ted how Ihis process
worked in the Khludov Psaltcr:Jl and in Paris. gr.51O. as we saw in chapter j . the
process of thi s re-evaluation is still vaguely di scernible in Ihe biographi cal mini -
atures. which chart rhe shifts from ill ustration. to suppbnentary images. and then
to full-blown visual exegesis. Mosl importantl y. both rhe Psalter and the Homilie5
U5C images 10 rcconrextual ize the word5 of David's psalms and Gregory's sermons.
respeclively. and [Q reint erpTCI and ("{'-frame them for a specific ninth-century audi-
ence. But rhe precise way the miniaturists of each manuscri pt achieved rhis end is
different in each case, and [he differences bcrween rhe twO tell us
something important about Paris.gr.j lo.
The principal physical difference berween the way that image and word interact
in Ihe Homilies and Ihe Psalter is obvious: Paris. gr.$l o contains full -page. framed
miniatures thai introduce rhe rext but remain scparate from it: the Khludov Psalter
J ' Corrig:m (1991).
!""i,iom unf ... med .nn in ,h. m ... gin, of ,h. I<JU i,><lf. Th< Ion,i"" of ,h.
Ps.l, mioi.HL"" w;u i'Klf to ,hem .. po"o,i.1 ""mrn<n .. ,i",.
for ,t.. ... id. margin. ruled for ,hem hy ,t.. ",til><> ",pii",u ed ,h. '1""" kft by n,h ...
con,empo ... ')' K.ib<. for ,he newl y in"itu,ed " m.1 commen" ,), on a m. nu
... ip' '<"lI'. ,hc eaten . " Thi, p' .. lId p<i,ioning. vi. iI-vi. ,h. m.in Wy of ,he
teX! . of com ..... n, ing t .. " .r>d commenting im>g'" i, ,,,,,,I) no, coinci<icn .. l:
Conig>n pe,. .... ivdy '''lI&<.!'cd ,h m .. gin.1 . igm. whcthe. "'"Ufd.ot im.g<>. . ig.
n.>lIed ""mmem.,), in d .. nimh cemury.'" 11 .. KhluJm. J'uit .. w:u m1M [o" Y
)'Can bcfu .. r.,i' ,gr,jt o. in ,t.. ru t> immediately .h. cnJ o([""..od.' m
wnc" ",,,Ric, ,nd "I'!""i'ion "" ... "ill vcr)' ",,,,h to ,h. in,.U"",,,.1 [01< . C".orrig>n
.. w thi' dima of oPl""'i,ion in",';bed on ,he mini .. u ... _ which ptu<n. ortho-
dc. e h,i>!i.n. in d."" .. with i","",,!.om. J .... , . ",1 .. li,,,, - .od '0""
t!.c atm""ph ... of d.ru.te wid, t!>c ""'gin.1 forout w.td in ,he )(hludo-.' ""11Cf, ..
... ell ..... i. h ,I>c mnfron,atio ... .! mmpo.i,ioRof m.ny ofi" mllgin.ol imagn," The
m1lgin..J form .. of tt.. ""1 ...... in .bort . n .pt>"'p';'conmuct for tnevi ..... 1
d.ru.t bou, ,h. proper inte'1'".::"i"n of ,he p<>lm '""". ju>t i, "' ... . fin ing
format fOf .he proot imag<> of tt.. Sore", BotilcgiOfl . nd ,he Mil. R
Grcgt>.y," The immedi.o<y o( ,he im' ge-"xt di.logue in ,he KhI"Jov ""'It .. h ..
bttn lou in ,he inhCfcndy more reflec,i, .. mini .. uIC' of 1':o'''.gr. ILO. A> we h,,-e
IC<:n throughou, ,hi. book. ,i.e ,-i. u,1 '<gumen" of tn< Homi);'" mini .. u .... ",l icJ
more OR .mi,h .. i . align",.nt . mcuphor ,h.n on ronRict .nd d.ru.tc, Th""
""''''Ufa <kpt:mkd upon ""mbin., ion, o( IO<R"'. ,r>d m<aRiRgIi.,i jU"'po>i,ion
of ocon .. mG<. o. I ... 4<m.t>dcJ ,h. full -p'S< form .. ,Iu. """ find in P.""-Sf-S.o-
Wbcthe he .yn,i>cti< d .. clopcJ in ,t.. Homili .. w:o. a con""lL><occ of
,h. (uli p.ge fo.m .... ko.d. ", wi>ctb ,h .. fu,m.' "' .. <h"""n with .hi. model of
vi" ... l '<gumcn, in mind. ". moo' Th< ;n' po.um ;"ue ncr< i, ,h" ,IL.
dif!"cfCtlCc 'he phy>icol ,d .. ionohip of im.g< and tc .. in 'he !(hludo.-
l'ultcr.nd ,he !'ari. Homili .. i. p ... lldl by. differen",,;n rho """"ure of ,he
vi.u..l"gum<:n' in .>eh \.001.;.
In ront"'" wirh ,he ""hCf. ,he m;ni .. ur of P. ru.g'_11O di,unee ,non,..I, ..
from "",rd, in ."",hcr w.)- ., .... 11, \1t'hik on. of ,he mo<t ... iking b,ut'<> of ,I>c
Kh iuJov P",h .. ;, if' ;n"'rpo ,i"" of in!<, ip,intt. ,h .. help ,he , ......... i,,,o'1''''
the pictu.", C,hi. i .... ge m ..... ' _ -" 0' .[),,-jd "r>- rI", ___ . I .... fig. It ol). ,he
in",np<iom .he Hom;li .. min;>!m.., ...... no,maI1r. I .. ,,mo.: . nd I",<ely
de><. ipt;v<:. Ev= the titkl w,itten in red On ,he gold f .. rn<> of the mini""re.
only twice go heyond .. mpic iMnr ifie .. ion: ,h< he.ding!O H.",kkuk, vi, iull (f.
lig. 19) w:L> ukco from ,I>c opening W<> .... of G"'S"'Y' ICtnKIn: ,hat intro-
ducing ,h. mi .. ion of ,h. Af><>I'r.,. (f. 4l6,', fig, -I l ) .ul'pli .. . quo",ion from
M.lth ..... :.II:t9. Of th< . "1 R.,."iv<: ..:cnn p<<><:rv-cd in Pui . g' .ILO. a mel'< nine
" Ib..t .. <>!" .,...", .
" Il>..!, " llo..I.
V"..ion .1'1<1 n"" n in n ,nIh"",","')' IIrm,um
Ih" go beyond nami ng d,nartor> or id.nt ifying d, .. """"",
. nd <von Ih"", dill" from 'he in"'tip" "'" of (It .. " hlud""
Pult<t,
Tw"of ,he i,,,,,"'p,,,,n, ,h,( g<> beyond "n'pl. idon"nco,;on .,<quo .. ,i"", from
,k hihl pok.n by . h< plougoni" of ,h. im.ge ,h .. ,ign.l. limin.1 mom.n, in
n or hi' life: rrti ... ion of. p;;tlm "'tsC" h., d."h (f. il" fig, 1) .nd
Grq;o'y', f"h., , <C\ .... I\,il\g ,k p .. lrn ... "" h .. h< kH<! ,n drum '0 hi, wif< (f.
S7'"' fig. ,6) .. c bo,h m:oroe<! in 'he in",.ip,M,.,. Tit. "'" "r ,h. (h.,
'r.n>c,ibe 'I,,-,hl\ "'<lid. documrn' <onv'''''''on, no< <oroe<! in G. <g<>I)""
","'H,n;, "lv.n we a,e given a genuine cxch>ng<: N.,h.n, wi,h o.,;.d (f. 'ilV'
(9) nJ ) ... h",,', ",;,10 ,I>< arch.ngel (f 126" fig. 16). Ot:h.rwi"" .he cony< .... 'ion'
',..,,,I\..iJ<d, ,h. in"",ip'''''''' qUOIcChri,,,dyingW<lrd.! to M,'Y aooJ.ohn (f. JO"
fig. 7), I"" h, oro", '0 Hez.ckiah (f. fig. ill , God', >mm.oo ro M,.... (f.
fig, 1.8). Ch,i,,', qll<>,i"" ofS,ul (.1.0 f. ,64V), . nd, 'go;n" ,he
F.z.ckiel', ,,( God (f. fig. -HI. Fi,'<of ,h<><cOflvcr .. tion, ""'I< iMc, ib<d '0 m.kc
'pilic poin". bu' th..., poin" we,", no'. " in ,h. " hlud"" h.It., . bout ,h.
P'ope' i"1<'p,.. .. ,i,m of ,h. imogc, Chr,,,', word.! '0 M.,y at><!}oIln fit wi,hin 'he
"'1!<r ,hem< offomily ,ic> [' .. i,.gr.! IO, JIhui. oon"""''''n wi,h .. chongol,
h<kid', ques,,,,n t<' C',.-"j, God', ""Of'" 10 Mo>c'. and Chri,,', '0 Saul we. e all cle--
","n" in ."",h" k i.mo,ifof tho Homilia. ,be impur .. n ofhum.nJdi.i". in, .,
wiOll. The remainingconvc""",,,n, -th" bet.."." N.,h.:tn ond l).o...w .nd I .. i.h,
wOfd, '0 Hczeli. h _"',re'pond ",i,h , ,hi,d ,ubrlo, of ,t.. m,"u$Crip<: d,e prope.
rei>.,i<m,hip bctwccn' ruk' .nd hi' ,pi.;(".1 adyi..". I .h.1I .... u'n '0 .It .. ,hem<
,honly; "nw, i, ",fficco 10 note ,h.:t, all of ,t.. ron", .... ,;,,. in>crip,ion, in
r .. i . gr.110 IOtlow ,he "'me I""e,", Thei, ptim .. "meg)' i, not '0 .u,ho,iz.c.
p.nkul .. in"'I' I<'''''''' im'g<, bu, .. ,It", '0 conl<nu.li:r.c i, !'
The d'IT.",n< .. in tt.. I<I .. ionohip be.....,.,n im.S" and '0' in ,he Hom,li"" .t><!
,n. Khlud<)V l\:t l,., .,.. """n,iolly ",,,au .. 1. lbc Puhe. mini .. u,i .... on ,h.
whole. f.""um! a Jirca . ppro.>clt, ,h. nin,h-mUI)" modific .. ion, "f . 00 addi
''''n> "', ,he ,.,..,[i",m.1 If< of po.It., illu" .. ,ion introdLKed. new form .. ,h.,
p/tJ"'ic:tlly juxtop<>scd 'ex' and rommeotal)" mini .. ures, ."d added im.ges ,h.,
indi"idually in'Cf""ed wi,h ,I>< adj.cen, t ., I"""get. The Khlud<)V Pul .. ,
demon", .. ,es ,h .. ,h. impo'''''''' of ,h ..i,u.I,.t><! ,hc I"nicul.u way< ,n., 'he
v;",.1 commun,c"e<! wi,h. ruin "'llII1C1l' of nin,lt-n,ul)" Bru",in. "",i.,y.
did no' meon ,h .. WOfili weI< rend<red obwkt . Th. """"<>-<Inc :tppro.>ch
d> .... ct.,i"ic of ,h. Khludov Puh, hoWC>'<Or, i, not wit .. we finJ in P:"".gt.\IO.
whOle 'he 1'<.11,., w" I>Orm.!ly .h.:toooned .. a '''It.! .... teg)':
i, "' .. in,,<ad in'cmaliz.cd. at><! I<..,mrrgcd .. vi,u,1 e"'8<"'''- R."k, ,h,,, , .... "ing
cun' emp<>"" y d.h.:t, .. bodily in,,, im,,!:", of ,hc p1>" .. w< noo in .f>c Puher
<.onduDoru
;rn'gn, ,he Homi!;c> m;n;otur., .eod to ree,.. [he 1"" in[o. meI.phor of con[e",'
po ... ty life,
ll>< pm [h .. we ...... Iking .oom 1>< .. i,. 1"" ,,;II"><n.i,lIy dop<nJent OIl
,e", .he mi"i",[ ... ofr>ri',S',IIO rr-frome, aft ... 11, Grq;ory', ",[moru, To unde,,"
, u nd wh1t [he ;m.8<' me.n. in [he nin[h ' Of>, w< mu" r.:ly heavily on
info", ... ,ion h;' w",d,_ Bu, i, i, impo,un' to m:ogniK "'" onl)' , I><
im!"," of ,he word. on tl>< ;m. s ... bu, .he ;nlpoc[ of , I>< im.g on ,I>< word._ F."
oru:e im'll" ru.,.., 11Ioch<d [ncm",I. "" ,,.,,.,i .. , ,,,cy cltong. ,he .... r an audio
ence interp.e" the "ory, n,. uk 4 h'" Jl,zb/,it i, [""[ hmili .. to n"". mi..ldle-
.lou A",<rian. nd Engli'h children, and.an be undemood p<rf<c!ly _11.
writn n1[""';"", on,. _n, how .. ", Be."i. Pom1', ill",t..,io", of Pe'er lUb/,i,
1>0"'" ;ne.uiGlblr imerwov<n wi,h OUI und." .. ..,jingof ,I>< "'COun', To Aogl ....
Americllu ",1>0 were bfOuglll up on the hook .""n , h.. nm" ',,",cr IUbbi,'
imm."j i .. ely conju'" up. ",c,,,,1 i""SC of. bUJ"\r in. bl ... i><k .. , lm1gn.an
inddibly <oO[.x!U.li"" ",h.t i, wfi"en,
In Pari',gr,llo, howeve" im.g .. do more lru.n 'ceonto, u.li",: m.nyof ,hem a ..
a1""", iooepcndem <ommen,.,i"" on .ubj:" only nomin.i!y linked '" the "'Vic
of ti><: .. ,mon th., they .. romp"")', \l{hil. no 1<1[ mini'fUr< i. ""' ",irely
from G'Try', word.," ,he .. , .. milli .. " ... in tn.: Homili .. th. t dev<:k>p
m""'b"" of ,dCV1ncc to the ninth ... ntury mdi.oce of ,he m.nu!.C!ip' flOm
'ingl. ph .... in ,hc .dj>nt ""mon, Though tbe rel .... nt ph" ... arc a1mo"
a1Wll)'> ma,hd wi[h in;[i1l. 0' margin.1 ' ign unli kc ,ltc KhhlJ"" r..lte.
P."i',gr, ,t"off." nO ;n"'tiption> to expl.in th.[ ' this mun. th .... .',
The proccu of """n,alU.liLl.io" .nJ ,h ,"";01\ of me,ning through
qui-autonumou, comment.ry bY< I>n foltowro Ibrough Ih. cour>< of ,hi>
hook, We h ..... ...,n, ,OCt, ,It .. ,h. I""",il"',ing ."dien<c ", .. limited, Par;' ,gr,\.o
wa! ""t public monumcn" i[ w: .. . m.nUlC!;p' for ,I>< p.i" ... u", of , .. """."j
gro"p, md m.nyof ,h ....... gn i, w<," pc.""t .. 1 0"'", Indeed, '0 ret urn
to ,I>< poin' .. which we "",ed thi> ch:tpt, Ih udi.n .. '0 whom P1!i' ,g', 1'0 ....
directed ""metime. ",em. to h.ve: con,i"ed onl)' of rwo men. ,I>< Emp<'''' B.,ill
.nd the p.:t"i.,,::h !'bo,i",_ !!.obin Co,m>ek It ... rgued tn .. infurm .. io" about the
pc,-..,n. lity of a p .. ron ;. of , .. Iue," .oo whil. I would .",. ,It.,
I>j,,,,i .... nd B",il >etl from wi,,,i,, p.:t"o.:"I .. >ociai and intellectual ( .. m<work.
I wnulJ . 1", .,SUe ,It" if"" did not know 10 whom P"i' ,gr,,' o "' .. given,....J if...,
could no< "ubliili beyond .",n.hl. douh[ hy ,,",om i, wa! <omm;";"n."j, our
unde,,,.ndingof ,hc Par;' Homi!i", would be: ft ."....!: the iooividu1l predilcc,ion
00 . gendas of &.il .nd Phot;", . rc cruei.II)' involved in [h. ", .. nLng of
P:ui' _S'_j"' _ Th.i, p.:t"i<u]', ",If_in l<"'" ".mp the m. n""'ript, and il i, [0 tbe
",orking ou' of .1>0><: ><If_inte ... " th .. we .It. 1l now ,urn,
, ..
and m("aning in nilUh...::elUllry ByzalUiurn
f' HOTI OS AND IIASI L
T he relationshi p between Ihe images of Paris.gr. 510 and rhe le)[1 Ihat Ihey accom-
pany was ignored or denied by lhe earliest commentatOrs precisely because, as we
have known since Si rarpie Ocr Ncrsessian published her seminal aTl icie in 1962, it
is a complex relationship. Following ground broken by Andre Grabar in 1957, Ocr
Nef5essian's conclusions changed Ihe face of Byzantine :m -hisrorica! .scholarship:
she demonstrated, for miniature after miniature, that the images in Paris.gr.510
often funct ioned as visual comment:lry rarher than as illusrral ion. This rype of rela
tionship presupposes an extremely d ose reading of Gregory's sermons, and Der
Nersessian's assumption has been borne out in this study. 8U1 while the messages
communicated by the miniatures of Paris.gr.S lo arc complex, they arc also focused.
The Homili es was not created for public consumption. and th( issues rcsoh'ed in
the minialU:S of Paris.gqlO were largely self-imposed: Pholios IISed Gregory's
anti -heret ical sermons as a platform from which to ha rangue his own demons: he
manipulated Gregory's panegyrics into Ralter), dircclcd at Basi l I. We have alrcad),
cxami ned how thi s was done in chapters 4 and 5; here I should like to look at some
of the broader implications, and consider the fundamental quesrion of why
Photios commissioned a cop)' ofGregory's sermons as a gift for Ihsil l.
We ma), dismiss Basil's own interests as:I motive. Even the eulogizi ng Vim B,uilii
admilS that Basi l d id not have 'commerce wilh and we ccrl ai nly ha\'c no
indication that hc had any int erest in tht" st'rmons of Gregory of Nazianzus.
B)'Unt ine emperors, in any c\"(:nt, followed Roman precedent and achieved
renown through public (archirecmral) paHonage rather than Ihrough any occa-
siona! of books that few would have seen: Basil perpetuated [his
model.
4
[ Paris.gr.StC incorporared imperia l ideology, bur it was not first and fore-
most ao imperial statement.
The personalized messages of l'aris.gr.s1O indicate. instead. a manuscript
designed for Basil by Phot ios the one person, as we saw in chaptt"r 5, who had Ihe
knowlege to creale Ihem, the resourccs 10 afford 10 cxpress them in such a luxurious
formal , the reason to present such a st'quence ro t he emperor, and the access 10 that
emperor 10 exphtin them. Margaret Mullen has described how lett er bearers con-
veyed personali1.ed messages along with the letters that rhe)' carri ed: and she has
noted rhat these verbal messages were intended 10 contexlualize the words for the
recipient of Ihe lerterY I would specul ate that this pattcrn was followed as well
when photios presented Ihe book wc now know as Paris.gr.sto 10 Basi l and his
fu mil)'.
-0) Vita R,mJ;; S'): rd. Ikkker (1838). 5 chaplet 4 oOle 47. Ste al,., Magdal,no (19"')6).
27- 28.
" On I he building Vita !la,ifii <d. Ikkk<r (I g ,8). )19-141; 5tt ,hpler .. nnle 47 .
, Mullett (I??O).

..
Condusions
But I would also suggest that it was not JUSt Rattery that underpinned PhOlios'
presenration. For one theme that runs throughout the miniatures is the proper
behaviour of rulers, and in particular the wisdnm of rulers who follow the counsel
of rheir religious advisors. The balance of power between church and stare was, as is
wel l known, a favourite rheme of the patriarch Photios; H and as we have seen it
works itself out in the miniatures ofParis.gqJO with some regularity. Here I would
only note twO instances mentioned earlier in this chapter but not yet fully consid-
ered. These return us 10 the anomalous inscriptions that record conversations, in
this case that berween Nathan and David (f. 143V: fig. (9), and the one-sided
remarks ofIsaiah 10 Hezekiah (f. 435V; fig. 43).
The first of these has David claiming 'I have sinned against the Lord' (HMAP-
T I KATO K[VPI)U) 10 Nathan's response 'and the Lord has PUt away thy sin' (KAI
K[YPIO)C A HAE[N[TO AMAPTHMA COY): the seco nd reads ' Isaiah sai d to
Hezekiah, Give orders concerning thy house' (HClAC AEr ON Tn EZEKIA
TA= E n EPI TOY OIKOY COY). Both provide biblical precedenrs for rhe
authority of spiritual advisors over their rulers after those ru lers had sinned.
Historical precedent. as we saw in chapter 5. was one ofPhotios' preferred means of
dealing with comemporary situations; these two instances of a religious leader
demonstrating his authority over a ruler cannot, given the rariry of such extensive
inscriptions in Paris.gr.5IO and Photios' predi lection for historical precedent, be
ignored. Nor can rhe fan that both religious leaders deal with rulers who have
sinned: Nathan pardom David; Isaiah tdls H{""wkiah how 10 redeem himsdf.
Photios was parriarch under the joinl rule of Michael III and BasiL and thus headed
t he church when Basi l murdered Michael: he was deposed immediately alter the
murder, for reasons no one has properly explained, to be reinslared only a few years
later. What"cver the reasons for Phorios' temporary exile. he had to propitiate Basi l I
in order to restore h is own posirion, and once he had done so, he could balance that
precari ous position against the undeniable 'Idvanrage of moral superioriry. The
Aarrery is obvious in Paris.gr.5lO, but on fr. 143V and 435V the other si de ofPhotios'
relationship with Basil seems to come out as
Why Photios selected Gregory's sermons as a vehicle for his various messages is
an unanswerable question. Perhaps in part because he was the first patriarch since
843 who had never had connections with iconoclasts, Photios linked himself with
the iconophi le cause throughout his It is possible that hi s commission of
the Homilies forms a pat! of this chain, for Gregory was often cited in iconophile
polemi c, and seems especially to have been favoured by Theodore of
Bur Gregory and Basil of Caesarea wcre the patristic fa t hers most often quoted by
Byzantincs of all periods; it may simply have been Gregory's undisputed orthodoxy
" Set ,ht di>cussion of the EiSilgogt in chapler 4. ,j Sec further Brubaker ([996b), [OJ-[09 .
j [lhank Kariin-HaYler for [hi. point: set al", Mango (1977b) and TI,ulUmd (19SJ) .
.. Set Dvornik (19H).
Vision and meaning in nilllh-ccllIury Byulll ium
- augmented by the iconophil e tendencies wit h which he was cmlited in the eighth
and nin th eeruu ries - that recommended his sermons [0 Phorios. The sermons'
consiSlcllI ;macks on heresy can, gi\'cn Phorios' own agenda, o nly h ;H'C bttn an
adv;lnragc, u n ainly, Photios admired Gregory: he commented upon and para-
phrased his works more often than any of the church f.ll hcrs save John
he may have wrinen a praise- tclu in hi s and the fact that
Leo VI model led hi s eulogy [0 Basil I on Gregory's funeral orat ion for Sf Basi l sug-
gests that he was taught from Gregory by his mtor Phot ios.
49
lr has also to be
remembered that Paris.gqlo was apparently not originally meant to have illustra-
t ions. W At its initial (un ill ust rat ed) concepti on, it wou ld have ant icipat ed t he large,
e1cgandy wri nen and unillustratcd edi t ions commissioned by Areth;u - possibly
Phot ios' student - a gener.l t ion lat er.
51
In that form, t he manuscri pt may nor even
have been destined for the emperor: Ihe choice o f Gregory's Ho mil ies for the
weighlcd mi niat ures {hal t hey now accompany coul d be in pan fonuilous. What
prompted t he decision to incl ude miniatures is irretrievable: we can speculate that
Ihe text from wh ich Paris.gr.j lo was adapted contained pictures and inspired the
thought of an illustrat ed book;52 we can specul ate t hat Photios had succeeded in
pleasing Basil with an earlier illustral ed book and bel ieved that another and even
more luxurious one would have Ihe same dfc([; H we Gill even specubte that
Paris.gr.j lo was d irected to Phot ios' pupi l Leo as wel l as to Leo's filther Basil. We call
specul arI,' any number of Ihings, bUI in the end il may not mart er so much which
teXI Pholios ulti mately gave; Ihe significant poinl is Ihat ht' chose ro commissi on a
text, large and sumptuously for the emperor and his family. Wi th some-
thi ng as big and cosdy as Paris.gr.j lo in his hand as a prompl for exegesis or com-
mt' nta ry, PhOlios may have rt'asont'd Ihat his d idact ic dury 10 t ht' imperial filmily
was in hand.
I' ARiS .GR.5 I O: A REPRI SE
Paris.gqlo was a luxury man uscript that advert ised its status in overt ways. Thc
size, Ihco usc of archaic and expensive uncial, the deco rated init ial s and gildt'd mar-
ginal signs. the full -page and bold ly coloured miniatures. all speak to t he co n-
sciously sumptuous quality of t he manuscri pl . What one mi ghl call thc
S{' lfconsciousness of Ihe manuscri pt extends lO its imroducl ion of painred letlcors,
which link (eXI and image as well as embel lishing the pages of t he book; 10 its usc of
piclures ro supplemcnt and comment on the lext in ways of part icul ar relevancc 10
., For lin of of Gregory in Phul;m' lmer5 .n<.l the Amp/'iIM},;II, In I. Wc.tcr;llk
VI,l (1988), 17-18: fur ChrYSfmolll, ihi<.l .. 1\ - 16. Dvorn ik (19 J.j). 13-34. .. Adunl"t (19 JJb).
I<l Sec In [((xluction. \1 e.g. Wilson {198,}. 110--1,0. II $,"" I n1 rudUCl iOIl.
'.' See ch.plcrs 4 j.
4'4
.. -
Conclusions
its circumscribed audience: to its manipulation of the compositions and details of
individual miniatures to underscore the imcrprclivC' role those images played: and
to the autonomous exegesis that many of the miniatures ultimately develop.
The consistency with which Paris.gr.Slo fulfils its goah implies rhe careful
coordination of three distinct groups of workers: the scribes, the illuminators, and
the miniaturists. This indicates that one person supervised rhe producrion of the
book. We can identify rhe person who did wilh virtual certainty: the patron of
Paris.gf.510 was the patriarch Photios. The particular concerns of his career or his
personal interem inform many pictures in the book; and while Photios' patriarchal
and personal preoccupations may haw been shared by others in his immediate
circle, only he had both the access to the resources necessary ro produce Paris.gr.)lo
and the need ro marshallhese resources ro commission a gift of this son for Basill Y
For all of its peculiarities, Paris.!;t.510 nonetheless was a product of its time, and
fits within its laIC ninth-century context. I mages that supplement the accompany-
ing text appear in other manuscripts of the period, notably the Khludov Psalter and
the Sacra Pllrallr/a. While neither of these m:lIluscripts contains miniatures as
autonOmous and self-sufficient as those in Paris.gr.5IO, hoth use pictures as more
than simple illuscrations. In the Psalter, inscriptions often tell us precisely how the
marginal images function as interpretations of the lext, while in the Sacra l'ilrllllela
the miniatures either extend the narrative by picturing scenes nOI specifically
described in the A.orilegion text or authenticate the accuracy of the quotations
copied in it. ~ While Paris.gr.5IO expands the role of miniamTCS expressed in both
of these manuscripts by liberating its pictuTCs from the confines of the text margins
and by omitting explanarory captiollS so that images carry the whole weight of
interpretation, the fundamental relationship between the Paris Homilies and these
ninth-century books is clear.
Conceptually. formally, and iconographically, Paris.gf.5IO fits within a wcll-
defined cultural structure. Even its sumptuousness conforms with prescriptions
that an be 'made from the purest and most splendid material' .X> From within this
structure. and in pan because of it, Photios' voice nonetheless speaks to us in the
miniatures of Paris.gr.jlo. The language is ninth-century Constantinopolitan, but
the dialect remains isolated and distinct. The miniaturiSfS communicate to us toO,
but less clearly, for they lack the benefit of subsidiary texts to amplify their messages
to a modern scholarly public more used to reading beneath the surface of texts than
to seeing beneath the surface of images. All the same, whether or no! we yet have
the tools to see through images with the same confidence that literary critics can
unpick texts, it seems to me clear that the miniatures in Paris.gr.SJo tell us one very
important thing: nOt JUSt that images can communicate different ly from words,
" On {he benefi u " f nl an t i'l/: gifl, see Cormock (1992) . esp. llH-1JO.
jf, Nikephoros, LogQI, 771; see Tr.vis (1984). 37. for COm memary.
4"
but the ;nvol,.ro;n the r>ri. Homil ... how .nd ... ro th., im'geI
could .nd ,h""ld d" thi,. lm. gn;n Pui. Hom;lK. not wbo, ilU'C> for
w"rd" th<y ..-w, cho.cn ;n lt ... dof woro .... d 'h<y in"" 0" ,h", "1""';"" by ,hti,
f<,,,,,,, .nd by 'heir ne"lr un.nimo,," lack of .xplm.<o<y . Tho mini_
oturn of P:"i . gr.!lo do no[ plOl'ide piCTori,1 ",pplem.", '" ",rillen ':<q;<>i ....
,he im.gn in ,h. m.rgin.1 p..J'm normally do: ,h'r "S<>i,. md rh" i,
dilf.",", ,hing," Though ,lie ... rr 'imn .. brn ,h. mini"ul" p. r.oIld
imerprer.riom clos<lr. [h ... or. more ... mpl .. ,h .. , ",hil. opc,.,ing from wi'hin
,h ... me fnn,. of ref.ren"" conl<mpo"ry w,i"e" _,,:Is. .o"'mun ..... " id ...
".,. "'p"" .. d in <1Inn' t " , In r.ri.,gr,jJO. the mi niotur;,,, w nvcy ",....B .. pri-
m.,ily through m.nipul"ing ,h. <omposi,ion "f ,he p.go .nd thtOOgh ,t..
juxtaposi,ion of iC<n<1; rh.y .. .,.'" indep<t>den, [h=d, If interl""";"o ("f ..
n
but no< p.",II<1ed ;n w,;".n Mml ' oge.h.[ '0 <."". new m .... ing th .. eo--
.. i"ed .. i,h, but w:" in impo, .. n. w'Y" independ.,,, of. ,hoe , " wi,h .. hieh th.i,
vi.ion ....... bound.
.,.
APPENDIX A
Inventory o/the miniafUrrs
Th" in, .. n.ory Ii,,, .h" r"''Y.,i, mini>m<e. in ,t;., .. ",1." tn .. thoy n<>w
'PP<"" in [':u;"g',\JO and briefly idcnti6 the mhja:[ m,,,,,, of <:Ieh piu ....
Whon I"g< i. romp<><.! of mm" [h,n ,,'''' !<'gi .. ",. ,,,,,,-< h.", bc<n inJ;eo,ed by
,m.1I l""e,, (a ,., c); when a .ingle "'Iu"na cx[<nd, <WeI m<>r< [han one !<'gil, .. ,
tho .m>.!l 1<11"".,,, .. p., .. ed hy. d"h, ,h ..... b ("II_ing f. Il" h<low, fo, eumple.
mem' tn .. ,1.< "",.t;on and fall n.,,,,,i,,, 6111 'hc fin< tW1> [<&iitc ... S .. ndard hinli.
cd >"" Ii .... .,. ",f.",n. h ... b" incorpor.,cd; d .. ,io", in ... 'mon.
appea, in 'he di5Cu .. ion. of t ho ,d .. ion.hip h<rw:n I<X! .nd ;mag<' for .xh mini
.. .. .... A Ii" of ,h. ,,,,,u. 1 rekf<nc-.s fo, the "",nc> app"n ;n Appendix B,
I Av Chri" "n[h.oned
,
"
,
"

C,
,
C.

;'
,


'"





-'
mprcu uJoI:i. R.nked by Lro .od Al ... "d.,
ero.,

E.mp"ro, B.,ill fl.nhJ by E;i"" and G,b,id
Annunei.,;on .... d vi,iuti"", > ocen (Luk. "'6--41;'" .1", the
P'ot"".nsdj,m)
Jon"" SJ ucn. \ "",ne< 000"" ",- .,6)
Crocifi.ion (M ... h"", 17:})- j6, M:uIc Ij :11_ ." LuX< 1):H- 49,
John 19:o8-J4' oc-< .bo .h. Aen of l' il..l<)
De;>o!ition .nd entombment . 1 Kenes \lobn 19:.18-." ",,:0.1..,
Mmhew lTI7-W. M"k 'Hl-46. Luke lJ:\<>--j))
Ch. ;""" (Matthew 18:?-lo)
M.ltyrdorn of t!'< 'po>,k>, fl ,n .. (Am " 'l: A"" of And ....... ,
Joh". 1'>,,1. 1'<",., Thorn." etc.)
9 4J'" .nd hi. f. mily
h Fu"",,,,1 of broth. 1<:. ... ';05
c Death of G'<gOry' i" .. , Gorgon",
'0 5" a----b C ... "ion . nd npuloion ""IUetKe. 8 .omes (Go""", ",6-)'21''''
. 1", VitA' AJ,.ut tt .. ;,
.. ,
"

"
'.<
<.
'"
'.
'"
"
",
,.

"
10
4'
"
'l7'
,
,
,


,

,

,
,
, -0

,
M,.... ,ocri"", [nO I."" (F.=du, >-404-1)
C,'ll"'Y huh ,ne .chi,m io Nnizo.w
Vi, .. ,., "f]s.i.h (Ii, h 6:<-7)
G'<g<><}' ron=:mro bim"" of S .. irnz
J,pI> "'lttcn, [4 ><cn .. ;.c,t,.." )7")-4",0)
S .. il, G'q;<>'f of N,...., Gr<g<>'f of N" , mzw;
Job on hi' Junghc.p Uoo 1)
lnn.fig",,[i,," (M,,,h<w [7"-m. M". Luk< 9"'.11-).)
H.ih'OIm
Gr<JI"'Y pr=hing .f[ ,he >t",,,,
c..lI ing of Pc"" Ar>cirew, J.m ... John (M.tthew 4o,8--a)
Q .. i" ,od z..chi .. (We 19:1-\)
C.lIing of 'IIC<n<> (M.uh"" 9:9. M.rk >: 14. luk<
5=>7- 8)
Christ and ,he rich )'<>Y,h '9:16-1>, M, rk 10:17- 21)
Co"""r>ion of Nzrh.n><l Oolln "-H-49)
CO<l"""ion ofGrq;<>'f', I;"h",.) iCc ....
Lit'< of lWil, [0 ""n ..
Ado .. ,ion and d",zm of 'he M.p. 1 >0<> ()"J.,tJ.ew ':1_" )
M.""""" of ,he inno"" (M,,,hew 1;.6)
of l'J i .. b<th , od John [h. Eizptis, (Pro,,,,,,ng<l ion)
M,u'),nlom of beh .. i .. (1'ro'<Ymgdion)
c !'re><n,,[ion (Luke >:'J-)I)
'9 ' 4)'" J.remiah ,.iseJ f",rn ,h. pi, O.remi,h
>0 '49'
" ,6J'
12 '70<
f'<:oitcnc. of David (. King> [" S a!.o Pu.lm jl ,nd ,h.

b P, ... bI. of ,he Good Sam.ui[m. 4 ><:cn .. (Lule. IO:)<>-J7)
< H"')ing of [he p1,.lyti<" Ikd.....J. (John J:1-'J)

,

,
,

H .. ling of ,h. wom,n wi,h ,he i..,.. "f blood.oo ,h. ni,ingof
j,i. u' d. ugi""" .n .. (M, ,,h.,.. Mafic P'- 4), Luke
8:i l-j6)
Gg<>'f and lWil he.1 ,he .ic.
Diva .d La .. "", J SGcr\<> (luke ]6:19-)')
Ch .. " among ,he doc,,, ... J .. <n .. (Luko ".[- 49)
Temp",;"n of Chr;>!. ) "",no (Mmhcw .. :1-11)
MultipliCi,ion of ,n. ioavn and Ii.he. (M,,,hcw 14")-11. M.B
6;)1- +\. 1.uke 9:1<>-' 7. John 6:1-'))
H"')ing of [he I<p (M.tthew M.B "4<>-+1. luke
J,n-14)
H ... ling of ,he ",.n with dropsy (1.uke ' 4:'-4)
H. ,ling of ,he d.moniZQ (M."h.,.. 8:z8- )
",
b
,
2} ' 74V a
b
b
26 n6v a
b
27 139r a
b
28 264V a
29 z85 r
30 }o[r
b
31 310V a
b
32 316r a
b
33 3pv a-b
34 Hor a-c
35 347V a- h
Inventory uf the mini:mlfl'S
Healing of the centurion's servant (Marthew 8: 5-13)
Healing of Peter's mother- in-law (Matthew 8: [.j.- 15, Mark I :}o--jl)
Christ walks on walcr (Matthew [4: 25- 31)
Sacrifice of Isaac, 1. scenes (GcnC$is 22:5-(3)
Jacob's snuggle with [he angel (Gencsis 32.:24- }0)
Jacob's dream (Genesis 28:[0--15)
Anoiming of David (I Kings 16:3-13)
Rai sing of Lazarus Uahu 11:1-44)
Su pper at Simon's Uohn 12:1- 8; sec :ll so Mauhew l6:6--1}, Mark
14:3---9, Lukr 7:36--50)
Entry into Jerusalem (Manhcw 21:[-<), Mark 11:1- 10. Luke
19:29-38, Johl1 12:12- 15)
JudgmcnI of Solomon U Kings J:l6--27)
Conversion of the Samaritan woman Uohn 4:5-26)
Healing of the ten lepers (Luk.: 17:11- (9)
Mo$('s strikes water from a rock (Exodus 17: 1-7)
Joshua stops the sun and moon (Joshua 10:12-14)
Joshua meets (he angel (Joshua 5:1 3-15)
Gregory and the Emperor Theodosios
Gregory leaves Constantinople
Moses and the burning bush (Exodus J:I-5)
Conversion of Saul (Acts 9:3- 5)
Ascension of El ijah (4 Kings 2:11- 13)
Crossing of the Red Sea with the dance of Miriam (Exodus
14:21-31. 15:20-21)
Vision of Habakkuk
Pentecost (Acts 2:1-13)
Healing of the man with the withered arm (Matthew 12:10-13.
Mark 3:1-5, Luke 6:6- 10)
Healing of the TWO men born blind (Mart h.:w 20:30-34)
Healing of the bent woman (Luk(' 13:11-(6)
Parable of the withered fig tree (Matthew 21:[8-2t , Mark tl: 12- 14.
20-25)
Heal ing of the blind man at Siloam (John 9)
Parable of the widow's mite (Mark 12:41- 44. Luke 21:t-4)
Healing of the parnlytic at Capernaum (Matthew 9:1- 8. Mark
2:}-n. Luke 5: 17-26)
Raising of the widow's son at Nain (Luke 7: 11-16)
Life of Cyprian,S scenes (see Eudokia Augusta's vita of Cyprian)
Martyrdom of the Makkabees. 9 scenes (4 Makkabees)
Samson sequence. 5 scenes (Judges JS:15- 16:30)
4"
,
)6 mr
J7 J60r

,
)8 )67' H
39 J74"

40 ."']V
-
. ' i'4

,
,
"
-J
"
4)1'-

,
+I 4)8,-
41 +lor

46 4\1<
H
Gi<kun ond thc fim:c Uudge> 6;)6--40)
Mmynlom of I,. .. h (oe<: "hnyrdom of h.irn)
C""ncil (Of Jil!
To ... ", of B:tboI le .. ""j,
Noah', ark (C" .... ;. 8:&-',,)
Hi>t". y of th /\"'0'
Hisw'l' of ,he Ap<"", 1"" I
H;"OfJ' of the Apo,,, .. ,,. pan II (OC'< IX..do.Amphilochio'

F.ill of J.,id fjohua 6)
1" ... 1;[." viClOry ", .. " [nO Am,l.ki, .. (bodu. 17,11-1))
G<q\ory
M ... j(H' of ,he 'l""'d .. , IJ ",en .. .8"91
in ,he lio",' den (Doni<!
T .. ,.. Hehrewo in ,h. furn>Ct (D.,,;d p6-t8)
M. ,.,,,,,, (occ 4 KinS' 11:1_,8, > Chronicle> )):1-10, 1 ElMoch)
I ........ nd HCICki..h (ls;oi.h 38:1- jl
,h. v..tl.,. of ,h. 2 >0Ie< (""kid JTH4)
Hi,lOry of Con.un.i"" and HeI.n., J """ .. (..-.. of ('.on ... mil><')
Life of Grqr.ory of Nazi. n",., 4 ... n .. (Gregu<r thc !'mbytcr.
virJ of ofNni.>mu
APPENDIX B
Ttxtual rtftrtncts for tlu ill Paris.gr. 510
confincod '0' .ingle mini.,uI< are hel< ]is,cod .. a uni,. wi,b ,ho incl"",i,,,
,.," ci,cod, ,I>e numl>e, of individtW "",,,,.. incotJ'O"".J is india,ed by ,1,< n" m
ber ing on rl>< far loll. The line ""low. f<>r eurnple . .. fe" ", >I, eiglu._".
5aJU<RCc tn., iU"" ... , .. ."ento 1U." .. eJ be-twn Gencoi. 1:16 . nd Pj. A mOl<
fa,,;diOLll b .. ak-down. linking p. t!iml., .. "'" wi,h ,,,e,,i6< _neo. i, "'" ,I .... r'
p""' ibie in r " io.gl.\lO: wben lU.n pr:i .ion i, kuibk. rde"", ... appear in 01 .. di ..
",,., ion of individ ".1 mini' '" .... . $" prj. men t'I}" !ext! full"w ,I>e main biMi",1 <i,.
I ion nd rho ' yn<>prie gospel.oconnu h .ve be.en glO<l ped IOgerh<r ... ppmpri ....


U _ IL
.,
..
'1-18
"
"
"
" H
..
"
"
OLD HHAMNT
Gct=i ,,6- PI: cltl,ion and expul'ion "'1"'''' If j'v)
Sc.: aI", the Vi"" AJa, .. b .. ,
Gene,i. 8,6-,,: N<h, 11k If. )60r)
G .,..;, tl: l-",): ,uw"ofB>bd (f. )60<)
Ge ...... "'1- '): .xrilico ofl .... (f.
Ge,><>i,.8:1o-1j; l.owb, drcan, If.
Ge ...... j.cob, urugg\< wi,h ,he . ngel (f. ' 74')
Ge .... i. )7" J- 41: i ); l<<ph "'Iue11<e (f. 6;<v)
hodu. ",- j: M" ... . nd rl>e huming hlllh (f. ,6 .. v)
&ooIUI ' . ',,-),. 1\:10-1" . " ""ing of the ReJ Sea wi,h ,he d. n of
Miri.m (f. :tI4v)
&001", 17:1-7: M<d ",ik .. wal<, from, rock (f. 116v)
&ooIu, 'TII-!); I".eli". '><"0'1"" OVe! ,he Am,l.ki, .. (f 424v)
E".xo-d ... )oI :i-\; Mosn 1<0<;' .... ,nc I. ... (f. !1.)
l",hu. I" ) _ !j ;j .... hu. m .. ,,,h.,ngd If. 216. )
lo.hu. 6, f.Jl ofJe'icho (f. i ' i v)
jo<hu. joohu. ""I" ,h. . nd "".,'" If. 216,)
, ..
,7 Judge> 6:,6-4'" CiJroo and [be !lc= ( f H7V)
, 8- 42 judg<:< s""""n sequcncc (f. H 7V)
, Ki ng> [6,)- ,); """io[ing ofD"id (f. IHv)
44 , Kings U; (f 14,,)
So:. .1", ""'1m II and ,he h;, ..
41 ) Kings ",6-17; judgmenr ofS<>lomon (f. "IV)
4 Kinp 1:<1_1); ..o<n.ion ofElij.!. (f Ui . ,)
47 job "job on hi. dung!. p (f, 71v)
48 l<.ow, 6 :1-]: vi.ion of l .. i. h (f. 67V)
49 l .. i.h l>.i.h."J Hacki.!> (f. 4)\V]
1'0. ,he nurryMom oft..,i.h, "'" ocone 'I' below.
jO jm,mi. h 38:7-',: Jeremi.!. ,.i=l from [he pi' (f. '4JV)
1'-1' Eukid }7:l-'4; Eukid in ,IL< voll.yor the dry bone> Cf. 4)8v)
I) D.nOd p6-88; ,h..,.. in ,he fi."n."" {f 4)5"]
H Dmid [4:)1-)9: Danic! in [be lion,' <len (f. 4,jV)
1\- 19 )on.1 ' :1-4,6; jo""h oequon"" (f. 3' )
,0
"
"
"
M.<lbcw 1:0_11 : . <Io",.ioo of [he "bgi (f. ' 37' )
M. uh .... 1: 11; dream of ,he M. gi (f. 137')
M."h .... ,,,6: m>lSX'" of [h. in"",co" (f ' 37')
M. tlh .... i:l-!l; tcmp"tion "fCh.i" (f 16j']
M."h .... .,. 11->2; a iling ofPc[or, And,.,...'. J.m .. , John (f. 87V)
M. uh...- 8: 1-4, M"k 1:4<>--44. Luh !:11-I 4' healing of [he lepe. (f.
[701)
M. tlh ... 8:!_". Luke 7:1-10: heIling ofthe""mun..,o ... ""'n' (f. 170r)
M."h .... 8"4- '\. M.rk ")<>-)'; hcIliog of Peter', mo,h.,-in-la", (f.

M.tthewS'1S-,,, hc-.ling of ,h.<I.mon;", (f 17"')
M. tthew 9:1-11, Mnk 1:)-11. Luke j:17-Ui he.Jing of the par.ty.ic"
C.pc,n.um (f, )16,)
M.tthew 9:t. M"k ':14, Luh P 7-28: collingofM." hew (f. 8]")
Matthew "lIrk j:11- 4" luke !:4I-j6: be.ling w<>mIn
wi,h ,h. i.,y< of blood: .. ).i",' daugh.e. (f (4)V)
"t.tlhew 11:10-[,. "II ... ) :I _j, Luke 6:6_10: h.c-. ling of . I>. m.n wi,h
,I>. arm (f. )'oY)
M. tln .... 14")->1, M. rk 6:,1- 44, LuXe t:l <>-I7. John 6:1_,,: mulli_
plica""" of ,h, Io>. = .oJ ",h .. (f. ' 61')
,l.t.tlhcw '4: -)" Ch,;" w.!lu on w .... (f. ' 70' )
M",h<-w ' 7"-10, " I> ... 9" -<), Luh ?"S-Jl; ' .. (f. 75')
."
80
8,
8,
8)
8,
8,
8'"-98
99
'00
' 0>
.0,
tOj-IOj
.06
[07-11 0
,n
112
llj-1I 7
.,8
"9
"0
'"
on
")
"4
'"
,,8
n,
')0
Tex\ual refcrenCl"s fur Ihl' in
Manhcw 19: 16--21., Mark IQ: 17-21; Christ and the rich ),oUlh (f. 87\')
Manhcw 2-0:30-34: healing of the nvo men born blind (f. 31Ov)
Man hew 21: 1---9, r-.,lark II: 1- [0. 1.u k(' [9: 29-JR, Joh n 12: 12- 15: elll ry into
Jerusalem (f. 196 ... )
Manhcw 2[: 18-21. Mark 11 : 12- 14. 20-1S: pamble of the wi thered fig \ree
(f. J IO ... )
Matthew 27:33-56. Mark [5:12- 41. Luke 1}:3j-49. John [9:18- 34:
crucifixion (f }ov)
Sec also the Acts oFPilatc
Mauhcw 28:9-10; chain!lc (f. JOv)
Matthew 28:19; mission of [he apostles (f. 426 ... )
Mark [2:41-44. Luke II :[-4: parable of the widow's mil(' (f. J16r)
Luke 1:26--38; annunciation (f. Jr)
Sec also Ihe Prolc\"3ngclion
Luke 1:40-45; visi tation (f. jr)
Luke 2:25-3S: presclll:lIion (f. [37r)
Luke 2: 4[- 49: ChriSt among [he doctors (f. 16sr)
Luke 7:11-16: raising of the widow's son al Nain (f. 316r)
Luke 10:30-37; parlble of Ihe Good $lrl1:lrlt:1n (f. [43'1)
Luke 13:[ 1-16; heal ing of the bent wom:1n (f. 310'1)
Luke [4:2-4: healing of [he with dropsy (f. 17or)
Luke [6:19-31; Di ves and Lazarus (f. [49r)
Luke 17: [1- 19; hc:ali ngof [he ten lepers (f. lISY)
Lukc 19: 1-5: Christ and Zachias (f. 87'1)
John [:44-49: conversion ofNa tll:1nad (f. 8lY)
John ,t:5-26; conversion of the S:ull:1riran woman (f. 21 sv)
John 5:2-[5: of the at Bethesda (f. 143'1)
John 9: healing of the blin<1 man Siloam (f. }16r)
John [I: 1- 44: f:1i si ng ofLuarus (f. 196'1)
John 12:[- 8 (M:1tthew 26:6--1}. 14:3--9. Luke 7:36--S0); supper:1t
Simon's (f. 196'1)
John 19:38-41 (Mauhew 17:57-60, Mark 15:41-46. Lukc 2j:50-n):
deposit ion and emombmcllI (f. JOv)
Acts 2: [- 13: PCllIccost (f. JOIr)
Acts 9:3-5: com'ersion of Saul (f. 164'1)
Acts 11:1; martyrdom of James (f. 31'1)
APOC RYPIIAL BOOKS
Acts of Andrew, John. Paul, Pewr, Thomas etc.: martyrdom of [he apos-
tles (f. 32'1)
<',
14
2
-
1
5
'5 '
15 2- 153
Appendix B
4 Makkabees: mJnyrdom of the Makkabees (f. 34or)
Martyrdom oflsaiah: martyrdom oflsaiah Cf. 347V)
ProrevJngclion: the Right ofEli1.abcth and John thc Baptist; the martyr-
dom ofZ:l chari:ls (f. 137r)
OTl'l E TEXTS
154-196 Gregory of Nazial17.11S. Homilies: various scenes (ff. 43V, 52V. 67V. 71 V,
78r. 87V, 104r, 149r, 2}9r, 285r, H2V, 367v, 374V, 409V, 424V)
See also Elldokia Augusta's vita of Cyprian for f. 332V; and Pselldo-
Amphilochios' viltlofBasil for f. 409v
197-200 Gregory the Presbytcr, Life of Gregory ofNazian1.11s: life of Gregory of
Nnianzus (f. 45U)
See also Gregory ofNazianzus' autobiographical writings
201-204 ViM of Constantine: Constantine's dream and victory :II the Milvian
bridge: Helena's discovery of the cross (f. 440r)
SCENES WITHOUT A TEXTUAL R E F E ~ E N E
20) Penitence of Manasses (f. 435")
Sec 4 Kings 21 :1 - 18, 2 Chronicles 3r 1- 20. 2 Baruch
206 Council of 381 (f. mr)
SIT also the Acts of thi s council
207- 111 Frontispiece sequence (ft: Av, Br, Bv. Cr. Cv)
APPENDIX C
Quire diagrams
Gruk numbrr htlowtach gathering .. quirt! signaru17
no parentheses or brackets .. a signature in fhe original ninth-century hand
(parcucheses) .. a Palaiologan signature
[hrackels] "a hypothetical signature
E.g. quire K (10) retains its original signature and displays a lalcr one as well; quire
MA (41) shows no signature.
Arabic numhm total numbrrofmlnrgtd initiali on fht pag(
Most arc gold; if a s<:cond number appears below the first it indicates how many of
the initials on {har page were painted rather than gilded.
E.g. on f. jr there are five initials, four gold and one painroo.
H. htadpitcr
These are numbered; the surviving numbers are enclosed in (parentheses) immedi-
ately below the H; [bracketsl indicate that {he number no longer survives.
Compare ff. Ir and 33f.
C = colopho/J f. 211)
M " f 3r)
, = blmkpagr(seefAI)
"5
f. Av
ff. B-C
f. Br
f. Bv
f. Cr
f. Cv
f. H
f.3r
f. 4r
App<'ndix C
. . ,
,

.. .......
,
..
"' ,.,
'"



"
"

"
'"

"
" ,


"
QuiresA, !-3
FoliosA-C,1- 25
,. " " " ,. " " "
,t " 10 l' ,> >J ,. "
\ ..... "". J J
",,, , "t
WI In
Miniaturl': : Christ emhronl':d
Reversed bifolium (correct order" Cr, Cv. Br, Bv)
Miniature: Empress Eudokia, Leo, Alexandet
Miniatute: cross
Miniawre: cross
Miniature: Emperor Basil I, Elijah, Gabriel
'On Easter' (Homily!)
Miniature: annunciation; visitation; history of Jonah
'Apology' (Homily 2)
;,6
f. JOV
f. }Ir
f. 32V
f. 33T
f. 43v
f. 44T
f. 52r
f. pv
f. 53r
Quires 4- 7
Folios 26-60
.. " :II " )Q
11"n ..
"
,
"
,
"

.. ..
.. ..
"
"
,

..
" , , , , "
..
,
"
0 ..

"
, , , ,
,
- - - ---
='-
'M
'"
........ ., ...... """ ...... " .. ....
", ,,,,,,,. ,1> "'"'41"
,,,,.,, .,
(l , em ,
, ,
,
,
,
,<>
'"
Miniature: crucifixion; deposition; entombmmt; chairete
' To those who had invited him' (Homily 3). The first five paragraphs (=
SC 247, 242- 248 line 4) are missing; with headpiet:e 3 (f) the lost uxt
originally occupied a folio between ff. 30 and 31
Miniature: manyrdom of the apostles
'Funeral oration on Kaisarios' (Homily 7)
Miniature: Gregory ofNnianzus and his family; funera l
deathofGorgonia
'Funeral oration on Gorgonia' (Homlly 8)
Later quire signature Z
Miniature: hisrory of Adam and Eve; Moses receiving the laws: Gregory
and his father with the Nazianzus rdigious community
'On Peace' j (Homily6)
"
"
App"ndix C
.. .. "
, " ''''
,
._--_ ............... .
- --_ ...... _._ .. _ ......... ... ,
1'1

"
1"1
r. 61r Small crosses (in ink of text) in upper lateral margins
"
,.
8- 9
Folios 61- 75

,
f. 62 s.xiv-xv, with beginning of'On Peate:' II (Homily 23).
The replaced. (SC 270, 280-282 line 13), whh headpiece 7 (Z),
would origi nally side of the folio only.
f. 67v Miniature: vision of Isaiah; Gregory's consecration as bishop of
Sasima
f. 68r 'Apology to his father' (Homily 9) . The beginning of {he text (SC 405.
300--}06 line 5) is lost; with headpiece 8 (H) , it originally a
folio If. 67 and 68.
f. 69v ofj oscph
f.70r 'Apology his Right ' (Homily 10)
f. 71V Basil, Gregory of Nyssa, of Nazianzus; Job on

f. 72r 'To (Homily II)
f.75r Miniarure: t!';losfigllration
r. 75V To his (Homily 12)
,,8
f. 78r
f. 78v
f.81
f. 87"
f. 88r
Quire di>gr:um
,
n
,
..

"
" " " "

"

"

,
"
,
"
, ,
"
, ,. ,
,
.,
, "
,
,
(
" " " " "

"

"
100 ' .,
"
,I,
"
" H
"
" "
,
"
,
(18)
Miniature; hailstorm; Gregory preaching
'On the plague of hail' (Homily 16)
Outer margin excised
(IA)
'"
'"
'.
,
" 1:
'"
,
I>n
Quires 10- 13
Folios 76- 106
"

"
"
"
,. ,.
,
"
Miniature; conversion of Peter, Andrew, James, and John; ChriST and
Zachias; conversion of Man hew; Christ and the rich ),olllh; conversion
of Nathanael; conversion of Gregory's father
'Funeral oration on his father' (Homi ly 18). The beginning of the text is
lost (PG3S:98S---989A6); with headpiece I} (Tf), it originally occupied a
folio between If. 87 and 88.
Miniature: life of Basil
'Funeral oralion on Basil' (Homily 43)
C
\ 01 It. ' Of 1\0 , ,, , ,, '" ,,.
" " n ,1/''''
, ,
,w
'" ". ", ".", ,,. ," ,.0
" "" " '" ,
(IS)
Quires
Folios 107-1}8
'" ,.. \11 111 '" no \l1 \l1
,
"
,
" "
,
"
"
,
( IE)
'" '" m , .. m n. '" " .
, "" lJ 1.1
, , ' C(1(1
""
Min iature: adoration of the Magi; massacre of the innocents; presenta-
[Jon
'To Juli an the tax-collector' (Homil y 19)
Outer margin excised
<)0
f. 14Jv
f. l44r
diagrams
Quires 18-19
Folios 139-154
no , .. ,., ,., ,.) , .. ,.. ' ..
,., , .. , .. """, 11> 111 , '"
"
,
"
"
, .. " ,
"
, ,
, , , , ,
"
'"
, , '"

"
,
,
..
"
..
(19)
,
"
"
"
Miniature: Jeremiah from the pit: of David; parable
of the good Samaritan; Christ healing the paralytic and Jairus' daughter
'To the people ofNazianzus and the prefect' (Homily 17). Headpi ece 15
(IE) is excised.
Texton reverse of excised headpiece (PG W968A3- 8) missing
Miniature: Gregory and Basil in Basil's hospital; parable of Dives and
Lazarus
'On the love of the poor' (Homily 14)
<!'
f. IHr
f. 158
f. t6)r
r. 165f
f. 170V
f. 171f
f.174
v
f. 17sr
f. 179f
Arp"nciix C
Quires 20-23
J;olios 155- 186
,., ,'" 's' ,,.. ,,' , .. '" ,.,
, .. , .. , .. ' .. ", , .. ' .. \1.
"
" "
"
"
,
"
, ,

,
, ,
,
,
( KA)
'"
'"
'"
on
".
'" '" '"
.. '" 100 I . ' ,1.1 ,.. ' .. ' ,.,
"
, "
,
-'=
'"
,
,
" (KB)
,
" "
"
,
" " " "
,
,
"
Original quire signature K preserved but overwritten
Outer margin excisro
Base of original quire signature KA preserved
"
"
Miniature: Christ among the doctors: temptation of Christ; miracle of
the loaves
' On dogma' (Homi ly 20)
MinialUre: Christ healing the leper, the man with dropsy and rwo
demoniacs; Christ healing the cenrurion's servanr and Peter's mother-
in-law: Christ walk!; on water
'Against Eunomios' (Homily 27)
Original quire signature KB preserved but overwritten
Miniature: sacrifice of Isaac: Jacob's vision; anointing of David
'On theology' (Homily 28)
Base of original quire signature Kf preserved
".
f. ISSr
f. 194r
f.19
6v
f. 197r
f. ZOI
r. zou
f. 10Sr
Quile ~ g n m s
' 11 , . ," 'to '" ~ '"
,


"'
,
J I ,I ,
, ,
' . - ... .... ..... .
, ,. Its ' N ," ". , " 100 .0,
" " '11." I
'( Ill ,
,
"
["'
]OJ /OJ l\I4
I 1 I
" I I
"
(K.)
Original quire signature K.d. preserved bUi o\-erwriuen
Quires 14-16
Folios 187-107
Teltt terminates in rhe middle of the last paragraph of the homily (at SC
150, 171 line 15). The lost texl originally occupied the TeclO of a folio
between If. 187 and 188.
'011 the Son' I (Homily 19)
Original quire signature KE preserved but overwritten
Minialure: raising of ( "lUCUS; supper al Ihe house of Si mon; ent ry into
Jerusalem
'011 the Son' 11 (Homily 30)
Outer margin ncised
Original quire signature KS preserved but overwritten
'On ,he Holy Spirit' (Homily } I ). The lim fivc and a half paragraphs of
r(X1 are losl (SC 150, 176-186 line 10): wil h headpiC(e 2) (Kr), lhe lost
lext ori ginall y occupied three sides of a bifolium betwecn if. 104 and
105. The founh side (ori ginally facing f. l OST) was nOI needed for lelll.
<J'
Appendix C
>01 lOt ". '" IIJ m
"'''HI
, , ,




.... ... .. .
" (KZ)
". '"
u i r ~ 27- 29
Folios 208-230
'" '" ". " . ,,. '" m
.n '" lll.". >" "" lit I"
" "
, ,
,
, I > l1
.... ........ ..... . .
(XH)
, ,
,. "
,
" (X6)
, ,
"
"
fr. 108- zlsQuire 27 apparently originally contained nine leavcs, the exact disposi-
tion of which is unclear.
f. 20Sr
f.1 13v
f. 116r
f. 126v
f.117r
Original quire signature KZ preserved but overwrillen
Tn:! terminatcs ncar the beginning of the las( paragraph of the homily
(SC 2S0, 340 line 19): the remaining text originally occupied the recto
of a folio between If. 213 and 214 (the nub is visible).
'On virginity' (poem)
Miniature; judgment of Solomon; Christ and the Samaritan woman:
Christ hnling the lepcrs
' On moderation' (Homi ly 31). The folio opens with the last word of
the third par.1graph; wi th headpicce 25 (KE) , the lost lot (SC 318,
Sz- 88 line 10) originally lilled a folio between If. 21S and 1 16.
MinialUre; Moses striking waler from the rock; Joshua halts the sun
and moon;Joshua before the archangel
'On himself ... and the bishopric of Cons rami no pIc' (Homily 36)
.,.
f. l}U
f. l}IV
f. l}9r
f. l39V
f. 149V
f.1sor
flS6
f.1S7r
f. 161
,
''1
>01 ,.. '" ... ... lS. 2\J m
I I I.,. . ,.,11
In ,
,
(AS)
IJt I ..
~ I .
,
Quires 30-}3
Folios l}l -l6l
101 ,.., '" '*' ,.! I ..
1>>t ' 11 )I,
(M)
'11 >10 '" ".,.. "" " , IioI
,
"
,
,
" I'
Portion of final paragraph of Homil y 36 (SC }18, 166 line 18-t68 line 3)
excised along wilh headpieccon verso
' O n himselr (Homily 26); headpiece 27 (KZ) excised
Miniature: Gregory and Throdosio$; Gregory (cava Constantinopl e.
Lllcr quire signature AA in margin
'Valedictory oration' (Homily ,u )
Blank
'On the nativity' (Homil y 38)
Replacemem leaf, s. xiv-xv, with las! paragraph of Homily 38. The
replaced text (SC 3s8. 146 1ine6-148 1ine 7), wirh colophon . would orig-
inally ha"e occupied o ne side of the folioonly.
' On lighl ' (Homily 39)
OUi er margin exci5l:d
."
f. 26sr
f. 28sr
r. 28sv
f. 289
f. 292
C
" " ,
M
."
" ,
,
1 1 I I
' It '110 '" ,., >0, ,.. ,.. ,
" .. !,.,
,
,
,
(M)
{hE)
Quir(s 34- 37
Folios 26}- 294
11' I. ,., ... ", "I 1t1 ""
I" , >1111< 1
""
MinialUr(; MoS(S and th( burning bush; conversion of Saul; aso:mion
of Elijah: crossing of the Rtd Sc:a
'On baptism' (Homily 40)
Miniawr(: vision of Habakkuk. with Hc:lenaand Paraskev(
'On Easter' (Homily 4S)
Outer margin
OUler margin excised
.,6
f. 295
f.2.98r
f }oo
f. 30Ir
fJolv
f3
08y
f. J09r
f.310Y
f.3 11r
f3
16r
fJ I6v
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(M)
Oute:r margin c:ltcisc:d
"0 111 '" '" ". '" " . ",
,,,,,,,,",,
'I_ C WI
,
,
M
.,
,
,
Quires 3g-40
Folio5 295-317
' On Ne:w Sunday' (Homi ly 44). The: opc:ni ng paragraphs of text are:
missing; wi.h hc:adpic:cc 33 (An he: IOSI re:xr (PG 36:608A-C..) origi-
nally occupied 001: sideof a fol io c t w ~ n If. 197 and 198.
Ourer margin excisc:d
Miniature: Pentecost
' On Pentec:on' (Homily 41)
Blank
'To Nektarios' (Epi5t]e 88)
Mini ature: Christ hc:aling the man wirh .he withered hand and (he fWO
blind men of Jericho; Christ healing the bent woman: the: parable of the
withered fig nee
'To K1edonios' I (Epistle 101)
Miniature: Christ healing the blind man at Si loam; .he parable of rhe
widow's mite:: Christ healing the paralytic at Capc:rnaum and raising the:
widow's son at Nain
'To K1edonios' II (Episde 10l)
f. 319r
f.319
V
f 332V
f.m
r
f. 340T
f. HOV
f. H6
f. 347r
fH7V
C
Quires 41- 44
FOliO$318-349
.It 11t Ill) IJ"" ,.U 1M '"
" O M . """""

.,. IJ' .21 ,,. n . ... III III
,
,

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,

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Jq "" ,.. '''''')0' )41 )Of
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........ ... ...
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MI

' Fuoe,...1 o,...tioo 00 Athaoasios' (Homi ly 21)
Miniature: life of Cyprian
' 10 praise of Cyprian' (Homily 2.4)
Miniature: marryrdom of the Makkabccs
'00 rhe Makkabees' (Homily IS)
.0
.'J
Outer column of text excised along with last $ix lines of homily; verso
blaok
Blank
Mioiature: history of Samson; Gideon and the Reece: marryrdom of
Isaiah
'10 praise of Heron' (Homily 25). The opening paragraphs of text arc:
missing: with headpic:ce 41 (MA), the lost text (SC 284, Is6-162Ii nc: 4)
originally occupied a folio between fr. 347 and}48
",
f. 3W
[mv
f. 360r
f. }6ov
fr3
6
6-374
f. J66v
f. }67r
f. 367"
f. 368r
f.374
r
f. 374V
f. psr
Quin: diagnms
Qui1"Cl45-48
f olios }50-}82
>0 III ,<>
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no III ..... ,.., JOJ .... ,
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0-)
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( MZ)
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( MS)
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(MH)
Mi ni:uurc: Council of 381 al Consl"minopic
*
.'
"
' On the "rrivai of the Egyptians' (Homily 34)
Miniature: towcrofBabc:1 (putiall ycxciscd); Noah's ark
'On Peace' III (Homily 22); headpie<e excised
The rcconstrunion of quire 47 iSlr marivc
Blank
Blank
Miniature: the Arians ~ n u t e the orthodox
'Ag:.i nst Arian05' (Homily }3)
Blank
Miniature: hinory ofJulian the Apostan: I
'Against Julian thr Aposl:He' I (Homily 4)
w
"
f. 409v
f4
lOr
C
.. In_ .. , ......... ",
"",. ",I""
, . r.
L
(MO)
(NA)
Quires 49-52
Folios}84- 415
..., m ...... )M 'ft' ",m
"""lIn.
,
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0001 oot .,0 ." ' 11 OJ ) . , . . ..
Il , .. " ,,>I. 11

,
( NB)
Texi continues uninterruplCd from f. }82V; }8} omitted by modern pag-
mator
Miniature: hinory of Julian thc APOSiale II
'Ag<li nst Jul ian thc Apostatc' II (Homily s)
f. 425T
f. 416v
f. 4 t?T
f. 433
f. 43ST
f. 435
V
f. 436T
f. 43Bv
f. 439
T
f. 440
r
f. 440V
Qu;re
Quires 5}- 56
Folios 416-448
' j'lln'""
, " .
I , ""
1)>1
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,
,
,
""
IN"'I
w olll ....... . .... , n . . .. ...
"
" ,
,
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( NE)
( "IS)
Jericho; Moses defeals the Amal eki res; Gregory

writing
' On Ihe of Eulal i05' (Homily 13)
Miniature: mission of the
'On (he words of [he gospel' (Homily 37)
Replacemem leaf, s.xiv- xv (SC 31B, 'oS line 7-J141ine 9)
Blank
Miniature: in the lions' den; three Hebrews in the
Manasscs: Heukiah and Isaiah
' 10 Evagrios' (Epinle 143,
Mi niature: Ezekiel in the valley of dry bones
SigniJicatio in
Miniature: hi story and Helena
r:ue of Ecclesiastes' (Gregory Thaumaru rgos)
f . ... 51
f. ... Slr
f. "' Sl Y
f. ... 65"
App<:ndix C

Folios
.... '1' ' !J .. 1'5.4 '11 .\1 ." .s. . It _ Of' '" 4fl ... "I
Ie ""1"
1'1' 1/"",, "I'
L
INHI
Inserted s.xiv-xv, with 'On marryrs and Arians' (Homil y 35;
spurious): S('( SC 31S, 77
Miniatul'C': of Gregory ofNaziam.U$
ofGl'C'Sory of Nazi anI us' (Gregory
in midst of Villi (at PG3S:lI!SCl); ri:s tof manuscript lost
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(1.. ) ' Minial ure. Lilll rgy: Evioence (mm ,h. Nil1lh,C.lnll ry
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IkubJkcr (L.) 1996h: ' When "kill ...... Spt"Jk: ,he J ncorporal ion of in Ill<" 1\1 i nial u,,,,
ofl'ari'p,jlO', Il'/ml;7 Imil!,,,!!/I. ')4- 109.
Brull:lk"r (1..) and (1\,) l.iulcw()u,J 1992: Girt en'. in ,\\. e,1..
Drr (,'"rlm "Oil ,Iu AI/llkt IJis t/l11/ Kuhurgeschi(hre dt'r :lluik.' n Welr l7.
MJi!ll. J. JC zI3- z4g.
gryn (t\. /\ . M.) I<JR6: " p.lluinl A):ri(ullllf., 1 lmpll'mel".: tI" , E"id" I1 C(' of M"die"al
1I1n;(/ .Iii"". "r Irln'('J ,md D"ls'. AmI/lid of If" BrildJ SrfJl)()l o/A rrfliuo/"f., ill
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Ikrn (A. A. 1\1.) .1l1J UJ I Inri 11 1;., 1977: {roltor/IIi",. !lj rminghJm.
(" .)I,}-O: TIl( HI/liN, N,'w
liuehr hal (I J.) r918: TI" MIIIIIIIII"S Of"" /'ltl/Uf. london.
hal (I I.) t9S - : Aimllllll" ", lIN LIIIJII Ki".t.dUII/ oli"ms,""""
Buclllh.11 (1-1 .)196 j: 'Some NOll" On IIp,.m Ii I'" I b giogr.t ph iCJI POri (Jimre'. (,dUll" dN/killt_",
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(I I. ) 1966: Keprc5('l1lalion, from t h., Life of S! i'JltJ in BYl.llHinc and
CJf<>lingi .1!l An'. 'Iom""t. S""li", ZII ,,{ufm'S/{irf,," ,Old "pJlJIillisr"", 1I1'lII lllIIm/(lI.
Romi,dlt QUJI!.l lsch ri ft, . nl'l'l. 10. 4;-48,
I\nr s in '!'h" Elld of A ,I 71lrory. r t'lliris", lI"d {'"wllot/u msy. Houmbm; 11.1.
(I I.) lJil Kar acomll<. an <.l et Via L.l1ind IU Rom' . j"iJrI",rh drr (Jslrrmchil'
d"" BYUJlJlmillik !9. 29J- 306.
+1
6

Bu=t:'i (fo, I.) 1')8516: 'Sul conlJcio ddlJ nal di Romano il Md ud." Hi"jl!ll til Jllttl;
,it,; t IItlHllmiri II. S. lZ- 23, j-" ,),
B)'IIUIll (e. WJlkn) 198+ ' \'(Iomens S,or;l", Womcn s Spnbols: A Cri lique of Viewr Tu,"<:r S
Thro' r ofU", in It L. M,w.n E E. Rqnol.is, cds., A",/Jropl>/"V ",/(I tlH Smdy
II/Htli.(if>ll. IOs- n5.
Ryulllu ' '.1')!: Byulllrt. L;lr/ "YZlllllill ,/,lIIi In (II/Iu/illlli p,,"Ii'l"N ft,In("iw. 1',1 ris.
Calofonos (G.) ' Dream illl crp":lJIiun: a Bpa /Hine SUpt'lsti 1lon1', IIIU/
Mod, m errrk SwdiN'), 1I S-UO.
I11cron (A I. ) 1973: PorphyrilH Iht Chl/riO/rtr. ford.
Cameron (Av,) 1979: ' I mag('l; of AUI horl, y: f.1 and icons in LlIe Si x,h Ce'" Brla III ium'.
/',IS/Il"d I'mmt 8", 3- 35. Rcprlnted In I\V, u. mcron, COII/i,,"iry II"d OUlI1.(r '" Si;>:t"
&lIl11ry Byum/ill"'. London, 1,)81, C" 3), XVIII .
Camcron (Av,) 1987: ' The ConsmlCtinn uf Cuurl RiuIJI: Ih. Hook II/etrt''''o",,,,", in
D. and S. R. E I'ricc, ctls .. /(itu(lb 0/ ROYillry: /'oll '<' r "'/(/ CtrrmOlli" /l11
7hldltllJ1U1I5ittin.. 106-1}6.
Ca nl <' wn (Av.) ly89: 'Vi rgin ifl' as \'(Imllcn and [he RhelOrlc I)f Earl l' Chr;$1 ianil ),'.
in Av. cd., HiftorYl/i 7i-.w: dH If',ilill,(o/ Ancun/ HiJlO',. London,
(Av. ) 1')90: ' Modds of [hc I'asl ill 111<" Si xlh Ct'nlury: the Lil" ofllw
Elil ydlius' , ill G. Cbrkc, ('d .. Rti,dillg tbr !'IIst ill LII" Ami'll/ily. C:tlll>l'rra, !OS- !2J,
Cameroll (Av,) ' 9')la: 'R}""'nliu", ""d Ihe I';m in 11." Seventh C:cnlur)', The Sc;m:h for
Rtxldi nition' , In J. alld J. IlillgJrl h, .. Tht Sn'tlllh Ctlllllry: Cklllgr ""d
ComifillilY I I.t "pl/j mr !iiAt: rlIIl"g,,,,rm! tI (OlIIi/ll';I/I. SlUdles or t h{, Warhurg J nSI i IU [C
l'i()-!71.
(AVo) 19'}zb: ' Thc L:lOguage of Imagt'S: Ilic Ri5C of and Chrisll an
Rcpr<.'S.:nIJIIOn', in D, Wood,...u .. T"t Ci!llrrh "lid tlit Art.<. Studics in Ch IIreh Hislorr :8.
Oxfurd, I- " Z.
Cameron (Av.) 1')91C: ' New and Sfr'cs In Gr<:ck Lilcramre:
CClll udc5', ;n A,'. and L CunrJd , 11H BTUllIIJllt 'Illd 1,"/IId, Ntl"
t im I: l'roblr",r in tl", Lilml 'y s.""rr II IlIItri"I, SlUdlcs In Latc Ant 1'1 " I I)' nd I.
i'rilll:<: lon, OJ.
Cameron (Av,) [,)9z<1: 11,e VI( "lid AbllJr oflly:,,,,,, itml, 1111 Oil Rurplioll, I lire
delivered 1\ Mar 1')90. uwdon.
Canll'mll (Av. ) and U.) Hnrin, 1984: C/JImlllllhlllpl" ill lIN Ellrry figluh Ctl/lllry: Tilt
ParrlJIIlSrls Symumoi C!.co"ilr"i. CUJUllI hia Studies in thc Cl aSSical T rJd Ilion 10, Lelden,
Camille (M.) 1')8j: Se:cing and RCJdi ng: $omr or Mrtl iC"JI and
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Camille (M.) 1991: rt"VICW of H. Ikhing, HI'" II "d K,,/t: Ei"" GnrJ,idlU dn Bt/dtl ,'Or drm
ZtiM/'" tI" KulIS', in Arl HilI/trill 74,
Cm (A, Wcylll976: 'Chicagu l 400 Ihc I\Y7.3 nl lne ACI$ Crci.' , Bplnl"''' Swdln 1 Emdn
bYZil lllillt1 312, I-l,).
c:uarrgiUlu-'lo pping (L ) 1977: On Ihe Emrr in Jerusalcm: A BJ,ili k", Logo$',
8}::.IlI/lio1l"7, 61- 9 I.
Cavallo (G.) 1')77: ' Fum.ione C 51 rUliore .1..1 Ia ma iu.cob grcu [ra i sewl i VIII - X!', 1.11 ptlflogm-
phi" grh lJllt rt "ywlllinr. CoI1O(!UCS ! m,'rn:lI innaux du Cen Ire Nal ional de Ia Rl-Chcrchc
SCil'IHifiqUt', no, j)9, Pari . , ')1-11 0,
44'

Cavallo (G.) 19SI: 'La cuhu ra nelb prodmione lih""i,,' , in G, Cavallo. V \'on
Ie Fa riol i Ca III panal i. 1\,1. Gig"n I ,', V. I'a. F. l'al1\'i n i H.osal i, I mUlI/lilli in
llIlli". MiLm. oI97-6Il ,
Cavallo (G.). (V) von (R.l I:ari,, [i Cnnpan3li, (M.) Gigamt . (V) l'Jcc', :tnd (E)
l'anvini R"sati I lJiumli"i in !IIIlill, Mi lan.
e,val lo (G.). (J.) (; ri bomol1l ami (W. e) Locrh 1987: Il'IIlIgdi di RQ",wn: Lf lIIi"illl IIrt I J/lr
Ross,lIm G"ospds: Tbr ",i>li", IIrn Rome.
Ce(chdl i (e) ' 901+ 1.11 ellirdm ,Ii ,l/,willliIlIlO rd 1IIIn '1l'Orli 'VIII,IIIO-f)rim/li/i. ROllw.
Cecchdli (C) . (G.) I:urlani. :l nd (1\'1.) S,ll mi 1919: Thr HilMIIII,'l Gmprk Ollen.
Cli Mb (R. H. ) 1913: Tb,' rlpnrrypbil II"d Pmuirpigr"plNf ofdu Old lrmmmil. l vol" Oxford.
(I') 1971: The Mi s\ iomry or til(' lIy-w11ine EIl11'<"rOf', IIpAllli"" ,.

Cli rislOu (1'. C) t'l II/. 1991: n .I';. X r')or<>I!, x . Mil T", c. ';'''1. 1:.,\'. /, liS",. dnd .4.
1\ TO" O[ A'I"" "I"'" TO'; ,i y,'"u ., . 1\ I hens.
(j.) 1')01: CI I'hi1010giqll cs", Ilullnin '/r {'J",litUi /-""""p,is
d'A rcheo!ogi, Oriml"I';/1l C"i rr l, 1- JO.
Con nor (c. L.) T h< JO$hua al Hosios Lou kas' . Abill'lIr/$ of/llfwr;, ' 1"lnh Annl!"l
B;",an , i 51 "din Conference. Ci ndn n:II ;, I7-SS.
C"nnor (c. l.. ) 19')1: Al'l Imd /II imet,. 1>1 Mrdifl'll/ B)'1;"'lIilll". Pri neelOn,
Corm JCk (R.I 1967: . BF."" I i " (' Cappadocia: Ar<"h . k GroliP of WJII p"i,,! illg>', Jarm",! of
If" Bmis/ul rrllllrv/ogiot/ AHOcitlliOIl, J. 30, ''/- \6.
Corm.1<"k (It ) ,.,(i8; 'N in , h-C"llIu ry Mon "m"" lal ['aim; a ".I Mo,.!i c in Thes$aloni k i', Ph n
I Court,,,, Id In .. il of ,\ n. Un i"{"hilY of wndon.
Cormack (It ) 1')77": The Am During Ih,' J\gc of lconncb."n', in Brya and H,'rrin,
(1,)-;). \ )-0101. Repri n r(J in Cornuck (1,) 89). <'ssay I II.
Cormack (R. ) 1977b: ' [,ainting Jfl,'! k"l1odasm. ill and I krrin. (1')77), 1,,7-163.
Reprinled ill Cnnn,lCk (1<)8<)}, IV.
Co!I11.lCk ( R.) , ,)8): '1 nlCCI' reli ng I he 1\ ofS. Soph ia al 1.I!Jllblli' . .-1 rl I-Imory 13 '-I.j<).
Rel'ri in Corm,iCk (1989), VIII .
Corm,Kk (It ) 198) : Wl-it;'lg i" CoM, Byu11It illf IllId !Ir kom. Oxford.
Cormack (R.J I<)R601: . N,'w An H iSlUrj' '" Old Art H iMory: Wril i nf!. An H ;slOry' . ByulIlI illr 11",1
Ilfodf"11 (;,nk SwdifflO, 12j- ljl.
Cormack ( R. ) 1986b: 'I'atronag" .1nd new prog"nll$ of Bpanli",' iconography', l1!f I-tl,
III/("'lIlIil/lll// Brz,mt;lIf C""gn'H, / ;'Pfrf. Ntw York, lS. Rq)r i11ltd i 11 Cor m:Kk
(I')R9), C<sa>' X,
Corn13ck (R.J 1')89: TIlt' /:.")'r: Smdirs ;11 A "I IIml London ,
(It) 199!: ' I\'H I, It Art?'. in J. and S. Fr:I"klin. .. HYZ,IIIlill .. Dip!fI/llf/q.
London,
Cormack (R.) and (E.) 1977: ' TIl{" Mosaics of 51. SophiOi al Ist.mb"l: I{out'"
Ahow I he SOlU hwe>l Vest ibll l{" , nd !b ml" , [)""'/"1rlOli (),lkJ I','prrs J 1. 177- l) I .
Corrig.1Il (K. ) 19-8: The Ivory SceplCf of l.t:(J VI: A of POS! -knnoci:tjl ic I "'p"ri., [
Id,'ologr'. Art Bulltti" (,0. 0107- 416.
Il ( K.) 199!: \limlll !'II!t1llifi ;'I lhe Nimb-Cenili ry {''''/Urf, Ca mori'!!;e.
Corrigan ( K. ) 1')95: 'An 1",, " al MI. Silla;. in R. OU>lcrholu Jild L. Hrub,h'r.
ed, .. 7 he S"rmi {""'gr /:im ",,,I Irbt. Illi nois BrIant i 1\(' 5ll,Jin -to U rbJ 11.1, 01 ,}-6!.
IlihliogrJphr
CoI $,mis U.) 1\/89: 'On Some lIIuSl r:uiuns il] thl' 1 ... 'cl ionary, Alhos, Dionysiuu S8- ', Hpmioll
W,1-19
Couli .. ( B,) 1985: I.n riebron d"'ls 1"11'11/',., de Grigoi,., NIIUIlIIU. !itt; .. ",.,,,
ions , I" I" I nSliml ,1\ n J l.
Cr:llll "r U. A. ) rHH: Gllrlltu Gmuo'IOI' {(Imllli ill NOI""'/ I" Ep/JIofillll
S. Ilmii ,((I ROIII""01. Oxford.
Crehan (J. H.) 1966: ' 1'''1 rislie Evid"ll ct fo r 1 nl pir.,ioll ()f C",mcil s' . SlUdi,1 f',lI riS/ir.1 9.
lIml 9+ Berlin, ! Io-!l j.
eu nn ill gham (M. B. ) 1991: n!r Ufr of Alicharf llir SJll krlflls: In:l. '/;,ms/'" /0'1 111111 CO""I/tllillry.
1I}'7.<l nt i ne TeKu ::lIlt! I. IlclfJSI,
Cutler (A.) 1974: ' The Spencer A Thirt, ... nth Cmlllrr Byzanline ,\I.lllllo(ripI in Ihe
New ,"<Irk Puhlic Lihrary', GlfJ/'rn Arrhklqgu//lrSl j . 129-1 So.
CUt In (A.) t'175: 1hmsjigllTllliflns. Situ/in /1/ thr lJ""""in IrflIlOf'il/,lry.
I'Jr k . ud Londun,
Cm leI (A.) 1976: ' The A,islocr:n ie 1'.'>;1b,r: SI Jl e of R"p/'Orts rl nN",p/'OTII. Xli
COllrrN illlrTWuimlil1 "";""Irs bPlllliflrs III: 1m rI "rr/"",,IO[,ir. AI h(-ns. ! !')-! U.
Cut ler (A.) ' 98", TlJr Arill"''''lir ill Hpmui"",. BihliOlhl.-quc J"'b Cahi n s
1.1.
Cud .... (A,) !985: 'AposI<>]ic <iI lok.l], Kili.le ;n Cal'pado<:i,,'. A'II/IOIillll SlIIdirl J),
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Cmkr (A.l !987: 'Under ,he Sign 01 !I'l' 1J, ... on ,he of in
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CUller (A,) 1992: I IA.: 0 1 KO::: I::: l'AHA: Ezek iel and Ill,' 1'01 il ics or Resurrcct ion in ' I<:n Ih
c.. lllllry l\p;olIltiu m. Dlllllb"rfOli o,,/u " 7-l ll.
(A.) 199": 71Jr nmd of tlJr /lIlIJur. C"'fism;lmhip, 1m? I/Ild SorirlJ /II Bplll/l11111
Crlllltrin). Princefon.
Cu!ler (A,) and (N.) I')HH: 'An hlll', .. ri . 1 B},7.anfin.' and ils FJle a
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Da!;run (G,) 197'.1: ' 1 .... culle des (bus k momk bp.Jllti 11'. in J. Delu nlt'au. ,,<I .. l-/iSllli,.,
l' rn/tlllI prllplrclJrhim I. Tu .. [unk, 1 J \ - 1(,0. Repri" led; n ( I essay X I.
Dagron (G. ) 1')8 r: Ia rnre rrem bk ... ' . 1i,II'IWX t l IIIfl/loirff d" C,'II" dr "rhrrr"r d"IJif-
lOirr fl r i",'/i1;l1l011 bpm/jllts 8, 87-10 j. H,<' prin ",d in Da"run (1')8"h J. e.I.IJY I! I.
Dagron (G.) 198"a: illlll,(illlli,.,. Dlldn tIlr Ir "rMii drs liihlimhi'quc
1l}'7.am inc. Etud ..... 8_ Pari s_
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DJglOn (G,) 199r: ' Holy Imago UkenC'M'. Dllmb,moll O"ksl'''prn"s. !i-jj.
(G,) 199": ' L;.wful Society and i'ower; "."An.'''' ("'"0/4('; oPX'/'.
in A. I..:.iou :l nd D. Simon, MS" I.",,, Ill/d SMtrry ill 8,,,,,,"illlll, Nimh-liivlfi" CrllfllrirJ.
!]- S1.
van Dam (R.) 198j: I.mdrnl!ip alld C(JIII/IWllit, ill l.,Im Allfi'l"r Gmt. Transformation "f Ihe
Cla5sic:l1 Hcri l:1!;e8.lkrkder-
Dan ;,:lou (J.) StlrrllmrmlUlI fillllri_ Pari s,
()anit.'lOlI (J.) !956: TfJr Hiblr IIlId Ilx /.illllgX Notre
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Wcsfmil15lcr.
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Gregoire ( H.) 19 JJ: 'Emd,'s sur k sied,'", B,yzJlIuioll 8, \ 1 j- jjo.
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Grierson W) ISl7 \: of/lir B)'w lIIillr C/Jim iu 'hr DII",b"rlOli Od, Co/lIio" fwd hllhr
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Grumd (V.) 19ZZ: T iconol"gic til:" S. Germain de Erbos dOTlrlll 165-175.
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Griind5Co (W. dc) 1911: .Milllt M'lrir Amiqur. Ronw,
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Hl'rri n (J .)'977: T he COlllext of Iconoclast Rdorm', in Bryer and H rrri 11, cds. (' 977), ' 5- w ,
I-k"in (J.) 19R.l: ' I n S<:arch of Bp.a", int' Av<:nues 01 AI'proach', inA. Cameron
anJ A Kuh n, cd>., "w'gn 0/ Wr,,,,,m in Amiquily. Lundon, 167-t89.
i nl; (lJ. e.) '909: M Inllli um dr rO(/ll lfllqllr gru t/r S"'yrtlf. I.l' iden.
11"lu111 (K_l TlJeOlInsillll E"'prmn W{,me>l a"d Imp,.,-;,'; Dominion in f.'''f Amiquily_
Iklkdl'Y
HIIIX'r Bild 111,,1 J/orsd",ji , flyZlllllilli,rbr !I -!i"iillUml ZII'" Abm 10,,1 Nrllm 7;',1<1111(/11.
Zurich .
H l!>sey (J. l>'I. 119H6: 71)" Orthodox Om,.," ill 'hr Byzmll;'u Emp".". Uxfunl ,
Ilm!er (I.) 1<) 71: 'I'"):;ologi,ch,, Ohrrn,,1 ungen i111 Okut<:lIch Val ican ,1> grll'cm 7.n' , jlllirbur"
d,.,- (j'ter"",chl,r/m, Ryz-wt''''ila, 21 , 1;1')-1.0.
Hu uer (1.1 .'l1d (1'.) C:II1:1 rt 1991: Om Ali/riN/bOll/ilitlr drs /1 ,ijMbs jlllw{JU! ('011 KoHlI/obi/phos,
Codrx It,,,i(,mw Gmu", 116;:. C"d;n's . V;11 i.-. ni, S"kni 7 9. V;11 ;011 eil y.
Ihm (C.) 196o, Oil I'rugmllllf! r drr rhriillirhlll Ap!ii-lilillati l'IIlII I ,jal<'ll j,III1'/mlit/al llii :wr
,\-'f/lr drs (J('ht,'11 jahr{/IIlIdrrti_ For.clH!nr;en '-I" Kurl"gCS(hidl1{" lI nd chr isdi chen
A rrh"ologic + \,(lic"h"dl'lL
l,hizlIka (A. M.l Thc I'cn;tcncc ufD,tvid in I\tri s. BilJI.NJ1. , CoJ ,gr.\lo. lc"nogrJphy
a nJ it> i ll Br!;llH i Il l' /l.hl1u,cri pI 111 USI ral ion'. /LI"rhik,lIlf)'Illllll R",,,o w , J-n.
J:m,pi (G.) 19J1lr' Le minia!Ur<' Jci coJici ,Ii Pal mo' , elm" Rhor!o,VIIVI I. S-:'J-S91.
J at'gcr (W.) I 'N 7: 'Creek Unci,,1 F r "gIllCl1t> i 11 ! ht LibrJry ()I Cungrrs, in WJ,hi ngton' , Tmtlilio
\,79-roz.
( L ) 199 I: ' Colour a nd I he I inc R"i nbuw', BpMllfllU ""d ,\luderll G,-ak "dies IS.
66- 9+
James ( L) 1<)9(,: ''' Pray NO! 10 F,[( into Tt'mptatilln .1Ilt! Be on YnllrGlIard--: St;l1l1c'_1 in
Chri s! ian CunSlant inoplr' , G"f/il H II, 11-10.
J,unt"s (L.l al1d (It) Wd,b 1991: '""]'0 Ullima,,' Th illgs Lmer Senc' I'bres" ,
I'kl'h ,;]si, ,Ind Art ill ilF:l111ium', Art Ifi,wry !.tit, 1-1 7,
Jalll<:_1 (/I. L R. ) 1')11: !/IIIjlr<l/ iOlls of B""k uJ (;m"i,: Btlllg II Reprvtiul'fio>l ill filr>jmifr 0Jlhe
M,lI/walpl. B,-,I"II /II ",rulll 189-/. Oxlord.
J.lI1i n ( It) 1<)69: L,/ J!.rogmphir rcdhlllSfllfilf dr I (mpil'" bY::"lIIl'" I,J: /.rs itli,,, n /" IIIOII<lUf>n.
S<'cnnd edn. PHi .
Jeffrcy> (E.) and (R,) ;"COI I Ira II>. 19H6: rlJr Chrollic/r oJjol", /11"',,/,/$. 1\ klbou 1'11<".
Jcn'mia) (C. I 19Ho; Hohl iiI' ria llmiflk" S. S"bhlll i>l ROlli.
Jcrph,'11 iOIl (C. 1930: SOil< k, ,Ioul.e ;11'0t ",_. d.1I1 \ I' icollograph i., chn'tim ne!', L,I 1'0;X
,I" ",o''''!IImlf. PHi$, 18<)-!oo.
Jtrphani"n (C . .Ie:) 1936: Ln igliin "'pmm ,I, GIPP/lt/Oct 11,1.
Jt'fl'h" II ion (G. dd 1<) ,S'I ; 'La .1:11<' pi U.' nt nn's dc' TOlp Ki I C, PI",doce' .
/.,/ f'oix dr, IIIOllllmrllli_ Rome ,111.1 Po ri" 111-!! \.
J.-rpha n ion (G _ de') I 'H i,wirts de ;":ti III Ih,iit d,lIt S b pci'" llreS cappJdocien lie, ("t d'"lS
Ic, Il<:intu rc, rOma iues dtl Ill0Y"1I "be', /." ,'oi-," 1II0I11H11f1W. I\OIll {" 0 nd PHi" I 1j-llJ'
J"liwt . Levy (e.) I ' L'i Illa
b
,' d II POll\'oi r d."" 1':"1 b)'I_JIll i n J r "P"'lu<' dc' !.. d ynHt i(' m:tn'-
don il'lme. Hyulllli"" 57, H'-of 70_
Jolivel - Levy (C.l 198<), ' Lc' pro!;rJ",n"" iconogrJphi' IUcs drs <'glises de Cal'padono a" Xc
Biblio!;raph)'
sied.:, Nou,'clles recherches', Oml1111111111' 111/ 1'0TP'lfTIIt""iwl IIIlti H u ..1.(1'. Secoml
I i0031 By7.:lIl1i oc Coof,'r,'o', Delphi ' 987, A[hens, 247- 28-1 ,
Jmi (E.), (V.) Fl-tlcrici, (E.) Erc:ldi 1967: 10M porrll bhmllinll di 5dll R/tJ/o, Rome,
Jugi.' ( M,) '9)9: 'Origin.: de la conlfO\'CrM' do symholr', Rn'lIr drs
Sl'imrn I'I,i/Olophi'f"n n 71,ro/ogi,1'1I'I !ll, .16,)-
Kala\'rl"WII ( I. ) [989: 'A Ntew ' Iypte of [mn: I\'uri,'s and Steali tes', CO/lilllllli"r I' ll
I'Q'pl,yrtJr.mimJ JlJJd /Ii, Agr. 5<'<',,,,d l"t criU don:ti Brant i nc Confcr<' ncc, Delph i
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Kala\'rcWlt (1.) '990: 'Images of the ,\1"lIl.'r: Wh.'1l dl c Virgin Mar), Atrlrr rhrOl,".
O"m/"'rt(m O,,1n 1"'/"'''' -14, I 7!,
(I. ) [977: ' Eudokia Mak rcrnIMlli ' i,,,, :l.I1d the Romanos
f),,,,",,,r/Ol1 o"lrs I, j05- .P 5,
KaJanC"rou f.,hxei ner (I ,) 1978: ' Th., 1'0rtrJiu of lI;u:il I ill gf.510', J"I,rblt(h drr OJ/rr-
"irhiKilm HrJlminiJrik q, 19- !-I,
(M .) 1')91: impt'rial{'s e[ I'itemn: rror!!Jniydon de b furmnc
assistance publi"II,'d,'!a fill Ju VII k la fin du HpUllivI/61,
3-I o-j6-1 .
Kapbll (",I,) 1')9z: Lf! bO/JI II/(S rtl" 11'1'" ,i Splllrr d" ,/II Xlr s;rdr, propri;,; fI rx,,/oi/,/li01' Ii"
Jt!/, IIYl,Hlt ina lO, Par;,I,
Karl i n Hay,,'r 1')66: 'Ql.d "se Cons!:.! " I in nOll,"cao COm m6norc:l dan I 1<, syn
:lXairl' au ), Bywnriol/ 36, !6,
Karli t977: 'Gregory [ltna I ios, Jml l'hol ios', ; n Ihycr H ... ri n,
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[9,)1: d'u ne rum.' ur, Opiniun ii Bp.ann IX,'
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Karl'l' ( I I .) 1966: f)ir fn"KlJris/lirhm 100d IIIlIft/'llrl'r!irhm M01llik", i .. 5.t1ll'1 M,m'l M'lggw"
Zit ROlli. Bad,' n Baden,
Kar lwnis (A,) 1986: A""HIlI;s, TI" ,\I"kill,( vf "" 1111".((', I'ri nCClOn,
Ka',hdan (A, ) '98-1: 'Th.' Arisltxr.!cy and ,h., Imperial ld"JI', in M. Angold. ('(I ., Thr H,v:.llllllllt
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Ka' .hdan (A,) (G,) COlmable 198z: I'topll' I/Ild I'ouyr ill Byw1llilllll, All I",rodurlioll /0
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Ku hdan (A,) J nd ( H ,) 1991: ' Brunlin,' HJgiographiClI Texu :u Suurces on An',
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Kessler (1-1, L. ) 197.l: A Rare lIIuSIrJI,-d A,IS of Ap<Jllcs' , f)ulI/burtOIl O"kl
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( H, L.) ' 977: .,.hr IIlUJmJ{rd Hibln from '/Olin. Smdil"; ill MJIl IIscrip' 111 urnin31ion 7,
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Ke.sler (II. L) 1979: 'Scenes from Iht Ans tlf the Apostles on Some Early Chri)lian I\'ories' ,
' 09- " '),
(H, L ) 1,)8ja: ' I'inorial NaHal i\'c and Churdl M iss;"n i" Six. h, C" 1lJ 0 r)' G,H'j' , Slut/irs
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KC'Ss lcr (I t. L ) [985},: 'rinll res Scripmre in Piflh-CenlUry Chorch.,)', Swdill Artill""
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(H. 1..) 199!: i \ Lly Abbol Palron: Counr Vivian and Ihe I' irsl "f ChHb Ihe
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I.owden (].) I')R!, I'roductio" uf Ihe V3Wf>ed; Onale",h', f)um/"mo" 0111" J6,
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Ib, EllrI)' ,lledi,,.,d WTII. 1'.,,, .,,,d I're,ell' I'ubli<;", iom. Cdmbridge.
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1\-kG ral h (R. ! .. ) 'The Martyrdum uf oil ,he C.1Skt't'. A rl lI,,//,lin
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)I,'!cGu,kell (J. A.) !<)8\: 'The I'auislic un the SlIIdi;! 18,
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l ' . l J l I ! J d . ' l l " I t l / 1 J ! 1 l ! S ! I I , I I : ) ' Y l l i J < J S ' U ! I I I I J U I J J J ' 1 . 1 1 " ' ' ' ' Y . ' l U J I X - . > I U J I I I "
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!:.1rmmfi. Or',"n laliJ Ch ri sl iJnJ AUJlecra 2j7. Rom('.
(D. J. ) 191t6J: Inm ,,,,d Loxos. SOIlTrN itt Ei
g
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Sah.I' (D. J.) 19)(('1.: . Wh.1! I n I njidd Ihal a Failh rill Did NOI: (d.1I4! )
and [,Ia",'. (irrrl.: 01"11",,10.,' 77)fQ/<>gim/ Rrl '/rI,1 jl. 47-h7.
(J../l. I.) 198!: l..cs lalins.j:r<n el ,'n '''COlllJ,'
mu'lie d" 1 X ,i':'de', BpAlifioll! 2, J-j- J88.
SJ'''',U(, U.-M.) 1994: 1 .... pdmk', k' 101< ('\ l'i!l\J}:< ... :Ion 1<5 JU"'UI"li bYZJ,uin, J.,. <'p<>(lur'
ic"nodd'I. 1",sr;co,,,,dJ"'-'. 7r,w r i"''''".f.illl' ,ulli,lIo IIUt/II"("', Sc.1 lim,,,,, Ii i \I "di" dd
('em ru i la lL1no .Ii "tid i sui 1':111,' 41. -"Pllk-W, 197-2,1.
s.:<"I,kin.l (M , V,) 1')77: ,\filli,w,,; KMlldol'Skoi 1'uJ/t'irt. Mo!oCow.
U.) 198-: "/'ou"" IJljumm df'1 Imrfl. ,"II B,bliOlIl(-ql/l' n Jt'1 lIoli.-n 1,,0-
1."'pb"(""f. Ilihlimhhlu,' d..- b FJ,ulu' de ['haosophi., I ('111.', ,I<- rUn" ... ,,i,.' de Li'1:"
248.1':,ri).
S, h., pi ((' a,,I. ) "1'1l<" or I 11<' J",hua Roll in IIp.am i 'W II "IMy. (;"uttr dt/ n,
...". (,. n.
(M.J 195!: ' Th< Joseph :'c(,lIn on ,hc 1\ im ia!lllS Th roll, 111 J{.ncn IIi. &,IU(/I' drs
&,II/x-Am":r.6. 40. 1--\8.
Sclll"rm,U1 n n:) 1:/0'-: ProplJrlrll - IIWl l lpIJJltfl"1rwlm. u'ptig.
S,hill"r ((j.) ,:/-,: IrollO,(rtlpby ,,/('/mlli(/II A rl. 2 ""b. Trall<. J. \d it:U1Jtlll. C ""Ilwkh.
SdullIlIc k (A. ) '9H5: .. ROla III ,""Iubilis", Kaisn'nach, lind lin in
L Burj:!IlJIlIl.I\ I. ' J: Fu,;<II, and ,\ . Schminck. cd, .. C"p,do I 'Y."",. FrJnkrun dill I\hin,
! 11- 2\4.
Schminck (A.) I:1S'): '" In hi .... ignn ,,; nc<s - du ",r,.lr"papi"nc" :'1 rcp"'!uc d('
Consl.lIui n VII Collilllmlllr III! /'Mpl')'rl11!rt/l/1IS 'lIId lIis Ilgr. Sn"d
I "lnnal;OnJI IlIlIIe Con(ncncc. Ddphi !!- :6 J ul )' 198-. 10 1 1(6.
SchnJHC (C) 1869: Gndueh" drr II/ldmdm KlIlIJlr II III . Dii5SCldorf.
(C) 1')76: I.iclill< !III Chrisl. F01lflrmrllls lJ.rofoglflllrs. 1'.lr;ulo,i,. l:.mdc< .l<-
Lil leral un' CI d,' I A 11< i<'ll 'WI !4. Se( <.Ind cdn. r rit-,," rg.
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Or/(lll(l/ill ClmJlliIlIIl Prrll}(II'48, \-18.
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$c"(;(,!lko L) I'r-: . H .lgiogr3phy "f 1 h< Ihind. '" Uf)'C' H(..,i" . ..1, (J9-:'7).
IIj-II'.
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$c" c('lIku 0. ) Progr.IIll "rClmrch D"curJlion Sonn Arltl 78- According \() Ihe \'il<l
7;".1111 of 19n.uim Ih< D.:-awn, Jrulr;JCI diSlrt],III .J al Ih<
/J.VZlIIIIIIII' Art IImll.lIl'rolll" IIrf)lmd 11,1' lioo, DU1lIbarldn O.h.

&\'ccnkn OJI99!;>.; ' I(,. r<ading ConsrJnlinl' l'ofl,hymgl'llims. in J. Shq)Jrd aud S. Franklin.
I$.. Diplomlll'}. ,67- 195.
(I.) [9')lh: ' The S"Hdl fur Ihe r,m in llyt.lIl1illm around th,' YC.H /.)um{hI""",
Dilks 46. 179- 2<) J.
(N. [,)7J: ' Crd .. ) uf th" Life ofSt in Art' . PhI) d',safafi"n.
Culumhia Uni\'crsi fy.
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Chi cago.
s..,tl,nku (N. P) 199" . kOlls in Ihe Lilllrgy' . /)III11{",rrQII O"kr 4 5. 4 \- 57.
Sevtrllko (N. P) t99 J14: 'Thl' Ikprnentat io" of D<)n, m :t nd Hul y Figures "" Fout B}' ,ant
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Simon (I), ) t99-1: u.'gisl:uinn 31 11011.:1 Wurld Ordl'r :lnd a Lepl Order' . in A. Laio\! Jnd 0.
Si",o". tds .. 1,111<1 '"If/ SQriN) ill Blumlil/Ill . Nill/h- 1i,'rlfib Cell/llrirl. W.()h ing"''' ne.
1-21
Sinko 1'1:) 1917, t9l j ! lJr I",di lllll/r Or,JliOIlIl/ll G"ll>rii ,v"ZIIIIIUIli. l Cr-Jet)w.
SI,aill (5.) ' 979: "11 .. Prom is ... d Uk,"i Ilg: IcnnogrJl'hy of Ihe a( s. r-,IJ.ia
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BihliogrJl'h)'
SId n ... r ( " I.) 1962: f.ll lrllUlI it", rlr JIlin dllm fillfrrprlMl/o" 1',1/ ,.iSl ''lite de Jmti" ,i Orighlr. I'Mi,.
Sl .... rn (I U ' '151: I tr.drlll/rirrdt
Stl'''' (I I.) 1960: ' I <.") pl.inmr,, .tu MatJ501t'c "..II.' n.x ... k " . G,JJlrrs
Arrhiolotilfllt'S , 'I J- ' lO.
Sli,hd ( K ) ':Ji-l: Aul\",ka"o"i.d,I. I. kmml .. in hr'''' ' lini Khcli Illu'1rali"""1I ..I .... AI" ' II
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(C) t'}OH: Ir milli",,," drll,/ /upor;r,p" emu""" d, CIIJ,,,,,I,,duol'lr"Ju. eml,et IVII-
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dt,,/;.j ,mgrlumll .(",'1"1} (rod. Cud i,," e V"li .. ,11I i, i. 51.',;,',
II,inorl. Rumr.
Slrikc, (e. L) .lnd (Y.) IJogan Kui>JII 19-': 'Wurk at Ih .... KJ k u<I,,ha" .... Call1ii in
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Slri).;,, (C. 1..) J nd (Y.) Dosall KLlban 1'.I9i: KIII",,!nIMllr 11/ I!loIIdml. 'f}'f tlmr
lIim,,}. A rrl>lltrl,nr. ,llId ()trOlll//(/li. I\b i
Suung (D.) l'r6: H"''''tn 1"1.,. M id.tk ... x.
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".t.. Lair C/'wltI,1 11",1 /I1rt/nul,t! Swdil'S III II/JIlD' of 1"1fbl'Tl A fll/hillS Frimd. Jr. [',i"c""<OI1.

l'Jq: nil." in de. Ba,ilika .I e' [[I. Sa!.", J .. 1Il KI. Avemin in Rom'.
HomiK"" QllltrI"If(/mfi I H, -I'-' -'Jr..
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COnl"U Rcron, id"R-d. UIj,UfJ ArrIJiologi'JI"s-10, 'J,)-I '4 .
Th' l'Tr), (N. J 1966: ' 1. . u"mlll'" l'piM 01' . 1 bJ' unl In du I X" au X [[ It .. d .... J 'Jprb peim IIrn
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Thi"1 rv C'x.J I 'L" (li lt, lk \a cr"ix d .. n, r ,'111 pi 'I." hY'"lIH ,,, .III V)[, ,;<; ..l .... Ill X" d,lIl' ,(',
rJI'I",.,tls J"CC Ia t:ueffe ,,,nt,, ("Infidel .. ;. H"'i,/II di ill"" hi;:,wlIIJi r .L'I"I J. "';scella",'"
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ThieT.)' (N.) 1?8!: ' I ' i,onoclasm" CapPJJoce .I ks SOUflr .I" h,'o1t>g"IIJI.'. Or;gin,"> 1."\
II1mb]i!"". III L. Hdderm.IIIII -Mis)':ukh .11,,1 G. R,ICl'. d<t. "ds .. R'I.YlJlmrmml Jur.
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HfI'IU ,Iff Ewdl'S A n"i"ll1tl/llff , .. , !1I9- J!?
!"hinrr (N. ) 1')8'.1: ' b peinlLl'" de au R.xhrrd ... , sur 1,'s
(Om nl;] ,,,I;IJi de b ""'I\'d k "1;1 is<: de . [i,bli CI d' aLI m', 111011 "m""I'. r.imJIIllllillt I' ll
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Thummd (H. G.) ' Ei,,<' ""'m!> ..... bnnl< !x:htirllut 1\,ld"rfrJl!-c. in I I. K"II>I"';II and E
\'(Ii 11 kd Illan n. (..,1-.. SI"dim trOll ,\'. Imd 9. J,lhrlll",dr" /1/ BP""IZo Ikrli n. 15)-\ j-.
Thii III Illd (H. G.) 1'1'.12: . Krem .... . Rd i'lll iell ' IIl.[ Ili Id," im Z,T .. ",,,11 ienh",;h ..I,,) """"Jill inu,
('urph pop'n IIl'W', 1JJZ<lJ1ll11isc/' .. FonclJlOlgm Ill. 11')-126 .
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' [,)b'd' (N.) 196'): ' I\J,il I r he Fou nJrr or I],,, 1\ ian,J"niJII Dyna'lY: .1 udy or, h,
Ilihli"gr.'phy
I'uli.inl Jnd Mil ilJry Hi,tor}" of .h. 11)73111 ine l:.1I1"in in th" Ninth unl I'll [) d,s-
MrI J.i" " . Rlng"rs U"i \"ersi l).
-I' ,hiJ.s {N.J 1976: 'Basil I and BrUnlinc rJ lq:y', f l:imlrJ Hj";:.m'mn III ( I,
jo-H
-Iot(."\ (T.J 19M7; "[atdier d", cC:I.uniqu.' ".:;nll d" monaster", lo)'al de I'll',b,'",
II rdJlo!o,(Uf"ti )5. 6\-80.
(S. F.) 199.r The f{'i):11 of lm V I (RH(>-9 I !). I rdat iO'l.,h i P' :r nd P()1i I ict! ide-
"I"gils. l'h D Ihcsis. SI
1',wn.lq (A. L ) 197-\: 'Oil' Pra...,nt:lIionw,nt in d"r St -,\bnins- Ki rch, in Zilli" I\nuid"'n
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DC.
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'I:' uii (S. G.) ,<)8\; ' 1),,'I'lICtiOll d.., I'"nn .I,' I"Ent"f ,'r OllV,'ltU'e dn punei .I" 1';lr.,<li <. A
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IIrrhiolllf,iq,w J I. \- JJ.
Undelwood W) The b-idem:c uf Re''''lar ;uns in Ihr SanctualY I< los.1in of I II,' Churrh of
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!\lq.j!j - j6! .
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(T.) '979; ' 1..:1 coU\'crrure ..I,' 1"1'\":I"l;il<- dil d. Morozuv ,'1 rl"Vulmiull ,Ie fa rclilllt
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Viki$is (It) '9-9: T he Clne.is erel., al SIJ. Maria Anli4.lIa: l'hD di s.enalion. [' rincclOn
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V"S' (A.) I 9oi1: HIISllr Ir' Empn"t'IIf ar Hywncr u /" ,iI'iliJiIll"" "yz.ulliw Ill" fi" all IXr
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"Ut:I (1\,) .. d. 1967a: Com/",";" 1I1I1'IJ'phpvf,llIhr. I_r LII",,'/n Clrlmm!ir>, !'C(;.md "dn. z \"Uk

VOl;' (1\. ) cd, 1967h: I.omlllllllll \llIl'o'phyrogl-l/;'u. Lr LI/'''' drl r':'l-",mllr/. COllllllmW;" .
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li,lto $cuiman.' di dd ilalian" Ji , ,,Il ',,h,, m",lio.,,,o H-
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Waher (e) 19-!: 'Un w{1I{1Ie,uai rc I nl II," dc (;t<'goi rl."" de NniJIII.C", Cul""n
A ,r1iro/'lglfjllrs !:. T 1 j-' !9-
Wal ter (C) '9 ,: "" I'he CoronaLion of J Ct" enl peror ill I be Sk),I!".:r/ MIII"'''''$ii , ArIU ,/" Xl [I
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\'(I"imn:cnn (KJ 197ft: ' Th .. MoJe ill lh" 1'<.,-;0..1 "f Ih" ,\ba.J"IlI all I:. l1lp"rors:
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\"(''';t/.'IlJIl'' (K.) "l1u ,1/1111<11 "'rS oltlN" 5,t(r,1 !Im"!r",. 1',II'UII"ff jlJ ,. ie> ;n

\'(Id lf.m,mn (K.) ("\. 197') b: AV 1)/ Spmllmllly. /.01' fl llltll"r "",/btrly el"iw,,,, A'I. 71",,/'0
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W"rmalJ (F.) 197': TI!f IVil/rfmler {'stifter. 1..<>11<1011 .
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Wrighl (D.) '9RO: The School o( .lIul ,hr Sl ... l""h DJy of Crl':Il;UII', U""'01iIJ
{ 'IIMif hi,,!, ,), 7-11.
Wrighl ( D.) I')R\: ' Th("" Dal" of I II" VJ I ;<.1 11 IlI mn; IlJlnl II JIl,ly "I:,hl", ur l'wl,' my Jml ,,( iI.,
brly Addi li"n', Bp:<lm;,mcl" }1I-}61.
Zaoos (G.) 19841 I: I." ,d 5Mis 1. Compiled allJ <...J il<"l..l by J .N<wiu. illS"'!.
lams (G.) Jnd (A. ) VeSI"r)' 1971: Hp/llllllr I (lId y,lls I. B.lsd.
Zou],o"Ji (M.) 1')91: 1: E.rhcrique l'( 1<' SKr.:: l" i':OI1<" Jan, Ia l",nK" sp"bli\'c ('I dln, b yi,
{I ""' id i<'I1I1<", "'/1Id(s H,di.I/II;qUfJ 1, 71- 101,
Index
Rtfnmm to individual minuuu", in 1M Paris "" {;sud ""d..,.. Paris. gr. 510; rtftrmm in
bold lJp i"diau pn'ma? dlictmiom. &frrtnw to folios without illustratiom '101 /H:UI
illdtwd; nor haw fo0tnotr>. Bibliall cilariom for sUnls piaurtd in 1'arilgr.Jfo 1111 apptar in
App",d;x B.
Aaron: 343, 346-347
Ahga,os of Ed ..... , king: 169
Abraham. Old T.stamcm patriarch; 16,
tJI - 131; fU a[m Paris.gr.jIO, f. '74v
Achill .. : J81
182
Acts: 253. 15)-156; iU a/so iwnography, New
TCIUmcnt
Adam: 29l
Adam and Eve: ,u Paris.gr.SIO, f. ivory
of, 310. JIJ, j!6
ado",,;on of the Magi: su Paris,g'.SIO, ( 1371
161
Aegute.<' 248
310, ,67
Agrippa: 1 .. 7
abkia: 162
emperor: 1--6; IU ilUO Pari',gr.po.
f. Br
Alexander, Paul: 51
Alcnndtr of Lykopolis: 116
Gr ... t: 161. 17l, 199
Alenndria: 245
Amalckiu,s: Sa Paris.gr. 510. f. 41.4V
AmOtLtes: Wf Paris. g . po, f. 6.
Amphilochio., of K)'liko" 203
An",,,,,,io. of Sinai: 48
an:!..'; ... si" '91, 301-30.
Ana<w;ius. em""ror. 172
Anderron, Jdf",y: 360
Andrew, :!poIt le '42, 245, 148, lSI abo
f. 87"); aclS of: 248. 417.
."
annl.lncialion: 1(( Pari . gr. 5'0, f. 3'
:!noiming of David: 1" David, anointing of
""'i"lslamic polemk: '4, 28, H. '54, ,67.
239, 288, 193, 409
ami-Jewish imagery: 264, 269-170. Ill,
27S- 1n, 279, 403, 406
anli-J<:wi sh polemic: '4, 28. 43, 78, '14, 167,
'39, 262-263, 266, 269-171, '73, 275
288, 293, 403, 409
Anrioch: 219, 1.41
Antioch. ",lief from: 131
Antioch",: 258
antithesis: 264-265, 272, 177, 289. 409
Apollinarios: 211-lll, 114- 116, 270, '7\
Apollo: 1>:9
apostles baptizing: IU Paris.gr.5ID. f.426v
apostles, maflyrdom of the: 262: auo
P:lris.gr.jl0. f. 32V
aposdes. m;,,;on of the: sa P:ui'.gr.5Io, f.
416v
appc .. ", nce, importance of: 19,4<>0-403
.7<
A'l"ileia. archbi\hop of:
!87: See I//SO C;"brieL
1"1i(0,,d
AretOa" .JI4
87. 139. 19.!.
W,. 2;1S. 262- 263: srnllw
Pari\.gL\lo. f. J67"
Ari slOd,,: 51. 97
Arius: 212. 21 4
ark of Ihe (O",,"al1l: j!
ark. Noah's: Jft' Pariq;r.jlO. f. Joor
Arm"n;"IArmenians: 1\9. 199, 14\
Arsacid" 199
armans: set' pannas
ascension of Elijah: >re Paris.gr. \10. f. v
Athanai",: 9.J---91. IR2
Alhanasim. friend ofC),priJu: 1.J3
Alhcm:
Atoe",. Ethnih 7 (ps:lhcr): (fig_
(59) 37G-371. 375
Am":p)'. Mari"-Fr;mce: 49
Babel. IOwa of, Uf Pari_l .gr.jlo. f. 360r
Ihe m;lr!yr: !!9- 2Jo
Batdad: II)
B;lltimor{". Walters Art Galin)" MS 7H
(Walt"rs Psalter): 31J
bajlrislll: 20+ II7-HI. 241. 2.J+
279' lypes of: 71. 106. 270. 288,
)60
! 7j
Aarn;,bas: 16S
Bartholonww. ap",tl,,: 1.J5. 15\
lhsil IJ1
Ba,il J, empcror; 7. jl . .J9. IJ7,
147- 1.J'J. 164.
184. WI . 207. 110. 116. 2.\7. 1}9. 14J.
157 169. )26. 354.
Jj6. 375- 376. 400 . .J1G-4Ij (,uI/un
Paris.gr.jlD, f. Cv): and D;wid:
and J"_'''ph,.u Pari,.gL\lO. f. 69v; and
J",hua: '93- [99: g('l1ealogy of: 199.
s;r; Il1: 28. 48. IH. 146. J61 . . PJ:
srr,'(,o l'aris.gr.5Io. If. 71V, 104r and
40<)V
Bathsh{"ba: f. 143"
Indn
471
Ik' njamin: iU l'ar iq:r.jlO. f. 69"
Bnlin. Mu"'cll. i,'ory: (fig. 177)
'" lIet hel : jJ I
B<,tllC."b. he, ling of Ihc p:Hal)'tic .11: q6: 1((
lilio l'"ri . gr.51O. f. I.J3'
biblical ci wions (for ieNifi illllil><IIrd ill
5/0 su Appr"dix 8)
Genesis 38
Ex()(jus 25: 18-20
Psalms 18: !.JJ: H.I): 166: j l 18: JjJ- J\4:
19.6: 161. t67: 65: 76.7: !,)9-300:
9'11: RS: 95; 24j; 104.1 7: .l23; 121.[: 128
lvbl!hc'W 4_11): [!I): II): !.JJ
Luke \.10' 119
John i6: 1+27: 147. '5(}--1 1!; 2l.1,:
25 1
Acts 1I: 16S
Rouuns ).12-21:!!J
Eph{".ian. I.I.J: !!}
0,*; ILl3: 283;
!OS; 94
Hook "fCe[{"lll<)ni{"s: 80
n..Jfcii{"r. H"nri, 5. 'J6
Boris IIl!lgari;ul ruler: 1.1.
!J7
I\ri ghl!l1JIl. R. E.: IH7- IHH
I\rown. I'ett" 45
l\'lChdd. Hu!;o: 97, lH8. l,*S. J)I). J6!
IIl1l!!,:Hialllulgarian_" 21+ 2J9
1I11rgin. Victor: 18
hospi[JI Jt: 13!
calli [1g of >rf I'Jris_gr_ )10. f. 87"
Cambridg<" Corpus Chri"ti cod.!86
(Augusli[1c (fig. (6) 8+
383- }84.39,*
Cameron. 16
Cana. miracle al: 1[8
Caperna llm, healing of !Ill' paraly[ic at: 78.
Paris.gr.llo. f. 3I6r
Cappadocia: 67. IH. 2,*0
Cappadocia. Balkam 140
Cappadocia. (lig. 98) 67. 19.J. 143
Gi:ireillc 6:1: 69
Cappadrn;ia. Kili"br: 69. 379
CJPIMdocia. 1',k.,II: (fip. ('-. 70. II!.
11-. '(,1. ,6-. 16,). I-I) li6. 8')--')0. 1.10.
1.1\. 177. t')l-l')4. 2')6. ,176.
j81. ;84. j8,)-3,)', 3')4- )')\. 40\
upp.ldocia. Old ]ilk.EI,: 71. lI'JI
64-6,). ',0. l-6. 1')4. I')').
1-9 191
"'murion: 1')6; 1 "Is .. I' Jrkgr. jlO. r.
( hai ",I,,: )0:'; 1H .,1$11 510. r. jO ...
<h",u]' flee "flifc: set
l'",i,.gr.\l o. r. I!"
12. !SI. JII
Chri,,', 10mb: ir. 10" .1n;l
181!
Chriu Jmonp"hc .1.1<,1<,,,: Ju l'ari . gr.,)IO. r.
16')r: Jlld ,h. '\JIlUrnJn wom.' n: JIY
PJris.gr. j ' o. f. I II"; CJII, I'cICI. And,,\\,.
.. lEld j"h n: I '.Hi_q;r.1 10. r. 87\';
""1\'e,,,,' wilh r."el1i"" sre I'"ri"w.j' o.
f. 8-\'; OlE"'en, N.uh:Hl.,,I: Sf(
Paris. gr. 110. I. 11-,'; "mhrnned: '"
Pari,.gr.jlo. f. A,': h"JI, [\"e(, 11100h"r-
m-JJw: 1H l'ari,.gr.\IO. ( r-or: he.d, Ihe
belli wumJn; i Pari,.gl.') ' o. r. JIO\';
hcal, ,he hlind m.1ll .11 Sil""m: Ju
1' . ri,.I;I.\' O. f. u(,r:
,,,,-v.me 'u l'.Efi,.!;r.I'O. r. ,"'or; 1. ",,1,
Ihe Iq>lOr: ,W l'.IIi,.gr. I' o, f. 17or: heal,
,h,' nun wElh Sf( i'Jri ,.gr_l lo. f.
,-or: h"al, rI", mall wElh ,h. wilhered
lund: , I'JlIs.p.r.\ ,o. r. 110\'; heal, rhe
pJlJly,;c J' Ikrhc",la: 2-(' (S"II/;('
I'Jris.gr.\lo. t. 1.41"): IWJb paral)'li,
.E1 Capernaum: u(' l'.lfi.<,gr.j'o. f. \16r;
the Ic,l i,'p,''': IN" l'.IIi,.l;r,\IO. f
!Ii\': hral, Ih" lWEI hliuJ El,en nf
jcricho: SN" I'Hb.l!f.! ,O. f 110"; he.l,
,he 'wo u(' I' ') 10. f.
I-or: brai, Ihe ,,',)!lun wi,h Ihe (If
hl".xi : sa l'arkgr.\ lo. f. 14J\': ui .... , ,h,'
wiJO,, '5 <011.11 N;lln; Irr r.
116r; ,.Elk.< ,EI dw ridl younl! mall: ie'
I':Iri,.);r.510. f. tCEllI".llion, "f; 1('
i';ori',gr.;lo. t. 161r: 10mb of: 'ff
I'Hi,. gr,;,o. if. \0'" ami I8\.: of
j !-:'l. ')-1. 105. 176, ,81. 1')6. W 4.
20')- 110. 2!1-!!+ !88; WJlh "11 waler:
JU raris, gr.l'o. f. I-or
'Christ ian SU V,u.gr.699
ClIt)"OWlll1. JuhE!: 107. j '\' 4 14
Ci"i,bl('. SS Manir; : 11-
dmhing: 5'), 108. 10'). 104. -101-403
<vilIS: (fi gs.:ro. !I'T) 14H- Q9. 154, Ij{,-W' .
,6,}-,-'.I-(,
cu]"ur. imp""Jn' .... "f: \{>-,-:'. 403
''' lllpJ,,-drJwn dr, I," : ,!lI. jOj
(on'<'cr:nio" "I hi,lll '1'" a' I'!'<''''n t :u im" ,d;
Ill-'!J
C"m!Jrnin,' !. cml',' wr: 14'1-'411. l\o-r\5.
' 5-.16, . ,-o-'-!. , -6. ,81. '99. 211: sa
II&' f. -HOr
C"n""nllll<' V, ,II1I'.-rot : 19. ,- " 1,6. 41
Cun"Jmin,' Vi. cllll',:rur: 4'.1
Con'l .m! inc VI I 1', 'rl'llI "'genncw,.
Ctn f"'fOl: ,(.,. '("): SN 111m Book "f

ComtJnli ne. "'" ,,11\.1,,11 : 5-6. '7!
Cun"JElEIne of Anwl( i1:!5 16
!he IH""I"m; \0\. 1-('
150 Ill. , ')8 . 1(,'). 1-'. ,81.
'9.,.10.1. 10:'.111 . !!1. 11"'. !_p. l\{o.
!i' .IOH, \(, \. 194 \')1, oil,: Ap"""I"i",,;
\2. ' 7!. '9,1, 1.\! qj. ljl. 157. 26,. 10\.
107. 1-('. 1')5: III.'lhrElJe
1'",11,0: 1- ' : k" ,.,lI.
1,6; ChorJ EIlOnJ <lrn: I!9; dlU,,-h
huil! hy <;lyli:1110' 18,. 1(,,;
Church (,I ", Ehl.Eit: 1M; Church uf.\1
,\I"kins: '\1. Chutch of 11>" Virgin
"I till' I'iwo,: IF: Church "f,ht
Virgin !Of tl1l' !'''m,,, P I. ! 40' 39,:
I;lflun: 1\1; (;".It !6(,:
i'JId('e. Chr)',otriklinu<: !.is. I,!: l;r".u
I'alan. KJinom"i"n; 156. 16!- ,6j.
'-0-'-" I!I-; II.!I:\I.! ')4-11,;
1 bgia S.'l'hi.t: I. t!o. ' , I. I,H. ,61. IJ6.
140.2(,1.1('1 !M. :HI. j65: H.I!;i.,
S"rhiJ .. ll'se m"'"I': (fig. 56) 2G--!'. I!.
p. !l6: J l.Egi., :"'phi:l. ch"l",1 in til<'
SOIuhwe_,llnu,1'':':''-: ttl- II-I; !-bgi:!
(tig. 82) '-19:
J bgi.t '\uph,.I. morn "H' t ti,,, rJrnll
I ndn
(stkr<'ton): (tig. 81) 1\\: 50phi.1.
room O\'<;r (;...:krctnn ): (fig.
81.86) IIJ. 1.19. 167. 117: Hagi.l Suphi ..
I),lllpanum: (ti)!. 78) 11 .. - (1)' harbour of
IH: Hoi ), /\posdcs Church: Sfe
AposlOlei"n: mausulnun of
Cun'l:lnrill{'l: Milion: 116: No
II'). ' (,1-162. !SR. 2\7. Iii!.
265: walb: !S-!
cu!w<'rsinfl of Saul: srr 1':1 ri, .gr, \ roo f 1(, .. \'
Cormack. Robin: H. 97. 149. 411
Corrigan. K:lIhlcm: -13. p. 110, 408- 40<)
CUlton fJnlil),: 109. 31(>. JH. 316.
HI: frr "If(! Lond"n. BL On h", B. VI
Cmmcil "f649 (Lal"ran S)' nud): II: uf714
(Hieri" in Chalcedon): 31. H: ofSI)
(Consr,llH;n"pic) : 28. 212: ofR67
116-217:
(G'n'1.ulIinopk): J.j. 4<). 19,\, 107, 111.
1)(;.139: of 879-R80 (C-'''''1Jnti nol'k):
116-1!7
Cuuncil, Fim Ecuillenical ()2\. Nica<':1 I):
111-111.304: Second Ecumenical (J81.
I): IJJ. l!l (sulIls"
f 3)\f); Third ECilIncn;c"!
(431. Fourlh Ecumenical
(411. , I: SiXlh Ecuillmicl i
(680-681. Cons!:lminoplt Ill): 49:
.\e\'emh Ecumen;cal Nitae" II ):
11. 1J. 17. 19.\1. 3). 39 ,p. +-I. 4(>-47
,7 '7' 2'2. 1'4. 2SI. 156
cr<:aliun uf Adam :lnd Ev('": fa Paris.gr. llO. f.
11V
cross: sty' PHis.gT.IlO. Ir. Ih .. CT and JOV
crossing of !he Ikd 5.::,: fa R<:d Se:I. crossing
of
crucifixion of Chris!: Jet Paris. gr. I JO. f. JOV:
!yp<"S of: 108
cursil'g of A,bm, lOw am] 111<' scrp<m: iN'
Paris.gr. jJO. f. 51V
Cutler. Amhon)': 97
Cyprian, sainI: 2\9. 2(,1: iU ,,1m l'ari,.gr.jJO.
r. HIV
DJgT<lIl. Gilbcn: 161
Dam:1S(u>: HO
d,mc<' of 1\,l ir;,,,,,: ,u P"ri.q;T.llO. f. 2('.1"
Danid i" lh.'lions dtn: Sa l'ar;,.gf.\IO. f.
4.ll\': "i,;o' l of: !8')
] hphne: !!9
pa lm: jO\. JlO. JIJ
J);l\id: S7, 10). 147. 177-17R. 199.
1(,\1. 40R: .1n"inting of: ue P,uis,gr.5Io.
f. 174V: f-'CIlil,",,' of: sa l'aris.gr.llo. :
14J\': rdluke of H2. 1\ .. -.\\{,
I)e """'1''''011;;,. iee Bouk of Ccr('mon i<"
DeL,,;: 30<;)
D,"(";m. "mp"'''': 1'.!fi!.gr,llO. r. JJ2V
De;r Ah" Ilinni.: (fig. M ) 67-68
Delilah:
lJ,'mm. Ouo: ,\<)!
/lfehT'.I: see l'ari' ,gr.llO. f.301'
Dn 1\'<:r,,ian. Sirarpk: 1 . 71- 71. 91. 99.
118.168. !740 176. ,87. 218. 1}6. 14}.
16,-2(;3.191. -,oJ. J(,9. 375. 411
Dig"''''s Akrilfi', 184
Dinkkr. Erich:
<'mpaur: IU
Diun)"i", (pselldo.): 3(,. 4{,
div'n;I),. hum"" inrcr;lC,ion wi,h: 4\. 2SI.
l86. ZS8-191. J02. 107. )6\.
400-.101 .. po
divi"ilY. v;s;om of: ,rr vis;n", of divini, ),
l)",h3im: ;17. J19.
Duuri" JO-
drcam o( Jose'ph: 66
dream "f!h. "'Idgi: Ue l'aris.gr.\lo. f. l\7r
('",If(h'luakn: '21. 117.1J7
Ei{{'lIe. empres,: 49 . 171
[;,,'m'. lllorher ,)f I'huri",,:
!)'I"'" "f: 169- 270
rkphra,i,: w. I}
Ekw.cr: 1',,,i"1:r,5IO. f. J40r
Elijah: 6. 170. Ij!. !79; sre'l/so
ff. C\' and 7\r: "f: sre
Pari,.gr.llO. f. l6.1"
Elisha: Ire bris.gr.5'O. r. 164V
Eliz"he,h: J7,): See ,,/so l'ari,.gr.llo. IT. 3r and
1}7r
OIfi/(IJ1tr. I j I
Enoch: 1)1: Book of: JI.\
ltuJex
,'l1Iol1l1>nWI1I or Chri'!: _ ['aris.y.slO. f. lO,"
"nny into 1ft l':lri:..gr.\ro, f. 1<)(, ,"
III
Epil'h'1I1ios lh,' lklCnn: 44
EpiphJnios .I .... ,\ [unk: !O7
Ep,;tein. Ann: '" \XII,anon. Annabe[
ErhiopiaJErhiopiJns: Ll I
46. 90, IMj
cudwlogiun: II!, t8-
l::udokiJ. t j t, t Hj: J "IIo
['",is.g,.jt o. [ IIr
Eudokia. ,'llIpH'". wife ofThcodosins II :
t4J- t4.j. 4t<), 414
Eubl ios: 10\, 107
Eunumios: 16J
L"" J.hios: lj]
visual: H - 45. 57,60. 7' -9J.
IH- 146. lBo, , 0<). 197.400. 410. 4' !.
4t4-4 t6
npulsiun (rulll pJr:ldiM': In ,i,.gr. \ t 0, f. 51V
b,kid: :\IJ: in rhe VJlky of the d ry hi",,">,:
1 ['a,i, .gr. jIO, f. 4:\8\'. vi.io" of: 18!.
1H6. 188--!89
fJ Il of AdJIll and bc (originJI , in): 1l!- !!4.
JO<)- JIO. It6
!:,II uf J('ridw: ire I ',U i, .gr. 510. f. 414"
lif( m ... , wi rher(""<-\. p"rJhlc n( the: Jrt
[ ' .
Jrrs.!!r.i lO. t. , 10,"
jlilNl"': !Or, 114 1'-.!ll
Utgl" of Elialxth and John the Baprisr: _
f. I,-r
HI)T<'nc ... l .;1ur.rl" . 6. 1:1 ion):
(fig-I. 68. It). 1-0-171. 174) 8:.
I-I. In-17M. 187. J8,).
191, }94-1<)\, 197
Flurcncl". J.Jur.rlm.l. 56 (R .. blmiJ Gos pd<):
'9\-191. r6
H"tilegion: 19.51. 40') . 4'S
("rg,ri<.,,: 49-j'
hicdm.lIl. Mi ..... : [16
holnw. An:lwk 97
l;"h"ulli[{": 1,)('
3rchangd: 6, <) <) : In Illw Paris.g . j 10,
If. Jr Jild C,'
Gabl ias. wn of E.n!'..:n>! VJlcns: '"
1'3r;s.I; . jto. f. 104r
G.I I.IVJri s. 1\,
li6
(;ml"j!.( of Niku(klll iJ: 2,)-. 401
G,' rrnanos, I'Jrriuch: 2<)-jO. 18). 1<) 7
GiJ<"011: 1-',). Iii!: _"fro f. H 7"
goiJ: I. 4, 7, '4- 15. H. 16-\7. 'iJ, 5]. 61
l;"I"'Olha:
Gomb,ich. Err"" III
(;,){ ... 1 Sarnar;I.III. par:.bl .. of: ir( PHis.g'. j 10.
f.I.!jv
Gord; " . martyr: H
Co' gnnia: ' 31. 247: s(,(,llfw l'aris.gr,I'O' If.
43" and 41lr
Go uilb,d. J<""dn: !J, :88
e ... al .... , Andrt': 16j. UO. 141. l61-16!. :81.
l8'. 4
12
Il.l}{IP<: 2J. '!9
C rcgor),. En her of Gr'I.\<JIr " f N""ianzu):
Ill. li S. 107: U't 1//'0 r ari,. gr. 510. It: "'.
-Sr Jnd 8-,"
Ctl"}!"')" AsbC>lus::r ll8
C,,"}!oryof N.lliJ117U\: ., p, 174.1')4. 11\,
l}}. H-, 408. 4' 1-4'4: [JUria]: U"
I'Jr; . g'-lI O, f .. l j H: >"sC"Cr:uinn: If(
1':1.k).:I. \IO, j[ 67" ""'[4P';
from Conslanrin<>plc: lrr l'Jri,.gr.\I O, f.
l}9r: jouIIK)' I" Cun';I,1I1.in"pk U',
l'ari ,.gqlO. f. 4pr: 1"<""Jching: U't
['Jri s.gr.Slo, If. 12\' and -8r: \\"id,
The-oli"s;", I: U'( f. 2J9' ;
writing; rrr I'Jri . gr.jlo. f. 4l4"
C rq:ury of N.II.ialll"'. w(l,b "t", "Api m.
[""ollli a,,' (] 10m ill' 27): J('(
I'Hi ,.sr.\lo. f. t-:-Ol
i \gain" the AriJ'" (I [omil )' jjl: Ju
l'arkl;,.\I O, f. ;6-,
'r.If("Wdl ofJ.i",,' (l iumily 4!):_
Pari . gr.jlo. r. l J9r
'Fwll"rJI orJlron on Athlnasius' (Homil),
lr): II. 60. 94- 9\
'F" n"ml omtio" (In [' . I'iI' (Huillily .. I):
60: iu ,,/so l' Jli).gr.j [0. f. 104'
' FunClal urJIIOn o n Gorgonia' (Humily II ):
60: s ,,/W 1'.uis. gr.\ lo. f. 4}"
Indn
oratiun u" I,i, falha' (i l<J mi ly
(,0-(", UrI/fill I'a ris.!:r.j lo,
( 87\"
'Funnal oration On Kai'>:"ios' (Homi ly 7) :
60, 11 9: sf'fldso l':uis.gr.\lo, f. )1"
'I n of hi s iliglu I<J
(Humil}' 1): iU Paris.t:r.5IO. f. If
'In pr:tise of Cyprian' (Ho,nil y Z-I ): 61 : Sf(
,dm l'aris.gr.\IO, f. HZ\"
' In I"ai,>< I'h ilmophc,'
(Homil y 15) I!. (,,, ,"t/' ,IIso l'aris.):r.llO.
f. H7\'
' In\'<'nivc agai n.'1 Jldian lil, Armtatc' !
(Homil y 4) 61, 137: iu I/lso l':Jri,.gr.\lo.
f37-1"
. Im'cn i \'e "g:! in., I J "I ian t h " 1\ po., I.lt e' II
(Humil y I) 61 ifetliw l'ari s.gr. llD. I:
-IO<)V
' On bapli,m' (ilomil y -1 0): .a rar; "gr.llo.
f.
26
4"
'0" dogma and the inSlallalion of
bishop, (Hmnily 10): srf I'Hi S.gt.)IO. f.
165r
'On Easter' II (Homil y -I j): su
P:ui, .gr.l lo. f zRsr
'On Easter :tnd hi s rduct:!ncc' (Homil y 1):
Jet l'ari s.gr.jlO. f. 3D"
'0" (liomily l(,j: II: ifetl lso
1',,,i, ,gr.; lo. f. n6"
'On ligh" (Homily 39): IZ
'On modcr3{io,,' (Homi ly F) :
PHis.gr. j IO, f. Ilj\"
'0" N<'W Suodar" (Homily -\4): IZ. 61
'On peace' I (Homi ly 6): Ife f.
,,,
'On 1>0:3'" II (Homily zJ): II
'Oil ?,:acc' III (Hollli ly H): Srt
P:tris.Sf. j IO, f. ;60r
'On Pelllem,{' (Homily -t l): JU
Pari,.g,. ; lo, f. JOI,
' On the conR'Cr:ttioll of as bi, I",p
of Oouri s' (Homi l), '.I): ,fr Paris. gr. 510.
f4 Z,!\"
'On the Holy Spirit' (Hamil ), Jt}: I!
'On ,he bnding of tht ESl'I,tian bi.,hol'.<
(Homil y H): P'!fi,.gr,5!O. r. H5r
'On of IX''''' (Homily 1.\ ): ire
l' ... i,.l;r.\IO, r
'0" the (l lomily I)); 61: set
,dsiJ f. Hor
' Un Ilw n,l1;\'il),' (Homily 11
'On the pbg"" ufhail and hi,
silmce' (Homily 16): Sa 1"";'.):'.510. f.
,8,
' On ,h, Son' I (il omil:- 29): IZ
'On tht $0'" II (Holll ily JO): Jft
l'aris.gr.;!O, f. 196"
'On words of rhe go'pel ' (1Iom;l)' J7):
I'Jr i_I ,gLlto, f.
'Oil theology' (Homil)' 28): Jt(
P."is.gr.j!o, f. '74"
' On vi rginily" (pocm): 12
" 10 Evagrios' (crist", ! 41): 1. 9\
"1" Gregory of Npsa. brnt h<'f of fb.,it the
G,,':I1. wh" :l rri ""d hi,
(Homily " ): Jft
1':tri', gr.;lo. f: 7"
'To h;"m'lf, hi, Enlwr. :tnd Gre.! 1
,1 (1<" hi, Hight .mol (Homily 10J:
Jtt I'ari' _g'- Ilo, r 69v
' To hi s fdlha. ill tht prcsmn' or Basil, on
hi, (Otl,c<"fari ol1 as hi shop "fSct,jm,,'
(J lomil y 9): st( Paris,gr. llo. f. 67'
'Ii, hi s f.!l hn. wl,Cll hc had cmrllsred 10
hilTl t hc rarc of the d lll rch at
Nal.ianws' (Homil)' ILl: sa l':triS.r:q IO,
r 71 r
" Ii, Juli:mthc tax mllawr' (Homil y 19):
su l'ari, .g"5lO. f. 137r
' lo Klcdoni", I kpi,de 101): I: frfidiiJ
l'ari s.gr.5!O, f. JIO\'
" 10 Kkdon;o,' II 10!): I; srraiJo
1':"i' _gr,\IO. f, JI6r
"Ii, kpisdc 88): I, l!
"10 th,' people of Na"lian7.IJS and the
prefect' (Hol11 il r 17): SU Paris. gr.; 10, (
14J"
'To thoS('" who invited him' (1Iomi!y
j): Z-I7
G"'gory of Nnjanzlls, 110m il
" f lift ),-two' (fam;l r n): 1\-1;:
'col lectioll (EHllil ), m):
uf NazlJlml5 (rom.)
r .. : 'l irurgic:11 "did"n': (fig>. ;9.
r \-101, r06--10;, I t. j- Ilj, l .. t-IoI},
ZH- !l5, !0I0, l .j ;, l5,), !91 ; JUIl!;O
jerus;)irOl . 'Ijphou 14: l\'louru Arha>.
6: ,\101'''' Arh...,..
10-; Oxford.
6: P."i' _!:'.)oI l
C''1\nr}' uf NyJ: I ll. lH. \61:
. \ I O. f.
Grq;u'r un;"I'.\: l<) ,\
Thau lIIal \I r!:", . . 1>, 'lcI"ph uf
E.ccbiasr,': I. 1(,11-1(,9
G' <"gorr , h. l'rt':<h}'l<r. Li f( of Gr..-go.r of
N3Z;"IlZU': I . 6. Ill-I)I. oIlO. 0I4; J
""0 I'J.;s.gr.\lo. l: 0I 1"
IIJhakkuk: J66- 167. )(,'). rl: ,i,iol1 of;
r. lR\<
1-1 ... 1." IOl
h.lil"')[[11: i" l'dfiq:r.\IO. f, -'<!.
/:tll ..... r: 101')
H..-I .. ('",:<. rh'('e. 111 duo i"
f. oil S'
I I" 1'.lri . j:!.IIO. If. 18,1" .InJ oIoIor
Ikn.r IV. king: IJ
j krakb:
1 krl"r!. john: ')(,
lolO. !.Il
I-I t:leki.lh. king: MY 1'.1",.1;1".\10. f. 0I)'i'-
1-101 .. l8-
holy "<"II: !66
ull\knil lulk ... liul1. Ih,il in.n; ll.'
I hlt:q I, 1.\(' \.1 -
h)'p()j""UI';
Ie XL NIKt\: If. II\' and C.
!c"m"b.!i'" -:-. q.
l-:- ,I, 49 1- 9-, 10<).
1)3- IH. Ip. 1('\, 16-.1-0--1-:"1 . 201. lll,
!,('-H-, 1W
lR9. 2')1. 179, J9(>. 0I0l.
oil}: .lrl"Jn.lll'r"dudioll during; q. 171
Iwuogr.'phr: 1. 1- 4\. )08- )<)');
r-19. 0I !-0I\.
"f:)H In.

ic"IHoWal'hy, 1"'1:lI1Il'II!: ,9.
ACI" hiS 196: 3<)(,;
j71
ilOuogrdph),. Old T"'T:lInt:nr: 19. ,oS- j;,.
199; .Il"'lCrrl,ha: 166: blxhl.: ) 15-101'):
Gcnl"Sis: joR-JJI: j"l>: J61- )6\: josillu:
H9: Judg<'" J.I')- \lz: KinS': J5!- )6J;
Odl'S (I"",h",): .16('- 1-,: p.oph ..... :
16\- 366
'W',1Ij i",,,,, !Q--ll, 27 39
Igna,im til<' D"awn: 18: I if .. ,,("f!J . 1\jos;
!I-H. 1\6- 2<;"". 160
Ij:U.llio" parriJrch: 101. 201. !16. lJ-:"- 238;
parody of: lJR
i nlJg'''', .IS aurhen"cJdon: 52-,". 0Ia, . p s;
f""niun, of : .11- 12: i pow<'.
or: oIS: purl''''''' oC: 15- 16
1111.<);"'. and rd.llioll,hi l'
0101 . 01(' - 01')
Ul CJrnJlion anJ unJ!>""': 2--10. I!-H. 2R,.
2')-
[,enacIIs. AJ,yrlllS l/,m7><'
r",ac: JR. 18('-IH-; 'J<fifi(c of: 'I"t'PJris.gqIO.
f.l-oI'
I.;,;.,h: 1-9: lll.1rl .,,,1"111 of: 261 (Iuals"
P.1fi,.gr.;l o. f. 14-'): {'i,ion or: :8\. 18')
(S ,tim l'.lti-.!:r"1 o. ( (j-\"): wi II.
I-IC'Ckl.lh: 1 I'Jm.gT,jlO. ( oi lS"
Ishi7ub. Ak,u; IS4
1,llII1Jdn",: }21 121. )2('
br.,dil<": l18. 11\. Il-. 11<), J,lJ
Jaml>: ;1('- .117. F I.)2:" (ia "/S<I
I'Jri,.gr.\IO. f. (,9\-); .IIlJ lht: 311 );d: Sir
f. 1"'01"
\'("'rn("l; I
jJir", IJ"ing "C: '" ,';,0
l'ari ... gl.\lo. f. loll'
jJII1<". :l posr k loiS. 1jl. lSl - !16: /HI/ Iso
I'Hi,.gr. \IO, i t: "'jf J,,, I 8-"
j.UlIl' S. Lil: !O, ;{,
in IlI l pil; I'Jli , . .,:r.\,o. r. lol l"
Jl"li .. ho: '!7 I'M!>.!;" 510. f. q 1\'); fdll
nf: J l'aris.);r.5IO. f. 014'
[ ml("J(
Jeru!>.llern: 1 f. I.IJY: Chris,'5
,'II! ry infO: ,8 j (/U III", SIO. r.
196y): Church "I ,h<' Huly
107: Innl'le al: 69-70.
L07, (St'tJl/;" fI". IJ7r
,6jr)
j < fus:;r l"m. Saha 108 (menJiOIl): (fig. 109)
lB. !55- !56. }97
jcrus:;rlem. Taphou q (l iumil b): J I}
j ena;,lem. Taphou SI (p" lher): 15-+
j,"s,': srr r.
j<'wish impact "r "" OIJ "l"e"JIIl<"fII
iconography: 100
Jew.: 219. 1,8. 169: C"JliCJIUR"$ of: J8: ima):<"S
Jll'-lins[: ..,.. an, i Jcwi.h iIll J):<' r)":
il1\"<""C1in"S agains!: 1 3111 ijcwi5h
pukl1lic
Job: IU [';Ir is.gr.jlo. f. 7 lv
Joh. of: lU r. 71\"
j"hll uf DJl11ascm. ' Ji", : u. IS. 19-40.
43- 4] II-\!. loR-!09. 1j4. !!i}- lg,.
400-401
Julm uf Nikiu: IH
j(.hn ufTheMalonikl': J?
John I he IhpliS1: 118: I "Ii(} IMis.gr.5' O. (.
Il7r
john the Gr:lll1 l1l.lrian: 29, 48
john. e\":, nseti.'1 SI. 81- 83. 106, 145. !II- I)!.
Ij6 (IIt//l) 1'.1Ii,.gr.SlO. fl". jO\". 7Sr
117\"): of: l5'. 4'7. -+ 2J
JOllah: I I'afis.gr.j lo. f. jr
JoPpa: I Paris.gr.SIO. f. Jr
Joseph o( Arimalhaca: 192. 196- 297. !9')
Jos' :l'h "f N:ll:trrth: Stt PariS'Sr. SID. If. ' ,7r
,wd 161r
jos<' ph. patriarch: Q7. 185. '\1\1: IUliho
l'ari'l.\;r.jIO, r. 6\1\"
Joseph. palriarch . hmlh<"rl; of: 1
l'" ri,.gr.slO. f. 69"
70-71, 18!. !D4, !,6
J05hua: Q7, IS!. 146-147 (lUlllso Paris
gr.5Io. If. 116v a ud 4Z4\"): aud Ihc
anl'd: S(( !':His.gr.llo. f. H(,\": "ops Ilw
SUlI and nIOlHl: Sri" (. !!6,'
8j. !48
Jnd,' (ThadJ("w,). dllOSll<,: 4S. ISI-!\}. 251
juliJII Ihe IlO, 226. ! 4-: IN "/JO
1'.tri,.gT.\ ' o. If. r 4" and 40<)"
JIt'lill :!. vir):il1 anJ m.lr! )"r : IS9; "/,,,
l'ari, .gr.j IO, f. ;\!\'
jll'liniJIl I. ,'mpernr : 2<'\
jus. ini an II . emp<'ror; 1.18
K .. i . trios: I II. ! 4 -; I ,dli' I 0. tI 43"
4pr
K.dJ'r<-wuj,\Lix("incr). 1"li: <'. 40\
K.lfl,oni s. 29 '. 29.1. ,00-30!
Kh iud"" 1'.IJlta: J .... J\ h .. s,ow. [ [i""ri,al
/I,1>,,,,,,m. gr.I!')
Ki. linger. Frn,,, 97
K l,-..lon ius: 2-5: S(( {11,o l'aris.gr. SID. ft. ,10\'
anJ jl6r
kol .. !>i"n; 2',11-294. 2',17
K ... lllak"t{ N"i koJim: 9('
K", m.t< InJikopkml cs: 25- 2(,
!2\
Kl e<it'hon: 2Jl-2_11
bhJTllm: 158. ,6,. ,-6
l...a fi)lll ai' I<"' Dm.ognc. j a<.ql,dinc: !8 j. 288
IJml'm uf Adam Jml Ixc: srr I'Mi,.gr.\lo. f.
F"
LI .... john: 1': Ij
law: 15',1. 202. !I!. 407
[.;I1-MOS. [>dillln : 109
rai,ing of: !7-: /U "fJl> bri,.gr.s 10,
r. 196"
1..:I/."u, and Di ... ">. or: Srr
[' ... is.gT.\lo. r. 1'19<
I.dwl Jntl. Karl: 'H
l.t"nwrlt-. 1',1111: 101
l..lnt , litllrgy (or: !64. 2-6
1..<."0 lIi bl,: Vll.r<"!;.):r.1
Lro ] I] . l'mperor: !\. 4J,. t
]..('<1 V. cmperor: SI. 1-2
[ ("0 VI. emp<'mr; \. 130. 11-. 149. 101. !8;.
s""Is" ['.lIi,.gr.jlo. f. Br
I.lOX, pope: II
leprosy: 16 1
l.ife IIf St SIl-phrn thr Younger: su Stephen
Ihe O("Jmn
lif" [gIlJli,,,, Il l(" Ix-amn
Imkx
litera,)':
Ii nt rgkal ho", G rcgory of Na,iao,-".'.
' Iimrgical <,<J ition'
' Iiwrgical M,lj<,stJ;':
lirurgy: 2R2-2H.j . Jor-JO! . JI.I
1",lV'" and ti l hcs. multiplication of: ,""
Paris.gr. jlO, ( t65r
l.o"do". III. Add.19.J'i 1 {Th"ndore l'.,al rn }:
I!). J!9. 1)3
LUl1doll . ilL I\d<l.40. 7Jt (Ilri sIOI P.:dtcr):
(fig. 14 '. I.jR) 14). \13. H!-q!. 11)- .1 16.
\60
Londoll. Il L On ho. !.I . V I (COtlOIl Genesis):
J t 9. Ill. J! J. H4: su Ills" Cotllln
ra mily
Londo". Bri,i sh i\lu",u",. pyx; .: )18
{uro.r. tS8. 161. t64
Louis til<' I'i<lu,. <''''I'''lOr: 47
Lukc. t'\'angdi.\! : \J. 24 S. !}1- !\J. lSS
Mi ch"d: 70
i\kCormick . ," Iic- hacl: 118
Ma((doni:tn dy,,,,,ty: '47. I\I-l)!. 16).
J70-17!. l6t .. !07
M"g,blit\o. 1\", 1: 42. tNS
Maguire. I-knry: 1\9. Ig('
/vlab,i,.". hi'hop: r(",
)I,'bknlunio" llt - 1JI. 2I 4- 1t6
)l,hkbbees. m.!I! yrdom o( 162: ,rr 111m
I"Hi, .gr.) ,o. C q or
)l,bLtla.,. John: 1.\<1
Illan. dUee of: t36- t37
)I,-IJnasses: Jft PJri s.gr.jto. f. 4,\,
)l,1:ttl):(), Cyril: 49. lOt. !J7. I S)
n""ginal p$alwrs: Ire I',alin,. m.trginal.lIld
inJi"idllalm.lIluKr ipts
Mark. !4j. lj l
M.tnh.!: ,rr l',,,is.gr.s to. t: t96v
nunyr.!"", of Is.!iah: See h.ti.th, martyrdom
"f
mart ),rdolll of (he apo,de.: ,rr' "jl(,,(!<-s.
nUrl ),' .!"'" "f
",arr yrd"", of (iI" ,\-1akk .. lxes: iff
,\bkkJlx,s. tl' Jff)'rdom
m .. nyrdom of Zacharias: see Z.ICh,
manyrdom " f
M"r), 2,)". 2')9-\00: ire "fill
Pari"gr.Sto. t96,
Marl'. ofj.tll,ts: 29<)-300
Mar),. Virgin: sa f. f: Jr. \0\'.
1)7'. 16\ r: ry<'s of: 7l- 7.1. 9.' - 95. w".
W15- Z093\0
I1lol,\sacrc " f (he ;nno.x",,; ire l'.!ri ,. gr.sJO. r.
IJ7
r
M.ttthtw. ,",mgdi.< t: H. LI t; Ift'IIIso
1'.!fis.gr.\ lo. f.
I>.-brrhcws. Jan<' Timkm: Ft. J16
Matthias. :l post k': 148
I>.huri n . <,mp",or: t71
I>.hxen(iu . t''''I:><,ror: qR. thl
M.uimos liIe 51. ,, 00
mcdallion ponrait .: Sl. 14'. I,;. 10;.
21')-HO. !85
'\okdi"i . Calhnille I)
Menas. 5.1itlt: J28
M{'rkourim. jrr l'.Iri"I;,. ; to. r 409v
NicllOl .. .: 14,. JO, . 376
mct amorpho\is "fChrist: sa f.
71'
Metanoia: JS6
Mel hod i"" ",ri.,,,n: 1J
Michael II. <I11<'ror:17
Micha..! III. "ml:><'ror: ,,,8. '59. ' 71. 178.
t8". t86. 191. lo t. 157. 16J. 114.41.\
Micha..!. archangel: Set I'ar i,.gl.jto.lf. j!V.
tolJ" Jml 226,
mid- Pcnt<"''''t: 86
!\-l ilan. Antbrmiana E.49/IO inf.: (figs. 48- 5))
9. tJ- t8. 1,,- 16, H- H 36-,8. 41. 43
51- jJ. 71. 74 8" . 99. IOj -r06. 110-11+
140-141. 1,, 4. WI. 108. H6.
IJI - IH. 14). 147. 159. 17\ .
18!. 18j-186. 291. JO) . 3)(,. )(;0 . .. 0<)
Milan. Amhro<iana E.49/jO inL ",inial ur(1;
Imr from: t). 17- 18. Tl ). w8. n6- 117.
140. !j9
MiklU': 116
Milk!. Gabri..!: 96. 1'17
minialure, . cotnpared wi,h fllll-
p.lgt forn,,,I: H. 57. 407-409. ,p,; jU
afso cOll1pdf<d Wilh
margin,,1 psaitn.,
Index
miniJ1Urcs. of: 14. 17. !8<)
Miriam, <LlIlC., of: iU ['ari,.!;LjIO, r. 16.!y
m;.,,;on of! h., aposlies: il'( apos!ks, missioll
of !ht
missionf1l1issionarie_: "14, 217, 14j, 14\,
157. 161-1M, 166, 168, 179
Monol'hysiR'S: 19. 1')<)
1\'[omklllCOll. lkrnardus d.,: i
Mopsucslia:
melhod: IO?
Morq. Charles Rufus: 6" 96. 11j, li6-1' 7
Moscow. Historical MUSCUIll,!;r. [I')
(Kh[udo" I'sa[[n) : (figs, 57. IOj-104,
110, [[8. LU, 115. IJI, 141-14J. lS', 16';)
14-1,,2,), jl-34, 41, \7. 6,), 7J, 161.
167,116,140, "<11, 166. 16,). 279.
1,)J- l,)4, 1')9, JOI. }Ij, j2j. 3!'), 331,
H} J H- jl), J)J, J60, 36,), J71,
375- 376, J7,), 38;- }84, },)5, 4[[, 4[,:
cum paned with Pari s.gr.)lo: 40R-4((
M05l's: J,)3, 1<)6. HS (jrr ,,1m Paris.gr.51O, Ir.
Sly, 7\ r. !16v, !G.!V and 414"): amI rhe
burning bush: irr l'ari5.gr.51O, f. 164V:
Ihe bws: iU PHis.g'.IIO. f. SlV
Mou]]( Alhos. Lav,a cud.8G: 53
MOUn! AIilos. Llvf:l Iilllrgi c:\1 roll 1: 3' 0
Mow([ Alhos. 6 (Homilies):
"H
MOUn! Arhos, 1':lIlwkr:lIor 61 (Panrokraror
Psalt er): (figs. 6,). 101. Ill. llO, lJj,
144- [45, ISH, 164. 17}) 24- 1j, 43, 88- 8,),
lLl. 166, 16<), 300, j!9-330, HJ, }50'
J6<) J76,J7'),JRJ-J8<1,J8,),J,)7
M"ul1I Ad!os, ValOpedi 107 (Homilies):
141
MOUn! Alh"$, Vawpedi 601 (OctJ[l'ueh):
,8"
MoullI Athos. Val"p"di 760 (psalted: (ligs,
7J- 74), 100-104, JH, J6,
Mount Si nai, MOIl;lSfery of S[ Calherinl',
:lpS<: (fig. l!l) J04-J05: croSs:
337: icon of <Crucifixion (B.}l): 1,)J'
or crucifixion (B. so}: 193
MlJllell , Margarel: <I' !
!1luitiplicnion of rhe 10J""s and ,rt
Paris.gr.,)lo, f. 161f
Nalha", Jrt ['Mi,.gr.ll o, f.
Na!lt:uMd: srr l'aris.gqlO. f. 87Y
Nat hanaei, brm her of David: I
nalLlral di"';(c'rs: su PJri,.gr. llO. f. 7Sr
94
Nehuehadnessar: J7'
Nc[,,,n, Jane(: 17
Nnnanja_ SI.:pl1l'n: 177
Nno. ,rnperor: 147-148
New York. Il'Ie(ropolil"" Museum of An.
Fieschi -Morgan rdiqlWY: (fig. 116)
2')4
Nie;Iea II: s.,vcmh
Ninea, K"im(.,;i s Cllllrch: .11, lIS, 161
10J , 11<\, 116
Nicholas l. pope: !14
Nid",bs, saint: 162
Nihphoros 1. emperor: 39-40
Nihphoro" pJaiarch: 18- !'), J6-17. 40. 43.
,15- 43,148,171,217
Nih[as Ihe 4'), 1')9, !)4
Nikodclllo" 1')6-197, "9')
Niney..!" Ja l'aris.gr.SlO. f. 3f
NO:lh's ark: Irf Paris.gr. llo, r. 360r
Nonna: , re R-. 4JY and 412r
Oholellsky, Dimini: WI
OClart>lIch." ' 76, 180, (')8, 20,), JO'). }16- JI7.
J19, 311- J22, Jll- J16. J!8, H0-331.
3H- JJ5, 346, 350: sre abo MOUn! Alhos.
V;ltopcdi 602: Va!.gr.747
Ohrid, [-bgiJ Sophi:l: !56
1\6
Omol1[. I knri: 73, 138, 143. lI8- Z5'), 164,
"91- 2,)J. 3r6. H7. JH 361
original sin: srr fall of Adam and Eve
Oxford, BoJl c;:U1 LihrJr)'. MS Roc 6
(Homilies): (fig. 100) 105
O'.a: 84
paimers: 10-11, 3' , 136, )9')
hiHor;",: 3F, 354- }56, 418. 422
I'Jlt', rint' W7
Palm Sunday. limrgy of: 80. 82
bmokrawf Psalter: j(r ,\1011111 Alhos.
PClllrokr.i!or 61
Indcx
h("alcd.1xforc I'.b.(; !<)4
1);Ir.,lytlc. 'ng or: ! ,lI; 1H "/JIJ I
If. 14 1' .ond J,M
l'H.I,k,"C (Cn"d h iday): iff 1"Hkg"llO. r.
l l1 l r
I',m/ill/Ieis S)"ilumlJl ('1"UIIIA'" i: H. j\ ... ').
t \ol . I(, \
I'., r;,. llihli"l h',],,,' tI, rAflm., 1. Ivl !> I!II
(Ar..: tlJl Bibl..): ,Ib
)\,bl,,,th''<I\1,' .1\1 It". : I,
1''' II''l>r.10 (1'",,11 ... ): Hi):. 1 .. 6)!.! !I. pI.
!.II
.. II("lrJ"nngdion) 6S. IHI- )1I4. 1119.
}9" 1')1. W'
(All,): lI t. 116
i):o'l'd): 19"
1'):111",): (Iig.. 7! . ')6. 1.,0.
1., 9. t61). 100. 10.!. 188. 1')0. H\.
11'}. IH . 1\6. j 6\. ,71. m. 1')7
t. A\": (fi g. I) 1. '1-\. 8. 19. !,l H.
U'I. 1-0-1-1. 18! .. I ..... P" .
.. 1(,
I. IIr: (Ii):. !Il. .. - (,. 8. \9. 'p. 1\1I.
16 t - 16J . ,6 ... ' - 0-' - 1. 1')6 . .. 01-.. 06
.. 08. "'-. ,, 14 . .. 16
I. Iii': lfig. I) 1 ... --6. 8. 19.
1-0-, - 1. J')(' . .. 08. ,, 1-... ! .. .
. p(,
I: Cr; (fi g ... ) 1. 4-\. 8. \9. 111- 117.
' 70 - ' - l. N(,. 4 17. 414,
. p 6
f. C" (fig. \) 1. 4-6. H. j<). Ip. 111I- , 61 .
I-o-'-!. ,-6. 1.%. 188. 190-1,) 1.
196-19-:-. 401-41.406. 408 . .. ,-, 41 ...
4 !6
f. Ir: (fig. (,) 11.91. 98-101 .106. IO') - Itl.
Ij). 161. 186. J6!, rl. H I- jSO. /,)1-191.
40J. 40-;'. 4' - . .j !1-41j. 416
f. \0': (fig. -) 93. 911. tlI. 11$. 14"'.
19 I - JO 1. 1')\ ... 0\ ... 0-:-. 4 10. 4 I -. 4! I.
4
1
-
f. 11": (fig. H) '} I. III - m.lj6, 141- tI7.
1')1- 1,)-. 40 -, 4! 1. 417
f . . n": (/ig. ')) 16. I'). ,)1, 10 8- ,0'). III .
1'9- 111. 131-1.16. !.j4-14/i. ! 4"'. 40!.
40\ 400.410,4'-. 4!.! .. p 7
[S1": (fig. ,0) 16. (;0. 91. Il l- I ll.
'44- '4\, n ' - !!4 . !!6- 127. 2')0, jO\.
309-316. J16. jj2. IJ.j-}j5. jj\- H 7.
' 49 396- .19-, 40\. 4' 7. 4l l . 4l4. 1l7
[ ('-v: (li g. 106. Ill. IU- IlJ '
' 15-136. 1",,-1,1, . 1111- 1114 . 1(,\. 41R.
41+
f. 6<)v: (fig. ' Ol). Ill _ II !. ' 73- ' 79, ' 9<).
216. 30l). 31('-3111 . 114- jl\. )9/i .
401- 404' 4, 8. 4 ! 1, ..
r. ",,,.: (fig. 13) 1(';..1-.\9. ,}II. 11j- 11" . f18.
'44- 14\. !4-. . .. 0(>-40-. 4 111.
4!l 4!of. 4 18
f. - Sr. (lig. q ) 106. III, 26 .. . 10 1- 107. I,),.
4 111.411 . p lt
f. (fi g. 'j) '-, 61. <)8.10<). " ,, U4- U 7.
144-141,404. 407. 41l1. 414. 41')
r. 8-,, : (fi g. J6) 61. III . 117- 13" Q4- 1.! /i,
176.101. 116. 380-186, 1<) 1- \91. ,. , 0 .
4 ,R. 41'-41'1. 4 1')
f. 10 4r: (fig. '7) 6r . ')iI . 10- 10'). II I. 1I0.
116. ' 37-' 4" ' 44-1 4\. !!7. 40!.
40j-4oli. 4 IR. 4!4. 'I!')
f. 11-" r8) u. 61-":, 1. 10':'-108. Ill.
w 4-!O\. 194-1<)6. 40 1- 406. 4111.
4!!- 4! 1., 10
f. 14 1": ''.I) - 1-79 . J8. 10<)- 110. I!J.
j52- 356. 160. J6\. 194 ,40(,.4'0. 41 ,.
.pS, 4!l- 411. 43)
f. 149r: Iti): . 20) IjJ - IJt , I I.j.!, "16 .
100.1')4. 407, 4'R. 4 12 1!4. 4H
f. 16,r: (fig. II) 12. 8j- 9!. 106. III.
j ') 4 I'}\. "04 . 418. 411-4 2). 4 1!
r. ,- or: (iig.!I) Ill. 162- 16\. !""'I. 316.
III6--j9j . 1')4 19\. "O! 401 ... 06.
4 ,11- -1'9. ,,11- 41 I. 4 l!
f. '-4": (fig. 2J) 1(;...' -. loR. 110. 16,.
. 86- 19 ' , ! 0 7- 1I0. 2,)0. 10'), JIS- H' .
jj.J- IJ'. II!. j60. ,-I. $')(,. 40j.
4'9 ... !, 411.411
f. 1')6\': (fi g, 14) 7?-lIj. 110, !r, I'}\ 1')\ .
,,0!- 40':'. 4' 9. 4!t. 4; 1
f. !I \ " : aig. 1\) 108. 11 0. 161-170. !l'.
I)!. ;\/i. J')\. 401. 40(,. 41'). Ill- ,,!j.
m
I ndn
f 12(,1': (fib' !6) Ill. 193- 198. 19'). 1,)0.
JH. 3-19. H7, 146- 147. 149. 44. 410,
419. -III. -I 1.j
r. H9r: (fig. 17) 110. 131- IH. 1)1 IH- I-I\ .
16-1. 419. -114. -I}I
f. 16-1": (fig. 18) 217-211 . 190--!91. HI.
149 H7- H' jS!. 356- 360. 395. -1 4.
410. P9. ,PI- 413 4\6
f. (Ii):. 19. ')8. III, 13-1. 14-\. 146.
16+ Wi- w7. 184-186. JH. 405, .,07,
419. -11-1 .. 136
r. 301r: (lig. 30) IS. 61, 10(" 111.
239-143. !6z. '95. 41 9. -II}. 437
f. HO\,: (fi g. Jil III . 270-273. 175. 394- 395.
397.419. 4H- -I1J. -1;17
f. J 16,: (fig. 31) 273-279. 391. _,06. 419.
-I!I-4!J. 1)7
f. 3161': (fig. 47) 4-1' 111. ll J
f. H21': (fig. JJ) 108. 141-144 . 1.1-1- 141. 187.
401. _, 01, P9. 414. 4J8
f. Hor: (Ii):. 34) U-H. II I . 11-1. 1<; 7-160.
J66. 396. 40j, 419. _, 14 . 1)8
f. Hi\': (fig. 35) 93-95. 108. 179- 184. 199,
260--26 1, 349- ;S1. \6\. 4 -1. -I'9--Iw.
-Il!. -I!of. -I JI!
f. HI" (fig. ,6) 98. 106, III. 210- 217, HI.
.go . . p.,. 4)9
f. 360': (fig, 37) 71-iJ. 104. 309. 3J2- H4,
JJ5 . .\96 . ,w .. pl. 439
r. J(,71'; (fig. II. ,8, 93. H)-H7 . po.
-I !.j. -IJ9
f. 37+1': (fi g. 39) 17-18, 93, H 7- I)!, 410.
-1
1
+ -119
r. 4091': (fig. -10) 17- 18, IH. 16j. 2,1 .
232- 23; . H 6, 40). 4 w, 42+ 4-\0
f. 41-11'; (fi g. 41) 10;-107. 13+. IH. 1-16.
335. 343- 349 .go. -1 21. 41-1.
.141
f. 4l6\': (fig. 41) 106. III, 128, 243- 245 ,
157, 161,47, 410. 42J, 4-\1
f. 4,51': (fig. 4.1) 11. 95. 106- 107. )65,
366- P5. 397. 410. 413. 410, 4l!.
'"
r. 4JH\': (fig. H) ')8. 107- 108, '4.
286- 288.191, ,6\, .po, 410. 4H.
W
f. H or: (fig. -Ij ) 100. Ill. 147. 163- 169.
1jj. 13\. !9C>-191. H6. )96. 40J.
-15- -100. 410,-114.4-11
f. -1\1" (fig, 46) no. 113. 131- 137. 1+1- 1-15.
167.41.4\- 46,-110.414.441
l'ari, ,):,.jIO, .lr .. hil ,nur,,1 p."uli.lrilil'S " f;
IH7-ISS. H 7. 187: amlic'JK,' f"r: ':00,
,100 .. ]1 1- 414: rudicology, 1-4.
9- 1!: compared wirh
J l. 57. 71. 179-1Ho. 408-411
miniJIllfl"S. lUaq::il1.lL COll1l'arc:d wi(h
rllll . pagc furma l): (Olllll;lf('d wi,h
Ilistnri call\'lusnul1 119
(Kh ludo\" 1'>,,1 In): 408- 411'
cumposilion: .:. ('4-(,j. 79.
9K- 107. 1)f;-137. 1(,4-16,. HJ- 2l 4.
':JJ-l)4. 14.1. 171- 27) .. 101- .\01 . .10].
.!19, 3ll. l.!6-J!7 Q7. 41\:
COmpo,ilion. 106- 107;
dal,: )-7: cil'ri,iun 10 illll'ILlI C: '0--11.
110. 41-1: frMlles: gcuder ],abucc in:
164. H'i9 !il. 17,. 40)- 404. 406 ( Sf(
,,1m illll'onall({' of ",,,men in);
I, -I, 8. 9S. 401; hi'loriGI
IllinicHlln:S; 215-1J6: of
m.ln",crip" 11- 1.1:
10.98.284, 41j: import;""' "f(Jmil),
i" , 69-70. 170. 404- -I0g. 4 !O;
imponance of wom,'11 in: 69. 40,-406
($(( balann' in): inil;"k I, 4.
7- 8,61-61. 73- 7-1.9-1. 98- 99. 101, 117.
119. 13M. 140, 187. 194. 108. 211. 2.,0,
.:6;,175,284-185.30.1. 401.411. -11 4:
inMCfil'Iinn5 in m;nialures: 61. 19.1,
190--291.409- 410,413: ins-'ned
miniatures; 9J--;lj; l11"'g;n,,1 sign.: 1.4,
,6. 4'4: minialurisl s (a, group): 8. 10,
98,110, Jl8, H+ H9. 3?8. 411- 416:
ob%i in : 62. 63. 74.105, 11J. 1':J- !!4:
10 o'hcr
""",,,,criplS: 13-18: 7, 10, 98.
118. .nip!: I. 3- + 7, 414: 5I,' rmons
wil h 01l1 III i 11 iaru res: I I-II: 'Iyll' 95- 1 IS.
3J.!. 346- 147. 349 sl)'I<".
descripI iOIl: loH-" 0: I}"p'-" of MTIl,S
Hiu'<l fOIICtl: 5')-60
I'Hi,',gr. jU (fig.79) JJO
(Sllml/I",dfdllj: (figs. \8-60. 6+
8&.91)--<)'.94. '-5-106. lI J-Jl4. '2J.
'51-IH. 160, 17Z) Ii. 14- 25 . .13- 34.
4I-43. ,I-57. 75-78. '00. 107.
116. 118. IW, q o. 17S, 177,
180-182 , 188, 196. H6, 1\1-2\3.
27J. I76-277. 182, z1<9, 3' 0. j E,
.\ z6. IJI. HI. HO, Jp. jJ.l . 316- 3)7.
.6G-J61, 36j, J71. J8\. 387. 389. 39!.
39+ J99 409 4'5
I'a ris.gr.1 108 (Kokkinoh,phos
(figs. 114, 116. 147) JJO. JIJ. J16. Jjo.
m
Pari., . nOllv.ae'l Ja!.1 H j: III
p,,,i s''''I'1'l. gr.6,o (1'.,,,I1<'r): (fig. 1\ 7) J69. :1 71
Parrr. KennClh: 11. H
Chronicle: 2:14
Passover: 84
l'atlag<'an, E\TlYlle: 407
I'Jtntos. /I.lon:1SIery OrSt John, cod. t71 U"h):
16. 33. J61-3M
1':".1. saint: 40. wS. 2,,0. Z41, 14,. III.
JU, of 148. 417. 41.\ : conwrs"n of:
"'r Paris.gr. j lo. f. 164V
I'aulicia"" l i7. 110
pen ilenn' of D:wid: ,rr Po ri.',gr. \ 10. f. 1-f 3V
ur PHi.,.gr.lJO, f. JOlr
for;
l'ersiJII'crsians: !JI-!J3. 13). 14 5
per,onifica tiol1<: ,r( l'arij.gr,jlo. f. 264"
Pcrcr. apostle: !t6, 2.!0. 141. 14\ . 147- 248.
2 iI. 26.!; ser ills/) Parh.gr. \ 10. If. 7\ r .1l1d

Iber Itlbbir: 411
jrr r.uiS.gr.jlO. f. 69Y
171, 27(" jS4
I'hildruhrol'Y: 119-110
I'hilarelOs. Life of: ' 7r
Philip. ap""L 245. 115
Phili'lin!.:s: ISO, 18.!
Philo: 17(,- 177 . .Il l
l'hokas. eml ..... r",: 29
PhOlios. patriarch: ZO- II, 2.1. 26. 18 . .II.
J-I-jS . .19-,1. 4J, 4), 48- 4>1. 12. 6+ 70.
72-71. H1-H.l.IUi, 99. 117. 119. 1.U.
1\3. 161. 196- 197. 199-207,
10,)-110. III-I.!I. l1j -!!'. 119-1JO,
1H-1jH. 1)9. 241, 157. 160. 162,
16)- 166. I7j. 27) 2>1!. 197.
307, .!00-401, 41G-41): Amphifm'h;1l,
7'). &2. 101-20J. W9, 11+ lIS. llj- 21+
1(,),17): BibiiOlhrke: 70-71 . '4;1-144.
178, 202-lOJ. 1.14, 1.16-2;7. IF;
of: 1')9. Ei"lglIgr:
1\8- 159, 19.1. 201:
MYIIII.I!,O,,(;,r;
194: of: 41 7, .!!3
Pinkus. Debra: !4S
I'isa. I'ieve di 55. Moria.: Giovanni.
Vicopis:"", rdi'lIlMY cr<"" 194
1'"lcm icc ,tf' .1I11i lslamic polemic. anri
polemic
polem ie. "i sll.,I: 2),), 410; sa 1I1so all! i.Jewi sh
.
'magny
I'oliphlf: iff l'aris.gr,IIO. f. 6')v
I'oriphar's wife: rrr I'.,ris,gr.jlo. f.
Porler. 41l
(dmwl1ry): ISS
presetlladon in Ihc rem pie; 'u l'ar;".gr. llo. .
137r
srr iconogntphy:
proph!.:ric: and individual prophels
prQlIlirkrni,: 101
l'rOlevangdion: 6J. 66-68. J76. )96.
417-4IH. -124
psahers. ari.r",:ratic: 369. 374
I'"irns, marginal: 16. Jl, ,8. 41. \ 7. 88-H9.
100.116.143.14\. Hio. 164. !J,)- !80,
IHR. Fl. J!7-\J0. JJ.I. JJ7 339 Hl.
JjJ-J\4. 37\- J71. J9' - J9\ J99: Sf( ,'UQ
(I.'lus..-,,"" Hi.\lOrical MU.lClIlll . gr.119;
LOlldOl] Ill. Add.19. HZ; wndun BL
Add .. IO. 7JI: j\ lollll! Alhos.
6J: I'Jri,.gr,lo
l\e"do. Alllph ilochin.,. Life' "fB"sil: 17. 140.
!J.I. 420. 424
l'S<'lId".Diony.ios Ihe l\r<'Op:lgi]c: Jrr
Dioll),.l im the t\reol'''gitc
I'seud,, NoIlIlOS: + 1.\7-lj8. !I7
Indn
ItJbLulh: 314
1\-1ll&<.'0 An;:ivc;sc<)\'ik Mnil11iallu>
3!1 , 3!3, PI
S. NIIOVO: 276, 181
I .. ,J Sea. cTO,sing of: R3: ,Nt/fm Pni,.g<.)IO,
f.164"
rC:5l1rr("Cliun: IM7, '9'. 300-\01
I"iddl". M,ug:.rcI, 176
Ridolfi, Nichoh" cardin,,!: Il-IJ
ring." wedding;: 150
rod of nl
Roman"" hymnographn: 80, H,. <)0. 161 ,
178, z6\. l66, Z75
Home; 16,. 4Z: ArJ l'a"i." 8J; Arch "fth,'
Argentarii: IJI; Aula Leonina: 1.j 5'
Ca>1tllrll S. (m:tLlSlllcumllf
J-bdri,IIl): I.jR: Lat in.l:
20<), )18, \\1: catacomb" 86; ""Iilvian
1)3, 233 (1I'I'II/sO I'aris.gqlo. f.
Hor); 1' . 1,17.7.0 . ('a,hl: (fig" 8'1,
<)3,91) IS<), 169, 18i-IS6, 18S, 190- 191,
316, ,6o: S. Clcmcme: 12-1: 51:, / ... bri a
ArniqllJ: (figs. 61. 117, 'F. 16!-16Jl
6-1-6,.68, 116--117, 110, 1\<), 31 7. 313,
)15.317, JH, 376, 378. 396: 51a 1\1:1,;"
Ma!;:iore: 193-1<).j , 1<)8, H6; S. I'aolo
fllori Ie m\l1;1, doors: (fig.". 107- 108) 151,
1\5- 2\6,397; S. Saba monaSlery: (fig.
'76) 176, J9J: ,emplc "fl' "nu"" Virili"
Il.j, qo, Zj.j
Rossano, OioC('San (GOSpcl.I): (fig"
6" (1) 75, 80-81, 176
Rus,ia/Russians, 139
5ahbath miracle" 271, L]I, J87
5ah.;l1ios: 111, 111
Ire f. Hor
5am.<o": I,q, 1<)9: unlfw l'aris.gr.slO, f. H7v
Samud: ,S6-lg8. 190
SJl1.\lerrc, JeJn-M,,,ie: '19
IH, l-l5
Sarcpla. widow al: t79
Sasim;l: 174, JOJ; sualso I'Jr;S.gf.\IO, f. 67"
of St La'l';]ru.: Ho
Saul, wnw"i"" of: IU l'dti s.[:r,\lo. f. l6+v
Saul. king:
1.j8. IH. 1\6
Se'w nd Comi"g nfChri>!: ,07
Sm.', Cuhedr:!! TtcJ.lttry, i"ury (figs.
IlS) 176-178. H8-, l,}, jl1,
S,'pruagint: 17'}, 1<)8,119. 187, 311 , 371
.ll .1
&,cenko. Iho,: 109
Shurr. Dormh}': 6R-6'}
sight, i"'purtance of: 18. -1 8-49. II-S!
Siglll/irill io in I; ,ee ,,/m
1'",i, .g1.\l o, f.
Simun, "1",,,tlC: 2.j\, 2)3
Simon ,\-bgus: 116
SI:!\'s: 16')
S .. philusopher: !II
h; Slmi:lIl: 11\ , l!')-130, 131
Sol"mn,,: 17R, !/1j-!88
Sul"",,,n, jlldglll<'ni of; IN l'aris.gr. \l o, f.
ll,,'
Sopll.lr, killg:
Sop .. ' al1;: 177
S"ZUn1l"ll. hi5!Ori:HI: 21,-H/i, 11')-1j l, IB,
'" Sp;uhar.Jkis, I .. annes: 6
51 i'elersburg II (lectionary): 1'.19
5lq,lwn. lIS
SI"phc'n the Dracon. Li fe of 51 the
VOllllger: 19. H!. !t6
Srephc" tI", Youngn, ""ill!. Ufe of: jee
Sl cpllcn Ihe De.leo"
5lralOdes:
51ffln.;, Pietro: 13
Sunday of Ihe S,111>;,,;la" woma,,: 168
suppe' ,he home ,,{5imull: Uf
f. !96v
Sychem: 31(,
5yme"" Magi>1"'s (I's('udo-) : -19. 118. 199
Sy"odikoll ufOnho<loxy: 3'
5JIIOdikoll Vetlli',45
SyracuS('; !37
Syria/Syrians: ! .j 5
TarJsios. brolher nr I'hmj" s: 1O!
Ttrasios. p:uriaKh: WI , ! 57, !6o-26!. J96
Index
"I'",,,i,,,. of: >'ef 1l;Il-ttios 11ll'
of' l:tr.lsios
'i:1"i" 100
Thili.,i. Cmrgi,,, , Slate Art Mmcum,
i\tm"ili t riplych; "9
I(oH.: H-!l
"fehri>!: fee Paris.l;r.Slo. f. 16)T
1<'1 (i :l): 90, l7J. r 6: iff "/$0
Flortllct. Lallr.pllll .6,l3:
1<' I"""O<l'h: 111
lexlib wilh fronl life uf
! I
Theml"rJ. ""Iprn>. ",if<' ufThtuphilu>:
101
Th,odor ... . lIld Theol'h:",e, Crdl){(}i: 0101
T!",o.!"re " f S"""!i,,,, : ... j') iJ. o!H. ql.
1+1.1\,. l)9 .. IJ
Theodorel. hi<lnri.lIl : 1>'). 111, lJ\
I. 1<) .,. !II; SU III,,,
l'ari'p.5IO. f. l39r
T hcol'h.l!1t, uf e'C'."'!:l: I (, I
ThL>(J l'h:lllo. wi fe of L<'tl VI: 6
thwphan)': Ut "ili01l> uf divinilY
TI",0I'hilo5. .. 7 . , 02
Thoma.,. apmdc: 1 .. 5. ! 51: act, of: Z\5 4' -'
4lJ; of: 86
Ih,,'" Hd>rt "" i n Ihe f"",.K(" Ja
f. .. !Iv
1'ib,riu,. empn"" IH
' !1g, is: !lj
lo nl b oiCh,i,,, tr. ,0" Jnd
!8j r
IOrl"re. of: lj8-t(,0
Iradition: ... j l , 37- .. , ... 01
IT:l n.,figllr'lUl" of Christ: Jet Pui ' ,gr.51O, f.
'I '
[rn' uflik 15J. 30): JrI' "IHI I'.lTis.gr.\IO. r
cro", uf sre t'J,i s.):,.j !a. f.
"",or
[)' pikuI! of Church (I bgi J
H. 80. Sz. l .p . 1\1. 169. !O').
qo. 15). Z19. 1-6
,'mpcror: l!)' sa iI/m l'Jri s,gr.\lo. f.
10,! r
V.II.b:llh.gr.17Z (Ihrhai ni 1'", lt N):
V'II.gLJlJ (Kinl>-'): 18H. 16,.35+ ,61
Vat.gr,39, ( Klilll<lx): JIO. J3 1, P 4
r Christian <ligs.
7\- 77. 13K ISO. 1\6) 1 .. - 16. 31 H.36.
.. I- H. 5- . 100. 11;1. 116. Z10 . !SI.
z8,). \ 11. \\1.137, 1(,0 .
199
VJI .gr.7.;(, (OclJlnKh): 101. I!') ,
!H-lll l 10,).121, n o
V'II .gr. 7 .. 7 (Iig. 91) 116.
,!1.1J4
V,H.g,./49 O"h):I(,-\7, .It'il
VJ Lg'-7\ \ (propll<'lhHOk): 161. ,6j
Val.gr,lr6l (Kukkinuba phos Homiti,,): 11 0 .
J I,. ,16. J\O
Val.gr.l 2')1 (p101"",y): 118
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Wa:Jgcn. 96
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Wharton. AnnJbcl: 97
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