Monuments of a Syncretic Society Wall Painting in the Latin Lordship of Athens, Greece (1204 – 1311)

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Monuments of a Syncretic Society Wall Painting in the Latin Lordship of Athens, Greece (1204 – 1311) ABSTRACT Title of Dissertation: MONUMENTS OF A SYNCRETIC SOCIETY WALL PAINTING IN THE LATIN LORDSHIP OF ATHENS, GREECE (1204 – 1311) Monika Hirschbichler, Doctor of Philosophy, 2005 Dissertation directed by: Professor Sharon Gerstel Department of Art History and Archaeology University of Maryland This dissertation focuses on wall painting in the thirteenth-century lordship of Athens, an area roughly corresponding to modern-day Attica, Boeotia and the Argolid in southern Greece. The lordship was established as part of the Latin Principality of Morea in 1205 when, in the aftermath of the Fourth Crusade, Frankish forces moved outward from the fallen city of Constantinople to conquer former Byzantine lands. More than twenty monuments painted in the region during the thirteenth- and the first decade of the fourteenth century still preserve all or part of their original decoration. Notwithstanding the informative potential of such an extensive body of evidence, there has been no systematic investigation of the decorative programs in light of the particular socio-cultural conditions of Latin Greece. The present study is intended to fill this gap and begins by outlining the scope of artistic production in the lordship in the years between 1204 and 1311. Addressing Greek- and Latin-sponsored religious and secular programs, the murals are examined in the context of their multicultural setting. Particular attention is given to social, religious and political ideas as well as to artistic practices that found their way into the art of the period as a result of the socio-cultural environment created by the historical circumstances. Highlighting issues such as Church union, liturgical practice and cultural identity as they are reflected in the paintings, the study attempts to add clarity to the modes of cultural interaction in Frankish Greece. Thus evaluated, the murals disclose a striking range of opinions and responses. They bring to light religious boundaries and reveal attempts at cultural and political re-definition, but they also display points of convergence and mutual recognition. Combined, the painted programs in the Latin lordship of Athens are physical testimonies of a syncretic society whose multicultural factions lived, if not in a state of completely peaceful agreement, at least in a state of pragmatic tolerance. MONUMENTS OF A SYNCRETIC SOCIETY WALL PAINTING IN THE LATIN LORDSHIP OF ATHENS, GREECE (1204-1311) by Monika Hirschbichler Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2005 Advisory Committee: Professor Sharon Gerstel, Chair Professor Meredith Gill Professor George Majeska Professor Steven Mansbach Professor Sally Promey Professor Daniel Weiss ©Copyright by Monika Hirschbichler 2005 Für Mama und Papa ii ACKNOWLEDGEMENTS With much gratitude do I wish to acknowledge the various institutions, teachers, colleagues and friends who have bestowed their invaluable and kind support towards the completion of this dissertation. This study was conducted under the auspices of the University of Maryland and a number of employers who were remarkably sympathetic to my propensity to take time off from work for my studies. My research could not have been successful had it not been for the scholarly resources made available by the Research Collection and Library at Dumbarton Oaks in Washington, D.C. and the helpfulness of its staff. Fieldwork was conducted with the support of Aimilia Bakourou, Director of the Fifth Ephoreia of Byzantine Antiquities in Sparta, who granted permission for me to visit and to photograph the monuments in her charge. I also want to thank Professor Sophia Kalopissi-Verti for her interest in my work, her kindness and her insightful comments. Innumerable thanks are due to my teachers who have educated me to ask questions and to the members of my committee, Professors Meredith Gill, George Majeska, Steven Mansbach and Sally Promey, whose suggestions and observations shall assist me greatly in my future work. I extend my particular thanks to Professor Daniel Weiss, whose unwavering support of my work provided encouragement when my own resolve was faltering. Most importantly, I am deeply appreciative of the knowledge passed on to me by my advisor, travel companion and ally, Professor Sharon Gerstel, who introduced me iii to the intricacies of Byzantine wall painting and guided me with equal fervor through the steep mountains of Greece, the scorching coastlines of the Mani, the armed borders of the Former Yugoslav Republic of Macedonia and the not inconsiderable perils of academia. Amongst the many colleagues who share my enthusiasm for archaeology and the history of art, I want to express my particular appreciation to Kostis Korelis and Heather Grossman, who provided me with copies of their dissertations, and to Rossitza Roussanova, whose intellect and benevolent loyalty continues to be an inspiration to me. Heartfelt thanks also go out to those friends who were always ready to encourage when it was needed most and to my family who so unconditionally believes in my abilities. I am eternally grateful to Pedro for instilling in me the confidence to embark on this endeavor. Quite beyond expression is my gratitude towards Martin, whose steadfast devotion gave me the strength to finish what I had started. iv TABLE OF CONTENTS ACKNOWLEDGEMENTS .......................................................................................... iii TABLE OF CONTENTS................................................................................................v DISCLAIMER ............................................................................................................... vii LIST OF ILLUSTRATIONS ........................................................................................... viii LIST OF ABBREVIATIONS ......................................................................................... xvii INTRODUCTION............................................................................................................1 THE LORDSHIP OF ATHENS: HISTORICAL OVERVIEW ............................4 Approach.......................................................................................................................11 Theoretical Model.........................................................................................................18 Definitions .....................................................................................................................20 Latins and Franks.......................................................................................................21 Crusader.....................................................................................................................22 Settlers ........................................................................................................................26 ARTISTIC ACTIVITY IN THE LORDSHIP OF ATHENS: A SUMMARY 30 The Sources ...................................................................................................................32 Geographic Distribution of the Monuments ..............................................................41 The Patrons ...................................................................................................................52 Greek patrons .............................................................................................................53 Latin patrons ..............................................................................................................54 Overview........................................................................................................................56 PAINTED DECLARATIONS OF ORTHODOXY................................................59 Obedient Union?...........................................................................................................60 Representations of the apostles Peter and Paul.........................................................62 Michael Choniates: Saint of conflict? ........................................................................70 On the Proper Form of Sacrifice.................................................................................76 The melismos ..............................................................................................................77 Apostolic communion .................................................................................................83 The Latin Church in the Lordship of Athens: “concerning the truth of the business”........................................................................................................................88 Conflict and Conformity..............................................................................................98 COLORFUL IDENTITIES ........................................................................................100 Wearing the Conqueror’s Clothes: Soldiers in Greek Churches...........................101 v Helmets, coifs and chausses .....................................................................................102 Shields and heraldry.................................................................................................106 Impartial soldiers .....................................................................................................116 St. George: Protector of East and West ...................................................................120
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