Ars Judaica 2009 7 Madaba: le Madaba: le 15 (1933): 15 (1933): The first AB 4 Ravenna: Art and (Kampen, 1992). (Kampen, 1992). Une nouvelle province de l’art byzantin: ; see Sirarpie Der Nersessian, “The Date , 6 vols. (Paris, 1925–42), 3, pl. 185(4). 5 tempietto “Etschmiadzin Gospel Book” (Monastery of “Etschmiadzin Gospel Book” (Monastery of

(Milan, 1989), 76–95, esp. 86–87, 92; Herbert Donner, (Milan, 1989), 76–95, esp. 86–87, 92; Herbert Donner, (Ravenna, 1999), 26–27, fig. 12. In the Madaba mosaic pavement (Ravenna, 1999), 26–27, fig. 12. In the Madaba mosaic And thou, son of man, take thee a brick, and thou And thou, son of man, take thee a brick, portray on it shalt set it before thy face, and shalt besiege [even] Jerusalem. And thou shalt the city, up a mound it, and build works against it, and throw it, and set round about it, and pitch camps against up engines round about. 1975), 33. A similar formula recurs in the apse mosaic of the sixth- 1975), 33. A similar formula recurs in the apse see Giuseppe Bovini, in Ravenna; century San Vitale les églises rupestres de Cappadoce History map in the Church of John, dated to the first half of the sixth century, Jerusalem is represented as a cluster of buildings and churches, the major church being the Holy Sepulchre; see Michele Piccirillo, 327–73, esp. 333, fig. 4. Jerusalem personified seldom appears in monu- mental, post-iconoclastic Byzantine art. One of the rarest examples is the female figure identified as the personification of Jerusalem on the fresco Child (upper register of the vault, Aisle E) and Christ with the Virgin in Chapel II of the Belli Kilise (Cappadocia) from the tenth century or later; see Guillaume de Jerphanion, chiese e i mosaici The Mosaic Map of Madaba: An Introductory Guide This visual tradition also appears in Armenian illustrated manuscripts, for example, in the Etschmiadzin, Lib. 229, 989, fol. 48v), where the personification of Zion is morphed into a small of the Initial Miniatures of the Etchmiadzin Gospel,” the heart of Jerusalem; comfort her, for her humiliation is for her humiliation comfort her, the heart of Jerusalem; sin is put way” (Isa. 40:1–2). accomplished, her This visionary image of Jerusalem/Zion, usually combining This visionary image of Jerusalem/Zion, figure, appears in a a basilical structure and a human Psalters with considerable number in middle Byzantine marginal illustrations. hint of New Jerusalem associated with a structure is foundhint of New Jerusalem of a visionary city: in Ezekiel 4:1–2, where it takes the form , ed. (New (New Mati Meyer Zion 2 (Wiesbaden, (Wiesbaden, The Septuagint The Septuagint In the Wake of the Goddesses: of the Goddesses: In the Wake , ed. Lancelot L. C. Brenton, 9th ed. , ed. Lancelot L. C. Brenton, 9th ed. Isaiah makes a striking parallel 3 The Mosaics of Rome: From the Third to the The Mosaics of Rome: From the Third to the (London, 1967), 78, 75 (color figure); Beat Brenk, and came to be associated with eschatological with eschatological and came to be associated 1

Illustrations: Between Eschatological Hopes and Realia Hopes Illustrations: Eschatological Between

Fourteenth Centuries Die frühchristlichen Mosaiken in S. Maria Maggiore zu Rom York, 1992), 144–52, where she discusses the reason Zion is evoked as a York, female figure in these sources. appears in the mosaic of the triumphal arch in the church of S. Maria identified by the inscription Maggiore, dated to 432–40, where the city, HIERUSALEM, is represented as a pearl- and gem-studded edifice; see Fraser Oakeshott, Walter with Apocrypha: Greek and English in idem, “Zion, the Beloved Woman,” of Pagan Myth Biblical Transformation Culture, and the Women, (Peabody, MA, 2001). (Peabody, Arnulf Kuschke (Tübingen, 1961), 235–52. Norman W. Porteous, “Jerusalem-Zion: The Growth of a Symbol,” in Porteous, “Jerusalem-Zion: The Growth of a Symbol,” in Norman W. und Heimkehr: Beiträge zur Geschichte und Theologie Israels im Verbannung Rudolph zum 70. Geburtstage Wilhelm Chr.: 6. und 5. Jahrhundert v. Porteous, “Jerusalem-Zion,” 244. Unless stated otherwise, all biblical citations are from

expectations. The city, which was given the name “New which was given the name “New expectations. The city, of the universal Jerusalem,” became primarily the symbol Kingdom of God.city that God It was in this chose to as it is Davidic dynasty, throne and the establish David’s “The Lord sware in written in Psalm 131 (132):11, 13: bodytruth to David […]. Of the fruit of thy will I set [a has elected Sion,king] upon thy throne […]. For the Lord himself […].” he has chosen her for a habitation for between the chosen people and Jerusalem: “Comfort ye, “Comfort ye, between the chosen people and Jerusalem: comfort ye my people, saith God. Speak, ye priests, to came to be associated with God’s chosen people, since in chosen people, since in came to be associated with God’s the corporate some sources (e.g., Lam. 1–2) it represents personality of the people. 3 2 1

The names “Jerusalem,” “the lofty city to which one goes “the lofty city to which one goes The names “Jerusalem,” in of Zion” are interchangeable up,” and “the Mount the Bible The Personification of Zion in Byzantine Psalters with Marginal with Marginal Psalters in Byzantine of Zion The Personification 5 5 The first-known image of the city of Jerusalem in early Christian art 4 Frymer-Kensky, On the perception of Zion in Jewish sources, see Tikva Mati Meyer 8 Ars Judaica 2009 Onthe inventionofmarginalillustrationsinthePsalters,develop- 9 ForafulllistofthesePsaltersseeSuzyDufrenne, 8 ninth-century theologians,seeCorrigan, ment ofmarginalcommentary( Byzantine. texte de 15psautiersmarginauxmédiévauxàillustrationsintégralesissuesdu what iscommonlyknownasal-Haramal-Sharif. the areaofoldTemple thatwastransformedbytheMuslimsinto Byzantine Psaltersasevokingarealcounterpartand,morespecifically, assumption, hasproposedtoseesomeofthearchitecturalelementsin (1983): 261–65,wherethisscholarofIslam,inthewakehisfather’s Grabar, “ANoteontheChludoffPsalter,” Psalters withmarginalillustrations.SeealsotheshortdiscussionbyOleg Golgotha –withsomeofthearchitecturaldepictionsinpost-iconoclastic Nativity, theHolySepulchre,andChurchofCrossat of JerusalemandBethlehem–theChurchZion, 15 (1965):61–82,wheretheauthoridentifieswell-knownsanctuaries onwards; sacred buildingsintheHolyLandfromearlyChristianity ofactualdiscussed foritsvalueinrepresentingmodels TheonlysomewhatsatisfactorystudytodateisthatofAndréGrabar, 7 ChristopherWalter, “ChristologicalThemesintheByzantineMarginal 6 Zion. centuries; onlyfiveofthemportraythepersonification surviving manuscriptsdatingfromtheninthtotwelfth middle Byzantineillustratedmanuscripts. and theGloria. of theOdes(sacredpoemstakenfromvarioussources), and theircorresponding still-influential adversaries. an attempttostrengthentheirpositioninthefaceof iconoclasticcontroversy(726–843),in sometimes bloody iconoclasts stillactiveinConstantinople,followingthe overthe iconodules between thetriumphantOrthodox that itservedasatacticalployinthepolemicbattle merited little,ifany, attention;itisgenerallyassumed expression oftheology, liturgy, andpoliticalpowerhave “Quelques notessurlespsautiersillustrésbyzantinsduXIesiècle,” Art, UniversityofLondon,2002),212–21. Meaning andTheirSources”(Ph.D.dissertation,CourtauldInstituteof Illustration oftheNinth-CenturyByzantineMarginalPsalters:Layers (Cambridge, 1992),10,n.10;98,figs.99–100;MariaEvangelatou,“The Kathleen Corrigan, Psalters fromtheNinthtoEleventhCentury,” The Psaltersdiscussedbelowarepartofthirteen The variousaspectsofthisrepresentationasan (Paris, 1978).Two ofthePsaltersareinLatinand,therefore,not 8 All codices containthe151PsalmsofSeptuagint Allcodices 7 noneofthisisunfamiliartoarthistorians 9 ThreeofthesefivePsaltersarerelevant Visual PolemicsintheNinth-CenturyByzantinePsalters catenae catenae 6 Theimagehasalsobeen ), andtheintellectualpatternsof , allhavefourteenorless Visual Polemics Harvard UkrainianStudies Tableaux synoptiques REB , 104–11. 44 (1986):274; CA 8

have influencedthepost-iconoclasticPsalter. established beforetheninthcenturyandthereforemay iconography ofthethreeninth-centuryPsalterswaswell and theParisinus,gr. 20. artistic styletotwoadditionalPsalters–thePantokrator through itscomposition,narrativeillustrations,and church ofHagiaSophiainConstantinople,andisrelated is arrangedantiphonally, tofollowtheliturgyusedin iconoclastic controversy(815–42). probably compiledduringthelaterstageofsecond of theByzantinePsalterwithmarginalilluminations, is oneoftheoldestmanuscriptsreflectingrecension Constantinople inthesecondhalfofninthcentury, inMuseum, Hlud.D129),mostprobablyproduced to ourdiscussionandrequireonlyabriefsummary: community inthesecondhalfofninthcentury. as spokesmanoftheConstantinopolitanOrthodox 877–86), adevoutandcultivatedscholarwhoserved is looselyrelatedtothepatriarchPhotios(858–67and 3 TheargumentforanearlierdatetheByzantine Psalterillustration– 13 OnthePantokrator, seeJeffreyC.Anderson,“ThePalimpsestPsalter, 12 LeslieBrubaker, “LifeImitatesArt:Writings onByzantineArtHistory,11 10Marfa Viacheslavovna Šc Athonis Pantocratoris61,” “Quelques remarquessurlerapportentretexteetimagedanspsautier D. dissertation,SalesianPontificalUniversity, Rome,2000);idem, Athonis Pantocrator61:derelationeintertextumetimaginem”(Ph. 843–47; seeCorrigan, that CorrigandatedboththePantokratorandParisinusgr. 20,to 1978), 219.InconnectingtheByzantine andearlierCarolingianPsalters, Les illustrationsduPsautierd’Utrecht: sourcesetapportcarolingien were addedintheCarolingianera – wasadvancedbySuzyDufrenne, towhichadditionaliconographicalelementsa fifth-centurymodel Psalter,” 61:ItsContent andRelationshiptotheBristolPantokrator Cod. 1991–1992,” dating thePsalterto843–47;seeCorrigan, makesmoresenseasthecommissionerofChludov,Methodios thus andPhotios–the twopotentialsponsors–patriarchsMethodios 1 (Paris,1966),39–66,pls.34–46.KathleenCorriganarguesthatof 20, BritishMuseum40731 L’illustration despsautiersgrecsduMoyenÂge,Pantocrator61,Parisgrec. contain imagesofthepersonificationZion;seeSuzyDufrenne, Parisian Psalter, BnF, gr. 20,alsodatedtotheninthcentury, does not facsimile reprint(Madrid,2006). grecheskiy illiustrirovanniykodeksIXveka 1.The ChludovPsalter(Moscow, StateHistorical DOP Byzantine andModernGreekStudies 48 (1994):199–220.SeealsoJean-ClaudeLechner, “Ms Visual Polemics , BibliothèquedesCahiersArchéologiques ˇepkina, ˇepkina, 12 Arte Medievale Ithasbeensuggestedthatthe

The well-knownandheavilydamaged Miniatiury KhludovskoyPsaltyri: , 124–34. (Moscow, 1977); 10 TheChludovPsalter N.S.1/2(2002):25–34.Note Visual Polemics 17(1993):185. 13 Salterio Chludov , 124–34. 11 (Paris, It , Ars Judaica 2009 9 – will be – will be 17 , 1–20, with collected , 1–20, with collected 19 . It is interesting to note that . It is interesting to note that 5/2 (July 2002): fig. 3 (http://syrcom. Theodore Psalter . 18 Tableaux synoptiques Tableaux Miniatiury Khludovskoi Psaltyri The Barberini Psalter: Codex Vaticanus Barberinianus Graecus Barberinianus Graecus The Barberini Psalter: Codex Vaticanus , 2 vols. (New York and Zurich, 1988). , 2 vols. (New York The Personification of Zion in Byzantine Psalters with Marginal Illustrations Marginal with Psalters Byzantine in Zion of Personification The ˇepkina, cua.edu/Hugoye/Vol5No2/HV5N2InnemeeVanRompay.html). the church of Zion is portrayed in the Chludov Psalter not only in the church of Zion is portrayed in the Chludov Psalter not only in relation to the personification of Zion, but in additional instances as “Quelques well, for example, in the second trial of Christ; see Grabar, in notes”: 63, fig. 3. In the eighth-century church of the Holy Virgin Deir al-Surian there is a wall painting on the northern wall showing structure, representing a church, with a ladder standing also a tower-like Innemée and Lucas al-Natrun, Egypt); see Karel C. against it (Wadi “Deir al-Surian (Egypt): New Discoveries of 2001–2002,” Rompay, Van Hugoye: Journal of Syriac Studies bibliography. “The Personification of Zion and the Marian Cult in Byzantine Psalters with Marginal Illustrations” (forthcoming). that the monk Theodoros of the Studios monastery was the scribe of that the monk Theodoros Studios monastery was the scribe of of the date to the 1060; John this manuscript, thus forcefully advancing its Lowden, “An Inquiry into the Role of the Theodore the Making in in, of the Theodore Psalter,” Walter, Walter, 372 The Chludov Psalter shows on the right, on a north– The Chludov Psalter 17 Dufrenne, 18 For a discussion of further aspects of this iconographic motif, see my 19 Šc 16 16 of the manuscript by John Lowden, who contends See the discussion Psalm 50:20–21(51:18–19) – “Do good, O Lord, to – “Do good,Psalm 50:20–21(51:18–19) to O Lord, goodSion in thy the walls of Jerusalem pleasure; and let sacrifice of be pleased with a Then shalt thou be built. and whole-burnt-sacrifices: righteousness, offering, calves upon thine altar” then shall they offer analyzed in this paper; the other three, which commonly the other three, which commonly analyzed in this paper; the Virgin/Theotokosshare the figure of will be published in a separate article. east axis, a triapsidal basilica (only two apses are visible), basilica (only two apses are visible), east axis, a triapsidal a the central nave and aisles, and a clerestory in both to three openings (corresponding flight of stairs leading a high tower is seen to the nave and two-aisle structure); church is a walled on the southern side. Enclosing the portico city consisting of a gold-topped, marble-veined a staircase of twelve and a blue-veiled entrance led to by in imperial dress steps. The personification of Zion, clad in front of the city and wearing a turreted crown, stands stands King David, and points toward it. Opposite her On the left, crowned and clad as a Byzantine emperor. illustrating the King Saul speaks with Doëg about David, title to Psalm 51 (52), which has nothing to Septuagint’s 1). do with the portrayal of the city (fig. , 45 45 Visual Visual 30–31 REB The The CA 15 16 , 64–70; Jeffrey C. , 64–70; Jeffrey C. 14 , electronic facsimile, ed. Theodore Psalter L’illustration des psautiers grecs du Moyen-Âge L’illustration , Bibliothèque des Cahiers Archéologiques 5 , Bibliothèque des Cahiers Archéologiques 5 L’illustration des psautiers grecs L’illustration 70 (1988): 55–68; AB , 8–26. Christopher Walter also tends to place the origin of also tends to place the origin of , 8–26. Christopher Walter Londres, Add. 19.352 A comparative examination of all images representing A comparative examination of all images 3. The so-called Barberini Psalter (Vatican City, City, (Vatican The so-called Barberini Psalter 3. 2. 2. The so-called Theodore (London, BL, MS Psalter Polemics what he somewhat reluctantly calls the “archetype” of these Psalters Saints and the Image in eighth-century Palestine; see his “‘Latter-Day’ of Christ in the Ninth-Century Byzantine Marginal Psalters,” Corrigan conjectures that an eighth-century model – which apparently various commentators comprised many typological scenes inspired by the composition of on the Psalms and liturgy – may have influenced marginal illustrations the three extant ninth-century Psalters with Pantokrator 61, Parisinus graecus 20); see Corrigan, (Chludov, the prototype that in turn, conjectures that (1987): 218–19. Lechner, may have served as the model for the three above-mentioned ninth- century Psalters may have originated in Syria or Palestine, during the first interval of the iconoclastic debate, between 787 and 815; Lechner, “Quelques remarques”: 30. I am grateful to Jean-Claude Lechner for also allowing me to consult his unpublished dissertation. 2: (Paris, 1970); Jeffrey C. Anderson, “On the Nature of the Theodore Psalter,” Charles Barber (Champaign, IL, 2000). (1982–83): 35–67; Jeffrey C. Anderson, Paul Canart, and Christopher (1982–83): 35–67; Jeffrey C. Anderson, Paul Canart, and Christopher Anderson, “The Date and Purpose of the Barberini Psalter,” Anderson, “The Date and Purpose of the Barberini Psalter,” the city of Zion in Byzantine Psalters with marginal with marginal the city of Zion in Byzantine Psalters grouped into several illustrations shows that they can be appearing in the categories. Only one such image, Theodore, and Barberini Psalters and illustrating Chludov, Biblioteca Apostolica Vaticana, Barb. gr. 372). Barb. gr. Vaticana, Biblioteca Apostolica Add.19 352); the colophons on folio 208r gave it the gave it the on folio 208r the colophons Add.19 352); name Theodoros, and of the monastery after the abbot of the codexthe scribe and painter in 1066; Michael was executed at It was most probably owner. the manuscript’s in Constantinople. the Studios monastery manuscript, which was created in the Studios monastery, was created in the Studios monastery, manuscript, which by Emperor Alexios Komnenos was commissioned affirm his ca. 1092 in an attempt to 1081–1118), (r. Orthodoxy flirting vis-à-vis contemporary accusations of a discernible with iconoclasm. The manuscript exhibits is most certainly a influence of the Chludov Psalter and mid-eleventh century illustrated now lost, of another copy, as a modelPsalter that may well have served for the be considered Thus, the Barberini may Theodore Psalter. a late descendant of the Chludov-Theodore group. 14 14 Sirarpie Der Nersessian, 15 Der Nersessian, Der 15 10 Ars Judaica 2009 Mati Meyer (photo: Šc 843(?).Moscow,after Museum,Hlud.D129,fol. Historical State 51r 21 Sometimes called 20 Onthis,seeAnderson,Canart,andWalter, Fig. 1. Psalter, whichinallprobability served asanintermediary of amisinterpretationthethemeinillustrated transferred totheversooffolio,mostprobablybecause left andthefigureofDavid;inbothcases,latterwas and BarberiniPsalters,althoughwithoutthetoweron The MetropolitanMuseumofArt], eds.HelenC.EvansandWilliam of theMiddleByzantineEraA.D. 843–1261 vellum, ca.1071–81,fol.I[2bis]v); in Constantinople(Paris,BnF, Coislin79,temperaandgoldon of Alaniainthecontemporary (Washington, DC,1997),41,48.See,e.g.,thedressofEmpressMaria Byzantine CourtCulturefrom829to1204 vols. (NewYork andOxford, 1991),2:1252–53,s.v. “loros.”Seealso see with preciousstoneswornbyboththeemperorandempress; This iconographic formula reappears in the Theodore This iconographicformulareappearsintheTheodore

Oxford DictionaryofByzantium The Personification ofZion ˇepkina, Miniatiury KhludovskoyMiniatiury Psaltyri thorakion , thisisanovalshield-shapedscarfstudded , Chludov Psalter, (?), Constantinople Homilies ofJohnChrysostom Glory ofByzantium:ArtandCulture , ed.AlexanderP. Kazhdan, 3 ) Barberini Psalter [exhibitioncatalogue, , ed.HenryMaguire , 44. executed in ablue holy city”).Shewearsagoldturretedcrownandisclad on theleftbyGreeklegend structure standsthehieraticfigureofZion,identified six-rung goldladderleadsintothechurch.Beneath object thatmaybeinterpretedasanaltar. Asimple, on theothersideisanopeningcontainingaquadrate with threearcheshavingbluecolumnsgoldcapitals; is duplicatedinthefloorbeneathit,withoutapsebut like barrier, Psalter. asintheTheodore Theupperstory blue columnswithgoldcapitalsandanopenworklattice- a viewofthechurch’s interiorfromthesouth,throughtwo round apse,nowtoppedbyacross.Thesecondstoryaffords in theeleventhcentury; donning theimperial triumphal archshelteringthefigureofZion,crownedand in theporticoChludovPsalterisreducedheretoa entranceway leadstothelowerfloor. Therowofarches which asimple,five-runggoldladderleaningagainstan badly flaked,showsontherightatwo-storybasilicato right handshepointstowardtheholycity(fig.3). late eleventh-centuryilluminatedmanuscripts.With her of adraperypattern–pictorialfeaturecharacteristic sometimes parallel,simulatingthelight-reflectingcrests row ofwindowsandalattice-likebarrier(fig.2). decorated marblecolonnadeofthenorthernaislewitha into thechurchfromroundapse,showinggold- her righthand.Theupperstoryisactuallyalateralview Psalters. betweentheChludovandeleventh-centurymodel 3 Fol.88r;ibid.,68–69,pl.117,fig.328;Anderson,Canart,andWalter, 23 22Charles Barberdescribestheleft-handpartofbasilicaas“an The Barberinialsoshowsatwo-storyedificewith whosepaintisThe miniatureintheTheodore, Stafford (Aldershot,2005),300–301. World: FromAntiquitytoByzantium Empresses andTyches inByzantium,” in FortunetotheQueen ofCities: LuckandGood see LizJames,“Good Barberini Psalter grecs see impressive pedimentstructurerepresentinganentrancetothislevel”; D. Wixom (NewYork, 1997),207–9,fig.182. 20 Theodore Psalter , 33,pl.35,fig.105. thorakion decoratedwiththinhatchesofgold, , 88.ForadiscussionofTyche inearlyByzantineart, thorakion , fol.65r;DerNersessian, 21 shepointstowardthecitywith , whichcameintofashion = Δgíapólíw , eds.JudithHerrinandEmma Personification intheGreek L’illustration despsautiers 22 23 (“the Ars Judaica 2009 11 The The , ed. , ed. 23/24] (Jerusalem, 1997–98), 23/24] (Jerusalem, 1997–98), , Barberini Psalter, Constantinople, ca. , Barberini Psalter, The complex mentioned by early 24 Journal of Jewish Art The Personification of Zion in Byzantine Psalters with Marginal Illustrations Marginal with Psalters Byzantine in Zion of Personification The The Personification of Zion The Personification of the Chludov (fol. 86v) with the Holy Sepulchre complex; see of the Chludov (fol. 86v) with the Holy Sepulchre complex; see “Heavenly Jerusalem: The Byzantine Approach,” in Alexei Lidov, Real and Ideal Jerusalem in Jewish, Christian and Islamic Art: Studies in Honor of Bezalel Narkiss on the Occasion of his Seventieth Birthday Bianca Kühnel [ 343–45, fig. 2.

or-less precise replications of the architectural features features precise replications of the architectural or-less of these early images along with two others appearing in the Chludov – reflect the ancient church of Holy Zion in Jerusalem, the tower next to it, and even the ladder leading to the church. Fig. 3. 88r 372, fol. Barb. gr. Apostolica Vaticana, Biblioteca City, 1092, Vatican Apostolica Vaticana) Biblioteca City, Vatican (photo: (Paris, 1957), , Theodore Psalter, Constantinople, 1066, , Theodore Psalter, L’iconoclasme byzantin: dossier archéologique L’iconoclasme The Personification of Zion The Personification

André Grabar, who, as noted, attempted to link who, as noted, attempted to link André Grabar, the Chludov was illustrated; see Grabar, “Quelques notes”: 61–82, “Quelques notes”: 61–82, the Chludov was illustrated; see Grabar, esp. 73; idem, 225. For a different, highly arguable, suggestion linking this specific 225. For a different, highly arguable, suggestion linking this specific “Note image with contemporary Muslim architecture, see Grabar, in turn, identifies the basilica on the Chludoff Psalter”: 263, n. 7. Lidov, the architecture in the ninth-century Psalters with the architecture in the ninth-century Psalters with marginal illustrations to sanctuaries in Jerusalem and Bethlehem, contends that the model used for this miniature – whether ancient, pre-iconoclastic, or more- 24 24 by the time Grabar maintains that this church was already destroyed Fig. 2. London, BL, MS Add.19 352, fol. 65r (photo: London, British 65r (photo: Museum) 352, fol. London, BL, MS Add.19 12 Ars Judaica 2009 Mati Meyer 7 Grabar, “Quelquesnotes”:73. 27 26 Piccirillo, On thetestimonies ofpilgrims,seeHuguesVincent andFélix-Marie 25 Supper. was builtbyConstantineItocommemoratetheLast Christian pilgrims,remainsofwhicharestillvisibletoday, earthly life. places whereChristlivedaslivingtestimonyofhis the Studite(759–826),expressedtheirlongingfor patriarch ofConstantinople(ca.758–828),andTheodore by thechurch’s easternside,i.e.,theapse.Iproposeto western entrancetothecity/churchis,infact,topped typological construction.Whatwouldhavetobethe above threeimagesrevealsfurtherindicationsofa the Incarnation. terrestrial lifeofChristand,consequently, thenotionof the HolyLandanditssanctuariesastestimoniesof wouldveneratewould betypological–theiconodules this sanctuaryandothersafterthedemiseoficonoclasm mid-sixth centuryMadabamosaicmap. corresponds totheconvent’s courtyardappearingonthe “Quelques notes”:66–67. antichità cristiana52,2vols.(Münster, 1995), 1:543–51. 22–28.9.1991 Akten desXII.internationalenKongressesfürchristlicheArchäologie Zur EntwicklungihrerTraditionen imSpiegelderPilgerberichte,”in early Christiantimes,seeKlausBiberstein,“DieHagiaSioninJerusalem: 3:601–2, s.v. “Jerusalem.”Ontheliturgicalimportanceofthischurchin eds. KlausWessel andMarcellRestle,5vols.(Stuttgart,1963–95), Islam 2(Princeton,1995),33–39; Historical andArchaeologicalStudy The ChristianCommunitiesofPalestinefromByzantinetoIslamicRule:A (Bonn, 1970),89–90(no.77a/b),planno.77,pl.38;RobertSchick, see AsherOvadiah, three externalsemicircularapsesmeasuringapproximately55meters; attests thatthebasilicamayhaveoriginallybeendouble-aisled,with reconstruction oftheremainsitswesternsectionandnarthex 634, apparentlylikeitspredecessor, andburntbytheArabsin966.The around 390,destroyedduringthePersianinvasion(614),rebuiltin and northwestofthetraditional“Tomb ofDavid.”Thechurchwasbuilt Dormition onMountZion,extendoverthelargeareasituatednorth intheGardenofFranciscansoppositechurch found today (Paris, 1912–14),2:421–22,478.RemainsofthechurchHolyZion, Abel, A closecomparisonofthearchitecturein Grabar reasonedthatConstantinople’s interestin 25 Jérusalem: recherchesdetopographie,d’archéologieetd’histoire Furthermore,thecourtyardnorthofbasilica 28 Madaba , eds.ErnstDassmannandJosefEngemann,Studidi 27 Churchfathers,suchasNikephoros, , 86–87,92.Seealsothediscussion ofGrabar, Corpus oftheByzantineChurchesinHolyLand , StudiesinLateAntiquityandEarly Reallexikon zurbyzantinischenKunst 26 , 2vols. , Bonn , 2 Onthissee,SahokoTsuji, “Destructiondesportesdel’Enferetouverture 32 the city/church, three miniaturesbytheveiledorunveiledentranceinto in, heshallbesaved,”symbolizingtheentranceinto the John10:9:“Iamdoor;bymeifanymanenter the Bible. basilica –theeternalchurchtypologicalTemple of of theLastJudgment meaning conveyedinthisopeningalludestotheimagery personification seemstobedirected.Thetypological representations ofheavenlyJerusalem, church ofZionasawalledcityassociatesitwithcommon sacrifice takesplacedaily. Furthermore,depictingthe hinting attheplacewheremysteryofChrist’s sacrifices: thenshalltheyoffercalvesuponthinealtar,” a sacrificeofrighteousness,offering,andwhole-burnt- Psalm 51:19literally:“Thenshaltthoubepleasedwith accidental slipofthebrush.Theeastern/apsesideillustrates any church,asaneschatologicalvisionandnot interpret thisimage,whichdefiesthephysicalstructureof (Rome, 1975),108–12. of theLiturgySt.JohnChrysostom Entrance: AHistoryoftheTransfer of Gifts andOtherPre-anaphoralRites du Psaume117,19–20,” des portesduParadis:àproposillustrations duPsaume23,7–10et psautiers grecs 31 The typologicalmeaningoftheveilismadeevidentinotherninth- 31 On theperceptionandillustrationofJerusalem,notablyinWestern 30 For asuccinctdiscussionoftheiconographyheavenlyJerusalem 29 28 Nikephoros, The notionofheavenlyJerusalemisreinforcedinall Pantocrator 61,” “Une illustration‘historique,’inconnue,duPsautierMont-Athos, in frontoftheveiledentrancetoHolyHolies;seeSuzyDufrenne, and Bezalel,theconstructorofTemple andtheTabernacle, standing the iconoclastJohnGrammarian,nicknamedIannisbyhisenemies, Monastery, 61,fol.165r),showingKingDavidbetweenthefiguresof cod. (115: 4–8)inthePantokratorPsalter(MountAthos, century miniatures,forexample,intheillustrationofPs.113:12–16 Christian ArtoftheFirstMillennium the EarthlytoHeavenlyJerusalem:RepresentationsofHolyCityin illuminated manuscripts,seetheseminalstudyofBiancaKühnel, to changewithcontemporarytextualassociations. “Heavenly Jerusalem,”341–53,whoarguesthatthisiconographytends throughout Byzantineartbasedonseveralearlyexamples,seeLidov, Studite, Theodore 30 , 34,pl.26;Lechner, “Quelquesremarques”:29. CA 31 Apologeticus proSacrisImaginibus towardwhichthehandoffemale 15(1965):83–95,fig.1;idem, Epist 32 CA andChrist,whicharelinkedto

. XV( 31 (1983):5–33;RobertTaft, , OrientaliaChristianaAnalecta200 PG 99, 1160–61). (Rome,1987). 29 rendering its L’illustration des ( PG The Great 100,780A); From Ars Judaica 2009 13 Le Le 105 105 8, 53B); 8, 53B); 54 [1984]: 54 [1984]: 40 (1977): (University PG ZK , English trans. , English trans. Byzantion , trans. Robert C. Hill, , trans. Robert C. Hill, 18, 149B); Methodios, The Fathers of the Church 31 [1977]: 281–304). Kenneth PG , trans. and eds. Claude Mondesert Homilies on Joshua DOP I.2.3 (exegesis to Ps. 4:14; Elfenbeinarbeiten der Spätantike und des Elfenbeinarbeiten der Spätantike und des A Study of the Vestibule of the Imperial Palace A Study of the Vestibule : Prot. Le Protreptique Commentary on the Psalms . 23, 4; Origen, The scenery is that of the capital, most The scenery is that of the capital, most , 3d ed. (Mainz am Rhein, 1976), 95–96 (no. 143), , 3d ed. (Mainz am Rhein, 1976), 95–96 (no. 143), [Copenhagen, 1959], 104–5; Suzanne Spain, “The [Copenhagen, 1959], 104–5; Suzanne Spain, “The 39 38 Hom. in Jos The Brazen House , trans. and eds. Herbert Musurillo and Victor-Henry Debidour, Debidour, , trans. and eds. Herbert Musurillo and Victor-Henry VIII.7 (exegesis to Ps. 90:1; The Personification of Zion in Byzantine Psalters with Marginal Illustrations Marginal with Psalters Byzantine in Zion of Personification The ., 14–15 (PG 91, 692–693); English trans. by Thomas F. Mathews, F. ., 14–15 (PG 91, 692–693); English trans. by Thomas 602–14) to the reign of empress Eudoxia (400), but traditionally was 602–14) to the reign of empress Eudoxia (400), but traditionally was supposed to have been created in the sixth–seventh centuries (Cyril Mango, and André Plassart, SC 2 (Paris, 1976), 54–55. See also, Methodios, and André Plassart, SC 2 (Paris, 1976), 54–55. See also, Methodios, Symp. frühen Mittelalters (“The pl. 76. The ivory was tentatively dated by Laurie J. Wilson Procession Ivory: A New Interpretation,” Trier banquet SC 95 (Paris, 1963), 216–19. 2000–2001), 1:92. DC, 2 vols. (Washington, of Constantinople Trier,” of Relics Ivory, Translation the Throne of Solomon and the Open Door of Paradise,” the Throne of Solomon and the Open Door of Paradise,” Clément d’Alexandrie, 93–114. Myst and Liturgy The Early Churches of Constantinople: Architecture DC, 2002), 200. The passage quoted by Origen is Heb. (Washington, 12:22. Park and London, 1971), 152. by Barbara J. Bruce, ed. Cynthia White, on to show the God of all to be not pleased with the Godon to show not pleased with of all to be prayer is and his Law, according to the the sacrifices the heavenly Jerusalem Sion to emerge, for the new meaning by it the Christian to be built on earth,” church. 37 37 Theodoret of Cyrus, 1:302. 38 Ibid., Fritz Volbach, Wolfgang 39 33 Isa Ragus, “Terror Demonum and Terror Inimicorum: The Two Lions of Lions of Inimicorum: The Two 33 Demonum and Terror Isa Ragus, “Terror Further examination of the architecture in the Chludov of the architecture in the Chludov Further examination the hypothesis that this typological (fig. 1) supports embedded in the contemporary image may have been landscape. The large ivory relief, now Constantinopolitan cathedral and dated of the Trier conserved in the treasury early tenth to the late ninth and by Holum and Vikan and the transfer centuries, depicts a religious procession is received of a relic to Constantinople. The entourage of a church topped by the Empress, who stands in front not quite finished in with crosses and which appears to be still laying tiles on time for the event, as workers are seen the roof (fig. 4). 34 36 of Alexandria, Clement 35 Origen, 35

37 – 36 as blessed Paul taught; by as blessed Paul taught; by 35 34 Sion Moreover, the patriarch Maximus patriarch Maximus the Moreover, 33 he refers to the churches everywhere on earth, he refers to the churches everywhere on earth, […] and there is some city in the heaven that is that is […] and there is some city in the heaven called Jerusalem and Mount Zion—just as the would come Apostle says concerning those who have drawn near to to the Lord Jesus Christ, “You of the living Mount Zion and are come to the city God, heavenly Jerusalem.” After the sacred reading of the Holy Gospel, the of the Holy Gospel, the After the sacred reading from his throne and there takes bishop comes down and expulsion by the priests of place the dismissal the rest who are not worthy of the catechumens and the mysteries which are about the sacred vision of after the reading of the Gospel to be shown. But the catechumens, there takes and the dismissal of of the doors of the holy church place the closing of God, material which signifies the passing of the are worthy world and the entrance of those who the bridal into the spiritual world, that is, into and chamber of Christ after that fearful separation more fearful sentence. gates The conclusion of this psalm contains, however, The conclusion of this psalm contains, however, see, after setting a further prophecy as well: “You forth above the gifts of the all-holy Spirit, he went through which the believers enter it. So let us rejoice in through which the believers enter it. So let us rejoice in them, he says, dancing in the hope of resurrection […].” its Jerusalem is metaphorically identified with the Church The association of Jerusalem, celestial city of God, with city of God,The association of Jerusalem, celestial with thinking of Origen Zion is evoked in the early patristic (ca. 185–ca. 254), for example: the Church above – to which earthly churches serve as the Church above – to which earthly churches serve as gates, as Theodoret one of of Cyrrhus (ca. 393–ca. 460) the most important Psalms exegetes, puts it: “He [David] calls the heavenly city heaven of the faithful. heaven of (580–662) states clearly that the closing of the door has door has the closing of the states clearly that (580–662) meaning in Orthodoxan apocalyptic liturgy: Theodoret’s commentary to Psalm 51:19 is also significant Theodoret’s to our discussion: 14 Ars Judaica 2009 Mati Meyer 2 ThomasF. Mathews, 42 Ibid.,26;figs.58–59. 41 Eugene W.40 Kleinbauer, AntonyWhite,andHenryMatthews, (photo: Treasury oftheTrier Cathedral) ofTrier),(Cathedral relief ivory lateninth–earlytenthcenturies, ecclesiastical architecture, still visible today intheupper ecclesiastical architecture,stillvisibletoday The edificebearsastrikingresemblancetocontemporary appears tobeanuppergallerywithouterbalustrade. be seenasalateralviewintothebasilica,showingwhat onto theupperfloorofstructureinbothimagesmay more dematerialized,schematicbasilica.Thevistaopening city/temple complexoftheearlierChludovtocreatea City inthelaterPsalters,whichartistaltered be furthersubstantiatedbythedepictionofHoly canof Ziondrewoncontemporaryecclesiasticalmodels right-hand corneroftheivoryandtoweradjacenttoit. the moststrikingbeingbasilicaledificeinlower Chludov miniatureshareanumberofcommonfeatures, probably intheninthcentury. TheTrier ivoryandthe Fig. 4. Patriarchate, whichwereofmosaic, andthoseinthevaultofbig patriarch Niketasscrapedofftheimages inthesmall of TheophanestheConfessor:“In sameyear[AD766/7]thefalse and theRelicsofSt.Stephen” G. HolumandGarryVikan (“TheTrier Ivory, record oftheiconoclasticactcanbe foundinthe Survey Sophia attributed latertothelateninth–earlytenthcenturies. bibliography) showquiteconvincinglythattheworkofartistobe Modern GreekStudies Gate, theConstructionofPast,andTrier Ivory,” Byzantine Studies John Wortley (“TheTrier IvoryReconsidered,” The suggestionthatthearchitectureofchurch

The Transfer ofRelicsto Constantinople (LondonandIstanbul,2004),24;figs.24–25. (University ParkandLondon,1976),307,figs.31–75.The 21[1980]:381–94),andLeslieBrubaker(“TheChalke The ByzantineChurchesofIstanbul:APhotographic 23 [1999]:258–85,esp.270–81,withcollected DOP 33 [1979]:115–33),followedby , HoheDomkirche Trier Adventus Chronographia Greek, Roman,and secretum Byzantine and Ceremonial, ofthe (443) Hagia the Deesispanelinwesternarmofcupola(fig.8). acanthus borderingChristologicalscenes,suchasthosein where numerousscenesshowstylizedcurlingfrondsof church ofCaranlikKilise(Göreme23;Cappadocia), eleventh-century HosiosLukas later buildings,suchasthe as farapartGreeceandCappadocia,forexample,in frequent motifinthedecorationofcontemporarychurches the southwesterncornerofthischurch(fig.6), intercolumniation vaultsinthesemicirculargalleryof of theHagiaSophia,mosaicmotifsdecorating adorning thesurvivingvaultmosaicinuppergallery motifs decoratingthechurchinBarberiniandthose city of Zion/church intheillustrationswasconstructed city ofZion/church am notimplyingthatthearchitecturalcomplexof immediate sacredarchitecture(fig.7). that theByzantineartistsoughtinspirationfromhis Hagia Sophialendfurthercredencetoourassumption over thesouthwesternvestibulefromnorth)of mosaic decorationinthevaultsof the HagiaSophia(fig.5). this architecturalconfigurationalsoappearsinthenaveof Barberini arenotalignedwiththoseonthegroundfloor; Incidentally ornot,thecolumnsatgallerylevelin gallery abovethesouthtympanuminHagiaSophia. 44 Catherine Jolivet-Lévy, 43 Nano Chatzidakis, This typeofborderornamentationhadbecomea The similaritybetweenthefloralandgeometrical Comparative architecturecanbetakenonlysofar. I (Paris, 2001),228–29,fig.69. pl. 10;73,73;85,respectively. saints framedbymedallionsinthecrypt’s groinvaults curling frondsofacanthussurroundingthefrescoesfigures showing theenthronedVirgin andChristChild;seethestylized decoration inthe 1997), 611,612n.14. AD 284–813 Chronicle ofTheophanesConfessor:ByzantineandNearEasternHistory where evidenceoficonoclasticactivitycanstillbeseen”;see to theroomsatsouth-westcornerofchurchgallerylevel, off imagesofChristandthesaints.Thebigsmall Hagia Sophiainindiction7(768/9),thecourseofwhichhescraped other images[…]Nik.addsthatNiketascarriedoutstructuralrepairsto secretum , whichwereinpaint,heremovedandplasteredthefacesof , trans.andeds.CyrilMangoRogerScott(Oxford, katholikon Hosios Loukas 40 La Cappadocemédiévale:Imageset spiritualité there,intheconchofapse’s mosaic, katholikon 43 orthecontemporary (Athens,1997).Seetheborder 42 sekreton andcryptinthe (theroom 41 andthe secreta G and H correspond ; ibid.,24, 44 The

Ars Judaica 2009 15 (room over the southwestern the southwestern (room over sekreton , Church of Caranlik 23, Cappadocia), western Kilise (Göreme , Church The Personification of Zion in Byzantine Psalters with Marginal Illustrations Marginal with Psalters Byzantine in Zion of Personification The Deesis

Hagia Sophia, vault mosaic in the Fig. 8. wall Courtesy painting (photo: arm of Catherine of the cupola, 11th century, Jolivet-Lévy) Fig. 7. vestibule, from the north),vestibule, Dumbarton ca. 565–77 (photo: Oaks, Byzantine DC) Washington, Archives, Photograph and Fieldwork Hagia Sophia, view from the narthex into the southern part of the nave Hagia Sophia, intercolumniation vaults, semicircular gallery, southwest southwest Hagia Sophia, intercolumniation vaults, semicircular gallery, corner) Fig. 6. (photo: Dumbarton Oaks, Byzantine Photograph and Fieldwork Archives, Dumbarton(photo: Oaks,Archives, Byzantine Photograph and Fieldwork DC) Washington, Fig. 5. 16 Ars Judaica 2009 Mati Meyer 47 Life ofSt.DanieltheStylite,10;seeHippolyteDelehaye, 47 46 Eusebius, 45 Cyril Mango, Constantine’s life: century, andEusebiuselucidatesthisinhisaccountof appears inByzantinecultureasearlythefourth Jerusalem, repletewitheschatologicalundercurrents, The identificationofConstantinoplewithheavenly 860 AD: with regardtotheRussianattackagainstcapitalin all Christians.ThepatriarchPhotioswritesthefollowing with theByzantinecapital,metropolitancenterfor hang ourinterpretationthatassociatesidealJerusalem various elementsprovidesaformalanchoronwhichto by thestrengthofthisassociation,andrepetition viewer ofthePsalter, thesymboliccontentwasenhanced other ecclesiasticalbuildings.However, fortheByzantine architecture andmosaicdecorationoftheHagiaSophiaor to replicatetheTrier ivoryor, forthatmatter, theactual stylites trans. Averil CameronandStuartG.Hall(Oxford,1999),135. and “new”NewJerusalem. aspirations andthepossibleroleofTrebizond asthenewConstantinople Church ofHagiaSofiainTrebizond asanexpressionofimperial particular ch.6,97–116.Theauthordiscussesthethirteenth-century Thirteenth-Century Byzantium the NewJerusalem,seealsoAnthonyEastmond, (Cambridge, MA,1958),90.ForadiscussionofConstantinopleas penalty ofitswickedinhabitants.Oppositethisthe been overthrowninutterdevastation,andpaidthe murderoftheLordhadwhich afterthebloody the Saviour, facingthefamousJerusalemofold, New JerusalemwasbuiltattheveryTestimony to a rootwithtwelveoffshoots,but the metropolisofonenation,whichgrewupfrom theancientone, bewail Jerusalemwithme—not Come untome,Omostcompassionateofprophets, magnificence ofitsinhabitants. in beauty, size,splendor, inthemultitudeand the Christiancreed,whichlordsitinantiquity, the entireuniverse,asmuchofitisadornedby , SubsidiaHagiographica14(Brussels andParis,1923),12;cf. De Vita Constantini The HomiliesofPhotiusPatriarchConstantinople (AldershotandBurlington,VT, 2004),in , 3.33.1–2;Eusebius 45 the metropolis , LifeofConstantine Art andIdentityin of Les saints ,

you willseetheNewJerusalem,Constantinople[…].” also evincesthisassociation:“[…]gotoByzantiumand twelve preciousstones, built ofgoldandsilver, anditstwelvegatesaremadeofthe redeemed. Thesaintdescribesthecitytypologically:itis Here theauthorisdescribingchosenpeopleashumanity summarized asfollows: draws onApoc.21:10ff.Theeschatologicaldimensionis The hagiographical faith searchesforthesacredone(Christ),whichisoften He goesontoemphasizethedirectiontowardwhich vision ofheavenlyJerusaleminthe elsewhere inhagiographicalliterature.Theapocalyptic is called Younger (d.944,lessprobably952),wheretheholycity 49 Isa. 54:11–12:“Afflicted andoutcastthouhastnotbeencomforted: 49 ChristinaG.Angelidi,“HoviostouHosiouVasileiou touNeou”(The 48 divine inspiration. recite innumerablepraisesastheyutterwordsof in propheticoracles,aboutwhichlongspeeches being perhapsthatfreshnewJerusalemproclaimed death withrichandabundantmunificence,this Emperor erectedthevictoryofSaviourover people, and God himselfwillbewiththem. people, andGod men. Hewilldwellwiththem,andtheyshallbehis iswith throne saying,Behold,thedwellingofGod for herhusband;andIheardagreatvoicefromthe preparedasabrideadornedof heavenfromGod, I sawtheholycity, newJerusalem,comingdownout This kindofeschatologicalhopeisfrequentlyexpressed and thyborderpreciousstones.” foundations; andIwillmakethybuttresses jasper, andthygatescrystal, behold, I[will]preparecarbuncle[for] thystones,andsapphirefor Ioannina, 1980),196. Life ofSaintBasiltheYounger), (Ph.D.dissertation,Universityof Judith Gilliland(London,2006),239–40. 2: the 21stInternationalCongressofByzantineStudies,London,21–262006 Heavenly Jerusalem?:ThroughtheImperialPalace,”in English trans.byMariaCristinaCarile,“Constantinopleandthe Abstracts ofPanelPapers ^H Néa^Ierousalem Vita 46 49 ofSt.DanieltheStylite(409–93) symbolizingthetwelveapostles. , ed.ElizabethJeffreys,withtheassistanceof (“TheNewJerusalem”), Vita Vita of Basilthe Proceedings of 47 48

, . Ars Judaica 2009 17 , 47, pl. )” n ( Theodore Psalter where it where it 52 xristianô ) ôn ; she stands in the ; she stands in the ( 53 L’illustration des psautiers grecs L’illustration pendoulia = basilía t in front of an extremely condensed edifice in front of an extremely condensed edifice 54 reminiscent of the building on fol. 65r of the reminiscent of the building on fol. 65r of the 55 The Personification of Zion in Byzantine Psalters with Marginal Illustrations Marginal with Psalters Byzantine in Zion of Personification The 77, fig. 210. Lowden suggests that the subject of the miniature is Zion 77, fig. 210. Lowden suggests that the subject of the miniature is Zion above the female figure and the angels rejoicing in the Lord. Actually, can still be seen part of a wing tip; it is possible that a clipeate image of Christ and a pair of angels was cut out of this folio; see Matt. 20:17, appears in the Etschmiadzin Gospel Book, Monastery of Matt. 20:17, appears in the Etschmiadzin Gospel Book, Monastery of Etschmiadzin, Lib. 229, 989, fol. 48v; see Der Nersessian, “Etschmiadzin Gospel”: 333, fig. 4. been restored; see Der Nersessian, Lift up your eyes round about [Isa. 49:18], O most O most Lift up your eyes round about [Isa. 49:18], orthodoxkings: you are the ultimate cause of of your subjects all these miracles, and lo, almost all to you. Give gather themselves together and come shepherd of chosen Israel, you lead this ample ear, this multitude people like a flock [Ps. 80:1]. Perceive obedience so whose array is so remarkable, whose whose piety is superhuman and whose voluntary, love is innate. They all rushed here spontaneously to your to this holy Zion, to this faithful metropolis, builders were new Jerusalem, whose creators and God and you […]. He founded her [Ps. 24:2] like the earth upon the floods, a miracle for beholders, a above the miracle for listeners, a city that is raised and barely held down by ground, almost in mid-air, the sea and even less by the land. 55 The face of the personification and some of the lines of her garment have (The Christian Empire), clearly alluding to the figure as as clearly alluding to the figure (The Christian Empire), inscription the embodying Byzantium. Needless to say, self-perception as superseding echoes the Byzantines’ and their capital – that of the old the people of Israel, is into heavenly Jerusalem. This Law – metamorphosing instances, for example, in a speech expressed in numerous at the Feast of St. George in 1047: by John Mauropous illustrates Psalm 133 (134):3: “May the Lord, who made who made “May the Lord, Psalm 133 (134):3: illustrates legend out of Sion.” The earth, bless thee heaven and “ next to the figure reads: can be seen in the Barberini, fol. 225r (fig. 9), in the Barberini, can be seen (fig. 10) orans stance The Theodore, fol. 130r, depicts a female figure as well. She depicts The Theodore, fol. 130r, is clad in imperial garb and wears an ornate crenellated, pearl-studded crown with as 51 Change in Change in hanging from hanging from (Berkeley, Los Los (Berkeley, , 255. , 138. and red shoes, a and red shoes, a pendoulia Ex. 35 thorakion 50 , without a female figure, illuminating Barberini Psalter , Barberini Psalter, Constantinople, ca. 1092, , Barberini Psalter, aedicula , 644. And see, e.g., the , a characteristic peculiar to imperial crowns, The Personification of Zion The Personification

The notion of Constantinople as replacing the old the old The notion of Constantinople as replacing Glory of Byzantium in the apse crown in the well-known sixth-century mosaic Theodora’s church in Ravenna. of the imperial San Vitale Centuries Byzantine Culture in the Eleventh and Twelfth Angeles, and London, 1985), Appendix, Zion-Jerusalem is eloquently evoked in the guise of a Zion-Jerusalem is eloquently evoked in the guise of a female figure seated on a bejeweled, pearl-studded, backless throne; she wears the imperial 52 Anderson, Canart, and Walter, Kazhdan and Ann Wharton Epstein, Cf. Alexander P. 53 54 A similar depiction of the 50 Angelidi, “Ho vios,” 197. 51 found in the visions of the life of Basil and is part of the and is part of the found in the visions of the life of Basil form. conception of the world’s Fig. 9. Vatican City, Biblioteca Apostolica Vaticana, Barb. gr. 372, fol. 225r (photo: 225r (photo: 372, fol. Barb. gr. Apostolica Vaticana, Biblioteca City, Vatican Apostolica Vaticana) Biblioteca City, Vatican gold turreted and bejeweled crown with gold and bejeweled pendoulia 18 Ars Judaica 2009 Mati Meyer Württembergische Landesbibliothek, Cod.Bibl.fol.Württembergische 23,fol. Landesbibliothek, 57v (photo: Stuttgart) Württembergische Fig. 11. Museum) British Fig. 10.

The Mystic Marriage ofChrist andthe Church The Personification ofZion , TheodorePsalter, 1066,London,BL,MSAdd.19 Constantinople, 352,fol. 130r(photo: London, , Stuttgart Psalter,, Stuttgart 9thcentury, Saint-Germain-des-Près, Stuttgart, Ars Judaica 2009 19 , trans. , trans. 37 (1947): 16. Bilderpsalter. Bibl. Bibl. Bilderpsalter. , facsimile edition, , facsimile edition,

[exhibition catalogue, Age of Spirituality: Late Antique Age of Spirituality: Late Antique When installing his ) of Constantinople and served as ) of Constantinople and served as 62 Der Stuttgarter , 2: 346–47. The Milion marked the , 2: 346–47. The Milion marked the mese Journal of Roman Studies , 8–26, esp. 8–10. (London, 1994), 124–25. remained in Constantinople until 36, 15). Divine Heiress: The Virgin Mary and the Creation of Mary and the Creation of Divine Heiress: The Virgin 64 Tyche’s statue, placed beside a cross Tyche’s The Conversion of Constantine and Pagan Rome 63 PL Visual Polemics Visual Tyche, the deification of Luck or Fortune, was the deification of Luck or Fortune, Tyche, 61 The Personification of Zion in Byzantine Psalters with Marginal Illustrations Marginal with Psalters Byzantine in Zion of Personification The 60 Fol. 23 Württembergische Landesbibliothek Stuttgart close depiction of the 2 vols. (Stuttgart, 1965–68), 1:191. A fairly be seen on folio 58r, personification of Zion in the same manuscript can illustrating still Ps. 44: 15–16; ibid., 1:91. 57v; see Bernhard Bischoff et al., and Early Christian Art, Third to Seventh Century (New York, The Metropolitan Museum of Art], ed. Kurt Weitzmann 1979), 175–76 (no. 154). The iconography of a richly jeweled, not necessarily imperial, female figure is fairly consistent with Byzantine art from the early fifth to the ninth centuries and appears in various artistic media; see James, “Good Luck and Good Fortune,” 293–307, esp. 295–97. Christian Constantinople Harold Mattingly (Oxford, 1948), 3; idem, “On the Foundation of Constantinople: A Few Notes,” Oxford Dictionary of Byzantium beginning of the main avenue ( the milestone from which all distances in the empire were measured. Yet, these female figures and those discussed earlier, earlier, and those discussed these female figures Yet, 60 Pseudo-Jerome ( 60 Pseudo-Jerome 61 Fletcher Fund, 1947, 47.100.40; see 59 59 Stuttgart, Württembergische Landesbibliothek, Bibl. Fol. 23, fol. 62 Vasiliki Limberis, Vasiliki 62 Alföldi, Andreas 63 64 58 Corrigan, new capital in Constantinople, Constantine commissioned new capital in Constantinople, Constantine Constantinopolis – sometimes the sculpture of Tyche standing, wearing a helmeted like Roma, enthroned or a cornucopia and turreted crown on her head, and holding branch in her arms. most closely connected to the welfare of the city from to the welfare of the city from most closely connected the Roman period.Classical Greece through her role In she had its destiny, as protectress of the city and guide of it; usually clad become the natural candidate to personify muraled crown, each in abundant draperies and wearing a city saw to it to have its own Tyche. and flanked by the figures of Constantine and Helena set and flanked by the figures of Constantine on top of the Milion, all wearing crowns decorated with crenellated elements decorated with crenellated elements all wearing crowns point conclusively to their obvious protruding from walls, in the fifth- as can be seen Tyche, identification with from Roman Gaul, now in the century bronze statuette of Art, where the goddess’Metropolitan Museum muraled main gate and walls of a fortified city crown represents the (fig. 12). Christ and the Church, both personified by imperial imperial personified by the Church, both Christ and figures. by by

,” in 56 , ed. Eva , ed. Eva The The The The 59 58 Bible Moralisée Das Etschmiadzin- De materia medica , 1: 57 shows the angel Gabriel

ion), but also to the usage ion), but also to the , facsimile edition, ed. Otto Mazal, 2 , facsimile edition, ed. Otto Mazal, 2 Z ( Die byzantinischen Elfenbeinskulpturen des X.–XIII. Byzantinische Denkmalerei tôo siQn Der Wiener Dioskurides: Codex medicus Graecus 1 der Graecus 1 der Dioskurides: Codex medicus Der Wiener , 2 vols. (Berlin, 1914; repr. 1979), 1:58 (no. 116); pl. LI 1979), 1:58 (no. 116); pl. LI , 2 vols. (Berlin, 1914; repr. (Vienna, 1891), pl. I(1). It is not surprising that this that this 1891), pl. I(1). It is not surprising (Vienna, L’image d’un Dieu souffrant (IXe–Xe siècles): Aux origines du d’un Dieu souffrant (IXe–Xe siècles): Aux origines du L’image (Paris, 1994), 137; 138 fig. 30 (a–b). The Synagoga is also (Paris, 1994), 137; 138 fig. 30 (a–b). The Synagoga is also The regal apparel of the female personification is most The regal apparel of A female figure personifying Zion is most probably Zion is most probably A female figure personifying Dioscorides (Vienna, Österreichischen Nationalbibliothek, med. gr. 1, 1, Österreichischen Nationalbibliothek, med. gr. Dioscorides (Vienna, c. 500, fol. 6v); Österreichischen Nationalbibliothek vols. (Graz, 1998–99). Julia Anicia in the well-known sixth-century Julia Anicia in the well-known sixth-century Imagining the Self, Imagining the Other: Visual Representation and Jewish- Imagining the Self, Imagining the Other: Visual Christian Dynamics in the Middle Ages and Early Modern Period Frojmovic (Leiden, Boston, and Cologne, 2002), 129–54. identified with a female figure; contrary to the nearly ascetic and identified with a female figure; contrary to the nearly ascetic and very pious figure of Zion, that of the Synagoga is highly gendered and see Sarah Lipton, “The Temple hideously depicted in the medieval West; and Synagoga in the Carnality, is My Body: Gender, Evangeliar art. A case in point is the female iconography is also found in Western figure tentatively identified as the personification of Jerusalem on the tenth-century ivory pyxis appearing in the scene of The Crucifixion, now in the treasury of the cathedral in Cologne; see Albert Goldschmidt and Kurt Weitzmann, Jahrhunderts (116a–d). See also the discussion of this diptych in Marie-Christine Sepière, crucifix probably beholden to earlier Carolingian iconography, to earlier Carolingian iconography, probably beholden which Psalter, as can be seen, for example, in the Stuttgart preceding is considered to reflect a stage of illustration Psalters. that of the ninth-century Byzantine in the center followed by a king and queen; on the left queen; on the left in the center followed by a king and whose right hand holds a is the personification of Tyre (fig. 11). bowl with gifts and the left a cornucopia that they are to be Latin exegesis of these verses contends understood between as a symbol of the mystic marriage 57 Joseph Strzygowski, Joseph 57 56 56 and Prudence flanking the figure of Princess See, e.g., Magnanimity related not only to the fact that in Greek, as in Hebrew, it the fact that in Greek, as in Hebrew, related not only to is female gendered same manuscript (fig. 2). The miniature illustrates Psalm miniature illustrates (fig. 2). The same manuscript 96 (97):8: of and the daughters heard and rejoiced; “Sion judgments, O Lord.” because of thy Judea exulted, The personification of Jerusalem on the sixth-century of Jerusalem on the sixth-century The personification as a book cover from the Etschmiadzin ivory plaque used as a female figure. Monastery is rendered illustration to Psalm 45:9 and 12 (“Upon thy right hand did illustration to Psalm 45:9 and 12 (“Upon And the daughter stand the queen in gold of Ophir […]. shall be there with a gift”) of Tyre Byzantine art makes of females to embodyByzantine art makes abstract ideas. 20 Ars Judaica 2009 Mati Meyer 7 OntheuseofimperialimagesinrelationtoTyche topropagate notions 67 BisseraV. Pentcheva, 66 65 Codinus, their occultconnotation. it togetherwithseveralancientmonumentsbecauseof the ninthcentury, whenCaesarBardas(864–66)destroyed into thesphereofimperialvictory. until theseventhcentury, Tyche forcefully wasintroduced were usedtopropagatenotionssuchasthemysteryof along withothercompellingimagesinthesePsalters, some fortyyearsaftertheirdefeat.Therhetoricalimage, and theremnantsoficonoclastsinConstantinople after843polemic betweenthetriumphanticonodules Christian symbolismthatwasintendedtorespondthe resulting inthecreationofanintricateimagewithpowerful conceived asapost-iconoclastic,adhocinvention, the imageofpersonificationZionmayhavebeen biblical, exegetical,hagiographical,andhomiletical– the image. stylize them,therebyremovingthepolemical“sting”of as possible,theeleventh-centuryPsaltersschematizeand walled city, andasrealisticarenderingofthefemalefigure architecture bycombiningtheexteriorofabasilicaand manuscripts, suchastheChludov, presentanddetail primarily bychangesinstyle;whereastheninth-century the iconoclasticthreatnolongerexisted.Thisisexpressed centuries lostmuchoftheirpolemicalzeal,simplybecause the illuminatedmanuscriptsofeleventhandtwelfth Constantine. as oldthefourthcentury, beginningwiththeruleof wealth, andwell-being;thisispartofanimperialideology fortune,association betweentheEmpireanditsgood personification cladinimperialdressalludestothe blessing thecityinherroleasitsprotectress.Thepagan for thecity/holychurch,andblessingit,recallingTyche further reinforcedbyherstance,seeminglybothpraying such ascaringforthefortune,wealth, andwell-beingoftheempire,see (University Park,PA, 2006),116–21. Byzantinae ecclesiae liber Thus, havingdrawnonbothvisualandwrittensources– From theninthcenturyon,polemicalimagesin isThe associationofZionwiththepagangoddess De officialibuspalatiiConstantinopolitanietdeofficiismagnae

35 (Bonn,1839),47. 67 , ed.EmmanuelBekker, CorpusScriptorumHistoriae Icons andPower:TheMotherofGod inByzantium 65 Thus,fromearlyByzantium 66

of AllChurches). (51) isanOrthrosantiphononthePentecost. church. ItisimportanttonoteinthisregardthatPs. 50 further emphasizestheliturgicalandsacrificialroleof and arenaforenactingthesacrificeofChrist–artist more specificallyintoitsapse–symbolofthedailyliturgy theviewerintochurch’sintroducing interior, and in whosepresenceonecouldprayandmeditate.By were perceivedasobjectsofveneration,similartoicons, of theiconoclasts,sacredimages–evenminiatures the universalChurch– making iconoclasticbattleatemporalone. therebybetween theiconophilesandiconodules, Dufrenne observes,istransformedintoanarbitrator pretation ofthepsalms. becomes anadvocatefortheproper(Christian)inter- as KathleenCorriganhasconjectured–thebiblicalking events oftheNewTestaments towhichheisassociated– Cast intheroleofprophetwhohaswitnessed specific psalmbutbearstestimonytotheheavenlycity. by thefigureofKingDavid,whoisnotmentionedin eschatological hopestoitsbeholders.Thesearepersonified the believerstoenter, isclearlymeanttoconvey wherethefemalepersonificationsummons House ofGod, scenery tobiblicalcontexts. evident inthetransferofConstantinopolitanecclesiastical Jerusalem istantamounttoConstantinople–arealso certain Byzantineperceptionaccordingtowhichheavenly with the commentary tothePsalmsandassociatecity/church only intherepresentationofsacredsitesthatserveasa victory. not TheChristologicalideasareembodied defenders oftheiconsinaftermathOrthodoxy’s Incarnation andtheDeathofChristthatweredearto 68 Corrigan, 71 Juan Mateos, The LatintermisborrowedfromGrabar’s article,“Quelquesnotes”:64. 70 Dufrenne,“Uneillustration‘historique’”:90. 69 The miniaturesdiscussedabovepresentanimageof Therefore, theimagecreatedhere,intypological James, “Good Luck and Good Fortune,”301–3. LuckandGood James, “Good 1962–1963), 2:178–79. Xe siècle locus sanctus ,

Visual Polemics Orientalia ChristianaAnalecta165–166, 2vols.(Rome, Le Typikon delaGrandeÉglise:Ms.Sainte-Croix no.40, 70 In the period followingthedemise Intheperiod in theHolyLand,but–followinga Mater omniumecclesiarum 68 , 62–77. David,amongothers,asSuzy 69 71 (Mother Taft has Ars Judaica 2009 21 The Personification of Zion in Byzantine Psalters with Marginal Illustrations Marginal with Psalters Byzantine in Zion of Personification The , Early Byzantine, 5th century, bronze, 25.5 × 14.4 × 10.3 cm. The Metropolitan bronze, Museum of Art,, Early Byzantine, 5th century, New Personification of a City Personification

York, Fletcher Fund, 1947 (47.100.40), Byzantine (photo: The Metropolitan Byzantine (photo: Museum of Art) 1947 (47.100.40), Fund, Fletcher York, Fig. 12. 22 Ars Judaica 2009 Mati Meyer 72 Taft, upon thinealtar”(verse21[19]). and whole-burnt-sacrifices:thenshalltheyoffercalves thou bepleasedwithasacrificeofrighteousness,offering, precisely becauseoftheirliturgicalcontent:“Thenshalt incensation ofgiftsonthealtarduringGreatEntrance suggested thatPsalm50:20–21(51:18–19)werereadatthe Verus Israel creatingthechosenpeople,transcendent actofGod theological andimperialrealities;itisasymbolofthe Imagery andIdeologyinByzantineArt the MarginalPsalters,” (fig.2),seeAnthonyCutler,and theTheodore “LiturgicalStratain meaning intheimagesillustrating thisverseintheChludov(fig.1) Jerusalem servesasatranscendentofboththe Great Entrance –nottheHebrews,buticonophiles , 223–25,249.Inrefutationofapossible liturgical DOP 34/35(1980/81),24n.47;repr. idem, , CollectedStudies358(Aldershot, 72 the Christians.” Porphyrogenetos (905–59)tobe“theuniversalchurchof Sophia, theverychurchconsideredbyConstantineVII ornamentation ofthearchitecturerelatestoHagia Itisnotperchancethatthedecorativeduty toGod. luck resideamongthefaithfulwhoperformtheirsacrificial Constantinople, whereprotection,prosperity, andgood “New Jerusalem,”theimperialcity, interaliaof into theChurchofallwhodwellincityGod, who adherebythetruefaith.Theyaretobebrought 73 Constantine Porphyrogenitus, 70–71. Fontium HistoriaeByzantinae1(Washington, DC,1967;repr. 1993), ed. GyulaMoravcsik;Englishtrans. byRomillyJ.H.Jenkins,Corpus 1992), studyVI. 73 De administrandoimperio , 13.113–14,